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Daft Punk finally officially release "Get Lucky" after months of anticipation You’d have to be crazy to think we’d choose any song other than Daft Punk’s hugely awaited “Get Lucky” for today’s Track of the Day. We’ve been chatting it—and the album on which it will be found come May 21, Random Access Memories—up for months now, and it’s finally here in its most official, legitimate form, straight from Columbia and Daft Life Records. And oh, how sweet it is. Link: http://www.beatport.com/track/get-lucky ... it/4331630 Truth is, ever since we got that 10-second guitar riff stuck in our heads a month ago, we’ve been fiending for the fuller, richer, more official version of “Get Lucky.” And once we heard the teaser from Coachella last weekend, featuring Pharrell Williams’ Off the Wall-era-Michael Jackson-style croon, we were immediately smitten with whatever the track would turn out to be. Turns out, these four minutes of a radio edit are all we need to tide us over til the album’s official release. Disco legend Nile Rodgers’ slick guitar work anchors “Get Lucky,” but it’s Williams’ vocals that point it skyward, and as it’s all finished off with Daft Punk’s signature funky-synth flourishes and vocoded accents, we couldn’t be happier. Posted on Beatport. Bring on May!

Underground Zero takes a look back at the Florida rave scene of the mid-'90s “No government. No rules. Just go out and have a good time.” That’s the opening salvo of Underground Zero, the first film we’d like to highlight in a new weekly feature called Friday Matinee, in which we’ll hip you to a classic dance-music film or documentary that you can absorb over the weekend. Featuring interviews with DJ Monk, DJ Three, promoter Uncle Ted, and tons of other scene-makers, Underground Zero is a real slice-of-life kind of documentary that takes the Tampa rave scene of the ’90s at face value—more an ethnography than a penetrating examine of causes and effects. But all the same, it’s got some awesome footage of the parties themselves and more than its fair share of funny interviews with rollin’ ravers and those credited with the community’s foundations. Posted on Beaport. Enjoy!

A recent study conducted at Montreal’s McGill University says that the reward center of our brains is stimulated when we hear new music, reports the BBC: “To carry out the study, which took place at the Montreal Neurological Institute at McGill University, the scientists played 19 volunteers 60 excerpts of new music, based on their musical preferences. As they were listening to the 30-second-long tracks, they had to the opportunity to buy the ones they liked in a mocked up online music store. All of this was carried out while the participants were lying in an MRI machine. By analysing the scans, the scientists found that the nucleus accumbens was “lighting up” and depending on the level of activity, the researchers could predict whether the participant was likely to buy a song.” “What’s cool is that you’re anticipating and getting excited over something entirely abstract —and that’s the next sound that is coming up,” says Dr. Valorie Salimpoor, of Toronto’s Rotman Research Institute. Posted on Beatport. Read the whole article here: http://www.bbc.co.uk/news/science-environment-22096764

Wouldn't you be better off making new threads for these separate events?

It’s been three days since Daft Punk’s "Get Lucky" was first unleashed, it’s already hit number one on iTunes in both France and the UK, and number three in the US. And on Spotify? It set a record for "biggest streaming day for a single track" in both the US and UK, writes The Hollywood Reporter. Random Access Memories, scheduled for a May 21st release, is the first new Daft Punk album in eight years (excluding 2007’s live album and 2008’s Tron: Legacy soundtrack), and anticipation for the release is reaching a fever pitch. If you can’t wait to hear it for yourself, French magazine Le Nouvel Observateur posted the group's track-by-track breakdown of the upcoming album, which includes a 250-track piece called "Touch" alongside a song called "Motherboard," which they describe as a "futuristic" piece that could be from "the year 4,000." --- Daft Punk has set a record on Spotify. The music service, which launched in 2008, says the French electronic duo's song "Get Lucky" had the biggest streaming day for a single track on Friday in the U.S. and the United Kingdom. Spotify wouldn't release the number of streams. Macklemore & Ryan Lewis' "Thrift Shop" previously held the record for most streams in a day in the U.S. British band Bastille had the title in the United Kingdom with the song "Pompeii." Daft Punk's "Get Lucky" features rapper-producer Pharrell and influential producer/ guitarist Nile Rodgers. It's the first single from the group's fourth album, "Random Access Memories," due out May 21. Years of reports of the group's extensive collaborations for the new album -- from Rodgers and Williams to electronic pioneer Giorgio Moroder -- were confirmed with this week's release of the collection's track list, which also features the Strokes' Julian Casablancas, Paul Williams, Todd Edwards and Animal Collective's Panda Bear. The album is the secretive act's first studio LP since 2005's "Human After All." Daft Punk has since released a live set, "Alive 2007," as well as the soundtrack to 2010's "TRON: Legacy." "Random Access Memories" is due May 21.

When you’ve kept track of all the FL Studio 10 betas you already had a good idea of what was coming in version 11. The promised Image Line stand at Musicmesse and the official press release confirmed the full feature list for the new FL Studio 11. The developers furthermore promised a release date ‘shortly after the end of the Musicmesse fair’ on their forums (which is at the end of tomorrow). So what are all the new features in FL Studio 11 then? Notable new features - Performance mode – Trigger Playlist Clips live using a mouse, touch screen, typing keyboard or MIDI controller. Supports APC20/40, Launchpad, Lemur, Block, Maschine/Mikro, padKONTROL, Traktor Kontrol (and more). - Multi-touch support – FL Studio and some plugins now respond to Multi-touch with Microsoft gesture functions supported. - Playlist – 199 Playlist tracks, increased from 99. - Linking includes MIDI input port – Links now remember the MIDI input port used to avoid conflict between controllers. - Playlist & Piano roll – Horizontal & vertical movement locking. Shift is horizontal lock & Ctrl is vertical lock when dragging items. - Piano roll – Glue notes, Mouse wheel velocity, Monophonic step entry mode & Chop chords tool. - Right-click data entry – Most controls now allow a Right-click option to type in values. - Plugin Picker – Right-click to open a plugin and its presets in the Browser. Start typing plugin names to highlight entries. - Mixer – Page Up/Down keyboard keys cycle through the current mixer track’s plugin windows. - Options – Play truncated notes in clips restores notes overlapping slice points in Pattern Clips. Click and hold functions. GUI animation level now selectable from sober to entertaining. New Plugins - BassDrum – Deep Kick-Bass percussion synthesizer with sample layering. BassDrum was developed due to strong and loud customer demand for punchy kicks with a big bottom end. Our solution was to take a hybrid synthesis/sample route to provide unlimited customization for the perfect kick sound. - GMS (Groove Machine Synth) – Multi-timbral hybrid synthesizer & FX channel lifted from Groove Machine. Another plugin by popular demand. - Effector – 12 performance oriented effects: Distortion, Lo-Fi bit reduction, Flanging, Phasing, Filter (low/high pass), Delay, Reverb, Stereo panning & binaural effect, Gating, Granulizer, Vocal formant and Ring modulation effects. Effector was introduced to compliment Performance Mode and is perfect for use with multi-touch displays & controllers. - Patcher – Introduced with FL Studio 10 to provide a means of saving and recalling - commonly used effects and plugin chains. It’s in the new section as, aside from being - overhauled with animated connections and a fresh interface, patcher has gained two, of - many more to come, Voice Effects (VFX). - VFX Key Mapper – Allows note inputs, live or from the Piano roll, to be transposed, keychanged, - chorded or creatively remapped. - VFX Color Mapper – Leverages FL Studio’s 16 Piano roll note colors that have traditionally - mapped to MIDI channels. Now inside Patcher note colors can control 16 independent - generators/instruments or groups of generators.

Here’s a video from Musikmesse showcasing the awesome multi-touch support in FL Studio 11. Use it to jam out your arrangement or for live performing your sets on supported monitors. This looks to be very instant and very responsive, is this a sneak peek into the future of digital music making?

We have begun utilising the social media platforms for ADJF in a different way (as some of you have probably already noticed). The changes: From now on, decent on-topic threads will be dumped into Twitter and Facebook in an attempt to highlight the information posted on the forums. There has been a bit of a spam-flood lately, but that has only been due to catching up and for a media campaign push we've been running (to get new members etc). What does that mean for you? Your quality threads of mixes, tracks, discussions, reviews and other related content will draw more attention from the wider community. So from now on, expect any useful, decent threads (about anything relative, including events, releases etc) to be filtered through our social media with linkbacks directed to those threads. Why? You have taken the time to join this community and contribute to it. We (the staff) want to support that trend and bring attention to what you provide back to the community in the way of your content and opinions. As always, if you have any feedback/suggestions post them below.

To be honest that sounds like fucking bullshit to me. Given that the source may/may not be credible in regards to this information, I refuse to believe they received nothing from those sales.

You probably wouldn't know about the tracks if it wasn't for the middle man (?)

As confirmed by a message board member over at Twoism.org, Warp Records dropped a secret Boards of Canada 12” off at Other Music last Friday afternoon, a Record Store Day release that’s the New York piece of a six-part puzzle that points towards the duo’s first album since 2005′s The Campfire Headphase. (Five other one-of-a-kind 12-inches are reportedly floating around other cities.) Original Article: It seems as though Warp Records took to National Record Store day today to let us know that Boards of Canada’s follow up to their 2005 release The Campfire Headphase is well on its way! Hidden throughout several record stores today was a 12 inch vinyl for sale. We’re not sure how many of these have been pressed, or what’s on them. However, information will be edited into this post, equipped with edit tags on them, as we sift through the details that are being provided. Currently, we know that @Imnopandabear from New York City, known as Lilcakey on Reddit found and purchased one of these promotional vinyl from Other Music. His account of the product lets us know that the packaging dates this as a Warp 2013 release and contains 20 seconds of audio on one side of the vinyl that says a six digit number one time, then cuts out. This purchaser goes on to describe more information that he gathered from the store itself. “Clearly I have one of six similar Boards of Canada records released today and distributed “randomly” around the world (Other Music said they received the record with no word / acknowledgement of its existence, it was just there in a shipment they received). I think that if all of the numbers are gathered and arranged in a proper order, we might be able to figure something out, so we just need the other 5 people who found the record (or maybe they haven’t been found yet) to reveal their numbers and where they fit in the sequence, and then of course, have to decipher what the numbers together mean.” Regardless, the devil is in the details right now, guys. So if you happen to have acquired one of these vinyl records, please leave a comment below with what’s on them so we can compile all the information we can! Everything is pure speculation at this point, but this does seem very legitimate and we are piecing together the puzzle…on the date of the fifteenth anniversary of Music Has a Right to Children, no less!

RIAA Accounting: Why Even Major Label Musicians Rarely Make Money From Album Sales In the comments an article from The Root that goes through who gets paid what for music sales, and the basic answer is not the musician. That report suggests that for every $1,000 sold, the average musician gets $23.40. Here's the chart that the article shows, though you should read the whole article for all of the details: Of course, it's actually even more ridiculous than this report makes it out to be. Going back ten years ago, Courtney Love famously laid out the details of recording economics, where the label can make $11 million... and the actual artists make absolutely nothing. It starts off with a band getting a massive $1 million advance, and then you follow the money: What happens to that million dollars? They spend half a million to record their album. That leaves the band with $500,000. They pay $100,000 to their manager for 20 percent commission. They pay $25,000 each to their lawyer and business manager. That leaves $350,000 for the four band members to split. After $170,000 in taxes, there's $180,000 left. That comes out to $45,000 per person. That's $45,000 to live on for a year until the record gets released. The record is a big hit and sells a million copies. (How a bidding-war band sells a million copies of its debut record is another rant entirely, but it's based on any basic civics-class knowledge that any of us have about cartels. Put simply, the antitrust laws in this country are basically a joke, protecting us just enough to not have to re-name our park service the Phillip Morris National Park Service.) So, this band releases two singles and makes two videos. The two videos cost a million dollars to make and 50 percent of the video production costs are recouped out of the band's royalties. The band gets $200,000 in tour support, which is 100 percent recoupable. The record company spends $300,000 on independent radio promotion. You have to pay independent promotion to get your song on the radio; independent promotion is a system where the record companies use middlemen so they can pretend not to know that radio stations -- the unified broadcast system -- are getting paid to play their records. All of those independent promotion costs are charged to the band. Since the original million-dollar advance is also recoupable, the band owes $2 million to the record company. If all of the million records are sold at full price with no discounts or record clubs, the band earns $2 million in royalties, since their 20 percent royalty works out to $2 a record. Two million dollars in royalties minus $2 million in recoupable expenses equals ... zero! How much does the record company make? They grossed $11 million. It costs $500,000 to manufacture the CDs and they advanced the band $1 million. Plus there were $1 million in video costs, $300,000 in radio promotion and $200,000 in tour support. The company also paid $750,000 in music publishing royalties. They spent $2.2 million on marketing. That's mostly retail advertising, but marketing also pays for those huge posters of Marilyn Manson in Times Square and the street scouts who drive around in vans handing out black Korn T-shirts and backwards baseball caps. Not to mention trips to Scores and cash for tips for all and sundry. Add it up and the record company has spent about $4.4 million. So their profit is $6.6 million; the band may as well be working at a 7-Eleven. And that explains why huge megastars like Lyle Lovett have pointed out that he sold 4.6 million records and never made a dime from album sales. It's why the band 30 Seconds to Mars went platinum and sold 2 million records and never made a dime from album sales. You hear these stories quite often. And note that those are bands that are hugely, massively popular. How about those that just do okay? Remember last year, when Tim Quirk of the band Too Much Joy revealed how Warner Music made a ton of money of of the band's albums, but simply refuses to accurately account for royalties owed, because the band is considered unrecoupable. Sometimes the numbers even go in reverse. If you don't understand RIAA accounting, you might think that if a band hasn't "recouped" its advance, it means that the record labels lost money. Not so in many cases. Quirk explained the neat accounting trick in a footnote to his post about his own royalty statement: A word here about that unrecouped balance, for those uninitiated in the complex mechanics of major label accounting. While our royalty statement shows Too Much Joy in the red with Warner Bros. (now by only $395,214.71 after that $62.47 digital windfall), this doesn't mean Warner "lost" nearly $400,000 on the band. That's how much they spent on us, and we don't see any royalty checks until it's paid back, but it doesn't get paid back out of the full price of every album sold. It gets paid back out of the band's share of every album sold, which is roughly 10% of the retail price. So, using round numbers to make the math as easy as possible to understand, let's say Warner Bros. spent something like $450,000 total on TMJ. If Warner sold 15,000 copies of each of the three TMJ records they released at a wholesale price of $10 each, they would have earned back the $450,000. But if those records were retailing for $15, TMJ would have only paid back $67,500, and our statement would show an unrecouped balance of $382,500. I do not share this information out of a Steve Albini-esque desire to rail against the major label system (he already wrote the definitive rant, which you can find here if you want even more figures, and enjoy having those figures bracketed with cursing and insults). I'm simply explaining why I'm not embarrassed that I "owe" Warner Bros. almost $400,000. They didn't make a lot of money off of Too Much Joy. But they didn't lose any, either. So whenever you hear some label flak claiming 98% of the bands they sign lose money for the company, substitute the phrase "just don't earn enough" for the word "lose." So, back to our original example of the average musician only earning $23.40 for every $1,000 sold. That money has to go back towards "recouping" the advance, even though the label is still straight up cashing 63% of every sale, which does not go towards making up the advance. The math here gets ridiculous pretty quickly when you start to think about it. These record label deals are basically out and out scams. In a traditional loan, you invest the money and pay back out of your proceeds. But a record label deal is nothing like that at all. They make you a "loan" and then take the first 63% of any dollar you make, get to automatically increase the size of the "loan" by simply adding in all sorts of crazy expenses (did the exec bring in pizza at the recording session? that gets added on), and then tries to get the loan repaid out of what meager pittance they've left for you. Oh, and after all of that, the record label still owns the copyrights. That's one of the most lopsided business deals ever. So think of that the next time the RIAA or some major record label exec (or politician) suggests that protecting the record labels is somehow in the musicians' best interests. And then, take a look at the models that some musicians have adopted by going around the major label system. They may not gross as much without the major record label marketing push behind them, but they're netting a whole lot more, and as any business person will tell you (except if that business person is a major label A&R guy trying to sign you to a deal), the net amount is all that matters. -techdirt.com

I seriously want to get something new up Please work on it chief =D>

0.39 maybe?

I really like what you did with the logo brah And I love the headphones on either side Only I think you went too fancy with both the fonts Would love to see that exact banner but with neater, cleaner fonts

Why is everyone leaving their emails? He left a link to their site and his email

Everyone ever Also it happens more often in chat

Delightfully brutal

We'll chuck this up as soon as we renew the radio membership. We're looking at switching hosts which will take a bit of time. Cheers

Nice post Tweeted

Nice one chief

Legend

Fucking champs

It's just a way to make spam seem legitimate.