Afro House is a sub-genre of house music that originated in South Africa and incorporates African elements and rhythms into the electronic dance music framework. Sub-genres: Afro Tech, Afro Deep, Afro Soulful, Afro Tribal, Afro Funk, Afro Latin, Kwaito, Gqom, Amapiano.

Afro House

Amapiano

Bass House is a sub-genre of house music that emphasizes heavy basslines and hard-hitting beats. Here's a list of some of these styles: UK Bass House, Future House, Wobble House, Garage House, Breaks-infused Bass House, Dark Bass House.111

Bass House / Future House

Rhythmic, beat-driven electronic music with syncopated patterns.	Sub-genres: Big Beat, Nu Skool Breaks, Progressive Breaks, Florida Breaks, Atmospheric Breaks.

Breaks / Breakbeat

Dance / Pop

A soulful, melodic variant of house music with smooth chords. Sub-Genres: Tribal Deep House, Afro Deep House, Deep Tech House.

Deep House

Tracks or elements designed for DJs to use in live performances. Acapellas, Loops, Samples, DJ Intros/Outros.

DJ Tools

Fast-paced electronic music with breakbeats and heavy basslines. Liquid, Neurofunk, Jump Up, Jungle, Techstep, Darkstep, Drumfunk, Atmospheric DnB, Dancefloor DnB.

Drum and Bass

Electronic music with heavy basslines, and syncopated rhythms. Sub-genres: Brostep, Riddim, Chillstep, Melodic Dubstep, Wonky, Deathstep, Glitchstep, Deep Dubstep.

Dubstep / Bass / Grime

An early form of electronic dance music with futuristic themes. Detroit Techno, Electro Funk, Electro Breaks, Electroclash.

Electro (Classic / Detroit)

Energetic, hard-hitting dance music with heavy basslines. Sub-Genres: Progressive Electro House, Complextro, Dutch House, Fidget House, Dirty Dutch, Melbourne Bounce.

Electro House / Big Room

Diverse, experimental electronic music with various influences: IDM, Ambient, Downtempo, Glitch, Trip Hop, Breakcore, Experimental, Soundscapes.

Electronica

Upbeat house music with disco, funk, and soul elements. Sub-Genres: Disco House, French House, Filter House, Glitch House, Chicago House.

Funky / Jackin' House

High-energy electronic music with aggressive beats and tempo. Happy Hardcore, Gabber, Hardstyle, UK Hardcore, J-core, Powerstomp, Speedcore, Terrorcore, Breakcore.

Hardcore / Hard Dance

Intense techno variant with faster tempos and heavier beats. Sub-Genres: Schranz, Industrial Techno, Dark Techno, Power Noise.

Hard Techno

Electronic dance music with 4/4 beats and repetitive rhythms. Classic House, Acid House, Vocal House, Chicago House, New York House, Swing House.

House

Electronic music with indie, alternative, and disco influences. Sub-Genres: Synthwave, Italo Disco, Coldwave, Dark Wave, New Wave, EBM.

Indie Dance / Dark Disco

Experimental, unconventional electronic music. Sub-Genres: Leftfield Bass, Leftfield House & Techno, Avant-garde, Musique Concrète, Drone Music.

Leftfield

Relaxing, downtempo electronic music for casual listening. Ambient House, Trip Hop, Downtempo, Balearic, Lo-fi, Nu Jazz.

Lounge / Chill Out

A blend of house and techno with strong melodies and harmonies.	Sub-Genres: Progressive Melodic House, Deep Melodic Techno, Uplifting Melodic Techno.

Melodic House / Techno

Minimalist house music with intricate, glitchy sounds. Minimal Techno, RoMinimal, Clicks & Cuts, Glitch House, Intelligent Dance Music (IDM)

Microhouse

Sparse, stripped-down electronic music with repetitive patterns. Sub-Genres: Minimal House, Microhouse, RoMinimal, Glitch, Ambient Techno

Minimal / Deep Tech

Modern disco and funk-inspired electronic music. Disco House, Funky House, Re-edits, Modern Funk, Boogie, Future Funk, Electro Funk.

Nu-Disco / Soul / Funk

House music with natural, organic sounds and world music elements. Downtempo, Ethnic House, World Electronica, Afro House, Tribal House

Organic House / Downtempo

Evolving, melodic house music with long builds and breakdowns. Sub-Genres: Dream Progressive House, Dark Progressive House, Progressive Trance, Progressive Breaks.

Progressive House

Psy-Trance

House music with a strong soul, gospel, and jazz influences. Sub-Genres: Gospel House, Vocal Soulful House, Jazzy House, Latin House.

Soulful House

Electronic-infused soul, R&B, and hip-hop tracks. Neo-Soul, Future R&B, Instrumental Hip-Hop, Alternative R&B, Trap, Trip Hop, and Grime.

Soul / R&B / Hip-Hop

A fusion of house and techno with an emphasis on percussion. Sub-Genres: Tribal Tech House, Deep Tech House, Minimal Tech House, Acid Tech House, Dub Tech House.

Tech House

Energetic techno with driving beats and strong rhythmic elements. Hard Techno, Detroit Techno, Minimal Techno, Acid Techno, Rave Techno.

Techno (Peak Time)

More stripped-down, atmospheric, and dub-influenced techno. Sub-Genres: Dub Techno, Hypnotic Techno, Ambient Techno, Deep Techno, Experimental Techno.

Techno (Raw, Deep, Dub)

Melodic, uplifting electronic dance music with a fast tempo. Progressive Trance, Uplifting Trance, Psytrance, Vocal Trance, Hard Trance, Tech Trance, Goa Trance.

Trance

A fusion of house, R&B, and jungle, characterized by syncopated beats. Sub-Genres: 2-Step, Speed Garage, Grime, UK Funky, Future Garage, Bassline, Breakstep.

UK Garage / 2-Step

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James Senese

Frank Wiedemann

A leader in  global dance music, Louie Vega has painted an award-winning career from a palette mixed with everything from house, salsa and afro-beat, to jazz, hip hop, gospel and soul.

What distinguishes the Grammy winner and 7-time nominee as one of the best living house music deejays is his ability to evolve alongside the times, distill the current musical landscape through his unique taste and put his own timeless spin on his musical creations.

In 2020, his production team Masters At Work with Kenny Dope Gonzalez will revamp their label Maw Records, and will be releasing their full catalog worldwide via digital and streaming outlets. New Masters At Work Remixes for Dua Lipa (Via The Black Madonna’s Mix Tape), DJ Krust (on Crosstown Rebels), and new productions for the Maw Imprint by The Masters At Work.

Louie Vega has also teamed with The Martinez Brothers for a second single entitled “Let It Go” with Marc Bassy released July 10, 2020 on the titan record label Defected.

In NYC, Vegas' weekly residency night has inspired him to record an album for Nervous Records release coming early 2021 featuring his friends : Robyn, Honey Dijon, Bernard Fowler, Moodymann, Kerri Chandler, Anané, Lisa Fischer, Joe Claussell, Tony Momrelle, Karen Harding, & the super band Unlimited Touch.

Breaking down musical barriers and bringing people together through a love of music has always been Vega’s aim; his contributions continue to positively influence global dance music.


Louie Vega

Their name says it all – Masters At Work. For over a decade, "Little Louie” Vega and Kenny "Dope" Gonzalez have shepherded dance music down new paths with their inventive production style and imaginative feel for different musical forms. The two native New Yorkers have amassed an overwhelming body of work in that time, one that includes hundreds of original productions, remixes and side projects, redefining the way we think of music in clubs. Vega and Gonzalez defiantly mix everything they can find – house, hip-hop, funk, disco, Latin, African and jazz – into a universal groove. And in doing so, MAW has become a cultural mélange unto itself, emblematic of the multicultural society in which we live.

Our Time Is Coming is the group's third official album, second under the MAW moniker, and first for Tommy Boy Records. Comprised of wonderful new compositions and a handful of their most popular singles from recent years, it is indicative of the ambitiously eclectic MAW sound: a vibrant dance groove culled from a mesh of Latin rhythms, jazz and soul. Vega and Gonzalez composed, produced and arranged the album's ten songs, using crafty studio work and live instrumentation and help from some regular collaborators (India, Roy Ayers) and a few special guests (Patti Austin, James Ingram, Stephanie Mills).

The Beginnings

"Little Louie” Vega and Kenny "Dope" Gonzalez officially started their union as Masters At Work in 1990. Vega, a prodigious DJ around New York, met Gonzalez, a producer, through burgeoning house DJ Todd Terry. Gonzalez’s song "Salsa House" was a favorite of Vega, who fell for its Latin-influenced, everything-goes flavor. Desiring to remix the song, Vega asked Terry for an introduction, and almost instantly the two bonded over their insatiable appetite for music of all kinds.

Vega was born in the Bronx in 1965 and raised in an environment rich with Latin music. His father was an accomplished saxophone player and his uncle was renowned salsa singer Hector Lavoe (of Fania All Stars fame). While Vega embraced the music of his Puerto Rican heritage, it was his pair of club-hopping sisters – regulars at David Mancuso's famous late-'70s Loft parties and at Paradise Garage – who introduced him to the vitality of dance music. Already taken with roller-disco and hip-hop, Vega attended Paradise Garage for the first time in 1980. There he witnessed the magic of DJ Larry Levan, whose ability to blend music from seemingly every genre and era into a seamless groove would foreshadow the spirit of Masters At Work. Through the mid-'80s, Vega began to make a name for himself as an up-and-coming DJ, playing house and freestyle in Bronx and Manhattan hotspots like Devil's Nest, Roseland and Studio 54. He was also doing remixes and original rhythm tracks, including one of his early breaks remixing Information Society's "Running" for Tommy Boy.

Gonzalez was born in Brooklyn in 1970. As a kid, he initially shunned Latin music, falling in love with the rebellious party beats of hip-hop. He worked as a buyer in a local record store while a teenager, mastering his skills as a DJ playing on the side. In the late-'80s, Gonzalez and a friend began organizing popular neighborhood block parties under the guise Masters At Work. Gonzalez met Todd Terry through these parties and lent Terry the fresh MAW moniker for two eventual club hits – "Alright, Alright" and "Dum Dum Cry." In return, Terry let Gonzalez borrow his drum machine and recording equipment, on which the blossoming producer recorded several tracks for the influential Nu Groove Records, including "Salsa House."

The MAW Union

The first collaboration between Vega and Gonzalez came in 1990 when Vega produced the debut album for singer Marc Anthony, an underground club prodigy at the time. Writing with India and other collaborators, and arranging the album himself, Vega brought in Latin masters Tito Puente and Eddie Palmieri to record the album, and turned to Gonzalez for some beats. Credited as “Masters At Work featuring Tito Puente and Eddie Palmieri,” the recording of the album set the conceptual framework for future MAW productions: combining live instruments with sampled beats, and veteran masters with new innovators. Soon others were seeking the MAW sound, and Vega and Gonzalez began remixing artists ranging from Debbie Gibson to Saint Etienne. They also began making their own original tracks, like "Blood Vibes," a hip-hop/reggae blend that marked their first original production, and "Our Mute Horn," a Miles Davis tribute track that gave a nod to their jazz influences.

As the Masters At Work sound became more pervasive in clubs, they became more sought after by artists and labels, eventually remixing Bjork, Deee-Lite, Neneh Cherry, Soul II Soul, Donna Summer, Janet Jackson, Daft Punk, Incognito, Brand New Heavies, Stephanie Mills and many, many more. Sometimes a MAW remix is literally a re-mixing of the original, like adding a bass line and some minimal keys (Daft Punk's "Around the World") other times, their remixes are total re-imaginations of the songs, as was the case with Saint Etienne's "Only Love Can Break Your Heart".

MAW also began producing for their own coterie of artists, like Barbara Tucker and salsa singer India, as well as for artists like Luther Vandross, BeBe Winans and George Benson. These were artists who had no foothold in the dance world but, based on their collaborations with MAW, were given instant respect. In addition to their own solo departures – e.g., Gonzalez’s hip-hop influenced guise The Bucketheads and Vega's DJ residencies at Sound Factory Bar – the group collected some of their own original tracks and released The Album in 1993. Alternating between hard, head-nodding hip-hop and more inspired house tracks, it was their first album released under the Masters At Work name.

Nuyorican Soul

MAW alter-ego Nuyorican Soul was born in 1993, a play on their heritage (Puerto Rican), residence (New York City) and style of music (soul). They debuted the guise on "The Nervous Track" (Nervous Records), giving us a glimpse of the Nuyorican concept – a groove that wasn't just thumping beats but musically sophisticated and engaging as well. A subsequent track, the hot club hit "You Can Do It (Baby)!" featuring George Benson, helped the project gain critical mass with fans, and after being signed by influential music maestro Gilles Peterson, Vega and Gonzalez recorded the first Nuyorican Soul album.

Released in 1997, the self-titled album was a mix of exemplary salsa, jazz and soul musicians (Roy Ayers, Eddie Palmieri, Jocelyn Brown). There was a discernable Latin jazz influence on songs like "Runaway" (a Salsoul Orchestra cover), a classic soul feel on the Rotary Connection gem "I Am The Black Gold Of The Sun," and a nod to hip-hop with a cover of Bob James' oft-sampled classic "Nautilus (Mawtilus)". Yet while the album's cover songs gave a nod to their influences, nobody could have imagined the timelessness of the Nuyorican sound.

Our Time Is Coming

Our Time Is Coming combines six new compositions with four popular MAW singles from recent years, all co-written, produced, arranged and mixed by Vega and Gonzalez, who recruited a number of friends and influences to add to the sessions.

The title track boasts the inimitable influence of Roy Ayers on vibes and background vocals. "Like A Butterfly (You Send Me)," the opening selection, features the lovely Patti Austin on vocals with lyrics co-written by Blaze and background vocals arranged by Austin. The legendary James Ingram appears on "Lean On Me." Elsewhere on Our Time Is Coming, the diversity of Vega and Gonzalez rears its head with the Latin-jazz-influenced "Pienso En Ti," featuring guitarist and vocalist Luis Salinas, and the deep-house funk of Billie’s "Every Now And Then." And it's nearly impossible to throw on the Soca-influenced "Work," (featuring Puppah Nas-T with vocals by Denise) and casually bob your head – this is a full-body experience.

It was a dream of Vega and Gonzalez’s to record with Afrobeat king Fela Kuti.  Unfortunately, their hopes were dashed when Fela passed away in August 1997. So instead, “MAW Expensive (A Tribute To Fela)” reworks Fela’s signature "Expensive Shit," maintaining its dedicated tribal flavor.

Our Time Is Coming is Masters At Work at their finest, a wonderful accomplishment especially given the scope of Masters At Work's robust discography. It's rare to see artists push their creative impulses so consistently and with such acceptance, and even more rare to see it sustained for so long. But as this album reveals, Vega and Gonzalez continue to do so with unequaled ability. If anything, the album's title is too appropriate, for as much as the artists have done in the last eleven years, there is certainly more that lies ahead.

Masters At Work

Adam Beyer’s music is synonymous with all that is exciting about techno. Having emerged as the figurehead of the hugely prolific Swedish techno scene, Beyer’s focused and considered approach to his craft has worked to confirm his position as a globally recognized DJ and producer headlining cutting edge clubs and festivals week-in-week-out.

Adam is also one of the most acclaimed production talents on the scene and has consistently delivered cutting edge music across his 3 labels – Drumcode, Truesoul and Madeye. Over the years he has also built up a highly prized roster of talent on the labels and his meticulous ear for quality productions is highly renowned.

Adam Beyer

Fur Coat

Mathew Jonson really is one of a kind.

He's developed one of the most distinctive voices in electronic dance music: when you hear one of Jonson's tracks, you almost immediately know it's his. And yet there's no mistaking any given track for another.

His music offers a rare fusion of populist intensities and nuanced musicality. With a keen understanding for the needs of the dancefloor and the universal laws of house and techno, he's thrown out the rule book time and time again, sneaking tricks learned from electro and even drum'n'bass into minimal clubs, and loading up his B-sides with tracks that do what they damned well please. (No kick drum? No problem.)

His standards for sound and presentation are exacting. Both on stage and in the studio, Jonson's fealty to analog equipment and real-time play—as opposed to mere playback—serves as a standardbearer for a kind of electronic music that goes way beyond the drag 'n' drop world of digital composition. Jonson has always been eager to get his hands dirty, and the music reflects that in gnarled bass sequences and long, intuitive lines. His sounds have serious teeth.

And despite his quick ascent through the ranks of the techno elite, Jonson hasn't just stayed personally grounded. He's devoted much of his energy to supporting his own close musical family, both in the groups Cobblestone Jazz and the Modern Deep Left Quartet, and with his Wagon Repair label, which he cofounded with Jesse Fisk, Graham and Adam Boothby, Frank Meyerhofer and Konrad Black.

He studied classical piano as a kid, plus jazz drumming, and played drums in a marching band —thus laying both the melodic and the rhythmic cornerstones of his music today. (Plenty of musicians claim to be "classically trained," of course, rendering the phrase all but meaningless. But here's something you might not have known about Mathew: he's actually begun studying piano again, which suggests a musical seriousness that's rare in the world of auto-didact button-pushers.

Thanks to his father's work with sound technology, he also got his hands on synthesizers at the age of 9. By the time he discovered hip-hop as a young teen, he was recreating its electro-based beats on his own rudimentary setup at home.

It was in Victoria, when he was 19, that Jonson met up with the crew that would help guide his musical trajectory: Tyger Dhula, Danuel Tate and Colin de la Plante, who were playing and DJing parties around the area. The four started playing in clubs together, an early version of the group that exists today as Cobblestone Jazz and the Modern Deep Left Quartet. (The Modern Deep Left Quartet was the original name for the foursome; after de la Plante moved to Montreal, the remaining trio carried on as Cobblestone Jazz.)

"It was all improvised," says Jonson of the group's early days. "We never really worked in the studio, we would just meet at the nightclub and jam. That's how it started. We did that for quite a while, and then it morphed into a residency at a club, once every two weeks." To keep it interesting, they would invite other musicians—on trumpet, violin, bass, sax, and rhythm sections—to join them.

After de la Plante left town, Cobblestone Jazz began focusing its efforts more squarely on the dancefloor, moving away from purely improvised sets to include composed and rehearsed passages. And Jonson gradually began honing in on his own sound, both in his productions and his DJ sets, inspired by a deeper, weirder sound that had begun filtering into the city's techno parties.

His first record, in 2001, was the first release on the B.C. label Itiswhatitis, appropritately titled "New Identity." Another followed in 2002, and in 2003. That year, he also made his first appearance on Perlon, "Alpine Rocket"—a track he recorded alongside Luciano during his first trip to Europe. And then, suddenly, Jonson was everywhere: Itiswhatitis, Sub Static, Arbutus, Kompakt, M_nus—and every track an anthem.

"I had all that music kind of saved up," says Jonson, "and then, just by chance, released it all at the same time. People criticized me for it, said that it wasn't a good idea. But it worked out for me. All the tracks did well. I wasn't saturating the market with bad music." He's right there.

In 2005, Jonson co-founded Wagon Repair, and it's been a blur since, a nonstop series of tours and recordings, solo and with his bandmates. Crucially, he moved to Berlin. Here, he and de la Plante—who moved over at the same time—have set up Cobblestone Jazz' European headquarters, providing not only the launch pad for European tours but, more importantly, the control center for the group's recorded activities. The studio is jawdropping, frankly: a semi-circle full of gear, from old workhorses like the 808 and 909 and SH-101 to unique beasts like their Cwejman and Roland System 100m modular system. Tate's Rhodes piano anchors one corner of the horseshoe, and everything feeds into a massive desk where tracks are mixed and recorded in real-time. Jonson makes his own music essentially the same way—only with two hands instead of eight.

Those two hands have come up with some remarkable material. Having perfected his brand of earthshaking epic with tracks like "Marionette," "Return of the Zombie Bikers" and "Symphony for the Apocalypse," Jonson has increasingly turned his efforts towards more personal, introspective music. He hasn't left the clubs behind—his new album, Agents of Time, features a number of tracks that are as hip-windingy wily as anything he's produced yet, full-on tracks like "Girls Got Rhythm" and "Thieves in Digital Land." But he's also taken advantage of the longplayer format to stretch out and indulge darker moods and slower tempos.

"I like to have phrases that sound like they're major, but then they go minor when they turn around," explains Jonson. "You think that you're in a happy place, but suddenly you're not. I like playing with that tension. When I look at the music I've made, the best music is always music that can stimulate any kind of emotion. It's more like a key, towards opening up whatever is inside of you -a gateway"

You can expect him to be unlocking even more emotions soon—ones you may not have even known you had—when he ramps up with Midnight Operator, a collaboration with his brother Nathan Jonson, aka Hrdvsion. With Nathan also based in Berlin, the two are finding common musical ground, expanding upon the platform they established with their lone, 2007 EP for Wagon Repair as they begin work on an album.

"Obviously, you can look at what I do with my label and the bands I have, to see what's important to me," says Jonson of keeping it in the family, so to speak. "I'm lucky because I have so many friends who are strong musicians. We can all feed off of each other. You know, when you're doing music, it's such a personal thing. To have an outlet with the labels to be able to release our music, and be able to all stay together, I think there's a lot of strength in that. Everybody is stronger as a group." – Philip Sherburne

Mathew Jonson

One of the most charming DJs in the business. A musical ambassador and a veteran of acid house, a champion of techno, a dance music pioneer, label owner, King of Ibiza – you name it, Carl's been there and done it, never losing sight of his passions – playing music, breaking tunes.

Carl Cox

OXIA (Diversions Music - France)

OXIA is one France’s most respected DJs and producers, with a career spanning over twenty years and intensive touring on all continents. He has built an impressive list of releases and remixes on respected imprints such as Kompakt, Knee Deep In Sound, Hot Creations, All Day I Dream, Sapiens, Bedrock, 8bit… In addition to his own label Diversions Musi

Oxia

Toto Chiavetta

Born and raised in Israel, Shlomi’s personal approach, married with 15 years of production experience and over 20 years of djing, takes influence from Jazz, Funk, Minimal, Acid, and in particular the old Techno movement.

Aber has created some of the most recognizable and Highlighted underground dance music tracks of the modern times for the world’s most prestigious labels on his ever-expanding CV: Cocoon, Ovum, R&S, Nonplus +, Figure, Renaissance and his own "Be As One Imprint”, one of the most established and leading labels of the underground dance music scene, with its broad range of quality and forward - thinking underground house and techno.

Tracks such as "Sea Of Sand", "Tel Aviv Garden" and "Groove Mechanism" have become engraved as Modern Anthems, whilst his  "Sketches “ release has already been described by every aspects as ‘…a classy piece of Underground fodder’, not to mention his  Ovum Recordings "Freakside” release which became his trademark as "the biggest club track of 2007" and one of the most played techno tracks of the recent years.

Shlomi's worldwide success granted some prestigious rewards and Nominations as “best newcomer” in 2005, “producer and track of the year” in 2007, "Beatport's artists of the year” in 2008, Worldwide " DJ Awards nomination” and a well respected recent “Best Techno Dj 2014 & 2015” award winning at the “ Sankeys Ibiza “ Dj Awards.
These and more placed Shlomi in the first tier of electronic music artists, headlining every prestigious club, festival or venue worldwide.

Shlomi Aber

<Naamloos>

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Fout bij ophalen van {title}

Elke track wordt puur beoordeeld op muzikale waarde, originaliteit, productiekwaliteit en hoe het voelt in een echte DJ-context. Als het geluid sterk is, hoort het hier, of het nu van een bekende artiest komt of van een compleet nieuwe naam. Focus Charts zijn gemaakt voor DJ's en muziekdiggers die hun oren meer vertrouwen dan reputaties.

Focus Charts zijn gecureateerde selecties, met de hand uitgekozen door het Volumo-curatieteam, met één duidelijke prioriteit: de kwaliteit van het geluid zelf. Deze charts worden niet gedreven door grote artiestennamen, beroemde labels of hype uit de industrie. Elke track wordt puur beoordeeld op muzikale waarde, originaliteit, productiekwaliteit en hoe het aanvoelt in een echte DJ-context. Als het geluid sterk is, hoort het hier thuis, of het nu van een bekende artiest komt of van een volledig nieuwe naam.Focus Charts zijn gemaakt voor DJ's en muziekdiggers die hun oren meer vertrouwen dan reputaties. Dit is een plek waar opkomende producers vanzelf naast gevestigde artiesten staan, en waar underground releases dezelfde aandacht krijgen als tracks van grote labels. Als je op zoek bent naar verse elektronische muziek, verborgen parels ontdekt, of nieuwe richtingen verkent binnen techno, house, minimal en verwante genres, bieden Focus Charts op Volumo een zorgvuldig gecureateerde luister- en downloadervaring, gemaakt voor DJ's die het geluid op één zetten.

Als je een contentprovider bent, verlies je ook al je geverifieerde artiesten en labels en wordt alle door gebruikers aangemaakte inhoud (albums, enz.) uit de winkel verwijderd en gewist. Alle onbetaalde verdiensten gaan ook verloren.

Als je je release exclusief wilt publiceren, ga dan naar het {album} en vul het veld {exclusive} in. Het gebruik van “Exclusive” in titels kan tot irrelevante zoekresultaten leiden.

Maak kennis met Volumo's deelbare visuals. We weten dat je veel tijd steekt in het perfectioneren van je sound en stijl, dus hebben we het makkelijk gemaakt om binnen enkele seconden promo-afbeeldingen en video's te genereren. Pas ze aan zoals jij wilt, download ze, en gebruik ze overal—op social media of in je eigen content.

Het lijkt erop dat de titel onnodige spaties binnen haakjes bevat. Verwijderen?

Het lijkt erop dat de titel in hoofdletters is geschreven, wil je deze fout herstellen?

Het lijkt erop dat de albumtitel een catalogusnummer bevat. Verplaats je dit naar het juiste veld?

Het lijkt erop dat de tracktitel een mix-versienummer bevat. Naar het juiste veld verplaatsen?

Naam

Ga vervolgens naar je playlistsectie en maak een nieuwe playlist aan. Begin met het geven van een titel aan je playlist. Dit kan je definitieve titel zijn of gewoon een tijdelijke. Klik daarna op "Playlist maken."

Als je playlist klaar is, ga naar "Mijn playlists." Hier kun je een cover uploaden, je chart hernoemen en een beschrijving toevoegen over jezelf, je sound of de sfeer die je wilt creëren. Je kunt ook de volgorde van de tracks aanpassen.

Pauzeer {title}

Speel {title} af

Titel van de playlist

Klaar om te delen? Klik op de drie puntjes naast je playlist en kies "Publiceren als een chart", geef een pakkende omschrijving, selecteer de cover, en voilà - jouw ranking staat online!

Verkoopmeldingen (voor contentaanbieders)

Selecteer de artiestnaam of labeltitel die in het chart-auteursveld wordt weergegeven

Toon tracktitel

Begin met typen van een chart- of tracktitel, of een artiest- of labelnaam om resultaten te zien.

Begin een landnaam te typen om resultaten te zien

Begin met typen van een genre om resultaten te zien

Begin met typen van een track- of albumtitel, of een artiest- of labelnaam om resultaten te zien.

Stop {title}

Het album {title} is verwijderd

De eerste 24 uur nadat je track online staat zijn echt cruciaal—dan kijkt het algoritme mee. Of het nu Volumo, YouTube of Instagram is, die eerste piek aan weergaven, opslaan, delen en interactie laat het platform weten: ‘Deze moet gepusht worden.' Als je meteen je fans, vrienden en netwerk mobiliseert, maak je meer kans op een plek in algoritmische playlists of extra zichtbaarheid. Dus upload niet alleen, maar zorg dat je content klaar hebt, stuur je mailinglijst aan en wees actief in de reacties. Die eerste dag bepaalt de toon van je hele releasecyclus.

De titel bevat de naam van de artiest. Je hoeft de naam van de artiest niet toe te voegen aan de titel, dit wordt automatisch gedaan

Titel

De top 3 dingen waar pro-DJ's een hekel aan hebben bij muzieksites? We zetten ze op een rij. "Tekst overlay": De grote drie frustraties.

Tracktitel

Track {title}

Track {trackTitle} kan alleen gekocht worden als onderdeel van het album {albumTitle}.

Track {trackTitle} verwijderd uit {playlistName}

Album {title} intrekken? Daarna moet het album opnieuw worden gecontroleerd voordat het wordt gepubliceerd.

Naamloos

Het gebruik van “Volumo” in titels kan leiden tot irrelevante zoekresultaten.

Wij, Volumo, zijn de verantwoordelijke voor jouw persoonsgegevens en gebruiken cookies om inhoud en advertenties te personaliseren, om sociale mediafuncties aan te bieden en om ons verkeer te analyseren. We delen ook informatie over je gebruik van onze website met onze sociale media-, advertentie- en analysepartners die deze kunnen combineren met andere informatie die je aan hen hebt verstrekt of die ze hebben verzameld vanuit jouw gebruik van hun diensten.

Je hoeft de tracks niet te nummeren in de titel, ze worden automatisch genummerd

het is mogelijk om een klacht in te dienen bij de toezichthouder, maar neem eerst contact met ons op via {address}, wij zullen ons best doen om het probleem op te lossen.

James Senese

Overzicht

Top tracks

Nieuwste releases

Metamorfosi Remixes, Vol. 2

Metamorfosi

New Horizons

Genres

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