There’s no reason to be jealous because money doesn’t make a person happy. There’s a lot of proof to that but let’s all agree Pauly D’s take is a bit unsettling. I’ve never seen any of these DJs live or even listened to their sets somewhere so I also can’t really scream out any true reviews. Here’s what Forbes says these guys earned last year: Tiësto – $22 million, Skrillex – $15 million, Swedish House Mafia – $14 million, David Guetta – $13.5 million, Steve Aoki – $12 million, Deadmau5 – $11.5 million, DJ Pauly D – $11 million, Kaskade – $10 million, Afrojack – $9 million and Avicii – $7 million. Keep in mind these are artists making money. That’s an excellent thing.
“Every so often, the tectonic plates of mainstream musical taste shift. In the 1960s, there was the British Invasion, followed by disco in the 1970s and the rise of glam metal in the 1980s. The 1990s saw the advent of grunge and the resurgence of boy bands, followed by hip-hop’s hegemony in the 2000s. Now, the tables are turning again.” – forbes.com
The new mix from Rolf Mulder’s Public Stand features The Horrorist – Take This Step (Brian Burger Remix) among some other hot tracks. This mix already got me through my Sunday morning work out.
“Simplicity Is Beauty – Operators Manual (The Exaltics Remix) (Forthcoming on The Public Stand)
Phase – Binary Opposition (Innigo Kennedy Remix) (Token)
Horn Porn – Old Sketch (Death Proof Recordings)
Toni Alvarez – Offline (Mr. Jones Remix) (Forthcoming on Monkey Recordings)
The Horrorist – Take This Step (Brian Burger Remix) (Things To Come Records)
Roy Davis Jr. ft Bear Who – Automatic Principles (Roy’s Autoelectrik Speaker Killa Mix) (Rock It Science Laboratories)
Romplex & Tanz Organelle – Epicentre (Unreleased)
Joseph Anton – Epic (George Lanham Remix) (Unreleased)
All Tourettes – Mind Over Scatter (Electronic Explorations Compilation
Sunil Sharpe – Saturana (Work The Long Nights)
Mike Humhries – Cassini (Unreleased)
Ryogo Yamamori – Iesukak (Unreleased)”
Would you pay $5.29 to download and own a DJ mix? That is an interesting question Beatport is starting to ask with Beatport Mixes. What if by doing so the label and artist would get money? What if the DJ who made the mix would also get some money? With takedowns on Soundcloud happening often and publishers going after ISPs everywhere this could be the eventual future anyway. DJ’s earn 10%, the record label 60% and publishers 30%. The tracks have to be on Beatport or the the mix does risk being taken down. Beatport doesn’t take a cut but of course they will make their money selling tracks. For more of the details and an interview with Beatport’s CTO head to a detailed DJ Techtools post: click here.
“We’ve got all the details and an exclusive interview with the Beatport CTO on the launch of a brand new service they call Mixes. Mixes allows DJs to upload and sell their mixes legitimately and legally, with Beatport handling all of the payment to labels and performance rights organizations.” – djtechtools.com
Here’s Paris Hilton’s DJ premier. Just think… those sparkles on her dress are probably real diamonds. Random thoughts: “End of Days.” “Actually way more entertaining than some of the DJs I saw this weekend.” “Jesus WTF”.
“Paris Hilton World Premiere As A DJ.” – donskip.com
My cousin Steve is a director/filmaker. He came across what could very well be the first DJ Mixer. The Gaumont Chronophone was designed for theater sure but it really makes you wonder if there is a time machine somewhere!
“In 1903 French engineer Leon Gaumont was granted patents for loudspeaker systems to go with his sound on disc talking films, which used one of Berliner’s Gramophones. In 1910 Gaumont demonstrated his Chronophone system, which synchronised sound and film, at the Gaumont Palace in Paris. The compressed-air amplifier, whiuch he called the Eglephone, was just a part of the whole system. The volume was enough for an audience of 4000. Initially the longest moving picture that could be made with synchronised sound was only 200ft, due to the limited playing time of the Gramophone record. (Projection was at 16 frames per second) Gaumont surmounted this problem by having two gramophone platters; a deft operator could switch between them to give a more or less continuous soundtrack.” – aqpl43.dsl.pipex.com
I use feedback often in my own productions. In fact the “bat” sounds you here on TTC-001’s track Dark Invader is me holding an SM58 microphone in front of a speaker, sampled and reversed (2.21 in the SoundCloud clip above). The DJ Techtools video shows a hot tip on how to get it all going in Ableton Live with a distortion pedal.
“When sitting in front of a DAW with limitless software possibilities, it can be easy to forget that some of the coolest sounds and effects you can make can come from external effects processors. In today’s video, Mad Zach takes us through one of his favorite hardware wirings, an external distortion pedal setup. ” – djtechtools.com
Here’s a funny story going around. Apparently there is a David Guetta “Dj tribute act”. Loudat severely hates the idea. I think we are in a free world and if someone has the balls to try this and people want to see it why not.
“Well this is new. A tribute DJ. I’ll say that again: A tribute DJ.As in: a nobody who is pretending to be a Famous Disc Jockey, advertising himself as such and actually getting booked.” Loudat
Destroy and twist along with mix. I see nothing wrong with this trend ala Native Instruments Traktor Kontrol F1. I know there will always be vinyl guards but I always say keep to the future. As a musician I welcome tech that lets me vomit audio pixels at crowds. Don’t look back because I won’t be there.
“The F1 blurs the lines between DJing and live performance.” – Native Instruments