LOS ANGELES ISLAND— EDM, which stands for electronic dance music, has been the most popular genre of music for the past 15–17 years in terms of record sales, music streaming, and concert attendance. This can be easily determined by taking a stroll down the Sunset Strip in Las Vegas or by taking a quick look at the Billboard Pop Charts on any given week. When it comes to Las Vegas, for example, the majority of the casinos on the strip employ celebrity electronic dance music (EDM) DJs and provide them with remuneration packages that are comparable to those offered to celebrities such as Celine Dion and George Michael. The subject of whether or not electronic dance music (EDM) is merely a passing trend has been questioned for a long time, yet it seems that there is no end in sight. The invention of the world’s first DJ software, which is known as Retrogrooves and is credited to the great inventor Andre Gray, led to the many aspiring European musicians approaching it as a “instrument” rather than simply a new and more portable way to play records, albeit virtually. This is a major reason that can easily be pinpointed as to what or who contributed to the development of electronic dance music into what it is today. But what was it about this program that formed electronic dance music (EDM) DJs out of millions of individuals (both pros and amateurs alike, including myself), and more significantly, why are EDM DJs considered to be actual artists, or do they merely play music? In order to provide a solution to this twin issue, I will have to begin with the program itself and work my way up from there. It was the world’s very first DJ turntables software, which was called Retrogrooves. It was developed by André Gray, a great inventor, and it was released on February 28, 1989, in the interactive CD-ROM format. It featured the typical two turntables (left and right), a cross-fader, two volume controllers, two detached speakers, and a record crate that contained forty albums of music from the 1960s, including soul, funk, disco, and experimental electronic music from the 1970s. Due to the absence of a barcode, Retrogrooves was mostly sold at mom and pop record shops in the United States, while it was widely illegally bought and sold in Europe. Retrogrooves introduced the world to interactive music, democratized DJing and contributed greatly to the rise of EDM: electronic dance music (production & live performances), made a DJ out of everyone, had an immense impact upon hip hop music (production & live performances) and served as the template and grandfather for all future digital DJ turntables software, the first of which did not appear for a more than a dozen years in 2002. We all press the play button, don’t we, as DJs and performers? This is not a secret. When it comes to performing electronic dance music (ED) in a “live” setting, it seems that this is the maximum amount that an individual is capable of doing regardless. Indeed, it is not about skill, nor is it about performance art. In fact, it is not about any of those things. To be more specific, I would want to give you and the rest of the people in the electronic dance music scene who punch buttons and fucking hate me for telling you the truth a service and let you all know the truth. As much as we would want to believe that the DJs and electronic artists of the world are able to perform on stage and create insane dance music on the spot, the reality is that the majority of the time, they are just pressing play. If you want to know who is one of the most popular electronic performers in the world, just ask Deadmau5. Given around one hour of training, I believe that anybody with a basic understanding of Ableton and music technology in general would be able to do the same thing that I am performing during a Deadmau5 event. Along the same lines, I believe that any DJ anywhere in the world who is capable of matching a rhythm is capable of accomplishing what “ANYONE else” (I won’t name any names) is doing on their electronic dance music stages. After you’ve had a peek, allow me to explain: Having said that, here I am, dressed up as a giant stupid mousehead, fiddling with a knob or something else… Okay, so this is how the process works… A PC that is running Ableton Live may be found somewhere inside that chaos… And it is spitting out pre-mixed (to some extent) stems of my original productions, followed by an SMPTE feed to the front of house (so that the light and visual systems are aware of where I am in the performance). in order to ensure that all of the graphics are aligned properly and that all of the light cues are on and etc. However, while all of it is going on… In addition, there is a significant amount of MIDI data that is being sent to a few synthesizers and other instruments that are or were used in the production process… which I am able to adjust “live” and other things… Nevertheless, it does not provide me with a great deal of “look at me, I’m Jimi Hendrix, check out this solo” material since I am required to work according to a predetermined schedule because of the SMPTE certification. Not only is it an extremely redundant system, but more importantly, it is as dependable as a fucking king! It is evident that I have performed the show a few hundred times at this point, and as a result, the emphasis that has been placed on the “cube show” throughout the course of the most recent few performances has been on including fresh audio and visual content in order to maintain its relevance. Therefore, that is my “live” show, and it is as “live” as I am able to get it without any discomfort (for now anyway). Without a doubt, it will develop and undergo alterations, but I am certain that there are a few fundamental concepts that will never change. I really can’t stand to keep listening to the “It is not! This is not the only thing I am doing; I am also doing this, this, and this. I have six tables up there “honestly, I mean it. Who cares about a fart? When it comes to “unhooked” sets, I just roll up with a laptop and a MIDI controller, “choose” music, and press the spacebar. I don’t have any guilt in revealing that I do this. I don’t need to be skilled in beatmatching since Ableton is the one that syncs everything for me. From my point of view, “beatmatching” is not really a talent that should be considered a skill at all. If you count to four, it doesn’t matter. Cool. I was able to master that ability when I was three years old, so please don’t argue with me about it. It is in the goddamned studio and on the fucking releases that my “talent” and other producer’s abilities show more brightly than they should. That is the most important thing… Because this entire huge “EDM” phenomenon is sweeping over, I’m not going to let it go thinking that people imagine there’s a person with a laptop up there making fresh unique tunes on the go. I’m not going to let it go. for the reason that, to the best of my knowledge, none of the “top DJs in the world” have. including myself in this. Can you tell me what it is that makes the electronic dance music event such a wild spectacular spectacle? All of you do it. We just assist the means and the gorgeous lights and the lure of more wonderful individuals like you by means of our studio productions. The fans, the people who came to enjoy the music, the lights, and all the other people who attended are all examples of those who arrived. precisely what it is, to put it accurately. One thing that irritates me is when you get up and pretend that you are doing something extraordinary outside of a studio atmosphere when in reality you are not doing anything remarkable.
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