Cupe

Removed duplicate post. You only need the one in The Markets.

Whenever you view a thread, the top 5 most similar topics will show up underneath the thread. This is most useful for noobs asking about something in particular, and you can also use it to find threads similar to the one you're in. Hope it's useful for most.

I have made a subforum in DJ HQ for 'News & Articles' to keep them out of the general DJ HQ area. If you are going to post any news or articles (DJ and/or music related) please use the new subforum from now on. You can also view a news page that will pull stories directly from that forum section here: http://news.ausdjforums.com * I'm currently working on getting the news page looking fresh.

Here’s another amazing deconstruction from the our expert tutor, Ski Oakenfull. This time around he gets to work on this year’s biggest hit, the infectious, ubiquitous Get Lucky by Daft Punk. Watch the video below and read what Ski has to say about the tutorial further down the page: For me, this track by Daft Punk exemplifies everything that the French duo are great at.. namely a brilliant groove, simplicity, a strong hook line and of course tight production. For this video tutorial, I figured there was no point trying to create an exact replica of the track, as all the parts (drums included) were played on real instruments by real musicians! Instead I concentrated on working out the main parts, namely piano chords, bass line, wurlitzer riff and the cool lead synth line at the end of the track. The verse, bridge and chorus sections of the tune are defined by the changing vocal melody and the variation in the the wurli riff, with the guitar and bass holding the same groove and chords for the full length of the track. Of course we shouldn’t forget the great vocoder section in the final section which provides an electro funk element to the song. The four chords that make up this track are: Bm7 | D | F#m7 | E. The interesting thing is the way they are played using different inversions which increases the range of notes that are used… check out the video and see if you can play along! Source: pointblankonline.net

Armin van Buuren's CV explains it all. He's had five Number 1 spots on the DJ Top 100, he regularly works the booth around the globe, playing to over 30,000 people, and he's also had commercial chart success. Starting out in a studio in his parent's basement, Armin van Buuren rode the trance train to international success, reaching Number 18 in the UK charts with Communication in 2000. His schedule hasn't slowed since, with his weekly radio show A State of Trance reaching an estimated 25 million people worldwide. He also co-founded Armada Music, whose roster of trance royalty, including Paul van Dyk, Markus Schulz, ATB and Chicane, has gained it a huge global following.All the while, his studio has progressed from a DAT-driven hardware-heavy cluttered basement to a fully in-the-box custom-treated facility. Watch the exclusive video above as Future Music goes in the studio to get the inside scoop on how he produced his track Suddenly Summer. Source: musicradar.com

Legendary Hip Hop artist Darryl McDaniels, more commonly known as DMC of the pioneering group Run-DMC, says "Jay-Z ain't hot." As reported by AllHipHop, DMC, a founding member of the Queens based Hip Hop group Run-DMC, added onto recent criticisms of some of Hip Hop’s biggest stars in saying, “Lil Wayne [and] Jay-Z ain’t hot, it’s just they’re programmed so many times people are brainwashed.” Throughout the 1980s, Run-DMC provided some of Hip Hop’s earliest commercial successes. In his recent statement, DMC also noted that Hip Hop has undergone a stark shift from its early epoch as a youth culture. “It was inevitable that Hip Hop became commercialized but along the way our power got taken away," he says in the AllHipHop.com story. "Now you got the same 12 records on radio being played over and over again.” In contrast to the type of contemporary Hip Hop he is critical of, DMC also ended up recalling the social impact that early Hip Hop acts like KRS One, A Tribe Called Quest and De La Soul had. "We wanted to change the world, taking responsibility for our actions," he said. "Now everything that’s negative in stupid ass America is celebrated.” DMC’s comments are only the latest in a recent string of criticisms leveraged towards the former CEO of Def Jam, as reported early last month, Killer Mike vehemently condemned the rollout of Jay’s Magna Carta Holy Grail album due to privacy concerns over the early release’s accompanying Samsung application:

You've got to hand it to Guy-Manuel de Homem-Christo and Thomas Bangalter (AKA Daft Punk): they certainly know how to generate buzz. After Daft Punk chose to shun machines and samplers when creating their latest album Music Radar ask if the use of ‘real instruments’ will now be a familiar occurrence in electronic music. The pre-release campaign for their new album Random Access Memories was brilliantly executed, with high-profile TV teaser spots for lead single Get Lucky being followed up with a big reveal via a video that was shown at the Coachella music festival. This 90-second clip managed to upstage many of the acts that were actually performing, and further anticipation was built using YouTube interviews with some of the album's key collaborators. The result was that the releases of Random Access Memories and Get Lucky felt like significant cultural events of the sort that the music industry generates all too rarely these days. But behind the hype lies the music, and this is where things start to get really interesting. In an interview with Rolling Stone prior to their album's launch, Daft Punk went so far as to say that electronic music was suffering from an "identity crisis", with current releases being bereft of any kind of sonic signature. The answer, as they saw it, was to do away with the "machines and samplers", and instead record real musicians playing real instruments. The fact that their new music has been met with both commercial and critical approval suggests that their approach has worked, but is this the start of a wider reaction to the heavily processed, intricately edited, sample-heavy sound of a lot of contemporary electronic music, or are Daft Punk fighting against the tide? We spoke to producer, writer and remixer Jon Musgrave, who's currently writing and producing for Britain's Got Talent winner Jai McDowall and working on his own club project Bassfunk'd. Discussing Daft Punk's decision to go down a more 'human' route, he told us: "It's an interesting move, but these things tend to go in cycles. Daft Punk are renowned for heavily processing samples from other people's tracks, and that means a long process of sourcing and clearance. Anyone who is used to working in this way will find the immediacy of working with musicians very liberating." This is certainly true - using a sample might feel like a quick fix early on but could turn into a real headache if your track ever becomes commercially successful - but the thrust of another of Daft Punk's arguments for using 'real' instruments seems to be that, if you're constantly trying to keep up with the latest cutting-edge sounds, your music will inevitably end up sounding of its time rather than timeless. We all know the names of the big plugin synths and effects that just about everyone seems to be using right now, but are you better off avoiding these in order to make your music stand out?... Read the full story here.

What the hell is this you may be asking. Well its a first of its kind wireless handheld DJ Controller. Orbit offers DJs unprecedented wireless control with 16 backlit pads, large aluminum control wheel, built-in 2-axis accelerometer, belt clip, and 8 hours of personality on a single charge. Basically think having a Pioneer Remix Station strapped to your arm allowing you to be mobile whilst also mixing things up in a cool style. It’ll be interesting to see how this performs in the real world and we hope to have more info on this unique controller soon. In the mean time check out the specs and larger image below: 2.4 GHz ultra-low-latency wireless performance control 16 backlit pads, 4 selectable banks, 16 virtual knobs per bank Internal two-axis accelerometer with shoulder trigger controls Use handheld, strapped to belt or body, or hung around neck Illuminated aluminum-faced control wheel Rechargeable lithium-ion battery See more at: http://hotdjgear.com/numark-orbit-handh ... mqxen.dpuf

This story was retweeted by Cole Plante

Got one from Oxykon too, cheers bud Keen for others, come on ulehhhhhs

Not sure, don't use it much. Can always type them manually

Cool Will add tonight

I know it's focussed on a particular genre, but it's a news article. The Music is for tunes only.

Can be silly or retarded and you can say (mostly) whatever you want as long as you base it around the script in OP

Come on bell ends I need a few of them and so far I've only got 1

David Guetta is Threatening to Sue Wunderground Over Obvious Parody Article So, this is life? Last week, Frankie Knuckles got trolled when a website stole Wunderground’s parody article about David Guetta playing a self-help CD to treat chorophobia (aka the irrational fear of dancing) and called Guetta “a pop star of the Milli Vanilli variety.” Guetta took to Twitter, not to fire shots back at Frankie, but to talk about his haters having to do better. We figured that was everything, because really, a joke was made and Guetta got to speak. Then we got sent this link from Wunderground, which includes a cease and desist letter that Guetta’s people sent to Wunderground about the article: Seriously? Was there ever any serious concern over David Guetta purposefully playing any kind of self-help CD accidentally? If you were duped into believing that story, we have a bridge in Brooklyn for a GREAT deal. It’s sad that, on the one hand, Guetta is tweeting about “haters, liars, and cheaters,” letting the world know that he’s still standing… then on the other hand asking a website to remove the article completely? This can’t be life, can it? Massive respect to Wunderground for standing their ground (no pun intended) and not only keeping the article up, but properly explaining why. Check out the full details via their post.

Broadly speaking, if you're an electronic music fan over 40, you probably dig Danny Tenaglia more than Skrillex. And chances are, if you're a Skrillex fan under the age of 30, you're like, "Who the hell is Danny Tenaglia?" Coachella 2013 exemplified the generation gap in the world of dance music. On one side of the field, the modern-EDM-focused Sahara tent was a thrill ride tricked out with lasers, lights and LEDs designed to blow kids' minds, with acts like Knife Party, Dog Blood and Wolfgang Gartner playing hyper-aggressive sets full of drops. Your parents would hate it. Meanwhile in the old school Yuma Tent, revered and more underground DJs including Pete Tong, Richie Hawtin, Maya Jane Coles and Four Tet played house and techno-based sets for the more sophisticated audiophile. Your parents could have probably handled it. There were some exceptions, but for the most part if the Sahara felt like the future, the Yuma felt like 1995. The Yuma was new this year, actually, and came largely as a response to the success of the Sahara and the fist-pumping, underdressed EDM culture that has blossomed in recent years. In fact, quite a few old school electronic scenesters, now in their 30s and 40s, aren't thrilled that their beloved electronic scene is now epitomized by overpaid superstar DJs and the bros who love them. Thus, many tastemakers feel the need to educate young audiences about the genre's history. The kids? They just want ride the sonic rollercoaster. "Dance music has taken a turn towards big spectacle," says KCRW music director and L.A. electronic authority Jason Bentley, who played at the Yuma tent. "It all of a sudden became a rock show, which became very concerning to me and a lot of people in the scene. The unifying force of the music and the social dynamic of the scene and community were all of the sudden amended by these rock hallmarks. " Of course, as genres mature it's traditional for their fans to splinter along age lines. Hip-hop, for example, has largely divided into two camps: Older fans of more craft-conscious rap, and younger fans of flashier, poppier songs. Similarly, critics of modern, mainstream EDM say DJs don't need to be talented to play it, that laptop "button pushing" doesn't require the technical prowess of mixing records. As Diplo recently told Vibe: "being a DJ is pretty bullshit. I'm lucky I can produce records, too, because DJs don't do shit." In his now infamous "We All Hit Play" blog post, Deadmau5 said "I think given about 1 hour of instruction, anyone with minimal knowledge of Ableton and music tech in general could do what I'm doing at a deadmau5 concert." Meanwhile, the mainstreaming of electronic dance music has ensured that a once tight knit underground community has been replaced by hordes of aggro fans who don't realize that artists like Swedish House Mafia and Avicii are directly descended from the old school house of Detroit and Chicago. Full story here.

No one seems to understand it. No one seems to respect it. And it might just be the most important part of the night. RA explains why the warm-up DJ deserves perhaps even more credit than the headliner. There are many variables in producing a proper electronic music event. Some things are obvious: a proper space with quality sound and engaging visuals are part of the physics that create a comfortable environment for the crowd. If, for instance, the sound system isn't properly dialed in to the acoustics of the space, the performer, regardless of his or her talent, is going to sound like crap. The result is a lethargic dance floor and an angry performer who will not only expect to get paid but will never come back. But there are many subtle factors that can keep an event from being labeled "epic" and instead relegate it to just "another night out." Fast bartenders, adequate bathrooms and a security crew that behaves professionally all contribute to a clubgoers overall perception. When it's done right, these things aren't even noticed. But when you have to stand in line for half an hour to piss in a flooded bathroom, while in the main room, everyone's mind is being blown by the DJ you paid a lot of money to see, your night gets flushed down the toilet. The last crucial element in the event equation, though, is the opening DJ. At a live music event, if the opening band is terrible there is always a short break to switch out equipment. The headliner then takes the stage and the night moves on. But in a club environment the music rarely stops from the moment the first track begins. This continuous flow of sound is maintained until the lights are turned on at the end of the night. A good DJ taps into this flow and manipulates the energy of a room through careful programming and mixing choices. Mastery of this flow allows a DJ to take the crowd on the sonic journey which has come to define the all-night electronic music party. But the headliner almost never plays from the moment the doors open. One or more opening DJs are used to warm up the room, keeping the crowd entertained and the alcohol flowing until the headliner's designated time slot later in the evening. And many promoters seem to be unaware of how important this role can be. A DJ who isn't up to the task of opening can dissipate the energy on the dance floor before it has a chance to solidify. In a good scenario, the crowd will pack the bar and hug the walls until the headliner comes on. In a worst case scenario, the club will empty out before the DJ has time to mix in a new track. In many ways, the warm-up DJ faces more challenges than the headliner. Consider this: The opener must start with a fairly empty room that slowly fills with generally sober people who aren't there to see them. The DJ must create an atmosphere out of thin air and at the same time set the stage for the musical narrative of the headliner's set. Steve Lawler, head of Viva Music who has headlined top venues the world over, agrees, "The warm-up's job is in fact the hardest and very important to how the whole night will turn out. If a warm-up does a good job, you can feel it in the air, and then usually 99% of the time, it's an amazing night." The opening DJs biggest challenge is to program a set that will seamlessly sync with the DJ who will go on next. "The opening DJ has a huge responsibility; they can dictate the entire mood of the party," says Magda, of Minus Records. "You have to think about who you are opening for and how they play in order to avoid overpowering their sound." Each headliner has a definitive musical style that presents a unique programming challenge to the opener. "If I open for Theo Parrish I definitely will not be playing the same records as opening for Richie Hawtin. That's the fun of it though," she explains. "It's a challenge to get the different crowds worked up while complementing the main act at the same time." A good opener must have two things: an attenuated awareness for the musical progression of the night, and an extremely large and eclectic record collection. Craig Richards would concur. With a ten year residency at Fabric, London's most respected club, Richards is highly regarded as one of the best opening DJs in the world. Warming up a room is a position Richards fully embraces, "Over the years I have often opted for the warm-up slot. I find it a wonderful challenge which if played properly can result in maximum musical fulfillment." Great opening DJs know their music and the subtle effects each record transition will have on a dance floor. DJ Yousef, the DJ and promoter behind Liverpool's legendary party, Circus, says for a DJ to successfully warm up a crowd "they need to be aware that the tempo, the groove, the energy and even the texture of every record must be seriously considered." This sensitivity to the way music influences the crowd allows the opener to begin the patient task of drawing people to the dance floor. Dirtybird's Christian Martin describes it as such: "Your job is to peel people away from the bar, and keep building upon that small nucleus of early dancers that will eventually become a packed dance floor. It's important to pay attention to the mood of the floor and adjust the direction of your set accordingly, without going overboard too early." Martin's last point brings up another extremely important trait of great openers: restraint. "I know a lot of my fellow DJs feel the pain on so many nights from an inappropriate, overly energetic and mostly far too big warm-up set," Lee Burridge laments. With over 25 years of experience, Burridge is universally recognized as one of the world's most talented DJs. He says great warm-up DJs "understand where the guest DJ starts from—not where they are two hours into their set. The energy needs to be left at a point where the guest DJ can comfortably continue from." Burridge told me that in many cases the opener plays records of such high intensity "I've [sometimes] had to kill the music altogether to reset the energy." "I've warmed up for many big names over the years and I realized a long time ago that the night wasn't about me alone," Burridge continues, "This seems hard to accept for a lot of upcoming DJs as they want the attention of the people. This attitude totally disturbs the gradual build of the night as a whole." Many young DJs see the opening set as their chance to show what they've got, but the result of this enthusiasm is exactly the opposite. Yousef states when an opening DJs set is "hitting them over the head with an iron fist" of uptempo, peak hour tracks, it "will always result in not getting another gig." But there is more to opening a room than just keeping the tempo under 124 bpm and playing deep music. The signature of a great opener is defined by a devotion to the music he or she is playing. As Lawler explains, "you can tell when an opener is someone that has just gone onto Beatport's Top 100 [to buy their] Deep House [tracks] and is trying to do it, as opposed to someone who loves and collects the music they are playing. You can always hear passion in a DJ's set." Craig Richards takes it one step further: "I'm absolutely certain that the music lovers, not the DJs, are fit for the job—the people who can forget themselves for a moment and deliver a groove, a beginning and a sense of belief." The best openers are in many ways the people who are true music lovers, the ones who obsessively collect obscure and eclectic music for the simple joy of it. These DJs know their music so well they intuitively know there is a right track to play in each moment for any audience. Opening a room requires the ability to step outside what you want to play and, instead, to be conscientious of what the crowd is willing to accept. "As a DJ you have to find the middle ground of being yourself and being mindful of what you think will work on the dance floors of the world's clubs," Yousef explains, "I always play the music I love but I'm experienced enough to enjoy a broad selection of electronic music." Each DJ I spoke with emphasized the need for an opener to have an extensive range in musical tastes and, most importantly, the patience to hold back, and to slowly build the tension in preparation for the headliner. For both Lawler and Burridge, each sees the role of the opener as important as his own role as the headliner. Lawler tries and takes an opener with him to gigs, "so I know the energy and vibe will be right when I go on." But they each tell me it is often the promoter who chooses a DJ not fit for the role, or sometimes, Burridge says, "The promoter has been known to come into the booth and tell the warm-up to pick it up." In either case, it reveals a lack of understanding in how a night develops. Whereas a nervous promoter wants to see the dance floor packed with people pumping their fists in the air from the start, all the DJs I spoke with saw this as detrimental to the night as a whole. As Richards put it, "There can be nothing worse than an over-enthusiastic start—a soup that burns the mouth or curtains ripped open to let the light in." But this ultimately leads to one question for the promoter: If you are going to spend the money to fly in and accommodate a world-class DJ, why not spend the extra time and money to get your guest a proper opener? With the high risk inherent in throwing an event coupled with a lack of understanding about the role of the opener, DJs who are picked to warm up a night are often inexperienced and more often than not, underpaid. A promoter can spend thousands of dollars on a headliner, and to rein in costs, will often only spend a couple of hundred on an opener. So obviously, great opening DJs aren't in it for the money. Instead, these DJs are perhaps the purest music fan in every sense of the word. Since the opener's artistry is built upon subtlety, they rarely receive any accolades. The media often overlooks good warm-ups, instead focusing on the headliners, and only knowledgeable crowds will recognize the skill that goes into the nuance and restraint of slowly building the tension in a room. This often leaves only the headliner's gratitude as any sign of appreciation. In fact, the biggest reward an opener receives is the opportunity to explore musical territory a headliner often cannot. Playing opening sets "gives justification for buying records that you know will only sound right at certain times," says Craig Richards. "The chance to hear these records loud was and still is my driving force. Playing deep, quirky, delicate tunes at a time when they make sense is an utter pleasure to the man who seeks the truth for the music not the limelight." Successful venues and events have always recognized what a proper opener provides: The atmosphere that is the foundation of any event. Author: Jack O'Shaughnessy

Added soundcloud tags to your post.

Is the soundcloud upload 128?

Example added to first post *edit* mitch beat me

Introducing Cole Plante: Youngest DJ Ever Set to Perform At Lollapalooza Hollywood Records artist Cole Plante will release his next digital single collaboration with Myon and Shane 54 called “Lie To Me” featuring Koko LaRoo. The "Extended Mix" will release exclusively on Beatport on July 30, 2013 with a R3hab remix to follow. The single leads up to Cole’s appearance at Lollapalooza on August 3, 2013— as the youngest DJ to ever perform at the legendary festival. The docuseries, “Cole Plante: Unfiltered” follows the 16-year old as he prepares to take the stage at Lollapalooza. The series Episode 1 is available now on Vevo. “Lie To Me” is the follow-up to the Los Angeles native and high school sophomore’s single “Forever,” released on his Teknicole imprint. It showcases Cole’s multifaceted musical range as he teams up with the Hungarian super duo Myon and Shane 54's. Known for their wall of sound heavy synth riffs and paired Cole's sharp-edged electro-beats and emotional lead melodies, they lead you into a journey of lush vocals into the crescendo that preps you for the spectacular drop. "Lie To Me" features the rework by Cole Plante and MS54's "Extended Mix" while in-demand Dutch house master R3hab puts his inimitable club banger and festival stamp on a second remix. “Lie To Me” precedes Cole’s next track, “Here We Go Now” with special guest Perry Farrell. DJing since the age of 14, Cole’s precisely crafted big room, electro-house and dubstep fusion DJ sets are packed with high-octane selections. While his choices are put together to keep the crowd moving, his progression directs the mood to shift just the right amount, constantly evolving and advancing. His style is a natural choice for the Lollapalooza Festival, which from inception has been known for defying convention and pushing boundaries. Cole’s previous DJ gigs have included Voyeur in San Diego, L.E.D. Events, Rain in Las Vegas, Avalon in Hollywood, Amnesia in Miami, Hard Rock Hotel in San Diego and Las Vegas, Enclave in Chicago, Ruby Skye in San Francisco, as well as the 2012 Identity Festival Tour, Red Bull’s Summer X Games 2012, and the American Music Awards 40th anniversary VIP party. Cole has performed alongside Avicii, Nero, Porter Robinson, Eric Prydz, Paul Oakenfold, Bingo Players, Carnage, and Danny Avila, to name just a few EDM power players. No stranger to production and remixing, Cole has had a hand in soundtracking video games, films, and television shows, as well as remixing fellow artists. Cole’s own original productions are informed largely by his DJing experiences, but also by his on going fascination with soundtracks and his parents’ collection of ‘80s and ‘90s synth-pop records. His most recent remix of Myon & Shane 54 With Aruna "Lights” was featured on those EDM pioneers' 'In Search Of Sunrise' compilation CD, the genre-defining series originally founded by Tiësto in 1999. Source: djnews.be “Lie To Me” will be available exclusively at Beatport.com through August 12. Spotify exclusive from August 13-26. Available to all major digital retailers on August 27. For more information on Hollywood Records releases, please visit hollywoodrecords.com. http://www.coleplante.com Facebook.com/coleplante Soundcloud/com/coleplante Twitter.com/coleplante Instagram.com/coleplante

Heineken Starclub presents Tiësto and Calvin Harris at the Ziggo Dome On October 18, Heineken Starclub and ID&T will present the best and biggest party of Amsterdam Dance Event (ADE). On this night, superstars Tiësto and Calvin Harris will rock the Ziggo Dome alongside special guests Danny Avila, MOTi and Punish. Heineken Starclub has been appearing at festivals throughout the summer - including Indian Summer, Amsterdam Open Air and Mysteryland – but now it’s time to take things to the next level. During Amsterdam Dance Event, the Ziggo Dome will be transformed into the biggest and best club night of the year. “Heineken Starclub presents Tiësto and Calvin Harris” will be an amazing night featuring the best DJ’s in the world and full of spectacle and entertainment. Tiësto needs no introduction. During his impressive career he has become an icon for the national and international music industry. With a performance during the Olympic Games, shows in sold out stadiums and shows around the globe he still find ways to surprise us. After circling the globe Tiësto finally returns home to The Netherlands for his first show in the Ziggo Dome. His new mix compilation, Club Life – Volume Three Stockholm is out now on his own label Musical Freedom and includes many of Tiësto’s own exclusive productions, remixes and collaborations. Scottish producer Calvin Harris is on a roll, producing countless hits with the likes of Rihanna, Florence Welch, Ellie Goulding, Ne-Yo and Kelis to name just a few to his chart topping roster. After headlining the world’s largest festivals around the world it is now time for him to take on The Netherlands biggest stage - the Ziggo Dome. Heineken Starclub, in cooperation with ID&T brings to the Ziggo Dome the very best in dance music and a night that you can’t miss. Together, Tiësto and Calvin Harris promises to be an amazing night. Source: djnews.be