Just announced on Sept 4th, the merging of Serato’s DJ softwares has begun – bringing DVS support to Serato DJ with the launch of a new version of the program, 1.5. The announcement comes in tandem with three new pieces of gear: the Rane Sixty-Four mixer, a Pioneer DJM-900 SRT Serato DJ Edition, and the Pioneer DDJ-SP1 controller.
As many industry experts predicted, developing three different programs (Scratch Live, DJ, DJ Intro) would serve only to frustrate and bog down Serato’s development cycle – and that a unification between them would be inevitable. Today we get to see the complete plan:
October 2013: 1.5 Release – Vinyl and CDJ control added to Serato DJ for the new mixers
December 2013: 1.6 Beta – Beta DVS support for Sixty-Eight, Sixty-Two, Sixty-One, SL2, SL3, SL4
February 2014: 1.6 Release – Full DVS support for above mixers + soundcards
Serato is bringing their trademarked NoiseMap DVS technology from Scratch Live into Serato DJ, meaning that you’re not going to need new timecode CDs/vinyl, and that it will continue to be the same reliable engine that DVS users have grown highly accustomed to performing under pressure.
End Of The Line: Of note, the Rane SL1 and Rane 57SL will not be receiving DVS support – apparently the technology in the soundcards in each is too limiting to be supported in Serato DJ.
Watch Serato’s CEO Sam Gribben detail more information about the future of Serato Scratch Live, Serato DJ, and more in the video below:
Dan White (Via DJTechTools.com)
It could be argued that Eventbrite helped pave the way for studies on dance music culture when it conducted an ‘EDM Audience Analysis‘ in March 2014. The main takeaway from Eventbrite’s study was that dance music social media users are far more vocal on their pages compared to their general music counterparts, thus driving the genre’s unprecedented success.
Now, Google tries its hand at what is essentially an ‘EDM for Dummies’ — a brief study that breaks down dance music to its core, even defining the term “EDM” for those who are uninformed. Using Google and YouTube’s internal data between January and July of 2014, the study depicts the staggering increase in subscriptions to EDM channels: 60% on smartphones, 77% on TVs and 175% on gaming devices. Additionally, YouTube racked up an impressive 2.3 billion views and 8.4 million likes on the official videos of nine dance-influenced tracks listed in Billboard’s Hot 100 for 2014. Some of these include “Turn Down for What,” “Wake Me Up,” “Latch” and “Animals.”
Aside from resonating Eventbrite’s point that electronic music listeners are more likely to be tech-savvy and to engage in social media, Google’s study does return with one fascinating insight: not all EDM fans are teenagers and young adults. While those under 25 tend to view the most dance-related content on YouTube, interest in the genre among individuals between 35 and 49 skyrocketed 80% from January to July in 2014. Furthermore, the older millennial age bracket consisting of 25 to 34-year-olds saw the largest growth compared to all other audience segments.
Check out the full study
Posted by Lizzie Renck (via
Many were flabbergasted to find out just how much Lil Wayne was suing Cash Money Records for: $51 million dollars.
But it’s true. On Thursday, Jan. 29, a 21-page lawsuit surfaced on to the Internet. Within the lines of the documents, it breaks down the record contract between Cash Money and Lil Wayne, amendments, and what is owed, and why.
As TMZ reported, Lil Wayne is owed $10 million, solely for the recording and completion of Tha Carter V: “Cash Money agreed to pay Carter an advance of Ten Million Dollars ($10,000,000.00) per solo album, with Eight Million Dollars ($8,0000,000.00) to be paid upon the commencement of the recording of each solo album and the remaining Two Million Dollars ($2,000,000.00) to be paid upon deliver of such album to Cash Money.”
Also, “Cash Money has failed to properly account and pay royalties and profits to Young Money LLC. While Cash Money needed Weezy and Young Money’s approval for marketing expenses greater than $300,000.00, they did not do so, and Cash Money “claims millions of dollars in marketing expenses for the Young Money Label.”
On top of suing Cash Money, Wayne plans to take all his Young Money artists — including Nicki Minaj and Drake — when he parts ways with the label.
Back once again! It’s Alex Dreamz and I hope 2015 is starting off for you really well CK fam! I’m in Cancun at the moment planning our music video for our first beatport single called “Cancun X” and of course our Club Killers Spring Break takeover here in Cancun this upcoming March.
Today I’m also recording the last edition of Club Killers Radio best of 2014, part 1 of our series hit over 40,0000 plays in first week and here we bring you part 2 of the Best of 2014 series, this edition is more on Hip Hop influenced and features a load of trap & twerk. You can most def expect a tons of Club Killers Remix on this one!
Check out the full track list of part 2 here:
01. Jack U ft Kiesza – Take U There (Original Mix) CK Cut
02. Steve Angello – Knas (Dillon Francis Remix) CK Cut
03. Kendrick Lamar vs Grandtheft – Maad City (JD Live 100 Bootleg)
04. Iggy Azalea ft Rita Ora – Black Widow (Alvaro Bootleg) CK Cut
05. 2 Chainz – Where You Been? (Antiserum Remix) CK Cut
06. Martin Garrix, Jay Hardway – Wizard (Yellow Claw Remix)
07. Alesso ft Tove Lo – Heroes (Grandtheft Remix)
08. Yellow Claw ft Rochelle – Shotgun (Original Mix)
09. OT Genasis – Coco (TrapZillas Remix)
10. Rae Sremmurd – No Type (Club Killers Remix)
11. Calvin Harris – Summer (Club Killers vs Diplo VIP Edit)
12. Showtek – Booyah (4B Jersey Club Remix)
13. Yellow Claw & Mightyfools – Lick Dat (Original Mix)
14. DJ Snake ft Lil Jon – Turn Down For What (Original Mix)
15. Yellow Claw – DJ Turn It Up (Original Mix) CK Cut
16. Jeremih ft 50 Cent – Down On Me (DJ Valid Remix)
17. Usher ft Lil Jon – Yeah (DJ Madness Remix)
18. Fatboy Slim – Eat Sleep Rave Repeat (DJ Valid Remix)
19. Lil Jon – Bend Ova (Deville vs JD Live VIP Flip Edit)
20. Beenie Man – Dude (Ape Drums & Phat Deuce Remix)
21. Yellow Claw – Dancfloor Champion (Kingz Bring Em Out Edit)
22. Ester Dean – Drop It Low (Club Killers Remix)
23. Drake – O to 100 (Grandtheft Bootleg) CK Cut
24. Round2Crew – Booty Had Me Like (Club Killers Remix)
25. Chris Brown – Loyal (Club Killers Edit)
26. Iggy Azalea ft Charli XCX – Fancy (GTA Remix) CK Cut
27. Jason Derulo – Wiggle (DJ Bravo Remix) CK Cut
28. Dillon Francis & DJ Snake – Get Low (Original Mix) CK Cut
29. Jason Derulo ft 2 Chainz – Talk Dirty (Club Killers Remix)
30. Drake, Nicki Minaj, Lil Wayne – Truffle Butter (Club Killers Edit)
We have quite the Wicked Whisper & Racy Rumor this morning!
Las Vegas insiders are agog this morning with rumors that in the continuing war among rival Strip nightclubs, The Hakkasan Group is about to announce that it has locked up 31-year-old superstar DJ Calvin Harris for a new, three-year exclusive deal on the Strip.
The Wicked whisper is that it took a guaranteed $400,000 a night payday for him to continue spinning at Hakkasan in MGM Grand and and the group’s new Omnia nightclub opening this Spring in Caesars Palace.
AskMen.com is reporting that Hakkasan will make the official announcement very shortly.
Calvin, whose birth name is Adam Wiles, is hailed as one of the Top Three world’s richest DJs, and the new deal funded by Abu Dhabi’s wealthy investment group Tasameem led by Khadem Abdulla Khadem Butti Al Qubaisi, propels him to the rank of top money earner.
That’s ahead of Swedish DJ Avicii and Dutch-born DJ Tiesto, both of whom play at Las Vegas clubs as EDM masters. Tiesto, in fact, just renewed his contract at Hakkasan and celebrated his 46th birthday there.
Last year, Forbes ranked Calvin in the top slot of highest-paid DJs, earning $66 million. Calvin headlined at Hakkasan on New Year’s Eve and Tiesto on New Year’s Day. Hakkasan also is expanding into an ultra high-end chain of branded hotels with the first to open in Dubai in 2017.
Yet another Wicked Whisper today: Is Pharrell set to join Calvin & Co. as a resident at Hakkasan? We are keeping our eyes peeled for confirmation and details.
Meantime, the Strip rivalry for dominance is described by Ask Men as akin to an arms race but simultaneously asks if Las Vegas can sustain the onslaught of growth and mega-sized DJ paychecks resulting in $150 admission — before drinks or bottle service.
Ask Men concludes that for as long as the big-name electronic dance music acts are a giant draw, then the Las Vegas clubs will continue to shell out even higher paychecks to keep the DJs on the Strip.
David Miller (via Las Vegas Sun)
In January 2012, former American Idol judge Simon Cowell announced his plans for a new reality tv show: an “X-Factor for DJs,” of sorts. Later that year, the project was scrapped because Cowell and his production company, Syco, fell into disagreement with then-partner Overbrook Entertainment regarding top billing on the show’s credits. Sony Pictures Entertainment, a second collaborator on the show, also dropped the assignment in failing to find a common ground with Cowell.
Just over two years later, Simon found perhaps an even stronger partner to bring his vision to life: SFX Entertainment. In capitalizing on the explosive nature of dance music, the two are readying themselves to premiere what is tentatively titled “Ultimate DJ,” — an American idol-styled show in which contestants will compete to be voted number one. The series will combine pre-recorded and live segments.
Yahoo will officially serve as the show’s distributor, and will air weekly once it premieres on Yahoo Screen. The platform hopes that by moving toward the music world, it will help capture greater audiences and keep a firm grasp on advertisers. While it is unknown how much Yahoo paid for the forthcoming series, the company may have a chance at profiting from Cowell’s work due to reality shows’ lower production costs.
Despite being condemned by Fatboy Slim and Gorgon City, it seems a bit too soon to predict the series’ success or failure. At its best it will inspire a new age of talent and foster a greater understanding of dance music culture, and at its worst it may fuel the money-hungry, superstar-seeking youth looking to become household names.
Lizzie Renck (via AdAge)