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MAY 2014

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PERFORMS UNDER PRESSURE

REMIX-STATION 500 The REMIX-STATION 500 features a diverse range of effects to change the development of music and produce new rhythms by adding sound sources, etc. It also features a “PRESSURE Controller” with knobs that can be operated not only by rotation but also, in an industry-first, by intuitively pressing to change effects parameters, enabling various musical arrangements to be made with a single knob. The device can also be used for music production and as a plug-in controller when connected to your PC/Mac, allowing you to produce music with the same effects and feeling of control you get when using the device for DJ play. It’s official...the Remix-Station 500 Performs Under Pressure.

Remix music with Rhythm FX, Scene FX, Release FX, and intuitive control thanks to the “PRESSURE Controller”

Can be used as a MIDI controller with support for USB-MIDI standard, and can be mounted on the Pioneer DJ X-Stand

QUANTIZE function analyzes music in real time and synchronizes effects

Soundcard enables connection to headphones or speakers directly

AUTO BPM function automatically measures and follows music tempo

Bundled with VST/AU/RTAS plug-in and builtin soundcard for intuitive music creation

REMIX STATION 500

INDUSTRY EVENTS…NOTABLES…MILESTONES

NEWS

The Madness: Ultra Music Fest at Bayfront Park.

By Jim Tremayne

wildering techno squiggles, as saucerlike light trusses hovered overhead for extra, trippy effect.

DJ Snake’s Saturday performance at the Worldwide Stage carried the dreaded bro-step sub-genre through and beyond the guilty-pleasure zone.

Monstrous bass bombs mixed perfectly with Euro-fromage moments to create a sea of bobbing heads and twerking bottoms.

Art Department’s set at the Underground Stage on Friday was tasty in its sheer simplicity. Playing on a stage separated by hillside from the rest of the festival’s madness, Art Department offered no frills, just tight grooves in an uncommonly pleasant atmosphere.

Other Events: Red Bull Guest House was easily the place to be—that is, if you could get into the joint, which was usually “at capacity.” Still, plenty of top talent and memorable moments were found.They included the Hot Creations takeover that featured Jamie Jones,

Lee Foss, Gred Pidcock, Mark Jenkyns, Anabel Englund and special guests Art Department, plus more than a few celebrity sightings.

At the W Hotel, the SiriusXM Music Lounge saw private performances from a slew of EDM’s top DJ talents like Tiësto, Martin Garrix, Hardwell, Andrew Rayel, and Armin van Buuren, plus top-shelf schmoozing among industry types.

Other Events: Found At Sea Yacht Cruise on March 26 featuring Danny Tenaglia, Joseph Capriati and Joris Voorn. Summery tech-house from Voorn gave way to banging Drumcode beats from Capriati. Then, Tenaglia settled things down with a dedicated set of classics like “Baby Wants to Ride,” “Where Love Lives” and more.

In the end, Solomun and hometown hero Maceo Plex rocked the Last Resort party at Ice Palace on Sunday morning, making Miami a more difficult place leave for those partiers whose return flights were mere hours away.

MAY 2014

Nightlife in the ’90s” drew a roomful of Gotham dance denizens of the decade. Though there were a few obvious (and hopefully fixable) production snafus, DJ Hedi’s look at that deeply influential period hit the right notes by presenting interviews with the main DJ/producers and unearthing hard-to-find footage of action from the period’s major venues. And yes, DJ Times—via a 1997 issue with Junior Vasquez gracing its cover—makes a cameo.

After going down to the wire to sell out its three event dates (March 28-30), Ultra Music Festival at Bayfront Park found trouble and scrutiny when gatecrashers hospitalized a security guard. (At presstime, local officials were debating the event’s future in Miami.) But more than 165,000 people passed through the gates legitimately, the music did go on, and there were many highlights: Dubfire at the Mega Structure on Saturday. Deep beats mixed with be-

Red Bull Guest House: Jamie Jones in the mix.

DJ TIMES

The Music: Art Department fired up Miami.

Ian Witlen/Red Bull Content Pool

Miami Beach, Fla. –This past March 21-30 the DJ/dance-music world congregated in South Florida for what’s become known as Miami Music Week. Between Winter Music Conference, Ultra Music Festival and a variety of other DJ-related events, there was plenty of madness to match all the music. And, as usual, DJ Times was there to take in all the festivities it could handle.

Winter Music Conference kicked things off at the Miami Beach Convention Center on March 21 and its exhibition hall included booths brimming with the latest DJ- and studio-related wares. Among other gear, Pioneer DJ offered its DDJ-SZ controller and Remix-Station 500 unit, while Roland broke out its new AIRA range of music-making products, including the TR-8 Rhythm Performer, TB-3 Touch Bassline, VT-3 Voice Transformer and the System-1 PLUG-OUT synthesizer.

In addition to items from Akai like the APC40 MKII Ableton controller, the inMusic brands booth included Numark gear like its NS7II mixer/ controller. Other exhibitors included Scratch Music Academy, PK Sound, Prism Media Productions and more.

As for WMC seminars, one highlight was Kaskade’s Q&A session, in which he explained how his rise from beginning DJ/producer to hitmaking festival mainstager was anything but an overnight affair. “Turning everything off to feel it with the audience,” he said, “was something that I had to learn.” Seems like things worked out just fine.

Another highlight: The screening of “Back in the House: A Story of NYC

Ian Witlen/Red Bull Content Pool

RUDGR.com

Armin van Buuren at SiriusXM Music Lounge.

Gustavo Caballero

MUSIC & MADNESS: MIAMI MUSIC WEEK WOWS MASSES

3

VOLUME 27

NUMBER 5

12 Screamin’

Already One of the Globe’s Biggest Trance Talents, Markus Schulz Adds Some Responsibilities & Takes a Few New Musical Turns

BY ALLY BYERS

20 Next Generation Techno

Uner Brings Traditional Musicianship & Organic Sounds to His Brand of Spanish Techno

BY ALLY BYERS

22 Are You a Pro?

Has the Level of Professionalism Been Elevated in the DJ Industry?

A Newly Minted Financial Planner/Mobile DJ Chimes In

BY JEFF STILES

DEPARTMENTS 7 Feedback

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

24 Making Tracks

Arturia V Collection 3.0

26 Sounding Off

Allen & Heath Xone: 23

28 Mobile Profile

Florida’s Mix on Wheels

30 Business Line

Diversify Your Offerings Now!

32 Gear

New Products from Electro-Voice, Samson & More

38 Grooves

Phat Tracks from Josh Wink, Skrillex & More

40 DJ Times Marketplace

Shop Here for All Your DJ-Related Supplies

41 Club Play Chart

DJ TIMES

MAY 2014

4

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

SAMPLINGS 8 De$ignated

Future Garage

10 In the Studio With…

Hardkiss

FROM THE EDITOR

Magic & Loss At presstime, we were struck with the sad news of the passing of an icon—Frankie Knuckles, the Godfather of House. Our condolences go out to those who were close to Frankie, including the Def Mix Productions family, which was so vital to his life and career. Obviously, without the contributions of Frankie Knuckles (and a very few other seminal DJs), many of us would not be doing what we’re doing and, in fact, magazines like DJ Times might not even exist. Stay tuned for the June issue, which will offer remembrances from the DJ world. RIP, Frankie.

This Issue: We’ve just returned from Miami, where we participated in Winter Music Conference, Ultra Music Festival and various other events, so the beats are still ringing in our ears—lots of magical moments, to be sure. Check Page 3 for our rundown of DJ-related superlatives from what’s become known as Miami Music Week.

As many of you know, Markus Schulz—the German-born/U.S.-raised DJ/producer—has become one of the world’s top trance talents in recent years. Of course, we’ve had Markus on our radar since his Arizona days when he was playing at The Works (aka freak-central in The Valley of the Sun). And since those heady times in the ’90s, we’ve done plenty of stories on Schulz, the DJ who was voted America’s Best DJ in 2012. But this go-round, we ask our London-based correspondent Ally Byers to offer his Other-Side-of-the-Pond Perspective. As always, Schulz doesn’t hold back, as he details how he’s expanded his responsibilities on the business end.

Ally Is Everywhere: As you’ll see from his other feature on rising Spanish techno DJ/producer Uner and his Sampling entry on U.K. bass duo De$ignated, Mr. Byers keeps plenty busy this month.

Additionally, our longtime L.A.-based scribe Lily Moayeri chimes in, as she connects with Hardkiss “brothers” Gavin and Robbie, who take us back to the days of the Bay Area’s second Summer of Love.

On the review side, Denver-based DJ/producer Wesley Bryant-King gets to know Xone: 23, Allen & Heath’s latest entry to its famous mixer range, in the Sounding Off column. In Making Tracks, our St. Louis-based studio scribe Josh Harris takes on Arturia’s V Collection 3.0, which includes a slew of the French company’s flagship synths.

In the world of the mobile entertainer, Jerry Bazata tackles this month’s Business Line column and our “DJ Money Answer Man” explains why DJs would do well to diversify their offerings to the public. Mobile Profile connects with Charles Miles, who describes his unique Mix on Wheels concept, something that, he hopes, will push him well beyond his Central Florida market. Also, Jeff Stiles, our Iowa-based mobile scribe, simply asks, “Are You a Pro?” Then, he details many of the ways the DJ industry has had to raise its game to remain valid and attractive.

Also, check out the insert for DJ Expo, which appears on the summer horizon. Set for Aug. 11-14 at the Trump Taj Mahal in Atlantic City, N.J., DJ Expo will present an exhibit hall full of the latest DJ-related products. Additionally, Expo attendees are presented with more than 25 seminar/ panel sessions discussing the day’s main topics, plus three nights of evening events, sponsored by the industry’s biggest brands. For the very latest on DJ Expo, please visit www.thedjexpo.com.

DJ TIMES

MAY 2014

Cheers,

6

Jim Tremayne Editor, DJ Times

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 Jody Amos Tom Banham Joe Bermudez Wesley Bryant-King Ally Byers Chris Caruso Shawn Christopher Paul Dailey Reed Dailey Chris Davis Josh Harris Robert LaFrance Michelle Loeb Lily Moayeri Phil Moffa Natalie Raben Scott Rubin Julia Sachs Jennifer Shapiro Jeff Stiles Emily Tan Phil Turnipseed Curtis Zack Innes Weir President/Publisher Vincent P. Testa FOR CUSTOMER SERVICE AND TO ORDER SUBSCRIPTIONS, CALL 800-937-7678 VISIT OUR WEBSITE www.djtimes.com

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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 May 2014

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FEEDBACK

ARMIN VAN BUUREN IT FEELS LIKE

AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988

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048AP14_p001-044.indd 1

3/10/2014 3:49:03 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.

DEAR DJ TIMES, I am currently taking a class on basic DJ techniques in New York. The em‑ phasis of the class is undoubtedly on vinyl. My instructor—who shall not be named because it isn’t necessarily about him—continues to rag on those who rely on technology to create their sets, emphasizing their inability to successfully mix two vinyls together, backspin, etc.

For our final, we have to have a set of about 10 minutes to perform for the class. We have to show evidence of a level of mastery of scratching, mix‑ ing, backspinning, “dropping the beat on the one,” etc. For the final, we are given the option of using Serato DJ (which he will teach us) or vinyl.

My question is this: If programs such as Serato DJ and/or Virtual DJ al‑ low for more seamless mixes (and therefore more seamless and enjoy‑ able dancing), is it such a problem that vinyl is becoming or has become “old-fashioned”? Noticing the creativ‑ ity of artists such as Pretty Lights or Pogo—assuming that they do not rely heavily on turntables, but digital technology to create—perhaps it isn’t.

Perhaps it is even a good thing?

– Julian Donahue, New York City

JULIAN, I understand the basis of your instruc‑ tor’s argument. I have been spinning records for 35 years, and turntables and vinyl are the very building blocks on which the entire culture was built.

Learning to manipulate a turntable and mix vinyl is a great way to develop an appreciation for the art and will leave you with a newfound respect for peo‑ ple like Carl Cox and Jeff Mills, who did it on three or more decks often.

But at the end of the day, whether you use two Technics turntables or a sync button, the art of the DJ is rooted in effective music programming, not just blending two or more sounds. Many

of the greatest DJs in history were average mixers at best. But it was in their ability to pick the right song at the right moment, and do so with creativity and style, where they made their marks.

If you want to learn the roots of the craft, vinyl is a great place to start, and turning off the “sync” feature long enough to understand song structure and manual blends will only help you in the long

run. But in 2014, digital media and pro‑ grams are not only your friend, but they are the present and the future. The key is to take the technology at your disposal and put it to use to create something next-level – something that could never be accomplished on turntables. Let your instructor stay stuck in the past—your ability to rock the dancefloor is all that matters anyway.

– Paul Dailey, DJ Times

SAMPLINGS

DE$IGNATED: NEW U.K. BASS SOUNDS

DJ TIMES

MAY 2014

If Hollywood has taught us anything, it’s that older brothers are trouble. They get you into compromising situations, make you rebel, get you into dangerous hobbies. They’ll lead you astray.

Luckily for Nima Bazrcar, his script read a little differently, as his brother had a blueprint for future success. Indeed, his older sibling was embedded in the healthy East London grime and garage scene pushed the then 7-year-old Nima into a life of samples and drum loops. By 12, he could do things with FL Studio that grown men would blush at.

Eventually, he hooked up Rory Bowyer, an indie rocker with compositional talent, and De$ignated was born. Relatively soon, the duo began to create music that resonated with the growing U.K. bass (or future garage) movement. With several remixes having already found success on U.K. dancefloors—like their work for Wave Racer’s “Stoopid” and T2’s “Heartbroken”—and a forthcoming release on Roger Sanchez’s Stealth label, we caught up with the teen duo, De$ignated.

8

De$ignated: (from left) Bowyer & Bazrcar.

DJ Times: Where did all this begin?

Nima Bazrcar: I grew up in East London and my older brother was involved in the pirateradio scene. He’d been producing and rapping since I was 6 or 7, and he was always in his room messing about with kit or in a studio somewhere. I began to imitate him—like brothers do. I was playing with eJay from around 7; then by 11, I was making tunes on FL Studio. Over time, I got the hang of it.

Rory Bowyer: I actually started around band music, indie stuff—I liked playing the guitar.

I befriended Nima through school and brought my composition and musical knowledge to his technical abilities with software. That led to me studying production and music tech at college, so I eventually caught up.

DJ Times: Where does DJing come into this?

Bazrcar: It just kind of evolved. We started experimenting with mixing different tracks, and eventually we migrated to actually using CDJs and mixers. We had our tunes and a few mixes out there and a promoter took a chance on us and invited us up to a night called Shadow City in Birmingham. It was our first proper gig and it was amazing. There was a good line-up and the venue

was packed. For us, it was a uniquely new experience because, when we began DJing, we’d only just turned 18, so we hadn’t even been to that many clubs. Mixing music, watching how the crowd reacts to different songs, just hearing music on massive sound systems was all new to us, and it just spurred us to work even harder.

DJ Times: So you both come from different backgrounds, musically speaking. How does production work between you two in the studio?

Bowyer: Actually, our track “Valentine” was the one of the only tracks we’ve put out to date that was made by us sitting side-by-side in the studio. Normally, when we’re together, any plans to make all-conquering beats end up being both of us sitting there watching “Family Guy.” We find we get most of our work done by sitting in separate locations, sending parts and ideas to each other. It’s very fluid. One’ll write a cool drum sequence, the other will mess about with a sample, we’ll mesh them together. The sound just sort of steadily builds itself.

DJ Times: Let’s talk about that sound. There are plenty of references to garage, to 2-Step, and you’ve got this light, floaty 8-bit synthy thing on the go. How did that all come together?

Bazrcar: It comes straight from our background. I grew up on grime, which led to garage and that whole sound. Rory was getting into the indie, electro-pop crossover thing, so the two kind of clash together in a nice way when we work. All the elements fit—light drums, easy-listening melodies, tongue-in-cheek vocals. It works.

DJ Times: What is it about the bassy, garage sound that you think’s making a resurgence?

Bowyer: It’s been crazy. Even a year and a half ago— before Eton Messy took off—it was starting to grow on the blogs. People that hear it like it. Society itself loves nostalgia.

The truth of it is that garage taps into that same part that causes people to throw their hands up and cheer when some ancient track from their childhood comes on in the club. But with garage you’ve got that, plus all the updated drums and bass and everything that actually makes the tunes solid. What with people being more open-minded about the electronic music they like, nowadays, ever since the likes of dubstep took people away from the fixation with just pure house, garage sits in a pretty sweet spot.

– Ally Byers

Get Hexed

IN THE STUDIO WITH

HARDKISS: BACK TO 1991

DJ TIMES

MAY 2014

Hardkiss Brothers: (from left) Gavin & Robbie.

10

In 1991, San Francisco was experiencing a second Summer of Love, but one impacted more by turntables than guitars. Still, like the hippie-rock scene that preceded it 24 years prior, its heady vibe began to carry year ’round for the Bay Area’s DJ/dance denizens.

It was during this freewheeling time that the Hardkiss Brothers established themselves in the Bay Area. The three—Philadelphians Robbie Cameron and Scott Friedel, plus South African Gavin Bieber—took on Ramones-like “surnames” and formed their label, Hardkiss Music. Hardkiss also gained significant traction with its underground parties and spacey disco grooves, releasing material under the names Hawke, Little Wing, God Within, among others.

Over two decades later—and after an extended period of the brand being dormant, which included the 2013 passing of Friedel (aka Scott Hardkiss)—the two remaining Brothers have put together a selection of fresh original material under the title 1991, a nod to the year of their origin.

“We got into the studio and it wasn’t smooth sailing,” admits Robbie. “We are very different in approach and it wasn’t easy to figure out each song—I feel and Gavin thinks.

If we were building a house, he’s designing and I’m focused on building the foundation.”

A reflection of Gavin’s cerebral ways and Robbie’s emotional approach, 1991 revives their signature space-disco sounds with touches of saucy funk on “It’s Right,” flirtatious grooves on “Don’t Worry,” and shimmering vocals on “I Am Yours Forever.”

Simultaneous with 1991’s release come two cool singles. “Revolution” offers remixes by DJ Spun, Sleazy McQueen, Atnarko, Adam Warped, and a special Scott Hardkiss mix on San Diego’s Siesta Records.

A l s o, “ R e t ro a c t i ve ,” o n Austin’s Whiskey Pickle label, includes remixes from Hawke, Q-Burns Abstract Message, and Greenskeepers’ James Curd.

Both create music in their Marin County homes.

Of their different studio and DJ set-ups, the only item in common remains a pair of Technics 1200 turntables.

Robbie likes DJing with a combination of CDs and vinyl, only recently purchasing a Pioneer CDJ-2000. Gavin prefers to work within Serato.

Robbie enjoys his outboard gear, working with synths like Studio Electronics SE1, Clavia Nord Lead, Roland JV 2080, as well as a variety of percussive instruments.

He also has MOTU’s Digital Performer DAW/sequencer—courtesy of Scott, who initiated him into the possibilities of digital audio.

“I’m not a trained keyboard player, but I’m naturally rhythmic and I play percussively,” says Robbie. “I need that feeling. I have to groove more. Gavin has his ideas in his head and he executes through the laptop, using the tools he has there.“ Wholly virtual, Gavin uses Ableton Live 8 with third-party synthesizers and processors. He takes full advantage of Togu Audio Line’s free VSTs and Audio Damage VSTs, plus Sonalksis Creative Elements, iZotope Nectar and Stutter Edit, FabFilter Saturn, SoundToys, and RME Babyface Digital Analog converter.

“Working in the same room doesn’t always bring the best work for us,” says Gavin.

“Usually, you have collaborations between people who have different skill sets. Two producers can’t do the same thing.We were in the same room to make some choices and decisions and try out different stuff, but we’re not plugging in and recording in the same room. The fact that Robbie and I can even work together is an amazing thing.”

A new practice for the 1991 album, and one that was done separately, is Robbie singing the majority of the vocal tracks. After singing dry into a Studio Projects C1 microphone, he then picks the best two out of a number of takes. At this point, Gavin chops them up, putting them through various processors and edits, playing around with the sounds until they turn out weird enough to satisfy both of them.

The chore of mixing 1991 was taken to Luke Argilla of the drum–n-bass duo Bachelors Of Science. “Robbie is such a bass-conscious musician, he was really adamant about getting some high-end sound,” says Gavin. “We had to find someone who could work with the lower tones, the bass and the kick. Usually, there’s about four different basslines, so we had to find someone who could work with that part of the sonic spectrum.

“I’m not the biggest drum-n-bass fan, but I like the way they zone in on a frequency and focus on the most microscopic detail. I just don’t have those skills in that range. There were times when we went back in and back in and back in, just to dial in some things that I would have let go weeks before.”

Can’t complain about the results.

– Lily Moayeri

IT’S GONNA REMIND YOU OF ANOTHER TURNTABLE… IT’S OK, WE DON’T MIND.

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DJ TIMES

MAY 2014

London, England – Nine flatscreens, hanging from the Ministry of Sound’s high ceiling, are staggered in banks of three across the dancefloor, away from the DJ booth. The striking HD footage pierces the smoke and lasers, accentuating the sharp melodic synths that are a fundamental part of Markus Schulz’s signature sound.

The screens are showing video footage of the crowd itself, giving a dizzying hall-of-mirrors sensation as we wander across the vast expanse of the MoS main room.

There’s a build-up, then an enormous cheer as Schultz drops the main vocal sample from Depeche Mode’s 2001 hit, “I Feel Loved,” and it encircles the space.

The vocal fits, just as if it were heard at London’s Coldharbour Lane exactly in ’01, a time when Schulz finally felt he was making headway in his career. The flatscreens showing the fans tell their own story: With almost two decades of experience playing to dancefloors, Schulz insists one of the biggest changes from the ’90s rave scene to today is that, in the past, the crowd was the main event, not the DJ. Schulz’s early career, especially the time he spent in Arizona, saw him carve the craft of what he refers to as “going down the rabbit hole,” playing up to seven-hour sets, designed to get people looking away from the DJ booth and at each other, at the lights and at the carnival of freakdom—all hypnotized by the moment.

In an amusing twist of fate, however, the American mainstream EDM explosion has seen Schulz become a center of attention, a multi-award-winning spokesman of sorts for the wider electronic music community.

(Among taking other honors, he was voted America’s Best DJ in 2012.) With a record label, artist-management arm and one of the most internationally syndicated and successful radio shows of the decade—the Global DJ Broadcast—to add to his full-time schedule of touring and producing, it’s not difficult to see why. We’re just not sure how he finds the time.

DJ Times recently caught up with the Miami-based Markus Schulz, one of America’s top jocks and one of the globe’s top trance talents. It went like this: DJ Times: Let’s talk about your earlier career. You moved to the States from Germany aged 13.You first release was in ’93. How did that production process start?

Schulz: People always want to talk about my earlier career! Well, I was working in a studio in Arizona at the time, trying to get my foot in the door. I was an assistant, taking out the trash and so on, but I got to be a fly on the wall in some sessions. The studio was available at night time, so in the evenings I would be able to go in there and mess around. I started playing some of my stuff out. During that time, it was trying to find myself, trying to find my footing. But I was always chasing. I’d think, “This guy’s doing this, so now I gotta try and copy that.”

DJ Times: You were also remixing from the early ’90s...

Schulz: I did some major-label remix work—I remixed Madonna, the Backstreet Boys, stuff like that.

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DJ TIMES

MAY 2014

MAY 2014

DJ TIMES 14

For me, it was just trying to find myself. This was Arizona. Trying to be part of a bigger picture was very difficult. I wanted to succeed out of Arizona.

It was very difficult because there was just lack of inspiration for electronic music. I couldn’t hear the heartbeat of what was happening in ’90s EDM at the time.

DJ Times: Then you landed a club residency in Arizona, which went on for seven years.

Schulz: It was amazing! The club was called The Works. There were two owners. One of them was very active in the gay community, and right at that time the rave scene started coming up. The club’s strategy was beautiful: “We wanna bring the gay community and rave community in. They’re both going to look at each other like freak shows, and everyone’s going to be entertained!” It was like lightning in a bottle. It was the most amazing vibe. I was playing in the gay clubs at the time—because it was the only place you could play dance music—so I got to play there for the opening day and was still playing every Friday and Saturday night, open and close, seven years later. That was really where I got to experiment, make mistakes, learn from them, and learn to musically guide a night for that long a set.

DJ Times: When did you feel, as an artist, it was coming together?

Schulz: My career really changed at the beginning of the Millennium when I moved to London.

I look at that as the beginning of my career, and everything before London as learning. I had my studio on Coldharbour Lane, Brixton. In the same studio complex, there were drum-n-bass producers, there were European techno and trance names like Mike Koglin and Pablo Gargano and deephouse producers. During busy days, you’d hear five or six rooms going off at once. You’d have Mike or Pablo’s sweet melodies swirling around, then you’d hear these drum-n-bass basslines coming through the walls. All that went to my head and I started producing drum-n-bass style basslines into my own tracks. That’s when the Markus Schulz sound began picking up. I had releases on Global Underground, Bedrock, and I really found out who I was an artist.

DJ Times: Was there one particular breakout moment where you found your sound?

Schulz: The turning point was the move to London. Everything else has been a slow climb.

I’ve never been one of those guys that just had a hit record and then exploded onto the scene. This has been a career based on learning things, doing things different, zigging when everyone else was zagging and just doing it for the art. I do, however, remember one specific period in London where I said to myself, “You know what? I just gotta start making music I can play in my sets. If I can’t play them in my sets, then they’re useless to me.” With that new mantra, things started kicking. It started working, because if I could play it in my sets, then other people could play it in theirs.

DJ Times: How did the relationship with Armada start? How did that lead to you founding Coldharbour Recordings?

Schulz: I’ve known Armin van Buuren since I’d gone to Amsterdam Dance Event in ’99. I had a vinyl with me and this little blonde kid was in the DJ booth in Escape, I think, opening for Tiësto. I handed him up my vinyl. When I got back home, I’d received a fax—how old-school!—with a licensing request for Armin to use my track in his first-ever Boundaries of Imagination compilation. We kept in touch since then. Around 2004, I moved from London to Miami, started a residency at Miami

Space and also connected with a local radio station, starting the Global DJ Broadcast. The guys at Armada Records were just starting the imprint and I was one of the first signings. At that point, I’d been doing a number of remixes that I’d termed the “Markus Schulz Coldharbour Remix,” so we decided to create an imprint called Coldharbour.

We started off with a compilation, then we had releases called Coldharbour Selections and eventually it morphed into a full-on label.

DJ Times: How do you feel today being both a member of the ’90s “old guard,” yet something of a media spokesperson for the current EDM scene?

Schulz: It’s fine. I’ve been doing this for so long.

I’ve seen so many things, so I’ve gained some confidence. I remember when I felt really intimidated walking into studios, or being around other DJs. I just never felt I was up to par. Once you start gaining confidence, you become more able to speak your mind. You realize, “I’m just talking what I feel, what I’ve seen, not just marketing taglines.” I never said, “Hey, I need to become a spokesperson.” I guess I just became more outspoken from experience.

DJ Times: In terms of just raw energy and enthusiasm, are today’s EDM dancefloors different from those of the ’90s rave scene?

Schulz: Oh, absolutely. Back in the day, when I was doing that residency at The Works, the crowd entertained themselves. You had this beautiful mixture of the rave and the gay community all together.

Everybody just wanted to take that moment. There was a lot of Type-A personalities that were running around the clubs. People came for the freak show.

The DJ booth, at the time, was up in the corner of the room somewhere, and people didn’t pay attention. Nowadays everybody faces the DJ. The DJ and the production is the entertainment. The focus has to come away from the crowd. That’s why I love doing extended sets and I always talk about the rabbit hole. The intention is to make people stop facing the DJ booth, and start facing the party.

That way whole party starts cracking together and moving together at once. It’s beautiful when it happens—and it’s still able to happen—but, it has to be a special night, a special club, a special DJ. I’m not saying it never happens, it’s just… for the most part, now most people just face the DJ and that’s the entertainment.

DJ Times: People criticize mainstream EDM. However, you’ve always been philosophical on the matter.

Schulz: I’ve always felt that it’s a gateway layer.

Once people get in, their tastes become refined and they look in the layers below. Sometimes they age out, or tap out, after tasting the initial layer, but I think for the most part that’s why it’s important to have those layers of EDM. It can’t be one layer—it’s never been one layer. You’ve got the entry—the gateway DJs that everyone knows, that you hear on the radio—then when you get to the next level, there’s gotta be something interesting there. I tell that to aspiring producers. You’ve got to be different. You can’t just do the same thing; otherwise, you’ll remain in the gateway layer and that place is always saturated. How many people in the gateway are gonna be here in 10 years’ time?

One of my own DJs under management, KhoMha, said something which resonated with me: “I don’t wanna be No. 1—I wanna be a legend.” The gateway DJs are the ones that become No. 1 DJs, the next layer are the ones that become legends. That’s what it’s all about.

DJ Times: How did the Global DJ Broadcast come about?

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Schulz: It started on Miami’s Party 93.1 FM. It was WMC 2002 and the program director knew of my previous work from Arizona. He said, “I’ve got three days to fill—what would you like to do?” I already had an idea for a show and the name for it. So I ended up bringing in guest DJs every night from 9 or 10 p.m. until 6 a.m. It went from a WMC special to an internationally syndicated, weekly radio show.

DJ Times: You were quite ahead of the curve with the concept of recording live sets from international festivals.

Schulz: Well, at the time it was a necessity. I was looking at my schedule and I was like, “I don’t have time to record a show this evening.” So I just decided to bring a CD recorder to my show and plug it into the mixer. Then I thought, “Well, if we’re going to do this, why don’t we record the crowd?” So we got crowd noise in, and that ended up becoming a part of the show.

DJ Times: In episodes where you are in the studio, your radio show seems to have longer mixes and track changes than live sets. How are your radio sets programmed differently from your live sets?

Schulz: On my show, I never feel like I’m playing to millions and millions of people internationally; I just feel like I’m playing to one other person. It’s you and me, hanging out, and I’m playing you some music. It makes it a different

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experience, there’s a sense of “listen to this track for a while,” not “listen to this track, now this one, now this one.” At festivals, you have to take a track and cut it down. But you know what? If you think about it, that’s really the way it should be. Because when you’re at a festival, it’s about the experience of being with thousands of other people as much as hearing each track.

DJ Times: Tell us a bit more about life at Coldharbour Recordings.

Schulz: That’s my baby! I’ve always been very proud of it. I’ve always wanted to discover new talent. I’ve never gone to the top producer and gone, “Hey, let me sign your track.” I’ve always tried to find the new guys, the up-and-coming ones. That’s what gives me the most pleasure in this industry—being the guy that hunts down the new talent. And I think it’s seen as a platform for new talent to be heard, which makes me proud. I think we’re up to release number 175 now. We’ve had some amazing hits from the label and whenever I look at the end-of-year charts and when the Best Trance Track or Best Progressive Track of the year has come from Coldharbour Recordings, then that makes me so happy!

DJ Times: You also run Schulz Music Group, an artist management outfit.

Schulz: One of the things that happens with labels is a lot of producers started putting out tracks on different labels, one track on Coldharbour, then another elsewhere and that’s great, but it’s not gonna help you grow.

You’re just kind of jumping around. We put together SMG in a way that an artist can still put tracks on other labels, but we can help guide their careers a little better. If you have more of a vested interest in someone’s career, then you can really put your head out there. You can really fight for them. But if all you have is a contract for one song, there’s really no incentive other than occasionally, “This is my friend—we should help him out.”

DJ Times: But your approach is different.

Schulz: So we started SMG as a way we could help guys that weren’t getting exposure, that should be bigger, and help get a voice for them. It’s going well. When I look at an artist like KhoMha, he’s blown up so well. He’s got a bright future. He’s just got such energy. There’s a lot of things we’ve done to help him and I’m very delighted with the way that’s all running as well.

DJ Times: How do you balance your time between all these elements?

Schulz: It’s funny. I was thinking about this. I took a couple of weeks off at the beginning of the year just to try and recharge my brain. I look at all the things that I do, and it just feels like my everyday stuff. I’ve got a great team of guys in the office in Miami. They take the initiative and they’re self-motivated.

I think it takes having a great team around me in order for me to start these projects or have visions I can turn into reality. Like the artist-management company, it was just an idea, then suddenly it’s like… boom! We’re rolling with it. When you’re in it, it’s just day-to-day.

DJ Times: You remain as active as ever with production. How do you carve out time for that?

Schulz: I work a lot now on my laptop, on planes and in hotels. In fact, Scream 2 was mostly done on my laptop either in hotels or on buses, and planes. For me, personally, I think this new album is so cool, because, with each track, I remember where I was. Each track has a story—it wasn’t just me in the studio. I don’t think that’s evident in the music, but it makes for interesting stories. I think the fans appreciate that kind of thing! (continued on page 42)

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MAY 2014

DJ TIMES 20

In the world of techno, Spanish DJ/producer Uner has become a notable force in recent years.

He broke out in 2009 (collaboratoring with Coyu) on “Raw Sweat,” a tight, groovy EP for Diynamic. Two years later, Uner scored another underground hit for the label with the deep, chugging “Bassboot” EP. With other impressive releases on Cadenza, Get Physical, Visionquest and 2020Vision, Uner earned the support of top global jocks like Luciano, Carl Cox and Laurent Garnier. And now he’s back with his most impressive effort to date, TUNE432 (Diynamic), his full-length debut.

In a genre that incorporates machine samples and industrial-themed soundscapes, Uner’s approach to techno stands at the other end of the sonic spectrum. The haunting melodies, unique drums and harmonic magic that flow through his tracks are all the result of acoustic instruments that have been put through Uner’s scientific production workout. Get an earful of TUNE432 and you’ll hear how.

We recently caught up with Uner (aka Manuel García Guerra) before his show at Pacha London to discuss his approach to techno, his epic studio set-ups and making tracks on the move.

DJ Times: How did you start out?

Uner: I started out playing the piano when I was four-years old. Then, when I was 12, I began to listen to electronic music—I was drawn to producers making stuff with trumpets, strings, pianos. I loved the idea of playing electronic music with classical instruments. I began to really study jazz, amongst other things. My parents were musically minded, so they got a loan and bought me my first synthesizer.

DJ Times: How did the DJ transition happen?

Uner: I got further into electronic music when I began listening to Laurent Garnier. That was when I decided I wanted DJing to become part of my musical offering as well. At 15, I decided I wanted to go on tour, so my father and I began travelling around Spain in his van, going to gigs. People weren’t sure what to make of a 15-yearold kid with all these drum machines and synthesizers on the early warm-up at clubs, less so because I needed a note from my parents to be allowed in! My first big DJ set was at Florida 135 [in Barcelona]. That was a departure from my normal sound, as the crowd at the time were into harder stuff. So I played Goa trance, hard techno, real psychedelic stuff.

Eventually, the two met in the middle. By the time I was playing outside of Spain, I was DJing out my own stuff, and music that matched it, too. I’d dropped the live act at that point—travelling with all that kit was just too difficult.

DJ Times: It’s interesting that techno or tech-house is famously machine driven— samples, loops, and so on—yet you’ve got a real acoustic feel to a lot of your work.

What’s brought that about?

Uner: For me, it’s not about genre norms. I just love playing acoustic instruments.

My primary intention is to make electronic music sound organic, sound human. So to do that you have to do stuff by hand, using acoustic basslines, acoustic instruments, percussion. Making this album has helped me experiment on this further, because you stop thinking about how clubbers will receive this music and just focus in on your ideas further—hence, why the whole album is essentially an electronic soundtrack made with acoustic instruments.

DJ Times: You’re seen as a kind of ambassador for Spanish electronic music, and you often talk of being inspired by your love of The Med. Would you play different music had you been brought up elsewhere?

Uner: Absolutely.Your surroundings will affect your creative ideas. I did the album travelling around the world. I was making tracks in Spain, New York, Berlin, London, in France.You can feel something different in each track. Everything around you—the accents, the food, the climate—shifts the way you think, and that has a subliminal effect when you sit down to start writing music.

DJ Times: Since 2011, you’ve been experimenting with the concept of a live show again. How would that work? What’s the inspiration behind that?

Uner: I’ve always wanted to do a live show, and it’s been on and off because I am still experimenting. The problem is, I want to do something massive, something really all-encompassing and different. But to do that you need a big budget, you need a team of travelling technicians, and flying all that kit—stage pieces, instruments, whatever— on planes is a nightmare for freight costs. I’m currently doing eight to 10 live shows a year when the situation allows for it, but one day I’d like to realize this much bigger concept. I’m consoled to the fact that my current live show is different in scale to my planned one, but in two or three years I’m going to give it a real shot.

DJ Times: Do you think the live act is the future for other producers?

Uner: I think so. When I played my live shows at 15, people had no idea what I was doing. They weren’t sure how to take it. Now I pitch up to a club with all this kit, and the crowd get it—they like it. What with instruments and laptops being increasingly easy to plug and play, I think in five years or so, it’ll be approaching the norm. Performers miss the spontaneity of a live show. Mixing tracks is great, but to be playing chords, to have that adrenaline, that nervousness that you’re going to get some complicated sequence wrong, while playing to a packed room, it’s just a massive, massive thrill. It’s addictive. Even if part of that thrill currently involves occasionally

having to re-boot your laptop!

DJ Times: At Pacha, we saw play on Traktor with an iPad. What’s your usual set-up?

Uner: At the moment, I play on Traktor and Ableton on the same laptop. I play the components of my own tracks on Ableton, and I play the rest on Traktor. One thing I’ve learned about live shows is that you need to have a good few hours of absolutely solid hits.

If you’re an emerging artist playing all your own stuff—let’s be honest, not all of it will be brilliant—and that’s going to compromise your set. So a good middle ground is playing your five or six bangers live, and the rest of your set like a normal DJ, using other artists work and your own remixes through Traktor.

DJ Times: So what’s in this acoustic-todigital studio of yours?

Uner: Oh man! [Laughs] Everything? I have shakers, congas, four different synths, one of which is an ancient monophonic that I love. I have an acoustic guitar, an electric lead and a bass guitar. I have some “freaky stuff ” that I’m not even sure counts as instruments, just stuff that makes noises. Then I have two Apple towers, one PC and two laptops to do the conversion part. I have a rule that I try to bring one new instrument, and phase out an older instrument, from my studio each year.

Oh, and finally, other producers always ask me about my claps in my tracks. I literally clap… my hands. That’s always how it is.

DJ Times: Tell us about your 2013 European tour.

Uner: The last 18 months have been absolutely crazy. I’ve travelled every single week, two to three gigs a week. I was doing 18 gigs a month from last May to October. Sometimes I was like a child again. My tour manager would find me in bed saying, “No mum, I don’t wanna go to school today!” and he’d be like “Dude, we’re in Chicago.....” But let’s be honest—DJs are all children. We love to complain. The whole experience in reality was just super-nice. You’re travelling, every night you’re meeting new people, you’re feeling new energies from new places, you’re getting a range of emotions.

DJ Times: Now you’ve released your debut album. How did it all come together?

Uner: My goal was simple: I wanted to make 90-percent of the album outside my studio. As said, I’m a firm believer of the idea that being in different places leads to you making different music. Ever since I was a child, I’d been making so much of my music in my native Spain, in my hometown, in my studio, so to push myself, I had to get away. It was an enormous challenge, the toughest thing I’ve done, but I did it! I made tracks on the plane, on trains, in airports, in hotel rooms, in cities all over the world, backstage shortly before gigs. I fed on the different rhythms and energies around me.

DJ Times: It’s got a lot of different styles, for sure. Some of it almost feels nu-disco-like, a departure from what you’re known for.

Uner: It was just a sense of, let’s make music, and see what happens. I had 22 tracks, which I whittled down to 13. Each track is connected harmonically to every other track—a DJ can mix these in any order and they’ll sit perfectly. The whole thing feels like a diary of my life in the last year. I’m so happy with it. n

21

DJ TIMES

MAY 2014

I’m pretty sure most of us have seen the television commercial: A financial advisor is meeting with a young couple, and after throwing out some fancy terminology about retirement, a 401(k) and the importance of asset allocation, the wife says he certainly sounds knowledgeable and professional.

That’s when the man posing as a financial consultant reveals that in reality he’s merely a DJ. “If they’re not a CFP pro, you just don’t know,” concludes the ad. “Find a Certified Financial Planner professional who’s thoroughly vetted.”

As a Certified Financial Planner myself, oftentimes I’ll chuckle to myself when meeting during the week with prospects and clients who would probably never imagine how I sometimes spend my weekends—occasionally, I continue to entertain as a mobile DJ for private parties, corporate events or wedding receptions.

We recently asked professional DJ/entertainers about how far our industry has come since the years of scratchy records and strobe lights all the way to today’s uplighting, photo booths, lighted flooring, LEDs and computer-based DJing.

Have the DJs of today truly traveled light years toward becoming true entertainment professionals? How have DJs raised the bar on professionalism, and thereby not only raising their reputations, but also their incomes?

Maria Shafer, a celebration expert with Orlando Weddings Magazine in the Sunshine State, says that—for DJs—the age of the cookie-cutter wedding has essentially ended.

“Sure, some of the songs are the same, but the organization of the event changed, and the couples nowadays offer more input,” she says. “A DJ has to keep up with trends, be more flexible and work social media to its potential.

“And the phrase ‘I don’t own that song’ is rarely heard anymore, because even during the event itself a DJ has the ability to download the song they

DJ TIMES

MAY 2014

need within seconds. Quality gear is more and more affordable, and smaller and less obvious, so the general look of the event has changed as well. There’s no more need for the huge, obnoxious DJ set-up in the background of every picture taken.”

Artem Lomaz of New Jersey’s Ninety Three Entertainment says he personally didn’t find the aforementioned commercial to be offensive.

“I actually don’t even really see it as pertaining to our industry, but to be done just in fun,” says Lomaz. “It just seems overall like you could substitute any profession—aside from financial planner— and it would still get their message across.”

According to Lomaz, the mobile-DJ business has evolved from a technological standpoint over the past couple decades while continuing the professionalism he’s observed since beginning this career.

“When it comes to professionalism, I believe it’s like any other industry,” he says. “Professionalism is tied to customer service and customer service breeds sustainability, and I believe the industry has continued to grow through professionalism and an attentiveness to our consumers.”

Lomaz says that one of the biggest advancements he’s seen over the decades has been in co-vendor relationships. “Our industry has begun realizing the benefits of working as a team with other vendors, such as caterers, photographers, lighting specialists, etc., in order to ensure that every event is handled with the care it deserves.

22

“If you think about it,” he continues, “the DJ profession is very young—it’s only been about 40 years or so that people have hired DJs for their event entertainment. I feel that we certainly have the blueprint for it, and our industry is full of creative people who constantly strive for better performance, as well as better client care.

The combination of performance enhancements—like lighting and photo-booths—the various ways to communicate with clients— phone, email, social, etc.—and the constant care of our clients is what provides growth for our industry and cultivates a professional, and comfortable, environment for those looking to invest in quality event entertainment.”

Shafer says that a joke about DJs is naturally easy to make, based on the history of our industry. “In movies and television, the DJ is not usually the cool, hip, super-intelligent guy,” she explains. “Unless it’s a club DJ in the background of a super-fancy L.A. party scene— and even those are typically moody and silent—DJs are most often portrayed as comical, over-the-top, finger-gun-pointing types.

“And we’ve all met those guys in real life, so they really do exist.

In fact, I met one guy at a convention recently who bragged about his pair of faux backless pants that he loved to reveal during the song ‘Baby Got Back,’ and he thought it was hilarious—although I doubt he’s working any events at The Waldorf.

“Those types are the louder, more obvious DJs, and are therefore likely to be most associated with the profession in general.”

Shafer quotes Dr. Allan Grant from the movie Jurassic Park: “The world has just changed so radically, and we’re all running to catch up.”

She continues, “In the 1990s—the Jurassic Era, as younger DJs would consider it—it was a simpler time. You had gear, music and a tuxedo. Couples booked their facility, their photographer, their

DJ, their floral—working through the checklists in the magazines and planners they bought in bookstores.

Sure, the gear was huge and heavy, and some songs were impossible to buy in time for your gig, but the process as a whole was more cutand-dry.

“Then reality TV and the Internet changed everything. Brides and grooms became more educated when it came to what they wanted their wedding to look like, and colors and themes were more specific—both in decoration and musically. All fields within the wedding industry had to move forward along with the technology.

“Clients today expect a higher level of professionalism, no matter what the cost, in all budget ranges.

Words like ‘intimate’ replaced ‘small weddings,’ and ‘vintage’ overwrote ‘classic.’ They see it on TV and they want to make it theirs.”

One Florida DJ in particular— Charles Amstone of Solid Gold Entertainment in Tampa Bay—admits that he sometimes needs to vent about mobile jocks in his area who seem to still be living in the 1980s.

“I’m able to watch many DJs at events where I have my photo booths at, and my observation is that most DJs are a C-grade when it comes to programming and mixing,” Amstone says. “They stick to the same old format from one event to the other, and play the same dinner/ cocktail music as the last DJ. And I’ve only seen a few who get it when it comes to creative programming and the ability to beat-mix.”

What concerns Amstone the most is the lack of a quality MC in many modern-day DJs. “This past Saturday night I got to witness a really incredible DJ who was on his game and I’d grade him an ‘A’ on music and mixing,” he recalls.

“But when it came to being an MC, I cringed. In fact, I’d grade him a ‘D.’ I could tell from the way he introduced the family and other moments throughout the night that he really didn’t do much, if any, homework. In

fact, he screwed up the intros of the parents twice.

“And sadly, the above situation is nothing new,” he says. “I typically don’t see any personalization or any creativity. I don’t see any real connection between the DJ and who he’s introducing. It’s as if he just got wind of who the names were.

“The truth is, these people have real names. Furthermore, I don’t see anything different in ways of engaging the crowd other than the typical line-dances or doing interactives, calling tables, ending shows, etc.

“I would guess this is why many DJs are struggling with prices—it has a lot to do with being a really good MC.” So how do we improve?

“I’d start with researching being a true Master of Ceremonies,” Amstone says. “Record yourself talking at events. Share your videos with the top pros and get critiqued. Join a Toastmaster group. Take an improv class. Attend MC training.

“One of the most important roles we have at weddings is the role of Master of Ceremonies, and from what I’m seeing all too often—we’re not masters.”

Up in Philadelphia, Steve Croce of Silver Sound Disc Jockeys says it’s easy for salespeople to manipulate people, whether it’s a financial planner or a mobile entertainer.

“I spend a lot of time and energy taking the power away from our salespeople,” he says, “and in fact our sales approach empowers the client to select their DJ. I force our DJs to do a better job with the actual craft. I force them to offer a better customer experience. I force them to communicate to me ways to alleviate painful experiences they have with their existing clients. I’m continuously sharpening our company’s ‘hunting knife,’ as it were.

“The DJs who don’t do a good job pleasing their current clients are not going to get the word-of-mouth referrals and five-star reviews. And without those sales tools, they’re not likely to be selected by potential clients.”

Over the years, Croce says that Silver Sound has worked hard to streamline and automate many of the processes that in previous decades used to devour so much of a DJ’s time and energy.

“Through integrating web-based technology with personal experience and years of knowledge of planning and executing a flawless event, we’ve grown leaps and bounds across the areas of heavy lifting, allowing us to concentrate more of our attention on putting our best foot forward in terms of presentation and aesthetics, all while maintaining a painless customer experience.

“Our evolving ability to walk a client through consultations improves their opportunity to select their favorite music, build a comprehensive document of details regarding their event, and to work in a concerted effort with their selected DJ to develop a timeline and agenda for the party.”

Improved communication, says Croce, has been what’s helped his company develop the most valuable asset when it comes to professional relationships with their clients.

“We’ve electronically linked our clients’ photographers, videographers, banquet directors, officiants and everyone else involved with their event into our documents, presenting them with digital copies of the information forms before the event even arrives,” he explains. “This encourages feedback, discussion and editing on the professional end, further improving the customer’s experience and helping improve pre-existing and brand new relationships with industry professionals we whom we actually work.”

Another thing that has changed over the years, according to Shafer, is that the idea of a “specialist” in any industry has been blurred.

“Some DJs have added photo and video, photo booths, dancefloors, lighting and rentals to their basic packages, using these items as extra income or upsells,” she says. “It seems that these days it’s almost expected that a DJ will carry decor lighting [uplighting]. It’s almost necessary to own these items just to compete with other DJs.”

“For example, a great DJ would not play the request of ‘Grenade’ by Bruno Mars at a wedding, because it’s just not the right lyrical song to play at a wedding. I explain that the preparation and details are very important from the start of the event to the very end. I communicate that if they can get an individual who can manage the event to keep it upbeat and positive with few people sitting at their tables checking their cell phones, then their money will be well spent. In conclusion, I’m educating clients and not promoting to them.”

Williams even goes so far as to say that, in order for mobile DJs to reach the same level of professionalism as a certified financial planner, the industry would probably do well to require some sort of licensing.

“One of these days,” he says, “I may just start ‘The Legit DJ Club.’ The prerequisites would be based on (1) beat-mixing skill, (2) MC skills, (3) entertainment skills, (4) grooming/attire, (5) team attitude capabilities, (6) music genre knowledge, (7) licenses and (8) formal education. If the DJ had to go through a reputable program, then that would help society to see the DJ as a true entertainment professional that should get reasonable compensation.”

The DJ industry as a whole must start educating brides and event planners that they’re paying for the expertise and personality of the entertainer to get people to dance and have fun, which is not so easy to do nowadays. Most people are so distracted being on their smart phones that, if you asked them who the DJ was at the last event they attended, they’d probably not be able to say.”

So maybe because we in the financial industry have certified financial planners, maybe someday the DJ industry will have members known as Certified Entertainer Coordinators? n

DJ TIMES

day’s DJs can be undermining their professionalism when they attempt to become involved in too many activities at their events.

“As for photo booths, they’re great for guests’ memories, but I would rather have my photographer run a photo-booth, which gets to my pet peeve with many of the mobile DJs across the country,” he says. “Why are so many of us bundling music, LED lights and photo-booths for peanuts?

For the majority of DJs in North America, it seems they’re giving away their services for very small fees.

I don’t think when DJ companies set low rates for great amenities that this helps the industry.”

On a daily basis, Williams says he seeks to lead by example with the use of his website and face-toface interactions. “I try to educate event planners and brides that they must look for value and not just things they can get for free,” he says. “The value is finding a DJ who can play great music at the right time that taps into people’s emotions.

MAY 2014

Up in New York City, DJ Carl Williams of DJCarl.com Entertainment says that there’s an important distinction to be made between DJs and DJ entertainers.

“I personally think that if you show guests line-dancing then you should be considered an entertainer or dancer, but not a DJ,” he says. “There’s a perception that your mobile DJ will show you how to do a line-dance and that they therefore all play the ‘Chicken Dance’ at their events, and that’s bad.”

Of course, Williams is quick to admit that the tools available to DJs have still advanced light years from the days when he started to learn how to DJ at Penn State a long, long time ago.

“Back then, I was mixing music like a radio DJ with cassette tapes—fade in/fade out,” he says. “I couldn’t beat-mix like I can today, so the technology today has allowed one to definitely match music to be pinpoint accurate.

“I also think LED lighting is another great tool to help give a room dimension, texture and ambiance for today’s mobile DJ.” But when it comes to upsells beyond actually playing music and creating a mood during musical entertainment, Williams is quick to add that to-

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MAKING TRACKS STUDIO…HARDWARE…SOFTWARE…

V Collection 3.0 features 10 software instruments.

Minimoog: Get classic bass sounds & more.

ANALOG RIG: ARTURIA V COLLECTION 3.0

By Josh Harris

DJ TIMES

MAY 2014

Since 1999, Grenoble, Francebased manufacturer Arturia has been carving out a special niche for itself in the studio market by creating software emulations of vintage analog synths.

Indeed, I’ve always enjoyed using Arturia’s meticulously created virtual versions of classic keyboards in my tracks. And it must be said that I’m a happy owner of Arturia’s JP-8v2 (a virtual synth based on Roland’s Jupiter 8) and Analog Factory (a virtual instrument with 3,500 classic synth sounds, a favorite of the legendary French DJ/producer Laurent Garnier).

In the last few months, I have been using Arturia’s V Collection 3.0, and found it very impressive. The V Collection 3.0 features a slew of Arturia’s flagship synths, including Mini

24

“The fact that I can have tens of thousands of dollars of legendary synths in my laptop for $199 is phenomenal.”

V, Modular V, Prophet V, Prophet VS, Jupiter-8V, Oberheim SEM V, CS-80 V and ARP 2600-V. The collection also includes Spark Vintage, a virtual drum machine, and its sound library contains 30 classic drums machines, such as the LinnDrum and the Roland TR-808. To help streamline the wealth of synths sounds, Analog Laboratory is also included in this collection and it offers 4,300 presets, which are pulled from the eight synths. Last, and certainly not least, is the Wurlitzer V, a wonderful emulation of the famous Wurlitzer EP 200A electric piano.

Installation: This occurs by one of two means: installing the license on a Syncrosoft key or by installing the license on the computer that has V Collection installed on it.

Mac and PC versions are available, and you have the option of purchasing V Collection as a download-only version, or you can order a boxed version. The download-only version costs $199, while the boxed version goes for $399.

Platform Specifications: For Windows, Windows Seven 32- and 64-bit and above; For Mac OSX, Mac OSX 10.6 or higher, Intel only; Works in Standalone, VST 2.4 and VST 3 (supported by Oberheim SEM V and Wurlitzer V only), 32- and 64-bit,

RTAS and AU 32- and 64-bit formats.

Required Configuration: For PC/Windows, 2 GB RAM, 2 GHz CPU (Multiple Cores recommended); For Mac (Intel only), 2 GB RAM, 2 GHz CPU (Multiple Cores recommended) Getting Started: I wanted to spend a few weeks with this collection before beginning to write a review on it. So, it was important to me to use these sounds in real production situations, not just on demos or scratch tracks.

First off, I have always wanted a Minimoog. Over time, I’ve played the real thing and love this classic piece for its bass sounds. So, right away, I began laying down basslines in several tracks, and it just brought them to life.

Then, I began scrolling through the Modular V and the ARP 2600-V’s presets, just to get a feel for their sounds. As I have also played the real versions of these synths, I was equally as impressed.

While continuing to work on various tracks over the several weeks, I was able to listen through the majority of the presets for all of the synths.

All in all, I have to say, it was pretty amazing to have these sounds in my laptop. I did spend some time with Spark Vintage, and enjoyed having that type of access to the well-sam-

pled, classic drum machines sounds.

Purist Alert: Synthesizer purists out there—and there are plenty— will argue that these emulations lack some of the behavior of their hardware counterparts. While that very idea’s not for me to argue or defend within this review, the fact that I can have tens of thousands of dollars of legendary synths in my laptop for $199 is phenomenal. Case closed!

And, let’s not forget that the parameters of these virtual synths are automatable. Users will find that certain synths are more CPU-intensive than others, and a great work-around is to convert your tracks to audio, freeing up CPU power. I do this all the time. However ; make sure to save your MIDI in the event that you have to go back, make a change, and re-bounce it.

The Verdict: Arturia’s V Collection 3.0 is a must-have for any producers or remixers out there craving that classic, analog-synth sound.

These synths have their own personalities that will certainly add life to your tracks. Big thumbs up here. (For the latest hardware and software products from Arturia, please check www.arturia.com).

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

SOUNDING OFF PLAYBACK…PRO AUDIO…PROCESSING

NEW XONE: ALLEN & HEATH MIXER

DJ TIMES

MAY 2014

By Wesley Bryant-King

26

The last time I reviewed an Allen & Heath product for these pages (back in 2010), the company was owned

by D&M Holdings (now D+M Group), owner of brands like Denon and Marantz. This past summer, however, the company was sold to a U.K.-based private equity firm, returning the Cornwall, England-based company to British ownership. So far, it appears the ownership change has neither altered the character of the company, nor its commitment (through its Xone line) to the DJ marketplace.

In fact, so far this year, Allen & Heath has released a pair of sister mixer products, the Xone:23, and the Xone:23C. Both are 2-channel mixers, with the latter including an integral computer audio interface. The subject of this review, however, is the regular Xone:23 model.

First Impressions: The Xone:23 offers very much what one might expect of a typical 2-channel DJ mixer—and a couple of surprising extras.

Allen & Heath refers to it appropriately as a “2+2” mixer; in the strictest sense, there are four inputs, with four corresponding gain controls. However, channels 1 and 3 are phono inputs, while 2 and 4 are line-level inputs—all RCA. And there are still just two channel faders, so the workflow remains strictly 2-channel for practical applications.

While we’re talking about RCA jacks, one of the “extras” the Xone:23 offers is an FX send/receive loop, allowing the addition of off-board external effects hardware. Master outs are provided via XLR connections, while both monitor and record outs are RCA. In front, there are dual headphone jacks (both ¼- and 1/8-inch), and up top is an XLR microphone input. There are dedicated gain, treble and bass knobs for the mic—a nice touch for mobile jocks and others who do their fair share of MCing during their gigs.

Another noteworthy surprise, although unrelated to the unit’s function, is that it’s manufactured in the U.K. Given the roughly $300 street price, that’s a major surprise. On many of its recent models, Allen & Heath has used Asian contract manufacturers to assemble some of them, keeping keep costs down.

Seeing “Made in U.K.” on the back panel was unexpected.

Apparently, the price point didn’t translate to corner-cutting on the construction quality. The all-metal housing feels robust, despite the unit’s light weight—probably due in part to the fact that the power supply is off-board; while it is a brick, it’s not a “wall wart,” and instead comes with a proper, standard detachable power cord. Well, there are two, in fact; one with the North American standard plug, and one with the U.K. standard plug.

Up top, I love the “typical-of-Allen-&-Heath” quality and just-right resistance to movement of the channel faders. The crossfader is an exception; it moves with the slightest touch, which probably suits the many DJs who use them. The knobs have a great feel as well, with just the right resistance to movement. Clearly the company has this sort of thing down after so many years of successful mixer manufacturing.

Finally, for monitoring levels, the unit has a 9-segment stereo level meter

Xone:23: Affordable with A&H quality.

using bar LEDs, spanning -20db to +10db. LEDs are also used to backlight key buttons, including external on, HPF, LPF, and the dual cue and filter buttons.

Set-Up & Use: Set-up is straightforward using the aforementioned jacks.

While some additional flexibility in terms of jack types might have been nice, in truth, what’s offered are what one might use most frequently, plus there’s precious little space on the back panel to support anything beyond what’s there.

In any case, putting the Xone:23 in place for most DJs is a matter of unplugging the old, and plugging in the new.

The Xone:23 uses a pretty much industry-standard knob-and-fader configuration, so any experienced DJ will be at home immediately. The unit offers tri-band EQ, with “total-kill” attenuation.

One particularly welcome feature of the Xone:23 is the inclusion of Allen & Heath’s legendary high- and low-pass filters, with both resonance and frequency knobs to control the effect. I can’t put my fingers on just what’s different about Allen & Heath’s implementation of these filters vs. the competition, but I’ve always felt most at home using them on an Allen & Heath.

While the Xone:23 offers a crossfade shape control, it doesn’t offer a way to disable it completely, which is a serious disappointment. I know a lot of us use crossfaders, but I’ve always been from the “anti” camp, and work solely with level faders for my mixes. I suppose there’s always a touch of gaffer’s tape around to hold the crossfader in the middle position—a step I wish wasn’t so necessary, so much of the time, with today’s mixers.

Conclusions: The ability to disable the crossfader would make the Xone:23 a home run for me. But even without that feature, the Xone:23 is a strikingly handsome, well-made, 2-channel DJ mixer with a surprisingly affordable price point that’s within easy reach of anyone from hobbyists to hardcore pro users.

Usable with conventional DJ approaches using vinyl turntables or CDJs, or with “scratch” digital DJing (with the appropriate external sound card interface), I’m sure it’d find a welcome home with nearly any DJ. If you have any questions for Wesley Bryant-King or Sounding Off, please send them to djtimes@testa.com.

MOBILE PROFILE CAREERS…INNOVATIONS…SUCCESS STORIES

DJ TIMES

MAY 2014

By Cornelius Carney

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Orlando, Fla.—A major softdrink company inspired Charles Miles to start his DJ outfit. Well, not exactly—a central Florida theme park had something to do with it as well. “A tour with them,” Miles asserts, “was a game changer for my career.”

To be more specific—which is important because Miles’ mobile-DJ business is very mobile-specific— during this tour, Miles traveled with a DJ setup that was contained in a trailer pulled by a vehicle. An idea was born.

“The idea for a mobile machine was there , but it needed to be streamlined and contained in one unit,” he says, describing the inspiration for Mix on Wheels. “There were these two components of this great idea that needed to become one and be taken to the next level.”

The vision for Mix on Wheels was to offer a truly mobile, self-contained, indoor/ outdoor DJ experience which could add a “wow factor” unlike any other. “We wanted to give event planners and clients an ‘out-ofthe-box’ alternative to a 6-foot table set-up, something they could make a true showcase piece for their events,” says Miles.

“Because the exterior of the vehicles can be branded with vehicle wraps/ magnets and custom media can be displayed on the vehicle screens, this is achievable in a very unconventional way.”

It helped that Miles’ earliest Mix on Wheels gigs were not that hard to generate. “Initially, we were very fortunate in the fact that the same central Florida theme park company, which helped inspire the company’s creation, hired us for special events and continue to do so to this date,” he says. “This allowed us to stay busy while expanding the company, designing new vehicles and introducing them to other markets.”

This all began back in 2008, and Miles’ first investment was a Hummer H3, because of its ability to contain DJ products. The initial gear placed in the Hummer was a B-52 Prodigy FX, Shure wireless mic system, and

DJ MAKES A MIX ON WHEELS

Charles Miles hopes to franchise his very mobile brand.

RCF ART 725 active speakers. He has since transitioned to Pioneer Pro DJ gear.

Currently, Mix on Wheels consists of three vehicles: the Hummer H3 (H3X,) the Honda Element (E2X,) and the MINI Cooper Xtreme Clubman (MCX.) All vehicles are selfcontained and can produce their own power. They feature built-in DJ systems, LCD video screens for custom media playback, LED light effects, Lamborghini doors and Shure wireless mic systems for MC purposes. All vehicles can also be utilized indoors and can send an audio feed to a master sound system for larger events, such as full tradeshows and sporting events.

Within the past few years, Miles joined organizations such as MPI, ISES, NACE,Visit Orlando and he began attending tradeshows such as BizBash.

All these experiences helped introduce his product to meeting planners,

professional-sports teams, talentbooking agencies and destinationmanagement companies.

But for such a unique business model, challenges do abound. “The biggest challenge for us is to get prospective clients to realize the full capability of the vehicles and what they can do for their events and entertainment budgets,” says Miles. “Not only do our vehicles save the cost of dropping power, especially in remote locations, they are also media presentation and LED light-effect machines. Also, they serve as custom showcase pieces due to the ability to wrap them and display company logos. All vehicles can also double as karaoke machines, video DJs and so much more.”

But the biggest challenge is the fact that Miles must sometimes decline out-of-state events, due to scheduling conflicts in shipping the vehicles.

The solution? Miles plans to franchise his company by partnering with a motor-vehicle company to create one turnkey Mix on Wheels vehicle, for franchising, making his concept and technology available to DJs nationwide.

“We are inspired every day by all the innovative ideas and technology in the DJ industry,” he says. “From the DJ/entertainment act combinations to the touch-screen DJ systems to the DJs that are now using MIDI to trigger lasers to produce sound, there is truly something for everyone to enjoy and that really speaks to them. We would like to consider ourselves a niche piece of this industry during this exciting time of innovation and ‘anything goes.’ We’ve received so much support and excitement from other DJs.” Within the next year, Miles plans to open an office in South Florida and place the E2X vehicle at this location. “We also have plans for the vehicles to be utilized by nationally and internationally recognized brands as a traveling mobile DJ during nationwide campaigns. All the vehicles are a great fit for such opportunities because of all the customizable options they provide.”

It’s hard to find a DJ that’s differentiated himself like Miles has, but he does share something that all DJ entrepreneurs share—a philosophy.

“You can always change the songs on your playlist,” he says. “Any situation that is going on in your life or business, you have the power to change it and make it better, make it what you want it to be.”

NEW HD8 DJ Excellent sound reproduction across the audible range thanks to Sennheiser’s proprietary acoustics system Crafted from durable, high quality metal parts to guarantee years of use Ear cups can be rotated 210 Degree for easy one-ear monitoring and storage Two Kevlar-coated cables (one straight and one coiled) are included and can be attached to either the left or right ear cup, allowing you to swap to your preference 95 ohm impedance for optimum compatibility with DJ equipment

NEW HD7 DJ Impressive sound quality and powerful, accurate bass to help keep you in the groove all night long Constructed of rugged, lightweight parts - built to withstand years of heavy-duty use Ear cups can be rotated 210 degrees for easy one-ear monitoring and storage Soft, durable ear cushions ensure a comfortable fit, even over extended periods of use 95 ohm impedance for optimum compatibility with DJ equipment

NEW HD6 MIX Designed to cater to the needs of the professional sound technician Rugged, lightweight parts and built to withstand years of work in the studio Accurate, balanced sound reproduction suitable for mixing and monitoring Soft, durable ear cushions ensure a comfortable fit even over extended periods of use 150 ohm impedance for optimum compatibility in the studio

Developed with DJs. Built with passion.

“Drawing on our success based around the HD 25 and extensive experience in high-end audio, the DJ range applies Sennheiser’s proprietary acoustic system to answer the needs of different performing and production applications” - Ivan Kuan, Head of Product Management, Sennheiser Consumer Electronics

Check out the NEW HD6 MIX, HD7 DJ and HD8 DJ www.sennheiser.com/dj-headphones

Check us out at the Movement Electronic Music Festival in Detroit, MI from May 24-26!

BUSINESS LINE SALES…MARKETING…SOLUTIONS…

By Jerry Bazata

Many successful and profitable mobile-DJ businesses center their business model on the wedding industry. There is no doubt that 80-percent or more of annual DJ revenue is derived from performances at weddings. As a result, DJ/ entrepreneurs will focus most of their time, energy and capital on the wedding.

At some point, however, in every market, as the number of DJs increases, the pool of prospective clients might not, resulting in potentially only “getting a few brides.”

As a business owner, the business model you set up for your company needs to include a diversification plan that will enable you to insulate the bottom line and continue to grow the company.

Every business has a core product or service, and a secondary source of revenue that is built from the skills and knowledge of the core to fill in the income gaps. Over the past year, I have interviewed dozens of successful DJs to discover the secrets to success that have enabled them to generate significant

DJ MONEY ANSWER MAN SAYS: DIVERSIFY YOUR OFFERINGS NOW!

revenues beyond the wedding industry.

From those interviews, I have discovered a few exceptional individuals and awarded them the esteemed title: “DJ Times’ Money Answer Man’s Business All-Stars” In August at the DJ Expo in Atlantic City, N.J., DJ Times will present a panel of “Business All-Stars” hosted by me, the Money Answer Man, and featuring five of the business-savvy DJs that have found new revenue in our industry.

Gregg Hollmann, Shani Barnett, Robert Peters, Steve Moody and Jodi Duston are all original thinkers and have differentiated themselves from the sea of competitors. They did not try to be all things to all people, and did not readily dismiss any ideas as too eclectic, weaving their talents and skills into opportunities to develop.

Our “All-Star Panel” wanted to share a few key concepts to ignite your interest in the upcoming seminar:

Gregg Hollmann, Ambient DJs, East Windsor, N.J.: “DJs considering making the leap to full-time are wise to first validate their business models while maintaining a full-time job,” says Hollmann. “Your goal is to create a cash-flow machine. Competition is robust and increasing in the mobile-DJ entertainment field.

Therefore, DJs should seek to develop niche services that meet a clear market need. For example, with the popularity of shows like ‘American Idol’ and ‘The Voice,’ I identified a strong market demand for karaoke services and then put my unique spin on karaoke, coining it ‘Video Fusion Karaoke.’ It has proven successful at bars, private parties, corporate events and even weddings.”

Steve Moody, Steve Moody’s Entertainment Connection, Ridgely, Md.: “Before expanding my business and bringing in other DJs to focus on wedding reception entertainment, I found myself performing at least two times each month for local seniors groups,” says Moody. “Between the eight different centers involved they kept me busy. At the time, I was still working from my home, so I didn’t have to worry about getting to the office. An 11-a.m.-to-1-p.m. ‘gig’ for $350 on a Monday or Thursday was great. The center gig paid my car payment and gas for the month and didn’t interfere with my weekend events.

“I have some great stories to share about some unique ways of performing with and for senior events, and to be honest they have always been the absolute most appreciative group out of any that I have ever worked for. After my performances, I always left feeling like a million bucks. I was treated like Elvis! Lots of hugs on the way out the door, and a decent payday for a mornings work. Win-win all the way around!”

Robert Peters, Robert Peters Entertainment, Braintree, Mass.: “In today’s world,” says Peters, “diversification has been something that has helped my company continue to grow. Kids’ entertainment has opened doors for many referrals for other kinds of events for us. Believe it or not, adding and branding of kids’ entertainment has actually allowed me to book more weddings and corporate events. Plus, it gets back to why I got into this business in the first place—to have fun.”

DJ TIMES

MAY 2014

DJ Jodi Duston, Ogunquit, Maine: “Establishing yourself in a particular market often requires you to think outside the box,” says Duston. “What some people take for granted becomes an opportunity for others. I wanted to set myself apart from the competition and knew early on that the LGBT community and the continued acceptance of same-sex marriages would enable me to quickly capture new market share. I spent a significant amount of time researching and developing the tools necessary to win the trust and confidence of this growing market. Success happened quickly as I created a following for what is now the most popular event in my market—Tea Dances. It’s a popular event with LGBT community, and I’ve been able to develop a following and popularity that attracts hundreds at a local hot spot in Maine.”

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Jerry Bazata provides inspiration and guidance to DJs looking to achieve their financial goals. He will moderate DJ Times’ Money Answer Man’s Business All-Stars seminar at the DJ Expo, Aug. 11-14, at the Trump Taj Mahal in Atlantic City, N.J.

Shani Barnett, Carey Smolensky Productions, Chicago, Ill.: “In the Chicago market, the significant increase in the growth of hotels and conventions centers naturally progressed into the need for more than just a podium, screen and projector at many business meetings,” says Barnett. “Having the resources to deliver more than just a sound system, I began to knock on the doors of many major corporations looking to create an unbelievable experience for their clients and help them stand out among the competition. Building credibility and trust with a bride for many of us seems a daunting task, now add 10 times the pressure in establishing the respect of CEOs and marketing executives for Fortune 500 companies. Showcasing yourself as a corporate event specialist takes a completely different set of skills and talent. I’ll show you how.”

Gregg Hollmann

Steve Moody

Robert Peters

DJ Jodi Duston

Shani Barnett

Join the “Business All-Stars” at the DJ Expo in August as they present these and other best practices for DJ/entrepreneurs to not only succeed, but set themselves apart in the business.

August 11-14, 2014 | Trump Taj Mahal | Atlantic City, NJ REGISTER AT THEDJEXPO.COM Be at The Casbah on Wednesday, August 13, for DJ Expo’s annual competition, when the best of the best from the Mobile Nation compete in a variety of performance categories, including “DJ of the Year.”

If you’re a mobile DJ/entertainer/performer & you think you’ve got the goods to compete in Atlantic City, please contact us (djtimes@testa.com) with a Subject Line reading “DJ of the Year.”

Maybe you’ll take home this year’s honors!

/THEDJEXPO FOR

EXHIBITION

@TheDJExpo_

INFORMATION,

PLEASE

/DJTIMESMAG CONTACT

JON

RAYVID

AT

516-767-2500

Ext.507

OR

EMAIL

HIM

AT

JON@DJTIMES.COM

GEAR AUDIO…LIGHTING…STUFF

Sweeper Cell ADJ Products 6122 S. Eastern Avenue Los Angeles, CA 90040 (323) 582-2650 www.americandj.com American DJ announced a pair of new two-in-one lighting effects— the Sweeper Beam LED and Sweeper Beam Quad LED. The two models scan back and forth with eight beams of light, with the former creating all-white effects with a 3.5-degree beam angle while the latter is equipped for multi-color beams with a 3.4-degree beam angle. Both products offer eight-zone chasing, pulsing and strobing effects, as well as three operation modes. Electronic dimming is available from 0–100-percent via DMX and both models include stepper motors that allow them to turn 270 degrees.

Remix-Station Agent Pioneer Electronics 1925 E. Dominguez Street Long Beach, CA 90810 (310) 952-2000 www.pioneerdjusa.com The Remix-Station 500 from Pioneer lets DJs incorporate effects from three different effects sections. Rhythm FX offers five audio effects, five instrument buttons and a four-beat sequencer with an overdub button. Scene FX includes five build-up effects and five breakdown effects, while Release FX includes a button that eliminates the current music playing and leaves only the sound effects. The unit—which can also act as a USB controller—features pressure controller knobs that alter and vary the effects.

ETX Marks the Spot

DJ TIMES

MAY 2014

Electro-Voice 12000 Portland Ave S Burnsville, MN 55337 (800) 392-3497 www.electrovoice.com

32

The ETX family of portable powered loudspeakers includes three two-way models, a 15-inch three-way model with a 6.5-inch MF driver and a precision HF titanium compression driver and two subwoofers. The two-way models come in 10-inch, 12-inch and 15-inch versions, all with a precision HF titanium compression driver, while the subwoofers have either a 15- or 18inch driver. Each is housed in an 18-mm, 13-ply birch plywood enclosure finished with EVCoat. They sport a single-knob interface for full-function DSP control and an LCD screen for monitoring EQ presets, input level controls/meters and more.

Halcyon Sky’s the Limit Native Instruments Nor th America 6725 Sunset Blvd, 5th Fl Los Angeles, CA 90028 (866) 556-6487 www.native-instruments.com Halcyon Sky is a new expansion for Native Instruments’ Maschine 2.0 and the first Maschine expansion to feature exclusive presets for the Prism synth.

According to the company, the presets range from drifting atmospheric pads to plucked strings and expressive mallet instrument sounds. Halcyon Sky includes 50 drum kits with a range of warm, saturated kicks, snares, and hats.

Users also get 34 new presets for Maschine 2.0’s drum synths and a set of organic loops featuring detuned chords, piano, mallets, and bells.

GEAR AUDIO…LIGHTING…STUFF

Graphite Club Samson Technologies 45 Gilpin Avenue Hauppauge, NY 11788 (631) 784-2200 www.samsontech.com Samson introduced two new USB MIDI controllers—the Graphite M25 and the Graphite M32. The Graphite M25 features a 25-key velocity-sensitive mini keyboard, trigger pads with aftertouch, and a full-featured control surface. The Graphite M32 features a 32-key velocity-sensitive mini keyboard with a variety of programmable controls. Both models offer iPad/USB bus power and plug-and-play operation. A mini-USB-to-USB cable comes included with both. In addition, Graphite Editor Software can be downloaded for free from Samson’s website for use with both models.

Put An EZpin In It Chauvet 5200 NW 108th Ave. Sunrise, FL 33351 (800) 762-1084 www.chauvetlighting.com Chauvet introduced the battery-powered EZpin IRC, a versatile pin-spotting solution specifically designed for DJs, mobile entertainers and bands. It comes with a variety of gels, including warm white, red, green, blue and yellow. The unit can be sold alone or in an EZpin Pack, which bundles six EZpin IRC fixtures, an IRC-6 remote for wireless use, and a VIP Gear Bag. The EZpin IRC is equipped with a magnetic base, as well as a scissor clip with an eye loop for easy installation.

Put Your Thinking App On

DJ TIMES

MAY 2014

IK Multimedia 1153 Sawgrass Corporate Pkwy.

Sunrise, FL 33323 (954) 846-9101 www.ikmultimedia.com

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GrooveMaker 2 from IK Multimedia is a mobile loop-based music-making app designed for iPhone and iPod touch. GrooveMaker 2 features a suite of up to 16 effects and includes more than 3,600 from a library of over 60 collections that span such genres as House, DubStep, Hip Hop and more. The app utilizes a patented “groove generator” engine, as well as a grid interface that allows users to switch individual loops or “draw” a completely new groove with their fingers.

GEAR AUDIO…LIGHTING…STUFF

25th Anniversary Moments

Eurolive & Let Die

The 10-inch B110D and eightinch B108D are the latest models in Behringer’s line of Eurolive active loudspeakers. Both models offer 300 watts of two-way Class-D output power and sport a 1.35-inch aluminum-diaphragm compression-driver mounted on an ultra-wide dispersion, large-format, exponential horn.

Features include two-band EQ, an integrated sound processor, trapezoidal enclosure design, built-in 35 mm pole socket, and an ultra-low noise, balanced XLR Mic/TRS Line input with dedicated Volume control and Clip LED.

Jason Ano

Behringer 18912 North Creek Parkway, Ste 200 Bothell, WA 98011 (425) 672-0816 www.behringer.com

Skrillex: The Kids Are Alright “For the people who don’t like what I’m doing or what the new kids are doing, go listen to the old stuff—those records are still there.

You can still find parties playing that. That’s the other beauty of it because the bigger I get and the bigger other people get, it opens more avenues for electronic music in general to be bigger. I only can hope with my success, it helps everybody else to do what they do and then start other scenes and change, one-up what I do, rebel and make this counterculture.

That’s the beauty of music.”

– Skrillex, July 2011

Spring BreakTweaker iZotope 1 Kendall Square Cambridge, MA, 02139 (617) 577-7799 www.izotope.com Software developer iZotope has joined forces with Grammy-nominated composer BT to create BreakTweaker, a rhythmic instrument that can be used with any DAW and MIDI controller. BreakTweaker comes with more than 2GB of royalty-free content, including presets, drum samples and wavetables. Users can manipulate the audio, controlling pitch, rhythm and texture. BreakTweaker works with both Windows and Mac operating systems. It also works as a plug-in in Pro Tools, Cubase, GarageBand, Logic, Ableton Live, Reaper, StudioOne, Audition, SONAR X2 & X3, ACID, Vegas, Sound Forge, and others.

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Mixvibes’ Cross DJ for Android 1.2 update offers a variety of new features, including the ability to navigate through folders, directly inside the collection. The app offers advanced pitch control with touch sensitive bend and a customizable pitch range of 4-, 8-, 16-, 32- and 100-percent. Additional features include a history pane, classic club standard DJM EQ preset, split mono mode, and three crossfader modes: cut, autofade and normal. The app is optimized for multiple screen sizes and has a mobile and tablet layout.

Mixed In Key 6.0 analyzes music in 6.83x more detail than its predecessor and offers enhanced key detection, as well as improved analysis for short samples and producer packs. It has a built-in audio player and offers the ability to see the energy level and how it changes over time, writing any edits to an ID3 tag. Mixed In Key can be used with Traktor, Serato, Pioneer CD-Js, Ableton Live and other DJ software programs. Unlike its predecessors, Mixed In Key 6.0 lets users import their playlists from iTunes.

EON Flux

DJ TIMES

MAY 2014

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GROOVES TRACKS…MIXES…COMPILATIONS

“ARE YOU THERE” (REMIXES)

Mark Knight

u Josh Wink u Ovum Some tracks, like Wink’s 1996 classic, are made for re-invention, and this package doesn’t disappoint. In Ben Klock’s techy mix, the breaks meld with his big-room stomp to create an entirely ominous effect. Harry Romero’s megagroovy house effort, with its keyboard stabs, synth noodles and chuggy rhythms, will raise hands and shake hips.

– Jim Tremayne

Adrian Lux

Rebecca & Fiona

“SYNTHEMILK”

u Daddy’s Groove & Congorock u Ultra Records Daddy’s Groove and Congorock team up to prove that Italians do it better with this down-and-dirty floor filler.

A filthy electro drop—laced with acid and Italo-disco nuances—is the real star here, subtly recalling early innovators of the genre.

– Chris Caruso “THE RETURN OF WOLFY”

u Mark Knight u Toolroom A house track that starts off chilly and eerie, it eventually crescendos into a very danceable climax. A piano solo bisects the tune, carrying through to the end, with the addition of a reassuring vocal in fairy-like form.

– Natalie Raben “MAKE OUT” EP u Adrian Lux u Ultra Packing four new cuts, plus 2013 singles “Damaged” and “Wild Child,” Make Out is a laser-focused rush of lush melodies and rich soundscapes. “Smoke & Mirrors” provides a natural continuation of the progressive-house pop of Lux’s debut album, while the chilled-out ambience and memorable vocals of “Rain” and “Sooner or Later” serve as the true highlights.

– Chris Caruso “PREDICTABLE” (BEN PEARCE REWORK)

DJ TIMES

MAY 2014

u Ben Pearce & Black Orange Juice

38

Matthew Sperzel Photography

Skrillex

With his rework, Pearce takes his original collaboration with the Black Orange Juice trio and dubs it out, twisting the soulful elements into more of a four-on-thefloor, club-friendly record that’s far from predictable.

– Chris Davis RECESS u Skrillex u Owsla Though it’s a hit-and-miss affair, the winners here—all bunched in the middle—are superb. Highlights: the skittery/ultra-catchy “Coast Is Clear” (with Chance

the Rapper) hopelessly hooks with its ultra-profane come on; the breezy “Stranger” arrestingly drops a slinky trap breakdown; “Try It Out” (with Alvin Risk) goes from a tinkle to a scream; and “Dirty Vibe” (with Diplo) takes bounce to near-lysergic extremes.

– Jim Tremayne “GALANTIS” EP u Galantis u Big Beat Style of Eye and Miike Snow’s Christian Karlsson team up to create a refreshing fusion of progressive house and indie pop. The euphoria of “You” is already proving itself to be a go-to festival slayer, but the oddball electro-alternative of “Revolution” and the ’90s raveinspired “Friend (Hard Times)” are hidden gems.

– Chris Caruso “SOLO DANCING” (CHRIS LAKE REMIX)

u Indiana u Rising Music

Ever the chameleon, Lake takes the sultry vocals of singer-songwriter Indiana to sign, seal, and deliver a sassy electro scorcher straight to the stages of festival season. Smoky whispers give way to screaming wubs and a throbbing drop—a crowd-pleasing combo.

– Chris Caruso BEAUTY IS PAIN u Rebecca & Fiona u Ultra The Swedish pair delivers a darker, more consistent package than 2011 debut I Love You, Man with an adherence to dark storytelling and dance-influenced alt-pop.

“Heavy” and “Stockholm” deliver the necessary handsup rave moments, while the ’90s bubblegum-pop hooks of “Holler” and “Jamie” make for breezy springtime cuts.

– Chris Caruso “BLINK AGAIN”

u John Dahlbäck & Benny Benassi u Ultra Music A collaboration that truly shows the best of both artists, with Dahlbäck’s signature gorgeous synth lead countered by aggressive electro heat that’s all Benassi’s own. Don’t be afraid to blink, as you’ll definitely be hearing this one everywhere.

– Chris Caruso

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MP3s in 56

Compiled As April 8, 2014

NATIONAL CROSSOVER POOL CHART

NATIONAL URBAN POOL CHART

1 Audio Playground 2 Katy Perry 3 Beyonce 4 Kwanza Jones 5 Kylie Minogue 6 Bastille 7 Shakira F/ Rihanna 8 Pitbull F/ Ke$ha 9 Alina Artts 10 Tiesto 11 Pharrell Williams 12 Amy Weber F/ Sean Kingston 13 Peppermint Heaven 14 Avicii 15 Kim Cameron 16 Kristine W 17 Lady Gaga 18 Michele Lea 19 Engique Iglesias F/ Pitbull 20 Zedd F/ Matthew Koma & Miriam Bryan 21 Cher 22 Carey Nokey 23 VenSun 24 Dvbbs & Borgeous 25 A Great Big World F/ Christina Aguilera 26 Eminem F/ Rihanna 27 My Crazy Girlfriend 28 MAOR 29 Mariah Carey 30 DJ Cassidy F/ Robin Thicke & Jessie J 31 Katia 32 Daft Punk 33 Cash Cash 34 Mel B 35 Cyndi Lauper 36 Anything But Monday 37 Gia 38 Naughty Boy F/ Sam Smith 39 Claire 40 Beyonce

1 Kid Ink F/ Chris Brown 2 Ty Dolla $ign F/ B.O.B. 3 Beyonce F/ Jayz 4 T-Pain F/ B.O.B. 5 Drake 6 Trey Songz 7 Pharrell Williams 8 Chris Brown F/ Lil Wayne&French Mon 9 Sage The Gemini 10 Beyonce 11 Lil Boosie & Webbie F/ Kiara 12 Dj Infamous F/Jeezy/ Ludacris/Juicy 13 Future F/ Pharrel/ Pusha T / Casino 14 Snootie Wild F/ Yo Gotti 15 Sevyn Streeter 16 Jason Derulo F/ 2 Chains 17 Jhene Aiko 18 Young Thug 19 Schoolboy Q 20 Young Money F/ Drake

Hands Up In The Air Dark Horse Blow Vicious Into The Blue (Remixes) Pompeii Can’t Remember To Forget Timber Bounce Red Lights Happy Dance Of Life So Unbelievable Hey Brother Now You’re Mine So Close To Me Do What U Want Cannonball I’m A Freak Find You Take It Like A Man Incredible The Dragon Flies Tsunami Say Something The Monster Go F**k Yourself Exit You’re Mine Calling All Hearts Erase Replace Give Life Back To Music Take Me Home For Once In My Life Time After Time 2014 Bump Bombs Away La La La Games Partition

Sony/Canada Capitol Columbia Innovative Ent. Warner Brothers Capitol Warner Brothers Universal REC Casablanca Columbia Dauman Megahit Island Side FX Fly Again Interscope Columbia Universal Interscope Warner Brothers Last Quarter Sea To Sun Doorn Epic Interscope Capitol 27 Island Columbia Global Groove Columbia Big Beat SBB Epic ABM Global Groove Capitol Astralwerks Columbia

Most Added Tracks 1 Gia 2 VenSun 3 Anything But Monday 4 Malea 5 Pharrell Williams 6 Mariah Carey 7 Beyonce 8 Mat Zo F/ Rachel K. Collier 9 Avicii 10 Diva Demolition

Bombs Away The Dragon Flies Bump Give Happy You’re Mine Partition Only For You Addicted To You Can’t Wait

REPORTING POOLS

Global Groove Sea To Sun ABM Water Music Columbia Island Columbia Astralwerks Island Spitfire

n Lets Dance / IRS - Chicago, IL; Lorri Annarella n Masspool - Saugus, MA; Gary Canavo n OMAP - Washington, DC; Al Chasen n Dj Stickyboots - Goshen, NJ; Blake Eckelbarger n NW Dance Music - Shoreline, WA; John England n Fusion Radio - Chicago, IL; Manny Esparza n MetroMix - Pittsburgh, PA; John Hohman 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 - Alpharetta, GA; Dan Miller n WPTV-Prty 105FM Frd MdMx - New York, NY; Mike Rizzo n MOOD Spins - Seattle, WA; Randy Schlager n Northeast Record Pool - Revere, MA; Justin Testa n Pacific Coast - Long Beach, CA; Steve Tsepelis n KDON - Sunnyvale, CA; DJ Classic 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

Show Me Paranoid Drunk In Love Up Down The Language Na Na Happy Loyal Gas Pedal Partition Show Da World Double Cup Move That Doh Yayo Next Talk Dirty The Worst Stoner Man Of The Year Trophies

RCA Atlantic Columbia RCA Republic Atlantic Columbia RCA Universal Columbia Trill EOne Epic Epic Atlantic Warner Brothers Island/Def Jam Atlantic Interscope Republic

Trophies The Worst 2 On Stoner Man Of The Year

Republic Island/Def Jam RCA Atlantic Interscope

Most Added Tracks 1 2 3 4 5

Young Money F/ Drake Jhene Aiko Tinashe F/ School Bo Young Thug Schoolboy Q

NEW NATIONAL LATIN DANCE POOL CHART 1. Prince Royce 2. Brenda K Starr 3. Gabriel Coronel 4. Marc Anthony 5. Jorge Santana feat Aki S. 6. Juanes 7. Romeo Santos feat Drake 8. Gretchen feat Gocho 9. Kalimente 10. Chan Junior 11. Grupo Niche 12. Adassa Vs Don Candiani 13. Charlie Zaa 14. Gallardo & Falcon 15. Leslie Grace 16. Enrique Iglesias feat Marco A. Solis 17. Mauro Mosquera 18. Jau D 19. Victor Manuel 20. Danny Presz

Te Robare Te Voy A Enamorar Desnudo (Remix) Cambio De Piel Gracias Madrecita (Remix) La Luz (Remix) Odio Tu Princesa Interesada Margarita Tocando El Cielo Young Love Digo Yo Pegao’ (Remix) Odio No Odiarte El Perdedor La Ruñidera Un Vaje Ando Por Las Nubes Desatame El Deseo

Sony The 360 Site Warner Musica Sony The Misha Music Co. Universal Sony Universal Sueño Salsa Y Timba PPM USA Kult Latino Music Entity 3rd. World Music Top Stop Music Universal Codiscos Cutting Sony Muzik Inc.

Most Added Tracks 1.

2.

3.

4.

5.

Daddy Yankee Johnny Sky Gloria Trevi feat Yunel Cruz J Balvin feat Farruko Yvi Queen

La Nueva y La Ex With Or Without You No Queria Lastimarte 6 AM Cuando Las Mujeres (Remixes)

Akela Familia Premium Latin Universal Universal Granda Ent.

REPORTING LATIN POOLS n Latinos Unidos Record Pool n Salsamania Latin Record Pool n Lobo/Bass Record

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.

Markus Schulz (continued from page 16)

DJ Times: The 2012 album Scream was a success. Do you think your sound progressed with Scream 2?

Schulz: It’s actually a continuation.

I finished Scream with so many ideas still coming through that I still felt the story hadn’t been completely told.

Usually, I just make tracks, and when I’ve finished a phase, I’ll take the best tracks and that’s my album. With Scream, I really got into a groove. I really felt like, “I’m making an album” and when it finished, the ideas still kept flowing. So that’s where Scream 2 came in. My goal, or hope, is that years down the road people will listen to Scream and Scream 2 as one continuation.

DJ Times: Let’s talk about your set-up.

Schulz: I’m always travelling, so I try to use a very simple set-up. I’ve got a laptop with Logic and Ableton, and that’s what I produce with on the road. For me, Ableton is more about putting together loops, putting together samples—it’s where I carve out the idea. It’s very quick. It’s also what I use for my radio show—creating mash-ups and so on. Then I’ll import my production ideas into Logic and that’s where I’ll get creative with the sounds and the effects. I grew up on Logic, so for me, it’s the main music program.

DJ Times: And for DJing?

Schulz: For DJing, I have a separate laptop that sits on stage with me and that runs Serato. But I only use Serato for the time code. I run, especially at festivals, a selection of tracks that have synced video linked to them—these, I put through Serato.

So typically, I play on four CDJs, of which two are regular CDJs, and two

carry the time-coded tracks, which have video outputs to the Front of House guys.

DJ Times: Do you program sets differently for festivals versus clubs?

Schulz: For sure. Festivals, especially when you do the open and close sets, you’ve got an hour—90 minutes max—to do your thing, and you can’t take any risks because if you make a programing mistake, it’s very hard to recover in that short amount of time. So you tend to play it safe at festivals. Everything has to be intense and rapid-fire. Whereas in a club, especially the open and close solo sets, I think the key difference is that your blending sounds together, compared to mixing tracks at a festival. In a club scenario, I can loop percussion. I can bring in another track on a loop and release the first loop—it’s really fun.

Now some clubs do these mini-festival things, where each DJ gets an hourand-a-half and it’s frustrating because I didn’t expect to pull out my festival set but, because the DJ before was playing EDM-mainstream bangers, I’ve got to bring the heavy artillery right at the beginning to build it up!

DJ Times: You produce and perform with Ferry Corsten as New World Punx. How did that come about?

Schulz: Ferry and I have known each other for a long time. We’ve done so many of the same festivals and the same clubs over the years.

We were on the plane one time to Ibiza, and we got talking as to how we’d never done a track together. So we found the time, got together in the studio and did a track. We were like two kids, jumping around, highfiving and it just reminded me of the fun times right when I started out.

DJ Times: How did it become a

performing situation?

S c h u l z : G o d s k i t c h e n i n B i rmingham got in touch and told us that myself and Ferry were playing all night—we were to decide when the set times were going to be. We planned to do one hour on, one hour off each, but we wound up playing back-to-back the whole night. It was unplanned, and it was an incredible night. Promoters started calling saying, “Hey, we want you guys to do the back-to-back thing,” and it got to the point where we thought that we really needed to put a project name to this, so people understand what it is.

DJ Times: It’s a different sound from what you and Ferry usually play.

Schulz: We’re not limited to just trance—that’s why I think the New World Punx project is special. We played pool parties in Vegas where we got into some really cool house, and we played some festivals where we just went for it, just thrashed the place! At the same time, our roots are in trance. We both make trance records, we just try and make custom New World Punx versions of our songs.

DJ Times: You’re seen as an authority on trance, but you’ve never struck us as a trance purist yourself.

Schulz: Trance is, musically speaking, an attitude. Sure, it’s more melodic, spacey, deeper, but nowadays everything is just so blurred. If you slow a track down to 128 BPM and take some reverb out, all of a sudden you’ve got lots of progressive house.

Make a progressive-house track, then turn up the reverb, up the BPM and people start claiming it’s an amazing example of trance music. I’m actually anti-purist.

DJ Times: Why’s that?

Schulz: To me, the purist thing got

really tired. It got to a point where, unless a track was one exact sound, it just got slated. I think there’s a huge disconnect between what’s happening on message boards and what’s happening on the dancefloor. Reading the message boards, it looks like today’s trance music is rubbish. Yet— and Ferry said this, too—I think he and I are allowed to make a call on “real trance,” not someone that got into it a year or two ago. Some of the most beautiful, stunning trance music I’ve heard in my 10-plus years in the scene is coming out right now. It’s fantastic and it’s definitely is up to the standards of what’s considered “pure trance” from back in the day.

DJ Times: What’s in the pipeline for 2014?

Schulz: I feel that the Scream chapter is complete and I really want to get back to doing my pseudonym Dakota tracks. I feel Dakota’s sound really works for those long open and close club sets right now. At the same time, I want to A&R, the Scream albums, get some tracks remixed from Scream 1 and 2, and, hopefully, I’ll have enough together to do a full Scream remix album.

DJ Times: As a radio host, DJ, producer, label owner and artistmanagement exec, what advice would you give to aspiring DJ/artists?

Schulz: Find what it is that defines you as an artist. If you go chasing after a trend, even if you do succeed, you’re not going to be happy.

Look around this industry and you’ll see a lot of people burning out because they’re not doing what it is that makes them happy. If you wanna be in this long-term, you’ve got to find what it really is that makes you happy.

Again, as KhoMha says, “You can be No. 1, or you can be a legend!” n

DJ TIMES

Daniel Boczarski

MAY 2014

Frankie Knuckles 1955-2014

42

Remembrances, Next Month in DJ Times

THE BOLD SHAPE OF PERFORMANCE

M U LT I P U R P O S E S E L F - P O W E R E D S O U N D R E I N F O R C E M E N T

More than just another great JBL sound system, the new EON615 is a true step forward in technology developed specifically to deliver the best sound possible regardless of its application. Completely rethinking how truly good an affordable selfcontained, portable PA system can be, JBL engineers purposely designed and built the EON615 from the ground up featuring JBL’s advanced waveguide technology, JBL designed and manufactured transducers, and convenient, wireless remote control of its onboard DSP EQ parameters via Bluetooth. This total redesign of the EON platform leverages the latest technologies in cabinet materials, acoustic science, transducer design and user friendliness that delivers the extraordinary quality of a high-end studio monitor in a fully professional, highly flexible, easy to use, portable system for today’s working musicians and sound providers.

REVOLUTIONARY WAVEGUIDES The EON615’s extraordinary performance results from a breakthrough approach to waveguide design for both high frequency and low frequency components. The result is consistent HF and LF response and high intelligibility throughout its entire 90 degree coverage pattern. These characteristics are the foundation of high-end studio monitor sound, now available for the first time in a portable, affordable system.

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