If you stream and don’t buy anything ever, you are hurting us all.
We all do it, or know those that do. Since about 1999 (the early Napster era) the idea of actually paying for your music collection has been passé.
There has been an entire generation that expects music product for free.
It’s no coincidence that most of their time is spent listening to fake instruments, fake voices and fake sounds made by a laptop operated by a guy fake playing – aka pretending to be working much harder than he really is. You can sit at your desk as I am now and computer DJ.
I’m a DJ, I know. There’s no reason a computer DJ should ever sell more tickets than a proper traveling band. But that’s the norm these days.
The computer DJ’s have won and it’s sad. I was a computer DJ 20 years ago and I didn’t want to win I just wanted an outlet, a slot, a chance to get my creations heard. Now it’s everywhere yet rock and soul played by actual musicians emoting right in front of us is harder and harder to locate.
I used to computer DJ to 20 people 20 years ago. These guys are hotter than rock bands now, so I suppose I won and lost. Where are the great new bands? Killed by the computer DJ.
Anyway, find $10 for a CD or a digital download (preferably hi-res) of a classic album, or something from a new artist that does it for you, and just purchase the damn thing. Restart your collection. It’s better than giving to charity.
Now that I’m out in the mix DJ’ing again, I’ve been peeping some of the technology used to spin music in 2010. I started out as a vinyl DJ in the 90’s, then got my laptop-based Traktor setup going around 2002. I remember being one of the few laptop DJ’s around back then, and used to catch crap and generally cause controversy amongst that crowd.
I even showed up to spin a slot for a breakdance event once and they didn’t want me to setup the laptop where the dancefloor could see it, because these people were not down with dancing to a laptop back then. I can handle a heckler (I was used to it, I had no 1200 in my vinyl rig!) and usually a few 1/4 beat stutter-loops during a flanger sweep and toggling EQ cutoffs with finger-rolls got them to humph and back off. You just gotta let the other DJ wannabees know that they can’t do what you just did and things work out.
Time has marched on and these days even the hippest bands have macbooks sitting on stage, and yes, the iPhone and the iPad can do all sorts of sick audio trickery. Check it:
That’s some serious audio software, capable of crazy noise in both a live and studio setting. Given the average D-A converters in Apple’s consumer stuff it’s not high-end, but it will work on a gig fer sure.
So if you are cool enough to see me perform in the next few months you might see me give some of these 21st century toys a workout. I know my Kaos pad and my old trusty Electribe already get a nice beat down.