deadmau5talent

deadmau5 has a message for DJs: don’t just DJ.

here is what i dont get [Tumblr]

And we couldn’t agree more. For once, bless the mouse – and, give the man some credit, he has a sense of humor and self-deprecation. (That’s his image above, not ours.)

But keep reading – things are about to get cut-up surreal poetic in just a second.

Joel Zimmerman’s message has come a long way. Just back in 2012, he cynically suggested everyone on the scene was just “pushing play” and asked everyone to quit pretending already – fair, perhaps, but not entirely optimistic. And I gave him a hard time for it, because I though it was unfair to the people who were assembling live performances (deadmau5 walked back some of his original article and gave some credit to all y’all controllerists out there):
Deadmau5, Honest About His Own Press-Play Sets, Misses Out On “Scene”

Now, though, he’s saying something different: quit just playing CDs and actually jam live. Play a keyboard. Hook up some MIDI or OSC control. Do something. And sure enough, his own bio rejects the notion of CDs and emphasizes playing his own tracks (live PA style) and on-the-fly cutting and editing (though I’d have to research more what he’s actually doing).

It’s clearly a message the top of the EDM circuit needs to hear, and one the CDM readership would almost certainly endorse. I’d agree with every single word, except I do feel obligated to say I feel strongly that there’s a role for good mixing and selection, for DJs. And even if deadmau5 doesn’t want to be called a DJ, other people may be fine with it. On the other hand, people booked around a hit “banger” aren’t likely to surprise anyone with their subtle track selection, too much faking keyboard lines to the audience is obnoxious, and I frankly what deadmau5 is describing, absolutely, I agree – it’s horrific.

I agree – you and all your friends, probably, agree – so much so that under normal circumstances bringing all this would be boring. Except that this being deadmau5, eloquent troll for all electronic music everywhere on the Internet, it takes another turn. Okay, not only did deadmau5 run to the defense of the poor horses subjected to David Guetta’s nightmare-dystopian Pascha opening, but now this. (Yes, horses, the four-legged kind, though “objectification of women” or “Native American racism” could easily have been topics – that was a three-for-one Ibiza fail there.)

Here’s what I want: I want a t-shirt for each one of these phrases:

you show up to X shitfest, and play a CD.

STOP.

I AM CONFUSED.

Word.

are you or are you not a guy who can use a comupter to make music?

CDM has a new logo and redesign launching before summer is out. Now I have the phrase that will go on the back.

Alternatively, these:

WATCH MY HAND. IT GOES DOOT DOOT DOOT DOOT”

youre beyond a CD player.

And the best:

So you cant pllay a keyboard? COOL! ME NEITHER! MIDI bro.

OSC is the latest fuckin craze.

get your script on bitch.

Printed.

Framed.

throw down some smpte on another track to sync some tailored visuals too…

I swear I’m going to get motion back up, too.

Actually, as I’m playing this weekend, I’ve composed my own little poem, in the style of deadmau5. People ask me about my own story, so here it is.

I’m setting an egg timer and briefly pretending I don’t know how to type in the hopes that it will come out like a deadmau5 Tumblr rant.

so, im actually like this composer whatever in new york but i turn into this cdm blogger man.

and im making music im like fuckin aroung with abledong live and that whatever looping stretching thing with all the grain settings long aso i can play a modern dance performance in brooklyn that winds up going for like an hour and i want it to be all ambient.

im making waves. i rinse it. i shave it. shave it all off.

and then im suddenly in berlin and making techno because i went to barghain a few 2 many times and now i dont know i might just dj this weekend just in case people get borded of me lining up claps on my korg volca meeblip rig because you know i listen to some tracks some time and likke to dance san dso they sometimse want me to play the whole damn thing

i show up to club x, i show up to club y, i show up to club xy i really need a booking manager

i never pirated nothing its all nfr nfr nfr

so i get the d2 the native instruments thing maybe i play with stems that’s the new shit like four tracks of whatever so im doing something creative but thats not ready yet i dont no if native instruments is reading this far but yeah im down for some stems

i totally forgot what this was supposed to be about im stopping now.

now everyone in canada knows mu name

i am totally a guy who can use a comupter to make music because create digtial fockin music yo craz cats.

i cant believe i sat through a whole film yestrday that told me computers are shit computers totally arent shit did you hear from deamdouse people areplaying like cds for 200k something? dollars? whoa. i should get into edm. then i could afford a modular i dream of wires right now i can kind of mainly only afford those nfrs and my meeblp which im obligated to tell you is available now from dotcom.

i can totally play a keyboard which is good because if i couldn’t im not sure how id’ fix it with MIDI or osc or the 80s bro.

DANKE SHÖN DIR!

Okay.

That almost sort of worked. Not really.

I really do hope someone in EDM starts playing synth lines over top of their set or adds fireworks and singing ladies behind them or whatever the point of this rant actually was. Sounds good. I … probably won’t get to see it, assuming I do stay away from Electric Daisy Carnival.

But I think deadmau5 didn’t mean the whole IDM scene in general.

  • itchy

    no one cares

    • D

      i care because you do.

  • itchy

    no one cares

    • D

      i care because you do.

  • itchy

    no one cares

    • D

      i care because you do.

      • Yanakyl

        😀

  • Joel’s always been on this tip, going way back before Faxing Berlin. He was never a DJ, always played “Live” (live in the sense of playing his own productions split into stems, at least). Post success he’s been pushing envelopes (heh) in live production and wrestling with how much live vs. pre-recorded you can get away with.

    He’s also in a good position to maybe push some people out of their comfort zone and make more audiences aware that we should expect more out of electronic dance music than someone waving their hands while two CD’s (or increasingly a USB disc) spits out a stream of 0’s & 1’s on what used to be the 1’s and 2’s.

    People just look at his branding and his abrasiveness and dismiss Deadmau5, but from where I sit, nothing’s changed but Joel’s reach from a tiny apt in Canada to the present.
    -JPHX

    • Yeah, and actually examining that question is deeper.

      But I agree with him given the context. If you are playing records (digital, vinyl, CD, I could care less), but if you are, then, playing tracks that aren’t your own, there had better be some reason behind it. For me, that’s selection / mixing / feel, even before we get into more sophisticated techniques.

      But that’s not something that comes across once you’re on festival stages, because those DJs don’t have any freedom to go anywhere. Then it really is someone playing a CD and waving their arms.

      And they do have some freedom to play their own music in new ways, so not doing so is kind of absurd.

      I still find the way he worded it funny, and I say that with affection. 😉

      • Truth. I think a good deal of your/his t-shirt (or bumpersticker) suggestions would move a couple units.

        I’ve been saying “OSC is the latest fuckin craze. get your script on bitch.” to myself all morning personally.

  • Joel’s always been on this tip, going way back before Faxing Berlin. He was never a DJ, always played “Live” (live in the sense of playing his own productions split into stems, at least). Post success he’s been pushing envelopes (heh) in live production and wrestling with how much live vs. pre-recorded you can get away with.

    He’s also in a good position to maybe push some people out of their comfort zone and make more audiences aware that we should expect more out of electronic dance music than someone waving their hands while two CD’s (or increasingly a USB disc) spits out a stream of 0’s & 1’s on what used to be the 1’s and 2’s.

    People just look at his branding and his abrasiveness and dismiss Deadmau5, but from where I sit, nothing’s changed but Joel’s reach from a tiny apt in Canada to the present.
    -JPHX

    • Yeah, and actually examining that question is deeper.

      But I agree with him given the context. If you are playing records (digital, vinyl, CD, I could care less), but if you are, then, playing tracks that aren’t your own, there had better be some reason behind it. For me, that’s selection / mixing / feel, even before we get into more sophisticated techniques.

      But that’s not something that comes across once you’re on festival stages, because those DJs don’t have any freedom to go anywhere. Then it really is someone playing a CD and waving their arms.

      And they do have some freedom to play their own music in new ways, so not doing so is kind of absurd.

      I still find the way he worded it funny, and I say that with affection. 😉

      • Truth. I think a good deal of your/his t-shirt (or bumpersticker) suggestions would move a couple units.

        I’ve been saying “OSC is the latest fuckin craze. get your script on bitch.” to myself all morning personally.

  • Joel’s always been on this tip, going way back before Faxing Berlin. He was never a DJ, always played “Live” (live in the sense of playing his own productions split into stems, at least). Post success he’s been pushing envelopes (heh) in live production and wrestling with how much live vs. pre-recorded you can get away with.

    He’s also in a good position to maybe push some people out of their comfort zone and make more audiences aware that we should expect more out of electronic dance music than someone waving their hands while two CD’s (or increasingly a USB disc) spits out a stream of 0’s & 1’s on what used to be the 1’s and 2’s.

    People just look at his branding and his abrasiveness and dismiss Deadmau5, but from where I sit, nothing’s changed but Joel’s reach from a tiny apt in Canada to the present.
    -JPHX

    • Yeah, and actually examining that question is deeper.

      But I agree with him given the context. If you are playing records (digital, vinyl, CD, I could care less), but if you are, then, playing tracks that aren’t your own, there had better be some reason behind it. For me, that’s selection / mixing / feel, even before we get into more sophisticated techniques.

      But that’s not something that comes across once you’re on festival stages, because those DJs don’t have any freedom to go anywhere. Then it really is someone playing a CD and waving their arms.

      And they do have some freedom to play their own music in new ways, so not doing so is kind of absurd.

      I still find the way he worded it funny, and I say that with affection. 😉

      • Truth. I think a good deal of your/his t-shirt (or bumpersticker) suggestions would move a couple units.

        I’ve been saying “OSC is the latest fuckin craze. get your script on bitch.” to myself all morning personally.

  • Alien Blip Machines

    That’s some next level William Burroughs cut-up sh*t 🙂

  • Alien Blip Machines

    That’s some next level William Burroughs cut-up sh*t 🙂

  • Alien Blip Machines

    That’s some next level William Burroughs cut-up sh*t 🙂

  • experimentaldog

    I’ve always been confused about a DJ on a stage as opposed to a booth or ground level. A stage is very symbolic, so it inherently cries for some sort of performance with all eyes forward. The D in EDM seems to point to what the audience should do rather than what they should be looking at. What still confuses me though, is that if a producer decides to perform with stems, raw MIDI, OSC etc., yet has a laptop in the same place as a DJ would on the same stage that DJs are using, would much of the audience be able tell or care between a DJ set or a Live set? I’m not sure how many have had this, but I’ve encountered the much dreaded case of “you look like a DJ, do you take requests?” in a Live set of my own material, some of which was even generative algorithms. I don’t really think many people can tell if much electronic music is “live” or not. It’s not as if they can see the process under the hood. Instruments hold a symbolic weight that differs from the associations many have around laptops or CDJs. These objects are strongly associated to performance, yet a laptop or CDJs are strongly associated with playing fixed-media. I think deadmau5 hides behind the stage-spectacle a bit and I think his criticism has a bit to do with his own insecurity of his performances. At the same time he’s been on the up in the EDM world, it’s been interesting to see guys like James Holden move away from the big spectacle to more of a live show with a band and a max for live system that goes flows with the player all hooked to his modular. These are all things Mr. Zimmerman has at his disposal. He just needs to put his poetry into motion.

    • BC Thunderthud

      Yeah, I was going to say something similar. I think Deadmau5’s comments are informed by the fact that he is, and has been for a while, an artist that attracts a concert audience, and if that’s what the theoretical dude he’s addressing aspires to his advice makes a lot of sense. But *dance* music doesn’t always require an “audience” and not every DJ should aspire to be playing concerts. IMO the worst thing you can do is to mistake a club for a concert venue. But then I’m an old person who can remember dance clubs when everyone wasn’t staring in the same direction all night so possibly nobody cares anymore.

    • SomeDude

      @experimentaldog : yeah, i completely agree with that. It’ s mostly a perceptual thing with the audience, and as a performer you have to be aware of that, you have to see it from their point of view. It doesn’t matter that you’re doing all these sophisticated live generative things if all they perceive is a guy standing looking at his laptop ( like some DJs). And unlike other types of music, most electronic musicians perform alone on stage ( mainly due to financial reasons ).

      In the absence of easily recognizable patterns ( guy plucking his guitar strings, pressing keys on his keyboard, etc), the audience needs some sort of cues to understand what’s going on. They have to see a link between the sounds events and the performer gestures triggering those sound events. Otherwide it’s all too confusing , and they’ll just put you in DJ category ( and start making song requests 🙂 )
      In the case of succesfull people like The Mouse, i don’t understand he doesn’t do the obvious thing that will immediately take you out of the DJ perception when playing live: hire additional session keyboardists/drummers/whatever and give them parts to play. He can surely afford that financially ( unlike most lesser known electromusicians )

  • experimentaldog

    I’ve always been confused about a DJ on a stage as opposed to a booth or ground level. A stage is very symbolic, so it inherently cries for some sort of performance with all eyes forward. The D in EDM seems to point to what the audience should do rather than what they should be looking at. What still confuses me though, is that if a producer decides to perform with stems, raw MIDI, OSC etc., yet has a laptop in the same place as a DJ would on the same stage that DJs are using, would much of the audience be able tell or care between a DJ set or a Live set? I’m not sure how many have had this, but I’ve encountered the much dreaded case of “you look like a DJ, do you take requests?” in a Live set of my own material, some of which was even generative algorithms. I don’t really think many people can tell if much electronic music is “live” or not. It’s not as if they can see the process under the hood. Instruments hold a symbolic weight that differs from the associations many have around laptops or CDJs. These objects are strongly associated to performance, yet a laptop or CDJs are strongly associated with playing fixed-media. I think deadmau5 hides behind the stage-spectacle a bit and I think his criticism has a bit to do with his own insecurity of his performances. At the same time he’s been on the up in the EDM world, it’s been interesting to see guys like James Holden move away from the big spectacle to more of a live show with a band and a max for live system that goes with the band and flows with the player all hooked to his modular. These are all things Mr. Zimmerman has at his disposal. He just needs to put his poetry into motion.

    • BC Thunderthud

      Yeah, I was going to say something similar. I think Deadmau5’s comments are informed by the fact that he is, and has been for a while, an artist that attracts a concert audience, and if that’s what the theoretical dude he’s addressing aspires to his advice makes a lot of sense. But *dance* music doesn’t always require an “audience” and not every DJ should aspire to be playing concerts. IMO the worst thing you can do is to mistake a club for a concert venue. But then I’m an old person who can remember dance clubs when everyone wasn’t staring in the same direction all night so possibly nobody cares anymore.

    • SomeDude

      @experimentaldog : yeah, i completely agree with that. It’ s mostly a perceptual thing with the audience, and as a performer you have to be aware of that, you have to see it from their point of view. It doesn’t matter that you’re doing all these sophisticated live generative things if all they perceive is a guy standing looking at his laptop ( like some DJs). And unlike other types of music, most electronic musicians perform alone on stage ( mainly due to financial reasons ).

      In the absence of easily recognizable patterns ( guy plucking his guitar strings, pressing keys on his keyboard, etc), the audience needs some sort of cues to understand what’s going on. They have to see a link between the sounds events and the performer gestures triggering those sound events. Otherwide it’s all too confusing , and they’ll just put you in DJ category ( and start making song requests 🙂 )
      In the case of succesfull people like The Mouse, i don’t understand he doesn’t do the obvious thing that will immediately take you out of the DJ perception when playing live: hire additional session keyboardists/drummers/whatever and give them parts to play. He can surely afford that financially ( unlike most lesser known electromusicians )

  • experimentaldog

    I’ve always been confused about a DJ on a stage as opposed to a booth or ground level. A stage is very symbolic, so it inherently cries for some sort of performance with all eyes forward. The D in EDM seems to point to what the audience should do rather than what they should be looking at. What still confuses me though, is that if a producer decides to perform with stems, raw MIDI, OSC etc., yet has a laptop in the same place as a DJ would on the same stage that DJs are using, would much of the audience be able tell or care between a DJ set or a Live set? I’m not sure how many have had this, but I’ve encountered the much dreaded case of “you look like a DJ, do you take requests?” in a Live set of my own material, some of which was even generative algorithms. I don’t really think many people can tell if much electronic music is “live” or not. It’s not as if they can see the process under the hood. Instruments hold a symbolic weight that differs from the associations many have around laptops or CDJs. These objects are strongly associated to performance, yet a laptop or CDJs are strongly associated with playing fixed-media. I think deadmau5 hides behind the stage-spectacle a bit and I think his criticism has a bit to do with his own insecurity of his performances. At the same time he’s been on the up in the EDM world, it’s been interesting to see guys like James Holden move away from the big spectacle to more of a live show with a band and a max for live system that goes with the band and flows with the player all hooked to his modular. These are all things Mr. Zimmerman has at his disposal. He just needs to put his poetry into motion.

    • BC Thunderthud

      Yeah, I was going to say something similar. I think Deadmau5’s comments are informed by the fact that he is, and has been for a while, an artist that attracts a concert audience, and if that’s what the theoretical dude he’s addressing aspires to his advice makes a lot of sense. But *dance* music doesn’t always require an “audience” and not every DJ should aspire to be playing concerts. IMO the worst thing you can do is to mistake a club for a concert venue. But then I’m an old person who can remember dance clubs when everyone wasn’t staring in the same direction all night so possibly nobody cares anymore.

    • SomeDude

      @experimentaldog : yeah, i completely agree with that. It’ s mostly a perceptual thing with the audience, and as a performer you have to be aware of that, you have to see it from their point of view. It doesn’t matter that you’re doing all these sophisticated live generative things if all they perceive is a guy standing looking at his laptop ( like some DJs). And unlike other types of music, most electronic musicians perform alone on stage ( mainly due to financial reasons ).

      In the absence of easily recognizable patterns ( guy plucking his guitar strings, pressing keys on his keyboard, etc), the audience needs some sort of cues to understand what’s going on. They have to see a link between the sounds events and the performer gestures triggering those sound events. Otherwide it’s all too confusing , and they’ll just put you in DJ category ( and start making song requests 🙂 )
      In the case of succesfull people like The Mouse, i don’t understand he doesn’t do the obvious thing that will immediately take you out of the DJ perception when playing live: hire additional session keyboardists/drummers/whatever and give them parts to play. He can surely afford that financially ( unlike most lesser known electromusicians )

  • Amen! I love it whenever deadmau5 does stuff like this. It’s his unique contribution IMO.

    And if you’re doing this in your room/studio/house, take it to a venue, or chuck it up on youtube. I’m sure there are many more doing interesting interactive things at home and not sharing.

    Do a “disembodied hands” like Chris Randall! http://www.analogindustries.com/b1905/The+Origin+Of+The+Species/

    (I’m working on taking my own advice.)

  • Amen! I love it whenever deadmau5 does stuff like this. It’s his unique contribution IMO.

    And if you’re doing this in your room/studio/house, take it to a venue, or chuck it up on youtube. I’m sure there are many more doing interesting interactive things at home and not sharing.

    Do a “disembodied hands” like Chris Randall! http://www.analogindustries.com/b1905/The+Origin+Of+The+Species/

    (I’m working on taking my own advice.)

  • Amen! I love it whenever deadmau5 does stuff like this. It’s his unique contribution IMO.

    And if you’re doing this in your room/studio/house, take it to a venue, or chuck it up on youtube. I’m sure there are many more doing interesting interactive things at home and not sharing.

    Do a “disembodied hands” like Chris Randall! http://www.analogindustries.com/b1905/The+Origin+Of+The+Species/

    (I’m working on taking my own advice.)

  • rat

    deadmau5 is just jealous he’s not the aphex twin or in autechre

  • rat

    deadmau5 is just jealous he’s not the aphex twin or in autechre

  • rat

    deadmau5 is just jealous he’s not the aphex twin or in autechre

  • PaulDavisTheFirst

    there’s a different avenue one can approach this from, one about as far away from DJ’s as you can get.

    i saw steve roach, a 30+ year veteran of electronic (ambient/soundfield/space) music, years ago at a Gatherings concert here in philadelphia. i love roach’s music and it was great to listen to it in a beautiful church with others. but he came back the following year and did a Q&A session before that show. i got to ask him about the sense that he wasn’t really performing very much of the music at all, that most of the show seemed to be about using a mixing console to put together existing pieces that were largely similar to released tracks, and then noodling 1 extra keyboard layer on top.

    roach was gracious in his answer. he explained that most of his pieces now are too multi-layered and too dense in terms of synth programming for him to really create them on the fly in a live setting. it just takes much more work than he could do during a show.

    i respected the answer, but decided i would limit myself to listening to roach at home, since the live experience really didn’t add much.

    however, roach recently released a new album (skeleton keys) which is just about 100% hardware sequencers driving an analog modular. should this change my stance on seeing him live when he’s back in philadelphia this fall? i haven’t decided yet.

    • j

      The show though can be so much more than what he may or may not be doing – the crowd, the soundsystem, the vibe from just the presence of such a legend, the atmosphere. I would go just for the excuse to listen to it in a different setting than the home, and that’d be enough.
      Bonus points for supporting the musician more directly.

  • PaulDavisTheFirst

    there’s a different avenue one can approach this from, one about as far away from DJ’s as you can get.

    i saw steve roach, a 30+ year veteran of electronic (ambient/soundfield/space) music, years ago at a Gatherings concert here in philadelphia. i love roach’s music and it was great to listen to it in a beautiful church with others. but he came back the following year and did a Q&A session before that show. i got to ask him about the sense that he wasn’t really performing very much of the music at all, that most of the show seemed to be about using a mixing console to put together existing pieces that were largely similar to released tracks, and then noodling 1 extra keyboard layer on top.

    roach was gracious in his answer. he explained that most of his pieces now are too multi-layered and too dense in terms of synth programming for him to really create them on the fly in a live setting. it just takes much more work than he could do during a show.

    i respected the answer, but decided i would limit myself to listening to roach at home, since the live experience really didn’t add much.

    however, roach recently released a new album (skeleton keys) which is just about 100% hardware sequencers driving an analog modular. should this change my stance on seeing him live when he’s back in philadelphia this fall? i haven’t decided yet.

    • j

      The show though can be so much more than what he may or may not be doing – the crowd, the soundsystem, the vibe from just the presence of such a legend, the atmosphere. I would go just for the excuse to listen to it in a different setting than the home, and that’d be enough.
      Bonus points for supporting the musician more directly.

  • PaulDavisTheFirst

    there’s a different avenue one can approach this from, one about as far away from DJ’s as you can get.

    i saw steve roach, a 30+ year veteran of electronic (ambient/soundfield/space) music, years ago at a Gatherings concert here in philadelphia. i love roach’s music and it was great to listen to it in a beautiful church with others. but he came back the following year and did a Q&A session before that show. i got to ask him about the sense that he wasn’t really performing very much of the music at all, that most of the show seemed to be about using a mixing console to put together existing pieces that were largely similar to released tracks, and then noodling 1 extra keyboard layer on top.

    roach was gracious in his answer. he explained that most of his pieces now are too multi-layered and too dense in terms of synth programming for him to really create them on the fly in a live setting. it just takes much more work than he could do during a show.

    i respected the answer, but decided i would limit myself to listening to roach at home, since the live experience really didn’t add much.

    however, roach recently released a new album (skeleton keys) which is just about 100% hardware sequencers driving an analog modular. should this change my stance on seeing him live when he’s back in philadelphia this fall? i haven’t decided yet.

    • j

      The show though can be so much more than what he may or may not be doing – the crowd, the soundsystem, the vibe from just the presence of such a legend, the atmosphere. I would go just for the excuse to listen to it in a different setting than the home, and that’d be enough.
      Bonus points for supporting the musician more directly.

  • Foosnark

    X Shitfest was okay, but it’s been downhill since VII Shitfest. I probably won’t bother going to XI Shitfest.

    • synthtrip

      lol nice

  • Foosnark

    X Shitfest was okay, but it’s been downhill since VII Shitfest. I probably won’t bother going to XI Shitfest.

    • synthtrip

      lol nice

  • Foosnark

    X Shitfest was okay, but it’s been downhill since VII Shitfest. I probably won’t bother going to XI Shitfest.

    • synthtrip

      lol nice

  • cansinismo

    …said the guy who admitted he just presses play so the video + lights stay in sync. Couldn’t hear any of the rest over the sound of my own snores, sorry.

    • cansinismo

      p.d.: your greytext at the end was the funniest thing I’ve ever read on CDM, bravo or liek whatevs

  • cansinismo

    …said the guy who admitted he just presses play so the video + lights stay in sync. Couldn’t hear any of the rest over the sound of my own snores, sorry.

    • cansinismo

      p.d.: your greytext at the end was the funniest thing I’ve ever read on CDM, bravo or liek whatevs

  • cansinismo

    …said the guy who admitted he just presses play so the video + lights stay in sync. Couldn’t hear any of the rest over the sound of my own snores, sorry.

    • cansinismo

      p.d.: your greytext at the end was the funniest thing I’ve ever read on CDM, bravo or liek whatevs

  • chaircrusher

    JUL 29201deadmau5
    is dance Music’s original Bro from Progressive.

    I like everything about him except his music.

    There are so many people making compelling music, I can’t imagine paying money to see or hear him play. It’s fun that he’s calling out DJs, because the kind of DJs he’s talking about are jokes. But no one ever accused Ron Hardy or Frankie Knuckles or Terrence Parker of not doing enough of a performance; they do what a DJ is supposed to do, which is a much bigger thing than pressing play. And if you have to ask what they do/did then you don’t understand DJing.

  • chaircrusher

    JUL 29201deadmau5
    is dance Music’s original Bro from Progressive.

    I like everything about him except his music.

    There are so many people making compelling music, I can’t imagine paying money to see or hear him play. It’s fun that he’s calling out DJs, because the kind of DJs he’s talking about are jokes. But no one ever accused Ron Hardy or Frankie Knuckles or Terrence Parker of not doing enough of a performance; they do what a DJ is supposed to do, which is a much bigger thing than pressing play. And if you have to ask what they do/did then you don’t understand DJing.

  • chaircrusher

    JUL 29201deadmau5
    is dance Music’s original Bro from Progressive.

    I like everything about him except his music.

    There are so many people making compelling music, I can’t imagine paying money to see or hear him play. It’s fun that he’s calling out DJs, because the kind of DJs he’s talking about are jokes. But no one ever accused Ron Hardy or Frankie Knuckles or Terrence Parker of not doing enough of a performance; they do what a DJ is supposed to do, which is a much bigger thing than pressing play. And if you have to ask what they do/did then you don’t understand DJing.

  • Techno lad

    It’s bollocks, no one cares what your doing they are their to rave and dance the night away. I’m sure I remember him saying somthing like “oh some guys into producing will wonder what gear he’s using” don’t quote me though. Ultimately it’s djs, and dj producers. Personally I don’t like doing shows I’m a musician and producer engineer I love the studio, I get a buzz making techno that’s it. If people play my unknown tracks in sets on dance tripping I’m honored thousands of people danced and had a great time, this guy takes it way to seriously and it’s a shame. I do get his point, people like him do deserve allot of respect for calling out the no ones in the industry who just turn up with CDs. I do not agree with that if you are a dj producer.

  • Techno lad

    It’s bollocks, no one cares what your doing they are their to rave and dance the night away. I’m sure I remember him saying somthing like “oh some guys into producing will wonder what gear he’s using” don’t quote me though. Ultimately it’s djs, and dj producers. Personally I don’t like doing shows I’m a musician and producer engineer I love the studio, I get a buzz making techno that’s it. If people play my unknown tracks in sets on dance tripping I’m honored thousands of people danced and had a great time, this guy takes it way to seriously and it’s a shame. I do get his point, people like him do deserve allot of respect for calling out the no ones in the industry who just turn up with CDs. I do not agree with that if you are a dj producer.

  • Techno lad

    It’s bollocks, no one cares what your doing they are their to rave and dance the night away. I’m sure I remember him saying somthing like “oh some guys into producing will wonder what gear he’s using” don’t quote me though. Ultimately it’s djs, and dj producers. Personally I don’t like doing shows I’m a musician and producer engineer I love the studio, I get a buzz making techno that’s it. If people play my unknown tracks in sets on dance tripping I’m honored thousands of people danced and had a great time, this guy takes it way to seriously and it’s a shame. I do get his point, people like him do deserve allot of respect for calling out the no ones in the industry who just turn up with CDs. I do not agree with that if you are a dj producer.

  • cooptrol

    I was playing at a small club in Berlin a couple months ago, with all my hardware on display at audience level, and a guy came to me showing his phone screen with the Shazam app, and asked me what was the ID of the track that was coming out of the speakers cos the app wouldn’t recognize it. This happened in Berlin of all places. I think most people is not even capable of telling the difference between a CDJ, a turntable, a mixer, a laptop, a controller, a synth, a drum machine or whatever. Most of them DON’T EVEN WANT TO, consciously. They just want to A) party and get high, and/or B) listen and dance to music they think they like. Sorry Joel… there’s no going back from this state of things.

  • cooptrol

    I was playing at a small club in Berlin a couple months ago, with all my hardware on display at audience level, and a guy came to me showing his phone screen with the Shazam app, and asked me what was the ID of the track that was coming out of the speakers cos the app wouldn’t recognize it. This happened in Berlin of all places. I think most people is not even capable of telling the difference between a CDJ, a turntable, a mixer, a laptop, a controller, a synth, a drum machine or whatever. Most of them DON’T EVEN WANT TO, consciously. They just want to A) party and get high, and/or B) listen and dance to music they think they like. Sorry Joel… there’s no going back from this state of things.

  • cooptrol

    I was playing at a small club in Berlin a couple months ago, with all my hardware on display at audience level, and a guy came to me showing his phone screen with the Shazam app, and asked me what was the ID of the track that was coming out of the speakers cos the app wouldn’t recognize it. This happened in Berlin of all places. I think most people is not even capable of telling the difference between a CDJ, a turntable, a mixer, a laptop, a controller, a synth, a drum machine or whatever. Most of them DON’T EVEN WANT TO, consciously. They just want to A) party and get high, and/or B) listen and dance to music they think they like. Sorry Joel… there’s no going back from this state of things.