DJ Times November 2015, Vol 28 No 11

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NOVEMBER 2015

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NOTABLES…MILESTONES NEWS

STEVE AOKI VOTED AMERICA’S BEST DJ 2015 San Diego, Calif. – The fans’ votes have all been counted and it’s official: DJ Times magazine and Pioneer DJ are proud to announce that Steve Aoki has been voted America’s Best DJ for 2015. Steve will be taking over the honor from 2014 winner, Markus Schulz.

While most of the fan votes were cast online at the America’s Best DJ website, the America’s Best DJ Summer Tour Presented by Pioneer DJ & DJ Times supported the contest by allowing fans to vote in-person at 20-plus club and festival events, which included Las Vegas’ Electric Daisy Carnival, Detroit’s Movement Festival, Chicago’s Spring Awakening Festival and Denver’s Global Dance Festival.

The Los Angeles-based DJ/producer – who recently released NEON FUTURE ODYSSEY, a deluxe package that includes both his Neon Future I and Neon Future II albums along with bonus tracks – was honored this past October 11 in San Diego at the America’s Best DJ Award Ceremony/Closing Party. For his achievement, Aoki was presented with a special trophy – a personalized, gold-plated Pioneer DJM-900nexus mixer at Omnia Nightclub. (Editor’s Note: Stay tuned for the December issue for snapshots from the event.)

When informed that he was voted America’s Best DJ 2015, Aoki said, “I am incredibly humbled and honored to be chosen as this year’s winner. First and foremost, I want to thank all my fans for their support over the years. I am so grateful that I continue to have the best fans in the world. I would also like to thank everyone at DJ Times and Pioneer DJ for all the years of support, as well as acknowledge all the amazing promoters that book me in great venues and festivals across North America.

Words cannot express how appreciative I am of this award and I look forward to pursuing my passion as a DJ for decades to come.”

DJ Times Editor Jim Tremayne, an America’s Best DJ organizer since the promotion’s 2006 inception, offered his congratulations.

ABDJ ’15 Top 10 1. Steve Aoki 2. Kaskade 3. Diplo 4. Skrillex

5. Claude VonStroke 8. Flosstradamus 9. A-Trak 6. Dillon Francis 10. Audien 7. Bassnectar

“After finishing in the Top 10 for the last few years, Steve Aoki has finally knocked down the door,” he said. “Through a busy touring schedule that takes him around the globe, entrepreneurial achievements like his influential Dim Mak label, and generous endeavors like The Steve Aoki Charitable Fund, he has created a unique connection to his audience. In being voted America’s Best DJ 2015, Aoki has added another feather to his well-adorned cap, and we congratulate him on earning his latest honor.”

Additionally, Alexandra Cabrera of Laredo, Texas, was randomly chosen as the Grand Prize Winner of the America’s Best DJ fan-voting contest. Ms. Cabrera and a friend received flights to and from San Diego, two nights’ hotel accommodations, plus VIP treatment at the America’s Best DJ Closing Party/ Award Ceremony at Omnia Nightclub. Cabrera originally cast her vote at Hakkasan in Las Vegas this past August.

DJ Times thanks America’s Best DJ Summer Tour title sponsor Pioneer DJ and promotion par tner Hakkasan Group for their dedication to the industry and their support in the promotion.

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New York City – Erick Morillo drops a beat at Pacha this past September 15 during the day-long “House of Rob” event, memorializing popular club promoter Rob Fernandez, who passed away suddenly this past August.

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VOLUME 29

NUMBER 11

12 Back on Track

After Years of Living the Pop Life, Marc “MK” Kinchen Has Re-Taken Clubland by Storm

BY CHRIS CARUSO

20 Electric Zoo: Transformed

NYC’s E-Zoo Rocked Randall’s Island This Past Labor-Day Weekend

BY DJ TIMES PHOTOGRAPHERS

24 25 & Counting

DJ Expo ’15 Marked a Quarter-Century of DJs Gathering to Improve Their Skills & Their Businesses

BY DJ TIMES PHOTOGRAPHERS

DEPARTMENTS 7 Feedback

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

26 Making Tracks

iZotope Ozone 6

28 Sounding Off

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Brooklyn’s Trio Productions

32 Business Line

DJ Expo Takeaways, Pt. 2

34 Gear

New Products from RCF, Native Instruments & More

DJ TIMES

OCTOBER 2015

38 Grooves

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SAMPLINGS 8 John Dahlbäck

House Raven

10 In the Studio With…

Dub Pistols

Phat Tracks from Tim Deluxe, Groove Junkies & More

40 DJ Times Marketplace

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FROM THE EDITOR

MK: Back in the Ring About three years ago, I was holding down the fort at our Winter Music Conference exhibition booth in Miami Beach, when a very tall fellow, a familiar face in fact, stepped to me. “Do you remember who I am?” he asked.

I did, actually, so I replied, “Yeah, you’re Marc Kinchen. We did a story on you ages ago when you had that string of club hits in the ’90s.”

He looked a little surprised at the memory, but then pointed to one of the magazines laying in front of me and said, “Well, I’m working on some new things now—house-music things— and I’m telling you that you’ll be writing about me again soon. You might even be putting me on the cover.”

We both laughed a little bit about that last statement, but… damn if he wasn’t right. Indeed, after leaving the club-music world in the mid-’90s to make more pop-oriented tunes with acts like Will Smith and Pitbull, Kinchen (aka MK) returned to dance music with a vengeance just a few years ago. Over that time, he’s crafted a string of well-received remixes, including a personal fave—2013’s “My Head Is a Jungle” for Wankelmut and Emma Louise, a gorgeous throbber that delivers everything you’d ever want on a dancefloor. As he worked on his upcoming artist album and played some of the summer’s biggest festivals, our Chris Caruso caught up with MK. Good call, Mr. Kinchen.

Speaking of festivals, we here in New York recently enjoyed Electric Zoo: Transformed, which drew legions of EDM fans to Randall’s Island this past Labor Day weekend. Including acts like the Chemical Brothers, Patrick Topping, Oliver Heldens and more, E-Zoo put a great cap on the summer, so take a look at our three pages of photography from the multi-genre DJ event.

In Samplings, our L.A. correspondent Lily Moayeri goes into the studio with Barry Ashworth of the Dub Pistols and gets the inside dope on his process. Additionally, Chris Caruso connects with prolific Swedish producer John Dahlbäck, who discusses his latest entry into the Armada family.

For technology reviews, St. Louis-based Josh Harris handles iZotope’s Ozone 6 and Ozone 6 Advanced mastering platform. Meanwhile, the Bay Area duo of Mike Klasco and Tony Russell fire up the XLS 1502 power amplifier from Crown Audio’s DriveCore 2 Series.

From the world of the mobile entertainer, Iowa-based scribe Jeff Stiles connects with attendees of the most recent DJ Expo to find out how the show—held this past August in Atlantic City, N.J.—positively impacted them. In Business Line, Gregg Hollmann offers another batch of takeaways from DJ Expo ’15. And in Mobile Profile, we meet Brooklyn’s Garry Rothstein of Trio DJs, who has expansion on the mind.

As we went to press, we’d just announced that Steve Aoki was voted America’s Best DJ ’15, and we were preparing to take our trip to San Diego’s Omnia club where, along with Pioneer DJ, we’d honor him at the America’s Best DJ Award Ceremony/Closing Party. Congrats, Steve, and save some cake for us.

A Sad Note: Thoughts and condolences go out to dance-music-industry vet Lainie Copicotto, whose husband Alan Green passed away this past September. Green, himself a behindthe-scenes industry notable who most recently served as David Guetta’s production manager, was 46. Lots of love to you and your stepson Ewan, Lainie.

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 Wesley Bryant-King Shawn Christopher Paul Dailey Reed Dailey Chris Davis Tommy D Funk Michelle Fetky Josh Harris Gregg Hollmann Mike Klasco Robert LaFrance Michelle Loeb Evan Maag Duanny Medrano Lily Moayeri Phil Moffa Natalie Raben Tony Russell Deanna Rilling Jeff Stiles Bruce Tantum Emily Tan Phil Turnipseed Curits Zack 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

NOVEMBER 2015

Cheers,

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Jim Tremayne Editor, DJ Times

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

brand design & web development manager Fred Gumm fgumm@testa.com social media coordinator Matt Van Dyke mvandyke@testa.com advertising manager Tom McCarty tmccarty@testa.com marketplace advertising sales manager Ricky Pimentel rpimentel@testa.com art/production assistant Ricky Pimentel rpimentel@testa.com Circulation circulation@testa.com Classifieds 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 November 2015

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FEEDBACK 10 TIPS ON ATTRACTING AN AGENT

AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988

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50. Mark Farina 49. DJ Roonie G 48. Disco Fries 47. Gabriel & Dresden 46. Josh Wink 45. Carnage 44. 12th Planet 43. Krewella 42. Destructo 41. Martinez Brothers

40. Carl Craig 39. BT 38. TJR 37. Jazzy Jeff 36. MK 35. Dubfire 34. DJ Shadow 33. Justin Martin 32. Morgan Page 31. Moby

30. Soul Clap 29. DJ Craze 28. Lee Foss 27. DJ Shiftee 26. Kill the Noise 25. Tritonal 24. 3lau 23. Cedric Gervais 22. Z-Trip 21. Wolfgang Gartner

20. Pretty Lights 19. DJ Vice 18. DJ Skribble 17. ?uestlove 16. Maceo Plex 15. Porter Robinson 14. CashCash 13. Seven Lions 12. DJ Dan 11. GRiZ

10. Audien 9. A-Trak 8. Flosstradamus 7. Bassnectar 6. Dillon Francis 5. Claude VonStroke 4. Skrillex 3. Diplo 2. Kaskade 1. Steve Aoki

DJ EXPO ’15: SNAPSHOTS & TAKEAWAYS

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.

048OC15_p001-044.indd 1

9/17/2015 2:56:28 PM

ABDJ ’15 Top 50 After three months of online voting and in-person balloting during America’s Best DJ Summer Tour Presented

by Pioneer DJ & DJ Times, the votes have all been counted and Steve Aoki was voted America’s Best DJ 2015.

Venue and events included: Movement Festival at Hart Plaza, Detroit, May 23-25; Club Therapy, Provi‑ dence, May 30; Get Together 3 Festival at First Avenue, Minneapolis, June 6; Spring Awakening Festival at Soldier Field, Chicago, June 12-14; Electric Daisy Carnival at Las Vegas Speedway, Las Vegas, June 19-21; Cielo, NYC, June 27; Ruby Skye, San Francisco, July 4; Global Dance Festival at Red Rocks Amphitheatre, Den‑

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ver, July 17-19; Cielo, NYC, July 24;

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Marquee, NYC, July 24; Omnia, San Diego, July 31; Hakkasan, Las Vegas, Aug. 1; Wet Republic, Las Vegas, Aug. 2; Ego Lounge at Trump Taj Mahal/ DJ Expo, Atlantic City, Aug. 13; Hakkasan, Las Vegas, Sept. 3; Wet Republic, Las Vegas, Sept. 4; and Mixx Ultra Lounge, Columbus, Ga., Sept. 5.

Aoki was presented with the Golden Mixer from Pioneer DJ this past Oct. 11 at Omnia Nightclub in San Diego.

Want to see how the fans voted this

/clubworldus www.clubworld.us

year? Here’s the Top 50 in the Ameri‑ ca’s Best DJ voting for 2015:

7

SAMPLINGS

DJ TIMES

NOVEMBER 2015

JOHN DAHLBÄCK: HOUSE RAVEN

8

With a consistently masterful output over the past decade that’s traversed just about every nook of the genre spectrum, John Dahlbäck has established himself as institution within the electronic music realm.

Noted for his prolific work ethic in the studio, high-energy DJ sets that dig deep into the underground, and a strict dedication to crafting transcendent melodies and sweeping soundscapes, Dahlbäck has earned his reputation as one of the most respected artists in the game. And despite five studio albums, his own Mutants label, and a repertoire of high-profile collaborations with acts like Kaskade, Rebecca & Fiona, and Dash Berlin under his belt, there’s no rest in sight.

Now, the 30-year-old Swede is gearing up for the release of his sixth artist album (due out later this year on Armada). Ahead of a performance at New York City’s Space Ibiza NY, the ever-inventive artist chatted with DJ Times.

DJ Times: What’s the story behind “Raven,” your new single?

John Dahlbäck: I did it in a hotel after a show somewhere in the U.S. I think it took three or four hours. I played it out the next day and thought, “Wow! This sounds huge.”

This is actually the same version we released.

DJ Times: There are breakbeat moments throughout the track. Was that something you were aiming for?

Dahlbäck: It’s funny – it sounds exactly how I wanted it to sound. I don’t know what I did, but the breakbeat drums and the ravey piano line just worked really well together. The breakdown is very funky and dancey, so I wanted to make a drop that is very straight. I love the fact that it’s a little bit out of nowhere; [the track] is fun in the beginning and then it’s just straight-up club. I love it.

DJ Times: Is “Raven” indicative of the sound or vibe the next album’s heading toward?

Dahlbäck: We went with this because we wanted to go with a club single as the first one. The next one [“Atlantis”] is more is more a “single” single; “Raven” isn’t a typical one. We wanted to just have something for the clubs. The next one isn’t more commercial, but it’s easier.

DJ Times: What’s the album sounding like?

Dahlbäck: It’s very bright, maybe even happy. Every song started with me on the piano just writing a chord progression or a melody, so each one was just a piano and a vocal at the beginning. Then I went on and reproduced it. It’s a completely different approach than my previous albums. They were less focused on anything—they were just me doing a bunch of songs and then releasing them. I did a lot of songs for this one, too, but it feels more like a package now.

DJ Times: It’s interesting how you can weave genres/sounds together. Do you think that the “EDM explosion” has led to the walls between them to come down?

Dahlbäck: I hope that it’s contributing to the rise of smaller subgenres. I think it’s very boring when there’s one sound. When I have free time, I go in and listen to what people are playing at festivals. Sometimes everyone’s just playing the same songs. Why? If you’re given the chance to play a peak-time, main-stage slot at a festival, why wouldn’t you want to surprise people with something very different?

DJ Times: The track was released on Armada. What’s being part of the Armada family like?

Dahlbäck: I’ve tried a bunch of different ones, and this is the first time that it feels absolutely right. The team is just so on it, and they’re quick on feedback. An ideal relationship for me would be for me to make a two-minute snippet of a new song, I send it to someone, and they say, “Yep, it’s good. Finish it.” That would be the perfect thing, and that’s sort of how it is now [with Armada]. I’m very happy with the whole team.

DJ Times: In our interview with Rebecca & Fiona last year, they joked that you’re so prolific that you might make 10 tracks in a day.

What’s the key to your heavy output?

Dahlbäck: I would never finish something I don’t like. Even if I only have a beat, I know exactly where I want to take it and I’m so familiar with the software I’m using that I can do it very quickly.

DJ Times: What DAW do you use?

Dahlbäck: Cubase.

DJ Times: Are you using any hardware or is it all in the box now?

Dahlbäck: It’s all in the box now. I have used hardware in the past, but it’s so simple and everything sounds so good with VSTs, so I’m happy. What I do is I stack; I’m a stacker when it comes to sounds. I can write a melody, and as soon as I’m happy with it, I stack it up with 15-20 lead sounds. Then, I mix it all. I think that would take a long time if I was using hardware.

– Chris Caruso

IN THE STUDIO

DJ TIMES

NOVEMBER 2015

DUB PISTOLS: ON RETURNING

10

Top Gun: Dub Pistols’ Barry Ashworth.

At the turn of the century—well before EDM hit the mainstream in North America—there were number of U.K.-based artists leading its charge. While these acts’ musical output and appearances have been sporadic stateside, and even patchy on their home turf, that has never been the case with the Dub Pistols.

The London-based act—the creation of rabble rousing DJ/ producer Barry Ashworth—is on its sixth full-length, The Return of the Pistoleros (Sunday Best). Since the Dub Pistols’ 1996 inception, Ashworth has steadily been releasing albums and spends half the week gigging, mainly as a live act with a full band, but also as a DJ. When it comes to homeland notoriety, the group won “Best Live Act” at 2014’s Bass Music Awards – not a surprise with its non-stop touring honing its performance chops. And it was nominated for that honor at this year’s AIM Awards. On any given week, Dub Pistols can be found playing festivals – on the main stage, the reggae stage, or the dance tent. With the music ranging from skanky dub-reggae to party-starting drum-n-bass, they slot in anywhere, and it works. This eclecticism is reflected on The Return Of The Pistoleros, which has a good balance of stonking drum-n-bass, ska swing, taunting vocal chants, and enough horn blasts to keep everybody moving.

As for his studio approach, Ashworth keeps things in the box, working on a Macintosh with Pro Tools, Ableton, and a host of plug-ins. “I'll often use parallel distortion on a bus, mixed low with the original vocal to add a glow,” he says. “I'll put slap-back or short reverb on the distortion to create space and thickening around the vocal.What's awesome for that is SoundToys' Little AlterBoy, which works great for extreme, as well as subtle effects. McDSP FutzBox is an awesome-sounding, simple-to-use multi-FX, modeling, filter, and general mash-up box, which usually ends up on several buses and individual tracks. Slate Digital Virtual Mix Rack ends up on every track – the compression and EQ sound so good. The Neve module, and Revival, the free one they give away, used in moderation, makes things sound fatter and shinier.

“Some of the tracks were mixed with the Slate VCC console emulation. The added harmonics from analog modeling plug-ins can really fatten the sound in an aesthetic way and give it a bite. One point about de-essing: Sometimes de-essers mess up the sound, I'll (continued on page 40)

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Back on Track

MARC “MK” KINCHEN

After Years of Living the Pop Life, Marc “MK” Kinchen Has Re-Taken Clubland by Storm

Considering just how fresh-faced and vibrant Marc “MK” Kinchen is, it’s hard to believe that his career began well over 20 years ago.

Having gotten his start in the late 1980s in America’s techno mecca of Detroit, it was surely unexpected that the young producer would switch lanes completely and go on to become one of the house music’s greatest champions. However, after his dizzying ascent to the top of the dance music scene in the 1990s with fiery productions like “Burning” and “Always,” plus a cavalcade of high-profile remixes, Kinchen stepped away to spend time doing more pop-oriented ventures with Will Smith and Pitbull.

However, staying off the proverbial dancefloor proved difficult for Kinchen, who was brought back into the club world after being invited to play at one of Jamie Jones and Lee Foss’ Hot Creations parties. Despite his lack of DJing experience at the time, the gig served as a symbolic gesture that MK was back and ready to claim his spot in today’s scene.

Since his return, he’s nabbed a U.K. No.1 single (his remix of Storm Queen’s “Look Right Through”), a BBC Radio One Essential Mix, and more sold-out gigs than one could possibly count. With work now underway on his debut artist album, MK is putting the decades of production experience he’s amassed to work. Astute fans have already heard previews of work from the forthcoming album, with his Emma Louise-penned anthem “Mirror Ball” (featuring fellow Pleasure State member Anabel Englund) having made appearances in his gigs throughout the year.

This summer, Kinchen unveiled the first official taste of the album in the form of its lead single, “Bring Me To Life.” Bringing together pulsing basslines, classic-house piano chords, and a massive diva vocal take from Milly Pye, the track encapsulates much of the magic that made Kinchen a legendary figure in dance music in the first place.

Amidst his never-ending stream of tour dates, MK managed to squeeze time into his busy

Photo by Greg Rothstein

By Chris Caruso

MARC “MK” KINCHEN

DJ TIMES

NOVEMBER 2015

Photo by Mohit Khaneja

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schedule to chat about the debut album, his storied career, and just how he managed to become dance music’s most important artists all over again.

DJ Times: You grew up in Detroit and produced in Kevin Saunderson’s studio. How did you first get involved musically?

Marc Kinchen: I started producing first at home on my own. I had a couple synths and drum machines—this was when I was 15 or 16, making music. The way I met Kevin was when he put out a compilation album. I had a song that I had just done with some friends of mine and he wanted it for the album. Someone from Kevin’s office called me in to meet. They asked what I was doing, and I was like, “I’m producing.” They said, “Kevin wants to work with you.” I forgot exactly how we set it up, but it basically let me go down to Kevin’s studio to make music.

DJ Times: Producing in your bedroom in the early 1990s was a lot different and more difficult than it is in the present day. How did you get started?

Kinchen: I got involved musically from the music I listened to when I was like 13.

I listened to a lot of alternative music—Depeche Mode, mostly. Back then, it was all analog synths—no acoustic equipment. That got me interested in making music electronically, so I started producing. I would teach myself how to play their songs. That was how I learned to produce. I’d say, “Oh, so you do the bassline separate, this separate,” and so on. A lot of kids who don’t produce don’t understand that you don’t play the whole song in one sitting; it’s broken down into parts. By the time I got to Kevin, I just knew how to do everything.

DJ Times: Despite growing up in the techno paradise of Detroit, your sound was much more in line with the house music of New York City. What drew you to that sort of sound?

Kinchen: I don’t really know what “did it.” Even when I was with Kevin every day, he’d be doing techno and Derek [May] would be doing techno upstairs, but I still liked the Chicago and New York sound better. I don’t know what it was—maybe because it was a little bit more melody and song-oriented.

DJ Times: The world of production and releasing music back then was extremely different. You weren’t DJing back then. Would it even be possible for someone to make a name for themself by strictly producing?

Kinchen: Not really, because the way you make most of your money now is touring.

Record sales are really just a form of promotion, so it would be hard for a producer unless he starts producing just pop records.

DJ Times: And the channels for release back then were very different. You couldn’t just upload a track to Soundcloud after finishing it. How is that different to you now

and how does it affect your output?

Kinchen: Back then in the ’90s, I had management and that’s how I got all my remixes. It wasn’t just like I took a record, remixed it, and put it out.

I had managers and they got me work, and it came out in a traditional way when a label released the record. Now, of course, you don’t have to do that. That being said, I still really don’t finish and record and just upload it to Soundcloud.

DJ Times: You stepped away from the club-music scene for an extended period. What were you doing during that time?

Kinchen: Pretty much what we’ve talked about. I wasn’t DJing, so for me to make a living producing, I had to produce more than just dance music. You can’t make a living just producing dance music.

DJ Times: Was there a specific moment that you can recall when you decided to step away?

Kinchen: I think around ’95 when [my remix of “Push The Feeling On” by] Nightcrawlers was just taking over. I was like, “I can’t keep remixing my whole life. I’ve got to do something, but something a little bigger. That involves producing and writing songs for other artists.” That was where I decided to stop focusing on remixing and focus on writing and producing.

DJ Times: You did a lot of in-house work for Will Smith. What did you take away from those years?

Kinchen: I started out with a guy named Jay Brown—he’s partners with Jay-Z now. Jay used to manage me back in, like, 1996 after we ended up meeting. He didn’t know anything about my house production. He had just heard a regular R&B production, and he brought me to Quincy Jones.

Quincy signed me to a one- or two-year publishing deal, but they had me write for every artist. I’d go into the studio and make songs with them. I did that for a while, and then I moved to Los Angeles. I was friends with Will Smith and his friend Omar. They were looking for an in-house producer who could work on Will’s stuff, so they didn’t have to go outside and look for other producers. I thought that it sounded cool.

DJ Times: What next?

Kinchen: I did that for a while, but Will wasn’t releasing anything for a while. He only had one album in a long span, so I thought, “This isn’t going to work either.” Then Pitbull sampled Nightcrawlers, and that was the key that made me think, “This is how house can tie-in.” I love producing house

more than anything else, and it could tie into me writing for other artists.

I see the connection now.

DJ Times: So was it the success of the Pitbull track that brought you back into dance music?

Kinchen: It was a little bit of that, and then I started getting requests to DJ. Jamie Jones and Lee Foss were having a party in Miami—I didn’t know who they were at the time—and they asked if I wanted to DJ at their party. A couple of people told me it was massive that they wanted me to DJ, so I was like, “I’ll say yes, and figure it out.”

DJ Times: What was that first gig like?

Kinchen: It was ugly [laughs].

DJ Times: What were you DJing on?

Kinchen: I was using a Traktor S4, but I was also DJing with my brother Scott, who’s a pretty good DJ. He bailed me out a lot.

DJ Times: You effectively restarted a career. What were the biggest challenges of doing that?

Kinchen: The challenges were really just understanding what the difference in producing and DJing is. At first, I didn’t really get it. Now I get it: Understanding what works in production, what doesn’t work, and DJing with that. It was kind of like re-teaching myself how to do something.

DJ Times: You’re now DJing. Does the “live-crowd-reaction” element of that affect the way you might produce something?

Kinchen: Seeing the crowd react to certain songs—ones I made or didn’t make—and then going into my studio, I can know what will work.

It’s from the years of producing; I just get it.

DJ Times: It feels like you cemented this comeback of sorts with your remix of Storm Queen’s “Look Right Through” going No.1 in the U.K. How does that feel?

Kinchen: It feels good. “Look Right Through” is personal because that song wasn’t meant to be released. I had a show coming up and I thought, “Let me remix my remix,” just to give them something special for them to hear. I did that mix, and it just exploded. Nobody had it; it wasn’t out.

Every time I played it, my manager and I would see a reaction like we had never seen before. After a couple of months, we told Defected, “Here’s a gift. Put this out.”

DJ Times: You seem to have found a home in the London scene, which is a bit different from the New York scene. What separates the audience here and over there?

Kinchen: I think in London/England and Europe they’re more open.

In America, we’re still kind of uptight a little bit, even with television and radio and what’s played and what you’re forced to listen to. We have internet now, and we’re getting “it” a little more, but I think London has always been open to good dance music and good music in general.

DJ Times: Now you’re hard at work on your debut album. When did work begin on it?

Kinchen: January. It hasn’t been that long, but it’s hard to find the time to work on it with touring. I’m home maybe three days a week, so I’m trying to work and go back on the road. That’s the biggest challenge right now.

DJ Times: Has the advent of digital production technology allowed you more time to do it? Can you work on the road now?

Kinchen: Yeah, it’s definitely easier. I did “Look Right Through” on my laptop. There are a lot of remixes I did on the road. I go home and take it to my real studio to add to it and make it bigger.

DJ Times: You’re a big proponent of Traktor. What attracts you to it?

Kinchen: I just like seeing everything, I guess, because I started DJing that way. I can read the waveforms really well, and just the fact that I can make a song, dump it in there and see my cue points. I can know where to put cue points without even hearing the song; I’m just visually attracted to it.

DJ Times: What are the freedoms of working on a full-length album in comparison to singles and remixes?

Kinchen: The funny thing is that it’s the opposite for me. Working on a remix, I feel more open to do different things than on the album.

DJ Times: You’ve previewed some material from the album already.

“Mirrorball” is with Anabel Englund and it was written by Emma Louise from “My Head Is A Jungle.” What was the road to that one?

Kinchen: Emma sent me a couple songs, and one was “Mirrorball.” It was just her playing piano and singing it, and I thought it was incredible.

Anabel can sound like Emma, so I immediately thought, “Anabel could kill this,” so I called Emma and asked if I could have Anabel sing it.

DJ Times: How far along is work on the album?

Kinchen: I have about six songs that are about halfway done. What I’m

///////////

MARC “MK” KINCHEN

Three Modern MK Remix Essentials

16

basically doing is writing a bunch of songs, not going in and doing a final mix, and then picking from those to put through to the next step. It’s like a little factory.

DJ Times: It was a very interesting move for you to re-release “Always” last year, and Route 94 remixed the track for the new video. It seemed like you were looking to the past while still looking ahead. Why did you decide to do that?

Kinchen: Defected put it out, and they asked me who I wanted to remix it. I had just met Route 94 a couple months before that through a friend of mine. This was before Route 94 really released any songs. We were talking and he sent me some of his music, and I thought it was really good. When labels want me to have someone else remix my songs, I always like finding new kids who I hear potential in. This was about nine months after I had first met him, and he had had something out in between then. So when he did the remix he had just become known, so it was perfect timing and he nailed it.

DJ Times: It’s massive.

Kinchen: Simon [Dunmore] from Defected wanted me to remix it at the same time. I was like, “No way, Route’s mix is way too good. Let it go for a while, and then when his is dying down, then I’ll do mine.”

DJ Times: You’re definitely known for your knack to create incredible remixes, even more than one a month at some points. What about a song compels you to remix it?

Kinchen: There’s two parts. When I first (continued on page 42)

Photo by Steven Pham

DJ TIMES

NOVEMBER 2015

While he’s hard at work on his debut artist album full of originals, Marc Kinchen has always had a particular knack at taking others’ songs and flipping them on their head for colorful, dancefloor-ready remixes. His remix of Storm Queen’s “Look Right Through” hit No.1 in the U.K. and truly ushered in this new era of domination from the Detroit native, but here are three other recent remixes of his that any house zealot worth their salt simply can’t miss.

1.“My Head Is A Jungle (MK Remix)” by Wankelmut & Emma Louise (2013): It’s no surprise this one’s become the highlight of nearly every one of MK’s DJ sets. Euphoric melodies, Emma Louise’s ethereal vocals, and a pulsing bassline are just about everything you could ask for in a house smash.

2.“Can’t Rely on You (MK Remix)” by Paloma Faith (2014): MK’s spellbinding piano chords are as insanely addictive as they could possibly be, but it’s his transformation of Paloma Faith from blue-eyed soul vixen to a full-blown dance diva of yore that makes this mix a classic.

3.“Ey Yo (MK Remix)” by KANT vs. MK (2014): It’s the magical meeting of the distorted rap’s swagger and a hair-raising drum build that makes for a peak-set bomb that’ll rip into anyone with a penchant for bass. This is one sinister explosion of dancefloor weaponry.

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DJ TIMES

NOVEMBER 2015

DJ Expo ’15 Marked a Quarter-Century of DJs Gathering to Improve Their Skills & Their Businesses

24

By Jeff Stiles When considering the trip to Atlantic City, N.J., this past August for his first DJ Expo, Adam Tiegs of the Seattle-based Adam’s DJ Service says that he had trepidations about crossing the country for the show.

“But I actually enjoyed my experience there,” says Tiegs of his coast-to-coast trip. “Specifically, I connected with some presenters and manufacturers’ representatives.”

Although he didn’t purchase anything from the exhibit hall—after all, it’s a long way back to the Pacific Northwest—Tiegs says he gleaned valuable knowledge during the event.

“I learned a few things about copyright law from Jason [Walsh] at the USDJA booth,” he says, “like how to properly have a mix of copyrighted music without breaking any laws, and I like the new MARQ light fixtures due to both quality and price.

“The RCF speakers really blew me away, both on the main stage and in their booth. Denon’s new battery-powered speaker [Envoi]—with MP3 player and wireless mic included—and Pioneer’s

LOUD 131 dB SPL

new XDJ-RX [rekordbox-compatible DJ system] are two products to watch out for. IP65-rated fixtures from Chauvet are intriguing—I’m waiting for DMX-controlled magnetic fixtures. QSC Audio is always solid. Denon’s new MC4000 Serato controller is a great value. Reloop’s turntables are a neat tool. Pioneer’s DJM-S9 is a nice mixer.

“Also, did I mention the new Bose, Pioneer and Denon speaker lines all sound solid?”

We polled mobile jocks from throughout the country—including a couple who have been attending the DJ Expo for a decade or more—to find out what they enjoyed the most about the convention this year.

The 2015 DJ Expo celebrated its 25th year by making its annual trip to Atlantic City’s Boardwalk, attracting thousands of pro DJs to the industry’s longest-running trade show/exhibition. The Silver-Anniversary event featured a sold-out exhibit hall and drew more than 6,000 attendees, who saw several product introductions for the today’s thriving DJ industry.

Produced by DJ Times and its publisher Testa Communications at the Trump Taj Mahal, 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.

“The beauty of this show was that it had mobiles, club guys and radio personalities all coming together with the manufacturers, the experienced older folks, the newbies, the EDM guys and the hip-hop guys,” Tiegs continues. “And the celebrity DJs were great to see in action, too—I mean, how can anyone claim to be a DJ and not be into turntablism?

“Classes with manufacturers teaching about their new products were great as well—although some microphone companies were missing and it would have been nice to see them there.”

Tiegs says there were quite a few things to be gleaned from the classes he attended. “I learned a new game I really like,” he says, “though I’m still waiting for the questions from ‘Sit-Down-If.’ I got some knowledge from some producers, remixers, attorneys, fellow DJs and entertainers and music junkies.”

A 25-year veteran of the music industry, Dave Mundo of Mundo Entertainment in Rutherford, N.J., didn’t have to travel nearly as far as Tiegs to attend this year’s show. He says the industry has evolved so quickly over the past eight years since he last attended, so now he’s back to trying to stay ahead of the curve and the trends as a full-time professional DJ. This time he also attended with the perspective of a retailer.

“What I saw this year was a search for audio and lighting that is stronger, smaller, lighter and more attractive to the eye,” says Mundo.

“I was impressed with the new Epsilon lighting products, as many of my customers have jumped on the Chauvet Intimidator 350 moving heads over the last couple of years. I see these new Epsilon products giving the (continued on page 40)

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MAKING TRACKS STUDIO…HARDWARE…SOFTWARE…

MASTERFUL: IZOTOPE’S LATEST OZONE

DJ TIMES

NOVEMBER 2015

By Josh Harris

26

Back in 2011, the innovative Boston-based developer iZotope changed the mastering game with the release of Ozone 5 and Ozone 5 Advanced.

This was a different approach to mastering, boasting a robust user interface and a suite of mastering tools that could be used individually or as a group. Ozone 5 has been on my Master Bus since my review from the February 2012 issue of DJ Times, and with the recent release of Ozone 6 and Ozone 6 Advanced, an already fantastic plug-in has been redesigned, raising the bar again.

What’s New? The first thing that Ozone 5 users will notice is a completely new GUI. I think that iZotope wanted to make the navigating experience a bit easier, and now Ozone can be used in stand-alone mode, giving you the option of mastering your track outside of your multi-track session and DAW altogether.

It took me a few minutes to get accustomed to the redesigned interface, and I have to admit that it’s a bit cleaner and more streamlined. The active modules reside at the bottom of the interface, and you now the ability to customize their order in the mastering chain. Nice.

The advanced version contains seven modules. They include: Equalizer; Exciter; Imager; Dynamics; Dynamic EQ; Post Equalizer; and Maximizer. (The basic version does not contain the Dynamic EQ module.) When using Ozone 6 in stand-alone mode, you have the ability to add third-party plug-ins, and a transport is provided at the top of the screen to control playback of your track.

The track’s waveform display resides just below the transport and, when multiple tracks are loaded in, users can tab between the different songs, comparing the sonics between them. Mastering chain settings can be saved, including your third-party plug-ins, allowing for a seamless implementation of customized presets as you work from song to song. Start and end points are editable in stand-alone mode, as well as the ability to create fades.

For me, there is something psychologically beneficial to mastering a track outside of the multi-track program from which it was created. In my mind, mixing and mastering have always felt like two separate phases of the music-making process. But, if you prefer to handle your mastering from within your mix session, you can certainly use Ozone 6 on your Master Bus. There is a comprehensive and dedicated dither section, with bit depth ranging from 24 down to 8, the amount ranging from strong down to off, and seven different noise shaping options. Mono summing is available, which I find to be a very valuable tool.

Next to the bypass button is a little ear button, so when switching bypass on and off, you

have the option to A/B your mastered mix against the original, with Ozone doing a bit of gain matching, so that there isn’t a huge difference in loudness between them.

The preset library is plentiful and is a great place to start to address different mastering needs. And, presets can be auditioned while playing your track.

The Dynamic EQ section (advanced version only) offers users the ability to capture the sonic texture of analog EQ, while also taking advantage of the sculpting precision of digital EQ. Conclusions With Ozone 6, iZotope has made an already great sonic tool even better, and I do prefer the visual-feedback capabilities of the new version over Ozone 5. At $249 for Ozone 6 and $999 for Ozone 6 Advanced, there is certainly a big price difference between the two. However, keep in mind that the Advanced version includes not just the Dynamic EQ, but the Essential Metering Suite (a $499 value) and the option for additional component plug-ins.

Well done, iZotope! I look forward to my next mastering session.

(Editor’s Note: At presstime, iZotope announced a new music production bundle that will include Ozone 7 Advanced. Operating as a standalone platform or as a plug-in within all major DAWs, Ozone 7 Advanced will include a full suite of mastering tools. New updates will include four Vintage Limiter, new export options for delivering mastered audio to MP3/AAC formats, IRC IV mode, and improved Dynamic EQ.) If you have any questions for Making Tracks, please send them to djtimes@testa.com.

SOUNDING OFF PLAYBACK…PRO AUDIO…PROCESSING

POWERFUL: CROWN’S DRIVECORE 2

DJ TIMES

NOVEMBER 2015

By Mike Klasco & Tony Russell

28

We first reviewed Crown Audio’s popular XLS DriveCore power amplifier series five years ago in this very Sounding Off column. We liked it then, and now we have the XLS DriveCore 2 Series, which has evolved—and all in good ways.

First Look: Checking out each unit in the XLS DriveCore 2 series—XLS 1002, XLS 1502, XLS 2002 and XLS 2502— the LCD display is now larger and more readable in low light (without putting on your reading glasses) and the signal processing for use as a built-in “Pureband” crossover network is more complete.

For anyone who still has an old-style, non-digital power amplifier and who has to set up and tear down their system, the real news is the XLS 1502—the unit we tested—is only 8.6 pounds for 525 watts (x 2) into 4 ohms in only two rack spaces (3.5-inches high and less than 8-inches deep) with a M.A.P. of $399.

The XLS 1502 is an advanced Class D amplifier with Crown's ultra-efficient DriveCore technology and switching-power supply, the lightest and most efficient combination. Additionally forced-air fans prevent excessive thermal buildup when driven hard.

Refinements: They include increased lighting functionality. DJs running passive speaker systems can turn off the display or any/all LED indicators, except clip and thermal, to reduce distraction in dark venues.

The XLS 1502 has selectable input sensitivity—1.4Vrms and .775Vrms so that amp can be driven at full power from even the cheaper club mixers with their less-than-generous line-output stages.

If you leave your gear at a venue and are concerned about the local talent “re-calibrating” your equipment, there is a security mode that disables menu buttons (menu locked/ unlocked). Cool, huh?

The DriveCore 2 Series amplifiers now offer a bandpass

filter on each channel, in addition to the previous low- and high-pass filters, enabling more precise DSP crossover tuning, loudspeaker matching and system EQ capability. Also, Crown’s Peakx Limiters provide maximum output, while protecting your speakers.

As to connections, the amps provide balanced XLR, 1/4-inch and RCA inputs, plus touchproof binding post and Speakon speaker outputs.

After checking out the unit, I handed the XLS 1502 to Bay Area DJ Tony “Roxxx” Russell for a proper field test. Here’s Tony: “Amps just keep getting lighter and more powerful and the new Crown XLS series continues that trend. The XLS is the ‘we've- got-an-amp-for-that’ family of amps and will be at home with a DJ or band—or in a small nightclub or bar. The 1502 we tested could be used to power monitors for a band or for DJ gigs, as was the case for this review.

“It was even used it to power 12-inch, 3-way loudspeakers for a house party, and the amplifier provided powerful, clear sound all night without any hiccups at all. Aesthetically, the amps look good and, right away, turning on the amp you get a nice resounding ‘click.’

“Crown Audio has been one of the top names, if not very top name, in professional amplifiers for a while and their latest offerings should keep them nicely in that position for a while to come.”

Obviously, many mobile DJs have migrated from separate power amps and passive speakers to powered, portable speakers. So, if the DriveCore amplifier technology sounds appealing, you should know that it’s also featured in products from other Harman subsidiary companies, namely JBL Pro’s SRX800 Series powered speakers (and some of the JBL powered mixers).

What about the rest of the XLS power-amp family? All units have the same signal processing and are 3.5-inches (2 rack spaces) high. From a power perspective, XLS DriveCore 2 Series models (per channel into 4 ohms) are as follows: XLS 2502, 775W; XLS 2002, 650W; XLS 1502, 525W; and XLS 1002, 350W. All can power 84- or 2-ohm loads and can be bridged for 8- or 4-ohm mono operation.

It should also be noted that all Crown XLS DriveCore 2 amps are covered by a three-year, no-fault, fully transferrable warranty. DJs will love that.

Bottom Line: If you’re rocking a passive loudspeaker system, the Crown XLS Drive-Core 2 should work well for you. Once again—great job, Crown.

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

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MOBILE PROFILE CAREERS…INNOVATIONS…SUCCESS STORIES

BROOKLYN DJ BANGS ON

DJ TIMES

NOVEMBER 2015

By Larry Kane

30

Brooklyn, N.Y. – Garry Rothstein started DJing at the ripe old age of 12, when a local Brooklyn entertainment company that was working his junior-high-school dances hired him.

“They were stupid enough to do that,” he jokes.

Originally, Rothstein, who had caught the “performing bug” as a kid, had been going on auditions, for singing, acting, and all-around performing. “But as I got older,” he recalls, “my voice started to change.”

That was 22 years ago. After one voice change and DJ gigs working for Sprint, Pandora, Home Depot, Sports Authority, Taj Mahal and the New York Rangers hockey playoffs at Madison Square Garden, well, let’s just say Rothstein’s not complaining.

He did have plenty of grief, however, when he first started Trio DJs in 1998, from a basement apartment in Sheepshead Bay, Brooklyn, with a desk and a phone.

Before going out on his own, Rothstein had worked for that other DJ company, the one that was “stupid enough to hire him.”

“When I first decided to leave the original company I worked for, due to lack of pay, I was going against a group of adults who were very unhappy,” he says. “Everything was a struggle. They were bad-mouthing about me to clients and family members. It was a nightmare.”

So Rothstein decided to do what he did best: jam.

As in teen jam.

“I decided to throw a teen jam at a local night club,” he says. “I invited local teenagers, and I thought I’d try to create a name for myself.”

He promoted the party for two weeks, which yielded 800 people on the line. The party got the “street” seal of approval when it was closed down. “It was closed down by police, who were related to my old boss,” says Rothstein, adding that he continued to deal with competition issues for many years, “until my brand surpassed the competition.”

Still, out of the gate, Rothstein had other problems to deal with, besides a former employer bad-mouthing him—a not uncommon occurrence in an industry where so many DJs eventually strike out on their own.

“My big struggle at first was not being old enough to drive to events,” he says. “But my parents, they saw my passion for the music business, and they would drive me to and from parties.”

We asked Rothstein how he eventually surpassed the former employer, the one who was bad mouthing

Beyond BKN: Garry Rothstein’s Trio DJs has expanded.

him. “My philosophy is wake up before the competition, and go to sleep after the competition.”

Rothstein says he’s never looked back—until we asked him about it for this article. He says he benefited by teaming up with a concert promoter, who now is his management company. “They opened my eyes and the door,” he says, “to working concerts, radio promotions, arenas, and corporate events.”

Still operating out of the Brooklyn office, Rothstein decided to spread the company’s wings and opened two more offices—in Red Bank, N.J., and Mineola, N.Y. To make it more affordable, Trio DJs shares space in these offices with other professional services, a photographer, videographer, invitations and décor business.

Currently, Trio DJs’ gigs break down this way: He personally specializes in Bar/Bat Mitzvahs, Sweet 16s and corporate events—that’s where the Sports Authority, Sprint, Pandora, etc., comes in. “This makes up about 75-percent of our business,” he says. His wedding team brings in the remaining revenue, booking weddings, engagements and anniversaries.

When asked how he generates most of his gigs, Rothstein says that many of his bookings are referrals from past clients, friends, and industry professionals, such as caterers and party planners.

In addition, he says they work many schools, camps, fundraisers, feasts, and festivals. You could say that it’s been a successful approach.

But what most DJs don’t say is that they’ve been on the “New Jersey Housewives” reality TV series. And MTV. And promoted on WKTU-FM, one of the New York metro area’s biggest radio stations. “This helps our brand tremendously,” he says.

To maximize the contacts Trio DJs is making, Rothstein and crew opened up a sister branch, Encore Events, which deals primarily with carnival and amusement-ride rental. He also has a 2,500-square-foot dance school, Elite Dance Complex. “I want to give today’s youth a dance education,” he says.

He also wants to groom the next generation of Trio DJs dancers. He says a tight dance crew is a key to keeping floors filled. “That’s what makes us special,” he says. “The perfect mix of music, enthusiastic entertainers trained monthly at our dance studio, giveaway packages ranging from selfie sticks, to skateboards, and headphones. The experience packs the floor with fun and energy.”

He also credits paying close attention to detail as a way to differentiate himself. “It’s key when (continue on page 42)

BUSINESS LINE SALES…MARKETING…SOLUTIONS…

DJ EXPO ’15 TAKEAWAYS, PT. 2

By Gregg Hollmann

DJ TIMES

NOVEMBER 2015

In last month’s issue of DJ Times, Part I of my annual DJ Expo Wrap-Up included useful tips from “All-Star MCs” and ways to navigate through same-sex weddings.

Of course, there was plenty more from DJ Expo ’15, held at the Trump Taj Mahal in Atlantic City, N.J., this past Aug. 10-14.

Here are some more highlights:

32

THE KEYS: BECOME A GREAT PERFORMER In this tutorial, Mike Walter of Tinton Falls, N.J.-based Elite Entertainment stated emphatically that DJs must stop being afraid of stealing the spotlight, and instead focus on creating great moments. Amazing party outcomes, he said, fuel referrals.

Walter then shared this thought-provoking quote, “Advertising is the price a business pays for being boring.”

At weddings, Walter recommends that DJs look to pack the dancefloor early.

For example, immediately after the salad course is a great time to open up the dancefloor. MCs should open the dancefloor with complete confidence and not be afraid to fail. Entice guests by stating, “There is plenty of time before dinner is served.” Even if an MC fails in that initial attempt to build a dancefloor, they’ve still won points with guests who realize this is not going to be a dull wedding.

To maximize interactivity and fun, MCs should ask guests to do things that they already want to do (for example, joining a group sing-a-long). MCs should also never ask a guest to do something that they themselves wouldn’t do. For line-dancing and group dances, MCs must know these routines at a high level in order to command the crowd. MCs should compliment those guests who follow prompts like “put your hands in the air” in order to enjoy continued compliance.

THE ART OF LATIN EVENTS Jack Bermeo of Belleville, N.J.-based LJDJs Productions, joined by Latin percussionist Crystal Vargas and two talented dancers, delivered an information-packed and exciting multi-media seminar. The Latin market is large and growing. For example, Hispanics account for 29-percent

of the New Jersey population and 17-percent of the U.S. population. Moreover, Latinos love to throw lavish parties.

Bermeo’s premise is that all DJs with proper research and music knowledge can enjoy a piece of the Latin market.

Different cultures equal different music. For example, Dominicans typically favor bachata, merengue tipico and classic merengue. Puerto Ricans, on the other hand, gravitate towards salsa, reggaeton and trio music. Colombians and Ecuadorians prefer cumbia, valienatos and salsa, while Mexicans enjoy rancheros and Spanish rock. Elvis Crespo’s “Suavemente” is viewed by Latinos as cheesy and overplayed similar to the way that “We Are Family” is viewed by Americans.

To successfully cross over into the Latin market, DJs must ask the right questions, be confident and show families that they care. If successful in doing so, premium fees are possible. An $800 quinceanera (typical market average) could easily be upgraded to as much as $8,000 after gaining a family’s trust and offering appropriate upgrades.

Some hype phrases that any DJ can incorporate into a Latin party include: “Mee hentay” (My people!)

“Agan buya” (Make some noise!)

“Un applauso por favor” (A round of applause, please!)

“Manos Pa’Arriba” (Hands up!)

INCREASING YOUR REVENUE WITH HONEYMOONS & WEDDINGMOONS Mark Brenneisen from Total Entertainment in Queensbury, N.Y., discussed an exciting and fun option for DJs to earn extra income. Through the Association of Bridal Consultants (ABC), a professional association comprised of event planners and offering vendor memberships for DJs, members can become certified Sandals specialists and offer vacation/honeymoon packages to wedding couples, family and friends.

Sandals is a portfolio of all-inclusive resorts focused in the Caribbean and offering brands: 1) Sandals - adults only; 2) Beaches – for families; and 3) the Grand Pineapple luxury brand.

Annual membership dues to the ABC for vendor memberships are $225. In addition to the ability to offer vacation packages through the ABC’s travel-agent number, DJs enjoy two other important benefits. First, the opportunity to benefit from educational content at ABC’s monthly meetings. Second, DJs can meet and network with the ABC’s core of event planners. Over time, these relationships should result in referrals.

When successful in selling a vacation package, DJs earn a commission (typically about $500) and in the process qualify themselves for additional perks. Brenneisen says that for those DJs performing at over 30 weddings a year, selling vacation packages via the ABC is a no-brainer. In the past year, Brenneisen has sold 13 vacations himself with minimal effort. DJs can take a passive approach to selling vacations; for example, placing a Sandals badge on their website. Or DJs can actively cross-sell honeymoon packages to their clientele.

PARTY GAMES WITH JAKE Darryl “Jake” Jacobsen of Affair 2 Remember Entertainment in Hazlet, N.J., hosted his eighth consecutive games/ dance seminar to a packed room of DJs and party motivators eager to learn. A fast-moving carousel of presentations from new and repeat presenters followed.

Two games were particularly noteworthy this year: Mike Alevras from HVE Associates in Hopewell Junction, N.Y., presented a hit game called “Sit Down If….” The premise is simple but fun: Party guests stand up, and then the MC proceeds to ask a series of questions—many of which are humorous. If the answer is “yes,” guests take their seat.

Questions continue until a winner is determined. For example, the MC might instruct: “Sit down if you still have an active AOL account,” or “Sit down if you ate a hot dog today.” This game is a great ice-breaker for any type of party, and should work particularly well at corporate events.

Jack Bermeo from LJDJ Productions demonstrated a dazzling game using RFID bracelets. These technologically advanced bracelets contain LEDs and were controlled by Bermeo on an iPad to turn different colors and flash/ strobe. In the “Snap Attack” game, the lights are turned off and bracelet-wearing guests are given commands by the MC that create an interactive human light show. These specific RFID bracelets are called Xylobands and have been used in live shows by the band Coldplay.

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.

Truss & Accessories for small and medium events 2+1 years extended warranty â– Free shipping from $2500 â–

Shop online at www.milosexpress.com

GEAR AUDIO…LIGHTING…STUFF

Lion’s Denon

FOREST for the Trees

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

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

Denon DJ’s HP Series of high-performance headphones includes three models—the HP600, HP800 and HP1100. The HP600 is equipped with 40mm drivers, 1300mW of power handling and a metal headband with swivel ear cups. The HP800 features a closed back design and an aluminum and steel construction. The headphones have dual 1/8- and ¼-inch connectors, 40mm drivers and 1700mW of power handling. The HP1100 comes with oversized 53mm drivers, dual 1/8- and ¼-inch connectors, a 180-degree swivel and dual-pivot ear cup design.

Native Instruments released LONE FOREST, a new MASCHINE Expansion designed for dub techno and related styles. The program comes with exclusive MONARK presets, which the company says adds “a rich, analog quality to this expansion.” LONE FOREST features new MASSIVE, REAKTOR PRISM, and MASCHINE Drum Synths presets, as well as a “Broken Tape” kit. A compact version of LONE FOREST is also available as an iMASCHINE Expansion, from which tracks can be exported to MASCHINE STUDIO, MASCHINE, and MASCHINE MIKRO for completion.

Code Red M-Audio 200 Scenic View Drive Cumberland, RI 02864 (401) 658-5765 www.m-audio.com M-Audio announced three full-featured Code Series keyboard models, available in 25-, 49- and 61-key versions. All models feature 16 velocitysensitive pads with LED feedback, five-pin MIDI input and output jacks, expression and sustain pedal inputs, and a touch pad for X/Y axis control.

Their comprehensive controls automatically map to popular DAWs such as Ableton Live, Apple GarageBand, Logic Pro X, Pro Tools and Cubase.

DJ TIMES

NOVEMBER 2015

Connect the Dotz

34

ADJ Products 6122 S. Eastern Avenue Los Angeles, CA 90040 (323) 582-2650 www.americandj.com The Dotz Par 100 from ADJ is a compact LED par fixture that utilizes Chip on Board (COB) technology to mix colors without RGB shadows. The fixture comes equipped with a single, ultra-bright, 100W tri-color (RGB) COB LED source. The unit comes with 32 built-in macros and a lens kit that can reduce the Dotz Par 100’s 80-degree beam angle to a concentrated 25 degrees. The Dotz Par 100 offers four channels of DMX control, as well as Sound Active, Auto Run, Color Macro and Dimmer modes.

AUDIO…LIGHTING…STUFF

The Fostex & The Furious

Only U

American Music & Sound 925 Broadbeck Dr. #220 Newbury Park, CA 91320 (800) 431-2609 www.americanmusicandsound.com

Nady Systems 6701 Shellmound Street Emeryville, CA 94608 (510) 652-2411 www.nady.com

Fostex released three new updated RP mK3 series headphones.

The T20RP mk3 features an open construction for deep bass response; the T40RP mk3 has a closed-backed design for focused bass response; and the T50RP mk3 sports a semi-open design for flat and clear response. All three models come with newly-improved ear pads that the company says, “give better isolation and lower repulsion than the previous generation.” Two detachable cables are included with each pair of headphones—one for studio use and one for use with mobile devices.

GEAR

Nady announced two new full-featured 100-channel select UHF wireless systems—the U-1100 receiver for use with a single transmitter, and the U-2100 for use with two transmitters simultaneously. Both models offer unsurpassed state-of-the-art PLL UHF performance with 120db dynamic range and operation up to 500 feet. They both sport a full front panel LCD display, balanced XLR fixed MIC Level and adjustable unbalanced ¼-inch jack audio Line Level SUM outputs, DC input jack and antenna jacks. They are housed in all ABS plastic housing and feature DigiTRU Diversity for “maximum range and dropout protection.”

SPECIAL EDITION “GRANITE WHITE” DJ STAND/TABLE FOR A LIMITED TIME ONLY AT FASTSETUSA.COM

Chauvet introduced the Funfetti Shot, a wirelessly-controllable professional confetti launcher that doesn’t require CO₂ or compressed air to run. The unit has a throw distance of up to 30 feet and it creates powerful bursts of confetti that last as long as 25 seconds each and covers an area as large as 540 square feet. The Funfetti Shot comes with a handheld wireless remote and offers three control options—manual, wireless remote or DMX.

SEE THE VIDEO DEMO

w w w. f a s t s e t u s a . c o m

DJ TIMES

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

NOVEMBER 2015

Hit Me With Your Best Shot

35

GEAR AUDIO…LIGHTING…STUFF

The Future is Written Big MAX RCF USA 110 Talmadge Rd. Edison, NJ 08817 (732) 902-6100 www.rcf-usa.com The VMAX Series from RCF is a line of passive solutions designed for the club and live sound markets. The series includes 6-, 10- and 15-inch two-way cabinets, a dual 15-inch two-way cabinet, and both dual 18-inch and dual 21-inch subwoofers. The VMAX Series incorporates precision Hyper-Vented woofers, high power and low distortion neo compression drivers, and CMD Coverage Matching Design for consistent horizontal and vertical pattern control. The models come in reinforced construction birch cabinets with heavy-duty coated weather-resistant polyurea paint, and they sport an epoxy-coated heavy-duty steel grille.

Hal Leonard Corporation PO Box 13819 Milwaukee, WI 53213 (973) 337-5034 www.halleonard.com The Future of the Music Business, Fourth Edition from Hal Leonard is written by distinguished entertainment attorney Steve Gordon. The book is divided into four sections that teach about legal fundamentals such as copyright law's application to the music business, basic forms of agreement such as recording, songwriting and management contracts, and the rules pertaining to digital streaming, downloading and Internet radio. The book contains URLs linking to two on-line videos: Fundamentals of Music Business and Law, and Anatomy of a Copyright Infringement Case.

DJ TIMES

NOVEMBER 2015

Tune In, Plug-Out

36

Roland Corporation US 5100 S. Eastern Avenue Los Angeles, CA 90040 (323) 890-3700 www.rolandus.com Roland expanded its AIRA series with the SYSTEM-100 PLUGOUT Software Synthesizer, a modern reproduction of the company’s SYSTEM-100 monosynth. Designed for use with Roland’s SYSTEM-1 and 1m, as well as Mac and PC hosts, the SYSTEM-100 PLUG-OUT features Analog Circuit Behavior, a 14x15 routing matrix, and both virtual and physical routing and modulation capabilities. Additional features include a lush phaser with modulation inputs, dual ADSR envelopes, and a Scatter-equipped Arpeggiator that includes six arpeggio types with six step settings.

TRACKS…MIXES…COMPILATIONS

“BURN SO DEEP” u Kings of Tomorrow u Defected Check this dubby, deep-house monster from Sandy Rivera. “Sandy’s Disco Burn” mix has a unique modern-disco vibe with its churning bassline, driving kick, swirling strings and April’s vocal hook. A memorable record in any DJ set.

– Tommy D Funk “THE DJ FRIENDLY EDITS” u Opolopo u Z Records From the Superconductor album, Opolopo provides some choice cuts with easy-to-mix intros and the odd nip and tuck here and there.

The pick of the bunch is “Round and Round” that features the sultry vocals of Diane Charlemagne and Opolopo’s trademark boogiedown sound.

– Curtis Zack “L.O.V.E.” u Purple Disco Machine & Boris Dlugosch u DFTD Records A fusion of ’90s house and disco, this one’s an absolute belter. Uplifting with a satisfying balance of emotional punch and dancefloor clout, this offers plenty of quality—in my book, a future classic. Spectacular.

– Tommy D Funk

Pele & Shawnecy

Opolopo

“DEEPER” u Rhemi u Rhemi Music Continuing on their quest to be the U.K.’s top soulful production team, the Rhemi boys return to action. Fierce drums and another sublime vocal—this time courtesy of Sabrina Chyld—make an irresistible match-up and another irresistible cut.

– Curtis Zack

DJ TIMES

“JOY” (REMIXES) u Janet Rushmore u Soul Heaven

38

With this remix package of the revamped ’90s classic, deep-house DJs have plenty to love, especially the “Sonny Fodera Deep Mix,” which stays true to the predecessor’s uplifting energy. But the guitar riffs, harmonic bassline and spirit-raising bongos create a soulful twist. And don’t sleep on Fodera’s heavier “Beatdown Mix” with its super-wobbly bassline.

– Tommy D Funk Redsoul

Guest Reviewer: Manny Ward

“BETTER FOR MY BRAIN” u Pele & Shawnecy u Snatch!

I like a track that stands out from others—this does just that and then some. You’ve got a tribal beat that just won't let me go, with its cool, quirky vocal hook. To top it off, the intro to “Club Lonely” is perfectly placed in there at different times and different intervals throughout. A monster jam.

Manny Ward

Kings of Tomorrow

“POWER OF THE UNDERGROUND” u Sidney Charles u DFTD Records With its dedicated kick drum patterns, this classy two-tracker offers a jacking recipe for the dancefloor. On “The Phonograph,” we get a Chicago-house rhythm with acidic overtones, while the underground vibe of “Controller” goes deep.

– Tommy D Funk “NO EXCUSE” u Eloni Yawn feat. Paris Toon & Mothers Favorite Child u Reel People The hotbed of U.K. soulful house, the Reel People label delivers yet another outstanding cut. Mixes come from the Layabouts and a mouth-watering, boogie-based remix from Reel People themselves and they make this one to watch.

– Curtis Zack “PILLOW TALK” u Redsoul u Playmore Yet more uncompromising house music from the U.K.’s Redsoul. Both versions follow a similar vibe with a disco loop and a cheeky Loleatta sample thrown in for good measure.

– Curtis Zack

Sidney Charles

“I NEVER FELT THIS WAY BEFORE” u Damond Ramsey & DJ Spen feat. Fruity u Nervous A slab of vocal house destined to become a classic. Trademark Basement Boys swing and a couple of outstanding vocal performances provide everything needed to ensure this ticks all the right boxes.

– Curtis Zack “FEELINGS” (REMIXES) u Tim Deluxe u Strictly Rhythm With its deep jazzy reprise and classic French-houseinfluenced tone, the Club Edit pairs a shuffling groove with freeform trumpet, courtesy of Jay Phelps. “The Ice Cream Dub” recalls Deluxe’s garage roots. Brilliant, a must-have for proper house heads.

– Tommy D Funk “TURNING PAGES” u Myles Bigelow u Yoruba For this four-track EP, Bigelow brings his blend of Latin, jazz, and deep, tropical rhythms. Check “Afro Banger” for underground vibes.

– Tommy D Funk “CAUSE YOUR LIES” u Franky Rizardo u Azuli Records Driven by its uptempo beat and garage-influenced vocals, this one’s destined to go off the dancefloor. Go with “The Bounce,” which is stacked with toe-tapping hi-hats and a low, rolling bassline. Fantastic deep house.

Tim Deluxe

DJ TIMES

– Tommy D Funk

39

25 & Counting

(continued from page 25) customers products like the E-Beam 2RW, which is a monster, and the Mini Spot 600, which for the money can’t be beat.”

Mundo adds that next big thing was the video panels by ADJ, which he says “have finally given the DJ an American-based company to support the service calls when needed and bringing the price point to a reachable level.

“Production is where the money is at for most DJ entertainers and, with the oversaturation of ‘photobooth guys’ and moving heads, we look for the next big thing to stand out and be unique in our market.

“Video panels are not for most DJs, and I’m sure very soon most would choose to sub out the jobs to the guys that made the investment, but the Expo this year showed me that DJs are looking to get stronger, lighter and more efficient products at a better price point, and it’s good to see the manufacturers responding.”

Although Jerry Bazata of Jaz Music & Entertainment in Ogunquit, Maine, has been attending the

DJ Expo for 15 years, what made this year’s event even more special for him was seeing it through his daughter’s eyes.

“For the past few years, Isabella has asked me about coming to the DJ Expo and this year was finally her chance,” Bazata explains. “She loves music and the theater and has begun to start out her own career as a DJ at age 11.

“She attended several of the seminars, of which her favorite was the ‘DJ MC All-Stars’ hosted by Steve Moody—particularly [the contributions of] Shani Barnett—and then spent time on the exhibit floor looking at equipment and learning from the experts.”

Bazata reports that the vendors were helpful and willing to take the time to explain and teach his daughter about the equipment, and he specifically mentioned the teams at ADJ and retailer IDJNOW. “She even purchased her first gig bag in anticipation of Dad getting her a laptop and controller,”

MARKETPLACE

FOR ADVERTISING RATES AND DEADLINES CALL 800-YES-7678 X507 SUPPLIES

DJ TIMES

NOVEMBER 2015

HOLIDAY SALE

40

DJ Gear | Lighting Effects | Live Sound | Recording | Stage | Performance Fast FREE Shipping | idjnow.com | 1.800.355.7746 Se Habla Español | Showrooms Open 7 Days | We Rent Locally Queens, NY 718.762.0100 | Babylon, NY 631.321.1700 © 2015 I DJ NOW. All Rights Reserved. NYS Department of Consumer Affairs #1387598

he says with a chuckle. “In her words, as we left the show floor, ‘This was even more exciting than Walt Disney World!’”

Bazata says DJ Expo ’15 exceeded his expectations for networking, learning and grabbing one or more pieces of the latest in DJ equipment.

“A congratulator y note to all those who worked hard to prepare and present their insight knowledge and years of experience to the attendees,” he says. “Regardless of the topic, I felt there was at least one takeaway that seminar attendees were able to gleam from simply sitting and listening.

“By far, the shining star of this year’s seminars was Jodi Duston and her team with the presentation on LGBT weddings. Not only did they provide insight and knowledge on how to appropriately engage with the LGBT wedding community, but also openly discussed issues within our industry.

The audience was engaged and enthusiastic, and very complimentary of their presentation.”

As a presenter himself for “The Art of the Review as a Business Tool” seminar, Bazata says the most important aspect of the annual DJ Expo is always having the opportunity to reconnect with those who’ve inspired him over the past 15 years.

“The chance to share my knowledge and experience with others and walk away with a dozen new connections is great,” he says. “I was humbled by the overwhelming comments from past attendees, who shared with me how my seminars over the years have helped them achieve their financial goals, and this year’s seminar on their opinions was no exception.

“I saw and met many new faces at my own seminar, and this year was the most engaging ever, with more questions than I was able to handle in the 90-minute presentation. However, that ended up being a good thing, because it allowed me to talk with more people throughout the four days of the show.” n

Dub Pistols

(continued from page 10) duplicate the track on Pro Tools and trim out the offending syllables by hand, putting them on the duplicate track at a lower volume. It takes time, but often cures the problem in a way automated processes can't match.”

If Ashworth needs something played, he sends his idea, either hummed or referenced from a record, to Tim Hutton (“He’s my go-to musician”).

Similarly, for vocals, which his music always heavily features, he’ll send tracks to vocalists and finish them at home.

“I tend to record the vocals without any compression or treatment on the way in,” Ashworth explains. “Performance is the absolute, numberone important thing. Without the right delivery, no plug-in or processing will bring the right feeling to the track. Having an awareness of how you're going to mix and stack the vocal tracks is vital.

Some vocalists will have a good vision of this up front, but you've got to be fast at recognizing when something is out of time or tune, and try and capture the right vocal takes from the start.

“I try and get a feel for what needs doubling, for example, as I'm going along. The moment may not come again. It's so important to get the timing right in the vocal performance and, hopefully, that’s come from the performance rather than from hours of chopping afterwards.”

MP3s in 6

Compiled As October 12, 2015

NATIONAL CROSSOVER POOL CHART

NATIONAL URBAN POOL CHART

1 Audien F/ Lady Antebellum 2 The Weekend 3 Calvin Harris 4 Leona Lewis 5 Hilary Duff 6 Raquela 7 Badar F/ Duncan Morley 8 Major Lazer F/ DJ Snake 9 Icona Pop 10 Demi Lovato 11 Andy Grammer 12 Jess Glynne 13 David Guetta F/Nicki Minaj & Afrojack 14 Omi 15 Nervo / Kylie Minogue / Nile Rodgers 16 Amoray 17 Eric Prydz 18 Ultra Nate 19 Taylor Swift F/ Kendrick Lamar 20 Jade 21 Dark Intensity F/ Liz Primo 22 Disclosure F/ Sam Smith 23 David Seyer 24 Aki Starr 25 Nick Jonas 26 KC And The Sunshine Band 27 Olivia Somerlyn 28 Kelly Clarkson 29 Rob Thomas 30 Kristian Nairn 31 Lucas Nord F/ Tove Lo 32 Peter K 33 Sted-E/Hybrid Heights & Crystal Waters 34 Dj Jellyfish 35 Rita Ora F/ Chris Brown 36 Hollway F/ Scott Day-Vee 37 Madonna 38 Claire Rasa 39 ZZ Ward 40 Punch Inc.

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

Most Added Tracks

Something Better Can’t Feel My Face How Deep Is Your Love Fire Under My Feet Sparks Summertime You Gave Me Love Lean On Emergency Cool For The Summer Good To Be Alive Hold My Hand Hey Mama Cheerleader The Other Boys Work It Out Generate Unconditional Bad Blood Better And Better Dance With Your Heart Omen All About Me Tonight Teacher I Love You More OXO Invincible Trust You Beacon / Up Run On Love Fighting For Your Love Synergy Boom Boom Jellyfish Body On Me When I Found You Bitch I’m Madonna All I Want Love 3X Heaven (Beautiful Life)

1 Lucas Nord F/ Tove Lo 2 Peter K 3 Calvin Harris 4 David Seyer 5 Chemical Brothers F/ Q-Tip 6 Punch !nc.

7 Charlotte Devaney F/ Snoop Dogg 8 Kristian Nairn 9 Rob Thomas 10 Nervo F K. Minogue, J. Shears and N. Rodgers

Run On Love Fighting For Your Love How Deep Is Your Love All About Me Go Heaven (Beautiful Life) Flip It Beacon / Up Trust You The Other Boys

Astralwerks Republic Sony Def Jam RCA House Of Pride Global Groove Mad Charm Big Beat Hollywood S-Curve Atlantic Parlophone Ultra Ultra Knockout Fashion Astralwerks Blunt Republic Tazmania 444 Astralwerks OBSR Renegade Hollywood Sunshine Crave RCA Atlantic Radikal Radikal Vision 418 Music Radikal Columbia Amathus Interscope BMAB Hollywood S-Curve Radikal Vision Sony OBSR Astralwerks S-Curve Virgin Radikal Atlantic Ultra

REPORTING POOLS Masspool - Saugus, MA; Gary Canavo n OMAP - Washington, DC; Al Chasen n Dirty Pop Productions - San Diego, CA; DJ Drew n Dj Stickyboots - Goshen, NJ; Blake Eckelbarger 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 WPTV-Prty 105FM Frd MdMx - New York, NY; Mike Rizzo n MOOD Spins - Seattle, WA; Randy Schlager n Legends - Raleigh, NC; Joey Shull n Northeast Record Pool - Revere, MA; Justin Testa n Pacific Coast - Long Beach, CA; Steve Tsepelis n Victors - Milwaukee, WI; Chris Egner n DJ Rafy Nieves - San Juan, PR; Rafy Nieves n DJ Laszlo - Las Vegas, NV; Laszlo Szenasi 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

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

All Eyes On You Planes 679 My Way Comfortable Where Ya At Liquor Hotline Bling About You Blase I’m Up Alright Back To Back The Hits This Could Be Us White Iverson Can’t Feel My Face Watch Me Nasty Freestyle Body On Me

Atlantic Def Jam RFG RFG Interscope Epic RCA Republic Atlantic Atlantic Atlantic Interscope Republic Republic Interscope Universal Republic Capitol Werunit Columbia

Most Added Tracks 1 2 3 4 5

Empire Cast F/Yazz & Timbaland Boogie Travis Scott Rae Sremmurd Cannabis Club Atl

Bout 2 Blow Oh My Antidote Come Get Her Get It

Columbia Interscope Grand Hustle Interscope Money Tree

NEW NATIONAL LATIN DANCE POOL CHART 1.

2.

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5.

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8.

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Bachata Trio Rey Chavez J Balvin Layla Joey Montana Gente De Zona y Marc Anthony JayCool Oscar D’Leon La India Angelucho Copacabana Paty Cantu Juan Maganft Paulina Rubio Adassa Charlie Aponte Los Hermanos Moreno Ismael Miranda Mayte (La Guapa) Puertorican Power Hector Pichi Perez Farruko ft Shaggy, & Nicky Jam

Pena Penita A Primera Vista Ginza Locuras Picky La Gozadera La Chica Que Quema Salsa Soca Ahora Que Te Vas Aqui Esta Lo Que Esperabas Valiente Vuelve Pa Que Te Quiero Para Festejar Bochinchosa Bajo, Piano y Bongo Tirame Un Like Yo Sin Ti El Son De Mi Tierra Sunset

Hispaniola Music Group J & N Universal Angulo Music Universal Latin Hits JayCool Charisma Crossover Top Stop Music Mr. Yuca Universal Universal DCP Sony Bongoreno IM/Kiyavi La Guapa Corp.

Mambiche Prod. Guaguanco Carbon Fiber

Most Added Tracks 1.

2.

3.

4.

5.

Don Omar ft Natty Natasha Jesse Medeles Guaco Juan Estevan Sonora Carruseles

Perdido En Tus Ojos Sucia Baja Muevelo Si La Tierra Tiembla

Universal Dessennium Ent. Latin Pulse Group R7 Music Fuentes

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.

If the tempo or groove needs adjusting after recording, Ashworth warps the timing using either Elastic Audio in Pro Tools or Ableton, paying careful attention to every beat and syllable, making judgment calls for each moment of a song, with particular thought to timing. He says, “If the timing is lousy, the whole record is not going to feel right. All your delays and processing afterward are just going to make it worse.”

With many opportunities to test out new material, Ashworth makes a variety of versions including some mixes under his General Narco or Dogtown Clash alter egos. For DJing, he relies on Native Instruments’

Traktor, stating, “I can’t see anymore” as the reason he’s not using USBs. Keeping the eclectic aesthetic, he’ll either have a breaks set or a drum-nbass one. He recently DJed an all-vinyl set for which he had to go through a garage-full of records and arrive early at the venue to practice as his decks aren’t set up at home anymore.

“I was really nervous,” he admits.

“I hadn’t played on vinyl for over two years. I thought you would lose it— but, not at all. I found it easier and more enjoyable than DJing with Traktor. I don’t even think I dropped a beat and I used to drop loads. It was brilliant.”

– Lily Moayeri

Mobile

hiring entertainers and selecting technology to create an event our guests will never forget,” he says, before launching into a bit of selfpromotion, Bensonhurst style. “We are a one-stop, boutique-style, eventplanning company, featuring myself— a fire-eating, high-energy MC/DJ that assures a smooth and worry-free experience.”

Rothstein’s not all Brooklyn brio.

He tells us of his fondest memory of his DJ career so far. He recently performed at a first birthday party. He had performed at the mother’s Bat

Mitzvah, Sweet 16 and her wedding.

“That’s a very fond memory,” he says.

When we ask Rothstein where he sees the company in five years, he displays the vision of an expansionist. “I see our company providing cuttingedge entertainment in other states, which we are currently in the process of working, in Maryland, Florida, North Carolina, Washington, D.C., and we’ve done destination events in Mexico, Dominican Republic, Jamaica and Canada.”

That sounds like DJ manifest destiny to us. n

Pleasure State album—which is three times as hard since we all have different schedules—getting us all together is a nightmare.

DJ Times: What are those sessions like?

Kinchen: We basically say, “Hey let’s get together tomorrow at my house at 8 o’clock.” They’ll come to my studio and we’ll start from the ground up. Lee has his book of lyrics, Anabel is Instagramming [laughs], and I’ll get on the keys and mess around.

It’s very organic.

DJ Times: It feels like everyone in the group brings a very different energy, which makes the whole thing feel bigger than the sum of its parts Kinchen: I think so, too. When you watch us live, some people say that they see that chemistry. It’s not like we sit there and say, “Let’s make a banging house track.” It’s interesting. If I was looking from the outside, I’d be inter-

ested. It’s three people who are pretty talented coming together and bringing what they’re doing into one thing.

DJ Times: You re-launched your MK Area 10 label recently, and it’s had its own stage at London’s We Are FSTVL the past two years. What plans are there for it?

Kinchen: We’re getting ready to put out some records. I’m going to do some as 4th Measure Men, which is one of the other names I used in the beginning – just really raw stuff.

Not giving it “too much thought,” just something artistic.

DJ Times: Beyond the label, your own album, and Pleasure State, you’ve still worked outside of the dance world. You co-produced “Your Loving” with Rodney “Darkchild” Jerkins for Mary J. Blige’s last album. Are you looking to still do more pop productions?

Kinchen: Yes and no. Mary was perfect in the way it happened. I was

in the studio, and my friend Jamal Edwards came in with somebody who works with Rodney Jerkins. I was working on something, and my friend Jamal was talking with Rodney’s partner, who said that Mary was doing a house album. Jamal was like, “And you don’t want MK on it?” The guy said, “Who’s MK?” He went back to Rodney, who called me to ask if I could do a song for Mary the next day. I just happened to have a free day in London, so I just did it.

DJ Times: The track itself sounds very timeless and classic. Even your Nightcrawlers remix still sounds fresh and can fit in with the sounds that are going around dance music right now.

Do you ever take a look back and think, “I helped start this?”

Kinchen: It is funny. I hear it. Even in a lot of R&B songs, they use that same kind of bass sound, too. I just secretly laugh. n

(continued from page 30)

MK

(continued from page 16) started doing remixes, I just took everything that was offered and I just made it work somehow. A lot of that meant I had to chop vocals to make it work. Now when I get songs, I try and listen to songs that are in the right tempo. If it’s not in the right tempo, I won’t do it. I got offered to remix Sia’s “Chandelier.” I love that song, but I would’ve had to speed it up too fast. I don’t want to butcher her vocals.

DJ Times: In addition to your solo career, you’re also part of Pleasure State with Lee Foss and Anabel Englund. “Ghost In The System” came out at the end of 2014. You’ve got a track called “What’s Your Pleasure” as well as a remix of Hot Natured’s “Reverse Skydiving” planned. What else is in the works?

Kinchen: We’ve got a song called “.22 Caliber” that’s really good. Lee writes most of the songs. With me doing my album and us trying to do a

DJ TIMES

NOVEMBER 2015

Matrixxman: Real or Apparition?

42

But don’t you think that the label...

Yes, I record for Ghostly International…

Is taking these PR pics a little too seriously?

Matrixxman, Next Month in DJ Times

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