DJ Times April 2016, Vol 29 No 4

PLUS: THE KNOCKS u DJ BORIS u PIONEER STUDIO ESSENTIALS u BUILDING BRAND AWARENESS u D.A.S. AUDIO VANTEC PA

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NOTABLES…MILESTONES

Ultra Fest will energize downtown.

MIAMI MUSIC WEEK: WMC, ULTRA & PARTIES GALORE MOOD: Nicole Moudaber to bring the techno heat.

Paradise: Jamie Jones’ 12-hour party returns.

Will Clarke). Also, on St. Paddy’s evening, check the always-fun Ovum Recordings party featuring Josh Wink, MANIK and many more.

For those looking for some fun in the sun, don’t miss Nicole Moudaber’s MOOD Day pool party (with Carl Craig, Pan-Pot, and Damian Lazarus) earlier that day at The Raleigh.

In the mood for something less sleek? The Downtown Mana Wynwood district is home to underground warehouse-themed gatherings all week long. Jamie Jones’s always-superb, Paradise party returns once again with Steve Lawler, Skream, Stacey Pullen, and Patrick Topping on

March 17.

Looking for more daytime action?

On Saturday, March 19, check the “Get Wet” party at the Surfcomber featuring DJ Boris, Union and more.

However, it’s Crosstown Rebels’ Get Lost that is the crown jewel of the weekend. With over 50-plus acts (including David Morales, Heidi, Tiga, Visionquest, and a special opening set from Sasha), five rooms, and over 24 hours of music, it’s a true gauntlet that will test even the hardest of partiers.

Hand us the sunscreen and dancing shoes; it’s the most wonderful time of the year!

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Awards Season daze, the 31stAnnual International Dance Music Awards will honor dance music’s movers and shakers in more than 50 categories on Monday, March 21.

Ultra Music Festival: As always, Miami’s premier electronic music festival will once again hit Downtown Miami’s Bayfront Park, offering three days of beats and sun from March 18-20. Never content to stick to the familiar, this year’s blowout promises an even bigger production spread across seven spectacular stages.

What we’re most excited for?

The North American debut of the Arcadia-produced, fire-breathing Spider Stage for Ultra’s undergroundfocused Resistance concept, which boasts some big performances from Jamie Jones, John Digweed, Maceo Plex, and many more.

Other notable performances at this year’s festival include Martin Garrix on Friday, a sunset set from Tiësto on Saturday, and the reunion of drum-n-bass legends Pendulum with their Knife Party brethren on Sunday.

M i a m i M u s i c We e k : T h o u sands and thousands of revelers are chomping at the bit to let loose and take over all of Miami for a full week of MMW shenanigans, with parties set for venues and clubs across South Beach, Downtown, and beyond. With hundreds of events and performers confirmed for the 2016 debauchery, there’s no shortage of options for EDM fans of all flavors.

For the clubbing night owl, the Dirtybird Players’ Back2back Throwdown at Trade on March 17 will deliver an endless stream of rumbling low-end from the quirkiest tech-bass bombers around (including Claude VonStroke, J.Phlip, Justin Martin, and

DJ TIMES

By Chris Caruso Miami Beach, Fla. – With a January and February full of snowy whiteouts and sub-arctic temperatures throughout the Northeast United States, the arrival of Miami Music Week and Winter Music Conference serves as a blessing from the Party Gods themselves.

The 2016 proceedings are a bit different than years’ prior, with Miami Music Week running the week before Winter Music Conference rather than at the same time. Miami Music Week will touch down first, with parties running from March 15-20—but more on that in a bit.

Winter Music Conference: The international industry confab has once again found a new home, with this March’s installment settling in at the Shelborne Wyndham Grand on South Beach from March 21-24.

The 31st annual edition of the seminal conference features four days of seminars and panels, two days of exhibition hall hours, and a countless amount of official parties and club nights. DJ Times (and our sister publication ClubWorld) will be on-hand to maintain a dedicated exhibition booth, so make sure to stop by to say hi and grab some free issues!

This year’s seminars span a wide range of topics, touching on just about every nook and cranny of the DJ-driven industry. A sampling of the topics covered include: “DJ Culture: Branding of Cool,” “A New Era: The Artistry and Business of the Global DJ,” “Fight for Your Rights: Music Law,” and “A&R and Alteration: Remix A&R.” The WMC DJ Spin-off has been broken up this year, with the Beatmatching competition set for Monday, Scratching on Tuesday, and VJ on Wednesday. For those still in an

3

NUMBER 4

12 Next Best Thing

While Dirtybird Takes Brand-Building to a New Level, Justin Martin Lives the Dream as the Label’s Second Banana

BY CHRIS CARUSO

20 Exit Stage Left

What’s Your Exit Strategy? DJs Chime In & Tell Us Their Plans for When the Music Stops

BY JEFF STILES

DEPARTMENTS 7 Feedback

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

24 Back to Basics

No Matter What Kind of DJ You Are, Mixing Fundamentals Remain Valuable

BY TONY FERNANDEZ

SAMPLINGS 32 Business Line

How to I.D. Brand-Awareness Problems

8 Boris

Late-Night Master

10 In the Studio With…

The Knocks

26 Making Tracks

DJ TIMES

APRIL 2016

Pioneer Headphones & Monitors

4

28 Sounding Off

D.A.S. Vantec 12A Speakers

34 Gear

New Products from Denon DJ, Yamaha & More

38 Grooves

Phat Tracks from Moderat, Lorenzo Dada & More

30 Mobile Profile Midwest DJ Builds Brick By Brick

41 Club Play Chart

The Hottest Records, As Reported

by Our Top U.S. Record Pools

Cover Image by Wobsarazzi Contents Image by Erik Voake

VOLUME 29

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FROM THE EDITOR

A Dirtybird DJ Saves the Day

A Justin Martin Story:Three summers ago, we were at Red Rocks Amphitheatre outside Denver for Global Dance Festival—an annual America’s Best DJ tour stop. It was trance day, so the huge main stage featured Sander van Doorn and Arty. The side stage had bass/dubstep acts like Carnage, while the third stage—away from the main crowd, down some stairs and facing the venue’s visitor center—featured more underground, tech-house sounds.

At this Stage 3, which wasn’t too much bigger than a Sweet-16 party set-up, Droog’s Justin Sloe rocked the afternoon before a hundred or so hardcore fans. Then Dirtybird Records co-founder Justin Martin hit the decks and began to drop some quirky buzzbombs before a suddenly growing audience. When it became time for Stage-3 headliner Robag Wruhme to play, the German DJ/ producer was nowhere to be found. Everyone assumed that it was a delayed flight from Europe, but to Martin, it didn’t matter. He played and played and played, turning what was originally a 90-minute set into a nearly four-hour extravaganza of deep cuts, new tracks and just-for-fun tossoffs that kept everyone grooving and smiling, certainly realizing that they were seeing something special. He saved the day and made the party his own. I’d been to Dirtybird events before and I’d seen Martin play at a variety of venues—always big fun—but that night he won me over forever. So finally, in this issue, we tell his tale, as our Chris Caruso catches up with Justin Martin for his first DJ Times cover story—and it’s one of persistence and inspiration. We hope you enjoy it.

In our Samplings section, we re-connect with Boris, NYC’s longtime, late-night champ, whose Transmit Recordings is bringing quality, dark techno to global clubland. Also, our L.A. scribe Lily Moayeri gets in some studio talk with The Knocks, whose debut album, 55, features collabs with a stars like Cam’ron, Wyclef Jean and more.

On the tech side, Wesley Bryant-King takes on a pair of Pioneer studio items (RM-07 monitors and HRM-7 headphones) in Making Tracks. In Sounding Off, our pro-audio column finds Mike Klasco and Jay Crisologo putting the D.A.S. Audio Vantec 12A active speakers to the test. Also, new writer/longtime DJ Tony Fernandez offers a detailed refresher course on beatmixing.

From the mobile world, Jeff Stiles surveys DJs who discuss their exit strategies from the industry “when the music stops.” In Business Line, we offer nearly 30 tell-tale signs that your DJ company has a brand-awareness problem. In Mobile Profile, we connect with another successful Wisconsin entertainer, Travis Seibert of Madison Mobile DJ service. I’m an SEC guy and it pains me to say this, but… “Go Badgers.”

In closing, I mention a tragedy and a near-tragedy in the DJ world. As for the latter, our thoughts go out to the legendary Paul van Dyk, who suffered a concussion and cracked vertebrae in a fall from a festival stage in Holland this past Feb. 28. At presstime, it’s being reported that he expects to recover fully and we look forward to seeing him in the DJ booth again soon.

Also, our condolences go to the family and friends of Guido Osorio, who passed away suddenly this past Feb. 20 at the age of 46. As one-half of the New York DJ/production duo Razor N’ Guido, Osorio helped bring a slew of big-room tracks—like 1998’s “Do It Again” and 2000’s “Miss the Way” (featuring Reina)—to the dancefloor and onto the charts. In April 2001, the duo graced the cover of DJ Times.

On a personal note, it must be said that Guido was one of the nicest, most down-to-earth guys you’ll ever meet. Over the years, he was a frequent visitor and contributor to our DJ Expo in Atlantic City and the combination of knowledge and positivity that he brought was always deeply appreciated. Thanks for the music, Guido.

If you’re reading this in Miami, chances are you are at Winter Music Conference. We encourage you to take advantage of the unique industry networking and educational seminars that WMC brings. And, while you’re at it, stop by the DJ Times booth and say hi.

DJ TIMES

APRIL 2016

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

assistant editor Chris Caruso ccaruso@testa.com chart coordinator Dan Miller dmiller@testa.com contributors Jody Amos Joe Bermudez Wesley Bryant-King Shawn Christopher Paul Dailey Reed Dailey Chris Davis Tony Fernandez Tommy D Funk Michelle Fetky Greg Hollmann Mike Klasco Michelle Loeb Evan Maag Duanny Medrano Lily Moayeri Phil Moffa Natalie Raben Scott Rubin Deanna Rilling Jeff Stiles Reisa Shanaman Emily Tan Phil Turnipseed Curtis Zack President/Publisher Vincent P. Testa FOR CUSTOMER SERVICE AND TO ORDER SUBSCRIPTIONS, CALL 800-937-7678 VISIT OUR WEBSITE www.djtimes.com

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

brand design & web development manager Fred Gumm fgumm@testa.com social media coordinator Matt Van Dyke mvandyke@testa.com

advertising manager Tom McCarty tmccarty@testa.com marketplace advertising sales manager Ricky Pimentel rpimentel@testa.com art/production assistant Ricky Pimentel rpimentel@testa.com Circulation circulation@testa.com operations manager Robin Hazan rhazan@testa.com Editorial and Sales Office: DJ Times, 25 Willowdale Avenue, Port Washington, New York, USA 11050-3779. (516) 767-2500 • FAX (Editorial): (516) 944-8372 • FAX (Sales/all other business): (516) 767-9335 • DJTIMES@TESTA. COM Editorial contributions should be addressed to The Editor, DJ Times, 25 Willowdale Avenue, Port Washington, NY, USA, 110503779. Unsolicited manuscripts will be treated with care an d should be accompanied by return postage.

DJ Times (ISSN 1045-9693) (USPS 0004-153) is published monthly for $19.40 (US), $39.99 (Canada), and $59.99 (all other countries), by DJ Publishing, Inc., 25 Willowdale Ave., Port Washington, NY 110503779. Periodicals postage paid at Port Washington, NY, and additional mailing offices. POSTMASTER: Send address changes to DJ Times, PO BOX 1767, LOWELL MA 01853-1767 Design and contents are copyright © 2016 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 April 2016

visit our website: www.djtimes.com

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2016 DJ EXPO DATES INSIDE

Nature, Taylor Dayne, JES, Clinton Sparks and many more.

Additionally, each year DJ Expo be‑ stows awards to the America’s top mobile talents with its “DJ of the Year” competition. Ably hosted for the past decade by Mike Walter of New Jersey’s Elite Entertainment, the competition awards jocks for a variety of mobile-specific categories.

For the very latest on DJ Expo, please visit www.thedjexpo.com.

2/17/2016 4:05:25 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 question that is not asked.

Update: DJ Expo ’16

these industry legends get interviewed Each year, Expo badgeholders gain

by DJ Times and then take questions the opportunity to attend a variety of from attendees. Keynoters have in‑ sponsored evening events—like the cluded Lil’ Jon, Paul van Dyk, Jazzy Promo Only Summer Sessions par‑ Jeff, DJ Premier, Jellybean Benitez, ties—featuring some of the biggest QBert, The Juice Crew’s Marley Marl names in music, plus a few that are & DJ Polo, Grand Mixer DXT, Grand on the brink of breaking big. Previous Wizzard Theodore, Jazzy Jay, Public events included performances and Enemy’s Keith Shocklee, C+C Music appearances by Lady Gaga, 50 Cent, Factory’s Robert Clivilles, and the late Akon, Cash Cash, Icona Pop, Duke Jam Master Jay of Run-D.M.C. Who Dumont, Audien, DJ Craze, Skribble, MIPA10179 DXS18 3/8/16 1 will it be this year?Launch.qxp_Vertical Stay tuned.

Sean 9:18 Paul,AM SaltPage N’ Pepa, Naughty By

DJ Expo is set to run Aug. 15-18, 2016, at the Trump Taj Mahal in Atlan‑ tic City, N.J. Produced since 1990 by DJ Times and its publisher Testa Communications, DJ Expo remains the longest-running and most-successful trade show/exhi‑ bition for professional DJs in America.

As DJ Expo has produced more than one show in certain years, the 2016 event marks the 32nd show since its inception.

As always, DJ Expo will offer attendees three days of exhibits, featuring over 100 companies showing products that will impact the mobile, club and studio sectors of the DJ market. Attendees can expect to see the very latest tech‑ nologies from top industry manufac‑ turers and distributors—playback, pro audio, software, lighting, video, acces‑ sories, studio gear, apparel, novelties, music and services. Additionally, DJ Expo will provide special demo rooms for companies wishing to offer at‑ tendees a more-intimate environment in which to experience their unique products.

On the educational front, DJ Expo will present 30 seminars, tutorials, panels and keynote sessions. Featuring the DJ industry’s leaders and innova‑ tors, these sessions will tackle all the vital topics related to the mobile, club and studio segments of the DJ market.

In previous years, DJ Expo has pre‑ sented a star-studded array of keynot‑ ers. In each “Keynote Q&A” session,

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SAMPLINGS

DJ TIMES

APRIL 2016

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BORIS: TALKING TECHNO

8

Boris: New York’s longtime, late-night champ.

New York City has seen a long line of late-night DJs rule its legendary clubland, and for more than a decade Brooklyn’s Boris Inzhin has been one of them.

Known simply as Boris, the Brooklyn-based/U.S.S.R.-born jock has enjoyed much-heralded residencies at such NYC hotspots as Exit, Roxy, Crobar and Pacha. His current New York party, Transmissions, has begun to fire up Gotham clubs like Space Ibiza NY and Marquee.

In addition to running his Transmit Recordings, which offers the popular, weekly Transmissions podcast, Boris has reeled off a slew of tracks and EPs for labels like SCI+TECH, Suara, Toolroom, Intec, Tronic and Alleanza.

“Where’s the Beat,” his latest techno mega-groover on Detroit’s Incorrect Music, perfectly epitomizes Boris’ late-night vibe with its manic sound effects and rugged, yet irresistible beat pattern.

For Miami Music Week, fans can catch Boris at: the Nervous Pool Party at Fifty Miami on March 18; the Get Wet Party at The Surfcomber on March 19; and the Transmit Showcase at Heart Miami on March 19. We recently caught up with Boris to talk techno and more.

DJ Times: You’re well-known for playing lots of afterhours parties and special events like New Year’s Day in New York. What’s your DJ approach for those gigs?

Boris: New Year’s Day [DAY ONE party at Manhattan’s Stage 48]

is always one of my favorite events to play music because you can play pretty much whatever you feel, and go with different types of genres, by going darker, harder, deeper, or housey. Then, you mix that in with some vocals simply because you have so many hours to play. For a gig like that, usually, I’ll play anywhere from 10 to 12 hours.

DJ Times: What are your all-time favorite clubs to play and why?

Boris: Crobar and Roxy where the best super-clubs in NYC during the golden era of clubbing. Space Miami because there is nothing like that terrace when it’s rocking.

DJ Times: The audience for dance music is a little different now. How has a DJ’s job evolved in recent years?

Boris: Kids who go to clubs come and go all the time, so your job as a DJ is to keep them interested with your music, shows, merchandise, visuals, and anything that will keep them into you. I also think it’s much harder for DJs nowadays due to the abundance DJs out there. When I was starting out, there weren’t many. Now, anyone can be a DJ with a laptop. Just look at some of the non-DJs that are playing.

DJ Times: Do you see an evolution with the newer audiences?

Boris: Kids always will start out with EDM stuff because that’s what’s being played for the masses at festivals, on radio stations and more of the bigger clubs. But eventually, kids grow into adults, and their tastes in music mature, and change into some-

thing more.

DJ Times: Pacha closed earlier this year. How do you see NYC nightlife now?

Boris: It’s never a good thing when a club closes—usually, that’s not a good sign. But the good thing is there are other great places all over New York, whether it’s Space Ibiza NY, Output, Marquee, Stage 48 and other smaller venues for house music. The scene fluctuates up and down, just like anything else. But at the end of the day, people will go out to clubs, and listen to music.

DJ Times: Musically, what are you feeling right now?

Boris: Music is always changing, so my musical tastes are always changing.

I would say more of darker techno, as well as more of the groovier techno that’s mixed in with some percussion sounds. Seems to me a lot of the music now is going back to that.

DJ Times: What are the essential components in your studio?

Boris: I don’t really need much besides my studio Mac, a keyboard, [Native Instruments] Maschine and the various plug-ins I use.

DJ Times: When you’re DJing, what are your essentials in the booth – from gear to beverages?

Boris: I need my four Pioneer CDJs, along with a Pioneer DJM-900 mixer, some banging monitors, along with a bottle of Grey Goose, Red Bulls – and let’s go!

– Jim Tremayne

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DJ TIMES

APRIL 2016

IN THE STUDIO

10

THE KNOCKS: MAKE IT “CLASSIC” It’s a Thursday and Ben “DJ B-Roc” Ruttner and James “JPatt” Patterson of The Knocks are running loose in Minnesota’s Mall of America.

The New York City-based electronic duo has a rare, spare day on its month-long “Route 55” North American tour, which hits 20 cities ahead of the release of its debut full-length, 55 (Neon Gold/ Big Beat). Named after The Knocks’ HeavyRoc studio located at 55 Chrystie Street, in the Chinatown neighborhood of Manhattan, 55 has been a long time coming.

The Knocks’ debut was meant to come out in 2013, but a label change, and massive success with their bumpin’ 2014 single, “Classic” (featuring Powers), took the two in a different direction. “We were cursed,” says Ruttner. “We weren’t accepted by the super-cool indie kids and we weren’t Dr. Luke pop. We were on the edge. Now that edge is blurred, and credible pop is starting to get accepted. It’s about finding the right balance.”

This balance is found in a lush approach to production with delays, unquantized basslines, and a looseness that feels a bit dirty, yet holds its own alongside tight, clean and shiny pop production.

Ableton Live 9.0 DAW is the central piece at HeavyRoc, but it also houses plenty of traditional instruments, including Fender P-Bass and Strat guitar. Other items include Strymon BigSky Reverb pedal, Boss CE-20 Chorus and PH-3 Phase Shifter pedals, as well as a Roland Juno-106, Moog Little Phatty, and Clavia Nord Lead Electro 2. The duo also uses Native Instruments Kontakt Komplete 7 and Spectrasonics Omnisphere 2.0.

What you won’t find The Knocks doing is using the VST version of a keyboard. They stick to the VST for a sound they are intentionally trying to keep digital.

“If we made everything with an analog keyboard, instead of a nod to retro, it starts sounding too retro,” says Ruttner. “We pride ourselves in making this stuff sound like it has a classic vibe, but with a future sound to it. We’ll use the Omnisphere with its borderline trance-y sound, but we’ll pad it or layer it with warm analog pieces. That tends to create a good balance.”

Adds Patterson: “We pretty much run everything through our Empirical Labs EL8X distressors. We try for a ratio of 6:1 or, if we’re really trying to hit it, then, 20:1. Probably 80-percent of the bass or synth line on the album is made on an Access Virus TI, that and the Juno.”

Every song on 55 is mainly started, always completed, or sometimes entirely created at HeavyRoc. The star-studded vocals feature plenty of high-profile artists, including Wyclef Jean on the summertime jam “Kiss The Sky,” Cam’Ron on the ’70s-style swing of “New York City,” Carly Rae Jepsen on the pretty pop of “Love Me Like That,” X Ambassadors on the funky “Comfortable,” and Matthew Koma (continued on page 40)

The Knocks: (from left) JPatt & DJ B-Roc.

Erik Voake

While Dirtybird Takes BrandBuilding to a New Level, Justin Martin Lives the Dream as the Label’s Second Banana

DJ TIMES

APRIL 2016

Best

12

Next Thing By

Chris

Caruso

“i like fun, music, and pizza” There are few other sentences that could sum up Justin Martin as succinctly as his six-word biography on his Twitter profile does. Anyone who follows the avid pizza aficionado on social media is sure to get a regular dose of his absurd sense of humor, whether it’s in the form of laughs, emojis, or even a particularly notable hotel-room a cappella arrangement of a-ha’s meme-ready classic “Take On Me.” Don’t let his silly online demeanor fool you, though. There are few DJs today who take their craft as seriously as the San Francisco transplant. Armed with an infectious smile and an arsenal of bootybusting dancefloor weapons, Justin Martin has been professionally bringing the fun to every party he’s attended to for over 15 years with his signature tech-house grooves.

After spending his formative years in West Hartford, Conn., a college-aged Martin headed to New York City before

Erik Voake

to you. What’s kept it under wraps?

Martin: Touring, man! Touring has been the best and worst thing that happened to this album. It was the best thing in the sense that I got to try a lot of the tunes out on the road, but I also realized that a lot of the stuff—if it had come out a year ago—I wouldn’t be completely happy with. I had to put a lot of stuff down because my schedule was so crazy. I’ve been on the road for almost a year straight.

DJ Times: The “Hello Clouds” tour alone was over 60 dates, right?

Martin: Yes. Since this time last year, it’s been about 170 shows. It went by really fast, but it was just like, “Oh my God, I was supposed to release an album last year!” The silver lining is that I got to put everything down and let it simmer for a while, and I came back to it and heard what was strong and what was weak. Now, I’m 100-percent happy with everything. This album that I’m putting out would’ve been totally different a year ago.

DJ Times: So was there a real deadline?

Martin: Having a deadline on something like this just sucks, and the only reason I had a deadline was because there was the [Hello Clouds] album tour. Once everyone realized that the tour was going to do alright with or without the album, then everyone kind of laid off me and said, “When the album’s ready, then we’ll release it. Don’t try and get it out just for the sake of getting it out.”

DJ Times: Is it a club-ready record?

Martin: It’s half and half. There are some really fun tunes on there that I play in my sets, and then there’s some stuff that’s strictly for headphones. With Ghettos & Gardens, we had eight or nine artists all do the remixes. For this one, I want to do all of the remixes myself,

APRIL 2016

I didn’t really have the luxury of on my first album because no one really knew who I was.

DJ Times: Is this one more vocal-driven?

Martin: It is. There [are] three main vocal tracks, all different singers.

There’s this girl [Laura Bettinson of] FEMME that was on this bootleg I put out of this track called “Small Talk.” I fell in love with her voice and just reached out to her, and we made the title track of the album called “Hello Clouds.” There’s another vocalist—Lena Cullen—who’s absolutely amazing. Her voice just gives you goosebumps. And there’s another vocalist who I think is going to be absolutely massive. I don’t even want to compare her to anyone. Her name is Charlotte OC. I think that might actually be my favorite track on the album.

DJ Times: Back in May 2015, the album was “almost done” according

DJ TIMES

quickly trading in The Big Apple for a permanent residence in San Francisco right at the turn of the millennium. Initially lured into the electronic realm via the harder sounds of jungle and drum-n-bass parties, Martin eventually found himself as a founding member of the now-famed Dirtybird collective alongside Claude VonStroke, Worthy, and his own brother Christian.

Now, some 13 years since the release of his first track “The Sad Piano,” Martin is embarking on his latest project: his long-awaited, second artist album Hello Clouds. The timing couldn’t be more impeccable, either, bookending a period of unprecedented growth and expansion for the San Francisco-based label that culminated with its first three-day Dirtybird Campout festival this past fall.

It’s not hard to see why seas of ravers are doing the proverbial Dirtybird at any of the label’s club nights, festival stages, or nationwide BBQs. In today’s club world, much of the electronic-music offerings fall into one of two diametrically opposed spaces on either side of the spectrum: the chin-stroking underground clubbing cabals and the bottle service-drenched big-room EDM circuit. Martin and the rest of the Dirtybird crew have found a sweet spot in between the two poles, bringing carefree vibes in line with the cutting-edge, off-kilter ghettotech sounds they’ve pioneered.

The inviting attitude has truly resonated with the masses, creating an army of diehard fans that have taken it upon themselves to spread the Gospel of Booty-Tech across forums, social networks, and music festivals across the world. Amidst his dizzying touring schedule, Justin Martin connected with DJ Times.

DJ Times: How was working on the new album different from 2012’s Ghettos & Gardens?

Justin Martin: The first album opened a lot of doors. Obviously, any album should be a labor of love, but I had a lot more opportunities with this one to work with vocalists and artists that I was inspired by. I got to work with some really good singers, which

“i like fun, music, and pizza”

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Jamie Rosenberg

so that’s the next project I’m starting on. And it won’t take me another four years to do it, don’t worry.

DJ Times: So less of a break?

Martin: This year I’m taking it easy. I’m not touring as much because all I want to do is get back in the studio. When I’m on the road and I’m playing as many shows as I do—even when I’m back home for four days—it takes me two days to even want to go back to my room and listen to music again. It gets overwhelming; you just need your downtime away from the 4/4 kick. I need to just listen to some jazz and decompress.

DJ Times: What was your musical upbringing like?

Martin: Neither of my parents were actual musicians, but my dad has the most insane record collection you’ve ever seen. He has every classic-rock and classical record—he was a vinyl collector. He has this McIntosh sound system that’s lasted him 40 years. Back then, it was the equivalent of if you spend like $25,000 on a sound system—he saved all of his money for it when he was in college and he still has it to this day. We used to blast everything on this stereo in our living room when we were kids. They had me and my brother [Christian] taking music lessons; I was taking piano lessons when I was four and started playing the sax in third grade.

I hated classical piano, but now I’m so thankful that they made me do it.

DJ Times: Was that the basis for what you do now?

Martin: Yes. And jazz I loved—playing jazz saxophone in funk bands and quartets and stuff like that. I was a class clown and sucked at school; [my music teacher] was the one person who believed in me.

DJ Times: How did you bridge the gap and get into electronic music? Wasn’t it through drum-n-bass?

Martin: Yeah! My brother is three years older than me.

I was a sophomore in high school when he went off to college, and he started going to these Full Moon Gatherings out west that were just like these desert parties. He was telling me all love with electronic music. about them, and over the summer he was working for PC Magazine in New DJ Times: What were you listening to?

York City as an internship and I came out to visit him. He was staying in the Martin: What really solidified it was when I heard Goldie’s first NYU dorms, and he took me to my first parties when I was 16. I just fell in album [1995’s Timeless]. Around that time, I also heard the LTJ Bukem Mixmag cover CD. Both of those things combined when I was on a jazz band tour in the U.K. It was my 16th birthday, and a friend bought me—and I still have framed to this day—LTJ Bukem’s Logical Progression because I had been listening to the cover CD. That was when I thought, “I want to start getting records.” Something about it just made me think that I wanted to be a DJ. It just started off as a hobby, and then it grew and grew. I ended up going to school up here in New York, and I started going to jungle parties every week and getting completely immersed in the scene.

DJ Times: Your brother introduced you to the parties, but you picked up DJing first. Was there a sort of osmosis between you two then?

Martin: My brother was always giving me records. My brother’s roommates all DJed in college, and I thought they were like the coolest kids ever. I’d go visit and be like, “Dude, your roommates are so awesome,” but he never wanted to DJ. But he also knew every single good song. When I was DJing, he was always giving me secret weapons. I’d be like, “Dude, I don’t get it! You have the best taste ever; you’re giving me all this new shit you find every week—why don’t you do it?” Finally, there was just one day in San Francisco that he came over and I taught him how to match beats. I always say that it’s the best and worst thing that happened to him because he found his passion and never looked back, but he also gave everything else up. He was valedictorian, straight-A college student with so many options and possibilities, whereas I was this fucking class clown, and this was my only option.

DJ Times: Does he still give you secret weapons?

Martin: Oh yeah, to this day! I was talking to him tonight; he told me he was going to send me this new track. Chris and I are each other’s biggest allies always. I’m giving him all the stuff that I make and he’s giving me feedback. We’ve got a good relationship like that.

DJ Times: Which came first for you: DJing or production?

Martin: DJing came way first. I couldn’t afford a computer.

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Hands Up: Dirtybird Campout with Claude VonStroke.

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like, “Oh, you’re doing your party that night? Alright, we’ll do ours the next night.” Everyone communicates and it’s all love. It’s a lot smaller and tight-knit of a scene. They’re totally different playing fields.

DJ Times: Has San Francisco evolved and changed over the past 10-15 years?

Martin: It’s changed a lot in the sense that when I was first going out, there were a lot of underground warehouse parties. There was kind of a backlash to the whole chi-chi Miguel Migs/Naked Music vibe. There was a dot-com boom during that time, so the clubs were all shiny-shirt dudes with sunglasses at night and stuff like that. Not San Francisco locals, but people that had just come to the city for tech jobs. To balance that out, there was the underground loft and warehouse spaces with the Sunset Crew and the Wicked Crew doing these dirty, awesome underground parties.

DJ Times: And now?

Martin: Now, I think the city cracked down on that a little bit and the clubs are a lot cooler. My friends who were going out to these parties grew up and bought clubs, so that vibe is still going on, but in a legitimate space.

DJ Times: Speaking of the dot-com boom, do you think the Silicon Valley explosion has affected the scene at all?

Martin: I don’t know because I’m not there very much anymore. It’s changed supposedly so much in the past two years. I literally go out there four times a year for our [Dirtybird Quarterly] party. I’m just not home.

And when I am, I’m in the studio or I’m chilling with my girl. Or I just go out to happy-hour with my friends. I don’t have time to go out on weekends to scope the scene. I think that San Francisco’s scene is always thriving, though. It’s always awesome. Good music is going to attract good people.

DJ Times: Now did Dirtybird launch?

Martin: I moved to San Francisco in 1999, and Dirtybird started as a party in 2003. It was just a renegade party. My brother bought a sound system once he fell in love with DJing. He didn’t want to go down the route

Wobsarazzi

DJ Times: Did that happen after you moved to San Francisco?

Martin: I moved to San Francisco, and there was no drum-n-bass scene there. There is—I don’t want to sell it short— but I couldn’t find records like I could in New York. I started falling in love with house music. I graduated from school in 2001, and it took me about six months of bartending to save up enough to buy my first computer. I had just been DJing as a hobby since I was 16. I started teaching myself how to [produce].

DJ Times: What differences did you find between the two cities?

Martin: It’s weird. I was in two different places in my life. When I was living in New York, it was larger than life. Going to Sasha and Digweed at Twilo was like, “These people are gods!” I was just this little raver kid climbing onto the speaker and spending all of my money clubbing and going there from the time the doors opened to the time the doors closed.

DJ Times: And in San Francisco?

Martin: It was like, “Oh, my friends are all the DJs. Everyone here is really supportive and cool.” It wasn’t such a big deal anymore. I can’t look at it in an objective way because when I was in New York it was larger-than-life—there was such a gap between me and what the people in the booth were doing. By the time I moved to San Francisco, that gap narrowed.

DJ Times: So it was more homey and comfortable?

Martin: Yeah, yeah. That was one of the reasons why Dirtybird grew and was successful. There was such a great support system of locals and legends alike in San Francisco. People really supported each other.

DJ Times: It seems like San Francisco is more conducive to DJ collectives forming, whether it’s Dirtybird or something like Honey Soundsystem.

New York’s got different parties and promoters.

Martin: Promoters in New York were ruthless with each other. There were stories of people having a party the same night as another promoter and they would call the Fire Marshall and your party would get shut down. In San Francisco, it’s

(continued on page 40)

Lisa Kasberg of I’m a Girl DJ Entertainment in Fullerton, Calif., and a former Female Entertainer of the Year, has decided that retirement is just around the corner.

As in, later this year.

Yes, in 2016.

“The idea of retiring has been in the works for me for a while,” says Kasberg. “I had my children later in life and, as I noticed my twin girls growing faster than I could ever imagine, I decided to start making plans to be done.

“On the long-term side, I made some wise real-estate investments about two years after I started my entertainment company. As soon as the company started to prosper, I decided to expand my investment portfolio beyond DJ equipment and things for the company by buying up real estate.

“And at the same time I started a retirement fund. These two moves—the real estate and the retirement—were probably the smartest things I could have ever done for my future, and I’ve now held onto those homes for just about 20 years.”

For lots of mobile and club DJs, a quick calculation of their finances will reveal that they can retire in about five years—that is, five years after they die.

Surely, each of us would love to be lying on a beach in the Caribbean by the time we reach the ripe old age of 65, sipping on a cocktail.

Yet, in reality, will we still be spinning tunes until we’re 80-years old… or until we’re no longer strong enough to even set up sound-and-lighting gear at a party?

Are DJs planning to eventually sell their businesses and retire on the profits? Or pass their business down to their son or daughter?

Have we invested a portion of our income in bonds, or started a 401(k) or purchased stocks?

Or are we simply purchasing PowerBall tickets and hoping for a miracle?

Adam Tiegs in Seattle, Wash.—America’s 24th best state in which to retire—is probably like the typical mobile DJ. While Tiegs does indeed have a little bit of a security fund plus a life insurance policy, he’s honest in saying he has no substantial savings, no 401(k), no IRA and no stocks to fund his future retirement.

In fact, Tiegs is still climbing out of debt, though he says he does have a few exit strategies.

Those future plans involve “helping out as a tech for audio, video or lighting for local AV companies, becoming a wedding officiant or even a catering or sales manager with local partners I’ve had in the industry,” he says.

“Yes, I am guilty of purchasing lottery tickets, but they do help fund education here locally, so I’m all for that. And I have met with many financial advisors and will work with one or two, as I hope to have extra money as things get paid off in the next couple of years.”

According to a study by WallHub.com, Rhode Island is the worst state for retirement. Their ranking compared the 50 states plus D.C. using 24 metrics across three areas: Affordability (adjusted cost of living, taxation on pensions and Social Security income); quality of life (number of golf courses, museums, and theaters per capita, air quality, elder-

What’s Your Exit Strategy?

DJs Chime In & Tell Us Their Plans for When the Music Stops

By Jeff Stiles

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friendly job market); and healthcare (life expectancy, quality of public hospitals, number of healthcare facilities per 100,000 residents). Predictably, Florida placed at the top of the ranking, while the state of Maine ranked 30th.

“Long term, my wife and I are planning on buying a piece of land and building a half-dozen cabins on a lake for retirement,” says Michael Mahoney of M&M Entertainment in South Portland, Maine. “To get there we are building our businesses. My plan is to start booking other DJs while she coaches business owners, so we would then have the ability to bring folks to the camp for retreats.

“So far we’re about halfway to our financial goal for that property.”

Living in Maine, Mahoney rationalizes that if he and his wife buy right, they should be able to keep taxes low.

“Technology is such,” he says, “that we will likely be able to live totally off the utility grid—with solar panels, well water, LP gas and wood for heat—which

“[Buying real estate and starting a retirement fund] were probably the smartest things I could have ever done for my furure.”

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—Lisa Kasberg

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would result in making a simple living here pretty stress-free.

“We’ve invested in an IRA as well. I’ve been a single operator for 20 years, so my growth plan is still very new. I don’t plan on selling the business at this point, but that depends on how things go with hiring out other DJs. “If that turns into something of substance, I’ll want to groom someone to take over, and arrange a plan to transfer ownership.”

Although he’s not yet ready to pull the plug on his prosperous DJ career, Ray Martinez of Ray Mar Productions in Goodyear, Ariz.—the 11th best state in which to retire—is already making plans.

“Last year, I turned 60 years old and I’m in my 42nd year of spinning,” he says. “Yes, I’ll admit that after 42 years it is in fact starting to take a toll on my body physically, but that’s why someone needs to make a careful exit strategy.

“I’m not quite ready to hang it up yet, mostly because I know I’ll miss the great friendships I’ve made in this career. But thanks to Rob Peters of Rob Peters Entertainment in Boston, there are ways to make money during the week and I took his advice by purchasing a franchise from Bubble Parties.

“My first year I did two parties, just getting my name out by marketing a division of Ray Mar Productions, calling it Bubble Parties Arizona. Last year, I did 20 Bubble Parties, and this year I plan to double that.”

Martinez explains that doing Bubble Parties during the week frees up some of his weekends for the first time in his career. It’s sort of like starting an early retirement from DJing.

“I also cater to assisted-living homes and retirement homes, where I can bring entertainment to active adults and seniors for one or two hours on the weekdays, and the pros and cons actually balance out,” he says. “The cons are the money is not as lucrative as doing weddings, and I still may put in 10 to 12 actual performance hours in a week. But the pros are I get many of my weekends back to spend my family time with my wife, children and grandchildren.

“And I would give up the money any day to spend more time with my family— something on which you cannot put a price tag.”

Martinez has also become an ordained minister, and has begun concentrating on booking more wedding ceremonies through his third company, called Two Hearts As One Weddings.

“It’s nice to still attend a wedding and have the DJ give you the mic,” he says. “I am still in front of an audience, and, hopefully, by the words I say in the ceremony I can make a difference in the lives of the newlyweds as well as any married couples in the audience.

“Luckily for me, my wife Zoila works for American Airlines, and with the

travel benefits we’re fortunate to travel around the world. If I were to continue full-time as a DJ entertainer, vacations wouldn’t come that easily. So if the good Lord allows me to make it eight more years to celebrate 50 years in entertainment, I would be grateful. And if I don’t make that milestone, I’m honored to have performed for audiences around the country and have so many great colleagues that have helped me to achieve the success I’ve had in this industry.

“By the way,” adds Martinez, “60 is the new 40, so I’m only 20—meaning I’m getting a new resurgence of energy to keep me going hopefully eight more years and actually call mine a 50-year career.”

Mark Haggerty, director of operations for Denon & Doyle Entertainment in San Francisco, Calif.—the 15th best state in which to retire—says he plans to continue DJing until they day they take away his headphones and microphone.

Even so, he’s been making plans for his retirement for the past two decades.

“I’ve invested money all along the way to last about the last 20 years,” Haggerty says. “In my portfolio, I have two funds that are similar to a 401(k), I have gold, and I have stocks plus a regular 401(k) plus real estate. It’s amazing how fast the money adds up, because even despite the stock market going up and down there’s still a lot of money in there.

“I figure I need to get it around $2 million for a realistic retirement.”

Both of Haggerty’s daughters have been working for Denon & Doyle for a while, he says, and each has carved out a role they are comfortable with and enjoy.

“They may not choose to pursue this as a career, but I’ll leave that up to them,” he says. “Brian and Sue Doyle—the company owners—are probably passing the business on to their kids at some point, but that’s still a long ways off.

“Currently, if I bring out more gear than just a sound system and a few lights, I’ll bring along an assistant. I’m still very strong and can lift a 100-pound truss base plate over my head, but the question is: ‘Do I want to?’

“Although, I do enjoy the physical part and believe that’s what helps keep me in shape.”

Two months ago, Joe Martin of All Star DJs in Wichita Falls, Texas—the seventh best state to retire—turned 65 years old. He’s now receiving Social Security, but due to the investments made over the span of his career, he’s now tapping into his additional income and living comfortably.

“The savings/retirement discussion is one that’s very near and dear to my heart,” Martin says. “I actually spoke to a room of DJs at a DJ convention about 10 years ago on the topic, and I’ve been making many posts on DJ boards for 15 years.

“I got my first stock for a high-school graduation present in 1969, and I opened my first IRA almost 40 years ago. And since starting my DJ business in 1971, I’ve accumulated stocks, bonds, mutual funds and investments in metals.”

Of course, Martin is not fully retired, as he continues to work about 12 nights a year, but after saving and investing for 45 years, he’s finally able to replace his full-time DJ income 100-percent.

“I’m now living life totally debt-free, due to my stocks, mutual funds, corporate bonds, municipal bonds, metals, and oil and gas royalties,” he says. “Being the son of a banker, I knew the importance of saving/investing at an early age in order to reach a comfortable retirement later in life.”

Martin suggests that DJs wanting to plan for retirement read Money Magazine and the book The Automatic Millionaire by David Bach, while watching CNBC and Fox Business News.

“This is the type of information that should be taught in schools,’’ he says, “but is rarely taught.”

Back to Lisa Kasberg in California, once she realized she wanted to retire she says she also knew she had to try her very hardest to create a company that was sellable.

It was quite a task but ended up being a smart move. “I knew selling I’m a Girl DJ would be almost impossible—because it was all about me—so, four years ago, I launched a new entertainment company called Cheers Entertainment, which operates alongside IAGDJ. It’s bigger, better and most importantly does not have my name associated with it.

“I started growing the business by offering more services, like lighting, photo-booths and live entertainment. It didn’t take long for the company to grow and carry a great reputation, but the beauty of it all is that potential clients have now begun calling in looking for entertainment, but not for me personally. My plan is working.

“So for now, June 25 will be my very last event. Although this might be quite a stretch for most DJs, my husband I decided we both want to be more available to our children, and the only way to do that was to leave our line of work. I’ve sold the two properties I bought back in the ’90s in Los Angeles and we both will now able to retire from our current professions.

“And I’ve also successfully sold my company at a great price, when everyone around me said it would be impossible to do so!” n

I want to talk about mixing... as in the DJ kind of mixing. Beatmixing.

As a longtime DJ myself, I find it curious that, even after the 40-plus years that beatmixing has been synonymous with DJing, some modern jocks find the practice unnecessary.

And if that’s the case, you can stop reading now.

Of course, you have the right to that opinion. I’m just forewarning you so that you don’t waste your time. For those who do find beatmixing relevant or even a subject of curiosity, keep up with me.

If you haven’t figured it out, I am a fan of beatmixing, a huge proponent. Even before I decided to become a DJ, the mix was part of my musical psyche. I can still remember listening to shows on New York City radio featuring DJ-legends like Shep Pettibone, Jellybean Benitez, Tony Humphries and David Morales. I was captivated and mesmerized by the way these masters presented the songs I heard during the day, but in new and exciting ways. I could literally feel the energy coming through the airwaves. When I did decide to be a DJ, that collection of mixes was the blueprint for me as to how a DJ should sound.

THE SEMANTICS OF MIXING Mixing is usually performed live in front of an audience in a nightclub or for a party setting. Mixing is also performed live on radio or recorded in a studio. When a DJ is mixing, the DJ is creating a sequence of musical tracks mixed together to appear as one continuous track. Endless. Stable. Uninterrupted. Unfaltering. Seamless.

The main reason the DJ uses the mixing/blending of songs is to keep dancers on the dancefloor.

Methods of mixing vary depending on the music being played. Dance-music DJs strive for smooth, blended mixes, while hip-hop DJs use cutting, scratching and turntablism techniques.

Further enhancement to mixing can be achieved with harmonic mixing, which focuses on complementary keys and melodies while avoiding dissonant/clashing tones during a mix.

The progression of the mix is a dynamic process. Tracks are chosen in response to the activity on the dancefloor. If the dancefloor becomes less active, the DJ will make a judgement as to what track will increase dancefloor response. Tracks are selected, in part, in relation to where the DJ wants to take the audience. The resulting mix is achieved through a symbiotic relationship between audience and DJ. DJ software can provide Beats Per Minute, automatic mixing, and key detection, which simplifies harmonic mixing. DJ software that has allowed automatic mixing has led to debates regarding the use of this automation.

But that’s another topic for another article.

So there you have a “clinical” gloss over of what mixing is. I don’t want to end the conversation here. Oh no… I want to go deeper. I want to tap into the “why” of mixing. I want to explore the cerebral side of mixing.

Dig into the mental side, understand it, then be creative and have fun with it. Before we go tapping into people’s cerebellums, let’s start at the beginning…

THE RULES There are five rules you need to know about mixing. If you want to take your segues to the next level, this is what you need to know: 1. Know your music.

2. Know your music.

3. Know your music.

4. Practice 5. Know your music.

I can’t stress that enough. You have to know your music. The tracks you use are the building blocks of the sets you create. You can’t create a fluid set if you don’t have a command of the tracks you’re going to use. Do you need to memorize every song made? No. That would help, but not necessary.

What is necessary is that you familiarize yourself with: how songs are constructed; how a song flows; how a song is formatted; and, how instruments sound when they are layered together.

Do you need to be a musician to be a DJ or mix properly? No. But you do need to have an ear for harmonies, melodies, complementary and symbiotic sonic characters.You also need to have an ear for the sonic properties of what clashes and what is incongruent. That is just as important. So in plain English… you need to learn/know what sounds good together and what sounds bad together. The good stuff you repeat, the bad stuff you don’t.

DJ TIMES

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BY TONY FERNANDEZ

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back to basics NO MATTER WHAT KIND OF DJ YOU ARE, MIXING FUNDAMENTALS REMAIN VALUABLE

Intro – 2/4/8/16/32 bars (Optional Hook/Chorus) – 32 bars First Verse – 32 bars Hook/Chorus – 32 bars Second Verse – 32 bars (Optional Bridge) – 4/8/16 bars Hook/Chorus – 32 bars (Optional extra verse + Hook/ Chorus) - 32 bars * 2 Outro – 8/16/32 bars (Source: Steve McQuaid, Carnegie Mellon University.)

Once you’ve recognized this structure/pattern, you can start to break it down and manipulate it.

You look/listen for replicated patterns. The Hooks/Chorus are usually the same. Your basic segues will occur during the Outro of the song ending (going out) and the Intro of the song’s beginning (coming in).

But where the fun is, where the (potential) magic happens, is when you star t your layering/mixing within the different sections of the track. This is where “knowing your music” becomes imperative. The structure of a remix (formally the 12-inch remix, or currently the extended remix) doesn’t depart too far from the above example. What’s different is the remix is structured in such a way that it’s more DJ- and dancefloor-friendly. The extended mix has sections specifically constructed for us, the DJs. We should use them!

The remix is a common structure as well, but there are lots of variations. Once you discover the structure of the song/remix, you can layer new Intros on the current song so that the vocal(s) of the (continued on page 42)

Mixing is the skill of taking two (or more) pieces of music and combining them into a single work.

The principal technique for mixing music is beatmatching, in which a DJ synchronizes the beats of two songs. Let’s take a quick peek at some of these basic components.

Beatmatching: This is a technique used to align the beats of two songs so that they are in sync with each other. In order for the beats to be in sync, a couple of things must be true: 1) The two songs are playing at the same tempo/BPM (Beats Per Minute) 2) The beats must be in phase – i.e., the rhythmic notes (bass drum, snare drum, etc.) occur at the same times.

Crossfading: This is a technique for transitioning from one song to another during a mix, used together with beatmatching. The usual pattern of mixing music is to have a single song playing, bringing a second song in so that both songs are playing simultaneously, and then fading out the first song so that only the second song is playing.

A crossfade is accomplished using the crossfader – a slider that varies the volumes between two audio channels. The crossfader is usually located in the center of the mixer. When the slider is positioned to the left, the song on the left deck will be heard. When the slider is positioned to the right, the song on the right deck will be heard. When the crossfader is positioned in the center, both songs/ decks will be heard.

To perform a crossfade from the song on the left deck to the song on the right deck: Position the crossfader to the extreme left so that only the song on the left deck is playing.

Beatmatch the two songs and align the right song with the left song at the point where you would like to perform the crossfade. (See the next section for tips on how to choose the crossfade point.)

When playback reaches the moment you wish to bring in the right song/deck, move the crossfader into the center position.

When playback reaches the time you wish to fade out the left song/deck, move the crossfader all the way to the right.

Choosing the Mix Point: The previous section explains how to perform a crossfade from one song into another, but it does not explain how to align two songs to produce a good mix. In order to choose a good alignment, it’s important to understand how songs are structured.

If you take a look at song annotations, you will notice that most sections are 8 bars or measures in length, or equivalently, 32 beats in songs with 4 bars per beat. There are exceptions, but most music you will encounter follows this pattern: songs are broken into 8-bar/32-beat sections. It is on those sections where you will want to fade in one song or fade out another.

So, when mixing, align the sections of the two songs and then fade in and out within those sections.

In addition to aligning songs in their phrase sections, there are some rules of thumb for selecting the phrase types during which to perform a crossfade. There is much flexibility on where you choose to do a fade, but you should generally avoid fading when both songs have vocals. Intros, Choruses, Breaks, Instrumentals, and Outros are the best sections to do a fade. Verses are almost always a bad time to do a fade.

Some examples of good combinations of section types for a crossfade: uIntro over Chorus uIntro over Break uIntro over Instrumental uIntro over Outro uChorus over Break uChorus over Outro uLooping Looping: Select the section of audio you want to loop (usually 2 bars/8 beats). Once you have obtained your loop section, you have some freedom to mix in your songs.You can essentially create your own break. This is helpful when some songs don’t have a long enough section to facilitate a nice transition. Looping also helps when you’re running out of time. Grab a loop and make that nice transition.

Cue Points: These can be created to mark particular times in a song. Where is the first beat?

Where is the breakdown? Where do the vocals come in?

Cue points can be used as visual cues or, when triggered, playback will seek the time marked by the cue point. Cue points are important because they can assist you in the location of the song.

Back in the day, you could look at the groove of a 12-inch single and you could visually tell when different sections or parts of a song were coming up. You can’t really do that on a digital music file, so cue points are your friends.

– T. F.

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SONG STRUCTURE Modern songs are broken down into segments of 32 bars. Typical song structure is as follows:

BASICS OF THE MIX

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One needs to be a student of sound and structure. There was a great scene in the James Brown bio pic, “Get On Up,” that illustrates this.

He has the band in for rehearsal and there’s some confusion with the arrangement. Mr. Brown says: “If it sounds good and it feels good, then it’s musical.”

Who can argue with that? Truth be told, one doesn’t have to get caught up in the minutiae of keys, bars, or tempos, once you instinctively understand what you’re dealing with.

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MAKING TRACKS STUDIO…HARDWARE…SOFTWARE…

PIONEER PRO AUDIO: MONITORS & CANS

By Wesley Bryant-King

DJ TIMES

APRIL 2016

As I write this review, it’s been about a year since the renowned private-equity firm KKR acquired a majority stake in what is now Pioneer DJ. (About 15-percent of Pioneer DJ is still owned by Japan’s Pioneer Corporation.)

Private equity firms can exert interesting pressures on a business to perform, and I’ve been curious to detect what these pressures might do to one of the industry’s most celebrated DJ brands. But judging from recent product introductions and the gear on display at this past January’s Winter NAMM Show in Anaheim, Calif., it would appear that if anything, Pioneer DJ is working hard to retain and expand its position.

One of the ways in which it’s doing that is by opening the new Pioneer Pro Audio division of Pioneer DJ. At NAMM, Pioneer DJ devoted the back side of its large booth footprint to the pro audio offerings, which included the GS-Wave and XY series loudspeakers for installed applications (clubs and live venues), as well as the XPRS loudspeaker series which may well be of interest to mobile jocks serving larger gigs.

But the focus of this review are a couple of new studio-focused

26

RM-07: Delivers superb clarity & color.

offerings: the RM series studio monitors (in this review, the RM-07 model specifically, although the smaller RM-05 is also available), and the HRM-7 reference monitor headphones.

First Impressions: Unboxing this new Pioneer gear, one could say the experience was what one might expect from a premium brand. Starting with the RM-07 monitors, let’s just say they make a pretty remarkable first impression.

First and foremost, the RM-07 breaks the wooden mold. Rather than using the much-more-common MDF or particle-board cabinet, the RM-07’s housing is die-cast aluminum, adding considerable heft, while also providing the ability for the speaker’s shape to abandon the common basic box design. I’ll come back to the RM-07 momentarily.

Shifting to the HRM-7 headphones, one finds a rather sumptuous pair of cans packaged with a number of nice touches, including a spare set of ear cushions, two choices of cord (straight and curly), and the requisite adapter that allows them to be used with both common headphone jack sizes.

With a fully over-the-ear design, soft cushions, light weight, and suspension headband system, they’re clearly designed for comfort over extended wear.

RM-07 Operation: Back to the RM-07 monitors… To say they’re sexy would probably not be totally off the mark. In addition to the unique shape and die-cast metal cabinet, the monitors are compact relative to the driver size. That’s largely thanks to the so-called coaxial driver design. Pioneer attributes the drivers to Pioneer sub-brand TAD Labs, but the central atypical design feature is that the main driver and tweeter are on the same axis—the tweeter is essentially in the center of the main driver cone. Pioneer says that a waveguide minimizes interference while the design itself provides a truer, more accurate sound.

The construction and shape of the cabinet is also stated to be more than for aesthetics alone. Pioneer says it’s designed to reduce external diffraction, theoretically providing, once again, truer reproduction. The company goes to great lengths to explain the design of what’s inside the cabinet, too, from the implementation of the front port, to the AFAST (Acoustic Filter Assisted System Tuning) acoustic tubes hiding inside the box.

On the back side, the RM-07 offers the usual array of connectivity and sound options. You can adjust the gain, as well as tri-band EQ for tailoring the monitors to the environment. Connectivity is limited to RCA and XLR—sufficient for any studio application to be sure. Pioneer also provides a switch to enable or disable the auto-standby functionality—a feature I appreciate, and leave enabled.

Lacking a laboratory full of technical gear to evaluate the claims, I’m left to making my assessment by ear using familiar material—at the end of the day, the same way virtually everyone evaluates speakers. I normally use a pair of monitors with 8-inch main drivers, which I’ve always considered the minimum size for serious use in the studio. But I’ve been pleasantly surprised by some monitors with smaller drivers, and the RM-07’s 6.5-inch mains delivers a level of power and purity that is indistinguishable from my usual monitors.

In any event, the clarity and color of the RM-07’s is superb, and they pack a distinct punch when you need it. With relatively flat frequency response across its range—roughly 40 Hz to 50 kHz—and integrated amps that deliver 150 watts of power, I found that they rendered a range of familiar material with tremendous accurately.

HRM-7 Operation: Shifting focus to the HRM-7 headphones, Pioneer

LOUD 131 dB SPL

HRM-7: Good sound, genuine comfort.

NXL24-A 131 dB SPL

has clearly invested a lot with the goal of producing a set of truly world-class monitoring headphones. As I mentioned earlier, they’re clearly designed for comfort over extended periods of serious studio work, with ear pads that are built from multilayered padding of memory foam and conventional foam encased in soft velour fabric.The suspension system consists of a flexible band with double structural components that float above the band, and to which the ear cups attach. The cups have movement on the vertical axis, with slight flex horizontally, which with the easy-flexing elastic in the band results in simple self-alignment to head size and shape with no effort, helping to reduce audio leakage.

On paper, the specs say that the HRM-7s provide amazing 5 Hz to 40 kHz response—outside the range of human hearing on both ends, essentially. There’s no question that the headphones sound quite good.

But evaluating them against a wide range of known material, I’m not fully convinced that they are as flat as one might expect for a reference headphone. The upper midrange feels a bit more pronounced to me than I would have expected, and the low end slightly lacking in punch.

Pioneer doesn’t publish a frequency response graph for the HRM-7s as they do for the studio monitors, so the claimed flatness overall and roll-off points aren’t available. But truth be told, no monitoring system is completely flat across its range, so as with any headphones, I think it’s essential to listen for yourself with material you know in order to make a fair assessment.

Regardless, as I would have imagined by looking at their design, the HRM-7 headphones proved to be wildly comfortable even after a few hours of work in my studio—something very, very few headphones have achieved in my experience. Definitely a plus.

Conclusions: Pioneer Pro Audio’s new RM Series studio monitors and HRM-7 reference headphones prove that the venerable Pioneer DJ brand has no intention of sitting around on its laurels. The innovative and great-sounding RM-07 monitors have a price point that makes them an investment for many buyers (about $800 each, street price), but provide a solid solution for one of a studio’s most important component choices. And the HRM-7 reference headphones (about $200, street price) may well be a great choice for many producers who need to do their work comfortably without waking the neighbors. Together, they certainly appear to establish the Pioneer name as a serious player in the studio-gear space.

SUB 8004-AS 30 Hz • 136 dB

LOW 30 Hz • 136 dB

www.rcf-usa.com

SOUNDING OFF PLAYBACK…PRO AUDIO…PROCESSING

By Mike Klasco & Jay Crisologo I’m sure that some of our readers, especially many of the veteran DJs, are familiar the Spanish loudspeaker manufacturer, D.A.S. Audio. Based in Valencia, D.A.S. launched nearly 45 years ago, ostensibly to supply sound to Spain’s burgeoning discotheque scene.

Of course, as late-night hotspots continue to dot the country, especially in massive tourist Meccas like Ibiza and Barcelona, the company is still going strong. Its visibility isn’t nearly as high in the American pro-audio marketplace, but its Miamibased operation is working on that.

Accordingly, with the vast mobile market in mind, D.A.S. offers solutions beyond the club, like the Vantec 12A. So this month, we’re testing this bi-amped, powered system.

With its 12-inch woofer and 90-x-50 coverage horn, the Vantec 12A can be used by mobile DJs as the main system in medium-sized venues, or as a very highoutput DJ-booth monitor. Bigger brothers in the active version of the Vantec series include: the 15A 2-way with a 15-inch woofer; the 215A 3-way with double-15-inch woofers; and 18A with an 18-inch subwoofer.

The Unit: The internally braced dual-bass reflex port speaker enclosure is made from birch plywood with a tough ISO-flex protective coating and heavygauge protective, perforated steel frame. The 12-inch woofer has a beefy 3-inch diameter voice coil, a large, vented pole piece in the magnetic structure for cooling, healthy cast aluminum frame, and a heavy ferrite magnet.

High frequencies are handled by the M-28 compression driver with 1-inch exit, offering excellent performance. The ferrite-magnet compression driver has a 1-inch exit to the 90-x-50 pattern heroically ribbed plastic horn.

DJ TIMES

APRIL 2016

D.A.S. AUDIO: VANTEC POWER

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Power & Levels: The amplifier is rated at 1,500 watts peak power, but no serious power rating. The built-in amp boasts large-finned heat sinks (no fan is needed) with high-grade circuit boards.The maximum sound level the Vantec 12A can reach is 134 at 1 meter, which is serious enough.

Interface: For Input connectors, 2 x Female XLR; for Loop Thru: 1 x Male XLR; and for AUX: 1-x-3.5 mm (1/8-inch).

Weight & Dimensions: While the amp is a lightweight, bi-amp, Class D design with switch mode power supply (SMPS), the ferrite woofer brings the weight up to 46 pounds. Nonetheless, with its reasonable dimensions (24- x 15- x 14.8-inches), each unit remains manageable enough for one person to carry. Additionally, the enclosure is equipped with a pole-mount socket with dual angles, rigging points and two recessed carrying handles. It should also be noted that the unit’s padded cover is 20-mm thick, about four times the industry standard, according to D.A.S. Audio.

Processing & More: Then there is the userdefinable DSP with LCD screen. Sophisticated digital Finite Impulse Response (FIR) filters are used in the signal processing. User-configurable presets, high-pass filter and EQ modes, and gain control are achieved by way of a rotary-knob interface and LCD screen on the rear of the cabinet. The onboard presets include Live, Dance, Vocals, Bass Boost and Monitor modes; but allow you to stack the 3-band EQ on top for even more flexibility.

The Vantec series also allows users to wirelessly stream music from any mobile device with a separate input level control for wireless operation. For normal stereo wireless operation, one Vantec 12A acts as the

master and the second the slave (second channel), making it one of the only professional HD wireless speakers on the market to allow stereo configurations.

For setups where the speakers may be unevenly placed from the dancefloor or focus area, there is also an onboard delay allowing the user to delay one speaker back to the distance of the other for a more even coverage of the venue. Plus, the Standby feature helps save on electricity when audio is not preset for a set amount of time.

Listening: The bottom line here is that the Vantec 12A can belt out decent levels and, on acoustic program materials, you get clear, balanced sounds with excellent octave-to-octave balance. Whether you require such a system for mobile-DJ work or booth-monitor duty, the Vantec 12A ($999 MAP) will do the business for you.

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

WHY WOULD YOU BUY ANYTHING ELSE? RELOOP RP-8000

FEATURES > On board midi buttons ( 8 – Cues, Latching loop, Loop rolls, Sample mode, and User/Slice mode ) > Adjustable torque > Adjustable start and brake > On board digital display for BPM and pitch control > On board trax’s encoder and USB link for linking turntables > Two start and stop buttons with removable light > Reverse button “With the RP-8000 Reloop hit a home run!”

— DJ Times

“This is the turntable I would purchase in a second.“

“We fell in love with the streamlined design and ease of use.“

— Mobile Beat

— DJ City

PIONEER PLX-1000

Yes

No

Yes Yes Yes Yes Yes Yes

No No No No No No

“The RP-8000 is the postcontroller revolution deck that people have been waiting for.”

“The best of both analog vinyl and digital worlds in one powerful package.”

— DJ Booth

— DJ Worx

A division of Jam Industries Ltd.

For more information visit: www.americanmusicandsound.com

Pioneer and PLX-1000 are registered trademarks of Pioneer Electronics (USA) Inc.

XONE+SERATO DJ=PERFECTION

Xone 43

Xone 43C

Created for DJs and electronic music purists, Xone:43 is a 4+1 channel DJ mixer offering the very best of analogue audio quality, including the legendary Xone filter with resonance control, 3 band EQ, crossfader with three curve settings and X:FX for send/return to your favourite FX unit.

Xone:43C is the perfect gateway to the full spectrum of digital DJing. The mixer is supported by leading DJ Software, Serato DJ, by purchasing the Serato DJ Club Kit - eliminating the need for any external interface. Whatever your workflow, Xone:43C delivers a uniquely fluid mixing experience.

A division of Jam Industries Ltd.

For more information visit: www.americanmusicandsound.com

www.allen-heath.com

MOBILE PROFILE CAREERS…INNOVATIONS…SUCCESS STORIES

DJ BUILDS BIZ BRICK BY BRICK

By Con Carney

Travis Seibert started his company in 2005.

“Life goals and expectations are not

DJ TIMES

APRIL 2016

a sprint. They’re,

30

in fact, achievable if you look at them like a marathon.”

Madison, Wis. – Travis Seibert was never shy about getting a party started. That’s what Mark Miller, the owner of Sound Storm Productions, saw when he recruited the young Seibert in 1987 to help DJ a prom—before he was technically eligible to go to prom.

“I remember being so nervous that I felt like a wanted to throw up,” says Seibert. “The good thing was that at this time tapes and CDs where the format for DJing. I had a lot of music and the knowledge to go with it.”

Seibert says the butterflies passed soon after the dance got started. When it was done, he was sure he had delivered a subpar performance. The school contacted Miller the following day. “I was sure they wanted to complain about me not being up to par with their expectations,” says Seibert, “but I was wrong.

The school wanted to book for next year with me as the DJ. They said the dance was amazing.”

Seibert, always his own worst critic, was on his way. The bug had bitten him. “Mark saw something in me,” he says, “and took a chance.”

After that, his DJ ambition, if not his career, started to get some traction. He started making CDs for people, which led to him doing small house parties. In 1995, he enrolled in broadcast school in Dayton, Ohio, where he applied at a nightclub that was looking for a DJ—he showed up and had no idea what he was in for. “The ad didn’t specify what kind of club it was, but it became pretty clear quickly,” he recalls. “It was a juice bar that featured women wearing bikinis and lingerie... a strip club, sort of, but with some elegance.”

The owner told Seibert to play a song and introduce the dancer. He did. Then she told him to announce her coming off the stage over the music. He did.The owner hired him on the spot.

He worked at this club, Pzazz, for some time, the 3-to-9-p.m. shift, after his classes were done at the broadcast school. He would then drive to Cincinnati, 55 miles away, to work at a club called Bourbon Street. That’s where he met DJ Taz. “DJ Taz, who was originally from Brooklyn, N.Y., taught me a lot,” says Seibert. “Taz introduced me to record clubs, turntable-style DJing and lighting controls.”

Fast-forward 10 years and he’s started Madison Mobile DJ Service in Wisconsin’s capital city. Since then, he’s slowly grown in staff, expectations, equipment, services and goals. Today, he’s got 22 DJs and three photo booth techs.

“I’m so proud,” he says. “When I started the company, it was never about having the best lights or DJ gear. It was always about the

people. You’ve got to have a great foundation.”

Of course, when he launched in 2005 he did run into initial challenges—namely, capital. “I’ve built the business painstakingly, brick by brick,” says Seibert, who worked a full-time job as a business and store manager for Verizon, while working nights and weekends on the DJ business.

Three years ago, he finally ditched the corporate job to DJ full-time. “When you’ve got to work another job to go do the job you love, it’s humbling. It also builds character.”

Fortunately, Seibert is stubborn—he attributes it to his German heritage—so all he knew was to fight. “Life goals and expectations are not a sprint,” he says. “They’re, in fact, achievable if you look at them like a marathon. As long as you don’t give up you’ll achieve. I want to someday have my time and money be equal. That way I’m not a slave to either—that’s the secret to life.

Work to live, not live to work. Simple.”

It helps that he still believes in the mission of a DJ—to help people have a good time on the most important days of their lives. “I love being able to do an event,” he says, “and have people come to me and ask, ‘What was that last song?’

It’s even better when the guests stop to thank you for playing music they can relate to. Everybody wants to hear their songs at an event. Most are happy with hearing just one. The problem is they oftentimes don’t even get that. The DJ’s knowledge and range can make him or her stand out every time.”

P.A.-wise, Madison Mobile DJ Service jocks generally use either a Bose F1 active tower or an Electro-Voice ZLX system. Additionally, they use Virtual DJ 8 software, MacBook Pro laptops, and Rane MP44 mixers, plus a wide variety of Chauvet lighting gear—from EZpar 64 uplights to the gigBAR IRC. Where does Seibert see his company in five years? He says he hopes to have with 25 DJs and five photo booths, plus a commercial location in downtown Madison perhaps. “I want to keep improving our equipment, stay educated and continue to find people who are passionate about DJing,” he says. “I would like to help as many people as possible.”

And as for eventually stopping his DJ career?

“Only when it’s not fun anymore, and that means never I guess,” he says. “I just don’t allow myself to have a bad show, have events end early or give up on a crowd. I’ve still got a lot I can learn and teach others. I want to keep pushing to bar higher. We pride ourselves on this. Our A+ rating with The Better Business Bureau and our 2014, 2015, 2016 Couples Choice Awards keep motivating me to do better.”

DJ EXPO 16: THE PLACE YOU WANT TO BE

AUGUST 15-18, 2016 TRUMP TAJ MAHAL | ATLANTIC CITY, NEW JERSEY In 1990, DJ Times first presented DJ Expo and 26 years later, it remains the industry's longest-running and best-attended trade show.

Each August, DJ Expo presents more than two dozen educational seminars, an exhibit hall jammed with the latest DJ-related gear, and three evenings of sponsored events. This year’s show will bring all of this and more!

FOR MORE INFO OR TO REGISTER ONLINE thedjexpo.com | 1.800.YES.7678 For exhibit and sponsorship information, contact Tom McCarty at 516-767-2500 Ext.507 or email tmccarty@testa.com

# DJEX P O2016 /THEDJEXPO

@TheDJExpo_

BUSINESS LINE SALES…MARKETING…SOLUTIONS…

DO YOU HAVE A BRAND-AWARENESS PROBLEM?

DJ TIMES

APRIL 2016

By Ed Convery

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Most DJ businesses create brand awareness in a number of ways: social media, sponsorships, a logo on their van, and flyers. Some even rely solely on their exceptional performances to generate word-of-mouth awareness. A few DJ companies have resorted to hiring a PR agency.

Nothing wrong with any of these tactics, of course. Yet still, many DJ company owners often feel if they’re not spending any money on creating awareness of their brand—where it matters—they have a brand-awareness problem.

While there is more to booking gigs and maximizing customer interactions than brand awareness, it’s hard to argue that building at least a minimal level of it is a good idea.

After all, big companies consider their brands to be their most valuable assets, and they do not consider brand-building a discretionary expense to be cut during challenging economic times. Rather, it’s a necessary and consistent investment that is required to establish competitive advantage. And to that end, they consistently invest in their brands to build—not only awareness—but differentiation, relevance, preference, and sustainable equity.

Maybe branding and creating awareness is a part of your approach, maybe it’s not. Either way, the following are some tell-tale signs that your business has a brand awareness problem. u Your repeat business has declined every year for the last five years. Word-of-mouth should be your most fruitful source of revenue.

u Journalists, bloggers and editors who are putting together “round-up articles” don’t reach out to you. u When you Google your company name, your screen says, “Your search did not match any results.” u People mispronounce your company’s name so much that you’ve considered changing it.

Or worse, they have no idea what your company name means. u You personally know all of your company’s Facebook and Twitter followers. u Visitors to your website have no idea what you sell or offer. u People are surprised to learn you’re still in business. u Your social-media posts are ignored. u You introduce a new logo and no one notices. u You hand someone your card and they don’t know you’re in the DJ industry. u Your email open rates consistently underperform against the average in your industry which, according to Constant Contact, should be about 17-percent. u Ten different people give you 10 different answers to the question, “What do you think my brand stands for?” u Your social-media posts are not liked, favorited or shared. u Your employees spend more than 30 seconds explaining what you do in a compelling way—in other words, they can’t explain what your brand stands for in a single sentence. u When you’re not at a bridal expo or other industry function, people look at your business card and have no idea what you do. u You (or your sales team) spend a lot of time validating your company, why you’re different and why you should be trusted. u People ask you, “So what is it that you do?” right after you tell them that you’re an entertainment company. u This is a frequent one, and it’s perhaps not fair because most DJ companies are intensely regional: People confuse your business name with your competitor’s. u You are not ranking for your SEO keywords and phrases—“DJ company in Lansing, Michigan” for example. u You spend more time discussing what your brand is internally than marketing it externally. u Nobody dislikes you. u Your customers can talk more fervently about those two tepid reviews on the Wedding Wire than any new or exciting services or products that you’ve introduced. u When you have to keep telling people, “We’re more than just a DJ company.” u Your company is most frequently described in terms of how you resemble the competition, instead of how you’re different from them. u Prospects refer to you based on what you do as opposed to who you are. (Example: “Let’s call that DJ company we saw at the bridal show.”) u You hire a PR firm to promote your new photo-booth services and no one is interested. u You can’t sum up your brand proposition—why you exist—into a tagline. u You need to spell out your brand name every time you give someone your address or website. u You’ve increased your attempts at brand awareness and your sales are declining.

Do any of these look familiar? Of these 30, if you’ve identified a handful as relevant to your situation, don’t panic.

Take the time to dig into what makes your DJ service unique. In a competitive industry where clients tend to view your service as a commodity, it’s easy to lose track of what sets you apart. Even if you are competing on price, what else are you offering besides a low price that a competitor could match? What makes you distinct?

If you’re a young company, it helps to become more aware of yourself and think about what clients receive from you that no one else can do. Even if other DJ companies do what you do, no one else thinks like you do. That thinking translates into behavior and action. For a service company, that’s what sets you apart. Start there.

GEAR AUDIO…LIGHTING…STUFF

RM with a View

Hex Yeah

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

ADJ Products 6122 S. Eastern Avenue Los Angeles, CA 90040 (323) 582-2650 www.americandj.com

Pioneer DJ’s RM Series of coaxial active reference monitor speakers includes the RM-05 and RM-07, which are designed with the woofer and the tweeter on the same axis “to ensure a truer response across the frequencies,” according to Pioneer. Both models have a 1.5-inch hard dome aluminum tweeter and a die-cast aluminum cabinet that features curved surfaces to “optimize the rigidity and reduce external diffraction,” according to the company. Additional features included a front-loaded bass reflex design, three-band EQ, auto standby on/off function and a toroidal transformer power source.

Climb Every MT

ADJ’s 12P Hex is an LED par fixture that utilizes 12 12-watt hex LEDs to create a color-wash effect. The unit sports a patentpending lie-flat design and features a 30-degree beam angle, 63 built-in color macros, seven built-in programs, and both LED pulse and strobe effects. The 12P Hex operates in five modes—Static Color, Program, Sound Active, Dimmer, and a DMX-Controlled mode that offers users a choice of four channel modes: 6, 7, 8, and 12.

Yamaha Corporation of America 6600 Orangethorpe Ave Buena Park, CA 90620 (714) 522-9011 www.yamahaproaudio.com Yamaha expanded its MT Series of professional studio monitor headphones with the HPH-MT7. The MT7 headphones feature custom drivers that are made from aluminum wire coated in highly conductive copper and come equipped with CCAW voice coils and neodymium magnets. They sport large ear pads that are made from synthetic leather and can be adjusted with three-dimensional arm pivot construction and highly-adjustable slider length. Additional features include solid ABS housing, die-cast aluminum support arms and a sweat-resistant headband. Low-resistance cushions are also included to absorb excess vibrations and reduce sound leakage.

Cards on the Tabletop

DJ TIMES

APRIL 2016

Grundorf Corporation 721 9th Avenue Council Bluffs, IA 51501 (712) 322-3900 www.grundorf.com

34

Grundorf’s BB-48LSWB Beat Booth Tabletop Lycra-front façade is available in both black and white. The façade’s two sides fold, after which the front folds back over the sides. It’s used in conjunction with the Beat Booth, which features a table that is height adjustable from 26.5 inches up to 39.5 inches and supports up to 200 pounds. In addition, the table incorporates a cable feed at the back to help manage cable tangling.

AUDIO…LIGHTING…STUFF

GEAR

Interface Ceremony Steinberg/Yamaha 6600 Orangethorpe Ave Buena Park, CA 90620 (714) 522-9011 www.steinberg.net Steinberg Media Technologies has released the UR22mkII, a second iteration of the company’s audio and MIDI interface. Housed in a full-metal chassis, the unit offers 192 kHz/24-bit audio quality across two channels and features software for PC, Mac and iPad. Features include a headphone output with dedicated volume control, USB port, two balanced line outputs and MIDI input/output connectors. Also, two Neutrik combo connectors for microphone and line input each feature gain control and peak indicators, plus there is an additional high-impedance switch on the second input.

Monster MASCHINE Native Instruments 6725 Sunset Boulevard, 5th Floor Los Angeles, CA 90028 (866) 556-6487 www.native-instruments.com iMASCHINE 2 from Native Instruments is the first music production app to include optimizations for the new 3D Touch features on iPhone 6s and 6s Plus.

The app features a Smart Play keyboard that uses scale, chord and arpeggiator functionality. There is a step mode that facilitates drum programming through the use of a 4x4 pad grid as a step sequencer to produce loops. Also, the arranger allows producers to turn loops and scenes into full tracks by creating different patterns per group, and then adding, moving and deleting song sections.

Other World on a String

Beam Me Up

Zero-G www.zero-g.co.uk

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

APRIL 2016

Chauvet DJ’s Intimidator Wave 360 IRC features four tilting RGBW heads mounted on a single rotating base. Each of the independently-controllable heads is powered by a 12-watt Quad-Color (red, green, blue, white) LED with a five-degree beam angle.

Selection of beam colors can be done via a DMX controller, with the unit offering the options of either 17 or 33 DMX channel operation. In addition, users can adjust the pan to 540-, 360- or 180-degrees and the tilt to 270-, 180- or 90-degrees.

DJ TIMES

Other Worlds: Cinematic Textures is a 4.6GB collection of cinematic textures and atmospheres created by sound designer Adam Pietruszko. The library contains 500 royalty-free samples that were created using “a combination of different synthesis techniques plus intricate effects and reverb programming,” according to the company. The samples come in both Acidized Wav and AIFF file format and were recorded in 48KHz and 2 4b i t res ol ution. In addition, the collection includes E X S 2 4 , Ko n takt, HALion and NN-XT instruments.

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GEAR AUDIO…LIGHTING…STUFF

Cover to Cover Mixware 11070 Fleetwood St, Unit F Sun Valley, CA 91352 (818) 578-4030 www.mixware.net The Decksaver Ableton Push 2 cover is designed specifically to fit the Ableton Push 2 controller. Made from Polycarbonate, the cover is both thin and strong to protect the gear from smoke, dust, liquid and other damaging elements, as well as accidental impact. The cover fits the controller “like a glove,” according to the company, while still accommodating the cables. It slides straight into a flight case or controller bag and it shields the controls from damage in transit, as well as while in use.

Special KS32 Smithson Martin 11451 NW 36th Avenue Miami, FL 33167 (800) 965-7320 www.smithsonmartin.com The KS32 from Smithson Martin is a touch-control DJ system featuring Emulator. The unit is designed to complement PC software and will soon support Mac OS X as well with Emulator 2.0.

The KS32 features a touch area of 32 inches that has a response time of less than five milliseconds. Users can choose from a list of standard templates that resemble their preferred controllers using the new 10-point capacitive touch solution.

Splice of Life Splice www.splice.com Splice announced that users can now preview and download individual Synth Presets for Massive, Sylenth, Serum, and Spire from the cloud-based Splice Sounds music creation platform. These include exclusive presets from Spinnin’ artist Mike Hawkins and Anjunabeats producer 7 Skies. Using Splice Sounds, users can not only hear previews for each individual preset but also toggle playback dynamically to hear the synths in monophonic and polyphonic, as well as low, mid, and high registers.

Start Your Engines

DJ TIMES

APRIL 2016

Denon DJ/inMusic 200 Scenic View Drive Cumberland, RI 02864 (401) 658-3131 www.denondj.com

36

Denon DJ has released the MCX8000 DJ controller. The unit features the company’s Engine media player and four-deck Serato DJ software, and can run on both at the same time. Housed in a metal construction, the MCX8000 comes with velocity-sensitive performance pads, three built-in instant effects, and a four-channel digital mixer with two microphone input. There are two USB inputs and, using Denon DJ Engine, users can use the MCX8000 with USB drives without the need for a computer connection.

AUDIO‌LIGHTING‌STUFF

GEAR

Push It Ableton Inc. 36 W. Colorado Blvd. Suite 300 Pasadena, CA 91105 (646) 723-4550 www.ableton.com Ableton released a new version of Push that features a new high-resolution RGB display that makes library navigation, sample waveforms, effects parameters, and mixer levels both instantly visible and tweakable via the touch-sensitive encoders. The company has made the silicone pads smoother and more responsive and, thanks to fast and flexible sampling workflows, users can slice samples across the pads and play back single hits and time-stretched samples. Push 2 ships with a universal power supply and USB cable.

FL Frontal Image Line Software Franklin Rooseveltlaan 348 D B-9000 Gent Belgium +32 9 281 15 33 www.image-line.com FL Studio 12.2 is now available, featuring a complete vectorial overhaul of 25 plugins, including FL Keys, Soundfont Player, Stereo Enhancer, Drumsynth Live and more. The new update includes 1,650 one shot drum samples, including 121 Claps, 47 Cymbals, 110 Foley, 353 Hats, 349 Kicks, 192 Percussion, 57 Rims, 26 SFX, 48 Shakers, 286 Snares and 61 Toms. Additional features include 15 new scale presets on the keyboard, and separate color and icon menu options for Playlist Tracks, Channel Rack buttons and Mixer Tracks.

Hot Cans

DJ TIMES

The latest addition to the critically acclaimed M-Series line, the ATH-M70x professional studio monitor headphones feature proprietary 45-mm large-aperture drivers and are tuned to accurately reproduce extreme low and high frequencies (5 to 40,000 Hz) while maintaining perfect balance. They are ideal for studio mixing and tracking, FOH, DJing, mastering, post-production, audio forensics and personal listening. Crafted for lasting durability, the studio headphones provide excellent sound isolation and are equipped with 90-degree swiveling earcups for easy, one-ear monitoring.

APRIL 2016

Audio-Technica U.S., Inc. 1221 Commerce Drive Stow, Ohio 44224 (330) 686-2600 www.audio-technica.com

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TRACKS…MIXES…COMPILATIONS

“DENIAL” (REMIXES) u Josh Wink

u Ovum

Technoheads, rejoice. With this remix package, Ovum supplies a pair of sublime, yet very different efforts from Luke Slater. On the Vintage & dark, pulsing “Planetary Assault Morelli Systems Remix,” things get harrowing and downright ominous—sci-fi/ horror territory. (Good for 3 a.m.? Maybe 5 a.m.) On the other end of the spectrum, the more dynamic “L.B. Dub Company Remix” offers more dancefloor snap, while maintaining the original’s trippy pulse and “live in the future” mantra.

Lorenzo Dada

– Jim Tremayne “OCCHIOLISM” EP u Kindimmer

Maxim Lany

Poker Flat u On this vinyl-only release, Kindimmer brings his unique style of deep, dark, raw and punchy tech-house. Of the four cuts, the quirky groover “Your Name of Choice” gets the nod.

– Tommy D Funk

Kindimmer

III u Moderat u Monkeytown Once again, the perfect union of German studio mavens Modeselektor and Apparat yields an immaculately produced album of introspective electronica, brimming with broody lyricism and wrenching grooves designed to hit you straight in the feels. The melancholic highlights include “Eating Hooks,” “Ghostmother” and “The Fool.” Darkly beautiful stuff.

– Chris K. Davis “OFF-KILTER FUNK” EP u All Good Funk Alliance u Super HI-FI Recordings A strong trio of synth-funk cuts with killer beats, sharp keys, ’80s-inspired jazz-boogie with punchy breaks. All three kick with a forceful snap, but make sure you check out the bumpin’, disco-leaning “On Kilter.”

Josh Wink

– Tommy D Funk “FUNKY MUSIC” u Gianni Bini u Ocean Trax

Yup, funky music is most definitely the name of the game here on the latest from Italy’s Ocean Trax. DJs get three mixes with Gianni Bini’s own version flexing its disco muscles.

Alex Dimou

– Curtis Zack “A LITTLE BIT OF DISCO” u Dirty Secretz u Nervous Nervous Records lands a bullseye with this new, soulful house release from the U.K. act. Sporting a feel that harkens back to the deep vibes of the ’90s, this one’s a surefire funky-house thriller. Featuring a cool, soulful vocal and a deep, funky progressive bass groove, it’s a party-starter. Outstanding!

– Phil Turnipseed MY ROSE ENCHANTED DESTINY u Vintage & Morelli u Silk Music Cinematic, effusively emotional, and diverse in genre, this debut CD displays a maturity that’s not often shown in the electronic realm. But V&M (aka Serbia’s Marko Cubric) really brings it. Whether it’s electro-poppy (“We Are Future”) or house-proggy (“Sweet Surrender”), breakbeat-trance (“Afterglow”) or downtempo (“Lullaby”), this one will stick with you.

DJ TIMES

APRIL 2016

– Evan Maag

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“LOVE APPAREL” EP u Lorenzo Dada u Culprit Though definitely on the dark tip, Dada’s new EP nonetheless delivers some robust beats and grooves. With a sound filled with tech-house, soul, ambient and jazz elements, it’s all adventurous and hypnotic. We love all the tracks, but especially “Powder” and the Axel Bowman remix of the title cut. Most definitely worth your attention.

– Phil Turnipseed

GUEST REVIEWER: Matthew Lipsit SURGERY EDITS, VOL. 7

u Dr. Packer u Discodat

On this new release from the Aussie discoedit surgeon Greg Packer, DJs get eight fresh, classic edits geared for the dancefloor. Highlights include groovy, disco-house takes on Oliver Cheatham’s “Get Down Saturday Night” (aka “Friday’s Enemy”) and Evelyn “Champagne” King’s “Shame.” Also, don’t sleep on the smoking, hot Quincy Jones staple “Razzamatazz” (aka “Little Bit of Razz”).

Moderat

Dirty Secretz

“BLESS HER SOUL” u Man Without A Clue feat. Maleka u DFTD Like a heartbeat, the infectious bassline pumps through this pulsing house track, as Meleka offers an emotive vocal flow. The darker “Dub Vox” is a perfect weapon for the afterhours realm as well.

– Tommy D Funk “THIS TIME” u Alex Dimou feat. Black Soda u Rebellion Rebellion continues its steady release of quality deep-house tracks with yet another floorfiller—and this three-tracker features some very cool mixes.

The original is a straight, underground banger that’s also rugged and soulful.

But we also love the “dOP Late Dub,” a sort of “beatapella” that features some light percussion, dark effects and sparse vocals—great for a breakdown. Very cool.

– Phil Turnipseed “THE CRAVING” EP u Maxim Lany u Lany Recordings The Belgian DJ/producer delivers a sizzling piece of deep-tech soul here. Of the four tracks, we loved the proggy “Seoul” with its beat-drenched groove.

Also, check the thick, dark sound of “Nerve” and the equally tough title track.

– Phil Turnipseed TOOLROOM MIAMI UNDERGROUND 2016

u Various Artists u Toolroom

“TENDERNESS”

u Antonello Ferrari, Aldo Bergamasco & Michele Chiarvarini u Quantize High-class disco-house on offer here. A great vocal courtesy of Samantha Johnson and sublime mixes coming from the aforementioned and label kingpin DJ Spen himself.

– Curtis Zack

DJ TIMES

– Tommy D Funk

APRIL 2016

Toolroom’s on fire here with this rough-n-ready comp, which features 17 new and exclusive techno, tech-house and deep-house stompers. Highlights include Sergio Fernandez’s “Mad Beast,” Groovebox’s “The Shadmock” and D-Formation’s “Turn of the Future.”

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The Knocks

(continued from page 10) on the irresistible joint track “I Wish (My Taylor Swift).”

Recording vocals for The Knocks, Ruttner says, requires some finesse.

“We use the Neumann U87 mic—the digital one—into a Great River Electronics preamp, then into a distressor outboard compressor,” he says. “We don’t really slam the distressor with vocals. We let it run through for a little extra warmth. We like our vocals crispy, pretty, and pop. We usually cut out some of the lows and boost some

of the mid-highs to give it that sizzle.

“A lot of our music is drums, low end, and midrange. Because our production is pretty wall of sound-y, the vocals have to be able to cut through all the stuff going on. We use the Waves Diamond Bundle and send the settings to our mixer to get it to sound the way we wanted using our same chains.”

The Knocks are no strangers to DJing either, having been at it for the last 15 years. But the majority of their

dates for the last couple of years has been as a live-stage act. For this, they swap out their four Pioneer CDJ2000s, Pioneer DJM-900 Nexus mixer and USB sticks for some classic outboard gear. On Patterson’s side is the Nord Electro 51-key, which MIDIs to Virus TI Snow. He additionally has the Fender P-Bass and Shure SM58 microphone.

On Ruttner’s side, there’s the Moog Little Phatty. He also runs Ableton with a Native Instruments Maschine

pad triggering a ton of sounds. Plus, he has Roland SPD-SX Sampling Pad Edrums and a vocoder running through another SM58.

The setup is part convenience, part necessity. “When we started doing our live show, people didn’t really know what we were doing,” says Patterson. “Are the live? Are they DJing?

It’s electronic with some instruments being played. We have instruments in our music, but we don’t have the money to pay a band.”

quirky. If you listen to the early Dirtybird releases, they’re pretty out there, and no one was really doing that at the time. That was when Barclay decided that we needed a label for the sound. He started the label, and it’s just grown into this giant, amazing, awesome movement, brand, family, party, everything!

DJ Times: There’s always an air of fun surrounding everything Dirtybird does. Is that a conscious choice?

can inspire someone in any way possible. We’ve all taken that ethos—Barclay, my brother, J.Phlip, Worthy, the core crew and extending onto all the artists that become part of the family—and we’re just having fun. Yes, this is our job and our passion, but the most important thing is if this stops being fun, I won’t be doing it. That combined with the fact that we’re all pretty approachable people and we keep each other grounded. No one’s

It’s trying to gauge whether someone has a good vibe or not. You could honestly make the best music in the world, but if you’re a total shithead, then you’re probably not going to sign another with Barclay. Every single person on that Dirtybird Campout lineup that I know, I can vouch for. They’re all awesome people that I look forward to hanging out with again.

DJ Times: What about Dirtybird Campout? What was it like seeing something you’ve grown for 10 years become that?

Martin: It was emotional! It was amazing. It was incredible. It was a dream come true. It was absolutely one of the most special weekends of my life.

DJ Times: Do you want Dirtybird to continue to grow, or do you want to cap it out in a sense?

Martin: We definitely want it to keep growing, but within its means.

The Campout wouldn’t be the same if it was a 50,000-person festival. You’ve got to keep it intimate and keep it personal. There are caps, but that doesn’t mean we can’t do two festivals—one on the East Coast and one on the West Coast—or do more cities for our BBQ. I think the growth is unlimited, but we definitely want to keep the experience the same and make sure that the whole DJ booth isn’t just a big Budweiser can.

DJ Times: What’s your studio situation like?

Martin: Oh boy. In the last three years, Worthy moved out of my apartment. I was living with him and Ardalan. Instead of renting out the third room, I decided to move my studio into it. Up until then, I just had it in my bedroom, which is great, but my girlfriend lives with me, too, so it’s not that great. She can sleep through anything, but sometimes it’s just like, enough is enough. I definitely work way past the hours I should be working. Having a new room, I suddenly got the hardware bug and I started buying a lot of shit because of just having the space to put it out. Right now, it’s my dream studio.

DJ TIMES

APRIL 2016

Justin Martin

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(continued from page 16) of having to pass out his mix-CDs just to get an opening gig. He said, “Let’s skip the line and do our own party.”

He put a sound system on his credit card and bought a generator, and we just started doing the Dirtybird BBQ. At the time, I had just met Barclay [Claude VonStroke] not much earlier than that.

DJ Times: How did you two meet?

Martin: It’s really random. My brother was working at a company called One Infinity that did webdesign stuff. His business partner’s mom was grocery shopping and met Barclay’s mom, and they just started talking to each other. It’s so funny.

How many times has your mom said to you, “I met the nicest person, you should meet them!” and you’re like, “Whatever, Mom.” If they hadn’t have met, though, none of this would’ve happened.

DJ Times: So they arranged a play date?

Martin: Yeah! At the time, Barclay was working on this documentary on “How to DJ” and needed some music for it. My brother was helping him film and was like [to me], “You’ve got to meet this guy. He’s interviewed 30 successful DJs and knows the keys to success.” I had this sit-down with Barclay, and he was like, “If you give me some music for this documentary, I’ll help you out, and we’ll see if what I’ve learned actually can help someone.”

DJ Times: So, what happened?

Martin: He became my manager and, shortly after that, I signed a record to Buzzin’ Fly—Ben Watt’s record label—for my first release “Sad Piano.” After that, [Barclay] saw that what he was teaching was working, and he was like, “I can do this.” At the time, he met his wife, and she gave him one year to try and make it. If he didn’t make more money than her that year, then he had to get a real job.

Then he blew up as Claude VonStroke.

DJ Times: Things worked out.

Martin: Shortly after that, the renegade party built steam and we just needed a place to put out our music because ours was kind of weird and

“[At Dirtybird], we’re the most serious not-serious people you could ever meet.”

Martin: We’re silly people; we’re all kind of quirky in our own way. We never really thought that we’d get this far, so I think all of us just have this sense that we know the ingredients that work and the base of it all is our friendship and sense of humor. Barclay and I both have said this: We’re the most serious not-serious people you could ever meet. We’re very, very hard-working and will fucking do anything to get our sound and music out there, but we’re very serious about having a good time and making it fun.

DJ Times: Well, a lot of labels can throw a successful party, but not all labels can throw a BBQ that turns into a national tour that later turns into a three-day camping festival. What has the public latched onto about Dirtybird that’s allowed that to happen?

Martin: When I was first starting off, the people that inspired me and that I remember are the people that you meet that are approachable and nice. I always said if I’m ever successful, then I’m never not going to be that person. I’m going to make sure that I

head gets out of control. We go to a party and we feel like we’re attendees just as much as the main attraction.

DJ Times: What’s the process for when the Dirtybird crew is “adopting” someone into the family?

Martin: Boot camp. No [laughs].

We used to joke that we made a few people go through Dirtybird Boot Camp, like J.Phlip and Ardalan. Basically you just have to hang with me and Barclay for, like, a weekend in Miami, and if you can hang, you’ll learn a lot of lessons and you’ll have a great time and come out the other end and be like, “Wow, that was one of the most fun weekends of my life.” Or, you won’t get it and will have no interest in sending us another song.

DJ Times: Has anyone failed the test?

Martin: Not that I can remember.

There’s nothing crazy or strenuous.

It’s just basically: Can you hang with the crew? Do you fit in? Is your vibe right? Are you a good person? Or are you a fucking evil person that wants to go fuck shit up when you’re drunk?

MP3s in 6

Compiled As March 10, 2016

NATIONAL CROSSOVER POOL CHART

NATIONAL URBAN POOL CHART

1 Adele When We Were Young 2 Athena Lithium 3 99 Souls F/Destiny’s Child & Brandy The Girl Is Mine 4 Coldplay Adventure Of A Lifetime 5 WTS F/ Gia One Night 6 The Chainsmokers F/ Rozes Roses 7 Justin Bieber Love Yourself 8 Tori Kelly Hollow 9 Adam Lambert Another Lonely Night 10 Karine Hannah & Dave Aude I’m Burning Up 11 Rihanna F/ Drake Work 12 Primo Cruz Don’t Stop 13 David Guetta F/ Sia Bang My Head 14 Dirty Disco F/ Inay Day Stranded 15 Dimitri Vegas & Like Mike F/ Neyo Higher Place 16 Camille You’re So Beautiful 2016 17 Jess Glynne Hold My Hand 18 Troye Sivan Youth 19 Disclosure F/ Lorde Magnets 20 Melissa Manchester F/ Al Jarreau Big Light 21 KC & The Sunshine Band I’m Feeling You 22 Dave Aude F/ Andy Bell True Original 23 Lady Gaga Till It Happens To You 24 Demi Lovato Confident 25 Alessia Cara Here 26 Kwanza Jones Shatterproof 27 Philip George & Anton Powers Alone No More 28 Sia Alive 29 Dillon Francis Kygo F/ James Hersey Coming Over 30 Ariana Grande Focus 31 JoJo When Love Hurts 32 Lucas Nord F/ Tove Lo Run On Love 33 Zhu F/ AlunaGeorge Automatic 34 Jonas Blue F/ Dakota Fast Car 35 Kosca F/ Kyshona Armstrong Light It Up 36 Peter K F/ Mariah Simmons Stare Into The Sun 37 Missy Elliott F/ Pharrell Williams WTF 38 Seinabo Sey Younger 39 Skylar Steecker Crazy Beautiful 40 David Seyer Lovely Senorita

1 Chris Brown 2 Tory Lanez 3 Bryson Tiller 4 Jeremih 5 Rihanna F/ Drake 6 J. Cole 7 Bryson Tiller 8 Fetty Wap 9 Weeknd 10 Yo Gotti 11 Young Thug 12 Dj Luke Nasty 13 Beyonce 14 Drake 15 Drake & Future 16 O. T. Genasis F/ Young Dolph 17 Kevin Gates 18 Drake 19 Ro James 20 Travis Scott

Columbia Dauman Columbia Atlantic Global Groove Columbia Island/Def Jam Capitol Warner Brothers Republic Roc Nation 4-Power Atlantic DRD Motown Zarion Atlantic Capitol Capitol Dauman Sunshine Audacious Interscope Hollywood Def Jam Innovation Motown RCA Columbia Republic Atlantic Radikal Sony Capitol Amathus VMG Atlantic Capitol Interscope OBSR

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

Dirty Disco F/ Inay Day Kim Cameron Peter K F/ Mariah Simmons Rihanna F/ Drake Dave Aude F/ Andy Bell Camille Jonas Blue F/ Dakota Melissa Manchester F/ Al Jarreau Justin Bieber

Stranded But You Stare Into The Sun Work True Original You’re So Beautiful 2016 Fast Car Big Light Love Yourself

DRD Side FX VMG Roc Nation Audacious Zarion Capitol Dauman Island/Def Jam

REPORTING POOLS Masspool - Saugus, MA; Gary Canavo n OMAP - Washington, DC; Al Chasen n Dj Stickyboots - Goshen, NJ; Blake Eckelbarger n Victors - Milwaukee, WI; Chris Egner n Nexus Radio - Chicago, IL; Manny Esparza n DeeJay Creativity - Los Angeles, CA; KSXY KPAT n Soundworks - San Francisco, CA; Sam Labelle n New York Music Pool - New York, 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 DJ Laszlo - Las Vegas, NV; Laszlo Szenasi n Northeast Record Pool - Revere, MA; Justin Testa n Pacific Coast - Long Beach, CA; Steve Tsepelis

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

Back To Sleep Say It Don’t Oui Work No Role Modelz Exchange Again Aquainted Down In The DM Best Friend Might Be Formation Hotline Bling Jumpman Cut It 2 Phones Summer Sixteen Permission Antidote

RCA Interscope Trippinout Def Jam Roc Nation Columbia Trippinout RFG Republic Epic Atlantic Othaz Columbia Republic Republic Atlantic Atlantic Republic RCA Grand Hustle

Most Added Tracks 1 Future F/ Weeknd 2 Ro James 3 Beyonce 4 Tyga F/ Rick Ross & 2 Chainz 5 Kent Jones

Low Life Permission Formation Baller Alert Don’t Mind

Epic RCA Columbia Last Quarter We The Best

NATIONAL LATIN DANCE POOL CHART 1. Los Jugadores 2. Poeta Callejero 3. Alx Veliz 4. Bajando Fino 5. Hector Acosta 6. Farruko 7. 24 Horas 8. Gente De Zona ft M. Anthony 9. Don Omar 10. Alfredito Linares 11. Prince Royce 12. Paulina Rubio ft Alexis & Fido 13. JayCool 14. Jesse Medeles 15. Alexandra 16. Maelo Ruiz 17. Yandel 18. Fanny Lu ft Gente De Zona 19. Jorge Celedon 20. Raphy Leavitt

Pasame La Botella Kamasutra (RMX) Dancing Kizomba La Morena Te Vas Tu O Me Voy Yo Obsecionado Aun Me Perteneces Traidora Te Recordare Bailando Ain’t No Sunsunshine Culpa De Corazon Si Te Vas La Chica Que Quema Sucia Estar Sin Ti Amar Nunca Mas Lo Jure Encantadora Lo Que Dios Quiere Me Antojo Ruiseñor

Jugadores Music Universal Universal Go Latino Venevision Latin Hits PPE Sony Universal DJ Gonzo Prod.

Latin Hits Universal JayCool Charisma Dessennium Ent. J&N MR Sony Latin Hits Sony Ilaraza

Most Added Tracks 1.

2.

3.

4.

5.

Jau D Carlos Mojica Pete Perignon Tito Rojas Puerto Rican Power

Lady Love los Violentos Azucar Pa Un Amargao Caray, Caray Mi Error

Cutting Indi Don TR Mambiche

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.

DJ Times: What are a couple of your favorite hardware pieces right now?

Martin: The [Moog] Sub 37—I just bought that. I also have a Minimoog Voyager, which I love, but the Sub 37 kicks its ass. It’s the most badass keyboard in my collection. I also have a [Dave Smith Instruments] Prophet 12, which I probably use the most. And then just a bunch of other toys, a [Roland] 303 that I’m getting modded out really sick right now; it’s going to be matte black and I’m getting the parameters expanded.

I’ve got a Korg R3 with the vocoder, and I’ve got the other one, the microKorg, which is really fun. I’ve got everything running through this thing

called Spec-Line Mixer, so all of my keyboards run into that and then that runs through a Neve Master Buss Processor, which is fucking sick. That makes everything sound good. I’m trying to figure it out so that I can loop it to do my own self-masters through it because it’s such a beast.

I’ve got my little mic setup, which I used to record all the vocals for the new album. That’s all running through the Tube Tech CL1B. DJ Times: Not bad…

Martin: It’s nice! It really is my dream studio. I don’t spend a lot of money on shit like sneakers or anything really. I don’t have a car, so if I’m going to invest my money in something, it’s going to be something I can

be creative with.

DJ Times: When you’re writing tracks, do you start with an element like a loop first or do you focus on the song structure initially?

Martin: It usually starts with an idea. I feel like the best tracks come from a strong idea, and a lot of the best ideas come from going out and having drinks with my friends. When I get stuck on something, I just go out and have a good time and laugh and hang out with people. Some stupid idea will come to me and I’ll try it out. It’s basically like a song that inspires me, a bassline that I want to sample, or a funny hook that we’ll think of and laugh our asses off. That’s when things usually go the fastest. I

don’t really sit in the studio and go, “Alright, I’m starting from scratch with a blank canvas.” I can’t do that. I have to have some sort of direction of where it’s going and the vision of it in my head and then create it with sound.

DJ Times: Do you work at all on the road?

Martin: My ears aren’t great. I have tinnitus, for sure. I try my best now to wear earplugs at every show, but working in headphones is not good for me. Even when I’m at home, I keep things at a low volume while I’m producing. Music is everything for me, and I want to be able to hear forever. n

becomes proficient at it. We turn on our TVs and see the NFL players do amazing things. This summer, we’ll see the Olympic athletes compete to be the best in the world. We forget that it takes years of work, dedication, and practice to attain that level of proficiency.

Put in perspective, at four hours a day, five times a week, that comes to 500 weeks or nine years and seven months.

So for those who think mixing is easy, bland, boring, or passé, you need to put the time in to reap the benefits—just like anything in life. Allow me to also add that it’s not just putting the time in. Practice alone doesn’t make you a master. You have to put yourself into the environment to facilitate mixing. You got to be in it to win it.

One of the games my boys and I would play when we DJs would get together is the 30-second game.

That would consist of us going round robin with the playing DJ being fed a record… any record. You had no idea what someone would give you, and you had 30 seconds to mix it in. Once it was mixed in, the next DJ would

get behind the decks and the process would start over.

You didn’t want to mess up because you’d be the butt of jokes until the next guy screwed up. This game taught us so many things. But the main thing it taught me, other than my DJ friends had at times a twisted sense of testing your mettle, was to use all my senses to get that mix in there. It gave me an invaluable foundation to explore.

Back to Basics (continued from page 25)

current song coincide with the Intro of the song you’re mixing. Make sure there are no vocals in the Intro (or other parts), otherwise it will clash.

This is generally known as phrasing.

I’ve read where DJs shy away from dance mixes because they don’t know what to do with the breakdown when it comes in. The breakdown is after the Intro and before the first verse. It’s the part where the track becomes minimalistic, stripped-down, ambient, and devoid of the drums. It’s the part the radio stations keep out.

These parts shouldn’t be scary, or shunned. They should be embraced and are fertile areas for creativity and individualism.

This is where I want to dig… in the creative technique, the creative process. I think people forget, or more pointedly, people dismiss how much time goes into a discipline before one

PUTTING IN WORK The same work ethic can be put towards DJing. The same mindset can be put towards mixing. One can’t be creative without a concrete foundation or command of the fundamentals.

Some people think creativity is freedom. I think it’s more spontaneous improvising, rooted within the confines of mastering fundamentals.

Pop culture states that it takes 10,000 hours to master a task.

That’s 1.14 years (thanks, Google).

THE LESSONS What have we learned? If you w a n t t o b e c re a t i ve , yo u b e t ter have sound fundamentals. You have to put yourself in the mindset of trying new things. You have to practice so that new things become commonplace. And the most important thing… know your music. n Now get out there and mix.

Moderat: Berlin Calling…

And not about the marketing.

DJ TIMES

Photos: Flavien Prioreau

APRIL 2016

We’re all about the music…

OK, maybe we take that idea to an extreme…

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Moderat, Next Month in DJ Times