quote:

Originally posted by Ishkur You mean most Producers to DJ most of their music....and the usual suspects are actually in a race to see which one of them can do it first.

Most producers were DJs first, who put together a track to boost their profile. People like Ferry Corsten actually learned to DJ after their productions became successful (allegedly) to earn some extra green.

And Armin's been producing since around 1997. Didn't it take him something like 6 years to put together an artist album?

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Mixes:
> Maximum Elevation [Progressive House]
> DI.FM 26th Anniversary Guest Mix [Progressive House]
> Live @ Dance:Love:Hub London, 11.10.2025
> Higher Peaks [Progressive House]
> Dance:Love:Hub Afterparty (The Return) 23.11.24

Like these sets? Come see me play live at Kibosh in Manchester: https://www.instagram.com/kibosh.mcr/

quote:

Originally posted by SYSTEM-J Most producers were DJs first, who put together a track to boost their profile. People like Ferry Corsten actually learned to DJ after their productions became successful (allegedly) to earn some extra green. And Armin's been producing since around 1997. Didn't it take him something like 6 years to put together an artist album?

i think you got it twisted

it's the other way around DJs became producers because there is more money in production/sales of music. this is why you see producers who earn decent money end up being horrible DJs because DJs get all the fame. So you see DJs want to produce because there is more money in producing and producers want to become DJs because there is more fame in DJing rather than producing.

if you listen to any of the major artist "in the club" prior to them releasing artist albums, you'll see that their track selection consisted of tracks that they DID NOT produce. I think during this time, this was when EDM was at it's best. Once DJs started creating artist albums, each DJ event became an artist album debut which in turn meant that the DJ would craft his set around the main tracks promoting his artist album. Why? his show increases sales for his album, its a vicious marketing cycle in the music industry...money and greed is saturating the true preformance of a DJ these days...its really sad but its the truth...this is the mainstream of the EDM culture...

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quote:

Originally posted by UWM Should they be? No. People are paying to see you do a DJ set .. not a production set. If you have good production skills and are a shit DJ (James Holden of past) you shouldn't be getting booked to DJ, however with good productions comes high sales and notoriety which leads to name recognition which leads to more people coming out to the club to see the DJ because they recognize their name as the producer of a neat song they heard.

+2

Prime Contemporary Examples:

- Andy Moor
- Elevation
- Tocadisco (Both sets I've heard of his made my ears bleed)
- Trifactor

And I'm sure there are more. I'm not saying I'm necessarily a fan (or not) of these guys productions, but they've all basically been booked following decent (to massive size) production releases, yet their DJ sets are significantly lacking in comparison to their peers.

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last minute disco dot net

no. but it helps them get noticed more than someone with no productions.

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quote:

Originally posted by kid nyce i think you got it twisted it's the other way around DJs became producers because there is more money in production/sales of music. this is why you see producers who earn decent money end up being horrible DJs because DJs get all the fame. So you see DJs want to produce because there is more money in producing and producers want to become DJs because there is more fame in DJing rather than producing.

Come on. There is much less money in producing, especially now. Labels are going out of business and record sales are falling. P2P is killing sales and even legal MP3s retail at much less than a vinyl. Unless you're a big name producer, there's not much money to be made. However, if you have a reasonable profile, you can earn a grand a week DJing easily.

___________________
Mixes:
> Maximum Elevation [Progressive House]
> DI.FM 26th Anniversary Guest Mix [Progressive House]
> Live @ Dance:Love:Hub London, 11.10.2025
> Higher Peaks [Progressive House]
> Dance:Love:Hub Afterparty (The Return) 23.11.24

Like these sets? Come see me play live at Kibosh in Manchester: https://www.instagram.com/kibosh.mcr/

If they can actually dj & construct a set, then I would say yes.

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Tidy & Extreme Euphoria @ Heaven
28th April 2006
Trance room with - Lee Haslam, K.A.R.L., Jurrane, Markus Buhmann b2b Matt Dahl

quote:

Originally posted by SYSTEM-J Come on. There is much less money in producing, especially now. Labels are going out of business and record sales are falling. P2P is killing sales and even legal MP3s retail at much less than a vinyl. Unless you're a big name producer, there's not much money to be made. However, if you have a reasonable profile, you can earn a grand a week DJing easily.

Or when iTunes drops a 3.3M digital distribution rights on your table followed by a handful of other digital distribution rights stacked up, but no you do have a point, gigs generate great lum-sums of money but record sales is an ongoing and always will be an ongoing revenue generater.

i'm not saying gigs don't bring in cash, i'm just saying record sales is a revenue-line that never gets depleated nor do you have to dedicate hours on an airplane to get that money.

i work in business and i analyze sales, market share percentage, and GAPs...trust me sales is one of the main arteries in any revenue line...even in a service industry such as entertainment, you can only "entertain" so much in one city...what better way to suck more money out of that city by dropping an album which could potentially sell for the months you aren't in that city doing that gig. multiply that by the fame you've created (such as tiesto) in addition to those gigs you do, cmon the music industry ain't that dumb...it's the cycle of business for mainstream music industrialist.

for example here in the US we have "concerts and tours" that are used to promote album releases. singers, rock bands, all generate revenue from selling cds. same theory applies to a DJ, he just doesn't sing or play an instrument, he plays a record of the track he produced at his gig so it compliments the album more than it compliments the show. being that the show/gig is what made them get to where they are now. this is a domestic marketing strategy applied to a european musical influence and that musical influence has such mass appeal that it's nearing mainstream pop/rock. MTV using soundbytes from electronic tracks, pvd's nothing but you is the soundtrack to Vail's Snow Resort commercial, and you're going to tell me DJs produce because there ain't no money in production. if there were no money in production (anything, retail sales, fashion, music) then why do materialistic things have a value associate with it?

Be realistic about it, it's the truth...

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I PUT TRADEMARKS AROUND YO MOTHAFUCKIN EYE
JUST ME N YOU

no

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insignificant cor member alliance

quote:

Originally posted by kid nyce Or when iTunes drops a 3.3M digital distribution rights on your table followed by a handful of other digital distribution rights stacked up, but no you do have a point, gigs generate great lum-sums of money but record sales is an ongoing and always will be an ongoing revenue generater.

Yes, but the ongoing revenue is very small. Trance music is not very commercially successful, especially not now. Seven years ago, a popular track could break through and expect to 10,000+ copies easily, but it doesn't happen now. Most DJs come producers only release singles, with (compiled) artist albums following down the line. Trance singles don't sell very much. Their core market is usually DJs and die-hard fans. It's not like they're going to get radio and TV support, and label backing. It's a case of getting a tune out on single so other jocks can play it and raise the producer's profile, meaning he gets booked more often.

95% of trance producers aren't as popular as PVD, Tiesto or the other big guns, so can't expect their singles to sell big numbers, or their albums to be marketed. Your model may apply to mainstream and successful acts, but it doesn't apply to trance.

___________________
Mixes:
> Maximum Elevation [Progressive House]
> DI.FM 26th Anniversary Guest Mix [Progressive House]
> Live @ Dance:Love:Hub London, 11.10.2025
> Higher Peaks [Progressive House]
> Dance:Love:Hub Afterparty (The Return) 23.11.24

Like these sets? Come see me play live at Kibosh in Manchester: https://www.instagram.com/kibosh.mcr/

i really think we got off topic with this discussion, but the fact of the matter is i believe most were DJs before producing their own tracks. DJs shouldn't be booked based on their production strength, a DJ is a DISC JOCKY, someone who plays records. Prior to 99-00 most DJs never really played their own "productions", maybe their version of a track (aka remix) but never their own sole production. It defeats the purpose of being called a DJ. If we were to go to a gig based on a DJs production, I wouldn't call it going to see DJ xxxx, it should be I'm going to see producer andy moor at...

my vote goes for a NO, DJs shouldn't be booked on the strength of their productions....I'm dying to hear a ColumbiaHalle PVD type of set or a Tiesto EAU 2Yr set, you know when DJs dropped a collection of productions aka classic choons.

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I PUT TRADEMARKS AROUND YO MOTHAFUCKIN EYE
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I don't think production is all, but it is some kind of help basically. for example luke chable is famous for his productions but his sets the most part imo are fucking boring, and thats very opposite to say matthew dekay case.

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http://www.soundhouse.co.jp/show/musikmesse2006/dj/CDJ1000-2.jpg

As a fan, no. As a promoter, yes.