The Smooth DJ

What to make of yesterday's EMI + Apple move to offer DRM-free music? After a 24hr digestion period, some aren't so impressed. Ryan Block of Engadget says it's confusing and not good enough. Paul Resnikoff at Digital Music News points out many flaws.

Most of the criticism stems from the differential price and bit-rate bump to 256Kbps. EMI will also continue to sell DRMed tracks at the traditional 99 cent price. Having one track at two different prices strays from the simple iPod+iTunes experience, an Apple hallmark.

As for the higher bit-rate, it's seen as an attempt to create perceived value justifying the 30% price premium. It may also be a helpful way to track the songs as they get pirated through cyberspace (showing up as more bloated files). Would they be that sneaky? Well, those MBA types who dream these things up do get trained to measure performance as much as possible.

My questions for Apple and EMI:

1. Why the 30% premium? The higher bit-rate does not make a practical difference for most. The difference is not discernable on little ear phones, in your car, or in the clubs. If consumers already think 99 cents is too much for a song (25 illegal downloads per paid download), isn't the $1.29 price change in the wrong direction?

2. Why purposely confuse iTunes customers with two prices for the same track? Those who live happily in the Apple universe, or just don't understand DRM, will choose the cheaper track. Those who despise DRM will save themselves 30 cents and just strip a 99 cent track (or download illegally). The latter group tend not to be heavy users of iTunes to begin with. The higher pricing isn't likely to boost their patronage.

One of my favorite magazines, Business 2.0, has an online portfolio of 18(!) different blogs. One is devoted solely to covering all things Apple (Apple 2.0).

The rest of the B2 blogs offer entrepreneurial and trendspotting goodies spanning real estate, the environment, and Biotech. Check it.

Pete Rock, one of the best hip-hop producers of all time, gives us a peak into his creative process: drawing from a wide breadth of musical knowledge, chopping up samples, and creating drum lines.

Sample-based hip-hop, the kind that permeated the golden era of hip-hop in the late 80's and early 90's, is unfortunately becoming more rare. And that's why a lot of contemporary hip-hop doesn't sound good to me - the beats and melodies are all synthed (think dirty south and the rise of producer duo The Neptunes). Not that synthed beats are inherently wrong, but it's not the sound that I associate with hip-hop. I need that scratch chorus of a DJ Premier; the snap, crackle, and pop of an old jazz sample.

Why did the industry move toward synthetic beats? In the early days of hip-hop, sampling was done without permission. For the most part, this wasn't an issue until rap music became big. Copyright owners became more interested in collecting royalties. As a result, record labels became weary of the legal effort and costs of clearing samples. Rap albums with original beats became more attractive; they were much cheaper (read: more profitable) to produce because of the low legal overhead.

Thankfully, the art of sample-based hip-hop is not dead. A new generation of producers like 9th Wonder, Kanye West, and Kev Brown are fueling a mini-resurgence. Licenses must still be obtained if the original track of a sample can be recognized. Using single notes (chopping) or altering samples, however, seems to mitigate any copyright infringement and fall under fair use.

The LA Times features a cover story [behind free subscription wall] on female DJs today. I think my competition got a little harder:

"If a promoter can have someone that looks good and can do damage on the decks, he'll book that person every time. If you're comfortable with it, I see nothing wrong with embracing your looks. Go for it! Use everything you have in your weaponry."

DJing is a lifestyle. Like any calling, to be on top of your game requires dedication, humility, and continual self improvement. A little bling doesn't hurt either.

Complete Technique, a Brooklyn based jewelry outfit, has been designing DJ-themed jewelry since 1999.

Russel Crowe does his best impression of rapper MF Doom (wiki).

The inspiration for both? Marvel comics' Vicktor Von Doom, aka, Dr. Doom (wiki).