DJ Times September 2009, Vol 22 No 9

’09 Int’l DJ Expo Issue

America’s First Magazine For Professional DJs Established 1988

september 2009

$6.95 CANADA

$4.95 US

Paul Oakenfold takes on sin city

How Michael Jackson Transformed the DJ Biz What’s Legal?

Tips on Using Web Music Why Creative Visualization Inspires DJs

Presented by

winner announced soon

n Damian lazarus n chris lake n cubase 5 n akai’s ableton controller

$4.95 US

$6.95 CANADA

www.djtimes.com

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industry ev ents…notables…milestones

NEWS

Atlantic City, N.J.—Now in its 20th year of existence, the International DJ Expo—presented by DJ Times and its publisher Testa Communications—stands solidified as America’s top professional DJ conference and exhibition. But this year’s Expo expects to have a different level of urgency.

Set for August 10-13 at the Trump Taj Mahal Hotel & Casino in Atlantic City, the Expo will present its winning combination of exhibits, seminars and parties—plus four days of vital industry networking. Still, this year’s circumstances—the general economic downturn—have added another incentive for DJ-attendees to extract valuable business-building and industry-survival knowledge from the show.

With mobile-oriented sessions like “Turn Twitter to Cash” (helmed by ProspectMX founder Dave Conklin), “The Art of Converting Prospects to Clients” (presented by Maryland mobile Steve Moody), “Pump Up Your Corporate Accounts” (moderated by Canadian mobile Brian Henry) and “Maximize Your Mobile Business with Other People’s Money” (helmed by Buffalo mobile Mark Brenneisen), the Expo’s deep slate of seminars expects to help in that effort.

Sponsored seminars come courtesy of Denon DJ, which will demo and explain its latest wares, X-Laser, which will present “Sales, Safety & The Law,” and Pioneer Pro DJ, which will unveil a brand-new product.

Keynoters will hit an array of topics. On Tuesday, Aug. 11, Matt Anderson of The Referral Authority will demonstrate strategic networking methods for DJs. Later that day, Mark Imperial, a “Direct Response Marketing & Sales Coach,” will present “The Anatomy of a Proven Marketing System That Can Bring Millions to DJ Entertainers.” On Wednesday, Aug. 12, DJ legend and three-time DMC champ QBert will offer a retrospective on his exciting career, explaining his artistic and entrepreneurial endeavors like Thud Rumble and DJ QBert Skratch University.

The show oor will be lled with new products from leaders of the DJ industry. Expect great deals and don’t forget the Ultimate DJ Giveaway.

Set for 2:45 on the exhibit oor, the drawing will surely thrill one lucky winner, who will walk away with a bundle of loot from American DJ, Beamz, Crown International, Denon DJ, JBL Professional, Pioneer Pro DJ, Promo Only, and Rane.

And, as always, each Expo evening will feature events inside the Taj and at other Atlantic City venues. (Editor’s Note: For the latest on parties, DJs and recording artists scheduled to perform at the DJ Expo, please see Page 8.) For the latest information on all matters at the International DJ Expo, please visit www.djtimes.com.

Keynoter: QBert will discuss his successes at DJ Expo.

Peter Samuels

DJ Expo Enters 20th Year, Sharpens Business Focus

ABDJ Tour: Roger Rocks It

Marisa Berard

NYC—Roger Sanchez slays the oor at M2 Ultra Lounge during a recent gig on the America’s Best DJ Summer Tour Presented by Pioneer Pro DJ. Online voting ends Aug. 9 with the winning DJ announced soon after. That DJ will play the ABDJ Closing Party Sept. 12. The venue: “Paul Oakenfold Presents: Perfecto Las Vegas” at Rain Nightclub at The Palms. For more on the ABDJ Tour, please see Page 28 and visit www. americasbestdj.net.

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Cover & Content Photo By Rankin

Volume 22 Number 9

16 28 Planet Perfecto ABDJ Tour After a Career of Firsts, DJ Legend Highlights Paul Oakenfold Is Helping Turn Las Vegas into America’s Club Capital

By Emily Tan

Nationwide Photo Highlights from the 2009 America’s Best DJ Summer Tour Presented by Pioneer Pro DJ

24 Legal Beat 30 Update Promoting Your Music or Services Via Remember Internet? Here’s a DJ’s Legal Guide to the Time Using Music on the Web DJ TIMES SEPTEMBER 2009

By Coe W. Ramsey

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Mobiles Recall How Michael Jackson Transformed Their Businesses—and the Entire DJ Industry

By Jeff Stiles

DEPARTMENTS 6 Feedback

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

34 Making Tracks Steinberg’s Cubase 5

36 Sounding Off

Native Instruments’ AUDIO 4 DJ & Akai’s APC40

38 Mobile Profil

Jersey Mobile Knows How to Party On!

40 Business Line

The Art of DJing: In the Eye of the Beholder

42 Gear

New Products from Chauvet, American DJ & More

SAMPLINGS

50 Grooves

Phat Tracks from Jake Island, Wamdue Project & More

12 Damian Lazarus

54 DJ Times Marketplace

14 In the Studio With…

57 Club Play Chart

Smokes the Monster Out Chris Lake

Shop Here for All Your DJ-Related Supplies The Hottest Records, As Reported by Our Top U.S. Record Pools

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from the editor

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

MJ Memories & Mobiles

DJ TIMES SEPTEMBER 2009

The afternoon Michael Jackson died, it was obviously a little shocking for much of the American public, but the way it was immediately processed and ultimately digested seemed to be directly related to one’s age.

I was reminded of August 16, 1977, the day it was announced that Elvis Presley had passed at 42. I’d just returned from the mall, where my mother had bought me a new round of school clothes—freshman year in high school, no small thing. I ipped on the TV and saw: Elvis Aaron Presley, 1935—1977.

“Hey, Mom—Elvis died.”

“Wha-a-a-a-at!”

At the time, I was surprised at her reaction—she ran toward the television—but I shouldn’t have been because I reacted similarly to MJ’s death. When an artist’s music has actually touched your life and the lives of millions, the memories pour in. For me, they were: Cutting Jackson 5 records off the back of cereal boxes and having J5-vs.-Osmonds arguments. (And why was that even a conversation?) Then the thought hit me: “I’m sure the coverage is going to get out of hand real soon, but will people remember his music’s cultural impact or just the sordid details of his personal life?”

Luckily, our mobile scribe Jeff Stiles helps answer that question this month. If you’re old enough to have lived through Thriller and his earlier efforts, it’s the music. For his story, DJs were all too happy to explain just how much impact MJ—and the Thriller era, in particular—had on the mobileentertainment industry. We hope you enjoy it and “Remember the Time” yourself.

This month, we also catch up with legit living legend Paul Oakenfold, who has taken his act to Vegas, baby. After spending the summer in Europe, opening shows on Madonna’s “Sticky & Sweet Tour,” Oakie will return soon to Sin City where he’ll resume his “Paul Oakenfold Presents: Perfecto Vegas” residency at the Rain Nightclub in the Palms Resort & Casino Hotel. Our Emily Tan gets the story on his residency—his rst in the U.S.—plus his view on the current DJ scene and some talk on his upcoming productions for the Material Girl herself. (By the way, Oakie’s residency will serve as the venue for our America’s Best DJ closing party on September 12.)

Speaking of ABDJ, we offer a glimpse at the America’s Best DJ Summer Tour Presented by Pioneer Pro DJ with a special photo spread. We want to thank our intrepid photographers—especially Graham Meyer at the Movement festival in Detroit and the Starscape fest in Baltimore—for braving the heaving heaps of humanity and delivering some terri c images of our ABDJ nominees and the exciting scenes in general.

This month’s Sampling stories look at a pair of DJs doing big things in the studio and in the booth: Chris Lake and Damian Lazarus. Lake has had a series of popular tunes that club DJs of all stripes seem to eat up. With an approach that cleverly and expertly borrows from various forms of electronica, it’s no wonder so many jocks are down with his sound. Lazarus, another U.K. ex-pat who has relocated to Los Angeles, is one of my personal favorites. His sets are always manic and his artist album is surprisingly good—surprising, I say, because it’s not all directed toward the dance oor.

If you’re reading this, there’s a decent chance that you are at the International DJ Expo in Atlantic City. We hope you enjoy yourselves, buy some great new DJ products and return to your market with information and inspiration for the coming year.

Cheers,

Jim Tremayne, Editor, DJ Times

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

For cust omer ser vice and t o order subscriptions, call 800-937-7678 visit our website www.djtimes.com

DJ Times Sound & Communications The Music & Sound Retailer Sound & Communications Blue Book America’s Best DJ Clubworld International DJ Expo IT/AV Report The Club Show Convention TV News V TTV Studios

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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 © 2009 by DJ Publishing, Inc., and must not be reproduced in any manner except by permission of the publisher. Websites: www.

September 2009

visit our website: www.djtimes.com

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feedback siriusxm.com.]

Additionally, our relationship with Sir‑ ius, especially with staffers Geronimo and Anthony Lopez in Manhattan, has been extremely valuable for DJ Times the magazine and other properties like the International DJ Expo and America’s Best DJ. Thanks again and keep listening.

America’s Best DJ Closing Party Sept. 12 at

– Jim Tremayne, DJ Times

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.

Aidan, It’s our pleasure and thanks for listen‑ ing. Emily has worked long and hard on the show to build it into something that everyone can be proud of. She seeks all kinds of electronic music for broadcast, from DJs popular and underground.

The criteria: It’s got to be good and it’s got to be exclusive.

[Program Alert: DJ Times “Shortlist� is on AREA Channel—Channel 38 on Sirius, Channel 80 on XM—Wednesday nights at 11 p.m. Eastern time. For further information, please visit www.

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SEPTEMBER 2009

– Aidan O’Brien, Limerick, Ireland

RENOWNED AS THE WORLD’S PREMIER LEADER IN DJ EDUCATION

DJ TIMES

Dear DJ Times, I have been listening to your DJ Times “Shortlist� mixshow on Sirius XM sat‑ ellite radio for quite some time now and am really impressed with the quality and choice of DJs—keep up the good work. I am a DJ from Limerick, Ireland, and closely follow Funk D’Void—ge‑ nius.

You had a show on November 11, 2008, from him and it was a superb set. I want to thank [host and show coordina‑ tor] Emily Tan for sending me the track‑ listing because I had spent hours and weeks searching the net with no joy.

Also, I want you to know that I went out and purchased a lot of those tunes over the last week. Thanks again for your help and keep up the good work.

Cheers,

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promoo

industry ev ents…notables…milestones

NEWS

Let’s Party: Expo Evening Events Bring Big Talents

DJ TIMES SEPTEMBER 2009

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Meg Pukel

Pitbull

DJ Theo

Neil London

Atlantic City, N.J.—The stars have aligned for the 2009 International DJ Expo.

In addition to exhibits, seminars and networking opportunities, the Expo always has had a thick schedule of evening events, and this year’s show is no different. So when the thousands of professional DJs hit the Trump Taj Mahal in Atlantic City, N.J., August 10-13, they should expect to see some serious talent—from current and former hitmakers to unique DJ and V J performers.

Things get started Monday, August 10, at “The Mobile Kick-Off Party” at The Taj’s nighclub,The Casbah. Hosted

by Mike Walter of New Jersey’s Elite Entertainment, the event will feature performances by various mobile talents, plus a special set from amberRoseMarie, who will sing “Wanna Be a DJ” and perform a tribute to the late Michael Jackson.

Immediately following the Mobile Party Monday night at The Casbah, Nervous Records will take over by presenting DJ Theo, who’ll be supporting his latest CD, Nervous Nitelife—Summer Clubbing 3. Expect hits from the legendary New York-based label and a few surprises from the versatile Long Island favorite, who has maintained both a steady radio presence and a popular East End residency at Neptune Beach Club for a decade.

On Tuesday, August 11, at 5 p.m.,

DJ Skribble

Expo attendees will get a treat with a special afternoon set from the legendary DJ QBert on the exhibit floor’s DJ Times Square. Expect to be dazzled by the three-time DMC champion and inventor of some of the industry’s more Deborah Cox amazing tricks.

As is its tradition, the Promo Only Party will again bring a slew of artists and Pioneer-sponsored DJ/V J performers to the House of Blues (801 Boardwalk) on Tuesday, Aug. 11. Last year’s event included Lady Gaga, who blew up massively soon after her Expo appearance. Will this year’s lineup include next year’s Lady Gaga?

Co-hosted by a formidable triple threat—hiphop act Three 6 Ma a, singer Brooke Hogan and Maxim cover model Joanna Krupa—the show will feature a live-band-backed set from headliner Pitbull, the Miami-based MC who’s enjoying further crossover success with the summer smash, “I Know You Want Me (Calle Ocho).”

Also on the Promo Only bill: Kristinia DeBarge, from the legendary DeBarge family of R&B performers, who recently enjoyed chart success with her hit “Goodbye”; Paradiso Girls, a sassy girl group, who recently dropped their latest, “Patron Tequila,” with on-mic help from Eve and Lil Jon; and AnnaGrace, a duo with former members of Ian Van Dahl, the act which gave us club hits like “Castles In the Sky”; and Kim Sozzi, the New York diva who recently hit it big with “Feel Your Love.”

Other Promo Only Party artists will include: Deborah Cox, the R&B/dance vocalist who has topped the dance charts 10 times since 1995 with hits like “Nobody’s Supposed to Be Here”; Lisette Melendez, the freestyle diva, who scored with “Together Forever” and “A Day in My Life (Without You)”; Paradiso Girls

and Freedom Williams, the male voice behind C+C Music Factory hits like “Gonna Make You Sweat (Everybody Dance Now)” and “Things That Make You Go Hmmm.” Incidentally, Melendez and Williams (at the time fronting C+C) performed at the very first International DJ Expo in 1990—for C+C Music Factory, it was their industry debut.

Other talent at the Promo Only event will include: LeToya (Capitol); Kaci Battaglia (Curb); Jason Derulo (Warner Bros); Iyaz (Reprise); Erika Jayne (E1); and Sylvia Tosun (Sea to Sun). At presstime, the DJ/V Js conrmed for the event include Kris P, G-Funk and DV DJ Unique. Expect to see mind-blowing visual content specially created for DJ Expo.

Talent agency Moodswing360 and headphone maker Aerial 7 will present a Promo Only afterparty Tuesday night at the Dusk nightclub in Caesars (2100 Pacific Avenue), which will include Shwayze (featuring Cisco Adler), who will premiere the new single, “Get U Home,” in addition to performing other hits like “Buzzin’.”

As a pre-party to Promo Only’s shindig on Tuesday (plus each following day at the Expo through Thursday), Moodswing360 and Aerial & will present an early evening “Sunset Party” at The Cabana Club/C5 in The Chelsea (111 South Chelsea Avenue) with DJ Los from Aerial 7.

Wednesday evening, Aug. 12, the nation’s mobile entertainers will cap their season with “The DJ of the Year” Awards. Held at The Casbah, the event will be hosted by Mike Walter, and it will bestow trophies for the following categories: DJ of the Year; DJ of the Year Runner-Up; Best Dance; Best Game; and Best Choreographed Routine. As usual, the competition expects to be tight.

But even those not competing will certainly be entertained and they’ll return to their markets with several new party-starting ideas.

Later that Wednesday night, The DJ Expo Afterparty will kick-start The Ego Lounge in the middle of the Taj’s casino floor. Presenting America’s Best DJ nominee DJ Skribble and other “Friends of DJ Times,” the party will feature favorites from Skrib’s treasure trove of hits, plus some offbeat tunes for those in “Expo winddown mode.”

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GIVEA THE ultimate dj giveaway new SL 3 for Scratch Live

The best professional digital DJ solution just got better with the introduction of the new SL 3 for Scratch Live from Rane Enhanced by studio grade preamps and 24-bit audio processing, this compact new solution produces a warm punchy sound to heighten the senses. Extra outputs allow DJs and electronic musicians to intensify the mix with the Scratch Live SP-6 Sample Player (New in Version 1.9). The auxiliary input provides a live input feed for creative sampling or recording your set. Use any combination of audio source. Control CD, Control Vinyl or MIDI for more exibility than ever.

Beamz Professional – Engage Your Audience

Engage your audience to a new level with Beamz Professional. This W shaped instrument includes six laser beams for players to trigger different music clips, samples and sound effects. Drop your own sounds, effects, loops, rhythms and samples on a beam for dynamic playback and performance possibilities. Beamz Professional includes Beamz Studio composition software to create your own interactive music from your existing MIDI, WAV and MP3 libraries.

r e t en

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DN-S3700 Direct Drive Turntable Media Player & Controller

The ground-breaking new DN-S3700 Digital Media Turntable & Controller is the latest cutting-edge tabletop deck from Denon DJ. It provides working DJs with a host of useful and modern features for enhanced creativity. In addition to CD/MP3 discs, simply plug in a USB memory device like an iPod, Thumbdrive or Hard Drive lled with mp3/wav les and play. Performance features include; 7-Onboard Effects, 3-Auto Loops, 4 Hot Starts, Loop Cutter, a Waveform display, Internal Sound Card, and USB MIDI for interfacing with 3rd party DJ software. Two units will be given away.

Choose 6 of Your Favorite PromoOnly3-month Subscriptions (3 CD & 3 DVD)

Promo Only, Inc. is the nation’s largest provider of promotional content, offering music on CD and music video on DVD designed to meet the speci c needs of music professionals and entertainment venues. Promo Only also provides custom video remixes to record labels; fast, secure digital delivery to radio via its Promo Only MPE division; and custom programming and content to the hospitality industry via its Business Music Division.

ADJ Fusion FX Bar Mobile System American DJ is not only raising the bar on excitement and value in DJ/club effects, it's extending the bar too. The ADJ Fusion FX Bar Mobile System gives DJs, bands, mobile entertainers and clubs everything they need to put together an eye-popping multi-effects light show, in a lightweight and portable package. The system comes with one Fusion FX Bar 2, one Fusion FX Bar 4, one LTS-1 Stand, one UC3 simple controller, and one 5 foot DMX Cable. The Fusion FX Bar 2 includes three effects: red, green and blue LED color wash; colored LED moon ower; and white LED moon ower. The Fusion FX Bar 4 includes three effects: one bright white LED wash/strobe effect with 90 white LEDs; one Tri Color LED moon ower; and one green laser effect powered by a 4.9mW laser.

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Crown xls 602 amp Every night around the world our products are used on hundreds of stages and the famous Crown sound is heard by millions. Our engineers bring cutting edge technology to each product they design and Crown’s XLS series is part of this long standing tradition.

Combining world-class reliability, performance and sound makes the XLS Series a perfect marriage between value and innovation. Crown also completely protects your investment and guarantees its speci cations with its unmatched Three Year No Fault Fully Transferable Warranty.

Experience the XLS series and you’ll hear what innovation sounds like.

The MEP-7000 is perfect for the mobile DJ who doesn’t have much space to work in and wants access to a wide variety of media. Offering the same basic functions and operations as the CDJ series, the MEP-7000 reads CD/CD-ROM/DVD-ROM as well as USB media.

jbl JRX100 portable 15” 2-way speaker system JRX100 delivers the performance and prestige JBL is known for at an affordable price. The JRX115 is a portable 15” 2-way speaker system speci cally designed with the working musician and DJ in mind. With the smooth, natural sounding mid-range of the system, the JRX115 does a great job projecting live vocals, solos and speech. And, with a ridged highly tuned ported enclosure it delivers the low end extension required for serious DJ applications. A dual angle pole mount provides aiming exibility to direct the sound down toward the audience, keeping energy off the ceiling, resulting in exceptional clarity.

DJM-700 Standard Mid-Range Professional Digital DJ Mixer:

The core of every professional DJ rig is the mixer. Whether you play at home, perform at the club or jumpstart the party, you need your mixer to perform awlessly, be packed with features and built to t perfectly into your DJ style. The new DJM-700, the perfect all-purpose, all-style professional DJ mixer.

HDJ-2000 Headphones

HDJ-2000…Featuring high quality frequency response for unmatched clarity and ultra de ned audio, high ux magnets for perfect sound resolution, along with a durable lightweight magnesium swivel/fold mechanism for comfortable prolonged use, these stunning high quality headphones, while primarily targeted towards the Professional DJ, will appeal to all serious music consumers.

Whether you are a DJ, studio musician, sound engineer or just an avid listener of music, the HDJ-2000 is the answer to all of your headphone needs.

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August 10-13, 2009 • Trump Taj Mahal www.djtimes.com/djexpo • 1.800.YES.7678 7/22/2009 3:57:39 9:56:19PM PM 7/10/2009

DJ TIMES SEPTEMBER 2009

samplings

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Best known for and his mindbending take on underground avors—house, techno or electro, it’s always quality—Damian Lazarus threw his fans a bit of a curveball this year with his artist CD, Smoke the Monster Out (Get Physical).

No less quirky or twisted than his DJs sets, the CD nonetheless offers more mood, melody and, well, songs than one might expect from the DJ who often anchors “Sunday School for Degenerates,” the annual bacchanalia that caps off Miami’s WMC week. Not strictly for the dancefloor, Smoke the Monster Out drops cuts like the rollicking “Neverending” and the bizarropop “Moment” (featuring twin Swedish vocalists Taxi Taxi). And this summer has seen Lazarus hit select cities with a live show featuring some custom-made audio toys.

We recently caught up with Lazarus, another U.K. ex-pat now living in L.A., to talk studio and his artistic muse.

DJ Times: What was your approach to this artist album?

Lazarus: I wanted to attempt to make something a little more timeless than is possible working within the constraints of a techno or house record.]

DJ Times: Was your audience surprised by the song-oriented nature of this CD? Lazarus: On my Lazpod podcast, I try to show people the breadth of my musical interests (lazpod.com). It’s an eclectic show made up of diverse sounds, styles and musical oddities that interest me, so I think a lot of people who listen to this would have been prepared for a non-dancefloor focused album.

DJ Times: How did you record it?

Lazarus: The album was recorded in three studios in the U.K. One of the major highlights of the studio set up was using the mixing desk of Conny Plank.

We ew it over from Germany and reassembled it. It was a pretty amazing experience using the same desk that had produced Kraftwerk’s Autobahn, Can and Brain Eno. DJ Times: Tell me about your

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Damian Laz arus Smokes Out

live setup.

Lazarus: The most vital piece is my “Monster Box,” a custommade portable orange box that I created and can take on the road with me. It’s two levels and packed with analog synths, guitar pedals, delay units, oscillators and weird electronic sound devices. I use my voice through this box, which is connected to a DJ mixer and I am playing the music through Ableton. We also have custom visuals which have been created by the great David Terranova (see rebelrave.tv).

All this aside, the joy of my live show is the performance and the weird, strange behavior myself and Taxi Taxi, the Swedish twins, have cooked up.

DJ Times: Which producers are you enjoying these days?

Lazarus: Jamie Jones, Butane, Glimpse and Deniz Kurtel—all have albums forthcoming on my Crosstown Rebels label.

DJ Times: And DJs? Lazarus: I am a big fan of [Ricardo] V illalobos and DJ Harvey.

DJ Times: Are you still playing Avalon in LA? Lazarus: Avalon is a great venue, one of the best. We had 3,000 people for the launch of my Get Lost party last month.

We decked the club out with weird animals, enchanted gardens, bizarre custom made DJ booths and we lowered the ceiling and projected onto that, which was awesome. It’s one of the few places in LA that can go until 7 a.m., which I love.

DJ Times: The greatest party you ever played?

Lazarus: From playing the closing set to 12,000 people at the Benicàssim Festival [FIB in Spain] to every experience playing at DC10 [Ibiza], to playing live at Fabric [London] and Womb [Tokyo] to playing back-to-back with Richie Hawtin for 16 hours at Bar 25 in Berlin—there really are too many to mention.

DJ Times: Craziest thing you ever saw?

Lazarus: Get Physical boat party this past Sonar in Barcelona was pretty crazy. DJing on a boat virtually capsizing was hectic, but very funny indeed.

– Jim Tremayne

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in the studio with…

Lake has become equally adept at a variety of club sounds.

DJ TIMES SEPTEMBER 2009

Chris Lake: Rising Star After his breakout three years ago, DJ/producer Chris Lake can be considered one of dance music’s top talents.

His ability to work a bigroom crowd has become well known, earning the praise and attention of fans from across the globe. He has been releasing quality tracks since 2001, and more recently launched his own label, Rising Music.

The U.K.-based DJ tours constantly and he maintains a strong online presence via popular podcasts and a video tour diary.

Crazy is Lake’s latest long player, seeing its recent release in the United States through Nervous Records.

It’s a snug combination of upfront progressive, electrohouse and vocal numbers t together in one cohesive package.

Other DJs took notice of Lake’s key sound in 2006, when he released “Electro Retro.” He doesn’t think it was necessarily his best

work—“It was more like a B-side track,” he supposes.

But for Lake, this was a time when things started to really come together. He wrote “Until She Rises” and then “Changes.” The latter tune, which makes an appearance on Crazy, became a de ning moment of his career. “It was the rst record that people mostly associated with me,” he acknowledges.

But Lake returned with another clubland anthem, 2008’s “Only One.” He says composing the track was a quick process with vocalist Nastala. He had just returned from some gigs in Canada and the two were grooving with a beat he had just made.

He hummed the melody of the vocal, Nastala came up with the words and they grabbed the nearest microphone. Lake determined that the rst take was recorded really badly, although it was ne in terms of the attitude.

Still, for three weeks, they

tried to re-record that vocal, but they could not get the essence of their rst take.

“We got so frustrated after three weeks that we did nothing with the record for 10 months,” Lake remembers. “Nobody heard it. I didn’t play it for the management. It just sat there.”

Lake completely forgot about “Only One” until he came across it on his hard drive and re-played it. He couldn’t believe he had it sitting there for so long and immediately arranged to get it out. The nal version, it ends up, uses the original vocal— nothing was changed. “We tried to perfect it,” he says, “but sometimes the magic happens in the heat of the moment.”

Studio-wise, Lake mixes everything in Ableton Live, including the mix-down.

Occasionally, he uses Logic 8, although not that often.

Ableton Live, he says, offers plenty. “You’d be surprised

at how many people use just a simple piece of software like that or Fruity Loops,” he says. “You can make greatsounding records with all these pieces of software; you just have to know how to use them.”

On Crazy, Lake traverses a wide range of club-friendly moods from the flirty “Tokyo” to the trance-tech collaboration with Sébastien Léger named “Aqualight.”

Nastala appears several times in lush, melodic dance pieces, including “Give In” and “If You Knew.” But Lake also shows his penchant for creating dance oor destroyers on “Robots,” as well as his ability to craft chilled-out downtempo on “Communicate.”

Having so many bases covered makes Crazy appropriate for beat-hungry clubbers as well as general music fans. Naturally, Lake’s diverse sonic palette is a bene t derived from having played for “some of the best crowds in nearly every

major country in the world.”

And each territory seems to have its specific tastes.

He’s found that the more banging records—hard electro, for instance—don’t go down as well as the melodic tracks in Latin America. Conversely, in Europe the more melodic tracks don’t fare as well as the hard stuff.

The rst Chris Lake record I ever purchased was also one of his earliest, a remix of Sia’s “Drink to Get Drunk.” While it is from 2002, it still sounds years ahead of its time. Lake was just 19-years old and still learning his way around the studio. But he notes a beeline progression to his expert sound today. “When I listen back to it, I hear all of its faults,” he explains, “and I think about what I would do differently. It was me nding where I wanted to go. I listen to it and I can hear that it is a stepping stone to where I am now.”

– Dennis Sebayan

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After a Career of Firsts, Paul Oakenfold Is Helping Turn Las Vegas into America’s Club Capital

DJ TIMES SEPTEMBER 2009

planet perfecto Not much can be written about Paul Oakenfold that hasn’t already been published in magazine, newspaper or book form.

But for the very few uninitiated, here’s a very short version of his professional life: After starting out as a London “soul boy” DJ, Oakie transitioned into hip hop and other dance forms, and—always a hustler—he began nding and promoting dance oor records on both sides of the Atlantic. He produced seminal acts like Madchester’s Happy Mondays and later pioneered the style of electronic dance music today known as trance and was largely responsible for discovering and appropriating the Balearic sound of Ibiza, ultimately bringing it with him around the world.

Oakenfold, 45, has toured with U2, Madonna and Lenny Kravitz, to name a few. He’s DJed atop the Great Wall of China, had the biggest-selling DJ compilation with Perfecto Presents: Another World in 2000, had his rst studio album, Bunkka, go platinum, and his second, A Lively Mind, go gold. He’s headlined every festival main stage than can be counted and he entered legendary status with his residencies at Liverpool’s Cream and London’s Ministry Of Sound. He’s scored major motion pictures and worked with full symphony orchestras, all the while DJing, producing, traveling, breaking new records, championing new producers, and making some lucky records into anthems.

Love him or blame him—DJs are funny that way—it’s impossible to deny that the term “superstar DJ” was long ago coined to describe jocks like him.

Back in April, Oakenfold approached DJ Times and graciously offered the magazine an opportunity to become involved with his Planet Perfecto party at the Rain Nightclub at The Palms in Las Vegas—an astounding showcase of music and performance. (Think Cirque du Soleil on acid.) Ultimately, it became the host venue for the magazine’s America’s Best DJ closing party, set for September 12. The winning DJ will open the party and a lucky ABDJ voter (+1, of course)

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SEPTEMBER 2009

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“If you look at what ibiza was before the laws all changed, there were a lot of beach bars and music during the day. that’s what vegas is now.”

DJ TIMES SEPTEMBER 2009

will be treated to a spectacular evening.

Coincidentally, Planet Perfecto marks its one-year anniversary this month.

As America’s dance music lovers have become more savvy and open to international DJs and producers, Oakenfold felt the time was right to introduce the Balearic sense of showmanship to the U.S. by way of Las Vegas, which has quickly become America’s club capital.

Before meeting up with Madonna to open summer stadium dates for the European leg of her “Sticky & Sweet” tour, Oakenfold connected with DJ Times for an hourlong, trans-Atlantic chat. When it was over, we were reminded of the difference between DJs who are good, and those who are great. Enjoy.

DJ Times: Following your artist albums, Bunkka and A Lively Mind, it’s good to see your return to the euphoric, progressive style of dance music with your new Perfecto Vegas compilation. Is this a vindication of sorts of the progressive trance sound?

Paul Oakenfold: In some respects.

But I think it’s strange. Being in the U.K. and playing a bunch of shows, electronic music is so different here, now. It’s much more band and guitar-orientated, dirtier. Do you know the record [by Dizzee Rascal and Armand V an Helden] “Bonkers”? That’s certainly more of the sound of over here right now than the euphoric sound. But with the club [Rain Nightclub at The Palms in Las Vegas], my sound works very well.

DJ Times: Why choose Las Vegas as the city to hold your rst U.S. residency, as opposed to another American city?

Oakenfold: I personally think Las Vegas is the future, I do. I got offered a residency in L.A. and I think L.A.’s great.

We did Electric Daisy, which was a huge success for them and very well done.

It was over 100,000 people there! But I think Vegas has more clubs than any city. The tone has changed. Vegas is very young. It’s a lot more happening than a lot of cities I’ve been to in America.

I felt, what I wanted to do was put on more of a show, use elements of the show, and Vegas was the perfect place to do it. So it was new, fresh and had the mentality to do that. If you look at what Ibiza was before the laws all changed, there were a lot of beach bars and music during the day. That’s what Vegas is now.

DJ Times: How so?

Oakenfold: Every hotel has reinvested in its pools. In Vegas, you’ll get there, get up and go hang out at the pool where music’s playing. Then, you roll into the late afternoon and they have various big-name DJs playing a lot of sunsets.

You can have anything up to 3,000 people at a pool, which really reminds me of being in Ibiza at the beach. Then, you go until sunset. Then you change and shower, go to dinner, and then go to

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bars and clubs, and the clubs go ’til 4, 5, 6 in the morning.

Then, there are afterparties until 9 in the morning. Then, you can literally start again. You can’t do that in New York or L.A. Vegas very much reminds me of Ibiza. It’s a city where a lot of people from all over America and internationally come. There are a lot of clubs, but also restaurants, bars, and so on. I felt that that was the best place.

DJ Times: You integrate a considerable amount of performance into your Perfecto parties at Rain at The Palms.

Did you feel that that was something lacking in American clubland?

Oakenfold: Yeah, for sure. I wanted to do a residency that was fresh, different and new. I could’ve done New York, L.A. or Miami, but I felt that Vegas was the place to do it. We’re doing really well in hard times. We did upwards of 5,000 people on Memorial Day weekend. Labor Day is my next big week. I felt that Vegas understood the mentality of the show, and that is important. We’ve got re in the club, snow, performance art, ex-Cirque de Soleil performers who work there…

DJ Times: I was at a gig where Tommy Lee and DJ Aero spun at Perfecto when you were out of town, and everyone was ipping over the men dressed in Army fatigues repelling upside-down from the ceiling wearing gas masks with red lasers coming out of their eyes. I remember these performers dangling from a horizontal ladder suspended high above the oor. I thought they were going to fall off. It was kind of surreal and like nothing I’ve seen in the U.S. Oakenfold: We’ve changed the show in some respects.

We moved it on in terms of performance art, though we still have that aspect. I said to Dave, who works in that area, I’m like, “We have no safety nets, here. These people are dangling in the air!” He said, “Look, they’ve had years of experience and they know what’s going on.” Some of the things they do, I’m like, wow. That’s what I like, that it’s different. That was one of the ideas of why I went to Vegas to do it.

DJ Times: How many times have you changed the show since you started?

Oakenfold: We’ve changed it twice so far since we started. I have a two-year deal, so there’s another year.

We’ll be one year old in September.

DJ Times: What’s your DJ gear setup at the moment?

Oakenfold: To be honest, I’m not one of these DJs who’s moving more towards laptops. For me, it works really well using CDs and the mixer and Pioneer CDJ. What we do is pretty much standard for every club, unless a DJ’s using Serato. It’s pretty much standard for clubs around the world to use CDJs now. I saw Sven V äth, and he was using vinyl, and it was a really warm sound with vinyl and that’s important to the art of DJing. You can go too far and lose the art of DJing by using a laptop. What exactly is the DJ doing on his laptop that’s open in front of you? That’s not me passing judgment on other DJs, that’s just the art of DJing for me and what comes of playing from vinyl to CD. DJ Times: So, the music on your Perfecto Vegas doubledisc compilation is what you play at Rain?

Oakenfold: Yeah, it’s a lot of the music that’s been played at the club, and I felt that it t more comfortably in terms of the time than putting bigger tunes on the CD. There are tracks that I de nitely go out to break, at the club.

DJ Times: You still feel it’s important, as a DJ, to go out and actively break new records?

Oakenfold: It is important to break new music and it’s important to support new tracks, by whomever, that are really good. There’s sometimes a way of introducing the track where I turn and I let the previous track run out, and I let it go to silence, and then I play the new track. We

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DJ TIMES SEPTEMBER 2009

“you can go too far and lose the art of djing by using a laptop.”

JBL.EO

get a lot of regulars at the club, and I steer towards looking at them. That’s always been an important part.

DJ Times: There was a period when you weren’t DJing so much and instead doing movie soundtracks and other non-club projects. Are you experiencing a renewed passion for DJing with your Perfecto parties at Rain, or has that love for DJing never dimmed?

Oakenfold: It’s dif cult at the moment, because—I’ve been doing shows with Lenny Kravitz before this latest Madonna tour—it was a really tough audience to open for Lenny. As a DJ, I had to really dig deep, because Lenny’s crowd is a totally different crowd.

When you’re warming up shows and it’s the bigger stadiums, you play a completely different set. I’ve always liked that challenge. It’s tough because you’re out of your comfort zone. In anything you do that’s dif cult, it’s a challenge for me.

DJ Times: How has this round touring with Madonna been?

Oakenfold: We just started. I’ve got 29 shows with Madonna until September and I’ll be on the road with her ’til then. What the record company’s doing is releasing a greatest hits album [from Madonna], and there’s a bunch of songs that I’m producing for her that are new.

DJ Times: You produced her new songs from scratch? Not just remixed them?

Oakenfold: I produced them.

DJ Times: When will her new album be released, or can’t you talk about it?

Oakenfold: Nah, I can talk about it, but I’m not sure when. I presume it’ll be around Christmas.

DJ Times: Is Kevin Antunes still there? He’s amazing.

Oakenfold: Yeah, her musical director. That’s the thing—the people that she hires are the best at what they do.

DJ Times: You’ve gone on tour with U2, and with Madonna, more than once. You’ve also headlined your fair share of festivals and gigantic shows. Is it possible for a DJ breaking into the industry today to reach that level?

Oakenfold: I hope so. Sure, I don’t see why not.

DJ Times: How are you shopping for music these days? Do you even hunt for music anymore, with all the promos that get sent your way?

Oakenfold: The same as most people. The majority of it is online. I do get sent loads of music, but I go to Amoeba Music—the shop in L.A. It’s the most wonderful place to get lost in. It’s a place to go one afternoon and spend hours and buy tons of music.

It’s the biggest record shop I’ve been to. That’s why I think it’s important to support it.

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“with djing, if you have success, pople say tou’sold out…when that’s what they want for themselves!.”

DJ TIMES SEPTEMBER 2009

DJ Times: So what’s your favorite track of the day?

Oakenfold: I suppose, off the top of my head and without looking at my CDs, I think there’s a bunch of stuff from the Perfecto Vegas record that would be in my “top 10.” I just got this mix of [Michael Jackson’s] “Thriller” that someone sent to me that’s really dark, which I really love. It’s probably a bootleg.

DJ Times: Who are your favorite producers of the moment?

Oakenfold: Robert Vadney, Adam White and Tim Summer. Tim’s an unbelievably talented guy. His style, his approach, his arrangements. And he takes it to the next level. He has a strong image. He has it. He certainly has passion and a desire to be a great DJ. DJ Times: Are you working on your next studio album?

Oakenfold: Yeah, I will. But I’m going in a different mood now when it comes to studio records. I’m thinking of going more commercial, more songbased, much more radio-friendly. That’s the challenge for me. The record that you have [Perfecto Vegas] is much more underground. It represents what we’re doing at the club. We’re very much a team. There’s loads of meetings.

DJ Times: I was about to ask you how involved you were in the day-today.

Oakenfold: There’s a song I made for the club called “Club Perfecto.” But with my next artist record, I’m gonna go much more song-based. That’s the challenge for me. To go and do a club record, for me, is not inspiring.

DJ Times: Few others do progressive dance music as well as you, though…

Oakenfold: The rst artist album I’ve done [Bunkka] sold over a million copies. With A Lively Mind, I did as well as Bunkka; I did 650,000. I think that’s the idea for me in terms of an artist record, to do something that’s challenging to yourself. The DJ-mix albums represent a certain style and what I mainly do, but I wanted to…I enjoy challenge. You can make a song that does really well on radio and become successful. I like songs, I like melody.

That’s what I grew up listening to. It’s not easy to do it well. I don’t nd it easy, and that’s why it takes me so long to make a record.

DJ Times: You’re a long way from Cream in Liverpool. Do you have any favorite memories from that period?

Oakenfold: Yeah! That was my second. Ministry [Of Sound] was my rst residency, Cream was my second residency. That was a very special time for me. I always do have great, fond memories of Cream. I still have people who were regulars at Cream who come to Vegas. I have this clan (continued on page 58)

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Legal Beat Update

A DJ’s Legal Guide to Using M

DJ TIMES SEPTEMBER 2009

by coe w. ramsey So you’ve got your website up and running. And naturally, as a DJ, your website wouldn’t be complete without music. Whether you are promoting your mobile DJ business or promoting your work as a producer, mixer, or club jock, music on your website can be an important tool in developing your business.

Music can be available on your website in a variety of ways, including through downloads, podcasts, and streaming. Whether music on your website is legal depends on the type of music you use and the way you use it. For example, if you created and own all of the music on your website, or if the music is “royalty free,” then no special licenses are required.

Similarly, generally it is OK if you use music from MySpace’s music collection on your MySpace page. Other websites and social networks also have appropriate licenses that permit various uses of music, such as imeem.com and last.fm.

However, what if you want to post your mixes of copyrighted songs for download? Or distribute podcasts of your nightclub sets? Or stream your own Internet radio station from your website? In such cases, special care must be taken to ensure you have the appropriate licenses.

Downloads & Podcasts To distribute copyrighted music through downloads or podcasts, you will need at least two licenses for each song—one to cover the song’s underlying musical composition (typically controlled by a music publisher and referred to in copyright law as a “musical work”) and the other to cover the particular recording of the song (typically controlled by a record company and referred to in copyright law as a “sound recording”). Since both downloads and podcasts typically result in permanent copies of songs on a listener’s computer, iPod or other similar device, such copies invoke the rights of the copyright owners to reproduce and distribute their music.

As such, licenses to make and distribute these copies are, in most cases, needed from the music publisher(s) and record company for each song you use. These licenses are known, respectively, as “mechanical licenses” and “master use licenses.”

If you are distributing your own remix of a copyrighted song, you should also make sure

that you obtain licenses that permit remixes—referred to in the copyright law as a “derivative” right.

While there are various copyright clearance companies who can help you secure the appropriate licenses, as a general rule there is no one “clearing house” where you can obtain a “blanket” license for downloads and podcasts. Rather, mechanical and master use licenses generally must be obtained though individual negotiations with the rights holders for each and every song—the rights holder may or may not permit you to use the song.

In certain circumstances, however, United States mechanical licenses can be obtained from The Harry Fox Agency, which administers mechanical licenses for many music publishers (www.harryfox.com). Also, in certain cases, a mechanical license may not be necessary, if the use quali es under the statutory license in the Copyright Act, which permits reproductions of musical works subject to certain conditions and royalty payments. Neither Harry Fox nor the statutory license provides master use licenses, which must be secured directly from the applicable record companies.

You may be familiar with other licensing organizations such as ASCAP, BMI, and SESAC, which offer blanket licenses that permit music to be played in public, such as in clubs, restaurants, hotels, and other venues.

While all clubs and many DJs have (or should have) ASCAP, BMI, and SESAC licenses, those licenses do not grant master use or mechanical rights for downloads or podcasts.

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Streaming While it can be very dif cult, and often cost prohibitive, to obtain licenses to distribute music downloads or podcasts from your website, streaming copyrighted music on your website (or “webcasting”) is much more feasible. Unlike music downloads or podcasts, streaming does not result in permanent copies of songs being transferred to the listener. Rather, streaming is transient and any resulting copies are typically only temporary cache or buffer copies (also known as “ephemeral” copies). As such, master use and mechanical licenses are generally not required for streaming your own Internet radio station. In most cases, all you need are streaming rights—referred to in the copyright law as “public performance” rights.

You could negotiate streaming rights for each and every song you want to use with the applicable music publishers and record companies. However, “clearing houses” make the music streaming licensing process simpler. In general, music publishers in the United States are members of ASCAP, BMI, and/or SESAC, which offer streaming licenses for the songs owned by their members. These organizations collect and distribute royalties to publishers. As for the record companies, United States copyright law provides a statutory streaming license that is automatically granted by operation of law, provided certain conditions are satis ed. The statutory license is administered by an organization called SoundExchange, which collects and distributes streaming royalties to record companies and performers. ASCAP, BMI, and SESAC licenses, and the SoundExchange statutory license, unlike master use and mechanical licenses, are known as blanket licenses. So, once you have them, you can stream most copyrighted songs without having to get individual licenses for each song.

Streaming licenses can be obtained directly from ASCAP, BMI, and SESAC. Note that streaming license are different than standard ASCAP, BMI, and SESAC licenses for clubs, restaurants, hotels, and other venues—so you need to be sure to secure speci c licenses for Internet streaming. For permission to stream the widest possible catalog of music, you should secure licenses from all three organizations.

Fees for these licenses are generally based on the number of listeners to your Internet stream and/or revenue generated in connection with your website. For purpose of calculating fees, ASCAP,

DJ TIMES

“If you don’t own the music you use on your website, you need a license—and usually more than one.”

BMI, and SESAC licenses typically require periodic reporting of playlists, listenership data, and nancial data.

Unlike ASCAP, BMI, and SESAC licenses, SoundExchange does not provide or negotiate a license agreement. Rather, you just have to le a “Notice of Use” with the U.S. Copyright Of ce along with a $20 fee before you start streaming. Upon ling, you are automatically entitled to the statutory streaming license, which SoundExchange administers, provided you comply with the statutory conditions, including the following: (1) your webcast can’t allow listeners to dictate the songs being played; (2) you must have “now playing” text information displayed as each song is played; (3) you can’t play more than three songs (and not more than two in a row) from the same album or four songs (and not more than three in a row) from the same artist during any three-hour period; (4) you can’t publish an advance playlist; (5) you can’t play a continuous looped program which is less than three-hours duration; (6) you can’t have pictures on your website that suggest an afliation between your website and a record company or recording artist; (7) you can’t help or encourage your listeners to make copies of the webcast; and (8) you must pay monthly statutory license fees.

The fees for the SoundExchange statutory license fees are determined based on the number of “performances” of each song in your stream.

That is, a fee is generated each time each listener hears each song. So, each time you play a song, each single play will generate multiple “performances” if there are multiple listen-

SEPTEMBER 2009

sing Music on the Web

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“Instead of securing licenses yourself, you could consider using a third-party aggregator, which offers turn-key streaming solutions.”

DJ TIMES SEPTEMBER 2009

ers. The statutory license rate for commercial webcasters in 2009 is $0.0018 (18 cents for every 100 performances, with a required minimum of $500 per stream per year).

So, for example, if, in 2009, you webcast an average of seven songs per hour and have an average of 20 listeners at any given time, your annual SoundExchange license fees would be $2,207.52. If you happen to operate your website as a nonpro t entity, the fee is $500 per channel per year, which covers up to 159,140 monthly aggregate tuning hours (which represents approximately 5,305 listeners each listening for one hour every day for one month). Nonpro t webcasters whose monthly aggregate tuning hours exceed 159,140 must pay fees at the commercial rates for all performances in excess of the aggregate tuning hour limits.

The SoundExchange statutory license fees must be submitted together with Statements of Account on a monthly basis to SoundExchange. In addition, webcasters are required to maintain webcast records and le with SoundExchange quarterly electronic reports on the songs streamed for a representative two-week period. A proceeding is currently underway which could change this reporting requirement to require yearround reporting on every song a webcaster plays—known as “census” reporting.

The SoundExchange statutory license fees were most recently established for the years 2006 through 2010 and they have been very controversial, as they are signi cantly higher than the pre-2006 fees. The fees for 2006-2010 are currently on appeal with the U.S. Court of Appeals in Washington, D.C. Given the controversy over the rates, earlier this year SoundExchange and the

Copyright Office announced an alternative license for “very small webcasters.” The “very small webcasters” license could be an attractive option if you have annual website revenues of $5,000 or less, annual website expenses of not more than $10,000, and a very small listenership. In such case, the annual license fee is $500, and you can pay an additional annual fee of $100 to be exempt from having to file song usage reports. This past June, Congress passed a law that established a limited 30-day period for further negotiations over the 2006-2010 license fees.

While much controversy continues to surround the 2006-2010 rates, earlier this year, a new rate proceeding was launched to establish streaming fees for 2011-2015.

Remember, as discussed earlier, in addition to the SoundExchange license , you also have to obtain streaming licenses from ASCAP, BMI, and SESAC. Instead of securing these four licenses yourself, you could consider using a third-party aggregator, such as Live365.com or Loudcity.com.

Such services generally offer turn-key streaming solutions which, in addition to hosting the stream, cover the webcaster’s music licensing fees and reporting. These services also offer lower-cost packages that permit you to stream your programming directly from their websites. This is good option if you would like to experiment with streaming without major licensing hassles.

Conclusion The law relating to the use of music on websites is complex area of the law. The licensing requirements can be very confusing, and you may wish to consult with your legal counsel if you have any questions. As a general rule, however, if you don’t own the music you use on your website, you need a license—and usually more than one.

Coe W. Ramsey is a partner with the North Carolina-based law rm Brooks, Pierce, McLendon, Humphrey, and Leonard, L.L.P. Prior to becoming an attorney, Ramsey worked as a nightclub and mobile DJ, as a radio station mix show DJ, and as a remixer and producer. As a hobby, Ramsey operates and programs a dance music radio station, www.dancestreams.com. Ramsey’s law practice includes entertainment and music law.

His clients include radio and television stations, DJs, music producers, remixers, record companies, bands, musicians, singers, songwriters, and other artists.

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DJ TIMES SEPTEMBER 2009

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voters cast their ballots at Detroit’s Movement fest.

Photo by Emily Tan

8 Motor City Madhouse:ABDJ

Glaude lets it all hang loose at Starscape in Baltimore.

Photo by Graham Meyer

7 Dreadlocked: Donald

Screen Shower Scene: Pacha dancer gets all wet at Boris’ ABDJ tour kick-off.

Photo by Marya Gullo

6 (Main center photo) Silver

his ABDJ visuals at Monarchy in West Palm Beach, Fla. Photo by Neil London

5 Video Star: Skribble projects

Electronic Music Festival packs the main stage.

Photo by Scott Spellman

4 Movement Massive: Detroit’s

Brothers ride a groove at New York’s Le Poisson Rouge.

Photo by Marya Gullo

3 Feeling It:The Martinez

checks out Pioneer’s DVJ-1000 at Baltimore’s Starscape Fest.

Photo by Emily Tan

2 DVD Scratchin’: A happy fan

Ruby Skye in San Francisco.

Photo by Javier Ovalles

1 Bay Area Blast: DJ Dan rocks

carries the Maryland ravers through the night.

Photo by Graham Meyer

15 I Like It: Charles Feelgood

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Just Dropped In: ABDJ nominee Tony Touch stops by The Martinez Brothers’ gig at NYC’s Le Poisson Rouge.

Photo by Crystal Cohen

per takes over Movement’s Beatport stage.

Photo by Graham Meyer

13 Techno Tunes: Adultnap-

kills it at Starscape’s Monsters of Jungle tent.

Photo by Graham Meyer

12 Drum-n-Bassist: Dieselboy

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How to Rock a Party: Z-Trip revs up the Red Bull Stage at Detroit’s Movement fest.

Photo by Graham Meyer

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On Fire: DJ Enferno receives a vote at his ABDJ stop in Atlantic City.

Photo by Artchick.

ABDJ gig, a couple strikes a pose with a copy of DJ Times.

Photo by Javier Ovalles

9 Ruby Skye Duo: At DJ Dan’s

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DJ TIMES

SEPTEMBER 2009

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Presented by

Summer Tour

Highlights from the

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When Jim Robinson began his mobile DJ career in the early 1980s, he was spinning vinyl records during parties for Disney World, for classy wedding receptions and for fun-loving fraternity parties.

In the midst of all these events, he said, Michael Jackson was always there, front and center.

“I literally wore out the songs ‘Thriller’ and ‘Wanna Be Startin’ Somethin’ and literally had to buy second ones,” recalls the Orlando, Fla.-based Robinson. “But let me be speci c—I didn’t scratch them, and I didn’t break or warp those records.

I simply played those songs so many times that those particular songs started sounding fuzzy, like there was dust on the needle. I discovered I had played those songs so much that I had to buy a new copy of the Thriller album.”

At the time, Robinson explains, the title track to Michael Jackson’s Thriller album—to date, still the best-selling music album of all time, certi ed 28 times Platinum by Recording Industry Association of America—was one of those songs that, whenever people heard the introduction, they yelled and ran out onto the dance oor.

Says Robinson: “There were five songs on that one album I had to play at every gig—‘Wanna Be Startin’ Somethin’,’ ‘Thriller,’ ‘Beat it,’ ‘Billie Jean,’ and ‘P.Y.T.’”

And now that MJ has passed on, we’ve all heard the jokes. (“Why did MJ prefer twenty eight year olds?

Because there are twenty of them.”)

We’ve all heard the rumors, such as the one that MJ died of an accidental overdose or because of medical malpractice.

But we all have to admit that Michael Jackson, at least in the earlier years of his career, impacted music and society more than any other musician other than maybe Frank Sinatra or Elvis Presley or The Beatles.

At the memorial service for The King of Pop, in fact, it was mentioned that MJ likely single-handedly destroyed the wedding band industry— since throughout the early 1980s wedding guests wanted to hear the original “Billie Jean” instead of some rock band’s cover version.

S c o t t K a r t s o u n e s wo r k s fo r Downers Grove, Ill.-based DJ Intelligence, a service that allows DJs to place interactive event planning tools on their websites. He says the company’s research shows Michael Jackson dominating their Top 200 Most Requested Songs chart, appearing more times than any other artist—“Billie Jean” (ranked #17), “Thriller” (ranked #42), “Don’t Stop ‘Til You Get Enough” (ranked #55), “Beat It” (ranked #118), and “P.Y.T. (Pretty Young Thing)” (ranked #160).

“Additionally, Michael Jackson fur-

ther dominates our Top 100 Most Requested 1980’s Songs chart with eight hits, again appearing more times on this Top 100 than any other artist,” Kartsounes says. “These songs include ‘Billie Jean’ (ranked #6), ‘Thriller’ (ranked #11), ‘Beat It’ (ranked #27), ‘P.Y.T. (Pretty Young Thing)’ (ranked #37), ‘The Way You Make Me Feel’ (ranked #49), ‘Rock With You’ (ranked #58), ‘Wanna Be Startin’ Somethin’ (ranked #66) and ‘Smooth Criminal’ (ranked #94).

“What’s also interesting is that over the past 12 months, up through June 24, 2009, there were just over 16,000 individual requests for Michael Jackson songs from brides and party planners around the world.

That’s an average of about 300 requests per week. However, since June 25, 2009, the date of MJ’s death, there have been over 3,200 requests for Michael Jackson songs—which means that since his death, requests for Michael Jackson songs have increased by over 1,000-percent.”

There is no question that Michael Jackson has shaped the playlists of mobile DJs around the world and will continue to do so well into the future, and Jim Robinson—today the director and cofounder of Orlando, Fl.-based Promo Only—thinks he knows the reasons why.

“At the beginning of the ’80s, disco was long dead and replaced by

either a ‘dance rock’—with songs like ‘Footloose’ or ‘Maniac’ or ‘Rock Lobster’—or funk with artists like The Gap Band or Dazz Band,” Robinson says. “Most of the time crowds liked one or the other, but songs from the Thriller album were the rst in that decade to be well liked by all audiences. It didn’t matter—white, back, Hispanic, male, female, old or young—everyone liked those songs.

“Concerts were not as accessible then and MJ did not go on long tours to every city—just the major ones.

But he went worldwide, not just in the States, and he was still everywhere. He was also the rst for highbudget videos, which really separated him from the rest. His image was everywhere, even if you couldn’t get to a concert.”

Like Robinson, Geoff Carlisle of Birmingham, Alabama’s JAMM Entertainment began DJing in the early 1980s for his local high school dances. Carlisle recalls that Michael Jackson was one of the top artists requested time and time again during those years.

“His music was always a oor- ller,” he says. “It didn’t matter which school we DJed for or what the audience demographics were, MJ always worked. His incredible stardom and in uence really affected the schoolaged kids. From the album covers that everyone collected to posters

remember the time DJ TIMES SEPTEMBER 2009

mobiles recall how michael jackson transformed their business—and the entire dj industry by jeff stiles

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to that of Jerry Lee Lewis, whose career was completely sidetracked by a similar scandal—and that was before we had cable news networks broadcasting trial statistics 24/7.

“When you play a song at a gig you want to evoke joy,” says Walter.

“If you drop a track and people start thinking about things like child molestation then that’s a bummer, and as a mobile DJ you stay away. So I don’t think I never would have played MJ, but de nitely far, far less and maybe only by client request.

“But instead, after the not-guilty verdict—and in the past few years with the resurgence of ’80s music— songs like ‘Billy Jean’ and ‘Don’t Stop’ have become go-to tracks for us. Even before his death very few clients ever said ‘No Michael Jackson,’ and now at the gigs I’ve done since his death his music is even more popular. Just look at the charts. People are celebrating his life and his music, so the songs are working, and I think that will last for quite some time.”

Even after the initial Michael Jackson craze of the mid-1980s, JR Silva in Orlando, Fla., says he knew every

MJ CD that came out after SILVA Entertainment made the switch from vinyl would have a minimum of ve hits each.

“His CDs were a great purchase because he made hit records,” recalls Silva. “And as a DJ, you would not hesitate to purchase the disc the day it hit the stores.You simply wanted to be the one unleashing those songs at your next parties.

“Michael was a talented vocalist and a driven entertainer who knew how to borrow from the greats— James Brown, Fred Astaire and Diana Ross—and put his twist on the art as well. He would always look to make things not just great but spectacular. He was passionate, prepared and a consummate committed performer.”

Blake Eckelbarger (DJ Sticky Boots) in South Bend, Ind., remembers being 7-years-old and working as an assistant to his entertainer father in 1982.

“I totally remember when the Thriller album came out, as it was the first time I was really aware of the marketing of an album as an event,”

says Sticky Boots. “I can remember that we had just gotten MTV at my house, and videos were generally lame and low-quality. They did a special on the making of the ‘Thriller’ video, though, and I can remember writing notes to myself so I didn’t miss when it was on—we didn’t have a VCR back then, of course.

“There’s only a few songs that stick in my mind from being a roadie with my dad back in those days, and they include ‘We Got the Beat’ by The Go Go’s, ‘Centerfold’ by J. Geils and practically every MJ cut from the Thriller record. My dad would play ‘Billie Jean’ and ‘Beat It’ at every single high-school dance and wedding, and, of course, people would always request ‘Thriller’ so they could do the zombie dance.

Sticky Boots says Michael Jackson records would appeal to all groups, and so they were really the only R&B albums his father would play since it seemed everything else was either rock or hair bands. By its very nature, the pop music that audiences love is music that appeals to a broad spectrum of people without leaning too

DJ TIMES

SEPTEMBER 2009

and t-shirts and people trying to dress like him.

“In my opinion the only other artist that influenced the fans like MJ was Elvis. Michael Jackson may have zzled out his last years with controversy and eccentric behavior, but in his heyday MJ was the superstar.”

Of course, the Michael Jackson story would not be complete without the controversy, and at least one mobile DJ out there says a large part of the history of the DJ industry might have rested in how a jury ruled in the Michael Jackson child-molestation trial in 2003.

“When Michael Jackson was on trial we followed it pretty closely,” says Mike Walter of Eatontown, N.J.based Elite Entertainment in New Jersey. “Then the day came when they made an announcement that the jury had brought back a decision. It wasn’t quite like the O.J. verdict, but it was close. A bunch of us in the office gathered around an AM radio and listened to it live.

“Right before they read the verdict one of my DJs said, ‘Do you realize this will determine whether or not we can play Michael’s music ever again?’ Minutes later, when they announced the acquittal, I was still thinking about that statement and in many ways he was exactly right.”

Walter compares Michael Jackson’s near collision with commercial death

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heavily in one direction or another.

“Think Taylor Swift, who is a little bit country, but not too much,” he says. “Or Chris Daughtry, who is a little bit rock but not too far. Michael Jackson was able to walk that line brilliantly for over 40 years. What makes him so unique and a true King of Pop is that he—along with Quincy Jones—was able to create a sound that was contemporary in its time and yet still sounds modern today. It also typically conveyed a message in the music, which is so often completely absent in the pop genre. “ Po p s t a r d o m i s f l e e t i n g b y definition. There’s always another

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avor of the month. MJ was the avor of a generation—if not two or three—achieving unprecedented longevity in a genre that values fresh faces.”

When the Thriller album made its debut 25 years ago, Ray Martinez in Southern California says he was just in his prime. He was in his late 20’s, and had been working in the DJ business for almost a decade.

“I specifically remember doing a backyard birthday party in Bell ower, Calif., where I was asked by a guest to play ‘P.Y.T.,’” recalls the owner of Ray Mar Productions. “Although ‘Billie Jean,’ ‘Beat It’ and ‘Thriller’ were the

most requested songs off that album, I started to play ‘P.Y.T.’ and ‘Wanna Be Starting Somethin’ more.

“It was a phenomenon, because I’d never seen so many white people get so hooked on MJ’s music. They wanted to dance like him, especially the moonwalk. Michael Jackson brought the world together through his music and now—as I celebrate my 35th year as a DJ entertainer—I can continue to keep his musical legacy alive playing his soulful and heartfelt songs that still sound just as fresh today as they did 25 years ago.”

As a person, Martinez thinks of MJ as a gifted entertainer who lived in a bubble of a world ever since his childhood fame, and so the best way he could express his feelings was through his music and dancing talents.

“I think Michael made moves he didn’t even know he had,” he says.

“He was so gifted and could express it better than Elvis, the Beatles and Sinatra combined. That says a lot about ‘The Man in the Mirror.’ Sinatra was a master of expression as a singer, but MJ was the complete package as a singer, dancer and all-around entertainer.”

As a hypnotist, JD Fields of Catch

the Beat in Snohomish, Wash., says that, even today, one of his favorite routines is turning someone into Michael Jackson.

“People may not know the moves but they know who he is, whereas some of the younger generations have forgotten Elvis,” Fields says. “How many of us wanted to dance like him, and how it in uenced break-dancing even more with the moonwalk.

“I actually remember when we had a MJ lip-sync contest at the DJ Times International DJ Expo years ago. How many of us bought the white gloves and the black top hat with the ponytail? His music was amazing and at the right time he was able to be on the cutting edge and do a lot of stunts to stay in the limelight. People can’t imitate a group but they can imitate a soloist, and the moonwalk, glove, crotch-grabbing and high-pitched woo-hoo are testaments to Michael’s legacy.”

Adds Martinez, “If your party is lacking substance and you ‘You Wanna Be Startin’ Somethin’,’ throw on some MJ and you can have a ‘Thriller’ of a party and have all those ‘PYT’s’ ‘Rock With You’ and ‘Beat It’ on the dance oor. It’s just ‘Human Nature’ to get your groove on with MJ.” n

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promoonly

making tracks Studio…hardware…software…

Cubase 5: Apps Aplenty

DJ TIMES SEPTEMBER 2009

By Josh Harris

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After cutting my teeth on Sony’s ACID for eight years and moving over to Cakewalk’s Sonar in 2003, I was somewhat hesitant to test out Steinberg’s new Cubase 5.

Why? Because I’m always aware of the large learning curve when it comes to using a new DAW for music production. Turns out, I shouldn’t have been nervous. Cubase 5 was a breeze and a welcome new addition to my studio.

I easily installed the program onto my new 17-inch MacBook Pro with the Leopard (OS X) operating system. It came with the USB dongle for the Steinberg copy protection—I registered and licensed it in minutes. You will need at least 1,024 MB of RAM to run it (on either a Mac or PC), 4 GB of HD space and an internet connection to fully activate it.

Cubase 5 operates similarly to any music production program that deals with loops, linear track building, effects, and synth tracks. I played around with some of its virtual instruments, such as LoopMash, which allows you to drop loops into the instrument. It breaks the loop up into different parts with the “probability fader” and will nd other elements that will mash up with your loop. It creates very cool variations for you on the y—of course, it’s in sync with your project’s tempo. There’s also a “live” mode that allows you to do things during an actual performance, similar to Ableton Live.

Groove Agent ONE is a new instrument that runs just like an MPC sampler—except it’s virtual!

Anyone that’s used an MPC sampler will recognize the “pads” on the interface, which allows you to drop samples. Groove Agent ONE also comes with its own library for you to start producing, but it will also take anything out of your own library. I was allowed to edit each individual pad to my own desire and found out that I also could have each sliced audio loop I imported into individual MIDI by dragging them to a MIDI track. Very cool! It

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accepted .wav, .aiff and .mpc formats and was also accompanied by a video online.

While still in “beat mode,” I played around with the Beat Designer that allowed me to do some step programming. I was never much into step programming, but the video helped me get started fast and I can see why it is still very popular in the production world. Each element could be adjusted with duration, volume, and time signature. I had a little fun making some “rolls” with the drums after discovering I could do up to 64 steps in a pattern. This also came pre-attached with drum-kit elements.

Now on to some of the newly designed effects: I love to mess around with vocals when I’m creating dirty electro-house versions of songs. Cubase 5 comes with VariAudio, a wave editor which allowed me to bring in an a cappella, see it graphically on the screen, and make corrections in the pitch and even create new melodies without any of the nasty digital artifacts. If you’ve used Melodyne, you’ll love how similarly this works. I also had fun removing vibrato from some of the voices and got that classic “Akon” (or “Cher”) vocoder effect. As with Groove Agent ONE, I used the pitch information, converted into MIDI information and then “married” a second synth on top of it with the MIDI information. How neat was that?

Another pitch-correcting plug-in I now love is the PitchCorrect VST3 that works a lot like the Antares Auto-Tune. As opposed to seeing everything on a graph and permanently changing the wav le, PitchCorrect runs along with the played track and corrects automatically as it’s happening. You can change different settings and use different scales.

REVerence is also a wonderful new reverb effect to add to your arsenal. It proclaims to be the world’s first VST3-based convolution reverb processor. I played around with the 70 or so presets and even created some of my own by making

minor and major adjustments with the controls.

This thing is insane, and without hardware! If you like playing around with the decay and early release of reverbs on your instruments, this plug-in will impress the most seasoned producers. It even has capabilities for surround stereo projects.

I also discovered that Cubase 5 allows you to now “draw in” tempo and time-signature changes right in your projects. Forget about markers, you can now use your virtual “pen” and go crazy with your track speeding up or slowing down. If you’re one that likes to transfer settings from one project to another or even from one program to another, wait until you see the time you save now with the new Batch Export feature. It allows you to migrate all your tracks and settings from one to another with just one click.

If you use any hardware integration with your software, you’ll love this system. Cubase 5 and Steinberg’s MR816 interface has total integration. This allows both the software program and the hardware to “know” exactly what the other is doing and they end up working together beautifully and seamlessly. All you have to do is click on the “hardware tab” and you can instantly see what is being communicated between the two.

As it turned out, it was a pleasure to play with this new DAW. I wish all new experiences went as smoothly as my introduction to Cubase 5. If you’re just upgrading from 4 to 5, the new additions and changes will be well received (from what I’ve been seeing online from previous users). If you’re considering joining the production game for the rst time, it will be an easy experience to jump in to.

I strongly recommend watching the many videos online that Steinberg as provided, as well as the many “how to” videos found YouTube. But once you get the hang of it, Cubase 5 ($599 list) is a terri c system.

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sounding off playback…pro audio…processing

Digital Choices: Interface & Controller

By Reed Dailey & Floor Vahn

Akai APC40: Unique control of Ableton Live.

DJ TIMES SEPTEMBER 2009

NI’s AUDIO 4 DJ: Powerful interface, small package.

This month, we look at a pair of performance-oriented products— Native Instruments’ AUDIO 4 DJ interface and Akai’s APC40 controller for Ableton Live. Atlanta’s Reed Dailey handles the interface, while San Francisco’s Floor Vahn corrals the controller.

NI’s AUDIO 4 DJ Good things do come in small packages, or at least that’s what Native Instruments seems to be banking on with its latest interface, the AUDIO 4 DJ. While small in size, this extremely portable professional audio interface ($249 list) packs a punch. The all-new unit is the latest in a growing trend of DJ software companies pairing award-winning software, in this case Traktor, with their own hardware.

With software companies making the jump into the hardware market and bundling hardware and software, seamlessly functioning studio-grade equipment is becoming more prevalent at a fraction of the cost.

Using the provided disc, we installed both the AUDIO 4 DJ drivers and Traktor LE software. Traktor LE runs off any standard audio folder platform, but in this case we used the same folder, which houses our iTunes music. Mixing all genres of music, we were amazed by the sound quality and response of the Audio 4 DJ. It really gave us that same studio-grade sound, but in a compact portable platform. The fact that it worked so well with Traktor was an

added bonus. Most importantly, when we brought it with us to our gig, the device was so small we barely realized it was even in our bag.

The AUDIO 4 DJ is about the size of my hands, which are on the smaller side, and it’s the little brother of the already popular AUDIO 8 DJ. The pocket-size interface features easy-to-use functions and the latest audio converts from Cirrus Logic. Made from heavyduty metal, the AUDIO 4 DJ is a square divided into three main areas.

The Front section has a standard DJ headphones socket and a corresponding control knob. The Rear Panel of the unit is equipped with USB 2.0 port, allowing the device to be powered via a computer. Similar to the Audio 8 DJ, this unit comes with two sets of 9.7 dBu (RCA) outputs, plus four 12 dBu inputs (switchable between line and phone) along with a grounding screw.

On the top you get eight status LEDs, allowing for visual monitoring, which can really help with sound spikes. With 24-bit /96 kHZ audio converters providing the power and response needed for any event, this device supports anything as current and a MAC X 10.4 or Windows XP. Obviously, the most notable advantages of the AUDIO 4 DJ include its size, weight and ease of transportation. And remember, it’s bus-powered, thereby eliminating the need for power cords. (Also, it’s less expensive than the more robust AUDIO 8.)

Overall, it’s an extremely impres-

sive piece of equipment that works seamlessly with the provided Traktor LE, the upgradeable Traktor Pro, or other DJ software solutions. If digital DJing is for you, Native Instruments’ AUDIO 4 DJ is a terri c choice.

Akai APC40 For Ableton Live users that have been waiting (and waiting...) for an intuitive, tactile hardware interface offering real-time control of Ableton’s software Live, the wait is nally over.

Please welcome the Akai APC40 (Ableton Performance Controller)— lovechild of a collaboration between Ableton and Akai—the rst plug-andplay, dedicated, driver-free USB MIDI controller, specifically designed for performance with Ableton’s software, Live 8. If you do not own Ableton Live, fear not: the unit comes with Ableton Live Akai Professional APC40 Edition software, which is fully functional for performance and production. If you already own Live, the controller will work with Live 7 or 8. You will need to install the latest automatic update for use with Live 7. All versions of Live 8 are APC40-ready.

Unlike a lot of hardware that comes with the promise of “plug-andplay” capabilities, I’m happy to report that the APC40 really does live up to its “works-out-of-the-box” reputation. Plug the APC into the mains—it would be a challenge to power that many lights over USB—and connect the controller to your computer.

Launch Live 8, open Preferences, and select the APC as the control surface

in the MIDI/Synch tab. Ableton automatically maps the controls to match the software. Load a few clips in the Session View. That’s it, you’re done.

Lay of the Land: The APC’s layout is logical and familiar right away if you understand the way Live works.

The “40” in APC40 refers to the clip launch grid located on the controller, an 8-track by 5-scene Clip Launch Button Matrix, mimicking Live’s Session View. Below the matrix, the mixing console has mute, solo and record-arm buttons, along with very smooth-moving level sliders.

Of course, these shift focus with the matrix and their buttons are backlit to show their status. A red border in the Session View shows you which clips the upper-left 8x5 button matrix is controlling. The bank select cursor buttons allow you to move the red border around, so you don’t need to be limited to one area of your set.

To the right of the matrix, you’ll nd two banks of eight knobs, which access four banks of controls and control nine different track parameters each. This gives you a total of 72 controllers that are dynamically reassigned.

The first set controls global parameters, so you’ll always have instant access to your main sends, pans, and other essentials. The second bank of eight knobs is dynamically reassigned to the Track you select. Channel faders, bus faders, and a crossfader give you smooth control of key values. DJs will be especially pleased with the Tap

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Tempo, Tempo Nudge and solo/cues features, also featured on the right panel.

Thanks to the APC’s bidirectional communication between the controller and the software, making tweaks on the APC will show up visually in the application, and vice-versa—a key feature that allows users to jump back and forth between the software and the hardware without any guesswork. The clip matrix gives you an instant view of clip status: which clips are loaded (orange), which are playing (green) and which are being recorded (red).

Live’s open-architecture operation and the fact that the APC40 is a classcompliant device allows you to remap and manually override the APC’s dynamic control assignments using the standard MIDI Map. Let’s say you don’t use headphones for cueing. You can select the MIDI Map (CMD/ALT + “m”), pick a control to which you want the Cue Level encoder to be assigned (e.g., tempo), and you’ll manually assign just that control—the rest of the dynamic template remains in place. Akai has some tips for scrolling through scenes, selecting scenes with one of the two foot-switch jacks on the back of the unit, scrubbing and nudging clips, ne-tuning tempo control, and more on their website. (www.akaipro.com/tipsjun09) With Max For Live (MFL) arriving soon, APC40 users will probably be uploading hacks and other solutions in no time and users will be manipulating and tweaking the APC’s controls in ways that even the makers of Ableton might have never thought of.

DJing with the APC40: As with most things Ableton, there is no “right” or “wrong” way to set up Ableton Live used in conjunction with a controller for live performances. In the past, I had been using Akai’s MPD32 in my Live sets, and would simply map every control one-by-one, until I had the best possible setup. Setting up with the APC is quite different, but I quickly got the hang of things, as the controller really is a physical representation of the software.

One of the rst issues I encountered with setting up the APC for a DJ set was the ability to EQ mix between two or more tracks at the same time. After some research online, I found an interesting solution: remap one of the panning or send Track Control knobs to allow for low, mid or high for both tracks separately. Many solutions and hacks are out there for power users of Live who might initially shy away from the “automapped” nature of the APC40.

One possible “live performance/ DJ” scenario I have been working with is a simple 2-track layout. These two tracks, representing “decks,” feed separate tracks on the mixer. Next I assign all four on each track to a new

“We were amazed by the sound quality and response of the AUDIO 4 DJ.” rack. This allows me to assign all four of my FX racks to a single rack per track, using the rst four macro knobs to control the separate effects. Hard map these to the pan knobs on the right panel. The top four pans knobs can then be assigned to deck 1’s FX, the bottom four to deck 2’s FX. Conclusion: For DJs who are less about scratching and more about creatively triggering, layering, and re-

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mixing audio with Live, the APC40 offers a tightly integrated hardware interface with spacious controls.

At 13- x-16.8-inches and weighing just under 6 pounds, it will t in most DJ bags and is not too heavy to carry along with a laptop. The metal casing, with slip-proof rubber detailing makes allows the controller to stand up to the abuse of live performances.

The faders are nice and chunky, and

are easy to grab and maneuver in a dimly lit performance setting—a shortcoming in many other MIDI controllers. It’s also ideal for desktop use and ts nicely between monitor and computer keyboard.

Overall, the APC40 ($599 list) is a perfect rst controller for anyone starting out with Ableton Live, or a hefty multi-function controller for the pros. The value of having Live’s Session View replicated in hardware can’t be underestimated and remains a feature that, right now, no other controller pulls off.

16/04/09 17:51:37

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mobile profile careers…innovations…success stories

Jersey DJ Finds Heart of the Party

By Con Carney

DJ TIMES SEPTEMBER 2009

Party On: John Kulcik’s video montages have become a big hit with customers.

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Dunnellin, N.J.—And to think it all started with ice cream.

About 10 years ago, John Kulcik was working in a Haagen-Daz factory in New Jersey, when he received some truly chilling news: plant “Putting your heart into what the clients’ inter- the d o w n closests are is the key to a successful event, and a was ing down, successful business.” eliminating everyone’s job.

Fortunately, the company offered training courses to the laid-off staff.

Training courses in DJing?

Not exactly. Training courses in com-

puter science, which Kulcik, a hard-working native Jerseyite, gobbled up in 18 months. When he emerged on the other side, Xerox was interested in his services. “That was really the last thing I wanted to do for a living,” he says, “Making copies, making copies.”

But he gured he’d go on the interview and get a taste of the process. When they offered him a job, he accepted.

OK, so where does the DJing come in?

Fast forward five years. While at Xerox, his colleagues and friends noticed that he was quite the personable fellow, a good host at a party, always careful that everybody had a good time.

Someone suggested he try being a DJ. “I was intrigued,” he says. “When I was looking around for something else to do to make more money, I got more serious about it, but I knew I didn’t want to start a business in debt.”

So Kulcik took a job delivering the Courier-News, rising at 2:00 in the morning, seven days a week, and then headed to his Xerox job by 9:00. If that sounds like a heavy load, that’s because it was, but being employed at Xerox had its advantages.

“Because of my career at Xerox,” he says, “I didn’t need to go out and take any job I could get my hands on, just to pay the mortgage.”

Instead, Kulcik took his time; whenever he got a paycheck from the Courier-News, he’d buy a new piece of equipment, a mixer here, a dual-CD player there, etc—and learn how to use it.

“It gave me time to get the business on track,” he recalls, “and by the time I was ready to do it, I was in good shape.”

He connected with the then-New Jersey Disc Jockey Network.

“I went to their meetings, and it was the best thing I ever did,” he

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he’ll go full time with his business.

“It’s a great conversation starter, and there’s great added value to the gig.

It allows me to tell stories about the couple that a consultation might not provide. And at the Expo, if I can impress upon my DJ peers some things that can help them improve their businesses, it would feel good to give back, because the Expo has given me so much.”

If you’ve ever wondered if pictures do speak 1,000 words, check out Kulcik at the Expo.

“The good thing about doing the montages, you can learn a lot about a couple’s personalities by going through their pictures.”

Reaching more DJs than ever.

From party to party, city to city, one thing all DJs have in common is that they’re always on the move. To keep pace with our audience, we’ve launched Insider—the online newsletter of DJ Times. Wherever they go, Insider keeps DJs in the know with

product information

business tips

music

news

and everything else that matters to the international DJ community...informative and entertaining...up-to-the-minute content...all delivered twice per month to inboxes of

SEPTEMBER 2009

DJs everywhere.

Keep a lookout for DJ Times Insider in your inbox!

For sponsorship opportunities with Insider, contact jgrecco@testa.com.

To view this newsletter online, visit www.djtimes.com/insider

Full pg House ad 2009.indd 1

DJ TIMES

says. “Through the DJ network I’d go out with some of the guys on their jobs, carry their gear, set up, and see the right way to do a wedding.”

Then, when a member began schooling him on the art and science of wedding consultations, his DJ world opened up. “One member told me how he preferred going into peoples’ homes for a consultation, because it’s a great way to learn about the couple,” eh says. “One time, I saw that the groom had a bunch of Batman posters on his walls in his house, the guy was really into Batman, and I made sure to play a Batman snippet at the wedding. He thought that was the coolest thing. And that’s when I realized that putting your heart into what the clients’ interests are is the key to a successful event, and a successful business.”

Kulcik began doing church parties, communions and Sweet 16s. Before long, word of mouth had spread, and to this day he has yet to use paid advertising. Word of mouth also spread about his willingness to enact gamesaving customer service, too. At one Bar Mitzvah, for example, the videographer didn’t show up. The parents, in a word, were faklempt.

“They were freaking out, they had hired this guy and he simply didn’t show up,” says Kulcik, who named his edgling company Party On! DJ Productions. “But I told them not to worry about it. I called a friend and 15 minutes later I walked by the parents’ table and gave them a thumbs-up. The mother clutched her heart. We had put off the kiddish so we could get it on video. My friend showed up and everything was OK.” One other way Kulcik has managed to combine heart and customer service is through montages, a subject he’ll be addressing at the International DJ Expo in Atlantic City. “I’d been doing montages just for fun before I was DJing, for family functions,” he says. “But once I started DJing I realized it had a lot of emotional impact on the party; so I took it to another level, and to me it was like, what else would I be doing on a Wednesday afternoon?”

Kulcik charges about $300 for a montage. “But the real kicker is I charge another $300 if they want me to bring a screen and projector to play it at their event. So it’s a double whammy.”

By using ProShow Producer 4.0, scanning photos and touching them up in Photoshop, Kulcik presents the bride’s life in pictures, from childhood to adulthood, and then does the same for the groom.

“The good thing about doing the montages, you can really learn a lot about a couple’s personalities by going through their pictures,” says Kulcik, who does dream of the day when

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business line sales…marketing…solutions…

The Art of DJing: In the Eye of the Beholder

By Robert Wilson In 1907, during a major league baseball game, the winning team stole second base 13 times.

Playing catcher for the losing team, the New York Highlanders, was Branch Rickey, who was unable to pick off even a single runner. That record stands to this day.

It also spelled the end of Rickey’s career as a baseball player—after just two short seasons. With nothing else to do, he went to college and then to law school.

Six years later, he returned to major league baseball. This time as a manager— and what a manager he turned out to be. He created the modern baseball farm system, which enables major league teams to nurture and develop future stars through their minor league teams. He was the rst to establish a permanent spring training facility in Florida. He changed the way statistical analysis is used in baseball by proving that on-base percentage is more important than batting average.

And, of course, Branch Rickey is best known for breaking the color barrier by bringing Jackie Robinson into the major leagues. It earned him a spot in the Baseball Hall of Fame.

How do Branch Rickey and Jackie Robinson relate to DJing? Let’s start with Rickey’s oftquoted recipe for success: “Success is where preparation meets opportunity.” A simple formula that reminds me of the old joke: “How do you get to Carnegie Hall?” The answer: “Practice. Practice. Practice.”

Obviously, you can’t take advantage of an opportunity if you don’t have the skills.

It’s a good recipe for success, but it doesn’t reveal the secret main ingredient.

A funny old song from Frank Sinatra gets us little closer to the answer. Do you remember these lyrics from “High Hopes”?

Just what makes that little old ant Think he’ll move that rubber tree plant Anyone knows an ant, can’t Move a rubber tree plant!

I love that song because a stanza later we learn the ant can: “Oops there goes another rubber tree plant.” Is having “high hopes” the secret ingredient? No, but it gets us closer to it. You see, the ant succeeds because he doesn’t know that he can fail.

Think about some of the people, DJs or otherwise, you know who are successful.What is it that makes them big achievers? Are they more capable of booking gigs

DJ TIMES SEPTEMBER 2009

“Your belief in your ability to achieve what you seek is the biggest part of actually getting there.”

than you are? Do they have more of a gift for customer service? Or do they have more of a passion for entertaining? Most likely the answer is: No. So, what traits do you associate with them?

When I ask this question of my audiences I frequently hear the following ingredients: Courage, Perseverance, Enthusiasm, Discipline, Confidence, Decisiveness, Self-reliance, Responsibility, Focus, Ambition, and Optimism.

All of these are certainly traits of successful people, but which one is the overriding characteristic? Which one is the main ingredient?

None of the above!

That’s right—none! Yes, they are all important, but there is one ingredient that makes the cake, and that is simply your belief that you will succeed.

It’s called Self-Ef cacy. Your belief in your ability to achieve what you seek is the biggest part of actually getting there. The best part is that self-efcacy is a trait that can be acquired at any age.

It’s also called Creative Visualization, the idea that if you picture a scenario in your mind—say, a number of bookings in a calendar year, or taking on another system or two, or enjoying the ability to take two weekends off every month—it’s the rst step to achieving it.

We acquire a sense of self-ef cacy in four ways. The rst way is cumulative. With each success we achieve we add a new layer of con dence in ourselves. The second way is through observation. When we see someone similar to ourselves succeed—that fellow DJ, who might be sitting next to you right now, if you’re at the International DJ Expo—we realize that we can, too. The third way is controlled by our attitude. A positive attitude enhances our belief in our abilities whereas a negative one destroys it. The fourth way is from the encouragement of others who believe in our ability to succeed. This is where you as an effective manager can help your people succeed. Tell them that you believe they can meet their goals and you will help them believe it, too.

Robert Evans Wilson, Jr., is a motivational speaker and humorist. He works with companies that want to be more competitive and with people who want to think like innovators. For more information on Wilson’s programs please visit, www.jumpstartyourmeeting.com.

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Fuel to the Saffire American Music & Sound 5304 Derry Avenue, Suite C Agoura Hills, California 91301 (866) 474-7711 www.americanmusicandsound.com

F ocusrite’s Saf re PRO 24 DSP is a F ireWire audio interface with 16 inputs and eight outputs. It offers Virtual R eference Monitoring (VR M) technology, which the company says lets users mix through more than 100 simulated monitoring scenarios through their headphones. T hese include “more than 15 different sets of commonly used professional studio monitors and hi- speakers, in different acoustic environments and from different positions,” according to the company. A dditional features include the DSP-powered F ocusrite Studio Suite, compression, gating, EQ, reverb plug-ins, and two virtual loopback inputs for routing digital audio between software applications.

Sam I Amp American Audio 4295 Charter Street Los Angeles, CA 90058 (800) 322-6337 www.americanaudio.us

A merican A udio introduced three new models in its VX Professional A mpli er Series—the VX 1000, VX 1500 and VX 2500. T hese models are designed for installations, D Js and bands, and offer 1100W, 1500W and 2800W R MX respectively at 4 ohms bridged mono. A ll three come with a comprehensive protection system with auto shut down, as well as an LED display for monitoring temperature, working mode, and protection mode.

DJ TIMES SEPTEMBER 2009

Behind Bars American DJ 4295 Charter Street Los Angeles, CA 90058 (800) 333-0644 www.americandj.com

A merican D J’s F usion F X Bars come in three D MX-compatible versions. T he F usion F X Bar 2 features three different effects—a red, green and blue LED color wash; a colored LED moon ower; and a white LED moon ower. T here are also three effects included in the F usion F X Bar 4, including a white LED wash/strobe effect; a tri-color LED moon ower; and a green laser effect. F inally, the F usion F X Bar 3 offers give effects. T hey include one bright white LED wash/strobe effect; and four hard beam white pinspots.

Across the Universal Universal Audio 330 Encinal Street Santa Cruz, CA 95060 (866) 823-1176 www.uaudio.com

T he UAD -2 SOLO /L aptop from U niversal A udio is a compact ExpressCard-based DSP A ccelerator. A ccording to the company, it allows access to the full UAD Powered Plug-Ins library without external cables or power supplies. It’s designed to work with both Mac and PC, and the unit supports VST , AU and RTAS plug-in formats.

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Sample Sets Dark Side of the Tune 1122 E. Pike St. #1191 Seattle, WA 98122 (206) 419-4988 www.darksideofthetune.com

D ark Side of the T une offers three libraries of moody, experimental samples: the distortion-driven “Sledgehammer to H appy”; the haunting, spacey “Pitch D ark”; and the lamenting, dreamy “Pretty Empty.”

A vailable as downloads or CD s, these three libraries of vibe-based samples also can be purchased as T ritone, a box set. A ll sounds come as 48kH z/24-bit WA V les.

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iC Conditions Steinberg North America (714) 522-9011 www.steinbergnorthamerica.com

Steinberg’s Cubase iC remote controller application runs on A pple iPhone and iPod T ouch products. It’s free through the A pple iT unes Store and offers control for Steinberg’s Cubase and Cubase Studio 5.0.1 Music Production Systems. A ccording to the company, Cubase iC also supports the Cubase A rranger functionality, which lets iPhone and iPod T ouch users “play segments of a production live, display the song position and chain status and use the Jump control to skip to a prede ned song section.”

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Peace and QuietPoint

See SPOTDMX Run

Audio-Technica U.S., Inc 1221 Commerce Drive Stow, OH 44224 (330) 686-2600 www.audio-technica.com

MBT Lighting & Sound PO Box 30819 Charleston, SC 29417 (800) 845-1922 www.mbtlighting.com

T raveling D Js, take notice. D esigned for use with MP3, CD , D VD and in-flight entertainment systems, ATH -AN C7b QuietPoint A ctive N oise-Cancelling H eadphones reduce background noise by up to 85 percent, according to A udioT echnica. T hese closed-back headphones feature 109dB sensitivity, large-aperture 40-mm drivers with neodymium magnet systems, cushioned earcups, and a fold- at design that makes the headphones good for travel. T hey also work when the noise-cancelling function is turned off, and operate in passive mode without batteries.

Solid Gold Sonic Reality, Inc. 1153 Sawgrass Corporate Pkwy.

Sunrise, FL 33323 (800) 232-6186 www.sonicreality.com

Time Share

T he Sonic R e ll 4 G old DL Edition bundle features re lls designed for use with R eason 3 and 4. T he 20 re lls are updated to include Combinator patches and T hor modular synth patches. T here are more than 8,000 sounds in the bundle, including 24-bit instrument samples from pianos, strings, guitars, drums, bass, percussion, world instruments, electronic sounds and more.

DJ TIMES SEPTEMBER 2009

T he S POTD MX FOLLO WS POT offers seven colors plus white, and features two adjustable focusing lenses. It’s rated for use from 20 feet to 90 feet with a manual iris controller for adjustable spot size. A dditional features include push-button color selection control, pushbutton adjustable dimmer control, and a D MX/manual mode selector switch.

Waves, Inc. 2800 Merchants Drive Knoxville,TN 37912 (865) 909-9200 www.waves.com

T he Waves R ental Plan lets users access selected Waves bundles for short periods of time. T his is helpful to D Js and producers working on a single track or other short-term projects.

T hrough the Waves online store, bundles are available for rent immediately by selecting “R entals” and choosing the bundle that suits the user’s needs.

Plus Size dbx Professional Products 8760 South Sandy Parkway Sandy, Utah 84070 (801) 568-7660 www.dbxpro.com

T he D riveR ack PA + builds upon dbx’s D riveR ack PA loudspeaker management system, adding an updated, built-in library of stored speaker and ampli er settings, as well as a USB connection, fulltime RTA , front-panel mute buttons, and a faster A uto EQ Wizard. A s with its predecessor, the unit comes with a 6-channel output system that includes parametric EQs, and Peak Plus limiters, an A dvanced F eedback Suppression system, and a compressor/limiter module.

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Now and Denon D&M Professional 1100 Maplewood Dr. Itasca, IL 60143 (630) 741-0330 www.denondj.com

T he DN -X1700 digital mixer from D enon offers independent and three-band EQ with Kill on each channel and dual independent EF X processors. T here are 11 effects, including the new Beat Breaker effect, and users get a “discrete MIDI layer” on each mixer channel that allows for external control of audio/video D J software applications for both Macs and PCs.

Brand Flakes Brand the Band (508) 783-2246 www.brandtheband.net

Brand T he Band is a marketing seminar designed to help artists “build their own unique brand identities by understanding and using the same branding, imaging, messaging and naming tools that have long been advertising and marketing industry standards.” T he seminars are available via podcasts, in venues around the country, as a customized onsite and/or distance learning program, and soon as on-demand webinars.

Master of the Hosa Hosa Technology 6650 Caballero Blvd.

Buena Park, CA 90620 (714) 522-8878 www.hosatech.com

H osa’s S KO -200 S eries speaker cables are available in a variety of sizes ranging from three to 100 feet. T hey’re available in all standard terminations—including four-pole N eutrik Speakon, dual quarter-inch TS and quad banana—and consist of four 12 A WG oxygen-free copper conductors.

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Right on Targus

Jumping Beamz Beamz Interactive, Inc. 16039 N. 82nd Street Scottsdale, Arizona 85260 (888) 724-7380 www.thebeamz.com

T he Beamz consists of a W-shaped controller and six laser beams that trigger multiple streams of musical notes when the player’s hand passes through. T he controller comes with Beamz motion-activated PC-based software and connects to the computer via US B. S ongs can be saved as .wav or .wma les. T he Beamz never goes out of tune, according to the company, and it comes with two free CD s with 30 original songs of various genres, as well as a coupon to receive ve free songs from the company’s music library.

Targus Inc. 1211 North Miller Street Anaheim, CA 92806 (714) 765-5555 www.targus.com

T he “V7 by T argus” line of laptop bags has expanded to include a TSA “checkpoint-friendly” top-loading case that features a dedicated padded notebook compartment, a separate zippered le section with two internal padded accessory pockets and two front pockets. T here is also a D eluxe Backpack for 15.6-inch widescreen laptops that comes with a workstation that includes a key clip, three pen loops, two accessory pockets and a sleeve for les or other paper work. In addition, the line includes 15.6-inch and 17-inch Standard Sleeves, as well as the Standard Messenger Case, which has a dedicated padded notebook compartment that leaves extra space for books and paperwork.

Scorpion King

DJ TIMES SEPTEMBER 2009

The Doctor is In Digital Music Doctor 9000 Crow Canyon Rd., Ste. S-148 Danville, CA 94506 www.digitalmusicdoctor.com

“Mixing & Mastering 3 - Know It A ll!” is a video training course offering four hours of interactive tutorials. T he course covers principles and concepts of digital audio mixing and mastering using examples from Pro T ools, S onar, Cubase, O zone, S ound F orge, A udition and Soundtrack Pro, as well as T -R acks and Waves audio plug-ins. It’s available as a D VD or a digital download for Microsoft Windows XP/Vista and A pple Macintosh OS X.

Chauvet Lighting 3000 N. 29th Court Hollywood, FL 33020 (800) 762-1084 www.chauvetlighting.com

Chauvet has launched the O -Beast LED D erby Effect which offers oversized beams and full-room coverage of 115 degrees. T he unit responds to four channels of D MX allowing individual control of red, green and blue high-power LED s, as well as control over strobing and speed of back-and-forth movements. Each beam is about four times wider than the average D erby beam. T he O -Beast’s overall size (11.4- by-13-inches) and weight (6 pounds) allow for exibility of use, portability and ease of installation. T he O -Beast also features built-in automated and sound-activated programs via master/slave or D MX. S ince each xture draws only 13 watts, up to 25 units can be daisy chained at 120 volts.

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Profile: DJ QBert

19 of 20 Profile: QBert Real Name: Rich A. Quitevis Alias: DJ QBert Home: Burlingame, Calif.

Age: 39 Profession: Skratch Musician Affiliations: Thud Rumble, QBert Skratch University Hobby: Making music, video games, chess, learning about the hidden truths in our universe.

Last Book Read: “The Children of the Law of One & The Lost Teachings of Atlantis” by Jon Peniel Last Film Seen: “The Secret” Claim To Fame: Helping people see the turntable is a musical instrument Latest Accomplishment: Making the DVD Scratchlopedia Breaktannica, making a videogame soundtrack for the game “Bash” at nexon.com, and launching his online school, QBert Skratch University (www.qbertskratchuniversity.com).

Greatest Accomplishment: “Wave Twisters,” the movie.

Favorite Quote: “The ultimate happiness is in giving, and the ultimate evil is in selfishness.”

Why I Do What I Do: It makes others and myself happy. The energy of creation is Godliness, and we are all part of God, so why not use that ability that we all have inside of us?

MP3, CD, or Vinyl: All, actually, but vinyl first, of course.

One Tune That Never Leaves Your Record Box: “Delta Waves,” because I sleep to that, and Delta Waves are the best for a great sleep—I love that stuff on tour!

My Big Musical Project For 2009 Is: A new album finally after 10 years!

Best Gig Moment: Winning the DMC World Mixing Championships for the second time in 1993 with my partner Mixmaster Mike!

Worst Gig Moment: Taking second place in the DMC World competition in 1991, because I didn’t practice. A great lesson learned that still reminds me to always be in shape on the decks at all times!

Profile: The Jimi Hendrix of Turntablism, QBert has opened eyes and ears the world over to the aural possibilities of the turntable. A part of three DMC World Championships (1992-94), QBert helped form the legendary Invisibl Skratch Piklz DJ crew, which applied the band concept to turntablism. Additionally, he’s created and scored animated film (“Wave Twisters”), has been featured in video games (“Tony Hawk’s Underground” and “FreQuency”), and appeared in several DJ documentaries like Doug Pray’s seminal “Scratch.” He’s recently launched QBert Skratch University, which offers students online DJ instruction and review. He continues to innovate with his instrument, the turntable, and travel globally, amazing audiences with his dazzling routines. Quite simply, QBert is a DJ Legend.

I St a r t ed r ea d In g d J t ImeS In : 1991.

I pIc k ed u p my f Ir St c o py my f Ir St d mc c o mpet Io n

DJ Times: Fits every Profile C E L E B R AT I N G 2 0 Y E A R S

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ONE Way or Another

Passive Resistance

Apogee Electronics Corp.

1715 Berkeley St Santa Monica, CA 90404 (310) 584-9394 www.apogeedigital.com

KRK Systems, LLC. 3000 SW 42nd Street Hollywood, FL 33312 (954) 316-1580 www.krksys.com

ONE is a single input, stereo output USB music interface from A pogee D igital. It works with A pple’s iT unes, G arageBand, L ogic, F inal Cut or any Core A udio compliant application on a Mac. F eatures include a microphone preamp, internal reference condenser microphone, a stereo output for headphones or powered monitors, and an instrument input that can be used with a guitar, bass or keyboard. ONE also ships with A pogee’s Maestro software for advanced control and low latency mixing.

KR K Systems’ R 6 passive studio monitor handles 100 watts of power. It comes with 5-way speaker binding posts, a precision crossover, and a voicing designed to mimic the company’s R okit 6 monitor. T he R 6 sports a curved front baf e that houses a molded front-facing bass port the company says “minimizes low-frequency phase distortion and unwanted frequency emphasis” that comes from rear-facing bass ports.

Synth When?

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

Yamaha introduced two new weighted action music synthesizers, the 88-key S90XS and the 76-key S70XS. T hey offer 456 megabytes of instrument samples including, for the rst time, the sounds of Yamaha’s S6 concert grand piano.T hey feature a Performance Creator, a Song Chain function that creates lists of 100 songs for playback, and a combo input jack for adding vocals or guitar effects to live performance. Performances can

also be recorded as stereo 44.1 16 bit .wav files either to external US B memory devices or internally to the 18 minutes of internal F lash memory. T o go along with this, the company introduced the “XS pand Your World” four D VD bundle pack. It includes “T he World of Motif XS,” which teaches the features and functions of the product through three and a half hours of content; a “Cubase AI T utorial;” the “X F actor VST 3rd Party Megapack,” which includes VST software from Yamaha, Sonic R eality, IK Multimedia, A rturia and others; and the “XSpand Your World” sample and voice content disc.

DJ TIMES SEPTEMBER 2009

Hit the Gasolina Prime Loops 37 Raven Row, Of ce 22 London, E1 3EG United Kingdom +44 7789 180 684 www.primeloops.com

G asolina Beats is a 390-beat sample pack for H ip H op, R &B, D irty South, D ubstep, G rime, T rip H op, Electronica or F usion productions.

T he pack includes loopable audio les, as well as entire single track looped kicks, snares, hi-hats, F X, percussion and other sounds, programmed, recorded and looped in 24-bit audio. It’s compiled by Justin Bendo, who has worked with D r. D re, Eminem, Xzibit and more.

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t r a cks…mixes…co mpil a t io n s supplies another Wamdue winner here. Eric Kupper supplies the strongest set of house mixes and works the vocal to perfection.

– Curtis Zack “Babatundè”

 F ast Vision Soul  GOGO DJ T

“5 Reasons”

 L overush U K! feat. Sylvia T osun  Sea to Sun Coming off the recent success of “F ountains of Youth,” L overush U K! are at it again, as Sylvia T osun shows her vocal ability while dancing around the soaring production—a sure re hit. R emixes by A rnold T and Sted-E & H ybrid H eights supplies everything from electro to prog-house.

Enchanting tribal rhythms fuse with captivating strings and soothing melodies on this house gem. R alf G um also applies his signature soulful-house sound with luscious keys, a jazzy sax solo and organic oating guitar licks. T here’s also a wicked set of D J tools that include earth-shattering drum tracks and bonus beats.

– Shawn Christopher

– Dave Fairman “What If You Wanted More”

 Jake Island  T oolroom N ot the most high-pro le act in the T oolroom stable, but possibly the ones with the most potential.

T his is a strong house track, with a F red F alke vibe throughout and fans aplenty already.

– Curtis Zack

T he ever-consistent Chris Brann

Download DJ TIMES SEPTEMBER 2009

Michaël Canitrot

“Desire”

 Michaël Canitrot  A ime A strong vocal number that ticks all the right boxes. T he original contains disco avors that perfectly suit Canitrot’s voice and check the exceptional mixes from R ichard Earnshaw and Syke n Sugarstarr.

– Curtis Zack

“Rise”

 D eep In uence  Blueplate Back in the day, Mark Picchiotti released some amazing main-room vocals and here, in his latest guise, he delivers another. T ons of mixes to pick from, but the “Classic Vocal” delivers a terri c hands-in-the-air, singalong vibe.

– Curtis Zack “Big Bad Drum” EP

 Samuel L . Session  Be A s O ne

“Forgiveness”

 Wamdue Project  F ierce A ngel

Corner

Wamdue Project’s Chris Brann

Sylvia Tosun

Each month in this space, D J T imes 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, iT unes, etc).

“Rose Rogue” (Vocal Edit) by Analog People in a Digital World [Ultra]: A nostalgic jazz sample featuring a sax solo along with stand-up bass and an uplifting vocal comprise the break of this track. A tough, distorted bass groove makes up the beat—and the disparity between the two makes the track! F ound at beatport.com.

“Flonko” (Version 1) by Steve Angello & AN21 [Size Records]: Sometimes beauty is in simplicity. “F lonko” contains little more than a carnival-style woodwind sample and a galloping tribal beat. But sometimes that’s all that’s required to truly rock a danceoor as evidenced by this track’s appearance on all the big D Js’ playlists. F ound at beatport.com.

“Basteria” (Vinyl Mix) by DJ T. [Get Physical]: F rom magazine publisher to member of the famous G et Physical collective, you’d be hard pressed to nd a D J with a better ear for techno. A nd his original tracks show this expertise. “Basteria” is an energetic, percussive workout with micro vocal edits and heavy bass—a sure re win for the oor! F ound at beatport.com – Robert LaFrance

A couple of choice, dance oor pounders here.

Big, bold percussion and staggering basslines blend with twisted effects and deliberate key stabs on “Big Bad D rum,” while “Chimes” offers punchy, driving rhythms and a deep, techy vibe.

– Shawn Christopher “News For You” (White Dwarf Mixes)

breaker/Eye Industries camp sees Sound of Soho rob the loop from Sister Sledge’s “G reatest D ancer.”

N ot subtle in away way, but fun party music nevertheless.

– Curtis Zack “If You Want My Love”

 Soul A vengerz  Soda A fter oating around for months, this Max C collaboration now gets an of cial release and additional remixes. Ian Carey provides a tougher alternative, while the “Electrik D isko Mix” heads down the oldschool piano route. G ood stuff.

– Curtis Zack

#

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9

#-

“Now”

 Eddie A mador vs. Eddie Cumana pres. A lan T vs. Papa Joe  Kult A stunning single-minded effort that’s rocking the clubs. Check the “Cumana Vs. A mador Vs. Cepero D ark Mix,” a big beat, dark, peakhour thriller. A lso, go for the “Erippio R emix” with its hard, progressive style.

-9

#9

#-9

+

– Phil Turnipseed “Now I’m That Bitch”

 L ivvi F ranc  Jive R ecords A great batch of electro, progressive and house remixes here, from N evins, Kaskade and Mike R izzo, plus strong vocals from newcomer F ranc. T he fave: N evins’ mix with its hypnotic bassline.

– Dave Fairman

 Seb  F erocious With a great hook and a sparkling vocal, this new D warf remix has the goods to make some real noise.

T he “Extended Mix” features some gorgeous chords throughout and the vocal arrangement is top-notch along with an engaging house groove.

Jake Island

“Handle It”

 T arantulaz  Curious U nbelievably classy track. G reat vocal, a wicked groove and fantastic production make this an essential purchase.

– Curtis Zack

– Phil Turnipseed “You Want My Love”

 Sound of Soho  H eartbreaker T he latest offering from the H eart-

“Just Because”

 R aygun  R CA H ouse mixes of rock bands are going through a mini renaissance at

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SEPTEMBER 2009

DJ TIMES 51 048SE09_p001-060.indd 51

7/22/2009 10:03:25 PM

g r o o ves

t r a cks…mixes…co mpil a t io n s

Samuel L. Session

the moment with R aygun the latest to get the treatment. O f all the new versions on offer, Bimbo Jones’ takes the spoils with a cracking house groove that demands to be played.

– Curtis Zack

Soul Avengerz

a dirty drum groove and drop some sharp synth hits. “D eez T ech N G roove Mix” and dub bring a sharper, more deliberate stripped beat. G reat bassline and haunting keys.

“The Maze”

– Phil Turnipseed

 L eech Vs. D emarkus L ewis  G rin Music

“Take Me Up”

A deep, tech-houser with hard, underground style. L eech’s “H eavy L ow Mix” and “L ow D ub” bring

Yet another amazing Inaya D ay tune, this time courtesy of produc-

048SE09_p001-060.indd 52

 Inaya D ay vs L eggz  CR 2

Livvi Franc

er L eggz. Inaya’s vocal is a de nite highlight of all the mixes and with rst-rate production supporting a track that should be big.

Seb

“Take Me Over” (Part 1 & 2)

 T he Quasar & T he Pressure  R eady Mix R ecords

T agged as electro, in truth this one’s much more. Intelligently produced with a sturdy vocal and great bassline, it’s a very good track indeed.

A brilliant EP with an abundance of seductive styles. A ll the mixes delve get deep, with the original mix delivering an atmospheric, smoothhouse avor. Sebastian D avidson’s “G reen Mix” adds a subtle progressive vibe and K-Bana’s R emix stays progressive with a harder groove.

– Curtis Zack

– Phil Turnipseed

– Curtis Zack “Indulgence”

 Vaayna D iva  GFA B

7/22/2009 10:03:32 PM

ABDJ-09

Summer Tour highlighTS More highlight photos at americasbestdj.net

Presented by

HDJ2000

Winners announced Soon!

Closing party septmber 12 at

DJM-400 mixer

All the details at

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DJ TIMES SEPTEMBER 2009

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While every care is taken to ensure that these listings are accurate and complete, DJ Times does not accept responsibility for omissions or errors.

54 048SE09_p001-060.indd 54

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DJ Times: Fits every Profile

Profile: Miguel Migs 2 of 20 Real Name: Miguel Steward Alias (if applicable): Miguel Migs Home: San Francisco Age: 35 Profession: All things music.

Profile: Josh Wink

Affiliations: Salted Music Hobby: Juggling chainsaws on Venice Beach for spare change.

Last Book Read: “The Secret Life of Water” by Masaro Emoto.

Last Film Seen: “American Gangster” Favorite Quote: “Be the best person you can be, treat

1 of 20

Profile: Roger Sanchez

others with kindness and respect and be a creative individual with your own mind!” (Migs)

Greatest Accomplishment: My friends and my music.

Real Name: Josh Wink Alias: Variations of Wink and some other names thrown in.

Home: Philadelphia, PA. Age: 26 ;) Profession: Producer/DJ/Owner, Ovum Recordings

my new 8-piece band, Petalpusher, and my upcoming album Those Things Remixed. I will probably also start on a new album later this year as well.

Hobbies: Cooking/Athletics Last Books Read: “Stealing Buddha Dinner” by Bich Minh Nguyen; “Born Standing Up: A Comic’s Life” by Steve Martin; and “I Am Legend” by Richard Matheson Last Film Seen: “Zeitgeist” Favorite Quote: “I was trying to daydream, but my mind kept wandering.”

Latest Accomplishment: I’m a Daddy and soon to be Husband !!

Greatest Accomplishment: My beautiful daughter Soleil

Best Gig Moment: Performing with my new band, Petalpusher, right after

Latest Accomplishment: Doing what I do! Greatest Accomplishment: Still doing what I do!

Lenny Kravitz at the Oracle event last December.

MP3, CD, or Vinyl: All baby! However, digitally speaking...MP3 is easier to store! One Tune That Never Leaves Your Record Box: “Higher State of Consciousness” by Wink. To this day, people still want to hear me play it.

My Big Musical Project For 2008 Is: Working on new WiNK LP on Ovum. First in a long time!

Why I Do What I Do: For The Love Of House MP3, CD, or Vinyl: All 3 are fine with me!

Worst Gig Moment: Having to play super sick with a horrible stomach flu in Miami in 1993, getting some kind of shot from a nurse in the DJ booth while I’m almost vomiting and hallucinating from the high fever I had.

Best Event/Gig Moment: In 1992, my first gig outside of the USA, a New Year’s Eve Party in Rome when electronic dance music was very new for people. A great line-up and a great party.

One Tune That Never Leaves Your Record Box: “Turn On The Music” by Roger Sanchez My Big Musical Project For 2008 Is: Working on a single for Billie Ray Martin and my new album.

Profile: As a DJ, Migs found fame playing chilled, Cali-flavored deep house. Later, his productions (like his Petalpusher tracks for Naked Music) became staples for global DJs who appreciated his funky, soulful grooves. Migs has also done remixes for a slew of artists (from Macy Gray to Lionel Richie) and in 2004 he founded his own imprint, Salted Music. In ’07, he released Those Things, one of the year’s top US electronic albums. He continues to pursue a busy international schedule.

Worst Event/Gig Moment: Happy to say it doesn’t happen too often. But, I try not to remember them when they do.

Profile: In the mid-’90s, Wink rattled off a series of global hits that are now considered club classics—“Higher State of Consciousness,” “I’m Ready” & “Don’t Laugh.” He also founded Ovum Recordings, and in the new decade he cranked out faves like “How’s Your Evening So Far?” and “Superfreak (Freak).” When he’s not jetting to the world’s top venues, the Philly native can be found spinning his monthly “Last Wednesday” party at cozy hometown club, Fluid.

I STARTED READING DJ TIMES IN: 1988! I WAS A MOBILE DJ IN THE ’80S. HAPPY IT’S STILL AROUND!

Best Gig Moment: Release Yourself @ Pacha, Ibiza Profile: Just another mobile DJ from Queens who found astronomical success? Hardly. Before he gained the glory afforded by a Grammy Award (for his remix of No Doubt’s “Hella Good”) or a long-running Ibiza residency (Release Yourself at Pacha), the Dominican-American DJ/producer was inspired by NYC’s deep house-music tradition. His first club hit, 1991’s “Luv Dancin’,” set him on the path and his international pop smash, 2001’s “Another Chance,” solidified his status as one of our greatest global DJ/producers.

I STARTED READING DJ TIMES in: 1999

I STARTED READING DJ TIMES IN: 1998.

DJ Times: Fits every Profile

DJ Times: Fits every Profile

Profile: Andrew Grant

DJ Times: Fits every Profile

C E L E B R AT I N G 2 0 Y E A R S

Profile: DJ Dan

Profession: Dreamer; Resident DJ, Circoloco @ DC10, Ibiza, Spain.

Affiliations: Circoloco, Religio.Audio, Barraca Music.

Hobby: Searching for people looking to get rid of old records.

Last Book Read: “How To Install Your M-Audio Oxygen8 v2 MIDI Controller” Last Film Seen: John Waters’ “Cecil B. Demented” Latest Accomplishment: A&R Manager for Barraca Music, a new music label offshoot of the club in Valencia, Spain.

Greatest Accomplishment: Only missing one flight this year.

One Tune That Never Leaves Your Record Box: “The Bells” by Jeff Mills MP3, CD, or Vinyl: Play more vinyl!

Best Party Moment: Playing after Norman “Fatboy Slim” Cook on the infamous DC10 terrace.

Worst Party Moment: Arriving at a snowy warehouse party in North Carolina after driving five hours, only to find 80 people and a generator to power the equipment, circa 1994.

4 of 20 Alias: DJ Colette

Age: 32 Profession: DJ/Vocalist

Profile: It’s a long way from Baltimore to Ibiza, but Andrew Grant has completed the route. Beginning as a party DJ in his hometown, Grant became inspired by the DJs playing New York’s Twilo club and bought a one-way ticket to the Spanish party island with nothing but his records and an armful of mixtapes. It certainly worked out. Seven years on, he’s still a resident at Circoloco at DC10, the island’s top afterhours event and one of the world’s most influential parties. The Lesson: Hold on tight to your dreams, DJs.

Hobby: Cooking. I’ve become somewhat of a foodie in the past two years.

Last Book Read: Wicked: The Life and Times of the Wicked Witch of the West by Gregory Maguire Last Film Seen: Wristcutters

4 of 20

Name: Russ Harris Home: Chicago / Aurora, IL Age: 35 Profession: Owner, Show On The Road Productions; DJ / Artist / Remixer / Producer Hobby: Stephen King collector Last Book Read: “Harry Potter and The Deathly Hallows” Last Film Seen: “No Country For Old Men”

Real Name: Daniel Wherrett Alias: DJ Dan Home: Los Angeles Age: Timeless Profession: International Partier of Mystery

Greatest Accomplishment: I put together a band last year with three of my writing partners. We’ve been working on music for the last eight years and to be able to perform on stage together has been incredible. I’ve always wanted to be in a band and to finally have that experience is thrilling and frightening all at the same time.

Affiliations: InStereo Recordings/AM Only/The Ascot Club Hobby: Over-the-top theme parties at my house Last Book Read: “The Power of Intention” by Wayne W. Dyer Last Film Seen: “Juno” Claim To Fame: Being one of the first West Coast DJs to travel internationally, spawning the fusion of funky house and breaks. Favorite Quote: “Your playing small does not serve the world.”

Why I Do What I Do: I’m always picking music apart and tell myself “I can do that”. I love the creative process of starting out with an idea, forming it & molding it & tweaking it on a computer & keyboard, & then having a crowd rock out to it.

There’s nothing more satisfying.

Best Party Moment: Coachella 2006. I’ve always been a huge fan of this festival and having the opportunity to be a part of it was phenomenal.

Best Event/Gig Moment: Getting to take pictures & sign autographs after my set like a superstar at my first record release party.

Best Gig Moment: The Funky Tekno Tribe reunion party at The Endup in San Francisco this past New Years Day. I wasn’t originally on the line-up, but when I went on at around 7a.m., I surprised the crowd and it was amazing! I had never played at The Endup before and had always wanted to—getting to do it with the Funky Tekno Tribe crew made it extra special.

Worst Party Moment: I played a rave in Detroit and 30 police officers in riot gear stormed the DJ booth and yelled at me to shut the music off. Definitely not a fun way to end a party.

Worst Event/Gig Moment: Playing at a wedding during a heat wave in a un-air conditioned hall and moving my sound and light system outside & inside of the hall trying to beat the heat only to have the air conditioning fixed later on.

Worst Gig Moment: Arriving at consecutive gigs in Venezuela and Mexico City that were shut down by police, flying on very little sleep, and then being stranded at the hotel in Mexico City by the promoters with no transportation, no explanation, and no pay. Then arriving back home and getting tons of angry emails from fans in Venezuela and Mexico saying that they’d heard that I’d refused to play.

Profile: A founding member of the female DJ collective SuperJane, Colette has toured the world as a singing DJ and scored chart-topping hits (like “What Will She Do For Love”) and best-selling albums (“Push” and “Hypnotized”). Her music has been licensed for national ad campaigns (Motorola) and film projects (“The Devil Wears Prada”).

Profile: As one of the Midwest’s more successful mobile operators, DJ Russ Harris and his Show on the Road Productions have kept Chicagoland parties hopping since 1988. In recent years, Harris began to create special remixes and mash-ups for his company’s events and he later parlayed that studio experience into an artist career.

Profile: As one of the first indigenous West Coast DJs to break out from the Pacific Time Zone, Dan’s been called “The People’s DJ” and “America’s Hardest Working DJ.” Over the years, he’s been a member of the legendary Funky Tekno Tribe and his productions like “Needle Damage (The Zipper Track),” “Loose Caboose” and “The Phone Track” have lit up clubs and the rave circuit alike.

I STARTED READING DJ TIMES IN: 1994

I STARTED READING DJ TIMES IN: 1995

I STARTED READING DJ TIMES IN: 1995

DJ Times: Fits every Profile

DJ Times: Fits every Profile C E L E B R AT I N G 2 0 Y E A R S

C E L E B R AT I N G 2 0 Y E A R S

C E L E B R AT I N G 2 0 Y E A R S

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Real Name: Christopher Milo Alias: Three Home: New York City Age: Too young to know better...

Profession: Purveyor of the recorded arts.

I Started Reading DJ Times In: 1988. My first job in the Mobile DJ Industry was working for John Murphy at Star DJ’s.

He started getting the magazine right away and it was always around the office.

Real Name: Joe Bermudez Home: Boston, Mass. Age: 32 Profession: DJ/Producer Affiliation(s): Sirius XM Satellite Radio Hobby: Hanging out with really, really hot chicks.

Ableton Live + Bollywood Remixes + Bhangra Mash-ups + Importing everything into Serato

Last Book Read: “What To Expect When Your Wife Is Expanding” by Cader Books & Thomas Hill. My wife recently had our first child.

Last Film Seen: “I Am Legend” Favorite Quote: “Confidence: The feeling you have just before you fully comprehend the situation.”

Worst Party Moment: Anytime there is a power failure during a gig

Latest Accomplishment: The Knot’s Pick – Best

Profile: For more than a decade, Ms. Malhotra

Best Party Moment: Basement Bhangra 10th Anniversary at Hammerstein Ballroom

has run Basement Bhangra, one of New York City’s most successful parties and, in doing so, has become one of our great musical ambassadors. Her 2007 CD, DJ Rekha Presents Basement Bhangra, offers a tasty sampling of the event, which merges traditional Bhangra music of South Asia and hip-hop beats of today. In 2000, Rekha founded Sangament (“sangam” is Hindi for confluence—a place where two rivers flow together), a production company that provides music consulting services and produces live events like Basement Bhangra and Bollywood Disco.

One Song That Never Leaves Your Record

Box: “Don’t Stop ’Til You Get Enough” by Michael Jackson

local awards show and after-party. My crew and I did the all the production: staging, props, dance floor, large video screens, live cameras and all DMX programming for the table lighting, dancefloor lighting, and accent lighting. My team also coordinated the “red carpet” pre-show interviews with the guests, which were then played live inside the event. The event all came together perfectly. The energy level was so high that the dancefloor was packed all night long. To produce an event at this level and have everything go flawless was quite an achievement for me.

Worst Event/Gig Moment: Doing an outdoor wedding at a local winery and a fight broke out among some drunken guests. One of them took off in a hurry in his car and hit a power line which blacked out the winery and the entire city block. Game over.

DJ Times: 13 ofFits 20 every Profile

C E L E B R AT I N G 2 0 Y E A R S

My Big Musical Project for 2008-09 Is:

Why I Do What I Do: This path chose me as much as I chose it, but I simply can’t stop chasing the feeling I get when it all comes together in real time... the music, people and atmosphere.

One Tune That Never Leaves Your Record Box: “Outta Limits” by Mission Control Best Party Moment: My first time playing at Twilo in 1999 as my experiences in that room in the early ’90s when it was Sound Factory with Junior Vasquez were huge for me... or playing for Wicked Crew at Townsend (RIP) in San Francisco 2002.

Worst Party Moment: Not so much a party moment, but I finished DJing a party in Miami and went straight to the airport to fly to Tampa, Fla. I fell straight asleep, slept through the landing ... and woke up mid-flight to New Orleans! Obviously, this was well before 9/11.

I St a r t e d r e a d In g d J t Ime S In : 1992.

Profile: DJ Times: Fits every Profile Joe Bermudez

I STARTeD ReADING DJ TIMeS IN: 1993.

Best Event/Gig Moment: I recently produced a

I’ve Been Reading DJ Times Since: 1993. I used to go to Tower Records every month to buy one.

Profile: D: Fuse Profile: DJ Times: Fits every Profile Steve Porter

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C E L E B R AT I N G 2 0 Y E A R S

C E L E B R AT I N G 2 0 Y E A R S

14 of 20

n ame: Steve Porter Home: Various: 22 years in Amherst, Mass.; one year in

Last Book Read: “Highway to Hell: The Life & Times of AC/DC Legend Bon Scott” by Clinton Walker Last Film s een: “Quantum of Solace” staring Daniel Craig and Judi Dench. Latest Accomplishment: Having a track (“Holiday”) on

Hobby: Cooking Last Book Read: “This Is Your Brain On Music: The Science of a Human Obsession” by Daniel J. Levitin. Last Film Seen: “Cloverfield” Favorite Quote: “All music is relative and comes from the same source”—Quentin Harris.

dancing.

Why I Do What I Do: Free drinks One Tune That Never Leaves Your Record Box: “Real Love” by Mary J. Blige

Latest Accomplishment: Finally launching the Hallucination Recordings & Hallucination Limited back catalogs digitally via Beatport and finishing my “Theme From Madchester” single.

Greatest Accomplishment: Respect from my peers.

Profile: A staple of Florida’s nascent electronic scene, along with Rabbit in the Moon and others, Three’s remixing & DJ skills have earned him respect far beyond the Sunshine State. His genre-bending passion for cutting-edge music spans house, techno and all things beyond. Currently opening for Sasha’s latest “Involver” tour, Three has enjoyed his jaunts around the world from Argentina to Japan—but his ongoing Snatch residency in Tampa may be American dance music’s best kept secret.

Kiss My Black Ass, King Street, Strictly Rhythm

Claim To Fame: Bringing Bhangra to the masses Latest Accomplishment: Making Italian meatballs with homemade sauce. Greatest Accomplishment: Getting a picture in the New York Times of my mom

of Weddings 2007 – Best DJ Company in Northern California Greatest Accomplishment: My company in general. I never thought I would be able to do this as a full-time career and be successful at it.

Why I Do What I Do: Cheerleaders. Back in 1987 a few cheerleaders asked me to play the music for them at my high school’s football and basketball games. After graduating, I bought my own gear and started my own business. If it wasn’t for the cheerleaders, I probably wouldn’t be doing any of this today.

MP3, CD, or Vinyl: MP3s with Serato Scratch LIVE.

Affiliations: Hallucination Limited (label), Three A.M., Second-Hand Satellites Hobby: Music, people and travel.

Last Book Read: “The Alchemist” by Paolo Coelho Last Film Seen: “Dangerous Days: Making Blade Runner”

Profile: One of America’s more successful mobile operators, Walter has become the permanent host of the International DJ Expo’s prestigious “DJ of the Year Awards,” which bestows honors to mobiles in a variety of categories. His upbeat demeanor, can-do attitude and MC abilities help make the show an annual success.

Profession: Musician, Producer, DJ – in that order. Affiliations: Club Shelter,

Profession: DJ/Cultural Instigator/Chief Rocker of Sangament, Inc. Hobby: Being Punjabi, Cooking Last Book Read: “The Importance of Music to Girls” by Lavinia Greenlaw Last Film Seen: “Persepolis”

Name: Jody Amos Home: Livermore, Calif.

Age: 35 Profession: Owner of a San Francisco Bay Area mobile-DJ company with over 20 DJs. My Company: Amos Productions Hobby: Motorcycle riding

Why I Do What I Do: On the business side, I really enjoy teaching people how to DJ and watching them grow as entertainers. On the performance side, I still enjoy doing events and getting the accolades that go along with them.

One Tune That Never Fails To Get The Party Started and Why: “Jump Around” by House Of Pain Best Event/Gig Moment: Every year, doing the “DJ of the Year” competition in Atlantic City during the International DJ Expo. It’s such a high-profile, high-pressure event and, on top of that, my parents are always there, which only adds to it.

Worst Event/Gig Moment: Doing my monthly “networking” event on September 13, 2001.

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Real Name: Rekha Malhotra Alias: DJ Rekha Home: London, U.K./Westbury, Long Island, but currently Brooklyn, N.Y. Age: 37

10 of 20

Profession: Mobile disc jockey, business owner.

Hobbies: Writing, reading, movies, traveling.

Last Book Read: “Before I Get Old: A History of The Who” by Dave Marsh Last Film Seen: “Sweeney Todd” Latest Accomplishment: My DVD entitled, Training Your Next Great DJ. Greatest Accomplishment: Building Elite Entertainment to where we are—over 1,200 gigs a year and a strong enough reputation to make all the “Best Of” lists every year.

Real Name: Quentin Harris Home: Detroit/New York City Age: What’s That?

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Profile: Jody Amos

Name: Mike Walter Alias: None—I was never that cool.

Name Of Your Company: Elite Entertainment Home: Originally Queens, N.Y., been in New Jersey since ’88.

Age: (Gulp) 41

Profile: Quentin Harris

Profile: DJ Rekha

DJ Times: Fits every Profile

Profile: Three

Profile: Mike Walter

C E L E B R AT I N G 2 0 Y E A R S

MP3, CD, or Vinyl: WAV files on CD and Serato One Tune That Never Leaves Your Record Box: “Disco Muff” by The Dirt Diggers.

My Big Musical Projects For 2008 Are: Aside from releasing new tracks on my InStereo label and my artist album, I’m launching the label’s podcast by re-releasing some of my old classic mixtapes.

I’m doing a bigger band

tour this year.

This Tune Never Leaves My Record Box: “Zombie Nation” by Kernkraft 400.

DJ Times: Fits every Profile

Latest Accomplishment: Starting production on my first artist album, and being able to work with so many other talented producers Greatest Accomplishment: Becoming one of the top DJs in the world and re-launching my record label, “InStereo”.

Why I Do What I Do: I’ve loved music since I was born and I can’t imagine doing anything else. I still have the same fiery obsession to put music together, create energy, and see it light people up on the dancefloor.

One Tune That Never Leaves My Record Box: “What Will She Do For Love” is probably the only track of mine that I have performed at every single show. It’s one of my favorite songs to sing and is usually my most requested track to play.

Greatest Accomplishment: Hitting #5 on Billboard’s Club Dance Chart last year with “Drums In The Club”.

I Started Reading DJ Times In: 1998, the issue with Armand Van Helden on the cover.

Claim To Fame: Singing live while deejaying, one of the founding members of the Superjane collective.

Latest Accomplishment: My second artist album, “PUSH” on OM Records

Why I Do What I Do: Music is my greatest addiction. I’ve been enthralled with music since the age of three and thirty years later I can’t picture myself doing anything else.

Latest Accomplishment: Releasing my debut album Ear Therapy this past year.

Greatest Accomplishment:

I’v e BeeN ReAd INg d J TImes s INc e: 1999.

Greatest Accomplishment: Working with a lot of great artists and musicians that I have grown up listening to and admiring. Why I Do What I Do: A girl came up to me and told me a song that I made stopped her from committing suicide, which lets me know that music can really heal and help people. MP3, CD, or Vinyl: All three. You have to use the tools given to you.

wearing a cowboy hat

Latest Accomplishment: “Clubbing in Lost

Angeles,” a compilation of D:Fuse & Hiratzka tracks and remixes from the past two years.

Greatest Accomplishment: Surviving the music business.

Why I Do What I Do: Without music, what’s the point?

MP3, CD, or Vinyl: All are great for different reasons. I spin CD, listen to MP3, and get nostalgic over vinyl. I still have every album I bought as a kid.

Why I Do What I Do: To further the science of music as we know it and to share the love of music around the world.

MP3, CD, or Vinyl: CDs, WAVs, and MP3s, please

One Tune That Never Leaves Your Record Box:

One Tune That Never Leaves My Record Box: “Dark Suite Piano” (Wally Lopez Mix) by Dark Suite

“Guitarra G” by Banda Sonora

One Tune That Never Leaves Your Record Box: “Hate Won’t Change Me” by Byron Stingily

My Next Big Musical Project Is: A new artist album

My Big Musical Project For 2009 Is: Writing and recording the

for PH Recordings.

Best Gig Moment: Porterhouse Miami 2005. The stars were aligned that night, the crowd was perfect and my set felt effortless. The club was packed from start to finish—incredible night.

Worst Gig Moment: The bar mitzvah I DJed back in 1999.

I didn’t get paid, one of my slow songs skipped while the grandparents were dancing, and my assistant came down with diarrhea. Without my assistant, I had to play a song and then rush onto the dancefloor to hold a limbo stick—a real dream gig.

My Big Musical Project For 2009 Is:

A concept album that will bring people together through music. Best Event/Gig Moment: Avalon in NYC in which I DJed and played live keyboards while vocalists Ultra Naté, Jason Walker, Ari Gold & Colton Ford sang on the mic. It was a very magical night.

Worst Event/Gig Moment: Playing a party where I had no business being booked and finding out later that the promoter just goes online to find the hottest DJs and books them so he can have a great resume as a promoter, regardless of whether or not what they play is suitable for the party.

next artist album.

Best Event/Gig Moment: Being introduced in the headlining slot of

the Moonshine Over America Tour 1999 as “Austin’s Hometown Hero” and hearing 3,000 people erupt in screams. I felt that Austin was very proud of what I’d accomplished nationally and it meant the world to me. I still get a little teary-eyed thinking about it.

Worst Event/Gig Moment: December 2007. I missed my connection in Boston for a show in Halifax, Canada, and was unable to get there and perform. I’ve never missed a show in eight years of touring so it was a bit devastating. You don’t want to let people down who believe in your music and I take it very seriously.

Profile: Another true mobile-to-global story, Porter honed his

studio skills and eventually gained notice from top touring jocks like Chris Fortier. Soon his energetic remixes and sharp original productions—many under names like HDF & Bons or Agent001— eventually found themselves in sets by Carl Cox and Paul van Dyk. Over time, his “Porterhouse” mix CDs and club nights, which showcase his driving dancefloor sound, have solidified his status as one of America’s Best DJs.

Profile: A former R&B session musician who’s recorded with the likes of Aretha Franklin (on trumpet), the Detroit native is now one of America’s most popular deep-house talents. In addition to gaining status as a global DJ, Harris has become the go-to guy for soulful remix work. He’s re-rubbed cuts from pop stars like Mariah Carey, Justin Timberlake, and Alicia Keys, plus he’s done definitive mixes for club artists like King Street labelmate Dennis Ferrer (“Touched the Sky”). Whether it’s Tenaglia, Krivit or Morales, if a house DJ wants to go deep, he knows he can call on Quentin Harris for quality.

I’VE BEEN READING DJ TIMEs s INCE: 1999.

Profile: Another mobile-to-global story. After starting and

guiding a successful mobile entertainment company in his Austin home, D:Fuse began making progressiveleaning tracks. He caught a couple breaks in getting signed by the pioneering L.A. label, Moonshine, then later being picked to open a pair of Perfecto tours with UK icon Paul Oakenfold. Since then, he’s moved to L.A., produced big tracks (like the ’03 fave “Everything With You”), and cofounded the Lost Angeles imprint with studio partner Mike Hiratzka—cowboy hat intact, like a I’VE BEEN READING true Texan.

DJ TIMES SINCE: 1997.

I’v e Been Rea d In g d J TImes s In c e: 1996.

global-DJ status. A longtime music reviewer for DJ Times, Bermudez took his talents to New England radio and gradually began to turn out remixes for a variety of artists (Kelly Clarkson, Justice, Hillary Duff). Eventually, he made the move to satellite radio and saw his profile rise. In 2008, he finished in the Top 20 of DJ Times’ America’s Best DJ poll, showing that his immediate future looks bright.

I Started Reading DJ Times In: 1999.

Profile: Profile: Claude DJ VonStroke Times: Fits every Profile Chris Fortier 16 of 20

Redemption”

mom got me a subscription while I was in high school. It was my first DJ-related magazine I had ever had a subscription to.

Profile: Beginning as a young club jock in Maine, Bermudez worked his way up the industry ladder to

DJ Times: Fits every Profile

Favorite Quote: “Get busy living or get busy dying.”—“The Shawshank

I’ve Been Reading DJ Times Since: 1996. My

Why I Do What I Do: I have a real passion for music and there is no better feeling that to share that excitement with as many people as possible. One Tune That Never Leaves My Record Box: This past year, it has definitely been “Baditude” by Spoon, Harris and Obernick. Best Party Moment: My 27th birthday party in Mexico City. The 2,000+ people in attendance all sang “Happy Birthday” to me in Spanish. I didn’t understand a single word, but thought it was the coolest thing ever.

Worst Party Moment: I played in Miami once when the fire alarm kept going off at the club.

Each time this would kill the power to the DJ booth making for a very long and frustrating night.

DJ Times: 18 Fits every ProfileProfile: DJ QBert of 20

Profile: Monk

DJ Times: Fits every Profile

17 of 20

C E L E B R AT I N G 2 0 Y E A R S C E L E B R AT I N G 2 0 Y E A R S

C E L E B R AT I N G 2 0 Y E A R S

C E L E B R AT I N G 2 0 Y E A R S

Real Name: Steve McClure Alias: Monk Home: Currently, Tampa, Fla.; Birthplace: Detroit “The Motor City” Michigan... home is where the heart attack is. Age: 28 is the new 18

Real Name: Barclay Crenshaw Alias: Claude VonStroke Home: Detroit / San Francisco Age: 37 Profession: Music Producer/Label Boss/DJ

Profession: DJ, VJ, remixer, producer, raver, freak of the industry & overall hustler of culture. Affiliations: Pimp Juice, Hallucination Recordings USA, Rabbit In The Moon, Hallucination On Film, Hallucination Media Group, Pioneer Pro DJ Hobby: Painting, graphics, video manipulation, snowboarding, movies, pack rat of media Last Book Read: “The Vice Guide To Sex and Drugs and Rock and Roll” by Suroosh Alvi, Gavin McInnes & Shane Smith Last Film Seen: “Neu Wave Hookers”

Affiliations: dirtybird / mothership Hobby: Wish I had time for one—let’s say fishing.

Last Book Read: “Scar Tissue” by Anthony

Kiedis

Last Film Seen: “Black Snake Moan” Claim To Fame: I can balance a drink on my head and dance at the same time.

Favorite Quote: “When your body is tired, exercise

your mind. When your mind is tired, exercise your body.”

Latest Accomplishment: Finally fixing all my distribution headaches.

Claim To Fame: One of the original founders

Greatest Accomplishment:

Completing a five-hour DVD documentary project (“Intellect”) by myself.

Why I Do What I Do: Because I think and dream music, and there is nothing else for me to do but music.

MP3, CD, or Vinyl: All three for sure.

One Tune That Never Leaves Your Record Box: “Percolator” by Cajmere

Favorite Quote: “Are you Wang Chung or

John Wayne?”

My Big Musical Project For 2009 Is:

Finishing album #2. Moving in other directions outside of dance only.

Best Event/Gig Moment: Going home to Detroit to play at the Movement festival—loved it.

Worst Event/Gig Moment: Juarez, Mexico.

Too many problems to list.

Profile: As a DJ/producer, Claude VonStroke is known for booty-shaking smashes like “The Whistler,” “Deep Throat” and “Who’s Afraid of Detroit?” As an entrepreneur, he’s gained acclaim for his tech-funk label dirtybird, which he began in 2005. As an altruist, he’s arranged that a large percentage of profits from mothership—the experimental imprint he began in 2007—are set aside for a Detroit music school. With his superb Fabric 46 mix just hitting stores and a new artist album on the horizon, Claude VonStroke continues a career that displays genuine heart and unyielding vision.

I Started Reading DJ Times In: 1998. I read an issue with Danny Tenaglia and wondered if I dirtybird would ever be reviewed in the mag.

I’VE BEEN READING DJ TIMES SINCE: 1998.

of Rabbit In The Moon, Pimp Juice, and Hallucination Recordings. Remixer of several platinum artists of all genres.

Latest Accomplishment: Voted in the Top 10 DJs in America – DJ Times’ America’s Best DJ 2007 Greatest Accomplishment: Living and loving, like there is no tomorrow.

r eal n ame: Chris Fortier Home: Brooklyn, NY a ge: 37 Profession: DJ / Producer

Why I Do What I Do: To travel the world, meet

new people and kill them—on the dancefloor.

MP3, CD, or Vinyl: DVD!

Affiliations: ESPN, Fade, 40oz Music, Empire Talent, Imprint Bookings & Management

One Tune That Never Leaves My Re-

Hobby: Surfing Last Book Read: “The Eyre Affair: A Thursday Next Novel” by Jasper Fforde Last Film Seen: “In The Valley Of Elah” Favorite Quote: “We all need encouragement. If we all want to be true leaders,

cord Box: “Ass & Titties” by DJ Assault My Big Projects For 2008 Are: Pimp Juice and Monk full-length CD/DVD releases. Further developing our Hallucination On Film division.

Best Event/Gig Moment: TIE: 1. Insomniac presents Nocturnal Wonderland, in the Polo Fields, southern California: Dropping “Put Ya Handz Up” (Mark V and Poogie Bear) throwing my hands in the air and watching 20,000 people throw there hands up in response from the front row to the back (where the people looked like ants), and a roar from the crowd simultaneously, as white fl oods swept the massive. 2. Disco Productions aka Freebass Society presents Zoolu, State Palace Theater, New Orleans: The crowd bouncing up and down, and chanting “Monk” in unison louder than a blaring sound system.

Worst Gig Moment: Ultra Music Festival.

Power shutting off four times during my set, as torrential rain displaced the crowd.

we have to take others to places they wouldn’t have gone by themselves,” by Drayton McLane.

Latest Accomplishment: Released debut artist album “As Long As The Moment Exists” on EQ Records.

Greatest Accomplishment: No. 1 record with Delerium and Sarah McLachlan called “Silence” and the Platinum sales awards that have received for it.

Why I Do What I Do: My passion for music won’t let me do anything else. mP3, Cd , or Vinyl: Vinyl One Tune That Never Leaves My Record Box: “Analord 11” by Aphex Twin My Big Musical Project For 2009 Is: A remix version of my artist album “As Long As The

Moment Exists” with some of my favorite producers and remixers having their take on my work.

Best Event/Gig Moment: Monegros Festival, Spain Profile: Always a DJ with a lot of irons in the fire, Fortier came of age in Florida’s seminal electronic scene, ultimately forging a studio partnership with Neil Kolo (as Fade) and co-founding Fade Records.

While also remixing and producing under the 40oz moniker, Fortier founded the influential Balance Record Pool. In 1998, he scored a huge hit with his remix of “Silence” by Delerium feat. Sarah McLachlan—the Nettwerk release sold over a million copies. Since then, he’s continued to tour the world and he remains one of America’s principal proponents of electronic dance music.

I St a r t ed r ea d In g d J t ImeS In : 1993

I STARTED READING DJ TIMES IN: 1992

DJ Times: Fits every Profile

DJ Times: Fits every Profile

C E L E B R AT I N G 2 0 Y E A R S

C E L E B R AT I N G 2 0 Y E A R S

C E L E B R AT I N G 2 0 Y E A R S

myspace.com/dfuse

Hobbies: Running, mountain biking, snowboarding Last Book Read: “U2” by U2 Last Film Seen: “SiCKO” Claim To Fame: Playing live percussion during DJ sets/

Affiliations: PH Recordings, Porterhouse Hobby: Golf, Skiing, Wiffleball, Video games Last Book Read: “Last Night A DJ Saved My Life” by Bill Brewster & Frank Broughton Last Film Seen: “Die Hard” Latest Accomplishment: The purchase of a 10,000 square foot building, finally leaving the world of rent.

Greatest Accomplishment: Transforming my career as mobile, wedding, disc jockey into a world traveling DJ/producer.

Hilary Duff’s new Best-Of CD.

DJ Times: Fits every Profile

Real Name: Dustin Fuselier Alias: D:Fuse Home: Los Angeles (originally Austin, Texas) Age: 34 Profession: DJ/Producer/Remixer/Drummer/Vocalist/Human.

Affiliations: Lost Angeles Recordings, D:Fuse & Hiratzka, djdfuse.com,

Boston; six years in NYC; and now in Holyoke, Mass. a ge: 30 Profession: Professional DJ & music producer, pizza eater.

Getting to do what I love for a living.

C E L E B R AT I N G 2 0 Y E A R S

Home: 2 bedroom, 1 bath, terrace apartment in Ibiza, Spain, from which I fell from last year.

Age: Forgot due to concussion caused by fall from aforementioned terrace.

Profile: Colette

Profile: Russ Harris

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Name: Grant CELEBRA T I N G Andrew 20 YEA RS

6 of 20

Real Name: Colette Marino Home: Los Angeles, CA

3 of 20

Home: New York Age: 40 Profession: DJ / Musician Affiliations: Release Yourself / Stealth / Pacha Hobby: Reading Last Book Read: “Century Rain” by Alastair Reynolds Last Film Seen: I Am Legend Favorite Quote: “Nice to be important but much more important to be nice”

MP3, CD, or Vinyl: I’m cool with CD and vinyl.

One Tune That Never Leaves Your Record Box: My Mikey Dread reggae accapellas. My Big Musical Project for 2008 Is: My label Salted Music,

Profile: As one of the founders of Rabbit in the Moon, Pimp Juice and Hallucination Records, Tampa’s Monk has been a cornerstone of the Southeastern electronica scene for nearly two decades. Since leaving RITM in 2002, Monk has remained a wildly popular DJ—playing funky house, breaks, disco-tech, twisted techno and drum-n-bass—and he’s pursued innovative audio-visual projects. Plus, he’s remixed artists from Seal and Limp Bizkit, from Britney Spears to Digital Underground. If Monk’s on the bill, you know the party’s gonna be off the hook.

19 of 20 Profile: QBert Real Name: Rich A. Quitevis Alias: DJ QBert Home: Burlingame, Calif.

Age: 39 Profession: Skratch Musician Affiliations: Thud Rumble, QBert Skratch University Hobby: Making music, video games, chess, learning about the hidden truths in our universe.

Last Book Read: “The Children of the Law of One & The Lost Teachings of Atlantis” by Jon Peniel Last Film Seen: “The Secret” Claim To Fame: Helping people see the turntable is a musical instrument Latest Accomplishment: Making the DVD Scratchlopedia Breaktannica, making a videogame soundtrack for the game “Bash” at nexon.com, and launching his online school, QBert Skratch University (www.qbertskratchuniversity.com).

Greatest Accomplishment: “Wave Twisters,” the movie.

Favorite Quote: “The ultimate happiness is in giving, and the ultimate evil is in selfishness.”

Why I Do What I Do: It makes others and myself happy. The energy of creation is Godliness, and we are all part of God, so why not use that ability that we all have inside of us?

MP3, CD, or Vinyl: All, actually, but vinyl first, of course.

One Tune That Never Leaves Your Record Box: “Delta Waves,” because I sleep to that, and Delta Waves are the best for a great sleep—I love that stuff on tour!

My Big Musical Project For 2009 Is: A new album finally after 10 years!

Best Gig Moment: Winning the DMC World Mixing Championships for the second time in 1993 with my partner Mixmaster Mike!

Worst Gig Moment: Taking second place in the DMC World competition in 1991, because I didn’t practice. A great lesson learned that still reminds me to always be in shape on the decks at all times!

Profile: The Jimi Hendrix of Turntablism, QBert has opened eyes and ears the world over to the aural possibilities of the turntable. A part of three DMC World Championships (1992-94), QBert helped form the legendary Invisibl Skratch Piklz DJ crew, which applied the band concept to turntablism. Additionally, he’s created and scored animated film (“Wave Twisters”), has been featured in video games (“Tony Hawk’s Underground” and “FreQuency”), and appeared in several DJ documentaries like Doug Pray’s seminal “Scratch.” He’s recently launched QBert Skratch University, which offers students online DJ instruction and review. He continues to innovate with his instrument, the turntable, and travel globally, amazing audiences with his dazzling routines. Quite simply, QBert is a DJ Legend.

I St a r t ed r ea d In g d J t ImeS In : 1991.

I pIc k ed u p my f Ir St c o py my f Ir St d mc c o mpet Io n

DJ Times: Fits every Profile

DJ Times: Fits every Profile C E L E B R AT I N G 2 0 Y E A R S

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C E L E B R AT I N G 2 0 Y E A R S

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7/22/2009 10:03:59 PM

Compiled As Of July 21, 2009

National Crossover Pool Chart

National Urban Pool Chart

1 D avid G uetta When L ove T akes O ver A stralwerks 2 Katy Perry Waking U p In Vegas (R MX) Capitol 3 A nnaG race L et T he F eelings G o R obbins 4 L ivvi F ranc N ow I’m T hat Bitch Jive 5 V F actory L ove Struck Warner Brothers 6 Kaci Battaglia Crazy Possessive (R MX) Curb 7 U tada Come Back T o Me Island 8 Black Eyed Peas Boom Boom Pow Interscope 9 D e-G rees VS R eal Booie A pologize Capp 10 India A rie T herapy U niversal R epublic 11 A ndrew Spencer VS L azard H ere Without You Capp 12 Ciara F /Justin T imberlake L ove Sex Magic L aF ace 13 Wynonna Sing (R MX) Curb 14 L ionel R ichie Just G o Island 15 Jessica Jarrell A rmageddon Mercury 16 D aisy Everytime R obbins 17 Miami Star sh F /Jer Clothes O ff! G roove F actory 18 A shley T isdale It’s A lright, It’s O k Warner Brothers 19 Chrisette Michele Epiphany (I’m L eaving) D ef Jam 20 Pussycat D olls H ush H ush; H ush H ush Interscope 21 L ily A llen T he F ear (rmx) Capitol 22 L asgo G one R obbins 23 Cascada Perfect D ay R obbins 24 Kristinia D eBarge G oodbye Island 25 A n-ya N ightlife Papa Joe 26 Britney Spears If U Seek A my Jive 27 G roove State D o You Want My L ove Play L ab 28 A njulie Boom H ear 29 Perry T wins F /N iki H Bad Bad Boy Perry T wins Music Xtreme 30 G ia Bella Back It U p 31 September Can’t G et O ver R obbins 32 Jan Wayne Vs. R aindr N umb (T he Mixes) Capp 33 A meerah T he Sound O f Missing You R obbins 34 Kristine Elezaj A lways (rmx) O spina Music 35 Wideboys F / D ennis G Sambuca N ext Plateau 36 R ick Massley I’ll D o T hat With You Verdict 37 Charlie Ward Straight U p Wolff 38 Barton Valentine N etspheres 39 A lyson Sticky Sticky PM Media 40 D epeche Mode Peace Capitol

1 H uey F /Juelz Santana Payow H itz 2 D rake Best I Ever H ad U niversal 3 Black Eyed Peas Boom Boom Pow Interscope 4 Ciara F /Justin T imberlake L ove Sex Magic L aF ace 5 Jerimah Birthday Sex D ef Jam 6 Kid Cudi D ay ‘N ’ N ite U niversal 7 F lo-rida Sugar A tlantic 8 L ivvi F ranc N ow I’m T hat Bitch Jive 9 Beyonce Ego Columbia 10 Keri H ilson F / Kanye Knock You D own Interscope 11 R .Kelly F /O J DA Juic Supaman H igh Jive 12 UG K D a G ame Been G ood T o Me Jive 13 Coolio Boyfriend Super Cool 14 D ay 26 F /D iddy & Yung Joc Imma Put It O n H er Bad Boy 15 Ciara F / Young Jeezy N ever Ever L aF ace 16 Kevin Cossom You’re A Star Jive 17 Soulja Boy Kiss Me T hru T he Phone Collipark 18 GS Boyz Booty D ew Jive 19 Jamie F oxx Blame It J R ecords 20 Birdman A lways Strapped U niversal 21 R ick R oss Magni cent D ef Jam 22 T he D ream R ockin T hat T hang D ef Jam 23 T wister Wetter Capitol 24 D erty F /L il Boosie U h O h H itz 25 H urrican Chris She’s So F ine J R ecords 26 Keri H ilson F /L il Wayne T urnin’ Me O n Interscope 27 R ichG irl H e A in’t Wit Me N ow Jive 28 Keysha Cole W/Monica T rust G effen 29 T he 2 L ive Crew Boom L il’ Joe 30 Plies F / A shanti Want It N eed It Slip-N -Slide 31 Cassie F /D iddy Must Be L ove Bad Boy 32 L il Byrd L et’s R ide G ame T ite 33 Beyonce H alo Columbia 34 Camar Pole T echnician Slip-N -Slide 35 T ap T ap G et Your A ss O n T he F loor L ynx 36 Bucks Knock Knock TRN 37 50 Cent I G et It In Interscope 38 L il H aze F / R ay J Work T hat Body Birmingham 39 T earra Marie F / F lo-rida Cause A Scene Warner Brothers 40 Q D ot Supafresh T redmarks

Most Added Tracks

Most Added Tracks

1 Kristinia D eBarge G oodbye Island 2 A lyson Sticky Sticky PM Media 3 Marcie F t. Mike R izzo Midnight! EsN tion 4 Kaci Battaglia Crazy Possessive (R MX) Curb 5 Perry T wins F /N iki H Bad Bad Boy Perry T wins Music 6 L ionel R ichie Just G o Island 7 D epeche Mode Peace Capitol 8 G ia Bella Back It U p Xtreme 9 A lex Sayz Shame O n Me N ext Plateau 10 Jim D avis JR L ady Casa

1 Mullage T rick’n Jive 2 R ichG irl H e A in’t Wit Me N ow Jive 3 Mookie F /D ownbad Kickin In’ Money Makers 4 R .Kelly F /O J DA Juic Supaman H igh Jive 5 Bucks Knock Knock TRN 6 GS Boyz Booty D ew Jive 7 Will Vill Confuzed Barrio Jamz 8 F lo-rida Sugar A tlantic 9 O phishal So Committed Megablast 10 D erty F /L il Boosie U h O h H itz

✦ Masspool - R evere, MA ; G ary Canavo ✦ Central O hio - Columbus, OH ; F red D owdy ✦ Philly Spinners A ssoc. - Cherry H ill, N J; F red Kolet ✦ D ixie D ance Kings - A lpharetta, GA ; D an Miller ✦ H awaii D J A ssociation - H onolulu, HI; Kevin O kada ✦ R ickett’s R ecord Pool - Saddle Brook, N J; Bill R ickett ✦ Paci c Coast - L ong Beach, CA ; Steve T sepelis

Looking for these titles?

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

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

048SE09_p001-060.indd 57

DJ TIMES

✦ Pittsburgh D J - Pittsburgh, PA ; Jim Kolich ✦ Soundworks - San F rancisco, CA ; Sam L abelle ✦ N ew York Music Pool - L evittown, N Y; Jackie McCloy

SEPTEMBER 2009

Reporting Pools

45791 57

7/22/2009 10:04:04 PM

APA579

O akie

(continued from page 22) of people who book their holidays around the world where I play. A bunch of people come to Vegas to see me.

DJ Times: What did you do out of the ordinary to promote your Perfecto parties?

Oakenfold: We deliberately went around Ibiza to promote R ain, in the U .K. and Ibiza. I’m very involved in it. It’s very important at this time to look at clubs in a different way.

Clubs now were not what they were 10 years ago. T he approach to a lot of things has changed. Some for the better, some not. I’m not one of the people who are like, “O h well, the good ole’ days...” Why live in the past? I don’t take nothin’ from the past. What happened was then. But if you can touch on the past and take good elements, then why not? I have a remix of “Bullet In T he G un” that someone had done. I don’t know how they got the parts. T hey sent it to me…and I started playing it and have been playing it at the club. I’m getting a really good reaction to it, too. I wonder who did the remix.

DJ Times: What’s next for you?

Oakenfold: A fter the Madonna tour, I go back to L .A . to start work on a movie called “Burlesque.” T hen, back to the club. It’s a 45-minute ight to Vegas from my home in L .A . and I work all day with a full symphony orchestra [for the lm].

DJ Times: You’ve been D Jing for what now, 25 years?

Oakenfold: [laughs] N o, less.

D on’t give away my age. [laughs] DJ Times: D o you ever feel unfairly judged because of your fame?

L esser known D Js aren’t subjected to constant analysis of every move they make.

Oakenfold: I understand how it works. It’s a shame that we do this—we like to build people up and then knock them down. I’ve certainly seen that living in L .A ., but I think it’s not as bad as in the U .K. It’s strange, just falling back into the rhythm of England. Just reading in the papers the whole Michael Jackson thing and seeing how we lose our focus on the music. People are more interested in the drugs he was taking and the playing around with kids than in the music. We’re such a small country in the U .K., but for some reason, we like to build people up and knock them down. It’s silly to take it personally. T hat comes with success.

DJ Times: D o you attribute criticism to envy?

Oakenfold: It’s a ne line with D Jing, because if you have success, people say you’ve sold out…when that’s what they want for themselves!

I’ve always believed in doing it for the right reasons. I’ve never gone into music for the money. I suppose a few people do. My dad once said to me, “Why do you think it’s called the record business?” I woke up and realized I’ve gotta learn that side of it, because I was involved in a very successful project and never saw anything from it.

DJ Times: What is your most important legacy?

Oakenfold: My residency in A merica is so important to me. I hope that becomes a new trend. I think A merica can do that. T hat’s what was so important in England— G odskitchen, Cream. H opefully, other D Js will go and do it. Electric D aisy was so successful. U ltra Music F estival has been hugely successful over the years, so why not have some of A merica’s best D Js get back

to being residents and establishing themselves. It’d be good for all of us to have residencies, especially in N ew York. L .A . is great in terms of clubs and how well they’re doing.

Saturday nights at Vanguard, that D ave D ean is doing, it’s packed to the rafters every Saturday. D ave’s been a very important part of establishing the West Coast scene. F rom opening a club in San F rancisco, I did a big show on H ollywood Boulevard, he does these N ew Year’s Eve shows.

DJ Times: T he G iant N ew Year’s Eve parties in L .A . when the streets are shut down? Will you be doing that again this N ew Years?

Oakenfold: I’ll be at R ain. We haven’t advertised it yet. We don’t need to. We’re in a good position.

We worked to get to that position.

I worked very hard at the club to establish good sound, visuals. T here’s a lot of work that goes into it.

DJ Times: What’s the sound system at R ain? D o you bring in extra sound for your nights?

Oakenfold: We don’t bring it in.

Part of my deal was, when I went there, to do the complete opposite—not to bring anything. It was to have a great sound system from the beginning. I thought, “L et’s start from scratch and build a great sound system.” T hat’s what a lot of clubs were built around. T hat was the essence of a great club, to have a great sound system. A t R ain, there were a lot of things that were changed from the old venue. T hey gutted it and built it over again.

DJ Times: Just for you?

Oakenfold: Yeah. T he old danceoor was horrendous. T here was a massive podium that you walked up onto. T here was no focus point for the D J. T he D J was on the side

by the bar. I was like, “N one of this works.” T hey needed extra sound in certain places. So we started again and built the sound out and changed it. N ow, there’s a point of focus.

R ain is a great team to work with.

T he owners, the Maloofs, are great.

Mike F uller is also a really good man.

H e’s a hugely important part of why I went to this club. T here’s nothing bad about working with a good team. Certainly, the success of the club is not me, it’s us—the performers, the people who work there when I’m not there. I’m under contract and I have to work there most weeks, but I’m like, “I’ve been offered to tour with Madonna.” T hey see the bigger picture of being associated with her tour.

DJ Times: A s a D J, what gets you off nowadays? D o you have any great “moments” lately?

Oakenfold: F or sure. T ouring with Madonna in front of 80,000 people. F or me, I enjoy that. But with my club nights, to do a residency and have 3,000 people in the club every week is really tough. I put a lot on the line. I have friends who’ve asked me, “Why are you doing this? You don’t need to do this.” You question yourself. You realize it’s the passion to play, and that’s what I need.

I stopped focusing on D Jing at a certain time. It’s my main source of income now. I miss being in a club on a weekly basis, I miss that. I miss breaking new records. When people talk about Cream or Ministry, it’s because you had a residency there and you established a sound there.

I miss that thing that I had…when a D J goes to play at a club, you’re only as good as that night. When you establish a residency…that really takes it to the next level. n

Video in Paradise?

DJ TIMES SEPTEMBER 2009

And why would Ibiza need extra visuals?

Hello, I’m Dan Tait, VJ in Ibiza.

58 048SE09_p001-060.indd 58

Beats the hell out of me.

Video & VJs, next month in D J T imes

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APA579 STAGEPAS 300-500 TAB:Layout 4 7/13/09 11:03 AM Page 1

STAGEPAS 300 Portable PA System • 8-input stereo powered mixer (removable from speaker enclosure) • 4 mono mic/line inputs and 2 stereo line inputs • Dual 150W Class D amplifiers • 8” two-way loudspeakers • 2-band EQ on each input • 1-bit Modulation reverb • Monitor output • Auto Limiter • System weight under 40 lbs.

• Optional YBSP300 roller case

STAGEPAS 500 Portable PA System • 10-input stereo powered mixer (removable from speaker enclosure) • 4 mono mic/line inputs and 3 stereo line inputs • Dual 250W Class D amplifiers • 10” two-way loudspeakers • 2-band EQ on each input • Two input compressor/limiters • Phantom power • Digital reverb • Monitor output

It shouldn’t mean sacrificing performance for the sake of convenience. Trading frequency response, features, and

• Auto Limiter

professional appearance for small size and ease of transport is no longer required. With Yamaha’s market-leading STAGEPAS

• System weight under 50 lbs.

portable PA systems you get it all…ultra-compact, light weight, simple operation, quick setup and teardown, plus great audio.

• Optional YBSP500 roller cases

Get the biggest possible sound out of the smallest possible systems…STAGEPAS 300 and 500.

©2009 Yamaha Corporation of America. All rights reserved. www.yamaha.com/livesound

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