Sadly, when you test a track and the crowd responds to it strongly, it's usually because of a factor of familiarity. Remember, as a dj you are an arbiter of taste. It is up to you to educate the crowd as well as entertain. Take a risk on some of those floor clearing tracks. You might be surprised. A lot of classic tracks, Sasha's Xpander, Ferry Corsten's Out of the Blue, Armin Van Buuren's Shivers, deadmau5's Ghosts and Stuff, initially were met with a Luke warm reception. Look man, if its "breaking your heart", then don't let that track go. You can't focus group Trance, House, and EDM the way you do commercial tracks. As a dj, I've loved and played out a lot of your tracks, and have even cleared my own floor with at least one, but I played it because I believed in it, not because I thought it would get the biggest response.
I see where youre coming from but remember this is this mans career. He makes his entire living off this. If he starts playing tracks people don't like, hell stop getting booked, his music won't do as good when its released, hell stop making money, and "David Guetta" will be history. Most producers are in that position. We'll make 20 songs a month, take 2 months to produce 6 of them and by the 3rd month, we released...one. Breaks my heart too, to see so many projects I had faith in just sit on my laptop because I know they won't go that well with other people and that's just the sad truth about music. You make a living in music making music for other people, if you do it for yourself...then its a hobby and you need a 9-5. you most definitely can focus group trance, house, EDM, big room etc. but not the way most entities do focus groups. You need to surround yourself with TONS of people like minded like you like David clearly has done. if you're in a room with 30 producers and you show them a track you believe in and not a single one of them liked it? you should probably nix that track and work on another. Yea, its a producer and DJs job to educate the crowd but the crowd is the customer and the customer is never wrong. Nothing wrong with testing it out, but thats why he tests it before he continues with it
@@Kaotix_music Thanks for your response. You make a lot of good points. I think what bothers me the most about this is that an audience is not a producer or engineer. Their reasons for liking a track are based on a familiar chord structure combined with good bass pressure and dynamic percussion. And this is all fine and good until those audience choices - as they always do - begin to homogenize a particular genre. Just listen to any episode of ASOT these days, or even a complete request format like Corsten's Countdown. The lack of originality is systemic, and I fear will ultimately hurt the respective genres. I used to be able to differentiate artists based on how they produced an instrumental track and their personal sound library. Now, all tracks sound similar. I believe it's up to the leading producers to avoid this, to try different things that ultimately revitalize the genre. Perhaps not with every track, but certainly one or two risky but original tracks a year. If everyone did this, I feel like electronic music would have a natural evolution based on occasional mutations, and would ultimately keep the crowd engaged. Louder, harder, and flashier just isn't going to cut it for too much longer. I call this the Brill building disease, where people try to turn the process into a repeatable formula, and it always happens when the music starts making enough money to attract the sort of men who don't really give a shit about it. They just want to blueprint the pattern of success and keep repeating it in order to pocket larger and larger rewards. This happened with Jazz, with Rock&Roll, with Disco (especially Disco, which deteriorated into a sad parody of itself), with Punk, with Grunge. The power and originality that built each genre was blueprinted and repeated until the generic results and repetition of same destroyed each genre. Electronic dance music is at a precarious place in its history, and originality is the only hand that can save it from careening over the edge. P.s., the customer never being wrong concept has given us massively popular classics like the Macarena and Barbie Girl.
@@charlessomerset9754 i agree wth you on almost everything you said. especially on originality. Ill be brutally honest with myself here when i tell you sometimes i find myself lacking in originality as a young producer like myself. I havent listened to ASOT in years as ive been more towards the big room trance side of things, and when big room trance came about a few years ago i thought it was great because now i finally get to experience new big room and not the same animal noise shit Hardwells label was putting out, but again what happened bery quickly is alot of us started sounding the same and it lost its originality, but with that just like big room prior to big room trance, was ike that too. So its just the process of evolution inside music but happening much faster now because of hte internet and artists giving away their samples and presets and starting patreons like "YOU CAN SOUND LIKE ME NOW" which im also guilty of giving into myself until very recently. Its not easy to find your own sound but labels do look for those who do have their own sound. Im still in the process of finding my own and its been a couple years now since i started releasing music under "kaotix" and sometimes i still get the response from labels such as "sounds like [artist]" when i tried my absolute best to be original and myself and i still get that. im constantly trying to find ways to get out of the basic structure of things and be unique but it is something thats very difficult to do. I think we hit a point now where an artist will own an entire genre. If a new artist came up today and had a new genre, we wouldnt call it a "genre", we call it "their sound" and now you cant pick up and try to learn that genre because its "their sound". Hope that makes sense
@@Kaotix_music It makes perfect sense. Thank you for sharing all that. Believe me, I'm in the same boat. Trying to find your own sound is probably the single hardest thing that any producer can do. But man I wish you all the luck in the world. You have a great production name. Very memorable and appealing and appropriate. Hang in there.
I have alot of time for David. To say he writes 26 songs to produce 6 to then release 3! means he is tough on himself. Imagine writing 100 songs to get an album. Show me an artist that does that...
come on guys, u believe this?! David Guetta has a whole team, which makes beats, writing songs, he's like Dj Khaled, he only put a little of his experience on it and then he release it on his name! There are so many Ghostwriters involved in this game, but they have no names like David Guetta! That's the magic
im sure he decide most,but its clever to work on music with several,more influences is better,i know a friend of mine who made a track for dimitri vegas and like mike,ocarina, most is done by him and they say they do it all allone,but if you lookup the credits on ultratop you see the names involved,they hide that,thats how you see who was in the project..Michael jackson was in his days a star but the music behind is another hero who made world hits worldwide..sometimes you need eatchother
Yea of course he does not make his music himself, but he still has the final say for the music so he probably still changes something in the song so it is perfect
Well, they call computers with software 'studio' as well LOL... IMO a recording studio has an acoustic engineered control and recording room, a mixing desk, outboard FX, tons of microphones, an acoustic piano, some hardware synths and a lounge with drinks, a pool and a widescreen with video games. :-)
![I.N "HALLUCINATION" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/n5B5q1Hwt_U/mqdefault.jpg)
Very hardworking guy who knows how to fire up an audience!
Aaaaaaaiiiii!!! Que homem liiiiiindooooo!!! TE AMO GUETTAAAA!!!
crazy how treated that room is, camera audio completely changed when they went into studio
I dont understand why many pros keep that "Whats new in Ableton Lived " window open as if theyre using it for the first time.
I think he just updated it but i cant understand how it is not annoying him
@@lynyx.yea, it takes up almost a quarter of his parking space.
@@sebanrocks exactly
He just bought a license for this video I suppose, why should he have to use Ableton himself? ;)
“Be creative as possible“
People seem to forget that this guy was in the studio with Black Eyed Peas making those beats himself with his own laptop.
Sadly, when you test a track and the crowd responds to it strongly, it's usually because of a factor of familiarity. Remember, as a dj you are an arbiter of taste. It is up to you to educate the crowd as well as entertain. Take a risk on some of those floor clearing tracks. You might be surprised. A lot of classic tracks, Sasha's Xpander, Ferry Corsten's Out of the Blue, Armin Van Buuren's Shivers, deadmau5's Ghosts and Stuff, initially were met with a Luke warm reception. Look man, if its "breaking your heart", then don't let that track go. You can't focus group Trance, House, and EDM the way you do commercial tracks. As a dj, I've loved and played out a lot of your tracks, and have even cleared my own floor with at least one, but I played it because I believed in it, not because I thought it would get the biggest response.
I see where youre coming from but remember this is this mans career. He makes his entire living off this. If he starts playing tracks people don't like, hell stop getting booked, his music won't do as good when its released, hell stop making money, and "David Guetta" will be history. Most producers are in that position. We'll make 20 songs a month, take 2 months to produce 6 of them and by the 3rd month, we released...one. Breaks my heart too, to see so many projects I had faith in just sit on my laptop because I know they won't go that well with other people and that's just the sad truth about music. You make a living in music making music for other people, if you do it for yourself...then its a hobby and you need a 9-5. you most definitely can focus group trance, house, EDM, big room etc. but not the way most entities do focus groups. You need to surround yourself with TONS of people like minded like you like David clearly has done. if you're in a room with 30 producers and you show them a track you believe in and not a single one of them liked it? you should probably nix that track and work on another. Yea, its a producer and DJs job to educate the crowd but the crowd is the customer and the customer is never wrong. Nothing wrong with testing it out, but thats why he tests it before he continues with it
@@Kaotix_music Thanks for your response. You make a lot of good points. I think what bothers me the most about this is that an audience is not a producer or engineer. Their reasons for liking a track are based on a familiar chord structure combined with good bass pressure and dynamic percussion. And this is all fine and good until those audience choices - as they always do - begin to homogenize a particular genre. Just listen to any episode of ASOT these days, or even a complete request format like Corsten's Countdown. The lack of originality is systemic, and I fear will ultimately hurt the respective genres. I used to be able to differentiate artists based on how they produced an instrumental track and their personal sound library. Now, all tracks sound similar. I believe it's up to the leading producers to avoid this, to try different things that ultimately revitalize the genre. Perhaps not with every track, but certainly one or two risky but original tracks a year. If everyone did this, I feel like electronic music would have a natural evolution based on occasional mutations, and would ultimately keep the crowd engaged. Louder, harder, and flashier just isn't going to cut it for too much longer. I call this the Brill building disease, where people try to turn the process into a repeatable formula, and it always happens when the music starts making enough money to attract the sort of men who don't really give a shit about it. They just want to blueprint the pattern of success and keep repeating it in order to pocket larger and larger rewards. This happened with Jazz, with Rock&Roll, with Disco (especially Disco, which deteriorated into a sad parody of itself), with Punk, with Grunge. The power and originality that built each genre was blueprinted and repeated until the generic results and repetition of same destroyed each genre. Electronic dance music is at a precarious place in its history, and originality is the only hand that can save it from careening over the edge.
P.s., the customer never being wrong concept has given us massively popular classics like the Macarena and Barbie Girl.
@@charlessomerset9754 i agree wth you on almost everything you said. especially on originality. Ill be brutally honest with myself here when i tell you sometimes i find myself lacking in originality as a young producer like myself. I havent listened to ASOT in years as ive been more towards the big room trance side of things, and when big room trance came about a few years ago i thought it was great because now i finally get to experience new big room and not the same animal noise shit Hardwells label was putting out, but again what happened bery quickly is alot of us started sounding the same and it lost its originality, but with that just like big room prior to big room trance, was ike that too. So its just the process of evolution inside music but happening much faster now because of hte internet and artists giving away their samples and presets and starting patreons like "YOU CAN SOUND LIKE ME NOW" which im also guilty of giving into myself until very recently. Its not easy to find your own sound but labels do look for those who do have their own sound. Im still in the process of finding my own and its been a couple years now since i started releasing music under "kaotix" and sometimes i still get the response from labels such as "sounds like [artist]" when i tried my absolute best to be original and myself and i still get that. im constantly trying to find ways to get out of the basic structure of things and be unique but it is something thats very difficult to do. I think we hit a point now where an artist will own an entire genre. If a new artist came up today and had a new genre, we wouldnt call it a "genre", we call it "their sound" and now you cant pick up and try to learn that genre because its "their sound". Hope that makes sense
@@Kaotix_music It makes perfect sense. Thank you for sharing all that. Believe me, I'm in the same boat. Trying to find your own sound is probably the single hardest thing that any producer can do. But man I wish you all the luck in the world. You have a great production name. Very memorable and appealing and appropriate. Hang in there.
that's the difference between a hitmaker and an amateur. He makes hits this is the process!!!!!
La config Genelec avec le bon gros caisson olala ca doit être incroyable 😍
I have alot of time for David. To say he writes 26 songs to produce 6 to then release 3! means he is tough on himself. Imagine writing 100 songs to get an album. Show me an artist that does that...
Bruce Springsteen. 100+ songs each for a few of his albums. Yeah, very unusual.
❤❤ wow thanks for invite us to see and share 💯💯🎶🎶🤩💋❤️
I LOVE the Rolex Daytona black dial. It’s the holy grail Rolex
Legend
Awesome Interview 👌Thanks a lot for sharing this!!!!!!
Mundo music vida da tus manos mágicas mezclar music crezca relajación vida tus manos magicas
Nice interview thanks!
Thomas Rellum thanks Thomas! 👍
Song from 2:30?
Great interview! How do you sign up for this writing camp????🙏🏾‼️
You can‘t sign up for it, David invites the people
Was that Cesqeaux?
such a big studio only for a laptop?
You need the room, not the gear.
What's the name of that song when the chick said "spill a little liquor on the dance floor"
Its a ID i think
@@slomobaby1606 wym by id
This is my main studio where I make my fucking shit music.
Money. That's it.
Didn't know he needs a studio, does he produce music? ;-D
Yes he uses co producers but he still works on his tracks.
Yea but tbh every known producer uses co producers look at felix Jeahn or robin Schulz
come on guys, u believe this?! David Guetta has a whole team, which makes beats, writing songs, he's like Dj Khaled, he only put a little of his experience on it and then he release it on his name! There are so many Ghostwriters involved in this game, but they have no names like David Guetta! That's the magic
David Guetta is just a brand.....nothing more
@@errora.k.s5591 that's what I mean !
im sure he decide most,but its clever to work on music with several,more influences is better,i know a friend of mine who made a track for dimitri vegas and like mike,ocarina, most is done by him and they say they do it all allone,but if you lookup the credits on ultratop you see the names involved,they hide that,thats how you see who was in the project..Michael jackson was in his days a star but the music behind is another hero who made world hits worldwide..sometimes you need eatchother
He doesn't make any secret about it in this video, he says "we wrote"..., and at 3:35 you can also see the people of the team. :)
Don't forget than David Guetta was a ghostwriter
i bet this dude has a lot of money.
Yep indeed, but still has a 90$ midi controller on his desk :)
5:51 song's name?
Search for artist "MOTi" it's one of his songs probably
David Guetta - Stay (David Guetta & R3hab Remix)
Studio? Mainfield momitors and a laptop with keyboard....😂
If you think that this guy has made a single complete hit himself, you are definitely very wrong
_Not another trackpad user!_
You better show your ghost producer’s studio
Nice Work, appreciate you posting 💛 👆
GEMS
God I hate this editing style, let the man talk.
Why is everything so shaky and flashy? Was video editor on drugs?
and why you have a studio like that? ok, i know you are mega millionaire, but if you don't make your music, because all we know it, i cant understand
Yea of course he does not make his music himself, but he still has the final say for the music so he probably still changes something in the song so it is perfect
The hulking comb partly matter because sharon microcephaly lighten beside a cumbersome ashtray. spotty, mature dust
TOM PIPPS FOAM- BATON ROUGE LOUISIANA USA HI HELLO &
Faker than fake
This studio is totally fake
They just built in these GENELEC speakers for the show
That's it
PS
DG is on meds
how?
Well, they call computers with software 'studio' as well LOL... IMO a recording studio has an acoustic engineered control and recording room, a mixing desk, outboard FX, tons of microphones, an acoustic piano, some hardware synths and a lounge with drinks, a pool and a widescreen with video games. :-)
There is way too much acoustic treatment in that room. It would have taken sometime to have built.
A studio is where ever you record music.
@@sK3LeTvM1 That is all not necessary in times of today.