DJ Times January 2011, Vol 24 No 1

how lying can help your dj biz America’s First Magazine For Professional DJs Established 1988

january 2011

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magic from America’s got talent

titan of trance plus

v pretty lights v Mike e. clark v moogfest & a.d.e. reports

Laments on the Late Technics SL-1200 from:

www.djtimes.com

* Grandmaster Flash * Frankie Knuckles * Darude * DJ Swamp * Kid Koala * Dennis Ferrer * D.O.N.S. * Cut Chemist * David Morales * Gareth Emery * Bob Sinclar * Cosmic Gate * Morgan Page * Quivver * Timo Maas * Rhettmatic & More

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BWdXad_S`UWñ?g^f[ñB^SkWd The new CDJ-850 is a DJ’s digital dream. Fast file searching from the player’s intuitive rotary selector is a joy to use, and the CDJ-850’s wide display shows the peaks and drops of an entire track. You can even edit set lists live thanks to the Tag List feature. The player accesses all major file formats up to 24-bit (WAV/AIFF) from USB memory devices. The CDJ-850 has a ton of innovative features such as the USB HID for better control of DJ software. It includes both a 16-bit and 24-bit soundcard as well as Pioneer’s rekordbox™ music management software. By combining unique performance effects with the same full size scratch jog wheel as the CDJ-2000, the CDJ-850 is all you need at home or at the club.

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industry events…notables…milestones

NEWS

Carolina Craziness: MoogFest Maps New Terrain for late-night action at the Moogaplex.

Also impressive: Alex B’s set of crushing, room-shaking beats and ethereal vocals; Jon Hopkins’ irresistibly melodic sensibilities; Two Fresh’s whopping trip-hop grooves with a live drummer; Michael Menart’s tight set of tough and punchy head-bobbers; and Gramatic’s mixture of throbby beats and cinematic swirls.

The DJ Times-sponsored “Last Gasp” party at Stella Blue Sunday night allowed Moogers to end things right. Walloping dubstep was the or-

Hyperdub: Ikonika kicked the latenight action.

Chillwaver: Bonobo spread it out at the Moogaplex.

der of the evening with local talents Thump (from Asheville via Parsippany, N.J.) and Mindelixir (Charlotte) keeping it hot. South African electronic musician Marty Party closed out the festival to a packed room swaying to his last dark beat.

Best Big Act: Big Boi. Just a tremendous show. With another MC, a five-piece band, DJ Cutmaster Swiff and a team of step dancers, he mixed Outkast hits with some stomping new

Austin, Texas—Robbie Rivera drops his summer smash “We Live for the Music” at Republic, one of the 28 dates on his “Rock the Disco” winter tour. The prolific Miami-based DJ/producer banged a two-hour house set to an enthusiastic Austin crowd—not bad for a town best known for its live music.

The DJ Times-sponsored tour runs through January, 2011, and stay tuned for details on his always-festive Juicy Beach Party in Miami in March.

Kenny Rodriguez

Rivera Rocks the Disco

material from his solo effort, Sir Luscious Left Foot: The Son of Chico Dusty.

The Asheville Civic Center was up for grabs the whole time.

Close Second: Massive Attack.

Some might find it surprising that the Bristol legends could pull it off live this well, especially in a bigger venue like the Civic Center, but their huge, reverberating trip-hop pulses and grooves were definitely gripping.

Having singers Horace Andy, whose quavering voice was in top form, and Martina Topley-Bird really made it work.

Most Surprising Acts: Jónsi (from Iceland’s Sigur Rós)—arresting voice, incredible soundscapes. Also, Clare & The Reasons—all-over-the-map chamber pop with a vocalist who could put chillbumps on your arms.

On Saturday and Sunday afternoon at the “Moogaplex” (aka the Haywood Park Complex), MoogFest offered tech panels featuring all-star teams of industry mavens. On Saturday’s “Advanced Application & Synthesis” panel, Cyril Lance, head engineer for Moog Music, offered a deep and thoughtful explanation of product development. Then, he was posed a very basic question from the audience—“What’s the difference between analog and digital?”

Short Answer: “Everything is analog. Digital is ones and zeros that replicate everything. At this point, one isn’t necessarily better than the other. They both have great instruments that make great music. They all have their own magic. We happen to make analog magic.”

JANUARY 2011

Dark Beats: Marty Party rocked DJ Times’ closing event.

DJ TIMES

By Jim Tremayne Photos by Nicole Cussell Asheville, N.C .—As expected, MoogFest—held this past Oct. 2931—properly and sufficiently celebrated all aspects of electronic music—current trends, evolving technologies and rich history, including memories of industry pioneer Bob Moog.

But being Halloween weekend, the three-day event morphed into a fullon freak-a-thon, with thousands of costumed crazies filling the streets of downtown Asheville.

From early Friday evening through late Sunday night/Monday morning, MoogFest presented 66 acts in five downtown venues, all within relative walking distance from each other.

Plenty of them connected and transported willing audiences.

In addition to the live electronic acts, there were plenty of DJs filling out various bills. And of all the spinners, it was hard to ignore the frantic performance by Girl Talk. OK, perhaps his manic set of mash-ups is music for the ADD Generation, but he did have the Civic Center in a tizzy.

With a good 25 people onstage dancing the whole time, the man knows how to throw a party—even if he did drop the inevitable “Don’t Stop Believin’.”

Chillwave mainstay Bonobo spread out a bit for his Moogaplex set. “He was all over the place,” according to our photographer Nicole Cussell.

“Bouncy, dancey, jazzy, Latin funk, drum-n-bass, tech-house—and all mixed nearly flawless.”

Ikonika also left a positive impression. The British female jock dropped some deep, dark, dubby vibes, perfect

Volume 24 Number 1

12 Once Upon A Night

Playing Enormo-Venues Worldwide, Ferry Corsten Shows Why Trance Still Connects with a Massive Audience

By Jim Tremayne

16 Greetings from Holland…

Amsterdam Dance Event Draws in the Dance Industry & Rocks Their World

By Jim Tremayne

18 Magic

America’s Got Talent Host, Magician & Ex-DJ Murray SawChuck Describes How to Make Your Empty Calendar Disappear

By Jeff Stiles

20 The Coffin Report

A Generation of DJs Reminisce & Lament the Demise of the Technics SL-1200 Turntable

By Jim Tremayne

DEPARTMENTS 7 Feedback

Turntable History from the Godfather of House, Frankie Knuckles

24 Making Tracks

New Products from Pioneer, iZotope & More

38 Grooves

Phat Tracks from Modeselektor, SuSu Bobien & More

Rodec/Sherman Restyler

26 Sounding Off

32 Gear

Turbosound’s M15 & American Audio’s VMS4

40 DJ Times Marketplace

Shop Here for All Your DJ-Related Supplies

28 Mobile Profile

DJ TIMES

JANUARY 2011

DJ Takes Stock in Niche Wedding Market

SAMPLINGS 30 Business Line

How Telling Lies Increases Business

8 Pretty Lights

A New Kind of Star

10 In the Studio With…

Mike E. Clark

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from the editor

editor-in-chief Jim Tremayne jtremayne@testa.com editor-at-large Brian O’Connor boconnor@testa.com

Winter Wonderland: Technics, Trance & Travel

While wrapping up our previous issue, we learned the news that Panasonic would discontinue its production of the iconic Technics SL-1200 turntable. Despite a short deadline, we managed to score a few quotes and run a quick item on our blog (djtimes.com/blog) and in our Feedback section. But for this issue, we wanted to reach out to longtime DJs for their reactions… and oh, did they come flooding in.

So, for Page 20’s “The Coffin Report,” we’d like to thank the DJs for their thoughtful (and quick) responses. This story obviously struck a nerve with a generation of spinners. We’d like to make special mention of Frankie Knuckles’ reaction. Not only was The Godfather of House so gracious to respond, but he also gave us his rich personal turntable history—complete with cameos from late industry legends Larry Levan and Richard Long. Unlike most of the jocks who told stories of lusting after and then buying an SL-1200, Frankie’s tale ended with his very first use of the unit. With space considerations and wanting to run Knuckles’ response in its entirety, we included it in this month’s Feedback section. Thanks, Frankie—you’re always the man.

Getting away from the Technics talk—all the way to Holland, in fact—we report from the Amsterdam Dance Event. The show, as always, presented some of the industry’s best networking opportunities and plenty of great evening events in one of Europe’s top destinations. While there, we also caught Ferry Corsten doing what he does best—rocking an enormous venue with his brand of uplifting trance. No matter anyone’s feelings about the genre, it was hard not to be impressed with the proceedings, so we figured it was again time to give trance its due. And thanks to Ferry Corsten for sharing his views on the genre and its devoted fanbase.

We also took a trip down to North Carolina for MoogFest. Held in the beautiful college town of Asheville this past October, MoogFest presented three full evenings of electronic music in a variety of unique venues. (Check back to Page 3 for our report.) Somebody in MoogWorld knew a thing or two about DJ Times, so they asked us if we wanted to present the festival’s lone late-night event.

Of course, we did. And “The Last Gasp” closing party at Stella Blue, featuring a bass-blasting lineup of dubstep acts, was a rich experience indeed. We look forward to next year’s event.

Recently, we also did a quick visit to Austin, Texas, for a stop on Robbie Rivera’s DJ Times-sponsored “Rock the Disco” tour. Playing at Republic, a venue that usually sees live music, Mr. Rivera dropped a slammin’ two-hour house set and, I must say, it was refreshing to see such enthusiasm for EDM in a town more accustomed to bands and traditional instruments. (We also recently completed a three-day visit to The Principality Monaco for the Monaco International Clubbing Show—expect a full report in next month’s issue.)

So… if this is Wednesday, it must be Chicago, right? With all the recent travel, it’s been hard to keep track, but somehow we’ve managed. So courtesy our friends at Denon, we write from the Windy City immediately after the launch party of the company’s latest product, the DN-MC6000 controller/mixer. With DJ Johnny “Juice” Rosado holding forth on the decks (and cutting it up with a hotshot band), the event was a pleasure, as we were able to mix with area jocks, other DJ-press outlets and Denon’s gracious staff.

So, we’re getting a review unit soon—right, guys?

DJ TIMES

JANUARY 2011

Cheers,

Jim Tremayne, Editor, DJ Times

chart coordinator Dan Miller dmiller@testa.com contributors Jody Amos Joe Bermudez Wesley Bryant-King Shawn Christopher Paul Dailey Justin Hampton Josh Harris Russ Harris Robert LaFrance Polly Lavin Michelle Loeb Lily Moayeri Phil Moffa Jonathan Novick Scott Rubin Jennifer Shapiro Nate Sherwood Jeff Stiles Emily Tan Phil Turnipseed Floor Vahn Curtis Zack Stacy Zemon President/Publisher Vincent P. Testa

For customer service and to order subscriptions, call 800-937-7678 visit our website www.djtimes.com

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DJ Times (ISSN 1045-9693) (USPS 0004-153) is published monthly for $19.40 (US), $39.99 (Canada), and $59.99 (all other countries), by DJ Publishing, Inc., 25 Willowdale Ave., Port Washington, NY 110503779. Periodicals postage paid with ride-along enclosure at Port Washington, NY, and additional mailing offices. POSTMASTER: Send address changes to DJ Times, PO BOX 1767, LOWELL MA 01853-1767 Design and contents are copyright © 2011 by DJ Publishing, Inc., and must not be reproduced in any manner except by permission of the publisher. Websites: www. djtimes.com and www.testa.com January 2011

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Curing the holiday-Party Blues

How Vlogs Can Change Your Business

This is Feedback, a monthly feature that fields questions from you, our readers, and funnels them out to in‑ dustry professionals. If you have any questions about DJing – marketing, mixing, equipment or insurance, any at all – drop us a letter at DJ Times, 25 Willowdale Ave, Port Washington, NY 11050, fax us at (516) 944‑8372 or e‑mail us at djtimes@testa.com. If we do use your question, you’ll receive a free DJ Times T‑shirt. And remember, the only dumb question is the question that is not asked.

Still overrun with thoughts regarding Panasonic’s discontinuation of the Tech‑ nics SL-1200, we decided to run the best response of all. This, a full-on turn‑ table history, comes courtesy of Frankie Knuckles, The Godfather of House.

DJ Times, I remember my first time playing on a Technics turntable. I believe it was one of (if not) the first 1500s back in 1976 at Continental Baths. I remember it being so big! For the five years I had played at “The Tubs,” we had Lenco turntables that had a sliding pitch lever on the side of the platter that went from 15 RPM to 78.

In 1974, the club allowed me and [the late DJ] Larry Levan to redesign the console in the DJ booth. Until that point, the turntables sat on the console, pick‑ ing up every vibration and bump you could imagination. What a nightmare it must’ve been for Joey Bonfiglio, the resident who passed the job onto Larry, to have to wrestle with all the feedback and rumble from the counter.

Larry and I, alongside [the late audio designer] Richard Long, began to cut away parts of the counter to suspend the turntables. Richard, in his infinite wisdom, had this brilliant idea for us to suspend the turntables inside the counter, helping to remove the rum‑ ble/feedback problems. It was genius!

But in the last year the club was open, when the system was being upgraded for the last time, the 1500s were part of the new installation. I wasn’t so much afraid of them as I was fasci‑

nated by them. They were so beautiful!

These big, silver, shiny machines were direct-driven. Unfortunately, they did not fit inside the slots we cut away for the Lencos. But, hurray! No more belts slipping off in the middle of a mix. Something strong and sturdy that could take a beating. All of a sudden playing records became more fun than work. The struggle to make mixes work became a little easier.

All the superstar DJs of the day dissed these turntables. If you were a “real

disco DJ,” you only played on the best, Thorens TD 125 MK2s.

After Continental closed and I moved to Chicago to open The Warehouse, Rich‑ ard Long came out to do the installation in 1977. In 1979, while on a service visit, Richard brought the new Technics 5200s, which mimicked the Thorens by placing the pitch control on a wheel at the base of the turntables. I mastered those turntables and played on them until I left The Warehouse in 1983, to open my own club, Powerplant 1015.

When I launched the Powerplant in the autumn of 1983, my turntable of choice was the Technics 1100.

I believe I can honestly say that I’ve played on every professional turntable Technics produced for club DJs and, by the time they produced the 1200, there was only one thing to say: Revo‑ lution Complete! The ultimate DJ tool had been revolutionized.

Thank you, Technics, for being a major part of my growing up in this business.

– Frankie Knuckles, Chicago

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samplings

Pretty A New Kind Lights: of Star

DJ TIMES

JANUARY 2011

Festival Fave: Smith has played America’s biggest gatherings.

Derek Vincent Smith has a knack for seizing opportunities. Rather than spurn P2P, he (alongside Girl Talk) pioneered a free distribution model for all his recorded Pretty Lights material. To date, he’s racked up 800,000 downloads on his website (prettylightsmusic.com) for his six LPs and EPs, and the attendant buzz has earned him major festival placements (Coachella, Bonnaroo and Outside Lands), plus warm-up gigs for Major Lazer. His midtempo, sample-studded marriages of hip hop, electro, funk, soul and drum-n-bass have engaged the mainfloor—think a Play-era Moby with post-WWII sound sources.

And he can release this music whenever he wants. In 2010, for example, he’s presented a trio of EPs, including his latest, “Glowing In the Darkest Night.” All of this, he feels, changes the entire relationship he has with his audience. “[Giving my music away] seemed to create a loyalty and a respect from my fans because they thought that I was doing something for them,” he theorizes. “So I [want my] music to push forward and to give my fans a continual, unmediated supply because I want to foster that personal relationship between them.”

In the now-rare moments when he has time to record, the Denver-based Smith alternates in his studio between live instruments, old-school outboard gear, an Ableton Live-centric virtual studio and vinyl samples. Ableton handles practically every facet of sequencing as well as EQing and compression duties, and Smith adds to that the Ohmboys tape echo plug-in as well as Predator and Alchemy as VST synths and iZotope Trash for his hard bass sounds. Smith also utilizes a monome, a sequencer which runs open-source software such as MLR. “[This] allows me to chop up samples together in ways that other applications don’t really lend themselves,” he says. “I often use the monome with MLR as sort of a starting point for songs, because it’s like a multitrack looping pedal with immediate chopping functionality. So, as soon as you loop something in, it’s already chopped up into all the pieces and you’re able to play it or trigger it.”

And Smith’s fetish for old-school recordings carries over into his use of reel-to-reel tape recorders and Farfisa, Wurlitzer and Rhodes 73 keyboards. It’s all building up to his next studio project, which he reports will be totally sample-free and entirely analog.

The live performances, augmented by live drummer Adam Deitch, continue to evolve. Ableton follows Pretty Lights out of the studio for gigs, and Smith hooks it up to an Akai MPD32, which controls samplers and effects racks. He also brings his Dave Smith Instruments Mopho synth on the road as well as a Novation Launchpad and a monome 128 with Molar for sequence controlling. He’ll communicate changes in the music to Deitch through the drummer’s headphones.

“My Ableton sessions for this record specifically were up to 40 to 50 tracks deep. So I’m obviously not going to run 40 to 50 tracks live,” Smith admits. “So I have each section of the song in multiple layers of the song all separated out so then I can control the arrangement and the layering of the tracks on the fly.”

– Justin Hampton

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Juggalo & Beyond: Clark has produced ICP, Twiztid & Kid Rock.

in the studio with…

DJ TIMES

JANUARY 2011

Mike E. Clark: Psychopathic Mixer

10

Say what you will about them, but the business of the Psychopathic Records family—home to Insane Clown Posse, Twiztid, Dark Lotus and many other fine representatives of the Juggalo hip-hop aesthetic—is never dull. And no one plays a larger role in constructing its sound than its longstanding in-house producer Mike E. Clark.

Since beginning his career in the late ’80s, he’s been affiliated at one point with almost every major hip-hop act to come out of Detroit, even logging in time with George Clinton and Kid Rock. In fact, he produced “All Summer Long,” the 2007 Lynyrd Skynyrd/Warren Zevon mash-up that became one of Kid Rock’s biggest hits. And like any good hiphop producer, he’s been seeding the streets with mixtapes, such as the recently released Psychopathic Murder Mix,Vol. 2, which features ICP alongside Three 6 Mafia, Boondox, and other Psychopathic faves.

Speaking from his Funhouse Recording Studio, Clark admits that his work for the label consumes him. “I have not been paying too much attention [to

new artists],” he says. “I just keep my head buried in the Funhouse Studio and keep banging out new music of my own. That’s all I really want to do.”

Like most producers, Clark has scaled back considerably. He’s been using Pro Tools since 1997 and has recently adopted Ableton Live for both his production and his DJ sets. He appreciates Ableton’s ability to read his old Akai sound library files, many of which are two decades old, as well as its programming and sequencing advantages. Pro Tools is used for recording and mixing, and he’s also adopted plenty of soft synths, mentioning SampleTank, BassMods, Amp Farm and Guitar Rig as a few examples.

He still uses outboard for final mixdowns, and recording will find him tooling with Shadow Hills pre-amps and Retro Instruments compressors, as well as API EQs and pre-amps for live instruments.

For compression, he uses the Distressor, and also Smack! within Pro Tools.

“On a rap vocal, I usually will set the release time to fast, and not too much attack,” he says of his

compression technique. “Then I work the input and threshold until I get the right sound. On a longer/ slower, more singing-type vocal, I will just slow the release time down on the compressor a bit and let it work the vocal.”

Clark also DJs out as well, augmenting Ableton Live with a Pioneer CDJ-1000 and Numark mixer for live cuts and effects, an Akai MPD controller and an M-Audio Evolution UC-33e for additional faders and controls. Fans of his mixtapes will find much to like in his sets, as they resemble live mixing sessions more than typical DJ sets.

“I mix 95-percent of my own beats and music,” he declares. “I like to take a cappellas and mix in additional production. If I can, I’ll use a multimedia video projector of videos I create and edit in the studio for lighting and effect. I like to set up in the crowd so I can vibe off the people and get hype. I just go nuts and what happens, happens.”

Spoken like a true Psychopath.

– Justin Hampton

Juggalo & Beyond: Clark has produced ICP, Twiztid & Kid Rock.

IN THE STUDIO WITH…

DJ TIMES

JANUARY 2011

MIKE E. CLARK: PSYCHOPATHIC MIXER

10

Say what you will about them, but the business of the Psychopathic Records family—home to Insane Clown Posse, Twiztid, Dark Lotus and many other fine representatives of the Juggalo hip-hop aesthetic—is never dull. And no one plays a larger role in constructing its sound than its longstanding in-house producer Mike E. Clark.

Since beginning his career in the late ’80s, he’s been affiliated at one point with almost every major hip-hop act to come out of Detroit, even logging in time with George Clinton and Kid Rock. In fact, he produced “All Summer Long,” the 2007 Lynyrd Skynyrd/Warren Zevon mash-up that became one of Kid Rock’s biggest hits. And like any good hiphop producer, he’s been seeding the streets with mixtapes, such as the recently released Psychopathic Murder Mix,Vol. 2, which features ICP alongside Three 6 Mafia, Boondox, and other Psychopathic faves.

Speaking from his Funhouse Recording Studio, Clark admits that his work for the label consumes him. “I have not been paying too much attention [to

new artists],” he says. “I just keep my head buried in the Funhouse Studio and keep banging out new music of my own. That’s all I really want to do.”

Like most producers, Clark has scaled back considerably. He’s been using Pro Tools since 1997 and has recently adopted Ableton Live for both his production and his DJ sets. He appreciates Ableton’s ability to read his old Akai sound library files, many of which are two decades old, as well as its programming and sequencing advantages. Pro Tools is used for recording and mixing, and he’s also adopted plenty of soft synths, mentioning SampleTank, BassMods, Amp Farm and Guitar Rig as a few examples.

He still uses outboard for final mixdowns, and recording will find him tooling with Shadow Hills pre-amps and Retro Instruments compressors, as well as API EQs and pre-amps for live instruments.

For compression, he uses the Distressor, and also Smack! within Pro Tools.

“On a rap vocal, I usually will set the release time to fast, and not too much attack,” he says of his

compression technique. “Then I work the input and threshold until I get the right sound. On a longer/ slower, more singing-type vocal, I will just slow the release time down on the compressor a bit and let it work the vocal.”

Clark also DJs out as well, augmenting Ableton Live with a Pioneer CDJ-1000 and Numark mixer for live cuts and effects, an Akai MPD controller and an M-Audio Evolution UC-33e for additional faders and controls. Fans of his mixtapes will find much to like in his sets, as they resemble live mixing sessions more than typical DJ sets.

“I mix 95-percent of my own beats and music,” he declares. “I like to take a cappellas and mix in additional production. If I can, I’ll use a multimedia video projector of videos I create and edit in the studio for lighting and effect. I like to set up in the crowd so I can vibe off the people and get hype. I just go nuts and what happens, happens.”

Spoken like a true Psychopath.

– Justin Hampton

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DJ TIMES

JANUARY 2011

Playing Enor

12

By Jim Tremayne

rmo-Venues worldwide ferry corsten shows why

trance

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DJ TIMES

IGHT...

NA

JANUARY 2011

Amsterdam, Holland—Call it inevitable. But four days into the Amsterdam Dance Event—with the evenings spent listening to house, techno and breaks DJs—we finally stuck our toes into the trance pool.

Of course, it only confirmed what we already knew: When it comes to trance, it’s not a pool—it’s an ocean. Better to just dive in, head-first.

So we did, at the massive “Synergy” party on ADE’s last big night. Held at the cavernous Passenger Terminal—a reallife, double-deck, cruise-ship terminal that accommodates over 200,000 passengers annually—the event drove home the reality that the trance genre is as big as ever. As soon as we walked into the wave-shaped, glass edifice, it was hard not to feel carried away by Cosmic Gate’s heady mixture of pretty chords and driving thump. The Dutch crowd—a very tall bunch indeed—were bounding with every peak and swaying with each crashing breakdown. By the time Dutch favorite Ferry Corsten hit the decks—his smiling mug visible to all on huge screens—the place was going mental.

Showcasing material from his double-CD mix, Once Upon A Night, Vol. 2 (Premier/Black Hole), Corsten leaned into a more song-oriented set that had the audience singing along, arms waving. He also dropped a flurry of his own buzzbomb productions (2006’s “Beautiful” and 2001’s “Out of the Blue”). By the time he slowed things down for a moment of Coldplay’s “Nobody Said It Was Easy,” he’d turned the Docklands venue into a big, sweaty, strobe-filled love fest.

Back on planet earth, we connected and re-connected with Corsten to find out his DJ secrets. Unsurprisingly, we found him rather grounded and perfectly willing to ponder the pleasures of trance and its startling level of fandom. Fellow trance titans Tiësto and Armin Van Buuren might draw more to the venues and festivals these days, but after experiencing “Synergy,” it’s hard to imagine anyone who embodies the global trance community more than Ferry Corsten.

DJ Times: What does Amsterdam Dance Event mean to the Dutch dance community and the DJs here?

Corsten: For this industry in this country, ADE is the three most important days of the year. Over here, you find the world basically in this one confined spot—DJs, artists, you name it, labels, internet websites, the media. Every-

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“Trance is all about

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thing’s here. Everybody’s here. Again, it works in Amsterdam because it’s all confined in this little space [Felix Meritis Centre and the Dylan Hotel] and it’s all about the business and networking and all that. Of course, you have the parties at night, but the main thing for this event is the business side of it.

DJ Times: Why are the Dutch so good at this business? Historically, that’s always seemed to be the case—in a lot of endeavors.

Corsten: It’s just a very straightforward approach. “You have what I want and this is what possibly you could be needing.” And that’s the way, I think, we look at dance music as well. It’s a product, but it’s also how you deliver the product. Also, for example, if you look at the level of production at the festivals, it can compete with any big rock or pop festival in the United States. I think we just like to deliver the best possible quality.

DJ Times: The Dutch scene has always been strong, not only with trance, but also with techno and house. Why is the scene and why is this culture so receptive to dance music?

Corsten: Well, I think it’s geographically where we are. We’re surrounded by some markets—Germany, England, Scandinavia—that all have their qualities. I guess we take all the influences. That’s how Holland has always been, historically, as well. We take influences from what happens around us, and that’s the case with the music as well. We take the best put it in one big pot and stir it up.

DJ Times: What went into your new mix compilation? How did you decide which tracks to use?

Corsten: It really starts with the concept. With Once Upon a Night…, you can look at it like it’s the same old thing, but it’s not. It’s like, you go to the same old club every weekend, but every night is different. It’s like music: Every style of music has been done before, in a way, but it’s always new again, especially with new artists.

So instead of going with the biggest hits of the moment, we decided to do the opposite, with unknown guys and new tracks that have never been released. We don’t just put them in there, but try to tell a real story and put that into a double-CD. DJ Times: Who are some of the new producers that you feel very strongly about?

Corsten: I noticed that when we were searching for this new music and these new guys, a lot of them were from Russia and Eastern Europe. I notice that, in Russia, there’s this new generation of producers—especially with trance—that they grew up with

happiness, whereas other genres bring a message of…‘you need to be cool’ and all that.”

this type sound from the Soviet days, I guess, and they translated that into their music today.

DJ Times: There’s that strong sense of melody.

Corsten: Absolutely. That’s really what I noticed with this one. One of the guys I like to mention is Yuri Kane from Russia, very talented. He’s a little bit more on the housey side, but definitely trancey with a lush and warm touch to it. There’s a guy from the L.A. area named Amurai, amazing stuff, very warm, very moving with real emotion to it.

DJ Times: What’s your studio approach to production? What’s your main platform?

Corsten: I work on a Mac and Cubase. I grew up with Cubase and I’ve always worked with it. I always start with a melody. I think a melody or a strong hook is the “face” of your track. Once I’ve found the kind of melody I was looking for, I work on the vocals, groove, and the rest of the track. Basically, once I have my hook, the track writes itself.

DJ Times: And your approach to remixing?

Corsten: With remixing, I always look for a strong element that was used in the original track. It doesn’t have to be the original hook. From there, I build my version around it.

I usually stay close to the original in the sense of recognition. I want people to instantly hear what song it is, but with a faster pace, bigger presence, fatter beats, etc. And I make sure the track gets the typical “Ferry Corsten Fix.” DJ Times: Do you work when you travel?

Corsten: My laptop has a virtual version of my studio back home, so I can synchronize my laptop with my Mac in the studio. So when I make something in my studio, I take the project folder of that track with me in my laptop. That folder contains all the elements of the track I’m working on.

So while I am travelling, I can either finish something I started back home or start something and then finish it in the studio when I get back.

DJ Times: Tell me about your SiriusXM radio show, “Corsten’s Countdown.” You’re picking 10 new tracks a week. Not always so easy, right?

Corsten: It is difficult because it’s a one-hour show. I try to pick the best of the litter of what I received that week in promo material, which is tough. I get so much music and to always find the best quality each week can be very hard.

DJ Times: But it also forces you to listen very hard.

Corsten: Yes, definitely. So we do 10 tracks from the housier side of things all the way to the more

looking for that myself. It’ll be, I want to say, a bit along the lines of the Once Upon a Night… sound—very warm, lush, but groovy here and there, vocals here and there.

DJ Times: What advice would you have for a DJ just getting started today? Or there some do’s and don’ts?

Corsten: Do’s are being original and to keep on trying until you have that specific sound or melody. Don’ts would be: don’t copy from others and don’t use the same presets like everybody else does. I can hear when a new preset has hit the market. A lot of demos come in with the same

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Corsten: I don’t think trance has that. It’s a very open genre where you feel comfortable instantly. I think that it attracts a lot of different kinds of people and the people that it does attract have an open mind as well.

They’re very receptive. They’re proud to be part of that sort of community and they welcome people who are like that.

DJ Times: How do you see that attitude manifested?

Corsten: On the forums, when I come to New York, for example, on the night of my show, I’ll see on the forums people saying, “Hey, let’s meet up and go out to dinner, and go out.”

It’s a real community.

DJ Times: It’s the dedication that strikes me, more than the other segments of dance music. Trance fans just love their DJs and they seem to support them every time they come to town. I think that’s very different from the other forms of EDM fandom.

Corsten: I noticed a lot on Facebook, for example, people will say, “Oh, this and this track, it changed my life, literally.” Or you’ll see, “I had a really hard time in life and that track in particular kept me going.” It’s stuff like that’s amazing to hear. Some guy will say, “I used to be a complete drughead before and my life was one big mess, then I discovered your music and what I was looking for in life was in your music.” To hear things like that is just great.

DJ Times: You’re also working on an artist album, I hear. What should we expect?

Corsten: It’s definitely going to be a melodic album—that’s for sure.

Whether it’s going to be total trance or trance/house-infused, I’m still

sound.

DJ Times: Obviously, a lot of young jocks aspire to travel the world and play everywhere like you do.

Corsten: Being a global DJ is great because you meet a lot of interesting people, eat in fancy restaurants and are always at the best parties.

The thing, however, that most people don’t see is that the DJing itself is not the hard part of it all.

DJ Times: OK, so what’s the most overrated thing about becoming a global DJ? Corsten: What makes it a tough job, in the end, is that the glory times only last for a couple of hours. As soon as you get back to the hotel, it’s back to hard work—usually a very few hours sleep, going to the airport for your next plane somewhere, which probably will be delayed and therefore I’d miss my connection somewhere, etc. Then you arrive at your next destination, sound check, sort out new music, catch up on a bit more sleep, and off to the next show.

DJ Times: A lot of DJs wouldn’t mind that life, y’know…

Corsten: I’m definitely not complaining, because I know what a privileged position I’m in, but there’s a whole lot more to it than people know.

DJ Times: Finally, what keeps you DJing?

Corsten: It’s the kick. It’s the passion. It started as a passion when I was a boy, about 10-, 11-years old.

And that’s still what it is. I’m still that boy of 10-, 11-years old. n

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uptempo stuff. I also give the listeners the opportunity to vote for their favorite track from each episode on ferrycorsten.com or facebook.com/ ferrycorsten. Then for the last show of the month, I will show the Top 10 most-voted tracks of that month. It’s a real interactive show, in that sense, because the listeners can vote and say, “I like this track enough for it to be played again.”

DJ Times: And you have to listen to the fans, right?

Corsten: Yes, it is what it is. It’s easy for me to present tracks from myself or my label and say, “Oh, yeah, I’ll put myself at No. 1,” but that doesn’t always happen that way.

DJ Times: OK, time for the gear questions. Obviously, you started with vinyl back in the day. What are you playing now?

Corsten: I’m still a CDJ guy. I’ll probably make my switch to the Pioneer CDJ-2000 soon, with the USB stick. But, staring at a screen [with a DVS] is not for me. It’s something that the crowd sees, and I like to be more interactive with the crowd.

I want them to see that I’m doing something, working, participating.

DJ Times: Your mixer?

Corsten: Pioneer’s DJM-800 has everything I need. For DJs, it’s a very comfortable mixer. I mix inside my headphones and the pre-fade listening is good for that. It works the way I like it—perfect mixer for me.

DJ Times: The Technics SL-1200 finally went out of production recently. I know you’ve been a CDJ guy for awhile now, but any fond memories of your days on the 1200s?

Corsten: Like so many other guys of my generation, I literally grew up with those things. I still have my pair back in the office with a thick layer of dust on them, but after hearing this I’ll polish them up again and cherish them even more. This is definitely the end of an era in the club scene.

DJ Times: Let’s talk about your fans and the global trance community.

Why are they so dedicated to you, to Armin, to all the others DJ/producers from that world? Why do you think that fanbase remains so strong?

Corsten: I really don’t know, compared to, say, a house crowd…

DJ Times: Well, yeah, the house crowd seems to be different. House crowds can change their minds. They might not like you next year.

Corsten: Yeah, sure. I feel that the message in trance is one that’s very strong. It’s all about happiness and happy days, basically, whereas other genres of music can bring a message of… “you need to be cool” and all that.

DJ Times: So what’s different about trance?

Ferry’s Faves: Playing Club World The Guvernment, Toronto. An amazing club with its layout and the DJ booth that can go up and down.

It’s a reasonable-sized club to play, quite a large crowd.

AgeHa, Tokyo. It’s a club, but it might as well be a concert venue.

It has this big stage. The Japanese are always very keen on putting on a big production around it. Good sound, so I love playing there.

Amnesia, Ibiza. It’s my home in the summer. With the layout, the fans, and the vibe, it’s hard to beat all that.

15

Amsterdam, Holland—Drawing its limit of 2,500 attendees, the 15th annual Amsterdam Dance Event—held this past Oct. 20-23 at the historic Felix Meritis Centre and the nearby Dylan Hotel—loaded its venues with delegates and left the streets along Keizersgracht teeming with activity.

The show, which draws the movers and shakers of the DJ/dance-music industry, has an amazing capability to put people together. Turn to your left, there’s Roger Sanchez; turn to your right, it’s Ferry Corsten; sit down to dinner and at the next table, it’s Lorrie Boula, Z-Trip’s manager. Everyone’s just there.

Some conference highlights: The unveiling of Burn-Studios.com with the always tech-savvy Richie Hawtin front and center. Along with developer Andre Michelle, Hawtin explained how this “cloud technology” would be a “universal enabler” for EDM producers worldwide. Open to the public in early 2011, Burn-Studios.com is a free online studio that gives anyone with internet access the tools to create music with a host of drums, synths and FX. Ultimately, it expects to become a full-on community of musical collaborators and it will host mentoring sessions from Hawtin himself.

On a keynote with Tom Tom Club’s Chris Frantz and Tina Weymouth, the ex-Talking Heads described how touring America’s vast expanses in a van informed David Byrne’s existential lyrics to “Once in a Lifetime,” the Heads’ most enduring tune. “Once you get away from the coasts, the radio is all filled with religious stations and you’d hear preachers say Roger Sanchez gets grooving at Escape things that just didn’t always make sense. You’d during the Stealth party. think: ‘Where am I?’ Of course, David would be Photo: Roy Laros/Guido van de Zanden in the backseat taking notes.”

So how, then, did the Talking Heads, make their transition into more rhythm-based music, which came with tunes like “Once in a Lifetime,” “I Zimbra” and the entire Remain In Light album?

“For ‘I Zimbra’ from Fear of Music,” says Frantz, “it was influenced by playing Afrobeat records in our loft in Long Island City. At that time, we were listening to the New York DJs at Mudd Club, Danceteria and later Paradise Garage. When we’d get off those Talking Heads tours and return to New York, we’d be ready to parrrrty!”

Party? Um, yes. Plenty of that in Amsterdam.

Evening Highlights: The Ovum Party at Air, a new Rembrandtplein nightclub that doesn’t accept money, only special, re-fillable Air credit cards. Want a Heineken?

Hand over the card. And if you’re out of credits, the tap won’t even open. No “shrinkage” in this joint.

For the Ovum party, Shlomi Aber, Josh Wink and Adam Beyer pushed the limits of the stadium-style room—booming bass, tickling techno, deep grooves, ultimate happiness. The next night at Air, Dubfire teamed up with Carl Craig for a double-dose of hip-shaking pleasures.

At Studio 80 for Wednesday night’s BPitch Control party, Sascha Funke and Ellen Allien turned out the tight, little room with thick grooves and old-school nuggets.

Best moment: Seeing sweaty, pie-eyed German gals mouthing the words to Johnny Dangerous’ “Beat That Bitch with a Bat.” Final call, all y’all.

Friday night at Melkweg for “Dave Clarke Presents…” saw an evening of proper techno with an audience brimming with proper enthusiasm. As usual, Clarke delivered a blistering big-room set. In the smaller room, Robert Hood dropped a set of minimal groovers that had the room swaying and spilling more than a pint or two.

Truly inspiring. Back in the big room for Green Velvet? Five words—“cameras ready, prepare to flash.” Whew.

At the “Synergy” party, held at the massive Passenger Terminal—generally used for cruise ships easing into Amsterdam’s Docklands—Germany’s Cosmic Gate and Holland’s Ferry Corsten deftly mixed buzzbombs with celestial melodies, making the vast dancefloor raise arms in unison—over and over.

—Jim Tremayne

D25 Panel: Detroit’s EDM all-stars revisit their gloried past & immediate futur Photo: Aico Lind

Demos Beware: Dave Clarke helms the annual “Demolition” musicevaluation shoot-out.

Photo: Aico Lind

Kremlin Techlabs demo gear during an ADE Next session.

Photo: Aico Lind

Holl

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Greetings from

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ADE Nights: More Highlights 1) Jeff Mills at Dekamental: Mesmerizing set on four decks and a 909.

Teased everyone for two hours then unleashed hell in the last one!

2) Hercules & Love Affair at Trouw: A great funky set of remixes of their own stuff. The place was packed out and went down a storm. The Resident Advisor night was great after as well, Steve Bug being the highlight as Tensnake was ill and cancelled.

3) New Zealand Shapeshifter at Melkweg: Stumbled in on the Saturday and was treated to some very well-performed, truly live drum-n-bass. Will keep my eye out for them in the future.

– Neil Bowman

Amsterdam dance event

re.

Networking Opps:ADE delegates gather inside the Felix Meritis Centre.

Photo: Mike Breeuwer

A view of the Felix Meritis Centre from across Keizersgracht.

Photo: Mike Breeuwer

ADE participants get friendly during the Networking Bash.

Photo: Aico Lind

Hands Up: Armin Van Buuren bangs the Armada Party at Escape.

Photo: Roy Laros/Guido van de Zanden

Swedish DJ Stonebridge makes a point during the “Co-Writers” seminar.

Photo: Mike Breeuwer

l and

Madhouse: Sunnery James and Ryan Marciano pump up the jam at Air. Photo: Tony Perez

ADE participants fill up the Keizersgracht outside the Felix.

Photo: Aico Lind

draws in

Germany’s Sascha Funke drops a beat during a Bpitch Control event.

Photo: Danny Schmidt

Gear Galore: The Interface presentation during Saturday’s ADE Next session.

Photo: Aico Lind

Keynoter: Rising Dutch DJ Chuckie delivers the goods.

Photo: Aico Lind

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& rocks their world

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the dance industry

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JANUARY 2011

By Jeff Stiles

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Murray SawChuck describes himself as the Dennis the Menace of magic. An America’s Got Talent contestant, the magician says he loves watching audiences go from curiosity to amazement.

“I’m the type of guy that, when I go on stage, I have a plan and the audience believes that I have a plan, and then it goes awry—completely wrong—and then, at the very end, it’s proven that I really did have a plan and the effect actually worked,” Murray told us after hosting a recent Midwest-based episode of Pawn Stars. “Seriously, it’s usually a big circle or something that looks like a good set-up and then it looks like a complete disaster and then at the end it actually works out.”

Murray says he first began experimenting with magic when he was five-years old, after his parents gave him a magic kit. The talented youngster had already been playing numerous musical instruments—from the saxophone to the keyboard to the accordion (the latter of which he says he quit playing when he wanted a girlfriend). But soon he wanted to entertain crowds even more.

Some of Murray’s all-time favorite entertainers include big names, unique personalities with unique shows. “David Copperfield was a favorite during my early years because he was in the forefront of the industry,” he says, “but the stars I really admired growing up included Dean Martin, Lucille Ball, Fred Astaire and Phyllis Diller. All those were legends because they had a look, they had a great program they were selling and they had a great show.

“When I was recently on America’s Got Talent, we didn’t have a lot of time to show our personalities, so I just did big tricks. I vanished a girl in a box, switching her into nothing, and then I produced a Ferrari and turned a girl into a tiger. And then I finally vanished a 1918 steam train.”

Surprisingly, the 21 jobs this world-famous magician has held over his three decades include everything from telemarketing to delivering newspapers to, yes—mobile DJing.

“I had these two Tupperware containers full of amps and CDs—and actually cassette tapes during the transition to CDs,” he recalls. “I’d go do the weddings and the bar mitzvahs and all that stuff, and once again everything is done from a production point of view. It’s lighting. It’s music. It’s everything.”

Asked about the trend in the mobile DJ business from being simply a jukebox to developing into a full professional entertainer who entertains crowds, Murray said he can surely identify.

“It’s the same with myself and magic,” he says. “I’ve never been one to just be a magician—I’ve always wanted to be a personality, and I think that’s exactly what DJs today have to consider. They have to go, ‘If I really want to go and make a name for myself I have to be a personality. I can’t just be good at spinning songs. I’ve got to really come out and own that theater or that dancefloor for the night.’”

Murray says the trick to becoming a true entertainer more than simply a person standing behind a console is to approach each gig with a positive outlook and a feeling that we actually “own” the room.

“I think it goes this way for any business, but especially with DJs, is when you walk into a room you have to really look at yourself as a personality,” he says. “You may not be a singer and you may not be a magician performing with your hands, but indirectly you really are using your hands because you’re using your skill mixing music.

“I mean, if you look at stars, everyone’s branding themselves. Even the ones you don’t think branded themselves, they did. You look at Howard Stern on the radio with the dark thick glasses and the long curly hair.You can even look at Garth Brooks—half his shirt was red and half was black, plus a hat.

“I think it’s important that when you come into a venue, even though your skill level may not be the best in the world, at least come in with a package that helps people remember you. If they can’t remember your name, come in with something they can identify you with. And also come up with a cool name that people can either make fun of or it’s easy to remember.”

Murray suggested for DJ Times readers a handful of out-of-the-box ideas we could use to make events more memorable, raise our profiles in our communities and even earn more money: Magic Dove Pan: “Go to your local magic store in town and buy a magic prop called a Dove Pan. It’s a very simple prop to use, yet the effect on an audience can be incredible. The point is to show an empty silver pan. You light a match and fire burns; you cover the pan and can produce anything—a birthday cake for the birthday girl, or thousands of pieces of confetti you throw in the

air to start the party, or even a pan full of CDs.” Surprise Cake: “This can increase your fee and make something special for your events. Have a wooden tiered cake made that a pretty girl can jump out of.

It doesn’t cost much and it’s an add-on to earn more money. It’s a huge cake that can fit a person and it’s great for surprise birthday parties to have someone jump out of it. It could be the boss or CEO jumping out at a Christmas or holiday party, and then on the bottom of the cake it can say the name of your DJ service so it advertises your company. That way when everyone takes a picture of whoever is jumping out of the cake, the name of your company is on every picture.”

Photo Board: “Get a cool cut-out of a mascot—it could be a koala bear, an elephant, a buff guy or a hot girl—but leave the face cut out for all the guests and dancers to put their head through. Then, on the board somewhere, put the name of your company incorporated into the flat board, maybe on a necklace or name badge painted on the cut-out. Your mascot could even be your ‘sidekick’ DJ Fuzzy The Koala Bear. Everyone gets a photo taken with their camera phones or digital camera, and then everyone twitters them and Facebooks them, which means more promotion for you and more money for your business. People love doing these fun things at events.”

Photo Booth: “When everyone is having a good time with new friends or guys with new girls—or even girls with girls—for some reason people love to get in a Photo Booth for funny photos, so people put a $20 bill in and get four pictures. Each photo will have the wedding party’s name or business name on the photos so it makes the DJ money and advertises the event for the buyer.

It’s a great money maker and a great way to promote your business.”

Balloon Game: “Once you’ve established that you’re an amazing DJ for your event and the crowd has loosened up a bit, play a balloon game. There are a few ways to play this, but it’s basically a game of blowing up three balloons and sitting on them to pop them. This is great because it’s funny and loud and exciting, and everyone always has a good laugh. You can have four guys sit on four chairs, and then four girls have three balloons in their hands. They run down to the chairs the guys are sitting on and blow up a balloon, put it under their bum, and then sit down on top of the guys’ laps. It’s funny and the guys get a lot of attention from this and everyone gets a great laugh.”

Card Dance: “Have everyone move away from the dancefloor or make a circle so the dancefloor is clear. Walk to the center with a deck of cards and throw them in the air so they go everywhere all over the floor. Step back and tell people that when the music starts everyone should grab just one card.

Then have another deck and pull out one card, and the one person with the matching card at the end of the dance gets a prize.

But remember to tie your business cards or something to the prize so you can use it as marketing tool and get your name out there to that lucky winner.”

The most important thing, according to Murray, is to add variety to any performance to make your event more memorable for the guests.

“They are hiring you but you are more than just a DJ—you are an event,” he says. “Offer to bring in a spray tattoo artist with the tattoos that disappear after two days, or a guy who makes balloon animals, or a face-painter for young audience members or for a wedding with little kids that need some excitement or interest.

“Don’t just walk in and appear to be simply a person who plays music and that’s it. Look outside the box, and by doing this you’ll be much more entertaining, more marketable and earn more money. Remember, the more creative you are the more memorable you are and the more bookings and money you’ll get.” n

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America’s

MAGIC

s Got Talent contestant, Magician & Ex-DJ Murray SawChuck

Disappear

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How to Make Your Empty Calendar

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Describes

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COFFIN

THE

By Jim Tremayne

a GENERATION OF DJS

REMINISCE & LAMENT

THE DEMISE

This past October, The Tokyo Reporter broke the story that Panasonic would be halting production on the Technics SL-1200 turntable, along with an analog mixer and a pair of headphone models. After 35 years of production and 3.5 million units sold, the iconic turntable that fueled a nascent DJ industry and ultimately defined a musical culture would no longer be manufactured.

“Panasonic decided to end production,” the company said in a statement to the publication, “mainly due to a decline in demand for these analog products and also the growing difficulty of procuring key analog components necessary to sustain production.”

Of course, looking at the Panasonic website, which offered confusing information about the status of the SL1200, DJ Times had to attempt to get its own confirmation Stateside, if possible. In doing so, we were reminded that a reporter trying to get information from Panasonic might have better luck getting on-the-record waterboarding confessions from the CIA. It’s pretty corporate over there in Secaucus.

But, after being passed around the company for the better part of an afternoon, we did get a confirmation, of sorts. According to Nicole Russell from the Panasonic Direct Sales Department, “We are no longer selling or producing any versions of the Technics SL-1200 turntable.” That about covers it, right?

So… with that bit of info, we asked a variety of DJs for their quick thoughts and fond memories about the late, great Technics SL-1200 turntable:

“I don’t think there’s a DJ on this planet that doesn’t remember getting their first set of 1200s. And shame on you if you don’t.”

– DJ OBaH, Dubspot, NYC

OF THE TECHNICS SL-1200

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TURNTABLE

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REPORT

“I miss the warm analog sound! I miss the tactile experience. I miss seeing the grooves and knowing where a breakdown was with one glance.”

– Jeannie Hopper, Liquid Sound Lounge, NYC “It’s like a death. I remember seeing Cash Money playing in Paris in 1986 when he was the DMC champion. He had the small Gemini mixer and he was doing tricks with his hands on the turntables that made me say, ‘That’s going to be my job for life—I want to be a DJ!’” – Bob Sinclar, Yellow Productions, Paris “I remember my first turntable. That’s right—turntable, singular. I bought it from Turntablelab.com, got the homie price, set it up and was proud of myself. Then my roommate, a DJ with more experience, showed how to set it up properly—flipping weights, twisting the stylus—all for better use. Then I put on my first record—my dad’s Salsoul Orchestra vinyl.”

– Herbert Holler, The Freedom Party, NYC “Nothing will ever compare to the feeling of rubbing a record sleeve against your knee until the plastic burned away—slipping out a new slab of vinyl and slapping it down on a shiny Technics 1200 platter. Long live the wheels of steel.”

– Paul Dailey, DJ Times, Boston

“In the 1980s, I could only dream of owning Technics!

Not many people had them back then, and most people used cheap Garrard or Citronic decks that had a crude pitch control. I bought my 1200s one at a time, from a cheap home hi-fi store in the U.K. called Richer Sounds in 1991-’92. They cost me £250 each. When I got the first deck home, it took a while to get used to it, as I was so accustomed to working with very delicate belt-drive turntables.”

– Mr. Scruff, Manchester, UK “One of the first DJs I can remember in a club here in D.C. was Sam ‘The Man’ Burns, who let me watch him play every Sunday at the biggest club nights in the city. By watching and practicing, you could learn to control the beast [the torque] with your finger on the platter and the pitch control.”

– Randy White, Washington Music, Wheaton, Md. “My best memory was at a late-’90s rave in Asbury Park, N.J. with a since-forgotten drum-n-bass DJ just killing the side room on a pair of 12s. He was mixing fast, doing lots of cutting with the up and down faders, never using the crossfader. Then, during his set, the sun came out and only then did we realize we were on the beach.”

– Michael Vincent Patrick, Designer Drugs, NYC “We bought two for our first studio, which eventually became ‘The Bomb Shelter.’ We always used 1200s early on as a key piece of our studio. We had them feeding through to our main board, so we could listen to different records, see how certain things sounded, or refer to things easily.

There was a warm, round, heavy bottom end.”

– Ken Jordan, The Crystal Method, L.A. “The first time I remember being impressed by another DJ on some 1200s was DJ Qbert in his DIY home video series. His hand control and skills were beyond anything I could fathom.”

– DJ Raichous, Crate Bandits, L.A. “The 1200 is the most perfect electronic device ever in the history of mankind. My brother saw my passion for DJing, and he bought me my first pair of 1200s as a gift.

From that moment, I knew DJing was what I wanted to do and big goals were what I wanted to accomplish.”

– Etronik, 2010 DMC U.S. Champ, Pico Rivera, Calif.

“I was at a Zulu Nation party in The Bronx, and the DJ had a brand-new, shiny pair of 1200s—it was love at first sight. He was scratching and mixing and they looked amazing. So, at 16, I bought my first pair secondhand for $300 each. Later, I bought a brand-new pair on Canal Street—$465 each. I felt like Superman that day!”

– Roger Sanchez, Stealth Records, NYC

“I remember the smell of them when I broke the packaging and the soft clunk of the magnet hitting home on the platter. I still have them, as they mean a lot to me.”

– Dave Clarke, The Baron of Techno, Amsterdam “The first time I heard scratching it was off a mixtape that was playing in a record store. It was the craziest thing I’d ever heard.

I didn’t know what equipment they were using, but I could tell by the sound and feel of the playing that a human had practiced to be able to do that. I found out from the clerk that it was done using a mixer and a couple of record players.

That was it. I still use 1200s all the time.”

– Kid Koala, Ninja Tune, Montreal

“I remember seeing them in action with Jam Master Jay, and it was all about how sleek and sexy those things looked.”

– DJ Platurn, Oakland Faders, Oakland, Calif.

“The feel of a real Technics 1200 will never truly be replicated. RIP Technics 12s—thanks for the inspiration.”

– Roonie G, Roonie Tunes, Columbus, Ga.

“The Technics 1200 is an instrument, not just a plain turntable. [Buying my first 1200] was like bringing home a newborn baby—I might have shed a tear or two.”

– Sam Smite, Turntablist, Huntsville, Ala.

“The store clerk showed me [a pair of ‘used’ black 1200s] and they were in absolute mint condition. I remember getting chills knowing they would be mine.”

– Annalyze, Turntablist, Toronto

JANUARY 2011

“Back in the late ’80s—the UK’s acid/rave era—Carl Cox was known as the triple-deck wizard. He’d constantly work those three decks, sweating his ass off, while rocking the crowd in the early hours of the morning. I’ll never forget those days.”

– Andy Ward, Soul Heaven, Spain

“As first purchaser of the economical Technics turntable, the Belt Driven SL-20, which was a groundbreaking experience that helped me to create the ‘DJ tequnique’ [sic] that every DJ uses, I must say to discontinue the Warrior Table—the 1200—is a tragedy to me. Here’s my analogy: There are turntables that are like a hot new chick—she looks good, she feels good, and then there’s the 1200, which is like your wife, your girl, your everything. She’s also hot, but you know her, you trust her, she’s reliable, hardly ever let’s you down. So, to me, they will be missed.”

– Grandmaster Flash, Long Island, N.Y.

“It’s an icon that represents dreams realized, d re a m s s h a t t e re d a n d dreams that never made it out of someone’s bedroom. I don’t believe the dance culture would’ve been the same without its creation.”

– Dennis Ferrer, DJ/ Producer, Union City, N.J.

DJ TIMES

“I first remember seeing the 1200 showcased on the self-titled UTFO album cover with Mixmaster Ice displaying them as his weapons of choice in Anvil travel cases.

They looked so majestic and sleek. I looked at that album cover for years, dreaming of the day I’d get a pair. It took four years, but I got ’em.”

– Albert Lineses III, UFC DJ, Phoenix

“Nothing will ever replace the art of DJing with the Technics SL-1200s. Being a DJ of 35 years makes me honored and grateful to have lived through the era of spinning with turntables.

There was something to be said about touching that platter and feeling the record spin.”

– David Morales, Def Mix, NYC

21

“My first memory of the Technics was seeing battle DJs such as DJ Aladdin, DJ Rectangle and all The World Famous Beat Junkies Crew. It was like watching your favorite NASCAR driver drive your favorite car.”

– DJ Reflex, Power 106, L.A. “I remember seeing DJ Jazzy Lamel doing the stutter cut with [Run-DMC’s 12-inch] ‘Jam Master Jay.’ I just had to jump on the bandwagon. It was like a unicorn to me when I was that young.”

– DJ Slyce, 1997 & 2008 DMC US Champ, Teaneck, N.J.

“Turntables are instruments in the right hands and they are the foundations of the club scene, but honestly, I prefer CD and laptop these days.”

– Darude, Helsinki Music Company, Turku, Finland

“I don’t miss 1200s or the stress of traveling with records, but when I first used them in 1985, I was in DJ heaven. I donated my first set for a Dance4Life auction, but I still have three left over.”

– D.O.N.S., Kingdom Kome Cuts, Hamburg, Germany

“I was amazed watching someone beatmatch on the 1200s for the first time. I tried this with my parents’ turntables and then quickly broke them.”

– Morgan Page, Nettwerk Records, L.A.

“It will be hard to imagine a world without the venerable SL-1200. They are such an integral part of becoming a DJ. Familiarity with the 1200s was pretty much a requirement of any real DJ.” – DJ Johnny Juice, SLAMjamz, Long Island, N.Y. “I went to a guy named DJ Phil’s house and he let me get down on the 1200s, and it made sense to me. From that point, I knew I had to have them. I got one at Lentine’s Music in Cleveland after working at Wendy’s and saving all summer.

I didn’t get a second one for two years, but when I did, I became absolutely obsessed and possessed.”

– DJ Swamp, 1996 DMC US Champ, L.A. “In 1985 and I took a job at Carvel to save up for my first pair of 1200s. About three months later with $500 in my pocket, I took the 6 train from The Bronx to 14th St. Audio in Manhattan to purchase my decks. Believe it or not, I was able to get two cartridges, too. I remember being nervous riding the train back to The Bronx—I didn’t want to get robbed! I didn’t leave the house that weekend. It was practice, practice, practice.”

– Hector Romero, Def Mix, NYC “I was 16 and I sold my BMX bike and had to save lunch money to buy just one. My parents helped me out with the other one. I think I bought it at the Exodus DJ shop. After using belt-drive decks, you can’t imagine how excited I was for my first pair.”

– DJ Rhettmatic, The Beat Junkies, L.A. “I will always have fond memories of the sturdy, perfect tool on which I played a zillion hours. But technology doesn’t romanticize the past.”

– Larry Tee, DJs Are Not Rock Stars, NYC “It’s marvelous that something that wasn’t designed for DJing could be so fluent to mix with—I will never sell them.”

– Oliver Lang, Dojo Music, Ibiza

“I’m sad to see them discontinued, as I have a lot of nostalgic love for them. But times change, technology moves on and, if I could swap now for 10 years ago, I wouldn’t. Times changed for the better.”

– Gareth Emery, Garuda Music, Manchester, UK

“I bought my first set in 1986 and I still own a pair of the gold-plated limited editions. I miss the smell of vinyl and the feeling of playing it, but I’m not missing the heavy record bags.”

– Timo Maas, Rockets & Ponies, Germany

DJ TIMES

JANUARY 2011

“I bought my first SL-1210 for $385 in 1993. I saved my 8th-grade lunch money for an entire school year—that was a lotta $1 bills!”

– Ron Valdez aka kidragon, Table Manners, San Diego

22

“I worked the whole summer of 1995 at a bakery/coffee shop to save money to buy my first 1200. When I finally opened that box, I swear it felt like I was opening a case with a million dollars. I was in awe.”

– DJ Geometrix, Trooperz Crew, Washington, D.C. “In 1987, I bought a pair—through a friend at an English army base where there was no tax—for 1,800 DM, a huge amount back then. But I was proud and happy to have my dream turntables. They’re still in my basement.”

– DJ Bossi, Cosmic Gate, Duesseldorf, Germany

“First time I saw the 1200 was at a 6 th grade dance. It was the same turntable on the back of Malcolm McLaren’s ‘D’ya Like Scratchin’?’ album cover—so sturdy and industrial. In 1984, I bought a pair and, 26 years later, I still have them. They’ve been all over the world with Ozomatli, Jurassic5 and DJ Shadow.”

– Cut Chemist, Ozomatli/Jurassic5, L.A.

“My original pair from 1991 was stolen, but I got a new pair in 1994. I still use them to control Serato.”

– DJ 2nd Nature, DJ/VJ, Atlanta

“My first experience with 1200s was at warehouse raves in California in the ’90s. Before I even owned decks, I bought records. I’d bring them home, smell the vinyl, look at them and fantasize about being able to mix them.

It wasn’t until ’03 that I bought my own 1200s.”

– Wolfgang Gartner, Kindergarten, Austin, Texas

“We still use turntables in our shows, so we’re unaffected by the discontinuation. They’re still in demand, so they won’t be disappearing from all the clubs any time soon. We still love using the 1200s.”

– Faust & Shortee, Urban Assault, L.A.

“I played on some 1210s a few months back for the first time in years—and it felt great! It was partly nostalgia, but I just felt more into it. The physical connection and the smell of vinyl just add to the feeling that it’s more genuine than mixing CDs. Laptops shouldn’t even be allowed in the same room as the Technics 1200, just as DJs who can’t mix on turntables shouldn’t be called DJs.” – John Graham (aka Quivver), Boz Boz Music, L.A.

making tracks Studio…hardware…software…

Rodec/sherman Restyler: Freaky Filter

By Phil Moffa

DJ TIMES

JANUARY 2011

Restyler: A collaboration perfect for live and studio apps.

24

The Belgians make a mean beer and, apparently, they know about analog audio as well.

Rodec and Sherman, two Belgian companies that both make great gear, have teamed up to create the Restyler. This unit ($599 list) is a versatile stereo filter that will find a home in many DJ booths, as well as in the studio. Rodec has made some serious pro mixers in the past few years, while

Sherman filled studio racks with its famed Filterbank, the most featurepacked, sound destroying (in a good way) analog filter on the planet. Let’s see if the offspring of this collaboration meets our high expectations.

At first glance, you will notice that the wedge-shaped unit is unique in design. The 9- by-6-inch front panel is covered in knobs and faders that clearly have performance in mind.

There’s a lot more to this filter than the familiar cutoff and resonance controls found on other filter units. Upon powering up, I was treated to quite a show of blue, green, and orange lights that will certainly inspire “What’sthat-guy-using-in-the-booth?” types of questions from trainspotters.

The power supply is pretty unique, so if you lose it, chances are you will not have a replacement lying around. However, the power cord is 10-feet long and the wall wart supply is in the middle of the cord, so plugging it in at gigs shouldn’t be a problem.

Stereo input begins with a choice of XLR, balanced or unbalanced ¼-inch, or RCA jacks, making connectivity to any system possible. Input Level is the first knob in the signal path with a corresponding Overdrive LED that lights up red when distortion kicks in. This ranges from soft and warm to completely trashed audio. For those of you familiar with the Sherman Filterbank, the Restyler is not as dirty on the input stage until the Input Level is really cranked.

To the right of this is the Make-up Gain control indicator, which is the end of the signal path with an LED that lights up when you hit 0dB. A Dry/Wet knob allows for blending of filtered and unfiltered signal. The filter is engaged by a three-position tumbler switch reminiscent of the Pioneer EFX units with on, off, and momentarily on positions.

The real hands-on experience occurs across the bottom of the panel with two large knobs that are surrounded in blue and green lights, and three vertical faders that determine what type of filter is being used. The Master Frequency knob, usually called the cutoff, ranges from 15Hz – 39kHz, so you need to be careful or you can seriously blow some speakers. The three faders are labeled Lowpass, Bandpass, and Highpass. In conjunction with their own slope buttons, many different configurations of filter can be created. I have to admit that the manual was necessary to really understand what filter shapes were in use, and the chart on Page 21 did a great job of explaining this clearly.

First, I sent some drums through the filter and heard the familiar lowpass and highpass sweeps that we all know so well. The controls felt great and the filters sounded amazing. Molding the filter shape by use of the three faders hinted that the Restyler was going to be a lot of fun. The Resonance knob only needs to be turned slightly for its effect to be heard, and if you are in the low-end spectrum, you definitely want to tread lightly. The second knob to the left of the faders is the Slave/Trigger Frequency control which has two functions. In some filter configurations, it acts as a second cutoff frequency. Otherwise, it determines the frequency of the bandpass filter that triggers the envelope follower, whose controls are conveniently located right above this knob.

The Envelope Follower, or trigger section, has a knob for Trigger Sensitivity and Trigger Speed. The sensitivity is a threshold that determines how loud the incoming signal must be to activate the envelope.The speed control determines the reaction time of the trigger. Two LEDs indicate when the trigger is activated and a Transition knob changes the shape of the trigger from sine to square for a smooth to abrupt envelope. Again, the large Trigger Frequency knob sets the range for the envelope and it will sound different on different material. I used it to give new life to toms and a blippy characteristic to hi-hats and was very satisfied with the results.

There are Amplitude Modulation (AM) potentiometers for each frequency band that can produce anything from subtle to downright wacky results, giving new motion to loops. These plus the Frequency Modulation (FM) control make “Restyler” an appropriate name.

When two giants of high-end audio clash, the end result is nothing short of an incredible-sounding, performance-inspiring piece that will rock DJ sets and studio sessions alike. It’s plenty useful for thunderous bass sounds, warm drum loops, and anything that can benefit from genuine analog filtering. Rodec and Sherman have really set the bar high for stereo filter units with their Restyler.

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sounding off playback…pro audio…Processing

By Russ Harris & Wesley Bryant-King

Active Sound & Quality Control

DJ TIMES

JANUARY 2011

American Audio VMS4: All-around digital solution.

26

This month, we find Chicago’s Russ Harris pumping up the jam with Turbosound Milan M15 active system, while Denver’s Wesley Bryant-King tests the American Audio VMS4 controller.

American Audio VMS4 It wasn’t that long ago that digital DJs had few choices in hardware solutions to control DJ software, such as Virtual DJ or Traktor. In fact, still have not-sofond memories of jerry-rigging MIDI drum controllers back in the day in order to control Traktor.

Today, we have more and more choices coming to market, and they keep getting better—and, in some cases, more affordable. Moreover, they’re combining needed capabilities (notably audio I/O and controller) into single units, freeing a DJ from cobbling things together in ways that sometimes involve compromises.

One of the new breed of these integrated units is the recently-introduced American Audio VMS4. With a list price of just under $700, and a street price of roughly $200 less than that, the VMS4 provides everything a DJ needs to spin tunes, except a computer and a crowd ready to jam.

First Impressions: Pulling the VMS4 out of the box, I was immediately struck by both its front and back panels. On the back side, full XLR master outputs are provided, along with duplicates in RCA, along with RCA booth outputs.

There are RCA inputs for external audio sources, two of which can support phono level input. And there’s a pair of Neutrik-style XLR/TRS microphone inputs—which I always appreciate for wedding and event work where I nearly always want a mic for me, and a separate one for officiants, grooms, or whoever else needs to address the crowd.

On the front, the VMS4 provides 3-band EQ and gain separately for each mic (great for balancing the audio of mics of differing brands or types), input assignments, crossfader configuration (including the option of not using it—thanks, American Audio!), and headphone jack with gain and cue controls.

On the top are all the usual suspects that I’ve come to expect from DJ software controllers: faders, transport buttons and platters, loop control, effects control, EQ, pitch, output levels, etc. The VMS4 provides everything most of us would expect in these areas, with the addition of a touch pad mouse—nice when the booth just doesn’t have room for a mouse pad, or you don’t want to move your hands off the controller.

While certainly subjective, the visual design and graphics on the unit struck me as more utilitarian and less sexy than other products. But on the plus side, the unit has a very solid overall feel, with heavy-gauge metal construction that gives a balance of durability without being too heavy to carry around. All four corners are protected by over-sized rubberized bumpers that wrap both sides of each corner, and then under the unit, where they continue into large feet, giving the VMS4 a nice, stable base on a tabletop or desk. (continued on page 42)

Turbosound Milan M15: A variety of apps.

Turbosound Milan M15 By now, some might call me a dinosaur of the mobile-DJ industry. I would prefer “old school,” but the fact remains that since my 1987 debut, I’ve always used an amplifier, never an active sound system.

Sure, I was aware that an extra power cord had to be taped down to the floor with these new powered speakers, but was it worth it? There’s less effort in carrying a heavy amp around, but would the sound difference be that noticeable?

Well, I’ve been welcomed to the “new school” with Turbosound’s Milan MI5 powered speakers. Distributed Stateside by American Music and Sound, this is Turbosound’s first entry from the Milan series and, I must say, I was immediately impressed with the design.

Depending on how you place it, the 450-watt M15 ($999 MAP) offers a variety of apps. Of course, it can stand upright as a regular loudspeaker. Place it on its side and it’s a stage monitor. Additionally, there are mounting holes for permanent installation. They can also be placed on poles with two fixed positions—0 degrees or -12.5 degrees.

At 48 pounds, they’re relatively easy to lift with handles on both sides and on the top. On the back, there is a small mixer that allows two inputs for either XLR or ¼-inch jacks. I was also allowed to switch between Line or Mic, depending on what I have plugged into it. It’s nice to know that more than one input can be used and heard at the same time.

In addition to the two inputs, there is also Bass and Treble knobs. A mix out is available to daisy-chain more than one speaker. Another plus, but one I couldn’t test, was the switchable High Pass filtering that can be used when connecting a powered sub to the line-up.

At the first gig for these bad boys, I placed them near the dancefloor and connected them to my BBE Processor, which was connected to my mixer. I turned them on and started to play some music. Wow. Right away, I was impressed.

I turned up the volume and walked out to the dancefloor and immediately noticed that there was no “sweet spot” right in the middle. Instead, the “sweet spot” was all over! How could this be? Afterwards, I figured it was the shape of the horn. I discovered that the design of the elliptical horn helps in widening and evening out the sound across the space. Impressive—it worked.

I also immediately noticed the rich, deep bass that was pouring into the room. For the event I was playing, it was a little too much for that crowd, so I (continued on page 42)

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mobile profile careers…innovations…success stories

Gregg Hollmann left a lucrative career in finance to DJ.

By Scot Yern

DJ TIMES

JANUARY 2011

DJ Takes Stock in Niche Wedding Market

28

East Windsor, N.J.—Like so many DJs, Gregg Hollmann had an inkling that he would somehow find himself behind the console.

With an interest in music from an early age, this Jersey Shore native studied piano and alto sax in high school, playing in jazz and classical ensembles.

He also starting displaying a characteristic found so often in DJs: he became an avid music collector, collecting stacks of records across a wide range of tastes, particularly jazz records.

Near the end of high school, Trenton State College offered him a full music scholarship, and that’s where the path ended—for a bit.

“For practical reasons I opted for a career in finance,” he says. “I went on to receive a BS Degree in Finance from Trenton State.” For the next few years, working as an Equity Analyst at Merrill Lynch Asset Management, picking stocks for one of their mutual funds, he was assigned to the Far East, where logged three or four months a year in Japan, China, Korea, Hong Kong, Thailand, Indonesia, Singapore, Australia, New Zealand and India. At the height of his tenure, he had over $100 million of stocks in the portfolio.

After leaving Merrill he took a job in the Philippines, witnessed the collapse of the stock market, and then returned home in 1999 to take “a wellpaying, but rather dry job in finance in Princeton.”

And that’s when fate nudged itself in. Hollmann had purchased a mixer and started dabbling in DJing. “Initially I performed at house parties for free, spinning tunes that reflected my life experiences—everything from Santa Esmeralda, to Paul Oakenfold remixes, to salsa music, to the ’90s dance music that I heard in Asia during my time there.”

But it was in 2003 at his sister’s wedding when a realization descended on him. “There was a DJ there and a light bulb went off, and I thought, ‘Hey, I can do this!’”

He sold $15,000 in stock that he had received in a consulting deal, and invested in his first DJ set-up.

He also hired a college student to launch a basic website. The company name?

“I named the company Ambient DJ Service, the name with a double-meaning,” he says. “First, Ambient was a reference to my love of electronica, and second, it referred to a DJ providing a musical

‘ambience’ to a party. For weddings, ambience is a good buzz word for marketing purposes.”

A few years later, Hollmann, still working full time in finance, hired a professional web designer and re-launched the site (ambientdj.com). With demand for his services increasing—the company, he says, experienced 20-percent sales growth in 2007 and 2008—he added his first DJ (Mike Bacon, aka DJ Iron Mike), with another a year later (Christopher Smith, aka DJ Spinz).

“Mike and Chris are still with me,” says Hollmann, who added DJ Nadine this year, “and as with all of my DJs, I allow them to work their own jobs when they are not working under Ambient DJ.” A key to Hollmann’s brand is in the song mixing.

“Ambient staffers are avid music lovers and collectors who love mixing,” he says. “Our meme is Ambient DJ Service—‘Keeping New Jersey in the Mix!’ And we often use the term ‘music mixologist’ to describe us. Music mixing is often not well appreciated in the mobile DJ scene, and I use this difference as a marketing point in our sales consultations. Each season, I ask my DJs—who either mix on Serato Scratch Live or Traktor—to update their Top-20 playlists, which I then list on our website and blog. At our periodic staff meetings, we typically devote a large part of the meeting discussing music and set list ideas. For example, earlier this year, each DJ was asked to list ‘outside-of-the-box’ ideas for wedding special songs such as the First Dance, Grand Entrance, Parent Dances, and Finale.

In another project, I listed genres and asked DJs to list two sets: first, a proven and traditional set, and second, a slightly outside-of-the-box-set.”

“Outside-of-the-box” is an appropriate term for Ambient. Approximately 40-percent of their bookings are weddings, in which Hollmann has located a niche. “Couples seeking entertainment strong on musical content, and seeking to exclude line dances or other supposed ‘cheesy’ routines—that’s our target,” says Hollmann. “Many of our clients enjoy

alternative or international music, and many seek a reception that feels more like a dance party or night out at the club than a stiff formal affair.”

Another niche that has paid off for Hollmann and crew is multi-cultural weddings, with more than one-third of their 2010 wedding clients qualifying as “multi-cultural.”

“Multi-cultural couples are attracted to our company by photos on the website,” says Hollmann, “as well as by my bio and via referrals. Recent weddings have included African-American/Puerto Rican, a Haitian couple, a Filipino-Chilean couple, an American-Azerbaijani couple, and an AmericanWest African couple. In 2010, we won a WeddingWire ‘Bride’s Choice Award,’ reserved for highest top 5-percent of vendors in the WeddingWire network. We currently have 31 online testimonials on WeddingWire, and are rated 4.9 out of 5.0 stars on average (for our storefront, see weddingwire. com/ambientweddingdj).”

To generate these gigs, Hollmann—who left his finance job in 2009 to pursue DJing full time— spends between 5- and 10-percent of annual sales on marketing, the bulk of which goes towards Internet advertising on sites like weddingwire.com, wedj.com and njwedding.com.

“The ambientdj.com website is deliberately content-rich,” he says, “with prospective clients able to gather detailed information about our services prior to contacting me. In some cases, wedding clients have evaluated the site and then contacted me to book their party without any in-person or phone interview. Ambient DJ rarely performs at bridal shows, and going forward I would expect us to participate in only one or two strategic shows per year.”

As for the future? “My goal is to grow the company into one of the top brands of wedding entertainment in New Jersey,” says Hollmann, “while staying true to our emphasis on the music and having a somewhat alternative edge.”

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business line sales…marketing…solutions…

How Telling Lies Can Increase Your Business

DJ TIMES

JANUARY 2011

By Milo Burke

30

What kind of story do you tell about your company? If you want to attract more clients, it helps to tell tales about your service, and focus not on the truth, but on what people believe.

Huh? Seth Godin speaks to this phenomenon when he tells us a story about a few entrepreneurs who came up with a great business plan in the 1980s.

“They bought some name-brand stereo speakers and packed them into a U-Haul truck,” he wrote in All Marketers Are Liars. “Then they parked the truck behind a dorm at Harvard and started whispering, ‘Pssst…

Hey! You wanna buy some speakers?’

While they never actually said that the speakers were stolen, it seemed to passersby that they were—and so had to be a great bargain. Harvard students shouldn’t have fallen for this.

Of course, they did—in droves. The entrepreneurs sold out in no time.

The story the students told themselves made the purchase incredibly appealing, even if the speakers cost about what they would have at the local stereo store. The local store spent plenty of money on advertising and real estate. These entrepreneurs made it easy for people to tell themselves a story. They both sold speakers for the same price. Who won?

“Did the stolen-speakers-on-the-

truck story make you feel a little queasy? Tricking people into buying speakers they think have been stolen is unethical, isn’t it? Well, marketing the $90 speaker cable that makes a stereo sound exactly the same as the $12 speaker cable in a blind test is just as unethical, isn’t it? Consumers (marketers included!) believe, way down deep, that the right thing to do is to buy a product or service because of what it actually does. We are taught that we ought to make products and services that actually do something better than the competition, instead of marketing things that we need to tell stories about. Our prospect’s hard-earned money ought to be spent investing in things with plenty of utility, not in useless fads.

“We say that’s what we believe, but then we buy overpriced designer T-shirts, eat at overpriced, but trendy restaurants, and stay in a fancy hotel on a business trip. Similarly, a nasty flight attendant influences our view of an airline more than a plane arriving 10 minutes early at its destination.”

How does this story impact your DJ business? How can you tell stories about your business that can fit and enhance your client’s worldview?

The key is to understand the need for your clients to tell themselves stories. We all do. Before Amazon.

com, before infomercials, before organized religion, people started telling stories to themselves and to anyone who would listen. Godin points out that, “We noticed that the sun rose every morning, and we invented a story about Helios and his chariot.

People got sick, and we made up stories about humors and bloodletting and we sent them to the barber to get well.”

We tell ourselves little fictions to make complicated things less complicated. The stories we tell ourselves are essentially little lies, or fictions, that make it easier to live in a complicated world. That’s the basis of psychotherapy—we pay for someone else to replace our self-damaging narrative with a more constructive one.

We also tell stories about products and services. “Most of all, we tell stories to ourselves,” writes Godin. “We tell ourselves stories that can’t possibly be true, but believing those stories allows us to function.

We know we’re not telling ourselves the whole truth, but it works, so we embrace it.”

Some marketers and advertising agencies do it splendidly—others less so. Does your DJ service help people enjoy life more? Of course it does, and there’s the beginning of your story. At other times, when a story isn’t sufficiently authentic, consumers

are too smart to be fooled for something that pretends to be one thing and turns out to be another. Sure, according to Godin, “you can fool some people once or twice, but this is the key lesson of the new marketing: Once fooled, a person will never repeat your story to someone else.

If you are not authentic, you will get the benefit of only one sale, not 100.

The cost of your inauthentic deception is just too high.”

If you want to send a message of friendly service, it helps to hire friendly people. If you want to grow, make something worth talking about—not the hype, not the ads, but the thing. If your idea is good, it will spread.

Godin goes further, stating that while your story will not be the whole truth—you don’t have enough time to tell the whole truth—its core must be authentic. Have you yourself had a DJ perform at your life functions? Your daughter’s Sweet 16? Your own wedding? What did it mean to you? The answer becomes part of your story.

Godin tells the story about Georg Riedel, a tenth-generation glass blower who tells his customers something that isn’t true—his company makes wine glasses (also whiskey glasses, espresso glasses, and even water glasses) that he says makes wine taste better. And then the very act of believing it makes the statement true. Because drinkers believe the wine tastes better, it does taste better. Riedel and his staff believe that there is a perfect (and different) shape for every beverage. According to Riedel’s website, “The delivery of a wine’s message; its bouquet and taste, depends on the form of the glass. It is the responsibility of a glass to convey the wine’s messages in the best manner to the human senses.”

Is there an analogy about your DJ business? Because you say that there is no better way to accentuate a couple on their big day other than uplighting, is that true? Or that nothing enhances a party more than a performance from a DJ whose own wedding was enlivened by a DJ? Have you told these stories? Why not? The time to begin is now.

gear Audio…lighting…stuff

Mom and Apple Pioneer Pioneer 2265 E. 220th Street Long Beach, CA 90810 (310) 952-2000 www.pioneerdjusa.com The S-DJ08 and S-DJ0 are Pioneer’s latest active reference speakers.The former is an 8-inch, studio-friendly model, while the latter measures 5-inches and is described as “the smaller all-around DJ lifestyle choice.”

Both speakers can change settings using an external manual controller. The controller lets users adjust the volume, mute the speakers, switch audio inputs and turn the EQ on and off from one remote location. The speakers also come with a built-in linear equalizer, a total mute function and an input switching function for moving between four separate sources.

Burst with Joy American DJ Supply, Inc. 6122 S. Eastern Avenue Los Angeles, CA 90040 (800) 322-6337 www.americandj.com American DJ’s Revo Burst LED Moonflower creates what the company calls “a fireworks display of light” on walls, floors and ceilings. The unit is equipped with seven 42-LED clusters in red, green, blue and white. These clusters can be turned on and off in precise synchronization using the unit’s built-in programs. There is slow-to-fast color strobing available, as well as 0-100% dimming. The Revo Burst can be run in three operation modes: DMX, Sound Active & Master/Slave, as well as 10 DMX Channels.

A Roll of the Dicer Focusrite Novation 840 Apollo Street, Suite 312 El Segundo, CA 90245 (310) 322-5500 www.focusrite.com Novation’s Dicer Case is a hard-shelled zip-up case for the Dicer controller. The case holds two controllers, secured in neoprene flaps, as well as turntable cartridges and small accessories. There’s also a mesh pouch for cables. The Dicer Case has a clam-shell design and is made from crack-resistant Ethylene Vinyl Acetate.

DJ TIMES

JANUARY 2011

iZotope-o Gigio

32

iZotope 1 Kendall Square Cambridge, MA 02139 (617) 577-7799 www.isotope.com The iZotope RX 2 and RX 2 Advanced Audio Repair suites are designed to repair tonal and broadband noise, hiss, buzz, hum, clicks and crackle, distortion from clipping and other sounds that interfere with audio. The programs also feature tools like Declick, Decrackle and automatic azimuth alignment that help restore old recordings from vinyl records, tape and other sources.

Designed for PCs and Macs, the RX 2 programs offer Spectral Repair for resynthesizing audio, as well as the Magic Wand tool that automatically selects a sound and its harmonics.

Join the Club Beatport.com 2399 Blake Street, Suite 170 Denver, CO 80205 (720) 974-9500 www.beatport.com Beatport Mix is a new premium service from Beatport that gives U.S. members access to exclusive dance music content and services. These include discounted admission and expedited entry to clubs and performances; VIP access to Beatport’s signature events; a monthly DJ mix filled with pre-release and exclusive tracks; and limited-edition merchandise from Beatport and its global network of partners. Membership plans are available on a monthly and yearly basis. Users who sign up get a free 19-track bonus mix.

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Multi format playback CDJ-350 rekordbox™ music management software included Multi format playback BEATCDJ-350 Display function visually illustrates the beat position of a song and the playback point rekordbox™ musicplayback management software included — Multi Auto Beat format Loop function BEAT Display function visually illustrates the beat position of a song and the playback point musicmatches management software included — rekordbox™ Auto BPM LOCK easily the tempo of songs by simply adjusting the speed to the AutoBEAT BeatDisplay Loop function function — Master BPM on each player visually illustrates the beat position of a song and the playback point AutoAuto BPMBeat LOCKLoop easily matches the tempo of songs by simply adjusting the speed to the function — PLAYLIST function Create Master BPM on each player Auto BPMcompatible LOCK easily matches the tempo of songs by simply adjusting the speed to the — Software DJ Create PLAYLIST function Master BPM on each player DJM-350 DJ Create SoftwarePLAYLIST compatible —Directly record to USBfunction devices DJM-350 — DJ Software Enhance remixingcompatible capabilities with four types of effects Directly record to USB devices DJM-350 Isolated 3-band equalizer Enhance remixing capabilities with four types of effects recordfor tohigher USB devices — Directly Digital conversion fidelity sound Isolated 3-band equalizer remixing capabilities with four types of effects — EnhanceMIC/AUX Selectable channel Digital conversion for higher fidelity sound — Isolated 3-band equalizer Selectable MIC/AUX channel Digital conversion for higher fidelity sound —FOLLOW US ON: 5ZWU]ñagfñfZWñ%'"ñekefW_ñSfñkagd Selectable MIC/AUX channel — facebook.com/pioneerdjusa ^aUS^ñ3gfZad[lWVñB[a`WWdñ6WS^WdñfaVSk FOLLOW US ON: twitter.com/pioneerdj

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gear Audio…lighting…stuff

Look Me in the iDJ3 Numark Industries, LLC 200 Scenic View Drive Cumberland, RI 02864 (401) 658-3131 www.numark.com Numark’s iDJ3 DJ software controller and USB computer audio interface has two decks, each with a large, touch-sensitive turntable. The iDJ3 can play music from and record mixes to both PC and Mac computers, as well as iPod and iPhone. An audio interface is built into the iDJ3, which also comes bundled with Virtual DJ software.

The Heath is On American Music & Sound 22020 Clarendon St, Suite 305 Woodland Hills, CA 91367 (800) 431-2609 www.americanmusicandsound.com

A Little Bit of Console Guillemot/Kaysound 5 Coton Lane Champlain, NY 12919 (800) 343-0353 www.hercules.com Hercules, distributed Stateside by Kaysound, expanded its DJ Console line to include DJ Console 4-Mx. Housed in a steel-and-aluminum body, the controller offers 89 controls in two-deck mode and 150 controls in four-deck mode. There are four jog wheels, each equipped with a touch sensor. Additional features include a built-in audio interface that connects with analog gear, pitch faders with 14-bit resolution and a 60mm range, a microphone input with talk-over function, and an effects/loops/Hot Cue zone with six transport buttons. DJ Console 4-Mx is bundled with VirtualDJ 7 LE 4-Mx DJing software from Atomix Productions.

The Xone:DB4 is a fully-digital DJ mixer from Allen & Heath that comes equipped with the Quad FX Core DSP engine. This gives each channel its own FX bank and BPM detection system, including a dedicated expression control, a rotary pot and a patch library of different effect variations that the company says can “be assigned to the relevant control.” Each channel also has a three-band EQ and a built-in looper, with selectable loop length from 1/64 beat to 4 bars.

Additional features include assignable deck starts, crossfader and upfader curve controls, 13-point level metering, digital output, analogue balanced outputs for main mix and booth, and a record output with adjustable level.

DJ TIMES

JANUARY 2011

Invisible Touch

34

Smithson Martin Inc. 2283 Argentia Rd. Unit #22 Mississauga, ON L5N 5Z2, Canada (888) 770-0757 www.smithsonmartin.com The Emulator Multi-Touch Professional DJ System comes in four packages featuring different size transparent touch screens. The included multi-touch MIDI software interfaces with Traktor Pro to project onto a high-resolution transparent multi-touch screen. The system is currently PC-compatible but a version for Mac users is scheduled for this year. There will also be versions compatible with Virtual DJ, Ableton, and Serato.

gear Audio…lighting…stuff

Caught in the Crossfade

Foot on the Accelerator

V-MODA 6464 Sunset Blvd., Ste. 290 Hollywood, CA 90028 (323) 798-1000 www.v-moda.com

Universal Audio, Inc. 1700 Green Hills Rd Scotts Valley, CA 95066 (866) 823-1176 www.uaudio.com

V-MODA’s Crossfade LP headphones sport a unique metal “V” design and come in three colors: White Pearl, Phantom Chrome and Gunmetal Black. They are equipped with 50mm Dual-Diaphragm High-Definition Drivers, as well as memory foam ear cushions and a detachable cable featuring a three-button remote control and high-fidelity microphone.

The headphones work with iPhone, iMac, Mac Pro, MacBook and MacBook Pro, as well as audio recording applications like iChat, Skype and VoIP. They come with a hard exoskeleton carry case.

The UAD-2 QUAD Omni DSP Accelerator Package features 50 plug-ins from UAD software releases up to and including v5.7.These plug-ins are compatible with both PCs and Macs. Four Analog Devices SHARC chips allow users to “power” such analog emulation plug-ins as Manley, Neve, Roland, BOSS, dbx, Empirical Labs, EMT, Fairchild, Harrison, Helios, Little Labs, Pultec, SPL and Teletronix.

Users also get a $100 Plug-In Voucher redeemable from UA’s Online Store.

Making Waves Waves, Inc. 2800 Merchants Drive Knoxville, TN 37912 (865) 909-9200 www.waves.com The Waves Video Sound Suite of audio plug-ins includes special presets for video editors, as well as real-time plug-ins that makes it “no longer necessary to render or create new files for every audio adjustment,” according to the company. Among the

Big lighting for little scratch.

DJ TIMES

JANUARY 2011

Pro lighting, outstanding service, on-time delivery and great prices. t $VTUPN HPCPT t 'PH NBDIJOFT t -&% MJHIUJOH

36

888-56-STAGE StageSpot.com

included plug-ins are Renaissance Compressor, which controls volume levels; W43 Noise Reduction, which reduces ambient noise such as hiss, hum, traffic, wind and air conditioning; and L1 Limiter, which Waves says “delivers louder, clearer sound to individual sources as well as final mixes.”

The Waves Video Sound Suite integrates with Avid Media Composer 5, Apple Soundtrack Pro and Sony Vegas.

For Starters Stanton Magnetics 772 S. Military Trail Deerfield Beach, FL 33442 (954) 949-9600 www.stantondj.com Stanton has introduced its M.203 entry-level twochannel mixer. Housed in a rugged steel inner chassis, the mixer sports a black and grey color scheme. Its features include three-band EQ on each channel, adjustable crossfader curve with FET-isolated “Cut” setting, master/cue headphone source switch, mic input with tone control and cue pan fader.

grooves tracks…mixes…compilations

David Guetta

Deadmau5

“Who’s the Chick?”

David Guetta feat. Rihanna u EMI Reverberating pop-house with Rihanna’s FXdrenched vocals and an inevitable, yet irresistible electro hook. The “FMIF Remix” and “FMIF Dub” get all-crunchy. But Afrojack’s mix mutates more interestingly with hints of big-room prog—the keys burn, the rhythm really storms. Also, his massive dub gets downright nasty.

– Jim Tremayne

Funkerman

Mark Farina

u Monkeytown Launching with Siriusmo’s appealingly neurotic “Das Geheimnis,” Modeselektor’s terrific new comp drops plenty pleasures. Other highlights: SBTRKT’s blippy “The Unspoken,” Feadz’s gripping “The Assistant Manager” and Modeselektor’s punchy “VW Jetta.” Special shout out to Housemeister for the George Carlin bit on the melodic, yet bewildering “Kristal.”

– Jim Tremayne

“4X4=12” u Deadmau5 u Ultra

Mushroom Jazz 7

Hiccupping electro-houser “Some Chords,” summer single “Animal Rights” (with Wolfgang Gartner) and rugged stomper “A City in Florida” will strafe dancefloors, while the bratty rap on “Sofi Needs a Ladder” might draw the line for some old-school fans. Nonetheless, the Mau5’s next phase—sharper musicality, more vocals, different genres—wears well.

u DJ Mark Farina u Mushroom Jazz

– Jim Tremayne Modeselektion, Vol. 01

u Modeselektor proudly presents…

When he’s not dropping jacking house sets, Farina’s a chill-groove master. His latest smoothtip mix includes sweet tracks from Nathan G (“Colorblind”), Andy Caldwell (“Southern Plumperz”) and King Kooba (“Bad Back”).

– Jim Tremayne Flamingo Nights New York

u Funkerman u Flamingo This tight, funky-house set includes soulful moments (Oxia’s “Whole Life”), mad groovers (Jay

Modeselektor

Lumen & Umek Hey Baby Remix of Rah Band’s “Clouds Across the Moon”) and a few genuine rattlers (Youri Donatz’s “Amadeus” and X-Press 2’s “Down the Whole”). A real workout.

– Jim Tremayne “Innocent” (Cole Medina Remixes)

u Q-Burns Abstract Message feat. Lisa Shaw u Eighth Dimension New takes on this 2001 track, including “Cole’s Nue Boogie Mix,” which kicks with a purposeful strut, while keeping Shaw’s delicate vocal up front. But “Cole’s Bottom-Heavy Mix” gets more raucous—big-room boomin’.

– Jim Tremayne

“I Got My Pride” u SuSu Bobien

u Diva Down Entertainment Pure “get-up” gospel-house with chunky-funky percussion and a hefty, heartfelt chorus. Davidson Ospina drops a ripping bassline, moving keys and clever, rolling tribal beats. His dub also bangs a nice, chuggy bassline. John Mateo’s mix takes a smoother, more soulful approach.

– Shawn Christopher

DJ TIMES

JANUARY 2011

Download

Corner

38

Each month in this space, DJ Times digs through the virtual crates to give you a quick sample of the plethora of extraordinary tracks available exclusively on legal download—care of our favorite nextgeneration “record” stores (e.g. Beatport, iTunes, etc).

“My Slang” (Original Mix) by Subb-an [Culprit]: Culprit drops some of our deepest, most visionary house music, and “My Slang” is no exception. The bouncy bassline and warm chord stabs drive the track, but the swirling, trippy vocals add a foreboding ambience. Subb-an should be rewarded for his brilliant subtlety in this early-evening toe tapper. Found at beatport.com.

“Tu Apokalin” (Original Mix) by Nigel Bazeley [Dirty Deluxe]: The huge, deep, and thick bass will destroy any club with a solid system. The catchy, ethnic-flavored vocal make it memorable and the cleverly programmed percussive loops keep the momentum flowing. Found at beatport.com.

“Atlas” (Gui Boratto Remix) by Stephan Bodzin vs. Marc Romboy [Systematic]: In typical Boratto fashion, the focus is on the song itself with very melodic guitar and synth elements and an uplifting chord progression. Fortunately, he never loses sight of the dancefloor with a slapping kick-and-snare combo and a well-timed break that propels the track. Found at beatport.com.

– Robert LaFrance

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31

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2011 DJ Expo Aug. 8-11 Trump Taj Mahal Atlantic City NJ

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Compiled As Of November 30, 2010

National Crossover Pool Chart 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40

Kylie Minogue Katy Perry R. Vission & Static Revenger F/ Luc Georgie Porgie Usher F/ Pitbull Taio Cruz David Guetta F/Kid Cudi Rihanna Maroon 5 Taio Cruz F/Ke$ha Sky Ferreira Ting Tings Donna Summer Maroon 5 La Roux Swedish House Mafia F/Pharrell Afrojack F/ Eva Simons Ne Yo Brandon Flowers Nelly Furtado Swedish House Mafia Vs Tinie The Black Eyed Peas Mon A Q Edun MuthaFunkaz Will.I.Am & Nicki Minaj The Green Children Kimberly Cole Twiins Divine Brown Jackie Siebert Lauren Dyson Selena Gomez & The Scene Mike Vs Redone Sir Ivan Julissa Veloz Sylvia Tosun 1 Square Daniela Arika Kane

Get Outta My Way Teenage Dream I Like That It’s The Music Dj Got Us Fallin In Love Dynamite Memories Only Girl (in The World) Misery Dirty Picture Obsession Hands To Paris With Love Give A Little More In For The Kill One Take Over Control Beautiful Monster Crossfire Night Is Young Miami 2 Ibiza The Time(Dirty Bit) How Long My Love Is Here For You A Reason To Love Check It Out Dragons Smack You Boys Boys Boys Sun Glasses Blackout In Wonderland V.I.P. Round & Round Kick Ass Hare Krishna Predator Above All Hey Sexy Lady You & I Ring My Bell

National Urban Pool Chart

Astralwerks Capitol Geffen Music Plant Jive Mercury Astralwerks Island/Def Jam A&M Island/Def Jam Capitol Columbia Driven By The Music A&M Interscope Capitol Robbins Island/Def Jam Island/Def Jam Geffen Astralwerks Interscope Tone 1 Robbins Code Red Interscope Spinside Crystal Ship B Records Divine Brown Dauman Robbins Hollywood Universal Republic Peaceman Carrillo Sea To Sun Interscope Robbins BSE

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40

Will.I.Am & Nicki Minaj Rihanna Chris Brown Usher F/ Pitbull Usher F/Jay Z Willow M.I.A. Wacka Flocka Flame N.E.R.D. Rye Rye F/ M.I.A. Jeremih F/Ludacris Rick Ross F Drake&C. Michele Trey Songz F/ Nicki Minaj Nelly Furtado Katy Perry 1 Square Eminem F/ Rihanna T-Pain F/Rick Ross Kevin Cossom F/Fabolos & P.Diddy Usher F/Will.I.Am Pitbull F/ T-Pain The Black Eyed Peas John Legend Nicki Minaj F/ Young Money Yelawolf F/ Gucci Mane Wiz Khalifa 2 Live Crew Gucci Mane F/ Swizz Beats YG F/ TY Far East Movement Kanye West F/ Jay-Z & Rick Ross Trey Songz Lloyd Banks F/ KWest S Beats - Fabo Tony Brikk Traedonya Richgirl F/ Fabolous Drake F/T.I.&Swizz Beatz Sean Kingston Spragga Benz F/Shabba Ranks J.O.D.

Most Added Tracks 1 2 3 4 5 6 7 8 9 10

Nelly Furtado Dani Barbers Dave Koz Julissa Veloz Daniela 1 Square Onika Charles Swedish House Mafia Tiffany Dunn Nivek Tek F/ Carol H

Night Is Young Fly This Guy’s In Love ..

Predator You & I Hey Sexy Lady A Real Woman Now Miami 2 Ibiza Shut The Front Door A Little Respect

Check It Out Only Girl (in The World) Deuces Dj Got Us Fallin In Love Hot Tottie Whip My Hair Internet Connection No Hands Hypnotize U Sunshine I Like Aston Martin Music Bottoms Up Night Is Young California Gurls Hey Sexy Lady Love The Way You Lie Rap Song Baby I Like It OMG Hey Baby The Time(Dirty Bit) Wake Up Everybody Your Love I Just Wanna Party Black & Yellow Cougar Gucci Time Toot It Boot It Like A G-6 Monster Can’t Be Friends Start It Up My Bad Girl I’ll Give It To You Swagger Right Fancy Letting Go Red Dot Special When I Hustle

Interscope Island/Def Jam Jive Jive LaFace Columbia Interscope Interscope Interscope Interscope Def Jam Island/Def Jam Atlantic Geffen Capitol Interscope Interscope Jive Jive Jive J Records Interscope Columbia Universal Interscope Atlantic Lil’ Joe Warner Brothers Def Jam Interscope Island/Def Jam Atlantic United High Risk Prohibition Ent Jive Universal Epic Boomtunes SOW

Most Added Tracks Geffen Dani Barbers Prod.

Concord Carrillo Robbins Interscope SNMG / KLM Astralwerks Epic ISV

1 2 3 4 5 6 7 8 9 10

Yelawolf F/ Gucci Ma Tony Brikk The Black Eyed Peas Richgirl F/ Fabolous N.E.R.D. Jawan Harris F/ Chri David M Far East Movement Rye Rye F/ M.I.A. M.I.A.

I Just Wanna Party My Bad Girl The Time(Dirty Bit) Swagger Right Hypnotize U Another Planet Girls Night Out Like A G-6 Sunshine Internet Connection

Interscope High Risk Interscope Jive Interscope Jive David M Interscope Interscope Interscope

Reporting Pools ✦ Dixie Dance Kings - Alpharetta, GA; Dan Miller ✦ Flamingo - Ft. Lauderdale, FL; Julio ✦ Next Music Pool - Los Angeles, CA; Bob Ketchter ✦ Masspool - Revere, MA; Gary Canavo ✦ OMAP - Washington, DC; Al Chasen ✦ Central Ohio - Columbus, OH; Fred Dowdy ✦ NW Dance Music - Shoreline, WA; John England ✦ Philly Spinners Assoc. - Cherry Hill, NJ; Fred Kolet ✦ Pittsburgh DJ - Pittsburgh, PA; Jim Kolich ✦ Soundworks - San Francisco, CA; Sam Labelle ✦ Heavyweights R - La Mirada, CA; Mike Espinoza

Looking for these titles?

You can hear them and buy them at www.dancekings.com.

Just click on the links in the chart. ''. KDV OLPLWHG PHPEHUVKLSV DYDLODEOH IRU TXDOL¿HG '-V LQ WKH 86 :H VHUYLFH &'V DQG 03 V LQ GDQFH DQG XUEDQ IRUPDWV )HHGEDFN DQG PHPEHUVKLS GXHV UHTXLUHG

45791

Turbosound

American Audio

was happy to turn down the bass (via the mixer on the back of the speaker) to a point where it didn’t overpower the over-50 crowd. I didn’t have to adjust it for the rest of the night. I even had a few people in the room tell me that it sounded really good.

Not bad for a perceptive older audience.

For the second gig, it was a younger crowd in a bar, so I knew I’d be banging it a bit more. I hooked the units up on short poles over the dancefloor, so this time they would be over everyone’s heads. After some quick adjustments—I’d forgotten to turn the bass back up from the previous gig—I had perfect sound, sonic heaven. Again, there was no sweet spot—love those elliptical horns!

The rest of the night I had these speakers banging out hard. Every now and then, I would test my ears by walking through the crowd. They sounded great. No bass was distorted, the highs weren’t bleeding. I was converted.

The MI5’s are a great addition to any type of performer’s arsenal.

Whether you’re a DJ that does large or small events, the Milan M15s are useful in any environment. They make great PA speakers for short events that just need a microphone and some music plugged into it—perfect for an afternoon ceremony. For those late-night head bangers, the speakers are great for putting out consistent, punchy, clear sound that won’t degrade your music or your ears by the end of the night.

The sound will knock your socks off—and those of your guests, too.

Isn’t that the point? n

Particularly striking are the transport control platters. Designed to resemble a miniature vinyl turntable, their machined aluminum construction, smooth operation, and snappy looks really “make” the overall appearance of the VMS4.

Set-up and Use: This didn’t get off to a very smooth start for me, unfortunately. The bundled Virtual DJ LE software—with its custom VMS4 skin—doesn’t have to be used; the VMS4 is just as comfy with Traktor or any other DJ software that supports MIDI control surfaces and a way to customize them. But deciding to try the VMS4 first with its included software, I installed everything on two separate machines only two have it crash upon loading on both. Trying it on a third laptop provided the winning combination. With American Audio’s help, I determined that it was insufficient memory on the first two laptops that were to blame.

Once past the initial hiccups, the VMS4 was quite enjoyable to use. The faders have a nice, smooth feel with just the right amount of resistance to movement. The knobs are chunky, also have a good feel, are far enough apart not to fat-finger things, and have illuminated position indicators.

The rubberized buttons throughout don’t have the quality feel of the faders and knobs, but the interesting and creative use of colorful backlighting on the buttons gives the overall unit a fun, inviting appearance.

The jog wheel platters worked for me as good as they looked. With the unit in vinyl mode, they seemed a bit over-sensitive to my touch. But since I use CDJs (and other digital

(continued from page 26)

(continued from page 26)

controllers) with vinyl mode turned off, once I set the VMS4 accordingly, the behavior and control was exactly what I’ve come to expect when using a CD deck.

One thing I particularly like about the VMS4—its mixer functionality and analog inputs can be used completely independently from its computer-related functions (audio I/O and MIDI control); no USB computer connection is even required. This is of value in two ways: First, this lets you easily connect external inputs, such as CD decks, MP3 players, or turntables, and integrate them into your digital DJ workflow. Personally, I’m so accustomed to four-deck DJing these days, I’m somewhat lost without my familiar two tracks of digital, and two tracks of analog, and the ability to switch seamlessly among all of it.

On the VMS4, each of the four channels has what American Audio calls a “MIDILOG” switch; you can move back-and-forth between ASIO-based audio input on a channel, and its corresponding physical, analog input from the back panel. This functionality is something I associate with much more costly units, so it’s nice to see it at this price point.

Secondly—and we’ve all had it happen—if the computer decides to lock-up, or the DJ software freezes, you can quickly and easily move to a backup set on an iPod, or fire-up a CDJ, and at least keep the music flowing (even if the switch-over might be inelegant). In the thick of a private party or club set, I always have a backup plan just in case, and the VMS4 has the chops to enable one. You could even use the VMS4 as a simple, standalone four-channel DJ

mixer if you wanted to.

As a Traktor Pro user primarily, I was anxious to give the VMS4 a try with that, too. With Traktor Pro’s innovative controller configurability, there are numerous ways you could set-up VMS4 to work with it. American Audio provides a variety of different TSI configuration files for Traktor Pro on the VMS4 web site, and others are available elsewhere online you may wish to try. The process of getting it going was quick, easy and simple, and it felt familiar within just minutes of pairing it up with Traktor.

Of course, more advanced functions like looping and effects took a bit more time to come to grips with given Traktor’s sophistication. But even that felt natural without too much brain damage.

If you happen to use some other DJ software entirely, as long as it supports MIDI control with configurability or learn modes, you can very likely get things going with the VMS4 with minimal-to-modest effort.

Finally, as long as we’re on the topic, if you do want to use the VMS4 with DJ software other than the bundled Virtual DJ LE, you might be wise to download the audio drivers directly from the VMS4 web site for installation purposes, as the installation CD enclosed with the VMS4 does not provide options to let you opt-out of the Virtual DJ install.

Conclusions: All in all, the VMS4 delivers everything it promises in a robust, pleasant-to-use package. With an aggressive price point, it’s easily within reach of serious amateurs, while fully cost-justifiable for mobile or club regulars looking for a good quality DJ tool to complement their digital DJ software of choice. n

42

Just because I attended Berklee College of Music…

Doesn’t make me a better producer than you.

But it doesn’t hurt.

BT, next month in DJ Times

Photos By Myriam Santos

DJ TIMES

JANUARY 2011

BT, as in Be True (to Your School)

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