Emma Partnow
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Emma Partnow
MemberI Definitely Like The Idea Of DJ’ing In A Cage 😎
I don’t Care If I Look Like a Monkey; I Just Don’t Want Anyone Touching My Stuff 🙂MemberI do like the Idea of Metal to be Truthful; as apart from the Massive Desks I have in my Room; which are not Really Portable; I would Hate to see £8,000 Worth Of Equipment Smashed on the Floor of some Venues 🙁
However; if the Tables you have Depicted are for your Room; and they were Up Against A Wall they Look Solid 🙂MemberMichael Fuchs, post: 4200 wrote: Oh wow, thanks so much Emma! That’s great, but one more question. What do I have to set up ahead of time, meaning what IP do I use to stream to, I mean I understand how to do what it says on that page, but how do I set everything up before that so that I can just plug in the address and stream it. Sorry, I’m quite new to this whole thing.
Hello Michael 🙂
I have just Edited my Previous Post; and I think the Second Web Page I linked you to answers your Second Question 🙂MemberEmma Partnow, post: 4199 wrote: Hello Michael 🙂
I know for a Fact that you can Broadcast Live Right From Within Traktor 😎 😎
If you go into your Preferences …………..
Well; I was going to Explain it; but I don’t need to now I have found a Web Page with Pictures 😀http://howto.slserver.com/?cat=16
It is Fantastic that you can do it Right From Traktor; this is ‘Why’ I Bought Traktor to be Truthful 🙂
Edit:
And this is a Second Piece of Information that Could Be Interesting for you 🙂http://www.native-instruments.com/forum_us/showthread.php?t=139846
MemberHello Michael 🙂
I know for a Fact that you can Broadcast Live Right From Within Traktor 😎 😎
If you go into your Preferences …………..
Well; I was going to Explain it; but I don’t need to now I have found a Web Page with Pictures 😀http://howto.slserver.com/?cat=16
It is Fantastic that you can do it Right From Traktor; this is ‘Why’ I Bought Traktor to be Truthful 🙂
Memberbigmixxx, post: 4197 wrote: Thanks folks! New here, and a kinda sorta novice at the DJ culture: i.e. I won’t call myself an expert, I want to learn everything….
That is Cool my Friend 🙂
It is Amazing What we can Learn From Each Other Regardless of Our Experience 🙂MemberA Very Warm Welcome to you Bigmixxx 🙂
MemberPaul McGuinness, post: 4175 wrote: Wow Emma your are as the rest of the people have said a true inspiration I just listened to your music on sound cloud and its very very good and well mastered have an real gift! Its nice to meet you on here, keep up the great music maybe we could do some sort of collaboration musically.
Hello Paul :);
Thank You So Much for your Kind Words; they Mean A Great Deal To Me :);
I had to take a Number of Years ‘Out’ Due to family Bereavment; so I have only been back for One Year; but am Pleased with the way I am Developing and Evolving (as I wasn’t able to do this before);
I would be Happy to Consider a Collaboration 😎July 19, 2011 at 11:24 pm in reply to: Hi My Name Is Paul McGuinness I'am DJ/Producer New To The Forum #4198MemberHello Paul 🙂
I am just listening to your ‘Deep Places To Andrual’; and then I will check out your other Track :cool:;
Oh; that is the Track you wanted me to listen to :D;
I just saw the ‘5-wolves-1’ and thought you had another Account :);
I Love the Jazz Element of your Track; I have been listening to a German DJ who uses a Lot Of Jazz; and so I have been Collecting Some Jazz myself;
I Feel the Vocal Works Perfectly with the Track; I Often use Italian and Spanish Female Vocals in my Sets; and for you to use this Vocal I think is very Innovative; and I Liked The Track; Shame it isn’t for Download though 🙂
My Step-Father has Owned a Recording Studio for 30 Years (so Before I Was Born); but he allowed me into the Studio when he was Recording Bands; and I Mixed Down my First Track (Their Track) for a Rockabilly Band when I was 9 🙂MemberYes this is True;
It would be Cool if we were able to (and there is the Beginnings of a Distinct Possibility); play Just Music that the Artists (on SoundCloud for instance) had Allowed us to Download for Free; I have probably 150 tracks so far (from there); as the PRS could then take a Run And Jump 🙂MemberSimilarly, any DJ can voluntarily sign up to the scheme (email:
[EMAIL=’gigsclubsscheme@mcps-prs-alliance.co.uk’]gigsclubsscheme@mcps-prs-alliance.co.uk[/EMAIL]) and must supply full name, address
and contact details. Those who join will be asked to complete a set list
based on the music they’ll be playing over a determined period of time, with
royalties paid out based on this information. Adrian Crookes emphasises,
“Any type of performer is eligible to join the scheme – DJs, members of live
bands, string quartets, resident pianists in hotels etc – as long as someone
is performing regularly and has access to email.“All nightclubs are eligible for the Gigs And Clubs Scheme. Non-eligible
venues are those we call concert venues. Typically these premises hold live
performances in a concert setting and where there is usually a charge for
admission. Performances in these types of venues make full returns of all
works performed under the PRS Concerts Scheme.”Although the Maritz researchers will enlist the DJs in the clubs they visit
to fill out the performance information, clubs are not responsible for
providing their DJs with PRS sheets. PRS sheets and statistics are ONLY
gathered if they’re part of the sample or have enlisted to the Gigs And
Clubs Scheme. Thus it is essential for as many DJs as possible to sign up,
and for the PRS to encourage participation. The onus lies with the DJ to
want to supply this information, and may be a sticking point in the process.
Although a DJ who plays his own music will reap the benefits (royalties are
made to the music producer), there seems to be little incentive for other
DJs to join. A well-respected local DJ who plays across many venues in South
Wales sums this up: “I’m not aware of the scheme and would have no interest
in signing up. If you asked other DJs I expect their response would be the
same. Why would I want to – what do I get out of it?”Similarly John Rostron, who has been DJing under the pseudonom of Johnny
Acid for a more than a decade suggests, “I would doubt DJs would be signed
up to [the PRS scheme] because very few, if any, play their own music. There
is no reason for me, as a DJ, to sign up because I don’t produce music.”
PRS, however, take another view: “DJs who don’t perform their own material
join it because they want to make sure that the creators of the music they
champion get paid. It costs nothing to join but makes sure the money finds
its way back into music. Why wouldn’t they want to do that?”
Admittedly, the Gigs And Clubs Scheme is more straightforward and directly
beneficial for performers and the form is rather easier for them to
complete. As it requires songwriters, publishing and / or label listing- a
performer will know this information, but a DJ may need to check it out.
However, PRS have undertaken steps to encourage DJ participation, “With
regard to DJs, PRS conducted, as part of the pilot Gigs And Clubs Scheme, an
exercise to engage with most major DJ agents and representative bodies who
were visited and asked to participate in the project. The project was
championed by many DJs and details were broadcast on BBC Radio 1 and Kiss
FM, featured on the BBC website and at the Urban Music Seminar.”
Other increases in promotion will inevitably also help, including currently
the PRS website – full details of the scheme are provided at prs.co.uk; PRS
membership magazine – the scheme’s launch and updates are featured in M
magazine (circulated to 44,000 PRS members and publishers); field based
staff – PRS staff based around the UK are available to promote the scheme
where appropriate and talks and seminars – PRS staff regularly engage with
the PRS membership at open meetings, seminars and music events.
Despite the Gigs And Club Scheme promotion and the Matriz research, it is
questionable as to whether clubs, venues and DJs really have knowledge and /
interest in royalty payments. Adrian Crookes disagrees: “Licence holders who
are selected as possible venues for participation in the UK music survey are
sent a letter explaining why PRS conducts the survey ie, to make sure the
licence money paid by music users goes to the right people – the writers and
publishers of the music performed. This information is sent to 45,000 venues
a year, not just the ones that get visited.More and more DJs are aware that royalties are due from their performances
of recorded music. PRS actively encourages regular DJ performers to submit
details of what they are performing because again, we want to make sure the
royalty goes to the right people – the music creators.”Even those who do not fully understand the process, it is simple as, “all
they need do is co-operate with our researchers when needs be.” Similarly a
spokesperson for Maritz defends the clubs, venues and DJs, “Most clubs and
venues are happy to allow researchers into their venues. They appreciate
that this is an effective method to make sure the licence money they pay
goes to the right people – the writers and publishers of the music that is
actually performed in their venue.”The huge use of recorded music in the public forum is undeniable. PRS always
attempt to increase accuracy in payments. But can it be deemed enough?
Geographical factors may make a difference to a set-list, for Wales the
number of clubs and frequency of DJs playing Welsh and Welsh-language
artists will be much higher than anywhere else in the UK. This is one factor
not considered by PRS.“PRS does not differentiate by region or genre. The PRS UK Music Survey, the
PRS Concerts scheme, the Live Concerts Service, and the Gigs And Clubs
Scheme give Wales, and the rest of the UK a variety of methods to encourage
and ensure that information about performances can be received by PRS and
matched to a royalty.”Interestingly, two documents – PRS Music Survey 2004: Most Played DJ Tracks
in Wales and PRS Music Survey 2004: Most Performed Songs in Wales (Live)
list the top 10 tracks played and performed in Wales, and did not feature a
Welsh artist. The Beyonce’s of the world are noted, but it may be concluded
that on a lesser scale those who need to benefit most from the plays do not.
Thus, this is where the Gigs And Club Scheme has the potential to make a
difference. As Adrian Crookes emphasises of the scheme, “It’s a surefire way
of getting royalties to the correct writer and producers, particularly those
creators who may not feature in other PRS distribution schemes. There are
people for whom even a modest royalty can make a difference.”
As one of the main principles of the Gigs And Clubs Scheme is that every
submission where a royalty is due, is paid, this makes a lot of sense and is
an encouraging prospect.Due to the vast number of venues and club nights, the PRS may be unable to
achieve any greater degree of representation of recorded music in this area.
However, they continually look to better the system. As Maritz agree, “PRS,
in partnership with us, is constantly looking at ways to improve the methods
and practices it uses to operate the [visits] survey. In 2004 a series of
processes was introduced which has helped enable us to collect greater
numbers of survey performances than ever before.” And they also have a
strong belief in the current system. Adrian Crookes from PRS again: “The
weightings used to work out the royalties from the sampled premises was
designed by Professor of Statistics at Cambridge University, Frank Kelly.
So, we are confident that we have produced the most accurate survey we can
and is probably the most accurate survey of public performance in the
world.”PRS can do their best, but a general change in attitude should also be on
the cards. Visit-based research is always going to be difficult to make more
accurate, purely due to the enormity of the area. But DJs who sign up to the
Gigs And Clubs Scheme can help bridge the gap between the megastars and the
grassroots, and benefit those at a lower level by submitting details of
their sets. Rather than the DJ asking why should they join, maybe they
should be asking themselves why not?
l Clubs, venues and DJs with unanswered queries regarding PRS can contact
their local PRS Territory Manager or the National Sales Centre on 0845 309
3090. Or can check out the website: http://www.mcps-prs-alliance.co.uk for further
informationMemberIt says in the Following Information that it is ‘Free’ for DJ’s to Sign Up;
If that is ‘True’; then that is Cool; and I would be Happy to Sign Up;
However; if it is ‘Not Free’; then I would Not Be Happy as I Currently Do Not Earn An Income From DJ’ing;Big Issue – Clubs, DJs & Royalties written by Gemma Curtis
25,000: the number of licensed venues holding gigs
£22.8m: total PRS distributions for performances at gigs and clubs
1.1 million: estimated number of DJ sets performed each year
7,000: number of gigs and club events PRS sends researchers to
£6.39: the amount a pub with a capacity of 100 paid to PRS each time a gig
or DJ session was held.
(PRS Survey UK.2003)
It may not be the most glamorous aspect of the music industry, but the
function of PRS is undoubtedly one of the most vital for music producers in
the UK. A non-profit organisation, the Performing Right Society (PRS) is the
UK membership organisation of composers, songwriters, authors and publishers
of music of all genres. Essentially the primary function of PRS is to
collect and distribute royalties from music users, who publicly broadcast,
perform and include music in ‘cable production’ services. In turn they make
royalty payments to their members, although this is dictated by a number of
factors and achieved with a varying degree of accuracy. Major television
stations and large concert venues (typically covered by the PRS Concert
Scheme) submit detailed reports of music used. The PRS methodology for
analysing playlists of other venues including commercial clubs, pubs and
club nights is conducted differently, and is less clearly identified despite
its considerable magnitude – as the estimated 1.1 million DJ sets indicates.
Considering the enormity of usage of recorded music by DJs and clubs the
accuracy of royalty payments thereafter is a difficult area to govern.
Interestingly, playlists of DJ sets and club nights are analysed in the same
way and included in the same surveys as set-lists of live performances
(those which fall outside of the fore-mentioned PRS
Concert Scheme.) Adrian Crookes, Communications Officer of the PRS, explains
the current monitoring system of its catalogue: “PRS employs market research
company Maritz who make 7,000 visits to UK pubs and clubs every year, noting
down the music that is being played there. It is the largest independent
survey of its kind. PRS pays pubs / clubs performance royalties based on the
information Maritz compiles.”Each year, Maritz’s main surveys aim to complete 2,500 DJ visits and 3,500
live visits, using a random selection process. A spokesperson for Maritz
gives details of the procedure, “PRS use a stratified sample where venues
are selected randomly. Visits are carried out throughout the UK, every day
of the year, every year. The number of visits allocated to certain types of
premises such as pubs, clubs and hotels are in proportion to the share of
the total public performance revenue PRS receives from those premises
types.”Notably, when a club applies for a PRS licence it is with a condition that
they assist in making returns when requested, and the visit is not made
known beforehand. Also, once a Maritz researcher has visited a club or
venue, there is no certainty as to when they will feature in the survey
again.
Obviously cost and practicality make it impossible to catalogue every
individual DJ set or club night playlist. The cost of licensing and
obtaining the set lists means that PRS has to operate a system of sampling,
where set lists from a random selection of the events are taken and used to
pay out all the royalties. Therefore it is crucial that the sampling is as
accurate as possible to reflect royalty payments owed. In 2004, PRS made a
number of alterations to their research, resulting in upping the number of
Music Survey DJ visits by 75%, introducing an enhanced system in support of
the UK music survey and, perhaps most significantly, supplementing
information from Maritz visits by creating the Small Gigs And Clubs Scheme.
As its name indicates the scheme encompasses DJs as well as live
performances. Regular performers of small venues across the UK, (including
pubs, bars, community centres and hotels) email PRS a set list including
their usual songs, along with a list of 10 small gigs and club events. The
royalty for the gig is calculated and royalties paid out across the
accompanying set list. An exception is made if the event is already included
in a PRS sample.
MemberHello Mills 🙂
I have seen a Number Of People talking about the Strength and Portability of this DJ Table;
The Instructions in the Video of how to set it up takes a while; but that is because the man is Explaining it;
I Understand it only actually takes a minute or so to set up;
The Price is Large Unfortunately; but just take a look as you Definitely need something to Protect Your Gear 🙂[media=youtube]n_I-BvIiO4E[/media]
MemberU31, post: 4134 wrote: Cheers Emz, ill have a go…
My mate who is on the proper course says next time he’s over he’ll bring the videos and his vestax.. 😀Cool 😎
Obviously it is So Much Better to actually ‘See’ somebody do it 🙂And if you have a Soundcard or ‘Two Outs’ so you can Monitor what ‘You Hear’ and ‘What The Crowd Would Hear’
(You can set up the ‘Cue Track to Headphones’ on the Bottom Right of your On Screen Mixer);
You can then use the ‘Pitch Adjusters’ to Nudge just like with Vinyl or CD; and these are found to the Right of your Master Tempo; so that once you have ‘Sorted’ Two Tracks of the Same BPM; you can then Move On to Mixing Tracks of Any BPM; (though as you know the ‘Recommended’ BPM ‘Maximum’ would be + or – 5BPM);
But I am a Bit Crazy; so I Mix Any BPM into Any BPM; but You and Mike will be able to do this Also at some point 😎July 19, 2011 at 2:47 pm in reply to: Hi My Name Is Paul McGuinness I'am DJ/Producer New To The Forum #1001105MemberHello Paul 🙂
Yes I Produce (within Ableton Mainly; but also enjoy Reason); and I also Master Material for people;
I began just playing House 10 years ago; but have since Experimented across a Number Of Genres as I feel that if we get ‘Labelled’ it is sometimes not for The Best;
So; on the Radio Show I do (5 so far); I have made a Significant Point of Mixing a Different Genre each time; but to be Honest (although I can Mix it) I don’t Care for Trance Music;
So my Preference is House; Techno; and Dubstep 🙂 -
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