DJ Times September 2013, Vol 26 No 9

’13 ISSUE AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988

SEPTEMBER 2013

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Kaskade

PLUS:

TOKiMONSTA Adrian Lux Elektron’s Analog Four 5 Key Success Strategies Jersey Jock Brings the Funk

Summer Lovin’ & Beyond

HOW TO MAXIMIZE YOUR DJ EXPO iOS SOLUTIONS FOR DJs

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You Are The Artist.

August - October 10th 2013 For more info: pioneerdjusa.com/artmix

AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988

SEPTEMBER 2013

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MIX LONG & PROSPER The XDJ-AERO is the industry’s first Wi-Fi® DJ system that can wirelessly obtain music tracks from smart devices such as smartphones, tablets and computers. The XDJ-AERO enables users to mix and arrange their favorite music tracks stored on their smart devices via Wi-Fi Direct with the use of the rekordbox™ app. The rekordbox™ app is available at the App StoreSM and Google Play™ Store (at no cost). DJs can also play music tracks on USB memory devices and computers via included rekordbox™ DJ Music Management software. The advanced technology featured in our XDJ-AERO allows anyone (or any thing) to Mix Long & Prosper.

XDJ-AERO WIRELESS DJ SYSTEM Industry’s first DJ system using smartphones and tablets via Wi-Fi Direct USB port located on top of the unit enables users to quickly connect an external storage device for easy access to music files Can be used as an independent 2-channel mixer Wide range of onboard effects including jog drum, Sample Launch, and more Two automatic mixing functions Record your mix directly to a USB storage device Slim and stylish design

smart devices not included

INDUSTRY EVENTS…NOTABLES…MILESTONES

NEWS DJ Premier: Legendary keynoter.

DJ EXPO BRINGS STAR POWER TO SEMINARS & PARTIES Atlantic City, N.J. – It’s here, and once again DJ Expo is primed to bring the DJ world together.

Set for Aug. 12-15 at the Trump Taj Mahal in Atlantic City, N.J., the Expo—produced by DJ Times and Testa Communications—will present: three days of exhibits featuring the latest DJ-related gear and specialty products; three evenings of sponsored entertainment; three days of educational seminars and workshops; and one big prize—the Ultimate DJ Giveaway featuring products from ADJ, Beamz, Global Truss America, Mackie Designs, Pioneer DJ and Promo Only.

And, as always, DJ Expo will bring a diverse collection of big industry names, and Tuesday, Aug. 13, will see several examples of top-tier talent hitting AC. That day’s “Keynote Q&A” sessions will include presentations from EDM sensation/America’s Best DJ nominee Morgan Page and also from the legendary hip-hop hitmaker DJ Premier.

Later that day, “The DJ Expo Artist Panel”—moderated by Promo Only Promotion’s Cary Vance—will include clubland artists Krewella, Brenda K. Starr, Pretty Poison, Jessi Malay, KAPTN, Luciana, Sylvia Tosun, Havana Brown, Timeflies, and Ayah Marar.

Plenty of parties are slated for DJ

Expo as well. Monday night’s “Expo Kickoff Party” at Casbah will see MC Mike Walter at the helm with several mobile entertainers breaking out new routines and R&B/pop diva Jessi Malay performing her catchy single “Bougie.” Then again on Wednesday at Casbah, Walter hosts the “DJ of the Year” competition, which will bestow a variety of honors for several mobile-related categories. Be there to see if New Jersey’s Jack Bermeo can become DJ Expo’s first threetime winner. DJ Skribble and friends will perform Wednesday night’s Closing Party at Ego Lounge in the Taj. Monday night at Caesar’s Dusk club Promo Only will throw an event that includes performances by Morgan Page, Audien, Cash Cash, Henrik B, Riddler, John De Sohn, Flipside and Reid Stefan. Promo Only’s annual event at House of Blues includes a lineup to be announced.

Also on Tuesday, Moodswing360’s Expo party at mur.mur in the Borgata will include performances by Riff Raff, Ying Yang Twins, Metro Station, Sliink and Trentino, plus DJ sets by Carlos Mélange, Jeffrey Tonnesen, PS1, and America’s Best DJ nominee Enferno.

For the latest on DJ Expo seminars, panels and workshops, please see Feedback on Page 9.

Krewella: On Expo Artist Panel.

Morgan Page: New Expo presenter.

Audien: To play Promo Only event.

Jessi Malay: Plays Kickoff Party.

Enferno: Moodswing360 spinner.

EDC: Mega-Fest

/beamzdj

@beamzdj

Check it out!

Eric Kabik

Las Vegas – A throng gathers at Electric Daisy Carnival’s trippy main stage for Porter Robinson’s set. Running June 21-23, EDC Vegas was a stop on the America’s Best DJ Summer Tour Presented by Pioneer DJ & DJ Times, as it included 24 ABDJ nominees. For more on EDC and ABDJ, please see Page 28.

© 2013 Beamz Interactive, Inc. The Beamz logo is a registered trademark of Beamz Interactive, Inc. Light Up Your Creative Genius is a trademark of Beamz Interactive, Inc. All other marks are property of their respective owners.

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VOLUME 26 NUMBER 9

24 Expo Excellence Attendees Tell Us How DJ Expo Has Improved Their Businesses

BY JEFF STILES

16 Historical Perspectives

Ten Years into His Career, Kaskade Stands Atop America’s DJ Mountain. Still, He’d Love See EDM’s Fanbase Dig Deeper. Here, He Tells Us Why…

BY EMILY TAN

28 Nationwide!

The 2013 America’s Best DJ Summer Tour Presented by Pioneer DJ & DJ Times Rolls On

DEPARTMENTS 9 Feedback

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

32 Making Tracks Elektron Analog Four

34 Sounding Off iOS Solutions for DJs

36 Mobile Profile

Jersey Jock Brings Latin Funk

38 Business Line

5 Key Strategies for Success

40 Gear

New Products from Native Instruments, Akai & More

46 Grooves

Phat Tracks from Tim Green, Sharon Doorson & More

48 DJ Times Marketplace

Shop Here for All Your DJ-Related Supplies

49 Club Play Chart

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

SAMPLINGS 10 TOKiMONSTA On Half Shadows

12 In the Studio With…

Adrian Lux

6

Cover Image by Brenton Ho/Powers Imagery. Contents Photo by Mark Owens.

BY DJ TIMES PHOTOGRAPHERS

FROM THE EDITOR

DJ TIMES

SEPTEMBER 2013

The House-Music O.G.

8

This past weekend, I sauntered into a brew pub in downtown Denver and was met with a bit of a pleasant surprise. I’d just flown into town for Global Dance Festival—one of our many stops on the America’s Best DJ Summer Tour Presented by Pioneer DJ & DJ Times. But another summer massive was the furthest thing from my mind at that moment—I just wanted to know if the kitchen was still open.

Fortunately, it was, so I sat at the bar and waited for the late-night serving. A young man sat down next to me and we started talking. Eventually, we began to discuss DJs and dance music, and he told me how he’d seen Deadmau5 perform more than 20 times, with many of these experiences being mega-festivals, which he shared with a few thousand of his closest friends relatively far from the stage. Considering his age, 21, and his seemingly narrow fan focus, I wanted to know if he was curious about any other DJs or forms of EDM and, after he excitedly said, “I love this music—I want to know more about it,” I told him, “Well, you’re in luck.”

We had an hour-long discussion. Mostly, he peppered me with questions about certain DJs, certain genres, certain origins, etc. So the conversation veered from Francis Grasso, David Mancuso and Nicky Siano to Larry Levan, Frankie Knuckles and Danny Tenaglia to Derrick May, Kevin Saunderson and Carl Craig and so on, and I saw that he was entering notes into his iPhone.

When my check came and we prepared to part, he said, “Thanks for the knowledge—you’re a regular housemusic O.G.!” I replied that I was more O than G, but I dug his enthusiasm and began to feel a little more hopeful about the state of our current festival-centric EDM fanbase. I had found at least one young person who craved a little perspective on a world that’s become known more for the $400 experience than its musical origins.

So onto this month’s cover subject. Kaskade is certainly no gangsta, but his career inspirations are rooted in something original—and for him, that would be Chicago house music. Growing up in Chicagoland and listening to the deeply influential B96 radio, the young Ryan Raddon caught the bug early with the legendary grooves of Marshall Jefferson and Farley Jackmaster Funk on his local airwaves. He’s since become one of America’s most-loved and most-prolific DJ/producers. In addition to winning the 2011 America’s Best DJ title, he’s become a Las Vegas staple with this year’s Summer Lovin’ residency regularly burning up Marquee Nightclub and Dayclub.

But Kaskade believes that, while it’s great to see EDM skyrocketing as it is, perhaps it’s also time for some reevaluation, some introspection and some appreciation for dance music beyond the mega-venue. Can the festival/ Vegas boom go on forever? What’s been lost in EDM’s rapid rise? In his conversation with our Emily Tan, Kaskade gives details on his residency and new album, Atmosphere, but also offers hope that the genre’s ever-increasing fanbase will begin to dig deeper into the music and its culture, and find charms outside the enormo-gatherings. It’s out there, kids—but it’s up to you to find it.

Big-money festivals, you say? Yeah, we hit a few of them this go ’round, along with some major clubs. So again, we present photo highlights from America’s Best DJ Summer Tour Presented by Pioneer DJ & DJ Times. This month’s slate includes stops in three major American cities: Las Vegas for Electric Daisy Carnival and events at Marquee Nightclub and Dayclub; Chicago for Wavefront Music Festival; and New York City for stops at Marquee New York and Don Coqui (in Astoria, Queens).

In Samplings, we have a pair of re-visits with DJ/producers who record for Ultra Records. Chris Caruso—one of our “boys-of-summer” interns, along with Mark Brewster—connects with Adrian Lux after a banging gig at Manhattan’s Webster Hall. Also, Angelino-turned-Brooklynite Lina Abascal engages in some studio talk with Jennifer Lee (aka TOKiMONSTA), whose latest album, Half Shadows, is one of this year’s better electronic offerings.

Our gear-review sections tackle five different products for performing DJs and studio jocks. In the Making Tracks column, Phil Moffa—our in-house analog maniac and proprietor of NYC’s Butcha Sound Studios—tangles with Elektron Music Machines’ unique Analog Four synthesizer/sequencer. Meanwhile, in Sounding Off, Denver DJ Wesley Bryant-King rolls up four iOS platform solutions for DJs: Native Instruments’ Traktor DJ for iPad; Blue Microphones Spark Digital mic; Apogee Duet interface for iPad and Mac; and IK Multimedia’s iLine Mobile Music Cable Kit. In our Mobile Profile, we meet Ultrafonk Entertainment’s Raul Chiriboga, who explains how he meets the challenges of Northern New Jersey’s Latin market. In Business Line, Jerry Bazata previews his coming DJ Expo tutorial “5 Key Business Strategies to Success” and Jeff Stiles talks with a handful of DJ Expo veterans who explain how to maximize your time at the show.

Oh, yeah—if you’re reading this there’s a very good chance that you’re already at DJ Expo. And if you’re not, we’ll remind you that it runs Aug. 12-15 at Trump Taj Mahal in Atlantic City, N.J. We hope to see you there.

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

art director Janice Pupelis jpupelis@testa.com

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

production manager Steve Thorakos sthorakos@testa.com

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

FOR CUSTOMER SERVICE AND TO 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 The DJ Expo IT/AV Report Convention TV News VTTV Studios

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

DJ Times (ISSN 1045-9693) (USPS 0004-153) is published monthly for $19.40 (US), $39.99 (Canada), and $59.99 (all other countries), by DJ Publishing, Inc., 25 Willowdale Ave., Port Washington, NY 110503779. Periodicals postage paid at Port Washington, NY, and additional mailing offices. POSTMASTER: Send address changes to DJ Times, PO BOX 1767, LOWELL MA 01853-1767 Design and contents are copyright © 2013 by DJ Publishing, Inc., and must not be reproduced in any manner except by permission of the publisher. Websites: www. djtimes.com and www.testa.com September 2013

Cheers,

Jim Tremayne, Editor, DJ Times

visit our website: www.djtimes.com

FEEDBACK

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AUGUST 2013

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Daddy (Presenter: Sean “Big Daddy” McKee); Keynote Q&A: DJ Premier (Presenters: DJ Times & Stanton DJ); Games DJs Play (Presenter: Jake Ja‑ cobsen); Keynote Q&A: Morgan Page (Presenter: DJ Times); The DJ Expo Artist Panel (Presenter: Cary Vance); and Maximizing Bridal Shows (Pre‑ senter: KC Kokoruz).

Wednesday, Aug. 14: Ménage á TRUSST: 3 Easy Ways to Playful Prof‑ it (Sponsored Seminar); Nightmare DJs: Don’t Do That! (Presenter: Joe

Bunn); The Ultimate Upsell: Tips to Earning the Most Profit at Any Gig by Chauvet DJ (Sponsored Seminar); AllStar MCs (Presenter: Steve Moody); Get Loud, Get Modern—The Benefits of Advanced Powered Loudspeaker Technology by Mackie (Sponsored Seminar); Small Business Success Stories (Presenter: Joe Molineaux); Mobile Marketing: Google AdWords (Presenter: Rod Randle); Remix the Video! An Introduction to Basic Video Editing (Presenter: Joshua Carl); 50

Ways to Up Your Game (Presenter: Sam Lurie); Studio Mavens: The Re‑ mixer/Producer (Presenter: DJ Times); Hey Kids! Children’s Entertainment for DJs (Presenter: Rob Peters) Thursday, Aug. 15: Don’t forget the Ultimate DJ System Giveaway on the showfloor at 2:45. One lucky win‑ ner will take home gear from ADJ, Beamz, Global Truss America, Mackie Designs, Pioneer DJ, and Promo Only.

You must be present at the time of the drawing to win.

7/18/2013 1:20:26 PM

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

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TOKIMONSTA’S HALF SHADOWS

DJ TIMES

SEPTEMBER 2013

Live Gal: Lee uses Ableton for studio & DJing.

10

Between touring behind her latest album and collaborating with Flying Lotus’ Brainfeeder crew, Jennifer Lee (aka TOKiMONSTA) has been a busy gal in 2013.

Lucky for electronic-music lovers, the L.A.-based DJ/producer’s Half Shadows (Ultra) stands as one of the genre’s more enjoyable full-lengths.

Loaded with tuneful collaborations like “Go With It” (feat. MNDR), “The Force” (feat. Kool Keith), and “Foolish” (feat. Gavin Turek), the CD offers tasty downtempo grooves instead of generic club fare—and that’s good thing. We caught up with TOKiMONSTA for some studio talk.

DJ Times: As part of the Brainfeeder Crew, what contribution do you feel you bring?

Lee: I’m not sure what exactly makes me fit in this group. I think we all are just like-minded individuals that love an openly creative approach to music. Brainfeeder has always been about creating music that’s unique and meaningful—brain food. I don’t think the crew really thinks about who offers what to the group—it’s just about catching vibes.

DJ Times: How did you envision the new album, Half Shadows?

Lee: As a complete project, I wanted the album to move you from different states of mind. The album begins within a strange, spacial realm [“The Center”]. I just wanted the album to take you away right off the bat. From there, the album moves into a stranger and upbeat state, to more uplifting, then loving, then back to the spacial realm with a sense of peace and sensuality.

DJ Times: You’ve said you don’t consider yourself a great DJ, as you focus mostly on original music.

Lee: I still believe I am a better producer than a DJ, but I think some people actually might think otherwise, which is cool, too, I guess.

I think a good DJ set involves more than just mixing two songs togeth-

Douglas Wojciechowski

SAMPLINGS

er seamlessly. It also involves the amount of creativity in this process.

DJ Times: Where do you find your DJ creativity?

Lee: That’s why I still prefer using a tool like Ableton Live 9 verses CDJs. I am allowed to treat my DJ set like I’m playing one really long song. I don’t try to cater too much towards the crowd because I would prefer the audience to be open-minded to my way of presenting music that they may or may not know. However, I catch vibes from the crowd a lot, too. In that case, I might feel more inclined to play more upbeat music if we are all in an upbeat mood.

DJ Times: What production gear do you use?

Lee: I use Ableton Live mainly for sequencing and arranging my tracks. I use a Roland SP-404 to sequence drums, as I like the compressor on the little guy, but I can easily sequence drums on my computer as well and put on compression from my RME interface. My biggest thing is recording real instruments, like a Rhodes, guitar, flute, random percussion, etc. I have always had a bedroom/homestudio-style environment, so I think my approach has stayed the same, but my tools have grown. I see this as a good thing because my music will also continue to change and evolve, but always stay me.

DJ Times: You’re a female in a male-dominated industry.

Has this affected you?

Lee: This is a common question, but I think it’s because it’s a curious topic. Being a female has been more positive than negative, but I do get a lot of petty negativity coming at me regularly because I am a female—things along the lines of, “Her boyfriend must have taught her ever ything,” or “She only gets attention because she’s a girl”—and, of course, more terrible and rude things. The only reason why I think I will continue to make music is because I’ve always valued the quality of music.You don’t see the face of the musician when you are listening to their music. The music has to be the most important factor, period.

– Lina Abascal

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IN THE STUDIO WITH

Dance music is generally a genre dominated by the single. Swedish producer Adrian Lux rebelled against that with the 2012 release of his self-titled debut album on Ultra Records—a hook-heavy progressive house trip featuring his breakout track, “Teenage Crime.”

This year, he’s been hard at work touring and preparing a follow-up, which he’s teased with the Ultra singles “Damaged” (feat. Alva Tang) and “Wildchild,” which is out August 27. We caught up with the man himself after a sold-out show at New York’s Webster Hall to chat with him about his new singles, the upcoming album, and his approaches to DJing and the studio.

DJ TIMES

SEPTEMBER 2013

ADRIAN LUX: HIS SECOND ACT

12

DJ Times: How far along are you on the album?

Lux: I’ve got half of it finished, and I know what it’s missing, so that’s what I’m going to get into this fall when I have more studio time, which I’m really excited about. I’m going to turn down some shows in favor of being in the studio in order to work on it. We’ll release it in the spring, but there’s going to be a string of singles all the way up to the release.

DJ Times: What can fans expect from the new album? How is it different from your debut?

Lux:The songs will stand apart from each other more. No song will sound the same as last. I think I tried to have that idea with the last album, too, but I think it will really come across on this one.

DJ Times: “Damaged” features a guitar rhythm and vocal that wouldn’t sound out of place on an indie-rock track.

Adrian Lux: I was inspired by a promising new vocalist. I’ve been looking for a vocalist with that sound for a long while—one that has a deeper, Janis Joplin-kind of touch to it. I listened to a lot of that music growing up, and had a lot of inspiration from The Doors and music of that era. We were hanging out at the studio and I wrote the first the line of “Damaged.”

That project stuck with me. I worked on it for almost a year, because I knew there was something special about that song. It was all about perfecting that vision and getting the right guitar sound from that era.

DJ Times: Your debut album featured vocalists prominently. Is this album going to be in a similar vein?

Are there any vocal or production collaborations you’re particular excited about?

Lux: My new single “Wildchild” is a production collaboration with Marcus Schössow and a Swedish indie band named JJ. I’m really excited for that one. The new album is going to feature some instrumental tracks as well as

Wildchild: In ’13, Adrian Lux hit the big festivals.

vocal tracks.

DJ Times: You co-produced Rebecca & Fiona’s album I Love You, Man. Do you see yourself producing for other artists in the future?

Lux: I do a lot of production, but usually only attach myself to projects that I can get into, from the writing to perfecting of the final product. It’s more fun to be involved in the whole process. I just produced an album on Refune Records with an artist named Lune. She’s the vocalist who sings on my track “Teenage Crime.”

DJ Times: What equipment are you using in the studio?

Lux: I have really good mic systems. I invest in microphones, so I can record live guitars and percussion, which really add a unique rhythm to tracks. I use a lot of Arturia software and synths. One of my favorites is the ARP2600. Using it is still a large part of my writing process.

DJ Times: Who are some producers and DJs that you’re inspired by currently?

Lux: I really like what Marcus Schössow is doing.

He’s basically family at this point, so we always send

each other tracks. He remixed my last single “Damaged.” There’s also a couple of New York guys named The Chainsmokers who make great, very playable stuff that has really cool, indie vibe, as well. My favorite track this year is “Layers” by Pryda. Eric Prydz is a legend and one of my biggest influences of all time.

DJ Times: Do you prefer producing or DJing?

Lux: It’s 50/50. I mean, DJing gives so much back to producing, and it’s not as fun DJing if you can’t play your own songs.

DJ Times: What age did you start DJing?

Lux: I was 16. And I started producing right after that, because of that same reason.

DJ Times: Your set at Webster Hall was packed with huge tracks that the crowd really ate up. What is your process for track selection in your sets?

Lux: I have an idea of my set. I know how to begin. Usually, I know the first four songs, then I try to take as it goes as much as I can. But there are definitely segments in the show that I don’t want to miss out on. For example, there’s normally one part where I try to go deeper, going into music that is very close to my heart. But to do that, I have to present it in a way that makes sense. If you want people to get into that state of mind, you have to put them there by building that journey yourself.

DJ Times: You’ve played some big shows this year, including Coachella and a main stage set at Ultra Music Festival in Miami. What’s been your favorite gig to play?

Lux: I’ve done so many landmark gigs this year, but one really special show was my homecoming show in Sweden. I played a solo show to, like, 30,000 people in a classical venue that’s been open since the ’60s which has hosted legends like Bob Marley. It was really crazy to come home to that.

– Chris Caruso

DJ Premier

Appearing Live!

August 13, 2013 3:30 PM

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New functions include Beat Sync, Wave Zoom, and Slip. The CDJ2000nexus offers a selection screen interface for a more intuitive music search experience, increased visibility of the needle search pad, and improved master tempo sound quality.

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The DJM-900nexus is a high performance 4-channel digital mixer designed for today’s professional DJ performers. The new DJM-900nexus offers a multitude of new features that includes a variety of onboard effects including Sound Color FX, Beat effects, and all new XPad. Other features include increased sound quality and direct laptop connection to enable any DJ to perform to their utmost potential.

1 RMX-1000 Remix Station

The RMX-1000 Remix Station gives every DJ the ability to personalize their mix by creating and adding multiple remix effects. Along with the onboard multi-bank rhythmic sampler, the RMX-1000 has four remixing functions:

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to either Pool Audio Gold or Pool Video Gold via PooL, Promo-only’s Digital Delivery System Promo Only provides weekly and monthly delivery of the newest promotional releases direct from the record labels. Conveniently categorized to offer you the music best suited to your needs, our CD, DVD and multiformat digital bundles provide the industry’s widest selection of clean edits, remixes and exclusive Intro Edits at professional-only subscription rates. For computer-based convenience, data discs and direct digital downloads are also available.

Stand out from the pack and add more punch, power and style to your performance with this all-in-one mobile truss setup designed for DJs who want to raise their game. This easy-to-assemble setup consists of two 1.5m truss totems with lycra covers. Each totem is made up of four 1.5m tubes, a base plate and top plate.

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Kaskade is that rare breed of EDM artist who is a songwriter, first and foremost. The production and DJing endeavors follow, but his artistic essence is rooted in the song.

Unlike younger DJs chasing the latest sound, Kaskade— aka Ryan Raddon, 42—has built a 10-year recording career already, incorporating memorable melodies with genuine club beats. He’s as prolific as they come. A string of clubfave, airplay-friendly singles—like 2008’s “I Remember” (with deadmau5), 2010’s “Dynasty” (feat. Haley) and 2012’s “Room for Happiness” (feat. Skylar Grey)—has helped maintain his fervent fanbase. And as one of Las Vegas’ top DJ attractions, Kaskade’s “Summer Lovin’” residency at Sin City’s Marquee Nightclub and Dayclub finds legions of fans singing along and getting their collective groove on.

It’s not an accident. Having grown up just outside of Chicago, the young Raddon listened to WBBM-FM Chicago, also known as “B96” radio, and he went clubbing. As he’ll tell you, the elements of house music became a part of his fabric. So, Kaskade holds dance music and club culture very near to his heart, and developments within the scene are all very personal to him.

With the release of Atmosphere (Ultra Music), it seems there is one thing he longs for most from his adoring festival fans that has perhaps proved elusive as of late: that the more

casual of the festival-goers find a deeper, more meaningful connection to his music beyond just the shiny festival surface.

DJ Times spoke with the 2011 America’s Best DJ winner about his take on the current state of dance music in America and more.

DJ Times: Atmosphere is your eighth studio album in only 10 years. It seems that you’re always ready with output for your fans. How is it that you’re so prolific?

Kaskade: Everyone’s got their own path. Mine’s always been about the music. That’s what I fall back to every time.

I love sitting in the studio. My time in the studio is very important and it’s always been a priority for me. For a lot of other DJs, it’s maybe about shows or their radio show, or they’re more of a producer than a songwriter. Mine’s always been about the music.

DJ Times: It’s a challenge balancing time spent on the road gigging with quality time in the studio. How do you find a balance?

Kaskade: I love doing shows. There has to be that balance for me or it won’t work. I’m like, I can’t pick. You can’t have one without the other. If I didn’t have clubs three or four nights a week, I couldn’t sit down and write music. For me, it’s important to have the talent. One day, I’ll stop going out on the road, but for now, I’m out on the road 253 daysa-year. I’ve slowly been pulling back for the last four or five years. This year’s been extremely hectic, but the year before that, I did fewer gigs.

DJ Times: Do you consider yourself to be an elder statesman in dance music?

Kaskade: [Laughs] Yes, I guess, what is it? Like, super popular songs made by a 17-year-old. [Laughs] I’m not comfortable with that title. I’d much rather, I’m a peer that’s been around for a while with an opinion. I started to blog last year, if people are interested. That’s gonna be my mystique.

SEPTEMBER 2013

DJ TIMES 18

DJ Times: What are your thoughts on the popularity and dominance of American DJs on the scene at the moment? Some of the biggest DJs in the world right now are American. After all the frenzy created by the Brits, the Dutch, the Germans and the Swedes, do you think it’s important for people to remember that a lot of these dance-music genres started in the U.S.?

Kaskade: Totally. I truly have such an American perspective. I grew up outside Chicago and I was exposed to house music at a really early age. That’s the difference. There’s history there. I have a house-music pedigree from there. I grew up going to weekly parties in Chicago where house music was exploding!

That, early on, allowed me to follow music, whereas other guys new on the scene didn’t grow up listening to it back then. We were mixing it up with Farley Jackmaster Funk and all of the house guys. It comes from a different place. It’s the American perspective on how our scene exploded.

DJ Times: Twenty years ago when, if you were a fan of dance music, you literally had to go seek it out. It was being part of an underground tribe if you encountered a like-minded dance music lover.

Nowadays, the latest incarnation of dance music is so easily found. With the Internet, social media and consumer technology today, it’s all at kids’ fingertips.

If you look at the festivals, a big percentage of the younger audience has never set foot inside a club.

Kaskade: Fifteen years ago, it was very difficult to find this music. Now, between social media and SiriusXM [satellite radio], it’s very accessible and easy to find. It changes things for artists if it’s much more accessible. Even 12 years ago, you really had to dig and find the music. Everybody at shows 20 years ago knew every song! It was more this clique of people who were so entrenched. Now, there are lots of casual listeners that discover this music.

DJ Times: How does this affect you as an artist, being that the entry point for consumers has changed?

Kaskade: There are a lot more casual fans. In America, so many people have seen it grow up in America. It’s fascinating to me to go to a festival and see people who are still so casual about the music, who don’t know much about the music. These people make a connection with me at a set and download my entire catalog. That’s the hope, that they find a deeper connection to the music. It’s a different fan now. The people involved in dance music 10 years ago in America were die-hard! That’s part of the American experience that’s so fascinating. We have such a huge amount of ground work that’s been done. We have such a strong foundation—all these guys I’ve been touring with for 10, 12, 13 years. I’ve been doing shows with Insomniac for a decade. Can you imagine?

DJ Times: It’s a different landscape now.

Kaskade: Now [Pasquale Rotella] has done a deal with Live Nation…and Pasquale came to do barbeque at my house. I had dinner with [Disco] Donnie [Estopinal] at a fish place in New Orleans before Hurricane Katrina. I’m not special. There are many American artists who have this very strong foundation. That’s a lot different to now. There are a lot more casual people now. At the end of the day, it’s great. Time’s going to tell how this all plays out. I know a lot of people are very nervous. We don’t know yet. Right now, this is happening right

now in front of us. We might look back in years and say, that’s when it started losing control. But to me, it’s all roses and sunshine and unicorns. I love that more people are discovering this music.

DJ Times: Which brings us to the state of summer festivals. Are these gargantuan festivals with 200, 250 DJs on the lineup bad for the scene?

Bad for the music’s credibility?

Kaskade: It’s hard to know if it’s good or bad. We can sit in a coffee shop 10 years from now and talk about how things went from when social media hit the dance music scene. But it’s happening right now.

It’s a lot of things that people look upon are bad for the scene, like, “Oh, there are so many festivals destroying the club scene.” We don’t know yet! All these festivals pop up. There are a lot of serious things happening right now. I hold the scene very dear to me. I’ve seen it grow up over two decades. For me, it’s very personal.

That’s why I’m like, we don’t know.

There’s a lot of people jumping on the, “I-hate-EDM” bandwagon. I’m like, “Look, it’s still unfolding.” This is what happens when it becomes popular. Let’s try to steer it in the right direction.

DJ Times: What would excite you to see at a festival? You’ve done it all, but what would you like to see done that’s not currently done?

Kaskade: You know what? I’ll tell you something really incredible… this year at Coachella, they added an air-conditioned space where really cool music played. It was more chill.

House music is deeper and is not designed to work on a festival stage in front of 70,000 people. There are certain tricks a DJ has to do to keep the energy up when you’re playing in front of that large an audience.

But Coachella opened this air-conditioned room that had maybe 2,000 people and DJs who played really chill music. I think to continue to

create more experiences like that. Don’t make the main stages any bigger! I’m going this weekend to TomorrowLand and I’m like, please don’t make the main stage any bigger. [laughs] I think, finding creative ways to bring other music that’s not meant for the main stage, that can be played in other spaces, to give those guys a chance, that excites me.

DJ Times: At Wavefront Music Festival in Chicago over July 4th holiday, I literally had to tear myself away from Danny Tenaglia’s stage. It was the farthest one from the main stage and it made me long for the old days where Danny would play a pitch-black club with only one light and his searchlight. The LEDs and lasers during his set were fine and to be expected of an outdoor festival, but I would’ve preferred if it were under a pitch-black sky with minimal lights.

The visuals can get distracting and they keep you from getting lost in the music.

Kaskade: All the innovation in EDM is happening in the house world! Of all the promos I get sent every week, like last week, the best were from the deep-house guys! The big-room sound is like, I’ve heard it! I’ve heard it! Try and

come up with something new. That’s tricky. The guys doing deep house are fresh! Look at Disclosure just killing it. When I listen to their records, I was like, this is reminiscent of the sound that’s 15-years old, to me. A lot of new kids are just discovering it, however they discover it…

DJ Times: So how do you improve on the festival experience besides merely adding more and bigger visuals?

Kaskade: It’s about finding different ways to showcase different types of music that don’t play on the main stage.

DJ Times: The slogan for your upcoming Atmosphere tour is, “Small tour, big rooms.” But you recently did a small-venue tour, too.

Kaskade: Yes! In April, I went out on the anniversary of It’s You, It’s Me, my first album. That was my first record I put out that had impact, that I knew, oh wow, cool. I can make music and people are gonna like it! [laughs] I did a 10-year gig at Cielo in New York and it was absolutely an incredible night. I did all these small rooms in 10 cities to commemorate the 10-year anniversary of the album.

I didn’t make a lot of noise about it, but I wrote a blogpost about it and,

like, follow me on Twitter. I played deep house and a lot of music off the first and second records. To me, those things are very important. Every facet of me doing shows has had meaning. The big room is a very different experience from seeing me in Cielo or Marquee; they’re two totally different things. At Cielo, I played a three- or four-hour set and it’s about the flow and it’s an older crowd. At Barclays Center [in Brooklyn], it’s mass chaos in a very aggressive way.

There’s room for everything. After I did it, it was amazing how many other cities wanted these smaller shows.

I’m pretty sure I’m gonna do it again.

You connect with the fans in front of me literally sweating on the turntables. [laughs] DJ Times: Tell me more about your “Summer Lovin’” residency at Marquee in Las Vegas.

Kaskade: It’s been one of these ideas of mine to do a very seasonal thing. Vegas has become the place to be. It’s the main thing to me, still.

Four years ago when I signed my first residency with the Wynn, I never imagined Vegas becoming what it is today. That it would start this electronic music relationship with Vegas. Last year, I did a couple of

relevant now.

pool parties during the summer.

This year, I’m like, I really want to do something closer to Ibiza where times are more compacted during the season. I was like, why don’t I throw a summertime party that happens every week, where I play on a Saturday night and people go crazy and then at the pool the day after? I can’t believe we’re going into August with only one week left in July already! I’m like, wait! Where did the summer go? I recorded a few sessions and I put one on YouTube.

The concept of doing two shows is new—a night and day pool party the day after.

DJ Times: The climate is obviously always summerlike in Vegas, but you made it feel like an actual summer season.

Kaskade: It’s from Memorial Day to Labor Day. I did 12 shows. I took off a couple of weekends. I was in Asia a couple of weekends ago. I take off one weekend-a-month to do Europe and Asia. Then I’m not going to be in Vegas much at all for the rest of the year, so I wanted it to be, I wanted it to be accessible. Last summer, I did a “Freaks Of Nature Tour” and I went out to see every city. I’m like, I went out last year.

Now, they can come see me this year! [laughs] DJ Times: Las Vegas doesn’t have a clubbing history like New York, Chicago, Detroit or Los Angeles. By doing a weekly residency in Vegas, it’s almost as though you are creating a dance-music scene where none existed before. Do you think other DJs will follow your path by doing weeklies in Vegas?

Kaskade: For sure. Vegas is similar to Ibiza—Ibiza was relevant 20 years ago. It’s no longer relevant now. Vegas is the place! It’s where it’s happening. America is by far the largest scene in the world. That’s (continued on page 50)

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We polled a few long-term Expo attendees—and presenters—to learn about how we can maximize our time during this year’s DJ Expo, especially when we’re surrounded with the incredible volume of new technologies and concerts and parties and other potential distractions.

Which seminars have proven most valuable to these folks in the past, and how

DJ TIMES

SEPTEMBER 2013

can rookie DJs attending the convention

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this year apply what they see and hear in 2013 to the way they do business after they return home?

As one of the original attendees to the DJ Expo in Atlantic City, Adam Weitz of A Sharp Production in Philadelphia says he’s proud to say he’s watched the entire DJ industry grow tremendously over the past two decades–much of which he credits to activities such as the networking opportunities at this DJ Times-sponsored event.

Weitz. “Just from idle conversation and discussing how the last year went for these guys and gals, I can extrapolate so much information about their businesses to see if I’m either doing things correctly or can somehow improve myself.

“In addition to that, it’s always great to meet new people and—as I’ve stated in the past—seeing new entertainers come into this industry is what excites me the most because it shows that our industry is growing, and I’m very proud of that.”

Weitz says the Expo exhibit floor is always exciting, and when he brings his company’s cast of entertainers their eyes light up when they take a look at the engineering of the lights, the collection of media equipment, and all the computer technology and software selections.

“I must admit,” he says, “I’m quite the layman to a lot of the computer-oriented materials, but I’m very well-educated by my employees, who always seem to grasp quite a lot when it comes to what’s displayed on the exhibit floor.

“Year after year, it’s always a great pleasure to see the vendors who are proud to sell to all of us entertainers.”

According to Weitz, the seminars at the DJ Expo seem to become better each year, and he enjoys seeing individuals such as Jason Jani (of Sound Connections in New Jersey), Sean ‘Big Daddy” McGee or Mike Walter (or Elite Entertainment in New Jersey) stand up and deliver wonderfully educated material.

“I also become really charged myself when I have the pleasure of running a seminar, because I know there are so many people who look forward to learning. I will instantly zone in on them, ‘pick on them,’ and make them participate whether they like it or not—because when they walk out, they will be better than they were when they came in.

“The bottom line is, if you can’t make it to a DJ Expo you’re not putting yourself in a better situation when it comes to your annual appetite of educational food that’s required for your next year in business.”

Another mobile jock in Philadelphia, Steve Croce of Silver Sound DJs, remembers attending his very first DJ Expo in Atlantic City 18 years ago, in 1995.

“I clearly remember standing in awe of any DJ who would come from behind their equipment to engage the crowd,” he recalls. “MCs like KC Kokoruz [from Illinois] and Adam Weitz worked the microphone with such virtuosity, I felt like everything I had ever said or done at an event had been just child’s play.

“To me, these guys introduced the idea that a wedding is more than just pomp and circumstance. There’s no need to stand in a catatonic state, reciting bridal party names and being paralyzed with fear that I might say or do something to become a memory in anyone’s mind. They instilled in me the notion that it’s really OK to have real fun at a reception.”

In fact, without being exposed to these presenters’ charismatic approaches to entertainment, Croce says he’d like have confined himself to what he calls

“button-pushery.”

“For me, what has always been exciting about the DJ Expo is hearing what interactive and engaging entertainers have to say about motivating a crowd to the dancefloor,” he explains.

“I think many DJs tend to use relatively similar lighting and sound, play mostly the same new and old dance music, and are generally only subtly different from one another.

“But I’ve found great success at weddings in identifying the potential energy in the room and mak-

ing it kinetic, and I’ve successfully done that by using the tips and tricks I’ve picked up from other veterans in our industry.

Over the years, I’ve tweaked the methods I’ve learned from generous DJ Expo-attending collaborators to develop my own ‘DJ Kung Fu.’ “I’m afraid that, if I’d not been exposed to some of the trailblazers and innovators who gather in Atlantic City each year, I might still be leading the Chicken Dance at backyard barbeques!”

DJ TIMES

“I have to use at least half of my Expo time, if not more, simply networking with entertainers from all over the country,” explains

SEPTEMBER 2013

Mike Walter of Elite Entertainment in Tinton Falls, N.J., could talk until he’s blue in the face about what he’s learned during past DJ Expos.

“Suffice to say, every year I come home from Atlantic City with new ideas and a long list of things to do,” Walter says. “Steve Moody’s annual ‘All Star MCs’ seminar is always a great one because we get to hear nuggets from some of the top performers in our industry.

“The games seminar that Jake [Jacobsen] puts on each year is great, too, for similar reasons—it features a bunch of MCs who get up and show off something new that attendees can take home and incorporate into their shows right away.

“And last year, the Hurricane Production Boys did a seminar on shooting and editing promotional videos that was filled with some awesome and timely tips.”

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Meanwhile, back up in New Jersey, Mike Walter suggests readers should remember the three criteria he regularly uses for evaluating any convention: “Since the important elements of any DJ convention to me are the seminars, the evening activities and the Expo floor, my acronym is S.E.X.” he says. “That’s pretty easy to remember, right?”

Walter says he can even use that acronym to evaluate last year’s DJ Expo.

S: “To me, the seminars are the lifeblood of any DJ convention and probably any industry gathering. I’ve often heard people say that the true learning happens in the conversations in the hallways, which actually sounds to me like someone justifying why they slept through the seminars.

Sure, networking and sharing ideas oneE: “The evening activities are difficult for me to on-one are a valuable evaluate in Atlantic City, as I produce Monday’s mobile reason to attend a conparty and, for 11 straight years now, the DJ of the Year vention, but never forget competition the final night of the show. So allow me that most of those to offer comments from some of my best friends in conversations are borne the business: from the seeds sown in “Steve Moody, a former winner of DJ of the Year seminars.” and one of the seven judges last year, says, ‘What amazing energy in the room. The dancefloor was packed the entire night. There was truly a handful of entertainers that pulled out all of the stops and honestly could have placed in the competition. Judging gets harder and harder each year.’

“New Jersey’s DJ Marcello commented, ‘It was a X: “As far as the Expo floor, great year to be a judge. I got to sing along to Lee this is the area in which DJ Greenwood, dance to Pitbull, rock out to some dubTimes’ DJ Expo really excels. step courtesy of Crystal Vargas, watch a masked-Alex It’s probably because they are bring Michael Jackson back to life and then literally the original publication for light up the stage.” our industry—and thus have the best relationships with the manufacturers—or maybe because they get the most DJs to walk the floor—thus pleasing those same manufacturers. But a person really can’t compare the exhibit floor in Atlantic City to any other DJ show.

Manufacturers like Pioneer pull out all the stops, setting up exhibits that are more like mini-nightclubs. Last year, besides the usual array of lighting and sound reinforcement manufacturers, photo booths were all the rage.

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“It’s a wonderful thing to see our industry at such a strong level that

nearly 6,000 people will make the trek to Atlantic City to learn, network and have a good time,” Walter says. “If you don’t have concrete plans to attend at

least one DJ show in 2013, do yourself a favor right now and book it.

You owe it to yourself and your business to be there.

“And when you do, remember to use S.E.X. to evaluate your experience.” n

HH OE

S N AT I O N W I

DE

Nationwide!

2013 AMERICA’S BEST

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The second leg of America’s Best DJ Summer Tour Presented by Pioneer DJ & DJ Times saw us hit three more major U.S. cities—Chicago, Las Vegas and New York.

We attended Wavefront Music Festival in Chicago July 5-7 with 12 ABDJ nominees: AC Slater (Trouble & Bass), 3lau, Cedric Gervais, Danny Tenaglia, Derrick Carter, Diplo, Dubfire, Frankie Knuckles, Mark Farina, Nicolas Jaar, Sharam, and Soul Clap.

In Astoria, Queens, we grooved to Latin beats with DJ Creme on June 27. Then, in Manhattan, we danced to Miguel Migs’ tasty house beats at Marquee New York on June 28.

In Las Vegas, we hit Blake Jarrell (June 21) and Kaskade at Marquee Dayclub (June 22), and Kaskade again at Marquee Nightclub (June 23).

The biggest event, of course was Electric Daisy Carnival, which drew more than 300,000 crazed EDM fans to the Las Vegas Motor Speedway June 21-23. ABDJ nominees included A-Trak, Alvin Risk, Baauer, Cedric Gervais, Claude VonStroke, Crizzly, Dillon Francis, Diplo (with Major Lazer), DJ Craze, Dubfire, Flosstradamus, Green Velvet, Kaskade, Kill the Noise, Krewella, Manufactured Superstars, Max Vangeli, Morgan Page, Nadastrom, Porter Robinson, Tommie Sunshine, Tritonal, 12th Planet, Victor Calderone, and Wolfgang Gartner.

As always, DJ Times was there, collecting ballots for the DJs and giving fans chances to win plenty of prizes—like Pioneer gear and a trip for two to Las Vegas for the ABDJ Closing Party/Award Ceremony at Marquee Nightclub on Oct. 13. It all looked like this:

At Wavefront: Bad Boy Bill in the mix.

Chris Sullivan

DJ TIMES

SEPTEMBER 2013

EDC Vegas: Drawing a crowd.

Insomniac

H

H

HH G

SEPTEMBER 2013

Kaskade at Marquee Dayclub.

Karl Larson

Frankie Knuckles in Chicago.

Daniel Boczarski

At EDC Vegas: We Are the Robots.

Chris Davis

Latin Beats: DJ Creme at Don Coqui.

Fred Gumm

Big Room: EDC in Vegas.

OhDagYo

Wavefront: Diplo on the beach.

Chris Sullivan

DJ SUMMER TOUR PRESENTED BY PIONEER DJ & DJ TIMES ROLLS ON

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30

On the Beach: Wavefront fans.

Daniel Boczarski

DJ TIMES EDC Scene: Dancer & fans.

Eric Kabic

Queens Scene:Who are you voting for?

Fred Gumm

Dayclub DJ: Blake Jarrell in Vegas.

Marquee

At the Booth: Miguel Migs in NYC. Tania Fuentez

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DJ TIMES

Vegas, Baby: Kaskade gets goofy.

Marquee Man: Miguel Migs in NYC. Pearcy Proper

Represent: DJ Creme at Don Coqui.

Fred Gumm

Wavefront Scene: Dancers at ABDJ booth.

DJ Times

EDC Vegas: Porter Robinson at main stage.

EDC Vegas: Drawing a crowd.

Insomniac

Boombox: EDC late-night.

Eric Kabic

MAKING TRACKS STUDIO…HARDWARE…SOFTWARE…

By Phil Moffa

Sweden’s Elektron Music Machines made its mark by creating instruments that combine deep sound engines with powerful sequencers that encourage live performance.

Until recently, all of its instruments were entirely digital. Elektron’s latest creation, the Analog Four, has a fully analog signal path from its oscillators to filters and amplifier, but is controlled and enhanced by a very thorough set of digital controls and effects. It also has a set of four CV/Gate outputs and a pair of inputs to increase its value and versatility to those who own some other hardware pieces or want to process audio from their DAW. The Analog Four is a more a 4-part mono synth than it is a 4-voice poly synth. For my purposes, this unit is more geared towards sequencing within the unit than it is receiving notes from a

A4: Unique synth/sequencer in sound and control.

DJ TIMES

SEPTEMBER 2013

ANALOG FOUR: ELEKTRON’S NEW POWERHOUSE

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keyboard or DAW, although both of those options are entirely possible.

There are four mono analog synth tracks that are sequenced independently, each with two oscillators, a sub oscillator, two filters (one 4-pole lowpass followed by one 2-pole multimode), an analog overdrive circuit located between the filters, two LFOs, two envelopes, and three effect sends, for starters.

There are so many sound-shaping possibilities between the 10 parameter knobs and the many menus that it is almost overwhelming to consider what can be done with each track. Although chords can’t be played in the conventional sense, tuning the oscillators and using the 5th tuning on the sub oscillator (a new feature added in a recent OS upgrade), chords are very possible.

The A4 has a very unique sound to it. The oscillators have variable wave shapes on all of its basic waveforms, which is not common and partly responsible for its original sound. The filters sound great, too, and are very smooth. The added overdrive helps take the sound-design potential even further before getting to the various modulators.

And the effects, especially the reverb, are really top-notch, worthy of running external sounds through, even if the A4 is not being used for its synth parts at the time. Excellent basses, leads, pads, effects, and even some very fat drum sounds are possible. There are 128 sounds stored in the memory and more can be imported by using the USB port.

Also, 128 kits are in the memory and these are a combination of four different sounds on the four tracks, FX settings, and CV settings.

The sequencer, like the other Elektron devices and classic Roland drum machines, is in a 16-step fashion.There are numerous ways to achieve other timings through swing, timing multipliers, and micro timing, which can be as fine as 1/384th of a 1/16 sequencer step. Patterns contain information about notes, parameters, mutes, accents, slides, swing, and arpeggios. The sequencer is so powerful that every single note (or trig) can contain vastly different synth and effects settings and can happen immediately or be slid from one to another. These settings can be programmed in real time by turning knobs, in a one-by-one step fashion, or externally.

Notes can be entered by playing an external keyboard or the convenient miniature onboard keyboard, which is a set of small buttons in a piano-style configuration of one octave, plus an extra C. Sequences can be set to different lengths than the master for interesting polyrhythms. Each track has its own complex arpeggiator, which is saved as part of a pattern. Again, the range of possibilities are a bit overwhelming at first, but once you wrap your head around the workflow and figure out the abbreviations on the small screen, you’d be hard-pressed to not come up with interesting and original patterns.

The 10 parameter knobs also help control yet another significant feature of the Analog Four, the performance section. In performance mode, the A4’s 10 control knobs can modulate up to five parameters each with variable depth on any of the four tracks, plus the CV and effects.

For example, turning a single knob can change a filter on track 1, an LFO on track 2, a reverb on track 3, an oscillator wave shape on track 4 and an external CV all at the same time.

Considering that you get 10 of these per pattern, this is extreme-

ly powerful in a live or even studio setting. This is reminiscent of the Octatrack’s crossfader, manipulating various parameters across several tracks. It may take some preparation time to get these ready, but it is well worth the investment. The four CV tracks, each with their own output, have extensive parameters as well, and even include two envelopes and two LFOs. Signals sent to the stereo input can be sequenced as if they were oscillators and can be sent through any track’s filters and effects.

This did wonders for drum loops and other synths that needed further processing.

The Analog Four ($1,099 MAP) is certainly a unique beast in both its sound and control. It will take some getting used to, especially if you have never used any Elektron products, but that may be a testament to its potential. It’s versatile, too, functioning as four individual synth parts (which can also be analog drums), a multieffects processor and filter for stereo external signals, and a deep CV sequencer.

If you have any questions for Making Tracks, please send them to djtimes@ testa.com.

SOUNDING OFF PLAYBACK…PRO AUDIO…PROCESSING

iOS PLATFORM SOLUTIONS FOR DJS

By Wesley Bryant-King

DJ TIMES

SEPTEMBER 2013

In these pages, I have on multiple occasions in the past covered developments on Apple’s iOS platform— first for DJs, and later for people working in the studio. Third parties continue to find new ways to extend and push the boundaries of the platform. As a result, following are some updates covering some newcomers to the space.

Native Instruments Traktor DJ for iPad Earlier this year during Winter NAMM, I had the opportunity to get a private peek at an exciting new DJ app for iOS, and got an advance opportunity to tinker. Now, the cat’s out of the bag, and you, too, can get your hands on one of the most innovative iOS apps I’ve seen in some time: Native Instruments’ new Traktor DJ for iPad. DJing from an iPad is, perhaps, nothing particularly new at this point.

But as I’ve written in the past, it’s been a little difficult to take it very seriously. But when I first saw Traktor

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With Traktor DJ’s intuitive interface and superior usability, I’m getting more and more convinced of the possibility of using an iPad to perform a real DJ set under real-world conditions.

Apogee Duet for iPad.

DJ in action, I knew immediately that I was looking at some seriously outof-the-box thinking from the guys in Berlin that have been bringing this app to life.

The most striking thing when you first see the app is the fact that NI did away with the conventional skeuomorphic design approach of modeling the user interface after a conventional DJ set-up. Yes, of course there are two “decks,” but they are not represented by a turntable metaphor of any kind. Instead, with the app’s landscape orientation, you see two stacked, horizontal sections dominating the screen, each representing a deck. Along the top is a thin section with some options, and a vertical strip along the right within each deck—plus a crossfader oriented vertically. The decks are represented by twin waveforms; short, and along the bottom, is the entire track’s waveform, and then a “zoomed” large waveform showing a few bars of the song. This latter waveform dominates the display.

The easiest way to learn Traktor DJ is simply to use the app’s Notification Center, accessible by touching an “I” icon from the top menu area.

When you do that, a list rolls-in on the left side of the screen, and gives you a list of features and functions.

Just walk through each one, and try out what it describes. When you do, it’s automatically removed from the notification center area. You can proceed at your own pace, but once

you’re done, you’ll have a solid understanding of the app’s capabilities.

Native Instruments has packed a lot of capability into the package.

Controlling EQ during mixes is perhaps the most intuitive and usable approach I’ve seen on the iPad todate, and you even get some basic FX controllable through easily accessible XY pads; just touch the FX button to make the functionality slide in from the right (which is how you access EQ and looping functionality, as well). Touch again to move it back out of the way. Even when visible, however, you still have full functionality and control, so for example, doing a standard cross-mix while managing bass EQ track-vs.-track is easy and intuitive. It’s clear that lots of time was invested in the app’s UI—and in usability in general.

Another cool thing NI did was add synchronization of per-song settings with your Traktor Pro installation running on your desktop. Once setup, for example, if you set cue points in the desktop, you’ll see them in the iPad app, too—and vice-versa. The syncing is done via a Dropbox account. (Bear in mind that the actual music is not synced due to limitations of the iOS platform; you’ll need to add songs to your iPad library in the customary way, via iTunes.)

As with any iPad DJ app, you’ll need appropriate audio hardware to do true stereo cueing; for my tests, I connected an Apogee Duet for iPad and Mac (discussed below), which

Blue’s Spark Digital.

made an ideal choice. Traktor DJ supports CoreAudio compatible audio interfaces, so most two-out interfaces should work. NI also provides “split audio” as seen in other DJ apps; basically it splits the standard, single stereo output into monophonic master and monitor outs, via cables like those offered in the IK iLine kit (also discussed below).

Traktor DJ worked beautifully. On my iPad 2, I did notice some occasional break-ups in the audio stream, which were clearly due to other things happening on the iPad at the time, such as e-mail polling. Forcequitting other apps—including the Mail app—cured the issue as expected. (Newer iPads with faster CPUs might well make this a moot point.)

With Traktor DJ’s intuitive interface and superior usability, I’m getting more and more convinced of the possibility of using an iPad to perform a real DJ set under real-world conditions. But even falling short of that, it was massive fun to play with, and made for a cool tool to play with mix ideas and to prep tracks from my patio on a warm spring day, and have those efforts reflected automatically on my desktop Traktor Pro set-up.

Priced at just under $20 in the Apple App Store, it’s very cool indeed.

Blue Microphones Spark Digital The venerable Blue Microphones continues to expand their line of microphones into new territory, responding to the evolving ways that musicians are making music today.

N.I.’s Traktor for iPad.

IK’s iLine cable kit.

One of Blue’s more popular studio mics has been the Spark, an elegantly designed, capable, and reasonably priced (under $200, street price) cardioid condenser designed for accurately capturing vocals and instruments. Perhaps it was an obvious move for Blue to take the excellent Spark, tweak it up a bit, and give it the name Spark Digital.

In the process, however, Blue brought some interesting new capabilities to the table. First off, as the name suggests, the Spark Digital is a USB version of the condenser Spark. With very similar specs, and a comparable price point, Spark Digital merely switches the interface from standard XLR for conventional inputs, to showing up as a USB sound card when connected to desktop or laptop computers. But the Spark Digital has another trick up its sleeve in the form of a second cable bundled in the package, with a standard 30pin iPod-style connector in lieu of the standard desktop USB plug. With this cable, the mic plugs easily into older style iPhones, iPads, etc., while working equally well with Apple’s Lightning adapter (not included) for newer-generation iPhones and iPads.

Simply add your audio recording app of choice, and you’re ready to record vocals or instruments pretty much anywhere, anytime.

For my own projects, I’m accustomed to having to lug at least a MacBook Pro around with me, and use my full-blown DAW to record vocals, guitar, etc. At first, I wasn’t too sure about using an iPad alone for the task, but I was quickly sold. Like many musicians with home studios, I simply don’t have space for a proper vocal recording setup, and like many musicians recording in such situations, I often end up inside a closet, using the clothing hanging inside as sound control. (Low-tech, but functional!)

To say it’s cramped quarters for a laptop computer, audio interface, mic and stand, etc., is an understatement.

Enter the Spark Digital: With just the microphone and iPad, I can “head into the studio” with minimal set-up

time, anytime. I found the resulting vocal tracks to be pure and clean, and ready for further manipulation as-desired back in the DAW. One of my favorite features of the Spark Digital is the direct monitoring.

There’s a headphone jack built right into the cable for zero-latency monitoring. And if your app supports it, or when used with desktops or laptops, your underlying music track can simply be directed to the Spark Digital’s output channel which is mixed with the mic monitoring for hassle-free, latency-free, goof-proof vocal recording. A dual-function level control on the mic’s stem makes it easy to adjust both input and monitoring levels right from the mic.

Given the affordable price, nice quality, platform flexibility and monitoring set up, I’m pretty sure I’ve found my go-to vocal recording mic.

Apogee Duet for iPad & Mac Apogee’s Duet audio interface has been mentioned on these pages a few times, most recently in a round-up of audio interfaces I wrote not long ago. Since that review was written, however, the folks at Apogee have rolled out their latest (and third) version of the venerable Duet, dubbed “Duet for iPad and Mac.” (It, too, was introduced earlier this year at Winter NAMM.) As the name suggests, Duet for iPad and Mac is a slightly redesigned device that extends the product’s capabilities from the Mac platform to iOS devices as well. In most every other way, the Duet is the same as it has been. But now included in the box is a 30-pin interface cable for connection to your iPad—Apple’s Lighting-to-30-pin adapter required for newer iPad models. While it can be used with iPod Touch and iPhone as well, the company expects most users to opt for extra screen real estate (and apps that take advantage of it) available on the iPad family.

While it’s possible to use the Duet with your iPad without an AC outlet nearby, most users will likely opt to go this route, and utilize the provided AC adapter for the Duet. When con-

nected to power, the Duet serves as a charger for the iPad, allowing for extended audio work sessions with no worries about exhausting the battery. Simply put, smart.

When used with the Mac, Apogee provides their Maestro application for tweaking settings as desired.

Similarly, there’s a Maestro app for iOS (free in the Apple App Store) that provides equivalent functionality there. As on the desktop, you can set levels, assign channels, and take care of other basic set-up housekeeping tasks, and with the look-alike design, it’ll be immediately familiar to any Duet user.

There’s really not much else to be said about the Duet for iPad and Mac. The device just works, works well, and with its intuitive design and diminutive form factor, it’s not in the way—literally or figuratively.

What I find most compelling about the Duet for iPad and Mac, however, is the utility, and the ability to leverage

one investment across multiple use cases. I’m planning to keep Apogee’s breakout box connected and wired up on my desktop studio Mac, while using the “octopus-style” breakout cable for mobile use on both my MacBook Pro, and iPad. While the Duet represents a true investment in your music making (with a street price of around $650), the ability to easily move the compact, lightweight “brains” of the system around amortizes the cost across three different work environments, letting me get creative literally anytime, anywhere.

And with its awesome specs and performance, it ensures professional results no matter which approach I’m taking.

IK Multimedia iLine Mobile Music Cable Kit With the other products in this roll-up review, the emphasis has been on smart, and for this last item, I continue that smart theme, with the (continued on page 50)

MOBILE PROFILE CAREERS…INNOVATIONS…SUCCESS STORIES

By Ellen Smitty Jersey City, N.J.—Raul Chiriboga came to his station as owner of Ultrafonk Entertainment in a rather orthodox way—if you consider “orthodox” being born in Brooklyn, moving to Guayaquil, Ecuador, at the age of 4 until finishing high school, and then returning to the States and settling in New Jersey.

He treasures the time he spent in Ecuador, where his stay-at-home mom and his father, who ran a paper distribution company, encouraged singing and music in the household. “My dad did not explore music, like his father did,” says Chiriboga, “but he was always singing. I think he has a great voice, and I always remember that on weekends we’d eat breakfast listening to Julio Jaramillo, my dad’s favorite singer.”

Chiriboga says that his background in South America has been a huge asset to his business—in fact, it’s his point of difference in a competitive market. “The Latin music played in countries like Colombia,

to grow and started learning about new trends and services,” he says. “Today I’m proud to say that we not only offer DJ entertainment but also, lighting design, event design, live musicians, photo booths and more.”

Still, working the Latin market has its challenges. “The Latino market has not caught on to social media at its fullest, but we keep promoting through social media because little by little we see the trend changing. To address the challenge of social media, we promote Ultrafonk Entertainment through e-mail, bridal shows, networking and, most importantly, by providing a great entertainment experience at our events, because nothing beats word-of-mouth.”

Chiriboga has had some success via video blogs.

“I capture as much footage possible of guests and clients having fun, dancing, singing, and at the end of

Raul’s Top 10

1. “Vivir Mi Vida” by Marc Anthony (Genre: Salsa) 2. “Llevame Contigo” by Romeo (Bachata) 3. “Pegadito Suavecito” by Elvis Crespo feat.

Fito Blanko (Merengue) 4. “El Niágara en Bicicleta” by Juan Luis Guerra (Merengue) 5. “Asi Es La Mujer” by Victor Manuelle (Salsa) 6. “Ven Bailalo” by Angel & Khriz (Reggaeton) 7. “El Ciclon” by La Sonora Dinamita (Cumbia) 8. “La Gota Fria” by Carlos Vives (Vallenato) 9. “Noche De Placer” by Alex Sensation feat.

Pitbull & Sensato (Latin Samba) 10. “Incondicional” by Prince Royce (Bachata)

DJ TIMES

SEPTEMBER 2013

JERSEY JOCK BRINGS THE LATIN FUNK

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Ecuador, Peru and Venezuela is a bit different than over here and vice versa,” he says. “One example, not only that I know the music of the golden era of cumbia, I lived through it. Back in the ’80s and ’90s, there were no Justin Biebers or Selena Gomez.

At kids’ parties, we danced cumbia, merengue and salsa.”

Chiriboga remembers, as a kid, waiting and listening to his favorite radio station until one of his favorite songs came on, and then pressing “Play” and “Record” in his recorder. At family gatherings, weddings and parties you could find him next to the DJ watching his every move. “That’s when I realized that I wanted to be a DJ,” he says. “The love for music has always been inside of me, and feeling the emotion of making people dance really did it for me. Through friends, I met local DJs who were kind enough to take me under their wing and teach me the basics.”

He realized that he could make money as a DJ when one of these local DJs asked him to come with him and DJ a college graduation party. Chiriboga was just 13-years old.

“After that first gig, I started to grow my record collection and at first started playing at house parties for fun,” he says. “The word-of-mouth got out and I started to get booked for high-school parties

Ultrafonk Entertainment’s Raul Chiriboga.

and Quinceañeras. By 1995, I already had a full calendar of events throughout the year and was also booked as the DJ for the first Outdoor Aerobics Program in Guayaquil.”

By 1996, he had moved to New Jersey, and a big challenge faced him: He had to start all over again in a market he knew nothing about. This led him to take a break from DJing professionally. However, his love for music never stopped.

“I always kept current with music,” he says. “Even though I did not take any gigs between ’96 and ’99, at most family or friend gatherings, barbeques and birthdays I was the one who provided mix CDs for the event. After I decided to get back to DJing, I told all my friends and co-workers. Not too long after that, a friend of mine recommended me to a family member for a First Communion celebration, and that gig produced for me two more bookings and that got the ball rolling for me.”

He bought new gear and, little by little, he found himself doing corporate parties, intimate weddings, Sweet 16s and Quinceañeras. He was also to get two residencies in NYC—one at Code Bar and another in Azaza Lounge.

By 2004, he decided to launch Ultrafonk Entertainment. “At first I started just providing DJ entertainment for intimate weddings, but I felt the need

the night I ask my clients to give me a testimonial— which I usually ask for in one of my event consultation appointments. I try not to edit the sound so the client gets the full vibe of our events.”

Chiriboga started producing Vlogs because he saw other DJs having success with it. “Whenever I’m looking to introduce a new marketing tool for Ultrafonk, I try to think like our clients think, and ask myself, ‘If I were a client, would this help me make an educated decision or not?’”

Today, he believes that Vlogs are his most effective selling tool. “It allows me to show potential clients what we do,” he says. “It’s not rare for me to hear from a potential client, ‘What I saw in your videos is what I want for my event.’”

And where does Chiriboga sees his business in five years? “I see Ultrafonk Entertainment as a multi-op entertainment company serving the Latin/ American and Portuguese/American market,” he says, noting that he recently brought Portuguese/ American DJ and MC Frankie Gravato on to his staff. “Frankie has brought so many ideas to the table, not only for the Portuguese market, but also for the Latin market,” he says. “Together we are putting together a training program that will allow us to grow without diminishing the quality of our work, and we’ll only get better.”

ROCK THEIR WORLD. SIMPLIFY YOURS. Power and control are all yours with the all-new XTi 2 Series amplifiers from Crown.

PeakX Plus™ Limiters provide the ultimate in system performance and protection, and the Advanced Thermal control now provides the ability to match cooling performance to specific applications. The XTi 2 Series also has a brand-new Advanced Monitoring section which provides visibility of AC line voltage and power supply temperature, along with completely updated HiQnet Band Manager™ and System Architect™ control panels to keep setup and configuration simple and lightning fast.

CrownAudio.com

©2011 Crown Audio, Inc.

BUSINESS LINE SALES…MARKETING…SOLUTIONS…

ance growth and a sustainable business model.

Unlike the Fortune 500 companies, mobile DJs do not have an unlimited resource of dollars to hire a marketing team, financial experts and sales force that enables them to compete in today’s market. Instead we

shortfall of any DJ business owner is not knowing how to deal with the influences in the market that will ultimately dictate your success.

A strong CEO of a company builds alliances with both referral sources and the competition. On many of the blogs and network boards, I

learned that brides are filtering based upon a price range, so quoting a general price has worked to my advantage.

Instead of asking for an initial conversation, responding with a general price quote can lead to the initial conversation.

Simplified Sales Strat-

5 KEY BUSINESS STRATEGIES FOR SUCCESS

DJ TIMES

SEPTEMBER 2013

By Jerry Bazata

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No doubt that many of our DJ businesses were conceived on the back of napkin, encouraged by friends and family to pursue our passion and turn it into a career.

In their first few years, most small business owners spend a great deal of time searching for the keys to success through trial-and-error, often without a mentor or guidance from fellow professionals. It’s not uncommon for most mobile DJs starting out to get caught up in perfecting their craft, say, as an outstanding master of ceremony who can deliver a commanding performance on the dancefloor.

As with many new entrepreneurs in the DJ business, quickly we get caught up in the equipment, lights, sounds and having something impressive to show off on our website and social media. In fact, we devote more time and energy into this one aspect of the business and then scramble through trialand-error to get all the other elements in sync to generate revenue. As a business owner, your success is achieved by developing the skills to bal-

need to focus in on the “5 Key Business Strategies” that will allow you to “think like a CEO” and “act like a CSO” and “reason like a CFO.” It does not take a Har vard business degree or the designation of a CPA to accomplish these objectives, but, rather, the discipline to focus in on “5 Key Elements” of running your business.

Income Vs. Expense: A majority of mobile DJs inherently run their business by the balance in the checking account. The decision to purchase new equipment, develop a new market or take on a new employee is all driven by reactionary responses. A well-disciplined company, regardless of size, establishes a yearly budget and manages to it. For most, you are booking out a year in advance; therefore, you should have a budget developed for the current year and for the next. A good CFO is always looking to the future to know what to accomplish today.

Communication: The

read about the lack of strong connections between various vendors in the wedding industry. Proactively look to build upon those bonds, like sending a note to the florist, banquet manager and photographer after each wedding to thank them for their teamwork and professionalism in making the bride’s day a success. They will remember this.

Market Response: Prospective clients are not made from one mold—they won’t always respond the same way. As creatures of habit, we find one ideology or method that works and we stick with it, even as the boat is sinking. How you respond to the market often does not require a total reinvention of your business model or marketing plan, but often subtle adjustments based upon what is going to work. For years, I spoke at the DJ Expo on marketing and urged DJs never to put prices on their website or in the initial response to a bride. In evaluating this process recently, I

egy: Creating a sales strate g y d o e s n o t re q u i re a complex marketing plan and thousands of dollars in social media or SEO. After you have invested in the trialand-error method and spent time on all the various wedding sites and participated in wedding expos, evaluate and determine what works best.

There is no right or wrong discipline to a sound sales strategy, rather we are too quick to abandon what we believe does not work. A DJ in my market still creates business the “old-fashioned way”—taking the time to hit the streets and call on vendors in person. He has viewed all the other methods and could spend hours a week trying to negotiate social media. The best answer for him is to bring social media “face to face.” He keeps the strategy for closing new business simple and easy to manage.

United Airlines produced a commercial with a strong message to business: A CEO of a company called all his

sales people into the conference room to say they were losing a good client, because they lost that personal attention with clients. The CEO then handed out airline tickets to all the sales force and said go visit our clients. The commercial ends with the CEO grabbing a bag and saying I need to visit someone I took for granted—that good client. As the CEO, when was the last time you got out from behind the computer and visited your best clients or referral sources?

Value Proposition: Talking market perception—are you viewed as a commodity or a trusted partner in helping your client achieve success? As a mobile DJ, are you “entertaining at a wedding” or “more than just a DJ” by adding services such as lighting, photography or planning services. There is no right or wrong answer. In some instances, just being a good DJ is all that you want to be without the added pressure of creating, developing and designing the ultimate experience for your client. Capitalize on what you do best.

Emphasize the strength that you are a good entertainer and that becomes your value proposition. Just because a company can produce a good engine does not mean it has to produce the entire car.

The same holds true for a mobile DJ. When was the last time the photographer asked if he/she could take a shot at spinning a few tunes and then handed you the camera to take a few photos?

Expanding upon these “5 Key Concepts” and developing a budget and business plan for your company, regardless of the size, will enable any DJ business owner to think and act like a CEOCSO and CFO. Jerry Bazata provides guidance and inspiration to help DJ business owners achieve their financial goals. He will be moderating “Getting Back to Basics: 5 Key Business Strategies for Success” at the DJ Expo.

GEAR AUDIO…LIGHTING…STUFF

Coming to American Audio

Two Peas in a HeadPod

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

Aphex Media 3500 N. San Fernando Blvd.

Burbank, CA 91505 (818) 767-2929 www.aphex.com

American Audio’s ELS15A 15-inch active speaker plugs into controllers, DJ mixers, laptops and mobile devices via XLR and RCA line inputs. The unit, which is powered by an A/B bi-amplified system, features XLR and TRS mic inputs with controls for treble, bass and volume. In addition, there are separate high-frequency and low-frequency amplifiers — one amp powering the titanium driver and the other powering the 15-inch woofer. The ELS15A is both flyable and stand-mountable, and it comes with a built-in protection system that prevents overheating or short circuiting.

Stand Up Guy Mixware 11070 Fleetwood St, Unit F Sun Valley, CA 91352 (786) 362-5757 www.mixware.net The UDG Creator Laptop/Controller Stand is made of aluminum and features an airflow constructed tray that keeps equipment from overheating. The stand fits laptops, iPads and controllers that are 1318 inches. Users can adjust the height and angle of the stand, which offers 360-degree rotation and features a removable sub tray.

The unit is foldable and easy to assemble. It comes with a protective neoprene sleeve.

Hit the Road Cases

DJ TIMES

SEPTEMBER 2013

Gator Cases 18922 N. Dale Mabry Hwy Lutz, FL 33548 (813) 221-4191 www.gatorcases.com

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Gator Cases’ line of G-TOUR LCD/Plasma road cases now comes with an improved interior fit system that can fit a wider variety of screens. New V2 models let users adjust the interior fit by placing the removable end cap into one of the preset slots, while new X2 double models include separated compartments, each with an adjustable end cap, so that multiple screens can fit into one case. Single models are available for screens measuring 26-65 inches, while double models are available for screens measuring 37-65 inches.

The HeadPod 4 from Aphex Media is a compact, portable headphone amplifier with four independent stereo amplifier channels and converters that the company says “ensure minimum distortion and crosstalk.” The unit comes in a metal case that features such top panel controls as an input source selector, a master level control and a separate level control for each of the outputs. Additional features include two balanced ¼-inch jacks, headphone extension input and digital S/PDIF connection.

GEAR AUDIO…LIGHTING…STUFF

1 For All & All In 1

Shure Thing

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

Shure Incorporated 5800 West Touhy Avenue Niles, IL 60714 (847) 600-2000 www.shure.com

The XDJ-R1 from Pioneer is an all-in-one DJ system that uses Pioneer’s remotebox app to allow for wireless control functionality through an iPad, iPhone or iPod Touch. The unit comes with dual CD players, MIDI control, a USB port and an auto beat loop function. It supports MP3, AAC, WAV and AIFF files. The XDJ-R1 was built with its analog and digital circuits separated, and the distance for digital conversion of analog input signals shortened, in order to reduce noise.

Shure released its BLX Wireless systems, which includes five products in bodypack and handheld configurations with multiple handheld, lavalier, instrument, and headset microphone choices. The BLX1 Bodypack Transmitter features TQG connection for use with Shure lavalier, headset, earset, and instrument microphones and guitar cables, while the BLX2 Handheld Transmitter comes with integrated microphone capsule options. The BLX4R Single Channel Receiver comes in a half-rack size for easy mounting, while both the BLX4 Single Channel Receiver and BLX88 Dual Channel Receiver allow up to 12 compatible systems per frequency band.

iKlip iKlop IK Multimedia 1153 Sawgrass Corporate Pkwy.

Sunrise, FL 33323 (954) 846-9101 www.ikmultimedia.com IK Multimedia introduced two new iKlip models. iKlip 2 comes in a version for iPad Mini and a version that will hold iPad2 or any later version. iKlip holds the iPad on a microphone stand or other vertical or horizontal pole up to 2.1 inches in diameter, and it features a new ball-joint design for “infinite multi-angle adjustment.” iKlip Studio for iPad mini is a foldable tabletop stand with eight viewing angle options in 10-degree increments. It can also hold other seven-inch tablets with or without a case.

Denon DJ announced media player updates for its SC2900 and SC3900 models. The new Engine DJ Management Software update V1.1.0 is available for PC, Mac and iPad. It includes a Hot List function that does a full search across all folders and lets users store “must-play” tracks for later use. The software will auto-create a database upon start-up and supports AAC reproduction for music files up to 80 minutes long. Engine is also now compatible with mono versions of MP3, AAC, WAV and AIFF files.

DJ TIMES

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

SEPTEMBER 2013

Keep the Engine Running

41

GEAR AUDIO…LIGHTING…STUFF

Design of a Deckadance Luck Be a Nady Nady Systems 6701 Shellmound Street Emeryville, CA 94608 (510) 652-2411 www.nady.com The WLPA-35 lantern-style portable PA system from Nady is designed with a high-performance VHF wireless microphone, 35-watt amplifier and five-inch speaker. The handheld device is powered by a rechargeable Lithium Ion battery and comes with a universal voltage 110V-240V AC adapter charger. Its features include bass/treble tone control, LED indicators, ¼-inch unbalanced input jack, 1/8-inch unbalanced output jack, two VHF channels, and a carry handle and shoulder strap for easy transport.

Image Line Software Kortrijksesteenweg 281 B-9830 Sint-Martens-Latem Belgium +32 9 281 15 33 www.image-line.com Deckadance 2, available to PC and Mac users, works as a standalone application or VST plugin. The program offers iTunes library support and comes with user-configurable loop, cue, grid, DVS, key, smart knob and tempo panels. Deckadance 2 comes with eight user-defined effects per deck, including program glitch, stutter and scratch FX. The program also comes with Smartknobs, which allows users to link a knob to multiple FX and mixer interface targets.

Deckadance 2 is available as a free update for existing customers.

Connect the Dots Griffin Technology 2030 Lindell Avenue Nashville, TN 37203 (800) 208-5996 www.griffintechnology.com DJ Connect from Griffin Technology is designed to work with the algoriddim djay app for iOS and Mac computers. DJs just need to plug their headphones into the headphone port and connect external speakers to the RCA line level stereo outputs in the back and the DJ Connect allows them to pre-cue their music and beat-mix digital turntables on their iPad. The unit comes with detachable cables including a lightning connector, a traditional 30-pin dock connector and a USB connector.

DJ TIMES

SEPTEMBER 2013

A Matter of Truss

42

Global Truss America 4295 Charter Street Los Angeles, CA 90058 (323) 415-6225 www.globaltruss.com The Glow Totem Set is an all-in-one mobile truss setup that includes four single trussing tubes, a base plate, a top plate and a Lycra cover. The tubes come in a variety of heights, and the base and top plates also come in different sizes. When broken down, Global Truss says the Glow Totem Set “packs down to less than half the size of standard square truss.”

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GEAR AUDIO…LIGHTING…STUFF

Beam Me Up Chauvet 5200 NW 108th Ave. Sunrise, FL 33351 (800) 762-1084 www.chauvetlighting.com

As High As Akai Akai Professional 200 Scenic View Drive Cumberland, RI 02864 (401) 658-4032 www.akaipro.com Akai Professional teamed with Retronyms to create a new music production app for iPad called iMPC. The new app offers all the functionality of a classic Akai Pro MPC and includes more than 1,200 samples, 50 editable programs and 80 editable sequences. The app comes with a built-in sampler that can record via the iPad mic or line input, as well as record directly from iTunes using the app’s multi-touch turntable interface. iMPC comes with built-in effects, including delay, bit crusher and master compressor/limiter.

Chauvet’s BEAMbar is a linear effect light that produces “thick columns of light.”

BEAMbar is equipped with five individual pods, each of which includes a white sixwatt LED. The company also released BEAMshot, which is a compact aerial effect light that produces “a sharp, ultra-narrow beam of light.” BEAMshot is also powered by a white six-watt LED. Both models offer built-in automated and sound-activated programs, as well as dimming curves for smooth LED fading.

TRAKTOR Pull Native Instruments North America 6725 Sunset Boulevard, 5th Floor Los Angeles, CA 90028 (866) 556-6487 www.native-instruments.com TRAKTOR KONTROL Z1 from Native Instruments connects to both the TRAKTOR DJ App for iPad and iPhone, and TRAKTOR PRO 2. TRAKTOR KONTROL Z1 adds headphone cue, dedicated faders, filter and effects controls, and three-band EQ for each channel. It includes a 24-bit soundcard and a cue section that allows for headphone pre-listening of the next track. It will charge a DJ’s iPad, iPad mini, iPhone and iPod touch while connected. The unit comes with TRAKTOR LE software and works with both PC and Mac.

DJ TIMES

SEPTEMBER 2013

Micro Row Row Your Boat

44

Behringer 18912 North Creek Parkway, Suite 200 Bothell, WA 98011 (425) 672-0816 www.behringer.com Behringer’s CMD MICRO is a compact, two-deck DJ controller that works with both PC and Mac computers, as well as iOS devices. It has full-size 45mm volume and pitch faders, as well as dual-zone, touch-sensitive platters, in order to create “a more natural feel,” the company said. The unit also features a free version of Deckadance 2 LE DJ software. Additional features include hotcue buttons and LED illumination. The controller is compatible Native Instruments Traktor, Serato Scratch Live, Ableton Live and other MIDI-compatible programs.

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GROOVES TRACKS…MIXES…COMPILATIONS

“WE ARE THE NIGHT”

u Modern Machines u Black Hole Modern Machines are back with this opulent, high-energy, electronic, earth mover with killer keys and insane party vibe. A powerful, ass-shakin’ dancefloor-filler for sure.

– Shawn Christopher “HIGH ON YOUR LOVE”

u Sharon Doorson u Cloud9 Dance Doorson delivers a fine single of trance-tinged pop that boasts plenty of high energy. With a large-and-in-charge female vocal, this Kizzoproduced banger builds and drops dramatically— perfect for big rooms.

– Natalie Raben

along to the anthemic chanting in the bass-filled chorus, priming this stadium-worthy track for dance-rock domination.

– Chris Davis “HALFTONE”/“MIDNIGHT ROLLER” EP

u The Bloody Beetroots u Ultra Records This one feels like it’s come from out of nowhere, as the legendary Paul McCartney lends his talents to the Italian dance-punk supergroup’s latest.

Sir Paul’s airy vocals sit atop a relaxed verse, and then wail

– Chris Davis

u Tim Green u Get Physical Filled with organic percussion and jungle vibes, “Halftone” slams with one of the grooviest basslines we’ve heard in quite some time.

Meanwhile, the b-side, “Midnight Roller,” sports a smooth-as-butter, rubberband, low-end, jazzy pads and sexy vocal snips.

– Chris Davis

“SKIRT” EP u Kylie Minogue u Rising Music Aimed directly at club floors, Minogue’s latest is a vocal reinterpretation of Nom De Strip’s 2012 chainsaw synth stormer “Shake & Bake.” The “GTA Mix” is tailor-made for big rooms with its punchy drop and imperial synths, while Switch reinterprets it through a slinky, funky, discolounge filter.

“SONG OF LIFE (BETOKO REMIX)”

u Leftfield u Hope Recordings

“OUT OF SIGHT”

together they deliver the deep, disco-leaning “Flashy Ways” mix. Erhan Kesen bumps up the tempo and lays in the funk, while Alex Flatner opts to keep it a bit techy with his late-night thumper.

Beto Cohen (Betoko) reboots Leftfield’s classic 20 years after the original release, smoothing out the rough edges and adding a nu-disco bassline for the celestial vocals to coast across.

– Chris Davis

“U & I PT. 2” EP

u LOPAZZ & Betoko u Get Physical

– Chris Caruso “A KIND OF LITE”

u Megablast pres. Mikele Dio feat.

Duke Dumont Aminata Seydi u Luv Lite With three mixes in tow, “Lite” features Seydi’s soulful vocals soaring over the tight and subtle progressive groove of the original. But the “Weisz & Schrenk Remix” is the pick with its percolating tech-house groove.

Willis Haltom returns with Randall Jones, and

– Phil Turnipseed

Download Corner

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

Beatport, iTunes, etc.).

“Fawn” (Original Mix) by Vaylo [Leftroom Limited]: This 25-year-old producer unleashes his debut on Leftroom and it’s a doozie! Bucking the slowhouse trend, Vaylo pumps up the energy with bubbly syncopated and distorted stabs, bouncy bass, and 808 percussion that bring a ravey, but modern vibe to the track. Found at beatport.com.

“Let It Slam” (Original Mix) by X-Press 2, Honey Dijon & Leo Zero [Skint]: Powerful and tension-filled, this is main-room house at its most commanding. Reverberating synths and drums give it a late-night warehouse feel, the re-pitched vocal snips and metallic drums give it weight, while the insistent chord stabs and bassline give it energy and drive. Found at beatport.com.

“Wandering Bear” (Original Mix)

by Alistair Gillespie [Gooseneck]: Forthright, but sophisticated house music with an addicting melodic bassline that you’ll be humming long after the track ends. The swirling echoes and white-noise-drenched break and subsequent drop are worth the price of admission. Found at beatport.com.

– Robert LaFrance

Kylie Minogue

Betoko

Alistair Gillespie

DJ TIMES

SEPTEMBER 2013

Tim Green

46

Modern Machines

Sharon Doorson

The Bloody Beetroots

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American DJ.................................. CIV Beamz................................................. 5 Bose ................................................ 21 Carnival Cruises................................ 33 Chauvet............................................... 7 Crown ................................................ 37 Dixie Dance Kings............................ 20 EV (bosch)........................................ 11 Gator Cases....................................... 19 Gibson Pro Audio.............................. 13 JBL ............................................. CIII JBL/Marquis..................................... 27 Marquee.......................................22-23 Odyssey Cases.................................... 9

DJ TIMES

SEPTEMBER 2013

Peavey............................................... 39

48

Pioneer.......................................CI, CII Pioneer................................................ 4 RCF ................................................ 35 Sound Pro.......................................... 26

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

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MP3s in 56

Compiled As Of July 30, 2013

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

National Urban Pool Chart

Empire Of The Sun Alive Daft Punk Get Lucky J-LO F/ Pitbull Live It Up Duncan Morley If Time Runs Out Audio Playground F/ Snoop Lion You Never Know Will.I.Am F/ Justin Bieber #That Power Robin Thicke F/ Pharrell & T.I. Blurred Lines David Guetta F/ NE-YO Play Hard Chris Cortes Awake Suzanne Palmer Joy (Remixes) Kelly Clarkson People Like Us Cher Woman’s World Sarah Brightman Angel BEX What You Are Yulianna Don’t Take Your Love Away Gali I’m Alive Kylie Minogue Skirt Jason Dottley It’s Our Night Esquille HEYO Rod Stewart Sexual Religion Sylvester You Make Me Feel Mighty Real Grace Valerie Don’t Wanna Be Waiting Pitbull F/ Christina Aguilera Feel This Moment Ke$ha F/ Will.I.Am Crazy Kids Lady Bunny Take Me Up High Right Said Fred Raise Your Hands Bingo Players Get Up (Rattle) Michael Butera Ignore You Daddys Groove Stellar Depeche Mode Soothe My Soul Ford F/ Distira Music In Me Kim Cameron Not Into You Passion Pit Carried Away Dj Max Hardcastle Summer Love KromOzone Project Come Back Justin Timberlake Mirrors D’London F/ Baby Bash On The Dance Floor Natali Yura Scream For Love Jessica Sutta F/ Kemal Golden Again Mat Zo & Porter Robinson Easy

Astralwerks Columbia Capitol Global Groove Sony/Canada Interscope Interscope Capitol Global Groove Music Plant RCA Warner Brothers Simba Sybasonic Zvon Ryal Parlophone JD3 Global Groove Capitol Concord Dream Merchant 21 RCA RCA Lybra Promark Casablanca Music Plant Robbins Columbia Illuma Side FX Columbia Trippin’ Out KZP RCA Horizon N.A.T. Citrusonic Astralwerks

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

Krewella Noah KromOzone Project Kim Cameron RH3 Dj Max Hardcastle Kylie Minogue D’London F/ Baby Bash Cher Jessica Sutta F/ Kemal

Live For The Night No More Angels Come Back Not Into You When I’m With You Summer Love Skirt On The Dance Floor Woman’s World Again

Columbia Noah KZP Side FX Firm Grip Trippin’ Out Parlophone Horizon Warner Brothers Citrusonic

Reporting Pools

n Flamingo - Ft. Lauderdale, FL; Giulo n Lets Dance / IRS - Chicago, IL; DJ Kevy n Next Music Pool - Los Angeles, CA; Bob Ketchter n OMAP - Washington, DC; Al Chasen n NW Dance Music - Shoreline, WA; John England n Pittsburgh DJ R - Pittsburgh, PA; Jim Kolich n Soundworks - San Francisco, CA; Sam Labelle n Majik Boys LA , ; Jeremy Martorano n New York Music Pool - Levittown, NY; Jackie McCloy n Dixie Dance Kings - Alpharetta, GA; Dan Miller n WPTV-Prty 105FM Frd MdMx - New York, NY; Mike Rizzo n Northeast Record Pool - Revere, MA; Justin Testa n Pacific Coast Long Beach, CA; Steve Tsepelis n Masspool - Boston, MA; Gary Canavo

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

770-740-0356

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

Wale F/ Tiara Thomas Kendrick Lamar Miguel Rich Gang/Lil Wayne Birdman/Future Lil Wayne F/ 2 Chainz Dj Khaled F/ Drake Rick Ross,Lil Wa Robin Thicke F/ Pharrell & T.I. J. Cole F/ Miguel Justin Timberlake Wale F/ Sam Dew Daft Punk Fantasia F/ Kelly Rowland&Missy Eli Jay Z F/ Justin Timberlake Chris Brown F/ Aaliyah Mariah Carey F/ Miguel Kelly Rowland Kirko Bangz Ace Hood F/Future & Rick Ross 2 Cahinz F/ Pharrell J.Cole F/ TLC

Bad Bitch, Don’t Kill My Vibe How Many Drinks TapOut Rich As F**k No New Friemds Blurred Lines Power Trip Mirrors LoveHate Thing Get Lucky Without Me Holy Grail Don’t Think They Know #Beautiful Kisses Down Low Keep It Trill Bugatti Feds Watching Crooked Smile

Atlantic Interscope RCA Republic Republic Cash Money Interscope Columbia RCA Atlantic Columbia RCA Roc Nation RCA Island/Def Jam Republic Warner Brothers Cash Money Island/Def Jam Columbia

Most Added Tracks 1 2 3 4 5

Meek Mill Jay Z F/ Justin Timberlake Ludacris Chris Brown F/ Nicki Minaj 2 Chainz F/ Pharrell

Levels Holy Grail Helluva Night Love More Feds Watching

Atlantic Roc Nation Island/Def Jam RCA Island/Def Jam

NEW National Latin Dance Pool Chart 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

Hector Acosta “El Torito” Widy Juanes - Cumbia Sexy (Remixes) Toby Love Alsikiatra Ephrem J feat. Alexandra Don Omar Karlos Rose Ruina Nueva feat. Los Adolecentes Thalia feat Prince Royce Carlos Vives J King Y Maximan Joey Montana Victor Manuelle feat Gocho Tito Nieves Francisco Toscano Papi Sanchez Jerry Rivera Fulanito feat. Matatanes Edgard Daniel

NO Soy Un Hombre Malo Baby Baby (Remix) Universal Lejos El Gordo Noche De Maravillas Zumba Infiel Yo La Amo Te Perdistes Mi Amor Volvi A Nacer La Noche Esta De Fiesta Unico Me Llamare Tuyo Que Seas Feliz Decidete (Remixes) Te Amare El Amor Existe Mueve El Eskeleto Enfermedad

Venemusic Widy Music Top Stop Music Loqra Mayimba Music Universal Universal Papa Grande Sony WJ Ent. Universal Universal Sony Top Stop Music Unison Prod.

Sanchez Fam. Venemusic Soundcheck La Lirica

Most Added Tracks 1 2 3 4 5

Juan Esteban Luis Enrique Delilah Alejandro F & Christina A Yunel Cruz

Que Pena Descontrolame Sexy Hoy Tengo Ganas Rock With You

Hart Music Top Stop Music Delilah,Latina Princess Universal Machete

Reporting Latin Pools n Flamingo - Ft. Lauderdale, FL; Julio n Lets Dance / IRS - Chicago, IL; Lorri Annarella n Masspool - Saugus, MA; Gary Canavo n NW Dance Music - Shoreline, WA; John England n Pittsburgh DJ - Pittsburgh, PA; Jim Kolich n Soundworks - San Francisco, CA; Sam Labelle n New York Music Pool - Levittown, NY; Jackie McCloy n Dixie Dance Kings R - Atlanta, GA; Dan Miller n WPTV-Prty 105FM Frd MdMx - New York, NY; Mike Rizzo n Pacific Coast - Long Beach, CA; Steve Tsepelis n NE Record Pool - Boston, MA;

Justin Testa

Kaskade

(continued from page 20) why so many people live in L.A. now.

It’s been happening here quietly for decades. It’s always been here. We’ve just been nurturing it. We’re a very large country. Vegas didn’t necessarily have a scene, but the rest of the country did—L.A., San Francisco, Miami, Chicago, New York—with histories of dance music. Vegas is very successful and has the infrastructure to facilitate that scene and let it grow.

What’s happened in the last three years is just incredible. To have it grow to the point of Tiësto doing his residency there…

DJ Times: There are countless aspiring European DJs who maybe experience some local success in their own countries who are looking at the U.S. scene right now and licking their chops. They want so badly to make it in America, but some of them, no matter what they try, they just can’t. What would you tell them?

How do you break the U.S.?

Kaskade: You can. More and more people are getting into this and the scene is becoming bigger. Now there’s more clubs and they need to book somebody every weekend, every night.

Now is an amazing time to be an electronic musician. There are so many outlets right now. I would tell them, look, the scene is always going to be here. In Europe, it was always about parties and scenes. Look at when it happened in the ’80s. There, it’s more about marketing, and it’s more about content, here. I’d tell those guys, look man, go into the studio and write something that’s going to connect. It’s more about content, here.

DJ Times: What’s your current DJ setup?

Kaskade: The typical—four [Pioneer] CDJ-2000nexus players and a [Pioneer] DJM-900nexus [mixer].

DJ Times: You sing for the first time on one of your own songs, “When I Was Young.” Are you planning to sing it live and are you trying to transition more into singing than DJing in the future?

Kaskade: You know, this is my eighth album and I’m always challenging myself. I’m like, I haven’t sung anything yet. It was a really personal song when I wrote it, and it felt strange for me to ask someone else to sing it.

As for the live singing, it all depends on how good I sound! [laughs] It’s totally different from a performance aspect, like night and day, when you’re performing as a singer. It’s a different deal. I’m trying to figure in the show how I can make it work. I’m interested in singing live and I’m trying to figure it out to make a connection with people. That’s an important part of what the environment is. Maybe it’s a late night show, or a café or whatever. I’m still figuring that out.

DJ Times: Is it important to force yourself out of your comfort zone?

Would it sap your creativity if you were to become complacent?

Kaskade: If I were churning out the same thing, I’d feel…with Fire & Ice, I was like, this is still a challenge and it’s still fun and I still scare myself and continue to be creative.

DJ Times: Do you feel a certain responsibility to be a good shepherd for the dance music scene as it’s exploding in front of us now and into the future?

Kaskade: I feel totally a sense of responsibility to keep the scene real.

I started a blog a year ago to tell people my thoughts. I want to forward a couple of my responses to the haters I think you’ll really enjoy reading. I was responding to a Los Angeles Times piece like the big brother in a sce-

nario protecting one of my brothers out there, because people out there were picking on the scene. I made my point. I definitely feel a responsibility. There’s lots of people that have perspective, yourself included, that have been around for a while that have a lot of passion for the art and music and everything around it. We must try to protect that integrity so it doesn’t become a mockery of itself.

DJ Times: I hear you.

Kaskade: I always use the Nirvana analogy: Nirvana didn’t change their sound to become popular. They just became popular! Nirvana was a very genuine band and it resonated with pop culture. I always say, I don’t need to collaborate with a hip-hop guy, because that doesn’t speak to me. I’ll look for interesting collaborations or features that’ll naturally happen, but I’m not trying to be a Top-40 artist.

I’m just going to do what I do. That’s where I’m coming from. We don’t need big kids to sell it out. It can be this beautiful thing that launched from the underground and cooked for all these years and has this chemistry and rises to become something popular.

People want to make it something where it’s commercially relevant when it doesn’t have to be that way. We’ve done all this on our own! The biggest dance promoter [Insomniac] did it on its own. Coachella was the same way before they teamed up with AEG. Now, Pasquale remains the person who leads the charge at Insomniac.

That’s just one example.

DJ Times: So, what would you say to the cynics?

Kaskade: This is who I am. This is my music. Why would I change it? I can only be myself. People will discover it. n

Sounding Off

(continued from page 26) new iLine Mobile Music Cable Kit from IK Multimedia. As the name suggests, iLine is simply a kit of some of the most common cables you’ll need to make or perform music on-the-go with your mobile device, such as iPhone, iPad or Android device. Why nobody’s thought of this before is a mystery.

For around $60, you get a collection of six commonly needed cables for getting sound in and out of your mobile device. IK’s employed highgrade cabling and heavy-duty plugs and jacks for durability, optimal performance, and shielding. The included cables—mono output adapter, input/ output extension, stereo aux, headphone splitter, RCA output adapter, and mono output splitter—cover a wide range of common use cases

for mobile-centric DJing and music recording and performance. IK even includes a nylon carrying case that keeps all the provided cables neat and organized, and ready to throw into a backpack to make sure you have everything when you need it.

It’s tough to know where to draw the line with a package like this. For my own uses, I’d be tempted to add one or two additional choices to the assortment. (Could a “deluxe” expanded version be in the offing?) That being said, IK’s put together a musthave cable collection that should be a must-buy accessory for any serious mobile music maker—and one that’s already found a permanent home in my own messenger bag. n

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