DJ Times March 2011, Vol 24 No 3

DJ RESOLUTIONS FOR 2011

AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988

MARCH 2011

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SWEDISH SENSATION

AVICII YO U T H I S S E RV E D

Red Bull’s New Thre3Style Champ

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v COSMIC GATE v TOKiMONSTA v NI’S KONTROL S4 v MARRIED MOBILES

SHOCKING! Audio Dangers & Avoidance

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INDUSTRY EVENTS…NOTABLES…MILESTONES

NEWS

MAGNIFIQUE: DJ KARVE TAKES RED BULL THRE3STYLE TITLE

By Jim Tremayne Paris, France—It’s a pleasing idea— Paris in the springtime. Café chillouts, leisurely strolls along the Seine, Public Image Ltd’s Paris au Printemps.

OK, maybe not that fairly atonal PiL album, but what about Paris on the cusp of winter?

Snowy and cold, slushy and icy, airports shut down—not nearly the same. But, that’s what we got when we visited this past December for Red Bull’s first Thre3Style International Final. Lucky for us, the participants put on quite a show.

Held at Elysée Montmartre on Dec. 9, the competition included 10 DJ champs from 10 different countries, with rules rather different from most DJ battles. For their single 15-minute set, each participant was required to play at least three different genres of music, while rocking the crowd as hard as possible. Easier said than done, of course, and it was up to judges Jazzy Jeff, Craze, Klever, and Yasmina

Benbekaï to sort it out.

In the end, the winner seemed to enjoy the “home court advantage.”

France’s DJ kArve certainly had the hometown crowd on his side as he banged out his hip-swaying set with spot-on technical proficiency (via Rane TTM 57 SL and Serato Scratch Live) and drops that included Chris Rock’s “In Da Club” skit for Lil Jon: “We stay in the club! We live in the club! We die in the club!”

Offering dabs of dubstep, happy house, breaks, rock, hip-hop, techno, film scores, R&B, and spoken-word, kArve certainly dropped a daunting array of styles, which punched up plenty of audience enthusiasm. (Of note: A hot snippet of “Southside Shuffle,” a party-starting J.Geils Band nugget.)

After being announced the Thre3Style winner, kArve—who also won the 2005 French DMC title—took time to embrace Red Bull’s battle concept. “I did DMC before in 2005,”

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(continued on page 44)

MARCH 2011

DJ TIMES

Photo: Begoña Gwertzman

WMC ’11: Back to the Beach

Miami Beach, Fla.—Among other events, “David Morales & Friends” will see the NYC DJ legend rock the Pool at the Shelborne during Winter Music Conference. Set for March 8-12 at the Miami Beach Convention Center, WMC will present panels, exhibits, parties, awards and plenty of networking for members of the dance-music industry. For the latest on WMC, please visit wintermusicconference.com.

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VOLUME 24 NUMBER 3

14 Youth Is Served

In a Couple Short Years, 21-Year-Old DJ/Producer Avicii Has Become Sweden’s Latest Sensation

BY JIM TREMAYNE

20 Rattle & Hum

For Mobile DJs, Solutions to Potential Dangers & Annoying Noise Problems Are Easier Than They Might Think

BY JONATHAN NOVICK

22 DJ Resolutions

The New Year Promises Changes as Many DJs Embrace New Technology & Marketing Ideas—While Others Decide to Break Old, Bad Habits

BY JEFF STILES

DEPARTMENTS 7 Feedback

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

26 Making Tracks

Spectrasonics’ Trilian

28 Sounding Off

Native Instruments’ Kontrol S4

30 Mobile Profile

Cleveland Couple Makes Beautiful Music

32 Business Line

How DJ Expo Changed My Business

34 Gear

New Products from American DJ, QSC Audio & More

38 Grooves

Phat Tracks from Sander van Doorn, Marco Carola & More

40 DJ Times Marketplace

Shop Here for All Your DJ-Related Supplies

DJ TIMES

MARCH 2011

41 Club Play Chart

4

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

SAMPLINGS 8 Cosmic Gate

Still Raging

10 In The Studio With…

TOKiMONSTA

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FROM THE EDITOR

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

Globe-Spanning/Continent-Crossing

As described in the cover story, our connection with Avicii feels fairly binding at this point. From 125th Street in Harlem to the Grimaldi Forum in Monte-Carlo, we seem to have encountered the Swedish DJ/producer everywhere in the past six or seven months, and that’s not such a bad thing.

His DJ sets are massive hookfests that mesh the brain-invading melodies of trance and the hipgrinding grooves of house. Toss in some anthemic vocals over a dash of techno wobble and you’ve got one happy club crowd. Finishing up 2010, we looked back at some of the more omnipresent tunes and Avicii’s “Bromance” and “My Feelings For You” were right there. Obviously, it was meant to be, and it might be noted that this month’s cover boy—21-year-old Tim Bergling (aka Avicii)—is also our youngest ever.

Other recent work-related visits include Paris (for Red Bull’s Thre3style DJ competition) and Anaheim, Calif. (for the annual Winter NAMM show/gearfest). Our NAMM visit came too close to this issue’s deadline—expect a full report in the April issue—but we did return from France with a renewed appreciation for Red Bull’s approach to DJ battles. Each jock must incorporate a trio of genres to his/her 15-minute set and, simply, rock the party. At the Thre3style International Finals, held in Paris’ Elysée Montmartre, we caught a slew of top talent that kept us going late into the night. Of course, we want to toss out our congratulations to the winner—hometown hero DJ kArve—and express our thanks to Red Bull’s Nyla Hassell for arranging everything through her own crazy schedule, which included her involvement in the powerful new documentary, “Bouncing Cats,” which seeks to unite the children of war-torn Uganda through breakdance and hip-hop culture.

Back across the pond, Cosmic Gate is an addendum to our recent Amsterdam Dance Event story. We caught their act at the “Synergy” event, held at the gigantic Passenger Terminal, sharing the bill with trance titan Ferry Corsten. A couple months later, the German duo—DJ Bossi and Nic Chagall—hit NYC for a gig at Pacha, right in our back yard. After making music for more than a decade, we figured it was past time to give Cosmic Gate its due.

Our studio spotlight on L.A.-based experimental hip-hop producer TOKiMONSTA is a welcome new entry from Danna Hawley. For years we’d known her as the PR maven for London’s fabulous Fabric club and label. Now that she’s returned to the States, she’s offered up a tight interview with a unique and boundary-pushing artist. Welcome aboard, Ms. Hawley.

In Jonathan Novick’s “Rattle & Hum” story, the LA-based audio engineer extends a few smart solutions on mobile-DJ safety. Please take note and learn how to avoid any shocking situations. In Business Line, Connecticut-based mobile Keith Alan explains how winning a DJ Expo competition has positively impacted his career. And our Iowa-based scribe Jeff Stiles hits up members of the Mobile Nation to find out their resolutions for 2011.

In our review sections, Denver-based DJ/scribe Wesley Bryant-King tackles Native Instruments’ latest digital direction (Kontrol S4). Meanwhile, New England-based producer Josh Harris runs the Spectrasonics’ Trilian bass plug-in through its paces.

Got that? “And what’s next?” you ask. Winter Music Conference week in Miami is just around the corner. Stay tuned.

DJ TIMES

MARCH 2011

Cheers,

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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.

March 2011

Jim Tremayne Editor, DJ Times

visit our website: www.djtimes.com

FEEDBACK

2011 NAMM Show Preview AmericA’s First mAgAzine For ProFessionAl DJs estAblisheD 1988 jANUAry 2011

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BT Machines & Milestones

Studio report:

Incubus’ DJ Kilmore

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ShockiNg! Audio Dangers & Avoidance

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v Alex NiggemANN v RoNy SeikAly v moNAco iNt’l clubbiNg Show v AlleN & heAth xoNe: Dx

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, Congratulations on your 22nd an‑ niversary!

I met Mr. Rich Hernandez, the mag‑ azine’s original Director of DJ Rela‑ tions, in the winter of 1988 at an event sponsored by DJ Times and the VIP Record Pool at Kismet Banquet Hall in The Bronx, N.Y. To this day in 2011, I still DJ with newly released music on vinyl I purchase.

Thanks for all your contributions the DJ industry at large. I just purchased an annual subscription to DJ Timesmagazine and I plan on attending the DJ Times’ DJ Expo in 2011. Thank you!

– DJ Ray Cruz, Bronx, N.Y.

RAY, Many thanks, and we look forward to seeing you at the Trump Taj Mahal in Atlantic City, N.J., this coming Aug. 8-11.

– Jim Tremayne, DJ Times

DEAR DJ TIMES, I have been a subscriber to your mag‑ azine for about 10 months now. I hap‑ pen to be incarcerated at this time, but my uncle saw your mag and thought it would be a good thing for me to have, to keep me in the know with the hobby I love the most, DJing.

I have been DJing since high school [Downey, Calif., in 1988], as a way to do parties, make money and meet people. That was during the time when hip hop was in its Golden Age. You had DJs like Eric B, Jazzy Jeff,

Grandmaster Flash, Terminator X, Dre, DJ Joe Cooley, Aladdin, Cut Creator, Grandmaster Dee, Evil E, Jam Master Jay, Mix Master Ice and the KDAY mix masters. It was also the beginning of the raves and house music with Alex I, Doc Martin, Mr. Flashback, Dr. Sisko, Humpty Vission, Tony B, Swed‑ ish Eagle, and Johnny Aftershock— and hanging at Yuris Records shop in South Gate.

I always look to see if those people ever seem to make your mag… But

besides all of that, your mag really keeps me going in here.

Thank you, DJ Times! See you with vinyl in hands and 1200s as the decks in May 2018.

– KPook, DJ 4-Life (aka Keldren Joshua)

KELDREN, Glad to hear you’re enjoying the mag.

Over the years, we’ve gotten plenty of letters from inmates in all kinds of facilities and we’ve found that not ev‑ ery institution allows the magazine to

enter its gates. From the form letters I’ve received, I can tell you that some wardens actually consider DJ Times a bad influence. One letter cited DJ Times as “detrimental to the good or‑ der and discipline of this institution.”

(Makes no sense to me either. I actu‑ ally think we’re quite the opposite—in addition to occupying your mind, we offer aspiration.)

Nonetheless, good luck and keep the faith, – Jim Tremayne, DJ Times

SAMPLINGS

COSMIC GATE: STILL RAGING AFTER ALL THESE YEARS

Amsterdam, Holland—Each year, the Amsterdam Dance Event offers a few pleasant surprises and this past year Cosmic Gate was one of them.

Playing the middle of the “Synergy” bill at the massive Passenger Terminal, Cosmic Gate’s Nic Chagall and DJ Bossi wowed the room with a deft mixture of trancey melodies, techy wobble and percussive punch. The crowd—still waiting for a closing set from local hero, Ferry Corsten—ate it up. And it’s no wonder—the German duo has been a mainstay on the Euro scene for nearly a dozen years now.

While playing Europe’s larger clubs and festivals and dropping dancefloor bombs like “Exploration of Space,” the duo has also enjoyed some continental crossover success. The robotic, but energetic “Fire Wire” hit the UK’s Top 10 in 2001 and the pair charted with vocal tracks that featured Jan Johnston (2002’s “Raging”) and Roxanne Emery (2008’s “A Day That Fades”).

As Chagall and Bossi prepared to release Back2TheFuture (Black Hole)—a collection of remixes from 1999 to 2002 that includes re-rubs of all the aforementioned tracks—we connected with Cosmic Gate.

DJ Times: What got you interested in electronic music?

Chagall: It was just the music that was brand new when we went to certain clubs or record shops in the 1980s. Every week there were new

DJ TIMES

MARCH 2011

Cosmic Gate: (from left) DJ Bossi & Nic Chagall.

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(continued on page 44)

IN THE STUDIO WITH…

TOKIMONSTA’S FUTURE BEATS The beat scene in Los Angeles is heavily primed by Flying Lotus’ wondrous Brainfeeder label, with each individual artist initiating their own blend of experimentation. Genre- and gender-bending producer/performer TOKiMONSTA (aka Jennifer Lee) does her part by feeding futuristic beat symphonies that hold the full-bodied weight and warmth of vintage sounds.

Whimsical and intriguing, TOKi’s music goes beyond the obvious elements of most peers from her electronic sphere, using intricate composition and instrumentation to take hip hop into an entirely new color spectrum. And her live shows best display her finesse with improvisation, moving effortlessly through playful rap vocals and atmospheric bass constructions.

Though she caught heads with various remixes, her work with Japanese rapper Shingo2 and her aptly titled “Cosmic Intoxication” EP on Ramp Recordings last April, it was with her debut LP, Midnight Menu this past August that TOKi’s sound took on a whole new face. Fusing scuzzy beats and layers of gleaming jazzinflected melodies with swaths of thick bass and sounds from the Eastern hemisphere (including a Korean stringed instrument on “Sa Mo Jung” and Korean drums on “Lucid Waking”), the album was released on Art Union, a small Japanese indie label.

DJ Times stopped in on the Korean-American producer/performer to find out what’s behind her unpredictable, nearly unclassifiable, yet beat-heavy music.

DJ Times: How did Midnight Menu come into the world?

Lee: It was recorded and produced at my house—all after the midnight hour. I really felt that these select songs meant a lot to me and that they deserved the opportunity to mean something to others.As a first release, I thought it would be best to present a variety of sounds and styles that all carried a similar undertone.

DJ Times: How did it feel to put out your first album?

Lee: It was interesting because I had chosen to release it through a Japanese label relatively unknown outside of Japan. It was purely gut instinct and good recommendations that drove me to try it out this way. Outside of Japan, it was mostly word-of-mouth and the internet that brought this release to so many different ears. I’m truly amazed.

DJ Times: What’s your creative set-up like?

Lee: My music studio is kind of ridiculous looking at the moment, as I’m moving. I have stacks of records on the floor, a corner with all my instruments—including this flute and violin I have no idea how to play—and my turntable is off to the side next to my [Roland] SP-404 [sampler], and [Vestax] Handytrax [portable turntable]. On my desk are my studio monitors, computer and some percussive instruments I keep nearby. I have various small synthesizers and MIDI controllers on a separate table that I plug in when I need them. I have my Rhodes piano and Moog downstairs because I’ve learned that I cannot carry 300pounds on my own!

DJ Times: Can you talk us through your production tools?

Lee: My favorite piece of gear is my Rhodes. I also enjoy my microKorg XL because it’s light, portable,

DJ TIMES

MARCH 2011

TOKiMONSTA’s Midnight Menu features thick, experimental grooves.

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with parameter options, and has a fatter sound than the previous version. I do a lot of programming on the computer and use a lot of VST plug-ins out of convenience and efficiency, but I don’t like the thin sounds that result. In order to keep things as thick and fuzzy as possible, I will record audio into the SP-404 and record back out. Just one digital-to-analog pass helps tons. Also, the effects on the SP are fun to play with.

DJ Times: How do you approach sampling?

Lee: One of the biggest reasons I use samples is because the vinyl elements add to the sound quality—just another fuzzy bit to thicken the audio. I also carry a handheld recorder with me to pick up various strange sounds or ambient noises.

DJ Times: What’s your stage set-up for performing?

Lee: Quite simple: MacBook, PreSonus FireStudio Mobile interface, and Akai APC40. I definitely enjoy my APC40—I like the clip-launch capabilities and the easy mapping to Ableton. I can mix/match

and rearrange my music for a real live experience.

I’m also using Bome’s MIDI Translator to add additional capabilities, like a 16-pad drum rack. However, it is missing pressure-sensitive pads, which I think are pretty essential for live drumming.

DJ Times: How would you describe the world you create with TOKiMONSTA material?

Lee: I want to take people deep into their mind, to the spatial and unfocused realm where you can catch things you may not understand when you’re too hyper-aware. There is something about the way the mind behaves in the night that I love, and it’s the time I make the most profound music. Hopefully, listening to the music takes people to a similar state of mind.

DJ Times: Any advice for up and coming producers?

Lee: It’s better to be yourself and make unconventional music than to sound like someone else.

At the end of the day, it’s the special musicians that create a new movement.

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youth is served In A Couple Short Years, 21-Year-Old DJ/Producer Avicii Has Become Sweden’s Latest Sensation

By Jim Tremayne New York City—We first connected with Avicii this past summer, while the Swedish sensation was visiting Harlem’s Stadiumred Studios to work on a track with ultra-soulful vocalist Jeremy Carr. Our interview time was brief. Studio time, after all, is money.

Afterward, we caught his DJ gig at Manhattan’s Marquee club, which included an on-mic cameo from Carr, who tore the house down with “Can You Hear Me (In the Air),” an Avicii-remixed Austin Leeds production. In spite of the club’s often-distracted models-and-bottles atmosphere, the two enjoyed a genuinely uplifting musical moment. Of course, after Avicii rocked his biggest hits—“Bromance” and “My Feelings For You” (with Sebastien Drums)—we thought we could put a bow-tie on this Avicii story.

However, for the next several months, it seemed as if Avicii (aka 21-year-old Tim Bergling) was practically following us. He returned to NYC in September for Electric Zoo in Randall’s Island and dropped enough dancefloor bombs to see much of his tent overcome by clouds of dust kicked up by the wound-up crowd. Then it was the Grimaldi Forum during the Monaco International Clubbing show in Monte-Carlo, playground of the filthy rich. Back in NYC, he played Lavo, an upscale restaurant/lounge. Then it was out to Westbury, Long Island, for Glo Nightclub to entertain the suburban party set.

But no matter the venue’s size or atmosphere, Avicii’s melodic, energetic tracks always seem to connect.

Based in house music, yet somewhat trancey and spiced with a dash of techno, his sets tend to be irresistible, unending hookfests. Not bad for a kid who, after being voted a winner on Pete Tong’s Fast Trax show, has only been producing for four years.

So, as “Seek Bromance”—a vocal edit of “Bromance” featuring Amanda Wilson from Samuele Sartini’s “Love U Seek” track—hit the stores and he closed down a massive 2010 campaign, we re-visited Avicii, one of EDM’s youngest rising stars.

DJ Times: Alright, let’s get it out of the way: What’s the story with your name?

Avicii: Avici is the lowest level of Buddhist hell. It came up when I was going to choose my MySpace page. I had 10 or 15 names, but everything was taken. Then a friend of mine used Avici in another concept, and I liked the name. So I added another “i,” so that I could get away from my music made under other names. I wanted a new identity so that when people searched for the name it would come up as my music with the new spelling.

DJ Times: Doesn’t sound very Swedish to me.

Avicii: No, it sounds Italian [laughs].

DJ Times: Obviously, people are coming around to the Swedish DJ/producers these days. What’s the scene in Sweden like now?

DJ TIMES

MARCH 2011

Is it mostly in the studios or has the club scene gotten better?

Avicii: It’s star ting to come around now. Actually, I only had my first Swedish gig recently and I was blown away that they knew the music so well and were so into it. It was really one of my best gigs ever. I didn’t know that the people in Stockholm had it in them, you know? But it’s getting bigger. The music is being played on the national radio.

DJ Times: Do you have a traditional musical-instrument background?

Avicii: Yeah, but not a professional

14

or skilled level. I played around with pianos and guitars before, but I never really got that good at them. Then I kind of started playing around with programs and began making music that way.

DJ Times: Was there a DJ or a track that got you headed into the electronic-music path?

Avicii: For me, I think it was when I heard Axwell’s “Feel the Vibe” [in 2004]. It’s such a great track, I think, and still it is today. It’s very emotional for me because it got me into loving house music. It’s everything I love about house.

DJ Times: Did you hear it in a club or radio?

Avicii: I heard it in a club the first time. Then when I got home, it escalated and then I got into more afterwards. I got into all the Swedish producers, like Swedish House Mafia, Eric Prydz, people like that—the first wave. Then I kind of moved onto the international people. It all happened very quickly.

DJ Times: How old were you when you started producing dance music?

What were you using to make it?

Avicii: I was 17. I started making electronic music that I couldn’t even describe. I was using FL Studio—you know, FruityLoops—and I still do.

DJ Times: Is that your main platform?

Avicii: FL Studio is the biggest tool for me. I really like it because it’s so easy for me. It’s really simple for me to get down all the melodies and get down all the beats—it goes very quickly for me. Then all the mixing and mastering, you can do it just as well there. It just takes a little more time than in, say, Logic.

DJ Times: When you DJ, what do you require in the booth?

Avicii: Just CDJs, but I’m going to make the leap to USB sticks soon because it’s easier to carry around. I like the CDJ-2000s and the whole concept of USBs. The upside of the computer is that you have all your tracks there at the gig, instead of burning them to CDs and hauling a CD case to gigs. If you lose it, you’re fucked.

To have it on a USB stick, you’re still interactive with the crowd. I wouldn’t do that with a computer. It is, as they say, like you’re checking your emails.

So I don’t use a computer, and I prefer the Pioneer DJM-800 mixer.

DJ Times: It does make a difference when a DJ, especially somebody like a Carl Cox or a Danny Howells, connects with the crowd.

Avicii: Of course, and especially now more than ever, it’s a show.

People are bringing it to the arenas now. It’s not only clubs, but these large venues. I mean, Swedish House Mafia sold out Brixton Academy in London. There’s Ultra Fest in Miami.

The scene has become so huge that DJs need to bring something more, something more of a show, in general.

It doesn’t have to be a big spectacle, but the DJs definitely have to have something more than just the music.

DJ Times: So when you’re playing a big room or a large outdoor venue, how do you approach it?

Avicii: I generally just try to have fun and try to experiment a bit with the music I play. It all depends on the mood of the night. Sometimes, you can go safe and you can play all of your stuff. Or you can go a bit harder.

I don’t have that many expectations.

It’s just fun.

DJ Times: Which producers are you feeling now?

Avicii: Axwell, as always, especially “Nothing But Love” and the mix for “Teenage Crime” are amazing. David Tort, who released [“Chase the Sun”] with Norman Doray, is really good.

Also, Sebastien Drums, a producer from France, is doing really good stuff. There’s a lot of cool stuff.

DJ Times: What are you hearing in the clubs now?

Avicii: I think the club sounds are going in two directions at the moment. It feels like one sound is going “Dirty Dutch,” more electro-inspired. Then the other is going more big-room, like a mixture of trance

MARCH 2011

www.novationmusic.com/dicer youtube: NovationTV

DJ TIMES

nÊ a ti o avig Ê n Ê y top. ar Êlibr rÊlap d o Ê n r a lÊ xe nt r o ,Êmi re ly XÊco CD J Ê F Ê , Ê se cu , e l e g b ttyÕ. n b i a t rn lso JÊPu oop u a l t Ê Ê D , r Ô n t Ê a u in c ee yo r tÊ ÕsÊfr e -po and ÊonÊ BÊpo ti o n 0 s, sÊcu dÊit; S 1 a t e v 2 tor u U e Ê 1 o p rÊ ne ÊN uÊn Trak 0 0/ o g Ê o t 2 n y e i 1 u Ê D ice s s P u e re ni c s nlyÊu ble! aceÊ tÊwh Tech or ta eyÊo sur f Ê p h n righ r t Ê o ! d e t r n h a bu ot ice r fits irs,Ê ight anyÊ ÕsÊD a e Ê n p o D ice w Ê t o t i Ê n Êi dÊ gh ovat che ome ra-li ithÊN at t a ysÊc e ult w r a Ê t a i w Ê l d rÊa a nd Ênee em D ice Êyou n th e r e e e h betw ace htÊw sur f lÊrig Ê o y r er t n Êa t r o ll con lyÊon con Ê e r g u n c pi sÊse Êloo -ÊFit Êand e u ry t-c ib r a -ÊHo sicÊl r FX u e trol s g m Ê g r con e l you - Tri Ê b e t na s vi g a s sig pa ir -ÊNa sÊinÊ 60 a e f o m o tal ysÊc - To alwa Ê r e -ÊDic

For more information: (310) 322-5500

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Photo by Loic B

2011 Dates Announced

August 8-11

DJ TIMES

MARCH 2011

Trump Taj Mahal Atlantic City, NJ

16

© Testa Communications

and house. They are two directions, but they can interact at the same time. Still, it feels like they’re dividing a little bit.

DJ Times: Tell us about your experience in the Laidback Luke online forum.

Avicii: First off, Laidback Luke has always been an inspiration for me.

He uses all these sounds and I have massive respect for him. Then I found out that he has a forum where he can mentor up-and-coming producers— people like Afrojack, Max Vangeli, Bart B More. I think Steve Angelo was even on his forum. I went into it and sent him a private message with a couple of tracks. And he responded with a lot of feedback and then I just sent him everything I had—everything—and he kept responding. He really helped me.

He helped develop my sound.

DJ Times: What were you into when you started out, then?

Avicii: I was really into electro when it had already had its peak—it was on the way down—so he advised me to go in a more techy direction, to incorporate tech elements, get away from the electro sound.

DJ Times: To become a little less buzzy.

Avicii: Exactly. Now I can’t listen to that anymore [laughs]. It’s funny how that works, but he helped get me away from that. I still send everything to him.

DJ Times: And he gives you technical advice.

Avicii: Oh, yes. He’ll tell me to raise the volume of the kick or to compress the claps more or put the bass mono, instead of stereo.

DJ Times: Does playing your new material in front of a crowd help you with the final product?

Avicii: Yes, I do it, but a lot of the times the reactions are different wherever you play. If there’s one track that I think is good enough to play out, even if it doesn’t work one place, it’ll work someplace else. So in the end, I trust myself and I’ll usually release the track anyway.

DJ Times: Which DJs do you like to hear?

Avicii: DJ-wise, I’m very impressed with Swedish House Mafia, because of how far they’ve gone and how well they interact with the crowd.

I’m really impressed with that. Also, Laidback Luke is such an amazing DJ, technically. He has an intimate vibe with his audience. Even if he’s playing in front of so many people, it’s a party.

I saw Luciano at Pacha and I was blown away, to be honest. It was such a good party. The music was perfect.

DJ Times: What are some venues that you like, anywhere in the world?

Avicii: The ones that have made the biggest impressions? I’d have to say Privilege because it was my first Ibiza gig and the pure size of it and (continued on page 42)

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DJ TIMES

MARCH 2011

For Mobile DJs, Solutions to Potential Dangers & Annoying Noise Problems Are Easier Than They Might Think

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a few seconds of pain before we lose consciousness.

However, if we electrocute a guest, then we have to suffer with the guilt, the lawsuits, the inevitable loss of our homes, and let’s not forget the loss of future referrals.

A few years ago, a friend of mine was an expert witness on a wrongful-death case involving a missing safety ground. The victim was a young pastor in Waco, Texas.

He entered the baptismal bath, grabbed a microphone and was immediately electrocuted in front of his wife and the entire congregation.

There was nothing anyone could do.

The sound system wasn’t at fault. The electrical water heater for the baptismal bath was missing the safety ground connection. It hadn’t been a problem until the heaters malfunctioned. Had it been properly grounded, a circuit breaker would have tripped during the malfunction.

Guess who got sued? It was the electrical contractor that improperly installed the heater. The family collected.

Many DJs dismiss electrocution as a possibility because we don’t hear of these things happening very often.

That’s true. We are much more likely to get into a car accident. However, that is no excuse for putting other people in danger. We work in the proximity of liquids. A guest can easily spill a drink on your system. If you are outdoors, it can start raining or a sprinkler could turn on unexpectedly.

All of these things have happened to me in the past and I’m sure they happened to many of you as well. I have been lucky. Nothing ever got wet enough to cause electrical problems. If they had, at least I knew my gear was properly grounded. Do you know that your gear is?

One frequent source of

the audio, but not the ground loop current. If you are using balanced interconnect lines (which I highly recommend) you will want to use transformers with XLR connectors.

Jensen Transformer’s IsoMax DM2-2XX (about $200) is among the best you will find. Another good choice is the ART-DTI Hum Eliminator (about $50). This is a two-channel transformer unit that has XLR, RCA and ¼-inch connectors for the inputs and outputs. Better transformers support higher signal levels without distortion and will operate lower in frequency. Ideally, you want to place a transformer near the input of your powered speaker. However, practically speaking, you will probably place them near your mixer’s output.

Some pro-audio gear offers a ground-lift switch on their XLR connectors. If your mixer has unbalanced outputs (eg.—RCA connectors), a lift switch on your speakers or amp will be of no use. You will still need a transformer.

I should point out that this ground-lift switch does not change the safety grounding of your gear. It just lifts Pin 1 of your XLR cable. Pin 1 does not contain your audio signal.

Noise problems are tricky. At one venue, your system may sound fine and at another venue the same configuration will produce noise. Ground loops, magnetic interference and power supply problems sound alike, but the solution to each is different. It will take more space than this article to go over the differences. In fact, there are books and courses that you can take on just these subjects. There is a lot to understand and you shouldn’t feel bad if this is a bit confusing.

But for the moment, just stay safe, and keep a few transformers in your tool kit. n

MARCH 2011

Did you know that your car’s disc brakes are designed to squeak?

They contain wear indicators that will rub against the brake rotor and squeak when the brake pads are nearly worn out. This is your warning signal to fix your brakes.

Of course, you can probably get rid of the squeak without actually fixing the problem—just apply some heavy grease to the brake rotors. You may not be able to stop your car after doing that, but—until you crash—at least the brakes won’t squeak.

Some people get rid of noise problems in their audio system by using 3-to-2 prong adapters to lift the safety grounds. This is just as smart as greasing your brakes. You are eliminating a noise problem by defeating an important safety feature—consequences be damned!

And just what are those consequences of lifting a safety ground? Well, death by electrocution is one consequence. Is it worth listing any others? If we just electrocute ourselves, we only have to worry about

noise problems is the external AC power supply for your laptop computer. These can cause several problems including RF interference and ground loops. The problem you have will depend on the particular PC you use, the sound card you are using and your mixer. Therefore, finding the correct solution will require a little experimentation.

Several people have reported on the chat forums that purchasing an aftermarket power supply has solved the problem for them.

Other remedies include placing transformer types of ground-loop isolators (such as Radio Shack part # 270054, about $17) in the audio path between the PC (or sound card) and the mixer.

Placing a ferrite choke (Radio Shack part # 273-105, about $5) on the power cable can help with RF interference.

These are relatively inexpensive remedies that leave the safety mechanisms of your gear in place.

A little explanation on ground loops is probably needed here. A ground loop sounds like a low hum or buzzing sound. They are caused by voltage differences between the grounds of two pieces of gear in a signal chain. If all your gear is plugged into the same outlet strip, you are not likely to get a ground loop.

The problem is generally found when you plug powered speakers into the closest outlet instead of running the AC cords back to your mixer rack. In large sound systems, your power requirements demand that you use multiple AC circuits and you may find yourself with a ground loop.

The best way to eliminate ground loops is to use transformers in your signal path. Transformers will pass

DJ TIMES

By Jonathan Novick

21

DJ Resolutions The New Year Promises Changes as Many DJs Embrace New Technology & Marketing Ideas, While Others Decide to Break Old, Bad Habits.

By Jeff Stiles

DJ TIMES

MARCH 2011

When DJ David Hanscom turned 38-years old in June of 2010, he made a startling discovery.

“Much to my surprise and concern I discovered that I was not only overweight, but I was obese,” explains the Jacksonville, Fla.-based jock and owner of Y? Entertainment. “I had allowed myself to become what I had said I would never become.

“Knowing that 40 was right around the corner, I had to realize that if I don’t do something about my health and weight now I will not be around to enjoy seeing my children get married or holding a grandchild in my arms. I wouldn’t be able to live out the so-called golden years I’ve been working on preparing for so long.

“I knew I had a problem and had already begun looking into solutions, but when I discovered the reality of my health—or lack thereof—it was the last straw.”

Yes, Hanscom’s New Year’s 2011 resolution was to invest in what he says is the most important piece of equipment he owns, and that’s his body.

We recently contacted mobile DJs around the country asking for resolutions they’ve made for the 2011, including any new tactics, new technologies, new games, new dances or new partnerships they’ve planned for the New Year.

We found some innovative ideas our readers might find interesting, yet the

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DJ TIMES

MARCH 2011

most interesting resolutions came back full circle to the need to watch our health.

Hanscom said he had been spending quite a bit of time in 2010 researching a company that offered a 90-day health challenge, with pure nutritional products at the core of their program.

three months later had dropped my weight to 226 pounds. I immediately started my second challenge with a focus on reducing my body fat percentage by 5-percent.

“I don’t share this to impress anyone or to pat myself on the back,” he adds, “but in the hopes that if even one person reads it and understands

for high-end entertainment in our part of the state, but for 2011 we’re focusing our team on actually building relationships.”

When most people think of a DJ, Howe says they primarily think of the music, the dancing and the party.

Most DJ companies, therefore, put all their energy, marketing and attention into music and dancing.

“But to be honest, this is only about 25-percent of our job,” he says. “We could be the greatest DJs in the world, but if we don’t build a bond with our clients or the vendors we work with, none of ‘DJ work’ will really make a difference. It all starts from the very moment a client or vendor contacts us.”

Howe says his Pure Energy Events team is super-focused on building relationships and expressing passion towards their clients’ personal event, interests and needs.

“Music is important, but it’s not the most important thing,” he explains. “After all, anybody can play requests and all the party hits, while a truly great DJ can be someone’s friend, partner, confidant, liaison and coordinating assistant.

“It all comes down to a true appreciation of the person you’re working with. Make a solid bond and you’ll build a relationship that will last a lifetime.”

With over 25 years of experience as a professional DJ entertainer in Ogunquit, Maine, Jerry “DJ Jaz” Bazata is a nationally recognized consultant in the event planning and music industries. Bazata says that as he gazes into his crystal disco ball attempting to provide guidance to DJs about what might be in store for the successful mobile entertainer in 2011, he’s able to give plenty of guidance for New Year resolutions.

“Financially, DJs should make it a priority to purchase plenty of new equipment in 2011,” he says, “with both tax advantages and low interest rates, plus the increased availability of credit. Corporate business will begin to rebound as companies begin to reallocate capital towards marketing and events to regain market share, and the bridal market promises to remain strong this year and into the next.

“LED lighting will continue to evolve and lasers will play a major role in lighting designs due to the reduction in costs. Additionally, uplighting and lighting packages will become more attractive as an add-on sale for brides and corporate event planners seeking an enhanced experience for their events.

“Anybody can play requests and all the party hits, while a truly great DJ can be someone’s friend, partner, confidant, liaison and coordinating assistant.”

– Brian Howe

DJ TIMES

MARCH 2011

“Sure, there are tons and tons of weight-loss or health products out there, but when I compared them to this one, nothing really stacked up from the standpoint of a lifestyle change,” Hanscom says. “I began to understand what the label on the back of the packaging was really saying. And the other dynamic that appealed to me was the three-month challenge part, and that’s when I said to myself that I can give anything a try for 90 days.”

In the end, since starting his first 90-day challenge, Hanscom says he’s been able to do things physically he never before would have thought possible.

“I’ve exchanged so many unhealthy choices for alternatives that have molded me into a much more fit and energized individual,” he proclaims. “I started the program on July 15, and

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what I did, the fact that all the latest, greatest tools, tricks, gadgets and technology pale in comparison to optimal health.”

In fact, Hanscom says family members and even fellow mobile jocks have joined him in following this healthy journey into 2011. In January, for example, he began organizing a group of individuals that collectively hope to lose at least 2,011 pounds before the end of the year.

Brian Howe of Pure Energ y Events in Loveland, Col., says his company’s 2011 resolution is to build client relationships that last.

“Last year, our main focus was on building a brand of excellence with our packages and presentation, with state-of-the-art sound, lighting and performances to really ‘wow’ our clients in northern Colorado,” says Howe. “We really set the standard

“Video integration will take further hold of the wedding market, as more DJs incorporate family slide shows into the overall entertainment experience for reception guests, while the low cost of flat-screen TVs will enable mobile DJs to have them on hand as part of their standard set-up.”

Thankfully, Bazata predicts that financing for all this new technology will become more available as the credit markets further open up.

“We won’t see the liberal lending policies return anytime soon, as you’ll still have to prove your ability to repay the loan through reportable profits,” he says, “but institutions will be actively marketing to small business owners in 2011.”

As always, Bazata advises DJs to make a resolution out of embracing the concept of becoming more than just a human jukebox and instead beginning to showcase our skills as entertainers and event planners.

“The bridal market will be extremely active in 2011 and even out to 2013, as those who have been putting off wedding plans are now ready to make that commitment,” says Bazata. “High-end wedding receptions will increase as those who prolonged the day will have additional funds to purchase additional services from the mobile DJ, although the mid-range market will remain highly competitive.

“This market will not only require the ability to compete as a commodity, but to be able to sell the ‘value proposition’ and get the prices we require.”

With 2011 marking his 25 th year as a mobile DJ—he entertained for his first gig at age 13—Brandon Lafferty was already planning a few New Year’s resolutions even before the ball dropped in New York.

“Number one, I’m trying to have a more positive outlook on everything industry-related,” says the owner of Boston-area B-Sharp Entertainment. “Next up, I’m finally getting a new website up and running. My existing site is nearly eight years old and, although I’ve kept the content relatively fresh and get lots of compliments on it, it just doesn’t impress me anymore. The new design will be much more elegant.

“Gear-wise, I’m planning to streamline things a bit. In the past, I’ve invested thousands of dollars to have the biggest, newest and coolest—and especially when it comes to lighting options. Nowadays, I’m focusing more on gear that truly helps bring in more business and more money.

“As a one-man company, it’s important that I’m able to deliver a great experience to my clients; and at the same time I can’t be overworking myself with big and heavy setups.

“On the other hand, maybe I should just resolve to hit the gym!” n

Momma Said NOX You Out

© 2010 Red Chip Company Ltd. Technical specifications and appearance are subject to change without notice. All trademarks are the property of their respective owners. 985-90000-01432

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These technical knock-outs include contact-free optical Infinium crossfaders and USB audio connectivity, plus Beat-Syncable FX! All these features are standard across the NOX series’ five weight classes— and the NOX606 even features assignable VCF’s.

There’s no split decision when the choice is this clear—pound for pound, these are the best mixers in the arena.

MAKING TRACKS STUDIO…HARDWARE…SOFTWARE…

TRILIAN: BASS PLUG-IN SUPREME

By Josh Harris

DJ TIMES

MARCH 2011

Spectrasonics Trilian: Revamped browser, new sounds, killer effects.

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When Spectrasonics first introduced Trilogy, its flagship bass plug-in, synth bass junkies could breathe a sigh of relief. Finally, there was a virtual synth that could compete with the sonic depth and richness of a hardware synth.

In my own studio, I have used Trilogy on dozens of remixes, and it has become one of my “go-to” plug-ins for bass sounds. And now, with the release of Trilian, Eric Persing and the Spectrasonics crew (spectrasonics. net) have raised the bar again.

Trilian picks up where Trilogy left off—and with a revamped browser, new sounds, killer effects, and a very cool arpeggiator. It’s sure to find a home in many Digital Audio Workstations.

Trilian ships with five DVDs worth of content (34 GB), so installation will take a while. Once completed, go to the Spectrasonics site and register.

If you don’t, the program will run in demo mode, which will give you full access to the program, but only for a few days. For this review, I installed Trilian on a 17-inch MacBook Pro with 4GB of Ram, running Logic 9.

In short, Trilian is like Trilogy on steroids. It has a slick browser that allows users to search for patches in

a variety of ways. For example, you can search for “Analog Classics” or “Clean Fender,” which is a huge time saver. Like Trilogy, Trilian has both analog synth bass patches, as well as electric and acoustic bass patches.

As Trilian is powered by Spectra-

why wouldn’t it? Over 21,000 samples were used to create the new Acoustic Bass. For you classic synth fans out there, over 30 vintage synths are included (some exotic synths as well), and there are even a few Chapman Bass Stick patches.

“What sets Trilian apart from all of the other bass plug-ins is its versatility and expressiveness.” sonics’ STEAM Engine, sounds can be used within Omnisphere, for additional editing and sound design. For those of you who may not be aware of Omnisphere, it’s the company’s award-winning synthesizer plug-in.

Trilian’s library includes remastered versions of Trilogy’s library, along with remastered versions of Bass Legends, one of Spectrasonics’ original bass sample libraries.

Everything sounds fantastic, and

One of my favorite Trilian features is its arpeggiator. It features the same “Groove Lock” technology that is part of Stylus RMX. Having the ability to create arpeggiated bass patterns from within the plug-in is pretty amazing. Well-done.

The FX section contains all of the same effects that are found in both Omnisphere and Stylus RMX, so there is no shortage of delays, reverbs, choruses, distortions, filters,

EQs and compressors. Multimode allows for up to eight layers within one patch—or those eight different sounds can be assigned to separate MIDI channels.

What sets Trilian apart from all of the other bass plug-ins is its versatility and expressiveness. It’s in a whole different league, in terms of sonic authenticity. As far as pricing goes, the MSRP is $299, but Trilogy owners can upgrade for $99. If you purchased Trilogy in 2009, or were one of the original Intel-Mac Trilogy owners, you are entitled to a free upgrade.

While Spectrasonics doesn’t release a lot of new products from year to year, the products that they do release are top-notch. Trilian is no exception and it should receive serious consideration by anyone making tracks, regardless of the musical genre.

System Requirements: Macintosh OS X 10.4.9 and higher as a native Universal Binary for Intel-Macs and Macintosh G5, and also with Microsoft Windows 7/Vista and XP SP2 and later; 32-bit Audio Units, VST, and RTAS plug-in formats are supported for compatibility with all major host software. Trilian is currently available with 64-bit native support on Windows. Trilian is Mac OS X 64-bit compatible.

BREAK BARRIERS. Turn rhythm into pitch, and pitch into rhythm.

Play effects like an instrument, on stage or in the studio.

Create remixes with incredible stutters, fills and build-ups—and do it all completely live.

Now available on Mac and PC, for Ableton Live and other plug-in hosts.

Visit www.izotope.com/DJ_Times for a free time-limited demo.

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SOUNDING OFF PLAYBACK…PRO AUDIO…PROCESSING

KONTROL S4: ALL-IN-ONE PACKAGE

By Wesley Bryant-King

DJ TIMES

MARCH 2011

In 2011, Germany’s Native Instruments will celebrate its 15th birthday, and there’s little doubt that the teenager has made its mark on the electronic-music world. Perhaps best known at one time as a designer of software synthesizers and effects for digital music-making, NI (native-instruments.com) has also established itself as a leader in digital DJing, having made Traktor a household name.

In the past year, Native Instruments introduced the Traktor Pro line as its next iteration in DJ software, bringing some never-beforein-the-booth effects, sophisticated, new control architecture, and numerous other enhancements together with a slick, sexy new user interface.

Since then, NI has entered the hardware DJ controller game itself (which the company previously had left to numerous hardware partners), first with the Kontrol X1, and now with a full-blown DJ control and audio interface, the Kontrol S4.

Like many all-in-one digital DJ controllers, the Kontrol S4 offers an array of knobs, sliders and a pair of oversized rotary encoders to enable the digital DJ to control most (if not all) aspects of their performance, plus all (or most) of the needed I/O to get sound in and out of the computer and its software. And speaking of software, NI has made a fully-functional copy of Traktor Pro an integral part of the Kontrol S4 package—and has even enhanced its feature set for the special “S4” edition. Thus, with the Kontrol S4, all you need is a pair of DJ headphones, a laptop or other computer to run it on, a music collection, and you’re off and running.

With a $999 list price and a “street”

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NI’s Kontrol S4: Pro-grade interface, Traktor software, superb new features.

price of around a hundred bucks less, the Traktor Kontrol S4 represents a fairly good value—considering that Traktor Pro alone lists for a bit over $200 by itself.

First Impressions: While such things are more than a little subjective, Native Instruments arguably has the chops when it comes to making a visual statement. From the company’s slick marketing materials, to its web site, to its software user interfaces, it seems clear they invest a lot of effort in looking polished, cutting-edge, and downright sexy. The Kontrol S4 is no exception. Even before you open the box, the picture on the front of it had me practically drooling to get down and get busy.

Opening the lid continued the solid first impression. The nicely packaged unit was there, along with a printed, full-color Setup Guide; installation disc; Beatport gift card; stickers; and a full-sized, two-sided reference chart explaining every knob, button and slider on the unit.

Removing the S4 from the box was the first taste of relative disappointment with the unit—it’s practically light as a feather. On the up side, it’d be easy to cart around to gigs; but on the down-side, I have concerns that it’s robust enough to hold up to hard road use, with its glossy front panel and substantially all-plastic construc-

tion. Still, it felt nice in the hands.

On the front panel are the headphone jack and headphone level controls, plus the mic level. On the back are the rest of the audio I/O and related connections and switches. I found myself a little underwhelmed at the Spartan options—there are no XLR connections for the master output; no XLR connection for the mic; and no dedicated booth or monitor outputs. For master out, there’s a pair of ¼-inch jacks and a pair of RCA jacks. The single mic input is ¼-inch only.

As with competing devices, the Kontrol S4 does provide the necessary connections to route in a pair of external devices, such as turntables or CDJs, allowing you to freely intermix digital spinning with legacy gear and content.

On top is where the Kontrol S4’s uniqueness really comes to light, and it’s arguably a benefit of the fact that Native Instruments makes the hardware and the software—a tighter level of integration than is possible with more generically designed hardware.

Where that’s most in evidence is with the control of looping (including the use of new-to-the-S4 samples), and the control of Traktor’s sophisticated effects units.

The tight integration of hardware to software continues beyond the

feature set. The S4 hardware and S4 Traktor Pro software forgo MIDI in favor of NI’s own NHL interface protocol, which offers some 30x more bandwidth than MIDI. The extent to which this additional data I/O power improves a DJ’s control or performance capabilities may not be obvious to jocks in actual use, but finer granularity in control position vs.

MIDI, and lower latency control inputs, probably do have some benefits in the thick of a complex mix.

I keep using the word “sexy” to describe the S4, and the top panel is certainly that. Its mostly black color scheme, extensive and elegant use of colorful backlighting, nice chunky controls, and glossy appearance on the main section, all combine with plenty of finger space to make the unit both easy on the eyes—and easy to use.

Set-up and Use: I have to give the Kontrol S4 plenty of bonus points for making set up simple, smooth, clear and remarkably painless, and the illustrated, full-color, printed and bound Setup Guide is a big reason why. Just open it up, follow the steps and you’ll be running within minutes. As with other Native Instruments hardware and software I’ve used, the Reference Manual is digital (in PDF format), allowing for easy electronic upgrading (continued on page 42)

MOBILE PROFILE CAREERS…INNOVATIONS…SUCCESS STORIES Lew Bodee’s Cleveland band warmed up for Smashing Pumpkins.

EX-NYC ROCKER FINDS A NEW SET LIST IN MIDWEST

DJ TIMES

MARCH 2011

By Milo Burke

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Cleveland, Ohio—A funny thing happened to Lew Bodee when he visited Cleveland nearly 23 years ago.

Bodee, then a twenty-something rock guitarist from East Flatbush, Brooklyn, traveling with his dad to explore some business opportunities, went to an Iggy Pop concert and met Miriam, a 20-year-old music fan who had been DJing in some local clubs.

“I never did make it back to Brooklyn,” he laughs.

He married Miriam, his bass player died, the band broke up, and he found refuge and a life force behind the decks—as Bodacious Entertainment, his single-system company, and also as a DJ for his wife’s company, Music by Miriam.

“Miriam got a call to do a wedding,” Bodee recalls, “and I covered her club gigs; and then more weddings followed, and after being reluctant to do weddings—I thought they were cliché-type gigs—I took some of them on.”

And the DJing duo—Bodacious specializes in karaoke and clubs, but does plenty of weddings for his wife’s company—works quite nicely, thank you.

“Miriam, being a female DJ, she’s met a lot of resistance from potential clients,” he says. “I don’t know what it is. Sexism? The perception that DJing should be some kind of male pursuit?”

The pair, which books gigs throughout Northeast Ohio, from Toledo to Erie, Pa., and as far south as Columbus, devised a strategy: When Miriam got a lead from a bridal show or an online source, and called the lead and got stonewalled, Lew would piggyback on her lead and follow with a call as Bodacious Entertainment—it’s an old rock-n-roll stage name—and usually get the gig.

“We hit it from two different angles and it was great way to overcome that problem,” says Lew, whose outgoing personality and Brooklyn roots turned out to be a good selling point in Cleveland.

“I think I have a smile that lights up a room,” he says, “and coming from Brooklyn, people here have taken a shine to me. It’s a different mindset here.

They love my accent, and I’m not shy, and those childhood rank-out contests in Brooklyn have paid off because I can think on my feet with a quick wit.

Cleveland DJs are pretty laid back—they sit behind the console and generally just play the music.

“When I do weddings,” he continues, “I’m different than a lot of guys out here. I act more like an MC, I work the intros, herding the cats, so to speak, and get the families involved, offer prizes and dances, do novelty sets like ‘The YMCA’ for the bridal party. We do lots of school dances, lots of high school proms, and middle schools, and we get them line dancing, and just give me a microphone and spotlight and I’m ready.”

Not that it’s been easy the last couple years, especially in a region where the economic downturn has made its presence known with a vengeance.

“Even before the recession hit the country, the economy in Ohio was awful,” says Lew, who reconsiders, before adding, “horrendous.”

Before the crash, Lew and Miriam booked every weekend, two separate gigs. And post-crash? “Well, we did 22 last year,” says Lew, “as opposed to nearly 100.”

But Lew says bookings are starting to make a comeback. “We’ve been getting some calls from clients who we’ve played for in the past, social mixers for schools has helped us make contacts, and now we’ve got 15 weddings booked right now for the next few months, and we’ve been working with other vendors and referring each other back and forth, which had helped us.”

Lew points out that the recession has brought a

lot of younger DJs into the business. “And a lot of the older people are dropping out, but even still, some things don’t change. A bride will still not blink at spending $2,500 on flowers, but they shy away from spending $500 on a DJ—there are plenty of iPod DJs out there who will do a gig for $200. So we sell our experience and professionalism, and we stress Miriam’s music programming. She really keeps me up to date with that.”

It’s a long way from East Flatbush, circa late-’70s, when Lew and his friends set a table up on the street with two decks and ran extension cords into the house, and spun Ohio Players, B-52s, and P-Funk—and Sinatra for the older people—at the many block parties back then. And it was another life ago when he was fronting Uninspired 5—his Cleveland rock band that played on the same bill with Trent Reznor’s early band (“They warmed up for us,” he laughs) and the Smashing Pumpkins.

But one thing remains constant: “Music is a life force,” he says, “It’s what keeps me young.”

We asked Lew about the origin of the name, Music by Miriam. “In the story of the Exodus, when Moses parted the Red Sea and was leading the people over the Sea of Reeds to get to the other side,” he explains, “a woman was singing a song to keep the people’s spirits up and to keep them moving, and her name was Miriam—and she got people moving, much like Music by Miriam does today. It’s something I’ll be doing until the day I die.”

BUSINESS LINE SALES…MARKETING…SOLUTIONS…

DJ TIMES

MARCH 2011

By Keith Alan

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DJ Times and Mike Walter—who organizes and produces the “DJ of the Year” competition at the DJ Expo in Atlantic City—thought it would be a good idea for me to tell the story of how winning Best DJ Game last August has improved my business.

First off, I was skeptical about competing again. I had won in 1997 for Best Dance, and I thought to myself, “I won it already—I don’t want to go up there and lose something. I wanted to go out a winner.”

But I got the bug.

So I contacted Mike and I’d developed this game that we do, called Buddies for Life, and I’ve actually put together a team-building motivational program, but that’s a very small part of it, and I digress.

Buddies for Life is an ice-breaker, best for corporate events, that involves every person at the event—it’s hard to describe, because people are running around, they meet different people, and they do different physical activities, and have different ways of remembering the people that they meet.

I didn’t create it on my own. I had a little help from a guy in Tennessee, who’s not a DJ, but he’s into teambuilding, and he gave me some ideas, and then I kind of morphed it into what I do. By the end of this teambuilding program, audience members learn to think together as a unit, demonstrate leadership skills, and have a good time. I use it to book gigs that are staff training events.

So I decided to enter it at the DJ Expo. I was getting positive response to the game, and I knew I only had a limited amount of time to perform it, so I wanted to take some of the most active parts and do it that way, because I didn’t know how much room I was going to have. I didn’t know my limitations. I talked to Mike and asked him, “What do I have to do to compete this year?” I asked.

And he told me, “Nothing, you just told me that you want to, so that’s it.”

So I performed it, and it won Best New Game.

HOW WINNING AT DJ EXPO CHANGED MY BUSINESS Now, I’d been trying to get my foot in the door at a local TV station here in Connecticut—a CBS affiliate, WFSB in Hartford, that runs a local show called Better CT. They have different acts on a local variety show, but not a cheesy variety show.

I had been on the show once before, about two years ago, because I had donated my services to a camp that the station sponsors, and they got me on the show to do little segment. But I wanted to get more involved with them, for my business, with my presence on the show. So I called them, and told them I had won a national DJ award, and that I would like to come and talk to them. They said, “Well, how about just coming on and doing the show?”

I said OK. We did my game show portion again, and immediately after the show was finished, the guy who’s the star of the show and pretty much runs the whole thing said, “I want you as a regular.”

I said OK. “We want you on the show every other week.”

I said OK. For the game portion, called Campaty, we shoot three segments per show: questions and answers with two fifth-grade level questions, the two hosts play against each other, one host plays an audience member, and then the other host plays another audience member.

I’m on camera for maybe 10 minutes of the hour-long show, but that’s a lot of face time. I’ve played with Clinton Kelly, the host of “What Not to Wear” on A&E—he was a guest host one day. It’s opening so many doors. It’s on every day at 3 p.m., and precedes Oprah so it’s got a huge lead-in audience.

And now I’m getting calls from viewers, asking, “Can you come do our birthday party? We’re doing a Jack and Jill.” I’ve picked up a couple of corporate accounts, and I’ve morphed a couple of these corporate

accounts into my team-building. It all folds back into one.

I’m linked to the station’s website, which is a nice link to have, and they have videos of me up there, and when they introduce me on the show they always ask me to talk about myself and the game. I get a chance to plug.

Because I’m doing this for them, they want to do more stuff for me.

So I’ve got a photo booth on there, and now they want to do a segment on my DJ service, on a day when I’m not doing the game show portion.

The segment will focus on my business—the subject of a five or six minutes segment of the show.

For the segment, they wanted to bring cameras to a wedding I had booked, but the brides that I have for February and March said no—and I can understand. Brides don’t want a news crew at their wedding. So what we’ve decided to do instead is bring in former clients, with pictures of their wedding, and we’ll do still shots and client testimonial will be right there live. Getting those testimonials, as you can imagine, had been a breeze.

Of course, I haven’t had time to put this up on my own site. This all started in the middle of September, after I had gotten back from Atlantic City. I finished up my summer programs, went to Vegas for Wedding MBA, and it’s been a wild ride, so I haven’t had the time.

The Best New Game award gave me the self-confidence to go knocking on the station’s door and say, “I’m not a slouch. This is what we do.”

Because of the fact that I said I won the award, I think that opened the door to a little bit of credibility, and I got to realize my potential, and my dream was to be a TV game-show host, and to any of you out there who are hesitating entering “DJ of the Year” competition at this year’s DJ Expo, I say go for it!

Keith Alan is the owner of Hartford, Conn.-based Keith Alan Productions. The 2011 DJ Expo runs Aug. 8-11 at the Trump Taj Mahal in Atlantic City, N.J. For the latest, please visit thedjexpo.com.

GEAR AUDIO…LIGHTING…STUFF

See StageSpot Run

A Galaxian Far Far Away

StageSpot LLC 11900 Metric Blvd Suite J-116 Austin, TX 78758 (888) 567-8243 www.stagespot.com

American DJ Supply, Inc. 6122 S. Eastern Avenue Los Angeles, CA 90040 (800) 322-6337 www.americandj.com

StageSpot.com launched a new online service for DJs to design and order custom gobos. The company can provide the art and fonts, or the user can upload materials for fully custom designs. StageSpot has “a close relationship to the lab that manufactures the gobo to ensure quality,” according to the company, and orders are delivered within a week. Rush services are available at extra cost.

The Micro Galaxian from American DJ is a laser effect that utilizes a 30mW green laser and an 80mW red laser. This fan-cooled effect gives “the appearance of a galaxy of stars in the sky,” according to the company. Micro Galaxian comes with its own built-in programs, as well as a sound-activation mode. The unit also comes with an RF wireless remote control that controls control auto/sound mode, black out, color change and rotation.

Case the Joint SKB Corporation 1607 N. O’Donnell Way Orange, CA 92867 (714) 637-1252 www.skbcases.com

White Knight

DJ TIMES

MARCH 2011

Pioneer 2265 E. 220th Street Long Beach, CA 90810 (310) 952-2000 www.pioneerdjusa.com

34

Pioneer’s entry-level packaged CDJ-350-W and DJM-350-W DJ system is now available in new versions that sport a Pearl White finish. In addition the DJM-350-W mixer comes with two new effects, bringing the total number of audio effects to four. Noise changes the cut-off frequency of the filter to create what the company calls a “wind-like effect.” Short Echo adds reverberation to the music with the turn of a knob. Each system includes one mixer and two CDJ-350-W multimedia players, which accepts many file formats, including MP3, AAC, WAV and AIFF.

The 1SKB-R106 rack case from SKB features a 10U slanted top and 6U front.

It has a one-piece, unibody base, roto-molded of Linear Medium Density Polyethylene to protect DJ and audio gear.

The 1SKB-R106 is also stackable. Additional features include steel threaded rails, hardcover lid and doors, side access ports for cable routing, and two TSA locking trigger latches on the lid.

GEAR AUDIO…LIGHTING…STUFF

With You, I’m Born Again Line 6 26580 Agoura Rd Calabasas, CA 91302-1921 (818) 575-3600 www.line6.com Propellerhead’s ReBirth for iPad brings users “faithful emulations” of the Roland TB-303 Bass synth and the TR808 and TR-909 drum machines. Simple step sequencers, based on the original hardware, help keep the beat as users create techno, house and hip-hop beats. ReBirth also offers a variety of effects and audio shapers, in addition to a Facebook sharing function. ReBirth for iPad is available through Apple’s iTunes App Store.

Yamaha has released two new portable recording devices: the POCKETRAK C24 and POCKETRAK W24. The former is a 24 bit/ 96KHz recorder that plugs directly into a USB port and features an omnidirectional microphone and mounting adaptor. The latter records for 27 hours in MP3 mode and features a wireless remote controller and Scene Memory function, which automatically recalls the settings for a particular recording session or location. Both models come with a streamlined version of Steinberg’s Cubase 5 Advanced Music Production System and offer 2GB of internal memory, a metronome and an instrument tuner.

Easypix as Pie Martin Professional 700 Sawgrass Corporate Pkwy Sunrise, FL 33325 (954) 858-1800 www.martin.com Martin’s Easypix modular, plug-and-play LED striplight comes in either one- or four-foot versions, each with full spectrum RGB color mixing and four beam options: very narrow, narrow, medium and wide.

Easypix comes equipped with 64 stand-alone programs, as well as multiple RGB and HIS control options.

Easypix can be “clicked onto any standard 35mm DIN top-hat rail, limiting installation and set-up time,” as well as daisy-chained, according to the company.

I Am What I Amp QSC Audio Products 1675 MacArthur Blvd.

Costa Mesa, CA 92626 USA. (800) 854-4079 www.qscaudio.com QSC’s GX Series of power amplifiers now includes the GX7. The amp features 725 watts per channel at eight ohms and 1,000 watts per channel at four ohms. Additional features include built-in subwoofer/ satellite crossover control; detented gain knobs; XLR, ¼-inch TRS and phono input connectors and QSC’s PowerLight power supply.

A Touch of Class

Drop Acid

Dubspot, Inc. 348 West 14th Street New York, NY 10014 (877) 382-7768 www.dubspot.com

LoopMasters The Ironworks Blackman Street Brighton BN1 4GD United Kingdom +44 1273 692 313 www.loopmasters.com

Dubspot Online is a new online educational platform that the company says, “individually connects students around the world directly with their instructors and peers.” Videos, audio and text documentation enhance every lesson, as does the online community where students can share ideas through a selection of forums “connected to various courses and tailored to project feedback, as well as technical, artistic, and cultural discussions,” according to Dubspot. Registration is open at dubspot.com/online-school.

London Acid Techno is a 24-bit sample pack put together by Chris Liberator and Sterling Moss. The pack includes 506 MB of Loops, Effects, Beats and Noises. The loops are in REX.2, Apple Loops and Acid Wav formats, and each one is tempo marked and keyed. The pack also includes 36 bass hits, 10 vocal samples and a collection of Native Instruments Machine kits, including Battery 3 and Kontakt 3.

MARCH 2011

Yamaha Corporation of America Pro Audio & Combo Division P.O. Box 6600 Buena Park, CA 90622 (714) 522-9011 www.yamaha.com/musicproduction

DJ TIMES

My Back POCKETRAK

35

GEAR AUDIO…LIGHTING…STUFF

Total Recall Future Loops www.futureloops.com Total Producer gives users access to all 40 libraries in the Future Loops collection at a reduced price. The 85 GB pack contains more than 100,000 royalty-free audio files, including 65,000 samples. Total Producer comes pre-loaded in a 320 GB portable external hard drive and covers a variety of genres, including dance, dub, hip hop, jazz, funk, drum and bass, dubstep and trance.

Musicsoft Serve

Out of the Starting Gator Gator Cases, Inc. 18922 N. Dale Mabry Hwy Lutz, FL 33548 (813) 221-4191 www.gatorcases.com Gator’s GX-TSA series cases are available in a variety of sizes ranging from 10- by15-inches to 38- by-29-inches. These hard-shell utility cases are made from lightweight polyethylene plastic and come with either a one-inch-thick EPS foam lined interior or customizable diced foam interior. Additional features include a black uninterrupted aluminum valance and an ergo-grip carry handle.

Musicsoft Arts LLC www.musicoftarts.com A new version of the DJ Mixer virtual music app for iPad is now available. DJ Mixer 3 comes with a new, patent-pending feature that allows anyone to DJ with any type of headphone using a WiFi network and two “iDevices.” Other new features include two turntables or CD players, scratching and direct touch screen music control. DJ Mixer 3 is free from the app store worldwide and comes with free downloadable dance music. Several premium paid features can be purchased from inside the app such as mix your own music, premium sound effects, and DJ with headphones.

Bag End of Bones

DJ TIMES

MARCH 2011

Bag End Loudspeaker Systems 22272 North Pepper Road, Unit D Barrington, Ill. 60010 (847) 382-4550 www.bagend.com

36

The IPD10E-I and IPD10E-R self-powered subwoofer systems now come with Bag End’s Infra processor built in. The installation and portable enclosures, respectively, feature the Minima One 1,000-watt amp, which automatically accepts any line voltage from 88 to 270 volts. Additional features include InGenius balanced line receiver inputs and an internally-preset dynamic filter protection threshold that eliminates distortion and accidental overload.

Mixage of Consent Mixware 7421 Laurel Canyon Blvd, Suite 14 North Hollywood, CA 91605 (786) 362-5757 www.mixware.net Reloop’s Mixage is available in two versions— Mixage Controller Edition in white and Mixage Interface Edition in black.

Both are optimized for use with Native Instruments’ Traktor LE and feature two touch-sensitive jog wheels, three-band EQ, highresolution 14-bit pitch fader, and a loop section with auto loop, manual in and out buttons, and an encoder for rapid beat looping. Mixage also offers effects such as delay, flanger and reverb.

Reloop Mixage is compatible with any software that is enabled for MIDI control.

GROOVES TRACKS…MIXES…COMPILATIONS “CONSEQUENCES”

u Vanessa Daou u Daou/KID Recordings Sian

Daou returns with a beautifully crafted club vocal that delivers several knockout remixes. With her soulful, angelic delivery, Daou pours her vocal over a sweet chillout mix compliments of “Blank and Jones Late Night Mix.” But it’s the house mixes that really rate. Eric Kupper, Harlum, Terry Lee Brown, Jr., and The Timewriter all drop deep, soul-tech house mixes that should propel this right up the charts.

– Phil Turnipseed Vanessa Daou

PLAY IT LOUD! u Marco Carola u Minus With his first artist turn in nearly a decade, techno stalwart Carola blends the boom with some deep groove. Continuously mixed, the 18-track CD drops bassline rumblers all over the place.

Top cuts? Try the warped and wobbly “Freak On” or the tough title tune.

– Jim Tremayne Marco Carola

“LOVE IS DARKNESS”

u Sander van Doorn u Doorn Records On van Doorn’s first-ever vocal single, singer Carol Lee offers a stronger presence than you find on most trance-leaning tracks. The midbreak channels van Doorn’s sonic strengths— melody and propulsive beats. Expect this to get significant time on the main floor.

– Natalie Raben Sander van Doorn

GOLDEN LADY

u Reel People u Reel People Music Paying homage to Stevie Wonder, this witty long-player is filled with raw, organic, soulful house cuts that are as classy as they are moving.

Exceptional album.

“THE L WORD”

u Deniz Kurtel feat. Jada u Crosstown Rebels This driving floor-thumper offers an ass-shakin’ groove, fluid trance keys and a dark, enigmatic vocal. Guy Gerber brings in some hefty percussion, a little chunk-and-funk, along with some mind-blowing keys and elaborate effects. An amazing dance cut.

– Shawn Christopher IT’S WINDY

u Marco Da Mata & Mathew u Ready Mix Looking for something that’s fresh, new and exciting? Look no further. It’s Windy is a unique collection of sounds and rhythms that captures different genres, while still working some tough 4/4 beats. Prime cuts include: “Dancing With Elephants,” “Pushed,” “Cargo,” “Suite No.5,” “Une Nuit In Berlin.” A wicked release.

– Phil Turnipseed “MOOPLASTIC” u Ludowick u 22 Digit This one shows promise with four tech-house mixes that will get you moving. Check Tom Ellis’ chunky mix and Michael McLardy’s “Deeper Mix.” All are soulful. This is deep-tech that really rocks.

– Phil Turnipseed “ONE RECORDS SAMPLER”

u Various Artists u One Records This tight little label comp showcases at least two highly worthy, late-night dancefloor rippers.

Adam Shelton bangs out a percolating ubergroover on “I’m Dancing,” while Alex Arnout busts out a rich, grumbling bass line and deep vocal samples on “Vanishing Point” – Shawn Christopher

– Shawn Christopher

Deniz Kurtel

Big lighting for little scratch.

DJ TIMES

MARCH 2011

Pro lighting, outstanding service, on-time delivery and great prices.

• Custom gobos • Fog machines • LED lighting

38

888-56-STAGE StageSpot.com

Download

Corner

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

“Superstylin’” (Ant Brooks ReEdit) by Groove Armada [Unreleased]: Relative newcomer and U.K. resident, Ant Brooks updates and re-imagines this reggae-influenced classic. The vocal hook ensures accessibility, while the modern, bass-heavy, techy groove and enormous breakdown will satisfy discerning househeads. A sure-fire floor-filler! Soundcloud.com/antbrooksmusic.

“Vertigo 1” (Original Mix) by Sian [Bedrock Digital]: Growling, dark, and distorted may not seem favorable descriptions for dance music, but in the hands of Sian, they become hypnotic, atmospheric, and aggressive. Besides the vaguely melodic, fuzzedout synths and pads during the break, expect nothing less than energetic, relentless beats. Found at beatport.com.

“Altogether Lost” (Chris Liebing Remix) by Emptyset feat. Cornelius Harris [CLR]: Beginning with an urgent spoken-word poem seemingly warning of impending doom, this techno track quickly turns even darker with a huge reverberant breakbeat and industrial sounds reminiscent of the abandoned warehouses of inner city Detroit. The pinnacle of the genre.

Found at beatport.com.

– Robert LaFrance

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American DJ CIV Behringer 25 Bosch 5 Chauvet 3 Denon DJ 11 Dixie Dance Kings 24 GCI 29 Izotope 27 JBL CIII Juicy Beach 39 Kaysound 7 Novation 15 Peavey 31 Pioneer DJ CII Rane 9 Roofdeck 33 Sirius 14 Stage Spot 38 Sun to Sea 17 Thunderball 37 Ultra Music Fest 18/19 While every care is taken to ensure that these listings are accurate and complete, DJ Times does not accept responsibility for omissions or errors.

2011 DJ EXPO AUG. 8-11 TRUMP TAJ MAHAL ATLANTIC CITY NJ

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Compiled As Of January 26, 2011

National Crossover Pool Chart 1 The Black Eyed Peas 2 Afrojack F/ Eva Simons 3 Swedish House Mafia 4 Ting Tings 5 Rihanna 6 David Guetta F/Kid Cudi 7 Katy Perry 8 Ke$ha 9 Far East Movement 10 David Guetta F/ Rihanna 11 Kylie Minogue 12 Maroon 5 13 R. Vission & Static Revenger 14 Nelly Furtado 15 La Roux 16 Shakira 17 Erika Jayne 18 Katy Perry 19 1 Square 20 Taio Cruz F/Ke$ha 21 Daniela 22 Enrique Iglesias F/Ludacris 23 Georgie Porgie 24 Julissa Veloz 25 Robyn 26 The Green Children 27 Sky Ferreira 28 Dave Kuz 29 Mon A Q 30 Sir Ivan 31 Twiins 32 Kimberly Caldwell 33 Tiffany Dunn 34 Katy Perry 35 Arika Kane 36 Steven Lee & Granite 37 Pixie Lott 38 Dani Barbers 39 Starshell 40 Good Charlotte

The Time(Dirty Bit) Take Over Control Miami 2 Ibiza Hands Only Girl (in The World) Memories Firework We R Who We R Like A G-6 Who’s That Chic Get Outta My Way Give A Little More I Like That Night Is Young In For The Kill Loca One Hot Pleasure Teenage Dream Hey Sexy Lady Dirty Picture You & I Tonight It’s The Music Predator Hang With Me Dragons Obsession This Guy’s In Love ..

How Long Hare Krishna Boys Boys Boys Desperate Girls & Stupid Shut The Front Door Peacock Ring My Bell Everybody Wants To Rule Boys And Girls Fly SuperLuva Like It’s Her Birthday

National Urban Pool Chart

Interscope Robbins Astralwerks Columbia Island/Def Jam Astralwerks Capitol RCA Interscope Astralwerks Astralwerks A&M Geffen Geffen Interscope Epic Pretty Mess Capitol Interscope Island/Def Jam Robbins Universal Music Plant Carrillo Interscope Spinside Capitol Concord Tone 1 Peaceman B Records Capitol Epic Capitol BSE Star 69 Interscope Dani Barbers Prod.

Geffen Capitol

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

Will.I.Am & Nicki Minaj The Black Eyed Peas Rick Ross Willow Rihanna Wiz Khalifa T-Pain F/Rick Ross Rye Rye F/ M.I.A. Wacka Flocka Flame Twista F/ Chris Brown Lloyd Banks Kevin Cossom Rihanna F/ Drake Nicki Minja Nelly Furtado Pitbull F/ T-Pain Trey Songz F/ Nicki Minaj Yelawolf F/ Gucci Mane Charlie Wilson Eminem F/ Rihanna Tony Brikk John Legend M.I.A. Jazmine Sullivan Kanye West Roscoe Dash Trey Songz Krys Justice Drake F/ Lil’ Wayne Chris Brown Sean Kingston N.E.R.D. JR. Pinchers F/ Twinz Beatz TrendSettaz F/ Nemesis Usher F/Jay Z TI F/ Chris Brown Traedonya Spragga Benz F/Shabba Ranks Wartime Ne Yo

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

Penny Foster Pixie Lott Tony Braxton Santito Vs. Block + Erika Jayne Kimberly Caldwell Good Charlotte Joey Moe Ph Electro Starshell

Closer To Love Boys And Girls Make My Heart Back It Up One Hot Pleasure Desperate Girls & Stupid Like It’s Her Birthday Yo - Yo Englishmen In NY SuperLuva

Check It Out The Time(Dirty Bit) Aston Martin Music Whip My Hair Only Girl (in The World) Black & Yellow Rap Song Sunshine No Hands Make A Movie Any Girl Baby I Like It What’s My Name?

Right Thru Me Night Is Young Hey Baby Bottoms Up I Just Wanna Party You Are Love The Way You Lie My Bad Girl Wake Up Everybody Internet Connection Holding You Down Monster My Own Step Can’t Be Friends All Night Long Miss Me No BS Letting Go Hypnotize U Back Broke She Likes Girls Hot Tottie Get Back Up I’ll Give It To You Red Dot Special She Want A Gangsta One In Million

Interscope Interscope Island/Def Jam Columbia Island/Def Jam Atlantic Jive Interscope Interscope Capitol Universal Jive Island/Def Jam Universal Geffen J Records Atlantic Interscope Jive Interscope High Risk Columbia Interscope J Records Island/Def Jam Interscope Atlantic Krys Justice Universal Jive Epic Interscope Sloppishizzle Follow Me LaFace Atlantic Prohibition Ent Boomtunes Raw War Def Jam

Most Added Tracks Robbins Interscope Code Red Robbins Pretty Mess Capitol Capitol Robbins Capp Geffen

1 2 3 4 5 6 7 8 9 10

TrendSettaz F/ Nemes Miss Marie Bruno Mars F/Damian Wayne Wonder Far East Movement Nicki Minaj F/ Emine Banig: Josephine Rob Chris Brown Dr. Dre F/Snoop Dogg Jamie Foxx F/ Drake

She Likes Girls Little Do You Know Liquor Store Blues If I Ever Like A G-6 Romans’s Revenge Igalaw Natin (Move) Yeah Yeah Yeah Kush Fall For Your Type

Follow Me Aires Singso Singso Interscope Universal Double Play Jive Interscope J Records

Reporting Pools ✦ Dixie Dance Kings - Alpharetta, GA; Dan Miller ✦ Flamingo - Ft. Lauderdale, FL; Julio ✦ Next Music Pool - Los Angeles, CA; Bob Ketchter ✦ 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 R - Pittsburgh, PA; Jim Kolich ✦ Soundworks - San Francisco, CA; Sam Labelle ✦ 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

45791

Avicii

(continued from page 16) the whole Ibiza atmosphere and just the whole general night for me was amazing. It just ended up being a good experience for me. I just love the vibe there—everybody is into everything I played. Also, Sensation White [the 2008 version of the festival held in St. Petersburg, Russia,] because it was always a big thing for me—it was one of my goals ever since I started producing to play at one of those events.

It was amazing because the production was so crazy and the crowd is really there to have fun.You can really feel it and they’re open-minded to the music. As long as you keep the music good, they’ll go for it. Also, I had a great time at the Inox Festival in France as well.

DJ Times: What are you doing here at Stadiumred studios today?

Avicii: I’m here in New York and I’m working on a track with Jeremy Carr and we’ve been working for awhile, but over the internet. It’s been hard to connect because I’m in Sweden and he’s in the States and our schedules made it difficult. Now we have some time in the studio together. And once you do, things go very quickly. There’s instant feedback.

DJ Times: You’re a young guy, someone who’s moved up the ladder pretty quickly. You’re just now getting a real taste of this global-DJ world.

What are your goals now?

Avicii: A Top-40 No. 1? [laughs] No, not really. To be honest, at the moment, I’m just trying not to think about it too much. I’m just going with it by focusing on the music, focusing on the gigs and making a good impression on everyone—and have fun.

If you think too much about it, then it becomes something else. Let’s keep it fun for now. n

Sounding Off

(continued from page 28) alongside the software itself.

The Traktor Pro S4 version bundled with the Kontrol S4 should be familiar to most Traktor users—except for some small additions here and there—and is likely pretty intuitive even for new Traktor users.

As for the hardware, most DJs will probably find using the S4 to be relatively intuitive as well for basic operations. Use the crossfader (or not), your choice. The 3-band EQ is where you’d expect it to be. And there are even filter knobs for each of the four channels for those (like me) who are accustomed to using them.

Perhaps the only items I felt to be missing from the basic DJ controls are center-detents on the tempo sliders. The middle has to be “eyeballed,” instead of feeling for the tactile neutral position as with a CDJ, for example.

As with other competing units of this type, if you intend to control a full four decks’ worth of digital, the brain strain can become a bit taxing, since the mixer section supports four decks easily—but the control sections on either side allow control of only one virtual deck at a time.

Switching back and forth between the A and C decks on the left, or the B and D decks on the right, is a button press away, and there are backlighting color cues to make it obvious which deck you’re controlling.

It took practically no time at all to get to a point where I competently performed a straightforward DJ set using the S4 setup. I’ve made the comparison before, but it’s a bit like stepping into an unfamiliar rental car for the first time; spend a bit of time in the parking lot to find the seat adjustment, the location cruise

control and headlights, etc.—so to speak—and you can safely drive off to your destination.

But just like that time you took the luxury upgrade at the rental car counter, it’s hard not to want to start playing with the cool sat nav or checking out the rear view video display on the dash—all that stuff you never get with the affordable compact you normally rent. And so it is with the S4. It sort of seduces you into playing with those things you’ve never had at your fingertips until now, and I suspect it’s what Native Instruments is aiming for here.

The combination of Traktor Pro S4’s toolset, and the Kontrol S4’s control of those tools, could very easily be a stylistic game-changer for adventurous club jocks who want to keep the audience on their toes and fully engaged.

With the S4, there’s a whole suite of capabilities that blur the definition of DJing by letting you easily construct and perform mash-ups, and literally on-the-fly remixes. Traktor Pro S4’s sophisticated audio effects are part of that (also available in the regular Traktor Pro), but new with the S4 are Sample Decks (which are promised for other Traktor Pro users in a future upgrade). Essentially, the Sample Decks let you load small audio files—percussion loops, for example—for playback and looping into the main mix. (A sample library even comes with the S4 kit.) Of course, you can use loops from a running deck, too, or utilize Traktor Pro S4’s new Loop Recorder for even more capability. With practice, I could easily envision myself turning out some truly amazing sets with loops and samples and tracks in multiple decks, and effects adding their twist to the

energetic result.

The only real negative I found in regular use of the S4 is with the microphone support. I nearly always use a mic, both in the club and for mobile gigs, and as mentioned earlier, there is a single ¼-inch jack in the S4 to plug one in. Having only one mic input may not be ideal for some mobile situations, but the bigger issue I had with the unit is the mic level. Using the same Shure SM58 I use with my day-to-day gear, and with both the back panel mic gain control and the front panel mic volume control turned all the way up, I found the mic audio level unacceptably low.

Patching an off-board preamp in-line would help, but in my view shouldn’t be necessary.

Conclusions: At its nearly-a-grand price point, the Native Instruments Kontrol S4 may be a budget stretcher for some DJs. But for the investment, you get: a really sexy controller; the functional equivalent of NI’s popular Audio 4 DJ audio interface (along with its pro-grade specs and highend Cirrus Logic AD/DA converters); and a full version of Traktor Pro (not just a “lite” version), including new S4-specific features.

And perhaps as expected given the circumstances—you also get remarkably tight integration between hardware and software. The ability to breathe new life into your DJing style will appeal to many. And while the lack of XLR connections for mic and master are an oversight, it’s nothing that can’t be overcome with adapters or the right cables. All told, the Kontrol S4 is a great choice for DJs looking to go digital with an all-inone package, or the digital DJ looking to up their game.

The Evolution of Wolfgang Gartner (aka Joey Youngman)

42

It’s kind of amazing how…

Photos By Drew Ressler/rukes.com

DJ TIMES

MARCH 2011

can earn you tons of attention.

just adopting a cool DJ name…

Wolfgang Gartner, next month in DJ Times

DJ TIMES

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Cosmic Gate (continued from page 8)

interesting and hot new records to develop. Electronic music was simply so different to the normal rock, hip-hop and whatever that people listened to… and still listen to! We were hooked right away on house, acid and, later on, techno and trance, and we wanted to be part of this amazing movement.

DJ Times: How have you enjoyed your gigs in North America?

Chagall: During the last few years, North America developed more and more to be our most favorite territory to play. Most cities have a good club scene and a lot of good festivals are happening. On top of this, what’s most important for us, we think the crowds in general are pretty much open-minded.

DJ Times: What does that mean to you?

Chagall: They do not only strictly follow the same kind of DJs or music, like many other places—and, we like this. We like mixed lineups sometimes. With an open-minded crowd, it can work fantastic and actually always

does in the U.S. That’s why we love to come back every single time.

DJ Times: What’s in your studio? Where do you get your favorite sounds?

Bossi: We’ve worked with Logic for many years. This is really our platform. Regarding sounds, we use the Virus a lot. For bass sounds, there are actually a few VST plug-ins we use, but certainly not the one we could mention here as the Cosmic Gate reference machine.

DJ Times: You’ve been doing this a long time. How has your studio approach changed?

Chagall: When we started Cosmic Gate, our studio was filled with old drum computers and synths. They took a lot of space and also the heat development from these tools was immense. It was very bad, especially in the summer time [laughs]. In the last few years, it’s actually all VSTs we are working with. It makes the producing process easier in some things.

On the other side, vocal productions, especially, take a lot of time with all

the little tricks and effects that we include.

DJ Times: For up-and-coming DJ/ producers, what would be your advice on getting started?

Chagall: We work with Logic, which is amazing actually, but also pretty hard to handle compared to other software. At least, this is what we get told [laughs]. For production beginners, maybe, it would be good to start with Ableton Live. It offers a lot of options without being too hard to handle.

DJ Times: Which producers impress you now and why?

Chagall: Producers from the trance scene? For sure, Arty, who did that amazing remix for our “Back To Earth” track, and also Andrew Bayer, who is doing amazing tracks on Anjunabeats and Anjunadeep.

DJ Times: When you DJ together, how does it work?

Bossi: The only “rule” we follow is that we play back-to-back always, and we bring our individual DJ experiences—we were DJing before

we started as a duo. Often, it’s an automatism between us, but only meant in the most positive way. That makes us act as one and go for the party.

DJ Times: What’s your DJ set-up?

Bossi: We like to play with CDJs and we have for several years. To be standing behind a laptop is not what we see as the best solution for us, but that’s our own opinion. Every DJ has to go for what he or she thinks works best for the special needs of each set.

DJ Times: How do you choose the music?

Chagall: We listen to new music together and decide what tracks to play. Only sometimes do we introduce a track to the other in the club while playing it. We have a pretty simple taste for electronic music and especially for what fits into a Cosmic Gate set. This makes it easy to play together—we’ve done it for 11 years now. Often, we only need to look at each other to know what the other one thinks, like an old married couple [laughs].

– Jim Tremayne

DJ TIMES

MARCH 2011

Red Bull

44

(continued from page 3) he recalls, “but after that I just wanted to focus on making music and making a party. That’s why I entered the competition. Red Bull is the first to have offered this kind of competition—it’s more music-based and it’s all for the crowd. I’ve waited a long, long time for someone to create this kind of competition.”

Second-place finisher Nedu Lopes from Brazil scored points with the locals by dropping a bite of Jane Birkin and Serge Gainsbourg’s always-saucy “J’taime… moi non plus,” but he also powered through some rock familiar tracks, raised some hands with Duck Sauce’s goofy “Barbra Streisand,” and offered a taste of Brazilian flavor with the Portuguese version of Jobim’s “The Girl from Ipanema.”

Canada’s DJ Drastik and Switzerland’s DJ Montes tied for third-place honors.

Other competitors included: USA’s DJ MSquared; Japan’s DJ Iku; UK’s DJ Santero; Columbia’s DJ Dhago; New Zealand’s Scratch 22; and Spain’s Chelis.

Of course, the judges weren’t just there to push their pencils.

The evening began with a hot hip-hop set from the legendary DJ Jazzy Jeff and closed with a tight tag-team from scratch masters Craze and Klever. So we’re talking an evening of 13 DJs playing dubstep with metal, hip-hop with house, techno with trance, spoken-word with scratching—and a lot more.

Hot Opener: Jazzy Jeff got the party started right.

New Champ: France’s DJ kArve gets lifted.

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