Reaching a new level of fakers: label boss rips off classic and calls it his own

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Via the wonderful world of the interwebs and social media a big no-no was brought to our attention. There has been a lot of talk (again) of ghostwriting and people getting credit for work they didn’t do, but we have for you an example that is on the extreme end of that spectrum. First, enjoy this wonderful piece of house music by Tim Deluxe on Underwater Records that was released in 2001, pay special attention to the sax (by Jamie Anderson) and around time mark 3:30.

Great track right? Now listen to the preview of this track “by” Xavier Jacome aka DJ Rip (no, seriously) on his label Butta Records that is scheduled to release this month (#1 on Traxsource’s June 8th Featured Jackin House Essential list no less):

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No, you aren’t going crazy, those are the same song. What’s worse is the text found in the info section:

Finally after all my labels works I had some time for my passion. Making music. This is what happens when you put me, a talented saxophone player and some whisky in a room for 48hrs!! Chicago representing!!!

Mastered by Xavier Jacome @ Direct Drive Digital Studios

This, kiddies, is another important reason as to why it is ever so important to do your homework and understand there is a wide breadth of great music out there: to prevent scumbags like this from making money off of work that isn’t theirs.

Even giving Faker Xavier (as he shall henceforth be known) the benefit of the doubt that maybe, yes, he was super drunk on a two day whiskey binge and maaaaaybe he just got confused and was making a song while ripping a classic track from the youtubes and, yes, some file names got crossed and he accidentally submitted this track to the distributor instead of his super awesome original, even granting him all that, he’s still an idiot. And a bad label boss for not doing some quality control.

While I haven’t seen any response by Faker Xavier just yet, I’m anticipating either the Vanilla Ice defense (mine goes ding ding ding *ting* duh-da-ding ding) or something akin to Lady Gaga’s “it was just a tribute” route. Either way, shame shame I know your name, Faker Xavier.

But to be fair, maybe there is a good explanation; like he is also friends with Jamie Anderson and they were so drunk they just inadvertently made the same song or in some weird cosmic coincidence two pairs of people at two different times more than a decade apart just happened to make the same track. Let’s make a game of it shall we? Come up with your best excuse explanation for either why this isn’t the same song or for why this was just a simple mistake. Ready, set, go.

***UPDATE***

DJ Rip (off) is “officially” blaming it on a label error as the label (him) can’t possibly catch all the submissions that are previously released. But… um… his name was on the track for his label, so a) did he not catch his own fraudulent submission or b) did he steal someone else’s fraudulent submission and slap his name on it?

***UPDATE***

Looks like the song has been removed from Traxsource. Good job to everyone who made some noise on this… who’s next?

Why do white DJs make all the money?

book-your-favourite-djs-1-01I occasionally get to see what search terms lead people to Not Your Jukebox. A couple of weeks ago, the question of “why do white DJs make all the money” led some curious soul to this site. After an initial chuckle, I realized that this is actually a damn good question. When you look at the top earners, per Forbes magazine, 15 of the top 16 are white. The one non-white is Steve Aoki, and well… close enough.

So why is there so little diversity when it comes to the top earners? Why didn’t techno legend Carl Cox even make the list? Especially considering he is frequently booked solid a year in advance. Even house legend Derrick Carter quipped, “Shoot, If I had the answer, I’d be making all the money, too. It would be ‘Why do white DJs and Derrick Carter make all the money?'”

Digging a little further and looking at the DJ Mag top 100 (yes I know, I puked in my mouth a little too), it was not surprising that their list was looking a bit like Abercrombie & Fitch propaganda (albeit not nearly as in shape and much hairier). After some time searching through various lists, the trend was pretty clear: ethic diversity and women (especially those that weren’t dressed like they were about to dance around a pole) were generally scarce among top ten lists.

Black pioneers founded DJing and house/techno music, so why has it become so predominantly white? Sinbad called attention to this very issue during a radio interview earlier this year (fast forward to 17:40).

So what happened? Is it just a standard case of white male dominance and cultural appropriation? I reached out to some of my black DJ and producer friends to see what their views on the matter were. Some didn’t even want to broach the subject, feeling it was not the right time to discuss the topic given much of the issues going on nationally (like in Ferguson) and didn’t want to rock the boat or risk alienating themselves from the promoters they were currently working with. The fact that there was this kind of trepidation made me want to bring this issue to light that much more, why should there be hesitance when it comes to pointing out inequality?

My first call was to Detroit to get insight from friend and manager Cornelius Harris, head of AlterEgo Management and member of the techno collective Underground Resistance. “My general understanding is that on average,” he explained, “black men make about 75% of what white men make. In terms of electronic music, I can say that when you’re talking about ‘names’ the gap is bigger. But that may be because the fees are insane to begin with. Some of these guys are making $40,000 on a so-so show. So yes, that’s a huge jump from what the original guys who invented techno make.”

Devlin Jenkins (aka Vagabond Superstar), a house DJ staple of the Pacific Northwest, confirmed another important point, “It’s about marketability. It’s easier to market a white DJ than it is a black one. It always has been. White men have always been more visually flexible and can fit into more molds and cookie cutters than can minorities. You can be punk, metro, gay, flashy, posh, etc. as a white man and it seems ‘natural’ to the masses, more so than for a minority.” He continued, “Being white is more pliable and versatile than any other race because it’s been burned into our minds, not only in the US, but globally. White DJs are more willing to be gimmicky and trite for money, whereas minority DJs aren’t. Try to imagine DJ Sneak doing what Paulie D does, or DJ Heather doing what Paris Hilton does or any minority doing what Deadmau5 or Skrillex do. Visually it just wouldn’t be taken seriously and wouldn’t get one quarter of the traction. Plus as a minority, you’ll always be a minority first instead of a DJ first. These days it’s more of a surprise to see a person of color seeing the success of a Deadmau5 because no one expects a person of color to make it that far.”

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Everybody I talked to generally agreed with the assertion that the business side of the music industry being primarily white-owned comes into play as well. Success in any business relies heavily on who you have access too. White artists generally have more access to the white connections that have access to the white-owned labels and white-run events. When looking at EDM, which is where the high dollars are currently at, the trend further crystalizes. The crowds that attend EDM shit shows festivals are primarily white, so it is no wonder that the powers that be would want to reflect that on their stage. The real question is what came first, the white crowds or the white DJs?

Even the underground sees its share of imbalance. A longtime mainstay DJ of the Southern California scene (who because of the sensitive nature and local politics of the topic wanted to remain anonymous) points out, “I’ve been dealing with this kind of thing for 20 years,” he says, “When it comes to local talent, promoters book their friends at a higher wage. There isn’t a lot of black rave promoters in the area so unless you’re the exception and extremely close with all the white and Hispanic promoters, you are getting paid less, if at all.”

Clearly there is a problem here, one I find especially out of place for a scene that is supposed to be all about love, peace, unity, respect, and equality. At one point I even joked that the problem is that the moneymaking genre is EDM and there just isn’t enough soul for black DJs. But as Cornelius quickly pointed out, “There are plenty of cheesy black guys looking to make a buck. I guess that’s why there’s Seth Troxler.”

Despite all the possible reasons of why this inequality exists, the question remains: how do we fix it?

The bifurcation of DJ/producer pay and a case for unionizing

There has been a lot of writing (including our own) about the ‘clowns’ of the industry and the damage they cause to the dance music scene by way of their shenanigans, ghostwriting, overpriced ticket sales, lack of respect, lack of general talent, so on and so forth. However, there is a bigger problem that these so called celebrity DJs and producers are facilitating: the bifurcation of pay amongst dance music artists. There is an ever expanding gap between the DJs that get paid tens to hundreds of thousands of dollars per gig and those that are lucky to get offered a gig for anything more than “good exposure”. A gap that will only get worse as corporate entities become more and more involved with dance music.

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The problem

Advances in technology and automation as well as the ever dwindling price of gear and music have created a level of access that has made it easier than ever for anyone and everyone to call themselves a DJ. Combine this with the pop culture spotlight that is increasingly shining down on our once intimate world and we have the homogenization and saturation of DJs and producers that plagues us today. A plague that has no comparison to any other genre of music, and this includes the 80’s and 90’s when everyone picked up the guitar and called themselves a rock musician or stood in front of a microphone and called themselves a rapper.

The end result of this saturation and homogenization is a detrimental bifurcation of pay,  causing the middle class DJ to disappear, which is on par with what is happening to the rest of the American population. Many argue that it is simply a case of “the cream rising to the top”, but for those that factor in corporate involvement, investments, marketing, saturation, access, ghostwriting, celebrity DJs, and a multitude of other factors, know that it is very rarely the case that someone rises to the top of the financial ladder just because their music is the best liked. When it comes to the big money in the music industry, many hits are more a product of marketing success, investments, and heavy exposure/repetition campaigning than a result of something being simply the best liked.

On one end of the spectrum an elite few find support by way of investment and promotion that gets them heard by the masses. On the other end, a flooding of entry level DJs who want a shot at the new celebrity status that has been bestowed upon the namesake flood the market and are willing to work for very little pay, or for that all time favorite perk offered by seasoned promoters and club owners, good exposure. Naturally this is a better financial move on the promoter’s end, but this reduces the opportunity for all DJs as there is now a flood of local or regional talent that is satisfactory enough, at least until the headliner comes on, and ultimately removes any need or desire to pay for the expenses and fees that come from more seasoned talent that may or may not be from the region. It also puts the promoter into a position to move on to the next freeDJ as soon as the first one starts asking for more than just good exposure, which is bound to happen.

This is just one area where a union could come in handy, to not only protect the DJ but the longevity and quality of the dance music scene as well. Further, if the union was able to develop into something that even remotely resembled the Screen Actors Guild, (the longest running and most successful entertainment union) DJs that didn’t make millions of dollars throughout their career could feasibly have access to emergency funds, medical insurance, retirement options, and a wealth of other benefits and protections.

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How it could work

There is no question it would take a tremendous amount of work, organization, and coordination. There is no question that there would be a tremendous amount of push back from venues and promoters. But, with some support from a few of the major players it could actually be quite achievable. We would first need the support of promoters like Pasquale Rotella (Insomniac) and headlining performers like Joel Zimmerman (Deadmau5) to support the union. I call them out specifically because on more than one occasion they have either expressed their love of the scene or their hatred of the garbage it has produced, I’ll let you figure out who said what.

Once a few of the larger venues and artists joined it would naturally start to trickle down to the smaller ones.  Venues would still have the option to use non-union talent, but would’t have access to the headliners and DJs that were in the union unless they could show that they met a booking quota of union talent. Benefits wouldn’t be one-sided, the union could help mediate contract disputes by either party, impose sanctions or fines to violations, and in general, help raise the bar in terms of performance quality.

Aside from membership dues, a certain amount of live show experience could be required to join the union. This wouldn’t prevent anyone starting out from getting gigs, but rather help screen and filter out those that aren’t serious about taking the DJ path as a career, this would ultimately help alleviate the over-saturation in the market. By following much of the system set up by SAG, we could help protect the talent and help relieve some of the saturation that has caused way too many cases of seasoned and talented DJs being asked to play for exposure.

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Why it will probably never happen

As realistic as unionizing may be in theory, in practice it will likely never happen. The two biggest proponents being greed and ego. Venues and promoters are often short-sighted when money is involved. In part because what is popular can change nearly instantly or they work from event to event and they want to keep the revenue flowing, and in part because they want the maximum profit immediately and don’t want to give up those free, exchange for cover and drink tickets, or $50 DJ slots.

Despite much of the unity and togetherness that is promoted within the consumer-side of the scene, the industry-side is rife with competition. DJs are generally not in the habit of helping one another out, unless they clearly see a greater benefit. Despite all the benefits that they would receive from being unionized, it is not unreasonable to think that when something like a call to strike occurred that there would be too many DJs that saw it as their chance to stand out or make a quick buck, rendering any strike meaningless.

Just keep this in mind: unionization has a proven track record for entertainers like TV and film actors, shouldn’t we have the same protections and benefits?

The curious case of Pioneer DJ’s new analog turntable

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Over the last 20+ years I’ve watched Pioneer work tirelessly to make CDs (and eventually MP3) the standard for DJ medium. Their own CDJs have become the main setup at every major venue and have essentially pushed vinyl out of the booth. And why not? CDs/MP3s are more convenient, less expensive, and provide longevity and the ability to replace lost music that scratched and skipping records cannot. So why now are Pioneer vinyl turntables about to hit the shelves?

Has Pioneer suddenly been stricken with remorse for its part in all but eradicating vinyl in the dance scene and now seeks penance? Has their corporate headquarters suddenly been taken over by old-school DJs who have had enough of controllers and the over-saturation of DJs? Are they tired of making fistful of dollars by selling the premier rigs? Not likely.

Why turntables, why now?

Pioneer is in business to make money. Businesses do not invest resources into projects unless they perceive there is profit to be made, even when producing a niche item. Simply put, they believe there is profit to be made. This is an interesting move considering more and more DJs turn to controllers and software. Even more interesting, the new decks do not contain any midi or digital interfaces, they are purely analog. Let’s consider this for a second; the most prolific DJ gear manufacturer, the one that spent over two decades pushing its digital gear so it would become the industry standard, believes there is profit to be made from analog turntables.

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We’ve all seen the reports that vinyl sales are up and that there has been a renewed interest in the medium, some artists even going so far as to release only vinyl, but have we really seen the difference in the booths? Not really, CDJs still reign supreme. Despite recent vinyl growth, the focus in the booth is still on the all too easily accessible MP3. So why is Pioneer even bothering? Are they just seeking market dominance and hoping to capitalize on a possible final surge of record sales before it completely disappears? Possibly. But with vinyl sales currently breaking records (pun unavoidable) it is not likely the medium will be disappearing anytime soon.

Could it possibly be that they are preparing their rekordbox software to be a stand alone competitor for DJ software like Traktor and Serato and want to provide their own analog controller option? Maybe. While I wouldn’t put it past them, it seems to me that there would be some kind of digital interface built-in to further integrate the tables with their other products, not to mention it would make the price point much more attractive for most.

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Speculation aside, I see a profitable option that I’m hoping Pioneer will take. I’m hoping that Pioneer sees a potential to create a symbiosis within the market place that will ultimately create more revenue for themselves while keeping a smile on the vinyl addict’s face. If they push their turntables even a fraction as hard as they did with the CDJs they will indirectly help drive vinyl sales up, which will naturally in turn drive turntable sales even higher, which will push vinyl sales even more, and so on. Preference and nostalgic desires aside, as someone who sees the financial benefits of a vinyl resurgence, I’m more than happy to see Pioneer put forth these little beauties.

What’s this vinyl business?

In the early 90s my DJ rig included pair of Pioneer CDJ-500IIs for no real reason other than most of the music I played was on CD. At the time I never thought that CDJs would become the industry standard, especially when taking into account all the grief given by my fellow DJs for using CDs (many of which now give me grief for preferring vinyl).

By the mid-90s I moved away from CDs to vinyl for three main reasons: I liked the feel, I preferred the sound, and vinyl was where it was at for underground music. Eventually, I also came to realize that vinyl ultimately made financial sense. It was better for creating a unique sound for myself, which from a business standpoint was imperative.

More so than CD, vinyl was often released in limited runs, making it easier to stand out by playing music that other DJs did not have. Nothing like the Beatport/Shazam everyone has everything instantly of today’s DJ world. Vinyl was also more expensive, harder to mix, and more of a hassle to maintain, which inadvertently provided the added benefit of keeping the total number of DJs entering the scene much lower. This increased the value of the DJs that were already in the market as a result of basic supply and demand.

Clearly, Pioneer does not profit from there being less DJs in the world, but the question remains: Will Pioneer push their gear and invite a further resurgence of vinyl bringing it back into the booths, are they just setting up a future release of an advanced version of rekordbox, or are they just OCD and trying to round out their DJ gear offerings? Let me know what you think. Are you happy to see Pioneer make some analog tables? Or is it a case of too little too late?

How to become a successful music producer

Step 1: Don’t take yourself too seriously.

The problem with ghostwriting dance music

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Not long ago, the interweb was abuzz with some potentially interesting discussion regarding dance music ghostwriting. Unfortunately it was short-lived and the parts of the discussion that had any real value never fully materialized. While a few articles claimed to oust some ghostwriters, they did little more than praise artists like Benny Benassi (known ghostwriter) for their hustle. Really, there should have been at least a hint of discussion about how ludicrous the whole enterprise actually is.

No harm no foul

The discussion has since been abandoned with a hastily adopted conclusion that the whole thing falls into the ‘no harm no foul’ category. Something to the effect that if the ghostwriter is ok with the terms of the contract they signed and if the person who attached their name to the work has no moral dilemma with purchasing the illusion that they possess some skill, then there is no problem. Before you subscribe to such monetarily-centric industry behaviors, let’s put a few of the important aspects of this trade into focus.

It should first be made clear that really, the ghostwriter is not to blame. It takes tremendous hustle to make ends meet in today’s economy, especially by way of the music industry. Having talent alone isn’t nearly enough to survive, even for those few of a kind that can produce more than a single potential hit. Ghostwriters alone may not have the infrastructure, contacts, or financial backings available that are needed to make music a successful hit. This is of course assuming that they even wanted to be in the limelight in the first place.

The ghostwriter is also clearly more interested in choosing money over artistic integrity by the very fact they are parting ways with their creation in order to let someone else take the credit for a few (or many) bucks. There is no mistake or confusion as to what their goals or intentions are in regards to their work. They are in it to make money, clear and simple. The person attaching their name on the bought work, however, is a liar. They are living a lie and they are selling a lie.

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The Elton John defense

People often cite artists like Elton John, Elvis, or any of the countless artists who are not only well known for not writing their own music, but also for becoming quite famous as a result of the songs that the ghostwriters provided them. There is an obvious, but unfortunately, overlooked difference in having a ghostwriter provide you with a song that you in turn PERFORM LIVE for an audience compared to a song you simply PRESS PLAY for an audience. Artists like Elton John still perform the song. They bring their own talent to the equation, a piece of themselves, as well as some actual effort to the piece.

Even when assuming the extremely unlikely scenario that a DJ/Producer who is willing to slap his name on someone else’s work in turn actually mixes it in to his own set (and yes some DJs buy premixed sets to play out for ‘live’ shows), are they really bringing any talent to the performance? Wouldn’t this then give him the right to lay claim to every song he plays in his set as his own by proxy? The short of it is that they aren’t selling a track as a result of their performance of it or really anything they are adding to it, as is the case for artists like Elton John.

For a producer to even qualify as having talent they need to actually produce, for a DJ, they need to actually mix (and mix live at that). When you buy either of these tasks and slap your name on it, it just makes you a lying fraud. These credit usurping talentless frontmen that do so are no Elton Johns, rather, they are more akin to Milli-Vanilli than anything else. If we didn’t stand for Milli-Vanilli’s pedantic synchronized dancing and lip-syncing nonsense when they were called out, why should we stand for any of these Jesus posing sky-pointing fakers?

Selling lies

At this point some people might be tempted to spout off some rhetoric nonsense like ‘if the people like the music, have a good time and are none the wiser, what difference does it make? Who gets really gets hurt?’ The industry gets hurt and the consumer pays the price, quite literally. Not only are consumers buying and perpetuating a lie, they are elevating these glorified lip-syncers to millionaire status. Consumers are unknowingly perpetuating a system where imitators keep raising their performance prices, which in turn further gouges the consumers when it comes to performance costs, all in the name of paying for the artist’s increasing cost of their lies and fame greed. Dance music has become increasingly caught in a vicious cycle of paying for lies.

As always, Not Your Jukebox seeks to remain a champion for art, truth, consumer awareness, and to encourage others to do the same. Don’t pay for lies and fame greed, demand better.

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The hidden costs of MP3s

Now that the great Format Wars of the last decade have been reduced to a few occasional skirmishes, fought with talking points tossed around by both sides, it would seem that, for better or worse, non-physical media is music’s destiny. Even with vinyl making a remarkable spike in sales over the last few years, it is unlikely that we will ever see a physical medium as the norm for housing music again.

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MP3s have forever changed the audio landscape; I mean what’s not to love about them? You can have thousands of songs and the only space they take up is virtual. You can email a song to a friend and they can instantly listen to it just about anywhere on a plethora of devices, and with a little know how and a short internet search you can gain access to just about any song ever made, for free. Considering how much joy the little buggers have brought to the world how could anyone possibly speak ill of them? Aside from, of course, the fact that you can’t ask an artist to sign an MP3.

Whether your music collection consists entirely of free downloads or you took the “moral high ground to support the efforts of the artist” and paid your dollar per song, the fact remains that there have been unforeseen costs with this format change that the $0.99 price tag doesn’t cover.

Music is now disposable

Music has been a consumable product ever since the very first mogul realized that he could record some music and sell it for a profit. MP3s have now taken things a step further and turned music into a disposable product. You can download a song you like (foregoing the entire album if you so desire), listen to it a few times and delete or forget about it as soon as the next hit song comes around. This mentality has caused much of the industry to become even more formulaic than ever in order to turn a profit. There is also less of a risk for labels now as productions costs allow them to throw whatever they can to see what sticks, effectively removing any filters of quality. No longer exists the mentality that you buy an album and treat it with more permanence. Picking out music carefully, intentionally, and spending money only on that which connects most to you. Most of the filtering on the consumer end is gone as well, now it is more a matter of ‘this sounds good right this second, buy it, bored with it, next’. This leads to people being less likely to become genuine fans of artists as they are building a short-term relationship with a song instead of a long-term relationship with an artist’s body of work.

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This has become especially true for DJs. Once upon a time, good DJs tended to be a lot more selective about what they played, if not simply as a result of the cost alone. They would immerse themselves in the music, learning every high and low in order to work a carefully selected song into a set as a piece of the story they were telling and get the most out of that song as they possibly could. Records would continuously make their way in and out of the crate depending on the gig, some never leaving at all. Now DJs often buy a new set for every gig, exchanging most of the tracks in their set for whatever the most currently released version of their cookie cutter music happens to be that week. It is no wonder that so many DJs/Producers resort to putting so much attention on a stage and light show, it has become the only way to tell them apart and keep people interested since the garbage music isn’t doing it anymore. In short, there is very little connection to the music anymore, which seems to ultimately miss the point of music in the first place.

There is no culture

While pop music has always been a part of the corporate machine and void of any substantial culture, dance music was on the fringe, in the underground and rich in culture. The culture is already suffering at the hands of the current transition to the mainstream and subsequent corporate takeover, but at an accelerated rate thanks to MP3s. Interpersonal exposure to music has become much more removed and impersonal. People may in fact be sharing new music more than ever, but really, the quality of sharing is greatly diminished. Sending a file to someone for them to listen to doesn’t have the same impact as people being in the same room and listening to it together, something much more common when music was shared via a physical medium. There is no way to truly gain insight and understanding of how a person sharing the music interprets and connects to the piece without being present. You aren’t just sharing music at that point, you are sharing an experience, which ultimately deepens the connection to a piece or artist.

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Similarly, something important is also lost by way of no longer going to a music store to discover new music, specifically, interacting with people behind the counter or the other people that are browsing in the store. While ultimately music is deeply personal, we only expose ourselves to new music through a very narrow lens. Interpersonal connections play a very important role when it comes to music exploration and understanding, all the blogs, Kazaas, Napsters, and Pirate Bays in the world can’t replace that. It saddens me to think that there is an entire generation out there that has never experienced a boutique music store, being opened up to new sounds by someone who has an unmatched passion for all things underground and rare.

Most importantly, for DJs, with record stores came the ability to create a unique sound for a region and an individual DJ. A store would have a limited amount of space and copies of a track so both shop owner and DJ would have to be discerning about what to buy. While a few cities still have a reputation for focusing on a particular sound, the internet distribution of music has destroyed the possibility of a regional feel as more and more people have access to all the same music and end up playing the same Top 10 tracks. Unless you work for a record label or are good friends with a ton a producers and getting tracks before they are released, finding that secret weapon that is unique to your set/region is an impossibility. In fact, all anyone has to do now is hold up their phone during your set and they can instantly download any song you play.

Quantity over quality

Over all, the music industry has long been lost to the philosophy of quantity over quality. While labels have always been concerned with doing whatever it takes to achieve the highest sales numbers, that system is more prevalent than ever. And don’t be naive and think that music is popular or sells on its own merits alone, good music doesn’t magically fall into the awareness or the hands of the masses, that is just not the reality of the music industry. Record sales have migrated to individual song sales and the labels push individual songs more than albums or even the artists making them. Even worse, labels work harder to monetize songs via ad revenue from sites like YouTube than they do investing in the artist with any real A&R of legitimate value. An album now needs to be a compilation of hit singles rather than a complete piece of art with a one or two breakout singles. There is a reason you can go to a massive/festival and every song sounds the same, the industry is about selling a formula, one that can be duplicated and pushed on to the consumers for the maximum possible sales results. For independent music, digital retail sites like iTunes and Beatport are the only ones making any real money (a third or more of the sales) and they thrive through saturation even more so than the labels. There are no industry filters anymore, anything goes and the mentality is now ‘the more the merrier’ to increase the chances that they get something that actually sells well. In more ways than one, this makes the business side of Top 10 playlists even worse in that it perpetuates the must play mentality, if for no other reason than very few are willing put in the effort to dig through all the crap when ten popular songs are a few clicks of the mouse away. This ultimately prevents a lot of legitimate art from being heard and supported, further ensuring the monotony that is the dance music/Top 40 scene of today.

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I’m not going to drudge up the thoroughly debated quality of digital vs analogue sound issue, as it ultimately doesn’t matter when people are primarily listening to music through earbuds, computer, and portable Bluetooth speakers. People, for the most part, don’t seem to care about the quality of sound anymore, otherwise they wouldn’t settle for MP3s (which by their very function down sample music and remove elements of the original sound) through their cheap headphones. This is already assuming it was originally produced at a higher quality to begin with, which for a lot of electronic music is becoming less and less the case. Again, it is no wonder that we are saturated with a bunch of formulaic sounds, produced by people with no understanding of proper production methods, and are bounced to an MP3 in order to be posted on a digital distribution site by way of their or a friends ‘label’. MP3s have helped considerably to make mediocre music acceptable and standard.

What it all means

Don’t get me wrong, I’m not asking you to dump all your MP3s in the trash but to rather, at the very least, just recognize that there are valuable aspects of experiencing music that are lost as a result of the format shift. If there is even a solution out there to regain what has been lost, we won’t find it until we first realize that there even is a problem. In the meantime there are always the well known and basic ways to help maintain a higher quality of music experience; support physical releases on CD or vinyl, support full albums, buy music and then actually listen to the music consciously from time to time instead of in the background while doing something else, learn the history behind genres and artists, interact with people and listen to music together in person, dig for music instead of looking at fabricated charts, and support independent, lesser known, and local artists. Let’s work together and make quality matter again.