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?

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.

What spinning vinyl has taught me

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When I made the transition from the dance floor to the DJ booth in late 1993 I actually started out by playing CDs. The technology was in its infancy but I could get by. I even matched my first beats with my rudimentary front-loading players. I would like to say that I was predicting the future or that I was an early adopter, but the truth is simply that my all my music was on CD and I was just following the music. As my taste, the scene, and the music developed, I eventually turned to vinyl because that is where the music I wanted to play was.

I have always had a connection to the music; it was what was driving me to get out there as often as I could so I could dance to it and play it. Switching to vinyl brought that connection to a whole new level. I was literally touching the music, manipulating it directly. There was no middleman, no computer translating my manual labor from binary input into mechanical movement and sending it out as digital data. I was in direct contact with the music; everything was analog, organic, and real. I could hear it the instant it came in contact with the needle, whether it was connected to an amplifier or not. I could see the story the artist was telling, where the breaks and builds were. I could almost always tell if a track was worth my time just by the album art alone. It was special. Not only did it enhance my connection to the music, but it also enhanced my connection to life. Vinyl helped me gain a lot of insight into the world and into myself over the years and has taught me some very important lessons.

Perspective

Anyone who has spent any time with a record player knows that as you move your finger closer to the center of a spinning record, the slower it travels. Though the physics makes sense, it is still something that can take the brain a moment or two to really wrap itself around. There is a lesson here: that your perspective can be limited to your position in life. The record is always moving as a whole (as is time, life, society, the universe, etc.) independently of you and your position, but how you experience it is always relative to where you are and what you are doing. It is easy to forget that there can be other perspectives that are accurately experiencing something that is completely different from our own, especially in light of the fact that we can only ever truly know our own. People will often make the mistake of going to an extreme and thinking everything is relative as a result, but this is not the case. Even if we have a truly accurate understanding of what we perceive (which is more uncommon than we like to admit), it is usually only a piece of the whole. Very rare is it that we can fully step back far enough from a perception to see the record moving as a whole, and never can we remove ourselves absolutely. We can, however, do our best to understand other perspectives, which is always a good way to get a clearer picture of the planet that we are all spinning on as a whole.

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Effort

Many a philosopher has claimed that true happiness comes from the effort that one makes as opposed to the end result of that effort. I have to agree. When I have a good night behind the decks, when I am really working hard and the crowd gets it and is connected to everything I am doing, it is like a drug. The amounts of serotonin, dopamine, and adrenaline that are released in my body are so high that I have a mild depression from the come down after the experience a good night. It is in the doing that I find the happiness, not in the done. Even the prep work before the gig has a kind of happiness attached to it. From the process of digging through track after track just to find the right one to feeling the full weight of the crates as I lug them to the venue. Just to be clear, I am not saying there is no happiness in a job well done, just that there is no real or meaningful job well done without actually enjoying the effort it takes to get there. One must learn a lot of patience, stamina, and drive in order to even begin to know what hard work is, but it is worth it a hundred fold. Passion truly is when you enjoy the effort more than the result.

Temperance

Nudge a spinning record too hard or too soft while you are riding a mix and you will quickly learn the value of moderation. My experiences in the DJ world have forced me to face the value of temperance as a virtue time and time again. Whether I am over-thinking or not paying attention, drinking too much or not enough, playing too hard or too soft, moderation is always key in just about every aspect of DJing, from the business to the art to the pleasure. Just as in any part of life, playing to an extreme may bring pleasure, but it is short-lived and the pain that follows usually out weighs that pleasure. I have really come to understand that longevity in anything requires moderation. For the most part people understand this concept but so few actually incorporate it into their daily lifestyle, despite professing otherwise. More often than not people push something to an extreme until they burn out or experience some major negative effect. They then pull back and say they are living a moderate life. This is not true temperance. Temperance requires active restraint to prevent an extreme in the first place. Over-working a mix into a train wreck and then correcting it is not temperance, restraining oneself and preventing the train wreck in the first place is.

Presence

Mixing vinyl, especially songs that were recorded with a live drummer, require a tremendous amount of focus. Sometimes this is easier said than done when you have lights flashing in your eyes, people dancing all around you, yelling in your ears, sub par equipment that does not stay consistent, or any one of a number of territory common distractions. Focus is something a DJ needs to survive. Presence is something a DJ needs to stay happy. I have learned that my best nights are the ones when I take that focus and evolve it to a point where I have truly let myself go and I am completely present in the moment, in the mix. I am aware of the lights, the people, the yelling. Not just aware, but using those things, incorporating them into what I am doing, the music I am playing, and the way I am playing it. I never plan a set because how can I really plan for a moment I am not yet experiencing? Every moment is different so every set is different. We only ever really have whatever moment we are currently experiencing, yet, so rarely are we actually truly present within that moment. It can be difficult to avoid being stuck in thoughts of moments past or of those yet to come, but life opens up in wonderful new ways when you pay attention to the moment you are currently in, when you enjoy what you are doing at this exact moment. Of all the wonderful things that vinyl has taught me, knowing how to be present in this one and only life that I have and to truly be a part of the world around me is by far my most favorite, as well as the one I am most grateful for.

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I know this is preaching to the choir for those of you that have a history with records, but I think it is important to remember whatever lessons vinyl may have taught you and, in general, the positive effect that vinyl can have on the music and the artist. Those of us that were there for the beginning and early years of the dance music scene know that the we as a whole have lost our way in many respects. The life and soul has been diminished in so many ways, much of the art has been replaced by automation. The passion for the music has been replaced by passion for wealth and fame. We of the old school have failed the new school by not impressing the connections that brought us into the fold to begin with. It is important for those of us that know the value of vinyl to share with those that only see it as an outdated and cumbersome medium. To share with those that have never been exposed to anything but the digital and that are far removed from the direct analog magic that is near and dear to us. I encourage you to take part in the re-revolution and help keep the education going.

DJ schools and other scams

Over the years quite a few people have offered me money to teach them how to DJ, a few have even suggested that I start my own DJ school. My answer is always the same, I can’t in good conscious charge people money to teach them what they should teach themselves for free. Now that DJing has saturated the mainstream there have been an abundance of people looking to learn the trade and an increase of organizations willing to take their money. In theory, DJ schools seem to have value, but in reality they are generally not worth the money they extort from eager would-be DJs.

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Why you are wasting your money

DJ schools are exploiting the belief that you will get at least two things of value from attending. One is exposure and time spent with gear, the other is having someone to walk you through the basics (assuming you lucked out and actually have a competent instructor who has a successful DJ career). Sounds like a great deal, especially if you aren’t quite sure if DJing is right for you or if you are looking to fast-track your way into the spotlight, right? Wrong. They are ripping you off. Even if there is a promise of some sort of fancy certificate or a “live gig” at the end of the course, you are being charged for a short period of time that will not allow you to obtain a skill level worthy of a paid DJ. Unless you happen to have unlimited funds for hundreds of hours of training, you are better off saving your money. You’d be hard-pressed to find a successful DJ that attributes their success to a DJ school.

What you should do instead

If you are unsure of whether you want to be a DJ, then go do something else. Don’t waste your time, effort, or deal with the unlimited hassle of the lifestyle. Download a fun little DJ app and have fun with your friends. If you are stubborn and still want to see if it is for you, throw a rock, you will hit a DJ, ask them if you can check out their gear and if they will show you a thing or two. Stroke his or her ego a little bit and you can guarantee they will give you some dedicated attention that you wont find in any classroom setting.

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If you know with obsessive certainty that you do want to be a DJ, invest that money you would have spent on classes and get gear. Then use that gear a lot. Play with it, explore it, record your work and listen to it. Go out, watch other DJs, watch videos, documentaries, absorb everything you can, and practice some more. If you want to DJ, you need to spend a lot of time on that gear, more time than what any DJ school will offer as part of their “curriculum”.

Your desire to DJ should borderline obsession, not some casual hobby you want to do now and then. If you put in the effort that comes with obsession versus throwing a few bucks at a hobby, you will develop your own voice and your own style which is way more valuable than sounding like someone teaching at a DJ school. Don’t pay for what you can get for free, or could put toward the cost of your own gear.

Competitions

Another scam that preys on eager young DJs and producers are competitions. While some competitions offer some actual value to the participants, ultimately they are all asking a large group of people for free work. Even if there is a monetary prize for the winner, think of all the unpaid hours of work the host of the competition is receiving and is not accountable for financially. There is a wide spectrum of ethics when it comes to competitions; from the whole thing being rigged and there is already a winner in mind before it starts (which is more common than you may realize) to an actual weighing of skill and talent where someone will actually be awarded something for their efforts. Make sure you really look into the specs of the competition, never be afraid to ask questions. Never fall for any prize that is based on notoriety, there is no one gig or competition that will make or break you. Competitions are more about ego than anything else.

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Even in the best case scenario that your work is judged purely on its merit, who are the judges? Competitions are decided purely on a subjective basis (even with point-based guidelines) and are dependent on what the judges are feeling at that exact moment. This is of course assuming it is a judged competition and not a vote-based system which is nothing more than a popularity contest and has little to do with actual talent other than talent at self-marketing. Overall competitions aren’t inherently bad, just make sure the prize is something of actual value to you in exchange for your efforts and not just appealing to your ego with the promise of being your big break.

Have friends, will book

There has been a disturbing trend of promoters expecting other people to do their job so they don’t have to. If you are looking for a non-headlining booking and the promoter asks how many people you will bring right off the bat, find another gig. Or at the very least arrange a deal to get a percentage of the door based on head count and have your own person at the door to monitor the numbers. Yes, a promoter should be concerned with how many people come through the door, but as a non-headlining DJ it isn’t your job to fill the club, it’s your job to play to the time slot you are in and support the vibe of the night. If you are being paid a flat rate, there should not be any major concern with how many people are coming to see you. That’s what the headliner is for. That is what the PROMOTER’S job is. Somewhere down the line the job of promoter has been confused with talent booker.

In short, if you are going down the DJ or producer path be an educated consumer, think about what you are putting in, in relation to what you are getting out. If you are new you will have a lot of dues to pay as it is, don’t tack on unnecessary ones.

Dumbing down music, one location at a time

Unsurprising news, DJ Shadow was kicked off the decks at Miami nightclub Mansion for playing music described as “too confusing”. Yes, this is the same place that kicked Dennis Ferrer off the decks for not playing “commercial enough”. While some will defend the move claiming that the promoter shouldn’t have booked him at a top-40 club to begin with (and there is some truth to that), or that DJ Shadow should have adapted to the crowd, or that this is simply the nature of the game in today’s music industry; in reality it calls attention to a much bigger problem. Dance music is being dumbed down.

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Every genre of music has its share of crap flooding its respective market. As electronic/dance music finds its way to the mainstream, however, our culture is seeing an unprecedented flood of sophomoric tunes unlike any other genre of music. Naturally there are many factors for this. Music creation has never been as easy, cheap, or convenient as it is today. Anyone with a computer and a little Internet savvy can find the software to make a rudimentary piece. With the plethora of musical templates out there, making a “song” can be as easy as selecting which preselected sounds you want to plug in,  sometimes even easier than that. Further, once your masterpiece song is finished, it doesn’t take much effort to find a label to get your song up on music distribution sites, or even do it yourself. Music has become a volume business and the industry favors quantity over quality.

With push button production methods along side push button DJ options, it is no wonder that many seek dance music as the route for a quick buck and 15 minutes of fame. Make something easily accessible to the masses, easily consumed, throw some money behind it, create as many opportunities for repetition as possible so that people become accustomed to hearing it and boom, hit track. That’s not to say that this formula is how every song becomes a hit, some actually make it to the top because they are legitimately good. But let’s be realistic, that is becoming more and more rare. It has gotten so bad that people constantly scramble to new sounds en masse just because they are new, trying to feed their desire for something more meaningful, never truly realizing what they are actually hungry for. No matter what wrapping you put on a rice cake, you’ll never find yourself satisfied.

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While there will always be those that appreciate and push for the more complex and heady sounds, sadly, those people are clearly out numbered in today’s culture. Even what is left of the underground environment is buckling to the pressure of playing the more accessible sounds for the sake of the numbers game. So who cares? Anybody who sees the value of this music as an art form. Anybody who wants to see our music have any continued longevity. We applaud DJ Shadow for taking a stand and maintaining artistic integrity, not only for himself, but for all of us.

The sad part in all of this is that you can make art and money at the same time. If more people understood and valued that concept, we would not reward the people who flood the market with an inferior product. Less formulaic sound-a-likes, and more sounds from the heart please. I am not naive in all of this, nor am I unrealistic. I know there will always be those that just want to get drunk, listen to a jukebox, and play the mating games. I also know that just because something is called art doesn’t mean it is good, but neither does a song’s popularity. I just want to encourage as many people as possible who see a better path for our music to push harder. I want the consumers of music to challenge themselves and see past the easily consumed, develop your palate. Let’s all have artistic integrity, no matter what sound drives us.

The sync button strikes again

Pioneer recently announced their new CDJ-2000nexus which, not only adds a lot of new (if not gimmicky) features to its industry standard player, but also adds the ever controversial sync button. CDJs have now officially bridged the gap between traditional hardware technology and current DJ software and controller technology.

To sync or not to something something

For those of you living under a rock, one of the biggest beefs CD-jockeys have towards software/laptop-jockeys is the availability of the sync button which allows for one-click beat matching. CD-jockeys cite (often unknowingly ironically) that they are keeping it ‘real’ by not using this automation and relying on skill and art to mix tracks. Meanwhile software-jockeys claim (ignorantly so) that beat matching isn’t really a skill, that the sync button is just a tool that opens them up to be more artistic in other areas that actually matter, and that if you don’t like it don’t use it. Vinyl-jockeys just shake their heads at everyone. So who is right?

First, I think it is important to clarify the huge difference between getting two songs to be at the same tempo for a 16 count transition and riding the pitch in order to keep two or more songs sync’d up for several minutes. The latter takes a tremendous amount of skill and practice over the former. Not to mention the fact that how the artist approaches this task will give create a unique sound and style. Automating this process removes the human element and creates a more sterile feel and experience. Proponents of the sync button argue that beat matching isn’t really an art to begin with and is only a minor part of the DJ process at best, citing that selection, presentation, and other qualities are the true art form. This isn’t quite correct as they are all components of a bigger picture. You can pull out and focus on several aspects of DJing and defy that they have any artistic quality when in actuality it’s how they all fit together as a whole. It’s like saying the stroke of a paintbrush is just a quantifiable ratio of force and requires no real skill and has no real bearing on a painting. If we were to automate the brush stroke process of a painter we would reduce the artistic quality considerably, despite the fact the artist still having to know the placement and kinds of paints used.

Yes, automating the beat matching process saves time and can allow one to focus on other forms of expression, but at what cost? If someone is doing their own beat matching and are able to do these other tasks, isn’t there a higher artistic value? Does a painting with automated brush strokes have a higher or lower artistic value than a hand painted one? There is value in effort alone, the doing something in a way that is the unique result of that manual labor itself.

The “don’t like it then don’t use it” argument

“Keep up with the times, besides, if you don’t like the sync button you don’t have to use it.”  A common argument that sounds fairly straight forward, but like much else in life, there is a deeper issue.  DJing and dance culture as a whole are already saturated fields where quality is being replaced by quantity in every aspect. Making tasks easier at the expense of artistic expression and skill only makes things worse. There isn’t much quality control going on to begin with, so how many more overpriced headliners that are faking their way on stage do we have to endure? Why are we making it easier to flood our lives with the mediocre? I’ve always been a proponent of art over convenience and this is no different. Even acknowledging that a some people will use the sync button to expand other artistic areas (and I suspect people profoundly overestimate this number) the flood of people using the sync button to achieve status as bookable is just not worth it. Even those of you concerned with money over art should at the very least be concerned for this reason alone as a flooded market drives prices down.

Realistically, love it or hate it, it seems the sync button is here to stay. With any luck however, we can shame people away from using it and keep the art alive and well in what we do.