DJ Times January 2013, Vol 26 No 1 by DJ Times Magazine

DJ EXPO 2013 DATES ANNOUNCED!

AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988

JANUARY 2013

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PLUS F FEDDE LE GRAND F TREASURE FINGERS F iOS DJ OPTIONS F EQUATOR STUDIO MONITORS F LESSONS FROM ZIG ZIGLAR

“HOUSTON, WE HAVE A REMIX.” The RMX-1000 Remix Station gives every DJ the ability to personalize their mix by creating and adding multiple remix effects. Along with the onboard multi-bank rhythmic sampler, the RMX-1000 has four remixing functions: Isolate FX, Scene FX, X-Pad FX and Release FX. Also included is Pioneer’s Remixbox and RMX-1000Plugin VST/AU plug-in software. The RMX-1000... Taking your mix, where no mix has gone before.

RMX-1000 REMIX STATION Scene FX allows users to choose 5 build up or break down effects Isolate FX focuses on HI/LOW/MID frequency bands X-Pad FX enables users to develop and add new sounds Release FX: re-set and override current effects with ECHO, Break, or Back-spin effect Remixbox software & RMX-1000Plugin VST/AU plug-in software included

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INDUSTRY EVENTS…NOTABLES…MILESTONES

NEWS

AC IS BACK: DJ EXPO SET FOR AUG. 12-15, 2013

Brian Dowdle , Marketing Manager, American DJ, American Audio and Global Truss America. “You could feel the energy level everywhere. It was nonstop excitement for us. Our booths were packed, our PizzaFest was a big hit and it gave us chance to party with a lot of good Late-Night Action: people . As a ‘business’ Craze & Skribble. event, of course, the show was great, but it was also a whole lot of fun.” Expo attendees concurred: “Wow—another great year with DJ Times in Atlantic City!” said Helen Viva of Professional Entertainment Group, Ottawa, Ont. “The DJ Expo was worth traveling from Canada for. There’s always Rocking the Gear: DJ on the showfloor. something to keep us busy and interested—the best parts are meeting up with Additionally, for mobile jocks, Mike old friends and coming home with great Walter of Elite Entertainment will new ideas. Already planning for 2013!” host the “DJ of the Year” compeAfter the devastation that Hurtition, which will bestow a variety ricane Sandy wreaked on the East of awards to the best of America’s mobile entertainers. At the moment, Coast, Atlantic City is finally back to business in full, and once again Jack Bermeo of LJ Productions—a two-time champ—maintains the title. DJ Times has committed to bringing much of the DJ world back to its Praise from Expo exhibitors conworld-famous environs. We’ll see you tinues to roll in. “DJ Expo 2012 was on The Boardwalk. For the latest on one of the best shows that we have DJ Expo, please visit thedjexpo.com. ever participated in—period!” said Jeff Heart

Metromix

Ballroom will host sponsored events featuring top talent. Attendees at the 2012 Expo had the opportunity to see DJ Craze, Paul van Dyk, Jump Smokers, DJ Skribble, DJ Enferno,

Jeff Heart

Atlantic City, N.J.—Mark your calendars, folks, and add the newly announced dates for DJ Expo—August 12-15, 2013. Set to run at the Trump Taj Mahal, the 28th edition of DJ Expo will bring its winning recipe of gear exhibits, educational seminars and sponsored parties to professional DJs looking to gain an edge on the competition, and enjoy themselves while they’re at it. As always, DJ Expo is produced by DJ Times and its publisher Testa Communications. Stationed in the expansive Mark G. Ettess Arena—a venue that’s hosted performances from Elton John to Louis C.K.—DJ Expo’s exhibit hall routinely fills up with more than 100 companies displaying nearly 200 booths full of DJ-related wares. And that includes a wide variety of products from all the industry’s major companies, including playback gear and software, pro audio, lighting, studio and specialty items. DJ Expo seminars—featuring a roll call of industry experts— will tackle up to 30 topics from the club, mobile and studio worlds. Additionally, top DJ-market suppliers like Pioneer DJ and Chauvet will present sponsored seminars, giving a closer look at their technologies and providing useful information to attendees. At night, that’s when the real fun starts, as nearby venues like Casbah, House of Blues, mur.mur, Providence, Ego Lounge and the Taj Mahal Grand

Getting Busy: Jump Smokers’ DJ Flipside.

Roonie G, JES, and Sean Paul, among others. Also, the show will end with the annual Ultimate DJ Giveaway. The 2012 winner—Matt Pellettiere of East Hanover, N.J.—had his name picked from the thousands of entries and then claimed his haul, which included: American DJ lights (Double Phase LED and Galaxian Gem LED); Beamz gear (Beamz Pro Interactive Laser Controller); Pioneer gear (CDJ-2000 players, DJM-900nexus mixer, RMX-1000 remix station, and HDJ-200-K headphones) and Promo Only subscription (to either Express Audio or Express Video via POOL, Promo Only’s digital delivery system).

SANDY BENEFIT IN NYC NYC –Erick Morillo drops a beat at Pacha, during the Help Heal NY benefit for Hurricane Sandy victims this past Nov. 14. Produced by Pacha New York and RPM Worldwide, the event presented top jocks like Afrojack, Danny Tenaglia and François K. DJ Times served as media sponsor for the event, which raised a reported $150,000 for area charities.

VOLUME 26 NUMBER 1

12 Still Flying High

Despite a Debilitating Phobia, Eric Prydz Has Managed to Maintain His Status Atop the EDM Mountain BY EMILY TAN

Bringing the EDM World to Holland, Amsterdam Dance Event Delivered Again BY JIM TREMAYNE & A.D.E. PHOTOGRAPHERS

20 Exit Stage Left

Thinking of Cashing Out & Living Large in Retirement? You Can—If You Think Smart BY JEFF STILES

DEPARTMENTS 6 Feedback

As Always, the Answers to All Your DJ-Related Questions

24 Making Tracks Equator D5 Studio Monitors

26 Sounding Off

iOS Devices: Nifty DJ Options

28 Mobile Profile

Twin Cities’ Total Entertainment

30 Business Line

Lessons from the Late Zig Ziglar

DJ TIMES

JANUARY 2013

32 Gear

New Products from Pioneer DJ, Chauvet & More

SAMPLINGS 8 Fedde le Grand Raw Sensation

10 In the Studio With… Treasure Fingers

38 Grooves

Phat Tracks from Rusko, Arash & More

40 DJ Times Marketplace

Shop Here for All Your DJ-Related Supplies

41 Club Play Chart

The Hottest Records, As Reported by Our Top U.S. Record Pools

Contents Photos By Andrew Rauner

18 The Dutch Touch

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FROM THE EDITOR

On Flying Fears & Euro Concerns As we ease into the New Year, we’re very happy to finally present a cover story on a guy we’ve been pursuing for years—Eric Prydz. Before Swedish House Mafia began headlining massive festivals like Ultra and basketball arenas like Madison Square Garden, the Sweden-born/London-based Prydz was rocking clubland with big-room anthems like 2008’s “Pjanoo.” But as many of you know, Prydz has suffered from a fear of flying, a condition that has impacted his ability to travel and play gigs beyond his safe European home. But in recent times, Prydz, by his own admission, has done a better job in facing his fears—so he’ll fly occasionally. Lucky for DJ Times, we caught the DJ/producer between his dates on the past summer’s ID Festival (he travelled by bus) and a string of big-production shows in major American markets. So, just as he was locking down a Best Remix Grammy nomination for his take on M83’s “Midnight City,” we offer Emily Tan’s frank conversation with one of EDM’s top talents, Eric Prydz. Speaking of Europe, this month’s issue takes you there, as we present plenty of snapshots from Holland’s Amsterdam Dance Event. From seminars with the legendary Def Mix family—Knuckles, Morales, etc.—to Q&As featuring Tommie Sunshine (the Q part) and Danny Tenaglia (the A part), from full-on, big room productions with local/global jocks like Armin van Buuren and Ferry Corsten to vital networking moments with ADE attendees, it’s all there. Enjoy the glimpses of one of the world’s most vital industry shows. On the mobile front, our Jeff Stiles asks the question of the future—What’s your exit strategy?—and offers a few solutions. Mobile Profile presents Minnesota jock Howard Walstein, who explains how he’s maintained a 30-year career in the competitive Twin Cities market. Also, as the late, great motivational speaker/sales guru “Zig” Ziglar passed away just before presstime, we present 40 life lessons from the legendary author—cut ’em out and pin ’em on your PC monitor. Our Samplings section carries us to Brooklyn’s Barclays Center, where—courtesy of Joe Bermudez and Angela Bray—top Dutch DJ/producer Fedde le Grand explains his part in Sensation, the latest big-production Euro-party to hit our shores. Also, new Brooklynite Lina Abascal goes into the studio with funk maven Treasure Fingers, who gives us the straight dope on his creative process. In our review sections, Josh Harris handles a pair of Equator D5 studio monitors in the Making Tracks column. Over in Sounding Off—our pro-audio column—Wesley BryantKing dives into three iOS platform DJ solutions—Blue Microphones’ Mikey, Musicsoft Arts DJ Mixer, and IK Multimedia iRig Mix. And, as you’ll notice on our Page 3 news entry, we’ve announced DJ Expo dates for 2013. Set for Aug. 12-15 at the Trump Taj Mahal in Atlantic City, N.J., it’ll be another can’tmiss event for DJs of all stripes. We hope to see you there.

DJ TIMES

JANUARY 2013

Cheers,

Jim Tremayne, Editor, DJ Times

editor-in-chief Jim Tremayne jtremayne@testa.com

graphic designer/artist Janice Pupelis jpupelis@testa.com

editor-at-large Brian O’Connor boconnor@testa.com

production manager Steve Thorakos sthorakos@testa.com

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

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promotions/web designer Fred Gumm fgumm@testa.com digital media manager Chris Davis cdavis@testa.com advertising manager Jon Rayvid jrayvid@testa.com art/production assistant Douglas Yelin dyelin@testa.com Circulation circulation@testa.com Classifieds classifiedsales@testa.com operations manager Robin Hazan rhazan@testa.com Editorial and Sales Office: DJ Times, 25 Willowdale Avenue, Port Washington, New York, USA 11050-3779. (516) 767-2500 • FAX (Editorial): (516) 944-8372 • FAX (Sales/all other business): (516) 767-9335 • DJTIMES@TESTA. COM Editorial contributions should be addressed to The Editor, DJ Times, 25 Willowdale Avenue, Port Washington, NY, USA, 110503779. Unsolicited manuscripts will be treated with care an d should be accompanied by return postage. 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 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 © 2012 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 2013

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FEEDBACK Ibiza Report 2012 DJs & Debauchery

AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988

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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 ques‑ tion that is not asked. DJ TIMES: I’m a mobile entertainer looking to create my own remixes/edits for my parties. Eventually, I’d like to produce my own music. I know what I want the songs to sound like—I want to extend R&B/hip-hop hits and make them even more dance‑ able—but I don’t know how to start. What gear/software, etc., do I need to begin this process? I know I’ll need to put in some work to understand how to achieve my goals, but is there a “best program” or sys‑ tem that lends itself to quicker learn‑ ing? What do you recommend?

recordings you have, while using their sample engines to add in other ele‑ ments. By using their various effects, you can add even more to the result, and with practice, this type of on-thefly performance remixing can be fun for you—and the crowd. Sitting down in the studio to do this more deliberately is usually done with Digital Audio Workstation (DAW) soft‑ ware. There are dozens of DAWs on the market, and most use a timeline metaphor and multiple tracks for au‑

dio recordings or MIDI elements, al‑ lowing you to cut things apart and rearrange them, adding things on-thefly. Software such as Sony’s ACID was designed with this sort of loop-based approach firmly in mind, but virtually all DAWs from Apple’s Logic Pro to Cubase to SONAR can do likewise. Another thought would be Ableton Live, which can be used in the studio and for live DJ performance (as can some other DAWs). But Live’s unique “session view” uses a sample-based

metaphor that I found made it easier to get started when I first made the jump you’re considering. Bitwig Stu‑ dio, slated to be released soon, uses a similar approach, and both offer a conventional timeline view that you can move to later on for a more tra‑ ditional approach to producing and remixing. Best of luck on the making this exhila‑ rating jump! – Wesley Bryant-King, DJ Times

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STAN: Creating a “remix” means different things to different people. It’s gener‑ ally somewhat difficult to take a full arrangement (a finished recording) and “remix” it, as the beats, vocals, melodic elements, basslines, filters and other effects are all melded together and can’t magically pulled apart. Most true remix‑ es start with the vocal stems (a cappella recordings) and build from that. That being said, some genres and certain recordings are such that taking small segments of the recording apart, layering them against pre-recorded loops, samples or beats, or even add‑ ing your own MIDI-based instrument layers, can be pretty effective. You can do that on-the-fly using most modern DJ applications like Traktor or Virtual DJ, simply by using the looping features of the software against the

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SAMPLINGS

Sensational: Fedde at Brooklyn’s Barclays Center.

DJ TIMES

JANUARY 2013

FEDDE LE GRAND: RAW SENSATION

As a DJ, if you haven’t spun “Let Me Think About It” or “The Creeps,” you’ve probably at least danced to “Put Your Hands Up 4 Detroit,” the 2006 bomb track that’s now considered a club classic. Whatever the case, they’re all big tunes produced in the past few years by Fedde le Grand. In addition to topping European pop charts with his own bangers, the Dutch DJ/producer has remixed tracks for Madonna, Robbie Williams, and will.i.am, among others. His latest remix effort—a collab with Deniz Koyu— carries “Zdarlight,” Digitalism’s otherwise blippy 2007 classic, into electro-house wonderland. He’s also continued to achieve high marks on the annual international DJ rankings and this past October, le Grand brought his act stateside for Sensation Innerspace. This American debut of the massive ID&T-produced event also featured sets from Danny Tenaglia, Mark Knight, Dennis Ferrer and Joris Voorn at Brooklyn’s new Barclays Center. Playing both nights, le Grand served as the midway point between more commercial earlyevening sounds and the deeper late-night vibes. Just as he prepared to release “Raw,” another electrohouse rouser, we caught up with Fedde le Grand. DJ Times: You’re a producer and a global DJ, you’re a busy guy. What is the closest thing to an ordinary day for you? Fedde le Grand: It depends a bit when you ask me, but when I’m on tour it’s pretty straightforward. I get up, have breakfast, take my plane to wherever I need to be, have some evening dinner, take a quick shower, and on to the show. When I’m at home [in Holland], it’s actually easier. I usually get up quite early and go to the studio and spend pretty much all day there, do some office stuff in between, and that’s my day over there. DJ Times: You’ve done all our big American festivals like Electric Daisy and Ultra. How do we rate compared to the rest of the world? Fedde: I actually think they are all very, very good. It’s not that I say this to be nice, but it’s actually the case. I literally play all over the world, and I think in America, with the amount of energy the crowd brings, it’s unique. It’s only here. It’s that good, so I hope we can keep that as long as possible. DJ Times: It’s really nice to see it finally explode here. A lot of the European stuff is finally coming to the States. I see that you played the Sensation Innerspace events in Brooklyn this past October. Fedde: It was nothing short of amazing and I was pretty excited about that because I’ve been a part of Sensation for about four years now, and I do around 10 to 15 shows a year with Sensation pretty much everywhere. I’m superexcited they actually brought it to the States. DJ Times: Most of America’s big festivals here have a lot of kids wearing neon, and Sensation is the exact opposite—it looks much more classy. Fedde: Of course, it starts with the fact everyone has to dress in white. I think it’s really cool because it unifies all the people who go there and, on the way to the venue, you see everyone who’s going there as well. There’s something about white that brings the best out of people in general, and that’s really good. Show-wise, it’s an indoor super festival with Cirque du Soleil aspects and the best light show… it’s a full-on show. I personally think it’s one of the best shows that everyone will ever see. Everything is next-level. – Joe Bermudez & Angela Bray

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IN THE STUDIO WITH

Influenced by his time spent in musicmad Brooklyn and inspired by his funky roots in Atlanta, Southern gentleman Treasure Fingers has been charming listeners with his disco-house sounds since 2007. Through collaborations with Scion A/V and releases with the Defected and Fool’s Gold labels—like his much-remixed 2008 smash “Cross the Dancefloor”—Treasure Fingers (aka Ashley Jones) has stirred up club environs and global festivals alike. Also, his remixes for acts like Chromeo and Miike Snow made their way into DJ sets everywhere. This past Spring, the DJ/producer released the “Rooftop Revival” EP (Scion A/V), which delivers a mix of upbeat, happy sounds that could easily be part of one of his rooftop sets at Los Angeles’ Drais or New York City’s Le Bain clubs. Treasure Fingers—who also moonlights with drum-n-bass act Evol Intent— recently sat down with DJ Times. DJ Times: You take influences from

funk and disco—which acts, specifically? Tr e a s u r e F i n g e r s : Zapp and Roger is probably the biggest influence. Roger Troutman will always be one of my top idols. George Clinton, Bootsy Collins, Nile Rodgers, Isley Brothers, Prince, Cerrone, Gap Band, Giorgio Moroder, Con Funk Shun—I could go on forever. DJ Times: How would you describe your production style? Treasure Fingers: I like to loosely get a bunch of ideas down first. I start with drums, usually—then build from there. I don’t worry much about EQ or compression until the song is 100-percent written. It’s pretty simple approach I guess: Write the song out; record, sequence and edit it; then, mix it down. DJ Times: What are your production tools? Treasure Fingers: I have [Steinberg’s] Cubase 5.5 running on a MacBook Pro with an Apogee Duet 2

interface—this is the main brain of the operation. Aside from that, I use a lot of Native Instruments plug-ins, along with some analog synths and effects for most of the sounds and UAD plug-ins for mixing/mastering. DJ Times: What’s your studio environment like? Treasure Fingers: I like to produce by myself in low light, completely sober. I recently moved my gear I had in NYC down to Atlanta and have everything set up in a band/artist rehearsal space now. It’s a 16-x-16 foot room, with desk in the middle, then tons of gear surrounding the walls. There’s a futon, too, for some nap sessions. On the road, I

just have my DJ laptop with Ableton and a few sample packs and soft synths. I just use that for quick ideas. DJ Times: What’s the biggest challenge in staying afloat in the music industry? Treasure Fingers: You’ve just got to constantly stay busy, either by putting out mix tapes, remixes, EPs, albums, free tracks, anything at all. Music moves so much faster these days than even a couple years ago. On top of that, the music needs to stand out amongst all the other tracks being released every day. The key is putting out memorable, quality music that will hopefully stick with fans for a long time. It’s also pretty important to play out as much as you can. The same with releasing music, if you give people a great time live, then hopefully they’ll continue to come back to your shows and bring others to introduce them to your music. – Lina Abascal

Ryan Purcell aka Oh Snap Kid!

DJ TIMES

JANUARY 2013

TREASURE FINGERS: FUNKY FRESH

Eric Prydz, one of dance music’s more prolific hitmakers. holds a certain mystique over many fans.

Part of the mystery might be the deep respect offered the Swedish DJ/producer by his contemporaries, but also likely is the fact that he is much scarcer on the North American clubbing and festival circuits than your average global DJ. The aura is not intentionally cultivated, however; it’s likely due to Prydz’s debilitating fear of flying—a phobia he readily admits has created huge hurdles for him in his otherwise stellar career. Though he has not been a fixture on the North American scene, he continues to work though his condition—and, of course, his anthemic music remains in-demand. Prydz’s three-disc artist album released in May of this year, Eric Prydz Presents Pryda (Astralwerks/EMI), contained both new, unreleased Pryda productions as well as classics from the Pryda catalog, including re-edits. His latest single, “Every Day,” is another irresistible progressive-houser, perfect for massive venues. Many DJs will remember that, beginning in 2004, Prydz has had club hits here and chart-topping singles in the U.K., including: “Call On Me,” which includes a re-recorded sample from Steve Winwood’s “Valerie”; Eric Prydz vs. Pink Floyd’s “Proper Education,” which samples Pink Floyd’s “Another Brick In The Wall”; and “Pjanoo,” which was BBC Radio1’s record of the week four times on the “Push The Tempo” show.

Photos by Andrew Rauner

As label chief of his own Pryda and Mouseville imprints and music-creator (under pseudonyms like Cirez D. and Sheridan), Prydz has his own take on the massive commercialization of dance music in America today. Not some aloof esoteric wanting to segregate himself from eager American festival fans, Prydz, in fact, was a co-headliner—along with Wolfgang Gartner, Porter Robinson and others—on the 15-city Identify Festival bus tour this past summer. As far as further live performances go, Prydz continues to fine-tune his “Epic” show concept, a setup launched in 2011 at London’s O2 Academy in Brixton. Featuring 3D holographic video projections alongside cutting-edge production and lighting, the show recently made its way back to the States this past November with a string of big-venue shows in major American cities, like Manhattan’s Roseland Ballroom. During a recent Stateside jaunt, the London-based Prydz spoke with DJ Times about the exploding EDM scene, his much-revered music, and his efforts to overcome his well-known fears.

DJ Times: How was it performing on the Identity Festival bus tour of America?

Eric Prydz: So much fun. It’s a great opportunity for me to tour the States, again. I got to go to places I’ve never been before. The shows were amazing. It was also fun for me, because I can walk around and check out other acts I normally can’t hear in Europe because you’re always on the run somewhere. I got to hang around all day, and that was really fun to get to travel.

DJ Times: It’s a good time to be a Swedish DJ in America these days. But you’re different. There seems to be a mystique about you. Do you think part of the reason is because you get around less than the typical global DJ?

Prydz: I’ve been releasing records for 10 years now. I should say, yes, I mostly tour in Europe. I’ve never really toured outside Europe. People get to hear my music and they can see videos on YouTube, but they can see me live in this part of the country now.

DJ Times: Are American crowds hungry for you? What’s your take on it?

Prydz: There’s a new generation of kids now blended with the other generation and they kinda don’t really know what to expect from me when I turn up. It’s kinda fun seeing their reaction to hearing music that they’ve never heard before on this tour. It’s been really fun for me. I play really differently here than I do in Europe. Most of the shows are festival shows and the set times are really short. In an hour and 15 minutes, you can’t take people on a journey. You need to be banging, but quick to the chase. You can’t really get going, but it’s been fun.

DJ Times: You don’t seem to use a lot of vocals in your productions. Why is that?

Prydz: I don’t come from a place where vocals are used frequently. Most of the stuff I do is instrumental. I don’t mind vocals, it’s just that, I don’t know. The synths do the thing for me, instead. I sing on a track called “You” on CD1 [of the Pryda collection]. I don’t really sing, normally. I know how I want a vocal to sound and I’ll try my best.

DJ Times: You suffer from a well-known fear of flying. Before this tour, when was the last time you were in the U.S.? Prydz: It was 2007. I came in 2008 and did a smaller [tour]. I’ve been to Miami for WMC 2010, maybe then just Washington, D.C., and on to Miami on a train. Actually, then I did a few shows and then we’d fly back to Europe.

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DJ Times: Wait. You flew back to Europe? I figured you would’ve taken a luxury cruise to get across.

Prydz: I do fly. But I hate it. I absolutely hate it. I don’t want to fly. Sometimes I do anyway. I feel really bad months in advance when I know I have to fly. It’s a proper phobia. I have a phobia. For anyone who has a phobia, they’ll know what I mean. I have a friend who has a phobia of spiders. Someone has to go through the newspaper in the morning to make sure there are no pictures of spiders in it or my friend will faint. That’s a proper phobia. That’s how it is with me, with flying. I won’t do it, but I get drugs to help me during the flight.

DJ Times: The fear of flying must be a barrier to working as a global DJ. We both know the most successful global DJs spend as much time flying as flight attendants.

Prydz: I know it massively restricts me as a DJ to not be able to go outside Europe on a frequent basis. Then again, I’m happy with how it is for me at the moment. I’m touring as much as anyone else, anyway, but in a more restricted area. Obviously, if I could fly, I’d think my career would look quite different. I’m not in this to have a big career to be massively worldwide successful. I make music because it makes me happy. I’m so fortunate I can have this as my career. I don’t really see that. I’m actually really happy with how things are.

DJ Times: What’s your DJ gear setup right now?

Prydz: When I started DJing, I played vinyl only. It evolved from the beginning with one or two CDs at shows to eventually leaving the vinyls at home, and then just playing with CDs. For me, because I play so much of my own productions and my own special edits, a lot of times there’s tracks or new ideas or remixes I’ve just done a few hours ago before I go on to play a new show. A CD was always the perfect choice for me.

DJ Times: So you use CDJs, I’ll assume?

Prydz: Yes, but these days, I don’t even use CDs anymore—I use the small SD cards. It’s the size of a coin. It’s 64 gigs on that little card—it’s crazy. It’s actually good for the environment in that you’re not throwing away CDs anymore. The SD card goes into the Pioneer CDJs. Normally, my setup is four decks and a Pioneer 800 or 900 mixer. I don’t really need any external effects or stuff like that. Filters and delays are all in the mixer.

DJ Times: Do you ever miss the feel or sound of vinyl?

Prydz: It’s more a feeling. People say music sounds better on vinyl. It actually doesn’t sound better on vinyl. You have a bigger frequency span on a digital format because when you press the music on vinyl, you need to cut out the highs and low frequencies in order to press it loud on the vinyl. The only thing I would say is that digital is ones and zeros and it’s either on or off. So when you convert an audio signal to digital, sound is waveforms like sine waves, when you transfer something to a vinyl analog format, it will be an exact replica of the waveforms. With digital, the higher the resolution, the more on/off and it will be really clean. I think for production as a whole, you’ll hear the final product, you can hear that. My music would sound so much better if I did it on a proper mixing console and did it properly. I only use a laptop and headphones for monitoring. You get another depth to the sound. Music made in the box can sound very digital. DJ Times: What’s in your studio? Do you keep any analog gear around? Prydz: No, I don’t have any. I use one outboard piece, a Korg MS2000, (continued on page 42)

2 Dirty Dutch: Chuckie at ADE University. 3 Gear Time: Two attendees get busy with Akai. 4 All-Business: Blockheads get networking. 5 ADE 2012: Unplugged. 6 Topical: The star-studded remixer panel. 7 Right About Now: Fatboy Slim in the mix. 8 Tech Talk: A DJ demos the gear. 9 Awakenings: Lights at Gashouder. 10 Junkie XL at Chicago Social Club. 11 Massive: Zoomin’ at Ziggo Dome. 12 Hard With Style: Headhunterz at Ziggo Dome. 13 Q&A: Danny Tenaglia with Tommie Sunshine. 14 25 Years: NYC’s legendary Def Mix family. 15 #1 Again: Armin van Buuren at Passenger Terminal. 16 Full On: Ferry Corsten at Undercurrent.

Photos by Aico Lind, Johan Vivié, Henri Blommers, Sander Baks, Mike Breeuwer, Willeke Machiels & Nelson Peterson Amsterdam—Over 3,800 DJs and dance-music pros attended Holland’s Amsterdam Dance Event this past Oct. 17-21. And, as always, DJ Times was there to monitor and participate in the conference portion of the show, attend the evening events at 75 area venues, and network the week away outside ADE’s two main hotspots—the Felix Meritis Centre and Dylan Hotel. It was an exhausting, but fruitful week catching up with all the global DJs, managers, promoters and agents. As is always mentioned, ADE is an industry conference that finds all the major players involved, so connecting with someone important to your business is relatively easy. The “festival” portion of ADE—with clubs like Studio 80, Escape and Air, for example, all within a short walks of each other—is also a pleasure to navigate. We caught superb performances in the evening from a variety of top jocks—Martin Butterich, Loco Dice, Ferry Corsten, Dubfire, Dave Clarke, Davide Squillace and Sander van Doorn among them—and enjoyed conference seminars featuring Danny Tenaglia (interviewd by Tommie Sunshine), Armin van Buuren, Chuckie and more. As it always seems to do, Amsterdam Dance Event delivered the goods— heavy-duty business opportunities and knowledge acquisition, plus plenty of top-flight fun at night. Here’s what it all looked like. – Jim Tremayne

JANUARY 2013

1 In the Studio: Sander van Doorn shares.

DJ TIMES

JANUARY 2013

DJ TIMES 22

When it comes to his eventual retirement, JR Silva in Orlando, Fla., is a typical small-business owner. Young and active, this DJ is still working on creating the perfect mousetrap. This owner of Silva Entertainment has some small stock investments, he’s focused on re-growing and re-positioning his business for future profits, and his retirement goals include simply hanging up his headphones at age 50 and managing his business from that point on. Being a self-employed DJ certainly has its benefits. From being able to toss our alarm clock out the window every morning to “showing up” to work for three-day weekends, it can be said that the life of a mobile DJ is the best gig in the world. Yet, when it comes to retirement planning, being self-employed also has its drawbacks. If we had worked for a larger corporation, for example, chances are good that our employer would have set up and contributed to a retirement account for us, making everything simple and easy. But since mobile DJs and other self-employed folks are on their own, choosing the right retirement plan early can be essential to our financial state later in life. Currently a 30-something, Adam Tiegs in Seattle, Wash., is not yet thinking about retirement. In fact, the owner and operator of Adam’s DJ Service is simply concentrating on climbing out of the debt it took to get his young yet profitable business off the ground. “I do have a life-insurance policy I’m paying into that’s also one I can draw out of after a certain point,” he says, “but other than that, I have a family and kids to take care of, so my exit strategy is my lighting company—and possibly becoming an ordained minister. “Since I’ve DJed well over 700 weddings so far in my DJ career, I think I’d be pretty good at officiating wedding ceremonies—non-denominational, of course.” Otherwise, Tiegs says he would consider working for a start-up DJ company once he’s too old to do the work himself, or maybe even growing his single-op back into a multi-op venture. “Because,” he asks, “who wants to hire a 55-year-old DJ for their wedding?” Adam and JR, let me introduce you to John Dolan of Greenwich, Conn., who as “Johnny Dee” of Ambassador Event Production, is 74-years old and still very active in his mobile DJ career. Of course, admittedly, Dolan does have his 40-year-old son (Matty D) as a partner in his business, and has been training his offspring since his little boy was a mere 10-years old. “Over the years our business has grown into an event production company and is doing quite well, considering this current economy,” explains Dolan. “My role in the business has certainly changed, but I’m fortunate that Matt can keep the business going, which allows me to maintain an income. This income, plus my Social Security and my wife’s pension and Social Security, allows us to live fairly well.

JANUARY 2013

sell-able company, a business owner must build a brand, professional staff, systems and clean financials that will thrive even after the departure of its owner. “If not properly managed, the value of the company after the retirement of a key person is merely the liquidation value of sound and lighting equipment, plus perhaps a little for client lists.” In other words, for most of us, not much. “Realizing that I haven’t adequately prepared for the future,” admits the 41-year-old Hollmann. “I’ve recently retained a business coach to help get me focused on my blind spots, particularly long-term strategic planning and retirement planning.” Meanwhile, Jerry Bazata is fortunate to not only be a mobile DJ entertainer but also a senior client manager for Business Banking Group in Ogunquit, Maine. “Being in the financial services business for over 20 years,” he says, “I’m often confronted with the fact that small business owners like mobile DJs ‘bank’ on the fact that they’ll someday sell their business for a substantial amount of money and live happily and forever rich. “Allow me to dump a bucket of cold ‘reality’ water on that dream: Once you factor in the depreciated value of the equipment and the fact that there’s no market for your 10-year-old strobe light and outdated fog machine, your subscriptions to Promo Only and X-Mix cannot be sold on eBay and your laptop is on its last leg, your remaining name and so-called goodwill amount to about a cup of coffee.” The most important question that will determine if a company will sell, Bazata says, is if it depends directly on the owner. If the answer to that question is yes, it may be un-sellable. If one person is the key ingredient to generating revenue, then the value of that business is limited to tangible assets such as the DJ equipment that person owns. Bazata is quick to elaborate on what he’s saying. “Let’s say ‘Troy Turntable’ of ‘Spinning Troy’s Music’ started his mobile DJ business in 2001,” he says. “He has nearly 100 bookings a year because of his referrals and his creative marketing plan. Clients love Troy’s work and he does a variety of different events including weddings, corporate functions and school dances. Satisfied clients quickly spread the word with testimonials on wedding search engines, Facebook and his website. “Troy decided a few years ago to bring another DJ on board to help with his workload; however, many prospects only want to hire Troy for their events. The other DJ is underutilized and unhappy about it. The process of making your DJ business sellable beyond the value of the equipment and less dependent on you has been referred to by some experts as ‘you-proofing.’” Bazata claims multi-system operators attempt to plan for their retirement by identifying the services that can be sold without the owner’s personality being a key factor. “In addition, do our business relationships—photographers, caterers, banquet managers, etc.—identify the success of the company based upon its reputation as a whole, or based solely in their relationship with the owner?” he asks. “It’s very difficult to place a dollar value on an intangible asset, which is often referred to as ‘goodwill.’ “The goodwill is what you personally created in the growth of your business, with vendors and clients, and it is often difficult for someone to come in and replicate that success. Therefore, there’s often no value in that goodwill.” Bazata says that once we’re ready to roll up the cables and disconnect the lights, our company’s only value is actually the pennies on the dollar for our equipment—plus the nest egg we’ve built by saving a portion of every event for retirement. “Not having that nest egg for the Golden Years, our only other option is to continue on MC skills [with] ‘Paper or Plastic?’” he laughs. “Or better yet, learn to exclaim, ‘Welcome to Wal-Mart!” n

DJ TIMES

“As long as my health holds out, I’ll continue to work in the business, and in fact retirement is not even an option.” Of course, Johnny Dee is unfortunately the exception and not the rule, as most of us don’t have offspring we’ve been training since they were still in elementary school. For the rest of us, a little financial planning right now—whether we are 25-years old or 45 years of age and self-employed—would certainly come in handy. Even for those of us who might not own a large multi-op, we can still create our own retirement plan with great tax benefits. Any financial planner we contact will tell us there are several types of retirement plans available for the self-employed. A Simplified Employee Pension (SEP) is a fairly basic retirement plan. A Keogh Plan is a bit more complicated, although the benefits can outweigh the related complications. Meanwhile, individual 401K plans can offer some of the best selfemployment benefits on the market, while Roth IRA plans are a good secondary retirement plan and a spousal deductible IRA work well if our spouse has an established retirement plan at her own job. Blah, blah, blah. We’ve built our company from the ground up, so after running it for 30-40 years, why can’t we just establish our business and then sell it for enough to pay off our mortgage and live off the remaining funds? So says Gregg Hollmann in East Windsor, N.J., who admits mobile DJs must be more attuned toward retirement planning—since, unlike white-collar professionals, we may have difficulty working into our 60s or 70s, given the oftenphysical demands of our jobs. “A second risk is that the market may not accept us as older performers,” suggests the owner of Ambient DJ Service. “How feasible is it for a 65-year-old man to be rocking out Sweet 16s?” Hollmann is of the mind that, with proper planning, a mobile DJ business can be sold for a decent sum of money. “My own research indicates that a healthy DJ company could be sold for about two times the seller’s discretionary cash-flow—i.e., the profit plus the owner’s compensation,” he says. “However, for this to occur the company must be generating healthy cash flow, even in the absence of the retiring owner. Therefore, to have a

MAKING TRACKS STUDIO…HARDWARE…SOFTWARE…

EQUATOR D5: BIG BANG FOR THE BUCK

DJ TIMES

JANUARY 2013

By Josh Harris

It’s been quite a while since I have reviewed studio monitors for DJ Times, but I’ve noticed that within the last couple of years, there have been quite a few manufacturers who have unleashed their “bang-for-thebuck” speakers on the public. These small, sonically accurate monitors offer us DJ/ producers the ability to create highquality mixes in our b e d ro o m s , h o t e l rooms, and—oh yeah—even recording studios. The people from Equator Audio R e s e a rc h a re n o strangers to studio monitors. Founded in 2007 by Ted Keffalo, the Chula Vista, Calif.-based Equator (equatoraudio. com) has quickly established itself as a D5 Studio Monitors: Affordable & sonically accurate. company that makes high-quality studio monitors. Keffalo’s own history in audio started With SPL output in 1995, when he co-founded Event Electronics, which was one of the companies at the forefront of 103 db and 100 of the active direct-field monitoring boom that occurred in the late 1990s. watts of power, the Some of you music-makers may know the Equator name from its flagship Q Series monitors, D5’s can certainly which is a very high-end, mid-field studio monitor. Recently, Equator designed a smaller, near-field, get loud without studio-monitor solution in the D5, which sells for compromising $299 (per pair) direct from Equator. With most gear today, you get what you pay sonic quality. for, but every once in a while, you come across a piece of gear that offers you quite a bit more in quality and functionality than its affordable price tag. Such is very much the case with the D5 monitors. Of course, let’s take a moment and remember what the end goal is with purchasing studio monitors—to create mixes that will translate well on various systems. From the car to the iPod, to laptop speakers and internet radio, we craft mixes in our studios to sound great on all those different mediums. So, when it comes to selecting and auditioning studio monitors, it’s not about how great the monitors sound, but

how well can you mix on them. First and foremost, the D5 monitors sound much more expensive than their price tag might suggest, but they are not hyped in any way. With a 5.25-inch woofer and a 1-inch silk tweeter, the D5’s can certainly hold their own against monitors that are twice as expensive. I own a pair of Focal CMS 40’s, which I know very well, and I was extremely curious to put them up against the D5’s. I was amazed at how well the D5’s sounded—and with a slightly larger woofer, they offered me more low-end than the Focals. Housed in a wood cabinet with a wood front baffle, the D5’s measure in at 9.75by-7- by-8.5-inches, and they have a frequency response of 53hz to 20khz. There is a 1.75-inch perfectly tuned front port, which plays an important role in offering a very accurate low-end response. The decision to place the port on the front of the monitor and not the rear allows the D5’s to be placed in a corner, without the low-end frequencies disappearing. Inputs are located on the rear, with a choice of XLR and balanced/unbalanced ¼-inch TRS. The input knob allows for -10 db and +4 db, and anything in between. There is a 3-position boundary selector knob that allows you to choose the best location scenario for the monitors: corner, front of wall, or free standing. I set mine to free standing. The D5’s also have Equator’s Zero-Point Reference, which is a custom-designed, digitally controlled transducer, something that is also found in the more expensive Q Series. The internal DSP allows for a matched output curve for all monitors. With SPL output of 103 db and 100 watts of power, the D5’s can certainly get loud without compromising sonic quality. I spent a few hours playing different genres of music through the D5’s, and then I moved on to mixing a track on them. I found them easy to learn, true in their frequency response, and a nice supplemental set of monitors to my Focals. Equator is able to keep the price of the D5’s so affordable, because they sell directly to the customer, eliminating the distributor, and allowing them to keep their costs down. The company offers a 60-day, unconditional, money-back guarantee, which is unheard of in today’s market. Hands down, these are the best $299 monitors that I have come across. For those of you looking for your first pair of studio monitors or a supplemental pair, you should absolutely check out Equator D5’s. If you have any questions for Josh Harris or Making Tracks, please send them to djtimes@testa.com.

SOUNDING OFF PLAYBACK…PRO AUDIO…PROCESSING

iOS DEVICES: NIFTY OPTIONS FOR DJS By Wesley Bryant-King

In these pages, I have twice in the past covered developments on Apple’s iOS platform—first for DJs, and later for people working in the studio. While Apple’s not that changed much (aside from the release of the third-generation iPad, the iPhone 5 and the new iPad Mini), third parties continue to find new ways to extend and push the boundaries of the platform. As a result, following are some updates covering some newcomers to the space.

DJ TIMES

JANUARY 2013

Blue Microphones Mikey

In my original studio/production article for iOS, I mentioned that one of the possible use cases for your iOS device is to replace one’s dedicated portable recorder with an iPhone. One of the reasons for the success of smartphones in general is the amount of capability you carry within your pocket already. If you’re going to carry a mobile phone, why not have one where your e-mail, GPS-driven maps, games, news and weather, dictionary, camera, notebook, task list, music, banking and everything else comes along for the ride? Adding “portable stereo recorder” to the list just seems to make some sense when you might want to capture a “found sound” for your next remix, grab a demo vocal recording from a singer, or perhaps record a quick demo with live musicians. That’s where the Mikey from Blue Microphones comes in. Some products on the market use the audio I/O jack (headphone/microphone) for such applications, but the Mikey uses the other end of the iPhone: the 30-pin dock connector. This makes it compatible Mikey: Portable stereo recorder. with most iPhones, iPod Touch devices, or iPads. The iPhone 5 uses the new Lightning connector; as a result, the Apple-provided 30-pin dock/Lightning adapter is required, and Blue has confirmed that Mikey works great in this scenario. Musicsoft Arts DJ Mixer Blue is highly regarded microphone manufacturer, and Mikey On the DJ side of the house, the ($99 MAP) sports a pair of microphone capsules for stereo rerecent release of iOS 6—the operatcording, with a 230-degree angle of rotation for the mic head. ing system for iPhone, iPad, etc.—has There’s a line input for recording convenience, and USB passprovided some new capabilities that through so you can charge the device while using Mikey—nice for app developers can leverage. Musicextended recording sessions. soft Arts, makers of the DJ Mixer Its specs cite a 35 Hz to 20 kHz frequency response. A condensapp, appear to be first-to-market er type with a cardioid pick-up pattern, and a switchable threewith an update to their DJ applicaposition gain setting, it’s designed to be useful in a wide range of tion that enables true, dual-stereo conditions. How does it sound? Honestly, pretty good, and you can output: one stereo output pair for pair it with nearly any audio recording application that supports headphone monitoring, and a sepaCoreAudio on iOS. rate one for the master mix output. Can an iOS device truly replace a dedicated device? Maybe. Up to now, apps have split the single Many dedicated portable recorders have slightly better specs for available stereo headphone output frequency response, and many also can record at higher sampling into two mono channels, or required rates (e.g. 48, or even 96 kHz) with higher bit depth (24-bit). At external mixers and multiple devices present, iOS devices top-out at CD specs: 16-bit, 44.1 kHz PCM. to achieve this. Know the trade-offs—and if they are relevant for your needs. DJ Mixer ($19.99 from iTunes) has For my needs (primarily found sound recording), the Blue Microall the features you’d expect from a phone Mikey and my favorite audio recording app are more than DJ application: automatic BPM deadequate, as I always heavily process the resulting sounds anyway tection, EQ, crossfader, and so forth. once I’m back in the studio, and can up-sample them a bit if it seems necessary prior to adding effects and otherwise tailoring DJ Mixer: True, dual-stereo output. The company has partnered with renowned plug-in maker Waves to the sound. And keeping the Mikey in the pocket of my “man bag” offer enhanced filters, enhanced EQ, means I’m ready to record anytime, anywhere. and other features through an in-app purchase. It is, however, the dual-output capability that makes the app so intriguing. The functionality requires either a supported USB audio interface device that uses the iPad’s standard dock connector, or Apple’s HDMI adapter—plus an off-board “HDMI-to-something-else” converter box with stereo audio output. For this review, Musicsoft provided a generic HDMI to VGA+audio converter,

iRig Mix: Full-function mixer.

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which provides audio output via RCA connectors. Using this approach, or one of the supported audio devices, you simply plug headphones into the iPad’s own headphone jack, and the house audio system into the separate device (the converter in my case), then enable headphone monitoring in the app. The result is a single device, professional-style DJ solution that very well might be the most compact, most practical, true stereo DJ system yet. As with any new DJ system, the app takes some getting used to. While it does have a sync button to match the BPM and beats, as is often the case, one needs to fine-tune the matching, and I found that a little more difficult than I would have liked. The fact that everything is a touchinterface, and the screen real estate on an iPad is limited, means some tradeoffs. Musicsoft put the EQ on a different panel than the decks, requiring a button touch to switch back and forth. This means a certain amount of switching around in the heat of the mix to fine-tune things correctly—not quite as elegant as traditional DJ solutions, but perhaps just as effective with practice. I don’t know that I’m ready to leave my laptop at home and use my iPad for serious DJ events, but as I’ve said previously on these pages, I’m not sure that I’m not ready, either. For me, I think it’s a matter of practice and comfort level. My 64 gig iPad would certainly have the musiclibrary capacity. The only other factor is that using a microphone would still require a more conventional solution— perhaps the device covered in the next section?—and I tend to use mics a lot in my gigs. That being said, DJ Mixer and its true dual-stereo output is a lot of fun, and if absolutely nothing else, a glimpse of the sort of compact solutions we can expect to see more of in the future.

The folks at IK Multimedia continue to develop a wide range of hardware products and apps for the iOS platform, and one of the latest is the iRig Mix. I saw an early version at NAMM back in January, and getting my hands on the real deal was just as exciting. The iRig Mix is a full-function, multi-channel hardware mixer in a remarkably small form factor. While it’s not limited for use with iOS devices by any means, IK does suggest it’s a great match for the company’s own DJ Rig app, and IK has taken some innovative steps with the device to give it extraordinary flexibility. For single-device DJing using traditional split-stereo output—taking the main stereo output of the device and splitting it into two mono channels—you can connect and mix between the two mono channels using the two channels on the mixer. Or, a more conventional approach can be used with dual stereo channels. Taking things a step farther, IK provides “X-Sync,” which routes the output of one channel to the input of the other, allowing IK’s own DJ Rig app to beat-match between the two channels. A pair of quad-contact 1/8-inch audio patch cables are provided for this, along with a single conventional

DJ TIMES

IK Multimedia iRig Mix

audio cable, providing a complete, ready-togo solution that supports both single-device and dual-device use cases—and both IK’s own apps, or others, or even other devices (like Android or even conventional CDJs). Like any DJ mixer, the iRig Mix has headphone monitoring, and a microphone or instrument input, plus two-band EQ, two level sliders, gain controls, and a crossfader. Despite its small form factor, I like the iRig Mix because its faders are “full size,” and it works as well as any other simple twochannel DJ mixer I’ve used in the past, so the approach is what you’d expect—and natural at that. The controls have a nice feel throughout, with the possible exception of the frontmost headphone volume and mic level controls, which seem a little small and rougher in operation than I might otherwise like. And despite its small size and light weight, it does like to stay put on the desk, thanks to its over-sized rubber feet that grip nicely (to clean surfaces anyway). For iOS users, IK offers DJ Rig and several other apps that make good companions for the iRig Mix. All of IK’s apps are available in both free trial and “full” versions, and virtually all offer various in-app purchases for upgraded functionality. For dual device users, a single app purchase allow the app be used on both of two iOS devices, and DJ Rig works on both iPhone/iPod Touch as well as iPad; you can mix-and-match as desired. iOS applications aside, I find the iRig MIX to be nifty, super-portable mixer as an attractive price ($99.99 retail) that’s going to find a place in my toolkit for general use.

MOBILE PROFILE CAREERS…INNOVATIONS…SUCCESS STORIES

TWIN CITIES DJ KEEPS IT ALL IN THE FAMILY

DJ TIMES

JANUARY 2013

By Colin Kane

Minneapolis—If you ask Howard Walstein, he’ll tell you it’s all about the word “Welcome.” Says the Twin Cities jock, “I think I was born with the ability to make people feel comfortable.” Ask any kid he grew up with: As a child he’d perform puppet shows in his backyard to crowds of children—each paid a 25-cent admission fee. During his teens, he was the “most-requested” babysitter in the neighborhood, telling stories, playing games and goofing around with the kids. Neighborhood families requested his services months in advance, sometimes drawn into bidding wars to secure his services. By the time he was in his early 20s, Walstein—with his older brother Les and his DJ friends from high

school and college radio stations—began Total Entertainment Sound & Light Shows. “I found the instant revenue stream quite appealing,” he says. At the height of Walstein’s popularity as a DJ at an area rollerskating rink, the city Fire Marshall would stand by the entrance of Roller Garden with a clicker, in accordance with capacity laws, to make sure attendance didn’t exceed 800 people at his Sunday night hip-hop session. Walstein, now 52, recalls DJing in the ’70s and ’80s. “Quite a different process—much more mechanical,” he says, referencing the lifting of crates of heavy records—and the three hernia surgeries to prove it. “The smell and touch of vinyl was as important to the sensation of being a DJ as what record to choose to keep the flow going on the dancefloor. Back then, you identified records by what label the artist was on. Each song was ‘more your friend’ when you picked it than it is now.” Nonetheless, Walstein claims to be the first DJ in the Twin Cities to use CDs. “I welcomed the new technology,” he says, “because records could never allow me to keep up with how I wanted to approach the guests on the dancefloor.” Back then, Walstein would stack four CD decks together in his system: Two to play his program, one to play any sound effects or drops and another if he decided to take the dancefloor on a new route at the last second. Walstein equates his apHoward Walstein proach to music programming (center) has like that of an artist. “Not the been in business making of music like a recordfor 30 years. ing artist,” he says, “but using a group of songs manipulated by a message of lyrics, a certain sound, an energy-driven beat, or a dance created by it—the goal is to create a distinctive moment of emotion and excitement for the participants on the dancefloor that creates an indelible memory in their mind.” Heady stuff, but, Walstein says, “There is no better rush in my life than helping transform the dancefloor into a magical experience for everyone—to make adults feel like kids and kids feel like superstars!” And he’s been at it a long time. His first Bar Mitzvah client—there are 2,000 in all—just turned 42 this year. His wedding business was equally robust, booking nearly 200 a year, until one day he decided to change his focus. “The wedding market was saturated,” he says. “Wedding leads were at a premium and, after performing third wedding receptions for a couple of brides, I decided that my passion had changed. I wanted to perform at more kids and family events, especially in venues that were considered unconventional.” Soon, he was performing at “unconventional” venues like amusement parks, shopping centers, and rock-n-roll music festivals such as “The Taste of Minnesota,” an experience that fueled his next Big Idea. In 1989, he created a new brand called Kidsdance, America’s Interactive DJs for Kids, which he

envisions as a franchise, by recruiting DJs from other cities to become affiliates. “My goal is to create a network of family-friendly DJs across the United States and Canada,” he says. “One of my biggest problems is that I have potential clients who want to book family events in cities where I don’t have affiliates to refer, especially New York and California.” At his family-friendly gigs, one might find adults and kids following Walstein around the dancefloor. “Like a Pied Piper,” he says. “We also feature a dancer/juggler, Alex Gorsky, and my most recent addition is a robotics engineer, John Halverson, who designs and collects eye-popping lighting displays.” It’s an experience that Walstein calls “The Amazing Total Entertainment LED Tube Light Laser Show.” But, according to Walstein, success in the DJ business doesn’t have to be complicated. “It’s providing an entertainment experience that they perceive they can’t get anywhere else,” he says. “In a video-game age, where multimedia is coming at them from ever y direction, ever yone needs to be thoroughly entertained. Kids of all ages are sophisticated; they are looking for the ‘wow factor’ that grabs their attention and doesn’t let them go.” At this point, Walstein believes that he was put on earth to entertain families and kids. “Without question, I’ve found my calling,” he says, “and I’m always looking for ways to give back to the community.” Ronald McDonald House, University of Minnesota Children’s Hospital, Miracle Kids Triathlon and numerous charities in the Twin Cities Community have all benefited from his largesse. Despite his advancing years in a demanding field, Walstein—known by his staff as “DJ Howie Do It”—shakes off any age-related perceptions. “I’m more interested in being known as a trendsetter and a pioneer of a future entertainment industry,” he says. “My advice to other DJs and business owners is something I wrote years ago: ‘Do something uncomfortable today. By stepping out of your box, you don’t have to settle for what you are— you get to create who you want to become.’”

BUSINESS LINE SALES…MARKETING…SOLUTIONS…

Goals, Pt. 2: A goal properly set is halfway reached.

Success, Pt. 4: Success is the maximum utilization of the ability that you have.

LIFE LESSONS FROM THE LATE ZIG ZIGLAR

Happiness: Happiness is not pleasure, it is victory.

Winners & Winning: Winning is not everything, but the effort to win is.

After leading a deeply impactful life, the legendary author/salesman/motivational speaker Hilary Hinton “Zig” Ziglar died this past November at the age of 86. But with two-dozen books, countless DVDs and CDs to his credit, the World War II veteran practically created an entire industry—business and life coaching—so he’s not really gone. He lives on in the likes of motivational gurus like Seth Godin, Wayne Dyer, and Oprah Winfrey. And he had an enormous influence on many DJ Times readers, many of whom have reported that Zig Ziglar quotes hang in their offices or on their computer screens, offering reminders and inspiration—useful at any stage of the sales cycle. What follows are 40 of Ziglar’s most popular quotes:

tive kids in a negative world.

LIFE’S PATH: If God would have wanted us to live in a permissive society, He would have given us Ten Suggestions and not Ten Commandments.

CONFLICT: You cannot perform in a manner inconsistent with the way you see yourself.

ON FAILURE: Failure is a detour, not a dead-end street.

DJ TIMES

JANUARY 2013

MOTIVATION: People often say that motivation doesn’t last. Well, neither does bathing—that’s why we recommend it daily.

IMPROVEMENT: Building a better you is the first step to building a better America. SUCCESS: You can have anything in the world you want if you’ll just help enough other people get what they want. GRATITUDE: Our favorite attitude

PURPOSE: Don’t become a wandering generality. Be a meaningful specific. POTENTIAL: It’s not what you’ve got, it’s what you use that makes a difference.

By Stu Owen

ON FRIENDS & FRIENDSHIP: If you go looking for a friend, you’re going to find they’re very scarce. If you go out to be a friend, you’ll find them everywhere.

der of success dressed in the costume of failure.

should be gratitude MARRIAGE: Many marriages would be better if the husband and the wife clearly understood that they are on the same side. CHOICE: Every choice you make has an end result. ACHIEVEMENT: It’s your aptitude, not just your attitude that determines your ultimate altitude. CRITICS & CRITICISM: There has never been a statue erected to honor a critic. OBSTACLE: Every sale has five basic obstacles: no need, no money, no hurry, no desire, no trust. ABILITY: You are the only person on earth who can use your ability. MONEY: Money won’t make you happy... but everybody wants to find out for themselves. CHILDREN: When you put faith, hope and love together, you can raise posi-

GOALS: What you get by achieving your goals is not as important as what you become by achieving your goals. ATTITUDE: Positive thinking will let you do everything better than negative thinking will. PERSUASION: The most important persuasion tool you have in your entire arsenal is integrity.

GOALS, PT. 2: A goal properly set is halfway reached. EXPECTATION: You were born to win; but to be a winner, you must plan to win, prepare to win, and expect to win. PLANNING: Many people spend more time in planning the wedding than they do in planning the marriage. EFFORT: If you have enough push, you don’t have to worry about the pull. EXPECTATION, PT. 2: If you don’t see yourself as a winner, then you cannot perform as a winner. ADVERSITY: Sometimes adversity is what you need to face in order to become successful. TREATMENT: The way you see people is the way you treat them. ATTITUDE: You cannot climb the lad-

PERSEVERANCE: This I do know beyond any reasonable doubt. Regardless of what you are doing, if you pump long enough, hard enough and enthusiastically enough, sooner or later the effort will bring forth the reward. FAMILY: People who have good relationships at home are more effective in the marketplace. ATTITUDE: You cannot tailor make your situation in life, but you can tailor make your attitudes to fit those situations. SUCCESS, PT. 2: You don’t pay the price for success. You enjoy the price for success. SUCCESS, PT. 3: Success is dependent upon the glands – sweat glands. CONTROL: Are you a SNIOP? Someone who is Sensitive to the Negative Influence Of Others? HAPPINESS: Happiness is not pleasure, it is victory. GOALS, PT. 3: You cannot make it as a wandering generality. You must become a meaningful specific. WINNERS & WINNING: Winning is not everything, but the effort to win is. ACTION: You have to be before you can do, and do before you can have. SUCCESS, PT. 4: Success is the maximum utilization of the ability that you have. If you have any questions for Business Line, please send them to djtimes@ testa.com.

GEAR AUDIO…LIGHTING…STUFF

#9 Dream

MIDI Point American Audio 6122 S. Eastern Avenue Los Angeles, CA 90040 (323) 582-2650 www.adjaudio.com

DJ TIMES

JANUARY 2013

American Audio’s MXR Series includes three stand-alone MIDI controllers: the 10 MXR, 14 MXR and 19 MXR. Each model includes MIDILOG channel inputs that give users the option of using MIDI or analog inputs on all available channels. Designed to work with PC and Mac, these controllers are equipped with a DSP sound card with a 4-in/4-out audio interface. They also feature multiple mic, phono and RCA inputs, along with balanced XLR outputs and replaceable crossfaders with curve adjust.

Ableton Inc. 36 W. Colorado Blvd. Suite 300 Pasadena, CA 91105 (646) 723-4550 www.ableton.com Live 9 has expanded Ableton’s Live software with a large selection of production-ready sounds with macro controls for “fast access to their most meaningful, musical parameters.” Users also get a host of new and reworked studio effects, including the Glue Compressor, an authentic model of a legendary 1980s console bus compressor. Live 9 comes with Harmony, Melody and Drums to MIDI tools, along with the ability to transpose, reverse and stretch MIDI notes and add curves to automation envelopes.

Unleash the Dragon

Stick Your Nexus Out

DJ-Tech USA 10 Cragwood Road Avenel, NJ 07001 (732) 388-5000

Pioneer DJ 1925 E. Dominguez Street Long Beach, CA 90810 (310) 952-2000 www.pioneerdjusa.com

www.djtechpro.com The Dragon Two from DJ-Tech is a digital DJ controller with integrated soundcard and analog mixer. The unit comes with Virtual DJ LE software and can be used in both two-deck and four-deck modes. It has two audio inputs for turntables, CD players or other external audio sources, and its low latency audio driver works with both PC and Mac. Additional features include a two-platter layout and LED lighting around the EQ controls and touch-sensitive jog wheels.

Pioneer’s CDJ-2000nexus offers wireless capability and is compatible with Pioneer’s rekordbox App for iPhone, iPad or iPod Touch. The CDJ2000nexus features a large full-color LCD panel and offers a variety of music file analysis functions, including Wave Form Zoom. Additional features include Slip Mode silently, which continues song playback during a loop, reverse or scratch; a Quantizing feature, which sets cue points and loops perfectly on-beat; and Active Loop, which automatically starts loops when playback begins from a specified point.

GEAR

AUDIO…LIGHTING…STUFF

JetPack Remixed

Tricked-Out Maschine

Orbit Concepts 18632 Beach Blvd. # 210, Huntington Beach, A 92648 657-229-JET1 www.jetpackbags.com

Jesse Dean Designs 663 W. Ave I Lancaster, CA 93534 (661) 927-7757 www.temporecords-dj.com

Orbit Concepts has released the JetPack Remix, the company’s latest entry in the DJ bag category. The sleek-and-slim piece includes a portable battery compartment, built-in record sleeves, removable front panel, recessed back padding to reduce heat on your back, adjustable chest strap, U-shape straps, dedicated area for flares, and netted pouches for cables. Designed with a heavy-duty ballistic waterproof nylon, it bears the flexibility and capacity to store nearly every piece of equipment you will need while you travel—with the exception of the mixer.

Jesse Dean Designs has released an assortment of covers, specialty knobs, and pads for Native Instruments’ popular Maschine and Maschine Mikro—all in a variety of colors. His flagship “Elevated Wood Trim” product turns your basic plastic controller into a wooden beauty, complete with your choice of wood stain. Also available: Colorized billet aluminum knobs for NI’s Maschine and Maschine Mikro, Traktor Kontrol X1, Traktor S4 and S2, Rane’s TTM 57SL and TTM 56S, and Vestax’s PMX-05 and PMC06/07.

everything DJ

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GEAR AUDIO…LIGHTING…STUFF

#9 Dream

MIDI Point American Audio 6122 S. Eastern Avenue Los Angeles, CA 90040 (323) 582-2650 www.adjaudio.com

DJ TIMES

JANUARY 2013

Unleash the Dragon

Stick Your Nexus Out

DJ-Tech USA 10 Cragwood Road Avenel, NJ 07001 (732) 388-5000

Pioneer DJ 1925 E. Dominguez Street Long Beach, CA 90810 (310) 952-2000 www.pioneerdjusa.com

GEAR

AUDIO…LIGHTING…STUFF

JetPack Remixed

Tricked-Out Maschine

Orbit Concepts 18632 Beach Blvd. # 210, Huntington Beach, A 92648 657-229-JET1 www.jetpackbags.com

Jesse Dean Designs 663 W. Ave I Lancaster, CA 93534 (661) 927-7757 www.temporecords-dj.com

everything DJ

Mixers • Turntables • Interfaces • Control Surfaces • Headphones

Top Brands! Including:

Call a Sales Pro Today!

Call 800-356-5844

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GEAR AUDIO…LIGHTING…STUFF

The Behringer Necessities Behringer 18912 North Creek Parkway, Ste 200 Bothell, WA 98011 (425) 672-0816 www.behringer.com Behringer’s EUROLIVE B115D and B115MP3 active two-way loudspeakers are built with custom-engineered 15-inch long-excursion LF drivers and 1.35-inch aluminum-diaphragm compression driver for deep bass and high-frequency reproduction, respectively. The new systems feature an integrated dual-channel mixer with two-band EQ, built-in sound processor and 1,000 watts of Class-D bi-amplification. A dedicated USB-style 3.0 input is included in both models, while the B115MP3 comes with a fully-addressable embedded MP3 player.

Big Mackie LOUD Technologies 16220 Wood-Red Rd NE Woodinville, WA 98072 (425) 892-6500 www.loudtechinc.com Mackie’s DLM Series of powered loudspeakers includes two full-range models and a high-output compact subwoofer, each with 2000 watts of ultra-efficient ClassD power. The two full-range speakers—the DLM8 and DLM12—are equipped with the company’s TruSource driver and DL2 integrated digital mixer, which includes 16 effects and three-band EQ. The DLM12S subwoofer is housed in a 15mm poplar cabinet and comes with an integrated DLP Digital Processor that provides system processing tools like a variable crossover and speaker modes for optimum voicing.

Making Your Hardcase Mixware LLC 11070 Fleetwood St, Unit F Sun Valley, CA 91352 (786) 362-5757 www.mixware.net The UDG Creator DN-HC1000S Hardcase Protector Black is specifically designed to fit the Denon DN-HC1000S controller. The case is 11-inches wide, 4.7-inches tall and 2.2-inches deep. It is made from lightweight compression molded EVA material, designed to protect the controller from drops, scratches and liquids. Features include a laminated polyester exterior and easy grip zipper puller.

DJ TIMES

JANUARY 2013

Drop It Like It’s Hot

Native Instruments North America 6725 Sunset Blvd, 5th Floor Los Angeles, CA 90028 (866) 556-6487 www.native-instruments.com Drop Squad is the latest expansion for Native Instruments’ MASCHINE. Drop Squad includes punchy drums, low-end wobbles, FX, stabs, sweeps and deep basses in 35 kits and 120 patterns. Users get 50 MASSIVE presets, as well as 10 special kits that add tribal and mechanical one-shots, wobbles, drills and synthesized “vowel” sounds used in dubstep music. A compact version of Drop Squad is also available for iMASCHINE for iPhone and iPod Touch.

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Soul Patch Propellerhead Software Hornsbruksgatan 23 SE-117 34 Stockholm Sweden +46 8 556 08 400 www.propellerheads.se Propellerhead Software’s Soul School 2 ReFill for Reason is a collection of nine grooves that were recorded live without overdubs and then broken up into individual instruments and tempoindependent loops. Each of these soul loops and samples is designed to work with Reason’s Dr. Octo Rex loop player. Also, the Reason Soul Keys ReFill comes as an additional free download.

Hip Hop Hooray Arturia US 5776-D Lindero Cyn Rd #239 Westlake Village, CA 91362 www.arturia.com Hip Hop Essentials is Arturia’s latest expansion pack for SPARK Creative Drum Machine. It features 30 hip hop kits crafted by producer Rick Stone, whose credits include Ice Cube, Snoop, Dr. Dre, Lil Wayne, Whitney Houston, Lil Kim, Death Row Records & Motown. The 480 instruments— including kicks, snares, claps, hats, FX, percussion, and chords—offer 960 construction patterns that work for a variety of tracks ranging from dance to hip hop to rap.

Geyser Blast! Chauvet Lighting 5200 NW 108th Ave Sunrise, FL 33351 (800) 762-1084 www.chauvetlighting.com Creating intense, 25-foot high blasts of color, fog and light, the Geyser RGB is a fog machine and wash light in a single fixture that operates using fog or haze fluid. The unit blasts a vertical stream of safe, water-based fog or haze, while simultaneously illuminating it with 21 high-power, threewatt LEDs. A combination of red, green and blue LEDs allows users to easily mix the perfect color to match any event, while independent color and effect control allow it to function as an independent fog machine or uplight. For increased design flexibility, users can also mount Geyser RGB to emit horizontal bursts. Users can control the unit from up to 100 feet away with the FC-W wireless remote control.

DJ TIMES

JANUARY 2013

It Only Takes a Minitaur

Moog Music 160 Broadway St. Asheville, NC 28801 (828) 251-0090 www.moogmusic.com Revolution 2 is a free update to Moog Music’s Minitaur Analog Bass Synthesizer. The update includes a new operational mode that allows for independent control of Decay and Release times from Minitaur’s front panel. Revolution 2 lets users create up to 100 presets that are stored in the Minitaur and managed from within the Editor/Librarian software. Revolution 2 also allows the Minitaur to function as an intuitive CV to MIDI converter.

2013 Dates Announced August 12-15 Trump Taj Mahal Atlantic City, NJ

GROOVES TRACKS…MIXES…COMPILATIONS SELECTED WORKS

u Frankox u Wormland Music At its best when proggy and hypnotic (“Sotto”) or techy and tough (“On Fire”), this tight, ninetrack collection of original mixes stands ready for late-night action. Also, check “Kaikuse (El Tigre),” a melodic bruiser of a collab with Hector E.

– Jim Tremayne

Layo & Bushwacka!

DJ PP

“RAW” u Fedde le Grand u Spinnin’ Records Fedde returns with another peak-time, electrohouse banger poised to rock the nearest main stage. With its computerized vocals and massive builds, this one’s hard to ignore.

– Chris Davis “KAPOW” EP u Rusko u Rusko Recordings This free, four-tracker effortlessly blends breakbeat, hip-hop, and Rusko’s signature serrated dubstep sound. “Yeah” shies away from the filthstep in favor of more buoyant wubs, while “Booyakasha” is a tunnel of womp. The trance stabs and arena sounds of “Bring It Back” feel a

JANUARY 2013

Download

Corner

DJ TIMES

– Chris Davis WARUNG BRAZIL 2012

u 16 Bit Lolitas u Bits and Pieces

18 MONTHS

u Calvin Harris u Ultra/Roc Nation/Columbia Ditching his disco-vocal roots, Harris serves up a neat, radio-friendly package here. EDM fans will love the Swedish House sound married with the panoply of pop vocalists like Ellie Goulding and Rhianna. Faves include “Here 2 China” (feat. Dillon Francis & Dizzee Rascal), the bass-filled,

Frankox

Arash

bit like classic Tiësto—up until the thunderous drop. Meanwhile, “Like This” drops an upbeat groove and hip-hop vocals certain to get the floor jumpin’.

Sebastian Radlmeier

Sandro Silva

Fedde le Grand

Peter Kriek and Ariaan Olieroock present 21 originals in the form of two distinct mixes. Inspired by Brazil’s Warung Beach Club, CD1 brings techy, bottomless beats with cheerful overtones, free of any vocals, while CD2 swirls deeper into the underground.

– Chris Davis “THE FALL” (MAURICE FULTON ALT MIX)

u Rhye u Polydor/Seven Four/Innovative Leisure Fulton’s remix injects Rhye’s original rainy-day ballad with spine-tingling funk. Loaded with soul, it includes a Bootsy-like bassline, groovy guitar licks and a whopping groove.

– Chris Davis

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 next-generation “record” stores (e.g. Beatport, iTunes, etc.). “Distant Voices” (Original Mix) by Arash [Silver Network]: Layered grooviness is the hallmark of this tech-house gem. Tiers of melodies—from simple chords, short swells, and stabs—combine together with dubbed-out percussion for a headbobbing, intoxicating journey. Found at beatport.com. “Horus” (Original Mix) by Butch feat. Hohberg [Visionquest]: This is where house music meets the otherworldly expressions of psychedelia. Low pitch-bent toms, scrapes, vocal bumps and varied non-repeating percussive flourishes set the mood, but the round, resonating bassline anchors the track. Add a couple haunting breaks and you’ve got a breathtaking composition. Found at beatport.com. “El Sol” (B.Cliff Remix) by DJ PP [Go Deeva Records] This NYC-based producer gives us some understated yet effective tech-house with terrific sound design and careful consideration to each and every element’s placement in the mix. The minute-long drop is the highlight, with its reverberating build and perfectly placed drum fill. Found at beatport.com. – Robert LaFrance

Rusko

acid-synthesized “Mansion,” and the disco-funk of “School.”

– Chris Davis “CAN’T HURT YOU” (REMIXES)

u Layo & Bushwacka! u Olmeto On this triple-remix package, Guti bumps up the tempo with a tribal floor-filler and Just Be (a Bushwacka! alias) treats us to a percussive dub mix. But Russ Yallop’s funky, nasty effort is the highlight here.

– Chris Davis “LET GO TONIGHT” EP

u Sandro Silva u Ultra Music This one seeks to hit you from all sides, beginning with the repetitive and forgettable “Libra”—might we suggest some vocals?—followed by the poppy “Let Go Tonight” featuring the graceful voice of Jack Miz.The EP peaks with the whiplash bomb-track “Thug.”

– Chris Davis MVP u MartyParty u MartyParty Music MartyParty seems to have finally achieved his goal of melding purple smoke, hip-hop, and EDM, this time in the form of trap music. Out of the bulky 16 track LP, don’t sleep on “Back to the Crib,” “Tsunami,” “Big Block,” or “Bling Bling.” Bass-heads, take notice.

– Chris Davis “IS IT ME OR IS IT YOU?”

u Sebastian Radlmeier u Ideal Audio This measured techno groove offers driving hats, shakers and pumping risers. But Carlo Lio’s fantastic remix reworks the original’s sparse

GROOVES TRACKS…MIXES…COMPILATIONS

vocals, giving the original mix a more catchy bite and massaging subsonic interest.

– Chris Davis “LET ME TELL YOU SOMETHING”

u Kings of Tomorrow u Defected

Fires steers the third iteration of Late Night Tales into an introspective soundtrack to a rainy day—or your next breakup. It mellows into perfect post-club, late-night ambiance, though the soul-searching abruptly ends with a burst of indie rock that quickly mellows into oblivion.

Sandy Rivera’s latest outing under his KOT guise sees him go back to basics with a good,

– Chris Davis

“SURVIVAL”

u David Penn & Robert Gaez u Urbana Penn and Gaez head back to the ’90s for this latest outing. The backbone of the track is delivered by a classic M1 organ hook and with a solid vocal to match. Tight.

– Curtis Zack

2000W 2000W 2000W ™ ™ TruSource TruSource TruSource™ Technology Technology Technology DL2 Integrated DL2 Integrated DL2 Integrated DigitalDigital Mixer Mixer Digital Mixer

Sandy Rivera Tracy Hamlin

old-fashioned house groove. Built around an organ riff, the track grows and grows with each bar and grabs you deeper into the groove.

– Curtis Zack “DRIVE ME CRAZY”

u Tracy Hamlinu Quantize Stealing a march from Sylvia Striplin’s classic “Give Me Love,” Spen and Irvin Madden deliver what is quite possibly the vocal track of the year. DJs get a sublime performance from Hamlin and the exceptional production we’ve come to expect from Spen & Co.

– Curtis Zack “YOU MADE ME DOWhen IT” Whenelse, you’re louder than everybody else, people you’reDLM12 louder than everybody people

can HowHow can u Sonny Fodera & Danny will Kane listen. When you sound good will listen. When you sound good doing it, you’ll doing it, you’ll somesomeHow When you’re louder everybody else, people u Swing City DLM12 heard. Mackie DLMthan is packed with bleedingbe heard. Mackie DLM is packed be with bleedingthing so can thing so will listen. When you sound good doing it, you’ll someSome proper old-school vibes comtechnology delivering 2000 watts of chestedge technology delivering 2000edge watts of chestsmall be small be ing on Grant Nelson’s Swing City be heard. Mackie DLM is packed with bleedingthing so pounding power in the most compact design pounding power in the most compact design so powerful? Watch so powerful? Watch imprint. The original mix features edge delivering 2000integrated watts chest- the small ever. Ittechnology also features the first-ever ever. It also DLM12S features the first-ever integrated video and find out be theofvideo and find out a devastating bassline and some pounding power in the most compact design so powerful? Watch digital mixer and groundbreaking system digital and groundbreaking system DLM8 DLM8 how Mackie packed how Mackie packed inin neat vocal snippets. On the remix, mixer DLM12S ever. It also features the first-ever integrated the video and find out processing. all, you’re the one who After all, you’re the one whoAfter has all that sound! allhas that sound! Nelson heads back to his processing. Nice ’N’ digital mixer and groundbreaking system DLM8 how Mackie packed in something say. Better make sure you sound something to say. Better make sure youtosound Ripe days and delivers a storming processing. all,ofyou’re one whoDLM has all that sound! garage-influenced re-rinse.good. The New Shape of Sound –good. The NewAfter Shape Soundthe – Mackie Mackie DLM something to say. Better make sure you sound – Curtis Zack good. The New Shape of Sound – Mackie DLM LATE NIGHT TALES 3

u Friendly Fires u EMI E.COM/DLM After a heavily roller-disco-fueled first chunk of the album, Friendly

MACKIE.COM/DLM MACKIE.COM/DLM

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coming soon for

Compiled As Of December 17, 2012

National Crossover Pool Chart

National Urban Pool Chart

1 Swedish House Mafia F/ John Martin Don’t You Worry Child Capito 2 Christina Augilera Your Body RCA 3 Nicki Minaj Pound The Alarm Universal Republic 4 September Hands Up Robbins 5 Rita Ora R.I.P. Columbia 6 Pink Blow Me (One Last Kiss) RCA 7 David Guetta F/ Sia She Wolf (Falling To Pieces) Capitol 8 Nelly Furtado Parking Lot Geffen 9 Kimberley Locke Finally Free I AM Ent. 10 Pet Shop Boys Winner Astralwerks 11 Steve Aoki Vs Duran Duran Hungry Like The Wolf Trident Gum 12 Enrique Iglesias F/ Sammy Adams Finally Found You Universal Republic 13 Eric Turner Vs Avicci Dancing In My Head Capitol 14 Emeli Sande Daddy Capitol 15 Frankie All Right Dauman 16 Rihanna Diamonds Island/Def Jam 17 Ke$ha Die Young RCA 18 Nire AllDai Hella Bad Capitol 19 Korr-A Fiyacraka Dauman 20 Markus Schulz F/ Seri Love Rain Down Armada 21 Audio Playground F/ Snoop Dog Emergency Canwest 22 Scissor Sisters Let’s Have A Kiki Casablanca 23 Georgie Porgie Beautiful Music Plant 24 Matchbox 20 Shes So Mean Atlantic 25 Noah New York Is Dead Noah 26 PSY Gangnam Style Universal 27 Krewella Alive Krewella LLC 28 Kristine W. Everything That I Got Fly Again 29 Kelly Clarkson Catch My Breath RCA 30 T. Manning F/ Sultan + Ned Shepard Send Me Your Love Citrusonic 31 Conor Maynard Vegas Girl Capitol 32 Lenny Kravitz Superlover Atlantic 33 Usher Numb RCA 34 Stacey Jackson I Am A Woman 3B1G 35 5KiTzZ0 Breaking Up With Molly Illuma 36 Ne-YO Let Me Love You Universal 37 Greg Machado Switch It Up 2 Hot Ent. 38 Pitbull Don’t Stop The Party Jive 39 Kerli The Lucky Ones Island/Def Jam 40 Connor Maynard Turn Around Capitol

1 Trey Songz 2 French Montana F/R. Ross,Lil’Wayne& 3 Rick Ross F/ Drake & Wale 4 2 Chainz F/ Kanye West 5 Juicy J F/Lil Wayne & 2 Chainz 6 Chris Brown 7 Alicia Keys 8 Kelly Rowland F/ Lil’ Wayne 9 Miguel 10 Kendrick Lamar 11 Kanye West, Jay-Z, Big Sean 12 Future 13 Frank Ocean 14 Usher 15 Mariah Carey F/Rick Ross & Meek Mil 16 Dj Khaled F/Kanye West & Rick Ross 17 Marcus Canty F/ Wale 18 Rihanna 19 Chief Keef F/ Lil’ Reese 20 Young Jeezy 21 Meek Mill F/ Kirko Bangz 22 Ca$h Out 23 The Weekend 24 Young Jeezy 25 Lil Wayne F/ Detail 26 R. Kelly 27 Akon F/ French Montana 28 A$ap Rocky 29 Game F/C.Brown/TYGA Wiz Khalifa&Lil 30 T.I. F/ Lil Wayne 31 Keyshia Cole 32 2 Chains 33 Wiz Khalifa F/ Weekend 34 50 Cent F/ Dr. Dre & Alicia Keys 35 Rick Ross F/ Usher Raymond 36 Tex James F/ B.O.B & Stuey Rock 37 Ca$h Out F/ Wale 38 Trey Songz F/ TI 39 Usher 40 Brandy

Most Added Tracks 1 Tony Moran F/ Anastacia 2 Connor Maynard 3 Markus Schulz F/ Seri 4 Kwanza Jones 5 Inaya Day & Chyna Ro W/ Mike cruz 6 Eric Turner Vs Avicc 7 Kerli 8 Audio Playground F/ Snoop Dog 9 Joanne Borgella 10 MBlack

If I Was Your Boyfriend Turn Around Love Rain Down Supercharged Looking Forward Dancing In My Head The Lucky Ones Emergency Sake Bitch Crush

Dive In Atlantic Pop That Interscope Diced Pineapples Island/Def Jam Birthday Song Island/Def Jam Bandz A Make Her Dance Columbia Don’t Judge Me RCA Girl On Fire RCA Ice Universal Republic Adorn RCA Swimming Pools Interscope Clique Island/Def Jam Turn On The Lights Epic Thinkn Bout You Island/Def Jam Dive RCA Triumphant (Get ‘Em) Island/Def Jam I Wish You Would Cash Money In & Out Epic Diamonds Island/Def Jam I Don’t Like Interscope Way To Gone Island/Def Jam Young & Gettin’ It Warner Brothers Big Booty Epic Wicked Games Universal Republic Get Right Island/Def Jam No Worries Universal Republic Feelin’ Single RCA Hurt Somebody Universal Republic Fkn Problems RCA Celebration Interscope Ball Atlantic Trust And Believe Interscope I’m Different Island/Def Jam Remember You Atlantic New Day Interscope Touch’N You Island/Def Jam Smart Girl Columbia Hold Up Epic 2 Reasons Atlantic Numb RCA Wildest Dreams RCA

Most Added Tracks Go Deeva Light Capitol Armada Innovation Ny-O-Dae Capitol Island/Def Jam Canwest Robbins Robbins

1 2 3 4 5 6 7 8 9 10

Tex James F/ B.o.B & Stuey Rock 2 Chains A$ap Rocky Khalifa Future Omarion F/ Wale Brandy Lil Wayne F/ Detail Chief Keef Big Sean

Smart Girl I’m Different Fkn Problems Don’t Make Em Like You Neva End M.I.A. Wildest Dreams No Worries Love Sosa GUAP

Reporting Pools ✦ Dixie Dance Kings - Alpharetta, GA; Dan Miller ✦ Flamingo - Ft. Lauderdale, FL; Julio ✦ Lets Dance / IRS - Chicago, IL; Lorri Annarella ✦ Next Music Pool - Los Angeles, CA; Bob Ketchter ✦ Masspool - Saugus, MA; Gary Canavo ✦ Pittsburgh DJ - Pittsburgh, PA; Jim Kolich ✦ Soundworks - San Francisco, CA; Sam Labelle ✦ Music Choice - New York, NY ; Mike Rizzo ✦ Rickett’s Record Pool - Saddle Brook, NJ; Bill Rickett ✦ Pacific Coast - Long Beach, CA; Steve Tsepelis

Looking for these titles? You can hear them and buy them at www.dancekings.com. Just click on the links in the chart. DDK has limited memberships available for qualified DJs in the US. We service CDs and MP3s in dance and urban formats. Feedback and membership dues required. 770-740-0356

Columbia Island/Def Jam RCA Universal Epic Warner Brothers RCA Universal Republic Interscope Island/Def Jam

Prydz

(continued from page 16) which is like a book holder synth thing. I don’t even have a studio at the moment. I moved out of the production room in our office in London. I made all of my music on a laptop with headphones. It’s always been like that for me. All those tracks on the album were made on a laptop. For CD1, I went into the studio and plugged it into a proper desk just to hear, especially if you have lots of instruments and things going on. The difference is massive, before and after. I just listened on a proper mixing desk, but I never mix on a real analog mixing desk. I only use a laptop with headphones in the studio to mix. DJ Times: Explain what your “Epic” shows are about? Prydz: Yeah, it’s a constantly evolving show. We wanted to do something different. We wanted to take it further and do something that hadn’t been done before. You say, “Geez, everyone’s done everything.” So we sat down and what came out of that was Epic. It’s using lots of hologram technology. It’s bigger than a jumbo jet—it’s massive! We’ve done a handful of these shows in Europe, already. We need to work on it before we can take it here. It’s a big thing. DJ Times: With the explosion of dance music in America lately, do you think the younger fans are missing the allure of dark clubs? Or do you think they’ll eventually discover everything else that dance music has to offer beyond just the festival circuit? Prydz: I love that black room, that strobelight! These things go in circles. People will get fed up with the bigscale productions and go back to where it’s all about the music and a dark room and the sound and that’s it. It’s already happening in Europe.

The whole EDM-big-pop-house-music thing, people are quite fed up with it. Deep-house and techno is taking over a bit, even with the young kids. DJ Times: That’s good to hear. Prydz: The big, big, big stage arena… I love that stuff, too. Then you have the more intimate thing, as well. They can exist at the same time. DJ Times: What up-and-coming producers, if any, are you excited about at the moment? Prydz: We’ve signed a new guy to my label, Pryda Friends, called Fehrplay. He’s gonna blow up big time! He has his own tone and style of doing his own thing. For me, that’s what’s lacking right now. All the DJs try to copy each other. Very few actually are doing their own thing. You can listen to a track for five minutes and you know, “Oh, that’s Trentemøller.” But these days they all sound the same. I think in the near future, people are gonna be fed up with being fed the same dinner every day. People will start looking for producers and DJs who stand out and have their own sound who will lead EDM forward. DJ Times: How is the Swedish dance scene, from your vantage point? Prydz: It’s funny. With Sweden, there’s so much music coming out of that country right now! There’s a big thing coming out of Sweden right now that’s been growing over the last 10 years. There’s always been a scene. It’s just that dance has gone mainstream in Sweden and it’s everywhere. But I’m talking about commercial pop Eurodance or whatever you wanna call it. It’s basically the same thing that’s happening everywhere. You see Top-10 singles charts and this is what your everyday Joe is

listening to. DJ Times: What about the clubs? Prydz: There’s also a really good underground culture that’s bigger than ever at the moment, which is great. When it comes to artists and producers, I really don’t know why. I always say in interviews that our summer is very short—two to three months—and then it’s dark and cold and depressing. We lock ourselves in our studios and are really creative in the studios when we make a track and I imagine playing this on a beach in Ibiza with people going crazy—just to keep sane. You only see the sun for three hours a day! It’s also that Swedes are, when it comes to design and music, very aware of the trends in London or L.A. or New York, and we’ll look at that and we’ll do this and we’ll make this five times better. We’re perfectionists when it comes to that, as a people. We put our mind to it. We put an effort into it. I’m not only talking about EDM—I’m talking about pop music. DJ Times: Is it that Swedish culture puts more of an emphasis on music in schools as kids are growing up? There’s been an outcry from some pop musicians that music programs in American schools are being cut due to a lack of funding… Prydz: I don’t really know. I’ve always been against teaching music. Why would I wanna learn what someone else has already done? They tell you this is how you’re supposed to do it. Music is for me… I took one piano lesson as a kid and I hated it because [my teacher] told me, “You can’t hold your fingers like that!” But I’m like, “I can do whatever I want!” It’s music. But when it comes to teaching music in schools in Sweden,

from what I remember, it’s more like they teach you to play some silly song on a guitar or teach you to play violin or whatever. It’s more just about playing instruments and that sort of thing. DJ Times: You still have an artist album planned? Prydz: We’re aiming to put one out, but there’s no stress with this album. I’m sort of halfway through it. It’s gonna be a totally different sound from the Pryda album. If you like the Pryda album, you’re gonna be blown away by this. It’s more accessible, but has its roots. I have a little setup with me on the bus with monitors and all that, and I try and write music. Basically, if you’re on a tour bus 20 hours a day… what inspires me are the people coming to my shows. It’s very inspiring to play for people to see how they react especially if you have a really good show. I’m just buzzing to get back in front of my laptop and make new music. That really inspires me to get new music done! DJ Times: What does DJing mean to you as a performer? Pr ydz: I think for me, when I DJ, it’s about the give and take. The crowd can always manipulate me. They can steer me in different directions. If I get a good connection with the crowd, I can play differently, definitely. DJ Times: Any last thoughts for Stateside DJs and fans? Prydz: Hopefully, I can come back here on a more regular basis. The trip over here went OK. I’ve actually considered moving over here to North America for two to three years. We talk about that. So, I just wanna say a big thank-you to everyone who’s come to my shows on this tour—I n love America.

Jamie Jones in the Wayback Machine

DJ TIMES

JANUARY 2013

I still buy & play records.

I’m not nostalgic— they’re just better.

Now excuse me while I visit my outhouse. Jamie Jones, Next Month in DJ Times

KEITH SHOCKLEE As a founding member of Public Enemy Keith Shocklee has been defining and defying musical genres for over 30 years. “The future is the past! We’re taking new music to the streets in New York… it’s how we did it before Public Enemy and it’s happening again today - very organic and powerful.” Keith and his mobile DJ’s, Power5, trust their PRX600 speakers to deliver devastating grooves night after night. “PRX’s bang hard! We record on JBL LSR4300 monitors and when we perform live our PRX’s sound identical, just ten times louder. And, at 3:00 am after the smoke clears, their lightweight is heaven. JBL is the bomb!”

Photos by: James DeMaria

Learn more at jblpro.com/prx600 Check out Keith at keithshocklee.com

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