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GVR DURTYSOXXX

Global Vibe Radio Episode 051 feat. Durtysoxxx

The 51st episode of Global Vibe Radio comes from Funk’n Deep boss Durtysoxxx

Inspired by the cutting edge sounds of underground dance music, Durtysoxxx describes his musical aesthetic as deep, dark, and driving with a side of groove. Influences include early pioneers like The Prodigy, Carl Cox, John Digweed, Crystal Method and Daft Punk, as well as some of today’s most notable producers such as Pig&Dan, Luigi Madonna, Pan-Pot, Tale of Us and more.

His relentless passion for pushing the sound boundaries led to the inception of his record label, Funk’n Deep Records in 2013. Since its creation, Funk’n Deep has seen a fast rise to the top with over 40 charting tracks on the Beatport and Traxsource Top 100 in its first year. The label has seen tremendous support from industry leading DJs including Adam Beyer, Carl Cox, Richie Hawtin, Sam Paganini, Chris Liebing, Umek and many more.

When he’s not running the label, Durtysoxxx is keeping busy creating chart-topping techno. With releases across a number of acclaimed record labels such as Phobiq, AnalyticTrail, Toolroom, Transmit, Respekt, and Unity Records to name a few, his original tracks and remixes have proven to be a mainstay on the dance floor, finding their way into sets by world renowned DJs such as Sam Paganini, Pig&Dan, Umek and Pan-Pot.

Not one to be limited by genres, Durtysoxxx has also seen success as a house producer under the alias, Kactuz. His versatility and talent won him the 2014 Discovery Project and gave him the opportunity to play North America’s largest music festival, Insomniac’s Electric Daisy Carnival, Las Vegas, alongside dance music elites.

No matter what spectrum in electronic dance music, expect to witness innovation, bold beats and a lot of grooves sure to follow. Looking ahead, Durtysoxxx says fans can expect to hear remixes for Spartaque, Tom Laws, Dino Maggiorana from Phunk Investigation, Deborah De Luca & Giorgio Rusconi soon to be released on labels like Funk’n Deep, IAMT, Unity, and DSR. Funk’n Deep Records will continue its underground takeover and focus on branding with exclusive label showcases worldwide in places like Guatemala, Costa Rica, Athens, Montreal, Los Angeles, Miami, New York, Austin, Bosnia, Serbia, UK, El Paso, and Amsterdam.
 

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Stefan Weise GVR

Q&A and Global Vibe Radio Episode 049 feat. Stefan Weise

Welcome back to Global Vibe Radio!

For this 49th episode we have enlisted the musical prowess of producer and DJ Stefan Weise. Now residing in the United States, Stefan is originally from Italy and Germany, and has been involved with electronic music production and DJing for over two decades. He discovered his passion thanks to his father, who was a DJ in Italy, and an upbringing that included a lot of early introduction to underground electronic music, as well as funk, soul, Motown, disco and acid house.

Heavily influenced by Detroit and Amsterdam techno, sci-fi concepts and science, Stefan has been the host of the monthly “Blue Industries” radio show on Proton Radio for over a decade, and has released on labels such as Wolf Trap, Lucidflow, Audiophile Deep, Frequenza, Moveubabe Records, PUNCHIS Black, Eintakt and Evoked Recordings. Stefan just released his Paradrum EP on 3KM Records, containing an original, a personal take on the title-track and a remix by Nadja Lind. The EP, which has received early support from the likes of Danny Tenaglia, Ian Pooley, Fred P, Fabrice Lig and Ben Sims, is available for purchase via Beatport.

Enjoy the mix below and read on for our interview with him in honor of the occasion.

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thomas hessler

Music Monday: Listen to Thomas Hessler’s Guest Mix for Deep Space Helsinki

Good morning and welcome back to our weekly appointment with Music Monday, the 6AM feature where we feature to you our favorite live set recording or mix from the weekend.

Today we present to you two hours of top-notch techno soundscapes mixed by Thomas Hessler. Born and raised in East Germany, the producer and DJ has already graced the sound system of esteemed clubbing institutions the likes of Berghain, Tresor and Bassiani, delivering intense and atmospheric journeys of techno.

Thomas is featured on the 30th and latest edition of Deep Space Helsinki, a record label and weekly radio show on Basso Radio FM frequency 102,4 MHz in the Helsinki area hosted by Samuli Kemppi and Juho Kusti. The two-hour mix contains tracks from Planetary Assault Systems, Matrixxman, Dax J, Amotik, Kangding Ray and many more. Full track list at the end of the article.

Listen to the mix below:

Tracklist:
1. Dettmann & Klock – Phantom Studies
2. Claudio PRC- Ostinato
3. Oliver Deutschmann – Blind
4. Planetary Assault Systems – Temporary Suspension (Slam Rework)
5. Kessel – Sensorium (Reeko Remix)
6. Matrixxman – Arrival 1
7. Ambivalent – Drag (Amotik Remix)
8. Peter Eilmes – Gluon
9. Aboyomi – Centaurus
10. Alex.Do – Sentionaut
11. DVS1 – Rise
12. Woo York – Alien Worlds (The Advent Jacking Remix)
13. Phase – Alone In Time (Floor Mix)
14. Alderaan – Blue Moon
15. Farceb – Exoplanet War
16. Fjaak – Wolves
17. Matrixxman – Mainframe 2.0
18. 2000 & One – Bonus Beat Thang
19. Planetary Assault Systems – Twelve (Psyk Rework)
20. Noncompliant – More Than Surviving (Ambivalent Remix)
21. Oliver Deutschmann – Tide
22. Anders Hellberg – Over The Hills
23. Kaelan – Self Deception
24. SHDW & Obscure Shape – Die Geliebe Des Anderen (Shlomo Version)
25. Blush Response – Beyond Flesh
26. Operation Amplified – #32500432
27. Dax J – Harry The Hatchet
28. Pfirter – Sut (Thomas Hessler Remix)
29. Planetary Assault Systems – Whistle Viper (P.A.S. Live Rework)
30. Setaoc Mass – Passive
31. Cleric – Unwritten Future
32. Amotik – Unnees
33. Kangding Ray – Epsilon

Connect with Thomas Hessler: Resident Advisor | Facebook | Twitter | SoundCloud

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dj competition

Finding and Winning Competitions for DJs and Producers

Guest post by Eric Louis

Whether you’re an aspiring DJ, producer or both, competitions are a great way to hone your craft and get noticed. The nature of competitions forces you to do two important things: you have a deadline so you have to get your work done in a set time frame, and you have to put something out there for the world to hear.

Winners of these competitions usually get a release on known labels and other prizes like Dj/production related software and hardware, as well as exposure that could translate into new bookings and opportunities.

In this post you’ll hear from people who have won a range of competitions so you can learn where to look for contests and what you can do to give yourself the best shot at winning. For DJ competitions I checked in with Natalie “Invinta” Bolshakoff, who has done done well in a number of mix competitions. She won both the Tough Love DJ Competition 2016 and of the June 2016 edition of Decoded Magazine’s mix of the month, and was also the finalist of the the CR2 DJ Competition 2017 and semi-finalist of the Coors Light DJ Quest 2016

 

invinta

Invinta

Where do you go to find DJ competitions?

I usually check Twitter, Facebook, Instagram and Mixcloud. Google search is very helpful. And, of course, if I see my DJ/producer-mates enter competitions, I follow them too. However, I do submissions for the contest my sound matches best.

What are your top 3 tips for succeeding in these competitions?

1. Read competition terms & conditions carefully and create a mix as per the requirements 2. Express yourself in the mix, show something creative, something that distinguishes your work 3. Let people hear your mix and support you via social media.

How has winning or the exposure helped your DJ career?

Winning definitely helped me get heard by a wider audience. I would say winning means music industry gurus` recognition and their valuable feedback. This motivates me and allows me to grow as an artist. Besides, I am proud of the winnings and think they add weight to my BIO which is important for both fans and promoters.

For the music makers reading, let’s talk about remix and production contests.

Remix contests are very popular while production contests are a little harder to find.  Both offer the winners a release on credible labels.

 

Moody Reordings

Last Summer, legendary US house label Moody Recordings partnered up with Point Blank and Magnetic Mag and hosted a competition to celebrate Moody’s 20 year anniversary.  The winner would get their own original track features on a Moody Recordings Compilation, a feature on Magnetic Mag, and $2,000 worth of courses from Point Blank.

Scotty Does Know was 1 of 2 winners selected. Scotty and I had a chance to catch up and here’s what he had to say.

Do you actively look for remix competitions and if so where?

I don’t actively look for remixes but find they come up on my social media accounts a lot whether it be through friends, pages, or artists I follow.

How did you find out about the Moody one?
I found out through the Moody competition on Facebook since I was a follower of both the label and Point Blank at the time

What was your thought process on what to submit as an entry?

I had my track DARE already started with the vocals recorded already when the competition was announced. The track had been sitting on the back-burner for a bit while I made last minute tweaks and worked on other projects, but when I saw the Moody competition I decided to finish it and submit it because I thought it would be a good fit for the label and competition.

This track was an original piece that initially had some sampled vocals in, but decided to work with one of my classmates at the time Lena who is an amazing singer, producer and songwriter. She wrote the lyrics for the track and we recorded them together in LA.

Afterwards I did the post processing and vocal stretching/fx work.
My goal for this track was to make it familiar but different. I had wanted to submit a track to Moody for a while because they are not only a great house label, but also located in my hometown of Denver, Colorado.

When they announced the competition I thought this track might be a good fit for them because it was a bit less “EDM” than a lot of my usual stuff, and also the vibe just felt rather moody!

Any tips for mixing it all down, this is a common question I get?

Mixing is something I’m always getting better at, but lately i’ve found myself monitoring tracks at a much quieter level and I think it has helped my overall balance and clarity. I like to imagine that my mom is sitting next to me in the studio, and I try to keep it at a level that she would find appropriate rather than blasting the volume.

Mastering, did you get it mastered before you submitted your entry? If so was it self mastered or sent to a pro?

I did not do my own mastering for this track, but instead used my usual service called Suture Mastering. I had the track mastered prior to submitting it for the competition.

How has winning helped your career?

Currently, the release of this track is scheduled for some time in March, but winning this competition has been very helpful in making new friends and connections over at Moody Recordings. Since they are located in my hometown only about 15 minutes away, I was able to check out their headquarters and studio space, while also being able to learn from some of the amazing people running the label like Jonas and Ben.

Did you have to promote your mix, or was it totally based on what the judges think rather than popularity?

One thing I really enjoyed about this competition was that you did not have to push for votes, or promote your track since the judging was all handled internally by Moody Recordings, and Point Blank.

Thanks Scotty we’re looking forward to the full release of your song soon. Readers can listen and follow Scotty at this link here.

So What About Remix Competitions?

Like other competitions discussed, follow your favorite artists and labels on social media. That’s what worked for Scotty Does Know and Invinta. In addition here are some sites you can actively search and find remix contests: KreaSound, Blend.io, Wavo.me, Reddit.

Victor Calderone Roll

How to Make Your Entry Stand Out?

I won a competition on Beatport’s now defunct “Play” platform out of 300+ other submissions.Like the Moody Recordings Competition, the grand prize was a release on a known techno DJ’s label, a pair of Dubs Acoustic Filters, and Rob Pappen’s “Explorer” software synth bundle.

I can definitely tell you that in addition to having a strong sonic fit, have your entry mastered to really stand out.  And in terms of sonic fit, I mean that it matches the sound of the label, in addition to a good mix down.

For vocal remixes it’s usually best to only use the acapella and maybe the main hook or riff.  For “tracks” it’s a similar process.  Most tracks have a central musical hook or short vocal samples to keep things interesting.  Most remixers will build their remixes around these 1 or 2 main ideas and do everything else from scratch. Whatever elements you choose to keep, let’s say vocals, you don’t have to give yourself more work by further editing them and coming up with a new arrangement. In my winning remix entry I left the arrangement as is, and added my own original tracks as needed.

It’s also a good idea to find out the original tracks music key, this way what you bring to the table will have the right pitch.  Popular DJ software like Rekordbox and Mixed in Key will tell you this. You can also check Beatport for a song’s key signature.

I checked in with a number of people on Reddit and Facebook, and many are challenged by the mix down.

There aren’t really any “remix competition” specific mixing tips I can give you since a well mixed song is a well mixed song no matter if it’s a competition entry or not. It is a big time saver to work with the flow and arrangement of the original. You can still craft a very unique winning remix while keeping the arrangement of the original.  This way you can reduce time spent figuring out where to place elements of your mix, such as bass, cymbals, effects, noises and synths.

So if the main riff you’re keeping from the original starts at bar 33, just leave it there.  If a percussive element starts 8 bars later, add your own hi-hat or drum part 8 bars later. If the main “drop” in the original is at bar 149, then make your drop there too — obviously your drop’s sounds will be different.

These competitions are a lot of work and coming up with a brand new arrangement is not needed most of the time.

Feel free to listen to my winning remix from Victor Calderone’s contest and his original mix on Beatport.  Mine is much different, although you would only know I worked with his original arrangement if you opened both tracks in a DAW like Ableton Live and looked at the wave forms. The judges picked the grand prize winner.  Number of plays, likes, votes, or social media mentions had no impact.

In short, I hope this article arms you with sources and knowledge to win a competition.  The key things to remember are to follow the rules: if it’s a 30 minute DJ mix competition, keep it to 30 minutes. No matter if it’s a remix, production, or mix competition you have the best shot at winning if your entry fits the genre.

Lastly, don’t forget mastering for remix and production competitions! It’s not hard to tell a professional master from a self master. In my remix entry I used The Fat Mastering for my submission, and the version in stores was mastered by Rob Small. Scotty Knows Best used Suture Mastering for his Moody submission.

Keep your eyes open on social media, the bigger more high profile contests worth winning will be shared by artists, labels, and publishers you probably already follow.  These bigger contests tend to have guest panels of judges so it’s a talent competition, not a social media marketing competition. Good luck!

6AM Readers Can Get More Tips and Tutorials from Eric Louis at this Link

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Alex Font GVR

Listen to Global Vibe Radio 043 ft. Alex Font

 

For the latest and forty-third edition of 6AM’s Global Vibe Radio we present you an exclusive studio mix courtesy of Valencia-based artist Alex Font.

Alex Font is a musician, producer and DJ, with a style heavily based on classical music, funk, jazz, flamenco, latin and techno-dub. He refers to his principal genre as “The Real House”, a fruit of music evolution that first began more than twelve years ago when he bought his first records and began deejaying at small clubs in Valencia, Spain.

Alex is strongly influenced by the cities of London (where he lived three years and continuously keeps visiting), Berlin and Ibiza, as well as by the the classic house sounds of the main house music schools of New York, Chicago and Detroit, mixing it with a touch of latin, jazz and sounds coming from techno-dub.

Alex is also the founder of his own record label called acmé, which he has introduced to the world with a string of four highly successful EPs featuring himself and more recently Romanian producer Sepp.

Enjoy this exclusive one-hour mix from Alex Font:

Connect with Alex Font: Online | Facebook | Twitter | InstagramSoundCloud

SoundCloud Laptop

SoundCloud DJs Will (Finally) Not See Their Mixes Taken Down For Copyright Infringement

SoundCloud Laptop

There is arguably nothing less frustrating for SoundCloud users than seeing their DJ mixes taken down for “copyright infringement,” often running the risk of getting their entire accounts banned and with that entire months and years of hard work go down the drain.

The irony is that it goes against the very principle of DJing, and especially so when artists have see their mixes and tracks taken down when it was their own music in the first place. It has happened to well-established artists like Kaskade, and it resulted in many leaving the music hosting/streaming platform for other options.

That is changing however, as SoundCloud announces a change in the way they view DJ mixes uploaded to their website. Eric Wahlforss, founder of SoundCloud, recently spoke to Groove and revealed the change:

“These problems with the introduction of SoundCloud Go are a thing of the past, and also for users who do not subscribe. During the negotiations for our subscription service as well as an agreement was with collecting societies like GEMA achieved in Germany.

“This means that DJ mixes can now be legally and problem-free on SoundCloud. So this is a very positive news for DJs.”

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Listen to 6 Hours of Fort Romeau on the Dekmantel Podcast

fort Rom

It’s generally accepted that an extended set is one of the only ways to truly experience a DJ in his or her element. It’s safe to say that Fort Romeau is in his element on this 6 hour journey through the Dekmantel Podcast.

Recorded at Corsica in London, the mix encompasses everything blissful about his sound. Striking an uncanny balance between house, techno, electronica, and ambient, Fort Romeau’s Dekmantel mix covers the spectrum. The talented DJ/producer has released on a variety of labels such as Spectral Sound and Live at Robert Johnson, and has a strong understanding of music that hits beyond the dance floor.

“I really like playing in this way. There’s so much freedom to shape the entire musical language of the evening and to make connections between disparate music that you just can’t really do in two or three hours at peak time. Corsica is one of London’s best spaces in my opinion, the DJ booth is rock solid with none of the typical problems of playing vinyl that plague clubs these days, the sound system is good and the crowd has always been great in my experience, so i was pleased to be able to take over the programming for the night.” – Fort Romeau

Mix of the Week: Djebali

DJ

House music is a feeling, and if there’s one person who has tapped into these feelings it’s French DJ/producer, Djebali. A certified vinyl guru and house aficionado, Djebali has made his mark on the scene through an array of original works and remixes for fellow groove gurus. His tracks have been supported by all the major players, and can often be heard throughout some of the best clubs in the world such as DC-10, WOMB, Fabric, and pretty much any institution that prides themselves in proper house music.

This week, the event in question is the highly regarded party at Clinic Wednesdays. With a low ceiling and intimate dance floor, it’s shaping up to be quite a weeknight affair. To get us in the groove, here’s a phenomenal mix that Djebali recorded for the Fasten Musique Podcast a few years ago.

Make sure to catch Djebali at Clinic Wednesday on October 21 – Guestlist + RSVP available here

Connect with Djebali: Facebook | Soundcloud | Resident Advisor

Dubset Media Holdings featured

Dubset Aims To Monetize DJ Mixes And Distribute Royalties

dubset royaltiesRoyalties from digital streaming have recently been the source of much tension within the industry. Although the dust has finally settled down between the labels and streaming services such as Pandora and Spotify, there is an big issue on the table that hasn’t been addressed: monetization and royalties from DJ mixes. With the support of Rhapsody and a number of other investors, New York startup Dubset Media Holdings is trying to tackle the problem.

Legally speaking, DJ mixes fall into a very grey area. On the one hand, they are mostly composed of audio content produced a number of other artists. On the other hand, the DJ who makes the mix has creatively blended the content into a new cohesive piece.

Clearly, artists should receive royalties when their music is used in a DJ set. Seems fair. But to determine how much is a bit more complicated than that. There are a number of considerations that might affect what constitutes a “fair share,” such as how much time from the song is sampled, whether it is playing in its original state or altered, and whether it is playing alone or together in the mix.

This seems like a logistical nightmare, but fear not. For several years, Dubset has been developing and testing their revolutionary MixSCAN technology, which scans mixes in real-time to provide answers to all of the questions above within seconds, easily determining where to send the royalties. The primary goal of this endeavor is to provide a legitimate platform through which DJ mixes can be monetized for everyone involved in their creation. Ultimately, this will result in more royalties for everyone.

The MixScan technology comes at the perfect time, as piracy in the context of DJ mixes is just coming into the limelight. With sites like Souncloud and Mixcloud facing an uncertain future, there is an urgent industry-wide need to legitimize mix streaming and downloads before it’s too late.  As Dubset CEO Bob Barbiere says, “This program begins and ends with DJs. Rather than trying to ban their medium, we have a way to make it legal.”

According to this model, royalties will be paid for each mix streamed, with payments going to the DJ who compiles the mix as well as the artists who make the music used. This gives them incentives to upload their mixes through legitimate channels. There are approximately 120 billion instances of track sampling annually; if monetized, this untapped revenue stream could generate around a billion dollars a year. As CEO Barbiere puts it, “We’re not trying to be the police, but the folks who do police the industry will use our technology to continue their mission.”

Click here to read more at Billboard

Click here to visit the Dubset Media Holdings website 

Hot Since 82 – Pioneer DJSounds Show

HS82-DJSoundsHot Since 82 was recently featured on Pioneer’s DJSounds Show. The UK DJ/Producer from Leeds has been making a lot of noise in the house music scene in the last two years and has been playing the biggest venues and events everywhere between London and Ibiza. He has also remixed the likes of Green Velvet, Shadow Child, and Rudimental.

Hot Since 82 will headline Insomniac’s Inception in Los Angeles on November 8 at Exchange LA.

Check out the video below to study his workflow and technique on the decks.