DJ Times January 2014, Vol 27 No 1

AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988

JANUARY 2014

MAT ZO HOT SINCE 82 STYLE OF EYE KRK MONITORS FRANKENSTANDS SLAMMIN’ SUBS MOBILE DJ RE-BOOTS & WINS

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A TECH TALK WITH THE LEGEND

15

WAYS TO GROW YOUR BUSINESS

MOUNTAIN OASIS FEST

BEATS & FREAKS

ARE BRIDAL SHOWS

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INDUSTRY EVENTS…NOTABLES…MILESTONES

NEWS

MOUNTAIN OASIS FEST: ELECTRONIC MADNESS & MORE

Criss Images

No. 4 finisher in the America’s Best DJ poll dropped an explosion of bass bombs, from the trapped-out D-Bass remix of Azealia Banks’ “212” to a teaser of his own hit “Basshead.” The art and visual direction, coupled with esoteric moments of the set, took the audience on a trip unlike anything else that night.

The Orb: A multi-media pleasure.

Headliner: Bassnectar blasted the arena.

The artists that blurred the lines between DJ and live performances delivered some of the weekend’s most unexpectedly memorable sets.

Purity Ring—an 11 th hour addition to Friday’s arena lineup—mashed glacial dubstep and trap production with dreamy vocals. The show, which included a “tree” of light diamonds functioning as drums and overhanging oval illuminations, showcased producer Corin Roddick, who controlled everything—from beat-mashing vocalist Megan Roddick’s voice to triggering visuals. Robert DeLong’s at-capacity Orange Peel show on Saturday saw the one-man-band playing approximately 10 instruments for a genre-defying dance party. Disclosure played a similar live show, with the inclusion of a live bassline for “When a Fire Starts to Burn” and the appearance of Jessie Ware (on “Running”) being particular highlights.

By the time U.K.-based electronic duo The Orb hit the Orange Peel’s stage to cap off the first MOEMS, the news was out that music icon Lou Reed had passed away earlier that Sunday morning. And as Reed’s first big band The Velvet Underground played gigs that included bewildering Warhol films projected onto the band members as they droned and squealed through their transgressive repertoire, it seemed somehow appropriate that The Orb was carrying forward that very multi-media/

Moog-y Man: Pretty Lights onstage.

outsider-music ethos. (Full disclosure: The Orb event was co-presented by DJ Times.)

Led by musical prankster Alex Paterson, The Orb offered up its own version, though certainly more informed by mind-freeing Acid-House culture than anything blatantly confrontational (like, say, VU’s “Sister Ray”). But its mad cornucopia

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of evocative film pieces—deep-sea scenes, silent-film snippets, loops of flexing musclemen, full-on geometric freakouts—seemed to perfectly suit the group’s 90-minute set of beatless burbles, spoken-word epiphanies and ever-building grooves. Compared to the Velvets’ heyday, it was perhaps less grating, but no less musically challenging.

Check it out!

By Jim Tremayne & Chris Caruso Asheville, N.C. – Held this past Oct. 25-27, Mountain Oasis Electronic Music Summit saw former and future stars perform in a unique and open atmosphere that pleased esoteric-music obsessives and partyloving festival-goers alike.

Produced by AC Entertainment and housed at a variety of venues in this beautiful college town, Mountain Oasis had thousands of Halloweencostumed partiers grooving to an impressive slate of hitmakers, underground faves and relative upstarts.

From beginning (Claude VonStroke) to middle (Animal Collective) to end (The Orb), there was something for everybody.

And that seemed to be the point of the event, which presented a terrific mixture of moody electronic acts like Ulrich Schnauss and Darkside, hitmakers like Nine Inch Nails and Gary Numan, cultish originals like Silver Apples and Neutral Milk Hotel, and electronic phenoms like Bassnectar and Pretty Lights. If you wanted to sing along, just groove to wafty beats or even dark drones, it wasn’t hard to do. (DJ Times served as a media sponsor for MOEMS.) Some DJ Highlights: Beginning at 7:30 p.m. at the ExploreAsheville.com Arena, Claude VonStroke’s festivalopening DJ set was heavy on house tracks featuring his trademark dirty basslines. Selections like “Dood” and “The Clapping Track” from his recent Urban Animal CD shined, managing to get the crowd moving from the get-go.

Later that night at the Orange Peel, Rustie dropped an energetic trap/ dubstep set, which included a slew of heavily remixed contemporary hiphop tracks, in addition to his own cuts like “After Light.” Sunday night at the arena, PANTyRAiD played a heavier, more bombastic trap set that included an ocean of bouncing, life-sized dice and an onstage twerk team.

Canadian duo Adventure Club dropped a tight 45-minute set that included its hit “Crave You” and crossover faves like the ETC!ETC! edit of Cedric Gervais’ “Summertime Sadness” mix. Bassnectar played to the near-packed arena Friday night with a booming set that catered to both casual fans and the heaviest of bassheads. After opening with the non-album track “Color Storm,” the

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7/2/13 11:41 AM

VOLUME 27 NUMBER 1

12 Emotional Technology As BT Tours Behind Album No. 9, We Find That He’s Still Embracing the Future

BY DAN OLBRYCH

18 Mountain Jams

Mountain Oasis Electronic Music Summit Brings Out the Freaks

BY DJ TIMES PHOTOGRAPHERS

20 On the Rise

Mat Zo Creates Quality Trance, Prog-House & D-n-B Tracks. And at 23, He’s Just Getting Started.

BY ALLY BYERS

22 The Wedding Dollar

SAMPLINGS 8 Hot Since 82

DJ TIMES

JANUARY 2013

Deep-House Darling

4

10 In the Studio With…

Style of Eye

DEPARTMENTS 7 Feedback

As Always, the Answers to All Your DJRelated Questions

24 Making Tracks KRK ROKIT 8 G3 Monitors

26 Sounding Off

30 Business Line

15 Ways to Grow Your Business

32 Gear

New Products from Pioneer DJ, V-MODA & more

38 Grooves

Frankenstands & BASSBOSS Speakers

Phat Tracks from Ferry Corsten, Kill Frenzy & More

28 Mobile Profile

40 DJ Times Marketplace

Chicago DJ Re-Boots & Thrives

Shop Here for All Your DJ-Related Supplies

Cover Image By Chris Lazzaro. Contents Image By Javier Ovalles

Are Bridal Shows Still a Relevant & Cost-Effective Method for Mobiles to Generate Bookings?

BY JEFF STILES

FROM THE EDITOR

Talking Tech With Legends & Youth Over the years, we’ve had several cover-worthy sitdowns with Brian Transeau (aka BT). The longtime DJ/producer/musician staked his claim on our culture in the mid-’90s when influential jocks like Sasha and Paul Oakenfold championed his early tracks like “Embracing the Sunshine,” “Flaming June” and “Blue Skies” (with Tori Amos). Of course, the Berklee-educated talent reached beyond clubland by scoring music for video games and films (including “The Fast and the Furious” and the Oscar-winning “Monster”). And then there’s his range of technological breakthroughs, like Stutter Edit, which he created through his Sonik Architects company (which he sold to iZotope in 2010).

So, not long after BT released his ninth artist album, A Song Across Wires (Armada), our Alaskabased contributor Dan Olbrych traveled to Vegas to hear the electronic-music legend speak at the DEF CON 21 hacker convention and to Hollywood to see him spin his magic at the Create nightclub. As usual, Mr. Transeau was all too happy to talk tech—past, present and future.

Grasping the present, we also visit with three relatively young European talents in this issue.

London-based correspondent Ally Byers connected with rising U.K. star Mat Zo for a short feature. Meanwhile, our Georgia-based contributor Chris Caruso handled our Samplings section by interviewing a pair of emerging DJ/producers—U.K. deep-house darling Hot Since 82 (aka Daley Padley) and Swedish hitmaker Style of Eye (aka Linus Eklöw).

In the mobile world, our Iowa-based scribe Jeff Stiles asks a panel of industry vets: Are bridal shows still a relevant and cost-effective method for DJs to generate bookings? In Business Line, we offer 15 ways to grow your mobile-entertainment outfit. And Mobile Profile centers on Chicago’s K.C. Kokoruz, who explains how, after a career setback, he re-booted, found new opportunities and succeeded.

In our review sections, Making Tracks finds Wesley Bryant-King testing out KRK’s ROKIT 8 G3 studio monitors. Also, in Sounding Off, Mike Klasco and Tony Russell review the BASSBOSS active loudspeaker system, while Paul Dailey cranks up a pair of Frankenstands.

We also report from Asheville, N.C., and the Mountain Oasis Electronic Music Summit, a terrific festival for which DJ Times was pleased to serve as media sponsor. In addition to great DJ performances from Claude VonStroke and Bassnectar, we caught some outstanding gigs from electronic acts like The Orb and Ulrich Schnauss, plus shows from transcendent Moog-diddling indie-rockers like Neutral Milk Hotel. And, of course, we have to give a shout-out to Asheville’s 12 Bones, one of the very best barbecue joints we’ve ever visited. Here’s to the Blue Ridge Mountains!

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

art director Janice Pupelis jpupelis@testa.com

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

production manager Steve Thorakos sthorakos@testa.com

chart coordinator Dan Miller dmiller@testa.com contributors Lina Abascal Jody Amos Tom Banham Joe Bermudez Wesley Bryant-King Chris Caruso Shawn Christopher Paul Dailey Chris Davis Tania Fuentez Justin Hampton Josh Harris Robert LaFrance Polly Lavin Michelle Loeb Lily Moayeri Phil Moffa Natalie Raben Scott Rubin Jennifer Shapiro Jeff Stiles Emily Tan Phil Turnipseed Curtis Zack President/Publisher Vincent P. Testa FOR CUSTOMER SERVICE AND TO ORDER SUBSCRIPTIONS, CALL 800-937-7678 VISIT OUR WEBSITE www.djtimes.com

DJ TIMES

JANUARY 2014

Cheers,

6

Jim Tremayne, Editor, DJ Times

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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 © 2014 by DJ Publishing, Inc., and must not be reproduced in any manner except by permission of the publisher. Websites: www. djtimes.com and www.testa.com January 2014

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FEEDBACK AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988

DECEMBER 2013

$4.95 US

$6.95 CANADA

AMSTERDAM DANCE EVENT HIGHLIGHTS

Lines” and Daft Punk’s “Get Lucky” were up at the top of the charts for months and—sure enough—they were guaranteed dancefloor fillers for us. (They still are, in fact.)

You can also spend some time lis‑ tening to your local or (satellite radio) Top-40 stations to get an ear for what’s hot. And, of course, once you get back into the swing

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of things, your party guests will let you know with their requests.

As far as getting your hands on this music—and also knowing the BPMs instantaneously—I recommend Pro‑ mo Only and its incredible POOL ser‑ vice. Sign up for that and start down‑ loading tomorrow’s hits today.

– Mike Walter, Elite Entertainment, Tinton Falls, N.J.

DJ EXPO ’14 Aug 11-14 Trump Taj Mahal Atlantic City, NJ

11/18/2013 2:25:19 PM

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

SONIC

DEAR DJ TIMES: I need your advice. I plan to return to “bread-and-butter” mobile-DJ work— weddings, corporate events, college dances, etc. This comes after a sevenyear hiatus, during which time I have not kept up with current music.

How can I catch up? I want to find out which are the most popular songs from the past seven years—the tunes that people like to dance to at the types of events that I listed above.

Also, which of those songs have similar beats, so they can be played together? I’ll need to know the big danceable songs in pop, rock, country, R&B, etc. I’m looking for fast songs and slow songs, not the specialized dance-music songs that club DJs play.

Also, which songs older than seven years are still popular at mobile DJ events? I would greatly appreciate any tips you can give!

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CHRIS: You’re smart to put this much thought into your programming. Staying on top of what’s hot (and what’s not) is part of our job, but I’m sure you’ll catch on quickly.

Here at Elite Entertainment in New Jer‑ sey, we always check out the Billboard magazine charts to see what’s being sold and what’s being played on Top40 stations. That’s a good indication of what the general public is responding to.

This past summer gave us a perfect example. Robin Thicke’s “Blurred

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DJ TIMES

JANUARY 2014

SAMPLINGS

8

HOT SINCE 82:

He may be known as Hot Since 82, but Daley Padley’s true breakthrough year was 2013. After a huge summer of parties in Ibiza, Padley’s brand of deep house pervaded throughout the dance world due to the success of his slinky remix of Green Velvet’s “Bigger Than Prince.”

He’s proven himself to be anything but a one-trickpony, however, with Little Black Book, an artist albummix compilation hybrid that represents a new release c o n c e p t fo r l a b e l M o d a Black. We caught up with the Leeds, U.K.-based DJ/producer in the midst of his first US tour and asked him about the album, his beginnings, and the time he almost packed away the decks for good.

DJ Times: How did you get started DJing and producing?

Padley: I started when I

was 17—so I’ve been DJing for 14 years. My older brother had some Technics 1200s that I was never allowed to go on. When he would go out with his friends, I would sneak in and play with them for a few hours. Later, I got a little job playing in a bar in my own town, which then just progressed into playing bigger clubs and then going to the production thing.

DJ Times: You were doing ver y well a few years back, playing gigs all over Ibiza, yet you stopped playing and producing completely.

Why was that?

Padley: I felt like I was just making music to get paid, so to speak. I wasn’t making music from the heart anymore. I’m the kind of person that puts 110-percent passion into something, and I wasn’t doing that. So I was just going to take some time

BIGGER THAN PRINCE? out. I wasn’t even quite sure if I was going to start producing music again.

DJ Times: How did you get back into the scene?

Padley: I moved into the city of Leeds and started going out and raving again with my friends. It was just the time when house was coming back. There were a lot more vocals in the tracks and a lot more ladies were going out to clubs. There was just something happening again.

It was kind of the direction of house music again that inspired me, really.

DJ Times: How did that manifest itself?

Padley: I bought some new studio equipment, bought some new samples, and then made this track called “Let It Ride.” I was sitting on the record for quite a few months until some of my friends managed to persuade me to try and get the record out there. I already had a relationship with René Kristensen so I gave it to him, and it was released on Noir Music.

DJ Times: You played on Pete Tong’s stage at Creamfields this summer, in addition to doing a guest mix and a BBC Essential Mix on his program. Was there a specific way you caught his attention?

Padley: No, he’s been in radio for over 20 years now and is still at the top of his game, so he knows a tune when he hears one. He just picked up a couple of my tracks and seems to have loved everything that I’m doing. He’s been such a massive supporter. It’s nice to have someone like Pete listen and verify me and give my work a bit more credibility.

DJ Times: Your remix of Green Velvet’s “Bigger Than Prince” was one of 2013’s biggest dance smashes. How are you taking to its success?

Padley: It’s incredible right now. Everyone’s coming to shows wearing shirts that have “Bigger Than Prince” written on them. It’s so crazy how big it’s gone off and my mix just

seems to be the one that people are loving the most.

DJ Times: It’s been a pretty big anthem—how did it come about?

Padley: I’d gotten asked by the record label, “Here’s the Green Velvet record— do you want to mix it?” At first, I said no because I just didn’t have time while working on Little Black Book. However, the label really thought I could nail it. I managed to get into the studio for a couple of weeks, but afterward I wasn’t too sure if I nailed it. Then the label was like, “Wow! This is wicked.” I’ve just been really lucky that my mix blew up.

DJ Times: Tell me about your approach to Little Black Book.

Padley: I’d been doing that album for six months.

It’s a half mix compilation, half album, with nearly everything on it being an original, in addition to a few key remixes. It’s just a really cool album concept. A first draft, so to speak.

DJ Times: Any plans for another album in the future?

Padley: Absolutely. I don’t consider Little Black Book to be my debut album—to me it’s more of a mix compilation. I’ve already got an idea for my debut album.

DJ Times: When it comes to DJing and producing, do you prefer one over the other?

Padley: It depends.

There’s no bad feeling with making a record in the studio and then playing it out loud to see how people react.

That’s the best thing about it. At the same time, I get just as much satisfaction in playing other people’s records when I’m DJing as well. So it’s a Catch-22 kind of thing.

You know, I guess I would say I enjoy DJing more, but I spend a lot of time in the studio. And I’m going to be spending even more time in the studio next year. I guess I just enjoy it equally. That’s what I do.

– Chris Caruso

IN THE STUDIO WITH

Your mother may tell you that nothing good happens after dark, but Linus Eklöw— better known as Style of Eye—would disagree.

Over the past few years, the Swedish DJ/producer has amassed an all-star list of production credits that includes remixing Swedish House Mafia, Kylie Minogue, and Dada Life, as well as cowriting/co-producing Icona Pop’s recent monster hit “I Love It.” For now, though, Eklöw is focused on himself, touring in support of his collaboration with Tom Staar, “After Dark,” working on the follow-up CD to his 2008 debut Duck, Cover & Hold, and split-

DJ TIMES

JANUARY 2014

STYLE OF EYE: HITMAKER

10

ting his time with Christian Karlsson (of Miike Snow) in their collaborative side project Galantis, which recently released its Big Beat single “Smile.”

Before his packed set at New York’s Pacha nightclub, we chatted with the man about the new album, producing one of the year’s biggest pop hits, and why Swedish producers are doing so well.

DJ Times: How did you begin DJing?

Eklöw: My first gig was 17 years ago at a class disco.

About every three songs, I’d drop a drum-n-bass track to get my kicks. It would empty the floor, so then I’d have to draw them back with whatever it was they wanted to hear.

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

Eklöw: Normally, I play from three [Pioneer] CDJ2000s and a DJM-900 mixer, usually with USBs or SD cards. For studio, I’m actually all in the box with only a laptop currently, which is great since I’m travelling so much. Sometimes, I use some

analog synths, but I usually end up sampling them. I don’t have a ton in my studio, so I’ll borrow some. When it comes to software synths, [Sonic Charge’s] Synplant is one I really like to use.

DJ Times: “After Dark” is your latest single. It and your remix of Zedd’s “Clarity” are a bit darker and harder than your earlier material. Is this a new sound you’re exploring?

Eklöw: For the past year, I’ve been finding myself getting into a whole different kind of mindset when it comes to what I like to play. I really want to make something that I want to play when I’m out, you know? This sound is what’s really getting my heart to beat these days.

DJ Times: You’re working on a new album. How is it different from Duck, Cover & Hold?

Eklöw: It’s more songbased. The first album was like a journey from A to Z, but I see the new album as having each song in its own world. Each track has its own sense of self.

DJ Times: So each track stands apart more?

Eklöw: A little bit, compared to how I laid out the first one. It’s now based on what songs I have and where I think each wants to go, instead of just making a track that tries to fit in the pack.

DJ Times: You co-wrote and produced Icona Pop’s “I Love It.” What’s it like having a hand in such a huge hit?

Eklöw: It’s been completely mad. I remember being called to work with Patrik Berger, and it was the beginning of the weekend, and they said they needed the track by Sunday. After we finished the track, we just sat and thought about how much fun we had making it, but we didn’t realize just what we were sitting on.

DJ Times: It worked out pretty well.

Eklöw: It took a lot of

Linus Eklöw: The man behind Icona Pop’s “I Love It.”

time to grow. First, it took off in Sweden and then other countries like Australia and Germany before really hitting the U.S. this year. It’s just now really taking off in the U.K. From that perspective, it’s been really interesting because it’s my first real worldwide smash. I’m pinching myself every day.

DJ Times: With the success of acts like yourself, Avicii, Icona Pop, and Miike Snow, it seems like the Swedes are taking over. Is there a reason for that?

Eklöw: First off, we’ve got a climate that’s very annoying. We don’t have any excuses not to be working in the studio nine months of

the year. What really drives us though is that we’re very, ve r y fo c u s e d o n g e t t i n g things done and we don’t consider them done until we consider them perfect from a design perspective. We’re also very open to invention and we always try to push boundaries a little bit.

DJ Times: Do you consider yourself a producer or DJ first?

Eklöw: One gives to the other. It’s always been like that for me. When I go out and play, I get a lot of energy to go back into the studio and make something I can try out. For me, it’s both, and always has been.

– Chris Caruso

As BT Tours Behind Album No. 9,

DJ TIMES

JANUARY 2014

We Find

12

That He’s Still Embracing the Future

By Dan Olbrych

JANUARY 2014

intelligent, disruptive innovation within music, and I feel more kinship to a lot of young producers that are coming up now than I ever have, compared to what would be considered my generational peer group. Some of the people coming up now are using new methods and techniques so irreverently, in such new powerful new ways I find very inspiring.

DJ Times: You’ve worked with analog instrumentation in the past, how much of A Song Across Wires is live?

BT: Whether I’m working with a synthesizer or a glockenspiel, I’m playing the instruments. I’m not one who step-enters things into a computer—unless I’m using step sequencers and modules. A large portion is acoustic instruments. Something like “City Life” I played my daughter’s harp, a recorder I got when I was in Peru.There

DJ TIMES

Photos By Javier Ovalles

Las Vegas – Brian Transeau stands before 2,000 fans at DEF CON 21 in the Rio Hotel and Casino this past summer. He wears a T-shirt, gives the crowd a wave and says how good it feels to be at the world’s largest and longest-running convention for computer hackers. The cacophony, from programmers and tinkerers alike, is deafening. Why? Not only does Transeau help provide their soundtrack, but he’s also one of them.

“I’m a nerd,” he confesses and the conference hall cheers again, even though few of them probably know just how truthful Transeau’s words actually are.

In fact, he spent his nights with a soldering pen in hand while attending the Berklee College of Music at the age of 15. On that period, he remarks, “I was a bit of an outcast.” But, of course, things did begin to work out for him—artistically and professionally.

By the mid-1990s, he began to make soaring, melodic club music that resonated with global dancefloors and the culture’s biggest DJs—tastemakers like Paul Oakenfold and Sasha. Now known as BT, he released singles like “Nocturnal Transmission,” “Blue Skies” (with Tori Amos) and “Flaming June” and full-lengths like Ima and ESCM that put his name front and center as a major producer. It’s a spot he’s retained for the past two decades.

Over those years, he’s has also composed film soundtracks (“The Fast and Furious” and the Oscar-winning “Monster”), scored video games and collaborated with artists like Peter Gabriel and Sting. In 2009, he founded the software company, Sonik Architects. A Sonik iZotope partnership resulted in making available exciting technology like the Stutter Edit, BreakTweaker and Sonifi.

These days, BT continues to defy the role of conventional DJ/producer. Technology-wise, his live approach remains cutting-edge and his studio talents have always bordered on nonpareil. But he still retains the ability to rock a party. In fact, just a week prior to DEF CON—at Create, an unmarked Hollywood nightclub—BT was joined by a live backdrop of J. Howard Miller-inspired “Rosie The Riveter” girls. Only these gals weren’t flexing their muscles in iconic “We-Can-Do-It!” fashion. No, they were doing the robot, while BT dropped a hypnotic, three-hour set.

Since appearing at August’s DEF CON event, BT has been touring almost non-stop in support of his ninth studio album, A Song Across Wires (Armada). The collaborationheavy full-length includes four Beatport No. 1 trance singles: “Tomahawk” with Adam K; “Must Be the Love” with Arty and Nadia Ali; “Skylarking”; and “Surrounded” with Au5 and Aqualung.

So, as BT continues to play a different venue nearly every weekend, we present our tech talk with one of dance-music’s greatest talents.

DJ Times: What inspired such a dance album?

BT: I was just generally inspired by dance music over the last three to four years.

Dance music has never really inspired me. There hasn’t been stuff—even though I’ve participated in this culture for so long, my music certainly—and it’s not a slight to my peers, but it has never been informed by my peer group. My inspiration has come from film music and composition, developing new technologies and technological modalities in my own compositional work. From indie rock to circuit-bending, my inspiration has never come from four-on-the-floor kick-drum music—it just hasn’t.

DJ Times: What changed?

BT: Over the past three or four years, bass music has been such an incredibly

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are all kinds of interesting instruments. And a lot of the synthesizers used on the album are analog.

There are definitely things that happen in the box as well. Same as always with me, it’s a mixture of the most evocative and interesting things I can put my hands on.

DJ Times: Any chance there’ll be a vinyl pressing of A Song Across Wires?

BT: Yeah, I hope so—we should. I would definitely like to do that. Vinyl sounds wonderful and open, in a way that digital recordings just don’t. And that’s not the audiophile in me talking. Anyone can tell the difference between them. I love that more people are starting discover that.

DJ Times: What are you using for live tech these days?

BT: For live, I’m using Ableton, a bunch of proprietary builds of software I’m working on, Stutter Edit, and then some horrible UI beta and alpha builds. I’m also using two Korg Nanos, Livid, and a EuroRack.

DJ Times: I hear you are working with Leap Motion?

BT: I’ve had the Leap Motion [a computer hardware sensor device that, like a mouse, supports hand and finger motions, but requires no hand contact] for a couple weeks, and we’ve got something really close to being built. That’s just insane, honestly, it’s crazy.

DJ Times: Tell me about Leap.

BT: The thing that excites me about Leap Motion as a gestural control for music is the degree of accuracy and tolerance. And that’s the thing that’s exciting. I’ve used Wiimotes [controllers for Nintendo’s Wii console], written script for them, and I’ve used junXion [Mac OS X data routing app] and Kinect [Microsoft motion-sensing input device for Xbox 360 and PC apps]. I mean, I’ve tried everything—I’ve even used the Nintendo Power Glove [an oft-criticized game-controller accessory from 1989]. I’ve used every permutation possible you could think of—of different types of gestural controllers. I’ve even tried tracking a colored ring with a web cam—so many things. A mouse pad is X-Y input axis. With all of these things, the tolerance is horrific. Is the object here or there? And the speed, the latency is horrific. And with Leap Motion, they’ve really built something brilliant. It’s XYZ access, tracking yaw, fingers closed, fingers opened...

DJ Times: It’s all about control, then.

BT: I need a lot of controls—not one, not two. I don’t want to have to use macro controls to kind of hack together a thing to approximate what I’m trying to do. I want to have access to, realistically, eight or nine real-time perimeters that are very fluid and irritative. Also, in this kind of performance environment, you have to deal with lighting conditions. In the very early days of Stutter Edit, I used D-Beam [Roland’s interface that controls sounds and effects via hand movements interacting with an infrared light beam]. D-Beams are amazing, but they track blue light.

DJ Times: So a strobe light could mess up everything?

BT: Yes, suddenly the whole track is going crazy. But, what’s great about these [Leap Motion controllers] is that is they’re infrared, not visiblespectrum-light-sensitive. That was the first thing I noticed about it. When we got it, my daughter and I were sitting at the kitchen table and I was like, “Shine the flashlight at it while I’m

trying the controls.” It handles stuff like an absolute boss.

DJ Times: And you are a part of the programing team as well?

BT: Yeah, I’m in the developer program with iZotope. I’m actually building something outside my partnership with iZotope as well. There is a lot I want to do for this thing.

DJ Times: How long before others will be able to get their hands on this technology?

BT: These things take a while to bake and to make right. And the thing is, you can have a great idea, and as you start to build it, it changes, the way you want to interact with it. I’m like, this is amazing—what if? So I have to rope myself in on some of that stuff. But functionally, this idea is something I’ve wanted for years and years. This is the first time I’ve seen a device that can handle that sort of input. It’s a dream device for people. It truly is, especially for the academic world. It’s revolutionary.

DJ Times: What can we expect to hear when people have this program?

BT: With people using laptops as a kind of medium for disseminating this sort of media live, it’s changed what you can do.

DJing is an art form. It’s amazing when you see people that are intuitive, or great with working in the medium, they may not be a musician, but they have this understanding of mixing harmonically, seamlessly mixing two records. It’s amazing to watch. That being said, there is so much more you can do now, than play two songs. We’re on the cusp of things I never thought I would see.

To use Melodyne, the polyphonic mode—it’s been around for a while—but when someone figured out how to do a real-time transform analysis of something and split it into its constituent parts... I mean, to guess what the voices are in a stereo master, my first thought was, “Holy shit!”

DJ Times: That’s a lot of data.

BT: Absolutely. And people are going to be debundling stems from stereo masters. We’re right near that. The things that you can do live, now, with a laptop... It’s funny, I’ve been using a laptop for live performance for over 10 years. I used an alpha copy of Ableton Live. I was one of the first to use it live. It’s crazy, because it’s called Live, but [Ableton], I think, initially, intended it to be a live-in-the-studio tool, where you’re aggregating all these loops and playing around, or whatever, a different way of dealing with audio information.

DJ Times: Not live live…

BT: Yes, exactly. And so when my friends first starting seeing me do that—vinyl DJs, amazing vinyl DJs—they were like, “This (continued on page 42)

25th Anniversary Moments

Serato Scratch Live: A Battle Champ’s Take “I don’t think that digital DJing takes away from the art form. I think it’s an inevitable transition, and I’m just glad that there’s a program like Serato [Scratch Live] that makes it possible to bridge the gap between the touch of vinyl and the practical aspect of a digital-music library. If you’re a sucker DJ, you’ll still be a sucker DJ on Serato.”

– A-Trak, January 2007

READ ENTIRE INTERVIEW ONLINE djtimes.com

Mountain Oasis Electronic Music Summit Brings Out the Freaks

Asheville, N.C. – As usual, the costumed freaks came out pre-Halloween weekend in this beautiful university town in the Blue Ridge Mountains. And this year, it was for the first Mountain Oasis Electronic Music Summit presented by AC Entertainment.

Running this past Oct. 25-27 at various venues in downtown Asheville, N.C., the MOEMS presented more than 50 electronic-oriented acts, including several top DJs like Claude von Stroke and Bassnectar. DJ Times served as media sponsor to the festival and co-presented its closing party—The Orb at Orange Peel closing party. It all looked like this:

DJ TIMES

JANUARY 2014

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1 wit r t w i t h i n ming noic mo -n-bas T h e t d into eac m-n-bass o DJing tronic mus on TV, um, co . p b r drum RSA. y e t l o a b it a e f n e t t d B mu irs M in ru into my elec , ebu to it nitely ued y e a r s o f f wider com rning a lot onym bout h i s d junabeats) osed ig a p d r s t x e a back e n in u lear plied tuff. y the was the t N o w ontrol (An ellbeing ly became e n t i n g p b w a y d b e is e ’v ic t t Zo ge C quick that I the-floor s n-B more - t r you, wha perim Dama stores, Ma 2014. and I en a o ed ex p u t e r p ro toe F t r r b e Is D- e t h a n u a e s h J t o g t y f ter. lwa I d, D a hu t? hits mes: nd s sic com a la i n a y r in i e ll g T o o mak f a ’v n m J p I u D ed beZo: g to o act icua t i n up with h b a g came alo d u c e d n t s t h i i , a t prepp g t asier e r w l n M is l e e a t l t o in r im r l J r h s a h a o t s g D t p t e u . in ch Wi stuff, stric tly ca i t i s h p h e a f t e r, bit of a p k it’s going ays feel grams l y f r i e n d r recen i ousey h e r e a r e or tly in lw h h m h a d s t a I e f .

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Zo d fo r tune t-ups like t yo o th bringin mine are t o o m u c h deavo r less tha ge?

Mat et int e w i t h ing an i m e J g s I D r u r n s k o e n m y yo o: Fo for s I gues t t o t h i n more uction cha h e n y o u mula. Wh n o t t o c o hat I’m ty” m Mat Z n , I ’ m a l l t ’s j u s t w no i o n a l i us of w , y od t r r h f a d t p a o n n , o e I “ a i n I tr y s s o io ct n—i ea i o, ion y— o: Y what consc seem p r o d u P ro d u c t i o A b l e t o n at Z i o u s l p ro g - d expectat I ’ l l h av e i d e r M e a b o u t , but I am s I y y. rs, som e is wise , D J i n g h e n yo u — i t an g t o d o. plicit own o n i t o of softwar d t m music that, style- emed. tart n w a i e s w y h o y m l r i o i . w t r t r k d a t c h r l l t u h l c t a a t t u u t u a s o bo d tic oas I’ll m a it f the f retty U.S.with a MIDI key t r u ur pr e f r o h- p a r t o d o i n g t h e n s t o w o r k ea sounds o ’r e p y u iv e o L s s b id o ct :Y ot ttle to re s s eal in s, and alf-br imes y a f f e s ever y li - t e m p pace that e a whole synth t s o m e r with from e D J T mily.Your h s i n g e r s f initel o f k a r o . a e b p ly d d I m g o t n , i i in t k ut s. I ael hen al fa ordin I ’ v e g experimen ally that’s uction think abo t o b e i n g good at. T d that acc o f a l l music k n o w n I s r m a j o r a l d I s t t a l— n bu re un yo u ck men e r ’s a o r k i n g o n e a lot of time , simpler stil d n a f a nd I’ve t e b a it’ll sound track aro thing e a o l e t e b r e r s a e ’s w n an y im f h it f w a o t t s i , u J o w t g w t s l h no duc DJin neer] CD th— ’ve a different s r I o al. Wa o e o F b . d it io of bum in the wo [ P kinds just t

Eclectic Talent Mat Zo Creates Quality Trance, ProgHouse & D-n-B Tracks.

And at 23, Just Getting Started.

JANUARY 2014

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DJ TIMES

Kevin Lake

ot fe a l kes li al ina m t a dividu er. Th a mix or ever y in tour. f n easier hen I’m o u ’r e n o w w d Y : o om volve i m e s l name . Fr r T J a D sie n a o i e t t e r n a t a n d , i s i t ducn i n a s o fo r p r e of e yo u w h e r e r b e f o re us a c e ev ed b ic t fo rd than o n a get nd f bea o t s s m r r e for h a rd e l plat s o c i a ? O r i s i t t it? a kit a b l e o many are t ’s b e e n a i s , l e l s e get u ca Z o : W I tried to . I t a M e e c r n e i ut th ime s l o n g t n m u s i c o r n ow b e w de re m y o ’s a lot har ny mo it o s ma a r d e r e r think a there I t i s h Js. At cause d o i n g i t . m D of e l in fro n peop e lot t s t a li t h e d ay, a s t u f f to ge y nd of l l p l a tion, the e e DJs wi da n e m m a b i g - n onal recom re’s still a rs he on pe n extent t th and it’s a ou o t m so ccess -ofword r to get a f o t lo rd e lly ha . a c t u a a m e s n ow e m a d e i t n ig o Y u ’v e not a to b mes: u’r D J T i re that yo “genreo f he e t b clear enres and . D o y o u g i f s o u m c with fan n” of th EDM— — o i t a nd fic wi that m sou t h i n k er, big-roo b re a k i n g id dy the w i s i s a l re a h t n t a th . Whe ? lutely hree n o s w b o t A d Zo: bout Mat was a a t t i m e I it , t a h th t I said g o a n d a t s s o c i a t e d a a ye a r s r y m u c h as keen to e w v .

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From his perspective, Mark Ashe of Enfield, Conn., sees bridal shows beginning to disappear— or, at least, evolving into smaller boutique-type shows.

“The shows around here, where we used to see hundreds of brides, see about half of that right now, while some are a downright disaster,” says the president of Marx Entertainment & Events.

“Even so, we did a small show this past week that wasn’t very well attended, but still booked several thousand dollars in business within 24 hours from the show. So, go figure.

“There’s such a shift going on with the way brides and grooms find their DJs that everyone is being forced to make changes.”

Ashe reports that Marx Entertainment performs at over 400 events per year, and says 50-percent of the company’s advertising budget is nowadays spent on online advertising, with the remainder spent on bridal shows and banquet facility events.

“The shift has already started for us,” he says. “The banquet books are a story by themselves,

By Jef f Stiles

“A young and technologically inclined bride-tobe can research, interview and even book her DJ from the comfort of her

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JANUARY 2014

own home, using

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her computer or mobile device.”

– Adam Moyer, Silver Sound DJs

and I think they’re following suit with the bridal shows. Either way, I think we do need to be careful to give up on anything too soon and just ride the wave of change. Who knows where it will bring us?”

We recently polled mobile DJs from throughout the country, asking them if bridal shows remain a relevant and cost-effective way to generate bookings for wedding receptions.

With everything continuing to go digital, is everything moving more toward the Internet?

Adam Moyer with Silver Sound DJs in Philadelphia says the company continues to participate in 20 to 25 bridal shows every year, though it also receives over 3,000 leads per year from its website.

“The digital age has definitely affected the number of bookings from bridal shows over the past five years,” he says. “A young and technologically inclined bride-to-be can research, interview and even book her DJ from the comfort of her own home, using her computer or mobile device— though some brides prefer to go old-school, and still like to go shopping with their moms at a bridal show.”

As the director of business development for Silver Sound, Moyer has done plenty of research into what types of brides-to-be attend bridal shows in the 21st Century.

“Sixty percent of the attendees have just gotten engaged and are completely overwhelmed,” he says. “They haven’t selected a definite date—or even a venue for their reception—and are nowhere near booking their entertainment. A lot of the young brides-to-be, in fact, seem like they were dragged there by their mother or mother-in-law.

“The fact is that 25-percent of the attendees already have their DJ booked. They also have their venue, photographer, videographer, florist, makeup artist and wedding dress. They’re only there for the free stuff, and mainly just want to win a grand-prize honeymoon or whatever else the big-ticket prize is.”

Moyer says the remaining 15-percent of attendees go to bridal shows to actually meet professionals. “They excitedly walk up to our display booth, look interested and ask questions,” he says.

“They gladly give us their information and look forward to receiving quotes for our services.

“When I speak with brides at bridal shows, at least half of them have said, ‘You guys came highly recommended from our venue’ or, ‘My friend told me about your company.’ They like seeing us at a bridal show, because that’s where they can put a face to the name.”

And even though Moyer says Silver Sound attends a handful of bridal shows that don’t seem profitable, the fact is they are held at preferred facilities that refer plenty of new clients to the company throughout the calendar year.

“For instance, we do a bridal show at one of our top facilities every year in February,” he recounts. “We might get about six to 12 leads at the show—and might only book one or two of them—but this facility will refer about 20 to 30 clients, if not more, to us in a calendar year. So I feel obligated to participate in their show, whether or not the actual bridal show is profitable.”

Up in the Northwest, Adam Tiegs of Adam’s DJ Service in Seattle says most of his business nowadays comes from online inquiries or referrals from other professionals, and in fact he

chooses no longer to participate in bridal shows or expos.

Tiegs offers four reasons for discontinuing these events. “First, I’ve downsized to become a solo DJ,” he says, “so I’m not a multi-op anymore and only need to fill my own calendar, not an entire team of DJs. “Second, participating in trade shows for brides and the wedding industry is a lot of work and most of them usually happen on week-

gional brides shop both online and at bridal fairs, though his participation in bridal shows nowadays is mostly just to keep his brand visible. Brides are themselves very visual, he says, and therefore need to see the difference, learn the vocabulary and meet people face to face.

“In my Orlando market, there are at least 30 shows annually, and I usually appear at eight of them,” Silva says. “On the average, I pay $400-600

Knot and WeddingWire.com with featured ads across multiple territories,” he explains. “These programs generate a strong pipeline of leads that we then look to convert into bookings through a variety of tools that include a content-rich website, videos that explain our packages and options, and a suite of planning resources for brides.”

While he admits bridal shows can be a great way to get in front of

“Many brides book me without meeting face-to-face because I have so much content online,” he explains.

“As the content director for DJCarl. com, I’ve been able to optimize videos, music mixes, voice-overs, animated pictures and etcetera for the website. My goal is to make the site an educational party-music portal for diverse people.”

However, a face-to-face introduction is treasured by Taz Sellers,

Are Bridal Shows Still a Relevant & Cost-Ef fective Method for Mobiles to Generate Bookings?

ends while I’m busy with paid events.

It takes a lot of time setting up a good-looking booth that’s inviting for brides and their guests to stop by and chat.

“Third, most brides attending these events expect discounts and don’t see the value most of us are able to provide—although, there are some exceptions.

“And finally, fourth, there are a lot of politics involved that can help or hinder your chances at getting business at these shows. More-established shows have waiting lists that can be unfair, while less-established shows prey on less-experienced vendors—and therefore have lower quality shows—or even convince outsiders to have irrelevant booths at their shows. Then, instead of stopping by your booth, they’re signing up for new windows in their homes across the aisle from your booth, which is not cool.”

Tiegs’ advice to DJs trying to tap into the wedding and event market?

“If you’re not booked the night of the trade show, visit and walk the trade shows for networking purposes,” he says, “and take the top three to five vendor partners who are participating in the show out to dinner. Wine and dine them so that you’re at the top of their list the next day at the show, to refer some potential business your way.”

Down south in Florida, JR Silva of Silva Entertainment says his re-

for a booth, and then a minimum of $400 for materials and staffing, so it takes at least two bookings to break even with those numbers. Plus, you have to give up a Sunday with the family, so the ROI is needed or you really shouldn’t be doing them.”

So why does he continue to do eight shows per year? “You don’t want to not do them because they’re educational for the bride—and you can’t forget that,” he says. “Not only are you showing out for brides, but you’re also showing out for the other vendors in the room.

“Bridal shows, done well, are a tremendous amount of work, and today it seems that brides are no longer bringing their wallets. It seems they’re just attending these shows in order to get free information and to win door prizes, but not to spend money.

They used to book on the spot back in the ’90s, but now there’s so much saturation and so much competition dropping down the price-points that it can become discouraging.”

Back up in the Northeast, Gregg Hollmann of Ambient DJ Service in East Windsor, N.J., reports that his company’s wedding business has been growing nicely, even though they didn’t participate in a single show in 2013 and have not budgeted to participate in any in 2014.

“Instead, we’ve been using what I call a ‘Monopoly Strategy,’ using our marketing dollars to buy up premier space on online portals like The

brides (particularly for highly-interactive DJs who can showcase their MC and dance skills), Hollmann says the Internet allows a DJ to get in front of an even greater number of brides who are searching for services 24/7/365.

DJ Carl Williams of DJCarl. com Entertainment in New York City maintains that bridal shows are still important in his region of the country, if nothing more than from a marketing media-mix perspective.

“Brides definitely want to see your content online and in print,” says DJ Carl. “They want to hear positive reviews from past clients and other wedding vendors about your services. A bridal show provides the face-to-face, seal-the-deal opportunity that can help sell one’s personality, professionalism, style and value.

“I do one bridal show at the beginning of the year to showcase my personality, demeanor and experience.

Just one gig booked will typically pay the entire bridal show fee, so bridal shows will always be important to separate oneself from the competition.

“The technology is making it easier for anyone to call themselves a DJ, so the Internet and bridal shows make it possible to educate brides in volume.”

Still, even Williams is quick to add that the Internet has also become great for him when it comes to booking brides and corporate clients.

director of sales and marketing for Silver Sound DJs in Philadelphia.

“The ability to get out and be seen is an excellent marketing tool,” he says. “Although many of today’s brides are very Internet-savvy and doing a lot of the wedding-planning legwork online, there are still a few that I think like to have that personal interaction.

“The key to maximizing beforehand is to post up the ‘what, when and where’ out to the social media outlets so that Internet-savvy brides can see that information. Posting to social media once you’re at the show is important as well, with pictures of you at the booth, the fashion show and the facility.”

Sellers adds that maximizing one’s presence at the show is also key. “Remember, most likely you’re not the only belle at the ball,” he says. “Having a neat, bright, and attractive booth area with good marketing materials is a must. We have a collapsible standup marquee with our company name and big color photos that clearly designates us as an entertainment company that can be seen from across the room, with two smaller table top marquees highlighting our DJ staff and options of uplighting, monograms and photo booths.

“We also put uplighting on a slow color fade behind our table, which lights the rear wall of the booth.

Space-permitting, we will also set an (continued on page 42)

MAKING TRACKS STUDIO…HARDWARE…SOFTWARE…

UPDATED: KRK ACTIVE MONITORS KRK ROKIT 8 G3: A solid, affordable studio monitor.

DJ TIMES

JANUARY 2014

By Wesley Bryant-King

24

One of the most essential components of any home (or professional) studio is the ability to hear what you’re working on, of course, and to that end, a pair of quality studio monitors is a must-have. Since the 1980s, KRK Systems has been recognized for its innovation in the space—a tradition that has continued under the ownership of Gibson Pro Audio, having acquired the KRK brand in late 2011.

KRK recently rolled-out the latest update to its ROKIT monitor range.

This latest generation of this line of active, near-field monitors—named G3 to denote its third-generation status—is positioned like its predecessors as a more affordable entry to the overall KRK product mix, and I recently had the chance to take the 8-inch version of the ROKIT G3 for a spin.

To put the market position into perspective, the ROKIT 8 G3 model has a street price of around $250 (each), while KRK’s VXT series in an 8-inch version checks in at about $600 (each). For those DJs seeking top-line performance, KRK offers the Exposé E8B—also with an 8-inch main driver—at a proud $2,500 a pop.

Not everyone has the budget to go high-end, of course. And while my advice is usually to buy the best you can realistically afford—to the extent it’s justified anyway, because more expensive is not always actually better—that leaves us with the question: What does a street price of $500 a

pair actually get you with the KRK ROKIT 8 G3s? Let’s take a look.

Hands-On: To begin, the KRK ROKIT 8 G3s start with a cabinet that’s roughly in line with other 8-inch studio monitors on the market. But compared to others I have around, they seem less daunting in stature, in large part due to the sculpted, beveled front panel. The enclosure itself is substantive and, according to KRK, designed to minimize distortion and to avoid coloring the sound. (For the record, the dimensions are roughly 12-½- by-15-½-inches and just a hair under 11-inches overall, and they weigh in right at 25 pounds each.)

The units are dominated by the classic, vibrant yellow-coned main driver, constructed of a glass-Aramid material. Directly above is the 1-inch tweeter, and below, the front-firing cabinet port. KRK says that the frontpositioned port reduces “boundary coupling,” a phenomenon where bass response can be exaggerated due to speaker design and placement.

My main concern about the design of the front of the units is the positioning of the tweeter driver. With its exceptionally soft cone, its forward placement would seem to make it excessively vulnerable to damage; I would have preferred it to be recessed. But in truth, the exposed drivers of all studio monitors leave them somewhat vulnerable in general. In this case, it seems to justify some extra care, both in unboxing the units, and general handling in the studio.

On the back side , the ROKIT sports the expected controls; adjustments for both high-frequency and low-frequency response, enabling you to tailor the sound a bit to the listening environment. There’s also a gain control, along with the expected trio of inputs: RCA, ¼-inch balanced, and XLR balanced.

From the spec sheet, KRK quotes a peak SPL of 109 dB, 100 total watts of power, and a frequency response range of 35 Hz on the low end, to 35 kHz on the high end—perhaps roughly what one might expect from a unit with an 8-inch main driver. (By contrast, the ROKIT model with a 10-inch driver drops the low end a few more kilohertz downward.)

Without a room full of diagnostic gear, I’m left to evaluate the ROCKIT 8 G3 the way most people do: subjectively, with my own ears. Unplugging my usual studio monitors and dropping the G3s in their place (power and audio connections were the same), then loading-up some familiar material in my DAW, my hope, frankly, was that I’d not notice any change.

(Had I noticed one, either my existing monitor investment was ill-placed, or the KRKs colored the sound in lessthan-desirable ways.) To my satisfaction, the sound was precisely what I’d expected. Dropping some filters into a project to do some informal evaluation of frequency response, along with some playing around with pure sine waves across a wide spectrum appeared—again subjectively—to confirm the relatively even, flat re-

sponse I would have expected.

As I used the ROKIT 8 G3s in my studio over the weeks that followed, I continued to be impressed with them as much for the fact I didn’t notice the change (vs. my usual 8-inch monitors with a higher price point), as anything else. I also grew rather fond of the aesthetics. (I think I might actually miss that shocking yellow driver cone now that the review units are on their way back to KRK.) It’s worth noting that KRK ROKIT series is also available in more compact 6-inch and 5-inch form factors (each roughly $50 cheaper than its larger sibling). But the frequency response tradeoffs just don’t seem worth it for serious studio, use in my view.

Conclusions: Producing and mastering in less-than-ideal environments (like many home studios) can be have its challenges to be sure and, for my money anyway, while decent, professional monitors are a must regardless, I’m not sure that investing huge amounts of money produces an end that justifies the means. (Your mileage may vary, as the saying goes.)

Thus, given the roughly $500-apair street price of the KRK ROKIT 8 G3, this newly-updated choice in studio monitors strikes me as a solid, affordable choice for those looking to upgrade from monitors with smaller drivers, or those building out their first home studio.

If you have any questions for Wesley Bryant-King or Making Tracks, please email djtimes@testa.com.

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SOUNDING OFF PLAYBACK…PRO AUDIO…PROCESSING

LOUSPEAKERS & ACCESSORIES

By Paul Dailey, Mike Klasco & Tony Russell

This month, it’s all about loudspeakers and their accessories. Boston club/ mobile jock Paul Dailey cranks up the Frankenstand F1 and F2 units, while Bay Area taste-testers Mike Klasco and Tony Russell check out the BASSBOSS system.

DJ TIMES

JANUARY 2014

BASSBOSS System BASSBOSS products are built by True Lee Loudspeakers with plywood enclosures (instead of particleboard or plastic) and specifically designed for DJ use. The parent company was founded in 1999 by Austin, Texas-based subwoofer designers David Lee and Johan van Zyl. According to the company, the BASSBOSS line will “focus on subwoofers and specialty products for nightclubs and mobile professionals that need to meet the extreme and insatiable demands of bass-driven music. Reliability, efficiency and simplicity will be paramount.”

The BASSBOSS product line consists of powered processing

26

speakers, with eight subwoofer models and two full-range very compact “monitors,” which take care of the range above the sub. We checked out the DiaMon monitor models and the SSP215 subs.

The DiaMon DJ112-1500 is a compact, high-output, self-powered loudspeaker. It features a 12-inch woofer with a co-axial 1.4-inch exit compression driver that plays through the center of the woofer.

It also includes a 1,500-watt class D signal processing Powersoft amplifier with a full complement of protections, limiters and equalizers that are “tuned” to the capabilities of the speakers. The DiaMon is intended to be mounted on a pole-stand above one or more of the BASSBOSS subwoofers. A unique angle-cut corner allows table placement for use as a monitor without pole-mounting.

The BASSBOSS SSP215 subwoofer is a dual 15-inch sub, powered with a 4,000-watt amplifier. What is unusual is that the amplifier provides 2,400 watts to the on-board woofers. In addition, the amplifier can

Frankenstand F1& F2 “Working smarter, not harder” is a mantra that just makes sense, and is certainly apropos at midnight—especially for DJs after a long and successful wedding reception.

To that end, gear suppliers to the mobile-DJ market have made this “job one” over the last decade or so: constructing products which are lighter, easier to transport/set up, and simpler to use out of the box.

More than a decade ago, Mike Ryan (a longtime mobile jock and former ADJA President) set out on a mission—to completely redesign the speaker stand. His innovative product—named Frankenstand—was the first gas-shock, hydraulic stand on the market. To this day, Frankenstand (frankenstand.com) retains its status as an industry-leading product, something that, in my view, is the best of the best.

The latest Frankenstands are manufactured in two models. The F1 is made Frankenstand: for speakers 35 to 50 pounds, while the Sturdy, easy-to-use speaker stands.

DiaMon DJ112-1500: A high-output, active speaker.

F2 serves larger speakers, from 55 to 80 pounds. They are built from reinforced steel and thick, walled aluminum and are designed to retain a perfect balance between stability and portability. As 15 pounds each, they weigh about the same as the all-aluminum competitors—yet are much sturdier and built to last.

From the high-quality braking system and “EZ Open” mechanism, which makes expanding to the widest base a snap, to the smallest details like rubber feet that are glued on, these stands were clearly designed with working DJs in mind.

There are plenty of “air-powered” speaker stands in the marketplace, so what is it that truly makes the Frankenstand better? It’s the concept of “neutral buoyancy.” Working on the same concept as the hydraulic mechanism that smoothly lifts your hood or your office chair, Frankenstands were constructed to assist you in raising and lowering your speakers, with assist being the key word.

While other stands appear on face to do a better job of lifting the speaker into place, they also force you to fight the weight of the speaker along with their overturned hydraulic system, making it twice as much work to lower your stand at the end of a long gig.

Not content to design better stands, Ryan also recently went back to drawing board on bag design, taking

power a second matching cabinet, providing a total of 4,000 watts.

Field Testing by Tony Russell: When I received the BASSBOSS system, even the truck driver said they looked pretty sharp. I agree— the construction is first-rate.

Set-up of the speakers is relatively simple as with most other powered speakers. One thing to note is the power cables are the Neutrik powerCON connectors. They’re pretty cool for keeping them plugged in, but I would be afraid of losing them—you might want to pick up an extra few to have around, just in case. The speaker poles that fit into the DiaMon units screw into the speaker, but will work with standard speaker stands if you take out the top pole.

The system was being used for San Francisco’s PleasureZone party and they filled the space, as well as a much larger system with 18s. The DiaMon DJ112-1500 compact 12inch loudspeakers put out a large amount of sound—crisp, clear highs with a nice mid-range. They have four presets, in which to adjust the warmness of the sound based on the type of music you are playing.

We pushed these speakers pretty hard and they never clipped or distorted. They sounded great.

SSP215 Subwoofer: This dual 15inch subwoofer packs a large punch.

While the unit is hefty in weight—

inspiration from golf-bag manufacturers, ending up with a truly exceptional piece. Two separate compar tments prevent your stands from being scratched. Add in high-quality zippers, ballistic nylon, well-placed handles and a nifty shoulder strap for easy transport and DJs can see that these are outstanding carriers.

Having used all kinds of stands over the years from the budget to high-priced variety, I can honestly say that none even come close to Frankenstand F1 and F2 units ($129.99 each). They are well-constructed, good-looking, sturdy and easy-to-use, and the owner of the company is a wellrespected, hard-working DJ and a great guy. Highly recommended.

about 165 pounds—the dimensions are small and compact. The unit fit in the back seat of a Kia Optima midsize, four-door sedan.

The boom that comes from this unit is amazing. I’d put this unit up against two larger 18-inch powered subs any day. This sub unit paired with two DiaMon DJ112-1500 units will fill a room with rich, deep sound.

We pushed the unit with a lot of heavy bass tracks—hip-hop, dubstep

and electro. They never clipped, overheated or distorted. We were very pleased.

Overall: The two BASSBOSS DiaMon DJ112-1500 units and the SSP215 provided amazing sound and the entire set-up—along with two turntables, speaker stands and a mixer—fit into my vehicle. This is a testament to the size and portability of the speakers. For DJs on a “space budget,” this is a great solution with

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its robust highs and deep, rich lows.

The prices aren’t cheap. The DJ1121500 is $2,363 (MAP), while the SSP215 is $4,119 (MAP) as a single box—and in a powered/passive pair they are $3,124 each (MAP). Still, I’d recommend these BASSBOSS speakers to any DJ, club or promoter, and I plan to use them again in the future.

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

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DJ TIMES

JANUARY 2014

By Stu Miles

28

Chicago—It happened in 1988, while studying architecture at Northern Illinois University, when KC Kokoruz and his Theta Chi fraternity brothers were all working for a local mobile DJ company, lugging gear, setting up, breaking down.

“It” was Kokoruz falling in love with DJing, so hard that he dropped out of college to pursue a career in it. He’s been DJing for a living ever since.

“The market back then was so new that people didn’t know what to expect from a DJ,” says Kokoruz, who opened Spinnin’ Discs Entertainment with a partner. “Fortunately, they liked what I was doing and I was able to build a company out of it.”

Today, people know a lot more of what to expect from a DJ, as the industry has gone through seismic changes. Back in 1988, one of KC’s selling points was his music database.

“Being able to have and show a client a music database along with a well-organized music library was a marketable selling point, for sure,” he says. “Today, it is simply a given. The equipment has come down both in size and in price, allowing more people to also come into the industry easier. This leads to the increased competition we’ve seen in the industry, into every market across the country.”

What he did not see coming was when, in November of 2009, his business partner asked him to leave the company Kokoruz had founded and ran for almost 20 years. And it gets worse.

“When my relationship ended with my partner at Spinnin’ Discs, I was told by the local bridal show promoter that I was not welcome at his bridal shows with my new company,” he recalls.

But, as they say, necessity is the mother of invention, and Kokoruz re-established himself as The Keith Christopher Entertainment Group. “I had been the name and the face of Spinnin’ Discs since I started it,” he says. “It was the most logical choice for me to name it after myself.”

More importantly, he saw an opportunity to provide Chicago wedding vendors as well as brides with a choice. The local bridal show promoter had a monopoly on producing shows in Chicago, so, says Kokoruz, “It was either be in his shows or no shows at all.”

So he decided to start his own. “For my first show, Mary Ann Kenmotsu, the director of catering at the InterContinental Chicago O’Hare hotel at the time, a longtime friend who also believed in me and my passion for marketing, knew I could fill her hotel with brides,” he says. “Diane Thaete with The Knot also believed in me, and I signed her company as a sponsor. Peter Abruzzo and Gerry Avi were also longtime friends who had sold their chain of tuxedo stores to David’s Bridal who eventually sold them to Men’s Wearhouse. They helped open doors with David’s Bridal and Men’s Wearhouse. We now had our anchor sponsors—the biggest companies in the business at one of the nicest hotels in Chicago.”

Next, Kokoruz called and e-mailed every person in the industry that he had ever done business with or had known. “I just kept calling and e-mailing until I had sold out every booth in the show.”

The Windy City Wedding Show was born. “The biggest challenge was getting people to trust me with their advertising dollars,” he says. “I had never done this before. I had essentially lost my original DJ company less than a year before and now I was pitching vendors the idea of going up against a very well-established bridal show company. I was not only going up against them, but I was also telling the vendors that I would have more brides at my show than had ever been at a Chicago bridal show before.”

It pulled over 1,500 brides over the course of two days, and

Ousted from his company, KC Kokoruz cleverly re-booted.

Kokoruz was so encouraged that he added two more shows that year. In 2012, Kokoruz produced five bridal shows in Chicago. In 2013, he produced 15 shows and expanded into Wisconsin with shows in Madison and Milwaukee. In 2014, 15 shows are scheduled in Chicago, two in Madison, and three in Milwaukee. He plans to add St Louis and Indianapolis in 2014.

You get the picture: Growth.

“The bridal-show company has grown faster and larger because I have so much less competition in that space,” says Kokoruz. “I have been very blessed that staff from my former DJ company chose to come over to my new one. I also reconnected with other DJs that liked the business model I created at KCE, so we have an awesome roster of amazing DJs, MCs, dancers, and administrative staff. We just moved into a 3,000-square-foot office/showroom that will allow us room to grow as well as demonstrate our services to clients.”

What gets Kokoruz excited about growing his bridal show company is its attractiveness to a potential buyer. “I would like to continue to produce more shows in more cities throughout the United States, “he says. “I don’t see why in five years we won’t be producing bridal shows in at least 10 states. I believe in the concept of trying to work on my business, as opposed to working in my business. I personally love the sales and marketing part of business, and I love making the phone ring as much as I love filling the dancefloor.”

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By Percy McFee What have you done lately to grow your business?

Have you tried to develop warm leads? Have you gone into your “uncomfortable” zone and tried to attempt using a new technology, like vlogging? Have you mined through past clients and said hello?

In this economy, we can use all the help we can get.

But we still need to create our own opportunities.

So, here are 15 things you can do today to take advantage of your non-performing time and grow your referral base, increase inbound leads and position yourself as the thought leader you are.

ents.

Encourage your customers to bring in new customers: Offer an incentive (like a discount) to customers who refer a new customer. Sound cheesy? It only needs to work once.

Make your website sing: If you haven’t added any new content to your site in six months, chances are the Google gods will think you’re dead. Frequently updated websites demonstrate to potential customers that yours is a vibrant business. Update it at least once a week.

And look for ways it can be improved. Too often, small business websites load slowly, are poorly organized, and are difficult to navigate. Fix bottlenecks that discourage customers and look for Calls to

Use weekday downtime wisely: One of the great things about being a DJ is that you can plan your weeks to maximize your time. This is the time when you’re working on your business. Prospecting occurs during this time, so in addition to making outreach to past clients, visit facilities, kiss babies, clean your e-mail list. See who’s opening your e-mail blasts and find ways to make them convert.

Submit information to blogs: If you’ve ever attended a DJ Expo and sat in at a seminar and thought, “I can do this,” then you are a thought leader! And a thought leader is in a position of authority to solve client’s problems. So go searching through a wedding blog and offer useful comments. After a few times doing this, include a link to your site.

Reward existing customers: Send holiday and birthday cards with a personal message to all past customers, and highlight one of their personal interests that you had learned from working with them.

Offer an exclusive incentive to your regular customers. Notify them via e-mail, and direct them to an otherwise inaccessible page on your website where the offer appears. This works best with corporate cli-

Action (“Book Now!” or “Join 10,000 Satisfied Customers Today”). And make sure all links work.

Provide helpful information: If you’re unsure of what kind of content to update your website with, try loading up your site with tips, hints, reviews, and other information that can help drive sales. For example, you’re in the bridal business, you should have a FAQ section that can compete with anything Modern Bride Magazine provides its readers. Be useful, informative, and smart. Customers do all their research before they call any vendors, so be part of their solution.

Increase visibility in your community: Join local organizations that provide business networking opportunities, or start your own. Are there non-profits in your market? See what their needs are. Do volunteer work for a large charity. Sponsor a softball team. If they don’t know you they can’t call you.

Participate in online marketing groups: Search LinkedIn and other social-networking sites for groups to discuss marketing tactics and techniques. It’s a great way to mine the brains of other small business owners, many of whom, although in a different business than DJing, have similar pain points and solutions. UnderstandingMarketing.com holds a chat and Q&A session on Twitter that focuses on smallbusiness marketing. It’s live each Tuesday from 8 to 9 p.m. Eastern Time. Search #smbiz on Tweetgrid.com.

Visit online marketing sites: GoodMarketingIdeas.com is an excellent site, with plenty of useful tips. The suggestions here cost little or nothing to implement, and will likely lead you to resources you might never have thought of on your own.

Get active in the online community: Encourage your employees to do the same. If you’re multiop all of your employees should be on LinkedIn, thus exponentially increasing your footprint. Be careful not to spam discussion forums, but don’t be afraid to use signature lines containing links to your website.

Establish common-sense rules for yourself and your employees on these social-networking and discussion sites, and always strive to be positive and helpful.

Check out your suppliers’ websites thoroughly: Add links on your site to informative and helpful content on those sites. Many corporate sites offer instructional videos and other material that can inform your customers and lead them back to you, ready to do business.

Get a toll-free phone number: Yeah, it’s cheap and easy, and makes you look like the pro that you are. And it’s not as expensive as you think.

Launch a blog on your site and update it regularly: Nothing reads “I don’t care” like a blog whose most recent entry is days or months old. Assign this task to an employee who can write and spell—nobody wants to hire an illiterate business owner. Write about your vendors and facilities to help build those relationships.

Introduce people to your company and your staff. Highlight your offerings. Run contests and give away company swag. Announce specials and upcoming product-line changes. Establish a “customerof-the-month.”

Get on Facebook and Twitter—please!: We’ve written about this a lot. Participating in social media is no longer a choice—it’s where everybody exists and it’s not going away. Having a Facebook page may not earn you any new business, but not having one may cause customers to ask why. Use quality photos of your office and employees to put a more human face on your company identity. For Twitter, let your customers follow you, and implement a strategy similar to what you’re using on your blog.

Keep trucking: Getting new and potential customers to notice you is an ongoing battle. Pick a new idea every week or two and implement it, no matter how small it is. Call a meeting of employees, order a pizza for lunch, and brainstorm; offer an incentive for ideas you implement. Before long, these tactics will

DJ TIMES

JANUARY 2014

15 WAYS TO GROW YOUR BUSINESS—TODAY!

30

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Control Issues Denon DJ/D&M Professional 1100 Maplewood Drive Itasca, Illinois 60143 (630) 741-0330 www.denondj.com Denon DJ has released its next generation controller/mixer, the MC6000MK2. Now supplied with Serato DJ Intro software, the unit

also supports other major DJ software with mapping. Features include: full pro video mixing integration with the Serato Video plug-in; realtime channel matrix operation enabling fast and efficient DJ changeovers, plus flexibility to add record decks, tabletop CD players, USB audio and other aux input devices; and Line 3/4 thru to PC Mode, enabling digital recording of a full DJ set.

Intimidation Chauvet DJ 5200 NW 108th Ave. Sunrise, FL 33351 (800) 762-1084 www.chauvetlighting.com Chauvet DJ has released the Intimidator Spot 100 IRC, a compact, moving-head unit powered by a 10-watt LED. Perfectly suited for a mobile rig, the unit projects colorful

READ YOUR COPY OF

beams and crisp gobos and is compatible with the optional Chauvet DJ IRC Remote for wireless control. The unit features separate color (seven plus white) and gobo wheels to maximize lighting options, while built-in, rapid-movement macros minimize programing time.

THE WAY YOU WANT!

DJ TIMES

JANUARY 2014

AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988

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25th Anniversary Moments

GEAR AUDIO…LIGHTING…STUFF

In Your Element Akai Professional 200 Scenic View Drive Cumberland, RI 02864 (401) 658-4032 www.akaipro.com

RICHIE HAWTIN: LOOKING INTO THE FUTURE

Akai Pro has expanded its MPC line with the tablet-sized MPC Element and its new software platform, MPC Essentials. The bus-powered MPC Element features a 1/8-inch MIDI input and output, as well as multicolor pads that are both pressure- and velocitysensitive. The unit comes with 1/8-inch to 5-pin MIDI cables and includes Note Repeat, Swing, Full Level, 16 Level, and Tap Tempo technologies. The included 64-bit MPC Essentials software includes more than 1GB of sounds that can create up to eight pad banks and 128 samples.

“By 2010, I’d like some type of interface to be able to play and interact with digital files—more movement, interfacing our own humanity into the digital medium. I hope to be playing all digital files, music from people’s studios, take it off the Net with some sort of wireless system. I’d like to be on a plane, re-editing a track the night before I play it, or maybe someone’s just finished making a track and I get it just as it’s being finished and I play it. To me, it’s all about furthering the possibilities as humans through technology.”

– Richie Hawtin, November, 2001

JASON FORREST’S 36 FAVORITE PUNK SONGS ■ AUDIO BULLYS FIND THE MEAT

Going Out on the Road Native Instruments North America, Inc. 6725 Sunset Boulevard, 5th Floor Los Angeles, CA 90028 (866) 556-6487 www.native-instruments.com Native Instruments’ Traktor DJ Cable is a compact audio splitter that is designed for mobile DJ setups on iPhone, iPad or laptops. It is immediately recognized by Traktor when connected to the output of an iOS device. The cable allows for headphone track cueing when used with Traktor DJ or Traktor Pro 2. Designed with a silver-plated, oxygen-free copper cable and gold-plated terminals, Traktor DJ Cable also works with other iOS DJ software.

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Curing the holiday-Party Blues

How Vlogs Can Change Your Business 11/9/2010 1:54:54 PM

READ ENTIRE INTERVIEW ONLINE djtimes.com

GEAR AUDIO…LIGHTING…STUFF

Looking Hybrid & Low

Headphone of the Class

Reloop/American Music & Sound 22020 Clarendon St, Ste 305 Woodland Hills, CA 91367 (800) 431-2609 www.americanmusicandsound.com

AKG/Harman International 400 Atlantic Street Stamford, CT 06901 (203) 328-3500 www.harman.com

The Reloop RP-8000 hybrid high-torque turntable is able to communicate with any MIDI-compatible DJ software. Its MIDI-compatible control section includes a Trax encoder, eight backlit drum pads and four combinable performance modes—cue, loop, sample and user. The unit features a turntable link USB port, line/phono switch, reverse switch, highresolution pitch fader, LCD pitch display, and an adjustable start/stop time from 0.2 to 6 seconds. It has shock-proof feet and a vibration-resistant base, as well as a rubber inlay that reduces vibrations and ambient noise.

AKG’s K812 reference headphones sport an open-back design, adjustable headband and soft ear pads. The headphones are equipped with a coppercovered aluminum two-layer voice coil, as well as an oversized 53mm driver that the company says gives the K812 “the highest dynamic range ever in an AKG headphone.” Additional features include an extended frequency range up to 54 kHz, a detachable three-meter cable, and a 1.5 Tesla magnet system for accurate imaging.

Color Guard

DJ TIMES

JANUARY 2014

Vestax/American Music & Sound 22020 Clarendon St, Ste 305 Woodland Hills, CA 91367 (800) 431-2609 www.americanmusicandsound.com

36

The VCI-380 two-channel DJ controller from Vestax now comes in red and white limited-edition models. The VCI-380Red and the VCI-380Wht both come bundled with ITCH. A 24Bit/48kHz audio interface is built into the controllers, which offer a stand-alone mixer function. Each channel as an RCA phono/line input and they are capable of mixing external devices like CD players, MP3 players and turntables. Both models feature a variety of performance modes that include the slicer, roll, sampler, loop, hot cue and pad FX.

GEAR AUDIO…LIGHTING…STUFF

Stand & Deliver

in professional, project and home studios. According to the company, the stand is designed to clean up acoustic issues like structural vibrations and bass smear. The stand measures 7.8-inches wide by 10-inches deep and five-inches high. They can be used as a single unit or combined with additional units for larger subwoofers.

IsoAcoustics 4981 HWY 7 East, Unit 12A, Suite 160 Markham ON, Canada L3R 1N1 (905) 294-4672 www.isoacoustics.com IsoAcoustics’ ISO-L8R200SUB Stands are specifically designed to work with all types of subwoofers

Bulls & Behringers Behringer 18912 North Creek Parkway, Ste 200 Bothell, WA 98011 (425) 672-0816 www.behringer.com The EUROLIVE B1200D-PRO from Behringer is a 500-watt, 12-inch, active subwoofer with built-in stereo crossover. The unit offers Class-D amplification, Switch-Mode Power Supply technology and “precise reproduction of ultra-low frequencies,” according to the company. Features include balanced XLR inputs and outputs, as well as a standard 35 mm pole-socket. The unit also comes with a boost frequency knob that lets users add a +10 dB boost at any frequency between 40 - 90 Hz.

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GROOVES TRACKS…MIXES…COMPILATIONS

the dancefloor. A colossal kick and monstrous stab on “Conception” takes center stage. The edgier “Have to Say” has a slightly more organic and funky/chunky vibe, while “Forgive Me” has a bit of grit and grunge as highlighted on the “Edu Imbernon Mix.”

– Shawn Christopher Shall Ocin

“NAKED PIANO” EP u Kill Frenzy u Dirtybird Kill Frenzy puts some funk in the beat with “Naked Piano,” a wacky pitch-bent house track punctuated by light piano riffs and roomy percussion. Things get a little dirtier with “For the Ladies,” which bounces along as a froggy voice instructs the listener to “Tongue, and lick…”

Kill Frenzy

– Chris Davis FABRICLIVE 73: PANGAEA

u Pangaea u Fabric Records

Nina Provencal

Pangaea

David Scuba

“KOMPLEMENTS” EP

u Kaytronik u At Jazz Record Company Kaytronik (aka Karizma) lays it down on this brilliant deep house, two-tracker. Wafting bassline, slick guitar lick, mesmerizing pads, infectious groove and ethereal vocal snippet make this a timeless stunner for sure.

– Shawn Christopher “MANY WAYS”

u Ferry Corsten feat. Jenny Wahlstrom u Flashover Recordings This trance track has it all. The inspiring tune includes female vocalist Jenny Wahlstrom interspersed throughout with uptempo build ups and whopping breakdowns. For a harder trance take, check out the “Will Atkinson Midnight Remix.”

DJ TIMES

JANUARY 2014

– Natalie Raben

38

Ferry Corsten

“SOUL SAVIOUR”

u Nina Provencal u Makin’ Moves Mixed by Jihad Muhammad, this deep, soulful house piece—with Provencal’s alluring, heartwarming vocals—offers jazzy Hammond keys laid down on a lovely, rolling bassline, charismatic chords and organic guitar licks. The DJ Fudge mix focuses on strong percussive elements drops a classy, chic vibe.

– Shawn Christopher “CONCEPTION” u Shall Ocin u Culprit

Pangaea presents a thunderous instrumental mix that conjures up images of the Earth’s earliest days, weaving chugging techno amidst breakbeat, heaps of bass and generally off-kilter grooves.

Following an exploratory introduction, we’re dropped into the fire from track 12 on, and Pangaea doesn’t relent until the extra-crispy finish.

– Chris Davis “LOOKING FOR SOMETHING” EP

u Kolombo & Dave Davis u Suara

The sing-song, spoken-word vocals of “Looking for Something” and the playful bounce of “Go For It” are fun tracks, but “Looking For Dub” is where this EP really shines. The EP’s indie-dance vibes dive deep and hook into you as the track commands you to “get up” and “get down.”

– Chris Davis

On the heavier side of house, this four-track, progressive-flavored EP is packed full of deep, undulating basslines, clever keys and peak-hour performance that’ll move Each month in this space, DJ Times digs through the virtual crates to give you a quick sample of the plethora of extraordinary tracks available exclusively on legal download—care of our favorite nextgeneration “record” stores (e.g. Beatport, iTunes, etc).

“Turbo Slutt” (Jonni Darko Remix) by David Scuba [Superfreq]: Dark and edgy, this straightforward, but addictive techy gem features plucky full bass, 808 hats, whispery echoed vocals, and a subtle build that will drive the energy up. Haunting and enchanting.

Found on beatport.com.

“What You See” (Ordinal Mix) by Circle feat Rise 8 [Leftroom Limited]: Imagine if the laidback, psychedelic vocal harmonies of the Beach Boys were modernized and laid over a house beat with live-sounding bass and some trippy atmospherics. “What You See” is that novel and innovative sound. Found at beatport.com.

“Der Groove Guenther” (Tinushs Durch & Durch Durch Remix) by Febe [Romancity]: Good luck trying to mix the brokenbeat intro filled with stutter percussive elements. But once the kick hits, it makes for a surprisingly funky groove accented by a sagging low end, subtle chord stabs, and evolving dubby elements that build through the break. Found at beatport.com.

– Robert LaFrance

Download Corner

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

MP3s in 56

Compiled As December 10, 2013

National Crossover Pool Chart 1 Icona Pop 2 Britney Spears 3 Lady Gaga 4 Rihanna 5 Selena Gomez 6 Katy Perry 7 Ricky Martin 8 Martin Garrix 9 Daft Punk 10 Zedd F/ Hayley Williams 11 Ayah Marar 12 Miley Cyrus 13 Hannah 14 Empire Of The Sun 15 Foxes 16 Avicii 17 Pitbull F/ Ke$ha 18 Madame Freak 19 Celine Dion 20 Flo Rida F/ Pitbull 21 Meital 22 Cindy Valentine 23 Dj Sammy F/ The Jackie Boyz 24 Gali 25 Kim Cameron 26 (We Are) Nexus 27 Donna Summer 28 RH3 29 KromOzone Project 30 Sophia May 31 Alina Artts 32 Jade Starling F/ Lee Dagger 33 Lana Del Ray 34 Hamel & Jeremus F/ Anita Kelsey 35 Noah 36 Esquille 37 Wesley King F/ Carol Hahn 38 Mia Martina 39 Adam F. & Cory Enemy F/ Margot 40 Pet Shop Boys

National Urban Pool Chart

All Night Work Bitch Applause What Now Slow Down Roar Come With Me Animals Lose Yourself To Dance Stay The Night Beg Borrow Steal Wrecking Ball Good Feeling DNA Youth Wake Me Up Timber Ride It Love Me Back To Life Can’t Believe It Give Us Back Love Wicked Ways Shut Up And Kiss Me I’m Alive Not Into You Feels So Good MaCarthur Park 2013 When I’m With You Come Back Anywhere With You (rmx) Hit The Red Light Insomniak Summertime Sadness Higher Keep On Movin’ Rock This Club Down I Love My Radio La La When It Comes To You Thursday

Big Beat / Atlantic RCA Interscope Island/Def Jam Hollywood Capitol Sony Casablanca Columbia Interscope Radikal RCA Tazmania Astralwerks RCA Island/Def Jam Universal Madame Freak Columbia Atlantic Human Loves Human DGR Robbins Ryal Side FX Shotgun Verve Firm Grip KZP Tazmania REC Chemikal Ent. Interscope Citrusonic Noah Global Groove Moonworks CP Robbins X-2

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

Madame Freak Ride It Kwanza Jones Vicious Cher Take It Like A Man Jade Starling F/ Lee Dagger Insomniak Zedd F/ Hayley Williams Stay The Night Sir Ivan La La Land 2014 Katy Perry Unconditionally Adam F. & Cory Enemy When It Comes To You Mia Martina La La Pet Shop Boys Thursday

Reporting Pools

Madame Freak Innovative Ent. Warner Brothers Chemikal Ent. Interscope Peaceman Capitol Robbins CP X-2

n Flamingo - Ft. Lauderdale, FL; Julio n Masspool - Saugus, MA; Gary Canavo n OMAP - Washington, DC; Al Chasen n NW Dance Music - Shoreline, WA; John England n Fusion Radio - Chicago, IL; Manny Esparza n Pittsburgh DJ - Pittsburgh, PA; Jim Kolich n Soundworks - San Francisco, CA; Sam Labelle n New York Music Pool - Levittown, NY; Jackie McCloy n Dixie Dance Kings - Atlanta, GA; Dan Miller n WPTV-Prty 105FM Frd MdMx - New York, NY; Mike Rizzo n MOOD Spins - Seattle, WA; Randy Schlager n

Pacific Coast - Long Beach, CA; Steve Tsepelis

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

R. Kelly Toni Braxton & Babyface John Legend Tamar Braxton Eric Benet TGT Chrisette Michele French Montana Jaheim Drake F/ Majid Jordan Ronald Isley F/ KEM Mario Leela James F/ Anthony Hamilton Raheem DeVaughn Robin Thicke Jennifer Hudson F/ T.I. Joe F/ Fantasia Charlie Wilson Ledisi Fantasia

Genius Hurt You All Of Me All The Way Home Runnin’ I Need A Couple Of Forevers Ain’t Worried About Age Ain’t A Factor Hold On We’re Going My Favorite Thing Fatal Distraction Say That Ridiculous For The Rest Of My Life I Can’t Describe Love & Sex I Still Have You I Blame You Side Effects Of You

RCA Motown Columbia Epic Capitol Atlantic Motown Interscope Atlantic Cash Money EOne RCA J&T Mass Appeal Interscope RCA 563/Masssenberg RCA Verve RCA

Most Added Tracks 1 2 3 4 5

Charlie Wilson Candice Glover Sevyn Streeter Fantasia Leela James F/ Anthony Hamilton

I Still Have You Cried It Won’t Stop Side Effects Of You Say That

RCA Interscope Atlantic RCA J&T

NEW National Latin Dance Pool Chart 1. Zawezo Me And My Cup (Giusseppe D Mix) 2. Mauro Mosquera La Ruñidera 3. Grupo Niche Tocando El Cielo 4. Rigu feat Toby Love Y Es Que La Quiero 5. J Martin Cada Vez Que Te Vas 6. Jorge Santana ft Aki S. Gracias Madrecita (Remix) 7. Charlie Zaa Digo Yo 8. Joey Montana feat Pitbull Love & Party (Remix) 9. Enrique Iglesias & Romeo Santos Locos 10. Gabriel Coronel Desnudo (Remix) 11. Wisin Que Viva La Vida 12. Los Cadillacs Bom Bom 13. Prince Royce Darte Un Beso 14. Leslie Grace Odio No Odiarte 15. Tito El Bambino El Carnaval 16. Don Omar Feeling Hot 17. March Anthony Vivir Mi Vida 18. Toby Love Hey 19. J Quiles Orgullo 20. Raulin Rosendo Botando Chispas

Digital Launch Codiscos PPM USA Warner Musica PPE The Misha Music Co. Entity Universal Universal Warner Musica Sony Crossover Promotions Top Stop Music Top Stop Music Venemusic Universal Sony Top Stop Music Rich Music Orlando Prod.

Most Added Tracks 1.

2.

3.

4.

5.

Aniceto Molina Yandel Tony Fuego Victor Manuel Johnny Sky

La Jerigonza Hasta Abajo Sabrosura Ando Por Las Nubes With Or Without You

AJ Music Sony Rex Mediaworks Sony Premium Latin

Reporting Latin Pools n Latinos Unidos Record Pool n Salsamania Latin Record Pool n Lobo/Bass Record

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

Pool n Urban Tropics Music Pool n North East Record Pool n Mixx Hitts Record Pool n Ritmo Camacho Record Pool n Ritmo Internacional Record Pool n DJ Latinos Record Pool n Mass Pool n Record Pool Latino n V.I.P. Chicago Record Pool.

BT

(continued from page 15) isn’t DJing! You’re not beat-mixing anything. It doesn’t make sense. What the fuck is this?” It’s funny, a lot of those guys now are very sophisticated and using all this stuff and call me for technical support. A lot of them just could not wrap their heads around it. But the generation coming up now, they just can’t even figure out why anyone would ever think other than using that.

DJ Times: Like a world without Google?

BT: Ha-ha—yeah!

DJ Times: So you’re still very much interested in pushing the boundaries of what can be done live.

BT: Most definitely. And interestingly, Leap Motion is a means for controlling these things. It’s an addendum, the potatoes to the meat—haha, food analogies, like peanut butter and jelly. It’s really two things that are good on their own, but together are awesome. When I first saw it, it’s like “Minority Report.” And you could do that, but it’s not practical. Your arms are up in the air the whole time. But it could be used in a lab, that kind of thing. I can’t imagine replacing a mouse. How I imagine it, it’s like you can reach into the computer now.

DJ Times: For example, you’re looking at a WAV file, but you can use your hands to get in there and just pick out whatever you want, any snippet of information…

BT: Yeah, ha-ha, yeah, exactly!

DJ Times: So what about DJs like Daft Punk, they’ve blurred the lines between live musician and DJ. After all the pre-release hype, what do you think of their album?

B T: I t h i n k i t ’s b r i l l i a n t a n d brave—it’s fantastic. And more than anything, I love to hear musicianship

in dance music. Although it might sound oxymoronic, it’s really not. I fell in love with dance music and its culture not only from things like Afrika Bambaataa and Mantronix, but also Lakeside and George Clinton—very musical music. So it’s so awesome to hear people playing instruments, living harmoniously with electronic.

Daft Punk are fantastic.

DJ Times: Since you are also a live performer, do you like touring with the live band more than DJ? BT: The last live tour—a bus tour—we did was for This Binar y Universe [in 2006]. We did the entire shows in 5.1 Surround. I had a very early alpha build of Stutter Edit and it also functioned in Surround. I played piano and bass and, over the course of the evening, seven instruments.

I was doing things with a Vocoder and singing. We did a cover of “Mad World” by Tears for Fears.

DJ Times: Nice. I have that one on vinyl.

BT: Ha-ha. Me, too, man. We’d be on the bus, all of us with laptops out writing software to use for the next show.

DJ Times: Why not do live all the time? What draws you to DJing?

BT: Honest answer—it’s costprohibited. I’ve studied classical music all my life and the only time I can really utilize my classical skills—to an extent, I use harmony and theory, etc., when I’m writing—but the only time I really utilize it is when I’m conducting and writing for an orchestra.

And the reason why is because that’s $250,000-an-hour or something, but I can’t pay for that. It’s very expensive because there are so many people, flying a lot of people, a ton of equipment. But it’s also a different thing. I

enjoy both.

DJ Times: So you’ll do more in the future?

BT: Sure, we are going to do live shows. I’m very passionate about it.

But the thing now, with computers, you still have that feeling that in any moment, that things can become brilliant or completely fall apart. It’s the same with a live band, teetering on brilliance and chaos. You can do that on a computer as a single person. It’s a refreshing challenge, being there alone. I love both.

DJ Times: With that in mind, is it at all frustrating being a DJ, when people think all you have is a computer vs. when they see you playing with a live band?

BT: I’m gonna answer that from the vantage point of my mother who is psychiatrist: If I was wrapped up in perception of me, I wouldn’t get out of bed in the morning. These guys who are playing tonight, Au5 and Fractal, I’ve been mentoring for a couple years now. One of the things we talk about is living a fulfilling life as an artist. What is the end goal? What are you trying to contribute?

DJ Times: But have seen frustration in that world?

BT: Oh God, yes, for sure. It depends on if you’re paying attention to that or not.

DJ Times: So that kind of talk is unimportant to you?

BT: It really, truthfully is not. I’m just trying to do something that’s substantive. I remember hearing people say, not necessarily about me, but things [about DJs] like, “Are they checking e-mail?” If your identity is wrapped up in people’s perception of you, there’s no forward motion in that. Some close friends of mine ask

me how I keep doing new things, and I tell them it’s because I’m not scared to fail. I’m just trying to do something meaningful.

DJ Times: So is pushing the boundaries of tech your driving force?

BT: It’s the other side of my brain goal, the academic. But the real humanist goal I have is to reach people emotionally. Music is powerful, the universal language. You can speak to people that don’t speak your native tongue. You can reach through cultural differences because you can reach them through music. If you reach people for just five minutes, and they leave feeling even a little bit better than they did when they come in, then you’ve done something of value. It’s a chain of events—the Lorenz Theory. That’s why I started doing this and why I do it today. n

The Wedding Dollar (continued from page 23)

additional lighting effect of a monogram and a speaker on a skirted tripod with music playing. These create excitement around our booth area, making it a place people want to stop over and see what it’s all about.”

While there’s not a lot of time at bridal shows to spend speaking with each and every prospective client, Sellers says that makes the visual experience all the more important.

“The more of a visual impression you can leave,” says Sellers, “the more likely they’ll remember you once they get home and start going through the swag bag of literature that’s been crammed upon them. And that’s when they’re more likely to do what we’d n like to them to do—call!”

DVS1: Techno, the Old-School Way

DJ TIMES

JANUARY 2014

I am, and I still rock the vinyl.

42

Nothing against these “festivalEDM DJs”…

But they’re not all really DJing.

DVSI, Next Month in DJ Times

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