True, and many festivals have figured out you can be all things to all people or at least that people are more open to trying other kinds--including those spun by DJs--of music than you'd guess reading internet comments.right, it can be tough to navigate. Everything gets more convoluted as it spills out of its original niche/function. Right now we are sort of right back at “Ethel merman/Disney disco record” levels with electronic dance music. In the same way, Woodstock was a vibe, a happening, a cultural phenomenon...nowadays “festival culture” means all things to all people.
The biggest benefit to the venue is they only deal with the one DJ, not a seven piece wedding band and the drama they may have amongst themselves or even showing up. Logistics are so much more simple too, 'just plug your laptop into that PA cable over there' instead of 'how many more drums is the drummer bringing in?' and 'when will your band be set up and ready to play?'
The demise of guitar solos happened when DJs started beat matching songs into each other so there were no breaks and dancers were forced to stay on the floor dancing. Guitar solos became a commercial interruption and people would head off the floor and be hard to pull them back on.
Nobody. Armin himself makes $100k for "certain" gigs only... and it's an amount so large he has to explain it (crew, visuals, etc).Who’s getting paid that kind of money for this?
People becoming famous from playing other peoples recorded music
We sure didn't... weekly trips to the Richland JC planetarium for laser "rock" shows were a very close second.I'm pretty sure that if you had all the same lights and props and everything else, most casual, average Pink Floyd fans back in the day wouldn't have cared much whether Pink Floyd were actually onstage or not.
I will stick by my original statement. These people are "entertainers" and perhaps very good at it. They are not musicians! They may be technology wizards in how they put together their program, but they are not those hired to sit in with a group or orchestra to recreate a score of music. Those are separate set of skills and knowledge.
I grew up in a family of musicians, who studied and can read musical scores. I doubt many DJ can do this or even be interested in doing that. My father as a free lance musician could play in a polka band one night, play in a big band jazz orchestra the next night and be in a symphony orchestra the next night. That is the definition of a musician in my world. I don't have anything against DJ's, I have enjoyed being entertained by them on a number of occasions, but I never got it in my head that I was listening to a musician. We have to keep those realities in their proper places.
Recording engineers can be musicians also, there are some out there. The famous George Martin was a studied classical musician in conjunction with also being a music producer. Although he may not have been the engineer operating the tape machines, he was instrumental in how he wanted to focus the sound he was after.
Avicii and the top guys make (made) crazy money. But they actually do create their own music, from scratch, using DAWs, synthesizers, and even real instruments.
Salary and earnings: During his career, Avicii could regularly earn as much as $500 thousand per gig.
He regularly earned $15 – $20 million per year.
Sadly, Avicii went the way of many "rock stars"--
Unless you're under the age of 35 or a fan of electronic dance music, you may have never heard of the Swedish musician, super DJ,
and music producer, Avicii, although you likely heard his most popular song, "Wake Me Up," playing at one point or another.
Avicii, whose real name was Tim Bergling, reached almost absurd levels of fame, success, wealth and adoration.
Sadly, his success came a heavy cost of anxiety, depression, heavy alcoholism, and ultimately suicide.
He was only 28 when he died from self-inflicted wounds from broken glass on April 20, 2018.
DeadMau5 also claimed to make this kind of crazy money for gigs:
If you were not already aware, DJs and producers are getting paid serious money for performances these days. A
mong the top earning dance music artists in the world is Deadmau5, who recently revealed how much he gets paid per show.
According to a tweet that was sent in response to someone asking how much he gets paid "to press play," Deadmau5 said he gets paid
"anywhere from $400,000 to $1,000,000 USD." That's a huge sum when put into perspective, considering he was #11 on the
top earning dance music artists in 2015, behind the likes of Diplo, Zedd, Skrillex, and even Afrojack.
I'm sure Covid pretty much cratered most of their income, since it relied heavily upon extremely large EDM festivals with hundreds of thousands all buying very expensive
tickets. Of course, they also get millions of YouTube views and plays on Apple, Spotify, etc., that also add up to millions.
Folks, if you haven't been paying attention, video games make WAY more money than movies do, and EDM producers/DJs/artists make WAY more money than traditional pop and rock bands do.
Hence all the EDM influence that you hear in pop music now. Everyone wants even just a piece of that big action, whether you're Dua Lipa, Ariana Grande, or whomever.
It can be very formulaic what with anthemic vocal lines, bass drop, and 808 beats, but it is also very catchy and easy to dance to. Party music for the masses.
The line about "press play" is accurate. The top guys put their set together, load it onto a USB thumb drive, and just insert it into the DJ console when they get up on stage. They dance around, wave their hands, and move their hands around in front of them to make it look like they're doing something, but they're not doing anything at all except enjoying the vibe and watching the Benjamins roll in in big bundles.
This is a good documentary, on Netflix. In it some of the DJs readily confess that they are just plugging in a thumbdrive. But others are more hands-on,
doing filtering, turning on and off effects, adjusting EQ, etc. But the documentary does a good job of tracing the origins of EDM and "DJ'ing" from its
roots to the modern era of giant festivals.