Patos on TOP#8 Beatport Electro House Releases

Blog post by Coldbeat.

Heey! What's up people? Coldbeat here again with a new 'Highlight'/ 'Artist Spotlight' this week. This one we must say, is totally insane and deserved, of course, and we kinda saw that coming.

If you're going to ask me how did we "saw that coming", it's because if you haven't heard the new '#complexure' EP by Patos yet, right? The Poland based producer has a solid history of Electro House/ Complextro tracks, with some of the best releases Coldwave Records and Ehtraxx have shared so far.

But when it comes to Patos' musical productions and compositions it's not all about Electro House, is safe to say that whatever he does, any genre, he does it with an amazing quality and creativity. From sound design and his unique bass tones to incredible melody compositions, Patos, alongside his side project Tomorrow (PL), goes from Electro House/ Complextro to Dubstep, Glitch Hop and Electronica.

Tune in with Patos (a.k.a Tomorrow (PL)) releases:

And of course, tune in with the brand new '#complexure' release.

Exclusive Release Date: September 23, 2016 (Beatport)
Official Release Date: October 7, 2016
Artist(s): Patos
Genre(s): Electro House, Complextro
Label: Ehtraxx

BIO: Patos makes his return to Ehtraxx with '#complexure'. The Polish producer gets savage with a hard-hitting Electro/ Complextro EP including 2 wicked tunes, 'Total Sound' and 'Back' are hits that Bass heads will definitely dig into. With an excelence in sound design, Patos brings to us a full set of glitchy complex basses mixed to mystic melodies, 2 mainstage monsters that are sure not to pass unnoticed by audience.

Connect with Patos: Soundcloud - Facebook

Beatport charting history (last updated on Sep. 28):
Sep. 26, 2016 - TOP#20 Electro House releases
Sep. 27, 2016 - TOP#9 Electro House releases
Sep. 28, 2016 - TOP#8 Electro House releases

Full details, links to purchase and more available at:

Kid Optimus gets Featured on Juno Recommends Electro House

With his most recent 3 track EP release “Beautiful Faults” being featured in the Juno download recommendations, we recently had the chance to sit down with one of EHTraxx’s well-known electro house producers Kid Optimus. We talked about his inspirations and his journey through his music and his career. Check it out.

Q: What were some of your first experiences with music?

A: I started taking drum lessons when I was in the 4th grade. I started playing guitar in 8th grade and writing my own music when I was 14, playing in bands etc. that was my real starting point in making original music.

Q: How has your music taste developed over the course of your life and what was some of the music you were into at an early age and how as that influenced your music now?

A: I’ve always had very eclectic tastes. I played in a lot of alternative rock bands throughout high school. Major influences during that time range from psychedelic bands such as Pink Floyd, the Beatles & Phish, to grunge music like Nirvana, Alice n Chains & Pearl Jam. I got exposed to electronic music in my junior year in high school by the soundtrack to the movie “Hackers” and people like The Chemical Brothers and Prodigy. In 1996 I started going to underground shows and was immediately hooked on the note progression of trance music. My career as Kid Optimus has been an attempt to fuse the melodic and harmonious progressions of trance music with the energy and feel of hard house music. When the Electro House style hit the scene, I was instantly hooked and have followed the progression of the genre.

Q: What does your creative process look like?

A: It varies every time. I try to change my process or the way I do things with every track trying to develop something new whether it’s a synthesizer sound or different plug-ins within the mastering stage. When it’s a remix, I usually start with that one part of the song that I really like and want to stay the same and then can meld my style of sounds around it. I normally don’t use every stem provided to make a remix. When working on my own tracks, I mostly start off with the melody, sometimes I’m just messing with sound design and make a sound I really like and build on that. It could be chords and occasionally the vocals. For me, drums tend to come later in the process.

Q: What was the first major and most memorable performance as Kid Optimus?

A: I’ve done a lot of decent sized shows in the New England area which is fairly close to home, but I’d have to say the most major and memorable show was in 2010 when I perform an opening set for the one and only Dj Bam Bam in Portland Oregon. It was such a great experience not only to showcase my production work for the previous years, but to be flown across the country to a venue in a state I’ve never been, to perform for over 1,000 people whose reaction to my music was easily the warmest welcome anyone could’ve received. They really seemed to like it as almost everyone in the place was cheering and dancing the entire time.

Q: Who is currently your biggest inspiration for music production?

A: I would have to say Far Too Loud. His sound design & mastering skills are top notch and has played a major role in shaping the direction in which I’ve been working hard to achieve. His high energy production work is always super inspiring.

Q: When someone is walking away from a Kid Optimus performance what do you want them to be thinking/saying?

A: I’d like them to walk away thinking “That was the best show I’ve ever seen. I’ve never danced so much in my entire life.” To which I hope they pass along to all their friends.

Q: What do we have to look forward to from you in the near future?

A: I’m currently in the studio working a lot right now. The “Beautiful Faults” EP which was just released, is the beginning in a long line of original productions to which I’m extremely proud of. The stuff I’m working on right now is the most original stuff I’ve worked on with new sounds and a lot more progressions.

Coldbeat: "-... That was definitely a great interview, been working with Andy, which you also know as Kid Optimus, for about 4 years now (I guess), and to be honest I never had the chance to have a closer look into him and his career, as we did now.. a few facts I knew from his artist BIO but is always great to know a bit more about your favorite producers. I would like to personally thank him for this great blog post, and on behalf of the whole team of DJs, producers and staff here on Coldwave headquarters as well. Been a pleasure work with Kid Optimus for all those years and I'm definitely looking forward the new music he mentioned.
I hope you guys enjoyed this interview as much as I did, and I see you in the next "Artist Spotlight" blog post..."

Now, tune in with 'Beautiful Faults' EP by Kid Optimus:

Managing Your Music’s Rights: Publishing

Blog post originally from the SymphonicBlog.

The music industry means that every individual has rights to productions that they create. The rights and ownership that you have over a production means that you can further monetize and exploit your material in many areas. As with everything in the music industry, there are a lot of complexities, but we’ll attempt to highlight some of the important factors of publishing administration that you can take advantage of while continuing to educate.

In this first part of this series, we’ll be talking about publishing.

In the music industry, publishing refers to the ownership, control and commercial exploitation of musical compositions. It further refers to the collection of all royalties ensuing from the usage of musical compositions. As a couple of examples, if your song is publicly played by a band in a concert and/or used in a commercial or movie, you will be making publishing income but only if you are registered with a PRO or a performing rights organization.

A PRO is a business for songwriters, composers and publishers focused on collecting their performance royalties. There are three main PROs in the USA; ASCAP, BMI, and SESAC. There is a fourth PRO currently developing and most major territories of the world have a local PRO in their region. Every individual has the ability to sign up with a PRO in their selective region. By doing so you can setup your own publishing company that will allow you to own certain music and potentially own music of others as well. Signing up to every single PRO in the world is possible but very costly and would require you to potentially have residency in every territory.

In publishing there are publishers and there are publishing administrators, which is what Symphonic is. The differences are that a publisher typically takes ownership of a percentage of compositions and exploits compositions by seeking out licensing and placement opportunities for the compositions, in addition to seeking out co-writing opportunities for their songwriters. As a publishing administrator, my parent company, Symphonic Distribution assumes no ownership of your compositions whatsoever, but rather simply charges a fee to register your music not just in your region but in 60+ countries through various PROs. Doing so directly may cost you upwards of $7,000. I do have to state, though, that if you wanted to, you could potentially have BMI, ASCAP, and/or SESAC collect for the worldwide region, but this potentially means that an additional percentage of royalties will be taken out of your payments and retained by these PROs rather than using an administrator like us which keeps registrations to each PRO specifically.

If you are an artist, what does this have to do with you? Let’s assume you’ve completed a track. You recorded it, mastered it and you distributed it to music retailers and streaming providers. Here’s what you need to know: If you haven’t registered yourself as a songwriter with a PRO, and if you don’t have a publisher or a publishing administrator to collect royalties and the publisher’s share of your royalties, you’re missing out on money. It comes into play especially for independent artists who are doing well overseas (outside of the U.S.) due to some international copyright law differences.

So, how do you know if you have royalties sitting around?

You are earning performance royalties when your songs are being broadcasted and publicly performed in some way. This includes if your song is:

Played on terrestrial radio (think of a traditional FM radio station)
Played on Internet radio
Played on online streaming services like Spotify, Pandora, etc.
Played in clubs and performed live in venues (whether by you as a performer, by a DJ in a club in Sweden, or a cover band in a pub in Nashville)
Played in businesses (retail stores, restaurants, hotels, etc.) as background music
Played on TV (an episode of a show, on a sports channel, in an advertisement, etc.)
Income in these categories fall under performance royalties. In addition to performance, there are also mechanical royalties.

If your music is

Manufactured and sold on physical CD/vinyl products
Manufactured digitally and sold in digital retailers (iTunes, Beatport, etc.) outside of the U.S.**
Manufactured digitally and streamed through interactive streaming services (Spotify, Rdio, Beats, etc.)
Then you may have mechanical royalties.

**There’s one vital, mind-numbing trick here: In the U.S., the mechanical royalty portion, precisely 9.1 cents, is lumped into the total sum delivered from the retailer (iTunes, Beatport, etc.) to your distributor, record label, etc. But outside of the U.S., the mechanical royalty is instead allocated from the retailer (iTunes, Beatport etc.) to mechanical royalty collection societies in each territory. Therefore, if you are having high digital download sales or interactive streams in any territory outside of the USA, you have had a chunk of mechanical royalties sitting in mechanical collection societies in your top-selling territories. If you’re not registered as a songwriter with the societies, they haven’t gone to you for you to claim them because the societies don’t know who you are, and they don’t have your songwriter registration on hand. Even if you’re registered with a PRO like ASCAP or BMI, it doesn’t matter. PROs only collect performance royalties, NOT mechanical royalties.

Creating a song is sort of like real estate. It’s your property and you can make revenue in ways aside of just downloads and streams. Our advice to you is to be proactive and register with a PRO and register your music. Either that or sign up with a publisher or administrator that can help you get the work done and ensure that your property, or your musical rights are registered so that in the event you have success you can receive royalties for years to come. It may not be a lot at first but if you specifically have a large catalogue of music, it’s something I highly recommend.

Lastly, PROs don’t really reach out to you which has always been a bit of the frustrating part. It’s up to you to get your income. There is a lot more detail regarding Publishing but here’s a quick link to some guides you can get to help you.

Beatport Creates New Genres

Blog post originally from the SymphonicBlog.

Beatport has created new genres to distinguish EDM and underground electronic music.

You may already know that Beatport has been working hard on the re-classification of their genres.

Here’s what you need to know about the new Beatport genres:

- Two new genres will be added to the store, “Big Room” and “Future House“
- Pop/Rock is becoming Dance, which is already in effect
- Chill Out  has been phased out as a genre and merged with Electronica to become Electronica/Downtempo
- Nearly all 4/4 music from Electronica Top 100  will be classified as Deep House
- Electro House will be phased out as a genre and become the sub-genre of Big Room
- Progressive House will remain as a main genre but it will be realigned as Progressive in the style of Sasha/Digweed
- EDM style Progressive will be merged into Big Room
- Incoming Electro House content will be mapped to Big Room | Electro House. And incoming Electronica and Chill Out will be mapped to a new primary genre of Electronica / Downtempo.

The update has been rolled out on Monday, Sept. 12. Learn more here.

[Update Sep. 19] Beatport heard the feedback from labels, music producers, DJs and fans from all over the world and they've decided to bring back Electro House as the main genre.