Mark Sparrow

Senior Contributor

Technology journalist specializing in audio, computing and photography.

Technics has joined forces with Lamborghini, the Italian automobile marque, to produce the … [+]TECHNICS

Have you ever fancied taking a Lamborghini for a spin? Well, you’re probably not on your own and now you can if you buy the latest product from Technics. The classic Japanese audio brand has joined forces with Lamborghini, the Italian automobile marque, to produce the SL-1200M7B, a special-edition turntable based on the Technics SL-1200MK7/SL-1210MK7 DJ models.

Since the launch of the original SL-1200 turntable, Technics has sold more than 3.5 million units of these robust turntables which have become a design classic. And despite coming from completely different markets, looking back on their approximately 60-year history, both Automobili Lamborghini and Technics believe they have more in common than you might think in terms of their approach to technology and innovation.

Although the SL-1200M7B is based on the SL-1200MK7/SL-1210MK7 models, its design is influenced by Lamborghini’s iconic Y-shape. The three colors used on the turntable are inspired by three iconic Lamborghini colors: Arancio Apodis, Verde Shock and Giallo Athon.

Anyone buying the SL-1200M7B will also receive an exclusive gift of a vinyl record featuring the powerful engine and driving sounds of five flagship V12 Lamborghinis, recorded specially for the project. The vinyl is also a picture disc with an image of a tire from Lamborghini’s latest model, the Revuelto.

The SL-1200M7B features a coreless direct drive motor with stable rotation that’s free of cogging and with a powerful torque. The turntable’s highly sensitive tonearm accurately tracks the signal engraved into the record’s groove. Meanwhile, the platter is a two-layer structure with improved vibration and damping performance.

The rigid cabinet of the SL-1200M7B also has a damping insulator to isolate vibrations, even when it’s used under harsh operating conditions. There is also an adjustment for the turntable’s starting torque and braking speed. Pitch control enables accurate and stable pitch adjustment, while the reverse play function makes the turntable ideal for DJ use. Finally, the stylus is illuminated with a long-life LED that has high-brightness levels.

There have never been more ways to make money as a DJ.
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Here’s a curated playlist of money-making moves that can boost your bank account on and off the decks:

• Event Promotion: Start hosting and promoting your own events. It’s not just about the music; it’s about creating unforgettable experiences that resonate with your audience.
• Custom Mixes: Whether it’s a high-energy gym session, a classy restaurant ambience, or the thrill of a basketball game, reach out to businesses & business owners to create bespoke mixes.
• DJ Drops and Freelance Gigs: Platforms like Fiverr offer a stage to sell unique DJ drops or custom soundtracks. You can see what’s working for others and build a service that will sell.
• Dive into music production. You don’t have to be Calvin Harris to make money from music production. You can make music for up-and-coming DJs or artists. Create royalty-free music & sound and license your sounds.
• Teach: Share your skills through tutorials or classes. Whether it’s 1-1 lessons or creating a Youtube channel, teaching can be just as profitable as entertainment.
• Gear Rental: Got extra equipment? Rent it out. Your idle gear could be someone else’s treasure, especially for those just starting their DJ journey or for DJs wanting to hire equipment for a private gig.
• Sell your vinyl: Flip old records for new revenue. Collect, curate, and cash in on your old collection.
• Digital Tips: Build a following on platforms like Mixcloud, where fans can tip you directly or pay a subscription to your exclusic
• Sell your mixes on USB drives. These can include exclusive DJ edits with intros and outros or unique mashups.
• Streaming: Live-stream your sessions on Twitch or TikTok to capture a wider audience and unlock sponsorship and collaboration opportunities

Click on picture above for more information from Crossfader

It was a few weeks back, late at night, I’m in bed, and my phone started pinging,” explains Robin S, the powerhouse vocalist behind Show Me Love, one of the most successful house records ever made. “I stayed half asleep. Then very early in the morning, my son called. I said: ‘Son, I love you but why are you calling me at this time?’ He said: ‘Mom, you’ve got to answer your phone, you’ve got to look at the news – you’re trending all over the place.’”

Robin’s phone was buzzing because Beyoncé had dropped her song Break My Soul at midnight, and it sounded a lot like Show Me Love (Beyoncé credited Show Me Love’s writers Allen George and Fred McFarlane as co-writers). That was just the beginning: it turned out her entire album Renaissance would be an homage to classic vocalists such as Robin , as well as queer cultural highlights (the ballroom scene), produced in collaboration with such dance stars as DJ Honey Dijon and the Chicago producer Green Velvet. Once again, it was the summer of house – only this time it had gone from global dance subculture to the sound of the mainstream.

When house first broke, nearly 40 years ago, the genre seemed to offer a temporary release, rather than longer-term liberation. Yet today it’s clear that the music, which used affordable technology to rework disco, provided a much longer lasting voice to queer, Black and marginalised musicians, DJs and club goers, first in the big cities of the American midwest, then across the world.

From Chicago to New York, Manchester, London, Tokyo, Paris and Berlin, house seeded local scenes and reshaped pop. UK garage, Dutch trance, the Afrobeats of Ghana and Nigeria, Psy-era K-Pop, and Brazilian brega funk all demonstrate how the legacy of house music lives on.

House’s accompanying club culture also changed social orders and leisure spaces, turning parking garages, warehouses, bus depots and department store basements into desirable weekend destinations, while elevating young suburban tearaways from Hayes, Cheadle Hulme, Long Island, Newark and the Jersey Shore to positions of high cultural and social influence.

Now even music’s biggest stars have paid tribute to house music pioneers. As well as Beyoncé Drake’s seventh album, Honestly, Nevermind, draws on contemporary dance music sub-genres such as Jersey club, Baltimore club and South African amapiano; and Kanye West’s eleventh LP, Donda 2, draws on the genre in a more veiled manner. Then there’s Lizzo’s single About Damn Time, which sounds like an early 2000s French touch house cut; Megan Thee Stallion’s track Her, from the album Traumazine, which could pass for a dark, late 90s garage beat; and in the wings, we have Frank Ocean, who’s rumoured to have drawn upon house and techno for his forthcoming album.

What do house’s founders think about these new occupants? We spoke to some of its stars, including Jesse Saunders, the creator of the first commercially released house record; the Ten City pioneers Byron Stingily and Marshall Jefferson; and some of the genre’s biggest vocalists, Robin S and Ultra Nate. Here they recall how they made those early records, reflect on their own legacy and this latest resurgence, and (largely) welcome these prominent new figures into the house they built.

Robin S: ‘People say your song saved my life’

Robin S is the vocalist on the early 1990s house anthem Show Me Love, which Beyoncé interpolated on her single Break My Soul.

I used to love to dance music. I grew up in Queens and I used to go to clubs there and in the city. I was a big fan of Adeva, and I loved that song Big Fun. If it comes on, to this day, I’m on the floor.

When I first heard Show Me Love, I almost turned it down; I didn’t feel like the right person to handle the song. I hadn’t really sung that much dance music before that point. The closest I had come was singing covers of Don’t Stop ’Til You Get Enough and Donna Summer’s Last Dance; I really didn’t have a point of reference.

They [the songwriters Allen George and Fred McFarlane] asked me to listen to the song again, so I went home, put my kids to sleep and made myself pay attention to the words. “Heartbreaks and promises, I’ve had more than my share?” Of course, everyone has experienced that. I realised the song is about real love.

“On the day we recorded it, I had the flu. It was a Saturday afternoon and I was very sick. I didn’t want to renege on my promise to sing, but I really wanted to get it over with.

I improvised that long opening note on the spot. It was not part of the song, but I felt like the song needed an opener.

It wasn’t until the song was out that I learned to love it. I’ve had women come to me, particularly full-figured women – because I’ve always been full-figured – and say “Your song has saved my life. I didn’t think I had anything to offer anyone. You spoke to me and it gave me meaning.” I’ve had LGBTQ [kids] come to me and say ‘I came out on your song. I didn’t have to explain anything to anyone.’

At that point it didn’t matter what the song did or didn’t mean to me. I knew the song was bigger than who I am. I’m the messenger and I had to give the message in the best way I can.

I love the people that I perform in front of. There’s generations! It’s not only people my age, there are kids age five and they’re mouthing the entire song. That’s powerful. I’m just really thankful and grateful.

Beyonce’s Break My Soul is a wonderful homage. Mostly, when people want to pay tribute to your songs, you’re no longer on this earth, you’re gone. I’m thankful that I got my flowers while I’m still alive.

In fact, Beyoncé sent me some real flowers – white roses, and all kinds of other white flowers. The message in the card was beautiful too, about being an inspiration. I don’t know if you can get better than that? Well, maybe being onstage with her, but that’s her decision. Still, never say never?

Jesse Saunders: ‘House music offered a safe space for Black and gay people’

The DJ and producer is widely credited with creating the first commercially released house record, On And On, in 1984. He also produced Love Can’t Turn Around with Farley ‘Jackmaster’ Funk

It’s interesting when people talk about a sudden, renewed interest in house, because millions of people all over the world enjoy house, and have for a long time!

A friend sent me Drake’s album and I was like “Why? I don’t listen to Drake.” My initial reaction to that record was not very good, but I got into the later tracks a little more, they’re really well produced.

Then I heard Beyoncé’s track. It’s nice that she’s trying to do something in that genre.

Some people were being quite critical, but I see myself as more of an ambassador. One of the things I’ve always tried to stress is that house music offered a safe place for Blacks, gays, and people who were different. We are tolerant and we must remain tolerant. Everyone is welcome in our house – we’re not going to kick Beyoncé out for trying to do something that we love so much. That’s the whole idea of what house music is; it’s love and understanding. That’s the theme of every house record with a vocal on it.

Chicago was pretty segregated back then. New York people mixed and mingled, Chicago people didn’t so much. The Playground [the early Chicago house club Saunders ran] was one of the first places in the city where you’d get straight kids, the gay crowd, all these people came together in one place, and it was really interesting.

That said, most of our crowd were straight kids from well-to-do families. And house music was a Black thing. It’s really weird that people come up to me who say “I didn’t know Black people like house music” because that’s how it began.

When I made the first house record, [On and On], I was really trying to replace a record stolen from me at the Playground. I have no idea who stole my records.

The record I really missed [Funky Mix / On And On by MACH]became my signature record. When it went missing, I made my own version. I think that was the spark that lit the fire. People would say: “Hey, Jesse is a DJ and he made a record; I’m a DJ, maybe I can make a record.”

A couple of years later, when Love Can’t Turn Around [with Farley “Jackmaster” Funk] came out, we did a 16-date tour of the UK. It was incredible. We played the London Hippodrome, and to a huge crowd on Barry Island in Wales, which reminded me of Woodstock or something. I had never been to the UK before, and seeing the enthusiasm was great. I wish I could go back to that time.

The best thing about house in the early days was when people finally got it, when they realised they didn’t have to listen to the radio and commercial music any more.

Byron Stingily: ‘House music broke down barriers’

Byron Stingily is a singer-songwriter and lead vocalist in the seminal Chicago house group Ten City

There was a time when disco had ended, but people still loved to dance. Kids were going to these underground parties. They started to call it house, because it was the music that Frankie [Knuckles] played at the Warehouse, but some people called themselves box-heads because of the music [the DJ and house pioneer] Ron Hardy was playing at the Music Box.

I played in a lot of New Wave bands; we liked Yazoo, and people were trying to dress up like A Flock of Seagulls. It was a fun time to be a teenager.

I remember Jesse Saunders said: “You’re always playing in bands, you can sing – we need to take this house music to the next level.”

At the time, I loved the music, but I thought club music was faceless. It didn’t offer me the potential to reach the masses with a big hit.

However, I was also working at a record distributor and I could see we shipped house records to Washington DC, Baltimore, Philadelphia and New York. I started to realise those places had a scene. Then stores in England such as [the London record shop] Black Market would call and ask for Chicago records, and we started to move a lot of records to the UK.

Then two records, Love Can’t Turn Around and Jack Your Body, went top 10 in England; then it was like: “OK, we’ve got something here.”

In May 1987, I went to New York with Marshall Jefferson when he performed Move Your Body at the Paradise Garage. The crowd went completely insane. We were leaving, and we heard Move Your Body on the radio in New York – not even in the mix, on regular radio. I said, “Let’s call up major labels, this could be something really big.” In the end we got a deal for me and CeCe Rogers and I didn’t even have a demo. Atlantic Records said they’d sign the next record we did, and the next record we did was Devotion.

Marshall wanted to call the group Intensity, but I thought that was corny. I said, “Let’s take the ‘in’ off, and call it Ten City … and it’s going to be this perfect city, where everyone comes together in love and harmony.”

You see, Chicago is perhaps the most segregated city in the world. I grew up in a Black neighbourhood; all you saw was Black people. But Chicago has an Italian neighbourhood, a Lithuanian neighbourhood, an Indian neighbourhood, Chinese, Japanese, Mexican neighbourhood.

But when you went to a house club you saw everyone. House music broke down a lot of barriers.

I think if Drake and Beyoncé are making house, this is going to make the music more popular with the kids. So maybe Migos or Cardi B might say: “I want to do a house record.” Then, for someone like me, who has hundreds of songs published, it might increase the value of my catalogue.

ULTRA NATÉ: ‘It was escapism’

Ultra Naté is a singer-songwriter and DJ who in 1997 scored a UK top fiveand Billboard Hot Dance Club number one with Free. This July, she performed at the Women’s Euro 2022 Final at Wembley

I absolutely remember the first place where I heard house music. I was still in high school, and I went to a club in Baltimore, where I lived, called Odell’s – its tagline was “You know if you belong” – and it had this amazing sound system. You would feel it in your body because the sound system was so thunderous, warm and resonant. It was a communal experience, a place where people went to escape the struggles of their daily life or be accepted by a group that was inclusive of everyone. A sanctuary at the weekend. It was escapism. It was freedom. It was our church.

You would hear R&B, disco and things that went beyond that too, into the alt-rock and new wave sounds at the time. But there was also the burgeoning sound of what was the beginning of house music, which was kind of an amalgam of all this music but done in a very minimal style. Technology was coming in that allowed new, young DJs to start putting beats, samples and ideas together on basic four-track recorders. In New York, Chicago and Baltimore, it was just our own world, but we were creating this storm. Suddenly, the rest of the world – and mainly the UK – started looking at what was happening in this underground scene and embraced it fully, giving it a commercial platform.

On my first trip to the UK after signing my first record deal, I remember landing at Heathrow and there were billboards of Adeva everywhere. She was one of the divas of our underground and there would never have been posters of her [in the US]. I just said to myself: “Dorothy, I’ve a feeling we’re not in Kansas anymore!”

This year is the 25th anniversary of the release of Free but I’ve just released my 10th album. I still believe in this music, in this scene. I still believe that any moment, anything can happen. I’ve heard bits and pieces of the Beyoncé album. In the music scene, there’s always a cycle. Something always comes in vogue again. The next generation will suddenly pick up things and repackage it and resell it to a new community of people. When it comes to Beyoncé, it’s so polarising when you hear people talk about the album. And I get both sides of that coin.

The album is built on the familiarity of samples, stories and sounds that we grew up on and created in those early days. Beyoncé is a huge machine. She can make any album she wants, and it’s already going to be winning. No one’s in love with the idea that she’s saving house music or whatever.

But I get that it’s opening ears to those who have had no relationship with this culture and these sounds. Just like the day I stepped into a club and heard it for the first time, which changed the trajectory of my life, maybe hearing Beyoncé will be a catalyst for others. The trickledown effect could create opportunities for people to open themselves up to other artists who are genuinely, certifiably, from the [house music] scene.

MARSHALL JEFFERSON: ‘None of the gangsters would come to house music parties’

The legendary Chicago house producer created one of house music’s most influential records, Move Your Body. He tours the world today as a DJ

The first time I remember hearing house music was at the Music Box in Chicago [in the early 1980s]. The Music Box was like being in a totally different world. It was heaven for me.

‘House’ music at that time meant stuff from Philadelphia, New York, even Italian stuff. There was a lot of European influences. Everything was played on the one dancefloor. The Eurythmics’ Sweet Dreams was huge. I even remember The Look Of Love by ABC being played by Ron Hardy.

In the beginning it was Black music [being played], but a lot of New Wave too. You’d have 5,000 Black kids on the dancefloor dancing to Rock Lobster by the B-52s and music by Liaisons Dangereuses [the avant-garde German electronic act]. The weirder, the better, because the purpose of house music at that time was to keep the gangsters out of the clubs. We found out early on that if we said it was a house music party, none of the gangsters would come because they thought it was a gay party, as Frankie Knuckles DJed at the Warehouse – and that was a gay club.

When Jesse Saunders came out and made On and On, everybody said: “I can make a record, too.” That was the thing that set me off. I was working at the post office, so I could afford equipment. There was a music store called the Guitar Center in Chicago. The salesman there told me: “This is a Yamaha QX-1. With this, you can play keyboards like Stevie Wonder, even if you don’t know how to play.” I said: “Wow!” They gave me a $10,000 credit line. When I took all this equipment home, my friends were laughing at me. But I wrote my first song two days after, and a year and a half later I put Move Your Body out – and DJs soon began hiring keyboard players to play piano like Marshall Jefferson.

I’ve got no problem with people like Drake and Beyoncé making house records because every time somebody does something like that, it eventually comes around to people like me – the experts. A lot more high-profile artists are now reaching out. You want to get it done right? You want it authentic? See me.

DJ Equipment
Building your first professional DJ setup can be a daunting task, especially if you are simply starting out as a DJ. To start on your journey to great beat mixes, it is important to consider numerous components before making any gear purchases.

With so many options for DJ equipment and software platforms nowadays, making informed decisions on which equipment to spend your hard-earned money on is a key step to building a professional DJ setup fit for your budget and skills. In this guide we walk you through what equipment you’ll need for your dj setup so you can feel confident in your purchases.

What are Different Types of DJ Setups?
There are several types of DJ setups you can choose from when first starting out. Some are streamlined and require less equipment than others. For the smallest possible setup, you can get started with just a laptop and the right software. Other simple options include using only two turntables (vinyl or CD) and a mixer.

You can upgrade either of those setups by adding a laptop with a DJ interface package for additional effects and options. For even greater flexibility, consider adding a DJ controller to your kit for built-in turntables, sliders, pads, and other controls. If you plan to work from MP3s rather than CDs or vinyl, you can get away with a small kit that features a laptop, a controller, an audio interface, and software.

What Types of Equipment Do You Need for Your DJ Setup
While the choice of equipment combinations differ among DJs, an essential setup for every DJ usually includes

Monitor speakers
Mixer
Turntables
Headphones
Vinyl records or a laptop computer
DJ software
One setup may not fit a certain style, so it is important to mix and match gear to find what works best for your musical selection and DJing style.

The amount of DJ equipment options can be somewhat overwhelming for a beginner, especially since choosing the equipment is crucial to creating quality sounds. There are however a number of essential gear that a DJ needs to make killer playlists and provide your audience with enjoyment.

Pioneer Electronics PL-30-K Audiophile Stereo Turntable with Dual-Layered Chassis and Built-In Phono Equalizer

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1. Input devices
Putting tunes together requires at least two input devices, which can either be turntables or CD decks. You can choose from a wide range of input devices that will allow you to mix tunes and mashup tracks without a pause in music.

Pros and Cons of Turntables
Vinyl turntables are the classic choice for a DJ setup, letting you incorporate plenty of classic tracks and achieve that authentic scratch sound. But vinyl is bulky and more expensive than the other options.

Pros and Cons of CD Decks
Most DJs already have plenty of CDs in their collection. Using CD decks can be a less expensive option, though you’ll lose the authentic scratch effect.

Best Input Devices for Beginner DJs
Stanton T.92 M2 USB Direct-Drive S-Arm USB Turntable ($299.00) is a professional-quality turntable that features a direct-drive motor and built-in USB connectivity. The turntable’s USB port allows for easy transferring of vinyl recordings to your Mac or PC. With features such as Pitch Control Fader with DSP Key Lock, you can control tempo without affecting pitch.

Another advanced feature of this turntable is its S-Shaped tone arm, which lowers distortion and reduces record wear.

Other recommended products:

Audio-Technica AT-LP60 Fully Automatic Stereo Turntable System ($99.00)
Numark TT250USB Professional DJ Direct Drive Turntable ($299.00)
Reloop RP-8000 Advanced Hybrid Torque Turntable with MIDI Control ($699.00)
Pioneer Electronics DJM-S9 2 Channel Battle Mixer for Serato DJ, Black

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2. Mixer
The mixer is the core part of any professional DJ setup. It is a type of audio mixing console that allows DJs to perform different effects and tricks. DJs use the mixer to make smooth transitions between different recordings while they are spinning a set. It can also be used to play record players.

The Pioneer Electronics DJM-2000 ($2,499.00) is a four-channel DJ mixer that features built-in instrument effects including Noise, Jet, Zip, Crush, HPF and LPF. It has a 5.8″ LCD touchscreen display that allows you to create new track slices through the mixer’s Beat Slice function.

Best Mixers for Beginner DJs
The mixer has four channels located on the sides of the center LCD which you can use to connect your turntables to other analog players. Each channel features a fader that allows you to adjust the channel volume, a trim control to adjust input level, and a CUE button dedicated to the pre-listen function in your headphones. The unit also features Delay, Multi-Tap Delay, Roll, Reverse Roll, and Filter and Phaser effects.

Other recommended products:

Pioneer Electronics DJM-S9 2 Channel Battle Mixer for Serato ($1,699.00)
Behringer DDM4000 Ultimate 5-Channel Digital DJ Mixer ($349.99)
Allen & Heath High Performance 2+2 Channel DJ Mixer ($299.00)
Sennheiser HD 25 Plus Closed-Back Monitor Headphones with Set of Ear Cushions

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3. Headphones
High-quality headphones allow DJs to listen, cue, and mix tunes with precision. It is one of the most important tools for determining the right timing to play songs rhythmically. The equipment you use is based on your preference, but it is important to consider comfort as one of the main factors in choosing your headphones. You’re going to be wearing headphones for hours on end, so you want to use a pair that not only reproduces sounds accurately, but is also comfortable to wear.

Another important factor to consider is flexibility. A good pair of DJ headphones does not easily break even when bended in different positions.

Best Headphones for DJs
Sennheiser HD 25 Plus Closed-Back Monitor Headphones ($199.95) is a lightweight headphone that provides high-quality audio. Its closed back design provides effective noise cancellation, making it ideal for use even in loud environments. It also features a rotatable ear cup for single-ear listening. The HD 25 Plus is capable of handling high sound pressure levels of up to 120 decibels, which allows it to perform well in loud environments.

Other recommended products:

Sony MDR-Z7 High-Resolution Stereo Closed Dynamic Headphones ($699.99)
Sennheiser HD 600 Audiophile Dynamic Hi-Fi Professional Stereo Headphone ($288.00)
Samson SR850 Professional Studio Reference Headphones ($49.99)
JBL 2x 305P MkII Powered 5 Dual 41W Two-Way Studio Monitor W:2x 8mm XLR Cable

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4. Sound system
Using studio monitor speakers is a great way for beginner DJs to hear their mixes with clarity. While Hi-Fi speakers produce high-quality sounds compared with inexpensive audio equipment, they also amplify certain frequencies that can make it difficult for beginner DJs to hear what the mix actually sounds like.

Keep in mind, however, that this is an optional element of the ideal basic DJ setup. When you start playing gigs, you’ll find that most venues will have their own sound system that you can use. However, if you’re still learning and you want a good sound system for your home DJ setup, go ahead and invest in your own.

Best Sound System for your DJ Setup
Mackie CR4 4″ Woofer Creative Reference Multimedia Monitor ($149.99) delivers studio-quality audio performance ideal for multimedia creation and entertainment. It features 50 watts of articulate stereo sound, as well as premium and high-performing components such as sound-enhancing waveguide system.

The Mackie CR4 features a front panel volume knob, and auxiliary input for easier access.

Other recommended products:

KRK Rokit 5 G3 5″ Two-Way Active Studio Monitor Speaker ($149.50)
JBL 5″ Two-Way Powered Studio Monitor ($149.00)
Behringer MS16 2-Way Active Nearfield Multimedia Monitor System ($79.99)
Roland DJ-202 2-Channel 4-Deck Serato DJ Controller W:Behringer Headphones:Cable

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5. Controller
Most modern DJs opt for a simpler (and easier) digital setup composed of a controller and a laptop. If you no longer use vinyl records or CDs, then purchasing a controller is really the only step you need to take to create a viable DJ setup.

Controllers essentially mimic the function of turntables and mixers. They allow for easier manipulation of their chosen DJ software. It allows you to mix music through the software with the use of knobs, encoders, jog wheels, faders, assignable backlit buttons, touch strips, and other control components.

The Native Instruments Traktor Kontrol S4 MK2 DJ Controller ($599.00) is a portable, all-in-one option for digital DJs who want high functionality and usability along with ease of use. Its components include silicone-damped jog wheels with premium aluminum plates, a built-in 24 bit/96 kHz soundcard, two customizable FX units with over 30 DJ effects, brightly colored RGB triggers, and a 4-channel mixer with faders, Flux Mode, and Loop Recorder controls. It also comes with the Traktor Pro 2 software.

Other recommended products:

Pioneer Electronics DDJ-SX2 4-Channel Performance Serato DJ Controller ($997.00)
Numark Mixtrack Pro 3 DJ Controller ($199.99)
Novation Dicer Cue Point & Looping Digital DJ Controller ($99.99)
How Much Does a Beginner DJ Setup Cost?
The cost of beginner DJ setups can range from just a few hundred dollars to a couple thousand dollars. The price of your kit depends on the type of equipment you choose. If you already own a laptop and plan to use a simplified computer-based setup, you can get away with purchasing only a basic controller and some headphones for less than $500. If you start from scratch, prepare to spend a bit more to build out your kit.

Check out some of the preferred equipment below for a specific idea of how much you can expect to spend.

Sample DJ Setups For Beginners Based on Cost
Setups vary widely among DJs. The equipment comprising a complete setup depends on each DJ’s personal preference and musical style.

Here is a sample setup for beginners who want the classic turntable setup:

Two turntables (with built-in slipmats)
DJ mixer
Headphones
USB/audio interface (optional)
Monitor speakers (optional)
1. Numark PT01USB Turntable ($99.00)
The Numark PT01USB is a portable, AC or battery-powered turntable that converts vinyl to WAV or MP3. It makes recording and importing audio simple through the EZ Vinyl Converter 2 for PC and Audio Converter for Mac software that is included in the turntable.

Features:

USB connection and USB cable
Belt-drive motor
Protective dust cover with carrying handle
AC adapter
Built-in speaker
RCA connector and headphone jacks
45 RPM adapter
DJ cartridges
2. Behringer DJX750 Professional 5-Channel DJ Mixer ($199.99)
With its fairly affordable price point, the Behringer DJX-750 is an attractive option for beginners who are building their first DJ setups. But don’t let the price fool you—this 5-channel mixer has the features and functions required to serve the needs of professionals as well.

Features:

24-Bit effects processor
Tactile effects control
Two automatic BPM counters with time and beat sync display
45mm VCA-controlled crossfader
3-way frequency kill switches
Adjustable XPQ stereo surround effect
3. Sennheiser HD 600 ($288.00)
The Sennheiser HD 600 is an audiophile-grade headphone that features a dynamic design. It is one of the best headphones for DJs (and even professional sound engineers) as it features advanced technology that allows it to reproduce accurate, high-quality sound, allowing you to hear notes in perfect clarity.

Features:

Open metal mesh grilles
Magnet systems that reduce harmonic and intermodulation distortion
Lightweight aluminum voice coils
Neodymium magnet material for excellent dynamic response
Oxygen-free copper cable
Detachable headphone cord
Rent or Buy?
Renting a wide range of DJ equipment is the best option for DJs who do not have the budget to purchase all the gear they need. This is particularly advantageous for those who are just starting out in developing their skills as a DJ and may not want to invest a large amount on professional equipment until they feel more confident in their skills and are ready to start booking gigs.

Aside from saving on the cost of purchasing new gear, you won’t have to worry about performing regular maintenance on the equipment. Another advantage of renting is that you will be able to try out different brands (for a fraction of the cost) and see which ones you like best before taking the plunge and buying the gear you want.

On the other hand, buying brand new decks and mixers has its advantages. Aside from allowing you to create a fully customized DJ setup that suits your needs, most equipment usually come with manufacturer’s warranties. The obvious downside is the price, but if you are serious about your craft, it is definitely a worthwhile investment.

Greek philosophers and medieval theorists defined music as tones ordered horizontally as melodies, and vertically as harmonies.

If painting can be viewed as a visual art form, music can be viewed as an auditory art form.

The broadest definition of music is organized sound. There are observable patterns to what is broadly labeled music, and while there are understandable cultural variations, the properties of music are the properties of sound as perceived and processed by humans and animals (birds and insects also make music).

Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions.

Music theory, within this realm, is studied with the pre-supposition that music is orderly and often pleasant to hear. However, in the 20th century, composers challenged the notion that music had to be pleasant by creating music that explored harsher, darker timbres. The existence of some modern-day genres such as grindcore and noise music, which enjoy an extensive underground following, indicate that even the crudest noises can be considered music if the listener is so inclined.

20th century composer John Cage disagreed with the notion that music must consist of pleasant, discernible melodies, and he challenged the notion that it can communicate anything. Instead, he argued that any sounds we can hear can be music, saying, for example, “There is no noise, only sound,”[3]. According to musicologist Jean-Jacques Nattiez (1990 p.47-8,55): “The border between music and noise is always culturally defined–which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus…. By all accounts there is no single and intercultural universal concept defining what music might be.”

The majority of musicians allow their fears to ruin their chances for succeeding in music. Some of these fears are understood consciously while others are only identifiable to someone who is looking for them.
Unfortunately, whether you are aware of them or not, your fears can be very devastating to your music career. As one who mentors musicians on how to build a successful music career, I’ve observed this endless times.

The following are some of the frequent fears that devastate musicians’ chances for becoming successful and how to overcome them so that you can quickly move your music career forward:

Musician Fear #1: Fear Of Not Making Any Money

Anytime you have told your friends or family that you want to become a professional musician, what have they told you? Probably something like this:

*”You’ve got to get a safe job first in order to have a solid backup plan for your music career.”

*”Musicians can’t make a good living”

*”All musicians have to play street corners for change just to get by”

In most cases you are told these things out of the best intentions… However, these ideas are highly misguided. Truth is, it’s not as hard as you might think to earn a good living in the music industry if you know specifically what to do to make money as a pro musician (and actually DO it). With this in mind, it’s exactly because the above false beliefs about the music industry are so wide spread, that they cause many musicians to fear not being able to make money. They then do things that lead to the exact OPPOSITE of what is needed to earn a good living.

The following is how trying ‘not’ to run into financial struggles in the music industry causes you to have difficulty making good money as a musician:

*You never make the effort to earn a lot more money in your music career. The worst thing you can possibly do is expect that you’ll struggle to make money as a musician. It’s certain that when you do this, you begin to live into the world you’ve created for yourself in your mind.

*You take your music career in the WRONG direction. By expecting failure in terms of making good money, many musicians start thinking they’ll be better off going to college to get a degree in a non-musical field, working at a “secure” job and THEN going after their music career dreams in their spare time. In the end, they almost always end up failing with this approach.

*You eat the goose that lays golden eggs. Note: What is written below could seem like “self-promotion,” since I mention how I mentor musicians as an illustration of a critical point. Of course, there is a very important lesson for you to learn here, and my words are true regardless of whether I am selling something or not. The lesson for you here illustrates how merely being AFRAID of becoming broke causes you to forever remain broke as a musician, until you make a significant change.

I occasionally receive messages from musicians who initially hesitated to join my music career training program or attend my music career money making event (where I show musicians how to easily make tons of money), because they are under the impression that they “cannot afford it.” Even after I take them through the overwhelming proof for how my programs have given HUGE results to the musicians I’ve worked with, they still remain skeptical and fearful. This skepticism comes from the same false narratives described above – that all musicians will inevitably become broke and struggle, so there is no point in pursuing a music career. Ironically, by attempting to “save” a few bucks in the moment and passing on the training (that is PROVEN to get results) on how to develop a lucrative music career, you are ensuring that you will never make a big income with music. This is referred to as “eating the goose that lays golden eggs” because you decide to eat the goose now rather than wait for golden eggs to appear later. Rather than learning how to earn money in your music career and building toward the future, you give in to your fear… guaranteeing that you will never make progress to move your career to a higher level.

How To Keep This Fear From De-railing Your Music Career:

1. Know that the belief that all musicians struggle to make money isn’t true and it certainly does not have to be your reality. This realization alone will keep you from letting fear steer your music career away from the things you really want.

2. Instead of being preoccupied with thoughts of how hard it will be to make money in music, take action to learn more about how to BECOME financially successful as a musician. There is a clear (and rudimentary) difference between these 2 mindsets and the ends that each one leads to are complete opposites.

Musician Fear #2: Fear Of Not Succeeding In Your Music Career

Too many musicians mess up their music careers by fearing that:

*They aren’t young enough to have a music career

*They don’t have enough talent to make it in music

*They don’t live in a big enough music city

*They don’t have a university degree in a musical field

*Their musical style is not well known where they live

*There are not enough serious musicians where they live who they can work with

*If they fail, they will look dumb in front of all the people who they told about their musical dreams (friends, family, etc.)

Besides the numerous reasons why these fears are irrational, know the following:

1. What you believe becomes your reality. If you think you have a good excuse for why you simply can’t become a successful musician (such as any of the things above), you will rationalize it and use it as a way to avoid advancing your music career. When you do this, you are GUARANTEED to fail at breaking into the music business. The other side of the coin is also true: if you believe that you are definitely going to become successful, and you are the master of your destiny, you will find a way to do whatever needs to get done to reach your goals. It’s clear that the latter mindset has a massively higher rate of success (both in the music business and in everyday life).

2. If you don’t even attempt to grow a successful music career – you have failed. Even worse than this guarantee of 100% failure, is you are going to regret not taking action to do what you dreamed of with music when you look back at all the opportunities you missed.

Musician Fear #3: Fear Of Becoming Successful In Your Music Career

Does it sound ridiculous to be afraid of becoming successful? It’s not. While the above fear of “failure” is a frequent occurrence for musicians who are new to the music industry, the fear of “becoming successful” is common for more seasoned musicians who are close to making a major breakthrough in their music careers.

These musicians can easily self-destruct by worrying about how their lives will be different when they become successful, how others will view them, how difficult it will be to continue their success or believing below the surface that they do not truly “deserve” to be successful. This causes many musicians begin to intentionally sabotage themselves by NOT doing things they know are in their own best interest (such as joining bands, going on tour or getting the training that they know they need that will build their career).

How To Not Let Fear Of Failure (Or Success) De-rail Your Music Career:

1. Understand that all the things you tell yourself about why you can’t have a music career in your specific scenario are just stories you make up. You have MASSIVE potential for success as a musician (much more than you realize), regardless of how old you are, what your current musical background is or the location where you live.

2. Think like highly successful musicians think. As I explained already, there is a basic difference between “playing to WIN” (in your music career) vs. playing “not to lose”. Successful musicians play to win and they do not focus on “avoiding fear” – they focus on “achieving success”… and this is what you must do as well.

3. Stack the deck of cards in your favor. You will drastically raise your odds of success in the music business (and beat your fear of failure), once you begin navigating the music industry without a blindfold on. Instead, quickly make progress by getting trained by a music career success mentor who has already helped many musicians achieve success in their music careers.

Musician Fear #4: Fear Of Being Treated Unfairly By Music Companies, Promoters And Other Industry Executives

The music industry is filled with long winded stories from (failed) musicians who claim that someone in the music industry has lead them to fail because they forced them to sign a bad contract, refused to pay them enough money or “screwed” them in some other way. Stories like this make many musicians afraid of getting into any business deals in the music industry and sometimes keep them from even trying to pursue a music career.

Here is a big music industry secret that no one will tell you that will turn this fear into potential for achieving success:

It’s the COMPANIES who should have a fear of being taken advantage of by the MUSICIANS they work with. Fact is, most music companies are NOT out there to screw the musicians they work with. Instead, they are really HUNGRY for new talent, for “everyone wins” partnerships and for ways to best use their resources (with the help of musicians they hire) to help everyone involved prosper.

At the same time, these companies are also afraid of spending MASSIVE sums of money into musicians who:

*Are emotionally or mentally unstable

*Feel “entitled” to receive the company’s money and resources simply because they may be good musicians

*Are lazy and can’t be depended upon

*Do not help the company earn money in a way that is mutually beneficial

… and a long list of other factors.

Truth is, music companies invest tons of time, money and other resources into the musicians they work with. They have a lot more at stake than most of the musicians they work with do, so they have to be very careful about doing business with the right musicians. They are inclined to refuse to act against their own best interest by working with musicians who seem risky (as investments) or who ask for more money than they have earned.

How To Not Let This Fear De-rail Your Music Career:

Know that what you just learned is a huge inside tip into how the music business actually works and will make all the difference between success and failure. Rather than being afraid that music companies are out to screw musicians, understand that you have a great opportunity to put yourself light years ahead of the competition in the music industry. Here is what you need to do:

*Know EXACTLY what people in the music industry look for in you (this extends way beyond your musical skills).

*Gather the pieces of value you require to make yourself the best choice for the greatest music career opportunities.

*Clearly display your value to the companies you want to work with by developing a rock-solid reputation for yourself as a risk-free musician who adds value for others.

By doing this, music companies will actively seek you out to give you the opportunities that other musicians never dreamed of.

Now that you have a good understanding of what fears hold so many musicians back from developing their music careers, take mental note of your thoughts and beliefs around working in the music industry. Once you become aware of the fears that are keeping YOU back, take action to transform your mindset (utilizing the resources and tools mentioned throughout this article). When you do this, you will find that your fears dissolve away as your music career starts quickly going in the right direction.

To quickly begin building a successful music career, find a music career success mentor.
About The Author:
Tom Hess is an electric guitar teacher online and a music career mentor. Tom also trains musicians on how to succeed in the music business. On his professional musician website tomhess.net you can read many more articles about making a living with a music career.

To put together a successful career in music as soon as possible, you’ve got to know the questions you do NOT need to be seeking answers to, and understand how to ask much higher quality questions that will put you on the right track toward reaching your music industry goals.

These are the 4 worst music career questions you should avoid asking in order to build a successful career as a professional musician:

Bad Music Career Question #1: Do I Have To Become A ‘Starving Artist’?

A lot of people believe that making a living as a professional musician means one of two things: Either you ‘make it’ and go on to tour the world and sell millions of albums or you ‘become a starving artist’ and have to play at crappy bars and street corners just to get by. This music business myth makes sabotages people’s careers from the start, either by making them believe they need to get full time jobs unrelated to music and ‘try to do music on the side’, or be afraid of trying to enter the music business.

Fact is, the music business is made up of a large middle class and there are countless ways to earn a living. You’d be surprised at how easy it is to make a good living in the music industry versus becoming successful in an outside field. However, before you will make a lot of money, you must stop asking low quality questions. Stop worrying about becoming a starving artist and start envisioning all the different ways you can make money as a musician.

As you work in the music business, you are not forced to live from one paycheck to the next like in a normal day job. Instead, it’s always possible to be earning multiple sources of income at the same time. This makes becoming a professional musician a much more stable career choice since you don’t have to be dependent on just ONE source of income. In addition to the obvious ways that musicians seek to make money in music (selling albums/downloads, playing live shows or recording as a session musician), there is one thing you can do right now that will quickly boost your music related income:

Start growing a music teaching business. This will immediately produce multiple sources of income (your students) for you while you work much less than full time hours each week.

When you build many sources of musical income as discussed above, it’s very possible (and not as hard as you might think) to annually earn more than $100k in your music career (I know this, because I’ve helped many musicians to do it).

Bad Music Career Question #2: How Do I Get A Recording Contract?

In order to understand why this is not a good questions to ask, answer this: “Why should someone give YOU a recording contract?” If you think it’s because you write good music… try again. This is never a good enough reason for someone to sign you to a recording contract. No one is going to invest many thousands of dollars into you just because you can write good music. This would be WAY too risky of an investment (so much so that it doesn’t even make sense). Imagine that you saved up $200,000, would you then go to a casino and put it all on the line for one spin of the roulette? OR would you instead invest it into someone who has proven that they can help you earn even more (at least at a smaller level)? No doubt, you would make the wise choice and invest it into someone who would help you make more money. This is how recording labels think. So stop wondering about how you can get signed to a recording contract and start turning yourself into a ‘wise investment’ that any label would immediately see as valuable. This requires much more than writing great music, playing your instrument well or having a Facebook page.

Here are the actions you should be taking to make yourself into a valuable investment for a record company:

1. Understand what the music industry is looking for in musicians before they begin working with them.

2. Work every day to build your music career. Record companies want to see that you have a good track record before they will begin working with you. The more things you do as an independent musician, the more likely it is that you will gain the interest of a record company.

3. Get music industry training from a successful mentor who has already accomplished big things in the music industry and helped others get signed to recording contracts.

Once you begin developing your music career on your own, you will make yourself like a beacon of light and record companies will come searching for YOU!

Bad Music Career Question #3: How Can I Get My Music ‘Heard’ By More People?

The majority of musicians want to get their music heard by as many people as possible, believing that this will help them earn money and become successful pro musicians. However, the quantity of people who listen to your music is not very significant in and of itself. What really matters is the amount of people you are able to turn into a highly dedicated fans who will do anything to support you and your music.

Stop asking yourself how to get more people to hear your music and start transforming anyone who is already your fan into a real FANATIC. Only After you have a strategy in place for turning ‘casual fans’ into ‘hardcore fanatics’ will the total number of people who hear your music begin to matter.

Bad Music Career Question #4: What Is The Best Music City To Move To?

Many musicians think they will be much more likely to succeed in the music industry by moving to a ‘music city’. Then with this belief in mind, they pack up their things and move, believing that opportunities will simply ‘fall into their lap’ once they arrive. Once they have been in their new location for a while and nothing has changed, they blame it on the city and look for a new location to move to (while being completely unaware of the TRUE reasons why they aren’t successful).

Here’s the truth about ‘location’ leading to success in the music industry: Your location has nothing to do with your ability to become a successful pro musician. This applies particularly today when it is easier than ever for someone to get a recording contract, put out music, organize world tours or work as a session musician regardless of where they live. Highly successful musicians do not become that way because they lived in one area rather than another. If that were true, there would be zero successful musicians living in cities that are not known for big music scenes. The principles that lead to developing a successful music career apply exactly the same regardless of where you live.

Rather than making the massive (wasted) effort of trying to research and find the best music scene, go through the following process that has been PROVEN to work for musicians:

Determine your specific musical goals.
Start working together with a music business mentor to put together an effective strategy for reaching your musical goals.
Work each day to get closer to achieving your goals until you reach them.
When you focus on what is most important (using the process above), you will achieve success in your music career much faster.

Now that you’ve learned why many common music career questions actually steer your music career down the wrong path, here is what you need to do to get back onto the right path:

Step 1. Think more in depth about your music career goals. Use the resources in this article to gain clarity about how the music industry works.

Step 2. Start asking yourself high quality questions on a consistent basis when trying to figure out what you must do to reach your music career goals.

Step 3. Don’t build your music career alone. Get music business training to quickly achieve big things in the music industry.
Tom Hess is a recording artist, online guitar teacher and a music career mentor. He plays guitar for the band Rhapsody Of Fire. Visit his musician development website to become a better musician, get free music industry advice, music career tips and professional music industry advice.

You are about to learn the five critical elements that have fueled the success of all great musicians’ careers. Until you possess these key elements for yourself, it will be nearly impossible for you to reach your musical dreams and build a successful career in the music business.

Read below to discover these five key elements and take action on the information you learn:

Music Career Success Key #1 – Don’t Set Realistic Goals

All of the most well-known and successful musicians did not achieve their goals by thinking realistically about what seemed possible. On the contrary, they focused their mind like a laser ONLY on what they truly wanted. When you make your goals in line with the things you want most, you will be much more motivated to actually achieve them. More on this in a moment…

Think about this – out of the following choices, which choice would inspire you to put all your time and energy into growing a music career?:

Making a recording of a demo with a band and possibly playing a few shows around town.

Writing chart topping songs for a killer band, then promoting your music by going on a massive world tour – playing to stadiums full of fans, earning tons of money from music sales alone and never working a regular job ever again.
Even if your goals in the music business are entirely unrelated to releasing music, the point still applies: don’t let yourself accept anything less than what you truly want in your music career, just for the sake of being realistic. Life is too precious to live it by not doing the things you really desire. When you set goals for yourself that do not inspire you, it is nearly guaranteed that you will NEVER achieve the things you truly desire in music.

All the biggest rock stars are people just like you. They began small – whether it was broke without any idea how they’d make it in music, lacking in musical talent or not having a band to play with… Just imagine where they would be now, if they would have told themselves that their music career dreams were unrealistic or didn’t seem possible. Well, of course they didn’t… they followed their dreams and went on to achieve them!

You must do what they did. Start building your music career by focusing on what you WANT, not what seems possible.

Music Career Success Key #2 – Manifest Your Musical Dreams Into Reality Before They Actually Are Reality

Musicians who never achieve anything significant in this industry, build paths to their goals by starting from where they are in the present moment.

On the other hand, musicians who achieve great success do something completely different. They plan their music career by beginning from the end point of achieving their goals, and work backwards to the present day. They imagine themselves having already accomplished their major goals, then build their lives around this vision. This is a much more effective way of accurately determining the actions required for putting together your music career.

Music Career Success Key #3 – Start Living Or Start Dying

The two keys I mentioned above are critical for building a successful music career. With this in mind, you need more than just goals and a plan of action to realize your musical dreams. You have to take action each and every day to bring yourself closer to your goals. You might think this is common knowledge, but you would be shocked at how many musicians give up on their musical dreams simply due to lack of effort (in terms of taking physical action).

Visualize this scenario (I use this as inspiration for the professional musicians whom I mentor): You’ve just found out about a disease you contracted that requires major surgery. If you don’t get this surgery, you are guaranteed to die in no more than half a year. To make matters worse, the surgery is extremely expensive and cannot be covered by your insurance company (also you can’t borrow money to pay for it). So you have a decision to make: You can allow yourself to die, OR you can take whatever action is necessary to get the money needed for the surgery.

Certainly this example is extreme, but it is a perfect illustration of the kind of mindset you need to have in order to build a successful music career. Making big moves (by taking action) in your music career is completely different than sitting around waiting for things to happen for you (allowing yourself to ‘die’).

With this in mind, hard work/consistent action does not necessarily equal music career success, when you don’t know exactly what you should be doing to reach your goals.

Music Career Success Key #4 – Have MASSIVE Reasons For Achieving Your Musical Goals

No matter what you do, something will always go wrong in your music career plans. Whenever you are faced with unexpected events in your music career, this is the time when your commitment will be put to the test. For instance, here are some challenging situations you could face:

Working at a day job you hate while regretting the fact that you never developed a music career backup plan to help you make a living doing what you love.
Playing at crappy bars all the time with your band because you don’t know how to move to bigger venues.
Trying to record an album, but doing so at an extremely slow and frustrating pace because you never practiced developing your recording skills.
Working with unmotivated band members who are bringing you (and the entire band) down.
Not understanding how to attract more music fans to listen to the music you worked so hard to create.
Here is what you need to do in order to maintain your commitment and dedication to achieving your music career goals:

Take out the piece of paper you have that contains the list of your written goals (that you put together in key #1 above). Then beside each one write down the big REASONS you have for pursuing them. For every musical goal you have, answer this question: “Why do I want to achieve this?” Spend a lot of time thinking about this for each goal before you write down your response, and look over your goals/reasons two times every day.

When you do this, you’ll develop the ability to maintain motivation and stay focused on the major reasons you have for reaching your goals. This will help you move forward in the difficult times when your dedication is put to the test.

Music Career Success Key #5 – Don’t Try To Build Your Music Career Blindfolded

Once you are in possession of all 4 keys mentioned above, it’s still possible that your music career will go nowhere. This occurs when you lack certainty about what to do to achieve success, are (unknowingly) sabotaging yourself or lack effective strategies to help you reach your musical goals. The last key required for building your successful career in the music industry is to train with a mentor who has experience helping musicians take their careers to the highest level.

A truly effective mentor will not simply tell you what you need to be doing in order to succeed in the music business. He will help you utilize all of the strengths you built while developing the first four keys and will keep you heading down the right path toward success, while preventing you from making the same mistakes that unsuccessful musicians make. Without this kind of training, you are essentially trying to build your music career with a blindfold on – completely oblivious to the best ways to succeed using your current skills and knowledge.

Now that you’ve learned the five keys that build the foundation of a successful music career, these are the steps you should take right now:

1. Focus on getting all the missing keys you do not currently possess.

2. Being working with an experienced music career mentor to quickly achieve your greatest musical goals.
Tom Hess is a music career mentor, touring musician and guitarist. He teaches online guitar lessons to musicians all over the world and mentors musicians on how to build a successful music career. Visit his website for music instruction to get many free musician resources to help you start a career in music and learn about the music industry.

As the technology grew, music got more technical, complex and in demand. Others take credit for using music they don’t own. Nowadays, independent musicians are well aware of protecting their work for legal purposes. Through music licensing, you can be ensured of your asset/work being protected legally.

What is music licensing? Music licensing is the licensed used for copyrighted music. This allows the owner of the music to maintain the copyright of their original work. It also ensures the owner of the musical work to be compensated if their music is being used by others. The music licensing companies has limited rights to use the work without separate agreements. In music licensing, you could get your work licensed in the form of music, composition and songwriting.

During the music licensing process, there are terms that would be discussed by the groups involved. If you are an independent musician, you would be the licensor. You are the one responsible of the music created, thus you are the copyright owner of the licensed work. A licensee would be the music licensing company as they would be the one who will distribute your work to other industries. They will also collect the royalty fees as distribute them back to you if your music is included in live performances, TV shows, ads, campaigns, video games, etc.

There are also two kinds of contracts in music licensing, namely exclusive contract and non-exclusive contract. Exclusive contract means having your work licensed exclusively to a single music licensing company. Only a single company has the authority to distribute and market your work. If you signed an exclusive contract to your song or album, you cannot use the same music contents and get it signed by other music licensing companies. The agreement is exclusive and confidential to the licensor and the licensee.

Non-exclusive contract allows a second party to distribute your work and it doesn’t prohibit the licensor to sell their music to other music licensing companies or licensees. An independent musician can sign a non-exclusive contract to multiple companies using the same music content. Non-exclusive contracts are generally used to prevent an individual from being locked into a restrictive contract before their work gains popularity. This type of contract is designed to protect music artists from being taken advantage of in the early stages of their respective careers while on the process of getting their music out to larger audiences.

There are also cases which involves direct payment for used music content. This is called Sync Fees. Sync fee is a license granted by a holder of a copyrighted music to allow a licensee to synchronize music with visual media such as ads, films, TV shows, movie trailers, video games, etc. For example, a video producer is in dire need of music content for a certain project and is in a limited time of finding one.

In these cases, the artist and the music licensing company will be contacted directly for the possible use of the original work and negotiate the upfront payment involved. Sync fees can range from a few dollars to a couple of hundred dollars or up to thousands. The payment usually depends on how big and established a company is. If it is a well known company, there is a probability that the sync fee will spike up in value.

We need to understand that businesses nowadays are paying premium for music at an all time high. The influx and revenue generated on different industries are worth billions of dollars and the music artists who got their music licensed will get a big share of that money. The content of music is very important. Every single company need visual and audio content. You can’t do ads, shows and movies without having any music content.

Music licensing brings compensation for assets used. This is called royalty fees. A royalty fee is the payment collected by one party from another for the ongoing use of a copyrighted asset. You can get compensated if your work is featured on live public performances. For every live use of your music, you get compensated as you own the copyright of your work.

The American Society of Composers, Authors and Publishers (ASCAP) has collected over $941 million dollars in licensing fees and distributed $827.7 million dollars in royalties to its members back in 2014. BMI on the other hand, collected more than $1.013 billion dollars in license fees and distributed over $877 million dollars in royalties to its members during the year 2015.

Music licensing is the modern way of earning through music. In the past few years, the physical sales had gone down. Streaming music has taken over because it’s more convenient and practical with the help of the World Wide Web. With the rise of streaming sales, the figures that could be collected as royalty fees could spike up in the years coming. In fact, as stated in an Australian financial review website, streaming generated $2.5 billion dollars in US music sales last year, overtaking digital downloads as the industry’s biggest source of music revenue. As stated in the picture below, the global streaming of music is projected to reach greater heights in terms of revenue in the upcoming years.

The internet contributed greatly for the rise of music licensing and streaming. 20 years ago, the distribution of music hasn’t been exactly this big. Television shows and filmmakers are the top two industries that need music content. Today, there are more and more TV shows, films, commercials, movies, ads and tons of video games that need music content. It is safe to say that the internet opened the public eye about the opportunities involved behind it.

One of the most visited sites on earth is YouTube. People use, duplicate, rework, copy, revise and perform music from different artists around the world. It also has an influx of ads which contains music content. To track all these data, YouTube has a Content ID System. If your music is licensed, you can contact this site and they will take a look at their data and see if your work is being used by other parties. As the licensor, you have the authority to take actions such as mute the audio which matches your music, block a whole video from being viewed, track the video’s viewership statistics or monetize the video by running ads against it. Every country has different rules about it. But YouTube runs a lot of ads and monetizing work from this site is very probable.

If you are an independent musician, you must improve and instill professionalism in your craft to get your chances up of being signed by a music licensing company. With billions of dollars of revenue involved today, you want at least a slice of the pie. Monetizing your passion is never easy but taking the necessary steps to make it work is a must to reach success.

We are the music makers, and we are the dreamers of dreams.

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What is that secret age-old productivity tool? Music.
Yep. The right music can help you stay focused and more productive. Here’s how:
Music Helps Boost Productivity on Repetitive Tasks

Research has shown that when presented with repetitive tasks, music can help make those tasks more enjoyable and boost productivity. In this study, for instance, assembly line workers reported feeling happier and experiencing higher efficiency while listening to music.

Studies suggest that this is because music helps boost mood and therefore contributes to productivity. One study from Canadian researchers looked at this concept. What they found was that time-on-task was shorter — which means they got the work done quicker — and the quality of work performed was better when music was playing. Not only did those listening to music complete tasks faster, but they also came up with better, more creative ideas when the music was on.

This concept of mood can be further explained. Listening to music at your desk can help drown out other distracting noises like chatting coworkers, the buzz of the copy machine, and the clicks of other people typing around you. Placing earbuds in your ears to drown all that noise out — or even having music play over the office’s speakers — creates a more consistent and enjoyable environment that makes you feel more comfortable and relaxed in the space.
The New York Times further suggests that melodic tunes promote the release of dopamine, a feel-good chemical in the brain, which also contributes to that good mood and promotes a more productive working environment.

All of this suggests that music may be a valuable tool in boosting efficiency when performing mundane tasks, such as data entry or answering emails. Some suggest that when trying to focus on a complex task, music can be distracting – just as a noisy office may distract workers. But that doesn’t mean all music is bad for creative tasks. It’s just that the same type of music may not be appropriate in both situations. In fact, studies show that moderate levels of ambient noise can boost creativity, so you have to be conscious of what type of music is playing, and select it based on the task at hand.