OxyKon

https://soundcloud.com/oxykon/oxykon-sacp-february-22nd-2014 Nice chilled out house set from myself for the Saturday Afternoon Chat Party, Free Download

Just went live with some house, get tuned

What the mau5 is saying is that they copied the lot without being creative with the chords. There's other tweets going around about the use of chords and whatever. I'm with deadmau5 on this. He has a case here As much as i hate to admit i have to agree, yeah the mau5 can be a total dick at times, but he does have a case, i don't think anybody would be too happy if they heard some of their chords that they spent the time to make in somebody else's track that wasn't a remix.

I've had to endure their music on occasion... that should be enough LOL i was think the exact same thing

More lawsuits making EDM news, as the Miami New Times is reporting that a lighting technician whose legs were broken during an accident while working at the 2013 Ultra Music Festival in Miami is now suing the festival. From the Miami New Times: Ultra is no stranger to lawsuits, with an ongoing ownership feud still in the courts, and a recent case involving the ‘tasing’ of festival attendees just being dismissed. Source: magneticmag.com

One thing is certain as we evolve in the digital age — the public bitching sessions on social media are turning into an all out trend. #hashtagallthisdramashit Generally, Twitter is used as a continuous status update to let everyone know how awesome you are, how awesome your life is, and how awesome your 8K follwer purchase is. Lately, it has become the most celebrated virtual boxing ring for the hottest heads and most brotastic attitudes in the industry. The fearless leader of the Twitter Battle Royale? deadmau5. Surprised? Neither are we. This time, the brawl is taken up with Hardstyle heavyweight – Wildstylez. The allegation? Stealing melodies for Wildstylez newest release, Straight Forward from Joel’s track “Some Chords“. Some fans will say it sounds similar, others will say the two tracks are completley different. Either way, it’s out of control. Our money is on the big dude. Can’t hide inside a Mau5head forever, bro. Decide for yourself, both tracks below! Source: magneticmag.com

i was explaining to him that we had done something like this to 1 of mine where the circuit bridged somewhere and my TT wouldn't turn off, you had to replace the transistor with a new 1, im still waiting on it to explode on me 1 of these days

this 1 we actually were able to smash this out in 1 day, worked out really well

Welcome DJtrb, hope everything will go well for you with your business, we are a very tight community here, a lot of us are good friends and even best friends, we all help each other out as best we can, i'm sure you'll fit right in, If you wanna show off your gear we have a thread in the DJ HQ section where you can do that, hope you enjoy your stay

pretty much, they're way over priced, you can find them else where

the vengeance packs are the best way to go dude, you can even find them for free online, shit loads of house samples in there

You've spent hours mixing your brand new tune, but no matter how much you fiddle, it still doesn't stand up against your favourite releases. You've tried everything - bolstered the bass, drenched the whole thing in effects, added more parts (and removed them again), and even made it louder - but it just doesn't sound right. So, what can you do? Well, the chances are that somewhere along the way you've committed one of a handful of the common production sins that all budding producers have fallen prey to at some point. Making music is often a quite lonely and personal experience - you're composing in your bedroom, quietly (or noisily) having fun and getting on with your dream. But this also means you're too close to the project. Part of coming up with a great finished track is being able to step back and listen with objective ears - and it's worth ensuring you have a decent set of monitors. You can only assess the full dynamic and frequency ranges of your mixes and the interaction of all the musical parts if you can hear them properly. A good set of monitors should have the flattest possible frequency response so the music is uncoloured. As an example, if your speakers are too bassy you will under-compensate for the bass as you mix, and your efforts will sound tinny on any other system. Generally, you shouldn't use headphones for monitoring while mixing unless you really know what you're doing or your room is incredibly bad-sounding. You should also listen to your nearly finished mix on as many other set-ups as possible; you'll pick up more discrepancies the more systems you try. Try to think about what you'd like to sound like, too. You can learn a lot from A/Bing your music next to an artist or genre you have in mind when composing. Consider pace, overall production and EQ. Have you over-compressed; is your track too long? Only by assessing next to a commercial offering can you judge if you're truly up there with the best. Of course, it's also important to get feedback from others, but getting valuable feedback can be difficult. Just as making music is very personal, so are individual listeners' particular likes and dislikes. The solution is to listen to a bunch of people who know what they're talking about! Drawing upon many years' experience of mixing and producing music, and importantly, listening to reader demos, newly signed artists and commercial releases, our experts have identified the top 10 most common mistakes made by budding producers. Our list contains everything from the obvious to the not-so-glaring, from throwing too much into an arrangement to making things too loud, and even - yes, we really do mean this - making it too perfect! So, keep these points in mind the next time you're working on a mix, and your production nightmares could soon be over. For a complete guide to improving your mixes, check out Computer Music Special 54: Make Over Your Mix, which is on sale now. Too narrow One of the most common problems with mixes occurs when too much is happening in any one part of the musical plane (or to look at it another way, not enough). Try to think of music in three dimensions, and first, check the width. Great mixes spread themselves like a warm audio blanket across the entire stereo spectrum. Poor mixes throw everything down a narrow beam of audio straight into your eardrums. With this in mind, be sure to make good use of your 'humble' panning tools. Pan certain parts to extremes: unusual effects, percussive noises and pads go hard left and right; backing vocals can come further in; main vocals and bass usually sit best in the middle. But while there are rules here, don't feel you can't break them. Just make sure the finished mix sits across the whole width of the spectrum rather than in one part. Pan everything to one area and your listeners will simply think that one of their speakers or headphones is playing up. Keep this frequency clear So, that was width - now think depth. There's nothing worse than a track that has been mixed so that so that the whole thing takes your head off with all of the parts sounding like they are playing through a tin can. This is usually a sign of terrible monitors being used at the mixing stage - great monitors let you hear the whole frequency range of your mix. A simple rule of thumb is to keep instruments of the same frequency apart, like naughty children, so you don't get them clashing and fighting with one another for attention. A good place to hit first is the bottom end, or bass. Most genres of music are driven by some form of bass (with rock it's bass guitar, for example, and with dance it's synth bass) so make sure your mix has some kind of low end element on which to hang. From there, spread everything upwards and across the frequency range and don't have too much happening in any one area of the spectrum. Too much clutter Computers have put untold musical power at our fingertips, but this doesn't mean we need to fill 256 tracks every time we compose a new tune. In fact, many great pieces of music use sparse arrangements with a few well-recorded sounds and instruments. Take the famous Phil Spector 'wall of sound' production method of the 60s - the name might imply that everything and the I am a fagget sink was thrown in there, but actually it was just well-recorded, distinct, big sounds. We've already pointed out that it's important to have a good spread across both the frequency range and the stereo image. But decluttering can be done elsewhere in your mix as well, simply by removing parts from the arrangement. Some of the best pop songs feature a vocal, a guitar and nothing else, while some classic dance tracks primarily feature a drum machine, bassline and vocal. So be ruthless - you can increase your impact by decreasing your sounds. The wrong sounds Sometimes tracks don't sound right because the constituent parts don't make a whole. This can be caused by using sounds that simply don't fit - synth brass being used in place of a real part, or a sample with slightly incorrect timing or pitch, for example. It can also be down to the use of boring-sounding presets, too many or incorrectly applied effects, or roughly recorded samples. Don't misunderstand this last point, because rough, lo-fi audio can sound fantastic in the right context. It's all about getting the right sounds for the track. The mix is also extremely important here. Of course, you want some sounds to stand out - the hooks, lead vocals and so on - but it can be jarring when other sounds that make up the arrangement are so poorly mixed that they end up taking over (we've heard tinny percussion loops that take your head off, and sub-basses that blow your speaker cones… we could go on and on!). Where's the hook? At the risk of stating the obvious, one of the main problems with your average demo is that it's just that: average. It lacks that certain something that will grab the listener's ear and make the track stand out from the crowd. And as that crowd is getting increasingly, well, crowded, as more and more people discover the joys of at-home music making, nowadays any tune worth its salt needs some kind of hook to make it instantly noticeable and enduringly memorable. A great hook can potentially be pretty much anything - it can consist of a bass sound or part, a melody, an effect or a vocal trick. Indeed, you'll find that the best pop songs - think Kylie's Can't Get You Out Of My Head, for example - have all of these! Quite often, though, just one will do - one amazing effect or riff that makes the listener want to listen again as soon as the track is finished, and has them humming it for the rest of the day. Get this right and you've won half the battle. The wrong feel Getting the right 'feel' on a track is probably the single most important consideration when composing and mixing. Getting the groove wrong will destroy the heart and soul of a dance track, and even an ambient, grooveless piece of music needs to have feel. Part of producing great tracks is capturing the feel and enhancing the groove. Some of this is really obvious: if you want a club track, a modest 120bpm tempo and a 4/4 kick will be a good starting point. If you want something a bit more laid-back, slow things down and add a bit of swing. Beyond that, there are myriad subtle techniques you can use to define your beats and make them match the overall feel of your track. Learn them and apply them. Beats define your groove, but you should be aware that they can also destroy it. Ram a rigid 4/4 beat onto a soul or hip-hop track, for example, and you could end up with a real mess. Laziness While time-tested sounds and tricks have their place and can sometimes be exactly what a track needs, many producers unthinkingly borrow the obvious bits of a genre and just throw them in willy-nilly. Clichés can make a track sound very average, so think on your feet. This advice extends to how you use your DAW. Beware of throwing something into an arrangement simply because it fits, or automatically letting your software stretch a part to the right tempo just because you can. And then, of course, we have synth presets - yes, they can sound great, but if you're using a preset because it sounds out of this world, you can bet that it'll be instantly recognisable to everyone else who owns that synth, and that they will shake their heads disapprovingly. This kind of preset snobbery is wrong in many ways - presets are created to be used, after all - but the more 'out there' a sound is, the more obvious its source will be, so at least tweak it a little to make it your own. The real obvious stuff There's really no excuse for dodgy tuning, but out-of-key vocals, clashing melodies and unintentionally obvious pitch correction are still common demo demons that simply make us angry. To all culprits, we say: there are two flaps of gristle on the sides of your head called 'ears' - use 'em! Coming a close second on our list of obvious bugbears is hiss. This was an all-too-common problem back in the early days when analogue met digital, but if you're working solely inside the box with nowt coming in, you really shouldn't experience it, so nor should your listeners. If you're recording vocals, guitars or other live instruments, take steps - both of the preventative and corrective type - to eradicate extraneous noise. And finally, the stereo master mix that clips never fails to astound and enrage us in equal measure, with many an otherwise astonishing track being ruined because the producer thinks that louder equals better. More on this next… Too loud We've already mentioned width and depth as two of the three musical dimensions you need to consider, so let's move on to the third: height, or to use the correct term, dynamic range. This is the ratio between the quietest and loudest sounds in the mix. The general trend in music production over the past decade or more has been to make master mixes louder and louder by using compressors and limiters to 'squash' the dynamic range, both of individual parts and the entire mix. As a result, we've all experienced over-compression. You know what it feels like: you'll be happily listening to a classic track on your iPod in shuffle mode and then suddenly something comes in from a couple of decades later that blows your ears off. While these techniques once worked to make tracks stand out, they've now become so ubiquitous and extreme that they're having the opposite effect. Today there's an ever-growing movement to reverse this trend, and it's one we support. Too perfect Many producers feel that computers have made music too perfect, and we think they have a point. We don't want to sound like our dads here, but the slick production sheen that's imparted by today's music technology can often make tracks sound samey and uninspiring. If pristine production is your thing, that's fine, but your music might benefit if you make things a bit more organic, a bit earthier and rawer. We know you don't want to sound amateurish, but sometimes, you want to allow or even flaunt some slight imperfection. Source: musicradar.com

fuck this is a hell bouncy track, very nice

oh i forgot to tell you that i also have a Macbook Pro (one of the new ones) and it works fine by using a headphone jack with the Aux jacks on the other end running into the mixer, i've only had this laptop for about 3 months

pretty much, by the way, welcome back jaz

LOL

https://soundcloud.com/oxykon/oxykon-sunday-sesh-february bit of an ambient jungle set here, had fun doing this one, has a lot of chill out, and that little bit of jungle to wake you back up

i bought this computer about 3-4yrs ago

I have a mac pro and i use the headphone jack with a cable running into my mixer (DJM 800) from the CD/digital output channel and my KRK rokit 8's through the mixer, works fine for me

There are only a very few artists who can exert any real influence on the dance scene today – too many artists out there and seemingly endless output. Andre Tanneberger, however, has been making an impact for the past fifteen years. He may not have a secret recipe for success, but he is certainly one of those artists who succeed in defying categorization. Hey Andre, really nice to talk to you again... How are you doing? Where are you reading this interview? Hey guys, I’m just in Berlin for an interview day with more than 10 interviews about my new album “CONTACT” and just have a short break to answer your questions. Crowd and places are your inspiration! How should you describe the last 3 years during the making of your ninth studio album called ”CONTACT” in a few words? They were simply amazing. I discovered so many places I’ve never been before, as well as had fantastic tours from Asia to Europe and America. There are these magical moments when you stand in front of a crowd, celebrate with the people, everybody is in a good mood and you know this will be unforgettable. You travel back home and have the pictures and feelings of these moments still in mind. These are the moments which created the album. ”CONTACT” is the primary element of this album! Do you wanted to bring your personality with the traditional song writing process besides the people/fans/crowd? Of course, but I think the influence of my personality is something you cannot break down to a single step of the production process. Even if it’s a first idea, which is often not more than a melody in my mind, the following songwriting, or the final production and mastering process. I’m doing all these steps by myself, and my personality is part of every step, so it influences the tracks this way. In the second part of the album, we are completely moving to an other sound environment. Is this the other ATB personality? The real ATB Sound? I love to show the people different aspects of who I am and what my music is all about. Of course most people know me as a dance artist, but ATB is simply more. My fans get to know me by this kind of music from another side and that is really important to me. This is an essential part of who I am. I take the inspiration for these tracks, as well as for my dance, trance, and progressive productions, from the events all around the globe, where I play, as well as everyday situations. Most of these ideas develop when I come to rest after an event. Then I hear all the different melodies, which on the one hand calms me down, but on the other hand recalls the things that have happened during the last days in a complete and unique way. Most often this is the date of birth for my ambient tracks. You have a certain love for voices! But in each album, you seems to develop it and to reinvent your musical character! We can see new discoveries axially, right? Well, to work with new, surprising and outstanding voices is very important for me. I’ve always got my ears open to discover some- body new that I can present on my albums. For example one of the great new discoveries for me on this album is Boss and Swan. I heard one of their tracks quite by chance on an in-flight movie soundtrack on the way back from Asia and spent the following days tracking them down. When I found out that their music had not actually been released, I spontaneously flew them in from Canada to Germany and we spent a week collaborating in the studio. They are brother and sister and unbelievably talented. What we came up with together is simply amazing. ”Face To Face” is also released now. A great collaboration with the band Stanfour. We can hear this more clubbing sound with big chords... Could you tell us a little bit more about this huge collaboration? I listen to the radio a lot during the day, keeping track of the current music scene outside of the electronic music scene. So that’s how I know the Stanfour boys, who are also from Germany, and of course they had a hit with “Wishing you well”. We actually met at an event, which cut across different scenes and we started chatting. It was clear off the top that these guys were passionate about making music, and we were immediately on the same wavelength. I told them I was working on a new album and we decided then and there to produce a track together. Within days we had created “Face to Face”, a fantastic song and the first single of the album. It was also one of the highlights of the ATB IN CONCERT Tour in the USA, which the Stanfour boys were also part of. We know you are more than 20 years in the music Industry but are you not scared about this « pressure » sometimes? We see more and more producers feeling this kind of pressure. Of course it’s much more different to work in today’s music business than in the beginning days. When I started to make music, there were just a handful of artists who played electronic music, as well as labels. Today nearly everybody has the possibility to make music and to spread it digitally as well as being a DJ. On the one hand this is very good as it shows how lively electronic music is, which makes the development of this music very fast, but on the other hand there’s a lag in quality. What’s your biggest musical accomplishment when you look back in the past and all albums you did till now? It’s always the latest one I produced. Are you a fan of social media, do you think it’s massively important now? Yes, of course. Social medias like Facebook, Twitter, or Google+ are very important for me. It gives me the possibility to get in contact with my fans worldwide, no matter where I am. For example, on Facebook I really like to ask my fans questions and have a discussion with them. It’s great to read all the comments from all over the world and to answer these comments. I also use it to share my worldwide experiences and to give the people a personal insight into my life. What piece of equipment could you not live without (not necessarily DJ equipment)? My mobile. Even if I’m on the road a lot it’s my direct connection to my family, doesn’t matter where I am. Everyone’s got a hidden talent. What’s yours? Maybe a fabulous football player? Not football, but I really like to play table tennis. Your favorite application this year? Last year I experienced the app “Tripit”. It’s a real cool app my agency and me used to coordinate my tours all over the world. I have all my flights, hotels, gigs and tour information with me on my mobile instead of taking it along with me on paper. Furthermore, the app auto- matically shows me for example all flight delays, and if there are any last minute changes my management can change it in my tour schedule from Germany and I see it directly on my mobile on the other side of the world. This makes my traveling very easy. We’re reaching the end of this interview; do you have a message to your fans? ATB wouldn’t be ATB without my fans! Thank you all guys for your tremendous support and your trust in me along with my music during all these years! I’m really proud of such an amazing fan base! Your opinion interest us and we would like to know it. When you visit our online pages, what are your first impressions? Wow, just a couple of weeks to the Winter Music Conference. Thank you very much Andre, for giving us some of your precious time. Speak to you soon… Thank you guys! Source: djnews.be

Stoney Roads were fortunate enough to have a fifteen minute chat with the man, the legend and one of our personal heroes Fatboy Slim, a.k.a Norman Cook. No introduction is necessary for this dance music icon and DJ pioneer. On the agenda – we delve into his latest gastronomic venture and food in general; that time he played at the House of Commons in English Parliament; we discuss the future of dance music – in particular the influence the internet has played in shaping the success of certain tracks and that dreaded term ‘EDM’. Much love. Fatboy Slim: Hey how the fuck are you? Stoney Roads: Hey! So it’s nightime over there in the UK…Have you had dinner yet? I have had dinner! Have you had breakfast? SR: Well I ran out of cereal so I’m eating like half a banana… that will hopefully fuel my day. Yeah yeah, bananas are good! Bananas are good…fuel. SR: Speaking of dinner, how’s your new fish and chip venture going in Brighton? Oh yeah, the café is fantastic. It’s kind of like a like a little clubhouse down the road for my kids and all the kids down the street and the skaters. We did a Boiler Room there a couple of weeks ago. My best mate runs it – it’s like our little café clubhouse. We do the occasional party – but only very occasional. SR: So is it a bit of a hangout area during your downtime? Yeah, well it’s literally in the park just down the road from my house, which is one of the reasons it’s been so dear, cause my kids play there and it’s a community sort of thing. I’ve got my more gastronomic ventures, but this is really just a community café that’s ours. SR: Have you placed any special recipes on the menu? Or anything you suggest to customers that you’ve created in particular? No, no, no, I sit on the other side of the fence. Me mate Danny is the chef. We do a lovely Aberdeen Angus burger – which is a big favourite – and the squid is quite good. But it’s more about very good coffee and internet and hanging out with the skaters and the kids in the park, than it is a gastronomic event. It has all me pictures on the walls, which is one thing. SR: Awesome! In March last year you played in the House of Commons in Parliament? How was playing there? Can you describe what the mood was like playing there and how it came about? Well, words cannot explain or describe how weird it was, and how right it felt… yet wrong at the same time! It was right in that, I believe it was 19 years ago, the Criminal Justice Bill that was trying to outlaw house music and raving and everything we stood for was suggested. For us to finally worm our way into being invited to play felt like a triumph to bring the Smiley Face into the House of Commons. Playing for some of our mates – who wore suits to mark the occasion – and MP’s who’d only just finished work, it felt like playing at a wedding with no alcohol! Not the most full on raving crowd I’ve ever played for. I kind of got them in the end. SR: Were there any standout members in the crowd getting right into it? There were a couple by the end of it who were into it and loosened up somewhat– slipped their ties off and were showing off a bit of Dad wedding dancing. But I’m not going to name names because I don’t want to end up in the Tower of London. SR: The single ‘Eat, Sleep, Rave, Repeat’ – were you expecting it to have the success it did in 2013? I think sort of… only because I’d been dropping that sample into my live set for about a year beforehand and everyone seemed to be reacting to it. It sort of went viral, with kids hashtagging it and making t-shirts with the slogan before we’d even released the record. So we figured something was up ans the we’d struck a chord with the slogan. But to turn that into a pop hit was the icing on the cake. SR: What’s your take on the viral effect of ‘Eat, Sleep, Rave, Repeat’ – it can kind of be categorised in the same vein as ‘Keep Calm and Carry On’ – is that something special for you? Yeah! For it to be taken like ‘Keep Calm and Carry On’… (it’s a ‘MEME’ apparently, is the official title for it, where somebody takes a slogan and then it gets distorted and taken out of its original position)… I love that! I think it’s really good fun. I think it’s more fun than having a certified chart hit or hear it on the radio. It’s more fun to see that slogan going around the world and making banners and t-shirts and painting it on the walls at gigs. I found that more exciting than having a hit record. SR: Is this something you’d incorporate for future songs you’re making? Well I had that slogan floating for a few years. There’s always little post-it notes around my office with slogans. But one as good as that only comes around once every few years. Also, I don’t think it’s something you can force – you can’t make things go viral. You can’t hype things like you can a record or a video. Things like that just happen and you don’t know where they’re coming from. If you look at Harlem Shake, you go, “what was that all about?” You have no idea how people are going to take it and run with it. It keep things fresh in the commercialisation of the music industry. SR: Having run Southern Fried Records for many years and seeing the change of songs and the ability for them to go viral, what do you expect to rise in 2014? Do you think a new genre will emerge? Or will it be more of a take on the social media element of music? I really don’t know. I would have thought as a music journalist. As muso’s we just try to be involved in it. I don’t know if you’ve heard about that selfie record – but that’s someone trying to force a ‘meme’ on us. I don’t think that’s going to work where you crossover and try and imitate what goes viral or what teenager’s do and try to bottle it and sell it back to them. I think teenagers are wiser than that. I think there will be that continued cross-pollination that produced dub-step – where one style will have a bastard son with another – and you end up with the sum of the parts. SR: Like deep-house and dub-step… something like that? Yeah, dub-stow or trap….er….pop. (Haha) But that’s the other thing about dance music – it takes on all these sort social or cultural or musical ideas and mashing them all together. So the next big thing will be the next bastard son of whatever there has been before. SR: Loaded question – what’s your take on the term ‘EDM’? Errrrmmmmmm… A very accurate description of what I do for a living, that has kind of been hijacked by the people who make ‘PDM’ – ‘Pop Dance Music’. The phenomenon of it worldwide, I’m not going to be sniffy about, because as a DJ and someone who makes that kind of music it’s fantastic how a new generation of kids are getting into it and getting as excited about it as I did when I was that age. So, on the one hand it’s a very accurate description, but it’s also been hijacked. SR: As a pioneer of dance music, are there any new producers out there that are catching your eye at the moment? My mind just goes blank when you ask questions like that. Ummmm… no. No would be the easy answer. SR: Is there anyone on Southern Fried that we should take note of? I’ve got high hopes for Sonny Wharton – but he’s on Skint, not Southern Fried – he’s going to do big things…You’ve given me the perfect opportunity to plug things on my label, but my minds gone so blank I can’t even remember who’s on my label besides The 2 Bears! It’s like when someone asks you what’s your favourite record and your mind just goes completely blank. SR: Well the next few questions I was going to ask you might draw some more blanks, cause they’re finish the sentence type questions, but we’ll see how it goes. So the first one is – The first vinyl I bought was… Rubber Bullets by 10cc. SR: The first CD bought was… Oooo….Ummm… No…No…You’ve got me on that one. I think it might have been the Underworld album. SR: If my life were a movie, my character would be played by… Keifer Sutherland – just because of the uncanny, striking, physical resemblance… in my mind. SR: My biggest music guilty pleasure is… The Beatles… or have I got nothing to be guilty of? Actually, no, it’s Pre-War Blues, like Snoop Teague or Brian Boy Fuller. That’s where the name Fatboy Slim came from. If you were a fat Blues singer you’d get called Slim – Memphis Slim, Pinetop Slim, Bumblebee Slim – and Fatboy Slim is the fat Blues singer who can’t exist. SR: And last but not least, the greatest meal of my life was… Noma in Copenhagen, for my birthday last year. What did this meal entail? The highlights included Moss infused with Cep mushrooms; a cheese ball with a fish poking through it and sticking out either end; and ants! SR: Thanks for chatting with us! Source: stoneyroads.com

Rolling Stone is reporting that EDM culture’s deadmau5 has joined several other recording artists in condemning any potential copyright law change that may occur after a 112 page US Commerce Department “Green Paper” was released analyzing current copyright laws. MAGNETIC RECOMMENDS: SFX & AEG Battle For Electric Forest? As it pertains specifically to remixes, the task force states ”the question is whether the creation of remixes is being unacceptably impeded… There is today a healthy level of production, but clearer legal options might result in even more valuable creativity.” Rolling Stone writes In a statement to Rolling Stone Dina LaPolt, an attorney who collectively represents Steven Tyler, Deadmau5 and Mick Fleetwood of Fleetwood Mac says “We’ve got to kill this now. We’re not interested in having roundtables where we can analyze and comment on how to cut away the artist approvals so you can bastardize their work.” Despite the artists’ reaction, the US Commerce Department is maintaining that this analysis is only just that- there are no plans to change change existing law. They will review the data and make any recommendations to Congress by the end of the year, stressing there is no intent to undermine the rights of the original artists. Source: magneticmag.com

Wave after wave of short, but sweet Tomorrowland line up reveals built a fervent anticipation for the official ticket on-sale date of the Belgium festival. In lieu of celebrating the festival’s decade anniversary and in an attempt to accommodate the increasing flux of attendees, Tomorrowland followed in the fashion of similar festivals by extending the event over two separate weekends. In past years, the show has notoriously sold out within minutes. The decision to add an extra weekend proved successful for 2014 and even with a doubled capacity with the supplemental weekend, the venue’s 360,000 available tickets sold out completely in under one hour. Source: dancingastronaut.com

im live for the sunday sesh, join chat and get in on the ambients of dnb

https://soundcloud.com/oxykon/oxykon-january-february-set Sup y'all, with the new year well in full swing, i've decided to start a monthly set, as i missed last month i made up for it with a 2 hour dnb, hip hop and breakbeat set, was getting a great response from everyone in chat from this when i was live, hope everyone else also enjoys it. Free Download