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The latest mini-controversy in the electronic music world kicked off when deadmau5 was interviewed for a recent cover story in Rolling Stone and sounded rather critical of some of his fellow EDM performers who (according to him) don't do very much while performing live: 'David Guetta has two iPods and a mixer and he just plays tracks – like, ‘Here's one with Akon, check it out… Even Skrillex isn't doing anything too technical. He has a laptop and a MIDI recorder, and he's just playing his shit…' He even went on to include himself in this category, saying '…not to say I'm not a button-pusher. I'm just pushing a lot more buttons.'
Welcome to The Deadmau5 Wiki, a collaborative and informative encyclopedia about anything related to Joel Zimmerman and his various projects.We are proud to provide 111 articles, 371 images, and 2,379 total edits! Lowest prices to get the products http://www.whattheyuse.net/what-headphones-does-deadmau5-use. Despite being one of the world's best known producers, David Guetta's equipment stack is surprisingly approachable. He uses an affordable set of headphones - the Sennheiser HD25-1 II. His favorite synth is a Roland TB3 which, at under $300, is on the low-end of the synth curve. Here's some of David Guetta's favorite equipment.
Deadmau5 on the cover of Rolling Stone
deadmau5 is right of course: many EDM performers (especially at larger shows) do play a live set that is prerecorded and presequenced to some extent, whether they use computers or DJ with vinyl or CDs. This shouldn't be shocking news to anyone though: after all, the whole genre of electronic dance music started with a DJ mixing a set of prerecorded tracks together one after another!
Mau5trap venture ltd will use the information you provide on this form to be in touch with you and to provide updates and marketing. We use Mailchimp as our marketing platform. Generic cracker manual. By clicking below to subscribe, you acknowledge that your information will be transferred to Mailchimp for processing. Learn more about Mailchimp's privacy practices here. Analog synths are a big part of the deadmau5 sound and a great way to add creative elements to your productions. Hear the difference for yourself when Joel plays some of the same patches on digital and analog equipment.
These days, instead of DJing some well-known EDM performers like deadmau5 are just ‘pressing play' at the beginning of their set and playing back a (mostly) preconceived performance, perhaps changing some levels or adding some effects or filters during the show to give it some live feeling (as deadmau5 describes in his own case). Looking at it one way, a performer like deadmau5 is doing less than a DJ freely mixing tracks together, because the order and length of everything in the set has been decided in advance. On the other hand though, it is also possible for him to do MORE than a DJ can as far as actually changing the sound of the music while it is playing, because he has control over the individual parts of the music (drums, bass, synths, etc.) and he doesn't have to worry about what's coming next.
DMC champ, Dubspot Instructor, and electronic music producer/performer Shiftee
Of course, using prerecorded tracks in performance is not something that started with electronic dance music: many major pop and rock acts have been using live sequencing like this for years. Particularly at very large pop shows involving a big stage show with dancers, lights, video and pyrotechnics, it has long been common practice to run a computer offstage with most or all of the parts of the music playing out of a DAW like Digital Performer or Ableton Live. Certain parts from the master sequences (such as the live bass or guitar) will be muted in favor of having them played live by musicians on stage, while other recorded parts (such as backing vocals or percussion) will be played from the computer. The live drummer (if any) plays with a click track in headphones to keep time with the sequences.
Travis Barker: 'I love, love playing to a click…'
As deadmau5 mentions, this is done in part to keep music, video and lights in sync at huge shows. Also, many major artists don't want to take a lot of chances with a live show, they just want everything to run smoothly and give their audience what they paid for. This is not limited only to the most ‘commercial' artists, either; I wouldn't expect that there is a lot of room for musical improvising in Amon Tobin's solo ISAM show, for example (although I could be mistaken), but this is not what it's about, it is a tightly-linked audio-visual piece:
Trailer for Amon Tobin's ‘ISAM' live show.
Mtv the city season 2 torrent. There is not necessarily anything wrong with this, there is room in electronic music for different types of performances and for different kinds of audiences. Of course it can be really enjoyable to hear a set of your favorite music performed together with a mindblowing visual show at a huge venue, even if you know how most of the music is going to go in advance. On the other hand, there are different pleasures to be had at a more improvisational show where you don't know what is coming next and the DJ or live band is totally in tune with the energy and mood of the crowd and amplifying it with their track selections and performance.
Ean Golden is right that the feedback loop between performer and audience is the crucial thing here: the ability for the performer to feel the energy of the crowd and respond through their performance. This is what makes for the most legendary live performances, this felt connection between the people in the crowd, the action on stage, and the sounds that result.
However, this does not necessarily require a lot of fancy gear or a complex controller setup — the performer just needs to be able to manipulate SOME aspect of the performance in response to the audience. To a large extent, the audience doesn't really care (or even notice) how the music is being made or what aspect of the sound the performer is controlling; what they DO care about and will notice is whether or not the performer is interacting with and responding to them somehow by changing up the energy and flow of the performance.
Even if all you are doing is mixing one track into the next DJ-style, if you are flexible in your track selection, creative with your mixing, and in tune with your audience you will be able to interact with their energy and take them on a memorable journey. Great DJs are expert at using selection and sequencing to shape a mood.
In fact, in some ways playing prerecorded music gives DJs more freedom to interact with the audience than a live band has, because they don't have to concentrate on keeping all the parts of the music going from moment to moment and they don't have to follow a predetermined set list. This is one of the keys to the power of a great DJ — thinking about the overall flow of the performance from a higher level and deciding what will be played next, over the course of an hour or over the entire night, rather than just concentrating on the song at hand.
So although deadmau5 got slammed for some of things he said recently, we shouldn't be afraid to admit that he's right — many if not most EDM performers use prerecorded music in their sets to some extent, there are very few electronic bands who actually trigger every note and sound ‘live' (Mostly Robot comes to mind for example). This isn't necessarily a problem though — the whole dance music scene traces back to listening to selections of prerecorded music together in a dark club or warehouse, often played by a DJ who no one knew or could even see. At its root dance music is really about the experience of hearing and feeling the music and seeing each other and dancing TOGETHER, not about watching a superstar performer.
_______________________________________________________________________________________
Online conversation: Peter Kirn also had some thoughts on this topic at CDM, and Bassnectar weighs in with an interesting contribution on his blog as well.
What Piano Does Deadmau5 Use
Side note: ‘pressing play' i.e. using prerecorded backing tracks in a live performance like this has long been a source of controversy in music, in fact people used to get much more agitated about this than they do now. Although it may seem a bit silly to us now after 2 decades of DJ culture, back in 1990 state lawmakers in New York and New Jersey were actually debating putting some legal controls on the use of recorded music in live concerts, because it was felt that audiences were being ripped off by the use of canned backing tracks.
_______________________________________________________________________________________
deadmau5 performing in Madrid; 2012 | |
| Background information | |
|---|---|
| Birth name | Joel Thomas Zimmerman |
| Also known as | deadmau5, Halcyon441, BSOD, Dred and Karma |
| Born | January 5, 1981 (age 39) Niagara Falls, Ontario, Canada |
| Origin | Toronto, Ontario, Canada |
| Genres | Progressive House, Electro House, Trance, EDM, Electronica |
| Occupation(s) | DJ, record producer |
| Years active | 1998–present |
| Labels | mau5trap, Ultra, Ministry of Sound, SongBird, Play, Virgin/EMI |
| Associated acts | Chris Lake, Kaskade, Tommy Lee, Rob Swire, Melleefresh, Skrillex, Wolfgang Gartner, Gerard Way, Imogen Heap |
| Website | deadmau5.com |
deadmau5 pronounced 'dead mouse', (real name: Joel Zimmerman) (born January 5, 1981 in Niagara Falls, Ontario) is a Grammy-nominated and Juno winning[1]Canadian electro and progressive house producer, DJ, and performer.
He has released 8 albums and made a cameo on the TV show Gossip Girl.[2] Furthermore he has made tracks like 'Arguru' and 'Not Exactly', which have been featured on many compilation CD's and on Armin van Buuren's A State Of Trance radio show.
deadmau5 has worked together with DJs like: Kaskade, MC Flipside, Rob Swire of Pendulum and Knife Party, and Steve Duda under the BSOD alias.
Personal life[change | change source]
The name deadmau5 started when Zimmerman found a dead mouse in his computer, while he was replacing his video card. He talked with people in chat rooms, and people started connecting him with this story. In the end, Zimmerman called himself deadmau5, as a shorter version of 'dead mouse'.[3]
In an interview with Irish Daily Star, he mentioned that he didn't like being referred to as a DJ. He was quoted as saying:
- 'It puts me to fucking sleep, to be quite honest; I don't really see the technical merit in playing two songs at the same speed together and it bores me to fucking tears and hopefully, with all due respect to the DJ type that will fucking go the way of the dinosaur, I'd like them to dis-a-fucking-ppear! It's so middle man, they're like fucking lawyers! You need them, but they're fucking cunts. God bless them, they're my number one customer right, so I'm not gonna go diss every fucking DJ. But to say you become this massive, 'up on a podium' performer by playing other peoples productions, at the same speed as someone else's productions and fading between the two of them, I don't get it..'[4]
He later said that he was sorry for his comment and said that the interview was bad, and it did not express his opinion about DJs correctly:
- 'Let me start by admitting … I did not grow up in the EDM scene. I don't consider my career to be about 'being a DJ'. I don't have 'DJ roots'. I never had any intention of becoming a DJ, and my conception of 'DJ's' in general from this standpoint has always been being forced into some nightclub when I would have rather stayed home, and watch some dude mash the 'play/stop' button and occasionally move a pitch slider. Love it or hate it … that's just been my conception of the traditional 'DJ'. Mind you, I'm not a total fucking idiot, and I recognize talent when I see it … and there are many talented DJ's out there for sure. In my eyes, those would be the individuals who utilize technology to deliver the music in ways that are both skillful and innovate, more-so than my vision of the 'play/stop/pitch' DJ. To me, the club is about 'the party'; the people make the night; the DJ obviously needs to use that to his advantage, it's give and take.'[5]
deadmau5 previously dated American model Lindsey Evans but they broke up in September 2011. He then dated tattoo artist Kat Von D in and they broke up in November 2012 however deadmau5 proposed to her on Twitter and she accepted.[6] In June 2013, Von D announced that had ended their engagement.[7]
On July 30, 2010 deadmau5 collapsed on stage 50 minutes into his set and doctors said he was suffering from exhaustion and vomiting. Due to this, deadmau5 was forced to cancel his next nine shows for recovery.[8]
Discography[change | change source]
Studio albums[change | change source]
- Get Scraped (2005)
- Vexillology (2006)
- Random Album Title (2008)
- For Lack of a Better Name (2009)
- 4×4=12 (2010)
- Album Title Goes Here (2012)
- While(1 Is Less Than 2) (2014)
Compilation albums[change | change source]
- deadmau5 Circa 1998–2002 (2006) (as Halcyon441)
- A Little Oblique (2006)
- Project 56 (2008)
- At Play (2008)
- It Sounds Like (2009)
- At Play Vol. 2 (2009)
- At Play Vol. 3 (2010)
- Meowingtons Hax Tour Trax (2011)
- At Play Vol. 4 (2012)
Awards[change | change source]
- He was ranked #6 on DJ Magazine's annual Top 100 DJ Poll.[9]
Grammy Awards[change | change source]
| Year | Nominated work | Award | Result |
|---|---|---|---|
| 2009 | 'The Longest Road' (deadmau5 Remix) by Morgan Page featuring Lissie' | Best Remixed Recording, Non-Classical | Nominated |
| 2012 | 'Raise Your Weapon' ft. Greta Svabo Bech' | Best Dance Recording | Nominated |
| 2012 | 4x4=12 | Best Dance/Electronica Album | Nominated |
| 2012 | 'Rope' - Foo Fighters (deadmau5 Mix) | Best Remixed Recording, Non-Classical | Nominated |
Juno Awards[change | change source]
| Year | Nominated work | Award | Result |
|---|---|---|---|
| 2008 | 'After Hours' (with Melleefresh) | Dance Recording of the Year | Nominated |
| 2008 | 'All You Ever Want' (with Billy Newton-Davies) | Dance Recording of the Year | Won |
| 2009 | Random Album Title | Dance Recording of the Year | Won |
| 2009 | 'Move for Me' (with Kaskade) | Dance Recording of the Year | Nominated |
| 2010 | For Lack of a Better Name | Dance Recording of the Year | Won |
References[change | change source]
Ean Golden is right that the feedback loop between performer and audience is the crucial thing here: the ability for the performer to feel the energy of the crowd and respond through their performance. This is what makes for the most legendary live performances, this felt connection between the people in the crowd, the action on stage, and the sounds that result.
However, this does not necessarily require a lot of fancy gear or a complex controller setup — the performer just needs to be able to manipulate SOME aspect of the performance in response to the audience. To a large extent, the audience doesn't really care (or even notice) how the music is being made or what aspect of the sound the performer is controlling; what they DO care about and will notice is whether or not the performer is interacting with and responding to them somehow by changing up the energy and flow of the performance.
Even if all you are doing is mixing one track into the next DJ-style, if you are flexible in your track selection, creative with your mixing, and in tune with your audience you will be able to interact with their energy and take them on a memorable journey. Great DJs are expert at using selection and sequencing to shape a mood.
In fact, in some ways playing prerecorded music gives DJs more freedom to interact with the audience than a live band has, because they don't have to concentrate on keeping all the parts of the music going from moment to moment and they don't have to follow a predetermined set list. This is one of the keys to the power of a great DJ — thinking about the overall flow of the performance from a higher level and deciding what will be played next, over the course of an hour or over the entire night, rather than just concentrating on the song at hand.
So although deadmau5 got slammed for some of things he said recently, we shouldn't be afraid to admit that he's right — many if not most EDM performers use prerecorded music in their sets to some extent, there are very few electronic bands who actually trigger every note and sound ‘live' (Mostly Robot comes to mind for example). This isn't necessarily a problem though — the whole dance music scene traces back to listening to selections of prerecorded music together in a dark club or warehouse, often played by a DJ who no one knew or could even see. At its root dance music is really about the experience of hearing and feeling the music and seeing each other and dancing TOGETHER, not about watching a superstar performer.
_______________________________________________________________________________________
Online conversation: Peter Kirn also had some thoughts on this topic at CDM, and Bassnectar weighs in with an interesting contribution on his blog as well.
What Piano Does Deadmau5 Use
Side note: ‘pressing play' i.e. using prerecorded backing tracks in a live performance like this has long been a source of controversy in music, in fact people used to get much more agitated about this than they do now. Although it may seem a bit silly to us now after 2 decades of DJ culture, back in 1990 state lawmakers in New York and New Jersey were actually debating putting some legal controls on the use of recorded music in live concerts, because it was felt that audiences were being ripped off by the use of canned backing tracks.
_______________________________________________________________________________________
deadmau5 performing in Madrid; 2012 | |
| Background information | |
|---|---|
| Birth name | Joel Thomas Zimmerman |
| Also known as | deadmau5, Halcyon441, BSOD, Dred and Karma |
| Born | January 5, 1981 (age 39) Niagara Falls, Ontario, Canada |
| Origin | Toronto, Ontario, Canada |
| Genres | Progressive House, Electro House, Trance, EDM, Electronica |
| Occupation(s) | DJ, record producer |
| Years active | 1998–present |
| Labels | mau5trap, Ultra, Ministry of Sound, SongBird, Play, Virgin/EMI |
| Associated acts | Chris Lake, Kaskade, Tommy Lee, Rob Swire, Melleefresh, Skrillex, Wolfgang Gartner, Gerard Way, Imogen Heap |
| Website | deadmau5.com |
deadmau5 pronounced 'dead mouse', (real name: Joel Zimmerman) (born January 5, 1981 in Niagara Falls, Ontario) is a Grammy-nominated and Juno winning[1]Canadian electro and progressive house producer, DJ, and performer.
He has released 8 albums and made a cameo on the TV show Gossip Girl.[2] Furthermore he has made tracks like 'Arguru' and 'Not Exactly', which have been featured on many compilation CD's and on Armin van Buuren's A State Of Trance radio show.
deadmau5 has worked together with DJs like: Kaskade, MC Flipside, Rob Swire of Pendulum and Knife Party, and Steve Duda under the BSOD alias.
Personal life[change | change source]
The name deadmau5 started when Zimmerman found a dead mouse in his computer, while he was replacing his video card. He talked with people in chat rooms, and people started connecting him with this story. In the end, Zimmerman called himself deadmau5, as a shorter version of 'dead mouse'.[3]
In an interview with Irish Daily Star, he mentioned that he didn't like being referred to as a DJ. He was quoted as saying:
- 'It puts me to fucking sleep, to be quite honest; I don't really see the technical merit in playing two songs at the same speed together and it bores me to fucking tears and hopefully, with all due respect to the DJ type that will fucking go the way of the dinosaur, I'd like them to dis-a-fucking-ppear! It's so middle man, they're like fucking lawyers! You need them, but they're fucking cunts. God bless them, they're my number one customer right, so I'm not gonna go diss every fucking DJ. But to say you become this massive, 'up on a podium' performer by playing other peoples productions, at the same speed as someone else's productions and fading between the two of them, I don't get it..'[4]
He later said that he was sorry for his comment and said that the interview was bad, and it did not express his opinion about DJs correctly:
- 'Let me start by admitting … I did not grow up in the EDM scene. I don't consider my career to be about 'being a DJ'. I don't have 'DJ roots'. I never had any intention of becoming a DJ, and my conception of 'DJ's' in general from this standpoint has always been being forced into some nightclub when I would have rather stayed home, and watch some dude mash the 'play/stop' button and occasionally move a pitch slider. Love it or hate it … that's just been my conception of the traditional 'DJ'. Mind you, I'm not a total fucking idiot, and I recognize talent when I see it … and there are many talented DJ's out there for sure. In my eyes, those would be the individuals who utilize technology to deliver the music in ways that are both skillful and innovate, more-so than my vision of the 'play/stop/pitch' DJ. To me, the club is about 'the party'; the people make the night; the DJ obviously needs to use that to his advantage, it's give and take.'[5]
deadmau5 previously dated American model Lindsey Evans but they broke up in September 2011. He then dated tattoo artist Kat Von D in and they broke up in November 2012 however deadmau5 proposed to her on Twitter and she accepted.[6] In June 2013, Von D announced that had ended their engagement.[7]
On July 30, 2010 deadmau5 collapsed on stage 50 minutes into his set and doctors said he was suffering from exhaustion and vomiting. Due to this, deadmau5 was forced to cancel his next nine shows for recovery.[8]
Discography[change | change source]
Studio albums[change | change source]
- Get Scraped (2005)
- Vexillology (2006)
- Random Album Title (2008)
- For Lack of a Better Name (2009)
- 4×4=12 (2010)
- Album Title Goes Here (2012)
- While(1 Is Less Than 2) (2014)
Compilation albums[change | change source]
- deadmau5 Circa 1998–2002 (2006) (as Halcyon441)
- A Little Oblique (2006)
- Project 56 (2008)
- At Play (2008)
- It Sounds Like (2009)
- At Play Vol. 2 (2009)
- At Play Vol. 3 (2010)
- Meowingtons Hax Tour Trax (2011)
- At Play Vol. 4 (2012)
Awards[change | change source]
- He was ranked #6 on DJ Magazine's annual Top 100 DJ Poll.[9]
Grammy Awards[change | change source]
| Year | Nominated work | Award | Result |
|---|---|---|---|
| 2009 | 'The Longest Road' (deadmau5 Remix) by Morgan Page featuring Lissie' | Best Remixed Recording, Non-Classical | Nominated |
| 2012 | 'Raise Your Weapon' ft. Greta Svabo Bech' | Best Dance Recording | Nominated |
| 2012 | 4x4=12 | Best Dance/Electronica Album | Nominated |
| 2012 | 'Rope' - Foo Fighters (deadmau5 Mix) | Best Remixed Recording, Non-Classical | Nominated |
Juno Awards[change | change source]
| Year | Nominated work | Award | Result |
|---|---|---|---|
| 2008 | 'After Hours' (with Melleefresh) | Dance Recording of the Year | Nominated |
| 2008 | 'All You Ever Want' (with Billy Newton-Davies) | Dance Recording of the Year | Won |
| 2009 | Random Album Title | Dance Recording of the Year | Won |
| 2009 | 'Move for Me' (with Kaskade) | Dance Recording of the Year | Nominated |
| 2010 | For Lack of a Better Name | Dance Recording of the Year | Won |
References[change | change source]
- ↑'From corporate jingles to Grammy nod, Toronto's deadmau5 keeps scoring hits'. CP24. Retrieved 2010-02-21.
- ↑'DEADMAU5 APPEARS ON THE CW'S GOSSIP GIRL TONIGHT, MONDAY, MARCH 29 (U.S)'. deadmau5. Retrieved 2010-04-22.
- ↑Deadmau5 Discography at Discogs
- ↑'DJ/Producer Deadmau5′ Public Statement About DJs : 'They're F**cking C**ts''. trainspottr. Retrieved 2013-05-12.
- ↑'The Mau5 Who Used to Love DJs'. trainspottr. Retrieved 2013-05-12.
- ↑'Deadmau5 proposes to Kat Von D'. Toronto Sun. Retrieved 2012-12-25.
- ↑'Deadmau5 and Kat Von D End Engagement'. People. Retrieved 2013-12-17.
- ↑'DJ Deadmau5 collapses onstage in Washington'. BBC. Retrieved 2012-12-25.
- ↑'Top 100 DJs Powered by: Track it Down/Time to Burn'. DJ Magazine. Retrieved 2010-02-21.
What Computer Does Deadmau5 Use
Other websites[change | change source]
- Deadmau5 on Twitter
What Synths Does Deadmau5 Use
