DJ Times December 2011, Vol 24 No 12

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DECEMBER 2011

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Las Vegas Wrap-up

INDUSTRY EVENTS…NOTABLES…MILESTONES

NEWS

AMERICA’S BEST DJ ’11: KASKADE HONORED IN VEGAS Las Vegas—After America’s Best DJ winner Kaskade was handed the symbols of victory—a well-appointed plaque and a gold-plated Pioneer DJM-900nexus mixer—he basked in the glory for a moment, then offered sincere appreciation to the promotion’s sponsors.

“Thanks to Pioneer, a company that makes such great products, and thanks to DJ Times,” said Kaskade before a room of area press. “It’s especially nice to get this award from DJ Times because I grew up reading the magazine. As a young DJ, it was great to learn about new tricks and techniques—so thank you again, DJ Times.”

Held this past Oct. 9, at Marquee Club in The Cosmopolitan of Las Vegas, the America’s Best DJ Award Ceremony/Closing Party honored the jock who garnered the most votes during the 6th annual competition, so there was a bit of formality early in the evening when Pioneer DJ’s Davey Dave Arevalo presented the glittering, one-of-a-kind, piece of gear.

Fans voted online at www.americasbestdj.net or at 20-plus events during the America’s Best DJ Summer Tour Presented by Pioneer DJ, and the hard-earned victory put a cap on the three-month-long promotion.

But this year’s champ—the L.A.based Kaskade (aka Ryan Raddon)— wasted no time transitioning into party mode. When the photographers finished flashing and the jour-

The Victor: Kaskade basks in the glory.

his America’s Best DJ title.

Longtime Vegas favorite Scotty Boy followed up with a blistering electrohouse set of his own, one which saw a booth cameo from chart-topping, party-starters LMFAO. Dropping a pair of their best-known hits—“Party Rock Anthem” and “Shots”—the crowd ate it up and downed a few along the way.

So yes, by the close of business, Marquee had another big night, but most importantly, we had a new champion—Kaskade, America’s Best DJ 2011. Congrats, Ryan.

For more on America’s Best DJ’s closing party, please see our photo spread on Page 16.

nalists completed their interviews at The Library, Marquee’s intimate press/meeting area, Raddon (and wife Naomi) headed downstairs to the main room, ready to conduct some dancefloor action.

Of course, the Marquee crowd welcomed him with familiar fervor, as Kaskade maintains a popular residency at the club. But that Sunday night was special because the venue went all-out, with staff members wearing commemorative attire and fans receiving event-specific novelties, like sunglasses and foam No. 1 hand signs.

Kaskade responded with a soaring 60-minute vocal set that had fans singing along and raising hands in the air. At the end of his set, he was presented with a cake commemorating

DECEMBER 2011

Amsterdam—As friends like Paris Hilton frolic in the DJ booth, Afrojack rocks the Air nightclub during Amsterdam Dance Event. Run this past Oct. 18-22, A.D.E. brought the DJ/dance-music world to Holland for networking, seminars and evening events. Stay tuned for more on A.D.E. in the January issue of DJ Times.

DJ TIMES

Declan O’Driscoll

Up in the Air

3

VOLUME 24 NUMBER 12

12 Modeselektions

Heading into Monkeytown, the “Difficult 3rd Album,” Modeselektor Explains the Difficulty—and Its Ultimate Triumph

BY INNES WEIR

16 The New Champ!

Kaskade Claims America’s Best DJ Title in Las Vegas—A Photo Gallery

BY AL POWERS/POWERS IMAGERY

DJ TIMES

DECEMBER 2011

18 Old School vs.

New School

4

When Mobile Vets Observe Younger Competitors, They See the Times They Are A-Changin’. But Can They Learn Anything from Them?

BY JEFF STILES

20 Bite the Apple

As Solutions for iPad DJing Continue to Spike, Our Intrepid Tech Writer Offers His Picks

BY WESLEY BRYANT-KING

DEPARTMENTS 24 Making Tracks

32 Gear

Apogee Duet2

New Products from American DJ, Chauvet & More

26 Sounding Off

38 Grooves

28 Mobile Profile

40 DJ Times Marketplace

Allen & Heath Xone:DB4 & Shure SRH550DJ

Ohio DJ’s Principles of the Profession

30 Business Line

Mobile DJs, Run Your Own Website SEO

Phat Tracks from Kaskade, Ed Rush & More

Shop Here for All Your DJ-Related Supplies

41 Play Chart

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

SAMPLINGS 8 Gabriel & Dresden Happy Together?

10 In the Studio With…

Porter Robinson

FROM THE EDITOR

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

The Wall & Berlin’s Monkey Men As electronic-music makers, Modeselektor’s unslottable approach to club sounds always impressed me. But another part of the duo’s story was really brought home to me in 2009 with Amy Grill’s terrific electronic-music documentary, “Speaking in Code.”

In the film (and in the DVD’s extra scenes), the Berlin-based DJ/producers—Gernot Bronsert and Sebastian Szary—explain how the fall of the Berlin Wall promoted “independent culture” and how, as adolescents interested in music, they would inherit everything that would come to mean.

East Berlin, a place once on virtual Iron-Curtain lockdown, suddenly became free of rules—any abandoned building could morph into a party fueled by electronic music. The sense of possibility for any artist seemed absolute and, I’m guessing, that same freedom continues to inform Modeselektor’s music.

And now the world seems to be catching up. Its new album, Monkeytown, is being championed well beyond clubland, no doubt due in part to the nod given by Radiohead. In addition to earning an opening tour slot for the world’s biggest cult band, Modeselektor enjoyed a pair of contributions on Monkeytown from Radiohead singer Thom Yorke. But with Radiohead or not, Monkeytown stands as one of the year’s best electronic efforts, so we sent out U.K.-based scribe Innes Weir to connect with Modeselektor’s Bronsert (the self-described “talking one”) to discuss the group’s studio approach. Danke, fellas.

While a relatively veteran act like Modeselektor may be finally getting its due, we also present to you Porter Robinson, America’s EDM wunderkind. As he topped the retail charts with the Spitfire EP, we connected with the 19-year-old DJ/producer, who reflected on his new-school studio approach and his huge 2011. Additionally in the Sampling section, Vegas scribe Deanna Rilling hit SoCal’s Nocturnal Wonderland massive and met up with the reunited Gabriel & Dresden, the hitmaking EDM team that seems to work better when they live continents apart.

Readers get plenty more tech talk in this issue. Months ago, our Denver-based writer Wesley Bryant-King dove into the idea of iPad DJing and here he offers some of his findings. Nate Sherwood does double-duty this month with a pair of Sounding Off reviews—on Shure’s SRH-550DJ headphones and Allen & Heath’s Xone: DB4 digital DJ mixer. Additionally, Josh Harris puts Apogee’s Duet2 audio interface through its paces.

On the mobile end, we fix the spotlight on Ryan Kellinghaus, an Ohio-based multi-system operator who somehow balances a career in academia. In Business Line, we offer tips to mobiles on running their own website Search Engine Optimization. Additionally, our Jeff Stiles asks a panel of old-school mobiles what they have to learn from new-school approaches to both marketing and performance.

In our News section and our two-page feature spread, we also take a trip back to the Marquee nightclub in Las Vegas where we re-visit our America’s Best DJ Award Ceremony/Closing Party, which bestowed honors on Kaskade, this year’s champ. DJ Times thanks Marquee and America’s Best DJ Summer Tour title sponsor Pioneer DJ for their efforts in making this another terrific promotion.

And, of course, congrats to Kaskade on taking the title.

Tune in next month, when we detail our recent trips to Holland (for Amsterdam Dance Event) and Asheville, N.C. (for Moogfest).

DJ TIMES

DECEMBER 2011

Cheers,

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

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DJ Times (ISSN 1045-9693) (USPS 0004-153) is published monthly for $19.40 (US), $39.99 (Canada), and $59.99 (all other countries), by DJ Publishing, Inc., 25 Willowdale Ave., Port Washington, NY 110503779. Periodicals postage paid at Port Washington, NY, and additional mailing offices. POSTMASTER: Send address changes to DJ Times, PO BOX 1767, LOWELL MA 01853-1767 Design and contents are copyright © 2011 by DJ Publishing, Inc., and must not be reproduced in any manner except by permission of the publisher. Websites: www.

December 2011

Jim Tremayne, Editor, DJ Times

visit our website: www.djtimes.com

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SAMPLINGS

GABRIEL & DRESDEN: HAPPY TOGETHER?

DJ TIMES

DECEMBER 2011

G&D: (from left) Josh Gabriel & Dave Dresden

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After a three-year break from each other, the award-winning DJ/ production duo of Gabriel & Dresden is back.

From their stint as Motorcycle for the 2003 international smash “As the Rush Comes” (featuring Jes) to their 2006 hit “Tracking Treasure Down” (with Molly Bancroft) and beyond, Josh Gabriel and Dave Dresden toured the world and cranked out club-friendly music on a regular basis.

After splitting in 2008, Dresden collaborated with Mephisto Odyssey’s Mikael Johnston, while Gabriel continued his work with Mavie Marcos in the EDM duo Andain. Now that they’ve reunited and returned to the road, Gabriel and Dresden have released Mixing for Feet, Vol. 1 (Armada), a 35-track DJ-mix compilation.

We caught up with Gabriel and Dresden just before they took control of the booth at the Nocturnal Wonderland festival in San Bernardino Calif., this past September.

DJ Times: What’s it like to be back together after going on hiatus for a few years?

Dave Dresden: It’s awesome, actually. We just kind of feel like the whole is better than the sum of the two parts and when we get together and work on music, something really cool happens. We both can hold our

own individually, but when we get together, big things happen and it takes us to places like [Nocturnal].

DJ Times: Since the New Year’s Eve reunion gig, what’s your schedule been like?

Josh Gabriel: We’ve been playing a lot more festivals and that’s influenced our music. And just the people that are coming to shows, it’s a different generation of people, so it’s an opportunity to try new stuff and that’s what we’re doing. American’s on fire, as you know, so the gigs are great.

DJ Times: Do you feel like the new generation of kids is familiar with you guys? What kind of feedback have you gotten from them?

Gabriel: What we’ve noticed is there are 18-year olds who have a brother or sister and they heard all our stuff because people download it over the internet, but they’ve never seen us live. So we’ve gotten a lot of comments like, “I’ve been waiting a long time to see you live because I heard about you three years ago when I was 15, but I couldn’t go to your shows.” So now they can.

Dresden: There’s also a lot of young people who are getting into Tiësto and go into his back catalog and hear our tracks there—or even us because we carved a nice little path in the electronic music scene

and our songs kind of live on the internet. I think that we got more popular while we were apart and I think that’s really helping the reunion.

DJ Times: What about studiowise? Anything new to listen for?

Gabriel: We have a track that’s finished. It was a collaboration with these guys called Secret Panda Society that are a dubstep group, so we’ll play that. It’s called “No Reservations.”

DJ Times: Speaking of dubstep, what do you think about the direction it’s taken?

Dresden: I think that Skrillex has really created a kind of dubstep that’s really, really commercial and palatable and hook-y. And he’s also kind of a rock star and carrying the torch for something different in the echelons of the electronic music industry that’s crossing over to all the other kids. Deadmau5 has supported him so all his fans are getting into it as well. So there are a lot of reasons why it’s popular.

Gabriel: It’s also different and everybody likes something different.

DJ Times: Do you feel like dubstep helps or hurts your brand of EDM? Gabriel: There are definitely moments in our set where we play dubstep and it works for us in the way we’re doing it, and I think that’s the

trick, for people is to figure out how to incorporate it.

DJ Times: Which is better for you—festivals or club sets?

Gabriel: It’s just different. We enjoy them both for different reasons.

Dresden: The festivals, it’s go allout, do it quickly, do it cleanly. A club show, we can spread our set out a little bit more and go deeper. A festival it’s just bam, bam, bam—one after the other.

DJ Times: Is there a new artist album on the horizon?

Dresden: We’re thinking about it.

Gabriel: At the moment, we’re working on getting songs written and getting back into the groove of making music.

DJ Times: Now you don’t even live in the same country, correct?

(Dresden is in California and Gabriel in The Netherlands). So internet, Skype?

Dresden: Absolutely.

Gabriel: And also the in-between days on tour or weekends, I’ll stay at Dave’s house and work on music.

Dresden: We’re also constantly working in hotel rooms, too, before gigs.

Gabriel: The studio is definitely a laptop and it’s on the road. If we didn’t make music on the road, we wouldn’t make any.

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IN THE STUDIO WITH

Javier Ovalles

PORTER ROBINSON’S SPITFIRE

DJ TIMES

DECEMBER 2011

Only 19, Robinson’s fresh take on EDM includes disparate styles.

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Already, 2011 has been a big year for Porter Robinson.

The Chapel Hill, N.C.-based DJ/ producer has played some of America’s largest festivals; he’s supported Skrillex and Tiësto on separate tours; and he was commissioned to offer up a gnarly, underground remix of Lady Gaga’s otherwise anthemic “The Edge of Glory.”

His fresh, youthful take on EDM borrows from a slew of disparate styles—dubstep drops, trancey fills, Moombahton beats—and now he’s released Spitfire, a debut EP on Skrillex’s OWSLA imprint. It has already topped the online retail charts—and, oh, he’s only 19 years-old.

We recently caught up with the youthful Robinson for some studio talk.

DJ Times: Where’s your studio?

How do you work?

Robinson: [Laughs] My “studio” is a single PC in my bedroom at my parents’ house. Remember that I’m 19—this year would be my first year in college if I wasn’t playing a show every single day—and so, my stuff is still there. It’d make no sense for me to be paying rent on a place I’m never at. I can’t work on the road at all. I can only make music at home, so I don’t write while I’m touring.

DJ Times: So how do you create music?

Robinson: I started with So-

ny’s ACID, and then progressed to FL Studio, which is now is my only sequencer/DAW. As far as VSTs go, I use the standard ones: [FL Studio] Sytrus, [Native Instruments] Massive, [LennarDigital] Sylenth1.

I don’t use any hardware at all, although I own a [Roland] JP-8000.

DJ Times: What was the process for the Spitfire EP? Robinson: I started working on it nine months before it came out. I was in high school until June. That means I had five or six months where I was home Monday through Friday going to high school and I was only playing gigs on the weekends. During that time, every day I got home from school and immediately went to work on the EP, and then I flew out and played gigs on the weekends. Since the summer, I’ve been touring full time, and it’s been way harder to make music since then. I think the only song I’ve made since summer started was “Vandalism.”

DJ Times: Give me an idea of how you created one of the tunes from the EP. Let’s take the title track as an example.

Robinson: I stumbled across those chords while toying around on the piano and they stuck with me for months. Whenever I’m playing piano, I almost automatically tap out those chords. “Spitfire” started as my typical approach—it’d be a

somewhat trancey, epic breakdown that would build into hard electro.

But somehow it became dubstep.

That song happened miraculously quickly.

DJ Times: As for remixes, what do you try to do with them? Using the Lady Gaga track as an example, what kind of spin did you want to put on that?

Robinson: I want each remix to be unique, but my approach to the Gaga one was probably the most consciously chosen. I knew that, by remixing perhaps the biggest pop act in the world, I was going to risk looking—and more importantly—sounding cheesy. So I changed the key to minor and I gave the song perhaps the weirdest, creepiest, most brooding drop I’ve ever made.

DJ Times: What’s your musical background?

Robinson: I didn’t have a musical background at all, but that’s not so rare amongst EDM producers.

I started unintentionally teaching myself to play piano right about the time that I started producing.

I had a MIDI keyboard—I didn’t know how to connect it to my computer—and I’d tap out little melodies on it. Over the course of seven years of producing, I became pretty competent at piano.

DJ Times: You got into DJing later, right?

Robinson: I’ve been DJing for one year now, whereas I’ve been producing for seven. It seems cynical, but more or less, I went from being a producer to being a DJ out of necessity. One vital component of the electronic-music-artist path is live performance. I’m a musician first and a DJ second.

DJ Times: Any DJs that inspired you?

Robinson: Wolfgang Gartner, Noisia, and Dirtyloud were the three acts that made me want to make the music I do. I also love Skrillex, Ørjan Nilsen, Mikkas, Zedd, and too many more to mention.

DJ Times: When you DJ, what’s your setup?

Robinson: Two laptops, a Traktor Kontrol S4, an MPC, and a Novation Launchpad. The second laptop, the MPC, and the Launchpad are all for visuals.

DJ Times: So how’s DJing been for you?

Robinson: I’ve grown to enjoy DJing and I’ve made it a part of my art, but I got started DJing because it’s what you do. That’s the path. You gain notoriety with your music and then you tour. I feel fortunate that I happened to love DJing once I started doing it. I found that there’s a lot to explore there—the DJ has the freedom to toy with a crowd’s energy and emotions.

– Jim Tremayne

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MODESELEKTIONS Heading into Monkeytown, Modeselektor’s “Difficult 3rd Album,” the Duo Explains the Difficulty—and Its Ultimate Triumph

DJ TIMES

DECEMBER 2011

By Innes Weir

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The world is littered with DJ/producers claiming to be “unique.” But few, if any, can match up to Berlin’s underground-to-overground heroes, Modeselektor.

The duo’s DIY approach and explosive, indefinable sound have made them one of the most exciting EDM acts on the planet today.

Modeselektor’s Gernot Bronsert and Sebastian Szary are serial risk-takers, blurring genre boundaries at will, disregarding musical trends and sniggering at the faceless, bandwagon-hopping DJs who follow the rules of others. They’ve also racked up the record sales, toured with Radiohead and scooped international awards for the best part of a decade now—and they’ve achieved all that without making a single sacrifice to their artistic integrity.

In short, Modeselektor represents everything that is vital and exhilarating about dance music in 2011. Monkeytown—the group’s latest and most daring album—has dropped at last, but let’s get a little bit of background info on the mysterious German pranksters before we even discuss that, shall we?

Rewind back to the mid-1990s and you’d find our madcap engineers meeting for the first time at one of Berlin’s notorious, illegal acid house parties.

The years of lawlessness and anarchic club culture that followed on from the

and when The Wall came down the city was in a state of anarchy—so we literally grew up with no rules.”

collapse of the Berlin Wall provided the perfect backdrop for the duo to do exactly as they pleased. There were no rules in their day-to-day lives and that sense of disorder spilled over to dramatic effect when they decided to enter the studio together. Nobody in the dance music industry was prepared for the maverick sonic assaults that were to follow.

Initially regarded as purveyors of wonky, full-throttle electro bangers, it soon became apparent that Modeselektor had an awful lot more to offer than big-room bleeps. They were quickly signed to Berlin’s most prestigious imprint, BPitch Control, as label boss Ellen Allien noted just how fanatical their fanbase was becoming. A handful of EPs had set tongues wagging across the world and, by 2005, their debut full-length Hello Mom! was unveiled. Elements of hip hop, grime, techno, dubstep and even ice-cool R&B had infiltrated their work, and this revolutionary pick ‘n’ mix of electronic music sounded good at home, in the club, in the bath, wherever. Put simply, it sounded like the future.

Critics drooled, clubbers went crazy and Radiohead’s Thom Yorke—a musician from another planet, stylistically—told anyone who’d care to listen that he’d fallen in love with their music, too. Modeselektor had well and truly arrived.

DJ TIMES

“We came from East Berlin,

DECEMBER 2011

Modeselektor: (from left) Gernot Bronsert, a monkey & Sebastian Szary.

13

Modeselektor’s Studio Hardware:

Fast forward to 2011 and their third, feverishly anticipated artist album, Monkeytown, has arrived—it’s a mind-blowing listening experience. Guest appearances from artists as diverse as Miss Platnum, Apparat and, of course, Thom Yorke only hint at the breadth of material on offer, which jumps around from thumping, bass-heavy techno, bad-ass rap and acid house to super-slick soul, heart-rending electronica and beyond. Released on their own, newly-established label (also called Monkeytown) this is the sound of Modeselektor at their fearless, peerless best. As always, every sample has been produced from scratch. Every track recorded with a bewildering

Boss VT-1 Casio CZ-1 Clavia Nord Lead Control Synthesis Deep Bass Nine Doepfer Dark Energy Fender SeventyThree

DJ TIMES

DECEMBER 2011

Hohner Pianet T Korg MS-10 MFB 502 Moog Voyager Roland Juno-106, Juno-6, JX-3P, MC-202, TB-303, TR-606, 707, 808 & 909 Xoxbox Yamaha DX-200 Outboard: Allen & Heath WZ 16:2 DX Alesis Quadraverb dbx 576 Electrix Filter Factory Electro-Harmonix Vocoder, Memory Man & Holy Grail Reverb MXR Pitch Transposer Moog 3-Band Parametric Equalizer Roland RE-201 Monitoring: Genelec 1038 & 8040

14

Software:

Apple Logic Studio Celemony Melodyne Native Instruments Razor, Reaktor & Massive Waves Diverse Soundtoys Diverse Sonalksis Studio One Sonic Charge Synplant

mixture of old school and state-of-the-art studio equipment and, almost unbelievably, not a single drum beat is repeated anywhere on the album.

Already a painstaking record to put together, Modeselektor has also had to battle some new and unfamiliar demons along the way–burn-out from constant, global touring, a sudden onset of writer’s block in the studio and the pressures of expectation have combined to make this their most demanding recording experience to date. DJ Times travels deep into the heartland of German clubland to chat to Modeselektor’s outspoken main man, Gernot Bronsert, about the studio obsessions that nearly drove him crazy. It went like this: DJ Times: It’s often the second album that’s considered “difficult.” Why was Monkeytown so tough to finish?

Gernot Bronsert: I was the problem. I had a hardcore case of creative block which lasted for over a year and we actually only finished the album 10 weeks before deadline. I guess we’ve been so busy recently setting up our own label that we somehow forgot about our music. I was burned out and we both just kept on finding reasons not to be in the studio. We were avoiding making music. At one point, we decided to completely rebuild a wall in the studio… when all that really needed to be done was move some speakers. It was, genuinely, crazy behavior and none of our friends believed that we’d ever actually make the record. Thankfully, we’re back in the game now.

DJ Times: What turned it around for you in the end?

Bronsert: Weirdly, it came down to that whole process of re-organizing the studio. We’d collected so much gear over the last five years and hardly used any of it—there were about 20 synthesizers, drum machines, computers and compressors all just sitting there, still sealed in their boxes. Probably the best new find was a synthesiser called Razor, which was developed [in partnership with Native Instruments] by a Berlin producer called Errorsmith. There’s a track on the album called “Evil Twin,” and all it consists of is the Razor, a bunch of vocal samples and a 909—that’s it. All the synth melodies and basslines were made with the Razor and I reckon it’s the most innovative software synthesizer I’ve seen in ages.

DJ Times: Are there any pieces of equipment that you couldn’t stand to be without in the studio?

Bronsert: Probably the classic Roland RE-201 Space Echo. We always use this for our echo and reverb effects. One of the other staple bits of gear we used was the Korg MS-10, which is the best synthesizer for deep bass. That said, you also need to know how to handle it—it definitely needs to warm up for 30 minutes before you start, just to get the tuning absolutely right.

DJ Times: How do you guys approach songwriting? What’s your starting point in the studio?

Bronsert: I’m a bass guy. I absolutely need to have heavy bass in my music, but starting out on a track we basically begin with a beat and just jump on it. We make all out own samples, too, which is harder work, but I’ve always found it so disappointing when you hear a great track and then find out that it’s based on a sample from somewhere else. It really takes the magic away. There’s no drum beat repeated anywhere on the new album either. We didn’t use one snare twice, which is also tough, but worth it for the overall effect.

DJ Times: You’ve hooked up with Radiohead’s Thom Yorke again for (continued on page 42)

CHAMP!

THE NEW

Presented by

Take a Bite: Kaskade tastes some victory cake.

Las Vegas—The votes were counted and, after finishing 2nd in 2010, Kaskade took the title as America’s Best DJ for 2011.

After 20-plus events on the America’s Best DJ Summer Tour Presented

by Pioneer DJ, the closing party/award ceremony turned out to be quite a blast. Held this past Oct. 9 at the Marquee at The Cosmopolitan of Las Vegas, the event saw Kaskade accept his golden Pioneer mixer to commemorate the title, then take the decks for a bangin’ set. He was followed

by Vegas fave Scotty Boy, who thrilled the crowd by bringing out LMFAO for a surprise performance. Here are the pictures—enjoy.

– Jim Tremayne Away We Go: Kaskade takes off at Marquee.

DJ TIMES

DECEMBER 2011

All Photos by Al Powers/Powers Imagery

16

Going Off: The room goes boom.

Foam Party: Kaskade signs an autograph for a fan.

Vegas, Baby: Scotty Boy (left) with Kaskade.

Buddy Up: Kaskade (left) with 3rd place finisher/’09 champ Z-Trip.

Dressed Up: Matching ABDJ shades & T-shirt.

Marquee Men: Music director Sol Shafer (left) & resident DJ EDX.

Kaskade & Wife: Ryan & Naomi Raddon at Marquee.

Marquee Resident DJs: (from left) EDX, Erick Morillo & Kaskade.

Logo-ized: Kaskade in the mix.

Big Up: Pioneer’s Davey Dave Arevalo bestows praise to the winner.

Up All Night: Party people in the house.

Behind the Booth: Kaskade hits a peak.

Team Members: Marquee employees represent.

DJ TIMES

DECEMBER 2011

All Done Up: A trio of Marquee fans pose with ABDJ toys.

17

OLD SCHOOL

When Veteran Mobiles Observe Younger Competitors, They See the Times They Are A-Changin’. But Can

DJ TIMES

DECEMBER 2011

By Jeff Stiles

18

When the term “New York-style DJs” saturated his Connecticut market a number of years ago, Cheshire, Conn.-based Powerstation Entertainment’s Jon “Swing” March says they switched to a more upscale description: “L.A. Style.”

“It instantly differentiated us and, as a result, eliminated the competition,” claims March. “I think the message we were trying to get out is that we offer less shouting, less volume, less artificial excitement, less talk, less audio effects and more music variety.”

As the DJ industry straddles the more traditional (Old School) ways of entertaining (lots of interaction, lots of MCing, etc.) and the more-recent (New School) methods (digital, less talk, etc.), we contacted mobiles to find out how each school has learned from the past while embracing the future.

As expected, we found plenty of commonalities, lots of differentiators and even a little humor.

When Lowell, Mass.-based Terry Moran, Jr., first began DJing more than 20 years ago, he says the biggest difference versus today’s startups is the former’s need to invest a lot of money in music.

“These days guys can buy external hard drives full of music and think they can spin any event,” says the owner of Crown Entertainment. “It’s not just matching beats, or creating energy or promotion or sales skills or customer service—it’s all of that, and then some—and I’ve been lucky to be an old-school DJ still rockin’ the decks for corporate events, weddings and occasionally even the clubs.”

The main difference, according to Moran, is that there have not been many new-school DJs that he sees who not only carry the correct equipment but also carry the correct attitude.

“These guys are more concerned with boasting how ‘epic’ their party will be this weekend than actually building their skill set of music knowledge,” he explains.“New DJs today may be great graphic design-

They Learn Anything from Them? ers, but then play the same song three times a night because they lack the skills to take the crowd to another level.

“Anyone can rock a party for 20 minutes or so while they play the latest musical bombs, but to control the energy for hours is a lot tougher.

Whether you are in a club or rocking a wedding, deep musical knowledge and dropping great songs from different genres is what really distinguishes a great DJ. I’m lucky to have a few young guns in my crew, and they already subscribe to this mentality, and I think it will always end up separating them from others.”

Of course, Moran quickly adds that he doesn’t mean to sound totally negative, as he doesn’t believe an us-versus-them mentality is something anyone can learn from.

“To be honest, I just haven’t seen anything newschool that is really working in the high-end market,” he explains. “Music videos and text-to-screen [Firetext] are some things my new DJs really push, which we do quite often. My young guys are also very enthusiastic, which is great, and they all understand that they have to love it or leave it, so they can’t be in it simply for the money.

“Hopefully they’ll learn that when a DJ’s great at what he or she does, the money will come. I put them into events that they never would be able to get on their own, and as a result we’re growing at a great pace. After all, I trust my guys and try to guide them when I can, but let them be themselves as well.”

Like most old-schoolers, DJ (Sebastian) Marquez down in Arlington, Texas, tried to remain old-school—equipment-wise, at least—as long as possible.

“I learned to DJ on vinyl with Technics 1200s, which got me through high school and college, which was especially ideal for house parties,” he recalls.

“However, as I initiated my mobile business, it quickly became apparent how impractical it would be to lug the beasts that are the 1200s—aalong with the crates of music—to every gig. CDs became my format of choice and I resorted to keeping the 1200s at home only for practice, play and home entertaining.”

Logistics aside, Marquez admits there is mad respect for turntable DJs who have mastered their beat matching, scratching and other tricks of turntablism.

“Unfortunately, what respect the old-schoolers do receive comes mostly from other old-schoolers who grew up with it,” he says. “It’s not that the new guys don’t respect them—they just may not appreciate the art when they’ve come up in the digital age, with so many buttons and USB ports at their disposal.

“On the flip side, I do have a

fond respect for the serious digital DJs who know how to manipulate software and accompanying hardware/laptop interfaces to keep alive—as close as possible—the authenticity of the turntable craft.”

In the view of DJ Marquez, the new-school “digital era” has become both a blessing and a curse.

“The curse is due to the fact that it has diminished the mystique of DJing,” he says, “which once blos-

“For example,” he says, “they announce that they want no line dances, but then follow that up by saying their Aunt Jean has been pestering them since they got engaged to do ‘The Electric Slide’— because it’s just not a wedding without it—so we unfortunately have to have ‘that one’ when the wedding day comes.

“So I play ‘The Electric Slide,’ and Aunt Jean is so excited when she gets a half-dozen people to come up with her. And by the time I’m done teaching it, we’ve got 20 or more people doing ‘The Electric Slide’ and the bride is over-themoon happy.”

When New Jersey’s Gregg Hollmann started DJing in the late-’90s with physical CDs and Pioneer CDJs, he learned primarily through books, videos and by studying mix CDs of respected DJs. He learned beat-matching, the importance of phrasing and other mixing techniques.

When Hollmann switched over to digital DJing three years ago, however, he continued to use the Pioneer CDJs, but added Serato Scratch Live and a Rane TTM-57SL mixer—his attempt to combine old-school with new-school.

“For weddings, for all special songs—for example, the First Dance—I play the songs from physical CDs, bypassing Serato,” the Ambient DJ Service owner explains. “While I’m not particularly worried about a laptop crash, I still believe that there is a much lower chance of my CD player dying than of a laptop problem during a key moment.

“After getting through those special dances, I switch over to Serato for the remainder of the party. Overall, digital DJing has allowed me to quickly field guest requests, focus more on entertaining guests and save space in my vehicle.

Regardless, I still bring a briefcase of CDs, just in case my laptop was to go down in flames during a performance.”

Hollmann offers critiques of both veteran and new-school DJs. “First of all, there are those veteran DJs who do not stay current with their music and seem stuck in their former glory years,” he says. “As professional DJs, even if we don’t like current musical trends we should immerse ourselves in new music and try to genuinely like it.

“You don’t need to love dubstep or attend Skrillex concerts, but all DJs should at least know what dubstep music is and have a few go-to tracks in their catalog—as this music will be requested at a Sweet 16 or college event. On the other hand, it’s always impressive when a DJ who’s in his 50s or beyond can program a hot set of current dance music.”

As for new-schoolers, Hollmann warns against those who build their song libraries illegally, copying 10,000 songs in one fell swoop, instead of building up a record collection organically over a couple decades.

“As an example of this, I recently assisted another DJ company at a wedding event,” he recalls.

“The Mother-Son Dance was the well-known ‘Simple Man’ by Lynyrd Skynyrd, but this DJ had at least 10 versions of the song on his hard drive and had cued up a mislabeled file which was actually a different Skynyrd track. Luckily, I caught the error prior to the start of the wedding reception, but it could have been a very awkward moment.”

Still, Hollmann confesses that even the veterans can learn a thing or two from the newbies. “Newschool DJs who have been using computers all of their lives seem to learn more quickly,” he says, “and I’m impressed by younger DJs who quickly pick up a program like Serato and are now maximizing the advanced options deep inside the program.

“Besides, we all know our clients have become more demanding, and expect that we have the ability to download a missing track on the fly at any gig!” n

DJ TIMES

somed in an era of VIP guest lists, underground clubs and exclusive after-hour sets by making it easy for any Joe with a laptop and soundcard to become a YouTube hit or a podcast wonder.”

And the blessing? “Well, with enough gigabytes, the right software and some practice,” he says, “creativity seems limitless and there’s more portability in terms of application and distribution of the DJ’s product [mobile business, the ability to party virtually anywhere, YouTube, podcasting, etc.]. And let’s not forget those endless remixes of the pop song du jour.”

Ultimately, however—whether vinyl or digital— Marquez says a good DJ has to know their music.

“What’s the point of having a MacBook, Serato and 25,000 MP3s if I don’t know my stuff?” he explains. “As a mobile DJ, I always strive to be well-versed in numerous genres so that I serve the needs of my customer. Never mind old-school or new-school—that’s just smart.”

While he considers himself new-school—even after being in the DJ business for over 15 years— Michael J. Mahoney in South Portland, Maine, admits that the up-and-comers are likely doing things this older fart would likely never thought of.

“When I began in the early ’90s, the line dances and games were a must, and the interaction had to be high,” recalls Mahoney. “I used props and just had a ball with the guests. It was a lot of work, but it also was a lot of fun.

“But I saw the interaction level go to zero a few years back, forcing me to do some creative thinking to make the weddings I do original. Fortunately, I learned how to do that with music. Working almost as a sound engineer, I would hear a funny line in a speech and have a sound clip ready for it, or a song to match it for when the speech or toast was over.”

According to Mahoney, today’s trend seems to be accents—or, as he calls them, “no . . . buts.”

DECEMBER 2011

NEW SCHOOL

19

As Solutions for iPad DJing Continue to Spike, Our Intrepid Tech Writer Offers His Picks

BITE THE APPLE

DJ TIMES

DECEMBER 2011

By Wesley Bryant-King

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Some people are a little slow on the uptake, and sometimes, I’m one of those people.

When the iPad debuted, I wroteoff the Apple faithful as lemmings, and proclaimed it a product in search of a purpose. But first with an iPod Touch as a Christmas gift in 2010, and soon after by switching to an iPhone, I rather quickly became one of the Apple faithful, too. So, when the iPad 2 debuted in March, I was one of the first to order one.

Apple fans may be lemmings, but some 30 million other iPad users have followed them over the cliff.

With my own iPad, I web browse.

Manage all 12 (yes, 12) of my e-mail accounts. Chat. Play games. Watch television. Check weather. Study Dutch. Read the paper. I wrote most of this very review on the iPad. And sometimes, I DJ with the thing.

Uh, come again? DJ—with an iPad?

It’s truly the last thing I ever envisioned doing with one, but in this article, I’ll be taking a look at some interesting iPad-centric solutions for DJs. You certainly won’t see everything on the market, but these are products that have recently caught my attention.

DJ BOOTH ON-THE-GO Apple maintains a “Hall of Fame” of iPad apps—what the company finds to be the most innovative and compelling applications on the market. One of those apps comes from Germany’s algoriddim, and is called, simply and logically, djay. It is, in a word, a self-contained digital DJing application that uses music stored on your iPad. Speaking of storage, iPads currently come with internal storage as large as 64 gigabytes—in my case, more than enough storage to hold my entire primary music collection (the

stuff I always want to have with me), and still have plenty of room left over.

Your mileage, of course, may vary, but in any case it’s enough space for thousands upon thousands of tracks.

T h e d j ay ap p s p o r t s a c l e a n , streamlined interface that provides a traditional, two-deck layout with simple transport controls, as well as beat sync, key lock, and pitch controls. Cover artwork embedded in your music files is cleverly displayed on the surface of its two vinyl-turntable-looking platters. The clean user interface belies the power hidden from view, but available a touch away, including song selection (which has its own full pop-up interface), plus a separate pop-up window that allows you to choose between EQ, looping, and cue point interfaces, just like “full-blown” digital-DJ solutions.

Hiding the EQ, in particular, out of view seems a curious design deci-

sion; the pop-ups (one for each deck) that provide access to the controls, however, remain on-screen until dismissed, so in point of fact you can leave them up full-time if you wish, without losing access to the other controls on-screen.

At the top are waveform displays as you might see in desktop DJ apps.

Interestingly, the waveform displays auto-zoom; when you use the touch screen to move the platters slowly, they zoom in for easy positioning of the downbeat. During regular playback, you see the full waveform display of the entire track.

Using a touch screen to manipulate the transport and other controls requires some practice, and I have to say, it feels a bit odd. By any measure, the iPad has a nicely sized screen, but a pair of CDJs and a DJ mixer in size it’s not. Once you adapt to it, however, it works remarkably well.

angled slightly towards me; it made for the best combination of viewing angle and touch-usability. The problem is few iPad stands are able to accommodate that flat of an angle.

It was a piece of cake, however, for IK Multimedia’s iKlip. The iKlip, which comes in both iPad and iPhone varieties, securely holds your device, and clamps to the shaft of a microphone stand. While great for digital sheet music for instrument players, or teleprompter-like uses for vocalists, it turned out to be the ideal solution for iPad DJing as well. I tried it with a desktop mic stand and a traditional floor model, and both seemed an ideal solution for holding the iPad “just so” as my fingers got their touchscreen workout, without worrying about whether my hardware investment would end up on the floor. The iKlip for iPad works with both iPad 1 and 2 devices; I liked how my iPad 2 while in its form-fit silicone protector fit perfectly in the iKlip’s iPad 1 configuration.

BLURRING THE LINE For conventional computer users, Germany’s Ableton has been blurring the line between production and DJing with their venerable Live software, which for several versions has included features for DJs. In a somewhat similar manner, although with a different—and iPad-centric—ap-

DECEMBER 2011

Admittedly, it takes some getting used to, and it depends in part on one’s own style—do you use booth monitors, and do the stereotypical DJ thing of keeping only one cup on one ear? Or do you use headphones full-on?

I fall into the latter camp, partly because it’s what I’m used to in the studio when I’d prefer not to wake the neighborhood. So changing to snug-fit, silicone-plug-style earbuds is actually a plus, due to their generally excellent passive noise reduction.The challenge is finding a set that’s not too fragile for DJ duty, which is what impressed me about V-MODA’s Vibrato ear buds. They have—get this—woven, Kevlar-reinforced cables, and the buds themselves are constructed of die-cast metal, all seemingly designed for a hard life on the road. Targeted to iOS devices (iPhone, iPad, iPod Touch), they have an integral microphone for telephony use, but don’t sacrifice audio quality in the process, delivering incredible sound and an amazing low-end. They ship with multiple sizes of silicone ear tips, and with their chunky drivers, they’re easy to grab for frequent cycles in and out of the ear.

For actual booth use, the next challenge is keeping the iPad positioned securely. The best position, in my opinion, is relatively flat, but

DJ TIMES

For those who love the idea of iPad DJing, but still long for dedicated tactile control, you’re still covered.

Algoriddim recently hooked-up with DJ gear maker Numark, to create the iDJ Live, a compact, portable off-board hardware controller that retails for around $100. It connects to the iPad through a standard Apple dock connector, providing two large jog wheels, bass and treble EQ control, hardware song browsing controls, gain controls and a crossfader.

It might be tempting to dismiss it as a toy given its low cost and all-plastic construction, but it’s actually quite effective, and elevates the experience of using djay. By putting commonly used controls literally right at your fingertips and in a more conventional form, it makes iPad DJing easier and more accurate.

The only potential shortcoming of iDJ Live is the fact that by using the dock connector on the iPad, there’s no way to connect the device to AC power. While the iPad’s battery life is quite good, I’m not sure I’d be terribly comfortable performing an extended DJ set without AC power.

The addition of a dock connector on the iDJ Live itself—to which the iPad AC adapter could be plugged to passthrough power to the device—would have been a plus.

Algoriddim’s partnerships don’t end with Numark. They also joined forces recently Griffin Technology, a name long-associated with iPod, iPhone and iPad accessories, including cases, cables, adapters, and so on.

The fruit of the association is Griffin offering a split-output DJ Cable specifically for use with djay. Somewhat ingeniously, the cable splits the stereo channels coming out of the iPad into a pair of three-wire, monophonic outputs: one for monitoring and mixing via headphones, and another for master audio output. A corresponding setting in djay routes the outputs accordingly. As I said, these outputs are monophonic. But in most cases, true stereo output just isn’t that important even in professional settings, and the cable—with djay’s split output mode enabled—makes for an effective end result.

Given the “throw-it-all-in-a-messenger-bag” compactness of the iPad and the iDJ Live controller, conventional DJ headphones start to seem bulky and out of place. I’ve experimented with using earbud-style “headphones” even with conventional gear, in conventional settings.

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Products Mentioned

Algoriddim djay, DJ app for iPad. algoriddim.com Griffin Technology DJ Cable, audio splitter cable for iPad and djay app. griffintechnology.com Numark iDJ Live, hardware controller accessory for djay app. numark.com V-MODA Vibrato, earbud headphones for iPhone and iPad. v-moda.com iKlip, microphone stand adapter, available for iPad and for iPhone. ikmultimedia.com meta.DJ, DJ app for iPad. soundtrends.com TrakProDJ, Traktor controller app for iPad. iximix.com rtpMIDI, Core-MIDI framework driver for Windows. tobias-erichsen.de

DJ TIMES

DECEMBER 2011

proach, a Seattle-area company called Sound Trends has done so as well with their newly-released iPad app, meta.DJ. Like algoriddim’s djay app, meta.DJ supports easy loading of tracks from those stored on your iPad, and lets you sync beats, set cue points, and do looping. But the similarity ends there.

For starters, meta.DJ packs four virtual decks onto the iPad’s screen.

Any of those four decks can hold any one of four deck/device types: Track Decks (for your iTunes-loaded content), Looptastic, SaMPL3R, or drumtron; the names of the latter three reflect their function, and all provide beat-synchronized functions. Any of the devices can be mixed or matched as desired.

22

Looptastic integrates multi-track loop sets, which can be purchased through the company’s own Loop Store, and allow addition of anything from beats to vocal parts. SaMPL3R is designed for adding instrument parts, like synth leads, arpeggios and the like, and drumtron provides five different percussion kits. Each of the devices (including the Track Decks) offers a fader to control its level in the mix, along with a complete effects system (filters, gates, flangers, delays, etc.) which is controlled with XY touch pads.

There’s a bit more complexity involved in using meta.DJ than it might at first appear—along with more options for creative control than you might think. Absent any sort of user guide to direct me, it took some real

effort to make much happen beyond the basics. But even just tinkering aimlessly around a bit was an immensely enjoyable and creative way to put a smile on my face and pass some time. I can easily envision how, with extended practice, meta.DJ could be a far more serious performance tool than one would expect for a piece of software with a mere $10 price tag.

While I didn’t have the opportunity to test it for this article, meta.

DJ Version 1.1 adds support for Numark’s iDJ Live hardware controller (described earlier), and additionally offers split headphone cueing with the Griffin (or similar) DJ cables.

NEW APPROACHES FOR CONTROL “DJing with an iPad” doesn’t necessarily mean the sort I just described. In fact, the UK’s Digital Music Technology has taken a different approach with the iPad, turning it into a touch controller along the lines of the legendary (but now discontinued) JazzMutant Lemur controller. The company makes LiveRemote for use with Ableton, but as a Traktor user, I was interested in their TrakProDJ app, which acts as a wireless DJ controller for Traktor.

TrakProDJ interfaces with your computer via WiFi—on the same network, or using an ad-hoc WiFi connection—using the Core-MIDI framework. Core-MIDI support began, and is inherent on the Mac. (It’s also inherent on iOS devices like iPad and iPhone.) For Windows users, however, the freely available rtpMIDI driver (produced by Tobias Erichsen, not the company) is required, and must be installed and configured on the host Windows PC—a process that can be a little confusing at first, but isn’t especially difficult.

However, getting things working can still be a bit tricky. My attempts to use TrakProDJ with Traktor on my Windows XP studio computer were successful, but not 100-percent so. What I’d call “forward control”—manipulating the software on my iPad and seeing actions occur within Traktor—actually worked perfectly. However, the “back channel”—control changes in Traktor being reflected back to TrakProDJ— experienced high latency (i.e., delay).

Part of this is due to the type of WiFi connectivity. Running through a typical home or office WiFi network, where each device is connected to a WiFi access point, is not the preferred configuration. Setting-up a non-standard, point-to-point “ad-hoc” network—the WiFi equivalent of running a network cable between two computers directly—worked significantly

better, but I still experienced some back-channel latency. Digital Music Technology assured me that this is never a problem on the Mac, and is not always an issue on the PC, either.

In any case, the software was still quite usable for me, as a Windows guy.

In any event, once the network functionality is running, a TSI mapping file is loaded in Traktor, and you’re off to the races. The user interface of TrakProDJ shows jog wheels, faders, EQ, pitch, transport, loop and even effects controls in its efficient layout.

Just touch the control on the iPad with the software running, and the virtual controls within Traktor move to match. That’s truly about all there is to it; your iPad becomes a virtualized alternative to standalone, off-board hardware DJ controllers.

The software is also available for iPhone—a rather mind-boggling concept, quite honestly. On the small screen of the iPhone, tabs along the top of the app let you switch between deck A transport, deck B transport, fader, and FX control views.

Beyond the sheer cool factor of using an iOS device as a controller, is TrakProDJ the ultimate prevention for a track running out, while you’re away from the booth, and taking a bio-break during your next gig? (I’ll leave you to envision mixing a song from the restroom while taking care of business.)

The iPad version of TrakProDJ is about $10; the iPhone version, about $6. It’s unfortunate that the company didn’t choose to release the product as a single, universal app that runs on both devices—which seems both increasingly common, and increasingly appreciated by consumers.

CONCLUSIONS Using an iPad to DJ was surprisingly fun, amazingly enjoyable, and shockingly effective. I’m not sure I can envision too many professional DJs using their iPads for serious gigs. But I’m not sure I can’t, either—given the solid reliability of the iPad itself, and the overall usability of these set-ups. And with the DJ apps I described, I truly love the fact that you can toss all of into a bag, throw it over your neck and shoulder, and easily carry around everything required to fire-up a spontaneous DJ gig on the spot, anytime, anywhere.

However they’re used, it seems clear that the iPad, as well as other emerging tablet devices, are poised to take on more and more of the tasks that we currently mostly look to notebook and netbook computers to provide. With their ever-morepowerful CPUs, increasing memory, bigger brighter screens, expansion options and exploding interest among software developers, I suspect that in the next few years, the novelty factor will have worn off, and many of us might well be depending day-to-day upon future generations of iPads (and/ or others) for our DJing endeavors. n

MAKING TRACKS STUDIO…HARDWARE…SOFTWARE…

APOGEE DUET2: MORE POWERFUL INTERFACE

DJ TIMES

DECEMBER 2011

By Josh Harris

24

A little over three years ago, I reviewed a new product by Apogee, called Duet. This slick little audio interface gave producers and engineers two channels of quality Apogee A/D and D/A in a portable, buspowered FireWire 400 unit. I was so impressed with Duet that I bought one shortly after I returned the review unit. Earlier this year, Apogee (www.apogeedigital.com) released Duet2, an upgraded USB 2.0 version of the original Duet. Of course, I was intrigued.

Much like the original unit, Duet2 has a durable cast-aluminum body, but with a sleek black top. The signature silver multi-function knob has been slightly modified and, to my eyes, appears a little bit wider, yet shorter in height.

One of the main differences between Duet and Duet2 is the addition of a universal power adapter for the U.S., U.K. and E.U. The power supply comes in handy when running the unit at higher volumes, which can tax the USB port when in buspowered mode. The breakout cable has been streamlined a bit, with the ¼-inch and XLR inputs living within the same connector. The breakout I/O port has been shrunk down a bit in size and outfitted with a proprietary connection design made by Hirose, allowing for a cleaner connection of the breakout cable in the rear of the unit.

The USB 2.0 port replaces the old FireWire 400 on the rear left side.

Duet2 offers four software outputs, while the original Duet only offered two. All Apogee audio interfaces require the Maestro software, and Duet2 requires Version 2.0 or above.

Version 2.0 has a very different look from the older, Version 1.x versions, but I’ll cover that a little later on in the review.

Upon hooking up Duet2 to my Macbook Pro, I downloaded the latest versions of the installer, as well as the Maestro software from the

Duet2 upgrades include better sound, more software outputs.

Apogee website. Once my Mac rebooted after a successful installation, I was asked if I wanted to choose Duet2 as my main audio interface for the Mac’s output. I selected “yes” and immediately moved on to open up a new Logic 9 session. As my laptop was accustomed to seeing the original Duet, I had to go into the Audio Preferences from within Logic and choose Duet2 as my interface. I was ready to roll and started working on my track.

While you don’t have to have Maestro open to navigate through the different panels of Duet2, it offers a better view of what is going on within the unit. That being said, you can certainly navigate through Duet2 via the multi-function knob to address I/O levels, and ignore Maestro altogether.

When the multi-function knob is turned, levels will show on the unit as well as the computer’s screen. Pressing down the multi-function knob takes you to the headphone mix; pressing it again takes you to Input 1, and then finally to Input 2. Duet2 also offers a visual display of the selected parameters on the unit itself.

This is new and was not available on the original Duet. The inclusion of a separate headphone mix is also a new feature. So, the output volume to your speakers can be set at one level, while your headphones are set

at another.

As mentioned earlier, Duet2 requires Maestro 2.0 or higher to run.

The Maestro software offers a very detailed look at what is going on in Duet’s parameters, such as inputs, outputs, device settings, mixer and system setup. The input section is where you will select the type of analog input: instrument, XLR, -10 or +4 line levels. This is also where the 48V phantom power and phase switches are located.

There is also a “soft limiter,” which can be useful in taming transients during the recording process, but is not always appropriate—so use to your taste. The output section is where you will find meters for all four of the software outputs, along with output settings to the speakers and headphones. The device-settings menu is where you will find the device Icon and ID button, peripheral prefix for each device shown in the devices sidebar (A-Z), and touchbutton assignment, which allows for different parameter assignments to each of the two buttons located just above the multi-function knob on the Duet2. An example is assigning speaker mute to the left touch button. The mixer section shows all metering and is also where users can set up a headphone cue, if they are using Duet2 with DJ software, like Ableton

Live. The final menu tab is system setup, and it’s where sample rate, meters and keyboard volume control setting can be found.

If you heard the original Duet and thought it sounded great, then you’ll be even more impressed with how Duet2 sounds. As I started mixing my track, I had to stop for an instant because my ears picked up on the sonic improvement, and it took me a moment to adjust to it. Apogee has always been known for great sounding converters, and Duet2 continues that tradition. After spending a few days with the unit, I had nothing but smiles.

With an MSRP of $595, Duet2 might not be in everyone’s price range, but think about what you’re getting—two channels of great sounding A/D and D/A Apogee converters, along with the Maestro software. There is also a breakout box available for $79.95, which acts as an I/O with two XLR and two ¼-inch inputs, along with two balanced XLR outputs.

Duet2 is a winner in my book and hats off to the folks at Apogee in Santa Monica, Calif., for making some fantastic improvements and additions to a great audio interface.

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

NYE 2012

for tickets, table reservations, or information please visit www.marqueelasvegas.com or call 702 333 9000

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SOUNDING OFF PLAYBACK…PRO AUDIO…PROCESSING

By Nate Sherwood

SHURE CANS, A&H DIGITAL MIXER

This month, Connecticut-based club jock Nate Sherwood reviews two necessary items for DJs—a headphone set and a mixer. Nate takes on Shure’s SRH550DJ cans and Allen & Heath’s Xone:DB4 mixer.

DJ TIMES

DECEMBER 2011

Shure SRH550DJ

26

Obviously, headphones are an integral part of your DJ setup. They are the only piece of equipment that physically bridges the gap from your music directly to your ears.

From my experience, DJ cans are often overlooked—and overpriced. I’ve suffered a bittersweet relationship with my headphones for years. When I started out DJing, nine years ago, I began with the then industry-standard Sony MDR-V700 headphones. I quickly came to love their swivel-cup design and the beefy sound produced via the 50mm divers. Months later, as with many MDR-V700s, the joints began to crack and ultimately fall apart.

Since then, I’ve gone through numerous pairs of headphones, and can never seem to find the same combination of ergonomics and booming sound. For this reason, I was incredibly eager to review the new Shure SRH550DJ headphones. After all, Shure is not just your run-of-the-mill electronics outfit. No, the Niles, Ill.-based company has been leading the pack in headphone and microphone design for over 80 years.

My first impression of the SRH550DJ was that they are extremely lightweight and sturdy. I was skeptical of their all-plastic design, but all of the hinges are tight and well-made. Best of all, they do not creak or groan when twisting or bending them, which is a great sign. The swivel-cup design has a wide range of motion and the hinges are very smooth.

Aesthetically, the gunmetal grey finish is sleek without being flashy. They have a straight (noncoiled) cord that measures about 6.5 feet which terminates to a ¼-inch plug adapter that can be unscrewed to accommodate an 1/8-inch receptacle. The technical specs boast 50mm drivers and a frequency range of 5 Hz-22kHz. They have a collapsible design and fold up nicely to fit into the included carrying bag. There’s ample padding on the ear cups and headband, and are fully adjustable to fit virtually anyone.

Now, the test drive: Right out of the gate, I hooked the SRH550DJ up to my home mixer and began mixing.The sound was great and the bass and treble seemed to be accentuated, which is perfect for precision mixing.

Also, the lightweight design is fantastic; the cans are barely noticeable hanging around your neck.

The straight cord is a great design element because coiled cords tend to flop around as you move

about in the DJ booth. The swivel-cup design works flawlessly and really allows hands-free monitoring, which is a much less restricting method than what’s offered with other headphones. The replaceable cushioned ear pads are very comfortable and provide sufficient isolation from exterior noises. Even after hours of use, there was very little ear fatigue from these headphones, which is unusual for a brand new pair of cans that haven’t even really been broken in yet.

In order to give a comprehensive review, I used the headphones regularly over the course of about six weeks. In the time, I spent numerous hours playing music with SRH550DJs and carrying them from gig to gig. I can be pretty rough on my gear and these cans were jammed into the bottom of my record bag, dropped and banged around, and even doused with water during a rowdy mishap. In the end, they came out unscathed, and work just as well as they did the day that I took them out of the box.

In total, the Shure SRH550DJs have proved to be a rugged contender in the headphone market. They are comfortable, reliable, and sound great. With a MSRP of $99, these Shure cans are a steal.

Allen & Heath Xone:DB4

U.K.-based Allen & Heath’s history runs deep, spanning over 40 years of audio design for the world’s most discerning performers and engineers.

In time, the company set its sights on the DJ market and the Xone series was born. Over the years, it has become the Rolls Royce of mixer designers.

In early 2011, Allen & Heath debuted Xone:DB4, its first all-digital mixer. Like many products, it’s designed to bridge the gap between traditional DJing and computer DJing; however, the DB4 is much more. It is a personalized piece of equipment that transforms a 4-channel mixer into a musical instrument.

My first impression was that every square inch of the face is occupied with a plethora of buttons, knobs, and faders. Aesthetically, it sports a blackand-chrome color scheme with a large display screen. Everything is ergonomically laid out and spaced nicely. A dual-rail vertical fader—perfect for precision mixing—controls each of the four channels. Each channel has a flexible 3-band EQ, an effect processor, and a looper. To the left of the mixer lies a switchable mic/line input with a 2-band EQ. The right-hand side contains volume and booth controls and a USB input for loading user settings and firmware.

The bottom of the mixer contains a crossfader and two digital filters. Connectivity consists of a pair of balanced XLR, ¼-inch, RCA, and digital outputs. You also get four RCA line inputs (two are

Shure’s SRH550DJ: Rugged, great-sounding cans.

switchable to phono), four digital inputs, and one USB connector. There’s also a mysterious X-Link connection receptacle, rumored to enable connectivity with future Allen & Heath products.

The heart of this beast really lies in its flexibility and digital design. The Quad FX Core system is the equivalent to having four individual effect-processing units per channel. Each effect bank is broken down into five basic categories: Delay, Reverb, Resonator, Modulator and Damage. They’re controlled via a robust Wet/Dry knob and an Expression pot.

Each of these five effects contains a set of subcategories where the DJ can load different presets.

For example, Delay is broken down into: Fat-Q, Thin-Q, Sweep, Ping Pong, and Scatter. Everything is linked to the internal BPM engine and selectable beat fractions range from 1/16 to 6/1. You can also adjust the frequency range of the effects.

Another unique feature is the looping section.

Each channel has its own dedicated looper, a BPMlinked sampler that records loops in real-time, without disrupting the playback timing of the track.

The 3-band EQ knobs are switchable, allowing the EQ knobs to be used in Isolator mode, Filter mode, or as a traditional EQ. If this all seems über-complicated, that’s because it is. But A&H has done a brilliant job designing a controller that’s incredibly easy to use out of the box, and gradually master over time. As soon as I started using the mixer, I realized that the basic controls are universal. The first thing that hit me was the sound quality—it’s pristine and uncolored.

The feel of the mixer is sturdy and precise. The knobs have a nice amount of tension, while the faders are smooth and accurate.

Eventually, I moved onto the advanced features, starting with the Looper. It is incredibly easy to use, and extremely intuitive. To trigger a loop, simply set the loop length with a rotary knob, and depress it to set the loop. There is also a Momentary Activation option, which is engaged only while the knob is held down. This is awesome for creating small stutter effects that are unique without being overwhelming. Another insightful design element is fact that four bars of audio are recorded, regardless of the record setting. This allows a DJ can set a onebeat loop and slowly expand it out to a full four bars, and then release it back to the track.

Next, I decided to delve into the effects. An ef-

fect is engaged by depressing one of the five effect buttons, which change colors indicating that it is “in focus.” Navigating through the sub-categories of each effect button can seem a little overwhelming, but that’s what this mixer is all about. It’s designed to allow you to find the exact effects that suite their musical style and separate yourself from the competition. Turning the Wet/Dry knob all the way to the right engages Kill-Send mode, muting the track and letting the effect play solo.

Another unique characteristic is the adjustable frequency function, which applies a filter-sweep on the effect, yielding stunning results. The Expression Knob changes the characteristics of the effects and pushes the effects pretty far. The effects themselves sound rich and organinic. These are studio quality effects that surpass virtually every DJ effect on the market today.

Itching to learn more, I opted to explore the switchable EQ section. The user can change the function of the three EQ knobs (via toggle switch) and the knobs LEDs change colors accordingly, providing instant visual feedback. The Isolator offers a steep slope adjustment, which fully kills individual frequencies. This is perfect for isolating vocals or other elements of a track. Filter mode turns the knobs into a 3-band filter, which sounds decent, but doesn’t quite rival the Xone filters. The switchable features are unique and enable the DB4 to push out sounds that no other mixer can produce.

Finally, I focused my attention to the Xone filters, a digital emulation of the highly touted analog Xone filters. The dual filters can be assigned to any of the four channels and operate in high-pass, low-pass or band-pass mode. They sound identical to their

analog counterparts. The filters are incredibly addictive and a major selling point for the DB4.

There are a number of less noticeable elements that contribute to the brilliance of the DB4.

The flexible input matrix allows any of the inputs to be assigned to any (or all) of the faders. This is a powerful tool when combined with the Looper and allows any DJ to run four different loops, all from the same audio source, simultaneously. The entire face of the mixer is MIDI-mapable, which is engaged via the Xone:DB4: Ideal choice for discerning DJs. Quad FX Core: Four effect-processing units per channel.

MIDI shift button. This is perfect for video jocks.

The DB4 also contains an internal 16-channel internal soundcard, which can be used to directly route audio from your computer. This is ideal for DJs using audio-synching software platforms like Ableton, Dekadance, or Traktor. By navigating the internal menu of the mixer it’s evident that everything is incredibly customizable. You can reroute the audio outputs, adjust the visual display meters, and even the brightness of the buttons. In addition, there’s a feature to switch the record output to “cleanfeed” eliminating the insertion of the microphone audio.

In conclusion, the DB4 is an impressive introduction into the digital market by Allen & Heath.

It clearly demonstrates their passion for building the highest quality audio components on the market, while keeping up with the ever-changing DJ technology. The DB4 is a precision instrument that separates itself from its digital counterparts by providing a unique array of effects, unparalleled audio control, and crystal-clear sound.

With a MAP of $2,899, the DB4 is the ideal choice for discerning digital DJs committed to delivering a unique sound while having unprecedented control over their music.

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MOBILE PROFILE CAREERS…INNOVATIONS…SUCCESS STORIES

Ryan Kellinghaus prefers to call his business a “cooperative.”

CINCY DJ UNEARTHS THE PRINCIPLES OF THE PROFESSION

DJ TIMES

DECEMBER 2011

By Con Carney

28

Cincinnati, Ohio—Many DJs who work full-time jobs often find that their skill sets overlap from one profession to the other. For Ryan Kellinghaus, the skill set required to effectively carry out his job as an assistant high school principal pays dividends when he runs his six-system mobile company.

“I was a special-ed teacher for 10 years, and the first five years I would have told you I had no desire to be in management,” he says. “But five years ago, I began teaching at a new school, and it’s funny how sometimes you just land in a place where the philosophy, the practice, everything just kind of fits, and you find yourself being asked to take on a leadership role and do more mentoring, lead workshops, and somebody one day pulls you aside and says, ‘Have you ever thought of being a principal? You would make a really good one.’ Then after a couple years of mentoring teachers, you start to like it, you head back to school for a masters degree, and 10 years later you’re an assistant principal.”

These mentoring and organizational skills lie at the root of his success with his company, 513 DJ. “I like to think of us as more of a cooperative than a business,” he says. “As DJs, all six of us have our own styles, coming from different backgrounds.

One DJ is a drummer in a rock band, one’s a high school music teacher, another is a female turntablist, another is a radio guy, and I also have my college-age nephew, whose been going out with me to gigs since he was 12.”

Kellinghaus, who’s run every type of DJ company imaginable—solo op, subcontractor, talent agency head, partnership, etc.—prefers his current setup, started eight years ago, where each DJ owns their own system. Kellinghaus books the gig, meets initially with clients, and draws a commission.

“What I’ve found is that the most reliable and professional people I’ve ever worked with are those who own their own equipment,” he says. “One of the toughest things to do for DJs who own their own company is to bring other DJs into their business; you struggle with finding people who care as much as you do, who are in the same mind set as you.”

Perhaps it’s a sign of Kellinghaus’ leadership and mentoring ability that draws like-minded DJs, or maybe it’s his diligence and knack for booking gigs.

“It’s all about web presence for me,” he says of his site (www.513dj.com/index.html). “Even our referrals go through our site. When I first built the site, we used pay-per-click for advertising, but when we began showing up first in the organic search result when you Googled ‘Cincinnati dj’—I worked really hard on SEO, meta tags, trying to get back links, adding content to change things around and add YouTube to embed video to offer people video samples of events and interviews with customers— we moved away from pay-per-click.”

His paid advertising has included print ads with The Knot—“They called me to do a ‘cocktails-andconnections’ event,” he says, “so I did a trade-out and

did some print and actually got some pretty good results”—and as a preferred vendor for David’s Bridal.

“And we do very little e-mail, so 95-percent of our online traffic comes from Google,” he says.

“There’s no way that my business would survive without that website, it’s really crucial to everything we do—we have an online planning area, where clients enter details about their event, choose music, read testimonials, so we have a lot of tools and info there.”

The one challenge Kellinghaus faces, like many weekend DJs, is balancing the full-time job, family commitments, and DJing. “It’s tough,” he says.

“On weeks when I have a Saturday event, it’s not uncommon for that to be an 80-hour week for me; through the week, I’m working at least 10 hours a day and then on occasion I’ll stay late at school for a board meeting, or a parent night. Every week it’s always something. And then Saturdays and Fridays, I’m handling events. I’ve found that most of my customers are willing to meet with me on Sunday afternoons; so it’s not uncommon for me to have three or four, sometimes five meetings on Sunday afternoons.”

Kellinghaus handles all initial meetings, and then the assigned DJ handles all follow up until the day of the event. Kellinghaus estimates he books about 130 gigs annually, at a rate that varies from $600$900 for four hours, varying by DJ, demand and availability (his personal DJ rate is $900 for four hours). He says he recently booked a gig at $1,700.

“That’s our top rate,” he says. “We do spin a lot of video, and for that we’ll charge $1500.”

He’s come a long ways since the early DJ days, when he was flying solo, in the mid ’90s, before he started subbing out from other companies, working different types of events, and then taking over a talent agency, until he and his wife had a second kid and a re-evaluation began. When an opportunity to start teaching materialized, he did it.

“But my passion for DJing and performing has never waned,” says Kellinghaus, who uses a Macbook Pro running Serato Scratch Live with video and two Technics SL-1200s with time-code vinyl.

“I’ll be that guy at 65-, 70-years-old, spinning behind the decks at the old-folks home. At this point, I enjoy it so much and I’ve surrounded myself with other DJs who are passionate about it, love it. And I’ve gotten to a point in my life when new technology comes around, I get more excited, the DJing just continues to get better.”

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BUSINESS LINE SALES…MARKETING…SOLUTIONS…

By Ed Haas With many DJs generating as much as 90-percent of their bookings via their website, it’s obvious that a web strategy can be the most important aspect of your business—even more than your DJing ability and your 25,000 songs.

So, let’s say you’ve got your web presence established (presumably you’ve hired someone to build it), but you want to avoid paying up to $200 an hour to a specialist to get your Search Engine Optimization strategy established.

Before you plunk down any more cash, your thinking about SEO should be

DJ TIMES

DECEMBER 2011

MOBILE DJS,— RUN YOUR OWN WEBSITE SEO

30

an awareness that Google, Yahoo, Bing and other search engines are clients, or customers, and each page of your website is a box. Put simply, your customers want to know what’s in the box, what shelf it’s on and the address of your store.

Google, ever interested in maximizing their customer’s ability to use its products, lays out how to best do this in a downloadable Search Engine Optimization Starter Guide [google.com/webmasters/docs/search-engine-optimizationstafter-guide.pdf]. Very helpful, and you don’t need an IT degree or coding ability in order to navigate it.

Also, you can try Google’s Webmaster Central [google.com/support/webmasters/] pages.

Here are some tips to get you started on the path to SEO competency: n Location, location: Every page of your website has an address, or URL. When possible, keep the address short and clean—without equal signs, punctuation characters or underscores—and use detailed keywords that are relevant to the page. So, for instance: example.com/buy-DJ-wedding- is better than example.com/ cgi-bin/gen.p!?id=4S.view=buy_DJ_wedding n The world is flat: All of your web pages need to link to one another— but you want to keep things as “flat” as possible, meaning that each page can be accessed with only one or two mouse clicks. Any more than that, and you risk driving people away from your site. One word: simple. n What’s in a name?: A lot. While you might overlook the title bar atop each browser window, search engines do not. Endow each page with a concise, unique, keyword-driven title. If you’re selling wedding DJ services, don’t title your page “things to buy on your special day.” n ’Splain: In the description field, enter a few sentences about the content of that page. Think of it as text in a buyer’s catalog. What makes your DJ service special? Are you spinning video? Do you accept song requests on-site via twitter? If so, explain. n Map it. Your customers would really love to have a map to all the boxes in your store, called an XML site map. If you don’t know XML, don’t worry. There are plenty of software programs [code.google.com/p/sitemap-generators/wiki/ Sitemap Generators) that can do the job. n Tag it. You’d be confused if this article didn’t have a headline, right? Without an h1 heading tag on each page of your website, search engine crawlers have trouble understanding content, too.

Once you’ve got these strategies in place, next it’s time to evaluate whether or not they’re working.Try these free online tools that can measure your SEO efforts. n Google Analytics (google.com/analytics/) This is the iconic SEO tool, for two reasons: it’s easy to use, and it’s cheap (as in free). You only need to enter a snippet of code to receive a bevy of information about users who are clicking to your site—where they come from, the

search engine phrases they used to get there and the pages they visit most. It’s a great way to adjust your SEO strategy, especially when you discover what keywords are driving traffic to your site. n Website Grader (websitegrader.com/) Operated by HubSpot, this grading tool requires you enter your web url into a field and wait a few minutes while the site’s algorithm ranks your site, in terms of blog analysis (are you adding enough content?), metadata, twitter grade, traffic rank, and more. The initial analysis is free, but after that you’ll need to subscribe. Usually when Website Grader doesn’t find your blog it’s for one of two reasons: Word of advice: before using the free analysis, make sure your DJ service blog has an RSS feed, and its autodiscovery feature is enabled. Feeds and autodiscovery help your blog reach a broader audience, and are important pieces of any blog. n Yahoo! Site Explorer (siteexplorer.search.yahoo.com/mysites) Compiling links from other websites is critical to your SEO strategy. This service from Yahoo monitors the number of links to your site and where they originate. You can also view who’s linking to your DJ competitors. n Xinu (xinureturns.com) This simple tool runs a battery of diagnostic tests on your site in a matter of minutes. Just enter your URL and it will grade your title tags, keywords and show you how many pages and pictures you have indexed on Google images.

Not every DJ has the time or the inclination to get “into the weeds” of SEO, so there might come a time when you do need to pay an SEO vendor $200 an hour to help you. If so, make sure you ask the same questions that your clients ask you: “What kind of experience do you have?” “Do you have any references or testimonials?” “What can I expect for my money, and how long should it take?” And beware of “black hat” tricks that some SEO “experts” employ in a promise to get your Google rankings to No. 1.

You’re now on your way to beefing up the most important aspect of your business—and your career.

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

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GEAR AUDIO…LIGHTING…STUFF

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

DJ TIMES

DECEMBER 2011

American DJ’s Hypnotic RGB tri-laser effect creates “web-like” patterns using three different lasers: 30mW green, 80mW red, and 350mW violet blue, a unique feature that the company says had previously been “very rare and prohibitively expensive to use in club lighting effects.” The unit features a 78-degree beam angle and works in its “plug-and-play” Sound Active Mode, as well as Master/Slave or DMX Modes. Up to 24 units can be linked using three-pin DMX cable and IEC In/Out power connectors.

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Mom and Apple Pioneer Pioneer Electronics 1925 E. Dominguez Street Long Beach, CA 90810 (310) 952-2000 www.pioneerdjusa.com The Pioneer DJM-250 two-channel mixer comes in either black and grey or white and grey. It sports eight inputs, including one for a microphone, and XLR balanced outputs. There are two color sound filters, one on each channel that is enabled with a large knob, for combining filter and EQ effects. Additional features include 48 kHz/24-bit digital processing, three-band isolator style EQ and cross fader curve adjust.

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GEAR AUDIO…LIGHTING…STUFF

Fanny Pack Fanny Wang Headphone Co. 375 Diablo Rd, Suite 200 Danville, CA, 94526 (877) 846-4425 www.fannywang.com The 2001 Over Ear DJ Wang from Fanny Wang Headphone Co. comes in a variety of colors, including black and white, black and red, white and red, and white and chrome.

The headphones have magnetically-shielded cables and circuitry and feature 50MM drivers, active noise cancellation, auto power off, and selectable bass boost switch that offers 6dB of bass. They come with a hard carrying case, are compatible with any stereo device and are iPhone, iPad and iPod ready with remote and microphone.

United Vision in NYC info@unitedvision.tv www.unitedvision.tv United Vision created City Visions New York, a Blu-ray HD visuals compilation with a deep-house 5.1 surround sound DJ mix.

The first Blu-ray disc of its kind, according to the company, the disc can sync up to the music being played at a club, or work as a stand-alone “audio-visual experience” that works on projectors, flat screens and more.

It contains a Blu-ray HD disc, an SD DVD and an iPod-ready H.264 file. Montages of New York City blend with electronic images, all in HD quality.

Viva Las Vegas

DJ TIMES

DECEMBER 2011

Sony Creative Software 1617 Sherman Ave Madison, WI 53704 (800) 577-6642 www.sonycreativesoftware.com

34

The Vegas Movie Studio Visual Effects Suite is a video and audio editing program that offers 3D compositing and green screen capabilities. The program offers 40 different filters to blur, warp, color-correct and stylize videos. In addition, there are a variety of 3D effects included, such as smoke, fire, explosions shockwaves, and automatic lighting and shadow effects. The Vegas Movie Studio Visual Effects Suite is designed for PCs with Windows XP SP3, Vista SP2 or 7.

Gator’s New Padded DJ Bags are specifically designed to protect all the most popular brands.

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Sugar Cubix Chauvet 5200 NW 108th Ave. Sunrise, FL 33351 (800) 762-1084 www.chauvetlighting.com Chauvet’s Cubix creates two different effects— colorful flowing effects and animations made with 64 RGB LEDs, and a quad-sided derby effect powered by two tri-color LEDs. The unit features built-in automated programs accessible via master/slave or DMX, as well as sound-activated programs and user-selectable colors in standalone mode.

Under the Wireless GCI Technologies 1 Mayfield Ave. Edison, NJ 08837 (732) 346-0061 www.gci-technologies.com Four systems in both handheld and hands-free configurations make up Gemini’s UHF-5000 Series of wireless microphone systems. The UHF-5100M and UHF5200M systems are designed for professional vocal reproduction and feature dynamic handheld microphone transmitters with high-sensitivity cardioid capsules and noise absorption components. The UHF-5100HL and UHF-5200HL feature dual receivers housed in one enclosure.

Designed for hands-free applications, these models come with lightweight belt pack transmitters and lavalier microphones that the company says “can be pinned to a jacket or attached to the included headset.”

Don’t Worry, Be Appy Intelligence, Inc. 900 Ogden Ave #437 Downers Grove, IL 60515 (312) 635-8900 www.intelligenceinc.com DJ Intelligence is offering a new Facebook app for all DJs. The DJ Intelligence Most Requested Songs app analyzes client requests made through the DJ Intelligence music request system at weddings and parties around the world over the past 12 months and creates charts that are continuously updated in real time. Charts include Top 50 Most Requested Bride & Groom First Dances and Top 100 Most Requested Songs of the 2000’s. To download, click like at www.facebook.com/djintelligence, then go to www.facebook.com/topsongcharts and click “Add to My Page” link in left menu.

DJ TIMES

DECEMBER 2011

LEDBARREL of Laughs

36

MBT Lighting and Sound 2456 Remount Road, Suite 305 North Charleston, SC 29406 (800) 845-1922 www.mbtlighting.com MBT Lighting introduced two new effect lights, the LEDSHIMMER and the LEDBARREL. The LEDSHIMMER uses white LED and a dichroic color wheel to project the image of rippling water. Users can choose between a color-changing version and a fixed color image, thanks to the included stop switch. The LEDBARREL projects constantly-spinning and -turning red, green, blue and white beams. It comes equipped with a quad-color LED and 16-sided barrel-shaped mirror with X/Y movement.

GROOVES TRACKS…MIXES…COMPILATIONS

“AURAL SYNAPSE” u Deadmau5 u Ultra

“PEOPLE GET TOGETHER”

u Marco Finotello & Maggie Smile u Favouritizm

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This journey of signature mau5house builds and breaks intertwine and, alas, meet in the middle. Though not straying far from his video-game inspired tunes, “Aural Synapse” includes a heavy orchestral component that exemplifies the evolution of Mr. Mau5, proving a testament to his overall musical maturity. If only computer speakers could possess the power of a live Deadmau5 show... ears for all!

– Natalie Raben FIRE & ICE u Kaskade u Ultra This double-CD artist album from America’s Best DJ 2011 isn’t what you’d expect, with “Fire” (CD1) being dancier versions of the toned-down tracks on “Ice” (CD2). It feels like a step back in time, channeling Kaskade’s slower melodic, all-vocal Love Mysterious era, instead of the clubbier focus his tunes have had since Dynasty. “Llove” is the standout, with “Waste Love” and “Eyes” coming in close seconds and thirds.

– Natalie Raben “CHALLENGE EVERYDAY” EP

u Solomun/Stimming u Diynamic Check out this explosive EP—firstly, with Solomun’s “See You Every Day Alone” with its deep, heavy, soulful vocals, epic strings and retro percussion. His twisted effects on the vocals give this track a particularly wicked feel. Stimming’s “Challenge the Air” has rhythmic, bellowing basslines blending perfectly with funky, warped vocals. The dub comes together nicely on this avant-garde mindbender that pounds hard, but flows smoothly with its moving, relentless groove.

DJ TIMES

DECEMBER 2011

Download

Corner

38

– Shawn Christopher

An all-around feel-good, disco-flavored house joint, this one oozes a retro party vibe. Check the sexy, emotive guitar licks, classy pianos, funkfilled bassline and uplifting, soul-stuffed vocals— it’ll keep your dancefloor grooving for sure

– Shawn Christopher THE LESS YOU KNOW, THE BETTER

u DJ Shadow u Verve/Island

On his first artist album in five years, Shadow throws down a satisfying collection of bad beats and creative samples, scanning several genres.

Standouts include “Sad and Lonely” with its harmonious, sampled female vocals, “Tedium,” with chill basslines and rhythmic grooves, and “Run for Your Life,” with its experimental jungle vibes.

– Jen Shapiro “WALKING ALONE”

u Dirty South & Those Usual Suspects feat. Erik Hecht u Phazing Massive, anthemic and powerful, this melodic stomper—with Hecht’s smooth vocals out front—is bound to blow up dancefloors worldwide. Get onboard.

– Jen Shapiro

“BOOK OF SIGHT” B/W “ARCADIA”

u Ed Rush u Virus

On this re-release, Rush again rolls out the dirty d-n-b beats. The tight “Book of Sight” brings the noise, while on the flip “Arcadia drops wobbly bass, primal beats and effects galore. Serious energy all the way through.

– Jen Shapiro

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

“Sealed” (Original Mix) by Dinky [Crosstown Rebels]: Chilean producer Alejandra Iglesias (aka Dinky) brings a sensual musicality to house music. Throbbing bass and an everchanging, stabby synth pattern slowly evolve throughout the track. By the time the vocals drop in at 3:00, you’re unsuspectingly addicted to the delicious groove. Found at beatport.com.

“What Is This Thing” (Original Mix) by Jeff Mason & Chris Vench [Dirty Deluxe]: The label continues its run of quality underground, yet dancefloor-focused beats. Here, Mason and Vench take the vocal hook and horn samples from a lesser-known jazz standard, add a techy 4/4 beat and bellowing bass. Throw in some clever sampling and FX, and you’ve got a track that you won’t be able to stop singing. Found at beatport.com.

“Division (Original Mix) by Flowers and Sea Creatures [Buzzin’ Fly]: Take Radiohead’s penchant for sonic experimentation and Thom Yorke’s earnest vocals, add a slow house groove and you’ve got Montreal’s Flowers and Sea Creatures. “Driven” is a dark, brooding, harmony-laced highlight from their superb eponymous album. Go get it! Found at iTunes.

– Robert LaFrance

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DJ TIMES

DECEMBER 2011

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2 0 1 2 D A T E S A N N O U N C E D A U G 1 3 - 1 6 1.

Publication Title: DJ Times 2.

Publication Number: 0749-490 3.

Filing Date: September 27, 2011 4.

Issue frequency: Monthly 5.

Number of Issues Published Annually: 12 6.

Annual Subscription Price: $19.40

Contact Person: Vincent P. Testa (516-767-2500) 7.

Complete Mailing Address of Known Office of Publication: 25 Willowdale Ave., Port Washington, NY 11050-3779 8.

Complete Mailing Address of Headquarters or General Business Office of the Publisher: 25 Willowdale Ave.,

Port Washington, NY 11050-3779

Publisher: Vincent P. Testa, 25 Willowdale Ave., Port Washington, NY 11050-3779

Editor: Jim Tremayne, 25 Willowdale Ave., Port Washington, NY 11050-3779

Managing Editor: Jim Tremayne, 25 Willowdale Ave., Port Washington, NY 11050-3779 10. Owner: DJ Publishing, Inc., 25 Willowdale Ave., Port Washington, NY 11050-3779 13. Publication Title: DJ Times 14. Issue Date for Circulation Data Below: October 2011 15. Extent and Nature Of Circulation Average No. Copies Each Issue No. Copies of Single Issue Published

During Preceding 12 Months Nearest to the Filing Date A. Total Number of Copies (Net press run) B1. Paid/Requested Mail Subscriptions B3. Sales Through Dealers and Carriers C. Total Paid and /or Requested Circulation D4. Nonrequested Copies Distributed Through the

USPS by Other Classes of Mail E. Total Free Distribution F. Total Distribution G. Copies not Distributed H. TOTAL I. Percent Paid and /or Requested Circulation

22,013 8,346 7,667 16,013

20,789 3,337 12,046 15,383

5,489 5,489 21,502 511 22,013 75%

5,014 5,014 20,397 392 20,789 74%

16. Publication of Statement of Ownership: Will be printed in the December 2011 issue of this publication.

17. Publisher: Vincent P. Testa, President Date: September 27, 2011

Compiled As Of November 9,2011

National Crossover Pool Chart 1 Gloria Estefan 2 Dev 3 David Guetta F/Tempah & Ludacris 4 Leona Lewis / Avicii 5 D’Manti 6 David Guetta 7 Rihanna 8 Jess Sutta 9 Jason Derulo 10 Swedish House Mafia 11 Dacav5 12 LMFAO F/ Bennett & Good Rock 13 Maroon 5 F/Christina Aguilera 14 Mayra Veronica 15 Kelli 16 Pepper Mashay 17 Nervo 18 September 19 Britney Spears 20 Katy Perry 21 Nicollette F/Rev-Players 22 Pitbull F/Ne-Yo +Afrojack+Nayer 23 Katrina 24 Emilia De Poret 25 Right Said Fred 26 Kylie 27 Nicki Minaj 28 J Dash 29 Sir Ivan 30 Japanese Popstars 31 Inxs F/ Tricky 32 Lady Gaga 33 DJ Nick Cannon F/Akon 34 Hakimakli 35 Enrique Iglesias F/ Usher 36 Consuelo Costin 37 Enrique Iglesias F/ Pitbull & Wavs 38 Kim Leoni 39 JLS 40 Speakers

WEPA In The Dark Little Bad Girls Collide Tonight Without You F/ Usher California King Bed Show Me Dont Wanna Go Home Save The World Dirty Style Party Rock Anthem Moves Like Jagger Freak Like Me Gave Up On Love Love S.O.S. We’re All No One Party In My Head I Wanna Go Last Friday Night Can You Feel It? Give Me Everything OPM Weightless I Am A Bachelor Put Your Hands Up Super Bass Wop Live For Today Song For Lisa Mediate Edge Of Glory Famous Ding Dong Ding Dirty Dancer Feel So Alive I Like How It Feels Around And Around She Makes Me Wanna Bass

National Urban Pool Chart

Crescent Moon Universal Republic Astralwerks Sony D’Manti Astralwerks Island/Def Jam Hollywood Warner Brothers Capitol Dacav5 Interscope A&M Universal Big Mgmt.

Control Voltage Astralwerks Robbins Jive Capitol Amathus Sony Red Red Robbins Promark Astralwerks Universal Stereofame Peaceman Astralwerks Rhino Interscope NCredible Robbins Universal Republic Bill Friar Universal Republic Robbins Jive Capitol

1 Beyonce 2 Charlie Wilson 3 Drake 4 Lil Wayne 5 R Kelly 6 Nicki Minaj 7 Johnny Gill 8 J Dash 9 Wale F/Jeremih & Rick Ross 10 Dj Drama F/Fabolous 11 David Guetta F/ Flo Rida & Nicki Minaj 12 Kelly Rowland F/ Big Sean 13 Rihanna 14 DJ Nick Cannon F/Akon 15 Tyrese 16 Ace Hood & Chris Brown 17 Timberland F/Pitbull 18 Big Sean & Kanye & Rosco Dash 19 Lil Wayne F/ Drake 20 Jennifer Hudson 21 Speakers 22 Beyonce F/Andre 3000 23 Marsha Ambrosius 24 Red Cafe F/ Rick Ross 25 Pitbull 26 Kanye West & Jay Z 27 Bad Meets Evil F/ Bruno Mars 28 Mary J Blige 29 Monica F/ Rick Ross 30 Nicki Minaj F/ Rihanna 31 Dj Khaled F/Drake&Rick Ross 32 Ace Hood 33 Rihanna 34 Rihanna 35 Diggy 36 T-Pain F/ Joey Galaxy 37 Ace Hood 38 Beyonce 39 Jill Scott F/ Paul Wall 40 T-Pain F/Wiz Khalifa & Lily Allen

Most Added Tracks 1 Chris Willis 2 Craig Smart 3 Vato Gonzalez Ft/Foreign Beggars 4 Benni Cinkle 5 September 6 E. Amador & Kimberly Cole 7 HMC (Hannah & Miami Calling) 8 Nervo 9 Speakers 10 C&C Music Factory

Too Much In Love Tooty Fruity Badman Riddim Can You See Me Now Party In My Head Arrow Through My Heart When The Sun Comes Down We’re All No One Bass Rain

Best Thing I Never Had Life Of The Party Headlines How To Love Radio Message Super Bass In The Mood Wop That Way Oh My (2011) Where Them Girls At Lay It On Me Man Down Famous Stay Body 2 Body Pass At Me Marvin & Chardonnay She Will No One Gonna Love You Bass Party Late Nights Fly Together Intl. Love F/Chris Brown Otis Lighters 25/8 Anything To Find U Fly I’m The One Go & Get It California King Bed Cheers Copy Paste Booty Wurk Go & Get It Love On Top So Gone 5 O’Clock

Columbia Epic Cash Money Universal Jive Universal Notify Stereofame Geffen E1 Astralwerks Universal Def Jam NCredible EMI Def Jam Interscope Def Jam Universal Republic Jive Capitol Columbia Jive Interscope Jive Island/Def Jam Interscope Interscope J Records Universal Def Jam Island/Def Jam Island/Def Jam Def Jam Atlantic Jive Island/Def Jam Columbia Reprise Jive

Most Added Tracks Veneer Trippin’ Out Robbins Less Than Three Robbins Citrusonic Snowdog Astralwerks Capitol C&C Music Factory

1 2 3 4 5 6 7 8 9 10

Elle Varner Fat Man T-Pain F/Wiz Khalifa Musicfanatic Birdman F/ Nicki Minaj Laura Michelle Monica Red Cafe F/ Rick Ross Waka Flocka Flame Rosco Dash

Only Wanna Give It To You Jig It 5 O’Clock Club City Y U Mad Pose Until It’s Gone Fly Together Round Of Applause Good Good Night

RCA SOW Jive Musicfanatic Universal Thompkins Media J Records Interscope Warner Brothers Geffen

Reporting Pools ✦ Dixie Dance Kings - Alpharetta, GA; Dan Miller ✦ Flamingo - Ft. Lauderdale, FL; Julio ✦ Lets Dance / IRS - Chicago, IL; Lorri Annarella ✦ OMAP - Washington, DC; Al Chasen ✦ Masspool - Revere, MA: Gary Cannavo ✦ NW Dance Music - Shoreline, WA; John England ✦ Philly Spinners Assoc. - Bensalem, PA; Fred Kolet ✦ Pittsburgh DJ - Pittsburgh, PA; Jim Kolich ✦ Soundworks - San Francisco, CA; Sam Labelle ✦ New York Music Pool - Levittown, NY; Jackie McCloy ✦ Rickett’s Record Pool - Saddle Brook, NJ; Bill Rickett ✦ Pacific Coast - Long Beach, CA; Steve Tsepelis✦ NE Record Pool - Boston, MA: Justin Testa

Looking for these titles?

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

Just click on the links in the chart.

DDK has limited memberships available for qualified DJs in the US. We service CDs and MP3s in dance and urban formats. Feedback and membership dues required. 770-740-0356

45791

Modeselektor

(continued from page 14) a couple of tracks on the album [“Shipwreck” and “This”]. Dare we ask what he’s like to work with?

Bronsert: He said to me recently that if anyone ever asks what he’s like, I should tell them that he’s an old man who likes yoga and playing guitars! The truth is, though, that he’s a really cool guy who knows exactly what’s going on. We’ve known him for a long time now, so we’re not nervous around him anymore and he’s actually the only collaborator on this album who came out to Berlin and worked with us one-on-one in the studio. We speak the same language musically, so we don’t really need to talk about stuff in the studio. We just make music and have a lot of respect for each other as musicians. In that sense, there isn’t really a lot to tell.

I’ve asked him before why he wanted to work with us. You think to yourself: “What is he doing here in Berlin with these weird electronic guys?” And all he says is that he loves our music, simple as that… and that makes me feel proud as fuck.

DJ Times: After years of success on BPitch Control, what made you set up your own Monkeytown record label anyway?

Bronsert: BPitch just didn’t have the same “family” atmosphere about it that we’d grown up with. A lot of other guys like Paul Kalkbrenner and Sascha Funke left the label recently, too, but we still totally respect the fact that they’ve been releasing great music for 10 years now. It just didn’t feel like the right place for us to be anymore. We couldn’t really breathe and be as free as we are now with Monkeytown, although signing artists and all the other related work that comes with running a label has been

tough to stay on top of. Thankfully, we have a great team of guys around to help because we are absolutely no good at all with the whole marketing side of things.

DJ Times: It seems like every DJ and producer on earth is heading out to work in Berlin these days.

How has the city’s scene changed as a result?

Bronsert: I’m not sure that it has, actually. Look, it’s my hometown.

I was born here, I live here and I’ll die here, too, so I don’t care about all the fashionistas and wannabes that have turned up recently—I’m too old to be bothered about that.

The perception people have of Berlin and a “Berlin sound” is totally wrong. The electronic music scene here is extremely multi-dimensional and colourful, and it’s a great place to come and feel free. I’ve seen people from the States come over and it’s like they’ve landed on a completely different planet! Big cities like New York, London and Paris have that same creativity, but the pace of life there is so fast, while Berlin is a lot more relaxed. Remember, you don’t get a proper feel of any city from in-flight magazines and outside opinions.

DJ Times: You’re becoming more and more popular in the U.S. What’s your view of the American club scene at the moment?

Bronsert: We just got back from a two-week tour in the U.S. and it seems like an extremely varied, mixed-up scene there right now.

You can’t really identify one, specific sound or another and call that the “U.S. scene.” There seems to be a new generation of American producers mixing rock and electronics and a load of other guys making dubstep

tracks, but it worries me how much people are following the hype around one genre or another. That said, I don’t want to sound like “the asshole from Europe” here because it’s exactly the same in Europe and other parts of the world, but the hype around one bandwagon or another just seems so much more exaggerated in America.

DJ Times: Which up-and-coming DJ/producer would you rate these days?

Bronsert: Anstam is someone to watch out for, definitely. He’s an amazing producer from Berlin and, happily, he has signed to our label, too. He’s what I would call “The Prince of Darkness,” a big, big talent that you will hear a lot more about in the future.

DJ Times: What advice would you give to aspiring artists?

Bronsert: In terms of advice for newbies, I’d say don’t follow the hype. Be inspired by what’s around you, but don’t copy it. Do your own thing, naturally, and keep at it. That’s what we did and you can start your own “snowball effect” from there.

Try and say something with your music, too, because pretty much anyone can make a nice, radiofriendly dance track. If you can tell a story with your song—and people can dance to that song or listen to it at home—then you’re on the right path.

DJ Times: You’ve been out DJing again recently. What’s your preferred DJ platform?

Bronsert: I’m a vinyl geek. My wife goes crazy at the amount of vinyl I’ve got indoors, but we started using the [Native Instruments] Traktor Kontrol S2 controller system recently and that’s been a lot of fun.

We’re not really club DJs as such, and I can’t imagine DJing tune-bytune in a club without being creative, so I’ll normally play a track, while my partner, Szary, runs 909, 606, 808 and Acidlab drum machines through the MIDI. We like to keep lots of machines running and make freestyle edits as we go. In that sense, it’s probably more of a live performance than a standard DJ set.

DJ Times: Critics have come up with some bizarre descriptions of your production style over the years—psychedelic electro, Eurocrunk, big-bass techno and acid-rap amongst them. What does Modeselektor sound like to you?

Bronsert: Contemporary urban bass music, or electronic R&B or… look, I honestly don’t know! Modeselektor is a band that exists in its own world. We’ve always been the guys who swim against the stream.

You’ve got to remember that we came from East Berlin, and when The Wall came down the city was in a state of anarchy—so we literally grew up with no rules. We don’t follow orders, we don’t follow the herd and we’ve got no interest in any bandwagons. I love dubstep, for example, but we weren’t going to put a dubstep track on the album just to be hip or “current.” Modeselektor is all about making music that stands the test of time. It’s not for DJs to play out for a couple of weeks and then move on to “the next big track.” I want our material to be more valuable to people than that. Electronic music should be an adventure—you should have that same sense of freedom and excitement that you felt when you were a little boy walking through a forest for the first time. n

Skream & Benga’s Dubstep Debate

DJ TIMES

DECEMBER 2011

We laid the foundation for U.K. dubstep years ago.

42

Damn Yankees…

But, in America, they have different ideas about it.

Skream & Benga, Next Month in DJ Times

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