D-Jam
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D-Jam
ParticipantKranic, post: 8726 wrote: I haven’t search yet, but is there a (sticky) “marketing” tips thread?
IIRC, it has been discussed before.There’s been a whole series written on this. Start with part 1:
How To Succeed At DJing, Part 1: What Type Of DJ Do You Want To Be?
If you just want to see about marketing in itself, skip over to part 7:
ParticipantI think the notification thing is one standout thing between app and website, but I know for me personally I turn off notifications on 99% of the apps in my phone. Plus it’s ideal if you regularly put out content.
You can have the means though to hear audio on a mobile site. Both Android and iOS are HTML5 compliant. JPlayer (which I use on my site) does work in mobile. When I get around to making the mobile version of my site one can stream mixes…although I’m coming up with a means to email download links since you can’t download files in the phone.
I guess IMHO, I’ve seen some DJs come up with apps that are nothing more than extensions of their websites, and they didn’t go anywhere because there was no value to the end user. It’s why I think if you really want to make an app, make something useful and/or fun for users…so you can slap your branding on it and spread like wildfire.
Participanteros, post: 8662 wrote: @D-Jam , the DJ battle reads like something out of a movie script. I guess in this case winner gets the name and not the girl ! Also for myself every possible domain name with “eros” in it is a porn site I’m finding out (purely research I swear !!)
I agree with you on the “eros” linked to porn and escort sites, but djeros.co is available, and I see djeros.com isn’t being used…despite someone owns it.
Branding….if you blow up into even a known local, then your website will always be known with those who know. Even try changing up spellings if you want.
djairos.com (air-os) is available.
ParticipantI took at look at the service, but I’ll be honest and say it’s not necessary.
The reality is one should only build an APP when they to go further than a website. Two great examples are Paul Van Dyk’s DJ tools and Krafty Kuts’ app where you can hook it up for sound drops while playing a set.
If all you’re doing is showing links to your mixes, event info and news, bio, photos, etc…then build a webiste and a mobile website. The problem with having an app is you need to first get it cleared with all the app stores, so Apple could reject the app, and then you’re SOL. Then, you need to get people to download it…which isn’t easy if you’re not offering added value.
If you built your website in a 3rd party setup like WordPress or Drupal, there are simple add-ons that will do the mobile end for you. Plus it makes life easier if you want to try to use QR codes or linking on the internet to get your content to people.
Think about it. Think about if Phil made DDT as an app you have to install. You see a new article pop up on Facebook for your smartphone, but you click on it and it goes nowhere, or Phil simply puts a link to get people to download the app. How much web traffic will he lose then? What if I’m pushing an event with more info on my “app”, and thus people have to download it to see it? Inconvenient.
The apps things is mainly about branding. PvD and Krafty Kuts didn’t build apps that allow us to hear their mixes, tracks, or see news on them. They simply hit us with their name and branding every time we use them. That’s the key. So if you had the means to make a TStef smartphone DJ program, then go with it and slap your name on it…like David Guetta with that recent DJay app. However, if you’re just wanting to share info on what you’re doing, use a website with a mobile counterpart, and social media.
October 18, 2011 at 3:28 pm in reply to: Your Ideal Controller – What features would it have ? #8651ParticipantI’m lost. What’s the benefit of an Innofader on a midi device?
Maybe I’m missing something, but unless there’s an analog sound coming through the fader, there doesn’t seem to be any reason for a high-end fader on a midi control. Just a slider that had a good feel.
October 17, 2011 at 3:24 pm in reply to: Your Ideal Controller – What features would it have ? #1001897Participantmr stifffy, post: 8497 wrote: My “toy” controller was the hercules mp3e2 and I still get use out of it, that is a dedicated fx controller for mysetup so upgrading doesnt always mean disgarding the last product you bought. If I play a club I bring my omni control, hercules controller and nano pad and that has control over everything (some things twice or three times like cue points, Its nice to be able to access this no matter where my hands are) people say its stupid to have too much control but at the end of the day it depends on your style, I use all my controls I have a knob mapped as a second cross fader just incase I was to do a really slow blend (much easier).
I actually agree with you. I personally like things to be more modular so you can bring as little or as much as you need. My setup can get as small as an X-Session Pro to as big as an Xponent with MPD24 and Midi-Fighter. I like having versatility.
October 15, 2011 at 2:25 pm in reply to: Your Ideal Controller – What features would it have ? #8498ParticipantI agree in some instances, like the NS7. However, I see how Traktor Pro costs $229. So let’s say the LE version costs $29…that’s $200 you can shave off the cost of a controller.
I always liked how Ableton Controllers do it by giving you a LE version to keep the price lower and then offering you a discount on buying a full version. Thus one can spend less and then invest more later for a pro version.
So imagine a controller like the S4 came out for $700 with copies of Serato Intro, VDJ Home, Traktor LE, and a 30-day demo of Torq 2.0 (or some LE version they come up with). You can try it with all the titles, and then if you really like one particular title, you then go pay the $100-$200 to update it.
$100 IMHO is for an actual “toy”. Something you buy a kid or a beginner to play with. $500-$700 is more for the controllers that are more professional-grade, with $700 being the metal build ones or the big ones like the NS7.
I’m glad right now though there is a flush of hobbyist controllers with some quality attached to them coming out.
ParticipantYou make money on shows…even as a DJ. The goal is to get clubs to pay your travel costs and a few thousand for your time. Do that once a month even and you can make a decent living.
You should also think long term, like an investment portfolio.
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October 14, 2011 at 11:46 pm in reply to: Your Ideal Controller – What features would it have ? #8484Participant1) That the included software are light versions. I use Torq. I like Torq. I’m not paying loads of money for a full version of a software (Traktor, Serato ITCH, or VDJ) that I won’t ever use. I think the ideal is to include light versions and the companies offer a discount on a full version for the DJ who buys said controller. You can shave $200 off the price easily when you don’t include “pro” software.
2) Realistic price. I don’t care who wants to say that a $1000 controller is still less money than two 1200s with mixer and needles. I think the ideal price point should be $100-$500 with $500 being the “pro top of the line” and $100 as the “hobbyist/starter”.
3) Just give me the basics. Two decks with play/pause, looping, and hot cues. A mixer with four volume faders, crossfader, and full EQs/Kills. I’d rather buy a second controller to control effects and/or sampler. When you try to put it all into one, then you end up making everything cramped or you end up with a layout that doesn’t work for everyone.
4) Overlays and the means to make my own. If I want to design up an overlay in Photoshop, print it, and put it on my controller, then there should be a template for me to do that.
5) Basic mappings to the known software titles. Either included or downloadable online.
6) Built-in soundcard. So I don’t need to put a separate one on the computer.
7) No analog audio needs. I don’t need to be able to hook up turntables or CDJs or anything other than my laptop. I never understood the fascination with wanting to put old tech with new tech. IMHO you’re just paying for more stuff one doesn’t need, especially if you’re only gigging with the controller.
8) Included power cable. I don’t do USB powered. I like plugging in my controller to an outlet so it’s one less thing taxing my laptop.
9) Full outputs needed. Main, booth, perhaps record, and XLR outputs.
I still really don’t worry about the “image”. I’ve heard plenty claim the Xponent looks like a toy, but I still rock on it. I think too many bells and whistles can make it look strange, but I simply care that it works. I don’t really worry or care if I’ve impressed the DJs in the room. Haters will hate, no matter what…and if they want to hate me because I’m not on what they define as “industry standard”, then let them have one more reason then to hate me.
ParticipantI look at guest lists as a different beast than booths for bottle service.
The lists IMHO are very easy to get on if you know the right people or are a bit savvy to find out how to get on the list. I do laugh when people who think they’re “connected” want to be on the list last-minute for a Tiesto show that charges $40 to get in. Come on now…the promoter needs to pay the big guy after all. However, it’s very easy to get on lists for normal nights when you know where to go find the signup. It’s why clubbers who love going out should get on mailing lists of the promoters.
With the booths though, I think it’s lessened the allure of “VIP” and built more separation in the clubs. In the past, a VIP section was a private room for celebrities and well-connected or wealthy people. They still exist, but these booths are really a scam to get people to buy a $200-$300 bottle of vodka and believe they’re “important”. Worse are when you see dance floors vanish to make room for booths, but the management still wants DJs to blast the music like there is a dance floor.
I miss rave culture…where it was just about a big space where everyone danced. No “caste system”. I’m glad there is a revitalization of that with the whole Skrillex thing.
ParticipantIn the old days, people battled it out on the decks.
This is one big reason why I tell DJs to buy their website address when they come up with their name. Many will be reluctant to steal a name if they see you own key pieces of marketing items related to it.
I know there’s another “D-Jam” out there. Seen him on SoundCloud…but since I own d-jam.com, it’s going to make life harder on him to go up the ladder. It’s even why I was going to look into buying djam.com when DJ AM died, but they turned that site into a charity.
ParticipantYeah…I’m currently working on helping a Slovak friend (my fiance’s cousin) work on a press kit because I wanted to send it to a few promoters in Chicago for the next time he comes to visit. He did the same for me in Slovakia.
ParticipantI’m going to write the article after I finish the series on throwing events, but I’ll give you and everyone a quick list:
- Research on DJs and promoters in the area you’re going to. Find the ones that match your style and sound.
- Send them emails either as you or your management, letting them know you’ll be in town on the dates you’re in there, and you’re open for bookings. Leave links to your website and/or demo mix and/or press kit.
- Set up things with whoever gets back to you.
You will honestly be surprised how easier this can be…simply because they see it as an out-of-town talent that they don’t have to pay travel costs for. Try to find a nice way to mention that too.
Bring a “leave behind” for fans if they book you. Throw CDs into the crowd, or something. Promoters appreciate it. Plus it will help new fans find your online presence.
That’s the quick version. I’ll do a detailed version when I finish the promoting events series.
October 12, 2011 at 4:34 pm in reply to: Making tracks / making mixes? Where to get tracks from? Where to get sounds from? #1001858ParticipantAccapellas4U is a great site.
I like Loopmasters in terms of sounds you can buy. They have nice collections.
I also think you can get a lot of the tracks you buy. When I tried producing, I would take some beats just from other tracks I liked…off their intros.
Look into VSTs when you’re talking synths. Scan around YouTube for tutorials on how to do certain things on your choice of DAW.
My friend is nudging on me to remix stuff he produces. I dunno…I never thought my few “productions” were that good to begin with.
ParticipantI need to clean out my own stuff. Delerw everything on my external and them just bring in new stuff and get eid of the old.
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