DJ Times October 2015, Vol 28 No 10

AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988

OCTOBER 2015

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NOTABLES…MILESTONES NEWS

Atlantic City, N.J. – The 2015 DJ Expo celebrated its 25th year by making its annual trip to Atlantic City’s Boardwalk, attracting thousands of professionally minded DJs to the industry’s longest-running trade show/exhibition. The Silver-Anniversary event featured a sold-out exhibit hall and held steady on its attendee numbers (6,000+), seeing several product introductions for the thriving DJ industry.

Produced by DJ Times magazine and its publisher Testa Communications at the Trump Taj Mahal this past Aug. 10-13, DJ Expo presented to attendees more than 200 exhibitor booths from nearly 100 companies, displaying hardware, software and specialty products. With its 30th show in 25 years, DJ Expo produced a full schedule of exhibits, seminars and parties that enjoyed participation from exhibitor/sponsors like ADJ, Chauvet, Electro-Voice, inMusic Brands, Peavey, Pioneer DJ, QSC Audio, and Yamaha, among many others. (For a list of idea takeaways from DJ Expo, please see Business Line on Page 32.)

The show was graced with participation and performances from pioneering DJs (hip-hop legends like the Juice Crew’s Marley Marl, Grand Wizzard Theodore and Grand Mixer DXT) and industry insiders (entertainment attorney Coe Ramsey, DJ/VJ extraordinaire Joshua Carl and same-sex-wedding specialist DJ Jodi Duston), who dispensed valuable information to at-

tendees during Expo keynotes and seminar panels. (For images from DJ Expo, please see Page 18.)

Additionally, show goers were entertained by sponsored events like Peavey and Jägermeister’s “Art of the Mix” party—MC’d by Public Enemy’s Keith Shocklee, it presented DXT, Theodore and Jazzy Jay. Expo attendees also enjoyed performances by hitmakers like Duke Dumont and Audien (during Promo Only’s Summer Sessions Finale at Borgata’s Mixx) and America’s Best DJ nominee Skribble (at Ego Lounge during the Expo’s annual afterparty).

The Winners: Betsy Fischer of The Groove Lounge in Voorhees Township, N.J., took the main prize in the “DJ of the Year” competition.

Hosted by Mike Walter, the annual event bestowed awards in a variety of categories to the best of America’s mobile entertainers. Also, Ron Sherr of Bridge Musico in Edgewater Park, N.J., won the annual Ultimate DJ Giveaway. His haul included gear from the following sponsors: ADJ lighting (Mega Flat TRI Pak); Global Truss gear (Arch System); JBL Professional (SRX800 active loudspeaker system); and Pioneer DJ (XDJ-1000 players, DJM-900SRT mixer and HDJ2000MK2 headphones).

“On all levels, the DJ Expo’s Silver Anniversary show was a terrific success,” said Vinny Testa, Publisher/ President of Testa Communications.

“So, on behalf of ever yone at DJ Expo and DJ Times, we thank our exhibitors, panelists and attendees for their support this year, and in all the show’s incarnations since 1990.

DJ Expo has helped define the market since its beginning and we look forward to producing another exciting show in 2016.”

Response from Expo exhibitors and attendees was upbeat: “DJ Expo was great!” said Brian Dowdle of Los Angeles-based exhibitor ADJ. “We can always count on the fine folks at Testa Communications to put on a great show and bring qualified customers. The attendees at DJ Expo are passionate about what they do, and we at ADJ really felt their passion! The Taj is a great place to have this event, but I do believe you guys could host this

Gear Galore: DJs flooded the exhibit hall.

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EXPO ’15: SILVER ANNIVERSARY, STRONG INDUSTRY

anywhere in Atlantic City and we will have a great show.”

Chris Wooten of Meridian, Miss.based exhibitor Peavey Electronics concurred: “The event-goers were excited and thrilled with the venue.

The vibe from the event carried over into our booth and we couldn’t have planned it any better. Again, thanks to you all for the support and effort!”

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DJ TIMES

Las Vegas – Steve Aoki lords over Hakkasan club on a stop during America’s Best DJ Summer Tour Presented by Pioneer DJ & DJ Times. The tour’s 20 events wrapped up and, at presstime, the votes were being totaled. Who will win and be presented with the Golden Pioneer Mixer? Stay tuned.

OCTOBER 2015

ABDJ: Down the Stretch

3

VOLUME 28

NUMBER 10

12 Next Generation Trance

At 23, Moldovan DJ/Producer Andrew Rayel Stands as One of the Genre’s Brightest Young Talents

BY CHRIS CARUSO

18 Another Jackpot!

Celebrating 25 Years, DJ Expo Brought Gear, Grooves & Networking to Atlantic City

BY DJ TIMES PHOTOGRAPHERS

22 Agency Attraction

Getting a Booking Agent Can Help Jump-Start Your DJ/Artist Career—But How’s It Done?

A Major Agency Director Offers a Top-10 Checklist

BY SHARRON ELKABAS

24 Winning the Battle

Competing Against Multi-Product “Package DJs,” Some Mobiles Find Clever Methods to Maintain Their Fees

BY JEFF STILES

DEPARTMENTS 7 Feedback

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

26 Making Tracks

Spectrasonics Omnisphere 2

28 Sounding Off Rane MP2015

30 Mobile Profile

Meet the New Expo Champ

32 Business Line

Takeaways from DJ Expo ’15

34 Gear

New Products from DJ Skirts, Chauvet & More

DJ TIMES

OCTOBER 2015

38 Grooves

4

SAMPLINGS 8 Joe Brunning

Soul Matters

10 In the Studio With…

Cevin Fisher

Phat Tracks from Hot Natured, Chus + Ceballos & More

40 DJ Times Marketplace

Shop Here for All Your DJ-Related Supplies

41 Club Play Chart

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

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FROM THE EDITOR

DJ Expo ’15: A Big Thank You! Now that DJ Expo has concluded, everyone here at DJ Times and Testa Communications can exhale a bit. Producing 30 trade shows in 25 years can do that to you.

But, once again, it was a success, so we must thank all the participants of DJ Expo, the latest version of which we produced this past Aug. 11-14 in Atlantic City, N.J. Because of our loyal attendees and exhibitors, not to mention all the new ones, DJ Expo, which we debuted in 1990, has managed to enjoy a unique place in the industry. Thanks again!

Accordingly, this issue delves into some post-DJ Expo reality and that includes a wrap-up story on Page 3 (and a little more in the Feedback section on the right-hand page), a series of seminar takeaways in Gregg Hollmann’s Business Line entry, and three pages of snapshots from Atlantic City. For the Expo photo feature, big thanks go out to a talented crew of Pennsylvania-based shutterbugs: Pittsburgh’s John Hohman (MetroMix Media), Philadelphia’s Kristine Di Grigoli (ArtChick Photography) and Philly’s Steven Doss.

Onto the rest of this issue: If you’re a fan of the wildly popular trance genre, Andrew Rayel is certainly on your radar. In the past couple years, I’ve managed to catch his act at the biggest festivals (EDC in Las Vegas, TomorrowWorld in Atlanta) and in the tightest nightclubs (Cielo and Marquee in NYC). The reaction is always the same—a manic crowd explosion at the recognition of each Rayel track. A big synth line goes out and hands fly into the air, bodies begin pogoing, and lyrics are mouthed 10 to 20 rows deep from the DJ booth. Not bad for a 23-year-old DJ/producer from the former Soviet Republic of Moldova… Our Chris Caruso connected with him before a gig at Manhattan’s Pacha club and he details his journey.

Other features: Thanks to our friends in Merry Ol’ England (including Nicola Freitas), we offer a Top-10 list of tips for DJs looking to attract an agent. If you want to pursue a music-making DJ/ artist career, check out this valuable advice from a real pro, Sharron Elkabas, co-founder and Agency Director of London’s MN2S. As his company celebrates its 20 th anniversary, Elkabas gives us the straight dope.

In the Samplings section, we connect with Cevin Fisher, a DJ/producer whose percussive, deephouse sound won over clubland in the late-’90s. If you haven’t noticed, that sound is back and he’s taken advantage with a new round of dancefloor slayers—and a recent mash-up of a genre fave with a straight-up classic. Our intrepid Vegas correspondent Deanna Rilling caught up with Joe Brunning, whose Soul Matters (on Carl Cox’s Intec imprint) is one of the better electronic albums we’ve heard this year.

From the world of gear, Chris Davis tackles Rane’s terrific new knob mixer, the MP2015, which makes nice with clubland’s top DVS platforms. Additionally, our studio maven Josh Harris dives into Spectrasonics’ Omnisphere 2 and discusses the company’s latest upgrades for the popular virtual instrument. As always, our Gear section drops a good dozen new entries to the DJ market.

On the mobile side, Jeff Stiles asks a panel of entertainers to discuss how they compete with the all-in-one “package DJs” in their various markets. In Mobile Profile, we visit with Betsy Fischer, who took the “DJ of the Year” title at this past August’s DJ Expo. In our visit with the New Jersey-based entertainer, she discusses her approach to her title-winning routine at DJ Expo, but also explains The Groove Lounge—a venue that’s entertained South Jersey children for the past eight years.

Congrats, Betsy!

As America’s Best DJ Summer Tour Presented by Pioneer DJ & DJ Times wraps up, we also give you a hint on which DJ earned the most votes throughout the season. Stay tuned for the announcement and our award presentation/closing party this Oct. 11 at San Diego’s fabulous Omnia club.

DJ TIMES

OCTOBER 2015

Cheers,

6

Jim Tremayne Editor, DJ Times

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

art director Janice Pupelis jpupelis@testa.com

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

production manager Steve Thorakos sthorakos@testa.com

assistant editor Chris Caruso ccaruso@testa.com chart coordinator Dan Miller dmiller@testa.com contributors Jody Amos Joe Bermudez Wesley Bryant-King 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 Scott Rubin Deanna Rilling Jeff Stiles Bruce Tantum Emily Tan Phil Turnipseed Ashley Zlatopolsky President/Publisher Vincent P. Testa FOR CUSTOMER SERVICE AND TO ORDER SUBSCRIPTIONS, CALL 800-937-7678 VISIT OUR WEBSITE www.djtimes.com

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

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

advertising manager Tom McCarty tmccarty@testa.com art/production assistant Sherif Abdelnabi snabi@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 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 October 2015

visit our website: www.djtimes.com

FEEDBACK ES

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

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EXPO ISSUE EXPO ISSUE EXPO ISSUE EXPO ISSUE

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ONE JOCK’S JOURNEY AT DJ EXPO DOES INBOUND MARKETING WORK FOR DJS?

Steve Aoki's NEON FUTURE

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ANDREW RAYEL u HANNAH WANTS u GABRIEL & DRESDEN THE ORB u JBL’S EON 600 SERIES u GIBSON LES PAUL MONITORS

“Excellent Expo!” said Philadelphiabased DJ Linda Leigh. “Thank you so much for having me back as a panel moderator [‘Making Your Own Breaks: How to Jump-Start Your DJing Ca‑ reer’]. I was really stressing this one and wanted to make it extra good— luckily, I got so much positive feed‑ back. Thanks, again!”

“Thank you for the opportunity, said Jack Bermeo of Belleville, N.J.-based LJDJs, who presented “The Art of Latin Events” tutorial. “We had a magnificent

time and a lot of DJs were informed about our seminar. I think we helped motivate and inspire a lot of DJs. I did receive a lot of compliments via email – so… cool!”

Expo exhibitors offered thanks and praise as well.

“I want to say: Thank you to all at DJ Expo!” said Anthony Costello of East‑ chester, N.Y.-based LEDjGear “We had much success with our new products at the show. Thanks again for all the help.”

Tarik Solangi of Edison, N.J.-based

RCF USA concurred: “We had a great show. Thank you very much, DJ Expo, for the opportunity to showcase our products. We are looking forward to next year.”

Chris Wooten of Meridian, Miss.based exhibitor Peavey Electronics said: “On behalf of our staff, thanks to DJ Times and Testa Communications for making the 2015 show the best ever. You all went above and beyond to make sure we had a very success‑ ful show.”

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.

DJ September 2015.indd 3

7/20/2015 4:46:14 PM

MORE DJ EXPO WRAP DJ Expo celebrated 25 years with its 30th show this past Aug. 11-14 at the Trump Taj Mahal in Atlantic City, N.J. Produced by DJ Times and its pub‑ lisher Testa Communications, the Expo presented three days of DJ-related ex‑ hibits, three days of educational semi‑ nars and three evenings of sponsored entertainment.

After the show, we received plenty of emails from attendees, who all extolled the show’s virtues: “I cannot imagine an August without the DJ Times’ DJ Expo,” said Bostonbased DJ/VJ Joshua Carl. “Year after year, it delivers on so many levels and provides an unmatched hub for DJs of all walks of life to network, increase their worth and be immersed in a world they love.”

Fellow panelist Jerry Bazata of Ogun‑ quit, Maine-based DJ Jaz Entertain‑ ment agreed: “As a 15-year veteran of DJ Expo, I can say that, as always, it met my expectations on the networking and learning fronts and, of course, I grabbed a few pieces of the latest DJ equipment. More importantly, it was great reconnecting with those who have been an inspiration over the years.

I was also great having the chance to share my knowledge and experience with others on Expo seminars.”

Joe Molineaux of Small Business De‑ velopment Center in Cape May, N.J., said: “The Atlantic City DJ Expo was, as people come to expect, an event filled with everything a DJ in the know needs to know.”

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SAMPLINGS ally try and do is mix the old with the new, so hopefully in the long run I should receive some support from some other guys as I pursue my career. It would be easy for me just to make some music like… some rolling tech-house, big snare drums and some bleepy sounds— a lot of what does exist that appeals to everybody, or go down the EDM route, which is fair enough. It’s all got its place—you can’t take anything away from it. But I literally just try to hone my own sound and by doing that, I’m not following anybody else.

DJ Times: What are some of your studio essentials?

Brunning: Propellerhead’s Reason software. I use that because, when I was studying music, that was one of the first programs I came in contact with—as well as things like Cubase. To be honest with you, it’s just been one of those things that I learned well. Then I take it into the studio and mix it down through proper analog mixers to give it a really nice, warm sound. I work with an engineer to get the very best sound at the end because the mastering is completely different platform in itself.

DJ Times: What was your composition process on this album?

Brunning: I wanted this album to have a beginning, middle and an end—as with most albums. I wanted it to really tell a story. There are actually 18 tracks in total, so it’s a fairly long journey. Each track was based on different ideas.

DJ Times: An example?

Brunning: There’s one on there called “Light in the Dark,” which was written about my wife and the relationship we have. So there are a lot of deep-rooted feelings in the music that really comes through in the sound. I was actually writing notes as well—it wasn’t just in my head, but I was putting pen to paper and writing little snippets down of what I was thinking about. So that actually helped me to find my feet in some of the songs.

DJ Times: There are some melodic and ethereal moments as well.

Brunning: There are very simple things like the first track on the album, “A Sydney Storm.” At the time, I was living in Australia and I wanted to get a field recording of exactly where the album was made, where my studio was situated. So what I did was, instead of sitting in the

DJ TIMES

OCTOBER 2015

JOE BRUNNING: SOUL MATTERS

8

The name Joe Brunning may not be familiar to every electronic-music fan, but it’s very possible that your favorite underground DJs are playing plenty of his tracks. Brunning’s most notable supporter is the legendary Carl Cox, who adopted Brunning’s throbbing anthem “Now Let Me See You Work” into his sets years ago.

And Cox is once again showing support by releasing Brunning’s new LP, Soul Matters, on his Intec imprint. The 18-track full-length offers a variety of flavors, swerving from gorgeously melodic (“Dream a Little Dream”) to groove-laden and jazzy (“Smokey Blues”) to deep and loungey (“Underground E Motion”) and, eventually, sexy and techy (“Life Force”). Always percussive, often infectious, Soul Matters delivers a stack of tasty grooves that’ll keep DJs seeking deeper flavors fully stocked.

We caught up with the London-based Brunning and he discussed his influences, Cox’s support and his process on Soul Matters.

DJ Times: How has Carl Cox’s support impacted you and your music?

Brunning: To be honest with you, I was massively and very heavily influenced by a guy he brought through the ranks many years ago.There’s a guy called Trevor Rockcliffe, who was one of the first people I got into through Carl, in terms of the really funky techno sound that I try to make now. It’s obviously not a direct copy of what Trevor Rockcliffe does by any means, but he’s been a massive influence on me.

DJ Times: So, why do you think Carl has been into your music?

Brunning: I just think that Carl loves that old-school sort of jacking house sound that I do—and it doesn’t appeal to everybody, it appeals to other people. I think some people think it’s an old-school sound—and people just want to keep up with the new sounds. What I actu-

studio and sampling a storm or some birds signing to try and make it sound atmospheric, I actually went out in a thunderstorm, which happens quite frequently in Sydney, and recorded a storm with stereo mics and sound of airplanes coming over the top and try to really capture the ambience of my experience. I worked with some musicians, as well. I worked with a saxophone player, a pianist and recording live instrumentation, which is something that’s really important to me.

DJ Times: The album’s title track, “Soul Matters,” comes in at nearly 10 minutes. Tell me about that track.

Brunning: The lyrics are mine and the melody in the song started out with vocals; the actual melody you hear in the track was me originally singing, but it didn’t quite work out. So I decided to speak the vocals. It was written in mind with how you can take influences of a more progressive sound, even a nod to the sort of trance with the beautiful melodies, elements of techno, elements of house with percussion, really nice sub-bass, and then just encompass it all with the title “Soul Matters.” For me actually, it’s a double-edge meaning.

– Deanna Rilling

DJ TIMES

OCTOBER 2015

IN THE STUDIO

10

CEVIN FISHER: MASH-UP FREAK

Cevin Fisher built his name in the late-’90s with a flurry of monster tracks that earned support from every major house DJ of the era.

Cuts like “The Freaks Come Out” and “(You Got Me) Burning Up” blew up in NYC and beyond, making Fisher’s studio work as in-demand as any genre practitioner. Now, a decade later, that gritty, groovy, hip-swinging, deep-house sound has again found steam in clubland.

Still DJing and producing, the New Jersey-based Fisher released another flurry of bumpin’ tracks in ’15: “Now Let’s Go House” and “Repeat the Tec-Nic” on his Import Tracks imprint, plus “New Evolution” (as a featured guest for Roger “S-Man” Sanchez & Tom Flynn) on Undr The Radr. Additionally, “Lost in Music,” his 2012 collab with Chus + Ceballos, has found a spot on the Spanish duo’s recent artist full-length. More recently, Fisher unleashed a mash-up of his “Freaks Come Out” with Chic’s “Le Freak” to hype his participation in Nile Rodgers’ Fold Festival on Long Island this past August.

We caught up with Fisher to talk studio tech, but also to discuss how classic club sounds never really go away.

DJ Times: That “Freaks” mash-up really works. That must’ve been quite an experience for you.

Cevin Fisher: I’ve always had a connection with Nile and Chic through the music. When I started DJing, I played disco, hip-hop and R&B—of course, “Good Times” was always in the crate. I used to cut and scratch that sick bass break and the crowd would go wild.

DJ Times: How did you create it?

Fisher : First off, I time-stretched “Le Freak” in Ableton Live and then I imported it into Logic. The keys were different, so I had to tweak “Le Freak” to match the key of [my track] “The Freaks Come Out.” I didn’t have the a cappella to “Le Freak,” so I EQ’d all of the bottom end out and mashed it up.

DJ Times: How has your studio approach changed?

Fisher: There was a time when I was literally living in studios and I had access to all kinds of gear. In the beginning, everything was done using hardware – keyboards, synths, drum machines – and then as the technology advanced, I started to work more “in the box.” That’s all fine, but nothing compares to working with a great engineer in a proper studio setting.

DJ Times: A lot of your tracks seem to be built around a percolating groove. Where does that come from?

Fisher: Before I was a DJ, I was a drummer, so the beats always come naturally to me—I played in bands in my earlier years. I also have rich, diverse, musical tastes. Growing up in my house, we listened to everything from R&B, rock, disco, jazz, hip-hop, punk, etc. I also studied classical piano with Jerome Jolles of The Juilliard School. So I can easily chill out to Chopin, Bach, Beethoven, etc.

DJ Times: When you were young, what music made you want to make it yourself?

Fisher: I remember a track called “Scorpio” by Dennis Coffey that my older brother played for me. I heard the drums. They called me. Every time the song would come on, I would just bang on anything, cars, tabletops, you name it. And that was the magic song that made me want to make music. I just knew it! (continued on page 40)

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At 2 3 , M o l d o va n DJ/Producer Andrew Rayel Stands as One of the Genreâ&#x20AC;&#x2122;s Brightest Young Talents

Next-Generation Trance DJ TIMES

By Chris Caruso

12

Photos by By Doug Van Sant

OCTOBER 2015

DJ TIMES

New York City – While some people spend their entire lives searching for their place, Andrew Rayel managed to find his harmony before high school.

The DJ/producer began with formal music training in his home country of Moldova before branching into the electronic variety at the young age of 13. With an ear tuned to sweeping melodies and aural journeys, his deft productions caught the attention of trance titan Armin van Buuren, who quickly took the young artist under his wing and signed him to Armada Music.

Since his 2011 track “Aether” was voted “Tune of the Week” on van Buuren’s massively influential “A State of Trance” radio show, Rayel’s profile has blown up accordingly within the genre’s intensely loyal global community. And thanks to a string of follow-up smashes like “550 Senta,” “How Do I Know” feat.

Jano, “Aeon of Revenge,” “Musa” and “Zeus,” Rayel’s classically inspired tunes began getting played all over clubland and at the world’s biggest electronic festivals.

In 2014, Rayel released his debut LP, Find Your Harmony, an 18-track sonic epic that flies listeners through grand soundscapes and emotive orchestration. No matter the venue, propulsive album cuts like “Dark Warrior” and “Impulse” induce a sea of hands for their earworm synth riffage and create some serious dancefloor movement to the whopping kick-drum assault.

More recently, the young phenom re-released the album this past May with new material. Indeed, 2015 saw a flurry of Rayel singles (“Miracles” feat. Christian Burns, “We Bring the Love” feat. Sylvia Tosun, and “Daylight” feat. Jonny Rose) and remixes (“Wasting Moonlight” for Sick Individuals and “Save My Night” for Armin van Buuren) hitting global dancefloors. And, as usual, he played it all at the biggest of festivals, like Atlanta’s TomorrowWorld, and the most intimate of nightclubs, like New York’s Cielo.

We caught up with the Moldovan talent (aka 23-year-old Andrei Rata) before a performance at Pacha New York to discuss the album, his mentorship from Armin van Buuren, and his musical upbringing.

DJ Times: You received classical musical training growing up. How did you make the move into electronic music production?

Andrew Rayel: I was really young. At around 9-years old I went

13

OCTOBER 2015

DJ TIMES 14

to a musical school. During that time they used to play a lot of electronic music on the radio station that I used to listen to all the time with my brother in my home country of Moldova. I was creating lots of melodies, but I never knew which style [of music] I wanted to choose. At a certain point, I decided, “Trance is the music I like and this is the style that I want my melodies to go.” That’s how I found a lot about legendary names like Armin van Buuren and ATB. I found out their histories and what they did, and I wanted to be on the same stage as them and releasing music with them. That’s how it all started for me.

DJ Times: What equipment were you using when you first started?

Rayel: Like most other producers, I started with FL Studio. It was a really old version, like version 3.2 or 3.5 and just looked really, really old. I didn’t know anything about recording, but there was this square where you could add loops. For about a year, all I did were different kinds of loops and tried to connect them to do something major. After a few years, I got experience and that’s when I did a full track.

DJ Times: How did DJing come into the mix?

Rayel: I started DJing late compared to producing. I started to produce when I was around 13, and I started to DJ somewhere around 17. I started as a producer, but I saw that a lot of big names and DJs were playing my music, and I said, “Hey, why would other DJs play my music when I can play it for the same people?” That’s when I realized I had to learn how to present my music to the people.

DJ Times: Which artists have particularly inspired your music?

Rayel: I get inspiration from so many diverse and different artists. One of them, of course, is Armin van Buuren. Dash Berlin, Gareth Emery, and—from a completely different genre—Hans Zimmer. During my life I used to listen to lots of music of all styles.

Like with rock, I used to be a big fan of Linkin Park. I wasn’t a big fan of R&B, but it was popular in my country, so we all listened to it. After that, I got into electronic music. I’ve pretty much heard everything, so I tried to structure everything and create something of mine.

DJ Times: Why did you decide to make a full album of material, as opposed to one-off singles?

Rayel: I always knew that I wanted to release an album because I think that “the album” is a place where you can experiment and release the stuff that you would never do on a single. I did the intro and outro for it, but I would never release them as singles because nobody would ever play that. They’re a melody for a soundtrack, which is perfect for the album. I also did a chill-out track called “Fading Echoes” that wouldn’t work as a single. The album was the perfect place to let me choose projects and ideas to put together.

DJ Times: You’ve talked a lot about melodies. Do you start with a melody when producing a track?

Rayel: Most of the time, yes, but it doesn’t work the same way each time.

Sometimes I start with just a bassline, loop, or sound that I just really want to use in the track so I build everything around it.

Top 3: Rayel’s Club/Fest Faves

1. Marquee, Las Vegas: “One of my favorite clubs is definitely Marquee Nightclub & Dayclub—that’s why I chose to have my residency there.

It has all you need as a DJ to create your unique show and experience: amazing sound system and visual production, incredible crowd and last, but not least, they make you feel like family. So, it’s always nice to be there, even when you’re not performing—they still make you feel like home.”

2. The Electric Daisy Carnival Festivals: “They are something extraordinary.

It’s always a surprise with Insomniac’s innovation and seeing them take things to another level. EDC Las Vegas was one of the best gigs of this year, and I will definitely remember it for a very long time. The whole night was simply magical.”

3. Tomorrowland, Belgium: “It’s very well-known that Tomorrowland is truly a magical place and it totally deserves to be in my top three. It’s the most international festival with an incredible vibe, and every time I play it gets bigger, stronger and better.”

Always in the Box: My Top Tracks

to show what’s coming up, and then it starts really hard before going into more melodic and uplifting sections and ending on a really melodic track called “The End at Pianoland.”

DJ Times: How did you go about finding and working with vocalists on it?

Rayel: Sometimes I wanted a specific vocalist, like for Jonathan [Mendelsohn] on “One in a Million,” I said, “Jonathan, I love your vocals and I have this demo, so I want you perform on this one!” He loved the melody and did an awesome job. For “Hold Onto Your Love,” though, Cindy Alma sent me an a cappella she already did and I just did all of the melodies and harmonies behind it. It’s always different; sometimes you’re trying to find someone and sometimes they find you.

DJ Times: How did you catch the attention of Armin van Buuren?

Rayel: I had released one of my first finalized, complete tracks on a Russian label when I was 17-years old. It was called “Aether.” That label had a really good promo service, so they sent the promos to all the big names, including Armin.

They sent him the track and he really loved it big time. For about two or three months around that time, he would start all of his shows with an intro mix of my track. After that, the guys from Armada contacted me and told me they liked my (continued on page 42)

DJ TIMES

DJ Times: How long did you work on Find Your Harmony?

Rayel: I’d say one and a half to two years from the moment that I decided I want to start working on an album, but I was saving ideas before that. I had a folder called “Album,” so every time I came up with an idea that I thought would be good for an album in the future I would save it there.

DJ Times: What went into naming the album?

Rayel: Most people thought that Find Your Harmony was something really easy like, “finding your harmony in the music,” because I’m a musician, but I thought a lot about it. It’s deeper than just a harmony in music. I’m trying to say that we’re always looking for something in our lives. Some people are trying to find their home, some are trying to their second half in love, some are trying to find their peace, and some are trying to do something big in their life.

During the last moments of the end of their lives, they can say that they found their harmony.

DJ Times: The album feels structured like a DJ set. Did you specifically approach its creation to do that?

Rayel: Yeah, I tried to make it a journey. I didn’t want to just put random tracks that were completely diverse; I wanted to come together. I did an intro

OCTOBER 2015

1. “Daylight”feat. Jonny Rose (Armada Music): “It’s the track I’ve been playing as an intro of all my sets for a while—it gives an amazing vibe for the whole night.”

2. “Chased” with Mark Sixma (Armada Music): “The collaboration with the very talented Mark Sixma, which is a killer on the dancefloor. Every time I drop it, everyone starts going crazy and the track is also featured on Armin van Buuren’s A State of Trance at Ushuaia, Ibiza 2015 compilation.”

3. “Dark Warrior” (Armada Music): “The track that has been out for almost two years, but still sounds so fresh every time I play it. I think it’s the only track that I cannot exclude from my set list when I play out live, because it’s so expected by the fans and not playing it would be a crime.”

15

CELEBRATING 25 YEARS, DJ EXPO BROUGHT GEAR, GROOVES & NETWORKING TO ATLANTIC CITY

By DJ Times Photographers

another jackpot!

Afterparty: DJ Skribble at Ego Lounge.

MetroMix Media

DJ Hitman: In the mix.

ArtChick

Yamaha Booth: John Schauer shows off DXR10.

ArtChick

DJ TIMES

OCTOBER 2015

New Champ: Mike Walter awards Betsy Fischer.

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Illuminated: ADJ booth on the showfloor.

Steve Doss

Keynoter: Juice Crew’s Marley Marl.

MetroMix Media

My Forever: Mandy Jiroux onstage.

MetroMix Media

DJ TIMES

OCTOBER 2015

Video Talk: VJ panelists mug it up.

ArtChick

New Company: Marq Lighting’s Cesar Moran.

ArtChick

Panel Points: John Hohman offers studio tips.

ArtChick

Thumbs Up: Spinning at the Peavey booth.

ArtChick

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Mixin’: DJ Ream Supreme on the showfloor.

ArtChick

Scratchin’: DJ Serafin at D.A.S. booth.

ArtChick

Sonic Youth: DJ Kai at Pioneer stand.

Steve Doss

Ron Sherr: Expo Giveaway winner. Sparky B at Blizzard booth.

MetroMix Media ArtChick

D.C. DJ: Yezmin Soliz at RCF stand.

ArtChick

Until Next Year: Chauvet crew bids adieu.

ArtChick

Demo Room: Spin the wheel, win a prize.

ArtChick

Full Beats. Full Mix. Putting you in the spotlight.

Pro Audio • Video • Lighting • Musical Instruments

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Agency Attraction

By Sharron Elkabas Any new club DJ looking to make it as an artist and/or larger-venue performer has to put in a lot of work before he or she can get an agent. Essentially, DJs need to build an impressive profile before an agent will become interested in working with them.

DJ Times caught up with Sharron Elkabas, CoFounder and Agency Director of MN2S in London, to discuss the subject. Drawing on his 20 years in the business, Elkabas tells us how it’s done with a Top-10 checklist.

DJ TIMES

OCTOBER 2015

Getting a Booking Agent Can Help Jump-Start Your DJ/Artist Career— But How’s It Done?

A Major Agency Director Offers a Top-10 Checklist

22

UP-TO-DATE PRESS KIT A must-have for all DJ/artists. The press kit is you in a package; it’s your brand, your image, your sound, your key to grabbing the attention of agents and vital members of the music industry. Whether it be physical or digital (EPK), there are some key techniques that will ensure that yours stands out amongst the countless others.

Firstly, you need a strong, well-written biography.

Your bio will need to reflect your backstory and where you’re at as an artist; this will help others gauge an idea of what level artist you are and where you sit in the market. However, make sure you don’t ramble on—300-350 words should suffice. It’s also a good idea to have an experienced writer type up your bio—this way you can be sure that it will look and read professionally.

Make sure you have high-quality recordings of your most recent productions and DJ mixes. First impressions count! You want your listeners to hear you at your best and, in most cases, you have around 30 seconds to impress.

Image can be almost as important as the music, so make sure you include a good photo of yourself.

The photo must be high-resolution, so it can be reproduced in magazines, websites and other areas of press and promotion. Also again, using a pro photographer will add that professional touch. If you have an artist logo, include that as well. Having a logo can further define you as an artist and aid marketing your “brand.”

Include any recent, upcoming show dates and also any recent press you have, if this applies. You want to show that you are a busy, in-demand artist. If you can prove that you have a busy schedule, then agents can feel confident that they can secure you gigs and that you are a worthwhile investment.

PUBLIC RELATIONS Despite what some might say, “old-fashioned” PR and marketing still play a big part in getting the most out of your releases and can vastly spread your outreach. A good PR campaign will convey your music’s message, create a strong public image, generate visibility in the market and build media relationships. They are your “foot in the door.”

However, it’s no good hiring a PR agency if it has nothing to promote. You need to be active, releasing music, gaining support and securing gigs. To begin with, you need to be your own PR, engaging with tastemaker blogs and any influential media that will give you the time of day and help to promote your name and music.

LABEL & MANAGEMENT Releasing on the right labels is important. Appearing on the right tastemaker label shows that the right people are interested in your sound and it’s worth investing in. Also in most cases, releases from top labels receive a lot of chart coverage and radio plays and your tracks will reach the right ears.

Be aware, however, that it can take a lot of time and effort to get your music noticed and to get it signed to these labels. Be positive and persistent, and always make sure your music is relevant to the label you are pitching it to.

Once you have activity and interest in your music, you should look for a manager. It can be very beneficial for your career if you have someone “steering the ship,” seeking out opportunities and putting you forward for opportunities that will advance your career. Others will take you more seriously if you have a manager representing your interests. Also a manager works on your behalf; if they’re investing their time into you, then others might see you as a worthwhile artist.

WHAT MAKES YOU STAND OUT Consider what makes you stand out from the crowd. There are countless DJs and performers in the scene and the competition is tough. Promoters are always looking out for something unique to add to their night and if you’ve got a prominent image then you’re bound to attract attention.

Knowing your target market is greatly beneficial. Good market knowledge will help you tailor yourself to meet the market’s needs. Also, especially with dance music, trends come and go quickly. By keeping on top of what’s going on in the market, you can stay on-point and avoid the risk of becoming “outdated” and undesirable.

REFERRALS Another great way to get an agent is by having referrals, either from another artist on the agency or by having a manager refer you to the agent. Part of the music industry is about contacts— the more people you know, the more help you can get. Also, having a referral from an artist or manager offers an unbiased view of yourself as an artist. While it’s one thing to credit yourself, agents are going to look to see what others have to say about you.

BE PATIENT Though the music industry moves fast at times, some things don’t happen overnight. Going through the steps above takes time. It takes time to build a portfolio. It takes time to get the word out and build a following.You can’t expect to burst onto the scene and have offers left, right and center.

Don’t rush into signing with an agency for the sake of having a booking agent. There are numerous agencies out there that cater for all manner of needs and markets; you want to be sure that the agency is right for you.

BE CONSIDERATE Finally, a key point that at times can be forgotten… be considerate. Show the utmost respect to venue bookers, stage crews, sound guys, the whole crew. Keep in mind that these guys work as hard as you do and without them you wouldn’t have a show.

Consider showing appreciation by buying them a drink or being courteous, little tokens of gratitude can go a long way. If you go around upsetting everyone and making their already stressful night even more stressful, then there’s a high chance you won’t be invited back.

Reputation matters in the music industry and word gets around. Earn yourself a bad one and you may struggle on the road ahead.

Sharron Elkabas is Co-Founder and Agency Director of MN2S. With roots in London’s house-music scene, MN2S has grown from party promoters to an international talent booking agency, global music distributor and label management company. This year marks the 20th n anniversary of MN2S.

OCTOBER 2015

RELEASES There has always been a strong correlation between having releases in the market and bookings, particularly if you’re a DJ. Learn to produce tracks and offer free remixes to labels. Put together exciting relevant bootlegs and send them to DJs. If you’re being listed in various charts, have DJ support and radio play, then that will greatly benefit your chances of getting bookings. If you put out regular music (even if it’s directly to your Soundcloud page), this can be a solid way to build a loyal following, as well as generating content for social media and activity to talk about to press and promoters.

HAVING GIGS ALREADY One of the first things an agent will look at is how busy your schedule is. An empty diary is not going to fill agents with a lot of confidence. They will know that there will be more work involved to get things moving; whereas, having a number of dates in the diary will make you look like a more attractive proposition with demand already in the market. Having dates with notable venues, events or promoters will further boost your credibility and give an agent a strong starting point.

However, promoters won’t just hand out gigs – you need to immerse yourself in the club scene. Go to every night you can, introduce yourself to the promoter and stick a mix CD in his hand.

Make sure he sees you every time the night is on and become a well-known face. There is no substitute for this personal effort and this is what will open doors for you to build up regular gigs.

DJ TIMES

SOCIAL MEDIA It goes without saying that in the 21st Century, social media has become a vital platform for promoting music and connecting with fans. It’s also become one of the first places agents look when researching potential clients and they will judge you on where you’re at as an artist by looking at your social network.

It’s important to cover all the bases and sign onto all the networks: Facebook, Twitter, Soundcloud, Youtube, Instagram, and Mixcloud are all valuable platforms for promoting. The more networks you can showcase yourself on the better.

Make sure you keep your networks up to date. Again, you want to show that you are a busy artist; you want to let everyone know that you’ve got things going on. If you’ve got “gaps” in your timeline, agents might get concerned about how in-demand you are.

Having a strong following will reassure agents that you are a good “investment.” Followers prove that people are interested in your sound and want to see you perform. It’s always advisable to grow your followers organically, as this will look more believable.

If you have thousands of followers, but little or no engagement with your content, then people are going to get suspicious and most likely be put off.

Post great content at the right time and aim to grab people’s attention: exclusive mixes, event photos, event flyers, press and so on. Until you can afford to hire a social-media expert, become one yourself.

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OCTOBER 2015

DJ TIMES 24

DJ Bob Carpenter of Main Event Weddings in Greenville, R.I., recently said that he might just eat at McDonald’s from now on.

“After all, they’ve served over a billion people, customers are happy with the food, and they have more reviews than any of your favorite restaurants with the best quality,” theorized Carpenter.

“And that’s the logic most potential wedding clients apply when hiring the best wedding vendors: ‘I guess the wedding vendors with the most reviews must be the best.’ And they later wonder how they ended up with McDonald’s food. Nobody ever stops to think of the obvious—the best aren’t out to serve the most.

“Stop the insanity,” says Carpenter. “Stop going with the package DJs, the ones who promise uplighting, photo-booth and a vacuum cleaner for one low, low price.”

Case in Point: DJ Robert Lawrence, in Saginaw, Mich., recently lost an uplighting job to a packageDJ company that offered a mobile DJ, a photo-booth and uplighting for less than what Robert Lawrence Entertainment had quoted for the lighting alone. Lawrence had actually provided lighting for the family’s other daughter when she had gotten married, and said the DJ at that earlier reception was pretty bad, “though the room sure looked great.”

Says Carpenter: “I rarely ever lose DJ jobs to package DJs, and regularly get three- or four-times the market rate just to DJ. In this case, I simply lost the lighting gig to someone who found it elsewhere cheaper.

“It’s no different than if someone went to buy a Cadillac and then realized it wasn’t a good fit, so they went out and bought a Cavalier instead. It happens because it’s the nature of the business. Some people are just not well informed on what they’re buying.”

The issue of package DJs (and other companies that undercut professional DJ-entertainers) is a very hot topic right now, so we contacted mobiles from throughout the country to find out how professional DJs set themselves apart.

During the DJ Expo 2015 at Tr u m p Ta j M a h a l i n A t l a n t i c City, Jerry Bazata of DJ Jaz Music & Entertainment in Ogunquit,

Competing Against Multi-Product “Package DJs,”

Some Mobiles Find Clever Methods to Maintain Their Fees

Winning the Battle

By Jeff Stiles

Maine, gave a seminar on this very topic.

“The trend for brides recently has reversed direction, and onestop shopping no longer seems to be the status quo for brides looking to secure wedding vendors,” says Bazata. “Similar to the retail industry, the average consumer is more enticed to shop on Main Street for that specific item, and forgoes the hallowed halls of the mega shopping malls.

“Of course, the bride with a specific and limited budget can benefit from the one-stop wedding vendor that can offer a DJ, photobooth, uplighting and photography.

Conversely, however, those brides who want to personalize their wedding and have the flexibility in their budget are much more inclined to book wedding vendors on an individual basis.

“The problem comes when certain mobile-DJ companies offer to provide all the services a bride could possibly want at a drastically low price, yet offer poor quality for each of those services rendered.”

Bazata says that, during consultations with prospective clients, an oft-repeated concern he repeatedly hears is that a bride will like the DJ, but not the photographer (and doesn’t even need uplighting), but feels she is being forced to purchase an entire package.

Ronnie Auger of Ron Auger Productions & Mobile Entertainment in Milford, Mass., says he recently had another DJ take a shot at him simply because he didn’t have many reviews on the paid wedding websites.

“When I go to McDonald’s, I don’t need a review to know what I’m getting,” says Auger, “but that doesn’t change the fact that, when I have the money and want a great meal, I’ll look for a local restaurant with personal reviews—and trust most people that the money is worth the experience to dine in style.”

Of course, Auger says it’s not really fair to compare the foodservice industry and the way they market themselves to the wedding-vendor world.

“It’s really apples and oranges,” he explains. “You could never have anyone that consistent for that many years like a McDonald’s.

I’ve watched great restaurants in my area just fall apart after a few years. Great reviews for a while,

Specialization: “A bride is hiring a DJ to be an eloquent and well-spoken master of ceremonies, assisting with the flow of the day and paying attention to every detail so the guests are entertained and enjoying the evening,” he says. “When the bride hires me for her wedding, she wants to have trust and confidence that I will ensure the flow of the day, the room is filled with music and that my primary focus on your wedding day is delivering up to her expectations as the DJ. “In 2014, I earned the trust of a bride and her wedding over a competi-

tor because of the fact the owner of the company continually tried to push uplighting and photo-booth, and brushed off the fact that the DJ was the most important aspect for the bride in the sales process. In 2015, that very same situation arose not once but twice, and in both cases the brides selected my services over the competitor.”

Personalization: “I’m the owner of the company and I make all the decisions,” he says. “We all like to work with the person in charge, speak to the manager or deal with the most knowledgeable employee. If a bride needs to make changes, she wants to deal with one person, not having to go through several layers just to get assurance it will be as she expects.

“In the initial conversation with a bride I just booked for the spring of 2016, her sister used what she thought was a multi-faceted wedding vendor which included a DJ, photobooth and photographer, but later learned that it was simply a booking company and every time she needed to make a change it took multiple phone calls.

“And in fact, her DJ changed several times throughout the process.

Despite the fact my fee was actually the highest of all that she was quoted, she felt the money was well worth it to ensure that she was getting the attention and answers she needed in a timely manner—and more importantly, can talk with the owner who was also her DJ for the event.”

Customization: “And finally, with customization, this really comes down to pricing and how you present your wedding packages,” he says.

“Repeatedly, clients share that they are directed to pricing package pages on the website or asked to fill out a lengthy questionnaire online before a quote can be given for services.

“I use the KISS method – Keep It Simple Stupid. For many of us, the initial inquiry is based upon price, so I respond with a simple email asking for a few details and offer them the ability to respond by email or phone.

Once the information is received, which in most cases is the same day, I respond back with a generalized quote and emphasize the fact that it can be customized to their specific needs for the day.

“A standout feature of my customization is that I allow them to make changes to the contract, but not cancel it, up to a few days before the wedding. In 2014, a bride contracted (continued on page 40)

OCTOBER 2015

for a wedding, and the bride wants just a DJ for which she and her family have blindly budgeted at $450, then we’re way off. At that point, I’ll tell her she can probably go on Groupon and find herself a $450 discount DJ. “Now for that cheaper price, she’s getting a part-time hobby DJ. She’ll not be guaranteed an advance meeting with them. She’ll not have a dynamic DJ for that price point and the DJ will not be an elegant MC. Those professionals are not found at the $450 price point, and wedding DJs with five to 10 years of experience really have no need to discount. Believe it or not, they’re in demand for their talent and the lighting—and equipment is secondary.

“Naturally, no price is a good price if, in the end, the clients and their family don’t receive the experience and celebration they’re expecting.”

Over in Seattle, Wash., Adam Tiegs of Adam’s DJ Service says all lightingand-sound add-ons go hand-in-hand with his mobile setup.

“I can set up and run sound and lighting without taking away from the quality of my work,” he says. “The trouble often occurs when those other guys try to add on photo-booths, too. Most don’t know enough about cameras, lighting, lenses, printers, ink and paper to be able to simultaneously DJ an event and run a photo-booth.

“There are plenty of other pros out there who you could refer business to that would do a better job. This is where I draw the line–stay true to who you are and what you do. If you’re in it just to make a buck, you’re in it for the wrong reasons.”

Silva says he has DJ friends who package things together, but he only refers low-expectation clients to those jocks. “But for people who want an awesome photo-booth experience with high-quality service and options—flip books, green screens, video-booth, social media, prints onsite, etc.—they get referred to the pros I trust.”

Geoff Carlisle of JAMM Entertainment Services in Birmingham, Ala., agrees with Silva that most package DJs are not providing enough customer service for their brides. “They’re trying to book a greater number of events instead of premium events,” he says, “and the clients, unfortunately, don’t know what they need or what questions to ask.

“Sure, we can provide several things that they might be interested in [i.e., DJ/MC, uplighting, a photo-booth, drapery, monogram projections, etc.], but we don’t create an all-or-nothing package and then sell everything discounted.

“A discounted/package DJ is trying to convey his value through a cheaper price, but if a prospective client is only worried about finding the cheapest price, she is not my client and I’m not her entertainer. We just need to explain and convey the importance and value of our services, and if the bride sees or discovers something that’s important to her, she’ll pull from other items in the budget or add more money to make it happen.

“It’s not about the price—it’s about the experience.”

According to Artem Lomez of NinetyThree Entertainment in Morris County, N.J., our job as professional DJs is to educate our clients.

“As event entertainers, it truly comes down to our personality and performance when we’re showcasing quality,” he explains. “The secondary elements, such as photo-booths and lighting, are important to events—that’s not a question—but it’s ultimately up to us to educate our consumers of the differences amongst those elements, as well as the quality that they will experience within the overall performance.

“I truly feel that it ultimately comes down to us being able to educate our potential consumers, as an industry, regarding all of the elements that will play a part in their overall event entertainment experience.”

Bazata says it’s easy to overcome concerns expressed by potential clients by emphasizing three key attributes that cause his company to stand out among all the multi-ops and one-stop-buy companies: Personalization, Customization and Specialization.

“Breaking down each of these key attributes in the sales process,” he says, “enables me to easily win clients over my larger competitors.”

DJ TIMES

fantastic food, good service and, next thing you know, it’s all gone. So, all those reviews from years past mean nothing to their current status.

“I also don’t agree that most potential clients apply the ‘most-reviews’ when choosing their vendors.

I believe they choose their clients based on what they want. I’ve had many clients not care about flowers, cake wasn’t an issue and a simple justice of the peace would do. But when it came to their entertainment, they knew exactly what they wanted.”

The last time he checked, Auger said he could only find around five reviews of his services on all the various wedding sites combined, and said he doesn’t see many brides basing their decisions just on how many reviews a vendor might have.

“I don’t take that as an insult that the brides wouldn’t take the time to review my services, because I never ask them to,” he says. “I actually take it as a compliment, because since I’ve been in this business for over 28 years I still have couples hiring me over many others. And the only explanation I have is because I instill trust with them. They trust I’m going to do what I say I’m going to do. And in most cases it only takes just one referral or review from a past client or vendor to know they’ve made up their mind to hire the best they can.”

When it comes to package DJs, however, Auger says it can sometimes be challenging to convince clients that his company would be the better choice.

“I like to talk about the benefits of hiring someone who is a professional DJ/MC,” he says. “We have had good training and great experiences. When that’s our main job, the focus is clear, and the announcements, music, organization and overall guest experience is maximized.

“Package DJs could possibly be mediocre at one of the services in their offered package. When you have thousands of dollars on the line for one special moment that needs to happen within a few-hour window, the DJ/MC part of it is not where you want to cut corners.”

Down in Orlando, Fla., JR Silva of Silva Entertainment says the difference between the package DJs and the pros always lies in the details, production and the level of service that the client actually receives.

“When competing against a package DJ, I ask lots of questions to make sure the other package is as good as mine—so we talk apples and apples.

“So let’s say I want to sell a $1K DJ

25

MAKING TRACKS STUDIO…HARDWARE…SOFTWARE…

BIG UPGRADE: SPECTRASONICS OMNISPHERE 2

DJ TIMES

OCTOBER 2015

By Josh Harris

26

In an age when so many software instrument companies are trying to be all things to all people, Spectrasonics continues to carve out its niche by remaining loyal to its three virtual instruments (Stylus RMX, Trillian and Omnisphere).

This year brings us a major upgrade to my favorite Spectrasonics instrument, Omnisphere. I reviewed Omnisphere power synth a few years ago, so this review is going to highlight what I feel are some of the key new features found in Omnisphere 2.

Let’s begin with the addition of over 4,500 new sounds and patches, bringing the total to over 12,000. We all love sounds, right? And, this new sound library includes a special “Spotlight EDM” batch of presets, along with some amazing new circuit-bent sound sources. Granular synthesis is very much a part of this upgrade, boasting a powerful new algorithm, along with a new category of phrase-based sound sources to use with Granular synthesis. There are eight new filter types and a new Unison Drift, which models the behavior of polyphonic analog synths.

Best Additions: My favorite new feature, Sound Lock, offers the ability to import outside audio, and use it as a soundsource. You can take an existing loop from your library, import it, give it a bit of Granular synthesis, and you will emerge with a brand new

sound that is unrecognizable from the original soundsource. Trust me, I will be using this feature quite a bit.

My second favorite new feature is the ability to lock the arpeggio pattern while browsing through sounds. As a big fan and user of Omnisphere 1, I had always wished there was an easy way to preserve an arpeggio pattern from one sound and transfer it to another. Wish no more—here it is!

With such a comprehensive sound library, an enhanced browsing experience has been implemented. A new feature called Sound Match instantly locates any related sounds in the sound library. Sound Lock allows you choose which sound characteristics you want to “lock” while browsing.

From a drop-down menu, you can check or uncheck your sound characteristics, like Polyphony, Tuning Scale, and Arpeggiator, just to name a few.

Effects: The effects section has received a bit of attention for this update. There are 25 new effects units and new flexible effects features. Some of the new effects units are Vintage Tremolo, Crying Wah and Toxic Smasher.

You can now stack up to 16 effects per patch, with a full matrix modulation of each effect slot. There are hundreds of new FX presets and racks included, as well as the ability to “lock” the FX while browsing.

Live Mode now offers key splits, allowing for the key zone to be split between two sounds, which is extremely useful for live playing, and an updated Global Clock Speed allows for sounds to be played in half-time or double-time.

I have often wondered how Eric Persing and the Spectrasonics team are able to create such a wonderful-sounding synth engine. From the sonic richness to the “in-your-face” edginess, it’s all there. Sometimes, I just use Omnisphere for all of my synth parts on in my productions, because it just sounds so good and fills up the sonic space nicely.

Conclusions & Cost: This is a fantastic upgrade to an already legendary virtual synth. Yes, the library is huge, but it’s worth it. And if your computer’s hard drive is full, you can install the library on an external drive.

To buy Omnisphere 2 outright is $499. The standard upgrade (for all version 1.x owners) is $249 and the VIP upgrade (owners of Omnisphere 1, Trillian and Stylus RMX) is $199. If you purchased Omnisphere 1 between October of 2014 and May of this year, you fall into the grace period and will receive a free upgrade.

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

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SOUNDING OFF PLAYBACK…PRO AUDIO…PROCESSING

RANE MP2015: ANALOG SOUL, DIGITAL HEART

Sound Quality: The most concise description I can give the MP2015’s sound is “faux analog.” It’s an incredibly high-quality digital wolf wearing analog sheep’s clothing.

How so? Well, the MP2015 is designed for playback of high-resolution audio produced from 24bit studio master sources, supporting sample rates of 44.1, 48, or 96 kHz in both inputs and outputs.

With 113 to 116dB of signal headroom line-to-line (or 128dB using digital S/PDIF ins and outs), the mixer’s dynamic range is ideal for DJs that prefer playing uncompressed WAV, FLAC or ALAC files.

And with a nearly non-existent noise floor, it’s one of the best-sounding DJ mixers I’ve ever heard.

If you suspect I’m being hyperbolic, try routing the mixer—carefully, with no audio sources running into it—into a sound system, and then crank the gain and channel knobs all the way up. You’ll hear none of the telltale hissing that most mixers output; instead, silence.

Audiophiles, take note: the MP2015 features Audio 4 Pro delta-sigma modulator converters (for encoding analog signals into digital signals, and vice versa) manufactured by Asahi Kasei Microdevices (AKM) that meet the highest soundquality standards of professional recording studios.

Rane MP2015: Rotary heaven with pristine sound.

DJ TIMES

OCTOBER 2015

By Chris K. Davis

28

With its MP2015 DJ mixer, Rane has hit one out of the park.

In drawing from a 40-year history of rotary mixers and creating in collaboration with an all-star cast of DJs—Doc Martin, Derrick Carter, Mark Farina and more—Rane has given us a mixer that is a sheer joy to use, straight out of the box.

Aimed at audiophiles, techno DJs and house jocks—there is no crossfader for turntablists who like to cut and scratch—the MP2015 is the latest baby sprung from a long lineage of esteemed rotary club mixers: Bozak’s CMA-10-2DL, first introduced 1971; UREI’s 1620, introduced in 1982; and Rane’s own MP2016 and XP2016, introduced in 1999. And now, we have the aptly named MP2015.

Aesthetics/Build Quality: Compact and brutishly feature-comprehensive, the MP2015 is a beauty to behold, with laser-etched wood side paneling, lustrous aluminum knob caps, sturdy metal switches, chunky, illuminated push-buttons, and recessed level meters, each featuring 16 individual segments.

At just 12.6 pounds, the MP2015 is lighter than most of its analog mixer counterparts, yet it maintains a familiar footprint—14-inches high by 13.1-inches wide by 4.3-inches deep—making it portable and easy to integrate into existing DJ setups and club installations.

The MP2015 is designed to last a lifetime. Rane made the clever decision to print the non-illumi-

nated indicator labels on the reverse side of a Lexan plastic overlay, which will prevent any rubbing off of the white-on-black labels as time progresses. According to Rane, the Lexan front panel is designed to prevent glare and to enhance readability in lowlight conditions due to its matte-black surface.

But are these labels as easy to see in the dark as LED indicators? Shortly after Rane announced the MP2015, I was lucky enough to catch Doc Martin rocking one while performing at Output nightclub’s Panther Room in Brooklyn. That night I noticed Martin was using a gooseneck lamp to illuminate his mixer, so once my own review unit arrived, I knew I had to experiment in my studio to see if I could easily see the MP2015 in the dark.

As it turns out, standard LED indicator lights are far easier to see in low-light conditions. In Rane’s defense, LEDs will burn out over time and prove expensive and difficult to replace, making the printed indicator labels a more durable choice, even if an accessory lamp is required in some situations.

The balanced, differential input converters are designed to minimize group delay and enhance linear phase response, and the output converters feature AKM’s proprietary digital filter, designed to decrease distortion.

Ins & Outs: Serving as true “studio-quality” preamps, four sets of analog Phono/CD inputs accept line-level audio signals through traditional RCA inputs as well as S/PDIF inputs. All RCA and S/PDIF input sources have gold connectors, meant to reduce electromagnetic interference, radio frequency interference, and electrostatic discharge.

As for outputs, the mixer has balanced XLR outs built with Neutrik connectors and booth outs built with Neutrik TRS (tip-ring-sleeve) connectors.

The mic input channel accepts both ¼-inch and XLR cables, supports phantom power input, and features tone controls on the surface of the mixer.

When it comes to headphone cueing, there are an unprecedented three headphone ports on the MP2015: one ¼-inch jack on top of the mixer,

LOUD 131 dB SPL

one ¼-inch on the front, and one 3.5mm jack also on the front. All three headphone ports work simultaneously, and the mixer supports split-cue headphone monitoring with adjustable level and pan knobs.

Incredibly, the MP2015 allows computer users to input five stereo channels of audio for mixing and to output seven stereo channels for recording—all on a single USB cord. This output recording can be done twice, in fact, when using two computers plugged into the mixer via USB. Additionally, the seven stereo USB record outputs can be assigned pre or post-fader options (in this case, pre or post-rotary knob), allowing a DJ to record the main mix, submix, session output and the four individual channels all at once!

Why would you need to record all those channels separately? Well, for instance, let’s say you really rocked your set at the club last night, but you made an embarrassing mistake in a pivotal mid-set transition because your friend spilled his drink on you in the booth. Not to worry! With the MP2015, you can take your individually recorded output channels and fix that spotty section of the mix in your favorite DAW. Another use case for all of those output record channels is for recording a jam session at home, perhaps with an army of drum machines and synthesizers. Simply pick the best parts from your improv session and arrange them accordingly in your DAW of choice. A further interesting possibility is chaining mixers together by routing the session output of one mixer into the session input of another. (A Tip from Rane: When connecting two MP2015s together, connect the Session I/Os of the two units via S/PDIF to keep all audio in the digital domain.)

Traktor & Serato: In addition to being Traktor Scratch-Certified by Native Instruments—meaning DJs don’t need to run their control vinyl signal through a Traktor-compatible audio card to use timecode vinyl with Traktor— the MP2015 is the only Traktor-Certified mixer with two USB inputs. Because of this, the MP2015 is, without a doubt, the easiest mixer that I’ve ever used to perform Traktor DJ changeovers.

No external sound cards are necessary, meaning you never have to worry about the audio dropping out or dealing with a bunch of messy RCA cables.

All a DJ has to do is turn the input knob from USB A to USB B, or vice versa, and they’ve now taken over that channel with their DJ software.

As for Serato, the Serato DJ Club Kit—a bundle for purchase consisting of a Serato DJ + DVS license—supports Rane’s MP2015 (in addition to hardware from other manufacturers). The first rotary unit to be supported as a Serato DJ and DVS Upgrade Ready mixer, the MP2015 enjoys plug-and-play with Serato DJ when used with the bundle—no need for external interface.

Submix Channel: The MP2015’s unique submix input channel will make sense to production-oriented DJs immediately, as it allows DJs to group (or “bus”) a number of inputs into one channel for easy, multi-source mixing. DJs that mix using loops or Traktor remix decks will love this feature, as they can explore the possibilities of playing a single, full track on one channel, bussing in two or three independent loops into the submix channel, then EQing or filtering all of the loop channels independently from the “main” track, as if they were one.

The submix channel can also serve as a standalone fifth channel for audio routed into the mixer, such as that from a hardware synthesizer. Alternatively, DJs can choose to route a fifth stereo audio channel—like the main output from Native Instruments’ Maschine—from their DJ software into the session input and then the submix channel.

Filters: Each of the four input channels and the submix channel features a unique tri-position metal toggle switch that allows you to select a sweepable low-pass filter, a high-pass filter, or a combination of the two. The latter option is the only option found on most pro DJ mixers today.

Particularly unique is the resonance (sometimes referred to as “color”) knob found in the submix section, which controls the shape of all four deck and submix filters. I really love the adjustable resonance, as I often run into the issue of mixers revealing my filter actions to a listener when I’m attempting to make a long, smooth transition.

EQs & Isolators: All four input channels and the submix channel feature 3-band EQ controls with customizable crossover points of either 150 Hz between low-mid and 6.0 kHz between mid-high, or 300 Hz between low-mid and 3.0 kHz between mid-high. These crossover points can be selected in the (continued on page 40)

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Betsy Fischer: DJ Expo’s new champ.

DJ EXPO TITLIST KEEPS IT GROOVY

DJ TIMES

OCTOBER 2015

By Larry Hernlin

30

Voorhees, N.J.— When Betsy Fischer describes her “DJ of the Year”-winning routine at the DJ Expo this past August, it recalls a bittersweet memory. Specifically, she found inspiration after a not-so-happy incident – the “Charlie Hebdo” terrorist attacks in Paris this past January.

“There was a great feeling of solidarity around the world,” she says, “and while following all the news stories and watching video clips, I happened to see a music video of an Israeli musician, filmed in the streets of Paris, singing a new version of the song ‘Hava Nagila.’ I instantly loved this version, and knew that I had to choreograph a dance to it.

“One of my DJ friends saw my new dance, loved it and told me that I should incorporate it into a dance/fitness class. His enthusiastic response led to my decision to share it at the ‘DJ of the Year’ competition.”

It’s been Fischer’s belief that sharing is the ultimate goal of the annual DJ Expo competition, which showcases a select group of mobile entertainers and awards the evening’s best performances. She believes each performer should be able to offer something usable to DJ Expo attendees, so that they can easily take home some of the ideas they see on competition night.

After all, she herself has benefited from games that have been showcased there—and at the Expo’s “Games” seminar, be it Steve Moody’s “Hula Hoop” or “Jukebox Eliminator,” Jake Jacobsen’s “7-Second Artist,” or Keith Alan’s new game this year, a twist on “Huggy Bear” called “Lock Up.” “I knew that many of the DJs in the audience entertain at Mitzvahs and weddings, parties that definitely include a Hora,” she says, but points out that the Hora is not only for Jewish events, and that “Hava Nagila” translates to “let us rejoice,” and is a tune recognized around the world. “So, I knew this high-energy circle-dance would be perfect for any happy occasion at which people are joyful

and celebrating.”

The night of the competition, after she completed her dance, Fischer knew it had been well-received, but didn’t know whether or not she would win anything. “When I stepped off the dancefloor after the routine was over, in that moment, I knew that even if I didn’t win anything, the whole experience was awesome. I had an amazing time dancing with my colleagues, and I loved every second of it.”

Later, when the voting was done, and announcement was made that she had won, she thought, “Finally!”

She recalls: “I had competed several times over the years, and had already won Best New Dance, Best Use of Choreographed Dancers, and DJ of the Year Runner-Up.” She returned re-energized to her New Jersey storefront, where she runs The Groove Lounge, a kids-only disco for children’s birthday parties, and also hosts Mitzvahs, Sweet 16s and other events for kids and teens.

The biggest challenge for Fischer when she first opened The Groove Lounge eight years ago was that she found herself doing everything. In addition to hosting parties on the weekends, she also taught Zumba classes, did all the office work, all the shopping for supplies, and all the party prep.

“I read a lot about how to run a small business, and really tried to embrace the concept of working on the business instead of in the business,” she says.

Most of her business in the beginning was word-of-mouth, since she had previously been a mobile DJ specializing in children’s events and had a great following. “When we first opened, I did very little advertising, as I had people coming to me wanting to host their parties with us,” she says. “As that group of children has now grown up—most of my early birthday kids are now freshmen in college!—I have had to put more money into advertising. I did some advertising in family-friendly magazines last year, and will be focusing on on-line marketing this fall. We also host parties for Scout Troops, so this fall I will be working to increase those events by connecting with the regional Girl Scout Council.”

Finding talent has been another challenge. To be able to host a party at The Groove Lounge, Fischer says it requires many skills. “Talent on the mic, people skills, and being lively and entertaining is a must,” she says. “The ability to dance is also key. It’s not necessary to be an over-the-top, hip-hop dancer, but keeping the beat and knowing how to lead a popular line-dance or circle-dance is essential. We play lots of games as well, so the ability to run games is very important. There is also the need to understand how to operate all of our equipment.”

Her party assistants, high school and college kids, either they hear about The Groove Lounge from their friends who work there, or they attend a party at The Lounge and express an interest in working with her.

When I ask Fischer two ways to keep children entertained, she lights up, as if her true passion has been stirred.

“The most important thing to keep children engaged at a party is to engage with them!” she says. “At our parties for young children, we rarely push play and then stand behind the booth and just watch. Left to their own devices, kids will start to lose control and we don’t want them running around, jumping on the furniture, pulling on the stage curtains or getting hurt. We are extremely hands-on and interactive.”

Fischer keeps them entertained by offering a variety of activities during a party. “In order to keep young kids involved and paying attention, we change up activities frequently.

We start our parties with a dance warm-up. Then we do some large group/follow-along/ interactive dances, depending on the age of the kids, followed by some games.”

Fischer, who says they never play elimination games with young kids because they always want everyone participating, will finish up with some free-styling right before it’s time to sit down and eat. “When the party is not a drop-off event and the parents stay at The Lounge, we also get the grown-ups involved,” she says. “To me, there are not a lot of things much better in this world than seeing parents dance with their children. Facilitating those moments is one of the main reasons I opened The Groove Lounge in the first place!”

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BUSINESS LINE SALES…MARKETING…SOLUTIONS…

DJ EXPO ’15:—IT’S A WRAP!

DJ TIMES

OCTOBER 2015

By Gregg Hollmann

32

DJs eager to improve their skills and learn new tricks flocked to the halls at the Trump Taj Mahal in Atlantic City this past August 10-13, where DJ Expo was brimming with actionable ideas. Presented by DJ Times and its publisher Testa Communications, the 2015 show offered a high-quality selection of educational topics spanning performance techniques, sales/marketing tips and specialty business lines.

They included the following: ALL-STAR MC SECRETS REVEALED This seminar, in its fifth-annual installment, has become one of the most popular of the Expo. Chaired

by Maryland mobile Steve Moody, the panel’s other participants vary from year to year, and this year’s panel included Mike Wieder (Ultimate Sounds DJs), Mike Walter (Elite Entertainment), Fox Feltman (BTA Entertainment) and Shani Barnett (Mobile Music Interactive Entertainment).

Moody discussed techniques that wedding DJs can use to stack the deck in their favor to create immensely satisfied clients who view their DJ as a friend. At consultations, for a personal touch Moody stands at the door to greet couples and addresses them by name. This process is repeated upon their leaving his office. He puts couples at ease by stating that the purpose of the consultation is to talk about their vision and not to force them to sign anything.

After booking a couple, clients receive monthly emails with wedding-planning tips and other important information. These emails are automated, but provide the feel of attentive, personalized concierge service. At the final consultation and again the day of the wedding, Moody tells couples, “I want your wedding to be the best night of your life. If there’s anything that you want or need, please tell me.”

The day of a wedding, Moody also sends his couples a text message

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mentioning how much he’s looking forward to celebrate with them.

The New Jersey-based Mike Wieder discussed the importance of creating moments and making memories for his wedding couples. To do this, Wieder is a proponent of shaking up wedding reception traditions. For example, couples can share their first dance surrounded by guests on the dancefloor holding candles (six-inch flickering LED candles are recommended for safety purposes).

For the anniversary dance, which typically eliminates couples as the years-married increment increases, in Wieder’s version, couples are added based on years of marriage with the final result being a packed dancefloor. The longest-married couple, as revealed from the anniversary dance, can then cut a second slice of cake after the bride and groom in the cake cutting ceremony. Wieder advises MCs that “fear is not an option, fun is.”

Fellow Jersey jock Mike Walter focused on the grand finale of a wedding reception and the importance of “ending with a Wow!” For those who are familiar with Walter’s teachings, he places great emphasis on having strong openings and endings in order to be memorable. For a grand finale, he said that the DJ/MC should pick that final song based on the flow of the evening. Ideally, the final song will include a break or bridge section where the MC can work the microphone and do things like a shout-out to the bride and groom, provide well-wishes for their honeymoon or stage group photo shots.

Walter also recommends that DJs have one more encore song ready to go. It can even be a short one-or two-minute edit of popular songs like “What I Like About You,” “Twist and Shout,” “I Wanna Be Sedated” or “Jump Around.”

Fox Feltman has built a solid market share in North Carolina by specializing in high-energy, interactive weddings where couples are meant to feel like royalty. At consultations, he has brides complete a father-daughter questionnaire. When the father is walking out for the father-daughter dance, Fox will sprinkle in personal information gained from that questionnaire to make the moment memorable.

For buffet-style weddings, Feltman has tables appoint a “runner” and then compete for the right to be the next table to go to the buffet by answering questions or playing Name That Tune.

A bouquet-garter ceremony can be livened up by blindfolding the garter-catching male, and replacing the bouquet-catching female with a substitute like the father of the bride or grandma.

At a grand finale, Feltman orchestrates a “Circle of Love” where the wedding couple goes around to share a handshake, hug or kiss with each guest. After making the rounds, the MC implodes the circle by going into the song, “Shout.”

ChicagoLand’s Shani Barnett spoke about the importance of commanding a crowd. At the beginning of a performance, MCs must smile, create a “warm feel” and make eye contact with guests. Even in the midst of difficult circumstances, MCs must stay positive, reminding themselves that “I can be the best” and life is not so bad being paid to party.

SAME SEX WEDDINGS: A PRIMER After receiving a warm reception at last year’s DJ Expo speaking on a business panel, this year Jodi Duston from DJ Jodi Entertainment of Portsmouth, N.H., delivered a full-length seminar offering tips on how DJs can book more same-sex weddings. Duston operates a thriving DJ business that specializes in same-sex weddings and other events catering to the LGBT community. A lesbian herself, Jodi’s wedding-DJ business initially focused on straight couples. It was only later, after forging relationships in the community and learning musical programming for LGBT couples, that Jodi would develop her same sex-wedding specialty.

Duston’s tips include: (1) Place images of same-sex couples on your website. Related, get reviews from same-sex couples.

(2) Create separate paperwork for same-sex couples. Spend an afternoon revising your weddingplanning forms creating one set for lesbian couples and one for gay-male couples.

(3) Get educated on the different traditions and announcements at a same-sex wedding, particularly for the ceremony, wedding-party introductions, and Parent Dances. For example, consider a lesbian wedding: Do both brides get walked down the aisle by their fathers? If both brides (continued on page 42)

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GEAR AUDIO…LIGHTING…STUFF

Plus For Life ADJ Products 6122 S. Eastern Avenue Los Angeles, CA 90040 (323) 582-2650 www.americandj.com ADJ’s Mega Par Profile Plus is a slim-bodied, lie-flat par can that adds new features to the company’s original Mega Par Profile. The fixture utilizes 107 10mm LEDs (26 red, 45 green and 36 blue), as well as the newly-added 3W UV LED. Mega Par Profile Plus comes equipped with a 30-degree beam angle, a color strobe effect and 0-100% electronic dimming. It runs in five operational modes—Dimmer Mode, Auto Run Mode, Static Color Mode, Sound Active Mode and DMX-Controlled Mode in 4, 5, 6, 9 and 10-channel versions.

Gold Standard Pioneer Electronics 1925 E. Dominguez Street Long Beach, CA 90810 (310) 952-2000 www.pioneerdjusa.com Pioneer DJ’s HDJ-1500 headphones series now includes a gold model in addition to the existing black, silver and white options. The HDJ-1500 headphones are designed with magnesium alloy headbands and hinges, as well as low-resilience urethane memory foam ear pads. They feature a proprietary sound chamber that the company says eliminates background noise. Additional features include 50mm drivers, rare earth magnets, and 38μm thick diaphragms that create deep bass notes and clear mid to low frequencies.

I Dream of Genelec Genelec 7 Tech Circle Natick, MA 01760 (508) 652-0900 www.genelecusa.com The 7040A subwoofer from Genelec is designed to complement the company’s 8010, 8020 and M030 active monitors. The 7040A features Genelec’s Laminar Spiral Enclosure technology, which allows the unit to “achieve a high sound pressure level and move high volumes of air without distortion,” according to the company. It produces 100 dB of SPL using a 6-½-inch woofer and a Class D amplifier, and it sports a flow-optimized construction that the company says provides extended low frequency capacity and low distortion.

DJ TIMES

OCTOBER 2015

Skirting the Issue

34

DJ Skirts 1719 Autumn Ave. Unit-A Schaumburg, IL 60193 (847) 603-8700 www.DJSkirts.com DJ Skirts Booth model 7RZ is back in stock. The model features seven folding panels so that it can be used on folding tables that measure four-, five-, sixor eight-feet. It can be set up in an arc shape or squared off, and is reversible for both black and white options. The 7RZ is machine washable and will be fire code safe after repeat washings. It is also designed to withstand strong winds up to 15 miles per hour.

AUDIO…LIGHTING…STUFF

GEAR

Tom Select Native Instruments North America 6725 Sunset Boulevard, 5th Floor Los Angeles, CA 90028 (866) 556-6487 www.native-instruments.com Native Instrument has released KOMPLETE SELECT, a selection of 10 KOMPLETE instruments and effects, which is free to all registered KOMPLETE KONTROL and MASCHINE 2 software users. Included in this suite are MASSIVE, a synth; THE GENTLEMAN, a sampled piano instrument; MONARK, synth emulation; and DRUMLAB, an acoustic/electronic drum hybrid. KOMPLETE SELECT also includes KOMPLETE KONTROL software, which means that all of the instruments in the suite can be controlled from an S-Series keyboard.

Just Deserts Time+Space Distribution Ltd Unit 7A-B Cranmere Road Exeter Road Industrial Estate Okehampton, Devon EX20 1UE UK +44 (0)1837 55200 www.timespace.com Zero-G distributor Time+Space released Desert Tracks, a 1.75GB collection of instruments, rhythms and full music tracks from Northern Africa and the Middle East. The collection is arranged by individual country with percussion loops and musical themes for each one. Desert Tracks also includes individual percussion loops of Darbuka, Doholla, Frame Drum, Riqq and Sagat. Content comes in a variety of formats, including Acid Wav, AIFF Apple Loops, Rex2, Kontakt, EXS24, HALion and NN-XT instruments.

Overbridge the Gap Elektron Music Machines 1340 E 6th St #632 Los Angeles, CA 90021 (213) 935-8521 www.elektronmusicmachines.com Elektron’s Overbridge is a new music technology that allows the analog components of the latest range of Elektron synthesizers and drum machines to be controlled in real time by using a custom software plug-in, the physical controls of the instrument itself, or both. Overbridge uses proprietary drivers for Windows and OS X in order to send sounds, notes and time sync back and forth between instrument and computer via a single USB connection.

Next of Kinta

DJ TIMES

The Mini Kinta IRC party/club light from Chauvet creates LED beam effects by utilizing 48 lenses and four high-power LED light sources in a compact case that weighs 3.4 pounds. The unit features a 114-degree beam angle and four three-watt LED sources (one red, one green, one blue, one white), each of which is rated at 50,000 hours “for minimal maintenance requirements,” according to the company. The Mini Kinta IRC features built-in automated and sound-active programs that can be accessed manually or via an optional CHAUVET DJ IRC-6 remote controller.

OCTOBER 2015

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

35

GEAR AUDIO…LIGHTING…STUFF

Fog in My Throat Martin/Harman International 400 Atlantic Street Stamford, CT 06901 (203) 328-3500 www.harman.com Martin Professional’s JEM ZR Series is a family of powerful fog machines—including the JEM ZR 25 and JEM ZR 35—which work well in venues of all sizes.

Models in the line are compatible with a wide range of JEM Pro fog fluids. They come equipped with 1,150–2,000 W heat exchangers and feature variable output control. These models are fully up-to-date with digital remote, DMX and RDM.

Mix Independent Indiloop 234 Abbott St Vancouver, BC V6B 2K8 (778) 874 4713 www.get.indiloop.com Indiloop is a music remixing platform designed to be “the most accessible means to remix music for beginners,” according to the company. The service uses isolated instrumental and vocal tracks uploaded by the user, including audio pulled from YouTube, SoundCloud, Vimeo and other sources. These are then dragged and dropped into individual creations. Completed tracks can be uploaded to users’ social media feeds. Indiloop is currently available on the company’s website, as well as Google Play and the App Store.

Flying V InMusic 200 Scenic View Drive Suite 201 Cumberland, RI 02864 (401) 658-5760 www.alesis.com Alesis V Series Computer Controllers— including the V25, the V49—and VI Series Computer Controllers—including the VI25, VI49 and the VI61—feature full-size, flat-front keys and both pitch bend and modulation wheels. Each Alesis V Series model is also equipped with four assignable knobs and four assignable switches. VI Series products sport 16 highly-responsive drum/trigger pads equipped with color-keyed RGB LED illumination. Both series include Ableton Live Lite and Xpand!2 software.

DJ TIMES

OCTOBER 2015

She’s a Rainbow

36

iZotope 1 Kendall Sq Cambridge, MA, 02139 (617) 577-7799 www.izotope.com Iris 2 from iZotope expands upon its predecessor, the Iris sample-based synthesizer. This latest model features a completely redesigned interface with extensive visualizations and metering, enhanced effects and filters, and more than 350 new patches with intuitive controls. It comes with a built-in collection of analog oscillator waveforms, an 11 GB sound library of samples and multiple effects, including eight distortions, a classic synth chorus, digital and analog delay options, and warm plate reverb emulation.

TRACKS…MIXES…COMPILATIONS

SOUL MATTERS u Joe Brunning u Intec Digital On this 18-tracker, loaded with incredible depth and variety, check the soulful vibes of “Blue,” the deep-house vocals and strings of “If Strings Could Song,” the cavernous, dirty groove of “Life Force,” the heavenly journey of “Light In The Dark,” and the peak energy of “The Reasons We Do This.” A terrific full-length.

– Chris Davis “A SIMPLE DESIGN” u The Juan MacLean u DFTD With fresh remixes from Purple Disco Machine and Jesse Rose onboard, this remains one of the year’s essential house cuts. And don’t forget the original version or Deetron’s monster mix. A stunner.

– Tommy D Funk “OFF WORLD LOVER” u Hot Natured u Emerald City While the single recalls the intergalactic paradise of the supergroup’s debut LP, the glittering synths, chunky basslines, and wistful vocals from Ali Love come together to form a glorious love letter from a distant universe that pushes the band’s sound forward. Will Clarke’s accompanying remix is a quirky, clubbed-out corker with pulsing hi-hats and throbbing low-end.

– Chris Caruso “FOREVER” EP u Sidney Charles & Santé u Hot Creations Opener “Forever” lays down a quirky, though somewhat repetitive tech-house trough, so be prepared to layer it with other tracks.

“Mogli” is a bubbling, mood-manipulating riser that plateaus the party energy in just short of five minutes. As always, Russ Yallop’s remix (of the title track) is the highlight, slamming down a commanding groove sure to make any booty move.

– Chris Davis “TRYIN’ FIND A WAY” u Tim Deluxe u Strictly Rhythm Featuring elements of classic, deep-underground house, the track is primarily driven by traditional instrumentation. The Club Mix embodies this best, where the spoken word adds to the track’s club feel, while the bass guitar pushes its jazzier side.

Joe Brunning – Tommy D Funk

NOMADAS u Chus + Ceballos u Stereo Productions While the duo’s live sets can include drum-focused techno, the LP takes on a distinctly atmospheric, deep-house vibe. “Abisinia” is a moody dancefloor invitation, while “Black Rock City” offers squelchy synths and a piping-hot bassline. Also check the Cevin Fisher collab (“Lost in Music”) that’s primed for peakhour play, plus the tribal bass-bomb “Back To Basico.”

– Chris Caruso LOVE IS FREE u Robyn & La Bagatelle Magique

DJ TIMES

OCTOBER 2015

u Konichiwa/Cherrytree/Interscope

38

Lead single “Love Is Free” (featuring rapper Maluca) is an uproarious explosion of screaming synths, bouncing bass, and retro vocal sampling, while the clean-cut pop euphoria of “Set Me Free” wouldn’t sound out of place on a solo Robyn record. An irresistible cover of Loose Joints’ classic “Tell You (Today)” closes the record with victorious brass and a samba-like atmosphere.

– Chris Caruso THE OTHER u Pan-Pot u Second State The German duo keeps the soundscapes fresh and

Joe Brunning

Róisín Murphy

varied across 14 solid tracks, with the big-room techno of “808 Nirvana” and ominous bass of “Operator” serving as standouts. It’s a truly diverse affair, with the boys even dipping into dubstep (“The Luxury of Living Day by Day”) and glitch-hop (“Sleepless”). This one’s ready for the dancefloor and beyond.

– Chris Caruso “JEALOUSY” (REMIXES) u Róisín Murphy u Crosstown Rebels The ex-Moloko frontwoman returned earlier this year with the downtempo Hairless Toys, but the “demented roller disco” of this one-off is headed right back to the clubs. Greg Wilson and Derek Kaye offer a more straightforward disco house take, perfect for DJs nervous to drop the quirky original in their sets. Citizenn’s Dub Mix is sure to be the most played, with its dark tech-house vibe, deep builds, and invigorating drops.

– Chris Caruso WELCOME TO THE PRESENT u Blond:ish u Kompakt Blond:ish

Focusing on a crafting an engrossing journey, the Canadian duo ditches simple 4/4 beats (for much of the record) in favor of organic, World Music-inspired tracks like “Myein Caravan” and “Los Pensamientos.” Don’t take off your dancing shoes, though, as the slimy “Jupiter and Jaguar” and Eastern-tinged “Inner Jungle” are definitely set-ready.

– Chris Caruso “WRONG TURN” u Doorly & Hauswerks u Hot Creations With “The Illusionist” and “Swamp Donkey,” both tracks provide a huge sound with heavy bassline, full-on keyboard stabs and a solid, underground-house beat that sets the whole track to a different level. Superb.

– Tommy D Funk “THERE MUST BE LOVE”

u David Morales & Janice Robinson u Def Mix Harking back to the halcyon days of the ’90s, Morales delivers a true gem to show the young pretenders how it's done. Soaring pianos, crisp beats and a quality vocal from Robinson give this all the right ingredients—another Morales classic.

– Curtis Zack “PIANO ON FLEEK” u Kenny Summit

Good For Yo u Full-on piano madness is the order of the day for this latest release from NYC DJ/producer Summit. There’s only one mix, containing those keys and a cheeky sample, but to be truthful that is all you need.

– Curtis Zack

Pan-Pot

DJ TIMES

Chus + Ceballos

“Genghis Kahn” EP Die Roh Love Notes Records A pair of very raw tracks on this vinylonly label.

For the Rissa Garcia peak-time throwdowns, “Behind 600” does the damage, while the title track drops a heavier atmospheric groove—perfect for the transitional phases between the warm-ups to the peak or the peak to the wind-down.

OCTOBER 2015

Guest Reviewer: Rissa Garcia

39

Fisher

USB sticks with a three- or four-deck Pioneer setup. I have a Traktor setup at home for my podcasts. I started on vinyl, then transitioned to CDs, then to USB. DJ Times: Some advice for a DJ who wants to make the transition into production?

Fisher: I would say the most effective way is to decide on the gear you want to use – software, drum machines, etc. – and learn it inside out. Watch tutorial videos. If your budget allows it, I would say take some courses at Dubspot. It’s a great way to

(continued from page 10) DJ Times: What do you think about the younger DJs and fans now discovering ’90s club music?

Fisher: I think it’s great that the younger generation is getting turned on to the ’90s tunes and club sounds we created. A lot of us original house producers are still going strong and we created some magical tracks. So it’s great to see all of the social sharing and posts of the original house music.

DJ Times: What’s your DJ set-up now?

Cevin Fisher: On the road, I play mostly on

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get your feet wet and not get overwhelmed with all of the technology in the beginning.Try to master one or two things at a time and keep building from there.

DJ Times: And the producer looking to get gigs as a DJ? Fisher: It’s definitely tough out there and very competitive, but you have to make your mind up if you really wanna do it. Set some goals, get your social network/connections up. You have to really immerse yourself in it. Pattern yourself after someone you look up to. Don’t out-and-out copy them, but to take notes and learn from them, then go into the studio and create and polish your sounds and learn patience. It’s a marathon, not a sprint.

– Jim Tremayne

(continued from page 25) me for ceremony, cocktail hour and reception, but two weeks before the wedding she had the opportunity to have a string quartet perform for the ceremony and cocktail hour.

“Without hesitation, I removed those costs from the contract and adjusted the price accordingly.

The following day, the father of the groom called me and asked if I would do the rehearsal dinner the night before, to which I quickly agreed. The father stated my willingness to be flexible and a reasonable business person enticed them to contract me for the other event.

“The great thing is, I gave up $450 on the day of the wedding, but gained $750 on the rehearsal dinner.”

Bazata, who is also a banker, says that each of those three concepts is intertwined in the sales process. “Remember, you are selling yourself and not a commodity. Unfortunately, the concept of growing a business is to add more services and make it a one-stop shop. Having the benefit of being a commercial bank for over 25-plus years, I realize that businesses that lost focus of their core business and seek growth through other products and channels don’t always succeed. It ends up being the demise of some very good businesses.”

Meanwhile, Keith KoKoruz of The Keith Christopher Entertainment Group in Chicago has a little fun with brides seeking the McD’s of DJs. “May I recommend the Double Quarter Pounder,” he jokes. “It's the most meat-like tasting burger available—similar to the laptop DJ, with the fancy n facade and no skills.”

Sounding Off

DJ TIMES

OCTOBER 2015

(continued from page 29) user control panel when a computer is connected Fast FREE Shipping | idjnow.com | 1.800.355.7746 via USB. Se Habla Español | Showrooms Open 7 Days | We Rent Locally The 3-band output isolator at the top of the Queens, NY 718.762.0100 | Babylon, NY 631.321.1700 mixer is a unique feature unlike what you’ll find on many other mixers today, offering three-band © 2015 I DJ NOW. Limited time offers. Prices subject to change without notice. Not responsible for typographical errors. Consumer Affairs # 1387598 EQ on the MP2015’s entire main output as well as adjustable low-mid and mid-high crossover points DJ Gear | Lighting Effects | Live Sound | Recording | Stage | Performance via dedicated knobs.

Mixer isolators were commonplace “back in the day,” with a classic booth trick seeing the DJ slowly DJ_Times_May_2015.indd 1 4/14/15 11:09 AM taking out the bass over a course of 30 minutes or so, only to slam it back in again at a peak moment.

IDJNOW • Leasing Ad • 4c, 4.125” W X 4.375” H • Ad Runs in DJ TIMES for May 2015 • 631-585-1100 x 7460 The isolators also allow a DJ to color the sound to better fit a room before and after it fills up with more warm bodies. And most importantly, they’re incredibly fun to manipulate when playing suitable genres of music like house and techno.

40

MP3s in 6

Compiled As September 12, 2015

NATIONAL CROSSOVER POOL CHART 1 Icona Pop 2 Major Lazer F/ DJ Snake 3 The Weekend 4 Audien F/ Lady Antebellum 5 Kelly Clarkson 6 Hilary Duff 7 David Guette F/Nicki Minaj & AfroJack 8 Demi Lovato 9 Dark Intensity F/ Liz Primo 10 Omi 11 Jade 12 Leona Lewis 13 Raquela 14 Afrojack F/ Mike Taylor 15 Eric Prydz 16 Zedd F/ Jon Bellion 17 Madonna 18 Rihanna 19 Andy Grammer 20 KC And The Sunshine Band 21 Claire Rasa 22 Chemical Brothers F/ QTip 23 Calvin Harris 24 Nick Jonas 25 Taylor Swift F/ Kendrick Lamar 26 Walk The Moon 27 Amoray 28 Zedd F/ Selena Gomez 29 Banks 30 Giorgio Moroder & Sia 31 Badar F/ Duncan Morley 32 Disclosure F/ Sam Smith 33 Kristian Nairn 34 Sam Smith 35 Clean Bandit 36 Martin Garrix F/ Usher 37 David Seyer 38 Ultra Nate 39 Aki Starr 40 Jason DeRulo

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

Kristian Nairn Sted-E/Hybrid Height Badar F/ Duncan Morley David Seyer Andy Grammer Calvin Harris Chemical Brothers F/ Q-Tip Nick Jonas Dj Jellyfish Amoray

Emergency Lean On Can’t Feel My Face Something Better Invincible Sparks Hey Mama Cool For The Summer Dance With Your Heart Cheerleader Better And Better Fire Under My Feet Summertime Summer Thing Generate Beautiful Now Bitch I’m Madonna Bitch Better Have My Money Honey I’m Good I Love You More All I Want Go How Deep Is Your Love Teacher Bad Blood Shut Up And Dance Work It Out I Want You To Know Begging For Thread DeJa Vu You Gave Me Love Omen Beacon / Up Lay Me Down Stronger Don’t Look Down All About Me Unconditional Tonight Want To Want Me

Beacon / Up Synergy You Gave Me Love All About Me Good To Be Alive How Deep Is Your Love Go Levels Boom Boom Jellyfish Work It Out

NATIONAL URBAN POOL CHART Big Beat Mad Charm Republic Astralwerks RCA RCA Parlophone Hollywood 444 Ultra Tazmania Def Jam House Of Pride Wall Astralwerks Carrillo Interscope Roc Nation S-Curve Sunshine BMAB Astralwerks Sony Hollywood Republic RCA Knockout Fashion Interscope Astralwerks RCA Global Groove Astralwerks Radikal Capitol Atlantic Spinnin OBSR Blunt Renegade Warner Brothers

Radikal 418 Music Global Groove OBSR S-Curve Sony Astralwerks Island Radikal Knockout Fashion

REPORTING POOLS Masspool - Saugus, MA; Gary Canavo n Dirty Pop Productions - San Diego, CA; DJ Drew n Dj Stickyboots - Goshen, NJ; Blake Eckelbarger n Victors - Milwaukee, WI; Chris Egner n Nexus Radio - Chicago, IL; Manny Esparza n Soundworks - San Francisco, CA; Sam Labelle n Klubjumpers - San Antonio, TX; Dan Mathews n New York Music Pool - Levittown, NY; Jackie McCloy n Dixie Dance Kings - Alpharetta, GA; Dan Miller n DJ Rafy Nieves - San Juan, PR; Rafy Nieves n WPTV-Prty 105FM Frd MdMx - New York, NY; Mike Rizzo n MOOD Spins - Seattle, WA; Randy Schlager n DJ Laszlo - Las Vegas, NV; Laszlo Szenasi n Northeast Record Pool - Revere, MA; Justin Testa n Pacific Coast - Long Beach, CA; Steve Tsepelis Looking for these titles? You can hear them and buy them at www.dancekings.com. Just click on the links in the chart.

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

770-740-0356

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

Meek Mill F/ C.Brown Nicki Minaj Jeremih F/ J. Cole Fetty Wap Fetty Wap F/ Remy Boyz Jidenna F/ Roman Gianarthur K Camp Rihanna Weekend Rae Sremmurd Chris Brown Future F/ Drake Trey Songz Kendrick Lamar Ty Dollar $ign F/ Future&R.Sremmurd Omarion F/ Kid Ink & French Montana Drake Silento Drake T-Wayne Post Malone

All Eyes On You Planes My Way 679 Classic Man Comfortable Bitch Better Have My ...

The Hits This Could Be Us Liquor Where Ya At About You Alright Blase I’m Up Hotline Bling Watch Me Back To Back Nasty Freestyle White Iverson

Atlantic Def Jam RFG RFG Epic Interscope Roc Nation Republic Interscope RCA Epic Atlantic Interscope Atlantic Atlantic Republic Capitol Republic Werunit Universal

Most Added Tracks 1 2 3 4 5

Drake Rita Ora F/ Chris Brown Curren$y F/ August Alsina Steph Lecor August Alsina F Lil’ Wayne

Hotline Bling Body On Me Bottom Of The Bottle Saturday Why Do I

Republic Columbia Atlantic We The Best Def Jam

NEW NATIONAL LATIN DANCE POOL CHART 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.

16.

17.

18.

19.

20.

Angelucho Copacabana Aqui Esta Lo Que Esperabas Gente De Zona y Marc Anthony La Gozadera Bachata Trio Pena Penita La India Ahora Que Te Vas J Balvin Ginza Adassa Pa Que Te Quiero Rey Chavez A Primera Vista J Martin Yo soy el Loco Aquel Iamael Miranda Bajo, Piano y Bongo Hector Acosta Mi Calendario Layla Locuras Farruko ft Shaggy, & Nicky Jam Sunset Clasicon La Calle Soy Yo Chino & Nacho Me Voy A Enamorar Mayte (La Guapa) Tirame Un Like Nataly Rose Somebody Daddy Yankee Sigueme y Te Sigo Kalimete El Perdon Zion y Lennox Pierdo La Cabeza Charlie Aponte Para Festejar

1.

2.

3.

4.

5.

Mala Fe Joey Montana Guaco Los Hermanos Moreno Don Omar ft Natty Natasha

Mr. Yuca Latin Hits Hispaniola Music Group Top Stop Music Universal DCP J&N PPE IM/Kiyavi Crossover Angulo Music Carbon Fiber BN Universal La Guapa Corp.

Universal Universal Sueños Latin Hits Sony

Most Added Tracks La Chivita Chapiadora Picky Baja Bochinchosa Perdido En Tus Ojos

J & N Universal Latin Pulse Group Bongoreno Universal

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.

A huge benefit of the MP2015 being highly cutting-edge—yet still masquerading as retro—is that every knob, button, and switch is MIDImappable. If you have no use for the isolator section for its intended use, then why not map your Traktor effects decks to the isolators, with the on/off button serving as a toggle for your effects? Alternatively, you could try mapping the push-buttons and knobs in the mic section or the FX Loop section to things like deck key lock, output record, or even the master clock functions.

Final Thoughts: While the chunky rotary knobs in place of the faders will take some getting used to for some jocks, I find the MP2015 much more enjoyable to DJ with than your standard club mixer of today. For the first hour or two, when learning how to use the mixer, I found myself accidentally leaving the channel volumes up when cueing or playing new tracks due to the decreased amount of visual feedback that you get from “normal” up-faders, but I became acclimated to this eventually.

Another plus: The internal power supply accommodates voltages from 100 to 240 VAC, at either 60 Hz or 50Hz, and is fitted with a detachable universal power cord—which means the MP2015 can be used worldwide, if you want to travel with it.

In conclusion, Rane’s MP2015 is one of the most versatile club mixers providing the highest sound quality available to DJs today. At $2,899 MAP, it’ll cost you a pretty penny, but if you are keen on the rotary knobs and fancy yourself an audiophile house DJ, techno DJ, or a live performance wizard looking for a mixer to accommodate your intricate hardware or digital setup, then the MP2015 is for you.

Rayel

(continued from page 15) sound and asked if I wanted to work with them. I was more than happy to because Armada is one of the biggest labels in the industry. It feels like a family, they give me advice and Armin tells me what he thinks is good and not so good for me.

DJ Times: What’s your approach when remixing tracks?

Rayel: It’s always different. I get so many requests to do remixes, but sadly over the last few months I had so many great requests for songs that I would love to do remixes for, but I have no time to do so because I’m on a full tour. I might be on tour for a month and then come home for two days, which I have to use just to get some new clothes and get ready to go on a whole new tour. Over the past two years, though, I’ve been focusing on doing remixes for the tracks that I really, really love. Sometimes, someone sends you a really good track, and you think that you can’t top it with a remix, so you have to say no. If it’s too good already, it’s too hard to impress with a remix of it. I don’t want to do a remix that’s going to be weaker than the original mix. I want to improve it, not just say that I did a remix of this track by some guy.

DJ Times: What’s your studio set-up?

Rayel: I use a really fast PC with a lot of hard drives because I keep all of my samples, projects, and backups on it. I’ve used Cubase for about the past five years, and for monitors I’ve got Yamaha HS80Ms and KRK RP10s.

I use a MIDI keyboard, of course: a big M-Audio Axiom. I use a TC Electronic sound card. I use some hardware, but I know a lot of producers who own a lot of it and never use it. It’s cool to have and I’ll occasionally use some

for a track.

DJ Times: What about your DJ setup?

Rayel: Just the most common one that everyone uses: a pair of Pioneer CDJ-2000s and a DJM-900 or DJM-800.

DJ Times: How do you prepare for your sets?

Rayel: I can’t say that I completely plan it. I always know the key tracks I’m going to play because it’s my music, and I think as a DJ you have to play mostly your music because you want to show the crowd your music. We’re not true old-school DJs anymore— sadly or luckily depending on how you look at it—that can play for eight hours and play a variety of tracks.

Nowadays, you go to a big festival and they give you one hour. You’re not going to play all other people’s tracks; you’re going to play a lot of your tracks. I always do edits, and I try to make them different for each show to make it special in case I don’t have a complete new track to show

Business Line

(continued from page 32) are wearing a dress, this may be the case. In other cases, when one bride is “butch,” she may dress in a suit and tie and take the role of a traditional groom and will be waiting at the wedding altar with the officiant. DJs should be armed with lots of information and options for their same-sex couples. ( 4 ) B e w h e re t h ey a re . O f course, you want to be online where same-sex couples are researching wedding vendors—sites like the Rainbow Wedding Network and gayweddings.com. DJs should also research local community events. In particular, DJs

off that night.

DJ Times: You’ve played over at Marquee Las Vegas a fair bit. What are the Vegas crowds like?

Rayel: You have to play a little bit different because people in Vegas are coming for fun. Let’s face it, they don’t go to Vegas for the music; they want to have fun over there so you have to give them a party, not a journey or a concept. I love Marquee, and I’ve played both the Dayclub and Nightclub and everyone has fun, so I can’t wait to go back.

DJ Times: Do DJing and producing give back to each other?

Rayel: Absolutely. I play for a crowd, and after my set, I get inspired big time. I can go into the studio with the memories of what I felt at that moment when I go to produce new tracks. When I produce tracks, I always imagine how people will react to a specific part of a track when I’m mixing it. There’s always a balance between DJing and producing. n

can purchase a table at “pride festivals”—large gatherings for the LGBT community that are less formal and lots of fun.

(5) Volunteer for causes important to the LGBT community, such as AIDS walks or youth programs. The community is quick to support those who support them.

(6) When performing at straight weddings, conduct yourself in a manner that will place gay couples in the crowd at ease.

There’s plenty more, of course.

Stay tuned for next issue, when the wrap-up of DJ Expo 2015 continues.

Gregg Hollmann owns Ambient DJ Service in East Windsor, N.J.

Marc Kinchen: MK’s Return to Clubland Seems like things worked out.

I was a ’90s club hitmaker, who moved onto pop & R&B.

42

Steven Pham

DJ TIMES

OCTOBER 2015

But, I figured I’d give dance music another go.

MK, Next Month in DJ Times

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