Where can I find DJ mix sites
8 alternatives to SOUNDCLOUD
SOUNDCLOUD climbs up in the monetary estimate, which is not without consequences. Because the number of those who turn their backs on service is also increasing. At least in my environment. But where is the caravan going? An odyssey and eight potentially SOUNDCLOUD alternatives.
Tom was my friend. My first virtual friend. They had come up with it cleverly. Whoever signed up was assigned Tom. So everyone had at least one friend on the social network. MYSPACE was the name of the "Place To Be", which ten years ago was as present as FACEBOOK is today. But - the focus was on music. You could put songs online and make contacts. Which actually worked in my case - as a DJ and home producer. I got in touch with a booking agency and found a lot of like-minded people with similar tastes. Somehow there were even remix orders and releases on vinyl. Cheers to Tom, cheers to MYSPACE.
Then came Robert. Robert Murdoch, whose News Corporation bought MYSPACE for 580 million. In contrast to Tom, who relied on unknown artists, Robert wanted Mainstream and multimedia. To keep it short: the strategy didn't work. MYSPACE was no longer my space. It's a shame about the almost 1000 followers I had collected. That's why I met my DJ friends from now on SOUNDCLOUD.
The Berlin startup had exactly the right plaster for the wound that MYSPACE had left. The model: direct exchange between musicians including download option. You could also put longer mixes online. Ideal for DJs. Ideal for producers. Ideal for music lovers. Cheers to SOUNDCLOUD.
Now a network lives from participation. If this is higher, the attention increases. What is essential for success. Soon the attention investors follow who one Speculative object see and professional content providers, who are just realizing that classic radio is breaking away, will follow suit. And suddenly even rights holders notice that they haven't really taken care of the law up to now. Which is true. In the past, SOUNDCLOUD has tolerated unauthorized remixes or mashups, as well as DJ mixes without official approval (an almost impossible undertaking in Germany, as is well known). I claim: that was part of the formula for success. Now the Berliners have a problem. But they also have a strategy. "Radio of the future".
According to an interview with co-founder Eric Wahlforss, SOUNDCLOUD wants a "digital music ecosystem"create and involve all parties involved (producers, listeners, curators). Wahlforss:"With SoundCloud, performers and music producers can be represented with their own identity and upload content themselves, while with SPOTIFY everything runs through distributors."That sounds almost ingenious. The only question is what a radio program curated by everyone might sound like, which should reach as many listeners as possible due to profitability? Implementation will be difficult, and legal aspects (copyright restrictions) are already leading to measures that remove successful content .
We'll outsource the discussion about a RIGHT TO REMIX. In addition to the changes in design, which are perceived as disadvantageous, there are above all those Restrictionswhich raise the question of alternative options. And alternatives abound. In direct comparison to SOUNDCLOUD, there are pros and cons. The real problem, however, is that with the network and participation. Until I have 1,000 followers elsewhere, the caravan will move on. Perhaps that is also the unit of measurement in which a special service tips over into a regulated offer. So where to go if ...?
HEARTHIS (www.hearthis.at) -> Despite the domain ending AT, HEARTHIS comes from Germany. An audio platform that could now be what SOUNDCLOUD was after MYSPACE - the winner.
The newcomer orients itself in terms of features and handling hard on SOUNDCLOUD. There is even the option of importing tracks from SC. A familiar image, too: waveform display of the file including artwork. Including the possibility to like, share, comment or add the track to an individual set or playlist. Of course, a download option is not missing. With SOUNDFLAKE there is an iOS client for HEARTHIS, and there is even a separate app for Android. The "Map" function is interesting ... a musical search for spiritual brothers - using a map. For example, for Dresden and in the current year there are thirteen (!) Linked mixes for techno events. This database needs to grow for HEARTHIS to be a resounding success. At the moment, the number of users still seems clear. In a quick check under "Popular Music", hardly any candidate makes plays in the four-digit range.
Note: With HEARTHIS it is possible to have a set or a track to sell. This is uncomplicated and the freely selectable amount flows directly into a specified PayPal account. HEARTHIS collects every tenth sale as a fee. Sounds fair. Details ->
Conclusion: There is plenty of potential. The basic account is free, premium accounts are available for 1 or 2 euros per month. Big plus for the "Get Paid Option". Should HEARTHIS take on the role of SOUNDCLOUD, however, it is to be feared that further development will inevitably lead back to the starting point of this article.
MIXCLOUD (www.mixcloud.com) -> As the name suggests, it's about mixes, radio broadcasts or podcasts. MIXCLOUD has been offering an alternative to SOUNDCLOUD for several years. The big difference: concentration on DJ mixes and radio shows instead of individual tracks. There are (for legal reasons) no download option. A tracklist created for the mix (compatible with the SERATO and TRAKTOR playlists) is used to remunerate the artists, similar to an internet radio. The British web service has a license deal with RPS For Music. In turn, they recently started a joint venture with GEMA, from which it follows that MIXCLOUD in Germany legal is. Apps for iOS and Android are available for mobile users.
Conclusion: MIXCLOUD is already an established music service and replaces my radio. The basic account (with unlimited upload) is free, but also covered with adds. What doesn't bother you when you hear. Free advertising costs 60 euros a year. A pro account with statistics and an individual layout would cost 99 euros a year. If you prefer to share mixes with the world, you've come to the right place.
BANDCAMP (www.bandcamp.com) -> So far firmly in the hands of indie bands, the American promotion platform seems to be enjoying increasing popularity with producers too. So recently I've been stumbling over releases that are delayed in the usual stores like Junodownload or Beatport. Understandable - after all, at BANDCAMP most of the proceeds go directly to the artist. Unlike with SOUNDCLOUD, the model at BC already offers the possibility with his Music income to generate. Tracks can be offered for download (or as a physical edition) on an individual microsite. The download can be free of charge, against a fixed payment or against a sum determined by the buyer himself. The free downloads are limited, but you can increase the quota for a small fee. When you sell a track, BC earns 10-15% of the revenue. The focus is not on DJ mixes, but on individual tracks or albums.
Conclusion: Highly recommended if you have your own productions promote and market would like to. Also a good choice to support your favorite artist or a favorite label through purchases. Not or only to a limited extent suitable for DJ mixes or mashups and as a network. For example, there is no possibility of feedback. Paying as a buyer is a bit annoying. Five tracks by five artists = five payments via PayPal. Will probably have billing reasons, is still uncomfortable.
BLEND.IO (www.blend.io) -> ".io" is the top-level domain of the British Indian Ocean Territory. Chagos Archipelago, Diego Garcia, MH370. Conspiracy theorists will now be able to classify the geographical location precisely. Despite the domain extension, BLEND.IO come from New York City and define themselves as Network for musicians. And they mean that seriously! At first glance it seems a similar principle to SOUNDCLOUD, but BLEND.IO is about the exchange. So you can work on a common musical project over the Internet. For this purpose, remix stems or entire DAW projects are provided and a discussion about the mutual further development of the track is held. Works in theory and practice - which is also used by well-known names such as Moby or Erasure. BLEND.IO is free of charge.
Conclusion: Sympathetic idea. Not directly comparable to SOUNDCLOUD, but a network for creatives and specialists. The wrong address for promoting a DJ mix or scurrying for downloads.
MIX.DJ (www.mix.dj) -> Subtitle: "The Global DJ NetworkAccording to information on FACEBOOK, the community has 2 million users. TWITTER offers 500MB of upload space. The website again advertises 500,000 fans, 50,000 registered DJs and 1GB free hosting space. Which ultimately turns out to be correct. Upload 1000MB mixes, tracks and videos are allowed. In contrast to SOUNDCLOUD and Co. there is no waveform display of the file, but you can still like, comment, share and also vote. A download can be made available for all or for friendly users. MIX.DJ is ad-financed and free of charge. For 30 euros a year you get unlimited uploads and are spared any added add-ons.
Conclusion: works something ... let's say: semi-serious. I only research France as a place of origin via detours. The user information does not really correlate with the plays displayed. And under Services, among other services, a "Glass Master" is available for 300 euros. This is supposed to protect your tracks for the next 1000 years. This is reminiscent of this seed vault on Svalbard. 🙂
HOUSE MIXES (house-mixes.com) -> An advertising-financed community that already bears the request in its name. Basically, MIXCLOUD could have been the godfather. However, in this case there is also the option of downloading, which MC does not have for legal reasons. Tracks up to 50MB and mixes up to 500MB can be scooped free of charge on a profile. The required format is MP3 and the limit is five uploads per day. Even with HOUSE-MIXES, popular mixes or tracks only have a few interactions, although the site allegedly has half a million users. Notable feature: there are thematic Mix competitions .
Conclusion: If you mix house, it is definitely not a disadvantage to host the result at HOUSE-MIXES. Doesn't cost anything ... except advertising.
HULKSHARE (www.hulkshare.com) -> Internet radio meets music promotion. Self-statement: "fastes growing social network of artists and music loversVisually not dissimilar to SOUNDCLOUD. The "share" in the name suggests a hosting provider. And somehow I would have placed HULKSHARE more in MEGAUPLOAD or RAPIDSHARE than in SOUNDCLOUD. The service itself is legal and free. The clarification is more likely Rights issues HULKSHARE leaves it - not uncommon - to whoever creates the content.
Conclusion: Free and unlimited upload of audio and video with waveform display and download option. Annoying promotional videos and popups. Steep thesis: SOUNDHULK would somehow sound more harmless than HULKSHARE.
THE FUTURE FM (thefuture.fm) -> A music platform (formerly Dubset.com) that distinguishes between DJ and listener in its approach. The focus is on DJ mixing. Listeners can choose by genre or mood (!). There is already an app for the iPhone, and Android is to follow. Not only do DJs have unlimited space for uploading, they are even financially involved - as content providers. This model could actually have a future, that's where SOUNDCLOUD wants to go. But even the mixes by Afrojack, Tiesto and Steve Aoki still only have low listeners. FUTURE.FM is free, but with advertising. For 7 dollars a month there is an ad-free premium service. Similar to MIXCLOUD, no download is possible.
Conclusion: Has something. The principle fits in well with the time of transition from radio to streaming. The New Yorkers also pursue the idea of the "digital music ecosystem". In contrast to SOUNDCLOUD, what is (still) missing are millions of users.
Rèsumè: Two trends can be identified. Some rely on unchanged models in (as seen from Germany) tolerated legal gray areas. The others strive for legal certainty. That sounds kind of unsexy when it comes to music and creativity. But they are - which one likes to suppress - simply business models. Like Bandcamp, Mixcloud or The Future.Fm, Soundcloud wants and needs to be on the safe side - forced to a certain extent by success. In my impression SC only seems to see the music industry as a partner, although it has only contributed indirectly to the success so far. A detailed consideration is hereby promised. As a solution, I like the principle of The Future Fm. SOUNDCLOUD could easily be inspired there.
Comments, objections and the like? Let us know!
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