The Best Headphones For DJing – Rundown and Buying Guide

This article is meant to be a full buying guide on which headphones are the best for live DJing. Not only will it review and compare some top contenders on the market, but there’s also an informative guide that will outline everything you need to know. With this information you can make an informed decision to get the best headphones for your specific needs. Whether you’re just an at home hobbyist or you’re looking for professional headphones to improve your next gig.

Finding a top pair of headphones as a DJ is like finding the right pair of shoes. They need to be comfortable, have high quality sound, have the correct  connections for your set-up,  and have the proper cable length. When you have the right pair it changes everything.

Table of Contents

For the Studio Mixer – Beyerdynamic DT 880 Pro
On a Budget – Sony MDR-7506

DJ Headphone Product Reviews

Sennheiser HD25 – Overall best headphones for DJing

Ah yes, the Sennheiser HD25 headphones. A long standing king in the industry. I’ve chosen this pair of headphones as the best for multiple reasons. Price, quality, reliability, adaptability, customizing, maturity and reputation. Its an amazingly well rounded pair of headphones, perfect for general use.

They are a pair of over ear headphones, which usually means that their comfort and useability long term suffers. But this pair combats through being lightweight and having a splittable headband. You can use this to spread the pressure and it really helps. You get multiple pads with them to change things up. Unless you are doing a very long set over 2 hours you’ll probably be fine.

The sound quality is superb. Everything is well covered and pristine, whether it’s the mids, highs or lows. Again for an over-ear headphone these are just amazing. Whether you’re mixing or beat making these will go far. All in all they have great sound isolation.

They also work very well if you’re using a DAC or just plugging in a laptop/phone. They are a very adaptable pair and one of the reasons I marked them as my top pick in this article is because they can be used in every context.

The only issues I’ve had with them relate to portability. The product is very sturdy but doesn’t fold up. If you’re running short on space and very mobile, this might cause issues.

The Sennheiser HD25 are my all around best pick, you can’t go wrong with them. There’s a reason these beasts have been around since the 80s.

V-MODA Crossfade M-100 Master – The Most Comfortable

Comfort and customization is the name of the game with this pair of headphones. The Crossfade M100 Master is my favorite pair in this list due to the sheer adaptability of the design. Do you need to mix multiple sources? There’s a cable for that. Want to use this set for gaming and need a mic, there’s an excellent mic mod for that.

With thick ear pads and a design that spreads to prevent causing pressure points, the comfort of this pair of headphones can not be overstated. You can easily wear these for a 4 hour set or mixing session.

The customization of the color of your headphones allows for a bit of self expression, allowing you to build a style for a show as well. This isn’t something thought about often. But giving yourself a look is definitely a plus for these headphones.

For live shows and transportation. These headphones are extremely durable and can bend and contort without any risk. They are also extremely portable with proprietary mechanisms that allow for ease of storage. When folded they stay folded unless you purposely open them up. The product comes with it’s own carrying case as well that will allow for storage of cables. Speaking of cables, they are aramid weave (the fabric used in bullet proof vests) meaning it’s extremely hard to fray or damage the cables without actively trying to.

There are some niche benefits as well. You can daisy-chain headphones for shared mixing, and they have an upgrade program where you can send in your old headphones and buy a newer model for 20% off.

Audio Technica ATH-M50x Professional – The Gig Go To

Don’t let the bandwagon hype fool you, these headphones are definitely worth the respect. They gained notoriety online as a favorite of influencers. These headphones are inexpensive and have a lot of features that make them outstanding for live gigs. Portable, durable, great sound and a little flashy are the best words to describe the Audio Technica ATH-M50x Professionals.

These headphones are lightweight, using plastics over metal for the frame, but it does seem to be durable enough. They can fold up into a portable profile allowing for ease of transport. They’re quite comfortable for long use.

Finally they come with a lot of stuff in the bag, specifically different types of cables with a cable locking mechanism meaning no unnecessary disconnects are going to be happening. The cables that come with the headphones let you chose between a coiled or straight cable depending on your needs in the moment.

All in all a great entry into headphones you can use in DJ gigs. They don’t require an amplifier, their sound is overall consistent as they were built to be monitor headphones, they’re portable and lightweight, and versatile and they’re great value.

Choosing The Best Headphones For DJing – An Audio Engineer’s Buying Guide

Picking the right pair of headphones is underrated. On the surface it looks like you can just pick up any pair and move on. But after working in recording studios, radio stations and live show settings a new picture quickly emerges. The wrong gear choice can have massive negative consequences to your music sessions. This guide will go through all the things that can go wrong, and how to prevent them by picking the perfect pair through being informed.

What’s the situation

The best isn’t always the best. Depending on your situation you may need a different pair of headphones. So you need to take into account all the scenarios you plan to use the headphones in. Is it just a pair for your static in home studio? Are you playing 5 gigs a month and constantly tossing these into a waterproof hard case? Do you bring your own set-up or are you connecting to in-house gear? Are you going to be wearing them for a couple minutes or a couple hours?

Thinking about all your requirements is the first step in making a great choice. I’ll be outlining the main considerations you should be making and how paying attention (or not) has impacted artists I’ve worked with in the past. This guide will go through the most important factors when deciding on a pair to explanations of the more technical  specifications.

Comfort and Fit

I’ve worked with many audio professionals over the years and comfort makes or breaks the headphones. You’re at your most creative when you’re comfortable. If you’re constantly having to readjust a loose pair of headphones, or you have to take breaks because they begin to hurt, your headphones are holding you back. So here’s a quick rundown of things to pay attention to.

Different pairs clamp harder than other pairs. The clamping force is difficult to assess, unless you have a demo pair available you won’t be able to tell from pictures on the box or online. Online reviews are the best way to see what people think of them. Get the general consensus and compare yourself to the average. If you do have access to trying them on, you want to look for a comfortable even pressure. You should barely notice it when you first put it on, because as time goes on fatigue will worsen. A long recording session will magnify everything.

The cups of the headphone should extend past your ears, if they’re too small they will push your ears against your head. This will cause discomfort very quickly. When the headphone cushions fully cover your ears it creates a seal that will improve sound quality as well. Ensure the cup size is big enough for you.

Cushion shape and depth is another aspect. Circular is the best, and causes the least problems. Try to pay attention to how deep the cushions are as well, if they’re too shallow they may cause rubbing. The larger the cushion the more comfortable they are is a general rule.

Connectors

For the most part you will run into two types of connectors when talking about headphones when it comes to DJing. The 3.55mm jack which is the size you plug into phones and laptops. And the 1/4″ jacks which is for higher end audio equipment. Understanding which jack you’ll need will be important for picking the perfect pair.

You can get adaptors to ensure that your headphones work with the equipment you’re using. This is completely fine, but it does have a very small drawback of extra cost. Also each time you add a new piece of equipment to the system you reduce sound quality very slightly. Depending on the headphones, you may need to buy a 3rd party adaptor.

Cable Length, material and Style

Regardless of what you’re doing, you don’t want to feel restricted. If your headphone’s cable is too short you’re going to feel like you’re on a leash. This is a question of mobility and how far away from your controller or audio interface you want to be.

If you’re playing a live gig I would aim for a minimum of 2m (6ft) but would definitely suggest 3m (10ft). Any longer and you risk excess cables getting tangled up. Nothing is worse than snagging an oversized cable and pulling your controller off the table. Longer cables also degrade sound signals. Anything too long will lose volume and fidelity.

If you’re just working in a mixing studio or desk setting 1-2m (3-6ft) is perfect. You get the clearest sound while being able to lean back from your work. Anything longer than 2m(6ft) will start to get tangled at the floor, and caught in your chair.

Some headphones actually have different cables that allow you to swap between short and long cables. These are most useful if you’re a hobbyist and swapping between live gigs and home sessions. Or want a sick pair of headphones to listen to your music. But I wouldn’t suggest a professional use these types as the more connections, the more the signal degrades. Plus nothing stops a show like accidentally yanking the cord out of the headphone and having to search the ground and reconnect it.

Now for the style of cord. There’s two types of styles, coiled or straight. Straight is pretty straight-forward. So I’ll talk about the pros and cons of a coiled cord.

A coiled cord length is it’s resting length. This means that it will allow for you to go beyond that length while only really having to deal with the resting length regularly. So a 10ft cord could stretch to 18ft if needed. It behaves like a spring and will want to return to it’s resting length. This is both useful and problematic.

It’s good because if you need 18ft of length for whatever reason you have it. But you only have to deal with 10ft of resting cable. Meaning less tangles and mess. Coiled tend to not get tangled during a live show, but can be a mess when coming out of a travel case.

It’s problematic because there’s a tension on the line, the further you stretch it, the more it will pull on the thing at the end of the line. You or the gear. It will drag equipment of the table if you stretch too much, even if you could have gone further. From a physics perspective it’s also a longer cable with high capacitance. Meaning signal will degrade more and treble will decrease compared to a straight cable of equal length. Depending on your style this may or may not be an issue.

I would aim for a 2m(6ft) coiled if you are interested in the benefits. Unless you really want a stage presence and need that extra length.

Now for the material of the cables. This is going to be short. Copper, silver and gold are all almost equal in terms of electrical transference. A gold cable just looks fancy to potential buyers, but electrically a copper cable is better. You use less energy and the signal arrives faster than on a gold cable. Now when I say “arrives faster” we’re talking percentages of light speed. This is imperceptible to humans. The short of it is copper is technically better but more importantly cheaper, which is actually relevant.

Lastly wireless or wired. Wired. With wireless you have lag, lag that’s high enough to impact a live show or studio mixing. Do not go wireless, save that for the gym.

Frequency Response

Frequency response is just a fancy term for what range of sound can these speakers correctly replicate. Humans can only hear 20 Hz-20 kHz. Some speakers claim 18 Hz-22 kHz to look fancy to buyers, that’s unnecessary. The piano scale is 27.5 Hz to 4186 Hz. Well within the range of every traditional speaker.

Harmonics start coming into play at doubles of the sound adding a richness and fullness. For example a 2500Hz note has harmonics at 5kHz, 10kHz, and 20kHz. Aim for 20Hz-20kHz speakers to fully comprehend the sound you’re outputting to your listeners. If the first number is 18 just be aware it’s equal to a 20.

Impedance

Headphone impedance is important to be aware of. It is a specification that states how much stress the speakers will put on the device powering the audio through them. The higher the ohm rating, the more power the outputting device needs to output. When a speaker’s impedance is too high for the outputting device, the sound will be very quiet. If it’s too low, there will be clipping and audio degradation.

If you are using a tablet, laptop or phone to mix, a lower impedance is better. Aim for around 25-33 ohms. If you are using a DJ controller or an external powered audio interface then speakers near the 50 ohms range are much better.

Headphone Sensitivity

The sensitivity of a pair of headphones is a value related to the impedance. Sensitivity tells how loud the headphones will play at a certain power. If two pairs of headphones have the same impedance, the one with the higher sensitivity will output louder music. 86dB is considered the quiet end, where anything at or above 110dB is louder.

You may see a +- symbol with a smaller dB next to it. This merely shows the range in the mass production. 110db +-3dB means an individual headphone could be anywhere from 107-113dB. Ranges tell a bit about the volume but I use them as a measurement of the company’s manufacturing procedures. The more precise the gear is, the higher the quality. Most high end headphones do not have a range or if they do, it is very small.

Driver Size

This specification tells how large the driver is for the speaker. The larger the driver the more precise and clear the sound will be. Bigger is better in this case. A quick trade secret is excellent sound comes when the driver mm is close to the impedance ohms.

Roland DJ-202 DJ Controller Review

I’m excited I got to review the Roland DJ-202. It is a great beginner DJ controller with tons of little features that all add value. The controller has two channels and four decks, large plates optimized for scratching, is compatible with iTunes, and has some classic Roland drum kits included. Basically, this is the perfect controller for a beginning DJ.

It’s time to take a closer look if you want to master this craft. The Roland DJ-202 was designed for use with Serato DJ software and comes with Serato DJ lite. However you can use it with any DJing software. This software is great for beginners but has functionality missing. Anyone truly interested in getting the most out of the device will have to look into a full Serato (or other DJ software) purchase.

The Foundations

This controller contains all the features you would expect on a controller. You can load tracks quickly into either channel by selecting them onscreen using a knob and loading via the load button for each channel. Each channel has EQ for adjusting high, low, and mid frequencies, as well as a basic filter and volume control. There is a crossfader for controlling the mix of the two channels, as well as volume controls for master volume and headphone volume. But the cream of the crop is the fact that it’s a 4 deck controller allowing you to mix 4 songs at once. This feature gives this controller great value. Usually quad decks start emerging around the $350 price point.

Spin Plates

One of the best features of this controller in my opinion are the spin plates. The plates are highly responsive to touch and sturdily built. It’s easy to generate a number of highly impressive scratching effects with a light touch of the plates. Although the controller itself is very lightweight and portable, the plates are solid and perfect for scratching.

FX Controls

Each channel has a bank of effects. You can assign these in the Serato software. Common audio effects such as flange, echo, chorus, phaser, etc. can be easily loaded to buttons above the spin plates. A total of three effects can be loaded at a time and these effects can be easily changed onscreen via the software. Basically this means you can create tons of original effects. You can toggle effects with these buttons and change the level of effects with a potentiometer knob. The tempo of each channel can also be adjusted using a slider in the upper right hand corner. Temp control can be a bit tricky especially for beginners, however there is also an option to sync the two channels, which will automatically calculate and match the BPMs of the two channels.

Performance Pad

Each channel has a set of eight pads at the bottom. You can use these pads to store loops and samples for easy use. The pads can be loaded with looping portions of the track or one shot samples. These can be fired at will and the program handles the timing. This controller has several classic electronic drum kits included. With this you get even more value. You can assign these kit samples to the performance pads. The control scheme of this feature is a little difficult to get the hang of. But once you figure it out, it’s very easy to create original drum patterns to play over your mix. You can load and assign your own additional sample banks. You can insert drums live with the pads while a sequence is playing and the software will play them in time. This is perfect for learning controllerist DJing.

Pro Features

Although it is not required, additional features of the controller can be accessed by upgrading to the Pro version of the Serato software. Among these features are the option for you to record live DJ performances and to cue loops and effects in advance. You need to upgrade to get usage access to the two additional decks within Serato. However, even the basic features of the lite version are more than enough for a beginner to create professional sounding mixes with only a small amount of practice.

The Final Word

All in all, this is a fantastic entry-level controller for anyone who wanted to get into DJing. This is a great all around controller for multiple different styles.

The Roland DJ-202 DJ Controller is a great piece of DJing equipment. It is perfect for a beginning DJ looking to learn the craft. The controller is portable and packed with enough features for professionals looking for a mobile set up. Probably the best overall feature of this controller is the spin plates; these plates are very sturdy and well built with the perfect touch response. If you’re looking to get into scratching, this is a great controller to get started on.

The four decks for the price point are amazing as well. Mashups and party mixes take on a whole new magnitude of possibilities when you can use four samples at once. With on the fly customization the drum pads are great if you’re looking for a more controllerist path. The lite Serato version included with the controller has everything you need. But additional features are only available when you upgrade to the Pro version.

Beat Making Equipment Guide

This is an equipment guide for beginners looking to get into beat making and trying to figure out how to get started. With technology where it’s at today its very simple and takes very little investment. With some key pieces of gear you can easily become a music producer making your own beats. The great thing is you can start making beats right away, regardless of how much investment you’re willing to put into your hobby.

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Rundown of Beat Making Equipment

  • The DAW or Digital Audio Workstation: A computer software program where you build your musical compositions
  • Practice: Learning how to properly make beats with your equipment is one of the most important parts.
  • Computer or Laptop: You’re on one right now, just make sure it meets minimum software requirements for your DAW
  • MIDI Keyboard: With a MIDI keyboard your able to record note patterns for your DAW

DAW Digital Audio Workstation Software

The DAW is your main hub. All your beat making will be done in this software.  Sequencing, mixing, recording and mastering your composition; it’s all done with this program. There are a lot of free DAWs available to get your feet wet, so I’m going to suggest a free version and a paid version.

beat making equipment

MU Lab

MU Lab is probably my best suggested Free DAW. The software allows you to record, mix and play around with multiple tracks. It also has a lot of secrets hidden inside its menus for functionality. MU has MIDI and audio recording which is by far the most important feature needed for producing music. You’d be surprised how many programs don’t have this basic feature. You’ll also find it has a good assortment of effects and filters. You won’t feel too restrained with this program, especially as a beginner. If I had to give up my paid DAW I’d have to go with MU Lab which you can download here.

FL Studio Producer Edition

If I had to go with a paid program I would hands down suggest my ultimate favorite FL Studio Producer Edition. There’s a reason it’s the most used DAW software in the music production industry. It has the most features, most support, most third party add-on effects and sound engineers create samples solely for the program allowing for easy integration and finding the perfect sounds. On top of that I found one of the most comprehensive courses ever to bring you from beginner to master in music production with FL Studio (next section).

Now FL Studio can be found if you know where to look. I want to say, if something brings you so much value and enjoyment, you should definitely support it as a thank you as soon as you can. FL Studio Producer Edition can be purchased here.

Be careful there’s a cheaper “Fruity Edition” of the software that does not allow you to record it is not worth the money, go with MU Lab for free instead.

Practicing, Experimenting and Consistently Growing

Everything that’s worth having takes effort to get and becoming a skilled music producer is no different. I know practice isn’t technically equipment but it’s one of the most important aspects of becoming a good composer. There’s nothing more frustrating than having an amazing piece of music in your head but not enough technical skill to make it reality.

There’s nothing worse than feeling so lost and never finding your way to your dream. The DAW will be daunting when you first get started. It comes with so many sub menus and things that could be done. It can make you feel insanely overwhelmed.

I know I felt that way.

I wished I had a full on road map of what to focus on when, a guide to what the most important things in production were and how to design an build a song from the ground up. What I wanted more than anything was to learn how to go from absolute zero to making my sound, my piece.

Then I found an amazing online course that solved all these issues. With 750 hours of tutorial videos organized to show you where to go next and an on demand community where you could ask questions if you get confused.  This course will get you on par with most mainstream producers, and it’s just up to you to refine your sound to be your sound.

That’s why I say practice is mandatory, without guidance and practice you’ll never get where you want to be. Investing in a great course will allow you to quickly reach your goals and become the producer you want to become. Click this link to check out this amazing course.

MIDI Keyboard

Now technically you can start producing music without one. But it’s basically going to be you dragging and dropping notes one by one in a program. I can’t think of anything more disconnected from music. With a MIDI keyboard you’re able to record patterns in real time, play chords out with proper timing, and easily record song patterns.

You don’t need a massive MIDI keyboard either. If you’re extremely enthusiastic and want to invest a lot into your set up you can get a full keyboard. But most of the time all you really need is a 25key 2 octave keyboard. The most popular one on the market and most widely used is definitely the Akai MPK Mini MKII.

The Akai MPK Mini MKII is small, lightweight, and will fit on any desk. For size it’s about the same size as a computer keyboard. On top of that it allows for full MIDI mapping to not only keys, but velocity launch pads. These are insane for drumming beats as the harder you tap the louder it will be in the DAW pattern. It has some assignable knobs to adjust effects as well. However, I just use the mouse and change them in FL Studio myself so I don’t use them that much. The best thing is it’s pretty cheap for how far it will take you. You can check out the keyboard here.

CD Baby Review and Information

CD Baby Review

When you’re starting out trying to make a name for yourself in the music production world, you’ll need to spend a lot of effort, time and resources to get your sound out into the world. The internet is a great tool for sharing and communicating but it comes with it’s own challenges. CD Baby is one web service designed to solve these issues. I’ll talk about the pros and cons I found with using with this service in this quick CD Baby review.

What is CD Baby?

CD Baby is a content distribution service designed to give musicians and music producers the reach they deserve. The service itself is a popular place for people to look for new music and find new sounds and artists. The site also attempts to help users find your sound through staff recommendations. So if your sound is good enough you can expect some work to be done for you. Some being the focus of that statement.



Essentially CD Baby is an opt in Record label, and manages distribution, sales and royalties of your music so you don’t have to worry about chasing down scouts and running demo pitches. CD Baby will indiscriminately distribute to its large collection of well known and used digital partners; like iTunes, Spotify, Google Play, Amazon, Pandora, and many more. It puts you on way more markets and sites and has 30 partners.

I will point out an additional partner, a sleeper network deep in the list, iHeartRadio. As a sound engineer I’ve seen a major move in the industry. Large media companies across the world are starting to use iHeart as their distribution for online radio streaming services. It’s starting to become a service they have to be a part of or they’ll be left behind. Stations across the world are starting to advertise iHeart to their listeners as part of a promotional agreement they have to satisfy. So being on iHeart is a good place to be as people listening in their cars start to get the message and check it out.

Members Fees and Earnings

It’s pricing structure is geared towards smaller underground artists due to it’s percent of sales setup. The bigger you are and the more you make, the more you have to pay CD Baby. When you’re small this percentage beats out other competitor sites like Tunecore which charge large recurring fees. If you start making more than $1250 in a year off a single track or album I’d start to look at putting that high earning work on a different distribution service



CD Baby Distribution

In exchange for a percentage of sales CD Baby gives you the reach a record label usually would. With anyone able to opt in, it’s definitely an easy route to get your tracks and albums out to the world. It’s a go to option for upstart artists or first releases. CD Baby gives potential fans access to you. They give a free addon called Sync licensing which allows you to license your songs as well, allowing content creators to use your songs in their commercials, tv shows, games, movies and youtube channels, all of which properly pay you for your work.

CD Baby is a bit of a lame duck when it comes to promoting music and artists. Where a regular record label will do the work and spend the money to promote in order to get a return on investment CD Baby doesn’t care, they only earn if you earn. Your music will end up in new release lists, sounds like categories, and suggestion algorithms, but that’s the extent of CD Baby’s promotion. Meaning all the work falls squarely on you. Which could be really good for you or really bad for you. But this all depends on how well you can guide new fans to find your work.

How to Become Better at Promoting Yourself on CD Baby

If you’re really serious about wanting to start selling your tracks, beats and albums, I highly suggest you take a look at this course. It runs down all of the things you need to know to navigate the industry. On top of that it has rock solid tips on how to make your sound stand out and be exactly what content creators are looking for. Letting you really flourish on sites like CD Baby and Tunecore, especially with their sync licensing content creator access.

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CD Baby’s hands off promotion does come with perks for new artists though. It comes as a strong alternative to regular record labels. With the ease of joining, the ease of distribution and an extremely fair percentage cost to use their service. If you work smart and hard you can definitely build a life off your passion.

Tunecore Review and Information

Review of Tunecore

What is Tunecore?

Tunecore is a platform for conglomerating the distribution of digital music. The main reason to use this service is it allows for musicians to get their mixes and songs on multiple online distribution platforms. The main appeal of Tunecore is the sheer amount of implied reach that the site promises. In exchange for distribution of your music to these services they ask for flat yearly fees for putting the tracks and albums in their system. With a smaller year one stocking fee, and a larger recurring annual fee.

The service allows artists to feature their work on a total of 150+ platforms, with the biggest networks being:

  • iTunes
  • Spotify
  • Amazon Music
  • Google Play
  • Youtube

What are the Benefits of Tunecore? Is it even worth it?

Aside from the obvious benefits of the reach of the company, Tunecore has some advantages compared to competitors like CDBaby. Essentially the bigger your following the better Tunecore is for you. If you are only expecting to sell 5 tracks a month you’re probably better off going with a different distribution network, but if you’re frequently getting questions about where to find your tracks during outreach and shows it’s definitely worth looking into.

If you’re not quite at that point, and you are having trouble selling merch and inspiring your fans to take action, I can’t suggest the book Six-Figure Musician enough. Tunecore really shines when you start to get established and this book is probably the best thing written to get you to that stage. It’s really eye opening, and you can really maximize the benefits of self publishing distribution services.

The reason that Tunecore gets more appealing the bigger you are is because it charges a flat fee, and that fee only really becomes worth it if you sell around $950 worth of music a year in comparision to CDBaby.



It does bring a major benefit through their synchronization licensing. Which allows you to make your music available to music supervisors for use in film and television. Essentially this licensing lets you put your tracks into a database for content creators to use it in their own media. Things like television shows, commercials and large music events. These really snowball because once your song gets played in a commercial everyone’s going to be googling the title and picking up your track.

If you’re part of the sync licensing Tunecore also does some legwork for you by trying to find potential placements for you. But for it to be worth it your mixes have to stand head and shoulders above everyone else’s and be specifically designed for use in different types of media. I’ve wrote a bit of a guide on how to build and sell beats for specific uses here.

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Is Tunecore a Scam For New Artists?

It’s definitely not a scam, but it’s definitely not for the naive or new mixmasters. Just because you can put your music into the system doesn’t mean they’ll ever get purchased. A large portion of music (around 94%) on the platform sells fewer than 100 copies. 64% of the tracks manage sell more than one copy. 1 in 3 tracks don’t sell at all. You definitely have to be in the top 5% of music composers for this platform to really pay off.

The main problem with the above paragraph is the annual fee, the first year for an album is cheap at $35.99 but the following years it costs $50 to keep your album on the platform’s roster. If you’re not making the sales you’re just going to be losing money.

As mentioned above CDBaby is a great alternative if you’re expecting lower sales. With no recurring fee, they skim a percentage of what you sell. Both services provide a nice way to reach potential audiences and are a great way to bring in some extra money that can be used to improve your setup or free up some time to continue to create. But if you’re looking at a distribution service be sure to pick the one that’s right for where you’re at professionally.