DJ Times May 2015, Vol 28 No 5

AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988 MAY 2015

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MIAMI MUSIC WEEK WMC, ULTRA FEST & MORE FUTURE DJING MOBILES IN 2025

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MIAMI MUSIC WEEK: CONFERENCE, CLUBS & FESTIVAL

By Chris Caruso

Miami Beach, Fla. – The DJ/ dance-music world once again descended upon South Florida this past March 23-29 for Miami Music Week.

Highlighted by the 30th annual Winter Music Conference and the 17th annual Ultra Music Festival, MMW delivered seven days of parties, showcases, exhibits, seminars, and schmoozing to every club, pool, hotel and beach on South Beach and beyond.

DJ Times and the newly re-launched ClubWorld spent the week taking everything in, as well as exhibiting at the Winter Music Conference on March 24-25. While there, DJ Times TV caught up with more than 15 of the world’s biggest DJs, including Armin van Buuren, Seven Lions, Nicky Romero, and Porter Robinson. You can watch all of the interviews at YouTube.com/DJTimesMag. Winter Music Conference: The annual tradeshow and expo moved to the Deauville Beach Resort for its 30th year, bringing industry members and music fans five days and nights of events. Martin Garrix participated in a Q&A session on Thursday, while the Tracy Young-hosted “Chicks With Decks – Women in the Music Indus-

Art Chick

DJ Expo: 25 Years On

Atlantic City, N.J. – DJ Expo returns to the Trump Taj Mahal in Atlantic City, N.J., Aug. 10-13. The exhibition/ convention, produced

by DJ Times, will celebrate its 25th year and present four days of seminars, three days of exhibits and three evenings of sponsored parties. For the latest info, please visit www. thedjexpo.com.

try” panel investigated the experiences of females working in the traditionally male-dominated industry.

Out on the WMC showfloor, Pioneer DJ’s booth showcased the company’s XDJ-1000 digital player, as well as the new all-in-one XDJ-RX controller. Over on other side of the hall at the inMusic Brands booth, DJs got their hands on Numark’s NS7III and NV controllers, Denon DJ’s MC6000mk2 controller, and Akai’s AFX and AMX controllers, Timbre Wolf analog synth, and Advance 49 keyboard controller. Scratch Academy was also in the house, with DJ Immortal helping to judge the midafternoon DJ battles.

STEAM: DJ Times served as the official media sponsor for STEAM Miami, which packed an all-star lineup of DJs and a monster Funktion One sound system into its Downtown Miami digs for a full week of festivities. Sydney Blu’s Blu Party on March 22 brought Detroit legends like Kevin Saunderson and Stacey Pullen to the venue Some of the most fun was saved for Sunday night, however, when Dirtybird celebrated its 10th anniversary with a closing party con-

NEWS

Gustavo Caballero

INDUSTRY EVENTS…NOTABLES…MILESTONES

SiriusXM Lounge: Armin van Buuren & Dash Berlin.

Ultra Fest: Tiësto on the Mainstage.

sisting of special B2B sets from J.Phlip spaceship-looking mass that allowed and Shiba San, Ardalan and Christian ravers to dance on all 360-degrees Martin, and Claude VonStroke and surrounding it.

Justin Martin.

The Ultra Worldwide Stage and Ultra Music Festival Highlights: the Mega Structure brought the a Delivering its biggest and best producsmattering of the weekend’s best tion yet, Ultra Music Festival further shows. John Digweed and Eric Prydz’s solidified its place as the crown jewel respective Mega Structure sets on of MMW in its 17th year. This year’s Saturday and Sunday were masterful fest took place once again took place odysseys of light and sound, with othat Downtown Miami’s Bayfront Park, erworldly progressive house soundoffering an estimated 165,000 attendscapes matched with brilliant plays of ees three days of music spread across push-and-pull tension. eight stages from March 27-29.

F u t u re H o u s e m ave n T c h a m i The usual suspects tore up the packed out the Ultra Worldwide masses on the Main Stage, with David dome on Saturday with a raucous set Guetta, Tiësto, Avicii, and Afrojack heavy on his own clanking producbringing the biggest beats to the bigtions, but it was The Magician’s late gest stage in the city. Conversely, UlSunday set on the same stage that New Venue: tra brought the underground to the Sydney Blu at STEAM.transformed it into a supernatural surface with its Resistance stage, a discotheque.

VOLUME 28

NUMBER 5

12 Sound + Vision

After Years of Successful & Influential Solo Work, Dubfire Steps Up His Game With the Live: HYBRID Project

BY CHRIS CARUSO

20 Memories of Miami

With Winter Music Conference, Ultra Fest & Many More Events, Miami Music Week Had Plenty to See

BY DJ TIMES PHOTOGRAPHERS

24 In the Year 2025

Video Wallpaper, Smaller Gear, Dancefloor Algorithms—These Are Some Future Predictions from DJs Looking into Their Crystal Balls

BY JEFF STILES

DEPARTMENTS 7 Feedback

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

26 Making Tracks

SubPac S2 & M1 Bluetooth

28 Sounding Off SurgeX Power Protection

30 Mobile Profile Arizona’s DJ Elite

32 Business Line

How to Book More Brides & Enjoy the Process

34 Gear

New Products from Akai, Nady & More

38 Grooves

40 DJ Times Marketplace

Shop Here for All Your DJ-Related Supplies

41 Club Play Chart

DJ TIMES

MAY 2015

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

4

SAMPLINGS 8 Fritz Kalkbrenner

Ways Over Water

10 In the Studio With…

John Tejada

Cover and Contents Photos By Andrew Rauner

Phat Tracks from Josh Wink, Steve Bug & More

NOW AVAILABLE!

FROM THE EDITOR

A Deeper Dish It’s often noted that, since leaving the ultra-successful DJ/production duo Deep Dish in 2006, Ali “Dubfire” Shirazinia has created his own unique artistic path. Eschewing the proggier elements of his former partnership, Dubfire has taken a more techno-driven route, and it’s been more than a delight to see. Indeed, if you’ve ever caught Dubfire at a club, you know how he can take you on an amazing multi-textured journey; but even at a festival, he usually transcends the typical outdoor fare. It’s bumpin’ and groovy, yet buzzy and layered—a far cry from the current hook/drop/hook template.

And in his sitdown with our Chris Caruso, Dubfire describes how he’s upped the ante with his “Live: Hybrid” project, which combines sound and vision in new, unique ways. Additionally, he expounds on his more recent musical reunions with Deep Dish partner Sharam Tayebi. DJ Times has always had massive respect for Dubfire during and after his original Deep Dish days, and we’re pleased as punch that he was so open to discuss so many topics, be they technological or artistic.

As you can see from our Page 3 News report and our big photo spread, we recently returned from Miami Music Week and, boy, were we busy. We manned an exhibit booth at Winter Music Conference, served as Media Sponsor for a week of events at STEAM Miami (including DJ sets from Sydney Blu and Claude VonStroke), enjoyed afternoons at the W Hotel (for SiriusXM Music Lounge) and the Sagamore (for Red Bull Guest House), and attended three full days of genuine insanity at Ultra Music Festival. The pics are all there, and we still have a little time to recover before the spring/summer festival season begins.

In Samplings, our Las Vegas-based correspondent Deanna Rilling interviews German DJ/producer/vocalist Fritz Kalkbrenner, who details his approach to Ways Over Water, his latest artist album of deep, melodic electronica. Also, for our “In the Studio” entry, I connect with John Tejada, a longtime DJ/producer of terrific techno flavors. Though I’d appreciated his tracks over the years, it wasn’t until I caught his live show at Berlin’s Watergate club in 2008 that I really began to understand the depths of his grooves and the complexity of his textures. By the way, check out his latest, Signs Under Test—it’s terrific.

This month’s gear-review columns take on some very different products. In Sounding Off, Boston-based DJ Paul Dailey tackles two SurgeX products, both of which help jocks protect their very valuable professional gear from power surges and spikes. Additionally, in Making Tracks, our Chris Davis tests out SubPac’s M1 Bluetooth and S2, which bring “tactile bass” to the studio and to DJ/performers.

On the mobile-entertainer front, our Iowa-based scribe Jeff Stiles asks DJs to look into their crystal balls and tell us what future changes they expect to see in their industry, say, in the year 2025. For Mobile Profile, we head to Phoenix where we feature Jay Hague, the head of Elite Event Services, and find out how he’s brought full-time commitment in his efforts to capture Arizona’s wedding market. In Business Line, we connect with consultant Rick Brewer, who details how to book more brides, while enjoying the process.

And don’t forget, we have dates and a venue for DJ Expo! From August 10 to 13, DJ Expo will celebrate 25 years, by returning to the Trump Taj Mahal on the Boardwalk of Atlantic City, N.J. Presented by DJ Times and Testa Communications, the Expo will bring three days of exhibits, four days of seminars, and three evenings of sponsored parties. And, as always, expect a few surprises.

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

art director Janice Pupelis jpupelis@testa.com

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

production manager Steve Thorakos sthorakos@testa.com

chart coordinator Dan Miller dmiller@testa.com

brand design & web development manager Fred Gumm fgumm@testa.com

contributors Jody Amos Joe Bermudez Wesley Bryant-King Ally Byers Shawn Christopher Paul Dailey Reed Dailey Chris Davis Tommy D Funk Michelle Fetky Jon Jay Robert LaFrance Michelle Loeb Evan Maag Duanny Medrano Lily Moayeri Phil Moffa Natalie Raben Dena Rilling Scott Rubin Jeff Stiles Bruce Tantum Emily Tan Phil Turnipseed Ashley Zlatopolsky

social media manager Shane Jacobs sjacobs@testa.com

President/Publisher Vincent P. Testa FOR CUSTOMER SERVICE AND TO ORDER SUBSCRIPTIONS, CALL 800-937-7678 VISIT OUR WEBSITE www.djtimes.com

DJ TIMES

MAY 2015

Cheers,

6

Jim Tremayne Editor, DJ Times

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

assistant editor Chris Caruso ccaruso@testa.com advertising manager Tom McCarty tmccarty@testa.com art/production assistant John Kontolios jkontolios@testa.com Circulation circulation@testa.com Classifieds classifiedsales@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 with Standard A enclosure 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 © 2015 by DJ Publishing, Inc., and must not be reproduced in any manner except by permission of the publisher. Websites: www. djtimes.com and www.testa.com May 2015

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FEEDBACK PREVIEW: MIAMI MUSIC WEEK

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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.

048AP15_p001-044.indd 1

lighting, video or accessories, there’s no better place to do it than the East Coast, and especially DJ Expo.

Fortunately, for longtime Expo attendees and exhibitors, financial and labor con‑ siderations were made in order to keep the Taj open for business for the foresee‑ able future. Additionally, Expo attendees and exhibitors should be pleased to see that we have secured from the Taj the lowest room rates in 15 years.

Of course, the show will present three

days of exhibits, four days of education‑ al seminars and three evenings of spon‑ sored events. On the showfloor, Expo exhibitors will break out the very latest technology, and in the demo rooms, they’ll give attendees an up-close-andpersonal experience with the gear.

During the seminars, attendees can expect to engage in the hottest top‑ ics in the industry, or learn the lat‑ est party-starting techniques. During the evening events, attendees can let

loose and possibly compete in the annual “DJ of the Year” competition, which bestows honors to the mobile jock with the best performance.

As usual, we’ll have a few surprises that we’ll unveil as soon as we’re at liberty to do so, but rest assured… DJ Expo is back and looking forward to celebrating 25 years. We appreciate your patience and we look forward to seeing all of you in Atlantic City this August!

— Jim Tremayne, DJ Times

3/13/2015 11:15:55 AM

POWER COUPLE.

DJ TIMES, What’s the wait on venue for 2015 DJ Expo? When are you going to an‑ nounce the show dates?

– Many Emails from Many Readers

DEAR READERS, First off, at presstime the dates and the venue have been confirmed: From Au‑ gust 10-13, DJ Times and Testa Com‑ munications will present DJ Expo at the Trump Taj Mahal in Atlantic City, N.J. And, as always, that address is 1000 Boardwalk, so you step outside the venue and you have beach and Board‑ walk for as far as the eye can see. It will also mark the 25th year of DJ Expo.

Of course, if you’ve been following the rapid changes that have impacted Atlantic City since our last DJ Expo this past August, you’d know that the continued existence of several ho‑ tel/casino properties—including the Trump Taj Mahal—was in doubt. Ac‑ cordingly, it became necessary that Expo organizers—namely, DJ Times and Testa Communications—pursue contingency plans for the 2015 show and beyond. If the Taj’s availability re‑ mained suspect, other arrangements would have been made to secure the future of the show, the most success‑ ful and longest-running event in the DJ industry. As the U.S. East Coast— specifically, the Boston-to-D.C. corri‑ dor—remains the number-one market in the country for DJ-related products, it stands to reason that the industry’s top show should remain in that geo‑ graphical area. If you’re buying or selling controllers, mixers, pro-audio,

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DJ TIMES

MAY 2015

SAMPLINGS

8

FRITZ KALKBRENNER: WAYS OVER WATER

For many, Fritz Kalkbrenner came on the musical radar in 2008 with the emotive “Sky and Sand,” a collab with his brother Paul as a part of the “Calling Berlin” film soundtrack. Since then, the German DJ/producer/vocalist has released four more albums of deep, electronic soundscapes and become quite a live draw in Europe.

Ways Over Water (Suol) is his latest and it includes soulful songwriting, hypnotizing grooves, and a sense of warm hopefulness in the notes. Part of that was accomplished by mixing classic electronic production with live instrumentation. We recently caught up with Kalkbrenner to discuss the album and his artistic processes.

DJ Times: Tell us about your musical roots.

Kalkbrenner: My parents were TV journalists—so that’s quite a different thing—but I grew up in East Berlin in the ’90s and was into East-Coast hip hop. On the other hand, the city is still pretty much a big, hardcore, electronic music [scene], so everything in techno and house music was an influence. I started producing in my teens, so there’s been more time that I’m doing this

than I [haven’t] in my life.

DJ Times: Ways Over Water stands out from the slew of “same-old electronic” sounds, in part due to its soul and musicality. Walk us through your approach.

Kalkbrenner: If someone would ask me, “Are you a singer who produces, or a producer who sings?” I’d always say, “I’m a producer who sings.” I focus on the production, and the singing comes later. When I’m working on the album, I have some sort of sketches that will become a song and from a very early point I know, “This one is going to be a vocal track and the other one is not—it’s going to be instrumental.”

DJ Times: And when you step into the studio, what’s your process?

Kalkbrenner: Usually, I’m collecting sketches for a long time—let’s say 12 to 14 months. I’m producing every now and then. When I find a moment, I take all these sketches into the studio where it’s strong, intense work for like two or three months every day for 10 hours.

DJ Times: What’s your favorite studio gear?

Kalkbrenner: I use both analog and digital gear, of course. Nowadays, you have all these all these other things to choose from. But all these plug-ins, they are replaceable in a way, so somewhere there’s a plug-in that does this job the same way.

DJ Times: Anything special for you, gear-wise?

Kalkbrenner: When it comes to real analog, I use a Neumann U47 microphone, which is an old one that Sinatra and other artists used. It’s 40-50 years old and it’s irreplaceable. So it’s actually a rare piece of gear and, in our studio, it is in a wooden box and every time I’m going to record with that particular microphone, it’s going to be put out in this nice wooden box… so it’s actually very, very precious.

DJ Times: Do you work in Ableton, Logic?

Kalkbrenner: I’m sketching all these ideas in Ableton Live. But when I’m going into the studio, all these different tracks in Ableton Live are going to be bound and taken over to Logic— then I’ll work in Logic. So it’s Ableton Live on the road, and studio is Logic.

DJ Times: What do you feel is important about including the live instruments into an otherwise electronic album?

Kalkbrenner: They make my vision a reality. To me, it’s essential in my kind of music. I remember producing [years ago] and I already had that in mind, how that kind of music would sound. But I didn’t have the ability or the people to do that. So at that time, in real life I went through samples and chopping them up and all that.

DJ Times: It makes a difference working with them.

Kalkbrenner: There is that warm sound. This time around we were working with clarinet and saxophone and I was thinking these instrument players [bring] a special texture. So when you want to have really deep, grounded, earthy sounds, it’s quite essential to work with studio musicians—you have to have the right player of the instrument, of course. But if you want to realize some sort of sound, you can get that.

– Deanna Rilling

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MAY 2015

JOHN TEJADA: SIGNS UNDER TEST

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John Tejada has been releasing quality techno since 1996, when he launched Palette Recordings. Since then, he’s put out 10 artist albums, eight EPs and a mix compilation, plus he’s supported them all with DJ sets and live shows in some of the world’s greatest venues. His latest release, Signs Under Test (Kompakt), delivers plenty of unique textures and heady melodies, as it offers a delicious mixture of blissed-out grooves (“Two 0 One”) and dancefloor bombs (“Vallbara”).

We caught up with the Los Angeles-based Tejada to discuss his studio approach.

DJ Times: This record is really deep and beautiful, and it takes you on such a ride.

When you go into a project, is there a conscious decision to separate tracks for “listening,” as opposed to dancing?

Tejada: I’m not really aware of it when I’m making music. There are a few times when I have something in mind, but that’s usually if I’m working on just one song as a highlight on a single. Then it’s like throwing all your eggs into one basket and you just get one chance to accomplish what you want with one or two songs. An album is more free. I’m just trying to create music that I feel good about. There’s no goal in mind, except for the processes and methods I’m exploring at the time.

DJ Times: What was your artistic approach to Signs Under Test, anything different from other projects?

Tejada: Not really, although some different tools like tape delays became a big part of the sound. I also began using a tracker called Renoise on most of the songs, which took me away from the confines of my usual DAWs. DJ Times: What are some studio products you can’t live without?

Tejada: On the album, you’re hearing all hardware instruments. I try to keep it as small as I can. Each piece, whether an old monosynth or modern analog polysynth, all have a distinct sound. My Roland SH-7 is my favorite vintage piece and my Elektron boxes are my favorite modern pieces, along with the various Eurorack modules.

Software-wise, Renoise has really rescued my creativity.

DJ Times: Any plug-ins at all in the process?

Tejada: I’m not using any plug-ins for synths. I use a few at the mixing stage and some effects as well, but I try to stay out of the computer as much as I can. A lot of my sounds end up tracked in with hardware effects, as I also found manipulating wet

signals can be fun. The UAD plugs are very handy for mixing in the box, as are the FabFilter plugs. But I’ll get the sound as close as I can on the way in so that I don’t have to rely too much on plug-ins.

DJ Times: When you play out, what’s your set-up?

Tejada: For DJing, if I can, I will still play vinyl. However, this doesn’t work so well in most venues now… if the turntable set-up isn’t permanent. In that case, I’ll go with CDs. However, these days, I prefer that most of my shows are live PAs. I’ll use a combo of Elektron boxes to create new works for live shows and reinterpret some of my past works with them as well. They are very portable, easy to take around and keep me from needing to involve a laptop in the set. So it ends up being a small, but powerful hardware setup.

DJ Times: In your career, what venues did you enjoy playing the most?

Tejada: Output in Brooklyn, Fabric in London and Yellow in Tokyo, which is no longer running. But all had great sound systems.

DJ Times: In your formative years, which DJs impressed you and why?

Tejada: I grew up taping mixes off the radio every day in the mid-’80s. I wanted to know how these guys were putting this music together. Here in L.A., we would get these really intricate mixes from Dr. Dre. KDAY had a great roster of DJs. M Walk and Joe Cooley were great L.A. DJs. If I was lucky, I would get a hold of some East Coast tapes. The Latin Rascals [Tony Moran and Albert Cabrera from New York’s WKTU] were incredible with their intricate tape edits. I’m still amazed hearing their mixes today.

DJ Times: These days, which producers impress you and why?

Tejada: Currently, it feels like it’s all been done. Most things are a throwback in some way. It’s that, or I just really hold on to those earlier moments where someone did something for the first time, sometimes by accident.

For me, early sample explorers like Art Of Noise, Marley Marl, Larry Smith, and The Bomb Squad really caught my ear at an early age, for programming things that no one had thought of. Even though that wasn’t house or techno, it’s the same process, the same tools. For me, it really shaped a lot of the idea of what’s possible with drum machines, synths and samplers.

DJ Times: How does a producer become unique?

Tejada: Create your own sounds, learn how DSP works and write your own DSP! In an age where everyone has access to the same tools, create your own, and do what you can to make your voice original. Learn the inner workings and create something original from nothing. Let everyone else throw sound banks and loops into their DAWs. Invent your own way of working and kick some ass.

– Jim Tremayne

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Brooklyn, N.Y. – Call it a second wind, reinvention, or new life; but however you slice it, Dubfire has built a dance legacy two times over.

Ali Shirazinia's story began in 1991 when he formed the now-legendary group Deep Dish with fellow Washington, D.C.-based DJ/producer Sharam Tayebi. Fifteen years, two studio albums, and an innumerable amount of highprofile remixes later—including a Grammy-winning rework of Dido's “Thank You” in 2001—the pair called it quits to pursue other ventures.

The rise and fall of a successful musical group is typically the fodder of a VH1 Behind The Music special, with down-and-out artists reminiscing on the glory days of a band's exploits. For those former members who do continue in the solo realm, it's common for the former members' further pursuits to be held against and compared to the group's seminal work.

S o m e h ow, D u b f i re e s chewed this tradition entirely.

Completely redefining his sound by abandoning Deep Dish's peak-time, vocal-heavy progressive house aesthetic in favor of a dark, technocentric style, Dubfire crafted a new identity that owed little of its success to his earlier career. With a series of massive releases—including last year's “Exit” with Miss Kittin and his 2009 remix of Radio Slave's “Grindhouse”— and tight, technical DJ performances integrating the latest gear and technology, Dubfire's legacy as a solo artist is just as storied as anything he's done collaboratively.

He's showing no signs of resting on his laurels, either. This past October, he debuted a brand-new live performance concept at the Roest Warehouse as part of Amsterdam Dance Event 2014. Bridging the gap between a DJ set and a truly live performance with custom visuals, real-time lighting and video, and pure freedom of artistic expression, Dubfire Live:HYBRID represents a further evolution of the IranianAmerican artist's work.

The show's name is a fitting title, as Dubfire's presentation is a hybrid of his past and future. While he continues to push on with new releases by himself and

from artists on his SCI+TEC label, 2014 saw the long-awaited reuniting with Sharam come to fruition for an official Deep Dish reunion. Since the release of the group's comeback single, “Quincy,” and subsequent live dates, Dubfire has brought his history in line with his now.

DJ Times caught up with Dubfire the morning after a performance at Space Ibiza New York this winter as part of his SCI+TEC label night at the club, and he dished on the new live show, Deep Dish's reunion, and how technology has shaped his career.

DJ Times: How did that initial concept to do a live show come to be?

Dubfire: I had been wanting to put something like this together for years, but it is wasn't until I felt like I had enough material and a body of work that I was proud of that I felt I could put it together in a unique way, reinterpreting all the ideal tracks, and also collaborate with the right people. The visual design company— VolvoxLabs—is based in Brooklyn.

Once the idea came together, then I had to find the people. When I found the people everything kind of fast-tracked to the first show basically, from the time we came up with the idea. While I have been thinking about it for years, it wasn't until I found the visual design team, but then it happened very, very quickly.

DJ Times: How did you find those artists?

Dubfire: With VolvoxLabs, I actually initially approached Jarrett [Smith] from Derivative. He is the guy who is basically responsible for the Plastikman show, and he developed the TouchDesigner software which has become the sort of industry standard of software in terms of live performance. He initially accepted, but it turned out that he was going to be too busy. He knows a lot of people in this industry who are trying to get our foot in the door, so to speak, and he recommended VolvoxLabs. They were fans of my work, and we had an initial meeting in New York and hit it off, and the rest just happened very naturally.

DJ Times: The title is Dubfire Live:HYBRID. What does that refer to?

Dubfire: The word “live” is in there not only visually—like when someone sees my name on a flyer— but also concept-wise. It's to tell everyone that it's not a DJ set; it's a live performance. I knew I wanted to do more shows—maybe the next show centered around something like an album with a completely different concept—so I wanted to make sure that “Hybrid” was there.

Hybrid obviously has a lot to do with the narrative that is sort of playing out visually in this performance. We

&

Sound Vision

wanted to show that we do have a specific look and a specific concept, and Hybrid is this particular show's concept and look. I haven't figured the name for the next one yet, but it will have a completely different look and concept. People will be able to talk about all the tours that I do and not only have a name attached to each tour, but visually see each tour as an identity unto itself.

14

DJ Times: From what I recall from the performance at Time Warp US in Brooklyn last year, many of the visuals were inspired by the meeting of science and technology. What inspired that concept?

Dubfire: What I didn't want to do is just take a bunch of images and throw them against the screen and do it the way everyone is doing it these days. You see, a lot of the festivals and the more EDM-centered artist kind of trying to throw in much as possible—not only on to the screens, but also on to the audience—and I feel that audiences are becoming a bit insensitive to the barrage of light and visuals and sound. What we wanted to do is create a story, something that people can follow, and have a great interplay between light and sound and visuals. That is where the members of the team had to really take a step outside the comfort zone and realize we are all coming at it with our unique sort of vision, and we will have to try to work kind of like jazz musicians.

DJ Times: How so?

Dubfire: We all had to try and create some sort of a balance between what we are all doing. There were moments in the show when we were developing it where I had to ask or the lighting guy would suggest that we scale things back and allow of visuals to come to forefront. Other times, the visual guys said they are going to totally kill what is happening on the screen behind me so we can zero in on the screens that I am sort of placed in between, and that was a cue for the lighting guys to take over.

There is a great balance between what everyone was doing. We were doing it in a way where we didn't just throw everything that we had at the audience.

DJ Times: What sort of equipment are you using up there? Is it different from a regular setup of yours?

Dubfire: During a DJ set, I'm using [Native Instruments] Traktor and [Ableton] PUSH as well, which is also something I am using during the live show's setup. However, the live shows are based around Ableton Live, and all the music has been reinterpreted.

Everything is coming out through its own separate channel, and I am able to completely rework the tracks on the fly or—if I want—to let the sequence play out. We made it really,

really flexible so I am free to experiment as much as possible within the parameters that we've set for a show that has a beginning, middle, and end.

DJ Times: What kind of freedom are you afforded each night? Can the music change significantly from show to show?

Dubfire: Totally. It has to do with my comfort level. I have done three shows so far, and those three shows were a sort of test to see if all the technology was going to work. Funnily enough, we had virtually no problems with the first show, but the second and third show we had completely unrelated issues. It's hard for me to completely dive into how everything is laid out. We work everything on the fly now, but once I get more comfortable with the technology and once we know everything is working fine, then I will be free to do that.

DJ Times: How has the response been?

Dubfire: Really, really good! In some ways, it is sort of an uphill battle because these days there aren't a lot of artists who are doing a live show in the techno field. A lot of the producers who aren't DJs that are getting booked will have sort of a plug-and-play set up. They don't bring a visual concept, they don't come at it with their own lighting and sound guys, and they are not really like putting forth a performance-based live show. That's where we are coming at it, and yeah, it is difficult to try and convince the promoters to invest into something on this scale. I guess they are not used to seeing somebody from the techno arena coming at it with that kind of professional quality and team.

DJ Times: In addition to the live shows, you've still got your regular DJ sets. How do they co-exist with each other?

Dubfire: For years, everybody has wanted at me to play my own material. A lot of times when you are working on it in the studio, you listen to it over and over again so many times that the last thing you want to do is play it out in your DJ sets. This was also an opportunity for the fans to hear selected works of mine reinterpreted in a new way as part of my “Dubfire sound.� The DJ sets are DJ sets; it just needs for me to be free to play whatever I am feeling at the moment without any sort of parameters set around me.

DJ Times: Are the lighting and visuals controlled live so that they can react to what you are feeling?

Dubfire: Just like I can be free to completely break down what I am playing and rebuild it in a new way or have it play out the way it has been programmed, the lighting guys and the visual guys can do the same thing as well. I am sending time code and (continued on page 40)

Overhead: Ultra Fest from above.

RUDGR.com

memories of miami

By DJ Times Photographers

Miami Beach, Fla. – This past March 23-29, DJ Times hit South Florida for Miami Music Week, which included Winter Music Conference, Ultra Music Festival, scads of parties and plenty of event/destinations like the SiriusXM Music Lounge and the Red Bull Guest House, both of which presented top-level DJ talent.

With special thanks to all photographers, including those from the Red Bull Content Pool (RBCP), it all looked like this:

Night Party: Sunnery James & Ryan Marciano Sexy By Nature

With

W i nt e r

Music

Conference,

U lt r a

F e st

&

M a ny

Danny Tenaglia pumps the beats.

Robert Snow/RBCP

Quentin Harris, Hector Romero & David Morales.

Def Mix

Booth View: TiĂŤsto at Ultra.

Jordan Loyd

Electronic Opus: BT on bass.

Andrew Rauner

Red Bull DJs: Questlove & Carl Craig.

Erik Voake/RBCP

In the Mix: Sander van Doorn.

Menbar Photos

Steve Aoki at Red Bull Guest House.

Erik Voake/RBCP

Ultra Scene: Martin Garrix & Usher Rukes.com

Andrew Rayel at SiriusXM Lounge.

Gustavo Caballero

3 Kings: Kaskade, Tong & Armin.

Emily Tan

More

E v e nt s ,

Miami

Music

Week

Had

P l e nt y

to

See

Day Party: Guy Gerber at Sagamore.

Robert Snow/RBCP

Jes at BT’s Electronic Opus.

Andrew Rauner

New Daylight: Dash Berlin at The W. Gustavo Caballero

Remembering Frankie Knuckles at Basement.

Def Mix

Pete Tong on Traktor.

Erik Voake/RBCP

Nervo, Carnage & Markus Schulz Gustavo Caballero

David Guetta at SiriusXM Lounge.

Gustavo Caballero

Big Scene: Ultra’s mainstage.

Philippe Wuyts

22

The Legend: Todd Terry at Red Bull.

David Cabrera/RBCP

Ultra Scene: Axwell & Ingrosso

Longview: Scene at Ultra Fest.

Rukes.com

Hardwell at W Hotel.

Gustavo Caballero

Miami Scene: Doorn Records party.

Menbar Photos

23

When asked what he envisions about the life of a mobile DJ in the year 2025, Adam Tiegs says he has just two words: “Daft Punk!”

“I see robots spinning tunes, pushing buttons—all still programmed by the DJ, of course,” says the owner of Adam’s DJ Service in Seattle, Wash. “So there will still be a human element—just many more tracks, samples and tunes from which to choose.”

We asked DJs from around the country to get out the crystal balls and predict what mobile DJing will look like in the future.

More wireless? Smaller equipment? Greater use of the Internet? Virtual reality?

Or even more fantastical, such as arriving at our gigs with jetpacks strapped to our backs? Or being teleported?

Having been involved in the DJ business since 1987, JR Silva of Orlando’s Silva Entertainment says he can predict a lot of changes just based on what he’s observed over the past three decades in the industry.

“I think wedding MCs will get more respect and recognition, more venues will provide free Wi-Fi without complaining or making it difficult on the guests, music subscription services go in the cloud or via satellite, and the MP3 and MP4 files will get replaced by some other, better format,” he quickly rattles off.

“Also, venues might start to provide in-house services—one-stop shopping—to upsell and cut out other vendors, destination weddings will become more popular with the desire to get away and only have those closest in attendance, our equipment will become smaller, and we’ll be asked to incorporate even more digital and social media into our performances.”

Up in Portland, Maine, Mike Mahoney of M&M Entertainment says the only thing he can predict with certainty about DJing in 2025 is that everything will become smaller.

“One thing I can see as a potential plus is that we’ll at least be able to get in and out of these events quick-

VIDEO WALLPAPER, SMALLER GEAR, DANCEFLOOR ALGORITHMS—THESE ARE SOME FUTURE PREDICTIONS FROM DJS LOOKING INTO THEIR CRYSTAL BALLS

er and easier,” Mahoney says. “Because of this, I see our rates stagnating, if not going down. But again on the plus side, we should be able to book more events per day/weekend, so I don’t think it’ll affect us too much from an income standpoint.”

With the exception of the speakers he uses, Mahoney says he’s been using the same basic setup for about seven or eight years. “With a few small tweaks, and a nice new smaller lighter set of speakers, I should be able to significantly reduce setup/teardown time,” he says. “Already, grabbing songs on the fly has become much easier to do.”

Out in the San Francisco Bay area, Mark Haggerty of Denon & Doyle Entertainment has the benefit of living in a part of the country where new entertainment trends are typically seen first.

“The way things are headed now—with consumers having any music at their fingertips—DJs must separate themselves by having a great sound system, using a great microphone, being a great MC and, of course, knowing how to read the crowd,” he says.

“Those are the things that always distance a great entertainer from the DIY crowd and amateurs. Anyone can come up with a playlist, but will that keep your dancefloor packed all night? I’ve spent over 25 years perfecting my craft and so I hope experience plays into that as well.”

When it comes to changes in another 10 years, Haggerty predicts that Internet access will become free and universal, so everyone will have quick access to any song on the fly.

“Maybe there will be a program that detects if people are on the dancefloor or not, and then could play music until people dance,” he says.

“And then maybe there’ll be an algorithm to start a playlist that matches what the guests respond to, and a tablet on which guests could make requests.

“However, I still think that it would be very difficult to replace having a person at the controls.”

Up in Morris County, N.J., Artem Lomez of Ninety-Three Entertainment says that tech-

nology has been, and will continue to be, a driving force within the DJ industry (as well as it is in most industries).

“Technology is evolving and improving at a very quick pace,” Lomez says.

“Despite the technological advancements, our goal as mobile entertainers will ultimately remain the same, which is to provide our clients and their guests with a personalized and celebratory experience.”

Lomez says that future technology could assist in the logistical elements of our preparation.

“For example, I do, in fact, see most equipment likely going wireless,” he explains. “I also see social media likely playing a larger role in event interaction— whether it’s part of games, photo booths, etc. In terms of set-up and breakdown, there will continue to be advancements made for convenience purposes, such as lighter/slimmer TV screens, lighter trussing, and automatic speaker stands.

“DJing software is already very advanced, but I’m sure developers will c o n t i nu e t o m a ke i m provements and advancements with it as well.”

Down in Birmingham, Ala., Geoff Carlisle of JAMM Entertainment Services concurs that sound and lighting systems will become smaller in the

next 10 years—taking up much less space and delivering an even better entertainment experience.

“I think wireless speakers will also come with their own battery power, which means we’ll have the ability to place mult i p l e s p e a ke r s — s i x t o 10—around the venue for a more immersed experience,” Carlisle says.

“Lighting will be made up of smaller fixtures with more controllability, and will be controlled by the energy level in the room: Auto-sensing ‘cool’ for low mood and ‘energetic’ for party time. Music might all be delivered via an Internet source live at the event, while guests can make requests and the software will automatically place them into the playlist that can guide the DJ as he or she performs.

“Guest requests could even be logged from a party or bar where they were at recently, where they’ll be prompted if they want to send those same requests to the DJ that night.”

Carlisle says video elements could also be used to create a powerful, more personalized experience for guests at a party. “I can envision video wallpaper that could be projected onto the walls, showing scenes from the bride and groom’s childhoods that evoke memories of their past,” he says. “Imagine an actual video playing during a father/daughter dance of the bride’s father reading to her as she went to sleep when she was little?” n

MAKING TRACKS STUDIO…HARDWARE…SOFTWARE… M1 Bluetooth: Strap on the bass.

they then plug headphones into the rectangular control box. While everything seemed to work perfectly well during my preliminary Bluetooth tests, I opted to not use the Bluetooth streaming feature, as I am wary of the accuracy of audio data sent “over the air.”

I began my tests by using a pair of Grado RS2i headphones, but after a few listening sessions I had to swap out my Grados for my Audio Technica ATH-M50s. The S2 generates a considerable amount of noise when it’s really cranked to higher settings, and that noise was bleeding into my open-back Grados. No need to worry too much

Perfect for studio monitoring.

SUBPAC: TACTILE BASS FOR STUDIO & DJS

DJ TIMES

MAY 2015

By Chris Davis

26

The SubPac is a revolutionary new product fitting into an entirely new category of audio technology. Developed and manufactured by StudioFeed, a Los Angeles-based company self-described as a “social venture whose cause is to support independent music… and technology development,” the SubPac is a patent-pending innovation that has revolutionized the way we approach DJing, producing and listening to music.

Through proprietary transducer technology and vibrating, tactile polymers, the SubPac transfers low frequencies directly into a wearer’s body, providing a new physical dimension to experience music. StudioFeed simply calls this sensation “tactile bass.”

There are two SubPac models currently on the market: the smaller, wearable SubPac M1 Bluetooth and the flagship SubPac S2, which must be strapped into a chair. An earlier, wired input-only version of the M1 has been discontinued along with the original seatback SubPac S1. We tested out the S2 and M1 Bluetooth systems.

SubPac S2: The S2 shines in the studio. Instead of buying a drywall-rattling, space-hogging, earth-shaking subwoofer for a comparable or higher price than a SubPac, you can strap the S2 into your favorite chair, avoid ticking off your neighbors, and enjoy the added benefit of literally feeling the music you’re producing. Techno wizards Pig & Dan describe the S2 as such: “SubPac has taken monitoring to a whole new level altogether. You actually feel the separation in the low end instead of struggling to hear it! The music we make thrives on that feeling in a club environment and it’s by far the hardest thing to judge in most home studios. […] when you don’t use SubPac you feel somewhat stripped of that accuracy.”

To control the audio signal flow, both SubPac models feature 3.4mm audio input jack and output jacks, as well as a wireless Bluetooth 4.0 profile supporting high-quality audio streaming. After users have routed in the source audio via a cable or Bluetooth,

about the noise bleed, though. A rep from StudioFeed tells me that the highest levels of intensity are intended for music that has a larger dynamic range, because bass is less prominent in those kinds of recordings. Most older recordings that haven’t fallen victim to the loudness wars will apply: classical, jazz, or old rock or funk recordings.

For newer genres and productions, turning the sensitivity knob above halfway will most likely prove unnecessary, and therefore noise bleed is less of a concern.

Mixing with headphones is never an ideal situation, so after a few listening sessions I modified my setup so that the headphone output on my Apogee Duet sound card was feeding the SubPac’s 3.4mm input, with the Duet’s main outputs still routed to my studio monitors. This is the configuration that I’m sticking with. Even with low volume levels on my monitors, the SubPac is adjustable to still pack a punch. If you’re working on music late at night, you can always switch back to headphones instead of studio monitors.

Throughout the course of my review, I sat in the venerable Herman Miller Aeron chair, which I highly recommend for anyone who spends large stretches of time sitting down — producers, in particular. The SubPac S2 fit in the seat comfortably, though it did leave me sitting a few inches further forward than I was used to. With the Aeron’s ergonomic design feeling off-kilter, I found myself removing the S2 whenever I wasn’t producing or listening to music.

As far as the S2’s ergonomics, StudioFeed made several very key design updates to the original S1. Though it was possible to loop a strap around the arm of your chair to keep the S1 fixed in place, there was no way to secure the control box on your chair’s arm rest. To remedy this, StudioFeed has added an arm rest control box strapping. They also added a 3-point strapping system for the entire S2 unit because the S1 was prone to tilting back and forth in your chair.

Depending on how high you have the intensity level

set, the SubPac pounding on your back can feel a bit like a massage following the first 15 to 20 minutes of usage. I found myself setting it at midrange levels or lower when working on longer sessions, though I would crank the intensity up when showing off the SubPac to friends.

The SubPac S2 and the M1 Bluetooth both boast a six-hour-plus rechargeable lithium-ion battery life, though I found performance to be superior to that on the S2. I never once had the unit run out of juice completely, even after several short sessions spanning the course of a few weeks. I wasn’t able to use the M1 often enough to run down the battery — I felt awkward wearing it out in public — so it’s hard to gauge the validity of StudioFeed’s six-plus hour claim for that model.

SubPac M1 Bluetooth: Due to its wearable, compact form-factor, the primary uses that I envision for the SubPac M1 Bluetooth model include silent discos, causal listening while walking around or jogging, listening to promos on the road, and most importantly, in situations where a DJ is devoid of access to suitable booth monitors. Being able to feel exactly what clubbers in front of subwoofers feel is vital information for a DJ who’s not lucky enough to be in a booth equipped with Funktion-One monitors. Loco Dice is quoted on the SubPac website as saying that, “I can’t stress the importance of being able to feel the pressure of the music when I work in the club. The SubPac does exactly that while listening to music through my headphones.”

An added perk of the M1 comes for DJs who use in-ear monitors. I personally love the clarity of in-ears, but I feel disconnected from the room whenever I DJ while wearing them.

I’m happy that as an owner of the M1 Bluetooth I can retire my overthe-ear DJ cans and switch back to the crisp sound quality of my JH-Audio in-ear monitors, while still being aware of what the room feels like via my SubPac M1.

Functionally speaking, the units are relatively similar, but aesthetically speaking, the M1 is far smaller than the S2. It takes up about half as much space as the S2, which is a good thing, because the S2 might make you look like Igor if you had to strap that thing onto your back to use it. While the S2 is somewhat egg-shaped, the M1 is structured like two hexagons stacked on top of each other, and uses more fabric materials than the S2. Additionally, the intensity levels are a bit lower on the M1, but that’s no real issue, as both of these units offer levels of

intense tactile bass higher than I ever felt necessary.

Conclusions: I’m excited to see where this tactile, wearable audio trend takes us. The 2013 Kickstarterfunded Woojer serves as another example of a revolutionary audio device like the SubPac, which allows a user to literally feel the sounds they’re hearing. I also believe that there are

greater implications for the deaf and hard-of-hearing, a group of customers typically ignored by the audio industry for obvious reasons. So for now, serious producers and DJs in sub-optimal performance situations should integrate this revolutionary device into their workflow.

Here’s to the future of tactile bass, as described by Richie Hawtin: “By

WATCH IT NOW! YouTube.com/DJTimesMag Plus, catch interviews and live performances from Porter Robinson Dada Life Markus Schulz Ferry Corsten Pan-Pot Kill Frenzy Firebeatz J.Phlip Anabel Englund Rebecca & Fiona Orjan Nilsen and more!

introducing the physical dimension of sound, the SubPac creates a direct connection between the fan and the music in its purest form, allowing a deeper appreciation for the music we all love. […] there is a lot of sonic information in the lower frequency range, that make the SubPac a perfect listening accompaniment in order to fully appreciate the experience.”

SOUNDING OFF PLAYBACK…PRO AUDIO…PROCESSING

SURGEX: PRIME PROTECTION

By Paul Dailey As equipment becomes more compact and increasingly multi-functional, DJs are able to get more from each piece of gear these days.

Controllers, for example, act as stand-alone mixers with myriad inputs and outputs combining traditional mixing desks with MIDI functionality.

Powered loudspeakers feature efficient, high-output amplifiers, DSP and, frequently, wireless operation—all in amazingly compact boxes. These advancements make it possible to easily entertain 150 or 200 guests with a system that fits in a mid-sized SUV. Loading-in/loading-out, while still the least enjoyable part of working any show, has been made increasingly less painful.

There is, of course, a flipside to this equation—there may be a downside to

SX-1115-RT: Protects gear from spikes, surges & more.

DJ TIMES

MAY 2015

SA-1810: A 10-outlet protector/ conditioner.

28

putting all your eggs in a few proverbial baskets. With most pieces of gear playing multiple positions on the field, one failure is even more catastrophic that in the more modular days of the past. This makes it more important than ever to eliminate as many performance-damaging variables as possible.

One of the single-most important ways to protect your gear and, by proxy, your reputation, is to add some sort of power conditioning/surge protection to your set-up. Enter the eng i n e e r s a t K n i g h t d a l e , N . C . - b a s e d S u r g e X t o t h e re s c u e .

SurgeX is the leading manufacturer of premium AC power-conditioning products for the professional and residential audio, video, and multi-media marketplace. The company offers a broad line of products, built around their proprietary Advanced Series Mode surge elimination technology, all created to protect against AC surges and electrical transients that can disrupt sound quality and digital performance.

In my eyes, the thing that sets SurgeX apart is that it doesn’t simply make the products, the company is deeply vested in numerous aspects of the industry, employing engineers and experts who are trusted sources for knowledge and support in the audio-engineering industry.

I began this exercise with two hypotheses, both which turned out to be off-base. First, I felt that since I had been using a heavy-duty powerstrip from a reputable company, that my gear was properly protected.

Turns out, the only useful attribute that most “power-strips” provide is an easy way to plug in six or eight pieces of gear.

LOUD 131 dB SPL

ONE OF THE SINGLE-MOST IMPORTANT WAYS TO PROTECT GEAR AND, BY PROXY, YOUR REPUTATION, IS TO ADD POWER CONDITIONING/ SURGE PROTECTION.

Instead, they are often built around a very crude, inexpensive fuse that, in the case of a fast-acting, powerful surge, simply is not constructed to react quickly enough to save your gear. In addition, even if an entr y-level surge protector does save your gear, it cannot save itself, with any reasonably powerful event rending the unit damaged beyond repair. SurgeX saves not only your gear, but it saves itself from damage.

The second fallacy I brought into this review was one often repeated in world of DJ-related social media. It’s the idea that, as active loudspeakers have their own built-in protection technologies, using an additional surge protector is redundant at best and damaging at worst. Turns out, this may be true for some surge-protection offerings, but in the case of a SurgeX, its units are not designed to “regulate” the power. Rather, they clean it up and protect your gear, using Advanced Series Mode technology, which was specifically developed to protect against AC surges and electrical transients that can disrupt sound quality and performance.

What makes this approach special, when compared to other solutions, is that it completely eliminates surge energy up to 6,000 volts without producing harmful side effects, such as ground contamination or commonmode disturbances. SurgeX owns the patent on this technology, which the company says is the only type of protection to qualify for the U.S. Government’s stringent A-1-1 Classification. I found that using a SurgeX

unit with powered speakers adds a second level of protection and is not detrimental in any way.

I was provided with two outstanding pieces from their extensive list of available offerings – the SX-1115RT (a rack mountable surge eliminator) and the SA-1810 (a similar tabletop version). Both are great choices, depending on your needs, available space and what type of power concerns you run into on a regular basis.

I began with the SA-1810 ($429 list), a 10-outlet, tabletop piece that looks like a standard power strip on steroids, complete with 15-amp load handling, advanced EMI/RFI filtering, and the kind of premium componentry that you know will keep that power clean and your gear safe.

The SA-1810 sports 10 conveniently located grounded outlets. It also includes a self-test circuit with a visual indicator. If you are looking for an easy way to upgrade the protection you provide for your expensive gear, this is a great place to start.

In the field, power problems are such that you don’t always know you have a problem until, say, the bride is at your table asking why the music is off and your sound system is blown.

So it is vital to not only protect your gear, but to see real-time feedback on potential issues.

The SX-1115-RT ($699 list) was next, and it ups the ante, adding protection for up to 6,000-volt surges and patented technology to protect your gear from destructive spikes, surges, and inductive transients that can cause disruptions and catastrophic damage.

During the 10 shows I used it, nine occurred with zero issues. However, on that tenth show, the red “over/ under voltage” light illuminated and then went off. Meanwhile, my sound system purred along, with a full dancefloor and no one the wiser.

Surge protection, like any kind of insurance, is something you can easily forget about or undervalue—that is, until you need it. You may do 200 gigs a year for 10 years with no indication it is helping. But all it takes is one surge, one poorly regulated function facility or country club with noisy ground contamination to, not only ruin your gear, but your client’s day. In the process, it can also ruin your reputation. If you are not using proper surge protection, do yourself a favor and check out SurgeX. Highly recommended.

HD 32-A SUB 8004-AS

LOW 30 Hz • 136 dB

www.rcf-usa.com

MOBILE PROFILE CAREERS…INNOVATIONS…SUCCESS STORIES

Elite Event Services: Phoenix-area DJ Jay Hague.

ware, Rane Sixty-Two Z-Trip Edition Mixer, Technics SL-1210M5G Grandmaster turntables, Shure M44 cartridges, Macbook Pro 15inch laptop, Pioneer HDJ-2000 headphones, QSC K12 active speakers, QSC KW181 active subs and a slew of lighting products from Chauvet, including Intimidator LED 250 moving heads.

For a typical five-hour wedding, says Hague, his team puts in 12 hours of work. “Most people want the better price and don’t really consider what they are getting for the price they are paying,” he says.

“They see a cheap price and go with it. But we say to clients that weddings are a one-time thing, so we encourage them to not cut corners on their wedding DJ. A wedding DJ runs the show and we keep the flow of things going. We keep the guests on the dancefloor and we make all of the announcements. The wedding party and their guests will remember the DJ long after the wedding is over, but likely will not remember the food, the flowers or the cake.”

The second challenge was how to place advertising and do marketing for the DJ business. “There are thousands of DJs in the Phoenix area, but not many who truly specialize in weddings and corporate events,” says Hague. “We focus solely on private functions and rare work in the nightclub scene. We work hard to maintain 100-percent positive feedback.”

Word-of-mouth from clients has helped the referral rate, as have 5-star reviews on wedding and event planning site online. Says Hague: “It’s helped us become a regular name in the wedding and corporate event DJ business in the Phoenix area.”

But mostly, Hague says, quality work trumps a cheap price. “We keep our pricing fair for the services we offer,” he says, “and we know the value of the service we provide.” Hague’s favorite quote is "The bitterness of poor quality remains long after the sweetness of a cheap price is forgotten."

Hague says word-of-mouth has landed for Elite Event Services gigs with clients such as the NFL for Super Bowl 49 (SB50 and 51 are in the works), Disney Cruise Lines, Pet Smart, Audi USA and more.

Those are not the typical events, of course. Of the 175 gigs Elite will book and perform this year, 95-percent of those will be weddings and corporate events. “We rarely take offers for nightclub gigs and try to focus on weddings first and foremost,” he says.

Hague works with many DJs in the Valley, but only three who work under the Elite Event Services name. There’s no shortage of talent. Hague describes the Phoenix DJ market as “saturated” with DJs. “But most focus on small backyard parties and night clubs,” he says. “There is a large group of club DJs but only a small group of professional wedding DJs who focus a majority of their attention on weddings and corporate clients.”

Since arriving in Phoenix in 2007, business has been growing each and every year for us. “We are always expanding, trying new marketing techniques and updating equipment as better gear becomes available,” he says. “We believe that the DJs skills on the decks, on the mic and communication are the most important skills to have in this business, but having high-quality equipment including back-up gear is nearly as important as a DJ’s personal skills.”

Almost as important, in Hague’s estimation, is the fact that he’s full-time. “In my mind, going full-time is the only way to give your customer 100-percent and dedicate yourself to your business,” he says. “If you want to provide only the best in the way of wedding DJ services, full-time is almost a must. We stay busy enough to be able to maintain a full-time business doing what we enjoy.”

To keep his business sense sharp, Hague browses various blogs and DJ sites to see what new trends are popping up. He says he’s always striving to learn new tricks of the trade and evolve in this business. “Each and every year, we plan to expand, better our company, learn more and, most of all, always insure we are providing 100-percent to our customers.”

ARIZONA DJ PUSHES THE 100-PERCENT RULE

By Stu Kearns

“To do a wedding right, it requires far more work

DJ TIMES

MAY 2015

than a nightclub event,

30

numerous hours of preplanning and, of course, owning high-quality equipment.”

Litchfield Park, Ariz. — While working as an event photographer in Southern California back in the ’90s, Jay Hague began dabbling behind the DJ booth “here and there.” His friends were local club and event DJs, and they began teaching him beat-matching and music selection on vinyl.

It became apparent to Hague that the only job with more flash than a photographer was a DJ. So by 2007, it was apparent that Hague needed to add another offering to his business, Elite Event Services, which opened its doors in February 2001 and migrated to the Phoenix area in 2007.

It was after the move to Arizona when he realized the DJing would make a profitable addition to his suite of services. “After receiving numerous calls in a short period of time from clients looking for a last-minute wedding DJ after they had lost contact or just lost trust in the DJ they had hired to provide wedding services, I realized there was a gap in the market,” he says.

The “gap” was quality, says Hague, and as an event-service professional he had an intimate understanding of what makes a party go flawlessly. So he decided to take on DJing as a full-time pursuit. That’s when DJ Elite was born.

It wasn’t easy, of course. His biggest challenge with this new DJ business was pricing. “A lot of DJs focus more on nightclubs that tend to pay $150-$300 per night. So when they get an opportunity to do a wedding, they underbid the gig severely,” he says. “They will quote out a wedding at about the same rates as they do a nightclub. To do a wedding right, it requires far more work than a nightclub event, numerous hours of pre-planning and, of course, owning high-quality equipment.”

Elite’s primary set-up includes Serato DJ soft-

XONE+SERATO DJ=PERFECTION

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For more information visit: www.americanmusicandsound.com

BUSINESS LINE SALES…MARKETING…SOLUTIONS…

By Stu Kearns Rick Brewer speaks frequently on the national circuit about how DJs can generate more gigs by appealing to more brides. The name of his consultancy really says it all—Get More Brides. Brewer will be speaking at this year’s DJ Expo, offering proprietary psychological insights that can yield better results for DJs when marketing toward brides. (DJ Expo is set for Aug. 10-13 at the Trump Taj Mahal in Atlantic City, N.J.)

to prequalify brides?

Brewer: In pre-qualifying your brides, I caution DJ business owners against using budget, but to focus on getting the major players who will help in making the decision to the meeting. If you were to do just that, your business will increase. Budgets can stretch once they meet you and find out that they not only like you, but want you for their wedding.

Q: Should I give advice/consulta-

very hard to get—and that you will not stain their reputation. There are ways also that you can benefit the venue—I recommend Dave Louis’ “Timeline Workshop” as something you can offer free of charge to the venue that their brides will benefit from—which don’t necessarily have to be reciprocal referrals.

Q: So many brides are now doing research online, by the time they get to me they’ve seen a lot. How can

be. They typically have 15 different categories of things to buy for their weddings that they have never purchased before, or at least in this quantity or to this degree. By setting it up where if you perform to the degree that they expect, or you do the job they want you to do, would it be OK to ask for some referrals, you have set yourself up for permission to ask. The process then should go to where you actually follow through

DJ TIMES

MAY 2015

HOW TO BOOK MORE BRIDES & ENJOY THE PROCESS

32

We spoke to Rick Brewer and asked for some insights.

Q: What’s wrong with thinking, “There are so many weddings every year, a certain percentage of brides must book me?”

Rick Brewer: That would be ideal if you got your fair share of brides just based on being out there. I actually have a name for this mentality which is “Field of Dreams Business Strategy.”

If you remember in the movie “Field of Dreams,” the field would whisper to Kevin Costner’s character, “If you build it, they will come.” Many business owners feel that by just showing up and setting up their businesses, the customers will then line up. Doesn’t happen that way in most businesses and, in particular, the wedding business… 85-percent of brides are first timers and, while there is a ridiculous amount of information online about how to book your services and what should and should not be considered, they are still hesitant to pull the trigger because they are scared to death to make the wrong decision and so desperately want to make the right decision. The principles for effective marketing and having a sales strategy that will work with these couples is crucial to get them in to meet with you so they can decide if you are a match or not.

Q: What are some things I can do

tive services away to the bride for free before she books with me?

Brewer: Anything that you know or say can be found on the Internet.

I have a rule of three, which is, when people ask for some advice—which is my business—I give it to them, but on the third time, I put the hard close to actually buy something. If a bride is coming to you and has already booked your services, I would simply inquire, “I’d be happy to help, but is there a reason why you’re not speaking with the person you have booked already?” Fact is they can find the answers online, so if you are making it easy for them, you have a better chance of building trust through being the expert; everyone likes to do business with someone who they find to be expert in their area.

Q: The big challenge is getting on the preferred vendors list. What are two things I can do today that will get me on that path?

Brewer: The No. 1 thing is to rid yourself of the basic assumption that “If I do what the brides are looking for, the vendor will automatically refer me.” Vendors rarely get anything out of referring you except a headache if you do not perform. The first step is to build a relationship so they can get to know you. They need to trust that you will care for their brides—which they have worked

that help me? How can that hurt me?

Brewer: Great question. It can help and hurt, but let’s talk about how it can help. Knowing that brides are coming in loaded with information is key, so I have my clients do a competitive review so they see what the bride is seeing. I would suggest you start with Wedding Wire then go on to keyword searches—act like your brides act and go through the steps they go through. Further, you should base your website to be a response to what they are or are not finding out there. For example, if they are seeing on every competitor’s site “We are the best price in town” then I would suggest you put up “Why price is the worst reason to book your event,” and write a comprehensive article laying out your claim.

Not knowing what they are finding can really hurt you, so be prepared with the information because that will make you much more effective in your sales appointment.

Q: What kinds of things can I do to get my bridal clients in the “loyalty loop” and help me sell my services to their friends?

Brewer: The No. 1 thing to do is to set it up so you have their permission to ask for the referral. Most brides know other brides. Unfortunately, you are not on top of their mind as much as you would like to

and properly ask. Most do not ask for this permission, let alone follow up.

The assumption that you did a great job, therefore they will get on the phone and call people for you voluntarily just does not happen (occasionally, but only occasionally it does, but you cannot form a working strategy based on occasionally). You need to control the process if you expect the process to perform.

Q: Why don’t sales get any easier?

Brewer : It can and it should.

When you are dealing primarily with the “one-and-done” consumer, you have to start the trust process over with each new client, thus making it that hard uphill journey every day.

That said, the easiest way to make sales easier is to enjoy the process.

It is part of the process of getting business and if you love what you do, it becomes the necessary part of the landscape. Forming a strategy to where your word-of-mouth is flowing (both from previous customers and from other businesses that can refer you as mentioned earlier), your marketing is effective and you have appointment after appointment of brides who want to meet with you makes the process a lot more fun.

Failure to form an effective sales process will make it drudgery and you will continue to lose business which (continued onpage 42)

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GEAR AUDIO…LIGHTING…STUFF

Pocket Protector ADJ Products 6122 S. Eastern Avenue Los Angeles, CA 90040 (323) 582-2650 www.americandj.com ADJ’s Inno Pocket Spot Twins features two independently controlled mini moving heads, each with its own color and gobo wheels, mounted on a single bracket. It’s designed with a pair of 12-watt LED sources and features seven colors (plus white) and seven gobos (plus spot). Additional features include a 15-degree beam angle, 540-degree pan, 230-degree tilt, random slow-to-fast strobing and pulse effects. The unit comes with two channels of DMX control and can also be operated in Sound Active Mode or Show Mode.

Sooner or kaossilator Korg 316 South Service Rd Melville, NY 11747 (631) 390-6500 www.korg.com

Pioneer-est & Dearest

Korg released an enhanced version of its palm-sized synthesizer, the kaossilator 2S, offering a variety of new features and user-friendly functions.

The unit features unlimited undo/redo functionality and also allows users to export multi-track audio data for immediate use in Ableton Live or another DAW of choice.The kaossilator 2S has been redesigned so that users can easily begin recording by simply pressing the REC button. In addition, the unit comes with 150 sound programs and features built-in speakers.

Pioneer Electronics 1925 E. Dominguez Street Long Beach, CA 90810 (310) 952-2000 www.pioneerdjusa.com The HRM-7 studio headphones are the latest from Pioneer DJ, and they incorporate a newly developed HD driver that is capable of reproducing frequencies up to 40 kHz. The headphones sport hybrid memory-foam ear pads and a 3D ergonomic design. They also feature a dual chamber bass reflex enclosure that the company says creates better audio accuracy and lower bass response. The Pioneer HRM-7 comes with a detachable cable made from oxygen-free copper litz wire, as well as a gold-plated 6.3mm stereo plug adapter and replacement velour ear pads.

DJ TIMES

MAY 2015

Grid & Bear It

34

American Music & Sound 22020 Clarendon St, Suite 305 Woodland Hills, CA 91367 (800) 431-2609 www.novationmusic.com/us Novation Launchpad Pro is a professional grid performance instrument that uses an enhanced 8x8 grid of RGB velocity and pressure-sensitive pads to trigger and combine clips, play dynamic beats and melodies, and control external MIDI hardware. Upon registration, users get 1GB of Loopmasters sounds and samples, Ableton Live Lite music making software, Bass Station VST, V Station VST and AU plug-in synthesizer. Launchpad Pro features four operational modes and ships with two orange MIDI breakout cables.

GEAR

AUDIO…LIGHTING…STUFF

Treat Her Like a Nady Nady Systems 6701 Shellmound Street Emeryville, CA 94608 (510) 652-2411 www.nady.com The DJH-1000 is Nady’s new high-performance DJ-style headphone model featuring a compact, collapsible design with rotating ear cups. The headphones offer Nady’s FeatherLite technology as well as high volume capability (108 dB/mw sensitivity rating), full-sized 50mm drivers and closed cups designed for “maximum isolation from ambient noise,” according to the company. DJH-1000 headphones ship with a four-foot cord with 3.5mm TRS jack and a ¼-inch adaptor. While designed to meet the requirements of DJs, Nady says the headphones can also be used for studio use and casual listening.

COLORband on the Run Chauvet 5200 NW 108th Ave. Sunrise, FL 33351 (800) 762-1084 www.chauvetlighting.com The COLORband Hex 9 IRC from Chauvet is a 3.5-foot linear strip light that comes equipped with nine high-output, seven-watt LEDs that emit 2,476 lux at two meters. It can create a wash effect, as well as act as an audience blinder

at concerts and stage shows. With three independent zones of control, it can also create chase effects. It comes with 6-in-1 RGBAW+UV LED technology that lets users blend “any color imaginable,” according to the company. The unit also has a 21-degree beam angle and includes a variable strobe effect.

Wile E. Akai-yote Akai Professional 200 Scenic View Drive Suite 201 Cumberland, RI 02864 (401) 658-4032 www.akaipro.com Akai Professional announced its Advance Keyboard series, featuring three models featuring 25, 49 and 61 keys on semi-weighted velocity-sensitive keybeds. The Advance 25, Advance 49, and Advance 61 each ship with a 16GB download of over 10,000 sounds from AIR Music Technology, SONiVOX, and Prime Loops. Each keyboard is

designed with an integrated high-resolution full-color 4.3-inch display with dedicated interface buttons. They feature eight variable control knobs, eight velocity- and pressure-sensitive MPC pads with RGB illumination, and rubberized pitch and modulation wheels.

Bang the Drum Machine

DJ TIMES

Roland released the 7X7-TR8 Drum Machine Expansion for the TR-8 Rhythm Performer. The expansion faithfully reproduces all 30 original sounds of the TR-707 and TR-727 Rhythm Composers using the original PCM wave data and detailed models of the original circuitry. In addition, users get a variety of “new, never-before-heard” sounds, including TR-808 “noise” sounds and finger snaps, as well as newly-modified TR-909 kick and snare sounds.

MAY 2015

Roland Corporation US 5100 S. Eastern Avenue Los Angeles, CA 90040 (323) 890-3700 www.rolandus.com

35

GEAR AUDIO…LIGHTING…STUFF

Thrown for a Loop Lounge Loop Lounge www.thisislooplounge.com Loop Lounge launched three professionally-mastered, royalty-free audio collections for DJs, each available in either .wav or .trk packages.

Reckorder Project: Beats, Breaks and Bass offers breaks, synth lines, scratches and organics sounds suitable for downtempo, mid tempo and up-tempo sets. Le Monde Sombre by Emile features samples, some including sung vocals and World Percussion, that are written to a 4/4 time signature. Latin Percussion Session by Ian Tripp features authentic Latin percussion flavor breaks and grooves with 38 samples per track.

Mambo Italiano

A Fuse Good Men

For Haze a Jolly Good Fellow

Italian Speaker Imports P.O. Box 856 Armonk, NY 10504 (914) 219-4180 www.italianspeakers.us

ARTURIA US 5776-D Lindero Cyn Rd #239 Westlake Village, CA 91362 www.arturia.com

Native Instruments North America 6725 Sunset Boulevard, 5th Floor Los Angeles, CA 90028 (866) 556-6487 www.native-instruments.com

DJ TIMES

MAY 2015

The FBT J15A series speakers come in an asymmetrically shaped gas-injected molded polypropylene cabinet that allows the speaker to also be used as a powered floor stage monitor. Available in a black finish, the bi-amplified speaker features 350W RMS low frequency amp and a 100W RMS high frequency amp. Features include a frequency range of 48Hz - 20kHz, a 15-inch, low-frequency woofer, a front-facing steel grille, a 90-by-60 horn, and a two-inch HF custom compression driver.

36

The AudioFuse audio interface from Arturia is built on a fully-symmetrical audio chain.

It features two DiscretePRO microphone preamps and 24-bit AD/DA (Analogue-toDigital and Digital-to-Analogue) that deliver audio at up to a 192kHz sampling rate. Users can connect microphones, instruments, turntables, pro audio equipment, Macs, PCs, tablets and both iOS and Android smart phones directly to AudioFuse thanks to ADAT, MIDI, phono, S/PDIF, Word Clock, USB, and XLR/balanced 1/4-inch combo connections. AudioFuse also acts as a three-port USB/MIDI hub.

Native Instruments’ latest MASCHINE expansion pack, PROSPECT HAZE features what the company calls “laid-back, melodic sounds of ’90s East Coast hip-hop grooves.”

The program includes playable melodic kits that feature Rhodes, flutes, and ambiences sampled with classic techniques, as well as breakbeats from 1960s- and 1970s-era rock, R&B, and funk sampled directly from the original vinyl recordings. PROSPECT HAZE runs in the MASCHINE 2 software on MASCHINE STUDIO, MASCHINE, or MASCHINE MIKRO. A compact version of PROSPECT HAZE is also available as an iMASCHINE Expansion.

AUGUST 10-13, 2015 TRUMP TAJ MAHAL ATLANTIC CITY, NJ

– LOOKING BACK... AND MOVING FORWARD. – IN STYLE THE DJ EXPO CELEBRATES

YEARS

DJ Times first presented DJ Expo in 1990—and, ever since, the show has continued to define the industry. With a program that includes 25 educational seminars, an exhibit hall full of top gear, and three evenings of sponsored events, DJ Expo remains the industry’s longest-running and best-attended trade show.

As the 2015 event marks DJ Expo’s 25th anniversary, this show will offer a week of celebration at the Trump Taj Mahal and its immediate Boardwalk environs. In keeping with that theme, DJ Expo will turn the clock back for exhibitors and attendees alike.

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Check our “Special Room Rates” and we’re sure you’ll find something you’ll like.

DJ Expo 2015: Looking Back…and Moving Forward in Style

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TRACKS…MIXES…COMPILATIONS

Frankie Knuckles

Soul Clap

Flarup

16 Bit Lolitas

“I LOVE YOU” u Obas Nenor u Strictly Rhythm

“TROLLER” u Pleasurekraft u Kraftek

The three outstanding mixes here will rock any dancefloor. The original, “Andre’s Remix” and “Luke Soloman’s Body Edit” all push a soulful feel, while maintaining a rugged underground house sound.

Pleasurekraft returns with its first original solo release in two years, offering a pulsing dancefloor throbber packed with distorted vocals, heavy drums, and a breezy vibe. “Troller” is steeped in Pleasurekraft’s signature techhouse style, but the track boasts a classic house flair with a rolling bassline and groove-laden hi-hats.

– Tommy D Funk “ON ME” EP u Mark Jenkyns feat. MC Chickaboo u Hot Creations English DJ/producer Mark Jenkyns crafts an entrancing click-drum techgroove that’s caught the approval of Jamie Jones, and its potential for a secret set weapon is unmatched. MC Chickaboo’s hypnotic rhymes provide infectious vocal hooks, which serve as dancefloor commands on Skream’s remix of the track. The acid-flavored b-side “Like This” is also not to be missed.

– Chris Caruso “NOT THE ONLY ONE” EP u 16 Bit Lolitas u Anjunadeep 16 Bit Lolitas continue their masterclass on making emotive, continually changing, and ever-challenging house music. “Not The Only One” is a perfect example of their style: rolling synth melodies, evocative vocals, and an immersive, late-night atmosphere. “End Is Near” is an experiment in structure for the duo, starting very mellow and building to a feverish house groove full of energy and displaying a rolling bassline. “I'll Be True” provides the EP with some warm, mellow closure. A gorgeous EP.

– Chris Caruso DEFECTED PRES. HOUSE MASTERS FRANKIE KNUCKLES

u Frankie Knuckles u Defected Records

A superb compilation of some of the finest club tunes ever produced, remixed by the Godfather of House. It contains 22 of his best mixes, including notable efforts for Alison Limerick’s “Where Love Lives,” Inner City’s “Whatcha Gonna Do With My Lovin’,” and Loose Ends’ “Hanging on a String.” A collection of beautiful, well-crafted classics.

– Tommy D Funk “COCONUT PARADISE” EP u Steve Bug u Poker Flat German techno-meister Steve Bug delivers three outstanding tracks here, as they all display dubby synths, solid kicks, and deeply hypnotic grooves. Don’t sleep on the monster title track.

– Tommy D Funk

– Evan Maag

DJ TIMES

MAY 2015

“IN DA KAR” EP u Funkadelic & Soul Clap u Soul Clap Records

38

A brilliant four-track funkathon featuring Boston’s finest, plus Funkadelic associates like Sly Stone. Check the title track and “Peep This” for some whopping grooves.

– Tommy D Funk “THE SUN”u Flarup feat. Peter Munters u DOTDOTDOT

“TAKE THE NIGHT (AMINE EDGE & DANCE REMIX)”

u Chelley u Ultra Records

The French G-House pair reworks Chelley’s 2009 hit to continue their club dominance with this scorching house wrecker. Chelley’s sassy quips are paired with chunky drum hits and a sparse, throbbing drop that’s ready to destroy dancefloors. All that’s old is new again with this one.

– Chris Caruso

Cinematic and stirring, this one from Danish DJ/producer Flarup recalls tingly chill-room records from the days of raves gone by. Whether played for sunset or sunrise, it creates a grand soundtrack. Warm and wonderful.

– Jim Tremayne

“SPECIAL” u Ryan Blyth & After 6 feat. Luther Soul u CUFF/Island Blyth teams up with After 6 to deliver an uplifting vocal-house weapon that channels the best of smooth R&B. Chicago’s Luther Soul lays down a soulful

Mark Jenkyns

Trackheadz

Obas Nenor

Pleasurekraft

Steve Bug

Josh Wink

vocal take that complements the track’s retro-house aesthetics and thumping bassline. Released on Amine Edge & DANCE’s CUFF imprint, the single release also includes a chilled-out, trap-influenced rework of the track from the French pair.

“LOTUS” u Fehrplay u Anjunabeats “Lotus” offers warm, encapsulating ’80s synths, a Prydz groove, and the escapist feel of uplifting trance packed into a progressive-house tune. Blast this on a summer beach or during any celebration of warmer months coming. Massive tune.

– Chris Caruso “TROIS NOCTURNES” EP u Johannes Brecht u Poke Flat

– Evan Maag “BURN”

This four-tracker EP delivers a slew of deep, dark techy-house, including the sublime “Nuages (Slow Mix).” All the elements are here.

– Tommy D Funk

u Honey Dijon & Tim K feat. Jason Walker u Classic Music Company Beautiful and well-crafted by Luke Solomon, but also a real hitting house track. Go right to Solomon’s “Luke’s Slow Burn Mix.”

– Tommy D Funk

“DENIAL” EP u Josh Wink u Ovum Records Wink drops another winning EP of acid bombs, complete with 909 claps, deep percussion, futurist vocals and forceful kicks. Fave track: “Denial (Prise d’Acid),” a hypnotic throbber sure to take you to the dark side.

– Tommy D Funk GUEST REVIEWER: DJ E-CLYPS

DJ E-Clyps

DJ TIMES

(Kaje Trackheadz Remix) Trackheadz Trackheadz I stumbled upon this record digging for new tunes for my Blacklight Radio Show and truly came across a jewel. What really makes this track stand out is the staccato reverse strings and the cleverly used vocal chops. A really funky groove carries the tune throughout and definitely works on the dancefloor... so much that when I played it at WMC this year at Todd Terry's InHouse party, both he and Kenny Dope were peering into the booth to find out what on earth that crazy record was. Don't sleep on this one!

MAY 2015

“OUR MUSIC”

39

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DJ TIMES

MAY 2015

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DJ_Times_March?April_2015.indd 1

Dubfire

(continued from page 16) MIDI information to all of them. While everything is sort of programmed and they can sit back as well and let everything play, they are able to come in and make each performance we do unique and different by reading and watching the crowd and manipulating things as they see fit.

DJ Times: So it's definitely a team effort.

Dubfire: Yes. Also, each audience is going to be different, so I have two encores. I can decide which encore to play and I can decide in what order I'm going to play it in, and I can also decide to lengthen or shorten it. We really wanted to be free in that regard, with a kind of approach like that of musicians with real instruments who are completely open to read an audience and adapt to handle any situation.

DJ Times: Technology seems to be a constant thread throughout your career, even down to your label being named SCI + TEC. What sort of impact has technology had on music?

Dubfire: I've always said that I am sort of a slave to technology, and technology moreso than ever before seems to shape every aspect of our lives.

With respect to music, it's not just the Internet; it's having slim laptops, really powerful software, and portable hardware that have really allowed to take whatever we are doing and take it anywhere. We can set it up and do it the same way that we are doing many, many years ago with a desktop computer and tons of hardware. It has really afforded us the opportunity to completely free to record, perform, or just play back and listen to music.

DJ Times: Are there specific ways you feel you have to adapt your DJing style when playing to different locations around the world? How are the crowds different depending on where you're playing?

Dubfire: You always have to adapt. I mean, South American audiences are a lot different from the European audiences, and in Europe the Italians are different from the Spanish, Portuguese are different from the crowds in Germany, etc. So yeah, it is important to read the crowd. Sometimes I go into a situation where I made a playlist of the current stuff that I want to play in a particular order, but I always find that if I try to stick to that from one country to another, audiences are going to respond differently. I have to alter what I do and adapt what I do to match the audience. Sometimes it takes an hour of throwing different things at them to see what they're responding to, what they're connecting to before you are full in sync with your audience.

DJ Times: You're constantly touring, you run a label, and—despite everything you're doing—you still find time to produce. I don't know how.

Dubfire: I don't either, I mean, it's technology.

On the train back today [to Washington, D.C.], I am in the studio. I'm supposed to finish arranging; Sharam and I are in the studio working on Deep Dish material. We are supposed to finish arranging this one song that we started a couple days ago, and I'm able to do that sitting on the train coming back home, which is fantastic. That was unheard of when I first started producing music.

DJ Times: So you can do everything on the road now?

Dubfire: Yes, I can sit on the beach and compose music if I wanted to.

DJ Times: What gear are you using in the studio or on the road studio both hardware and software wise?

Dubfire: I have a pretty simple setup and pretty much everything I use is inside the computer. I use (continued on page 42)

2/16/15 11:37 AM

MP3s in 6

Compiled As April 16, 2015

NATIONAL CROSSOVER POOL CHART

NATIONAL URBAN POOL CHART

1 Giorgio Moroder F/ Kylie Minogue Right Here Right Now 2 Tove Lo Talking Body 3 Pitbull F/ Ne-Yo Time Of Our Lives 4 Madonna Living For Love 5 Calvin Harris F/ Ellie Goulding Outside 6 Kelly Clarkson Heartbreak Song 7 Mark Ronson Bruno Mars Uptown Funk 8 Liz Primo Like A Star 9 Philip George Wish You Were Mine 10 Mary J Blige Right Now 11 Tony Moran F/ Martha Wash Free People 12 Dave Aude F/ Jessica Sutta I’m Gonna Get You 13 Salt Ashes If You Let Me Go 14 Gorgon City F/ Jennifer Hudson Go All Night 15 Axwell Ingrosso On My Way 16 Alesso F/ Roy English Cool 17 Maroon 5 Sugar 18 Stash Strip Me Bare 19 Ariana Grande & The Weekend Love Me Harder 20 Audien F/ James Parsons Insomnia 21 Eric Prydz Vs Chvrches Tether 22 Avicii The Nights 23 Erasure Sacred 24 Rihanna, Kanye West & Paul McCartney FourFiveSeconds 25 David Seyer F/ Karoll Floss Moonlight 26 Delilah Party Till We Drop 27 Bea Miller Young Blood 28 Sia Elastic Heart 29 Eddie Amador F & Ultra Nate Take Care Of My Heart 30 Muzik Box Fabulous 31 Martin Garrix F/ Usher Don’t Look Down 32 Taylor Swift Blank Space 33 Charli XCX F/ Rita Ora Doin’ It 34 Baxsta Jump Voltage 35 Georgie Porgie Keep On Loving You 36 Chic F/ Nile Rodgers I’ll Be There 37 Madonna Ghost Town 38 Tunnelmental Experimental Assembly Shite 39 Zamee F/ Mia Martina Crazy 40 Duke Dumont The Giver

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

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

Alesso F/ Roy English Goldhouse Tony Moran F/ Martha Wash Chic F/ Nile Rodgers Delilah Madonna Muzik Box Sir Ivan Tunnelmental Experimental Assembly Audien F/ James Parsons

SME Universal RCA Interscope Columbia RCA Atlantic 444 Motown Capitol Radikal Audacious Radikal Capitol Def Jam Def Jam A&M CEO Republic Astralwerks Astralwerks Island Mute Roc Nation 27 LP Hollywood RCA Citrusonic Cal 69/Control Voltage Spinnin Big Machine Atlantic Redbox Live-MPG Warner Brothers Interscope Dauman BMG Group Reprise

Cool When I Come Home Free People I’ll Be There Party Till We Drop Ghost Town Fabulous Kiss All The Bullies Goodbye Shite Insomnia

Def Jam Goldhouse Radikal Warner Brothers LP Interscope Control Voltage Peaceman Dauman Astralwerks

REPORTING POOLS

Masspool - Saugus, MA; Gary Canavo n OMAP - Washington, DC; Al Chasen n Chew Fu - Woodbridge, CT; Chew Fu n Dj Stickyboots - Goshen, NJ; Blake Eckelbarger n Victors Milwaukee, WI; Chris Egner n Fusion Radio - Chicago, IL; Manny Esparza n KRYC 105.9 - Yuba City, CA; Rich Fayden n DeeJay Creativity - Los Angeles, CA; KSXY KPAT n Next Music Pool - Los Angeles, CA; Bob Ketcher n Pittsburgh DJ R - Pittsburgh, PA; Jim Kolich n Klubjumpers - San Antonio, TX; Dan Mathews n New York Music Pool - Levittown, NY; Jackie McClo n Dixie Dance Kings - Atlanta, GA; Dan Miller n DJ Rafy Nieves - San Juan, PR; Rafy Nieves n WPTY-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 n Victor’s - Milwaukee, WI: Chris Egner 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

Usher F/ Juicy J I Don’t Mind Drake How About Now Nicki Minaj F/ Drake Lil Wayne & C Brown Only Nicki Minaj F/ Beyonce Feeling Myself Rae Sremmurd F/Nicki Minaj & Young Thug Throw Sum Mo Weekend Earned It Nicki Minaj F/ Drake & Lil Wayne Truffle Butter Chris Brown & TYGA Ayo Fetty Wap Trap Queen Omarion F/ Chris Brown & Jhene Aiko Post To Be Big Sean F/ Kanye West Blessings Ciara I Bet Ne-Yo F/ Juicy J She Knows West F/McCartney All Day Trey Songz Slow Motion Wale F/ Usher The Matrimony T.I. F/ Chris Brown Private Show Migos One Time Kendrick Lamar King Kunta Chedda Da Connect Flicka Da Wrist

RCA Republic Republic Republic Interscope Republic Republic RCA RGF Atlantic Def Jam Epic Capitol Def Jam Atlantic Atlantic Columbia Quality Control Interscope EOne

Most Added Tracks 1 2 3 4 5

J. Cole Elijah Blake Young Dolph F/ 2 Chainz & Juicy J Kendrick Lamar Kanye F/ l McCartney

Wet Dreams I Just Wanna Pulled Up King Kunta All Day

Columbia Def Jam Paper Route Empire Interscope Def Jam

NEW NATIONAL LATIN DANCE POOL CHART 1. Enrique I. ft Yandel & J Magan 2. Angelina Alexon 3. Papo Kpuccino 4. Angie K ft Qbanito 5. Delilah 6. Rey Chavez 7. Oro SolidoHmns. Rosario 8. Chino & Nacho 9. J Martin 10. Tomas The Latin Boy 11. Hector Acosta 12. Tarzana 13. Yvi Queen 14. Zacaria Ferreira 15. Cro Cro y su Tumbaka 16. Luis Vargas 17. Juan Luis Guerra 18. Tito Rojas 19. A. Santos ft Prince R. 20. Tito El Bambino

De Dia y De Noche Amor (RMX) Mi Tambor De Moda Party Til’ We Drop Voy A Robarme a la Novia Merenguemania Me Voy A Enamorar Yo soy el Loco Aquel Bailalo Ojala Baila Con Tarzana Soy Libre Si Pudiera Tambo Tambo Alejate Tus Besos Aguzare y Come Berro Que Cosas Tiene La Vida Adictos A Tus Redes

Universal Insinna Mngt.

New Latin Records Big Dream Latina Princess J&N 24K Universal PPE Latina Dam Latin Inc. Demand Musa Sounds Latin Hits Tierra Music Chocoalte Prod.

Universal T.R. Latin Hits Venemusic

Most Added Tracks 1.

2.

3.

4.

5.

Amarfis ft Luis Vargaz Piso 21 ft Nicky Jam Victor Manuelle Zion y Lennox Jessy Rose

Solamente Tu Suele Suceder (RMX) Agua Bendita Pierdo La Cabeza Falso Amor

Amarfica Latin Pulse Music Sony Latin Hits Park East

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.

Dubfire

(continued from page 40) Ableton Live now more than ever.

Before that it was Logic; I was using that for years. And before that it was Cubase. For hardware, it's a sound card and a USB keyboard, and that's really it.

DJ Times: You reunited with Sharam as Deep Dish last year for new material and live dates. How has working collaboratively again been?

Dubfire: It was something we wanted to do for years, but it wasn't until enough time had passed to settle our differences between one other that we could—personal issues and business differences and stuff like that. Once we had set that aside, and once we got to a point of being comfortable with who we were as individual solo artists... We both went out having always been known as a collective. When we ventured out as solo artists, it was a bit scary at first, but I think we both kind of proved ourselves in different ways and felt much more comfortable as individuals within the world of music. When we came back, we came at it with a little bit more comfort, professionalism, and tolerance for one another's differences. I've got my sound and he's got his sound. We knew that it was going to be interesting to come back together having learned and having explored what we always wanted to do within Deep Dish, but maybe wasn't necessarily appropriate for Deep Dish. Coming at it has sort of been a breath of a fresh air; it has injected new life into the creative synergy that we have.

DJ Times: What sort of plans does Deep Dish have for the rest of the year?

Dubfire: We have been in the studio for the last two weeks, and we have another three weeks to go.

It's basically to create new music because a lot of the younger audiences these days have no idea of who Deep Dish is. We haven't been together in more than eight years, and a lot of the newer audiences are much too young to remember what we've done in the past and even what we had done before we broke up. We knew that whatever we do as Deep Dish has to be driven by new music. Last year in hindsight, I think we probably launched the project prematurely. We had intentions of working as much as we could in the studio, but when we kicked everything off and released the new single [“Quincy”] and looked at our schedules, we realized that we had very little time to devote to creating new music. That's why it has been such a big lull between what we released then and what we hope to release in the near future.

DJ Times: Are you two collaborating remotely or in the studio together?

Dubfire: We try to do a bit of both. As much as we are able to tolerate one another more than we had in the past, I think we are both more comfortable working separately. When we are finishing a project or when we are beginning a project, we are in the studio together, but during the middle stages—like crafting the arrangement or other things—we tend to work separately.

DJ Times: You've been running SCI+TEC for quite a few years now.

What kind of identity do you think it has made for itself both musically and as a brand?

Dubfire: A lot of people think that SCI+TEC has a particular sound, but I'm not sure I agree with that or hear it because I'm releasing music by such varied artists from all backgrounds

and from all over the world. It's funny because I am getting approached by artists who are sending me demos saying that they think that their projects specifically work for the label because they feel that the label has a sound.

I'm guessing that everybody feels we have a sound, but I don't really hear it.

SCI+TEC has been always be established as an outlet to release the music of a lot of talented people whom I was meeting on a daily basis and people who were sending me demos. Also, it was established as an outlet to release my own solo material, and the label has just gone from strength to strength.

By the end of this year, I think we're going to reach 50 or 60 total releases since the label started in 2007.We have been around for a long time and have the support of a dance music community, and a lot of producers know that to have a release on SCI+TEC can

do wonders for their career. It's been great to try to give everyone a shot at this great music.

D J T i m e s : G i ve n eve r y t h i n g you've got going on, it seems like there's a lot of Dubfire in 2015.

Dubfire: Yeah. There's stuff on the label, I am doing a follow-up [to “Exit”] with Miss Kittin, and me, Radio Slave, and Danton Eeprom are talking about doing a new sort of “Grindhouse” project since that was such a big project for all of us. There's also my collaboration with Oliver Huntemann. We are actually working on one final song and are putting everything that we have done together—which I think is six original songs plus all the remixes—and we are repackaging it. We're probably going to have four exclusive gigs to represent each of the Elements of n Life of the Elements Series.

Bussiness Line

(continued from page 29) could and should be yours. Make your marketing effective to get your clients face to face, then tune up your sales process to get more of them to sign contracts and your life will become a lot easier.

Q: I waste a lot of time on brides who do not book… what am I doing wrong?

Brewer: My first question is: Are you asking for the sale? At the end of each face-to-face meeting, you have earned to right to ask, “What’s next?

Should we do some paperwork?” (It’s a soft, effective way to ask for the sale.) Many times we get discouraged that they want to “think about it” or talk to someone who isn’t there. That becomes failure on our part to properly discover their objections before

they become objections. You should be closing between 60- and 90-percent of your face-to-face appointments. Less than that and you could be priced out of the market or you don’t know how to sell; more than that and your prices are too low. Follow up is also necessary with today’s bride who takes longer to process and decide. Most wedding businesses have no process for follow up, so putting that piece into your sales process will also help you to let her know that you plan on following through, which she may get honest and come to the table with what her struggle is then and there (which most times is she has not budgeted for what you charge. Not that you’re not worth it, she simply does not have the money) n

42

For me, DJing is more than music…

It’s philosophy, art & expermentation…

So yeah, sometimes I do empty the dancefloor.

DJ Spooky, Next Month in DJ Times

Photos by Danielle Levitt

DJ TIMES

MAY 2015

DJ Spooky: That Subliminal Kid

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© HARMAN 2015