DJ Times December 2015, Vol 28 No 12

Worst Gigs Ever Life, Death, Dysfunction AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988

DECEMBER 2015

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A.D.E. ’15: DJS TALK TECHNO, SYNCS & SOCIALS “The power of socials is strong,” said Troxler, the always-unfiltered American DJ/producer, “and I use it to push ideas that are important. It’s our job to spread ideas.”

But Solveig and Kölsch drew lines on pushing topics beyond music.

“People follow me for my music and little else, maybe some charity, yes,” said Solveig, the hitmaking French DJ/ producer. “You do look to Seth for his personality, but that’s not for me.”

Added Kölsch: “It’s a conflict because we, as DJ/producers, promote escapism. So is it right for us to promote politics or other issues? It’s right for Seth, because that’s him, but it’s not right for me… I want to promote art and open minds with art.

That’s my calling.”

Before long, the Berlin-based Cassy piped in. “Getting ‘Likes’ [on Facebook] doesn’t make you better than anyone else,” before adding, “You don’t have to know all about Syria and the refugee issue to be a good person. Yes, of course, it’s a real issue, but our own scene has its own issues that nobody talks about.”

On “The State of the Techno Nation,” panelist Dave Clarke, an A.D.E. mainstay, argued that “techno pushed everything forward—without techno, there’s no EDM, as we now know it.”

As the conversation veered back into the state of techno in America and that market’s relative indifference to the genre, Lenny Burden of the Detroit duo Octave One said, “There are great cities that embrace this music—San Francisco, New York, Seattle and Detroit, of course—but it’s not nationwide. We play more in Europe, and that’s not by choice.”

On Thursday’s “Sync: So, You Thought You Heard It All” seminar, panelists touched on the ins and outs of musical synchronization licenses and the best ways for DJ/artists to engage in the process of having their music used in film, TV, and ads—plus the $80-billion gaming industry.

“How do artists get noticed for sync licenses?” asked Kyle Hopkins, Head of Music Supervision for Xbox/ Microsoft. “You make great tunes that spike interest in your work, then make sure that you are ready for the opportunity. What does that mean?

Have your business side together and be responsive to music directors who are interested in your work.”

Adam Foley from Red Light Management added: “When sending music files, make sure your metadata is foolproof. ” The panel, however, was quick to point out that the sync process may not be suitable for every artist. “Doing A&R for sync is different from the kind of A&R done for music that’s released commercially,” said Hopkins.

“For the artists, it takes desire and talent, but also a particular temperament to deal with critical feedback.”

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Amsterdam, Holland – The 20th edition of Amsterdam Dance Event set records that included 365,000 visitors to its evening music events and 5,500 industry professionals for its daily conferences, according to organizers. Held at a variety of venues spread throughout Amsterdam this past October 14-18, A.D.E.’s seminars presented top talents as keynoters, plenty of gear talk, and panels tackling pressing industry topics.

As always, DJ Times was there taking it all in. The following are highlights from sessions held at the Felix Meritis Centre: The parameters of DJ/artists’ influence and personal responsibility to their audiences were discussed on the panel titled “Artist Debate: Power to the Artist!” With social media giving artists such a unique connection to fanbases, how should the DJ/ artist embrace that and use that connection for good? With a panel that included Seth Troxler, Cassy, Martin Solveig, Nicky Romero and Kölsch, opinions were predictably diverse.

Conference: Seth Troxler & Cassy in convo.

DJ TIMES

By Jim Tremayne

NOTABLES…MILESTONES NEWS

Bas Uterwijk

Michiel Ton

Evening: Oliver Heldens rocks Paradiso.

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12 Deep Impact VOLUME 28

NUMBER 12

Sticking to His House Roots, Duke Dumont Has Carried Soulful Club Music to Chart-Topping Success

BY LILY MOAYERI

20 Worst Gigs Ever

Not Every DJ Event Goes Flawlessly. But Sometimes, Mobile Parties Can Be a Matter of Life or Death.

BY JEFF STILES

24 Amsterdam Dance Event

Once Again, A.D.E. Drew the DJ & Dance-Music World to Holland

BY A.D.E. PHOTOGRAPHERS

DEPARTMENTS 7 Feedback

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

26 Making Tracks

KRK ROCKIT 4 & 10-3 Monitors

28 Sounding Off

Native Instruments TRAKTOR KONTROL S5

30 Mobile Profile

New Jersey’s All Star Entertainment

32 Business Line DJ Expo Takeaways, Pt. 3

34 Gear

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38 Grooves

Phat Tracks from Soul Clap, St. Germain & More

SAMPLINGS

40 DJ Times Marketplace

8 Felix Jaehn

41 Club Play Chart

10 In the Studio With…

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FROM THE EDITOR

100% Deep & Live

In a world of formulaic festival fare, Duke Dumont’s music stands out. From the first time we heard “Need U (100%)” in early 2013, we knew the U.K.-based DJ/producer was onto something a little different, something deeper, something certainly more studied and soulful.

Not long after that single began to blow up, we caught a straight DJ gig he did at NYC’s Le Poisson Rouge—not quite Frankie Knuckles or Tony Humphries dropping vocal bombs left and right, but the inspiration was evident. After several more vocal-driven Dumont hits—“I Got U,” “Won’t Look Back,” “The Giver” and “Ocean Drive”—we caught his act at a sold-out Terminal 5 in Manhattan this past October, and this time he brought a band. From hit to hit, the audience sang along and the energy never dipped. The “live” approach doesn’t always work for DJ-led shows, but this one did.

Just days before Dumont’s NYC performance, our Lily Moayeri caught his Los Angeles show and interviewed him for this month’s cover story. In it, Dumont (aka Adam Dyment) details his influences, his processes and his new show. We believe he’s one of dance-music’s brightest stars and we think there’s a lot to learn from his interview.

Also, in this issue, we report from The Netherlands and give you highlights from the 20th annual Amsterdam Dance Event, which brought the world’s DJ/dance-music industry together with seminars, networking and various events. In our News section, we present some seminar moments that we believe could be instructive (or merely entertaining) to DJs out there. Of course, thanks to A.D.E.’s ace photographers, we also present the sights from our week in Amsterdam, one of the world’s greatest cities for club music—and a few other things.

In Samplings, our Chris Caruso connects with tropical-house practitioner Felix Jaehn, whose remix for OMI’s “Cheerleader” became one of the summer’s top tunes. Also, our new Detroitbased scribe Reisa Shanaman goes into the studio with Matrixxman, who described Homesick, his terrific full-length on Ghostly International.

From the world of mobile entertainers, our Iowan writer Jeff Stiles surveys a wide group of DJs who describe their worst gigs ever. And yes, some of them are as bad as they can get. In Mobile Profile, we meet John DePalma of New Jersey’s All Star Entertainment, who describes how he succeeds by treating clients as “cherished friends.” And in Business Line, Gregg Hollmann offers his third installment of takeaways from this past August’s DJ Expo. From lessons on beatmixing to learning the advantages of spinning country music to understanding the legal issues that impact all DJs, Hollmann reports from the Boardwalk with another package of useful info.

In our review section, Boston-based DJ Paul Dailey takes on Native Instruments’ TRAKTOR KONTROL S5 all-in-one controller in the Sounding Off column. Meanwhile, in our Making Tracks section, Denver’s Wesley Bryant-King tests a pair of KRK studio monitors—the ROCKIT 10-3 and the ROCKIT 4 units.

And, in our News section, we offer a glimpse of the award ceremony/closing party from the America’s Best DJ Summer Tour Presented by Pioneer DJ & DJ Times. After being voted ABDJ ’15, Steve Aoki displays his wares—a gold-plated and fully functional Pioneer mixer—at San Diego’s Omnia club. Congrats, Steve, and big thanks go to our title sponsor (Pioneer DJ), venue host (Omnia) and Sol Shafer, the Executive Director of Music at Hakkasan Group, for helping make the promotion another success. Here’s to a successful 2016!

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 Greg Hollmann Robert LaFrance Michelle Loeb Evan Maag Duanny Medrano Lily Moayeri Phil Moffa Natalie Raben Scott Rubin Deanna Rilling Jeff Stiles Reisa Shanaman 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

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DECEMBER 2015

Cheers.

6

Jim Tremayne, Editor, DJ Times

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DJ Times (ISSN 1045-9693) (USPS 0004-153) is published monthly for $19.40 (US), $39.99 (Canada), and $59.99 (all other countries), by DJ Publishing, Inc., 25 Willowdale Ave., Port Washington, NY 110503779. Periodicals postage paid at Port Washington, NY, and additional mailing offices. POSTMASTER: Send address changes to DJ Times, PO BOX 1767, LOWELL MA 01853-1767 Design and contents are copyright © 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 December 2015

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FEEDBACK AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988

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ized touring booths. Some of these are outfitted with a variety of visually oriented elements. In fact, I’ve seen a few of these booths that look like alien spaceships. Others have manic LED screens.

But, you’re right about one thing: The DJ has become more of an attraction

than we ever imagined. For this gen‑ eration, DJ-driven music has become its cultural touchstone. In America, festivals with DJs playing the various dance-music subgenres remain bigger than those events featuring traditional musicians playing any other genre.

How venues decide to promote or

highlight the DJ is up to them, of course. But today, these places have a slew of options and, if you’ve ever seen one of these global DJs playing a non-traditional venue, you’ll see how enthusiastically the crowds respond to their front-and-center set-ups.

– Jim Tremayne, DJ Times

10/12/2015 3:01:43 PM

This is Feedback, a monthly feature that fields questions from you, our readers, and funnels them out to in‑ dustry professionals. If you have any questions about DJing – marketing, mixing, equipment or insurance, any at all – drop us a letter at DJ Times, 25 Willowdale Ave, Port Washington, NY 11050, fax us at (516) 944‑8372 or e‑mail us at djtimes@testa.com.

If we do use your question, you’ll receive a free DJ Times T‑shirt. And remember, the only dumb question is the question that is not asked.

DJ TIMES: Isn’t it time for bars and clubs to take down that worn-out, corner, wooden, boxed-in DJ booth? Or that fourwalled DJ booth? Maybe, instead, put their DJs front-and-center?

If all that a bar or club features is a DJ, shouldn’t the DJ be front-and-center, instead of hidden and inaccessible?

With truss tables and new equipment, the wiring is minimal, but the expo‑ sure is maximum.

– Rich Unger, Sarasota, Fla.

RICH, Well, it all depends on the venue, its physical layout and its music policy, right?

S u r e l y, t h e r e a r e s o m e v e n u e s whose owners or promoters don’t really want the DJ to get “too big for the room.” If that’s the case, they might not want the DJ to garner too much attention and would prefer to relegate him into the old-fashioned booth. However, if it’s the DJ that’s genuinely drawing numbers into the joint, that may be a different story.

As DJs become the featured attrac‑ tions at more non-traditional venues (in the discotheque-nightclub sense, anyway)—places like rock clubs, open halls and outdoor festivals—we’re already seeing such a thing.

At many of these spots, the DJ is al‑ ready front-and-center on a stage, just like a rock act. And some of these performers (Deadmau5, Wolfgang Gartner, Skrillex, DJ Shadow and oth‑ ers) are bringing their own custom‑

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SAMPLINGS

It was produced leagues away from the images of the idyllic Caribbean scenes it conjures, but nothing tore up radio waves and festival crowds alike this summer quite as much as Felix Jaehn’s chart-topping remix of OMI’s “Cheerleader.”

OMI’s original rendition of the track was released to a soft reception back in 2012, but it was given a brand new life through its breezy, undeniably infectious rework from the young German DJ/producer. While bedroom producers are uploading tidal waves of tracks to Soundcloud with the now en-vogue tag “#TropicalHouse,” it was Jaehn’s deeply melodic style that truly embodied the trending genre and cut through the noise to firmly plant itself atop the Billboard Hot 100.

However, Jaehn holds far too much potential to be relegated to the hallowed halls of one-hit wonders. A classically trained violinist who taught himself to DJ and booked his first gig at the age of 16, the Hamburg-native has kept the momentum going with subsequent smashes like “Ain’t Nobody” (a cover of the Chaka Khan classic featuring Jasmine Thompson) and work on his debut artist album.

DJ Times caught up with the talented Jaehn during his stop in New York on his first-ever U.S. tour.

DJ Times: How did your remix of “Cheerleader” come about?

Felix Jaehn: Originally, I was approached by [Ultra Music] in January, and they were just generally interested in me working together. They sent the song and asked if I wanted to do a remix. The original was released in 2012; it’s reggae and really slow. I told them to send me the a cappella because I liked the vibes and thought I could do something with it, and then I just went ahead. I took the a cappella, made it a little faster, and built up a track around it. It took me, like, two weeks from getting the a cappella to having a final mix.

DJ Times: You’re a classically trained violinist. Do you still pull on any of that training when producing electronic music?

Jaehn: I guess so. I am not into classic music that much anymore and I don’t play the violin any-

Genre Leader: Jaehn has helped popularize Tropical House.

DJ TIMES

DECEMBER 2015

FELIX JAEHN: BEYOND THE REMIX

8

more, unfortunately, but just from doing that and having the basic music theory and playing in an orchestra you just develop the basic skills and an ear for music. That helps me a lot with my electronic music because even though it’s electronic music and I am a DJ/producer, it’s really, really melodic and song-based, so that helps me a lot.

DJ Times: What drew you to DJing?

Jaehn: I started DJing because I went to birthday parties. I was putting together iTunes playlist, and then from that I bought my first equipment. I’d say, “OK guys, next week I’m doing the music at the party!” From that, I just kept developing.

I played my first club shows then moved to London to actually study music production and sound engineering and everything for a year. I managed to get myself gigs at Pacha and Ministry of Sound as a local support DJ at the age of 18.

DJ Times: How did you book those first club gigs?

Jaehn: I think the very first club gig was having a student night. I got in touch with the promoter by playing a birthday party. From one gig I got another, and then I got two more and three more, and then I just managed to locally grow in the club scene of northern Germany before I moved to London.

DJ Times: You’re working on a studio album. What are the challenges of approaching a full body of work, as opposed to another radio-ready single?

Jaehn: You also need to have a more of a variety of tracks, so it can’t always be the same. I might need to have a slower track and maybe one that is more basslinedriven. On an album, I can a have a track that is a bit weird or different and might not work commercially, but it’s still music that’s really cool to hear.

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IN THE STUDIO

It seems fortuitous, if not borderline foreboding, that the sequel to1985’s sci-fi classic Back to the Future sees Marty McFly time travel to 2015, the same year in which Matrixxman (aka Charlie Duff) has now released his debut LP. Less comical more Kurzweil, Homesick (Ghostly International) is an electronic concept album abounding in the fantastical, futuristic themes the San Francisco-based artist is quickly becoming associated with. A fascination that dates back to his boyhood, Duff tells us, “I obsessed over it. I would get really frustrated that a movie like Star Wars wasn’t

DJ TIMES

DECEMBER 2015

MATRIXXMAN: GETTING HOMESICK

10

really happening right here somewhere in the galaxy.

It would make me sad, actually.”

Now channeling that energy into the studio, he calls on techno, house, acid and electro palettes to communicate the cosmic theories he clings to.

Crafting sounds that pay homage to the past, yet catapult toward the future, his music zig-zags across Zeitgeists like McFly in Doc’s Delorean.

Take, for example, the track “Packard Plant.”

Named for the now-crumbling 3.5-million-squarefoot Albert Kahn-designed automobile-manufacturing factory in Detroit, Duff explains, “In the recesses of my mind, I have this fantasy idea of Packard in some sort of alternate dimension, a parallel universe of what we’re living in now. I was imagining Packard Plant being alive and well, surviving like 200 years from now, and what that would be like. That was me trying to do my best to capture the vibe of this hyper-futuristic factory way off in the future.”

Approaching the album as one cohesive, synthladen and cinematically driven exploration of sound, Duff says, “Every track is directly correlating to a specific mood… I did my best to capture weird, interesting emotive qualities of the respective scenes.”

“Annika’s Theme,” in particular, achieves this exceptionally, evoking a bittersweet beauty—impressive given what a great deal of gear he employed.

Besides the more obvious elements, like the Roland TB-303 and TR-808 vintage machines, Duff informs us that “Homesick relied heavily on an Ensoniq DP4,

which is an outboard effects gear. The DP4 really had a heavy hand in it. There was lots of FM synthesis used. Some of that would be Waldorf Microwave, in addition to Yamaha DX synths, as well. I think virtually every track on there was overloaded with hardware.”

On “HMU (Hit Me Up),” Duff teamed with long-time friend and frequent collaborator Vin Sol. “Vin programmed the SH-101 pattern and I made the main arpeggio that’s running throughout the whole thing,” he says. “I came up with that and I came up with the bulk of the drums. He added a couple select parts that helped bring it out and sort of pushed it over the edge. He’s a super-fun dude to kick it with and bang tunes out with.

We made it without even thinking about it.”

Despite having no formal musical training, Duff is notorious for the hyper-speed of his work, with upwards of a dozen EPs out since 2013 for the likes of Dekmantel, Delft, Spectral and Soo Wavey—an imprint he runs with Sol. For those less familiar punk, in terms of kind of being rough with things with the stor y, pre-Ma- as much as you can, just maybe more so in terms trixxman, Duff served as of attitude. At a core, hip hop is a fucked-up renhalf of the 5kinandBone5 egade music. That spirit definitely reflects itself. I duo, which led to him feel like [with] my beats, I have a lot of obsessions supplying hip-hop beats with drums and what have you, and that carries for the Pu$haz Ink crew. over into techno.”

Regarding any similariA renegade in his own right, Duff quickly abanties that might exist be- dons sounds that no longer suit him. For example, tween hip hop and dance he has happily freed himself from the use of vocals music, Duff says, “They’re in his work. “The cool thing about getting away obviously totally different from rap and into dance music was, all of a sudbeats in terms of produc- den, I didn’t have a need to work with vocalists,” tion, but [if] there’s one he says. “I got really tired of having to depend on element that carried over other people to finish tracks. When I discovered to techno, it’s the sort of that you could do just a totally instrumental track blatant disregard, or sort with no vocals whatsoever, it was so liberating.” of punk-rock aesthetic— – Reisa Shanaman

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DJ TIMES

DECEMBER 2015

DEEP

12

By Lily Moayeri Sticking to His House Roots, Duke Dumont Has Carried Soulful Club Music to ChartTopping Success

Los Angeles – “Duke Dumont Live Sold Out,” the marquee at the Hollywood Palladium reads on a sweltering October evening in Los Angeles.

This is not much of a surprise. Duke Dumont—aka Adam Dyment, 33—has had massive smashes with his house-based-popsongs, “Need U (100%)” featuring A*M*E, which charted in over 10 countries, and “I Got U” featuring Jax Jones, which charted in almost 20 countries—both were No.-1 singles in his native U.K. The former was nominated for the Best Dance Recording Grammy in 2014 and the latter garnered the same nomination in 2015. He also stormed dancefloors with “The Giver” and “Won’t Look Back.” Plus, he made his mark with carefully selected, crowd-moving DJ sets, documented on the evergreen FabricLive 51 in 2010 and on a weekly basis with gigs around the globe.

Tonight, however, Duke Dumont is playing live. This North American tour is in support of his recently released Duke Dumont Presents Blasé Boys Club, Part 1, the first installation in a new EP series on his label of the same name/Astralwerks. Not to be mistaken with EP 1, which was released in 2014, this EP is led by the breezy, disco-tinged “Ocean Drive.” It is followed by “Robert Talking” featuring legendary house figure Robert Owens speaking about his experience in the house scene—an homage to Daft Punk’s track with Giorgio Moroder,

that have been shaped over time, giving him a unique insight into DJ and dance culture.

All this from someone who was born virtually deaf.

DJ Times: You were hearing-impaired at the start of your life?

Duke Dumont: That’s right. When I was born, I was quite heavily impaired in both ears. As my skull grew, it freed up the bones in my ears to be able to hear. Everything was so bad that the speech therapist told my parents to put their hands over their mouths when they were speaking to me because I was starting to learn to lip-read before I was starting to learn to hear. I had a few operations when I was a child that helped and my hearing is not the best in the world, but it got pretty good.

DJ Times: Does it impact you now?

Dumont: With large shows, there’s a real concern that it might slip back. I don’t want to end up like Beethoven quite yet. I didn’t do that well in school. I dropped out of college. I dedicated the last 10 years of my life to learning how to make music and DJing. This is the only thing I can do, for that to be taken away from me would be quite depressing.

DJ Times: What’s your set-up in the DJ booth?

Dumont: I like the Pioneer DJM mixers—any model. The way it’s set up is fun to use. I find it reactive. I don’t even have to think. Couple of Pioneer CDJs—again, any model. I can DJ with pretty much with anything. It’s all the same. I try to keep my DJ sets focused around the music selection, not too many tricks and effects, a little trick here or there. I always touch the reverb on the mix out to make it a little bit smoother, but nothing too distracting.

DJ Times: CDs or USB? Dumont: I use USBs. I take a lot of time using Mixed In Key to see what’s in the same pitch and what’s in the same key. I bunch songs together stylistically in a relative key that will go well together. I have it organized by overall folders, vocal-based stuff will be one folder and more sterile, techno-based, instrumental stuff will be another folder.

Within those folders, they are in key. But it’s not always about playing the next song that’s in the same key. It’s always about bearing in mind there is a build in energy and dynamics in the DJ set. If you see me squinting, people think I’m being moody, but it’s concentration. My eyesight is really bad. When it gets to a point where I’m looking for a song for two minutes, I know the folders have gotten out of hand and I consolidate them.

DJ Times: What’s your approach in terms of playing your own music versus other tracks?

Dumont: I get more inspired by other people’s music than I do my own. I’m supremely confident in the music I write and produce, but I’ve heard it a million times.

Even if you take your favorite record, when you’ve heard it a thousand times, it’s probably not going to be your favorite record. I draw inspiration from really good-sounding

IMPACT “Giorgio By Moroder,” and not the first Daft Punk reference in Dumont’s career. The textural “Melt” and the aforementioned “Won’t Look Back” round out the EP. The sold-out crowd is already well-versed in this latest release. As Dumont takes the stage—which is filled with live gear—along with his two cohorts, all arms are up and angled toward him. At the start of each song, there is a roar from the audience as they instantly recognize which one he’s going into next. And when he reaches “Ocean Drive,” the entire venue is singing the words.

Prior to the show, Duke Dumont plays host on his tour bus. The bus is decorated with a gambling New Orleans theme—not his choice, but it’s nonetheless very characterful, complete with a glass-top display case dining table filled with feathers, Mardi Gras beads, cards, and related paraphernalia. The soft-spoken Dumont is the consummate gentleman, imminently polite, making sure everyone is comfortable and set up with refreshments. He looks a bit like a filled-out TinTin with a chinstrap beard and a wispy moustache, and has the same solicitous look on his face as that beloved comic book character. His responses are considered, but his thoughts are already formed with ideas

“

The culture now is the crowd telling you what songs to play.

That’s dangerous.

The respect for a good DJ is gone.

DJ TIMES

DECEMBER 2015

club tracks. I’m also aware most people who buy a ticket to see me play want to hear the songs I made, so I’ve got a good balance. I remember a couple of times not playing “I Got U” and I got a lot of hate.

What’s nice is “Ocean Drive” doesn’t fit into all the sets I do, but if I don’t play it, I still hear about it.

When people are upset you didn’t play a record, I think that’s a sign you’ve made a good one.

DJ Times: What do you feel makes a good DJ? Dumont: Someone who is part of the culture of what they represent. Technically, at a festival, everyone is as good as each other. I can teach anyone the technical side in seven days. What makes it a great DJ is being a figurehead of the niche of dance music you represent and what you do as a figurehead amongst that. What makes an even better DJ is being able to adapt to certain situations and still retain your character. Big festival shows, you know what they expect and it’s hard to be yourself.

DJ Times: How’s that?

Dumont: The good DJs can go into a 200-capacity club and into a 30,000-capacity festival and do the same, but with a completely different set. It’s that understanding.You can play a song in Ibiza and it’ll get a massive reaction; you play it in New York and no one likes it. It fascinates me. I thought a lot of the music I play in Europe wouldn’t have gotten as good a response in America, but it does. I’ve played many venues in the U.S. now that are equal to my favorite venues in Europe. My favorite club in the U.S. is Output in New York. It reminds me of Fabric’s heyday in 2008.

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DJ Times: What’s your thought process in the programming of your sets?

Dumont: The first 20 minutes, I will play quite safe. After 20 minutes, I will throw a curveball. Sometimes it reacts, sometimes it doesn’t. If it reacts, then the set goes along a different fork in the road, maybe a heavier, maybe more vocal-based. If that reacts, then it’s a permutation that has infinite results. That’s something I’ve done over 10 years that has tended to work for me. If I don’t throw those curveballs, things get boring very quickly. If you are eclectic and abstract from the start, especially for what I’m known for and the music I come from, that goes over a lot of people’s heads. My favorite set is when I am playing music that nobody knows and people want to know what that music is. I haven’t had a night like that in a long, long time.

DJ Times: Were you a fan like that?

Dumont: What got me into DJing and the culture is when I used to go and see DJs and you would go up and ask what’s that song they’re playing.There used to be a lot more respect in the sense that if that person is up there DJing, they must be good enough and they obviously earned the right to be there. I would never have the audacity to tell the DJ what to play. That’s the most arrogant thing. The culture now is the crowd telling you what songs to play.That’s dangerous.The respect for a good DJ is gone. I don’t think that’s a reflection of dance music, it’s a reflection of culture as a whole, that everything is so accessible and can be personalized.

DJ Times: What were your original forays into DJs, dance music, and club culture?

Dumont: Going out and seeing a lot of local DJs in the northwest of London where I grew up, then going more into London and having access to a larger range of DJs. I remember being 18-years old and in the crowd for DJs like Roger Sanchez, DJ Sneak, and Armand Van Helden. My experience with club music wasn’t through YouTube and SoundCloud. It was by being there and seeing a great DJ doing what they do.

DJ Times: How did that inspire you?

Dumont: That encouraged me to get better at DJing. I had a local DJ gig at a bar down

my road.That escalated to playing Fabric, one of the institutions of club music. I played for them for six years, four times a year. That was the real education I had as a DJ, playing at Fabric for so long and so regularly. The quality is so high in places like that, you have to really keep up, be technically great, and be able to read the crowd.

DJ Times: You had a residency at Sankeys Ibiza summer of 2014. How’s that different from other gigs?

Dumont: I flew out to Ibiza every week for 14 weeks.

It almost killed me, but I loved it. The nights were a massive success. It was successful because I knew the crowd. Playing a two-and-a-half/three-hour set where you have to take people on a journey goes beyond trying to steal the limelight in an aggressive one-hour set at a festival. Part of me loves that. I want to step onstage and be amongst some of the biggest DJs in the world, but a three-hour Ibiza set is the opposite. It’s the night as a whole, which is my favorite, from the warm-up to the main to the closing act where it all merges into each other. In my 10 years of experience, that’s when I’ve had the most fun DJing.

DJ Times: The North American tour you’re on now is a live show.

Dumont: The first time I did the live show was a small U.K. tour and European tour. Coachella this year was the second incarnation of that tour, which was improved upon and went up a level.The current live show is

“

My favorite set is when I’m playing music that nobody knows and people want to know what

DJ TIMES

”

DECEMBER 2015

that music is.

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DECEMBER 2015

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centered around that. The reason for the live show is, I’m a recording artist with a back catalog. I have 60 minutes of music that can stand up against anybody else in electronic music. I’m going to demonstrate that and have an interaction rather than just mixing those tracks in.

DJ Times: How does the live interpretation play out?

Dumont: There are three of us. Ricky Russell plays percussion and drums—he has a full electronic kit. He’s also triggering samples from the records, but sometimes he’s not because you get weird phasing if you playing the same sounds. The way it’s wired in Ableton, if I flip to another song playing the keyboard, the sounds change so we don’t have to worry about that. He just has his MIDI percussion.

DJ Times: What else?

Dumont: A keyboard player, Okiem Warmann, plays the more complex chords and keyboard parts. I made those in the studio, but he’s better at playing them live. I trigger samples, do effects, and play some keyboard parts. I have a big touchscreen to my right where I can chop and change stems or if I want to jump into a certain track or the next track, I can do that. In front of me is a keyboard with all the samples and sounds. To my left, I have filters and percussion. On a few of the songs I can jump on and play percussion if I need to. And I have alcohol, water, and a towel—the essentials.

DJ Times: Your studio set-up?

Dumont: My home studio is based around Ableton; however, that doesn’t add any magic to my production. If anyone’s reading into this, trying to understand the DUKE’S LIVE SHOW secrets on how to make music—it doesn’t For Duke Dumont: matter what DAW you use. The only advice Ableton Live x 4 I can give anyone is: Build up your sound Slate Pro Audio Raven MTi touchscreen palette. Everyone thinks the secret is the Native Instruments Komplete Kontrol S49 mixdown. I have a really broad palette Roland Octapad SPD-30 of sounds to draw from. It’s like making Akai APC 20 Ableton Controller food—you have the most choice of ingreFor Ricky Russell: dients.

Zildjian Cymbal Pack Gen16 DJ Times: And your sound palette?

Roland Octapad SPD30 Dumont: It’s a real mix. It can be synth Roland PD-85 V-Pad 8-inch patches from years ago when I was proRoland Dual-Trigger Mesh V-Pad 10-inch gramming stuff from my Yamaha DX100.

Roland KD-7 Kick Trigger I have a lot of outboard gear, but I never DW 9502LB Remote Hi-Hat Stand use it. I am pretty much all in box, however, DW 9000 Kick Pedal most of the sounds I use are sampled from Apple iPad Air 2 waveforms from my outboard gear. I’m not Alesis iO Dock really a big fan of soft synths. There’s a few Lemur app which do sound great that I’ve used on a lot For Okiem Warmann: of records, but I’m a bigger fan of sampling Native Instruments Komplete Kontrol S61 waveforms from an Oberheim and having Native Instruments Komplete Kontrol S25 those on the record.

Apple iPad Air 2 DJ Times: Why? Alesis iO Dock Dumont: It’s different and definitely has Lemur App more warmth. Then again, a lot of the muPedal board & case sic I’m into at the moment, you can tell is 100-percent soft-synth-based. There is too much focus on that and not enough on musicality. If it’s a great composition, you can make a great song using just sine waves. I try to make music on a computer that doesn’t sound like it’s been made on a computer. That’s my goal.

DJ Times: Any formal music training?

Dumont: None whatsoever. I learned how to compose music by trying to replicate old ’90s R&B records from Blackstreet to Jodeci, what I listened to growing up. I had a keyboard and learned to compose music. I saved up to buy a laptop and that set fire to my inspiration to stay indoors and produce music. I’d study how to produce music online, watch videos, read books, and learn all the techniques.

DJ Times: What’s your process for making tracks?

Dumont: I don’t have a fixed process. The only thing I do, which I felt helps me, is I go through periods where I will write four or five demos in a day, put them in a folder, wake up early the next day, another four demos, put that in a folder. If I’m lucky enough to get three or four days recording that week, in two, three weeks I listen to the folder and decide what to finish. I always find time is the best judge.

DJ Times: Any advice for creating music?

Dumont: You have to write. You have to stop thinking, “This is good, this is bad, I’m going to stop.” Most creatives have the philosophy of: I will work when I am inspired. That’s the most destructive process. Everybody in life has an eight-hour-a-day job. When I get time to spend in the studio, it’s eight hours a day. I get a lot done because of that. Last year, I did 150 shows and made an album. That’s because I worked eight hours a day on music on the days I was home, like a regular job.

DJ Times: Do you have people you produce with?

Dumont: I’m the sole producer. The vision starts with me then whatever means necessary for me to get to the best-sounding record, I will take that route. I never used to have access to

that. “Need U (100%)” was me making the entire beat and instrumental on my computer, then working with the vocalist A*M*E. Now my philosophy is… I will delegate to the best people around, but still be completely involved in every step. The best record producers over the last 50 years have been like that. Michael Jackson’s Thriller was 20 people in the studio, all knowing what they’re doing because Quincy Jones was telling them exactly what to do. The best pop music is always made like that.

D J T i m e s : Yo u wo r ke d w i t h Switch some years back.

Dumont: Around 2007, Switch signed me to his label Dubsided. He’s the only record label boss who ever brought me to a studio and showed me production techniques. Most producers are slightly insecure and think, “If someone knows how I do it, it will put me out of a job.” Switch was never like that. He’s a very selfless person. He showed me the ropes. I will always have a huge appreciation for him taking time and working on my earlier records with me to get them sounding as good as possible.

There are not many record producers who would do that.

DJ Times: You’ve done many remixes. Do you feel you gave away some of your ideas in the process?

Dumont: If you listen to my earlier remixes, you can hear a lot of them are my own production. The classic is one I did for Mystery Jets, “Two Doors Down.” The only two original components are the vocal harmony in the background and the bass guitar. I built up a new track based around that bass. That was an idea that should have been kept for myself.

DJ Times: Why? Dumont: There was a bit of naïveté giving away ideas that would have shot me to the limelight quicker.

But there are no regrets. Now if I do a remix and there is a vocal, I will include that. As long as I keep that intact I can do anything around it and the original feel of the song is still there. The other approach to remixing is to take that element that people might not have noticed in the original, but that’s a really good element.

DJ Times: An example?

Dumont: I did a remix for Mark Ronson, “I Can’t Lose,” recently.

There’s a brass section that sounds like Earth, Wind & Fire. I took that to the forefront more than he did in his original record and it’s given it a whole different spin. The one thing I learned from remixing early on was, through deconstructing the stems I could do backward engineering and learn how a great record was made.

DJ Times: Do you feel pressure to have chart hits? It seems that wasn’t

“Having a hit record energized me and made me appreciate the platform it gave me.”

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your original intention.

Dumont: I don’t necessarily agree. It was only four or five years ago that I was struggling to pay the bills with music. That spurred me to get better. When “Need U (100%)” got to No. 1 in the U.K., as much as I wasn’t courting it, when it did happen, the last thing I was ever going to do was give it up. I am unashamed to say I caught the bug and that rush of your song getting into the charts and having however many views on YouTube. It opened my eyes up to a whole different world. But when I go into my studio to make music, I don’t have the mindset of, “I’m going to try and make a worldwide smash hit record,” because honestly, I don’t know how. But having a hit record energized me and made me appreciate the platform it gave me. I never thought I would have financial security from what I do, which I didn’t have growing up.

DJ Times: Blasé Boys Club is the name for many of your ventures, this EP series, and your label amongst them. The label is not going to be all boys, is it?

Dumont: Ah no, no, no, it’s not for boys! I’m not a misogynist.

It’s a play on Pharrell’s Billionaire Boy’s Club where he promotes the idea of being a billionaire, whereas I promote the idea of being blasé. Essentially, I want to release music from a collective of producers and DJs and the last thing I want to do is sign acts who try to sound like me or do what I do. The acts I’ve signed are individual sounds and trajectories into music. I remember how hard I found it working with independent labels, how hard it was to make a living, how hard it was to get noticed. I’m hoping I can help with all that. I will also be setting up Blasé Boys Club night DJ tours that involve the warm-up DJ or the DJ after me having a release on my label. The night becomes about the night and not about me DJing.

DJ Times: Explain your unique approach to releasing music.

Dumont: The way my release model is set up, you’ll be hearing new music from me every three, four, five months, in some form. The other reason I like this model is there are certain tracks that, if they were on an album wouldn’t have gotten as much attention as they would on a smaller record. If anyone has (continued on page 42)

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ever N O T E V E R Y D J E V E N T G O E S F L A W L E S S L Y. BUT SOMETIMES, MOBILE PARTIES CAN BE A MATTER OF LIFE OR DEATH. B

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Chuck Yeager was DJing once at a Pennsylvania country club, and when this owner of Collegeville-based A&E Mobile Entertainment went outside after the gig he found his vehicle in the parking lot had been totaled.

“It turned out that it had been done by a drunk member of the kitchen staff,” Yeager recalls. “The manager knew all about it, but didn’t tell me until after the event was over because he didn’t want me to be distracted.”

Memorable, yes?

We asked mobile DJs from around the country about their worst-ever gigs and how they responded, and heard back from quite a few. Fortunately, these events are now all in the past… right?

Yeager also remembers playing music for a wedding reception at a trucker’s union hall in Reading, Pa., that was less-than-ideal, to say the least.

“It was dirty, too dark, and union members were still allowed to go to the bar during the reception,” he says.

“Yup, people off the street could walk in and drink in the hall with the invited guests.

“I thought it strange that there was a 60/40 split of people who were dressed up and those who weren’t. It just felt like some people were out of place. Eventually, I asked someone about it, and they said that the people who were not dressed up were union members, and that those members were allowed to use the facility even with the reception going on. And at one point, they took up a large chunk of the bar.”

DECEMBER 2015

spilled to the floor, landing on his back.

“The father of the groom attempted to follow up with his disgruntled other son by hoisting him to his feet and tossing him from the room, but he was foiled by a stomp kick to an arthritic knee. The two of them fell side-by-side and began strangling each other from a lying-down position.”

Croce says that, thankfully, most of the guests were police and were able to subdue and remove the best man without causing him injury.

Down the Pacific coast, Mark Haggerty of Denon & Doyle Entertainment in the San Francisco Bay Area had a gig earlier this year that he says was less than stellar.

“I was at The Ritz Carlton Half Moon Bay, a very exclusive seaside resort, and anyone having an event there has well-lined pockets,” Haggerty says. “Anyhow, the couple were foreign-born residents of Silicon Valley—with a large portion of their guests coming from Hong Kong and China.

“In many Asian cultures, dancing is not part of a wedding cerebration, so this couple was looking to me to get their somewhat-shy guests into dancing. I did a flawless introduction of the wedding party and the bride and the groom, and the couple went right to the dancefloor for the first dance [‘Everything’

by Michael Bublé]. But when I hit play, I realized the song was still cued 28 seconds in for an auction soundbite I had done a month before. I quickly recovered and re-started the song from the beginning.”

With 31 years of entertainment experience under his belt, Haggerty says this was an extremely rare mistake for him and maybe the only one like that in over two decades, but one that nonetheless put him off his game for the rest of the event.

“After toasts and dinner, we got to the father/daughter dance and everything was running on time and smooth as silk, and when it came time for the open dance, I had them all having fun for about five songs.”

But then someone requested “Sugar” by Maroon 5. Haggerty said he personally likes the song, but on this particular afternoon it cleared the floor.

“The last 45 minutes was me trying to get them back on the floor and I’m usually very good at this, but not on this day. The couple was going to extend it an hour, but the bride came up to me at 3:25 and said, ‘Just play the last dance – the party’s over.’

“Not wanting to give up, I asked her to give me a chance to get them back. I rallied some girls to get out there and some others and they did ‘Gangham Style,’ but it was still only about half of what I had earlier. They all went home happy, but by far it was the worst gig and most uncomfortable gig I’d had in years.”

Further down the West Coast, Alvin Achterhof of Complete Weddings & Events in Allen, Texas, says he was booked for an Albanian wedding two years ago that also featured a three-piece Albanian band at the Dallas/Rockwall Lakefront.

Says Achterhof: “Think ‘Big Fat Greek Wedding.’ The bride explained to me that I was to play dinner music and then play again anytime the band took a break during the open dancefloor. But one song into my dinner music, the band insisted that they play the dinner music. I checked with the bride and she said to allow it, so I sat for an hour doing nothing.

“They opened the dancefloor and played for almost two hours straight while I just sat there, doing nothing.”

Finally, the band took a break, which allowed Achterhof to play three American songs, and then the band told him they were ready to play again. They played again for another 90 minutes, while the DJ sat around, again doing nothing.

“We had a special American last dance lined up, so I had to stick around to play it, but towards the end of the night the band started doing what appeared to be some type of traditional departure,” he recalls. “I have no idea what was going on, since there were only a handful of people who spoke English there, and then the lights suddenly turned on and people started walking out.

“So I was paid to play a total of four songs and sit for almost five hours.”

And to make matters even worse, Achterhof says he didn’t even get tipped. “Not that I would have expected to, since I didn’t really do anything, but I guarantee the band made $1,000 in tips throughout the night. The guests were sliding $10s and $20s into the bellows of the accordion all night long, since the player was dancing around the room with the lead singer while the keyboard/percussionist was up on the stage with me.

“I guess if I had to empty out my tip bucket numerous times throughout the night, since it was overflowing, I wouldn’t want to stop playing for a DJ either!”

Over on the other side of the country, Larry Velez of Florida Mobile DJs in the greater Orlando area, remembers a wedding two years ago that saw a tornado strike nearby during the ceremony, only for the sun to come back out as the couple got married inside the reception.

“And then right after eating dinner—which was bad, I mean dry-rice-and-hard-chicken bad—two or three songs into the dance they got shut down by the local police for bringing their own liquor.

“The venue poured out their liquor bottles down the drain before the wedding started, but the bridal party kept bringing in more and more so the venue shut them down during the ‘Wobble’ dance.

“By the way, the bride then got on the microphone and cursed everyone out before walking out.

It was an ‘epic’ wedding.”

Speaking of the police, Blake Eckelbarger (aka DJ Sticky Boots) in South Bend, Ind., once spun for a wedding at a county fairgrounds for two of his former classmates who had wed immediately after their high-school graduation.

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And to make matters worse, a female member of the union kept coming up to Yeager and flirting with him.

“I declined, and then she asked me if I was sure because her house was just two blocks away,” he says. “At that point I noticed she had a wedding ring on, but when I pointed out that she was married, she pointed at a guy at the bar and said, ‘Yeah, that’s my husband, but he never comes home from here until they close the place up, so we could have a few hours.’

“I still declined, and that’s pretty much the whole night.”

Another Pennsylvania DJ, Steve Croce of Silver Sound Disc Jockeys in Philadelphia, once performed at a reception where: the best man (the groom’s brother) started a fistfight over not being loved enough; a server spilled pasta marinara on the bride’s dress (and then ran away); the wedding cake was accidentally knocked over when the groom waved the cake knife like Zorro (in an unsuccessful attempt to lighten the mood); the father of the bride fell down and broke his hip; and the photographer got drunk and assaulted his girlfriend in the parking lot.

All in the same night.

Actually, Croce says that particular ceremony and reception had begun like any other.

“The ceremony was flawless, and the cocktail hour was light and friendly, but there was an odd energy in the air,” he says. “It was almost like the moment the shadow of a giant storm passes over your head, darkening everything around you. The children stop swinging, the puppies stop barking, the temperature drops 10 degrees in a matter of moments.”

After the bridal party entered the ballroom and the first dance was shared, Croce says it was time to relinquish his microphone to a person whose breath was so marinated in bourbon that a cigarette would have spelled disaster for his eyebrows. He remembers the best man over-confidently swiping the microphone as he began delivering his speech.

“What began as a light poking of fun [at the groom’s expense] quickly unfolded into a toxic diatribe of resentment and disgust over what he called ‘a celebration of the biggest phony he’d ever met’ and his ‘selfish father’ who never loved him the way his brother [the groom] was loved,” says Croce. “As I attempted to reclaim the microphone from him, I was headed off by the father of the groom’s right fist, a fist that connected solidly with a bitter and angry jaw. The best man

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“It was a very average wedding and the venue was basically a pole building with a cement floor and overhead door on one end,” Eckelbarger explains. “It was also one of several buildings for rent at this fairgrounds.

We were just into the dancing portion of the evening when I heard screams over the music and people started running in and out of the different exits of the building.”

The next thing he heard was a girl telling another girl (who was pregnant at the time with one of his friend’s baby) that she needed to think of her baby now and then

started seeing people come into the building with blood on their clothes.

“I was obviously quite concerned at this point and turned the volume of the music way down, but didn’t want to announce anything without knowing what was really happening,” he says. “But it wasn’t long until there was blood on the dancefloor, blood on the wedding cake and every police officer within the county on the site.

“Apparently, there was another party going on in a different building at the fairgrounds, and some of the male guests from that wedding had been insulting the mothers of the bride and

groom at our own wedding. One thing led to another and a huge knife-andbroken-beer-bottle fight had broken out, with several guests from both parties sustaining serious injuries. No one got shot and no one died, thankfully, but it was tense for a while.”

Of course, once Sticky Boots found out exactly what was happening, he had already stopped the music completely. “I gave instructions to the remaining guests at the direction of the police, then kept playing music quietly just to break the awful silence. The police ended up instructing the other party to leave the fairgrounds—at

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least those not arrested—and told the guests from my party that they would need to stay on-site until at least 2 a.m. to minimize the chance these groups would meet again somewhere else in town.

“It’s not the way you want your wedding day to play out, and I felt so badly for the bride and groom who were also good friends of mine. They took it in stride, however, and kept a good attitude—happy for the fact that none of their closest friends were injured. We actually laugh about it now and they’re still very happily married.”

Of course, probably the worst gig any of us could imagine would be if someone died at one of our gigs, and Eckelbarger can, in fact, remember his father doing a wedding when the bartender at the reception hall had a heart attack and died right there on the dancefloor.

And we found two other DJs who had this horrible occurrence happen at events for which they were entertaining.

In his 35 years of DJing, Mark Ashe of Marx Enter tainment & Events in Enfield, Conn., says one wedding stands out more than any other, and that’s when a father of the bride dropped dead on the dancefloor, right after paying him to play music for an additional hour.

“This happened at a very popular reception hall in Holyoke, Mass.,” Ashe says. “I particularly remember this father of the bride giving a great toast to the new bride and groom earlier in the evening, and it was so good that I remember complimenting him right after he finished.

“The wedding was rocking all night, and he came up and told me to keep it going longer. The dance set went for several minutes and ended with ‘Runaround Sue’ and slowed down into ‘Unchained Melody,’ and It was at this time that he unfortunately dropped right there on the dancefloor and was never revived.

“It’s a horrible feeling to be in a room at this time, watching such a great occasion turn into a nightmarish hell for family and friends. I was in charge of asking if there was a doctor in the house and requesting someone to call 911.”

Of course , Ashe immediately turned the music completely off and, after the man was taken away by the paramedics, family lingered and cried as he slowly broke down his equipment—still in shock himself.

“Surprisingly, the bride and groom called me a couple days later to thank me for my service and the way I handled the ordeal,” he says. “It’s terrible to think that this bride now has to associate the death of her father on the anniversary of her wedding every (continued on page 40)

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Amsterdam, Holland â&#x20AC;&#x201C; The global DJ/ dance-music industry descended upon The Netherlands this past Oct. 14-18 for the Amsterdam Dance Event.

The 20th annual conference/festival delivered a packed slate of discussion panels and tech seminars at the Felix Meritis Centre, the Dylan Hotel and many other area venues. Later each evening, A.D.E. delegates and fans enjoyed dozens of sponsored parties and club events featuring DJs of all stripes.

DJ Times was there, meeting with the industry reps and reporting from the show. Also, DJ Times TV was shot video interviews with several top-talent DJs. It all looked like this:

Awakenings: Carl Cox rocks Gashouder.

Darryl Adelaar

Music Talks: Recess with Skrillex.

A.D.E.

Dutch Duo: Ben Liebrand & Armin van Buuren.

Bas Uterwijk

Amsterdam Da ONCE

AGAIN,

A.D.E.

DREW

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Overdrive: Oliver Heldens at Paradiso.

A.D.E.

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Modular Battle: Noisiaâ&#x20AC;&#x2122;s Thijs de Vlieger at Sound Lab. Tim Buiting

Revealed: Hardwell at Heineken Music Hall.

Vincent van den Boogaard

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Techno Talk: Dave Clarke & Chris Liebing team up.

Bas Uterwijk

House Legend: Q&A with Marshall Jefferson.

Michiel Ton

Music Talks: Martin Garrix offers advice.

A.D.E.

About Town: A.D.E. branding lit up the city.

Tom Doms

ance Event â&#x20AC;&#x2122;15 WORLD

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DJ in Meditation: Jeff Mills at Rembrandt House.

A.D.E.

Futuristic: Maetrik at HYTE Warehouse.

Tim Buiting

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&

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MAKING TRACKS STUDIO…HARDWARE…SOFTWARE…

KRK MONITORS: NEW ROCKITS

ROKIT 4: Great for portable or studio apps.

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DECEMBER 2015

By Wesley Bryant-King

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I’ve reviewed a lot of different studio monitors over the years, giving me a monitor stands ideally positioned in that manner, for me, it was a matter of chance to sample and compare a wide range of options when it comes to one setting the on the stands, and wiring them up. of the most essential ingredients for any home (or for that matter, profesWhen I loaded a familiar track and dialed up the volume on the ROKIT 4s, I sional) studio. have to confess: I was stunned. I normally eschew small monitors as little more It was, in fact, back in early 2014 that for these pages I last looked at the than toys, and perhaps I should reconsider. The ROKIT 4 delivers stunning lowofferings from KRK Systems, arguably one of the better-known and mostend, especially for its size. The specs say the low-end bottoms at 51 Hz, but respected names in the space; I’ve spotted their distinctive, bumble-bee-yellow with some types of source material, I barely noticed the difference vs. my usual Aramid glass composite speaker cones in plenty of studios over the years, too.

8-inch monitors, despite a total power rating of just 30 watts in the ROKIT 4s.

KRK recently introduced a tiny new entry into their ROKIT product line—a Rich Renken, a product manager with KRK and an accomplished mix enlittle two-way monitor with a small 4-inch main driver. In addition, the ROKIT gineer in his own right, said that the overall tuning of the ROKIT 4 is quite 10-3 has been updated to its 3rd generation edition (“G3”) with some minor consistent with the rest of the ROKIT family. As I tend to work primarily on tweaks. Representing two extreme ends of the monitor spectrum, I recently EDM where nearly sub-audible kicks or bass are the norm, Renken suggested had a chance to look at both. connecting the 4s to a studio sub-woofer to fill out the very low end. That sugFirst Impressions: Both the ROKIT 4 and ROKIT 10-3 units are solgestion turned out to be a good one; the end result was pleasing and sounded idly built studio monitors that exude a certain satisfying aesthetic from the phenomenal. But, I still wasn’t convinced about using a small monitor, so I asked moment they’re unboxed. From the shape and location of the front firing Renken about it. port to the curves of the rest of the cabinet, there’s a rather distinct family Renken mentioned that Grammy-winning mix engineer and producer, Jacresemblance. The only immediately apparent difference is the size—and the quire King, has for years used ROKIT 5s to mix a series of big-name projects. heft. Well, in my case, the color as well; reflecting their different potential apI told him I was shocked. “I was surprised, too,” he said, “but the guy loves plications, the ROKIT 4 is available in black, silver and, in the case of the pair I them.” What about the size? I mentioned I’d never suggest anything less than reviewed, white. (The ROKIT 10-3, like the rest of the series, is available only an 8-inch main driver for serious work. “The truth is that it’s largely a matter in black.) Also consistent across the ROCKIT line is an automatic standby that of headroom, but given that most mixing happens these days in bedrooms and kicks in after 30 minutes of idle time. Nice touch. living rooms, small monitors can deliver plenty of sound for today’s smaller Viewed from the back side, the family continustudio spaces.” ity continues. Both models have the flexibility For my purposes, I’d still insist on pairing them of three different input choices: Unbalanced with a sub, but I absolutely wouldn’t hesitate to RCA, balanced XLR and balanced ¼-inch use them in a tight space, or perhaps taking them TRS. Both sport a continuously variable gain with me to a buddy’s house for a jam session with control (-30 dB to +6 dB), along with a range a synth in tow. They’d also make terrific booth boost and cut options for HF and LF frequency monitors for mobile DJs. I was impressed enough response to tune the monitors to their envithat I was rather hoping KRK would somehow ronment (each with four positions). Given that forget that they loaned the ROKIT 4s to me for smaller monitors sometimes dispense with this review. (Sadly, they didn’t, so on my “buy” list some of these features, it was refreshing to they go.) see everything still available on the ROKIT 4s.

As for the 10-3 G3s, the results of my evaluThe ROKIT 4 features a 1-inch dome tweetation are right in line (unsurprisingly) with the er in addition to the 4-inch main driver. The conclusions I made nearly two years ago when I 3-way 10-3 G3—technically a mid-field monireviewed the G2 versions—incredible. If you have tor, vs. near-field like the 4s—retains the 10-3 the space, can afford the spend, or need the power G2’s combination of a whopping 10-inch main and headroom for your studio, a decent three-way driver, with a 4-inch midrange, and 1-inch monitor with a 10-inch main is pure joy to use, and tweeter—a combination that (vs. a two-way the ROKIT 10-3 G3 is most definitely that. design) arguably delivers a more consistent Playing back a wide range of material across a overall sound for those with the room to acvariety of genres, the sound was as crisp, clean, commodate them. and pure as I would have expected. When it comes One of the changes in the G3 version of the to studio monitors, I value them as much for 10-3 monitors is the switch to a Class D amwhat they’re not, as for what they are. With a low plifier. The change results in noticeable weight noise floor, seemingly flat frequency response, reduction, making them easier to handle. Purand capable power handling to give that plentiful ists might argue about the differences in amheadroom, quite frankly, the ROKIT 10-3s are a plifier classes and the designs that implement treat to use. them; most pros I’ve talked to say the differI asked Renken what makes a good studio ence is one more of perception than reality. monitor; I assumed that the objective was to make Set-Up & Use: Positioning of these (or any them as flat as possible so as not to color the monitors) is a matter of getting the units at or sound. “Flatness is important, but even if you could around ear level from the user’s position, and build a perfectly flat monitor,” he answered, “once aimed head-on to the user. As I have existing ROKIT 10-3: Solid sound in studio environs. (continued on page 40)

SOUNDING OFF PLAYBACK…PRO AUDIO…PROCESSING

ALL-IN-ONE: TRAKTOR KONTROL S5

By Paul Dailey

DJ TIMES

DECEMBER 2015

Native Instruments’ S5: Portable & Stems-ready.

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In late 2014, Berlin-based Native Instruments threw the DJ blogosphere into a frenzy with the introduction of their first “platter-less” controller, the TRAKTOR KONTROL S8.

Given the direction of the company’s software and advanced elements, which are frankly not possible using the old paradigm of manual beat-matching, I don’t see how anyone who has been paying attention could have been surprised. But that didn’t stop the “DJ-purist” brigade from coming out of the woodworks to protest.

Half a year later, with N.I.’s introduction of further forward-thinking features like Stems (more on this later) and the support of a number of big-time DJs, the S8 has found its place and is no longer being spoken about in such hyperbolic terms. Having said that, one of the few legitimate criticisms of the S8 (in my estimation) was related to the sheer size of the unit—it’s nearly 8.5 inches larger than the S4 and the new S5. For some DJs, finding room for S8 (or other similarly sized units) can be a challenge.

Enter the TRAKTOR KONTROL S5, marrying the footprint of the S4 and many of the enhancements found on the S8, to deliver one extraordinary controller.

First Look: Clocking in at $799 (MAP) and bringing forth a layout that is at once futuristic and familiar, the S5 features a ton of useful bells and whistles— and it makes quite an initial impression. Thick rubber pads, coherent layout and two bright, useful screens will help you move your laptop off to the side and interact more directly with your audience – something I am a big fan of. And yes, it comes included with Native Instruments’ flagship TRAKTOR DJ software.

Features: Many of my favorite features (hot cue, remix freeze and flux) from its big brother, the S8, are also here, offering the ability to trick out your tracks and jump around like a champ. Easy access and assignment of effects, along with visual cues of percentage timing is here, along with a responsive touch strip and pro-quality XLR outputs.

Tradeoffs: In spite of its size, I am a big, big fan of the S8, so in reviewing what is basically a pared-down version in the S5, I had to start with the idea that I would be giving up some of my favorite features and functionality in exchange for a much more portable option. A couple of omissions weren’t a big deal, but a few others have proven to be more challenging to get my head around.

One of the most exciting new enhancements from the Native Instruments team is called Stems, which in essence is an open, multi-channel audio file that contains a track split into four musical elements—bass, drums, vocals, and melody, for example. With each element available independently, DJs can mix in

ways that just weren’t possible until now. (Indeed, Stems has enjoyed support from major dance-music retailers like Beatport, Traxsource, Juno, etc.)

In theory, everything you can do in terms of manipulating stems files with the S8 is also possible with the S5. In practice, the omission of the ability to control all four stem elements without having to “double dip” by using the same keys for multiple features makes the S5 a bit more challenging. (Editor’s Note: Native Instruments’ Constantin Köhncke says, “Many DJs have mentioned to us that using the pads to control on/off is actually really great, but using sync to control filter and precise volume is more challenging.”)

Applications: The real question in evaluating the S5 for me comes down to where it fits in the product line. Is Native Instruments attempting to entice S4 users to fully embrace the sync-only paradigm and move up to the S5? Or is it the company’s intention to offer a less expensive and more compact option for S8 enthusiasts to take their love of remix decks and stems into the real world without breaking the bank (or their backs)? I guess it comes down to where you do most of your work.

If you are a mobile DJ or open-format type of club DJ (mixing disco, funk, soul and other variable tempo music), you likely still have the need to make quick tempo changes and beat manipulations. In this case, the S2 or S4 units are likely to remain your controllers of choice.

If, on the other hand, you are a dance-music DJ who has fully bought into the idea that the skill in DJing is in programming and live remixing and not manually syncing tracks, you should definitely consider the S5 or S8.

Advantages: Again, the S8 is my favorite, but as mentioned, where it falls down is related to portability. The S5 is much lighter, easier to move around and fits into all of the same bags and backpacks as your S4. Another positive aspect of the S5 (for those familiar with the S4) is that the layout and design is very similar, leaving many buttons in the same place and making for a much more natural transition.

Conclusion: While you can use nearly any controller for your DJ sets, the deep integration Native Instruments has built between its software and the TRAKTOR KONTROL S2, S4, S5, and S8 units makes it increasingly difficult for Traktor users to venture outside of the N.I. eco system. Lucky for us, Native Instruments has a rock-solid lineup of outstanding hardware products for DJs of every type.

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

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MOBILE PROFILE CAREERS…INNOVATIONS…SUCCESS STORIES

By Ed Convery Cranford, N.J.—John DePalma’s story, like so many DJs, starts “in the neighborhood.” He connected with a local DJ was looking for outgoing, personable people to assist him at events.

“I learned the business very quickly,” says DePalma, who adds that the DJ was so pleased with his progress that he began referring DePalma to many of his DJ colleagues in the area who were also looking for help at their events.

“Within months,” he recalls, “I found myself booked every single weekend for several different companies.”

John DePalma started All Star Entertainment in ’02.

DJ TIMES

DECEMBER 2015

DJ SEES CLIENTS AS “CHERISHED FRIENDS”

30

However, DePalma noticed that the quality levels—of performance and client relations—seemed to greatly vary. “I discovered that each company had a different definition of what a being a DJ/entertainer was vs. still operating an actual successful business, which led in some cases for various reasons, an unhappy client.”

DePalma’s career moment occurred when he moved to Florida to work full-time at the No. 1 entertainment resort in the world, a company that was the undisputed leader in “Creating Happiness.”

“The expectation of their team was the same in every single role on property, to ensure that each and every guest has the most fantastic time possible from every aspect from the beginning to very end of their trip,” says DePalma, who can’t mention the company name for contractual reasons.

Turns out, learning and executing these core values in “exceptional service... every one, every time, everywhere,” that has successfully stood for over 50 years, had literally transformed his mindset.

“I began to execute my roles as if I own the company, and the guests were my own clients.”

He returned to New Jersey after a year, a changed man, and a changed performer. In 2002, he decided to open his own DJ business—All Star En-

tertainment—one that would focus on the aspect of the business that he saw the industry lacked.

“I would provide not only top-of-the-line professional equipment, but from the very first phone call from the client to the last dance of their celebration, I’d ensure that we’ve exceeded their expectations and that they’ve enjoyed their experience in doing business with us the entire way.”

I asked DePalma what some of the challenges were in starting his business. “Most business owners in any occupation,” he replies, “will tell you that it’s hard to find good people to work for you that will treat your company as importantly as you will. In our case, in addition to that statement, when you’re now adding to the job description, ‘Must have the passion to exceed the expectations to ensure all of our client’s dreams come true,’ it tends to eliminate a good portion of potential candidates from our interview process very quickly. We’re lucky that the four entertainers we currently have are passionate about what our goal is. As they say, ‘Your company is only as good as your weakest DJ,’ so in spite of the challenges in the beginning in finding the right fit, it was certainly worth it.”

DePalma says it was matter of keeping these key principles and values in place, and “eventually it becomes second nature for those working around you.”

DePalma says referrals constitute 75-percent of his business, considering every event they do as an audition for the next event. He quotes Lee Cockerell, a former EVP, who’s published several books on topics from leadership strategies to delivering sensational customer service. “One of his quotes that we live by is, ‘Be careful what you say and do as everyone is watching you and judging you every second.’ From the very point we arrive onsite, we consider ourselves, ‘On Stage,’ since it’s not just an opportunity for the guests to consider your services for their next event, but for the banquet hall to begin recommending your company to their clients as well.”

One innovation that has changed DePalma’s business is the incorporation of uplighting, an addition that happened quite peculiarly.

“My turning point of considering an expansion to add lighting and photo booth services was actually decided at a conversation with a guest at one of our events,” he says. “The client hired a ‘lowend’ photo booth, and the mapping of the room required it to be set up near our DJ area. The photo booth was lacking quality and his presentation was extremely poor. To my surprise, a guest approached me and asked what the fee would be to rent my booth. I had just realized that this ‘lowend’ booth was being mistaken as a reflection of my company. So, just like our audio equipment, we went to the top manufacturers and purchased top-of-the-line equipment. So it’s helped our business in a very simple way with our clients, since if you are trusting us already with your special day musically, then you can trust that the quality and ethics are also in place for our additional lighting and photo booth offerings.”

When I ask DePalma where he see his business in three years, he can only think about it in terms (continued on page 40)

BUSINESS LINE SALES…MARKETING…SOLUTIONS…

By Gregg Hollmann In last month’s issue, Part II of my annual Expo Wrap-Up included tips on how to be a great performer and marketing to Latin events.

But that’s not all that occurred in the Expo seminar rooms this past Aug. 10-14 at the Trump Taj Mahal. Here are some more highlights from that week in Atlantic City, N.J.

THE MYTHS & METHODS OF BEATMIXING In an annual DJ Expo tradition, veteran DJ Frank Garcia of New York City’s Mainline Lighting and Sound demonstrated three mixing techniques: 1) fade and cue, 2) the break mix, and 3) the beat mix.

While technology and the “sync” key have made it easy to beatmix, Garcia recommends that DJs learn through the oldfashioned method—by ear. He also cautioned that musical programming always trumps technical mixing ability.

Interspersed in the technical instruction, the ever-optimistic Garcia delivered life lessons. For example, while we as DJs tend to play the same records, how you play your records is extremely important.

Garcia recommends taking chances at parties in order to stand out in a sea of thousands of other DJs. While not every chance will produce results, Garcia says “that with failure comes success.” Dropping “a cappellas” is one way for DJs to gain distinction. Finally, once clients trust you as a DJ, you will command pricing power.

RIGHT ON THE MONEY—SPINNING COUNTRY Alan Kohn from Premier Entertainment in Connecticut has been spinning country music at bars and private events for two decades. So, no—the popularity of country music is not limited to the southern United States. DJs can tap into this niche market by spinning at country-themed clubs, working on cruises, or throwing their own parties at hotels.

Line dancing, an integral part of the country party scene, can be learned by utilizing free online sites like www.copperhead.co.uk and www.kickit.to that offer step sheets and free instructional videos.

In Kohn’s case, he utilizes staff dancers to lead line dances at events, usually recruiting guests from parties based on their skills and charisma. For those DJs who need line-dance specialists for parties, there is a large community of line-dance enthusiasts who can be pulled in on a freelance basis. Kohn also recommends that DJs take dance lessons to increase their skill in this important performance attribute.

Even DJs who do not plan to specialize in country parties can add interactive elements to regular parties by teaching a line dance like “Wagon Wheel,” “Cotton Eye Joe,” “Boot Scootin’ Boogie,” “Country Girl Shake It,” and “Save a Horse (Ride a Cowboy).” Kohn’s Youtube channel (DJAlanKohn) showcases 70 country line dances

image. Contracts should contain a provision citing your home state/municipality as the applicable jurisdiction of law.

Finally, with the increased popularity of music streaming services like Spotify, DJs must check the licenses carefully to determine if music may be streamed for commercial purposes. In the case of Spotify, the answer is “no.”

The willful violation of copyright law is a “big no-no”—for example, the owner of a multi-op who purchases a single subscription for a music service and then distributes copies to multiple DJs. Those willfully breaking copyright law can be fined $150,000. DJs frustrated by Soundcloud’s removal of online mixes should consider setting up a radio station podcast.

WRITE YOUR OWN SUCCESS STORY Adam Weitz from Philadelphia-based A-Sharp Productions doled out wisdom based on a career spanning over 20 years.

First, Weitz reminded DJs that the business is a service industry, and that we should have a genuine attitude to serve that comes from the hear t. Of course , the business that you will gain from this shift in mentality is huge. While it’s important to work hard on your business, DJs need to work even harder on creating a life plan and finding a work-life balance.

If you make a mistake, be honest with clients and show vulnerability. You will generally be forgiven.

Lastly, to manage his time more efficiently, Weitz has his DJs call a “706 Line” where they leave a message recapping the good, bad and ugly from a gig. This prevents Weitz from having to take late-night phone calls.

GROWING YOUR BUSINESS THROUGH VERTICAL INTEGRATION Keith “K.C.” KoKoruz from Chicago provided details about an alternative growth model for DJs. K.C. was frank in saying that “the days of going out with two speakers to make a living are over.” KoKoruz himself has been expanding by starting new businesses and acquiring existing businesses. All of his businesses are related to the wedding and events industry with his business portfolio including a bridal show producer, a flower shop, a health-and-beauty division and a DJ/events production operation.

KoKoruz introduced a change in perspective by asking if DJs would be delighted to have a 20-percent market share of their local wedding DJ business. Of course, we would, but this is unrealistic for most markets. However, by introducing related businesses such as photography, videography, lighting/decor and event planning, a vertically integrated DJ company could easily gain 20-percent of a bride’s total budget for her wedding day. Acquiring existing businesses, particularly distressed ones, can be done inexpensively.

By vertically integrating, DJs can quickly ramp up their sales to six or even seven figures. A common concern voiced by attendees was how to manage multiple businesses. In K.C.’s case, he utilizes professional managers to run each business on a day-to-day basis, and also has a dedicated sales force. This frees up his time to focus on strategic development and high-level sales and marketing.

KoKoruz recommends that DJs surround themselves with good people, and that managers “delegate or else suffocate.”

When McDonald’s began, it did not ask its customers, “Do you want fries with that?” But the fast-food giant soon learned. Similarly, we, as DJs, should ask our clients, “Do you want some [fill in the blank] with that?”

DJ TIMES

DECEMBER 2015

TAKEAWAYS, PT 3

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LEGAL ISSUES FOR DJS North Carolina-based entertainment lawyer and former DJ, Coe Ramsey, provided a wealth of tips to help DJs navigate a complex legal world.

First, in order to shield personal assets, DJs should adopt a corporate structure and take great care to separate business and personal accounts. Interestingly, informal partnerships among DJs can sometimes be construed as legal partnerships, imposing certain legal obligations on the partners. When setting up non-compete agreements to prevent departing DJs from taking clients, the terms of the non-compete must be reasonable in terms of duration and geographic scope. If not, the non-compete will be difficult to enforce.

Other useful information included the definition of “employee” versus “subcontractor.” It varies based on state laws; however, in general, if a company controls an individual, they are considered an employee.

A huge benefit for DJs using legal contracts is the increase in professional

CONCLUSION KoKoruz reminded DJs that “just 5-percent of professionals in any given industry willingly participate in continuing education.” A round of congratulations is therefore in order to seminar attendees who took the time to elevate themselves and the DJ industry.

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

Need We Say More?

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–Sound On Sound “These Speakers bang! They sound extra great with the P-1800SX subs!”

–Amazon Customer Review “The Cerwin-Vega! P-Series is an excellent option for those who are looking for a perfect and powerful sound.”

–Musico Pro

P Series POWERED SPEAKERS

P-1000X

P-1500X

PROFESSIONAL AUDIO

P-1800X KRK Systems is a member of the Gibson Family of Brands. ©2015 Gibson Brands, Inc. All rights reserved.

www.cerwinvega.com

GEAR AUDIO…LIGHTING…STUFF

Wanna Be Startec Something

Gator Frameworks

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

18922 N. Dale Mabry Hwy Lutz, FL 33548 (813) 221-4191 www.gatorframeworks.com

ADJ has released its Startec Series of three “futuristic” effects—the Stinger, Mini Dekker and Starburst. The Stinger creates a moonflower/ strobe/laser combo effect using three light sources–six 5W hex-LEDs, eight 3W white LEDs and a red and green laser. The Starburst is a mirrorball effect created in both sound active and DMX-controlled modes using a 50W source, which consists of five 15W six-color (RGBAW+ purple) LEDs. The Mini Dekker is built with 48 lenses and two 10W quad-colored LEDs that produce RGBW-colored effects in five operational modes.

The iD Series adjustable speaker stand is able to hold up to 125 pounds and can be folded into a compact, cylindrical design at the end of the night. It comes with a Lift-EEZ piston driven lift assistance system that lets users adjust the stand height up to a maximum of 75 inches. In addition, an adjustable third leg is included for leveling on uneven surfaces. Features include one-handed CAM operation, integrated sliding adapter for 35mm speakers and built-in cable management.

DJ TIMES

DECEMBER 2015

Everything’s Under Controller

34

Guillemot Corporation BP 2 56204 La Gacilly Cedex France +33 (0) 2 99 08 08 80 www.hercules.com The Hercules DJControl Compact controller features a compact, elongated shape that the company says makes it easy to fit in laptop computer bags and other bags. The controller sports dual jog wheels that measure three inches in diameter. It also comes with two sets of four pads and one two-band equalizer for each deck. Volume can be controlled independently on both tracks. The Hercules DJControl Compact comes with DJUCED 18 mixing software and it connects to both Mac and PC computers via USB.

Turn the Beat Around Numark Industries 200 Scenic View Drive Cumberland, RI 02864 (401) 658-3131 www.numark.com Numark’s TT250USB is a professional direct-drive turntable that comes equipped with a quartz-controlled, high-torque motor. Utilizing the included USB cable software download card, the TT250USB is able to connect to a computer and analog records to digital files. There is a highquality magnetic cartridge comes pre-mounted and aligned in the headshell and the unit also features a cast-aluminum platter and an S-shaped tonearm with anti-skating control and damped cuing.

Can You Hear Me Now?

Time+Space Distribution Unit 7A-B Cranmere Road, Exeter Road Industrial Estate Okehampton, Devon EX20 1UE, UK +44 (0)1837 55200 www.timespace.com

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

Legacy is the latest sample library from Zero-G. Inspired by sounds from the classic sci-fi movies of the 1980s, Legacy includes more than 1.5 GB of atmospheres, cinematic FX, drones, impacts, rises and suspense-filled ambiences. The library, which the company says is 100-percent original and royalty-free, contains 390 instruments in Kontakt, EXS24, HALion and NN-XT formats, as well as samples in Acidized Wav and AIFF Apple Loop formats all recorded in 24bit audio.

Pioneer’s HDJ-700 headphones are available in four designs—matte black, matte black with a gold or red stripe, and cool white. The fully enclosed headphones sport snug-fitting ear pads and rotating ear cups with rubber grips for one-ear monitoring. They come with 40mm driver units with rare earth magnets for powerful bass, while a 19-micrometer diaphragm and a copper-clad aluminum wire voice coil accurately reproduce kicks and snares. Additional features include a stainless steel headband and replaceable cable.

Go With the Flow

No Strings Attached

Mixed In Key 3250 NE 1st Ave #305 Miami, FL 33137 www.mixedinkey.com

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

Mixed In Key announced the new FLOW 8 DECK DJ software. Currently available for Mac OS X, FLOW 8 DECK allows users to play two, four or eight tracks at the same time and keep them all of them in sync.

Users can also play the new Stems files inside each deck, giving them “the perfect way to EQ each track,” according to the company. The software features detailed audio waves, flow lines that connect decks that share the same key, and an energy knob that adds intensity to the music.

Chauvet is offering a series of USB-compatible fixtures that are controllable with a thumb-drive-sized D-Fi USB transceiver, the D-Fi USB. The D-Fi transmits wireless DMX signals, giving users total wireless DMX control of the unit from a CHAUVET DJ FlareCON Air or any other D-Fi compatible transmitter. It can also be used to provide completely wireless Master-Slave operation. The D-Fi can be used on a variety of products ranging from low-profile LED pars and Chip-onBoard color washes, to a gobo projector, LED strobe and simulated water effect.

DECEMBER 2015

Time Warp

GEAR

DJ TIMES

AUDIO…LIGHTING…STUFF

35

GEAR AUDIO…LIGHTING…STUFF

All in the Box

Headphone of the Class

VELVET Fog

Joachim Garraud Producer Box www.joachimgarraud.com

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

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

The Reloop RHP-15 DJ headphones feature a closed construction, 50mm neodymium drivers and thick headband padding. The cushioned ear cups have rotatable hinges and the headphones feature a frequency range of 10 Hz – 20 kHz. They come with a removable audio cable, aluminum inlays and one-sided cable routing.

Gold-plated connections, including 3.5/6.3 mm jacks, are also included. The headphones ship with a large bag for transporting headphones and accessories.

VELVET LOUNGE is the first MASCHINE Expansion from Native Instruments that is designed for R&B and soul music. It features selected samples of Rhodes, vocals, organs, polyphonic pads, guitar chords and licks, as well as exclusive MASSIVE presets that fill out the low end. SFX kits that feature processed field recordings, sample guitar harmonics, and off-center sampled harps are also included.

Additional features include trap-style programming, 808 beats REAKTOR PRISM, which the company says adds touches of bells in the high frequencies.

Veteran producer Joachim Garraud has released the Producer Box, a custom, limited-edition product that contains his new studio album (titled 96/24), a comprehensive suite of software production tools, complete sessions, tutorials and more. Created by French designer Sacha Lakic, the Producer Box offers 50GB of Garraud’s custom sounds, a CME Xkey USB keyboard, plus software that includes Ableton Live 9 Standard Edition, Lennar Digital Sylenth1, Arturia Mini-V and much more. All content delivered on an external hard drive (1 TB).

Available from November 27 to December 31, 2015.

Steady as She Bose

DJ TIMES

DECEMBER 2015

Bose Corporation Corporate Headquarters The Mountain Framingham, MA 01701 (508) 766-4590 www.pro.bose.com

36

Bose Professional released the F1 Model 812 Flexible Array Loudspeaker and F1 Subwoofer, which are designed for live music, DJ, corporate AV, house-of-worship, AV rental and general P.A. applications. The loudspeaker “delivers high SPL performance while maintaining vocal and midrange clarity,” according to the company. It is designed with eight Bose proprietary 2.25-inch drivers, 100-degree horizontal waveguides, a high-powered 12-inch woofer and a lower crossover point. Both the loudspeaker and subwoofer, which is an optional add-on for extended bass response, offer 1,000 watts of power.

AUDIO…LIGHTING…STUFF

It’s a Facade Grundorf Corp.

721 9th Ave Council Bluffs, IA 51501 (712) 322-3900 www.grundorf.com From its G-Series of DJ-façade products, Grundorf has released the GS-LS4872TB Lycra Façade. Designed for DJs, the new façade enhances the audience’s visual experience by adding a stylish ambiance to the room. Available in black or white Lycra, the new model is designed specifically for use with standard 6-foot tables. When used with LED lighting, the Lycra material diffuses the audience’s ability to see the light fixtures behind the material and, thus, creates a more polished on-stage

Tempted to Touch Akai Professional 200 Scenic View Drive Suite 201 Cumberland, RI 02864 (401) 658-4032 www.akaipro.com Akai Professional’s MPC Touch is the latest addition to the company’s MPC product line. It’s a touch-screen controller that is powered by a seven-inch color multi-touch display. The controller includes MPC software with over 20 GB of sound content. It features 16 velocity-sensitive MPC pads with RGB backlighting, four touch-sensitive controls, sample edit control, a data encoder knob and XYFX control for adding effects and adjusting sound dynamics in real time.

GEAR

Stylish Cans Roland US 5100 S Eastern Ave Los Angeles, CA 90040 (323) 890-3700 www.rolandus.com Designed and built by V-MODA in collaboration with Roland, the M-1000 AIRA headphones boast the sound quality and styling of VMODA’s Crossfade M-100 over-ear headphones, along with the AIRA logo customized on each shield and AIRA-green chevrons on the headband. Developed with musicians, producers and DJs in mind, the M-100 AIRA features an exclusive heavy-duty two-meter cable that incorporates a secure and highly stable locking mechanism. The M-100 AIRA enables users of Roland’s AIRA range of instruments and effects to hear and feel every detail of their performance on stage or in the studio.

You Are a Cinema Sample Logic www.SampleLogic.com Sample Logic has released CINEMORPHX, a cinematic virtual instrument library fit for sound design, music production and more. Powered

by Native Instruments’ industry-standard KONTAKT platform, CINEMORPHX is built on the framework of CINEMATIC GUITARS INFINITY. All of the sample material is integrated into a single, state-of-the-art KONTAKT library with all-new sound design, presets, and effects functionality for a totally reinvented production experience. CINEMORPHX offers over 6,000 presets/30GB of content.

TRACKS…MIXES…COMPILATIONS

Will Clarke

Rae

“DEEP IN YOUR LOVE” EP

groovy track—and an awesome remix package. Including mixes from Morales, DJ Spen & Gary Hudgins, Duce Martinez and Tedd Patterson, this one’s going to turn out your dancefloor.

u Rae u Azuli Records

Both cuts show Rae’s matchless ability to combine her powerfully soulful vocals with thunderous bass-heavy grooves. The title track crashes through with evocative 808s and infectious vocal harmonies, while “Don’t Make Me Wait” treads a darker path with ominous synth stabs and haunting low end.

– Tommy D Funk “SO GOOD” u Meli’sa Morgan

u RFC Records

With deep-house/R&B diva Morgan out front, Lenny Fontana delivers two pounding underground-house mixes that work well, while retaining the track’s more soulful elements.

– Tommy D Funk “TURN IT UP” EP

u Will Clarke u Dirtybird

– Tommy D Funk

The Bristolian DJ/producer polishes off his breakout year of stellar productions with a superb two-tracker. The title track has roaring alarms, squeaky effects, and distorted vocal snippets dancing over rushing 808s and a thumping, quirky bassline, channeling classic Dirtybird vibes for a stellar outcome. On the flip, “Can You Funk” goes even harder with a throbbing low-end and a killer tech-house drop.

ST GERMAIN u St Germain

u Warner Music France

St. Germain (aka Ludovic Navarre) dives back into the scene after 15 years away, and this sweet full-length offers deep, blues-inspired grooves—its jazzflavored chords instantly wash over you. On this collection of deep, emotive journeys, the soulful house rhythms are undeniable. Don’t sleep on this one.

– Chris Caruso

– Shawn Christopher

WATERGATE 19: SOUL CLAP

“MOVING ON”

DJ TIMES

DECEMBER 2015

u Soul Clap u Watergate Records

38

u Mike Mac & Mark Dickson u Karmic Power

This past July, Soul Clap performed a nearly perfect, all-vinyl, funk-house set at the Watergate Open Air beach. Be sure to check the long filtering and evolving pads of “Turn On Tune In (To-Ka Blowout Mix),” the magnetic groove of “Sweet Nothing,” and finally, the cheeky vocals of “Dance U Mutha.”

Sexy meets classy on this fantastic production. With some deep Rhodes piano, smooth drums, a great hook, and a vocal reminiscent of Mariah Carey, this is a great vocal-house track. Full support here.

– Tommy D Funk “SILVER MACHINES” EP

u Jacques Renault u Public Release

– Chris K. Davis “EVERYBODY GET UP!”

u The Red Zone Project u Def Mix David Morales re-ignites his Red Zone guise with an ominously

David Morales

Skip the uptempo funk-house title track, skip the Velvet Season & The Hearts of Gold remix, and head straight to “Fromage

Patrick Topping

Chili Davis

St Germain

GUEST REVIEWER: Chili Davis

à Trois” — the Force of Nature remix, in particular. Force of Nature’s melodic ’80s indie-dance clanger will take the floor on a journey with sounds it has never heard before. From the lasersliced snares to Phil Collinsesque crooning, it’s crisp, and it’s fresh.

– Chris K. Davis “RIGHTS” EP

u Patrick Topping u Truesoul The title track is a pulsing belter with whispery vocal samples and an unstoppable groove, all underscored by glittering synth arpeggios. B-Side “Tool On” is a glitchy, bass-heavy cut ready for warm-up play, but it’s closer “Foxton” that stands out as the highlight with its maddening build and crushing bassline. For the track, Topping takes on big-room tech-house to massive results that are ready to make any warehouse explode.

– Chris Caruso “DOUBLE DEALIN’” EP

u Chevalier u DFTD Records All four cuts from the EP go deep, with thick, wandering basslines and heavily looped vocals creating dense, intricate soundscapes.

From the shimmering synths of the title track through the bouncy club shuffle of ‘Forward’ and ‘Hurt Me More’ to the hazy, stunningly realized payoff of ‘We Survived It Together’, this is an ear-catching piece of proper underground house.

– Tommy D Funk PARANOID LONDON

u Paranoid London u Paranoid London Records Paranoid London is many things, but first and foremost, it’s acid at its finest. After selling a boatload of vinyl with almost no pro-

Soul Clap

motional effort, the CD/digital release has arrived. If you can get past the underwhelming digital mastering, the LP is a collection of gritty, vocal, acid-house and techno tracks primed for your local dusty warehouse. Be sure to check “Headtrack,” “Line Up Meltdown” and the standout, “Paris Dub 1.”

– Chris K. Davis “U WON’T C ME” EP

u Mystic Bill u Strictly Rhythm The title track’s a dusty, yet cutting-edge houser that marries classic and contemporary sounds—its powerful spokenword chant and predominant 808s make it fierce. On “Like a Dream,” the throbbing kick drum and deep synth layers create a tension that builds towards a fitting crescendo. A monster floor-filler.

– Tommy D Funk

“Boyz!” u Frankie Knuckles pres. Director’s Cut feat. Jamie Principle u Def Mix Music + SoSure Music A raw slice of house featuring Principle’s iconic vocals, “Boyz!” offers three unique remixes, with the Director’s Cut showcasing the voice with a direct 4/4 groove. David Morales, in Red Zone mode, delivers a driving and dark interpretation. Last but not least, the Farley & Heller remix drops a sleazy, late-night affair.

A share of the profits on this release will be split between The Frankie Knuckles Foundation and The Frankie Knuckles Fund (Elton John Aids Foundation). Long live Frankie!

MARKETPLACE

Making Tracks

(continued from page 26) they’re in any random listening environment, they wouldn’t be flat anymore.” Sensible point, really.

“The truth is, first and foremost, a monitor needs to tell you what needs to be done with your mix.

Point out the holes, the overlaps; what to tweak, and where.There are a number of engineering decisions that go into making them do that so well, but that is, I believe, where KRK monitors excel. Plus they are a blast to listen to while you’re working.”

Based on my experience with them? I think I agree.

Conclusions: Bracketing the five-member ROKIT studio monitor family, the ROKIT 4 at the low end and the ROKIT 10-3 G3 at the high end both deliver great sound and solid price/performance—albeit for two pretty different potential audiences. At a street price of just under $140 each, the ROKIT 4 is great for portable applications, or when paired with an appropriate studio sub-woofer, for small studios, too.

And at less than $500 a piece (street price), the ROKIT 10-3 G3 delivers tons of headroom and the power to fill a larger studio environment with solid sound. Both reflect KRK’s commitment to helping musicians, producers and engineers make the most of their sound.

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

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DJ TIMES

DECEMBER 2015

1. Publication Title: DJ Times 2. Publication Number: 1045-9693 3. Filing Date: September 21, 2015 4. Issue frequency: Monthly 5. Number 1 of Issues Published Annually: 12 DJ_Times_Holiday.indd 6. Annual Subscription Price: $19.40 IDJNOW • Holiday Ad(516-767-2500) • 4c, 4.125” W X 4.375” H • Ad Runs in DJ TIMES for Nov/Dec

Contact Person: Vincent P. Testa 631-585-1100 x 7460 7. Complete Mailing Address of Known Office of Publication: 25 Willowdale Ave., Port Washington, NY 11050-3779 8. Complete Mailing Address of Headquarters or General Business Office of the Publisher: 25 Willowdale Ave.,

Port Washington, NY 11050-3779

Publisher: Vincent P. Testa, 25 Willowdale Ave., Port Washington, NY 11050-3779

Editor: Jim Tremayne, 25 Willowdale Ave., Port Washington, NY 11050-3779

Managing Editor: Jim Tremayne, 25 Willowdale Ave., Port Washington, NY 11050-3779 10. Owner: DJ Publishing, Inc., 25 Willowdale Ave., Port Washington, NY 11050-3779 13. Publication Title: DJ Times 14. Issue Date for Circulation Data Below: September 2015 15. Extent and Nature Of Circulation Average No. Copies No. Copies of

Each Issue During Single Issue Published

12 Months Nearest to the Filing Date A. Total Number of Copies (Net press run) 23,749 23,117 B1. Paid/Requested Mail Subscriptions 1,223 1,110 B3. Sales Through Dealers and Carriers 15,646 14,922 C. Total Paid and /or Requested Circulation 16,869 16,032 D4. Nonrequested Copies Distributed Through the

USPS by Other Classes of Mail 6,485 6,840 E. Total Free Distribution 6,485 6,840 F. Total Distribution 23,354 22,872 G. Copies not Distributed 395 245 H. TOTAL 23,749 23,117 I. Percent Paid and /or Requested Circulation 72.2% 70.1% 16. Electronic Copy Circulation A. Requested and Paid Electronic Copies 2,328 2,589 B. Total Requested Print /Electronic Paid Copies 19,197 18,621 C. Total Requested Copy Distribution/Requested/Paid Electronic Copies 25,682 25,461 D. Percent Paid and /or Requested Circulation Print/Electronic Copies 74.7% 73.1%

40

17. Publication of Statement of Ownership: Will be printed in the December 2015 issue of this publication.

18. Publisher: Vincent P. Testa, President Date: September 21, 2015

(continued from page 30) of the success his company has seen to date.

“Our success has been based on the foundation of establishing great relationships with our clients,” he says. “We enjoy planning with them as we become partners in creating their special day, and then we execute their wishes exactly the way they dreamed they would be. Often, after the event, we’ve kept in touch with them, met up with them at local functions, sporting events, etc. So to ask where we would be in three years, if we keep exceeding the expectations of our clients while treating them like ‘cherished friends,’ in three years we’ll have not only more referrals for our services, but we’re going to have a lot more ‘friends.’”

2015 •

(continued from page 22) year.”

Back over in the Pacific Northwest, JD Fields of Catch The Beat in Snohomish, Wash., has been in the 10/9/15 2:42DJPM industry long enough to see some pretty crazy stuff.

“There was the time the cake fell and I caught it on top of my head and they cut it as I held it; the time the power went out and there was a fire that ruined a bunch of my equipment; the time my vehicle blew up on the way to a show and everything from there went wrong; the time the bride cheated on the groom with one of his friends and he called him out at the toast—and then called the wedding off because he wanted to humiliate the bride and make her pay for the event; and then [at one of his first-ever gigs] the time the father of the bride had a heart attack and JD the DJ had to perform CPR [successfully reviving the man].”

But none of those gigs were as bad as a 60th birthday party he entertained for earlier this year.

“This was a previous client, so we went all-out for a little birthday party, spending three hours setting up video screens and adding just the right touch of lights to accommodate an older crowd,” Fields recalls. “People are slowly coming in the door as it’s about to start and, as I jumped off the stage to take a picture of my setup, I hear, ‘Dan, Dan,

MP3s in 6

Compiled As November 11, 2015

NATIONAL CROSSOVER POOL CHART

NATIONAL URBAN POOL CHART

1 The Weeknd 2 Calvin Harris 3 Major Lazer F/ DJ Snake 4 Nervo / Kylie Minogue/ Nile Rodgers 5 Hilary Duff 6 Demi Lovato 7 Dave Aude F/Olivia Newton-John 8 Audien F/ Lady Antebellum 9 Badar F/ Duncan Morley 10 Andy Grammer 11 Raquela 12 Jess Glynne 13 Ultra Nate 14 Leona Lewis 15 Icona Pop 16 Paris Hilton 17 Lucas Nord F/ Tove Lo 18 Sted-E/Hybrid Heights & Crystal Waters 19 Justin Bieber 20 Omi 21 Duke Dumont 22 Jade 23 Taylor Swift F/ Kendrick Lamar 24 Peter K 25 Disclosure F/ Sam Smith 26 Charlotte Devaney F/ Snoop Dog 27 Nick Jonas 28 Nick Jonas 29 David Seyer 30 Bob Sinclar & Dawn Tallman 31 Faithless 32 Olivia Somerlyn 33 Rob Thomas 34 Aki Starr 35 Dj Jellyfish 36 Hollway F/ Scott Day-Vee 37 Punch Inc. 38 Amoray 39 Spandau Ballet 40 Kristian Nairn

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

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

Lucas Nord F/ Tove Lo Duke Dumont Peter K Wish I Was Calvin Harris Paris Hilton Leona Lewis Taylor Swift Punch Inc. Faithless

Can’t Feel My Face How Deep Is Your Love Lean On The Other Boys Sparks Cool For The Summer You Have To Believe Something Better You Gave Me Love Good To Be Alive Summertime Hold My Hand Unconditional Fire Under My Feet Emergency High Off My Love Run On Love Synergy What Do You Mean Cheerleader Ocean Drive Better And Better Bad Blood Fighting For Your Love Omen Flip It Levels Teacher All About Me Feel The Vibe Insomnia 2.0 OXO Trust You Tonight Boom Boom Jellyfish When I Found You Heaven (Beautiful Life) Work It Out This Is Love Beacon / Up

Run On Love Ocean Drive Fighting For Your Love Cutting Ties F/ Cameron Walker How Deep Is Your Love High Off My Love Thunder Wildest Dreams Heaven (Beautiful Life) Insomnia 2.0

Republic Sony Mad Charm Ultra RCA Hollywood Audacious Astralwerks Global Groove S-Curve House Of Pride Atlantic Blunt Def Jam Big Beat Cash Money Radikal 418 Music Def Jam Ultra Virgin Tazmania Republic Vision Astralwerks Virgin Island Hollywood OBSR Slaag Sony Crave Atlantic Renegade Radikal Amathus S-Curve Knockout Fashion Warner Brothers Radikal

Radikal Virgin Vision Robbins Sony Cash Money Def Jam Republic S-Curve Sony

REPORTING POOLS Masspool - Saugus, MA; Gary Canavo n OMAP R - 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 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 DJ Laszlo - Las Vegas, NV; Laszlo Szenasi 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

Fetty Wap F/ Remy Boyz Drake Meek Mill F/ C.Brown Nicki Minaj Future F/ Drake Jeremih F/ J. Cole Chris Brown Weekend K Camp Ty Dollar $ign F/ Future & R.Sremmurd Drake Omarion F/ Kid Ink & French Montana Post Malone J. Cole Dej Loaf F/ Big Sean Tory Lanez Travis Scott Rae Sremmurd Fetty Wap Young Dro Big Sean F/ C.Brown& Ty Dolla $ign

679 Hotline Bling All Eyes On You Where Ya At Planes Liquor The Hits Comfortable Blase Back To Back I’m Up White Iverson No Role Modelz Back Up Say It Antidote Come Get Her My Way We In Da City Play No Games

RFG Republic Atlantic Epic Def Jam RCA Republic Interscope Atlantic Republic Atlantic Universal Columbia Columbia Interscope Grand Hustle Interscope RFG EOne Def Jam

Most Added Tracks 1 2 3 4 5

Rick Ross F/ Chris B TK-N-Cash K Camp Blac Youngsta F/ Yo Gotti Dej Loaf F/ Big Sean

Sorry 3 Times In A Row 1 Hunrid Heavy Back Up

Def Jam Republic Universal Epic Columbia

NEW NATIONAL LATIN DANCE POOL CHART 1. Joey Montana 2. Layla 3. Rey Chavez 4. J Balvin 5. JayCool 6. Juan Magan ft Paulina Rubio 7. Daddy Yankee 8. Paty Cantu 9. Jesse Medeles 10. Poeta Callejero 11. Bachata Trio 12. Gente De Zona y Marc Anthony 13. Jorge Celedon 14. Oscar D’Leon 15. Los Hermanos Moreno 16. Alex Sensation ft Yandel, Shaggy 17. Grupo Niche 18. Angelucho Copacabana 19. Tito Nieves 20. La India

Picky Locuras A Primera Vista Ginza La Chica Que Quema Vuelve Vaiven Valiente Sucia La Calle Ta’Que Pica Pena Penita La Gozadera Me Antojo Salsa Soca Bochinchosa Bailame Te Enseñare A Olvidar Aqui Esta Lo Que Esperabas Si Me Tenias Ahora Que Te Vas

1. Juan Estevan 2. Sonora Carruseles 3. Rolf Sanchez 4. Renzo 5. Silvester Dangon ft. Nicky Jam

Muevelo Si La Tierra Tiembla Que Se Siene Enamorado Materialista

Universal Angulo Music J&N Universal JayCool Charisma Universal Universal Universal Dessennium Ent. Universal Hispaniola Music Group Latin Hits Sony Crossover Bongoreno Ent. One 360 Group Mr. Yuca Latin Hits Top Stop Music

Most Added Tracks R7 Music Fuentes Latin Pulsu Group Mayimba Latin Hits

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.

are you OK?’ as I see a gentleman nod his head and fall to the floor.”

Immediately, Fields cleared the way of chairs, creating some additional room, and called out on his microphone for someone to call 911. But everyone just stared, so he called 911 and started doing CPR himself to try to clear the guest’s airway.

“I asked my assistant for blankets, and then three of us worked on him giving him CPR for 11 minutes—the longest 11 minutes of my life.

“At this point, a few other family members stepped in, so I let them take over—as I was having flashbacks of the father 20 years earlier [who incidentally had passed away on the way to the hospital].”

Once the paramedics with the fire department came in and worked on the gentleman for another 20 minutes, the guest was pronounced dead.

“I pondered what to do,” recalls Fields. “Do I play music? Do I pack up?

A very emotional, but lighthearted group at this time had moved the two kegs outside and started drinking, so I helped move the food outside.

“Nobody was allowed to go back into the room where Dan had passed, as it was considered a crime scene, so I wasn’t allowed to touch my equipment. I grabbed my backup speaker and laptop out of my car and set up.

I talked to the host and he said just play some music, including ‘Stairway to Heaven’ and ‘Dead Man’s Party.’”

Fields reports that overall it was an amazing group, and high-spirited as he stood on top of a car and gave a toast to the birthday boy and Dan and then they all had a shot.

“Definitely a rough show, and probably the worst,” he says “You can prepare and prepare, but there’s still n the unexpected.”

Dumont

(continued from page 17) the old-school sense of mind of having an album, when you get to Blasé Boys Club 3, you have the first album.

When you get to Blasé Boys Club 6, you have the second album. You can buy the 12 tracks together.

DJ Times: No full albums, then?

Dumont: As a fan of music, it kills me to think the era of the electronic album might be drawing to a close.

But in all honesty, when I think about making 12 tracks in six months, it makes me freeze. If you say to yourself, “I’m going to make one track in three weeks,” you probably are.

I’m song-oriented, as opposed to making a concept album, so, for me, to make the highest quality and the most amount of music as I possibly can, this is the most natural and organic way to release my music.

DJ Times: Your tracks have really impacted electronic dance music.

Why do you feel that is?

Dumont: There is an element of soul in house records, maybe more so than EDM, that comes from vocal performances. The kids see it as a new thing. Obviously, it isn’t. House music is heavily influenced by black music. The reason I, and other house music producers, have had success is because we’re directly influenced by the pioneers. The thing that surprises me is how young Americans as a whole seem to think there’s this British invasion of house music and the reality is, it 100-percent stems from America. EDM whitewashed the history of dance music and it needs to be recognized.

DJ Times: It seems like not only have the big EDM festival sounds given way to house music, but they’ve also eased ears to drum-n-bass,

which is completely the opposite sound. This kind of open-minded attitude toward genres is a characteristic of the current generation.

Dumont: I really agree. It’s only happened in the last five years. I remember growing up you had to pledge allegiance to a particular genre of music. I genuinely believe the younger generation is far more musically educated than my generation or any generation before purely because of the access to music. The trend I’m starting to see is there doesn’t seem to be a massive following in the genre, but there tends to be a massive following in an artist.

I really like that. I love the fact that you could come see me one week, then next week a drum-n-bass act comes into town and the next week you might have The Weeknd coming and the same kids are going to all the shows. That’s absolutely grand.

As much as the music industry is on another path, there’s a golden age of music at the moment with a wealth of good acts and good music. I hope it continues.

DJ Times: What are some differences you’re still noticing between the U.S. and European scenes?

Dumont: Over time, the differences are not as strong as they were.

There are two major differences.

Dance music in the U.S. is festivaloriented. Most people don’t want to spend a lot of money to go to a nightclub and see one act or they don’t want to spend a lot of money to see a live show. They want to go to a festival to see 20-30 DJs and have that festival experience. In Europe, there is a culture of mid-sized venues where kids will go out every week,

twice a week, to experience DJs—although festivals are massive as well.

It’s a lot tougher in the U.S. for a mid-range or lower mid-range DJ to have a sustainable career. I don’t mean on a talent level, just based on number of fans. The other difference is musical. The way music is made in Europe draws upon influences of the past. Europe is more old school, old guard, based in the roots of house and techno music. The U.S. is more forward thinking, more excited by fresher sounds.

DJ Times: What’s your advice for burgeoning DJs and producers?

Dumont: It’s very simple: work harder than any other DJ and producer you know. As I said before, work eight hours a day like any other person in real life. A lot of DJs and producers get into it because they think it’s an artistic life and a bourgeois lifestyle. You’ll be very successful and very good at your job if you work as hard as any regular person who works a normal job.

DJ Times: Solid advice.

Dumont: The other thing is, if you get into DJing because you want to be the center of attention, get the fuck out now. You’ll get very bored and very tired, very quickly. If you wake up and listen to music every day, you do music, and it pushes you way more than anything in the world, then you’re supposed to DJ. If you still have the bug 10 years later and still not making a great living, but yet that’s all you can do, you’re supposed to DJ. If you’re willing to make an average income and music is the only thing you want to do for the rest of your life, you’re supposed to DJ. Work your ass off and you’ll get it. n

DJ TIMES

DECEMBER 2015

Claptone: Unmasked?

42

I’m the mystery DJ whose first big hit was “Cream.”

So who’s the man behind the mask?

Was there any doubt?

Claptone, Next Month in DJ Times

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