1. Afrojack Feat. Eva Simons – Take Over Control
2. Zabava ft Dj Jonnessey & Aner – You
3. Sunloverz – Now that we found love (Terrace Vocal Mix)
4. Fedo Camurri and Marchesini – Babylon (Raf Marchesini Mix)
5. Lexter – Freedom to love (Radio Edit)
6. Dj Sava ft Raluka – Love you
7. Nick Kamarera ft Deepside Deejays – Reason for love
8. Gloria Gaynor – I love you baby (Dj Gaby 128 Intro Mix)
1.Deepside Deejays - Going My Way (Deejay Sync Bootleg MiX)
2.Afrojack & Bobby Burns - Bridge (Original Mix)
3.Nicky Romero & Gregor Salto - Flash vs Mexer (Hardwell Mashup)
4.Roger Sanchez Feat Terri Bjerre - Bang That Boxcii Vs Philgood Bang
As a DJ, Claudia Cazacu’s sets build from minimal influenced tech-house tracks that progress with expert precision to spine tingling tech trance to destroy dance floors. She can be described as a bright new star based on quality and performance rather than hype.
In music production Claudia embraces all styles of dance releasing refreshing new sounds via her own label ‘Couture’, which has just been signed to the Spinnin’ camp who will now take care of the label management while claudia A&Rs.
Claudia’s ‘Couture’ label has received support from all the major players including Tiesto, Paul van Dyk, Armin van Buuren, Ferry Corsten, Sander van Doorn, Above & Beyond, Eddie Halliwell and a received a string of plays from Judge Jules on Radio 1, including the coveted ‘Tried & Tested’ spot.
Her recent productions have been licensed to Dutch super labels Armada & Spinnin Records with massive support from the usual suspects. Armin Van Buuren has picked up the highly acclaimed ‘Freefalling’ feat Audrey Gallagher for release on his ASOT label and also the 2009 A State Of Trance Album.
The Record Store - An Oportunity In Starting A Music Business
"These three areas must be dealt with prior to new record store.
Inventory Cost
One of the primary costs of your initial launch may be to obtain your inventory of thousands of CDs from suppliers to fill your store before opening. Suppliers probably want you to succeed and may help to finance your inventory by allowing you a thirty or even sixty day payment period after receiving the products. This period of time may buy you the ability to sell some inventory and generate some revenues. However, you will probably have to cover a large part of the inventory cost with your startup capital and estimating this number is a key consideration for your business plan.
Staffing
To keep your doors open, you will need a clerk or clerks at all times to complete sales transactions and provide customer service, as well as other employees to at least occasionally stock shelves, maintain the store, and order new products. You may choose to make one of these employees yourself in the early days of the store, but you must have the ability to hand off this work as time goes on. Your value to the store will be in strategic thinking about marketing, branding, and operations systems, and not in ringing up customer after customer.
Location
Your store can be successful if accessible only by car as well as if it is just reachable on foot. If accessible by car, see if you can place promotional signs along the road on the approach the store and not just at the store itself. The earlier that drivers read your sign, the more time they have to consider changing their plan and stopping. This is not necessary for a walk-up location where passersby have ample time to think about stopping in.
The more difficult your store is to reach by your customers overall, the more they will be encouraged to shop for music online or at a closer competitor’s store. Furthermore, if big box retailers can beat you on prices, you may need to be extremely close to customers to make shopping at your store make sense for them from a purely financial perspective. "
Article source: www.growthink.com. All rights reserved to author(s) in the specified source.
It seems as though the first era of digital music may have come to an end. Napster died, P2P lived in some black market twilight zone, streaming services on ad-supported revenue were suffocated by unsustainably high licensing fees, and subscription services sputtered along, never quite capturing the imaginations of music fans. 2009 ended in a flurry of acquisitions (LaLa, iLike), launches (Vevo) and shutdowns (iMeem), which dramatically rearranged the digital music landscape. When the dust finally settles, expect digital music to begin anew.
With that in mind, here are my five predictions for music in 2010.
1. Labels Will Get Smart
It’s been coming for more than a decade, but major labels are starting to grasp the digital opportunity. They’re licensing music on more sustainable terms, diversifying their business model, investing in new technology and, most critically, understanding more than ever what it means to be truly consumer-led.
As market leaders, major labels have the resources and the networks to profit most from the changes currently taking place. The move from physical to digital hasn’t been as fast as many people might have wished, but that’s because digital still doesn’t pay like physical does.
CDs, when they sell well, still mean big money. Digital isn’t like that. But that’s changing, and as major labels have shrunk, their capacity for change has increased. Expect 2010 to be the year that the bad press on the major labels starts becoming more favorable.
The promises of the digital age — deeper understanding of the music consumer, integrated ticketing and merchandise, direct-to-consumer sales, and fans as marketing teams — are all about to become a reality, and major labels will lead the charge.
2. Physical CD Sales Will Continue to Decline
To ensure at least one of my predictions comes true, I’m going to forecast that globally, sales of physical CDs will decline in 2010. That’s one thing you can definitely count on.
3. Release Strategies Will Evolve
The traditional model of building buzz through radio singles followed by a carefully timed album launch will still be the norm for commercial pop music. But at the edges, we’re going to start seeing a new model for releasing music that’s more attuned to the diverse community of music consumers.
The new model, pioneered by Topspin Media, will be the multi-tiered, staggered release. Artists will offer free, full streams and selected downloads early to the curious and the devoted, building their fanbase as they grow. Traditional release schedules will follow, in tandem with more innovative products, at more diverse prices, to more accurately segmented groups of fans.
Rather than just a plastic CD, we’ll start seeing multiple tiers of music product: free streams and low quality mp3s, simple digital and physical packages, enhanced audio and packaging on digital and physical releases, and then levels of premium products including vinyl, merchandise, and increased access to the artist.
We still think of music in its physical form as a CD on the shelf. Increasingly, we’re going to understand it as a suite of music products — T-Shirts, mugs, books, framed art, signed lyric sheets, USBs, and once-in-a-lifetime music experiences.
4. Music Will Live Legitimately in the Cloud
It’s been talked about for a number of years, but 2010 could be the year we start thinking of music less as a finite product and more as an infinite, on-demand reservoir to be accessed at any time for a fee.
This process will roll out in tandem with the evolution of music “products.” Even if music is universally accessible, it’s still key to people’s idenity. We still need something to put on a coffee table, something to pass to friends, something to put under the Christmas tree and something to signal to the world that “this music is part of me and I want you to know it.”
iTunes, as ever, is in the driver’s seat to make the most of this change. Its acquisition of LaLa could see them own the streaming market as it currently owns digital music.
Spotify’s buzz seems to have cooled, but it’s still the best-placed streaming service to take advantage of the cloud’s potential.
Grooveshark’s growth, if it continues, is going to make it a serious player in the streaming game.
MySpace, with iMeem and iLike in its back pocket may also consolidate its place in the land of the streaming.
And finally, Google –- who owns the bridge over the moat, digitally speaking –- could pull the rug from everyone and facilitate properly integrated music streaming into its search platform.
Whoever emerges at the front of this pack will be in new territory, providing access to the world’s music, anytime, anywhere on any device.
5. Who Knows?
There’s some as-yet untested consumer models building momentum.
Guvera is promising the world, not just to the music industry, but to advertisers as well. Whether consumers buy into its advertisement for content exchange remains to be seen.
Rdio, with serious pedigree and some big money backing it, hasn’t poked its head up completely yet, but you can be assured that whatever it offers isn’t going to be lightweight.
Lost in all the buzz is the fact that some legacy digital music companies — Last.FM, Pandora and MySpace to name a few — still have the established brands, the existing customer base, and the revenue streams that preserve their lives beyond the froth of the tech/music blogosphere.
And of course, there’s Facebook. The biggest country in the world (or soon to be), Facebook and music have always been awkward bedfellows. If Zuckerberg and Co. can figure a way to integrate music with the Facebook platform, the existing user base would guarantee a big chunk of the market overnight.
It all adds up to create a big void of uncertainty, one that will be filled in the way the web knows best — by its end-users. What those end-users decide they love will ultimately determine the winners and losers in the digital music economy. As a passionate music fan, I can’t wait for the competition to heat up. For those on the digital frontier, music really is better than it’s ever been." Article source: www.neurosoftware.ro.
"Treitl Hammond is a Romanian DJ,producer and remixer born in 29 of september 1981. His interest in music started as a kid with playing piano.Being a teenager he has wanted more. So, he released a project named Evolution, producing vocal trance tracks.He also was the producer of another Romanian dancefloor project,Atac,hiting the Romanian charts. With two dance projects behind and a lot of experience, Treitl Hammond has made up his mind to enlarge his horizons, being a DJ,and he's been behind the decks since 2003.
Beside his productions he started remixing artists and Dj from Romania and lately from all over the world. His reputation across Romania is on the rise as he play in many clubs. He also hosts his own weekly radio shows.And his production skills are earning him international success, his releases has already entered top sellers charts on several platforms. Without a doubt Treitl Hammond is a rising star in the progressive scene." Article source: Treitl Hammond on MySpace.
"In reproducing a phonograph record, the aim is to take out of the groove exactly the intelligence that was pressed into them. And the wiggles in the groove are meaningless in themselves. They have to induce exactly the right physical motion in a stylus before they make sense---which means that they must move under the stylus at the right speed and that the stylus itself must track the groove accurately, wigwagging as the wiggles demand. A turntable spins the grooves; a tone arm holds pickup and stylus in place. What we want from the turntable sounds simple, but it isn't. In the first place, there are three speeds: 78.26 rpm for the old-fashioned standard shellac records, 45 rpm for the little seven-inchers with the big center holes, and 331/3 rpm for long-playing discs. The speed must be exact in every case. If the turntable is slow, the pitch drops; if fast, the pitch rises.
Moreover, the speed must be exact at every instant of playing. A turntable that alternately slows down and speeds up will ruin musical enjoyment even though its average in each rotation is an exact 78.26, 45 or 33 1/3 rpm. The phenomenon produced is called "wow," a very expressive word denoting the alternating rise and fall of musical pitch which results from fluctuations in turntable speed. When these fluctuations are rapid, the term is "flutter."
HOW TURNTABLES WORK
The ordinary shaded-pole motor, which runs your electric drill or power saw, is no good for such precision work because any variation in the voltage of your house current will change its speed. Most turntables use a specially designed "induction" motor which is fairly stable in feed, though extreme changes in line voltage may disturb it (look for a tag stating its requirements: "95-130 volts" means disaster-proof). Even this isn't absolutely steady. The 60-cycle alternation of AC electric supply, however, is invariable (an electric clock practically never goes wrong), and thus a "synchronous" motor, which decides its speed by the frequency of alternating current, can keep a constant rpm unless a complete power failure occurs. It also eliminated the dangers of turntable rumble and extruded "hum." Getting this constant speed of the motor up to the turntable (in three different varieties) takes considerable ingenuity. Today's best and most expensive turntables use one of five methods to translate motor speed into turntable rotation.
A turntable does not become a record player until you add a tone arm, which must be separately purchased and mounted. Like the custom turntable, the separate tone arm solves a multitude of problems. You will recall that the cutting stylus rides across the record on a bar from circumference to spindle, following a true radial path always at right angles to the line of motion of the groove. For accurate reproduction, the playback cartridge, too, should always point straight down the groove, so to speak. But we bold the playback stylus in a tone arm, which pivots, making a curved rather than a straight track across the record. In a really bad tone arm, the playback stylus will sometimes be off as much as 10 or 15 degrees. The message of the wiggles is distorted, and the record wears unevenly and more quickly, as does the stylus itself. This is known as "tracking error." " Full article available at www.djsociety.org.
"David Deejay, one of the most popular romanian dj’s, was born on December 10, 1980 in Barlad, Romania and now he lives in Bucharest, where he started 6 years ago to play in several big clubs in Bucharest and also to work in a big studio, with two great dance music composers. Very intuitive nature and loving house music, this enabled him to understand very well the connection between club, public and studio work. Not infrequently he has tested his demo traks in the clubs where he played, and the public was ecstatic from the first audition. He understood that the house music must be brough close to the audience soul, trough harmonies and melodic lines closer to the public’s heart, but keeping the grooves that define that music.
In 2008 he began working with Dony, as vocalist, reflected by the album "Popcorn", realeased in Feb 2010. “Sexy thing” “rocked” all the charts and was the first place on many big popular radios in Romania and than outside – Greece, Poland, Turkey and other countries. After, the next singles extracted from this album - "Nasty Dream"and "So Bizzare" were also no. 1 in the charts for many weeks. In 2009, he was the only romanian producer who had 2 singles played in heavy-rotation, on radios, in the same time--"So bizarre” and "Ela Rose-I can feel. He wins in 2009 a special Trend-Setter award, on Romanian Music Awards. This is a recognition of the Romanian music industry that, after his release “Sexy Thing”, most dance projects and dj’s change their direction of sound." Article source: www.daviddeejay.com
