DJ Times February 2008, Vol 21 No 2

Our Platinum Anniversary

America’s First Magazine For Professional DJs Established 1988 december 2008 $6.95 CANADA $4.95 US

Legal Beat Copyright Law & You Rock the Room A DJ Guide to Loudspeakers

DJ Enferno Turntables, Madonna & Me

$4.95 US

$6.95 CANADA

www.djtimes.com

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Plus: Pendulum’s Studio Sorcery . Fort Knox Five’s Funk Agenda . The World’s Smallest DJ Solution . What the Economic Bailout Means to DJs 11/4/2008 2:42:40 PM

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ind u st r y ev ent s…no t a bl es…mil est o nes

NEWS

DJx20: DJ Times Goes Platinum, Celebrates 20 Years

DECEMBER 2008

could network with like-minded pros, learn about the business and shop for the very latest gear. Including shows in O rlando, L os A ngeles, Chicago, and San Francisco, the D J Expo—set each A ugust in A tlantic City since 1994—has become the largest, most successful D J show in A merica.

“T he strength of the D J Expo is proven year in and year out by the quality of both attendee and exhibitor,” says T remayne. “D Js know that they’ll see the best gear and gear makers know that they’ll meet the top D Js—it’s a winning combination.”

I n 2006, DJ Times launched its A merica’s B est D J promotion, an online vote supported by a 40-city national tour. In 2007, Pioneer Pro D J became the tour’s sponsor. In ‘08, D J T imes unveiled its D Jx20 campaign.

“When I founded this magazine in 1988, I saw a market that was somewhat unde ned by the professional audio world, by retail and, to some extent, by the D Js themselves,” says T esta. “Because I’d seen it happen in other industries, I believed a monthly periodical dedicated to the D J’s wants, needs and aspirations could earn its audience and, in the process, help de ne the market.

“T wenty years later, we’re proud to say that’s happened—and I really believe that DJ Times has had something to do with that. A long with closely related properties such as the International D J Expo and A merica’s Best D J, DJ Times continues to set the pace for the market and we look to celebrate more anniversaries in the future. T o our readers and supporters, we offer a big thank you.”

DJ TIMES

Port Washington, N.Y.—A little more than two decades ago, V inny T esta attended a Sweet-16 party on L ong Island with his oldest daughter, Corina, and noticed a mobile D J setting up his system.

A s publisher of several audio-related magazines and a former rockn-roll music producer, T esta was intrigued by the breadth of the D J’s equipment. He began to ask the jock about his gear-shopping habits, his business practices and whether or not he had a periodical to consult for industry information. His entrepreneurial spirit was heartened when he discovered that A merica did not have a dedicated, D J-speci c magazine. T he idea for DJ Times was born.

L aunched in November, 1988, DJ Times began with a directive to cover the products that D Js use, the music they play and the business they conduct. Initially under the editorial direction of Chuck A rnold, DJ Times was also aided by the industry liaisons of R ich Hernandez and the sales acumen of Grover Knight. In 1990, Jim T remayne was hired as A ssistant Editor and, in late 1991, he was promoted to Editor. B rian O ’Connor was soon hired. (Seventeen years later, both T remayne and O ’Connor remain.)

O ne of DJ Times’ first big industry-de ning steps was to found the International D J Expo. Inaugurated in November, 1990, in A tlantic City, N.J., the Expo was a startling hit. Finally, D J-gear manufacturers, pro-audio makers, and lighting companies had a trade show/exhibition that embraced one of its fastest-growing markets, and D Js had a conference where they

Always Upfront: The DJ Expo has championed new technologies.

Rahav Segev

Jeff Heart

America’s Best DJ: The nationwide tour presents top jocks like Dub re (left) & Josh Wink.

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Volume 21 Number 12

DEPARTMENTS 6 Feedback

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

24 Making T racks N ovation’s N octurn

26 S ounding O ff

QS C’s GX5 & T onium’s Pacemaker

28 Mobile Profil

Philly DJs Find Dancefloor Y in & Yang

30 Business Line

T he Post-E conomic-Bailout DJ S urvival Guide

12 Lucky Star

How Battle Champ DJ E nferno Caught a Break & Landed Front N ’ Center on Madonna’s “S ticky & S weet” T our

By J im Tr e mayne

16 Legal Beat

Knowledge of Music-Copyright Law Remains Vital for DJs & Producers, But Its Digital-Age Future Remains Uncertain

By Coe W. Ramsey

20 Rock the Room Whether Powered or Passive Units, Mobiles E njoy Plenty of S peaker O ptions

By B ill S t one man

32 Gear

N ew Products from KRK, N ative Instruments & More

36 Grooves

Phat T racks from S peedy J, Quentin Harris & More

38 DJ T imes Marketplace

S hop Here for All Your DJ-Related S upplies

41 Club Play Chart

T he Hottest Records, As Reported by O ur T op U.S . Record Pools

SAMPLINGS 8 Fort Knox Five N ot Fakin’ the Funk

10 In the S tudio With

Cover & Contents Photos By Douglas S onders

Pendulum

DJ TIMES DECEMBER 2008

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from th e editor

editor-in-chief Jim Tremayne editor-at-large Brian O’Connor

Platinum Artist, Platinum Anniversary

Madonna is no stranger to DJ culture. If you know her story at all, you’re aware that it’s

full of vital contributions from a variety of spinners. From her early alliances with Mark Kamins and “Jellybean” Benitez to her dalliances with Junior Vasquez and a myriad of DJ-crafted remixes, the recent Rock and Roll H all of Fame inductee is one of the few artists who have genuinely valued DJs’ contributions to her career.

And it hasn’t stopped in 2008. No, she has another hot DJ onboard for her ongoing “Sticky & Sweet” tour—DJ Enferno, aka Eric Jao, 33, of Spring eld, Va. The 2003 DMC U.S. champion is not only a deft turntablist, but a traditional musician with a background in jazz piano and musical theater. Curiously, all three talents inform his current job because touring with Madonna is like doing a modern Broadway show every night.

Though unquestionably talented, Enferno’s entry into MadonnaLand was one of chance.

Yes, it’s a story of good fortune, but also one of a DJ who spent his whole life preparing for that moment. When we caught up with Enferno and later Madonna’s musical director Kevin Antunes, we got the inside scoop. We think you’ll nd it inspiring.

chart coordinator Dan Miller

production manager Steve Thorakos

contributor s Jody Amos Joe Bermudez Shawn Christopher Paul Dailey Justin Hampton Josh Harris Robert LaFrance Lisa Loco Michelle Loeb Lily Moayeri Phil Moffa Coe W. Ramsey Scott Rubin Rahav Segev Jennifer Shapiro Nate Sherwood Jeff Stiles Emily Tan Phil Turnipseed Curtis Zack

promotions/web designer Phillip Taylor

In addition to a look at loudspeakers for the DJ market, this issue nds Nate Sherwood’s review of Tonium’s Pacemaker, a product that’s like no other. A pocket-sized DJ booth, the Pacemaker holds a variety of applications. Mobiles, take notice—this could be a multi-pur-

President/Publisher Vincent P. Testa

pose solution in the near future.

December also nds Coe Ramsey keeping the legal beat. A North Carolina-based entertainment lawyer, Ramsey hits on copyright law and the implications for DJs of all stripes. In the rst of a series of legal-issue stories, this one also hints that some changes in copyright law could be around the corner.

From Platinum artist to a Platinum anniversary…the last month of 2008 signals a time for celebration: DJ Times turns 20 years old. We offer the story on Page 3, but I want to take

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

a minute to offer my own personal thanks to all the supporters, readers, International DJ Expo attendees and America’s Best DJ voters over the years. Our yearlong DJx20 campaign celebrates this milestone and we’re thrilled to make it to this nish line. H ere’s to more anniversaries and a promise to make 2009 another big year for DJ Times.

Cheers,

DJ TIMES DECEMBER 2008

Jim Tremayne, Editor, DJ Times

graphic designer/ar tist Janice Pupelis

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

advertising manager John Grecco circulation dir ector Linda Emanuele advertising & mark eting assistant Roman Kolomisky classified sale Linda Inglima

operations manager Robin Hazan 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 © 2008 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 December 2008

visit our website: www.djtimes.com

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11/5/2008 8:56:59 AM

feed ba ck spiron notebook, and I learned the hard way. There are major tweaks/modifica‑ tions that need to be done to the OS to get it to run efficiently, and you are still apt to have issues in a live setting.

Also, there seems to be a substantial lag time with a budget PC, and if you are scratching or using effects, you will have problems. If you are using a program such as PC DJ, Mixmeister, or Virtual DJ it might work 90-percent of the time, but you will likely run into minor issues from time to time. For

more advanced systems like Serato, this would be a poor choice.

You can also look into a higher-end PCbased system, like a Toshiba Satellite.

Very solid computers for everyday use, but they still have the same OS issues.

The unit might be mechanically sound, but it’s really not the optimal decision.

From personal experience, I have four friends who began on this type of lap‑ top (each paid between $1,000 and $1,300) and three of the four ended up ditching their laptops for a Macbook.

All of them regretted their initial pur‑ chase and would never go back to a PC-based system. Three of them had Toshiba Satellites, and the other used a Dell XPS Series (an incredibly slow machine for its posted specs).

I am not a Mac “purist.” I use a Win‑ dows-based machine at home and for work, but when it comes to a mobile computer for DJing, there is no doubt that a Macbook is the best bang for your buck.

– Nate Sherwood, DJ Times

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

Hi, I am looking for advice as to what type of computer to buy for my use as an amateur DJ. I currently use a Fender sound system plus two CD players. I want to upgrade myself and purchase a laptop. Please suggest a good brand and components that I should get.

Again, I play only at neighborhood pool parties, local high school and friends’ weddings, rehearsals, bat mitzvahs, etc, as an amateur. Thanks for any advice.

– Brian Bryan, Bethesda, Md.

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DJ TIMES

To me, there really is only one an‑ swer—get a Macbook. It’ll be 20-per‑ cent more money than a typical Win‑ dows-based machine, but its well worth every penny.

The Macbook will not give you any problems, and almost every audio pro‑ fessional would tell you that a Mac is your best choice for reliability when it comes to audio applications.

With that being said, you could opt to go with a PC; however, almost all the new laptops come with Vista and many of today’s digital-DJ systems seem to have issues with that operating system.

PC Alternatives: You could go with a budget computer, like a Compaq or Dell and get away with a machine that can do the job for $500 to 700—but you are bound to run into technical issues.

If you are doing gigs where you are get‑ ting paid, this could potentially affect your reputation and opportunities for repeat business. I started with a Dell In‑

11/4/2008 2:43:09 PM

DJ TIMES DECEMBER 2008

sa mpl ings

When the creative director for Gwen Stefani’s “Harajuku L overs” tour approached Fort Knox Five in 2005 to be her support D Js, it was in part because he wanted their track “Brazilian Hipster” to be the show’s exit song. But the tour honchos quickly realized that FK5 offered more than one tune. A s openers, they would create a fun, funky, upbeat atmosphere that set the evening’s tone and carried throughout the show.

Yes, playing to 15,000 fans each night was exciting for the Washington, D .C.-based collective— Jon Hor vath, Sid B arcelona, R ob Myers and Steve R askin—but it wasn’t anything that new to them. Having honed their craft playing raves back in the day, they were more than ready.

Now with a slew of singles, a pair of CD comps and a new artist album under its belt, FK5 has become a steady touring group. Mixing D J skills and live instrumentation, the misnamed quartet plays clubs and festivals around the globe to breaks-loving audiences.

“Nowadays with Serato, we have a much larger collection of music,” says Horvath. “It’s nice to be able to have a little bit of everything in the repertoire, to go places and feel out within the rst couple of minutes, or by listening to the people playing before you, as to what you can play. In Europe, for instance, they’re into more of the electro and harder stuff, whereas in Canada and A ustralia, you can drop incredibly funky breakbeats.”

While Serato figures largely into FK5’s raucous gigs, a pair of T echnics 1200 turntables remains part of their D J setup. A s for mixers, the group prefers the Pioneer D JM-800 and the R ane TTM 57 units—the former for reliability and effects, they say, the latter for its Serato compatibility and scratching options.

“T here are some good tricks you can use inside of the R ane, like quick looping techniques and cue points,” says Horvath. “O ne of the things we want to do is manipulate the music, take classic songs as a D J would and put them into a set that incorporates our real music, even if it’s a loop of something. We can alter a song in any way by doing that.”

FK5’s latest, Radio Free D.C. (on the group’s own Fort Knox R ecordings), features turntables, instruments and MCs. R eggae-fused, L atin-spiced and

Fo r t Kno x Fiv e: No t Fa kin’ t he Fu nk

FK5: (from left) Jon Horvath, Sid Barcelona, Rob Myers & Steve Raskin.

dub-touched, the CD over ows with funky avors and offers groove-laden, election-year messages like “Funk for Peace.” L ooking to create a more varied listening experience than just a series of dance oor bombs, FK5 enlisted indie-rock producer Eli Janney (Girls A gainst Boys) and got key contributions from local D .C. artists Mustafa A kbar, Ian Svenonius, Sleepy Wonder and Javier Miranda.

While Radio Free D.C. relies heavily on live inputs, it’s FK5’s D Jing experiences that, Horvath says, provide its continuing inspiration. “O ne of the biggest things about D Jing is you head onto what’s cool in music,” he says. “T he glitchy dubstep stuff that’s blowing up, we look at it and go, ‘Maybe if we threw some funk in there like cowbells and some other stuff, it could make it interesting to our audience.’ You come back from places like Burning Man or a big festival or you have a good D J experience somewhere, and you are motivated to work on music and with new ideas.

“A s a D J you have a pre-fabricated beat, some a cappellas and samples over it; when you’re doing live shows, usually it’s a set play list that you’re doing,” Horvath explains. “Because we come from a D J background and a livemusician background, it would be cool to try and mingle the two and have a somewhat pre-fabricated set alongside a freestyle-D J thing, so you could constantly change it and read the direction and follow the crowd as you would, as opposed to just playing a set and seeing how it goes. With four turntables and live instrumentation, you can bounce around keeping the D J-element improvisation.”

– Lily Moayeri

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JBL.EON.D

in t he st u d io wit h…

DJ TIMES DECEMBER 2008

A fter bolting from the gate with a slew of drum-nbass anthems—“T arantula,” “Slam” and T he Freestylers collaboration “Fasten Your Seatbelts,” among them—it m i g h t m a ke s e n s e fo r a group to coast on its proven strengths for another album or so before tackling the big time. Pendulum, it seems, operates on a much faster learning cur ve than most electronic acts.

S i n c e i t s c l u b - ro o t e d breakout in 2004, the A ustralian sextet has taken over the U .K./European festival circuit with the modern rock-laced futurism of In Silico (A tlantic). Such sonic adventurism recalls T he Prodigy, whose “Voodoo People” enjoyed a gritty, punky remix from Pendulum. Still, bassist/D J Gareth McGrillen insists that’s where the comparisons stop.

“We’re both acts that came from a real underground scene and moved on to bigger and better things,” says McGrillen. “I think that’s the only real similarity.”

T he lion’s share of recording for In Silico, as well as mixing and mastering, took place at Pendulum’s home studio, now located in L ondon, although the group did experiment with microphone placements and analog recording techniques at O lympic Studios, where L ed Zeppelin, T he R olling Stones and T he Beatles all threw down back in the day. A nd some tracks, such as the U .K. T op-10 hit “Propane Nightmares,” came out of a jam session between McGrillen, writer/producer/vocalist R ob Swire and drummer Paul Kodish that was recorded into a phone machine. (T he tune may be best-known to Stateside pro-wrestling audiences as the theme song for WWE Cyber Sunday pay-per-view event.)

But mostly, McGrillen and Swire started off developing the album’s tracks as electronic demos, recording all of the live instruments, and then re-recording the track integrating the instrumentation. (If a guitar section on the CD sounds somewhat unusual, that’s because it’s from the original synthesized demo. “If we couldn’t recapture the vibe,” says McGrillen, “we just kept the sample how it sounded.”) Sequencing was handled on Steinberg’s Nuendo 4, which is used alongside A bleton when the group is on the road.

L ive, McGrillen says that Pendulum can recreate any sound or studio environment in real time using R eceptor from L inux developer Muse R esearch. R unning on 13 PCs, McGrillen says, R eceptor has never crashed, thanks to L inux’s stability.

T he live act, which includes guitarist Perry ap Gwynedd and MC Ben “T he Verse” Mount, employs McGrillen and Paul “El Hornet” Harding as D Js. Harding uses Serato Scratch LIV E, which McGrillen eschews for now, preferring four Pioneer CD J1000s alongside two T echnics 1210 turntables.

“I nd I just know my CD collection so well, I can cue a lot faster than nding a track with a mouse,” says McGrillen.

“A nd that really works with my style, because I mix very quickly. I think I mix about 10 tunes a minute. I move really quickly through different tunes and back to the same tunes again, so I nd things a lot quicker when I’ve got the tracks right there on CD or even vinyl.”

A nd how do their musical styles differ? “[Paul] tends to D J more of a journey,” says McGrillen, “whereas I kind of go for the jugular.”

– Justin Hampton

Pend u l u m’s In Silico

Pendulum: (from left) Mount, ap Gwynedd, McGrillen, Swire, Harding & Kodish.

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How Battle Champ DJ Enferno Caught a Break & Landed Front n’ Center on Madonna’s “Sticky & Sweet” Tour

DJ TIMES DECEMBER 2008

New York City—Every success has a story—some are just better than others.

Eric Jao’s entry into mainstream MadonnaL and may have come via chance, but it’s not as if he was unprepared for the moment. If luck truly is the residue of design (and perhaps desire), you could say that the 33-year-old Jao (aka D J Enferno) actually made his own break.

It happened like this: T his past spring, Kevin A ntunes—Madonna’s musical director—just happened to catch an Enferno gig.

Fresh from discussions with Ms. Ciccone to keep an ear out for “cutting-edge” D J talent, A ntunes took a visiting friend to the Blue Martini L ounge in O rlando. A fter seeing Enferno’s musical mastery that evening—Enferno calls it his L ive R emix Project—A ntunes put in a good word about him to Madonna, who was preparing a tour to support her upcoming Hard Candy release. Eventually, he got the call. Not quite L ana T urner being discovered in a malt shop, but wildly serendipitous nonetheless.

O nce he earned his spot as the D J for Madonna’s massive “Sticky & Sweet T our,” Enferno began to participate more in the musical process by helping to re-envision and actually remix certain numbers. O ne of the results was a modernized version of “L ike a Prayer,” which has become the show’s goosebump moment—hands in the air, thousands singing like an arena-sized gospel choir. So far, his input has earned high praise from the Madonna camp.

“I’ve noticed that Eric has a strong sense of musical reverse-engineering,” says A ntunes, who also has served as musical director for Justin T imberlake among other huge pop acts. “U nder extreme deadlines and indescribable pressure, Eric and I were able to deconstruct and reconstruct some of Madonna’s older hits and give them a new twist—and still have fun doing it. I had asked Eric what he would do with ‘L ike a Prayer,’ even though it wasn’t added to the set during rehearsals, and he came up with this mash-up with Meck’s ‘Feel’s L ike Home.’ We took that idea, refined it for stage, and it has become that highenergy, show-stopping moment for all of Madonna’s fans.

“While I was working on the main session, Eric was time-compressing, beatmatching, and treating audio pieces for me to lay into the nal session for this song, as well as several others. He has rede ned the role of a D J in a touring environment

and set the bar tremendously high.”

T he whole Madonna discovery story may have Enferno feeling like a lucky star, but his place on the tour is no accident.

A fter years of mobile and club work, the Spring eld, V a.-based D J became interested in turntablism and won the 2003 DMC U .S. Championship, eventually nishing second in that year’s World Finals. He also has a deep background with piano and theater.

Fact is, there’s probably no combination of talents that could’ve better prepared him to tour with the massive stage show that is Madonna’s “Sticky & Sweet T our.” He even gets a front-and-center moment: D uring “Into the Groove,” he cuts it up in a moving D J booth, while Madonna gyrates on a pole above him. He’s certainly a long way from doing high-school mobiles.

D uring a short break in the middle of Madonna’s week of New York area shows, we caught up with D J Enferno in midtown Manhattan.

DJ Times: What inspired you to D J? Enferno: A mobile D J. I was going to these parties with my sisters and I’d see these two D Js play at the same time. I was about 14 and I was fascinated by how they could go from one song to the next. L ater, I started listening to the hip-hop mix shows in D .C. “Wow, not only are the D Js playing great songs, but they’re able to scratch, too.” T hat was inspiring.

DJ Times: You were already a music fan?

Enferno: Yeah. I used to make mix tapes, kind of like remixes with a boombox, when I was 13 with a blank cassette. You could hit start and it would start on the beat.

T here was no pop, no discernable difference. So I thought, “Well, let me take parts of songs, just the sections that I like, and put them together.” T his is before I ever had turntables.

DJ Times: T ell me about your mobile days.

Enferno: T hey were mostly high-school dances. T he idea came to me when I was 15. I was in Maryland with my parents.

T hey went to lunch and I went to Chuck L evin’s Washington Music Center, which was nearby, to look at keyboards. I saw this guy giving D J-mix lessons. I was intrigued, so I asked, “Hey, how much for D J lessons?

I wanna learn this!” A nd he said, “O h, these aren’t D J lessons—I’m just doing this for a friend of mine.” I began to pick his brain about how much it would cost to get start-

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DJ TIMES

DECEMBER 2008

By Jim Tremayne

photos by douglas sonders

Lucky Star

13

11/4/2008 2:43:49 PM

Douglas Sonders

DJ TIMES DECEMBER 2008

DJ ENFERNO’S GEAR

For DJing 2 T echnics 1200 turntables 1 R ane TTM57 mixer (or Pioneer D JM-800) 2 Shure M-447 carts 1 Serato Scratch LIV E For Live Remix Project 2 T echnics 1200 turntables 1 R ane TTM57 mixer 2 Shure M-447 carts 1 Pioneer EFX-500 1 Korg Kaoss Pad3 1 Serato Scratch LIV E 1 M-A udio A xiom 25 MIDI Controller 1 M-A udio T rigger Finger 1 MacBook Pro laptop (for Serato) 1 T oshiba Satellite laptop with Echo Indigo I/O sound card (for A bleton L ive 7) Korg L egacy Collection Propellerhead R eason 3.0 Native Instruments R eaktor 5 dBlue Glitch freeware

ed. T hat’s when the seed was planted. I thought, “I could do this!”

DJ Times: You never saw yourself as a D J? Enferno: Well, I’d go to parties in my high school and the D Js never blew me away. T hey’d get up there with their CD players and push play. A nd I’d never been to a club before because I was too young, but I had an idea of what I wanted to do. So in six months, I negotiated with my parents a plan to buy D J equipment and to pay them back.

DJ Times: What did you buy?

Enferno: T wo T echnics with a Numark 19-inch mixer with a sampler button—I forget the model.

I had lights—four par cans on trusses. I got an Electro-Voice PA with a Crown amp and a lighting controller that would do chase patterns.

DJ Times: How did your D J career progress?

Enferno: When I got to college [at the U niversity of V irginia], I started doing more gigs. I made mix tapes on cassette and passed them out—that helped me out a lot. I built up a pretty decent business by my senior year. A fter college, I moved back to D .C. and I started working at clubs.

DJ Times: How did you move toward scratch D Jing and battles?

Enferno: I fell in love with turntablism when my best friend showed me a compilation of videos of the 1997 D J battles—’97 DMC U .S. Finals, ’97 IT F Categories, ’97 IT F R egionals. I thought, “What is that?” T he moves didn’t seem to match the sounds. I’d watch it all day. I learned how to scratch that way and I progressed into beat juggling. I’d rewind and stop the video and learn people’s routines. I’d gure out D Js’ patterns and build around that.T hat’s where I got the idea to not just play the music, but also perform.

DJ Times: D id the competitive aspects of that scene appeal to you?

Enferno: It was never so much the competition as it was the performance. T here is something about getting up there, nervous as I was, and not messing up. It’s months and months of practice for a six-minute routine.

DJ Times: L ike gure skating.

Enferno: But you might not even get that far— you may not get past the prelims. A t rst, I sucked pretty bad, but I was learning. Back then, it wasn’t about winning. It was like, “Can I do this? Can I get it right?” L ittle by little, I’d get it right. Pretty soon, I’d begin to win D J battles locally.

DJ Times: T ell me about winning the 2003 DMC U .S. title.

Enferno: I wasn’t trying to win that, but I worked really hard on the routine over the year. I wanted to get up there and do it without messing up. I thought, “My friends are coming—it’s got to be great.” In the nals, I drew the rst spot and I nailed it. It was a surreal day because as the day went on and more contestants went on, people came up to me saying, “You know what? You might have a shot of winning it.”

DJ Times: What did winning mean for you?

Enferno: It was a dream come true because I remember how I felt that day. A fterward, I couldn’t fall asleep because I could not believe that I had the DMC jacket. I couldn’t fathom the thought of it.

DJ Times: What do you tell up-and-coming battle jocks?

Enferno: It really would help if you knew how to mix rst because it really starts there. You need the tricks and you need the technical skills to win battles. But if you have the foundation with the mixing and, better yet, if you have experience play-

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DJ Times: What’s in that rig?

Enferno: T he left side is the turntable side— T echnics 1200s, R ane TTM-57 with Serato, Pioneer EFX-500, Korg Kaoss Pad 3. So those are hooked up to the effects sends and are daisy chained. T he output of that entire rig goes into the sound card of another laptop. O n the right side, I have a laptop with A bleton L ive. T he output of the Echo Indigo card goes into a Behringer audio mixer. Connected to the laptop are two MIDI controllers, an M-A udio A xiom 25 and an M-A udio T rigger Finger. I have R eason 3.0 with piano and synth patches, R eaktor 5 for synths, and Glitch freeware.

DJ Times: What type of material or performance were you going for?

Enferno: Just songs that I really like. I’d re-work them onstage. In an A bleton L ive session, I’ll have four drum loops available to me at all times. I got turned onto A bleton because there were turntablists who were using it like guitar players would use a loop pedal. T hey were using it to scratch with, so that’s why the laptop.

DJ Times: How did this Madonna tour happen for you?

Enferno: I was playing at a cigar lounge in O rlando called Blue Martini and I was doing a L ive R emix Project gig. Kevin A ntunes, Madonna’s music director, was there. It was just chance. He doesn’t hang out there, but his wife had friends in from out of

town and they wanted to go out. I did my set, no idea he was there. I was at the airport ying back to D .C. the next day and my phone rings while I’m going through security. I let it go to voice mail. I tried to listen, but it was too loud. I see I have a text message, too, and it’s Kevin A ntunes, who said he saw my show and to give him a call. I called him and he said, “Hey, I saw that you were using MIDI controllers in your set and could kind of get the gist of what you’re doing…” and so on. T hen he told me that he worked for Madonna and they were looking for a D J and that he’d like to keep me “in the conversation.”

DJ Times: A nd then?

Enferno: A fter a couple weeks, he told me to send one of my videos on YouT ube to Madonna and I had one that explained exactly what I was doing with my L ive R emix Project. He took it to her with a nice email hyping me up. Pretty soon, I got a call for an audition.

DJ Times: What was that like?

Enferno: When I found out about getting the gig, something happened to my blood pressure or something, because I started shaking. I was in the basement, having this conversation with Kevin and I got really cold. I had to go upstairs and put on a sweatshirt and get underneath the covers, I was so affected by it. I had a physical reaction to the (continued on page 42)

DJ TIMES

DECEMBER 2008

Enferno cuts it up while Madonna gets “Into the Groove.”

Getty Images

ing in front of people, that helps. You’ll know what an audience wants to hear.

DJ Times: What do you think about the idea of D J battles with digital gear?

Enferno: It doesn’t seem like something that’s a true D J battle. I’m all for using technology, but in a competitive sense…

DJ Times: L ike acoustic guitars vs. electric guitars?

Enferno: T hat’s a good analogy, too, but when you see someone using digital technology—in a battle, for example, which is very technical—when you start pushing more buttons and doing movements that people can’t see from a distance, it becomes less obvious what it is that you’re doing.

People start questioning. With two pieces of vinyl, you know where you stand.

DJ Times: Explain your L ive R emix Project.

Enferno: It’s a combination of a few disciplines.

T he rst part is from music theory—I can read sheet music and I took jazz lessons in piano. I learned scales and the theory behind it. A nother discipline is turntablism—the idea that you could take turntables and a mixer and manipulate sound with your hands. It was interesting to take those ideas and come up with a new type of performance. T echnology can make that happen with effects processors like the Pioneer units. I can do things in real time.

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Legal Beat

By Coe W. Ramsey So you think music-copyright law is a big yawn, right? Well, if you’re D Jing, remixing or producing, or simply love doing mashups on your notebook computer, you need to understand the basics of music-copyright law.

Established in 1976, the current law often makes no sense in today’s digital world. D igital downloads, Internet streaming, podcasts, ring tones, digital rights management, and other “new” digital distribution issues promise a reform of the entire musiccopyright system in the future. But until then, we must live under the current state of music-copyright law.

The Types of Music Copyrights

T he most important concept in music copyright law is that each recorded song has two copyrights. First, there is the right in the underlying musical composition—that is, the speci c combination of musical notes and lyrics. T he law refers to this as a “musical work.” T he second copyright protects the recording of a musical composition, which is referred to as the “sound recording.” A s tangible examples, sheet music or a MIDI le is a musical work, and a CD , record, or MP3 le is a sound recording.

In the case of popular music, typically one or more music publisher owns or controls the musical work copyright and a record company owns the sound recording. So, for example, if you are producing a song and wish to sample the bassline from George Clinton’s “A tomic D og,” you need to secure permission from Capitol R ecords, the record company that owns the “A tomic D og” sound recording, and Bridgeport Music and South eld Music, the publishers that control the “A tomic D og” musical work.

DJ TIMES DECEMBER 2008

How Music Copyrights Are Created

A music copyright, whether as a musical work or a sound recording, is created immediately at the time an original song is recorded as sheet music, on tape, or as a MIDI or computer sound le. It is not absolutely necessary to publish or even register a copyright with the U .S. Copyright O f ce. However, you do get certain bene ts under the Copyright A ct if you do register. In most cases, the individual who writes a song owns the copyright.

But in certain cases where the writer is acting as an employee or otherwise under contract, his or her employer will own the song.

A s discussed above, for popular music, copyrights are often transferred to record companies and music publishers.

While a copyright is created immediately when a new song is recorded, the new song must also be original. For example, in

2007, 50 Cent was sued over his use of the line, “Go shawty, it’s your birthday” in the song “In D a Club.” T he plaintiff claimed that the line was copied from the song “It’s Your Birthday” by L uther Campbell. However, the court ruled for 50 Cent on the grounds that those lyrics were not original because the phrase was a common chant at hip-hop events and nightclubs and had appeared in other songs. So, if a song or lyric is not original, it’s not protected under copyright law.

O nce a music copyright is created, protection will last for 70 years after the death of the author (and in some cases 95 years from publication). A fterwards, copyright protection ends and the song becomes public domain. So, don’t be misled into thinking that a lot of music is now in the public domain. In fact, many people are often surprised to hear that “Happy Birthday to You” remains under copyright protection.

The Exclusive Rights of a Music Copyright

T he owner of a music copyright has various exclusive rights.

T he owner can control (1) whether copies, including CD s and MP3 les, can be made; (2) whether the song can be rearranged, remixed, or recorded with video; (3) whether copies of the song can be sold or downloaded; and (4) whether the song can be performed on radio stations, in nightclubs, in stores, in restaurants, and on satellite and Internet radio. In today’s digital world, these separate and distinct rights are often mixed and mingled.

For example, when server or buffer copies are made of a song in connection with streaming that song on the Internet, does such use invoke both the reproduction and the public performance rights? O r, when a mobile-phone ring tone song plays in a

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DECEMBER 2008

DJ TIMES

Fair Use

In copyright law, there are certain limitations that permit others to use copyrighted material without approval of the copyright owner. T he most recognized limitation is known as the doctrine of “fair use.” In determining whether an unauthorized use is a “fair use,” courts look at four factors: (1) Whether the copy of the song is for commercial or noncommercial purposes; (2) T he creativeness of the original song that was copied; (3) T he amount of the song that was copied; and (4) T he effect that the unauthorized copy has on the potential market for the original song.

U nfortunately, there are no bright-line rules that apply when assessing whether something is “fair use.” For example, there are common misconceptions that it is not a copyright violation if the copy does not result in pro t, if the copy is branded as “Promo-

Knowledge of Music-Copyright Law Remains Vital for DJs & Producers, But Its DigitalAge Future Remains Uncertain

crowded room, is that a public performance or is it just a private performance for the owner of the phone?

Good questions. Copyright law allows the right to make and limit the copying of a protected song. T o determine whether a song has been illegally copied, courts will look at whether the new song is substantially similar to the original song (it is not necessary to prove actual copying). Whether songs are substantially similar is determined by an analysis of the musical characteristics of each song. A technique in the D J and music production business known as sample interpolation involves creating a new composition that is heavily in uenced by an original composition. In some cases, a particular interpolation may be unlawful and substantially similar to the original song, particularly when it is used as an attempt to avoid publisher clearances.

tional U se O nly,” or if the project is otherwise noncommercial.

T here are also common misconceptions that it is not a copyright violation if you copy, for example, only 15 seconds or four bars of a song. T he noncommercial or promotional nature of a use, or the speci c duration of a copy alone do not control whether something is “fair use.”

For example, if you are ripping CD s and posting songs on-line, while you are not making any money, you are still impacting the market for those songs since there is no need for downloaders to buy them. A s such, courts have determined that the use of Internet sharing services is not “fair use.” In addition, some mobile jocks that operate multiple systems may be surprised to learn that they may run afoul of copyright law by making multiple copies of songs even when they purchase and maintain legal versions of the songs.

T he recording industry takes the position that such multi-system recordings are not a “fair use” due to the commercial nature of a D J business.

With respect to sampling in music production, courts have found that samples of less than two seconds in duration were illegal. In fact, in lawsuits involving sampling, courts generally focus on whether the sample takes a signi cant part of the original song, so even very short samples can often be illegal. R ecently, one court simply proclaimed that you should “get a license or do not sample.”

While you can never absolutely rely on “fair use,” depending on the particular facts and circumstances, “fair use” could be a defense. For example, it is possible that “megamix” songs created by quick mixes of other songs, such as those by D J Girl T alk, could qualify as “fair use.” O ne could argue that the transformative and creative nature of such megamixes outweigh their commercial purpose or effect on a commercial market. Nonetheless, the applicability of “fair use” to megamix songs has not yet been tested in court.

In the leading music “fair use” case, the U nited States Supreme Court found that 2 L ive Crew’s 1989 version of R oy O rbison’s song “O h, Pretty Woman” was a “fair use” due to the fact that the 2 L ive Crew version transformed and was a parody of the original song. T o be a parody, the Court made clear that the 2 L ive Crew song was making fun of and commenting on R oy O rbison’s original song, and that it would have unlikely been a “fair use” if 2 L ive Crew had just created a funny version of the song that was otherwise unrelated to the original song.

In addition to “fair use,” there are a handful of other circumstances when a use of a copyrighted song is permissible without the owner’s permission. For example, once the owner of a musical work distributes a song to the public, anyone can then record

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“Some mobile jocks that operate multiple systems may be surprised to learn that they may run afoul of copyright law by making multiple copies of songs even when they purchase and maintain legal versions of the songs.”

their own version of the song provided they pay statutory licensing fees (fees set by the government). To qualify, the new recording must not change the basic melody of the underlying musical work and cannot include a copy of the original sound recording. This exception to the right of the owner of a musical work to control whether his or her song is copied and distributed is often used by cover bands to record and sell cover songs.

Another exception permits, under certain circumstances and subject to payment of statutory royalties, a user to operate an Internet radio station without having to seek permission from every record company for every song played on the station.

Music Licensing

So, what to do if you wish to use copyrighted music and the exceptions to copyright protection like those discussed above are not applicable? The simple answer is to secure the appropriate licenses, but in practice, music clearances can be quite dif cult. In the vast majority of cases, you must negotiate and secure a license from each and every copyright owner for a particular song.

Common music licenses include (1) Mechanical licenses, which permit the reproduction of a musical work; (2) Master-use licenses, which authorize the reproduction of a sound recording; (3) Synchronization licenses, which permit a song to be copied and incorporated into a movie, TV show, or other type of video; (4) Performance licenses, which permit the performance of songs in public; and (5) Print licenses, which permit the re-printing of song lyrics and music scores.

Say, for example, that you wish to record a nightclub set and post it on your website for download as a “podcast.”

What kind of licenses do you need? Well, because a “podcast” results in the listener having a copy of each song included on the “podcast” on their computer, iPod, or other MP3 player, you should secure a master-use license and mechanical license from each and every record company and music publisher having an interest in each and every song in the “podcast.”

In addition, some publishers have also taken the position that a “podcast” is also a public performance, which requires a public performance license. As a practical matter, in most

cases is it simply cost prohibitive to secure all necessary licenses for a music “podcast.” Nonetheless, noncompliant “podcasts” run the risk of copyright liability.

With respect to the right of public performance, the owner of a musical work will typically af liate with a performance-rights organization (like ASCAP, BMI, or SESAC) to administer the songwriter’s right of public performance.

These performance-rights organizations license DJs, nightclubs, restaurants, and other venues to permit the public performance of the music in their catalogs. Anytime you perform as a DJ, it is very important to ensure that you or the venue in which you are performing has the appropriate ASCAP, BMI, and SESAC licenses. Otherwise, you are at risk for violating the public performance rights of the songs you play.

While ASCAP, BMI, and SESAC licenses are very common, it is important to understand the limitations of these licenses.These performance licenses only cover the musical work copyright and do not cover the digital performance of a sound recording. That is, ASCAP, BMI, and SESAC only pay the publishing companies, not the record companies.

At this time, the record companies, as owners of sound recordings, only have a right of public performance in the case of digital performances, such as Internet streaming and satellite radio. So, if you are going to stream music on the Internet, you need to be sure you qualify for and secure a sound-recording performance license in addition to ASCAP, BMI, and SESAC licenses. Another limitation with ASCAP, BMI, and SESAC licenses is that they do not authorize you to make copies, remix, distribute, or do anything else other than publically perform the licensed music.

When negotiating music clearances, licensing fees can vary widely depending on the songs at issues and the proposed uses. Particularly with respect to clearances to use copyrighted material in a new song, such as sampling, it is often common for partial ownership of the new song to be shared with the owner of the original song being sampled.

Consider, for example, Kid Rock’s recent hit, “All Summer Long,” which includes parts of Lynyrd Skynyrd’s “Sweet Home Alabama” and Warren Zevon’s “Werewolves of London.” No less than eight songwriters and six publishing companies have interests in “All Summer Long.” So, while Kid Rock’s got a new smash, he doesn’t own it all and is splitting royalties with a bunch of people.

Since there can be numerous individuals and entities with copyright interests in a song, it can often be a very dif cult and time-consuming task to secure music clearances.Various resources for locating copyright owners and securing licenses include online databases maintained by ASCAP, BMI, SESAC, the Music Publishers’ Association, The Harry Fox Agency, and the U.S. Copyright Of ce.

DJ TIMES DECEMBER 2008

Conclusion

While music-copyright law can be very confusing, it is very important for DJs and others in the music business to have a fundamental understanding of the law. In fact, copyright law violations can result in substantial penalties of up to $150,000 per infringement (or more if illegal pro ts exceed that amount). In certain cases, copyright infringement can even result in possible criminal penalties and imprisonment.

It is highly likely that we will soon see reforms in the copyright law to address many of the “new” technology issues. One possible reform would be a streamlined licensing system where, particularly for digital projects, you would secure a license from one organization without having to worry about multiple licenses and dealing with multiple copyright owners. This could be a welcome change for DJs and producers.

So, stay tuned and keep your beats legal!

Coe W. Ramsey is a partner with the North Carolina-based law rm Brooks, Pierce, McLendon, Humphrey, and Leonard, L.L.P. A former DJ, remixer and producer, Ramsey programs a dance music radio station, dancestreams.com, and his practice includes entertainment and music law.

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Whether Active or Passive, the Industry’s Latest Round of Loudspeakers Offers Mobile DJs Plenty of Powerful Options

DJ TIMES DECEMBER 2008

By Bill Stoneman

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In the past decade, mobile D Js have seen the loudspeaker sector take off into different directions.

More traditional D J companies like GCI and A merican A udio have begun to offer tight active systems, while out ts like QSC A udio, best known for manufacturing power ampli ers, have begun to develop whopping speaker systems themselves. L ongtime sound-reinforcement suppliers like JBL Pro and Yamaha continue to make a myriad of active and passive solutions for mobiles who seek bang for the buck or quality at any cost.

So we’ll take a look at the market’s newer systems—active and passive alike. A nd if an industry stalwart hasn’t broken out anything sparkly and new, we’ll give a look at the triedand-true. So, for those of you wanting to rock the room, here’s the latest of what the industry has to offer.

A division of A merican D J, American Audio (americanaudio.us) has been making D J-friendly products for years. Within its large range of active and passive speaker solutions, A merican A udio offers the T ri Pack II system, which includes a pair of 8-inch, 2-way speakers, a 15-inch sub and cables. T he unique system is stackable for easy transport.

Rock

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tems, Dynacord (dynacord.com) offers sharp and powerful solutions for mobiles. A vailable in the LM 8-2 (8-inch, 2-way), LM 10-2 (10-inch, 2way), LM 10-1 (10-inch sub) and LM 12-1 (12-inch sub), users can mix and match tops/bottoms and have access to 500 watts RMS from each side.

Makers of loudspeakers for almost every situation, EAW (eaw.com) makes its passive FR z Series for portable uses. It includes: the FR 129z 12-inch, 2-way; FR 153z 15-inch, 3way; FR 159z 15-inch, 2-way; and the FR 250z dual, reversed, 15-inch sub.

Electro-Voice’s steady SxA range of active speakers has powered many a mobile system. E-V ’s (electro-voice. com) long-lasting line includes: the SxA 100+ 12-inch, 2-way; the SxA 250 15-inch, 2-way; SxA 360 12-inch, 2way; and the SB2A 12-inch sub.

Gemini Sound Products (geminidj.com), a division of GCI, offers a slew of options for mobiles. Its GX Series includes 8-, 10-, 12-, and 15inch 2-way systems, available in active and passive versions. D Js may also be interested in Gemini’s XTR -500 sub-satellite system, which includes a pair of 10-inch speakers and a 15inch sub.

Room

DECEMBER 2008

he

Massive manufacturer Behringer (behringer.com) offers a crazily wide range of speaker options, including its various EuroPower Packs, its EuroPort range of tiny PA s, and its EuroL ive line of active and passive solutions.

Known for its consumer and automobile speakers, Bose (bose.com) also delivers passive units for professional apps. T hey include: the 802III, which includes eight full-range drivers and active EQ; the 402II, which features four full-range drivers and active EQ; and the MB4 Panaray sub, which delivers 200 watts.

L ongtime manufacturer CerwinVega (cerwin-vega) offers its A ctive Series for mobile apps. It includes the CVA -28 dual-8, 3-way: the CVA -115 15-inch sub; the CVA -118 18-inch sub: and the CVA -121 21-inch sub.

Community Professional (loudspeakers.net) makes speakers for any app, including a terri c range for mobiles—the S-Series. Its four portable full-range models and two subs include: the S-1296 2-way; the S-1596 2-way; the S-3294 3-way; the S-3594 3-way; the S-215S 15-inch sub; and the S-218S 18-inch sub.

With its L ittleMax satellite sys-

DJ TIMES

A mong many other lines, American Music and Sound distributes three loudspeaker companies— KV2 Audio, T urbosound and Wharfedale.

KV 2 A udio (kv2audio.com) offers its versatile EX Series for mobile applications. T he active range includes the EX6, EX10 and EX12 tops, which fit with the EX2.2 and EX2.5 bass modules. Turbosound (turbosoundusa.com) is known for touring and xed installations, but it also gets at mobile apps with its vast T XD passive range. D Js will also be interested in its T XP active range, which includes: the 12-inch T XP-121; the 15-inch T XP-151; and the 18-inch T XP-118 sub. Wharfedale (wharfedalepro. com) recently introduced its passive DL X Series for portable apps.

New to its Matrix range of powered systems, B-52 Professional (b-52pro.com) offers the Matrix-600.

Containing a 600-watt RMS stereo amp, the system includes satellite speakers (10-inch, 3-way design), a 7-channel mixer, D SP effects, 48V phantom power and plenty of inputs/ outputs. T he package includes polemounting cups and suspension points for the speakers, plus nifty carry bags and cables.

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a 15-inch, 2-way package.

LOUD T echnologies brand Mackie (mackie.com) has improved and expanded its SRM line of active loudspeakers with the SRMv2 range, which includes the SRM450v2 (40pound, 2-way) and the SRM350v2 (26-pound, 2-way). D Js looking for some bottom thump might consider Mackie’s SWA 1801Z 18-inch sub and the SWA 1501 15-inch sub.

M u l t i - p u r p o s e m a nu f a c t u re r Peavey Electronics (peavey.com) recently re-designed its popular SP Series of passive systems, which includes: the 2-way SP 5 and SP 2 models; 3-way SP 3 and quasi-3-way SP 4; quasi-4-way SP 6; SP 118 and SP 218 subwoof-

DJ TIMES DECEMBER 2008

Known for its succession of popular portable systems like the MPro range, JBL Professional (jblpro. com) extended another familiar speaker line at the recent A ES convention. B y introducing the EO N 300 and EO N 500 active series, JBL offers more power, performance and portability in a system well known to mobiles. For example, the new 35-pound EO N 315 system delivers 280/560 watts (continuous/burst) in

ers; and the SP 12M and SP 15M stage monitors.

Known for its unique and powerful amps, QSC Audio (qscaudio. com) has also delivered a slamming active-speaker system with its HPR Series. Its Multi-Band L imiting feature protects the system by detecting excess level at each amp channel before clipping occurs. Models include: HPR 122i 12-inch, 2-way; HPR 152i 15-inch, 2-way; HPR 153i 15-inch, 3-way; HPR 151i 15-inch sub; and HPR 181i 18-inch sub.

TAP C O , a n o t h e r d i v i s i o n of LOUD T echnologies, offers its T hump Series of active speakers, which includes the T H15A 15-inch, 2-way. O n the passive end, TA PCO (tapcoworld.com) has its Series 69 Series, which includes the 6915 unit, a 15-inch, 2-way, and the 6918s, an 18-inch sub that delivers 450 watts at 8 ohms.

Known for offering solid systems for ever y application, Yamaha (yamahaproaudio.com) recently delivered a new entry to its MSR Series of active units, the MSR 250. T he 15-inch, 2-way system delivers 250 watts and weighs 31 pounds. Yamaha also introduced two new singlespeaker systems—the STA GEPA S 150M and the 250M. Excellent for small apps, these systems can be expanded to stereo by adding a second speaker. n

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ma k in g t r a c k s

St u d io …h a r d w a r e…so f t w a r e…

Think digital music. Think DAWs, VSTs, and Audio Units. Well, I’ve got a new one for you—Nocturn.

By Reed Dailey

Novation’s Nocturn: Compact, exible, functional & affordable.

DJ TIMES DECEMBER 2008

Novation’s Automap Universal 2.0 features a transparent control GUI.

nocturn: Intelligent plug-in control

N ovation, the U .K .-based company that brought us the X-S tation and the R eMote SL C ompact, now offer its allnew N octurn MIDI controller. T he newest in N ovation’s family of A utomap controllers, this compact MIDI controller, while small in size, packs a mean punch and has quickly become the go-to device in the world of digital music. D istributed S tateside by A goura H ills, C alif.-based A merican Music & Sound, N octurn has brought the joy of music-making back to the digital musician.

N ovation takes the flexibility and speed of soft synths and adds tactile controllers to the spectrum. D igital workstations have always worked well with MIDI keyboards and allowed us-

ers to get their ideas down quickly.

C onsequently, your ability to tweak sound and provide more musicality was limited to moving your mouse on a certain knob or fader. W hile programs such as R eason and Logic are fast and easy, they can lack soul. Music is of the moment, something you feel.

Music moves, and the N octurn is nally bringing that feeling back.

A rmed with nine knobs, a slider, and 16 buttons (eight dedicated to parameter controls, the other eight are used for GUI and software master control function), as well as a light, stand-alone GUI. T he N octurn, with red backlight buttons, works seamlessly with all AU , VST , and RTAS software instruments.

Installing the N ovation A utomap U niversal software is as easy as placing a CD in your computer and following the command prompts. O ne of the last steps in the installation process asks users to select which instruments they would like the A utopmap to con gure to. T his is done by clicking on the selection box next to the speci c instrument’s name. O nce the installation process is complete, the N octurn is ready to rock.

Launch your DAW system and the light, semi-transparent, A utomap U niversal software will automatically launch and sit on top of your DAW GUI. T he View button (located on the bottom left) allows for the A utomap software to disappear and reappear instantly. Select any instrument from your collection and your N octurn is loaded with presets that correspond to the main controlling function of that specific instrument. T wisting, turning, and tweaking all your favorite instruments have never been easier.

W rite your melody, turn on the Loop function, and start tweaking and turning knobs to optimize the sound of

your instrument. Learn, T oggle, and Page functions are just a few of the easy-to-use buttons located within the N octurn.

W hile the N octurn is mapped to the main parameters of each virtual instrument, to tweak non-mapped parameters, just tap the Learn button, mouse over, and click on the parameter in the GUI you want to control and move a speci ed knob on the controller. F or those familiar with A belton’s MIDI mapping, this process is very similar. Instantly, you are now in control of a new parameter.

T he second function I really like is the one-button application switching which allows for quick transitions from one instrument to another— and your ideas are executed with greater speed and flow. T he paramount feature of this device is the Page function. W ith the Page button, you can save over 100 different preset pages. T his exponentially increases your level of control by allowing movement from one page of presets to another. T he ability to control so much of your music with the touch of a few knobs will take your sound-designing spectrum to a different level and put the joy back into making music.

A dditionally, if you nd it necessary, the N octurn can be used as a laptopD J solution. W ith its 45mm crossfader, the unit also features well-lit encoders and buttons, making it very workable in darker environments.

O f course, for those making music in the digital environment, the piece is outstanding and budget-friendly.

A vailable for $149 MA P, N ovation’s N octurn is one intelligent plug-in controller.

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

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11/4/2008 3:30:03 PM

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11/4/2008 3:30:03 PM

so u n d in g o f f

mixer s…pr o a u d io …PLA YBACK

By Mike Klasco & Nate Sherwood

Able Amp & DJ Innovation

This month, our longtime Audio Guru Mike Klasco gets QSC’s GX5 amp cranking, while Nate Sherwood handles Tonium’s unique Pacemaker device.

Tonium’s Pacemaker: A pocketsized DJ system.

QSC’s GX5: A powerful, mobile & affordable amp option.

DJ TIMES DECEMBER 2008

QSC’s GX5 Amp

F or years, QSC A udio has been well known to D Js for its stable, long-lasting power ampli ers. More recently, the C osta Mesa, C alif.-based company has expanded its product range to include loudspeakers, and its H PR Series of active units has gained positive attention from mobiles. T his month, we’ll take a look at QSC ’s tried-and-true—power amps—the G X Series, in particular.

R ecently, QSC sent me its top-of-the-line piece, the G X5. D esigned for professional applications, the G X5 offers a lot of bang for the buck for working D Js looking to mix good value and solid sound. A t a list price of $499 (or $399 MA P), the G X5 puts out about 500 watts per channel of music power into 8 ohm speakers.

If you have a tighter budget or have lower power speakers, QSC also offers the G X3 ($299 MA P).

T he G X5 uses a C lass H system, a sophisticated design technique that QSC has tweaked to state of the art. QSC uses C lass H in many of its amp models and it enables a lot of audio power with low heat and low cost—sections of the ampli er only are called upon when high power levels are needed. Basically, users get plenty of output in a smaller chassis.

A lthough this is essentially a no-frills ampli er, the G X5 features a built-in electronic crossover for sub and satellite speakers, a nice overload limiter protection circuit, front-panel detent gain controls, and LED s for power on, signal, and clipping.

U sers get all this and a six-year warranty from the manufacturer.

C onstruction: A t 10.1-inches deep, the rack-mount G X5 offers a minimum-depth chassis and it weighs 25 pounds, so transportation is easy. Materials and craftsmanship are top-grade. T he chassis is robust and features decent-thickness steel, especially considering the pricing.

Inside, its guts are really clean—no rat’s nest of wiring here. T he main circuit board uses surface-mount construction. T he bene t for the user is that this technique results in a mechanically strong design where the components (transistors, IC s, resistors, caps, etc.) are immune to vibration and bouncing around. Power transformer is a toroidal (a big donut) for less weight, less height, and less hum in the signal than a conventional transformer. C ooling is from a variable-speed fan.

W hen approaching overload, the protection circuit gracefully reduces the gain a bit, so the sound does not get nasty.

O n its back panel, the G X5 has XLR , TRS, and RCA inputs and output is from Speakon combo jacks and binding posts. Plenty of versatility there.

T he Verdict: QSC did a nice job on the G X5. T his is a really well thought and balanced design. In the world of power ampli ers, you will get more than your money’s worth with the G X Series.

Tonium Pacemaker

W hile the big names of the D J biz duke it out for digital dominance, a small, relatively unknown company has thrown its hat in the ring with a new approach to mixing music.

Sweden’s T onium has created quite a buzz over the internet with videos of D Js such as R ichie H awtin, S teve A ngello, S ebastian Ingrosso, and D irty S outh tinkering with its new gizmo, the aptly titled T he Pacemaker.

T he Pacemaker is a hand-held D J system that easily ts in your front pocket. Initially, I was quite skeptical of this system. It seemed to be geared to the average consumer, and looked like more than a toy than an actual piece of professional audio equipment. A s we know, there is a long history of consumer electronics companies trying to demystify the D J booth. But after spending hours on the Pacemaker, I am excited to say that I was impressed.

F irst off, let’s break down the concept. T he Pacemaker is roughly the size of a Sony PSP (portable gaming system). T he layout consists of a full-color display screen, an intuitive touchpad, a touch-sensitive LED crossfader, and a series of buttons and switches used for navigating tracks and accessing advanced features. Music is stored on a beefy 120 gig hard drive and two 1/8-inch line outputs provide the audio—one serves as a master output, the other controls the D J’s monitoring. T he two buttons on either side of the crossfader are used to select between virtual decks A and B (similar to turntable A and turntable B on a traditional setup). T he core concept is that once a track is being played, the play/pause/search buttons are used for playback on the other deck. T he incoming track can be cued up via the headphone line output, and the audio is not fed to the master system until the D J actually adjusts the crossfader.

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Sound complicated? Well, its not.

Think of a pair of turntables, a mixer, an internal effects unit, with all of your music (MP3, WAV, WMA, AAC, OGG, and FLAC les) stored on an internal hard drive. Now you start to get the idea.

Tonium gets the award for the most creatively packaged piece of DJ equipment that I have ever received.

The Pacemaker comes elegantly placed out in a long rectangular box with a series of smaller boxes containing all of the cables and user manuals. The inside of each smaller box contains clever expressions such as, “Your move will music the world” and “Your future is looking sound” written on the inside. It was like opening a Christmas present where each layer brought more anticipation. Hoping that Tonium didn’t spend all of the time packaging, I quickly pried the Pacemaker from the box, glanced over the instructions (which were very basic) and plugged it into my laptop to start loading music.

Initially, I had some issues with the software installation, which was very unusual for my MacBook. I ran into some frustrating difficulties getting the issue sorted out. Even the helpful folks in the Pacemaker user forums seemed a bit baffled with my software problem. After downloading the updated version and installing it a couple times, it miraculously worked. I’ve been assured by Tonium that this is not a common occurrence, and they are working aggressively to ensure their software package is solid.

It took a little time to really understand the functionality of the trackpad. It’s an amazing little setup, and it performs a multitude of functions. After an hour or so, it became second nature, and I was navigating through tracks with ease. I was genuinely impressed with how DJlike the features feel. It’s evident that the Pacemaker was built by DJs, for DJs. As an example, the way to push/pull a track is almost identical to a standard CD player—just move your nger in a clockwise or counter-clockwise motion and the track moves just like you would expect.

Another impressive feature is that each channel sports a 3-band EQ and a variety of effects including Reverb, Roll, Echo, Hi-Cut/Lo-Cut and a Filter. There is a comprehensive looping function that has a splitloop option resulting in a dizzying buildup that would work any danceoor into a frenzy.

I did have one small issue with the physical functionality of the Pacemaker. When I plugged into a set of monitors (using the provided 1/8-inch RCA adapter) the sound would crackle if I applied too much

pressure or bumped the cable while mixing. This could be a major issue in a larger club with a fragile sound system. If I were using this in a live ap-

Overall, I’d happily replace my iPod with a Pacemaker any day. I loved the ability to mix two tracks together no matter where I am. There are lots of

“The Pacemaker doesn’t replace the iPod — it replaces a full DJ rig.” plication, I would be sure to keep the unit set rmly on a table or mixer—I wouldn’t recommend mixing with it in your hand.

times when I want to test how two tracks sound when mixed together, but by the time I get to my studio the idea has escaped from my brain.

This is where I found the Pacemaker to be especially useful. I could test out my mixing concepts, record it on the y (with the included software), and work out the details when time allows.

Overall, the price of the unit seems a bit steep ($875 per Tonium’s website, at presstime). But the Pacemaker doesn’t replace an iPod—it replaces a full DJ rig. And when the cost of CD players, a mixer, an effects box, and even a laptop are taken into consideration, the Pacemaker is really pretty cost effective. Check it out.

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11/5/2008 8:57:38 AM

mobile profile careers…innovations…su ccess stories

By Jeff Stiles Philadelphia—What you are about to read is a true story: Steve Croce of Silver Sound Entertainment was once entertaining for a Philadelphia bride who was infatuated with Baltimore-

style club music. The DJ says one particular song this bride was dead-set on hearing was the DJ Funk hit, “There’s Some Hoes in This House.”

“I tried to hold off playing the tune for as long as possible, but eventually had to play it in a room lled with senior citizens,” recalls Croce with a sigh. “And sure enough, about 30 seconds into the song, the bride’s grandmother comes up to me and asks, ‘What is this song you’re playing?’”

Croce basically had two options. He could tell the woman that her granddaughter apparently had a thing for promiscuous women. Or he could reply with something a little more clever.

DJ TIMES DECEMBER 2008

DJ Duality: Bosco (top) rocks the Serato, while Croce (bottom center) connects with another happy couple.

Philly DJs Find Dancefloor Yin & Yang “This is actually an old gospel song,” Croce replied to the grandmother.

“You know how Jesus was a carpenter? Well, what the singer’s saying is there are some ‘holes in this house’ and Jesus is going to patch them up.”

Needless to say, this DJ recalls that the highlight of this particular wedding video was watching footage of grandma getting down on the dance oor to “There’s Some Hoes In This House.”

Today, Croce is the general manager and wedding entertainment director of Silver Sound Entertainment. And oh yeah, he’s also still an interactive reception performer for the company.

Croce, who grew up listening to what he describes as “naturally-coolwithout-trying” bands such as The Smiths, Velvet U nderground, and Stevie Wonder, at the time thought it great that these alternative bands could perform great music without blasting pyrotechnics on stage or screaming on the mic. “I guess that’s why I try to be smooth on the microphone without seeming conceited or fake,” he says nowadays. “I think the ‘I’m-Cooler-ThanYou’ mentality is a plague in this industry.”

Croce says Silver Sound makes a personal investment in every one of its clients, and one recent wedding was a particular af rmation of his own dedication to their happiness. “The location was Normandy Farm, a historic farm converted into an elegant French-styled facility,” says Croce. “There were approximately 125 guests in attendance, and what made it so cool was that the bride and groom just seemed to ‘get it.’ Despite the large sum of money they spent, they actually took my advice and concentrated on the reason why they were there—versus the execution of the preparations they had made.

“It’s an indescribable validation for me to receive an authentic hug and high- ve from the bride and groom who are genuinely amazed at how the evening’s entertainment unfolded.”

Silver Sound charges a little more than most DJ services in the Philly market, and Croce says that’s because their company completely empowers its clients. “We not only allow clients to select the DJ they are most interested in, but they can meet the DJ before signing anything and speak with actual past clients of that DJ and get ‘non-salesman’ answers to their questions about the services we provide,” he explains. “No matter what a client wants, they will always get complete transparency with their DJ considerations.”

That transparency is there whether a potential client chooses a more

conservative DJ like Croce or a more amboyant entertainer such as Gaetano Bosco. Croce’s style is in stark contrast to that of Bosco, the special events director for Silver Sound and one of Philadelphia’s most soughtafter choices for any nightclub-style reception, high school homecoming, prom or college formal.

While Croce uses PCDJ for his mixing, Bosco dabbles with PCDJ and Virtual DJ, but prefers Serato (and is today performing with the Video-SL plug-in). Croce makes the most of his microphone and bonding techniques at receptions, while Bosco is literally a master of the mix.

Silver Sound founder Paul Evans took a personal interest in Bosco at an early age, and taught the young jock how to take his natural-born skills to a much higher level. Evans showed the young man how hip hop and house music aren’t the only sounds that can move a dance oor, how to set up large sound systems and light-shows so they look symmetrical and deliver the best audio/ visual impact, and how to make the most of the art of VJing and digital DJing.

While both Croce and Bosco occasionally use mixers and games to spice up dance oors at wedding receptions, Bosco says at his school gigs no games are necessary—thanks in large part to a 20-foot-wide truss with Martin MX1s and Elation Design Spot 250s, along with a Martin Atomic Strobe, stretch screen, projector and a Numark AVM2 video mixer.

“I give the high-school kids a nightclub feel, bringing a high-energy approach to every event,” he explains.

“My old-school style with a new-school avor of mixing music from hip hop to trance and back to hip hop is enough to give someone a cardiac arrest.”

In fact, even Croce is impressed with Bosco’s skills.

“Gaetano provides a much more dazzling audio and visual presentation,” says Croce. “He works really hard to go above and beyond the expectations of student groups in playing the best new music, using the highest forms of all technology and displaying the most vivid light shows. He’s like a mobile-DJ Ibiza.”

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11/4/2008 3:30:27 PM

bu sin ess lin e

sa les…ma r k et in g …so lu t io n s…

By Jerry Bazata

DJ TIMES DECEMBER 2008

The Post-$700-Billion-Bailout DJ Survival Guide A fter C ongress approved and the President signed into law the $700 billion plan to help stabilize the nancial markets and address the current credit crisis, we’ve received e-mails and calls from D Js asking about the effects of the nancial crisis on their business: H ow will your business survive and is your money safe?

How does the $700 billion plan affect my mobile DJ business?

T he legislation authorizes the U .S. T reasury to purchase troubled assets from any nancial institution. T his will allow the treasury to serve as the source of liquidity for the banks, allowing the banks to stabilize their balance sheets and return to lending, with prudent measures in place. A s a result, credit will remain available to consumers, small business and commercial companies that need and can afford it.

A s credit markets become unfrozen and banks continue to lend, credit will not be as easily accessible as was in the past. T he opportunity to obtain credit just based on a credit score or stated income will be extremely limited or non-existent.

A s a business owner you will need to demonstrate the ability to generate income or cash and pay back the debt—combined with having assets to pledge and a good credit history.

D irect effects will be seen in the purchasing of vehicles, real estate and equipment in which a down payment will be required in order to obtain credit. K eep in mind, there is a relationship between the income you generate and the size of the asset you are purchasing. D on’t expect to be able to afford a new $30,000 D J system if you only report income of $20,000 per year.

O verall nancial institutions have and will continue to offer credit products as in the past for quali ed applicants who meet standard loan underwriting (meaning a demonstrated ability to afford and repay the loan).

With all the bank failures recently reported, is my money still safe?

T he basic answer to the ques-

tion is YES ! T he Plan temporarily increases the F ederal D eposit Insurance (FDIC ) coverage on traditional deposit accounts from $100,000 to $250,000 and is temporary through D ecember 31, 2009. A lso, just ended was the T emporar y Liquid ity G uarantee Program (T LG P), which expanded the coverage on all non-interest bearing deposit accounts, regardless of the dollar amount, for 30 days. T his supported small businesses and helped stabilize these accounts.

So the bottom line is: T he G overnment has your back.

A basic understanding of how FDIC insurance coverage applies to your business: * FDIC insurance applies to all types of deposits held at an insured bank and covers the balance of each depositor’s account(s) dollar for dollar, up to the insurance limit. D eposits in separate branches of an insured bank are not separately insured.

H owever, deposits in one insured bank are insured separately from deposits in another bank. * Business accounts designated for different purposes, such as petty cash and payroll, are not separately insured.

Instead, such accounts are added together and insured up to $250,000 in aggregate.

F or additional information on the FDIC , reference the website at www.fdic.gov.

As a mobile DJ Business owner, what should I be doing nancially during these economic times?

T ake a deep breath and don’t panic. T hese may be troubling times, but making the right business decision will help your company remain strong during this financial crisis. H ere are some nancial tips to keep your business on track:  A void using credit cards as a short-term working capital for your business or to supplement normal cash ow for bookings.  Seek to reduce non-essential business expenses and travel. F or example, agree to meet with a client over breakfast rather than lunch or dinner as this could save on average 50- to 60-percent of meal costs.  D o not stop marketing your business, as this is often the rst expense most small business owners eliminate and it can hurt you in the long run. T arget your marketing dollars effectively for the best return on your investment. In tough times, more face-to-face or phone calls with referral sources and clients will prove more cost-effective than advertisements and direct marketing.  Meet with employees to discuss ways to elimi-

“As of press time, a consensus among economists has been floating around that we’ve moved into a recession, and that it could be a prolonged one. As a result, we’re feeling the pressure from falling home prices, rising unemployment and tighter credit markets.”

nate expenses around the of ce. Simply reducing electricity consumption by turning off lights and electronic equipment can make a signi cant impact on the bottom line.  Be prudent in your decision to purchase new equipment. Be sure you can justify the purchase. H aving the latest and greatest new mixer may not ultimately add any additional revenues to your bottom line.  Maintain a suf cient cash position in your business. D o not be in a hurry to make unnecessary purchases or investments in your business as you may need that cash later for daily expenses.  K eep your credit report clean by exercising good judgment to pay your debts on time. In the event cash ow has put a strain on your ability to meet obligations, speak with your nancial institution sooner than later. S eeking debt to pay debt will only put additional and unnecessary nancial burden on your business, placing you in a debt you may never climb out of.

R ecent events have reminded us all to the risks and volatility of our economy and the nancial markets. If you are a mobile or club D J, these are tough economic times that require a more prudent and cautious approach to how we do business today. In tough times, recommit to a long-term approach to the success of your business, because throughout history we’ve found that, no matter how bad it gets, prosperity will return.

Jerry Bazata is a Vice President Global Business Banking, Bank of America and has been a DJ for over 20 years. If you have any questions for Business Line, please send them to djtimes@ testa.com

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11/4/2008 3:30:33 PM Xone4D_ad

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11/4/2008 PM 10/29/20083:30:34 9:31:31 AM

g ea r

A u d io …lig h t in g …st u f f

Judge’s Panel

Nothing But Tribal

Mad COLORdash

Auralex Acoustics 6853 Hillsdale Court Indianapolis, IN 46250 (317) 842-2600 www.auralex.com

PowerFX Systems AB Brännkyrkagatan 13C SE-118 20 Stockholm, Sweden +46-8-660 99 10 www.powerfx.com

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

A uralex’s rst green acoustical panel is part of a new family of products called EcoT ech.

Models in the line are made of 100 percent recycled polyester fibers and are manufactured without chloro uorocarbons. EcoT ech panels are available in the same colors as the company’s other panel offerings.

T ech H ouse and T ribal rhythms come together in T ribal T ech H ouse, a collection of beats, basses, synths, and F X. T here are 768 loops and hits that are acidized, as well as drum and percussion loops included as REX les. T ribal T ech H ouse is available for download and is organizes into construction kits, loops, and a bonus section of ethnic percussion hits and vocal cut-ups.

T hose who use C hauvet’s CO LOR ado series xtures will nd their gear to be compatible with the company’s CO LOR dash PAR , which comes in three-, four-, and nine-channel varieties. T he DMX-512 LED wash lights are able to link power—up to 25 of them at once—and come with either 15- or 30-degree lenses that “are designed to mirror the performance of a medium ood and wide- ood lamp respectively,” according to C hauvet.

T he 18 red, green, and blue LED s that out t the CO LOR dash create a beam angle of 12 degrees and an output of 7,400 lux with the 15-degree lens. A dditional features include an LCD display with password protection and a double-bracket yoke that can be used to create a oor stand.

Oh Say Can You SD American Audio 4295 Charter Street Los Angeles, CA 90058 (800) 322-6337 www.americanaudio.us

Building upon its SD J-1 dual SD player, A merican A udio released the SD J-2, which adds a built-in digital mixer between the two SD players. O ther new features include a headphone jack and balanced ¼-inch TRS outputs. T he SD J-2 supports standard SD cards, SDHC cards up to 32G B, and USB ash memory. A dditional features include advanced cueing, tempo lock, seamless loop, auto BPM counter, pitch control, and an LCD display that lets the user see all of the functions occur in real time.

DJ TIMES DECEMBER 2008

Fit as a Filter Universal Audio 330 Encinal Street Santa Cruz, CA 95060-2101 (866) 823-1176 www.uaudio.com

Moog Music of cially licensed the Moog Multimode F ilter plug-in for UAD -1, which is found in v5.1 of the UAD Powered Plug-Ins S oftware for the UAD DS P Platform.

T he plug-in offers mono and stereo processing with spacing/offset features from Voyager. It combines a lowpass, bandpass, and highpass lter in a single unit, and offers features such as self-oscillation, smooth saturation, and distortion via 0/+20dB input gain.

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g ea r

A u d io …lig h t in g …st u f f

Knights Who Say NI

Double Vision

Mellow Yellow

Native Instruments USA 5631 A Hollywood Boulevard Los Angeles, CA 90028 (866) 556-6487 www.native-instruments.com

DVJ Vision 55 Washington Street, Suite 702 Brooklyn NY 11201 (877) DVJ-VISION www.dvjvision.com

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

R eaktor A nimated C ircuits is the latest K ore Soundpack. It includes 200 K oreSounds and it’s powered by the S piral sequencer, which creates melodies by using concentric sequencing lanes and advanced algorithms.

Spiral can be routed into any sound source that accepts MIDI input. R eaktor sound generators “N ewscool,” “Metaphysical F unction,” “S pacedrone” and “S krewell” are used to create “constantly uctuating” soundscapes, according to the company.

VJ K odek: D isco Volante consists of two discs. T he first features 60 minutes of broadcast-quality motion graphics that are produced and designed by K odeK and beatmatched to a soundtrack composed by G ower. T hat soundtrack is designed to act as a metronome for use during live performances so that the VJ can synch the visuals to audio at various tempos. T he second disc features K odeK ’s VJ T oolkit A , which includes 101 broadcast-de nition loops and clips.

T he R okit6 G 2C B, a limited-edition R okit studio monitor available exclusively at G uitar C enter, is a six-inch unit sporting a highgloss yellow cabinet along with the traditional yellow K evlar cone. It offers the same speci cations as the R okit G 2, including the curved design elements KRK says eliminates diffraction distortion.

Mopho is a desktop monophonic analog synthesizer module that comes equipped with a basic software editor for both Mac and PC . It features two oscillators—one that’s one octave down and one that’s two octaves down—each with its own sub-octave generator. A n external audio input with feedback is included, along with three envelop generators, one classic C urtis low-pass lter, an arpeggiator, and four assignable performance controls for each of 384 programs.

DJ TIMES

Dave Smith Instruments 1590 Sylvaner Avenue St. Helena, CA 94574 (707) 963-7006 www.davesmithinstruments.com

DECEMBER 2008

More More Mopho

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g ea r

A u d io …lig h t in g …st u f f

Stroke of Genius Genius Products, Inc. 2230 Broadway Santa Monica, CA 90404 (310) 453-1222 www.geniusproducts.com

Scratch: The Ultimate DJ, a hip-hop video game, was created in conjunction with 7 Studios and QD 3. Players use the N umarkcreated Scratch D eck as a turntable controller to manipulate music tracks from some of the biggest names in hip hop in realtime. A variety of D J personalities are included for players on multiple gaming systems to choose from.

Under Control

Acid Queen

Bear’s Jam-boree

Numark Industries 200 Scenic View Drive Cumberland, RI 02864 (401) 658-3131 www.numark.com

Sony Creative Software 1617 Sherman Ave. Madison, WI 53704 (608) 204-7680 www.sonycreativesoftware.com

JamStudio (214) 649-1240 www.jamstudio.com

T he MixMeister C ontrol computer D J system offers F usion software’s D igital A udio W orkstation capabilities paired with 94 premapped hardware controls “laid out in identical fashion to the software it controls.” A ccording to the company, this frees the D J to “less on the computer screen and more on the performance.” F usion software lets users mix complete sets from full-length songs, integrate and edit loops, mix, and produce performance mixes. T he MixMeister C ontrol connects to a Mac or PC via USB.

S ony released the Microsoft Vista-compatible ACID Pro 7 software, complete with 5.1 surround sound mixing, loop-based music production, real-time rendering, and MIDI sequencing.

T here is also a MIDI T rack F reeze function with which users can freeze MIDI tracks that use multiple soft synths and render them as a .wav le.

ACID Pro 7 offers new tempo curves, enhanced beatmapping, and “élastique timestretching” from Zplane, which includes new algorithms that the company says “provide nearly artifact-free time stretching and pitch shifting.”

D Js can use JamStudio.com’s free music-creation tool to play, record, and download digital music. It offers a complete “virtual band” and a 100,000-sound library, including a set of techno sounds. T he site has four basic sections—Score, C hords, Mixer and S ounds—and users can download their songs in MP3 format or share them online after they’ve been completed.

IF

DJ TIMES DECEMBER 2008

Sweet DMX-16 Elation Professional 4295 Charter Street Los Angeles, CA 90058 (323) 582-3322 www.elationlighting.com

T he DMX-16 system is an expandable DMX on/off switch controller system sporting a panel to which users can connect eight DMX xtures, regardless of manufacturer. T he panel is also expandable with two additional switch packs, or the user can link together multiple control panels. T he control panel includes 16 O n/O ff channel switches with LED indicators, a 10-position dip switch for setting DMX address, and power failure memory. T he switch packs have dual 15-amp Edison sockets on each of their four channels. T en- and 25-foot cables are also included in the pack.

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11/4/2008 3:30:55 PM

www.ars-berlin.com Photo: Peter Poby

IF YOU HAVEN‘T CLEAREd THE dANCE FLOOR, YOU ARE NOT A dj.

LISTEN TO PRO.

Introducing the all-new TRAKTOR SCRATCH PRO and TRAKTOR PRO. Enjoy movies with Richie Hawtin and Grandmaster Flash discussing everything from gigs to kites and rockets at listentopro.com. And while you’re there, check out the new TRAKTOR SCRATCH PRO, which combines digital DJing with unprecedented tightness and true vinyl feel. And TRAKTOR PRO, well, it further sets the professional standard when it comes to all digital DJing. Whether you DJ with turntables or a controller, TRAKTOR products are your ultimate weapon.

So what are you waiting for, visit listentopro.com.

33 www.grandmasterflash.com

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www.m-nus.com

11/4/2008 3:30:55 PM

g r o o ves

t r a c k s…mixes…c o mpila t io n s

Fabric 43: Metro Area

Metro Area

 Metro Area  F abric T his is the ’80s party that most folks probably missed. O n the surface, you might think it almost maddeningly eclectic, but it stays true for a bucket of playful, funky fun. W ith a mix that includes cuts from Ministry, G ary’s G ang, H eaven 17, Jean-Luc Ponty and D evo, Metro A rea’s Morgan G eist and D arshan Jesrani show that a retro party can make its own statement without bathing in the obvious nostalgia. Irresistible track: “Poupée F lash” from Première C lasse.

“Red Shift” EP

“Worked Up”

 Speedy J  Electric D eluxe T he D utch techno legend (aka Jochem Paap) drops another pair of bewildering, experimental techno cuts. N ot as bruising as some previous efforts, they’re intriguing nonetheless and should win over minimal-leaning dance oors. T he menacing title track pulses dark waves throughout, while “Bootes” builds and creeps without a genuine climax. But wait for that passing airplane overhead—whoosh!

 Brian Anthony Sogni R ecords/7 Entertainment W hat starts out as a downtempo and funky pop track gets quickly transformed into a oor burner with 10 riveting remixes. N ewcomer A nthony delivers a stellar vocal cut that utilizes the talents of Love T o In nity, Mark Picchiotti, R aul R incon and C hris N oxx for its mix work.

F rom reggaeton to house and a cool hook to boot, this cut should get maximum exposure.

“I Remember”

“Freak It 2009”

Masi & Mello

 Masi & Mello Feat. Mahdi  So D eep Music D own-and-dirty house with rollicking tribal rhythms, Masi & Mello go for the late-night action here. W ith minimal elements sprinkled over top, the dub tweaks teasingly, but never loses its crunch. A ngel Manuel’s remix gets wobbly and offers a big wind-up, while the “D J Exodus & Jared D . R emix” leans more electro and punches a little tougher.

– Jim Tremayne Speedy J

“Sanjam” EP  Ash & Zigon  T anzbar Musik A tough two-tracker from C roatian newcomer Mark A sh, and the proli c Patrick Zigon. T he title cut is a chunky, tripped-out mover, but the real gem here is “G irl W ith A Smile.” W ith subtle rhythms and deep D etroit- avored keys, this is a total bomb. F ind it, buy it.

 Kaskade/Deadmau5  Mau5trap K askade and D eamau5’s recent co-productions have been all the rage lately and this hot new single attests to that. It’s a beautifully crafted vocal piece, with a great hook and gorgeous chord work throughout.

– Phil Turnipseed

 Quentin Harris feat. Jason Walker  Strictly R hythm Quentin H arris’ new jam delivers seven mixes from the likes of Joey N egro, G roove A ssassins and D addy’s G roove—and all hit the mark. Vocalist W alker brings a lively intensity to the production as well.

Each mix has a crisp, bouncy soulful vibe that will de nitely bring the crowd to the oor.

– Phil Turnipseed

DJ TIMES DECEMBER 2008

– Paul Dailey Âme

Bryzant Game

Apologist

 Christian Fischer  Bryzant D e nition R ecords boss C hristian F ischer has been producing, spinning and signing forward-thinking of techno for years. T his release features 11 solid cuts, both new and old—all produced or remixed by F ischer—melded together into a compelling mix set.

– Paul Dailey

C

M

Y

CM

“Revolution” EP  Apologist  W ave T he epic “T he W orld A s W e W ant” is a techy, atmospheric odyssey that offers delicate and layered keys, tantalizing stabs, dubby rhythms and intoxicating percussion. It delivers a divine, almost unearthly vibe. T he title track has a lighter elegance, with refreshing key stabs and a playful vibe.

MY

CY

CMY

K

– Shawn Christopher

Corner

Download

Need No Permission  Gideon  K anzleramt N ine cuts of techno power on this full-length release. F rom the trippedout “Vanity F air” to the jackin’ title cut, and the driving “Last A pocalypse,” G ideon shows his production skills and rm grasp on many forms of techno on this solid debut.

Fabric 42: Âme  Âme  F abric T he techno duo of “R ej” fame hits hard on this 14-track global groover.

D eep, dark, pounding drums and psychedelic vocal snippets meld seamlessly with wicked tribal rhythms, climactic, hands-in-the-air breaks and devastating bass lines. T his is an outstanding mix and one which demonstrates the fellows’ versatility and exquisite programming skills. H ot!

– Shawn Christopher

“Can’t Stop”

– Paul Dailey Quentin Harris

– Phil Turnipseed

– Jim Tremayne

– Jim Tremayne

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, iT unes, etc).

“Diva” (Original Mix) by Sebo K [Mobilee]: Mobilee has the unique ability to release tracks that are both techy and decidedly human at the same time. “D iva” works across genres with a strong minimal house footprint, but enough female vocal snippets and subtle tribal elements to keep the big-room D Js happy. F ound at beatport.com.

“Eat What You Kill” (Kiko Remix) by Oliver Giacomotto and DJ Tonio [De nitive Recordings]: A ggressive, evil and massive! T his is the peak-time stormer of any set. W ind-up after wind-up build into a white-noise freakout. T he break slams into a deep insistent bassline as the craziness ensues with swirling effects and even more windups—an amazing production. F ound at beatport.com.

“Sunset Live” by Harald Bjork [Apparillo]: A beatless music-box melody foreshadows an intricate composition with the heart of house and the soul of trance. T he melodies wind and interweave amongst distorted unintelligible vocals forming pumping harmonies that evoke My Bloody Valentine with a house beat (and less feedback). F ound at beatport.com.

—Robert LaFrance

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C

M

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CM

MY

CY

CMY

K

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11/4/2008 3:31:15 PM

For advertising rates and deadlines...

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

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11/5/2008 5:31:58 PM

For advertising rates and deadlines...

Contact Linda Inglima at (516) 767-2500 x510

Reaching more DJs than ever.

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

DJ Equipment for your home or business; Indoor and Outdoor Call or email us for a quote today!

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DJ TIMES

Keep a lookout for the DJ Insider online newsletter in your inbox!

DECEMBER 2008

month to inboxes of pro DJs everywhere.

39 048DE08_p001-044.indd 39

11/5/2008 4:35:01 PM

Profile: Jody Amos 10 of 20 Name: Jody Amos Home: Livermore, Calif.

Age: 35 Profession: Owner of a San Francisco Bay Area mobile-DJ company with over 20 DJs. My Company: Amos Productions Hobby: Motorcycle riding Last Book Read: “What To Expect When Your Wife Is Expanding” by Cader Books & Thomas Hill. My wife recently had our first child.

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

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

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

MP3, CD, or Vinyl: MP3s with Serato Scratch LIVE. One Song That Never Leaves Your Record Box: “Don’t Stop ’Til You Get Enough” by Michael

Jackson

Best Event/Gig Moment: I recently produced a

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

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

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

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

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11/4/2008 3:31:34 PM

Compiled As Of November 3, 2008

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

Rihanna Disturbia (remix) Madonna Give It 2 Me Kreesha Turner Don’t Call Me Baby Pussy Cat Dolls When I Grow Up Donna Summer Stamp Your Feet Loveless F/ Amanda W Found A Miracle Cascada Faded Annagrace You Make Me Feel Plumb In My Arms Kim Leoni Medicine Jennifer Hudson Spotlight India Can’t Get No Sleep Alanis Morissette Underneath Alyson Here With Me Craig David Hot Stuff (Let’s Dance) Luvndreams Heaven Can Wait Jenny Bliss All About Me Rikah Everything Is Changing Groove State Get Sexy Re-mixes Robyn Handle Me Remixes Dj Skillmaster Summertime T2 F/ Jodie Aysha Heart Broken Brian Kent Breathe Life (remix) Untouched The Veronicas Bishop Kennedy F/Suz I Believe Fans Of Jimmy Centur Hot Sahara Ashlee Simpson Little Miss Obsessive Houston Bernard I Feel Gorgeous Karissa Moved By The Music Kimberley Locke Fall Noelia Caribbean Queen Project X Que’ Pasa DJ Russ Harris F/Ada Standing In The Rain Crystal Waters Vs Sp Dancefloor J Costa Without You Digiteck F/ Damian W Physical Love Anavi Sweet Caress Mathew Wroda I’ll Do Anything Brooklyn Bounce Crazy Groove Enforcers F/ A Little Closer 2008

National Urban Pool Chart

Def Jam Warner Brothers Capitol Interscope Burgundy Groove Factory Robbins Robbins Curb Robbins Arista Angel Eyes Maverick PM Media Reprise TC Robbins Capp Play Lab Interscope Capp Next Plateau Solid Sound Sire Groove Factory Ann Margrock Geffen HB Nashfilm Curb Pink Star EsNtion EsNtion Trackworks Ess Bee Divamatic EsNtion JRA Capp ISV

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

Jennifer Hudson Ciara F/ T-Pain V.I.C. Keri Hilson N.E.R.D. Big Boi F/ MJB Rihanna Nina Sky F/ Rick Ros Bun-B Turf Talk Usher Qwote Dooney Da Priest K-Lethal Kc Jockey Lil Haze Jessi Malay JR Jane Daddy Yankee DPB Nikkole Dirty Dankk Sam Gotti Pussy Cat Dolls Jazmine Sullivan Rihanna Usher T-Pain F/ Ludacris Girlicious KC Jockey Beast The Reverend Erk Tha Jerk B. Lester 3 Bad Brothaz Gwop Boyz F/Elijah Rah Element Lockwise Janet Soulja Boy

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

Nikka Costa Dj Rad F/ Zoe Janice Grace Groove Enforcers F/ Angelo Venuto F/ DJ Dj Freddy Retro F/ J Groove State Annagrace Carrillo & Amador Carla Prather W/ Jer

Stuck To You Sweet Serenity Wanna Be Beautiful A Little Closer 2008 In My Dreams Runaway Get Sexy Re-mixes You Make Me Feel Save Me I Am

Spotlight Go Girl Get Silly Energy Everyone Nose Sumthin’s Gotta Give Take A Bow Curtain Call You’re Everything We All Gettin Paid Here I Stand Lp Don’t Wanna Fight Pull Your Pants Up Da-System Rub Your Body Girls In Da Club Cinematic Floor Rocka EP Screensaver Caribbean Connection Raining Fire E-X-Otic She Bad I’m A Rap Star When I Grow Up Need U Bad Disturbia Love In This Club Chopped ‘N’ Screwed Like Me Don’t Go Baby Everybody Get Down You Already Know She Bad Miss My Baby Tonight Please Forgive Me Wise Up Vol 1 Rock With U Yahhh!

Arista LaFace Reprise Interscope Interscope LaFace Def Jam J Records Rap-a-lot Big Rich LaFace Jive Malaco Amathus Sweet Sadies Fontana Warner Brothers Dazed Jive Machete DonnaJean SE Hype It Up Make Interscope J Records Def Jam LaFace Jive Geffen Sweet Sadies SOW Big Rich Hollywood Fame Live Wire Next Plateau Megablast Lockwise Def Jam Interscope

Most Added Tracks Stax Records ISV Jaguar ISV Casa Casa Play Lab Robbins DMR Forever Soul

1 2 3 4 5 6 7 8 9 10

Big Boi F/ MJB T-Pain F/ Ludacris Z-RO Dolla Lee Carr T-Pain K. Lipsey Ciara F / T-Pain Lockwise Jason Derulo

Sumthin’s Gotta Give Chopped ‘N’ Screwed Crack Make A Toast Breathe Freeze Trouble Go Girl Wise Up Vol 1 Algebra

LaFace Jive Rap-a-lot Jive Jive Jive Birmingham LaFace Lockwise Future History

Reporting Pools

✦ Rickett’s Record Pool - Saddle Brook, NJ; Bill Rickett ✦ Pacifi Coast - Long Beach, CA; Steve Tsepelis

All Titles Available Through Dixie Sound Works NOW TOLL FREE: (888) MIX-JOCK, On-Line: www.dancekings.com Charts & Picks Compiled by DME Inc. Dan Miller, Chart Coordinator

048DE08_p001-044.indd 41

DJ TIMES

✦ Pittsburgh DJ - Pittsburgh, PA; Jim Kolich ✦ Soundworks - San Francisco, CA; Sam Labelle ✦ New York Music Pool - Levittown, NY; Jackie McCloy ✦ Hawaii DJ Association - Honolulu, HI; Kevin Okada

DECEMBER 2008

✦ Masspool - Revere, MA; Gary Canavo ✦ Central Ohio - Columbus, OH; Fred Dowdy ✦ NW Dance Music - Seattle, WA; John England ✦ Philly Spinners Assoc. - Cherry Hill, NJ; Fred Kolet

45791 41

11/4/2008 3:31:38 PM

Enferno

(continued from page 15)

whole thing.

DJ Times: A nd now Madonna puts you front and center in the show.

Enferno: Yeah, I have my moment.

It’s attering. A s the tour went on, it wasn’t just the cool turntable tricks that she wanted me to be involved in. She wanted me to get involved in remixing some of the songs for the show. I mean, that’s not exactly what I do…

DJ Times: She wants a D J’s ears.

Enferno: T hat’s exactly what it was. It’s me, K evin and her—we’ll work on a track with some direction and she’ll get it and maybe say, “I can’t believe I didn’t think of that.”

T here were a lot of moments like that. T hen it’ll progress and we’ll have a nice finished product at the end.

She knows what she doesn’t like, but it’s actually very easy to take direction from her because she’s very easy to work with.

DJ Times: W as it at all intimidating?

Enferno: It was intimidating at rst because she’s someone I’ve been aware of all my life. I was a little starstruck, but that went away. K evin told me it would be like that, but he said, “Let it all out, but when you get to the gig, be cool and focus.”

DJ Times: T he MSG concert I saw was like a Broadway show on steroids. T hey don’t let the audience get bored for ve seconds. F or a massive thing like this, there’s obviously a lot of prep work and a lot of direction.

Enferno: F unny thing is, I wasn’t a stranger to taking direction in the past. I’ve had music teachers and I was involved in musical theater. If I look back on what I’ve done since I’m a kid, it’s crazy. If I hadn’t learned

piano, I wouldn’t be able to speak the same musical language that K evin speaks when we’re working. I took karate as a kid and made black belt.

T hat kind of discipline works into what I’m doing now. A nd with acting in theater, there are a lot of similarities—you have a director.

DJ Times: W hen you “have your moment” during “Into the G roove,” how tough is it cutting and scratching while Madonna is dancing on your D J booth, which is also moving?

Enferno: H ow c a n I d o t h e scratches and have the record not skip? [Laughs] T hat was my dilemma. I thought about it and I know that with S erato, in R elative Mode, it tracks the forward-and-backward movement, but it doesn’t track the needle jumping around. T he downfall of that is if it does jump around too much, you’re going to get “sticker drift,” where the needle isn’t going to line up every time.

DJ Times: So what did you do?

Enferno: F rom my scratch battles, I knew about “skipless” scratch records. T hese are records that people use in their routines. QBert has made a lot of them and I think he pioneered that technique of pressing records that literally had skipless samples.

Imagine having one long sample. In my case, the sample is 15 minutes long. It’s timed so that the sample’s at this part of the axis or that part of the axis or the other part. R ather than cutting the pie into thirds, the same sample repeats itself at each one of these parts. It doesn’t matter if the D J booth shakes, it’s always going to land on the same spot, relative to that sticker. T he truth of it is, the needle does jump and skip, but the

sound is exactly the same. T hey made the riser really solid, too. She’s jumping around, but the music doesn’t perceptively skip.

DJ Times: S peaking of remixing Madonna’s material for the show, what did you want to bring to it?

Enferno: It’s a sense of being current. T hese are classic tracks that you can’t really make better, other than to make a different presentation and make it sound like something that people would listen to at clubs. F or example, for “Like a Prayer,” I thought it would go really well with F elix’s “D on’t You W ant My Love.” T hey were in the same key and I started working around that. T hen I realized that Meck had come out with a version from that, “F eels Like H ome.”

W ait a minute! “Like a Prayer” has similar lyrics, same key…

DJTimes: F or the Madison Square G arden show, that new version of “Like a Prayer” seemed to be the moment when the audience was going bananas the most. It was loud, like a R angers game. It was wild.

Enferno: Imagine doing that in front of 75,000 people. W hen they put their hands up in the air as far as you can see, they don’t even look like people anymore. It looks like elds of wheat. [Laughs] It’s mindblowing.

I still get goosebumps thinking about that.

DJ Times: E ven on this tour, you’re still playing club gigs.

Enferno: Lots of fun. I play lots of musical genres. T he line has been blurred musically. T he idea of open format has become accepted and I get a lot more enjoyment out of doing gigs with an open format and moving up and down the BPM scale,

but doing it where everyone can get into it. I mean, I’ll find a song like “Jammin’ ” by Bob Marley, which is a slow song, and drop it at the right time, people lose it.

DJ Times: You seem to play everything.

Enferno: S ee, open format and mash-up get confused. It’s not always about playing a pre-recorded mashup. In a two-hour set, I can count the mash-ups I play on two hands. If I hear a D J play nothing but mash-ups, I lose interest.You have to connect the songs by beat, but also by key. Some songs are incompatible, unless you nd a section of the song, maybe a break, where you mix and there are no notes clashing.

DJ Times: W hat makes a good D J? Enferno: In a club environment, a D J’s job is to provide a soundtrack to the evening. A good D J can pull emotions from the crowd, depending on what he plays. You don’t have to be an open-format D J—you can be any style. It’s also about controlling the crowd without them knowing they’re being controlled. It’s a dance: You give, they take, then they give back to you. A good D J will know how far they can go, depending on the crowd.

Every party is different.

DJ Times: F or any D J who wants to move up the ladder, what’s your advice?

Enferno: You have to be balanced in every respect. A s a D J, you have to program and have the technical skills to perform. But you also should learn how to network and identify the people you need to know to get the gigs you want. If you don’t, you’re still spinning in your basement. n

DJ TIMES DECEMBER 2008

QBert & the QFO

I do tricks that no one can do…

42 048DE08_p001-044.indd 42

On decks that few DJs understand.

What? You expected Sweet 16 parties?

QBert, next month in D J T imes

11/4/2008 3:31:42 PM

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11/4/2008 3:31:43 PM

048DE08_p001-044.indd 44

11/5/2008 8:55:37 AM