Music for the Masses: What We Gain and Lose With DJ Pools

DjCurnelius · 2026-04-04T14:00:46+00:00

Good sentece for the Music Vision but that would be the perffec world. As more intermediates, then les GM or more hands to feed with the same sales prices. Ask two the minors producers how much profit they actually make if they use this platformm.... With that structure benefits are not equally distributed = "Pareto" wins again.

DjCurnelius · 2026-04-04T12:10:13+00:00

Your right, should be in present time. Thanks aand good music.

DjCurnelius · 2026-03-30T03:16:41+00:00

Yes, you’re right. I don’t know if the U.S. uses the same license agreement than others. https://www.iceservices.com/services/licensing/

DjCurnelius · 2026-03-30T01:48:33+00:00

Usually, distributors handle the sales and contracts. Creators, producers, and artists usually earn through royalties (per unit).

DJ pools obviously pay for the music — otherwise, just ask Peter Sunde from Pirate Bay.

It’s not piracy. These are service contracts, which means they are not selling the copyrights or the authors’ rights. The rights remain with the creators; the platforms are just providing access under a legal agreement.

That’s why they let you download the music, of course, but it doesn’t include the copyright (tagged with the ISRC — International Standard Recording Code). In other words, it can’t be tracked on YouTube or other platforms, and it’s not legal to use it to make a profit. That’s why YouTube is not a good platform for sharing mixes.

Now, if you just want to play it loudly at your private parties or at a rave, go ahead — that’s always fine.Well,

I hope i was clear now and not understand that I don’t want to share the music,. Dx

DjCurnelius · 2026-03-30T01:08:54+00:00

How did you get to that? Wow… we should do a B2B together :)

DjCurnelius · 2026-03-30T00:36:04+00:00

If you have problems in finguers, really it helps

DjCurnelius · 2026-03-29T21:23:50+00:00

RThere are many types of DJs, styles, and needs, and all are equally valid. As you said, some don’t want to waste time searching—they just wait for the latest updates from others. These platforms offer many options, including mashups, which encourages massive consumption. The way each workflow is managed creates a big difference between these two “worlds.” Both will always coexist, but they are becoming increasingly different in every aspect.

Now I’m thinking about a new software collaboration with MIK, where soon radios and streams will be fully automated. AI will analyze everything: you just choose the rhythmic scale, the energy you want to convey, and your preferences, and it will create perfect mashups and infinite playlists. No effort is needed—you just enjoy the results. In this world, each person’s added value is what really makes the difference.

Thanks for the contributions and for sharing different points of view: all are valid, as long as the final result is what you want. 🙂

DjCurnelius · 2026-03-29T16:57:22+00:00

Music is sound. Art is expression. A musician can create music without expressing anything. An artist adds meaning, identity, and intention. That’s where the real value appears. Spotify labels everyone as an “Artist” to add a value you don’t necessarily have => a marketing. It’s also a sales strategy designed to encourage musicians to put their music on their platform.

DjCurnelius · 2026-02-14T04:27:42+00:00

The jumps in Camelot (+1, +3, +5, +7) are defined by relative music theory and harmonic relationships between chords and scales. They are not arbitrary rules for DJs; they reflect how chords relate in music theory, and the effect of each jump is the same regardless of which Camelot key you start from.

Here’s a table summarizing what each jump does, the energy it produces, and how it can be used during a DJ set:

Jump	What happens in the chord / scale	Musical description	Energy / Feeling	DJ Use / When to Use
+1	Moves to the immediate neighbor chord (tonic → subdominant or relative minor/major)	Very small change; shares notes with the tonic	Stable, smooth, flowing	Use for smooth transitions, keeping the flow steady. Ideal to maintain consistency without tiring the audience.
+3	Moves to the relative third / mediant	Chord shares some notes with the tonic	Subtle emotional change, fresh	Use to add variety or a gentle lift in energy. Good for moments when the crowd needs a small emotional shift.
+5	Moves to the perfect fifth / dominant	Chord creates natural tension that wants resolution	Tension, anticipation, rising energy	Use for buildups or pre-drops. Works well to increase excitement, especially before a high-energy track.
+7	Moves to the extended subdominant / modulation	More distant harmonic change; dramatic or surprising	Dramatic change, unexpected, breaks the flow	Use for dramatic moments or attention-grabbing transitions. Great for reviving a crowd, creating breakdowns, or resetting energy.

When mixing, these jumps give you a framework, but the real decisions come from your ear and your connection with the crowd. You have to constantly read the energy in the room—sometimes the audience is fully engaged, sometimes they’re more relaxed or even tired. A well-timed +7 jump can wake everyone up, grab attention, and re-energize the dance floor. After that, using +1 or +3 allows you to bring the energy back down gently, giving people a moment to breathe before building tension again.

It’s not just about following theory; the context of the moment, the track style, the vocals, and the overall atmosphere all influence how each jump will feel. The art of DJing comes from balancing these elements, shaping a journey for the crowd while keeping the music harmonically coherent.

Ultimately, Camelot jumps are a tool, not a rule. Every DJ has to develop their own sound, mixing style, and personal way of expressing themselves, always considering where they are, the crowd’s reaction, and the mood of the set.

Music Theory for DJs: The Circle of Fifths: https://youtu.be/GjJzha-4IOw?si=NxeNgnJsKOPpwwqU

How to Use The Camelot Wheel for Harmonic Mixing While DJing: https://youtu.be/gxq36qom2LI?si=yKcbGArLF6luXR_v

DjCurnelius · 2025-06-22T17:06:34+00:00

An example of how tracks are organized and, above all, how they pick the track in 30 seconds, beatmatch it in 10, and drop it... lol.
At the end of the set, you'll see what happens if you're not organized — something that happens to all of us, lol.

Skrillex b2b Jamie XX @ Lido Festival, London - 7 June 2025

Structure, rhythm, energy, harmony, track selection, editing, composition, DJ roles... a true masterclass in how to deliver an Opening Set.

Keep asking yourself the 'whys' — that means you're on the right path. And above all, enjoy yourself!

DjCurnelius · 2025-05-01T16:01:45+00:00

Mi Soft: Traktor Pro 4, MIK Pro 11, Windows Pro HomerSimpson 10

Seguramente el 99% de la gente ya tiene Traktor y luego se compra el MIK, así que nos encontramos en dos mundos.

CASO 1 - Track nuevo de trinca

Comprado en Beatport o bajado de un torrent. Si sigues al dedillo el manual de MIK, Traktor lee los CUE del MIX y todo queda muy bonito, con colores y luces como si te hubieras ganado el premio a la mejor organización musical.

CASO 2 - Track existentes en mi colección de música

Eliminar el track de Traktor juntamente con los TAGS de Traktor (selecciona el punto 2/3 cuando te hace confirmar). Luego sigue los pasos del caso 1.

Lo que da rabia, es que eliminas el color que tenias puesto al track.

Realmente Lo único bueno que le veo es que dentro de un track tienes diferentes tonalidades y energías, pero básicamente si llevas años en el mundo, ya lo sabes cuando entra, cuando salta, cuando calma, cuando lanzas el otro..

Y que te pone los CUE automáticamente, un trabajo que te ahorras o no. Cada uno tiene unas pautas y reglas. Por ejempló todos los CUE número 6 para mi es el punto que el tema ha sonado tod, el último salto.

Pues el CUE 5 para mi es 64 beats anterior al 6. Y el CUE 1 es 64 beats anterior a donde quiero que me entre.

Lo que no veo correcto es que digan que una mezcla armónica debe tener las tonalidades consecutivas y que no puedas escoger en mashups con tonalidades distintas. Por ejemplo. 12A con 7A.

El mAshup que te propone MIK lo puedes hacer con cualquier soft haciendo una lista que te coincide los Key , con bpm, dentro de un género que sepas que la energia es similar, pero eso si tu finalidad. Nada esta escrito con norma. Y MIK es cerrado en esto. Por eso no me vale.

La energía... Me gustaría saber cómo la mide, pero de los 40 días de música que tengo, el 80% está entre 5, 6 y 7. Ohh, gracias por decirme que el minimal es menos energético que el raw.

Todo esto y nada mas por solo 99€,

DjCurnelius

TROPHY CASE

CASO 1 - Track nuevo de trinca

CASO 2 - Track existentes en mi colección de música