8Sided Blog

the scene celebrates itself

#Worktones: Onlee’s United Isolation Ambient Mix

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https://soundcloud.com/onlee/united-isolation-ambient-mix

Our ‘strange times’ lockdown has inspired many artists and DJs to create ambient mixes. These mixes help calm the thoughts and nerves of others, especially those not used to working from home for long stretches. But it’s safe to say these mixes also serve the DJs creating them — something is reassuring and meditative in compiling a set focused on texture rather than beats.

My good friend Boris, DJ’ing as Onlee and running the cool experimental techno label Lichen Records, has undoubtedly delivered on both results with his United Isolation Ambient Mix. It’s nearly four hours long and reaches into selections that aren’t too dark or dramatic but never dull. There’s no tracklist, but, honestly, keeping tabs on the songs would distract from treating this as one long evolving soundscape.

I’ve played this in the home office for the last few days, and it’s effectively kept rogue brainwaves at bay. So, yes, this mix is a suitable prescription for strange, unsettling times.

Are We Running Out of Notes?

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In the mid-70s, a music scholar, maybe a professor, definitely someone we’d now call a ‘musicologist,’ wrote an alarming letter to Rolling Stone magazine. He stated that, by his estimation, within a few years the notes would run out. That is, musicians were about to exhaust all available music notes in every possible timing and context. He warned that soon there would be no more original songs. 

Beneath this letter was a response from John and Yoko. They were apparently enlisted by Rolling Stone to address this crisis. Their two-word reaction to song-pocalyspe: “Lighten up.“

I should point out that I can’t verify this happened. I saw the exchange printed somewhere many years ago, but I can’t find evidence online. Regardless, it’s no surprise that for decades music intellectuals have raised concerns about a limit on new songs. And that the songwriters have always reacted with a shrug.

The notes are only part of a song. Also critical: instrumentation, dynamics, performance texture, tempo, studio trickery — the list goes on. Those notes don’t seem as limited when we take these extra elements into consideration. But it’s still reasonable to imagine a few people coming up with similar melodies. And if some of those other elements align, then there might be a raised eyebrow or two. Is it plagiarism?

I’m not saying everyone is innocent of copying notes or lyrics or songs outright. But we’re led to believe it intentionally happens a lot less than it does. A dirty little secret is that songwriting isn’t all that difficult if you know what you’re doing. Having a ‘hit’ song is tough, but all of those elements I mentioned above — and some additional ones, like charisma and promotional budgets — contribute to making it a hit, too. When you think about all the potential downsides, it’s a lot easier to write a song than steal someone else’s.  

Minneapolis-based ‘record selector’ Mike 2600 has an amusing YouTube series called Songs That Sound The Same. Using two turntables (and I suspect some pitch manipulation), he goes beyond the ‘mash-up,’ drawing attention to songs that share an uncanny resemblance. This one‘s a lot of fun. As is this one and this one. 

A lot of Mike 2600’s comparisons rest on similarities in chord changes and sequences, a chord being a combination of usually three notes providing a bed for melody. Combinations of chords are a lot more limited than those of individual notes. There are a lot of similarities out there for Mike 2600 to choose from.

Mike 2600 could do one of these videos for “Stairway To Heaven” and Spirit’s “Taurus.” Maybe he has, but probably not — that resemblance is so well known it’s low-hanging fruit. Journalist Michael Skidmore thought he’d reach for that fruit when he filed a plagiarism suit on behalf of the late Spirit frontman Randy Wolfe. The two songs’ similarity elicited murmurings since the release of “Stairway To Heaven,” but the lawsuit didn’t appear until 2014. 

Yes, the iconic opening riff of “Stairway To Heaven” is bizarrely similar to “Taurus.” But so are a lot of things. The same descending chromatic chords, as noted in defense arguments, are found in the music of JS Bach and Henry Purcell, and also the song “Chim Chim Cher-ee” from Mary Poppins (which puts Led Zeppelin in an unlikely context). There are only so many chords used in so many ways.

Last week, judges agreed and cleared Led Zeppelin of wrong-doing. But the ruling added another twist — the court’s dismissal of ‘the inverse ratio rule.’ What’s that, and why is it interesting? Let’s dig in.

Understand that plagiarism doesn’t have to be intentional to warrant legal punishment. If it’s believed that you heard a song anytime and anywhere, then the plaintiff can argue it’s possible that plagiarism occurred, whether you meant to do it or not. The more famous a song is the easier it is to make this argument. George Harrison encountered this notion when “My Sweet Lord” was accused of copying The Chiffon’s “He’s So Fine.” The latter was a massive hit in 1963, at the same time The Beatles were making no secret of their admiration for American R&B. So the jury was convinced that Harrison, at the very least, unconsciously copied that song. 

This idea of access and sublimation came to its ridiculous conclusion in the recent case of Flame vs. Katy Perry. In my opinion, that case was already absurd, involving two somewhat similar and short melodic phrases representing modern pop’s zeitgeist. But Flame’s attorney argued that since his client’s song had 6 million online plays — spread out among platforms like YouTube and, yes, MySpace — it was undoubtedly, at some point, heard by the writers of Perry’s song. The jury ended up agreeing. 

Taken further, it seems the internet demolished the limitations of access. It’s now presumed that everything is available — how are 6 million streams on YouTube any different than an emerging artist appearing on an obscure but influential Spotify playlist? Arguably the potential for accidental thievery is the same. Almost all music is available by tapping the screen of a smartphone, so the idea of access is passé. The court in Led Zeppelin’s case recognized this change in our culture, and the ‘inverse ratio rule’ — which gave preference to the more widely distributed song — is toast.

There are other ways that technology alters our concepts of plagiarism. Let’s consider how companies like Splice are affecting musical ownership. Splice is a market-place for sounds, where recording artists can download loops and phrases to use in their own songs. After paying a subscription fee, the user is given these sounds as ‘royalty-free’ sonic building blocks. That means an artist can use these bits in a commercial recording without royalties or attribution to Splice, and claim the rights to the song as her own. No one owns Splice’s sounds — they can be used simultaneously in any number of songs. 

Of course, this model reached an inevitable outcome. A melodic loop from Splice was used in a song by — of all people — Justin Bieber. Within 24 hours of that song’s release, artist Asher Monroe accused Bieber of ripping off the instrumental hook from his song. But they both got the phrase from Splice. As did many other artists, including Korean hip-hop artist YUMDDA. According to The Verge, that leads to another 21st-century problem:

Because Monroe and YUMDDA’s songs have portions with the unaltered sample and nothing else, Shazam gets confused. The app sometimes identifies Monroe’s track as YUMDDA’s, and vice versa. But it has no trouble identifying Bieber’s song, likely because there are other percussive elements always layered on top of the sample.

And now here’s something else:

Damien Riehl — a lawyer, coder, and musician — and Noah Rubin pulled an impressive stunt. They wrote a program to generate every possible melodic combination of notes. The program then stored all 68.7 billion melodies to a hard drive. But rather than using up all the songs, as the Rolling Stone letter-writing musicologist feared, Damien and Noah put the contents of the hard drive in the public domain. All melodies are now free to use, they argued. From here forward, lawsuits for copyrighted note sequences are all frivolous. 

Of course, Damien and Noah’s effort is meant to make a statement and probably won’t change anything. The Led Zeppelin ruling will have more effect on songwriters (as will the appeal-in-progress on the Katy Perry suit). But it makes an interesting point. And it helps highlight the limited nature (and mathematics) of notes, and how subconscious plagiarism could become an outdated concept now that we’re subconsciously consuming everything. 

UPDATE: Soon after I wrote this post, Katy Perry and her co-writers won their appeal and the judge overturned the plagiarism ruling.

This post was adapted from Ringo Dreams of Lawn Care, a weekly newsletter loosely about music-making, music-listening, and how technology changes the culture around those things. Click here to check out the latest issue and subscribe.

Fail We May, Sail We Must: The Living Influence of Andrew Weatherall

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At the beginning of the week, I ran across The Perfumed Garden, a blog collecting recordings and playlists from episodes of John Peel’s celebrated long-running radio show. The tracklists are fascinating on their own. They serve as trapped-in-amber snapshots of what was musically ‘cool’ that particular week of that specific year. Also, the shows from the late ’70s and early ’80s inspired listeners who later formed more than a few beloved UK bands. John Peel was who they were listening to. This influence remains enormous, and it’s fun to examine these roots.

Where will we look in thirty years to find the musical zeitgeist of today? Is there anyone like John Peel, collecting and noting songs for enthusiasts to study thirty years from now? I imagine there are tastemakers across genres with a similar influence — not only in underground rock and dance, but also in hip hop, in Indian music, in jazz, and so on. But I fear they’re making streaming playlists — ephemeral lists of what’s moving the present culture, but inaccessible to those studying music’s past.

The day after I was thinking about all of this, the news came from everywhere that Andrew Weatherall died. I’m assuming most of my readers know of Weatherall and, like me, are saddened by this news. If you’d like a refresher of his remarkable career, read some of these moving memorials. (Each word at the end of that sentence is a link.)

Weatherall was an X’s X, where X could be several things: a producer’s producer, a DJ’s DJ, a remixer’s remixer, and so on. If one of those Xs was your trade, then chances are you looked up to Andrew Weatherall as one of the best in the discipline of X.

And I did think about Weatherall, the tastemaker’s tastemaker, while I was falling deeper in the John Peel rabbit hole. Weatherall was the first name that came to mind as Peel’s worthy successor. It’s not an original thought — upon Peel’s passing, there was a campaign to give Weatherall the historic Radio 1 slot. But as Weatherall told Dazed & Confused (recounted by Greg Wilson in his lovely remembrance): “The curmudgeon says I’d rather be the one Andrew Weatherall than the second John Peel.”

On Twitter, Joe Muggs requested that we don’t solely remember Weatherall as “the Screamadelica guy.” He unarguably was so much more — for example, the first track on this posthumous single, released yesterday, is stunning — but I’d like to focus on a remix Weatherall did for that Primal Scream album.

I first heard the ‘A Dub Symphony In Two Parts’ version of “Higher Than The Sun” when it came out in 1991. Primal Scream were not on my radar, so it probably came to me as a radio promo (I was a college radio music director and listened to everything). At the time I was dabbling in electronic music production with a few basic pieces of gear. I was mostly (badly) emulating beats and loops found on the instrumental mixes of hip hop 12″ s from the likes of Public Enemy, Black Sheep, Erik B. and Rakim …

In my world, this ‘Dub Symphony’ changed everything. It presented the remix as nearly untethered to the original, artistic branches sprouting from the seed of someone else’s creation. There was nothing else like it.

I was already obsessed with The Third Mind, a book and concept developed by Brion Gysin and William Burroughs that encouraged combining random, unconnected elements to summon undiscovered inspiration. I interpreted Weatherall’s style of remixing as a producer’s version of The Third Mind. Weatherall’s ‘Dub Symphony’ helped me — and many others — approach the act of remixing as almost mystical, a long-distance collaboration.

I don’t have a whole lot of original music to show for my own long and storied music career. But I’ve got a ton of remixes under my belt. I fell in love with remixing — fell in love hard — and most of the time, that’s all I did in my studio. For better or for worse, I can thank Andrew Weatherall for that.

A side note: when I’m consulting music-makers, I always mention ‘the punk rock dream.’ The phrase refers to how, as a punk rock kid, the prospect of self-releasing, worldwide distribution, and instant networking was like a dream to me. And now we’re living it. My colleagues are sick of hearing me spout this phrase which I thought I might have coined. But then I ran across this Weatherall quote in The Guardian as I read a bunch of his older interviews this week: “Here we are at the apex of the punk-rock dream, the democratisation of art, anyone can do it, and what a double-edged sword that’s turned out to be, has it not?” Did I somehow crib that from The Guv’nor, too? I suppose I shouldn’t be surprised.

Here’s a great selection of Andrew Weatherall’s productions combined with wise words and tales from the man himself. This mix serves as an excellent primer if you’d like one.

Here’s an archive of Andrew Weatherall DJ mixes. The number of sessions approaches 200.

Here’s an archive of his NTS radio show Music’s Not For Everyone. These programs verify Weatherall’s ear for amazing, up-and-coming artists in a variety of genres, and why he gets mentioned alongside John Peel as an influential tastemaker. His last show aired on January 30.

And, if you use Apple Music, here’s a playlist I compiled via various sources. It features Andrew Weatherall productions, remixes, and collaborations alongside tracks he played on his NTS radio show.

I’m not a fan of tattoos, but I like the ones on Andrew’s forearms. They read: Fail We May, Sail We Must.

This post was adapted from Ringo Dreams of Lawn Care, a weekly newsletter loosely about music-making, music-listening, and how technology changes the culture around those things. Click here to check out the latest issue and subscribe.

Epiphany in Yekaterinburg

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If there’s a thread running through what I write about on 8sided.blog, it’s how the rush of progress affects our culture, specifically as it pertains to art and creativity. It’s tempting to focus solely on the technology as it’s what’s driving most of this progress, but I’m fascinated by the big picture effect on human society and you and me. Most of the time, I’m thinking about music — how we listen to it, how we make it, and what value we put on it. The blog’s tagline is ‘thinking about music’s place in the 21st century’ and that about sums it up.

Last year I hit 50 years (I think I just passed the Brimley/Cocoon Line), and I often think about how I recorded my high school punk band on a 4-track cassette recorder, tape hiss my worst enemy. And then, in college, I cut reel-to-reel tape with razor blades to splice together extended dance remixes to play on the radio. I was a film student for a while, and I loved the monk-like discipline of cutting film in the same way. In about five years, technology erased all of these activities. I was part of the last generation to touch tape with a razor blade.

I often tell the story of obsessing over a magazine record review as a teenager and trying to find the album. I lived in Central Louisiana, and a lot of independent records were hard to come by. But I’d look for this record that I only read about for months and months and months. I finally found it on a family trip to Baton Rouge, in a hip record shop on the outskirts of LSU. So excited! And when I got home and put that record on, it sounded like the greatest thing I ever heard. That obsession, that hunt, that feeling — is that still a thing?

But lest you suspect I’m on a ‘let’s go back’ nostalgia trip, know that I would have traded all of that for the technology we have now. I’d trade my experiments with the 4-track cassette recorder and all its creativity-inspiring limitations and all the tape cutting. I would even trade that obsessive feeling of the record hunt that’s impossible for me to explain to anyone 15 years younger than me. I mean, I can’t even imagine what it’s like to be a teenage music fan with the world’s recordings available anytime — to read a review and thirty seconds later I’m listening.

There’s been a shift in my brain as I move from one era to the next, a shift that happens so fast that I can’t help but notice it. No boiling frogs here. And it’s still happening, and it’s happening to all of us, whether we’re 50 or 15 or 35 or 95. That’s what fascinates me — those moments when I realize the game has changed and the way I process art or approach creativity has, too. And it seems like this happens every month now.

Yekaterinburg, Russia on a map

A story: in early 2001 or thereabouts, I was somehow booked to DJ at a basement nightclub in Yekaterinburg, Russia. I had the expected American assumptions of a club night in Siberia (or the Urals — there’s some debate about that), that I’d be blowing minds with all of my hot-off-the-presses tunes that these isolated punters had never heard before.

I walk into the club and immediately hear the local DJ before me not only playing loads of tunes I had planned to play in my set but also playing fantastic music I had never heard before. I was stunned. We were three hours deep from Moscow by plane! How did the DJ find this music? I went into the DJ booth and noticed that he was playing off burned CDs marked with Cyrillic Sharpie scrawl.

I was witnessing digital music changing the world. Napster, Soulseek, and all the others leveled the playing field. Suddenly DJs everywhere had access to most of the same music as me, and it was time to step up my game. I remember standing in that DJ booth realizing the weight of this — music was suddenly ubiquitous, and fans in faraway cities you’ve never heard of can hear it, love it, and rock it out in their DJ sets. In the snap of a moment, my world seemed completely different.

This post was adapted from the debut episode of my email newsletter Ringo Dreams of Lawn Care. Click here to check out the full issue and subscribe.

He Provides the Soundtrack, We Make the Movie

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Be sure to check out this mini-documentary from Mixmag on the enigmatic Detroit producer Moodymann. I love his vision for his city, his ruminations on record shops, and how the staff at Archer Record Pressing warmly welcomes him. But mostly I love this, said to Gilles Peterson:

We went to the club to get down and dance. Everybody knew the DJ and we didn’t sit there and look at the DJ. He provided the music … we was more into the room. He provides the soundtrack, we make the movie. Well, nowadays everybody just stands there and looks at the DJ. It’s not like that’s Prince up there performing live. That’s the fucking DJ.

I got into DJ’ing via punk rock. That may seem like a non-obvious association, but hear me out. What I liked about underground punk rock was that the band wasn’t the star — the band was merely the facilitator, and everyone in the club was on an equal level. We were all part of the show, and together we made it memorable.

There was a similar feeling in underground dance music when I started DJ’ing. It was fine — even preferable — if the DJ was in the dark or behind a wall looking through a slit.1Many clubs in the early ’90s had ‘the slit.’ I admit that I hated this at first as it seemed like a (literal) wall between the DJ and the audience. But I’ve grown nostalgic for a time when the nature of the booth implied that the music was the true star of the show. We were there to come together, every person as necessary to this party as the next, rejoicing in the feeling of the music. That vibe, combined with the fiercely independent distribution and economy of underground dance music, was, to me, a new kind of punk rock.

I’m not shaking my fist at a cloud or feeling like things are worse or better than ‘back in my day.’ But it’s different. And I feel Moodymann’s frustration here. A couple of decades ago the role of DJs changed, elevated to stars as punk rock bands eventually were. And more and more it’s a DJ’s responsibility to be the movie. When that happens, who’s the soundtrack really for?

Related: On the Music Tectonics podcast The Verge’s Dani Deahl mentions, with trepidation, a new AI engine that selects, programs, and mixes music from a DJ’s predetermined selection. That way the DJ can focus on ‘performance’ rather than pesky details like queuing up and beat-matching songs. Canned performance is nothing new — the draw of many DJs and music artists is a cult-of-personality anyway — but the thought of such an app has me looking testily toward the sky.

Groove On: How DJs Created the 12″ Single

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The other day I wrote about music delivery and formats (CD, LP, streaming) and how these often influence music creation. This latest installment of Vox’s always excellent Earworm series flips this around. The video documents how the 12” single filled the need of ‘70s club DJs requiring songs with more time to groove and at higher fidelity than a 7” or LP track could deliver.

Here are a few quick thoughts on the video:

  • People tend to forget how long disco — and club culture — was an active underground movement before its mainstream overload. Some of the early dates in the video may surprise some. And though not strictly ‘disco,’ David Mancuso’s first Loft party was in 1970, as an early benchmark.
  • Can we note how cool it is that some contemporary DJs like Questlove and Orlando’s DJ BMF often go back to playing 7” vinyl sets, just as Nicky Siano once did? Not only is this throwback an homage and a connector to the past, but I think one becomes a better DJ — learning techniques to apply to modern digital methods — by stripping the practice down to its roots.
  • Paul Morley, appearing in the video, has a place in 12” history not mentioned in the piece. He was a co-founder — alongside Trevor Horn — of ZTT Records and an original Art Of Noise member. Morley’s input was mainly in the label’s image, branding, and writing the grandiose label copy and manifestos that accompanied each release, but he certainly had a say in the label’s groundbreaking music direction. One element of that direction: ZTT 12” mixes weren’t merely extended versions. These were complete reworks of the original songs, with new instrumentation, drum tracks, and even extra vocals. This type of remixing is normal in dance music now — a simple extended version is a rarity — but, in ZTT’s time, it was a radical technique. I’m not sure if any label was doing these types of remixes before ZTT. My favorite ZTT rework/remix? This one for Frankie Goes To Hollywood’s “Rage Hard” which takes the listener on a tour of the “strange world of the 12”.”
  • I would have loved to have heard “I Feel Love” for the first time with fresh, unprepared 1977 ears. Brian Eno’s initial reaction was probably shared by many.

The Olds Are Alright: Dance Music Becomes Generational

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Joe Muggs in Mixmag:

Which is more important, though – reinvention or continuity? After all, the purity of scenes that are created for and by youth, with all the energy and absolutism that goes with that, is something special. Whether it’s the teenagers excluded from UK garage who turned their youth clubs into moshpits as they invented grime, or kids in bedrooms across the world cooking up ever more mind-warping memes and post-vaporwave electronic sub-genres that only make sense with total immersion in cultural reference points from K-pop, Cartoon Network and dark web research chemicals, some things absolutely don’t need the input of old farts. There’s a stupendous thrill that comes from hearing kids from Shanghai or Sao Paulo, Jakarta or Johannesburg, smashing together extreme electronics with pop and local sounds with zero respect for the canons and hierarchies of the past.

But at the same time, The Black Madonna [who referenced “the young folks and more seasoned folks sharing space and ideas”] is right. In the space of house-techno-rave that she’s operating in, it’s incredible to have people like her and Honey Dijon, Optimo and Harvey and all the other battle-hardened vets right in the thick of things, bringing the weight of decades of experience to bear on the dancefloor and sharing that with the young guns they play next to. Each new generation that discovers the joys of Kerri Chandler or Photek or Chris & Cosey re-ignites the power of their music.

As one of the above mentioned ‘old farts,’ I love this sentiment, and I’ve also thought a lot about it. We are in a unique place where veteran (a kinder way of saying ‘older’) artists freely mingle and perform with younger, emerging talent. For example, in dance music, some of the biggest draws — and influences — are now 50+. In my DJ heyday — the late ‘90s — this wasn’t the case. Though, granted, the genre was fresher.

I used to think it was good for older artists to step aside and let the young take their seats at the table. But it turns out the different generations are just adding extra chairs. There’s a collaboration between the various ages of artists rather than competition or resentment — a transfer of ideas that encourages innovation while respecting history. And it’s not just the artists — the fans have embraced this generational variety, too. When the 79 years old Giorgio Moroder can release albums and tour with enthusiastic fanfare from the electronic music community, it’s evident that we’ve arrived in a special and respectful place.

🔗→ Never mind nostalgia – we’re living in a golden age of intergenerational partying

Why Streaming is the Future of DJ’ing

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Download sales are in a free-fall as acceptance of music streaming continues to grow. If you’re in the dance music industry, you might feel some immunity (at least for now) as DJs are your primary customers. And DJs have to download, right? They still need the digital files on a USB, or a CD if they’re (ahem) old school. Well …

Complete Music Update:

Dance music download platform Beatport has acquired Pulselocker, the DJ-centric streaming service that ceased operations late last year.

Pulselocker allowed DJs to access music to include in their sets. It integrated with various DJ software and hardware systems, worked offline, and reported usage back to rights owners. As a result of the deal, Beatport plans to utilise Pulselocker’s patented technology within its own planned streaming service later this year.

Coverage of this acquisition has noted that Beatport previously attempted a streaming service and failed. But it’s easy to see that the plan here is much different. While Beatport’s earlier streaming ambition was to be like a dance music Spotify, the Pulselocker acquisition promises something new: a subscription streaming service for DJs.

I remember once terrifying a DJ friend of mine with the prediction of a ‘Wi-Fi CDJ’ that would access the DJ’s library from the cloud. The result is not that much different than inserting a USB, really — the DJ would be found scrolling through song titles on the CDJ’s screen and queuing selected tracks for play. It made sense for this prediction to be subscription-based, and for the DJ to be able to organize the catalog with folders and tags beforehand using an app. There would also be an offline element in case the network connection got spotty. My friend was worried as this alternate future killed dance music’s market for downloads.

But the last market flying the flag of paid downloads isn’t as healthy as we’d like to believe. DJs are a tribal group, bonding tightly over music and club life. The thought of piracy may not ever enter their minds but sending MP3 copies of a dozen hot tracks to a DJ buddy is an acceptable notion. The dance music world is also rooted in an often desperate promo culture, with labels sending links to free downloads of the latest release to hundreds (sometimes thousands) of tastemakers in one go. Don’t get me wrong — many DJs are still buying downloads, but many others are incentivized not to.


The streaming DJ set-up is disruptive and offers an alternative. The convenience of instantly adding to one’s library transforms copying and sharing amongst DJs into recommending. And I can also see promo services doing deals with Beatport or other streaming-for-DJ services, allowing private ‘lockers’ of pre-release music accessible only through invitation.

There is an issue of bandwidth and audio quality. Discerning DJs prefer the uncompromised quality of a WAV or AIFF audio format, which means large file sizes. But bandwidth and speed are always getting better, and I can imagine these futuristic CDJs utilizing a cellular network in addition to Wi-Fi internet, or can be reliably wired in by ethernet or other systems. There’s also the offline option, and I guess that libraries would be downloaded ahead of time into temporary onboard memory – or transferred to a USB for backup – in case of network failure. If this all works as planned then why even play MP3s? The DJ has the preferable WAV or AIFF option at her fingertips (or, likely, a future lossless format devised for streaming DJs) so why settle for inferior sonics? The overall sound of clubland improves.

For labels and self-releasing artists, the available data will be mind-blowing. Theoretically one could check stats on a Monday morning to see how many times a track got played over the weekend, in what cities, and maybe even — if these future CDJs are geo-located — what clubs. There’s also a payment to labels per play which might mirror Spotify’s subscription model (though I hope Beatport considers adopting a subscriber share model). At first, this may seem a severe downgrade from download income, but when one considers the decline in shared MP3s and the potential monetization of promos (not to mention the improved potential for discovery), then things get a little rosier.

Another factor making a difference is the conceivable ease of reporting venue play for performance royalty collection. Ideally, I’d like to see the streaming service or even the CDJ itself automatically report the set list to performance rights organizations. If that doesn’t happen, then the DJ or venue can easily output a list of the songs played during a set for online submission. This innovation, coupled with the advent of audio fingerprint technology in play identification (already being tested in a handful of countries such as Germany and the UK), helps solve the longstanding problem of inaccurate distribution of venue-related performance royalty. Historically, a nightclub’s yearly license payment to a performing rights organization (such as BMI and ASCAP) goes to an assumed pool of top-tier artists, no matter the music policy of the club. These technological solutions would radically change the landscape, and non-mainstream clubs could finally see their mandatory licensing fees going to underground artists. So, in the near future, a dance music producer could find direct income from DJ play via streaming subscriptions and venue performance royalty.

It’s inevitable that DJs will use streaming or cloud-based services as their ‘record crates’ (well, save for the vinyl hold-outs — like me). DJs are not strangers to disruption, having transitioned from 12”s to CDs to USB sticks to laptops in just over thirty years. But this is the big one, changing how we select, promo, discover, collect, play, and monetize. The art of DJ’ing responds to the technology so it will be interesting to see how this next step affects the DJs, their ingenuity, and the sounds they play.

Dubset’s Major Move

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TechCrunch:

Spotify and Apple Music could soon get the legal grey area of music like remixes and DJ sets that today live unofficially on SoundCloud. Sony Music Entertainment today became the first major record label to allow its music to be monetized through unofficial mixes thanks to a deal with rights clearance startup Dubset. That means Sony’s master recordings will be indexed by Dubset, and rights holders will be compensated even if just a tiny one-second snippet of their song is used in a DJ set or remix.

A source tells TechCrunch that Dubset is getting closer to securing deals with the other two major labels Warner and Universal.

If it can lock down all three, remixes and DJ sets featuring almost any music could be legally hosted on the top streaming services instead of being barred or removed for copyright infringement. That might eliminate the differentiation that’s kept struggling SoundCloud afloat. Illegal music uploaded there has sometimes flown under the radar since SoundCloud is protected by Safe Harbor law regarding user generated content. But if it’s legally available on Spotify, Apple Music, and elsewhere, listeners wouldn’t have to go to SoundCloud.


Could we be stepping closer to a mainstream acceptance of remix culture? A future where derivative works are not only allowed but encouraged is a divergent music future, indeed. As previously stated on this blog, if you can clear unauthorized remixes using Dubset, then why not clear samples eventually? We might be entering an era where most music is fair game for creative mutation, and the original artists get paid. How will that work with songs already released, especially the ones that sneakily didn’t clear drum loops or other samples? Should clearance lawyers start looking at new career options?

As far as Apple Music and Spotify go, I really can’t see them opening up their services to user-uploaded content a la SoundCloud. I’m ready to be surprised, but I do think those predictions are off the mark. The Verge gives a clue to where this might be headed for the two big streamers:

DJ mixes have historically proved to be especially difficult for monetized distribution. “The average mix is 62 minutes long and has 22 different songs in it, and those 22 different songs are represented by over 100 different rights holders,” {Dubset CEO Stephen} White tells The Verge. Using Dubset’s technology, a 60-minute mix can be processed in just 15 minutes.

During that 60-minute mix, White says, MixSCAN will fingerprint every three seconds of audio. “We’re using a combination of audio fingerprinting technologies and fairly advanced algorithmic approaches to identify the underlying masters that are being used in a mix or a remix,” he says. Although MixBANK asks DJs themselves to identify the masters, White says this is just to help validate MixSCAN’s results.


Apple’s Beats 1 Radio regularly broadcasts sets by newsworthy artists and celebrities, but the Beats 1 platform still fails to make the news. These DJ events need exposure outside of the ephemeral original broadcast. Wouldn’t it be nice if the sets were recorded and archived, and then available to play on demand via Apple Music? I think that’s what’s happening here. A different sort of license is required to make these DJ sets available on demand, and every song (and, yes, unofficial remix) must be cleared for this type of usage. Theoretically, Dubset’s technology would not only clear the songs in the mix, but it would be able to do so in 15 minutes. A Beats 1 set could be available to stream on Apple Music within thirty minutes of its broadcast. Voilà. And I’d wager Spotify has similar ambitions.


Previously and Previously and Previously

DJ Set Monetization Platform Dubset Gets Monetized

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We haven’t heard much from Dubset in a while. Like all good start-ups, they’ve been biding their time collecting cash. Via Hypebot:

Dubset Media has scored a $4 million Series A funding round, led by Cue Ball Capital. Founded in 20o8, the company had previously closed two funding rounds for undisclosed rounds from investors including Rhapsody and Three Six Zero.



Dubset’s MixBANK technology identifies musical recordings used in mixes and remixes, determining the appropriate rights holders (a DJ mix could have as many as 100 different rights holders), and simultaneously clearing the mix or remix across all rights holders. That enables record labels and music publishers to set permissions for access via a simple rules-based system which enables catalogs to be efficiently monetized and precludes the need to conduct time consuming searches and initiate claims.



Music Business Worldwide:

Dubset enables record labels and music publishers to set permissions for access via a rules-based system which aims to prevent the need for time-consuming searches and initiate claims.



Last year, the company signed agreements with Spotify and Apple Music for its system to be used on their platforms – potentially allowing user-generated/amateur remix content to be uploaded onto the services for the first time.



We’re still waiting for this technology (or something like it) to make serious waves in the monetization game.

Previously and Previously.