DJ Times February 2011, Vol 24 No 2 by DJ Times Magazine

2011 NAMM SHOW PREVIEW AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988

FEBRUARY 2011

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Machines & Milestones

Studio Report:

Incubus’ DJ Kilmore

WHY MOBILES EMBRACE ONLINE REVIEWS

Ooh La La…

Clubbing in Monaco

PLUS

v ALEX NIGGEMANN v RONY SEIKALY v PROPELLERHEAD’S DYNAMIC DUO v ALLEN & HEATH XONE: DX www.djtimes.com

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INDUSTRY EVENTS…NOTABLES…MILESTONES

NEWS

WINTER NAMM: PREPARE FOR NEW DJ GEAR GALORE

From Rane: SL 4 5-channel interface.

sional DJ headphones. From Avid, its pair of DJ-related debuts includes Torq 2.0, effect-filled, 4-deck DJ software, which gives users the choice to use the software standalone or in conjunction with dedicated hardware. Avid will also show

New Look & FX: Pioneer’s CDJ-350-W.

products for the M.I. Market. Of course, we expect to see plenty of DJ-related debuts. Te s t a C o m mu n i c a t i o n s will be there providing onthe-spot show coverage with Convention TV @ NAMM. Additionally, on Jan. 15 at 1 pm in the Convention Center, DJ Times will host a NAMM H.O.T. Zone seminar entitled “Trends and Technologies in Numark NS6: ITCH controller. the DJ Market.” It will include retailers, educators and DJproduct reviewers. On to the show: Rane CorporaFX band and BPM detection system. tion (celebrating its 30th anniversaAM&S will show the Allen & Heath ry) and Serato Audio Research will XD-40 headphones and the XD-20 launch the Rane SL 4, a 5-channel in-ear headphones. DJ interface with two high-speed AM&S will also debut several USB 2.0 ports (for seamless DJ Vestax items, including the VCIchangeover) and four switchable 300MkII and VCI-100MkII controlphono/line inputs. An auxiliary inlers, the PMC-05ProIV mixer, the put and out put add the flexibility PDX-3000MkII turntable, the PADto record DJ sets and create more One USB pad controller, and the output options for the SP-6 sample Typhoon controller, which includes player and The Bridge. Rane will Virtual DJ custom Typhoon Edition. also show the MP25 19-inch rackLongtime supplier Numark Inmount mixer. dustries will unveil several products, Pioneer DJ will show its S-DJ08 including: the NS6 4-channel, dualand S-DJ05 active reference moniplatter controller for Serato ITCH; tors—the 08 geared more for stuDJ2GO 13-ounce DJ micro-controldio applications and the 05 more ler; the 4-channel iM9 mixer, which for DJs. The company will also show can handle any line-level source; the new versions of entry-level sysCDN77USB dual USB/CD player; tems—the CDJ-350-W digital methe M101 and M101USB 2-channel dia player and the DJM-350-W 2mixers; the MOBILE DJ iPod PA channel mixer. In addition to being system; the NPM100 portable active made available in pearl-white color, monitors; and the Red Wave profes-

PreSonus will debut “the first dedicated wireless control software for small-format digital console: StudioLive Remote software for the Apple iPad.” Users can have wireless remote control of any PreSonus StudioLive-series digital mixer’s channels, auxes, effects, subs, Fat Channel processors, and more. F ro m t h e re c o rd i n g side, Cakewalk will show its SONAR X1 production software, which includes the unique Skylight software interface. Roland will roll out the TRI-CAPTURE UA33 and DUO-CAPTURE UA-11 USB Audio Interfaces, the latest additions to the growing lineup of

Venom, a 49-key synth. Chauvet Lighting will unveil its SlimPar family Allen & Heath’s Xone: DB4 of LED wash lights, which come in three styles: variable white (VW); red/green/blue/amUSB audio capture devices for comber (RGBA); and tri-colored (Tri) puter-based recording (both WinLEDs. dows or Mac OS platforms). The In the pro-audio world, Yamaha TRI-CAPTURE records and plays will exhibit its new DSR Series of back 24-bit audio at sample rates up active loudspeakers, which includes to 96 kHz, and is bundled with the full-range units (DSR112, DSR115 Cakewalk SONAR X1 LE. Roland a n d D S R 2 1 5 ) a n d a s u b wo o fe r will also debut the UM-ONE USB (DSR18W). All units deliver digital MIDI Interface, a super-compact, sound processing and the all-new bus-powered, 1-In/1-Out MIDI port D-CONTOUR multi-band dynamic with LED indicators for MIDI I/O processing. signal monitoring. Monster, teaming with Beats by Dr. Blue Microphones will showcase Dre, will unveil its Beats Pro over-ear its Yeti Pro, a USB mic that combines headphones. Bag End Loudspeaker 24bit/192 kHz recording resolution systems will show its Infra processor with analog XLR output. IK Multias a built-in option to the self-powmedia will release the iRig Mic, a ered double-10 sub systems, includhandheld, condenser microphone ing the IPD10E-R portable enclosure. for the iPhone.

FEBRUARY 2011

both models will offer two new audio effects—Noise and Short Echo. Distributor American Music & Sound will break out the Allen & Heath Xone:DB4 mixer with its Quad FX Core DSP engine, which allows each channel to have its own

DJ TIMES

By Jim Tremayne Anaheim, Calif.—Once again, the Anaheim Convention Center is set to host the Winter NAMM show. Scheduled for Jan. 13-16, 2011, the show will see nearly 85,000 attendees visit booths from over 1,400 exhibitors, which will display new

VOLUME 24 NUMBER 2

18 Ooh, La La…

12 New Frontiers With a Grammy Nomination & a Major Technology Sale Ending His 2010, How Does BT Top Himself? Just Wait & See… BY NATE SHERWOOD

The Monaco Int’l Clubbing Show Takes DJ Times into Another League BY JIM TREMAYNE

20 Getting WeddingWired

Everyone’s Favorite Online Review Site Has Exploded in the Past Year. Is It Too Late to Join the Gold Rush? BY JEFF STILES

24 The Precious Process

Incubus DJ Chris Kilmore Discovers Some New Toys as the Band Enters the Studio for Album #7 BY JIM TREMAYNE

DEPARTMENTS 7 Feedback

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

28 Making Tracks

Propellerhead’s Reason 5.0 & Record 1.5

30 Sounding Off

Allen & Heath’s Xone: DX

32 Mobile Profile

Knoxville DJ Flips the Script

34 Business Line

Win By Adapting the Pilgrim Business Plan

36 Gear

New Products from Denon, Moog & More

44 Grooves

Phat Tracks from Martin Solveig, Rithma & More

46 DJ Times Marketplace

DJ TIMES

FFEBRUARY2011 FEBRUARY 2011

Shop Here for All Your DJ-Related Supplies

SAMPLINGS 8 Rony Seikaly

From Heat to House

10 In The Studio With…

Alex Niggemann

FROM THE EDITOR

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

Winter NAMM: New Year, New Gear

Once again, we head into the New Year with the Winter NAMM show on the horizon. And, as you can see on Page 3, we should expect plenty of new technological entries to our market. Of course, we’re sure to experience some show surprises and we genuinely look forward to them as well. It’s a week we always anticipate—and only partially because the mid-January weather in Anaheim is usually a helluva lot nicer than it is near our Long Island offices. Expect a full report upon our return from The OC. One fellow who expects a big NAMM show is Brian Transeau, better known to DJs and EDM fans as BT. Not only has the longtime DJ/producer/electronic artist just been given a Grammy nomination for his 2010 album, These Hopeful Machines, but he recently completed a sale of his technology company Sonik Architects (to iZotope). Just as these items became news, our Nate Sherwood caught up with BT to discuss his latest endeavors. As usual, BT provided a wealth of information and inspiration. In the previous issue, we interviewed Linkin Park’s Joe Hahn, so we figured—with NAMM around the corner—it was again time to connect with another rock-act turntablist. This go-round, it was Incubus and its spinner, Chris Kilmore. Lucky for us, we tracked down Kilmore as he and the band settled into Nashville’s famous Blackbird Studio for their seventh full-length album. Kilmore details the group’s artistic processes and gives us the straight dope on some of his new DJ techniques and toys, like the Novation Dicer. November saw DJ Times travel to the world’s second-smallest country for the Monaco International Clubbing Show. At the fabulous Grimaldi Forum, we caught three days of exhibits and participated in the MICS seminar slate. But, as we report on Pages 20-21, the clubbing in that part of the globe was like nothing we’ve ever encountered. As you’ll see from some of the event pictures, MICS proved to be one high-end affair. On the mobile front, Business Line explains why DJs can take a tip from the Pilgrims when looking to stay ahead of the competition. Also, our Jeff Stiles examines how jocks can win in the long run with sites like WeddingWire. And, as always, we unveil plenty of hot new pieces of DJ-ready products in our Gear section. On the review front, our Josh Harris tackles a pair of Propellerhead products—Reason 5.0 and Record 1.5—in our Making Tracks column. According to Josh, a talented remixer/producer in his own right, this is a major studio development and one he found somewhat overdue. Additionally, our digital-DJing maven Wesley Bryant-King dives deeply into Allen & Heath’s new Xone: DX mixer/controller. As we went to press, I’d just returned from cold and slushy Paris, where I caught a crazy evening of party-rocking DJs in competition for the Red Bull Thre3style International title. Won by France’s DJ kArve, the event featured a bill of marvelously talented jocks, all of whom displayed their charms in a unique competition that involves rules rather different from other DJ battles. Stay tuned for more on Red Bull’s Thre3style in the March issue.

DJ TIMES

FFEBRUARY 2011

Cheers,

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

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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 © 2011 by DJ Publishing, Inc., and must not be reproduced in any manner except by permission of the publisher. Websites: www. djtimes.com and www.testa.com February 2011

Jim Tremayne, Editor, DJ Times

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FEEDBACK

how lying can help your dj biz AmericA’s First mAgAzine For ProFessionAl DJs estAblisheD 1988

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advice from america’s got talent

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* Grandmaster flash * frankie Knuckles * Darude * DJ swamp * Kid Koala * Dennis ferrer * D.o.n.s. * cut chemist * David morales * Gareth emery * Bob sinclar * cosmic Gate * morgan Page * Quivver * timo maas * rhettmatic & more

This is Feedback, a monthly feature that fields questions from you, our readers, and funnels them out to in‑ dustry professionals. If you have any questions about DJing – marketing, mixing, equipment or insurance, any at all – drop us a letter at DJ Times, 25 Willowdale Ave, Port Washington, NY 11050, fax us at (516) 944‑8372 or e‑mail us at djtimes@testa.com. If we do use your question, you’ll receive a free DJ Times T‑shirt. And remember, the only dumb question is the question that is not asked. DEAR DJ TIMES, In light of all the recent controversy between Winter Music Conference and Ultra Music Festival, will DJ Times be participating in WMC or Ultra this coming year? — DJ Kosmik, Weston, Fla.

KOSMIK, Certainly most of you DJs and clubmusic fans know by now that the 2011 editions of Winter Music Conference and Ultra Music Festival will be tak‑ ing place during different weeks in Miami. The 27 th annual WMC is set for the Miami Beach Convention Center on March 8-12, a little earlier than the 2010 dates. Meanwhile, the 13 th an‑ nual Ultra Music Festival is set to run at downtown Miami’s Bicentennial Park later in the month—March 2527. And, yes, it has expanded to three days. But DJ Times will not be taking sides. Instead, we’ll participate and serve as a media partner for each event, just like we always do. Why? Because both gatherings offer value to DJ Times. Our exhibition booth at Winter Music Conference allows us to connect with DJ vets and newbies alike. It’s always important to flex the brand and make plenty of new contacts. As always, this year’s WMC will include panels and workshops, exhibitions, the annual VJ Challenge, the WMC Record Collector’s Show, the International Dance Music Awards, scads of evening events, and plenty of

networking. At Ultra, DJ Times will also main‑ tain a dedicated booth. Although it’s a massive endeavor dealing with tens of thousands of party people, it’s another opportunity to connect with young DJs and fans who might not yet know of DJ Times. Of course, we can catch some of our favorite DJs and live elec‑ tronic acts, many of whom save some of their best moments for Ultra Fest.

This year’s Ultra lineup will include Deadmau5, Tiësto, Chemical Broth‑ ers (live), David Guetta, Pendulum (live), Röyksopp, Trentemøller (live), Erasure, Chromeo, Laurent Garnier (live), Ferry Corsten, Benny Benassi, Afrojack, Rusko, Gui Boratto, Mar‑ tin Solveig, Roger Sanchez, Claude Von Stroke, Wolfgang Gartner, Steve Aoki, Joris Voorn and many more. As far as parties go, at presstime

we know that we’ll be involved with Robbie Rivera’s Juicy Beach Party on March 24 at Miami’s Nikki Beach Club. Stay tuned for more announcements and we hope to see you in Miami. – Jim Tremayne, DJ Times

SAVE THE DATES DJ EXPO Aug. 8-11, 2011

Former NBA star Seikaly has become a global DJ.

SAMPLINGS

DJ TIMES

FFEBRUARY 2011

RONY SEIKALY: FROM HEAT TO HOUSE

Hoops fans remember Rony Seikaly as one of college basketball’s most athletic big men. With a repertoire that included quick post moves to the basket and a startling ability to run the floor, the 6-foot-11 Seikaly centered one of Syracuse University’s greatest squads in 1987. He went on to enjoy a successful and lucrative professional career, playing mostly in Miami for the NBA’s then-upstart Heat. Few fans knew of Seikaly’s musical passions and ambitions. Born in Lebanon and raised in Greece, Seikaly began to DJ before he’d scored his athletic scholarship in America in 1984. After growing up on Euro sounds, he later developed his taste for more modern club fare—easy to do in Miami, one assumes. And, now that he’s retired from the game and running several businesses, the musical pull remains. His debut mix comp—the energetic Subliminal Essentials presents House Calls by Rony Seikaly—may surprise a few folks, as it’s obviously come from the hands and mind of someone who genuinely understands global house music. He’s also parlayed his skills into a regular gig schedule that finds him playing Miami’s LIV and global hotspots like Pacha Marrakesh. We recently caught up with the South Florida-based Seikaly. DJ Times: Many might be surprised that a guy like you—successful in many endeavors—would pursue DJing. What got you interested in dance music? Seikaly: Music has been my passion since I was a kid. I grew up on dance music and have followed it as it has evolved. DJ Times: How long have you been DJing? Seikaly: Since the age of 14. I’m unsure the first record I bought. I would say anything from the old disco days, maybe France Joli, “Funkytown” or Boney M. I wasn’t looking to make a career out of music. I just always loved it and had a passion for it. DJ Times: How long did you work at it before you felt competent enough to play in front of people? Seikaly: I played in front of the most critical

private crowd for many years, which included top DJs, wannabe top DJs and music lovers. So, when it was time to play in a club, it was actually easier. I never felt uncomfortable about moving into a club. Like playing basketball, you are out there in front of all these fans, the TV audience—you know, the pressure is on. I was used to it. When I started playing clubs, I was just comfortable behind the turntables. It was just fun. DJ Times: What was the first club you played? Seikaly: The first club I played was Mokai Lounge in Miami. Since playing there, my music has evolved. I always had style, but the style has always been my style. You can just jump around. It always has that Rony style. All of the great DJs have evolved, but they always stay true to their style. DJ Times: Which DJs impress you and why? Seikaly: There are lots of DJs that impress me, whether it’s musically or technically. Some of them are: Danny Tenaglia, Erick Morillo, Luciano and Steve Angello. They all have their own distinct styles. You really know what you’re getting when you go see them. Other DJs, you walk in expecting one thing and you end up getting another. DJ Times: What platform do you use to spin? Did you start with turntables/CDs? Seikaly: I started with turntables and then CDs. I’ve never used a computer to DJ. DJ Times: Where do you get your music? Seikaly: Lots of research, but I mainly purchase music and sometimes I get it through other pro-

ducers or DJs. Also, trial and error. I spend a lot of hours on the computer, downloading tracks, looking for tracks. There is no shortcut, because there are thousands and thousands of tracks. Anyone with a computer can sit and make tracks, so you have to spend time combing through tracks. There are organized sites, but then others are trial and error. I go through blogs and so forth looking for music. It takes a lot of time, but it’s worth it. Combing through music is part of my routine. You know, whenever I have free time I’ll just go to my computer. DJ Times: What went into your selections on the mix-CD? Seikaly: I wanted for people to get a vibe of what I play over the course of a night and try to condense it into one hour. DJ Times: What are your favorite clubs? Seikaly: LIV in Miami, best club in the world. Amnesia in Ibiza, just legendary. Also, Queen in Paris, old-school underground. DJ Times: Can you understand why other DJs are a bit dubious about the notion of celebrity DJs? Do those ideas pose a challenge for you? Seikaly: No, not at all. But I absolutely do understand—I am dubious about that as well. I never wanted to be known as that basketball player who DJs or use that as a platform. I didn’t allow it to be announced on flyers or invites. I want the music and vibe to dictate my authenticity. – Jim Tremayne

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IN THE STUDIO WITH…

DJ TIMES

FFEBRUARY2011 FEBRUARY 2011

ALEX NIGGEMANN: TO THE DEEP END

In a very short four years, Germany’s Alex Niggemann has risen through the ranks of EDM’s top talents. In 2006, the Dusseldorf-born DJ/producer gained notice with his remix of Booka Shade’s “Darko” and he subsequently released tracks on labels like Meerestief, Micro.fon and Moonpool. Audiofly then signed him to Supernature and released his “The Black Rose” EP and his remixes of several tracks like Pele’s minimal mover “El Condor.” With a detailed style that ranges from dark techhouse to vocal-heavy groovers, Niggemann enjoyed a busy 2010 (with releases on Supernature, 8bit and 2020 Vision), but he’s also excited about his new label. Soulfooled. We recently caught up with Niggemann as he made a tour stop in Romania. DJ Times: You played classical piano–why the move into electronic music? Niggemann: It was just an accident. I was trying to find something I could express myself with. First, it was hip hop and breakbeat. My brother was a DJ and, when I was 15, he brought me to a party. This was the first time I really got into the music. I was fascinated how you can move and influence people by just playing records. DJ Times: Soulfooled is your new label—can you tell me a bit about it? Niggemann: Soulfooled was just an idea we had last year with Marc Poppcke and Ollie from Superlounge. We wanted to start a label for some time, but we were not sure when we should start this. I think it’s pretty hard at the moment because, with the digital thing, there are a lot of labels coming up. So, for us it was a big thing that we also publish vinyl. It’s a certain image if you’re also doing vinyl, not necessarily for the money, as we break even on

this. It definitely gets you more attention if you do vinyl, too. DJ Times: Recent years have seen a bit of a return of deeper sounds, something you’ve embraced. Was that a backlash to minimal? Niggemann: That always happens with every style of music. It’s also happening now with the deep-house stuff—everything is getting more techy. After the minimal stuff, we had the deep-house stuff with all the chord sounds, which were also kind of minimal, but organic and deeper. The old drums are coming back now, like the 909 or the 808. Everything is getting a little bit rougher again. It’s just progress. DJ Times: What sort of sounds are you seeing the floor really relate to right now? Niggemann: At this stage, where I get the most attention is with the style really similar to what I started to produce or play when I was 17—the whole loopy, funky stuff. DJ Times: What’s your production process? Niggemann: It takes me on average three or four days to produce a song. It’s not that easy to make something because I am a perfectionist and I don’t use all the loops that you can get from some CDs and stuff. I always try to program the stuff myself. DJ Times: Are you saying there are a lot of name producers out there using those loops? Niggemann: I think the big artists are probably not doing this. But even with Soulfooled, I receive a lot of tracks every week and, for 99-percent of the tracks, I can tell you where the tracks and loops originate from. These CDs are from factories that are collecting loops from old tracks asking for

Fast Start: Germany’s Niggemann has quickly become an in-demand talent.

licensing and selling them onwards. It’s not just one sample. They take whole parts of the song, the whole drumming or musical background and put it together with some other tracks and say that’s your tracks. DJ Times: Guy Gerber recently said he thought dance music was becoming too “loopy.” Your sound is based a lot on loops, isn’t it? Niggemann: Yeah, my sound is loopy, as I loop it by myself with the sequences I produce. It’s people who are using programs and loops to produce loopy music. I don’t have anything against loopy music. I just don’t want to hear the same loop in every song. DJ Times: Presets or all your own developed sounds? Niggemann: I use presets from VSTs, from the plug-ins. I use presets you can modify, in a way like you can modify loops. My studio is just getting big at the moment. Again, I’m a perfectionist who studied audio engineering. At some point, you can only get your quality of the music better with technical details. We go through a creative process with vocals and maybe we apply a tonal change and maybe write a rhyme or something. I could write vocals by myself, but I really like it if it’s more of a creative process and you sit in the studio and let your mind be free. DJ Times: You worked for DJ T. What did he teach you about surviving in this industry? Niggemann: He told me that tracks have to be catchy at the first point of listening. He said that I should be calm, not take the first offer from a label that tells you a song is good, and not act rashly. — Polly Lavin

new frontiers

With a Grammy Nomination & a Major Technology Sale Ending His 2010, How Does BT Top Himself? Just Wait & See…

DJ TIMES

FFEBRUARY 2011

By Nate Sherwood

For over 15 years, Brian Transeau (aka BT) has been one of the foremost pioneers of electronic music. He has successfully blazed new sonic trails, while remaining on the bleeding edge of technology. BTs musical journey began at the age of five. Born in Rockville, Md., he started off studying classical music composition and was conducting at the Washington Conservatory of Music by the age of seven. He attended Boston’s esteemed Berklee College of Music and went on to score numerous popular video games and movies, including the Oscar-winning “Monster.” In the 1990s, he made a name for himself in the electronic music community with trance anthems like “Flaming June” (a collaboration with Paul van Dyk) and a globally recognized rework of Tori Amos’s “Blue Skies.” In 2006, BT showcased his intellectual side when he released This Binary Universe, an album recognized for its use of hyper-experimental production methods and unconventional soundscapes. Now, BT can be seen touring the globe. He has circumvented the planet bringing both his laptop symphony and live band to clubs, festivals, and everything in between. In order to keep ahead of the pack, BT developed his own successful software company, Sonik Architects, which features audio products he developed. Just before presstime, BT’s world enjoyed two important developments. Audio technology company iZotope announced the acquisition of Sonik Architects and a continued partnership with BT. The Cambridge, Mass.-based company plans to release products designed by BT (like Stutter Edit) and take over development and licensing for the Sonifi collaborative music platform for mobile devices. “BT’s innovative production techniques have influenced a whole generation of music makers across every genre of music,” said iZotope co-founder and CEO Mark Ethier. “iZotope is thrilled to collaborate with BT to launch new products born out of his need for performance and production tools that did not previously exist.” It was also announced that his latest full-length, These Hopeful Machines (Nettwerk/Black Hole) had been nominated for a Grammy Award in the “Best Electronic/Dance Album” category. Needless to say, BT’s New Year began on a major upswing. Just before the Grammy nod, DJ Times caught up with BT to talk about his newest album, the evolution of his software system, and his burning desire to explore new musical frontiers. DJ Times: Since your beginnings in electronic music, did you always know that you were destined for DJing? BT: Over the last three years, the lines of DJing have become very blurred. I’ve never categorized myself as a DJ. I’ve always used the most cutting-edge

DJ TIMES

FEBRUARY 2011

DJ TIMES

FFEBRUARY 2011

“I am a huge advocate of education in the arts. I think it’s fantastically enriching for anyone and should be studied by everyone.”

tools for performance that were available. Back in the ’90s, I was on the road with a light jockey, a keyboard tech, and 15 bags of gear. I was traveling all over the world performing and using a plethora of synthesizers and sequencers. I remember some of my friends actually designing BT t-shirts that read, “Still not a DJ” (laughs). DJ Times: So how did things change over the years? BT: When Ableton Live came out, I was one of the first three people to use it for performance. Friends like Sasha and Dubfire just kept telling me, “You can’t perform with that!” It created a brand confusion. People realized I wasn’t using CDJs and they didn’t know what to call it. I started out just playing my own music and re-contextualizing it with other tracks. I would do things like play one of my tracks and sampling a guitar from Pink Floyd while dropping a Jay-Z vocal over it. It’s become a contemporary way of making music as a live performance. There isn’t really a name for what I’m doing. It’s become very distant from traditional DJing. DJ Times: What are you feelings on the traditional aspects of DJing? BT: I have a tremendous respect for true DJing as an art form. Sasha has always been my favorite DJ and I’ve watched him use two Technics 1200s and a mixer to create the most evocative musical journey that I’ve ever witnessed. It’s an engaging and riveting journey for the listener. I am deeply respectful of that type of talent. DJ Times: Does your musical training give you an advantage as a performer? BT: I am a huge advocate of education in the arts. I think it’s fantastically enriching for anyone and should be studied by everyone. I started with classical music at age 5. I studied the Suzuki Method, orchestration, and counterpoint string writing. I was conducting by the age of 7. My training has a huge influence on what I do now. Whether it’s good or bad, well, that’s up to the end user. For me, my educational journey has become invaluable. DJ Times: Is it necessary in today’s competitive DJ market? BT: Things today have become incredibly immediate. Kids are making records with a couple of good sample CDs and an Access Virus. They’re producing things that sound extremely professional. Everything has gone into the box from start to finish. One single audio file gets mastered and sent off to Beatport. It has created a culture of immediacy and made the turnover rate of music ridiculously high. DJ Times: What do you think about that? BT: In the big picture, it’s the timeless things that happen that create an impact, and people should study and understand that. There are so many pieces of music that are tried and tested and work. I don’t think it’s necessary, but I think it’s important for people to know and understand what came before them. DJ Times: Aside from your own productions, what music are you playing in your live sets? BT: I’m really feeling the dubstep stuff. There is some amazing innovation going on there. I love Bassnectar, Rusko, and Alex Greggs. For the first time in 10 years, I’m seeing a lot great trance stuff coming out and that really excites me! I hear people taking influences from minimal, dubstep, and progressive house and melding them with trance. It’s having a tremendous impact. I love Marco V, Josh Gabriel, Armin van Buuren, and the Above and Beyond guys. It’s just so nice to hear melody again. DJ Times: Are there any words of wisdom that you have for new DJs? BT: I think a big part of being successful in today’s DJ environment is making your own productions. It’s really so much fun! Even for veteran DJs, they will enjoy it. I invite people to explore, study, and experiment. I’d also encourage everyone to know what happened before them. Know about the Paradise Garage. Know what records Sasha was playing in 1991. These things are important and meaningful. DJ Times: What’s your current live setup? BT: Right now, I’m really doing two very different shows. I do my laptop symphony using Ableton Live, and [Akai] APC40, and my own proprietary plug-ins. I use a couple of Korg Nano controllers and I’m experimenting with the [M-Audio] Torq controller. I also do a three-piece live band with a circuit-bent lap dulcimer with cello strings and a bow. The band is entirely multi-instrumental, so we jump between instruments. I really enjoy playing bass, keyboard, and singing. Currently, I’m trying to put together a tour

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Morgan Page

Nationality: American Home: Los Angeles Musical style: Progressive House Years spinning:

Miles per year:

200,000+

Worst airport: LAX Biggest crowd:

10k at Red Rocks, Colorado

Favorite clubs: Vanguard (LA), Beta (Denver) Favorite festival: Favorite label:

Global Dance Toolroom

Favorite artists:

Deadmau5, Afrojack, Axwell

Musical heroes:

BT, Daft Punk

Favorite DJ:

Kaskade, Funkagenda

DJ names to watch:

Avicii, EDX

Best movie:

Fight Club

Best actor:

Robert Downey Jr.

Best book:

Born to Run by Christopher McDougall

Best album: Daft Punk “Homework” Preferred food: Preferred drink: Preferred DJ mixer: What’s next:

Sushi Red Bull and Vodka Xone:4D and Allen & Heath Xone:DX Debut Mix CD in October

Websites: www.morgan-page.com

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for my new album, These Hopeful Machines. I feel like this album really deserves it. I really like doing both kinds of shows and find them equally rewarding. DJ Times: Can you elaborate on your proprietary plug-ins? BT: For the past 15 years, I have been developing a variety of different software tools that I’ve needed for my own compositions. Stutter Edit is the program that I’ve been working on the longest. It’s an automation of my Stutter-Edit technique. I’ve also created a drum machine called Break Tweaker. It’s the first surround-sound drum machine that does granular and molecular nano-rhythmic figures that you can’t do with anything else. I developed my own software company Sonik Architects and am very excited to announce that iZotope will be acquiring my company to combine my design vision with their technology platform. DJ Times: Will this make the plug-ins available to the public? BT: Yes! They will take over the development of Stutter Edit, Break Tweaker, and an iPhone application that I’ve developed called Sonifi. It’s a very big deal to me and we are extraordinarily excited. We will introduce Stutter Edit at this year’s NAMM. We’ll throw a huge party to celebrate the release [Jan. 13 at the Anaheim Hilton, 7:30 pm]. Right now, there’s an enormous group of A-List artists endorsing the program. You will hear it in every genre of music from indie-rock bands, to electronic music, to things that you would hear on the radio. DJ Times: How does it work? BT: The program does much more than basic stutter effects. It’s suitable for performances as well as the studio. You can do fractal beat-cutting effects, amazing buildups and insert inverted noise sweeps. It allows you to break down the part of a track that doesn’t have a breakdown. It’ll be available on Mac and PC—this will be a valuable tool for guys using programs like Traktor and Ableton. It will also be useful to guitarists and singers. A person could sit on stage with this plug-in and do crazy stutter-edit gestures live. It literally sounds like someone sat in the studio for 1,000 hours to come up with the end result. DJ Times: How does an iPhone app fit into that mix? BT: Sonifi was a “proof of concept.” It’s become a useful engine for remixing on the fly. It’s the first application for the iPhone that allows this type of manipulation. It does lo-fi similar to the [Korg] Kaoss Pad—it offers filter sweeps (continued on page 48)

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DJ TIMES

FFEBRUARY 2011

The Principality of Monaco—Ibiza? Been there. Las Vegas? Yawn. Winter Music Conference? Done that. Clubbing in Monaco? An altogether different league. The Monaco International Clubbing Show (MICS) drove that truth home in a variety of ways. Held Nov. 11-14 at the sparkling Grimaldi Forum on the Mediterranean coast, the show offered a slate of daytime exhibits and panels, while the club portion rocked late into the night at some of the world’s poshest venues. And, of course, DJ Times was in effect, with a media tent and as a presence on a seminar, “Clubs and Media.” The MICS trade show presented a mixture of lighting, sound and design booths from club heavies like Sennheiser, Funktion-One and Clay Paky. A section of “New Tech” exhibits featured companies like Activision, which showed the new DJ Hero 2 game. Loved those cardboard cutouts of game avatars Tiësto and Deadmau5. Along with major club brands like Sankeys, media sponsors like DJ Times and French pub OnlyForDJ’s enjoyed plush meeting areas, while beverage companies—from Grey Goose to Chivas, Monster Energy to Carlsberg—entertained attendees with a heady mixture of DJ-fueled beats and 6-foot models offering free samples. Good thing, too, because the clubbing wasn’t always as cheap. At Jimmy’Z—the ultra-popular celeb haunt that entertains regulars like U2’s Bono—a pair of Carlsberg bottles cost €40 (about $54). After recovering from my near-stroke, I had to consider the surroundings. After all, just across the street from the Grimaldi Forum one could find a Rolls-Royce dealership, right next to a Lamborghini dealership, right next to a Bentley dealership. Welcome to the deep end. Still, we did get to see Jimmy’Z in all its glory on an evening when Germany’s Boys Noize and France’s Feadz blasted the joint with electro bombs that had a skyline of models teetering in their heels and a cadre of ascot-rocking playboys fist-pumping like Jersey Shore rats. And after the club’s resident DJ Carmine Sorrentino scored us a few free Carlsbergs—grazi, signor—he told us a story of how Stevie Wonder once came into the club, listened to his set of soulful jams, then requested a moment with the DJ to tell him how much he enjoyed the music that evening. Of course, the legendary artist couldn’t have known that Sorrentino, after hearing such a thing from one of his musical heroes, had tears in his eyes. At the Grimaldi, in the temporary MICS Club outfitted with a teeth-rattling Funktion-One sound system, Bob Sinclar held sway with his crowd-pleasing brand of singa-long house. (Beers were only €10 a piece there.) On the Port of Monaco across town—or rather, on the other side of the world’s second-smallest country—American fave Dennis Ferrer kicked it at Black Legend and Dutch treat Chuckie blasted the Brasserie.

17 Photos By Loic B.

The Monaco Int’l Clubbing Show Takes DJ Times Into Another League.

Of the nine MICS seminars, “DJing & Technology” offered the most illuminating moments. After panelist Sorrentino detailed how evolving technologies have helped create a new generation of DJs, he warned, “It’s now easier to mix, but it’s still not easy to DJ.” Fellow panelist Bob Sinclar agreed, “I play CDs because I want to connect with the dancefloor and not stare at a laptop. With the new [DVS] systems, DJs play music with their eyes and not their ears anymore.” Then he dealt a little dirt on the nagging notion of the celebrity DJ: “Money has now become the essence of DJing—everyone wants to rise through the ranks too quickly,” he said. “I’ll give you an example: I played a club in South America. I finished my set and [Madonna’s on/off boyfriend] Jesus Luz was set to DJ after me. He had a technician set up his computer and then when I finished my set, he ‘went on.’ “He jumped around the booth, waved his arms and pointed everywhere, but he never touched the computer. [Laughs.] Somehow, people in the room seemed to like it. [Laughs.] So, I guess that proves if you can’t really DJ, you must fuck the right girl!” Then Sinclar became serious. “When 2,000 people are in front of you, you can’t lie,” he said. “You have to understand what makes people move. It’s more than buying 10 hot tracks on Beatport or Tracksource. It takes talent.” Word. And when it was all over, we did find a moment to relax in Monte-Carlo’s one Irish pub—McCarthy’s, not far from the Grimaldi’s glitz and glamour. Price for a Guinness pint? A relatively reasonable €6. Merci, MICS. We’ve never been to a convention like this one. – Jim Tremayne

FEBRUARY 2011

DJ TIMES

1–Ahoy, Captain: A dancer salutes at the MICS Club at Grimaldi Forum. 2–At the FG Awards: (from left) MICS’ Richard Borfiga, Ciribelli’s François Caronia & HSH Prince Albert II of Monaco hold the spoils of excellence. 3–Rock the Disco: Monaco clubbers groove to Avicii’s set at Grimaldi. 4–Sashay, Chantay: A model swaggers through the club crowd at Grimaldi. 5–Absolut-ly Top-Shelf: Adult beverages were aplenty at the MICS exhibition. 6–Holland’s Chuckie gets in the groove. 7–Play the Game: Models rock it at the DJ Hero2 exhibition booth. 8–DJ Paulette arrives at the MICS club. 9–We Are The Robots:The Robotniks tower over the club crowd. 10–Hey, Hey: Dennis Ferrer in the booth at Black Legend. 11–Double Dippin’: Feadz (left) & Boys Noize jammin’ at Jimmy’Z 12–Drop That Beat: Sacha Muki bangs it at the MICS Club. 13–Ka-Boom: A CO2 cannon blasts Monaco clubbers. 14–Sweden in the House: Avicii drops a little “Bromance.” 15–In the Moment: Joachim Garraud lets loose at MICS Club. 16–World, Hold On: Bob Sinclar gets fired up at the MICS Club. 17–And Why Not? Swimsuit models cavort in the MICS club. 18–A Toast: Luxor champagne for a job well done.

DJ TIMES

FFEBRUARY 2011

getting weddin

The Florida bride was thrilled, ecstatic that she was booking the very best DJ for a wedding reception that was sure to not only be thrilling for her family, but also for her guests. Yet she’d never before personally observed a performance by JR Silva or any other employee of Silva Entertainment. Welcome to the 21st century and the world of social networking sites such as WeddingWire, which seek to provide engaged couples with an online tool to easily book the best vendors for receptions based primarily on referrals and reviews from previous customers. Naturally, this type of site provides business owners with yet another way to market themselves over the Internet for no cost, and therefore a guaranteed return-on-investment. DJs from around the country have varying opinions on the effectiveness and impact of sites such as WeddingWire, with most claiming to have observed a marked increase in profits, yet with others saying that they’ve found even better options. What kind of response do these sites garner for promoting a DJ business and guaranteeing higher charges? How do mobiles actually use online reviews to effectively market their businesses? And what specific methods do DJs use to garner even more positive reviews? “I wouldn’t say that I concentrate on getting the reviews, but it is an added part of our customer cycle,” says the Orlando-based Silva. “We used to just ask for their feedback on the event, while now we ask for their feedback in addition to sending them to the WeddingWire site to leave their response. “As soon as brides began telling me they were reading the reviews and using them to guide them on who to call, I knew we had to be there.” Silva says that keeping our attention on the needs and goals of an engaged couple is key to finding success on WeddingWire, since the way to successfully better our business through the site is to get great reviews by delivering even more than the couple expects. “Being on WW doesn’t guarantee me that I can charge higher fees, but our good reviews filter us in a bride’s mind,” he says. “It gets us a chance to sit in front of them. Then we have to be in customer service and sales mode from there. Having good reviews simply helps drive the bride and her fiancé to my website or to make a phone call.” As an example of how WeddingWire worked well for Silva, he quickly rattles off an example: “Several of the guests at our reception commented that this was a great wedding,” said one satisfied bride. “Andres did an excellent job as MC. He had

Everyone’s Favorite Online Review Site Has Exploded in the Past Year. Is It Too Late to Join the Gold Rush? By Jeff Stiles

“Prospective clients take the time to read testimonials and ratings from our former clients,” Hollman says. “The testimonials provide a good sense of our style and what in particular people liked about us. The WeddingWire team is constantly expanding its distribution, and also offers monthly conference calls to advertisers on relevant industry topics.” How can you maximize the impact of positive reviews on the WeddingWire? Hollman says he is quick to answer when brides and grooms at the end of their reception offer to provide positive references based on their positive experience with Ambient. “At that time, I mention that I’ll be following up with them in a few weeks, so about three weeks after their reception—I give them some time to settle back in after their honeymoon, but while the buzz is still hot—I send a thank-you e-mail and a link to our WeddingWire storefront so all that they have to do is click through,” he explains. “I don’t provide any coaching in what they should rate us or write, so the reviews appear organic and real. And even more than that, I don’t invite all clients to review us on WeddingWire—though, of course, they still may do so on their own accord. “Brides who are raving about their reception seem so eager to tell their story that they’re about to explode are the ideal candidates.” Yet another user and advertiser on WeddingWire is Scott Goldoor of East Norriton, Pa.-based Signature DJs, who claims he’s gotten decent feedback as a result of receiving guaranteed placement on the site’s front page for local DJs. “Even more importantly with regard to the reviews, by keeping ongoing, continuous and current reviews, it shows my customers the testimonials for all of the DJs who work with my company,” Goldoor says. “It’s also helped me become more diligent with my follow-up phone calls and e-mails with my customers. “Obviously, in a down economic climate you need any leverage you can get. If you’ve also noticed, other sites like The Knot have been following suit.” Goldoor says he’ll often have a specific DJ available for a customer’s date who will contact the client directly. He then follows up with a review or two—plus a reference or two—from people who have used this specific DJ. “This way a potential client is speaking and meeting with their DJ, and has a recent testimonial or review, as well as a reference to speak with about

DJ TIMES

an entertaining personality that was a hit with our families, and he included the right mix of Latin, country and regular party music. Meanwhile, JR himself did a great job of planning the event and was first-class and professional. I believe that hiring Silva Entertainment was the key ingredient in making our wedding reception an overwhelming success, and for that we thank you.” Obviously, the above review gives evidence that Silva performed with the style and professionalism that resonates from one bride to another. Blake “Sticky Boots” Eckelbarger in South Bend, Ind., says he began utilizing WeddingWire’s reviews in 2010, and claims the results have been amazingly positive. “Almost every bridal prospect I’ve spoken with has heard of the site and many are very familiar with it, having done a great deal of research on vendors before meeting with them,” says Eckelbarger. “I’ve also had many brides comment that they like WeddingWire due to the fact it’s much more organic and doesn’t require them to register to look at vendor information and reviews. “It has a much more visible focus on entertainers.” From a marketing standpoint, Eckelbarger says another positive aspect of WeddingWire reviews is that they allow prospective couples to read honest ratings of their service from actual brides who are free to write anything they like in an independent forum. “They can also see ratings on specific points like ‘quality of service’ and ‘value,’” he says. “In my opinion these types of reviews convey much more to a prospective client than some random scanned thank-you notes posted on a company’s website. Most of our clients also mention their entertainer by name in their review, which allows others to see reviews on each of our DJs—not just me.” Eckelbarger’s company, The Music Place, links to WeddingWire prominently on their website. Many times on the phone they’ll directly reference WeddingWire and encourage the prospect to check out their reviews, especially when brides are considering one of their DJs over another. “It’s a powerful tool to say, for example, ‘Jeff does a fantastic job in mixing Top 40 songs with classics, so make sure to check out his reviews on WeddingWire where past clients have raved about him,’” he says. “We also make sure to publicize each new review via social media to let our fans know that we continue to be at the top of our game.” Another DJ owner who has found WeddingWire to be immensely helpful is Greg Hollman, owner of Ambient DJ Service in East Windsor, N.J., who says his business has experienced a high return on investment as a featured vendor.

FEBRUARY 2011

gwired

DJ TIMES

FFEBRUARY 2011

getting weddin

Everyone’s Favorite Online Review Site Has Exploded in the Past Year. Is It Too Late to Join the Gold Rush? By Jeff Stiles

DJ TIMES

FEBRUARY 2011

gwired

DJ TIMES

FFEBRUARY 2011

their recent performance,” says Goldoor. “I’ll also be integrating this into a new re-design of my website, by adding pictures, video, etc. “I just received an inquiry from a father of a bride who said, ‘We see you have a lot of really good reviews, and want to set up a meeting right away.’ I proceeded to schedule a meeting with him, his daughter and future son-in-law for later that week. And they ended up writing me a check for the deposit at the end of our very first meeting. “Would they have found me or booked me had it not been for the WeddingWire reviews? Quite possibly, but it certainly helped and is an added reinforcement to marketing our services.” While admitting that reviews are important for booking the most (and best) gigs, Jake Riniker of Platteville, Wisconsin’s Riniker Rhythm says he’s received better reviews from The Knot than through WeddingWire simply because The Knot is “not” so crowded. “I am listed on WeddingWire but I don’t focus on it as much as The Knot, where I have all of my bride’s reviews,” Riniker says. “There are so many DJ companies using WeddingWire that I feel I’ll get lost in the mix. I also don’t like the way vendors are arranged, when you type in an area code for a search. “My feeling is that it should be closest to furthest, which it’s not.” Still, Riniker is adamant that reviews are crucial for this day and age, not only for the rating but also for the content.

“I encourage past brides to review me so others can hear what I do differently, and also so I can hear what brides and grooms like so I can continue what they mentioned,” he says. “Reviews have helped me branch out of my local demographic into other more populated areas. “Future brides read these reviews and say to themselves, ‘This is what I want in my area!’ without ever seeing or hearing about my company. It’s made bookings faster, because now most of the ladies that contact me only want to know if I’m available.” Riniker claims that his reviews on The Knot have generated three weddings within three months from larger market areas, such as Iowa City and Cedar Rapids in Iowa. “The wedding in Iowa City, which is will be held in June of 2011, was a very simple one to book,” he says. “The bride contacted me saying, ‘I read your reviews online and like that you have a DJ/Photo Booth package, but are you available this date?’ The reviews made the sales pitch for me, which is huge.” Over on the West Coast, an online review site called Yelp seems to be overwhelming WeddingWire usage, with users utilizing Yelp to find local businesses such as dentists, hairstylists, mechanics and even mobile DJs. In the San Francisco Bay Area, Mark Haggerty of Denon & Doyle says DJ services tend to live and die based on Yelp reviews. “I was speaking to someone just last weekend about this and she knows some people who have been hurt very badly by Yelp,” Haggerty

says. “The reviews don’t drop off very fast, and that hurts if they’re bad. “Still, we actually solicit these Yelps from our clients in our follow-up emails after a gig, and we’re blessed to have so many outstanding reviews and comments. It has actually helped our business and the individual DJs that we employ.” Haggerty says the benefit of such online reviews is that if D&D has a problem with a particular client, they can make it right before that individual gets too steamed over something—and they usually can fix the problem before the client is driven to post a negative Yelp. “To ensure better reviews, aside from doing the job that you’ve promised the client, follow through and give a great performance,” advises Haggerty. “I’ve usually had a solid rapport with my clients leading up to the event and I check in with them at times during the event, and then someone from our office will how everything went. I never ask that last one myself—if I was the actual DJ—because I want them to be honest. Some people may feel put on the spot, so one of our office people will send the email to make sure the customer is happy with the end result. “If there was a problem we can therefore try to make them happy, or straighten out a misunderstanding before they get all fired up to write a bad review. We can usually isolate the problem down to one segment of the party—say the microphone cut out—and then offer them a refund equivalent to the problem.” Of course, the danger of sites such as WeddingWire, The Knot and Yelp, according to Jerry Bazata of DJ Jaz Music and Entertainment, is that the emphasis is oftentimes placed on getting reviews to be noticed. “The clear problem,” says the Ogunquit, Maine-based DJ, “is that 90percent of the reviews that DJs post come from brides only and 95-percent of the reviews state the obvious three positive aspects of the mobile DJ: that the DJ was professional, the music was great and that everybody commented on what a great time they had at their wedding. “This becomes a vague and narrow observation on which almost every bride bases the decision to choose a DJ service,” he says, “yet we are driven to beg and even bribe a new married couple to comment on our services. Yes, I’m correct in saying ‘bribe,’ as I recently saw on a few DJ websites that if a bride sent them a comment about their service they could win a gift certificate. “In 2011, I’ve made a decision to seek the endorsement of wedding professionals such as photographers, banquet managers, wedding/event planners and corporate clients as op-

posed to brides, who basically don’t provide the insight or candid testimony to the value my service provides. “Would it not make more sense to demonstrate that you can work well with a banquet manager in assisting in the flow of the reception, coordinating the time-line and specific instances where you helped out in a crisis situation? Endorsements or recommendations such as these will help to demonstrate our ability to work under pressure, and understand the importance of communication and teamwork during a party or event.” Bazata claims that attention to detail and the ability to communicate and follow up accordingly, along with providing insight and fresh ideas, will create a memorable evening—and not just a packed dancefloor. “When it comes to proms and school events,” he says, “I’m focusing on the advisers and school administration to provide me the endorsements and feedback. Students only want to know that you have the latest music in your library; however, the issue with sexually suggestive dancing and inappropriate version of songs is on the spotlight of administration and teachers. “Today the mobile DJ is seeking to expand beyond just weddings. Event planners are looking for you to assist with fashion shows, product launches and client/customer appreciation events—looking for you to deliver that ‘wow factor’ to other clients. Therefore, getting the testimonials from the corporate executives will enhance your ability to win highvalue engagements and more profitable business.” Mike Mahoney of M&M Entertainment in Portland, Maine, couldn’t agree more with the need for proper follow-up, as he says the most important job for any DJ entertainer is to do the job to get a proper review. “When someone is looking for references, I send a few links to testimonials,” he says. “The great thing about the testimonials is that, depending on the event and the things you did for it, your review will be different, so they don’t end up all looking like the same ‘You played great music’ testimonials. “Beyond that, I’ll send a quick follow-up email before sending the survey, asking if they were fully satisfied or had any thoughts for how I may improve my service for future couples. We’ll take care of any issues there and then I’ll send out the survey link. “As far as this giving me the ability to raise rates—not yet. But I do believe this combination will allow me to improve my services even more and raise my rates accordingly in the f uture.” n

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the

precious process

Incubus DJ Chris Kilmore Discovers Some New Toys as the Band Enters the Studio for Album #7

DJ TIMES

FFEBRUARY 2011

By Jim Tremayne

As we approached the issue that’ll appear at the Winter NAMM show—an exhibition reeking of rock-n-roll—we figured we might want to connect with a DJ who plays in a popular rock band. Just our luck, we got a tip about Incubus and its turntablist Chris Kilmore, as the band entered a Nashville studio to record its seventh full-length album. In addition to lending scratching duties to stomping fan faves like “A Certain Shade of Green” and more melodic modern-rock hits like “Drive,” DJ Kilmore, 37, provides keyboard duties for the platinum-selling act. While the band hunkered down in the studio, Kilmore was growing into new pieces of gear—including his latest weapon, Novation’s Dicer. Used with Serato Scratch Live, the cue-point and looping controller, he says, offers hand-freeing solutions for his performances. For a band that’s sold over 13 million units worldwide and topped the Billboard album charts with its most recent effort (2006’s Light Grenades), the studio process is especially precious and we were fortunate to catch up with DJ Kilmore at its beginning. It went like this: DJ Times: OK, boring stuff first. Where do you live and what’s your background? Chris Kilmore: I grew up in Dillsburg, Pa., a small town in central Pennsylvania. I also lived in Washington, D.C., for five years during my college years before moving to Los Angeles. The band is still based in L.A. DJ Times: How long have you been DJing?

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DJ TIMES

As DJ for Incubus, Kilmore has seen his band sell over 13 million records.

DJ TIMES

FFEBRUARY 2011

Kilmore: I started DJing in 1986. It’s been 24 years, going on 25. Wow—that makes me feel old.  DJ Times: Which DJs influenced you at the beginning? Kilmore: A lot of DJs had—and still have—an impact on me. I was huge into hip hop and, like a sponge, I tried to soak up everything I heard. Being from a small town, I really didn’t have the opportunity to be around a lot of DJs. I was always trying to understand what the DJs were doing on the classic records of that time. DJ Times: OK, so who impressed you the most at the outset? Kilmore: I could go on a crazy tangent about this, but my biggest influence at the beginning would have to be Jazzy Jeff. I saw him in concert at a young, impressionable age and lost my mind. That guy’s skill set was, and still is, amazing. DJ Times: Do you DJ apart from the band? Kilmore: You know, I don’t really DJ outside of the band too much anymore. I’ll do some one-offs sometimes at random places around the world, but the band really consumes my life.  DJ Times: What is the band working on now? How would you describe the material? Kilmore: We are currently in Nashville at Blackbird Studio working on our seventh full-length record. It’s always been hard for me to describe our material. To me, it always feels like mentally I’m putting myself—and the rest of the band—in a small box. As far as our new material goes, not only is it early on, but our recording process is a little different this time

around. DJ Times: How so? Kilmore: We usually have all the parts worked out before we go into the studio. We play the songs in a live room together and then overdub. This time, we just have basic structures for the songs and are building them up piece by piece. I guess you could say this album will be a little more “produced.” DJ Times: Incubus has always incorporated lots of different styles. What styles do you bring to the mix? Kilmore: I don’t have a particular style. Most DJs are a one-man band, but it’s imperative to be open to other styles and views when in a band situation. What makes us... us is the fact that we all have slightly different upbringings and musical tastes. I try to take different influences from all aspects of life and piece them into our music. I’ve always said that I’m like the icing on a multi-layered cake. I kind of hold it together, but, really, I just taste good.  DJ Times: How have your studio contributions changed over the years? Kilmore: I touched on the process a little before, but it has definitely evolved since my first record with Incubus. In the past, before we would play a lick of music, I would make my own scratch records. Clearing samples wasn’t something I wanted to deal with, so all the sounds were original. My approach was kind of like... here’s a scratch record. Now, it’s how do I fit this into the music? Nowadays, my approach is a lot different.

DJ Times: How’s that? Kilmore: Serato changed my life. When it came out, I was like... sweet. I don’t have to wait for these records to come back from the plant. The recording process and the preparation became one. I used a lot of analog synths on the scratch records, so I started playing them in the studio and made digital scratch records for the live gigs.  DJ Times: When you play with the band, what’s your setup? Kilmore: I play a Moog Voyager with a bunch of Moogerfooger pedals, a Hammond B3 organ, a ‘73 Fender Rhodes, and two MIDI controllers thrown into a Mellotron body. We call it a “Scriblotron.” My DJ setup is a little unique, but pretty basic at the same time. It consists of a Macbook Pro running Serato, a set of Technics SL-1200 turntables and a Rane TTM57 mixer. I use the footswitch out of the mixer and run my cue through my in-ears. I recently added a set of the Novation Dicers. DJ Times: How are you using the Dicer? What solutions does it offer you? Kilmore: The dicer is awesome! It’s a MIDI controller that sits in the 45s of the 1200. Since my turntable rig sits on top of the Rhodes, the Dicer goes a step further than the 57 mixer and frees up my hands a bit more. The setup has made me faster and, because of the location, allows me to play keys and DJ at the same time. This has really opened up a door for me when playing live. DJ Times: Have you totally given up using vinyl? Kilmore: There is nothing that sounds better than a good piece of vinyl, but... onstage? Yes. Serato in Relative Mode means no skipping. In a rock band with a singer [Brandon Boyd] who occasionally catches “The Holy Ghost,” Serato is a lifesaver.  DJ Times: After years of using a DVS system like Serato, as opposed to old-school vinyl, do you miss the old-school approach? Kilmore: I love the sound of vinyl over MP3s. I mean, who doesn’t? My record collection at home is a little over 13,000 records, but that’s where they stay—at home. Like I said earlier, Serato has totally changed the way I approach DJing. There is nothing like performing a battle routine on oldschool vinyl, but with a little getting used to, you can do the same routines with Serato and not wear out your records learning it.  DJ Times: Are there any DJs who impress you now? If so, who are they and why do you find them impressive? Kilmore: I have respect for the DJ—from Grandmaster Flash to Tiësto. Watching a good DJ with a passion for the art is impressive to

me. In particular, I have always found the DJs who have won these titles over the years impressive. That said, I can’t think of a more impressive DJ than DJ QBert. DJ Times: You and a lot of people. As a turntablist, do you have strong feelings about the demise of the Technics SL-1200 turntable? Kilmore: Can you believe it? It’s the end of an era. There is nothing like the 1200. In my opinion, they are the most durable turntables ever built. I own 12 of them, so I should be good for a few years. DJ Times: Any special memories about that piece? Kilmore: The start of my whole DJ career started with me making a bet with my dad at age 15. He couldn’t understand why I needed two of them, so he said, “If you can buy yourself one, I’ll buy you the other.” So I got a job at McDonald’s for the summer, saved up $600 and quit that lame-ass job. With my $600, my dad and I went a few towns over to an audio equipment store. It was just my luck that they only had one 1200. I bought it and, even though I was extremely excited to get it home, I was a little disappointed that my dad wasn’t into ordering the other one for me. Well, a few months later Christmas came and guess what was under the tree? My second 1200. He came through after all.  DJ Times: What’s the biggest challenge for you, a DJ who works with a band? Kilmore: There are a lot of challenges presented when working with a band. They range from explaining the capabilities of the modern DJ to understanding DJ culture and its influence on our society. If I had to pick one, I would say the biggest challenge would be just fitting in. In our band, it’s about making the song better. All aspects are important. From the supporting role to the scratch solo, it’s a matter of figuring out when and where.  DJ Times: Any advice for DJs who work with bands? Kilmore: My DJ journey has transformed from being a solo artist to being an integral part in a group collaboration. It’s important to understand the difference—and don’t expect them to be the same because they’re not. Knowing that, have fun with it.That sounds a little cheesy, but it’s true. It takes a lot of hard work and dedication to be successful at anything. A band is no different.  DJ Times: Anything for DJs in general? Kilmore: Yeah, practice, practice, practice—and then practice some more. For me, it was a lot of timing and lighting, but without the skill set, I wouldn’t have been ready when I got the call.  n

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MAKING TRACKS STUDIO…HARDWARE…SOFTWARE… Once every few years, a company releases a product that radically affects the way that we all create music. Such was the case 10 years ago when Sweden’s Propellerhead (propellerheads.se) released the first version of Reason. I’ve been a Reason user since those early days, and I have always wondered why Propellerhead never designed the program to handle audio. I felt that if Reason could handle audio like Logic, Pro Tools and the other DAWs out there, that would be very lethal combination for making tracks. Fast forward to 2008, when Record was introduced into the marketplace, allowing Reason users to work with audio, albeit from a completely separate program.

new tools that I feel make an upgrade a “no-brainer” decision. The biggest additions to Reason’s already vast array of instruments and effects are: Kong Drum Designer, Live Sampling and Dr. Octo Rex (formerly known as Dr. Rex). On the Record side, there is a new Neptune Pitch Corrector and a Voice Synth Device. Block-based sequencing is now available, which really helps in speeding up the trackcreation process, because, visually, all of the data on the arrange window

these new tools sound great and put both of these programs on a new level, in terms of production tools. Getting Down to Making Music: It’s been a little while since I have done a full-on track in Reason in stand-alone mode. Most of my previous Reason use has been to sketch out song ideas and then bounce the parts out, or to run in ReWire mode with Logic. This is also my first time using Record, so I wanted to challenge myself by working on an entire track within the two

Record 1.5 features Neptune Pitch Adjuster, three tools in one.

PROPELLERHEAD’S SUPER DUO

DJ TIMES

FFEBRUARY 2011

By Josh Harris

The premise is very simple: Record users have access to Reason’s wide palette of synths, samplers, drum machines, loops players and effects from within Record. The two programs work together seamlessly, with Record handling all of the audio, mixing, and sequencing duties. The whole setup is very well thought out, and extremely powerful. I will assume that most of you out there have heard of, seen, or used Reason, so I am only going to highlight what’s new in 5.0. Most of this review will be spent discussing Record and, of course, highlighting what’s new in Version 1.5. Both of these programs are available for Mac and PC platforms, respectively. Installation & New Features: Installation went very smoothly and I registered both pieces of software on the Propellerhead site, along with the USB key that comes with Record.You have to use this key in order to run Record, and it is recommended that both programs are registered to the USB key. While I’m not crazy about dedicating a USB port to a dongle, we do live in a world of software piracy, so I understand. Fortunately, my 17-inch Macbook Pro has a third USB port. Installation will take a few minutes and I do suggest installing the content for both programs on the same drive. Both programs introduce some

Reason 5.0 includes new drum module, Kong Drum Designer.

are blocks. I’ve always worked a bit faster when I am able to view my data as blocks. The Reason sound bank library has also been expanded. In fact, it just about doubles in size from previous versions, and it is designed for multicore optimization. The Kong Drum Designer is like an MPC on steroids. It has 16 pads and allows for some very detailed sound sculpting and editing of drum sounds. It will even read Rex Loops. Dr. Octo is essentially eight Dr. Rex players combined into one. This allows for some elaborate Rex Loop layering and Rex Loop mangling. The Neptune Pitch Adjuster and Voice Synth is three tools in one: a pitch corrector, voice synth and a real time audio transposer. All of

programs. All of the Reason tools are available from either the pulldown menu or the graphic tool bar. I work mostly in Logic and Pro Tools, so, visually, Record and Reason have quite a bit more going on, which took me a minute to adjust to. Once I spent a few minutes acquainting myself with the main key commands, I was off and running and building my track up in no time. I started by opening up Record and importing a vocal track. I was impressed with how easy it was to manipulate and edit audio. Coming from a Logic and Pro Tools background, there are certain editing features that I am used to having at my disposal, and Record did not let me down. I also had to setup my Master

Keyboard for MIDI I/O from within Record’s preferences, so that I could input MIDI data. Then I brought in some drum sounds to the ReDrum drum machine. Next, I added some Rex Loops to the Dr. Octo Loop player. After that, I threw down a handful of bass and synth tracks with Subtractor and Thor. What I love most about Record is the mixing section, which is modeled after an SSL 9000 console. It’s very cool and has that SSL sound. It’s extremely deep, in terms of the EQ, Dynamics, and Effects. Just like the real SSL, there is a bus compressor, which sounds fantastic. I’m still amazed at how Propellerhead was able to create a virtual SSL that is extremely CPU-friendly. As I built up my track, it really became a hybrid of audio and MIDI, as opposed to all audio. Automation and mixing is very easy and virtually every parameter can be automated. There are so many ways to work within these two programs that there isn’t a right or wrong way. It’s about what works best for the creator. I like to mix up my approach to making a track every once in a while, which helps keep the creative process fresh and exciting, and I felt like I was able to that within this environment. Record boasts a very streamlined approach to comping, where you highlight the parts of the various takes that you want to use, and leave the others muted. Time stretching is also easy and seamless, and it yields very good results. Just to play around, I slowed my track down about 10 BPM and everything followed flawlessly. Final Thoughts: I judge music-making tools on how well they allow me put my ideas down, how seamless that process is, and how the end product sounds. The combination of Reason and Record is pretty amazing, when you stop to think about all that you can do, and how you’re able to do it. I am definitely hooked and will spend more time making complete tracks using both programs. Propellehead continues to create fantastic music tools for today’s music making, and does it at an affordable price. Pricing: Sidegrade (includes Reason 5 upgrade), $169; Reason 5 Upgrade from any version, $129; Record 1.5 Upgrade from any version, free download; Record Reason Duo bundle, $449; Reason, $349; and Record, $299. If you purchased a qualifying Reason product after May 24, 2010, you can upgrade for free.

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SOUNDING OFF PLAYBACK…PRO AUDIO…PROCESSING

A&H’S XONE: DX—PLUG-N-PLAY

DJ TIMES

FFEBRUARY 2011

By Wesley Bryant-King

New Zealand is perhaps not the first place that comes to mind when one thinks about innovative DJ technology. But it is in fact home to Serato Audio Research, the company responsible for introducing Scratch Live, which back in 2004 revolutionized digital DJing just as it was gaining a foothold among “early adopter” DJs. With Scratch Live, Serato sought to bring the traditional feel and methods of control to DJs playing digital music. Fast forward to 2008, and the Kiwis once again successfully identified a challenge facing digital DJs, and brought a product to market to address it. That product was ITCH, and this time around, Serato were aiming to improve integration, ease of use, and reliability by working to closely tie software and hardware together into a dedicated, purposebuild system. This was, in fact, one reason why Serato Scratch Live was so successful; by working with hardware maker Rane (whose proprietary audio interfaces are required to use SSL), Serato could to some degree ensure better reliability and performance versus “roll-your-own” approaches. For ITCH, however, Serato didn’t limit the hardware to a single manufacturer. DJ equipment makers including Vestax, Numark, Denon—and now England’s Allen & Heath—have jumped on-board to produce dedicated ITCH hardware that is sold bundled with the ITCH software. In the case of Allen & Heath, that product is the Xone:DX. First Impressions: As a long-time user of the Xone series, I was excited to have a chance to take the Xone:DX ($1,699 list) and ITCH for a spin. Once it was out of the box and on my desk, it was clear that the Xone:DX looks like a scaled-down version of the Xone:3D or 4D—two dominating platter-like rotary encoders, crossfader, four channel sliders, and an array of buttons, knobs, and LEDs. It shares the recent Xone family design of a dark background, with screen printed markings designed to glow under a blacklight. It has a cer-

tain sex appeal, and with its all-metal enclosure, it screams “pro-grade.” While the Xone:DX looks like a 3D or 4D, at about half their price, it’s definitely not. While the 3D and 4D are MIDI control surfaces, ASIObased audio interfaces, and a hardware DJ mixer rolled into one, the DX is solely MIDI + audio. The four channels worth of mixer-like knobs and sliders merely control the virtual mixer built into the software. The four sliders on the front correspond to the four stereo pairs in the built-in ASIO audio interface, and can control either one virtual deck in ITCH, or can support external inputs. Two of the four can support line or phono signal levels, and one of the four can support line or mic. Unfortunately, while the mic input on the front-panel has its own level and EQ as on the 3D and 4D, unlike those two units, the mic is not a separate channel; to use the mic, you have to use the channel 4 external input, making it inconvenient if you want to shuffle four decks in ITCH. Skipping set-up for the moment, Serato’s ITCH software makes perhaps a slightly less positive first impression than the DX itself. Cosmetically, ITCH will probably seem familiar to Serato Scratch users. But for a Serato newbie, the sex appeal of the DX hardware overshadows ITCH’s lack of the same. Its boxy, Spartan interface is clearly “all business,” and it looks quite dated compared to the user interface design of typical Windows or Mac software today. For most DJs, function is more important than form; but there’s no shame in working good and looking good, and ITCH could use a little sprucing-up in the looks department. Set-up & Use: True to Serato’s mission for ITCH, set-up of the Xone: DX was a breeze. The printed Quick Start guide steps you through, but there’s little more to it than inserting the packaged CD, connecting the power (a convenient global power brick is included), and hooking-up the included USB cable. Literally within minutes, you’ll be done and tinkering with the goods.

Allen & Heath Xone: DX: Control with four-deck ITCH software.

The Setup button in ITCH gives you access to some common configuration items, including an ability to disable the crossfader (thank you, Serato). You may end-up needing this again to adjust the latency of the audio interface. I experienced cyclical bursts of static in the audio at first, and neither Allen & Heath nor Serato’s web sites offered any insight. Experience suggested an audio latency issue, and sure enough, reducing the setting slightly resolved the issue. Being unfamiliar with Serato’s software, spending some time with the manual was essential. Thankfully, a very comprehensive one is included in electronic, PDF format.While comprehensive, the manual is somewhat poorly organized. Basic operations that are critical to any new user, like importing music into the library, were found nearly at the end—not at their logical point in sequence. This can be forgiven somewhat by the fact that first half is dedicated to the Xone: DX hardware, while what appears to be a standard manual for ITCH is tacked onto the end. It would be nice if the manual was as integrated as Serato’s vision for the hardware and software. Still, everything you need is there, and printing out all 65-plus pages for a good study in your easy chair is strongly suggested before diving too far in. Actually using the Xone:DX and ITCH quickly starts to prove Serato’s integration promise. With the hardware and software so tightly connected, the experience is beautifully free of the compromises that are often involved when mixing and matching hardware and software choices on your own—not to mention deal-

ing with configuration and MIDI mapping issues. Nowhere is this smooth integration more obvious than with the effects and looping controls. Two independent effects units can be configured separately and applied individually or together on any channel. The loop controls are logical, complete, and easy to use—a definite plus. Another nicety is an intuitive and well-designed section of controls right in the center for navigating ITCH’s menus and browsing tracks. While I’ve not used a four-virtualdeck configuration in my sets very often, part of the reason is that it’s always seemed cumbersome to control and manage. Not so with the Xone:DX and ITCH. Each of the two banks of transport controls switch between two decks each with the press of the Layer button—one on each side. All the related LEDs in the transport sections are red when the primary deck is selected, and green when the secondary is selected, making it clear and obvious which deck you’re working with. The ITCH software highlights its decks in the same fashion, making four-deck operation a possibility, even if high-intensity mash-up sets are your thing. Many a digital DJ has experienced that frightening-as-heck moment when their laptop freezes-up or some other catastrophe brings the music to an expected and rapid end. While neither the DX nor ITCH had a single hiccup during dozens of hours of testing and use, it is some comfort knowing that the Xone:DX provides a “direct input” jack on the back panel—just for emergencies. Connect an iPod, CDJ, or other audio source to this jack, and if the worst happens, mash the play button on the source, and its signal is routed (continued on page 48)

MOBILE PROFILE CAREERS…INNOVATIONS…SUCCESS STORIES

By Con Carney

Gregg Hollmann left a lucrative career in finance to DJ.credits his Eric Bennett mobile experience with imprinting music catalogs in his head.

FROM MOBILES TO CLUB, K-TOWN DJ FLIPS THE SCRIPT

DJ TIMES

FFEBRUARY 2011

Knoxville, Tenn.—Eight years ago Eric Bennett determined that his DJing dream had run its course in Chattanooga. Off to Knoxville it was—with his now-wife—and as he puts it, “As far as DJing goes, it’s the best thing I ever did.” Not that it was easy. Back in Chattanooga, DJ Eric B started out in the mid ’90s doing raves and house parties; all he played was house music, along with mobile gigs. Then a club gig fell in his lap. “I had to play ‘shag music’—’60, ’70s, Motown, everything.” That’s where his experience with mobile DJing helped. “Mobile work helped me become knowledgeable about music,” he says. “The stuff that people wanted to hear at the club was party stuff that you’d play at weddings—‘You Dropped a Bomb on Me,’ ‘Push It,’ ‘Rock Steady,’ and any Michael Jackson and classic ’80s songs. I had a friend who owned a mobile business and he had a training manual for music. It had listed very song, with BPM and genre, like a study guide, and that was a tremendous help, and now I have that catalog practically imbedded in my brain.” The move to K-Town was easy, but getting DJ work once he was there proved to be problematic, and, again, he had his mobile chops to fall back on. “When I first moved here,” he recalls, “nobody would give me call-backs, so I was driving 600 miles to Raleigh, N.C., to play at a club every weekend. I tried and tried to get club jobs in Knoxville, but I couldn’t. I had met a guy at a bar one night and

he had recommended a few mobile businesses, and that was the only work I could get.” Bennett thought a few of them were really shady. “But I found the ones I thought were not shady,” he says, “and they threw some work my way.” The definition of shady? “If I were a client and I wanted a DJ to play my wedding, the most important day of people’s lives up to that point, I wouldn’t want someone who is 14-years old, who has no knowledge of the music that I wanted played. Also, I saw a lot of companies who book a wedding and get $1,000 and pay their DJs $50. In my eyes, that’s shady, and I see that going on in a lot of places.” Bennett believes he can sit down and start a mobile business and do it successfully. “But my dream is to DJ in clubs and travel around the country— like DJ 2 nd Nature and Skribble. They don’t even have residencies in their hometowns—they just play in other cities.That’s great. I have a residency in Knoxville and play two nights a week. I don’t want people coming into my club knowing what song is coming on next, so I have to design new sets pretty quickly. When you’re a traveling DJ you can play the same set city after city, it’s not as much legwork.” Bennett points to Skribble as the ultimate DJ road warrior. “Every time I see him play, I learn something new. He can come to any party and rock it. When he played in Chattanooga, he came up to me and said, ‘What do they like?’ And I told him what they like, and he just he hit it. He can play ’80s, rock, hip hop, techno, whatever, a mixture of everything, and he can deliver, and that’s how I want to do it.” A turning point occurred when he pitched a mix show idea to an upstart radio station, WKHT Hot 104.5. Seven years later, his Noon Throwback Mix and 5 O’clock Mix Tape mix shows are staples of the local scene—as are his VJ sets in a local residency. “One of my best friends, Mixmaster Danny Williams, use to own a club a few years back that only played music videos,” he says. “Around 2007, I took my first trip to Las Vegas and saw DJ 2nd Nature, Roonie G and Kris P live at Studio 54 doing video sets. I had checked out a couple of shows where they played music sets, but nothing like this. I loved how they controlled the visual aspect and not just the music; they could

take you on a journey like nothing before. Immediately after that trip, I knew this was something I wanted to add to my sets. Once Serato released Video SL, I was hooked, completely addicted. Fortunately, there wasn’t anyone in Knoxville playing videos at the time. “So I had a great feeling that this could make me stand out even more,” he says. “All of 2010, my focus has been mostly videos. I’m trying to add this as an upsale to nightclubs and mobiles that I’ve booked this year. I really believe this is the future for DJs.” As for VJ programming tips, Bennett has plenty of opinions. “I love to add pop culture to my video sets,” he says. “When programming a three- or four-hour video set, it can take a lot of work, but the payoff is worth it. I’ve noticed that some people who try to dance and watch the videos at the same time have issues dancing so, I try to approach it in a way where the people keep dancing, and the ones who aren’t dancing, I like to give them some entertainment as well. “Around Christmas time, I’ve taken some scenes from Christmas Vacation and added those in my sets. I try to find clips that mention a song title. In Christmas Vacation there’s a scene where Clark is at the store looking at lingerie and at the end of that scene he says, ‘’Tis the season to be merry.’ I then drop Run-DMC ‘Mary Mary’ and people go nuts! I also like to take scenes from movies where they sing a specific song in the movie and then I mash it up with that same audio track that always gets great reactions. I really get a kick out of watching people point and laugh at the video screens. You know something is right when customers do that. From time to time I get a few customers who come to me and ask for that scene rather than the song title. Stuff like that sticks in people’s heads.” “I try to check out two Roonie G and 2nd Nature sets a year because these guys have transformed this format to what it is today. They have always been on top of their game and as a VJ you can learn a lot from other VJs. It’s the same way I use to approach my music sets. I now adapted that same approach for video sets. If you want to learn, why not learn from some of the best.” Spoken from a man who DJing career, now at full throttle, had once run its course.

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BUSINESS LINE SALES…MARKETING…SOLUTIONS…

WIN—BY ADAPTING THE PILGRIM BUSINESS PLAN

DJ TIMES

FFEBRUARY 2011

By Miles Burke

Bet you never equated your business with the plight of the Pilgrims. But the fact is, after everyone has digested their turkey and gravy and stuffing, the lessons of the Pilgrims remain long after the tryptophan has worn off, imparting valuable business savvy that any DJ business owner would be wise to acknowledge. * First, have a business plan. While en route to Plymouth, the Mayflower pilgrims decided to write down the rules, regulations, and order of the settlement. Sure, they were incredibly uptight—that’s why they were leaving England, remember, and would probably frown on the Dollar Dance— but survival depended on this, so the few dozen adult male passengers signed the Mayflower Compact. But before you can enact a business plan, your own Compact, do you have your message clear? What’s your elevator pitch? (The antiquated term “elevator pitch” might need to be re-thought, since an elevator ride in the old days typically lasted five minutes or more.) Today, with technological advances that elevator ride now takes less than two minutes. But the elevator pitch is an essential piece to building your brand; it says who you are, what your DJ business offers, and states the promises that you will deliver on. And you have 120 seconds to do it. Here’s a test: If someone asks you what you do for a living, do you reply: “I own XYZ DJ Company”? The problem with that response is that it fails to connect you to the larger world and your company’s place in

it. Why not reply with, “I’m in the business of providing memories of great moments in people’s lives.” That’s much better than, “We provide entertainment for people’s life events.” See the difference? If you’re a multi-system operator, does your staff know the elevator pitch? Sit them down and have them practice it to the point where they really believe it. They need to sell you before they can sell anybody else. * Perseverance—a common word thrown around in these tough economic times. The first Pilgrims were headed toward Virginia, but bad weather forced them off course. They ended up at current-day Provincetown, but that was too wind-swept and miserable, so they moved to Plymouth. Even when disease wiped out half of the crew and passengers, these Pilgrims had no quit. They clung to their vision, perhaps realizing that overcoming hardship would make them stronger. One DJ we spoke with said he’s been forced to network so much in this down economy that he’s gotten quite good at it, and still does it even as some old clients have begun calling him again for corporate work. Engage. Thanksgiving dinner was a concerted effort, not just Governor William Bradford and Miles Standish. There was Squanto and Massasoit. The Pilgrims needed the Wampanoag tribe to survive, and you need others as well. Without a mix of people with different roles and purposes, the story of Thanksgiving would be entirely different. Consider

your own business’s survival. Is everyone together? Sure, everyone’s got the Elevator Pitch memorized, but are you using these four principles, according to Jeffrey Hayzlett, author of The Mirror Test, to extend beyond your walls? Engage, educate, excite, and evangelize. Engage: Find out what people are saying about you online. Google your business. What’s the word on WeddingWire about your services? If it’s bad, find the people who are hating you, talk to them, and deal with the problem so it doesn’t escalate. Many Fortune 500 c o m p a n i e s e m p l oy “ w a r rooms,” where they monitor Twitter, Facebook, Yelp, and other social media outlets to see what the tenor of their reputation is. Educate: In marketing, there’s the rule of thirds, which says that one-third of people will “get it” immediately, a third will get it eventually, and a third will never get it. In the old model, you never worried about the last third. But in the age of social media, you have a responsibility to engage and try to educate them. Ignoring them no longer means they are ignoring you. Excite: You’ve engaged and educated your client base, now you need to generate some sort of excitement to

keep them coming back and sharing what you do with their friends and business associates. Give them a way to be involved in your business. Sponsor a contest on your Facebook page, giving a prize or a discount once you get to a certain number of “Likes.” It will spread virally and increase your social-media quotient. Evangelize: Once you community is engaged, educated, excited, now is the time when they can help you sell your brand. Some people call it word-of-mouth; social media is the newest form of this—it just spreads a lot faster. They will create what is called “social-media reverberation,” and they will take your message to their followers and friends. Not only will they post about you positively, they will also attack unfair and negative criticism. * Educate yourself. The new colony was far different from what the Pilgrims knew back in England. They were driving blind. When help came in the form of Squanto and Massasoit, the Pilgrims didn’t refuse it, same with the Wampanoag, who shared their knowledge of local crops and navigation. The Pilgrims weren’t too proud to learn. Likewise, if you want to move your business into new markets, or expand your offerings, be sure to know

what you need to learn—and where you can learn it. How? Follow these rules, as espoused by Hayzlett: * Set a vision for sales success. * Ensure alignment between company’s objectives and customer needs. * Deliver. * Build and manage your own excellent model. * Hold people and yourself accountable for results. * Celebrate success with reward and recognition programs. * Anticipate the future. * Look for innovation in your own and within different markets. * B e re s o u rc e f u l . T h e pilgrims and Wampanoag tribes employed everything in their environment to further their goals. When the Pilgrims harvested rye, they used the grains to grind into flour, then they used the remaining straw to make roofs or stuff mattresses. Look around your office, or at a bridal show, or at a wedding you’ve booked, and see what resources surround you that can be used to greater effect. Does your receptionist share in the vision of your company? Are you enlisting other vendors in trying to promote your goal as the business owner who makes dreams—and memories— possible?

GEAR AUDIO…LIGHTING…STUFF

American DJ Supply 6122 S. Eastern Ave Los Angeles, CA 90040 (800) 322-6337 www.americandj.com American DJ’s latest effect is the Quad Phase, a 10-watt, quad-color, four-in-one LED Moonflower unit that can mix and blend nearly twice as many dazzling colors as you’ll find in a rainbow—DJs get 13 in all. This multicolor approach is made possible by the Quad Phase’s technologically advanced 10W quad-color LED module, which contains four different color LED components (red, green, blue and white) in one homogenized lamp source, allowing it to mix up a larger variety of hues.

Filtatron Legacy Moog Music Inc. 2004-E Riverside Dr. Asheville, NC 28804 (828) 251-0090 www.moogmusic.com Moog’s Filtatron is a real-time audio effects engine and studio tool designed for iPhone and iPod Touch. “Filtatron represents the first time that the signature Moog sound is available outside of a high-end, hand-made Moog synthesizer,” according to the company. At the center of the app is a Moog Ladder Filter, which musically shapes the sounds supplied by the Filtatron’s on-board oscillator, sampler and line/microphone input. Filtatron comes with presets, loopable samples, and an effects module that includes amp controls and delay. Users can move files back and forth between Filtatron and a computer, as well as record samples up to 10MB in stereo, 16 bit, 44.1 kHz resolution.

DJ TIMES

FFEBRUARY 2011

Dubbed Step

Future Loops www.futureloops.com Future Loops’ Dubbed Guitars features more than 1,000 dub guitar loops and one-shots recorded in both WAV and REX format in four different tempos: 60, 70, 80 and 100 BPM. The loops were also performed in several different keys. Users “will find natural and raw loops but also highly dubbified samples in Dubbed Guitars,” according to the company, and those loops were deconstructed into more than 800 one-shots.

High 5.5

Press Play

Fidelity Media, Inc. PO Box 6478 Champaign, IL 61826 (217) 351-9952 www.megaseg.com MegaSeg version 5.5 software for Mac is available as a free update for MegaSeg 5 users and as a download off the company’s website. The software features a Wave Viewer that’s compatible with MacBook Trackpads as well as Apple’s new wireless Magic Mouse and Magic Trackpad. Additional features include automatic volume adjustments, drag-n-drop track reordering, 3x gain controls for softer tracks, and new audio and video filter options in the category browser.

Mixware 7421 Laurel Canyon Blvd, Ste 14 North Hollywood, CA 91605 (786) 362-5757 www.mixware.net Reloop Play is “one of the smallest DJ soundcards that can be found on the market,” according to the company. It’s outfitted with special high-gain outputs that create 24 bit/96 kHz sound quality, while catering to low latencies. Reloop Play has two play modes— external mixer mode, which routes two separate stereo channels to an external mixer, and controller mode, which routes a master output to the sound system and lets users connect headphones directly to the interface. In addition, Reloop Play comes with signal status LEDs for visual monitoring and two stereo channels with independent volume control.

GEAR AUDIO…LIGHTING…STUFF

MIXTRACK & Field Numark Industries 200 Scenic View Drive Cumberland, RI 02864 (401) 658-3131 www.numark.com The MIXTRACK PRO software controller and computer audio interface works “just like any two-decks-and-a-mixer DJ setup,” according to Numark. The USB-powered MIXTRACK PRO has two deck controllers with large touch-activated jog wheels and transport controls, as well as a crossfader, line faders, deck EQs, and advanced controls for looping and effects. Additional features include a microphone input; illuminated Transport, Loop, and Effects buttons; and Virtual DJ LE software, which mixes all types of digital audio and video formats, including direct access to iTunes playlists.

Warm Heart of Africa NCH Software 6120 Greenwood Plaza Blvd. Greenwood Village, CO 80111 www.nchsoftware.com

DJ TIMES

FFEBRUARY 2011

Zulu virtual DJ software supports a variety of file formats—including wav, mp3 and wma—and works with both PCs and Macs, as well as any USB DJ Mixing Console. Users can cross fade between two tracks, loop sections within a track, and apply effects like distortion, reverb and delay in real time. Zulu offers real-time pitch and tempo controls, automatic beat detection, and cue point markers that let users adjust the track starting point.

The Lion’s Denon

Do Re MiCorder

Ants on an Analog

D&M Professional 1100 Maplewood Dr. Itasca, IL 60143 (630) 741-0330 www.d-mpro.com

Olens Technology PO Box 386 Pismo Beach, CA 93448 (805) 489-3636 www.olenstechnology.com

Korg 316 South Service Rd Melville, NY 11747 (631) 390-6500 www.korg.com

The DN-X600 two-channel digital mixer is designed for mobile DJs, party DJs, non-performing “bedroom” DJ hobbyists and more. The DN-X600 features a 24-bit 96kHz USB 2.0 audio interface, as well three-channel EQ with full kills, a phono amp with a high signal-to-noise ratio, 32bit Floating DSP Processing and 32-bit DAC Output. In addition, the on-board DSP effects section features Dry-Wet mix, independent send assignment, and effects such as Delay, Echo, Flanger, Filter, Reverb, Loop, Beat Scratch and BeatBreaker.

The mobile MiCorder records from any radio, computer, stereo, CD player, turntable, cassette deck, or any device that has a stereo output. A microphone is also built in for personal recordings. The sounds are saved onto an SD card as MP3 files that can be transferred to any computer, iPod, cell phone, MP3 player or car stereo. MiCorder comes with a USB cord, earbuds, and a rechargeable battery that lasts up to 14 hours.

With Korg’s iMS-20 application, iPads become analog synth studios. The app recreates the Korg MS-20 semi-modular analog synth and features a built-in 16-step analog sequencer based on the Korg SQ-10. Additional features include an analog sixpart drum machine, seven-channel mixer, high-pass/low-pass self-oscillating filters, dual KAOSS pads and direct access to the SoundCloud audio platform. Korg’s iMS-20 app is available through Apple’s iTunes App Store.

GEAR AUDIO…LIGHTING…STUFF

PolyKB Want a Cracker

Take It to the Samplebanks

XILS-lab 6 Chemin de la Revirée 39700 Corenc France +33 (0) 687 130 083 ww.xils-lab.com

Samplerbanks 10 Cavalier Way East Grinstead, West Sussex RH19 4SE +44 (0) 1342 255 437 www.samplerbanks.com

The PolyKB II vintage polyphonic virtual synthesizer is available for both Mac and PC. Its features include a continuous morphing oscillator; a time multiplier system that multiplies envelope times by x2, x3, or x4; an arpeggiator with a polyphonic mode, as well as gate and swing parameters; and a polyphonic sequencer with a magnification tool and shift step function. PolyKB II offers 250 new hot patches and a variety of new effects, including phaser and a dual EQ with contour function.

Electrolyzium is Samplerbanks’ new 1.1 GB royalty-free compilation of progressive electro, tech-house, and trance elements for producers and live DJ sets. The pack features samples, loops and sampler sounds that range from 128 to 134 BPM. All the 270 drum loops are made in “No-Kick” style, according to the company. Electrolyzium comes in a variety of formats, including Ableton Live Pack, ACID WAV, Reason ReFill and Apple Loops.

The Air I Breathe Avid 75 Network Drive Burlington, MA 01803 (978) 640-6789 www.avid.com M-Audio’s Oxygen 88 USB MIDI controller features an 88-note, graded hammer-action keybed, as well as three pedal inputs and 32 assignable buttons, knobs, and faders. Through DirectLink mode, the onboard controllers can be mapped to common DAW functions, including transport, mixer, track pan, and plug-in parameters. Factory presets provide instant mapping to a variety of virtual instruments, including Xpand! 2, Hybrid, Velvet, Strike, Oddity, ImpOSCar and MiniMonsta. Oxygen 88 is compatible with Pro Tools, GarageBand, Logic, Live and Cubase.

Big lighting for little scratch.

DJ TIMES

FFEBRUARY 2011

Pro lighting, outstanding service, on-time delivery and great prices. • Custom gobos • Fog machines • LED lighting

888-56-STAGE StageSpot.com

Nectar of the Gods iZotope 1 Kendall Sq Cambridge, MA, 02139 (617) 577-7799 www.isotope.com Nectar is the latest vocal processing toolkit from iZotope. Nectar includes 110 vocal production styles in 12 genres,

such as alternative, indie, blues/ R&B, classical, country, dance and electronica, hip hop, rap, jazz, pop, rock and spoken word. These are powered by 11 processing modules, including pitch correction, breath control, compressors, de-esser, doubler, saturation, EQ, gate, limiter, delay, and reverb.

GROOVES TRACKS…MIXES…COMPILATIONS

Benoit & Sergio

Beat Thiefs

“ONE CHANCE”

u Black Powder feat. Adeola Shyllon u Tone Control Love Over Money’s aptly named “Wanna Be From ’83” mix is a super-chic, funked-out, mid-tempo groover with saucy vocals and a thunderous bassline. Matthew Bandy pumps out a bouncy house mix with classy pianos and a sensational groove.

– Shawn Christopher

verse stable. Spoken word, solid groove and a devastating “Re-Funked Mix” from Shane D.

– Curtis Zack “HEAVEN” u Beat Thiefs u SODA Next up on the Soul Avengerz label are the Beat Thiefs and their upbeat vibe continues with straight-up house aimed squarely at the floor. The Soul Avengerz take the spoils with a trademark production and mesmeric drop.

– Curtis Zack

“WHERE THE FREAKS HAVE NO NAME”

u Benoit & Sergio u Visionquest

“HEY (NAH NAH NAH)”

This three-track EP offers techno flavors with electro-pop sensibilities. Check “Walk and Talk,” with its minimal energy and haunting voice. Also, the title track drops dramatic keys over an abstract, moody groove.

u Milk & Sugar u Milk & Sugar

– Phil Turnipseed

With a hefty sample from the Belgian group Vaya Con Dios, Milk & Sugar have followed the blueprint of 2010 and supplied yet another Romanystyle house cut. In truth, this is probably the best of the bunch.

– Curtis Zack

“INFLUENZE”

u Vollmer & Brendel u Lust und Freu.de Musik

“SING 4 U EVERYDAY”

On this tech-house EP, check Antonio Olivieri’s mix with its chunky bass and dripping synth— dark and lovely. The “Someone Else Mix” also delivers a stripped-down, husky groove with some very cool FX.

u dEEP DJOE feat. Veronica Larrenne u Stalwart

– Phil Turnipseed

Stalwart continues to deliver the goods and this is up there with their best—an amazing vocal, first-rate house production and a wealth of mixes. If you like vocals—these recall Deee-Lite’s Lady Miss Kier—seek this one out.

– Curtis Zack

“EX-RAY”

u Park Street feat. Rainy Payne u Universe Media

“PARTY DREAMWORK” EP

Yet more quality house grooves from the Uni-

Rithma goes way beyond the norm on this four-

Download

DJ TIMES

FFEBRUARY 2011

Corner

Rithma

u Rithma u Intelligent Audio

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). “El Tattoo” (Original Mix) by Jeff Mason & Chris Vench [Dirty Deluxe]: Dirty Deluxe is peaking right now with another solid, tech groover.This one lays off the acoustic drums in favor of mangled guitar samples and superbly processed vocal snippets. The well-timed break is makes the pounding beat rock even harder. Found at beatport.com. “U Know” (Original Mix) by Jet Project [Snatch!]: This duo of Timmy Stewart and John McIver keep things minimal and hypnotic with a straight-ahead house beat and a nagging bass line. The soulful and familiar male vocal—think late-’90s R&B—drives the track along with some leftfield synth flourishes. Found at beatport.com. “Hello” (Original Mix) by Martin Solveig & Dragonette [Big Beat]: This song wins the award for catchiest vocal of the month. The ’80s influence is undeniable with a Go-Go-ish beat and nasally female vocal. Given current trends, the underlying house beat will definitely appeal to a wide audience. Good luck getting this out of your head! – Robert LaFrance

dEEP DJOE

track EP—along with some engaging grooves, we get plenty of crazy effects. Most DJs will gravitate to “Benign,” a straightforward tech-house piece with a juicy underground groove and perky keys. “Mops” gets a little more experimental with its fusion of sounds and samples, all on top of a jazzy house beat. Also check out “Green, Purple & Blue Frogs,” another hypnotic blend that rocks a bumpy groove.

– Phil Turnipseed “SO BLUE” u Sons Of Maria u Tokenish Wicked jazz-influenced tech-house cut that includes funky, retro vocals—great groove and hooks. Remixer Rino Cabrera adds a muscular mix that’ll keep your floor full. Look for big things from this one.

– Phil Turnipseed “THE SEARCH” EP Ralph Session ft. Rainy Payne Seshified Recordings A blazing five-song EP with standout mixes like Doc Link’s “Liberate Mix,” which features a great percussion groove and dreamy chord work. Also, check Luis Baro’s old-school “All About Mix” and Rob James’ dirty progressive mix.

– Phil Turnipseed “SWEET LOVE” EP Red Box Lounge So Sound Recordings Smooth and soulful, this one maintains a jazzy club vibe throughout. The “Toomy Disco Remix” delivers seductive synths and a chugging, dark groove. Also “Edmund’s Remix” drops a delicious piano-led groove.

– Phil Turnipseed

“HEADSTRONG” EP Tong & Rogers Toolroom Records Radio legend Pete Tong and producer Paul Rogers drop a terrific new progressive creation that’s poised to tear up the dancefloor. The title track sets the tone with tough percussion and smoldering bass, then “Headfuc” follows with a strong bass and dirty house groove. Also, check “Stress Pill” with its slinky chord hook.

– Phil Turnipseed

DJ TIMES

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9/14/2010 11:55:24 AM

Compiled As Of December 20, 2010

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

Afrojack F/ Eva Simons Rihanna Kylie Minogue The Black Eyed Peas R. Vission & Static Revenger David Guetta F/Kid Cudi Swedish House Mafia Ting Tings Maroon 5 Katy Perry Sky Ferreira Taio Cruz F/Ke$ha Katy Perry Georgie Porgie Nelly Furtado Donna Summer La Roux Usher F/ Pitbull Far East Movement Brandon Flowers David Guetta F/ Rihanna Will.I.Am & Nicki Minaj MuthaFunkaz Pink Ke$ha The Green Children Shakira Mon A Q Katy Perry Robyn Julissa Veloz Daniela 1 Square Sir Ivan Lauren Dyson Steven Lee & Granite Dave Koz Kimberly Cole Sylvia Tosun Tiffany Dunn

Take Over Control Only Girl (in The World) Get Outta My Way The Time(Dirty Bit) I Like That Memories Miami 2 Ibiza Hands Give A Little More Teenage Dream Obsession Dirty Picture Firework It’s The Music Night Is Young To Paris With Love In For The Kill Dj Got Us Fallin In Love Like A G-6 Crossfire Who’s That Chic Check It Out A Reason To Love Raise Your Glass We R Who We R Dragons Loca How Long Peacock Hang With Me Predator You & I Hey Sexy Lady Hare Krishna V.I.P. Everybody Wants To Rule This Guy’s In Love .. Smack You Above All Shut The Front Door

National Urban Pool Chart

Robbins Island/Def Jam Astralwerks Interscope Geffen Astralwerks Astralwerks Columbia A&M Capitol Capitol Island/Def Jam Capitol Music Plant Geffen Driven By The Music Interscope Jive Interscope Island/Def Jam Astralwerks Interscope Code Red LaFace RCA Spinside Epic Tone 1 Capitol Interscope Carrillo Robbins Interscope Peaceman Robbins Star 69 Concord Crystal Ship Sea To Sun Epic

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

Rihanna Willow Wiz Khalifa Wacka Flocka Flame Chris Brown Rick Ross F Drake&C. Michele Rye Rye F/ M.I.A. Will.I.Am & Nicki Minaj M.I.A. Trey Songz Katy Perry 2 Live Crew T-Pain F/Rick Ross John Legend 1 Square N.E.R.D. Usher F/ Pitbull Trey Songz F/ Nicki Minaj YG F/ TY Nicki Minja Pitbull F/ T-Pain Usher F/Jay Z Nelly Furtado The Black Eyed Peas Eminem F/ Rihanna Krys Justice Yelawolf F/ Gucci Mane Kanye West F/ Jay-Z & Rick Ross Gucci Mane F/ Swizz Beats Twista F/ Chris Brown Lloyd Banks F/ KWest S Beats - Fabo Frank Nitt Riko F/ Jun Bug Tony Brikk JR. Pinchers F/ Twinz Beatz Richgirl F/ Fabolous Traedonya! Drake F/T.I.&Swizz Beatz Jeremih F/Ludacris Ne Yo

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

The Black Eyed Peas Good Charlotte Swedish House Mafia Raquela David Guetta F/ Rihanna Katy Perry Nivek Tek F/ Carol Hahn Steven Lee & Granite Daniela Nelly Furtado

The Time(Dirty Bit) Like It’s Her Birthday Miami 2 Ibiza Tell It To My Heart Who’s That Chic Firework A Little Respect Everybody Wants To Rule You & I Night Is Young

Only Girl (in The World) Whip My Hair Black & Yellow No Hands Deuces Aston Martin Music Sunshine Check It Out Internet Connection Can’t Be Friends California Gurls Cougar Rap Song Wake Up Everybody Hey Sexy Lady Hypnotize U Dj Got Us Fallin In Love Bottoms Up Toot It Boot It Right Thru Me Hey Baby Hot Tottie Night Is Young The Time(Dirty Bit) Love The Way You Lie All Night Long I Just Wanna Party Monster Gucci Time Make A Movie Start It Up Go Girl What’s Happenin’ My Bad Girl Back Broke Swagger Right I’ll Give It To You Fancy I Like One In Million

Island/Def Jam Columbia Atlantic Interscope Jive Island/Def Jam Interscope Interscope Interscope Atlantic Capitol Lil’ Joe Jive Columbia Interscope Interscope Jive Atlantic Def Jam Universal J Records LaFace Geffen Interscope Interscope Krys Justice Interscope Island/Def Jam Warner Brothers Capitol United Delicious Vinyl Helium 4 High Risk Sloppishizzle Jive Prohibition Ent Universal Def Jam Def Jam

Most Added Tracks Interscope Capitol Astralwerks ISV Astralwerks Capitol ISV Star 69 Robbins Geffen

1 2 3 4 5 6 7 8 9 10

The Black Eyed Peas RH3 Soulja Boy Tell ‘Em Jun Bug F/ Riko Tony Brikk Chris Brown Chris Brown David M Far East Movement TI F/ Chris Brown

The Time(Dirty Bit) New New Speakers Going Hammer Clap It On My Lap My Bad Girl Yeah Yeah Yeah No BS Girls Night Out Like A G-6 Get Back Up

Interscope Monarch J Records Helium 4 High Risk Jive Jive David M Interscope Atlantic

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

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A&H’s Xone

(continued from page 16)

and you can trigger the Stutter-Edit gestures using the phone’s accelerometer. The development cycle was quite expensive and I’m excited to see what people can do with it. Right now, it has one song in it, “The Rose of Jericho” [from These Hopeful Machines]. In the future, you can expect to see tons of songs available for Sonifi. It’s a very consumer-driven product that allows you to do very fun and compelling things. DJ Times: You’ve also been working on a new album. Tell us about that. BT: My album, This Binary Universe, was a concentrated study of concepts that I’ve always been interested in musically. I wanted to take some of these new techniques for manipulating sound and apply them to traditional sound structures that appeal to the dancefloor. Songs like “Le Nocturne De Lumiere” are an extension of my prior studies. The orchestral outro to “The Emergency” is similar to what I would do on a film score. I was so inspired after being on tour with Tiësto that I wanted to take some of these new experimental techniques and apply them to traditional electronic music. DJ Times: What were some of the most unorthodox techniques you used? BT: I remade a Psychedelic Furs song [“The Ghost in You”] from the 1980s. The ’80s were a seminal time period in my life. It was a comingof-age song for me and I wanted to re-interpret the song to represent the way that it made me feel. It was a deeply introspective sound metaphor. I did this by recording the audio to a $7 cassette deck that I

bought from Goodwill. I recorded my acoustic guitar and bounced the audio back and forth between my computer and the cassette deck. At one point, I actually unspooled the tape, crumpled it up, and re-spooled it. I wanted it to sound worn-in and loved. I’m very happy with the end result and even Richard Butler, the lead singer for the Furs, gave it a big thumbs up. DJ Times: How do you start the creative process for an album like These Hopeful Machines? BT: Every album starts as a sketch that becomes bigger and more detailed. It evolves into something that looks like a thesis. It’s like a roadmap that I continually tweak and add notes to. My creation process is quite structured. It involves fun time and analytical lab-coat stuff. Fun time is a cathartic outpouring of emotion. It could involve playing the acoustic guitar or piano and singing. I’m trying to find the meaning, and how to say it, while keeping it basic and universal. Think about Nashville singers. They’re great at taking something very simple and singing it in a compelling way. Once I find the idea of a song, I take it into the laboratory and find ways to make it compelling and original. I plan and structure everything. I might regiment myself to take three hours to experiment and write and then focus six hours on hardcore sound design. DJ Times: You worked with some notable artists on the album. How do you pick talent to collaborate with? BT: That’s a great question and it’s really simple: I choose to work with people that I would break

bread with. These are people who are friends whose talents I respect and I like as people. For example, I worked with JES [vocalist on Motorcycle’s 2004 smash “As the Rush Comes”], who is an astonishing talent and my daughter’s favorite singer. I think she is an amazing person and I enjoy her gift. DJ Times: Are there any particular artists that you’re dying to work with in the future? BT: I’m a huge fan of music and sound and there are a few artists that I have on my wish list. I’d love to work with Autechre, Missy Elliott, Imogen Heap, and a new country band that I love called The Band Perry—they’re incredible. I’m always looking to push my own development and that happens by interacting and collaborating with other talented musicians. DJ Times: There’s a ton of electronic music popping up on the radio—do you plan to go in that direction? BT: I get approached my mainstream artists frequently. I’ve been asked to produce very commercial records, but I need to truly appreciate the artist’s gift before I commit to working with them. Don’t get me wrong—I love good pop music. My friends actually make fun of me! I love Taylor Swift. Her voice is awesome and her songs are simple and to the point. I would like to work with commercial artists who are known for that genre of music, but I don’t want to just add a few stutter tricks to a crappy pop record. I would like to take a known artist and push boundaries of mainstream radio. I’m confident that something like that will happen in the near future. n

(continued from page 30) through the master outputs on the DX, while you deal with restarting your laptop and recovering from the adrenaline rush. Once I settled in with the Xone: DX and ITCH, I found the combination to be incredibly easy and intuitive to use. I like it when I don’t have to touch my laptop at all, other than to search for specific tracks. Finally, being new to Serato’s offerings, I was pleased to discover their Whitelabel Delivery Network. This promotional music service—free to Serato users—brings some of the latest releases, across multiple genres, straight to your hands. Using a special, extended MP3 format, the music can be played at low resolution using any MP3 playback software or device, but when played within Scratch or ITCH, the music is rendered at full fidelity. It’s an incredible value-add for the Xone:DX and ITCH package. Conclusions: All in all, using the Xone:DX and ITCH was the sort of intuitive, elegant experience that I’m sure Serato envisioned back in ’08 when they announced the ITCH platform. It’s very much “plug-andplay,” but the pairing is no toy—I’d be at home with this duo whether I’m doing a high-intensity club set, DJing a relaxed dinner event, or anything in between. At around $999 (MAP), it’s priced within reach of serious amateur jocks looking to raise their game, as well as pros looking for a serious digital DJing system that’s powerful, easy to use, and light enough not to be a burden to lug around. Even better, the Xone:DX with ITCH was simply fun to use—and what more do you really want from your DJ set-up? n

Nah, sounds too German.

Let’s call ourselves “Brandenburg Gate.”

OK, how ’bout… “Gates of Hell”?

Nope, too metal. Go trancey.

Got it! “Cosmic Gate.”

Perfect!

Cosmic Gate, next month in DJ Times

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