DJ Times December 2016, Vol 29 No 12

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Digital Mixes & The Law of the Land Amsterdam Dance Event DJ Lighting: What’s New in ’17?

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LDI ’16: LIGHTING DEBUTS FOR DJ MARKET

All Lit Up: Chauvet’s LDI booth.

Penta Pix: ADJ’s 5-head beam fixture.

Turbo Scan: New from Blizzard

By Jim Tremayne Las Vegas – The entertainment-lighting world ventured to Las Vegas Convention Center this past Oct. 17-23 for Live Design International. According to organizers, LDI ’16 featured more than 350 exhibitors, more than 12,000 attendees and more than 80 educational sessions.

In addition to products for stage, touring, television and film, LDI ’16 exhibitors unveiled plenty of new lighting products for the DJ and club markets and, as usual, DJ Times and ClubWorld magazines were there to record it all.

Los Angeles-based ADJ released more than a dozen new products at the show. Top of the list was the Vizi BSW 300 LED-powered hybrid moving head fixture that generates beam, spot and wash effects. Other new ADJ products included: the AV3 LED video panel; two entries to the Startec Stinger Series of effect lights—the Stinger Star and Stinger Gobo units; myDMX 3.0 DMX control software; and the Penta Pix 5-head beam fixture, which features five bright 15-watt 4-in-1 LEDs with ACL lens that produce sharp 6-degree light beams.

Related company Elation Lighting debuted the Platinum 1200 Wash, Platinum Seven, ZCL 360 Bar and Fuze Wash Z350 fixtures. Also, Global Truss America displayed its full range of trussing, stands and support systems.

New products from the Waukesha, Wis.-based Blizzard Lighting included: Turbo Scan, a 150-watt LED scanner; Stiletto Beast moving-head unit; the LOOK dual-beam fixture; the Kyro.Mix CMY, a 3-in-1 beam/spot/wash CMY moving head unit; the ProPar 17 LED PAR can; and the BUDDHA universal

DMX Data Handheld appliance equipped to measure, test and troubleshoot any application with DMX-controlled lighting.

From Sunrise, Fla., Chauvet Lighting debuted the versatile COLORado 1-Quad Zoom VW high-output fixture. Meanwhile, related brand Chauvet DJ showed the SM-250 Snow Machine, plus the Intimidator Hybrid 140SR, Intimidator Beam 140SR and Intimidator Trio units. Chauvet DJ also showed the new FXpar 9 compact effect and wash light.

In its 2,500-square-foot booth—LDI’s largest-ever—German Light Products (GLP) from Sun Valley, Calif., presented numerous new products, including the X4 atom 30W fixture, the GT-1 spot/beam/wash hybrid fixture, Impression X1 scanner and the Impression X4 bar.

Martin by HARMAN showed the new RUSH Scanner 1 LED, a high-output LED fixture that offers multiple colors, gobos and prism effects. Martin also introduced two new members to the M-Series family of controllers, the M1 HD and the M2GO HD. MARQ Lighting, an inMusic brand out of Cumberland, R.I., showed its full range of products, like the Gesture Beam and Gesture Spot units, the Ray Tracer line of colored lights, and its RezoTube Pack of LED tubes.

OmniSistem of Kent, Wash., showed its full range of products, including the FOS 75-watt LED effect light, the Apex 12-watt LED effect light, the Swinger X2 swinging LED bar, and the 3W Wireless LED Uplighting System.

On Top at A.D.E.

Amsterdam, Holland – Dutch DJ/producer Martin Garrix stands tall at Amsterdam RAI during Amsterdam Dance Event. Held this past Oct. 19-23, A.D.E. drew most of the dance-music world to The Netherlands.

For more on A.D.E., please see Page 22.

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VOLUME 29

NUMBER 12

12 Paradise Found

Two Years After Breaking Big with “Forget,” Patrick Topping Steps Up His DJ Game

BY CHRIS CARUSO

26 The Plight of the Part-Time DJ

22 Amsterdam Report

20 Copyright 101

Before Complaining About Digital-Mix Takedowns, DJs Should Understand the Laws of the Land

BY TONY FERNANDEZ

A.D.E. ’16 Explores Tech, Talent & New Markets

BY JIM TREMAYNE

Not All DJs Are Careerists, But That Doesn’t Mean Their Commitment Is Less Than Full

BY JEFF STILES

DEPARTMENTS 7 Feedback

38 Grooves

28 Making Tracks

41 Club Play Chart

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

Phat Tracks from Arnold Jarvis, LTN & More

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

30 Sounding Off Roland DJ-808

DJ TIMES

DECEMBER 2016

32 Mobile Profile

4

South Dakota DJ Goes Big

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34 Business Line

8 Matoma

35 Gear

10 In the Studio With…

Your Business & a Trump Presidency

New Products from Allen & Heath, JBL Pro & More

Streaming Trop-House

Dusky

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FROM THE EDITOR

DJ TIMES

DECEMBER 2016

Topping, Tech & Transformation

6

Busy month, busy issue this go ’round, so let’s start with our new cover boy, Patrick Topping. In the past couple years, the Newcastle, England-based DJ/producer has become a musical force that has emerged from the underground. His 2014 tech-house hit “Forget” brought tweaky synths, freaky effects and rolling grooves into the mainstream a bit, while tracks like “Voicemail,” his manic collab with Green Velvet, remained firmly on dark dancefloors. Whether I’ve seen him spin in a black-box club or an open-space festival, Topping has always killed it. Our Chris Caruso caught up with the U.K. talent while we were at Amsterdam Dance Event.

Onto stories on other artists in this issue… in Samplings, Long Island-based scribe Michelle Fetky connects with Norwegian tropical-house DJ/producer Matoma, who brings a very modern approach to his most recent release, Hakuna Matoma, one which allows him to amend his digital album as he sees fit. Also, our longtime Los Angeles correspondent Lily Moayeri goes into the studio with London duo Dusky, one of clubland’s best and most-prolific outfits.

A few October business trips to report: As always, DJ Times attended Amsterdam Dance Event, which brought the global dance-music industry to Holland. Of course, we benefitted greatly from the networking sessions and seminar panels – plus the evening events offered a genre cornucopia.

(Among the numerous DJ sets, my faves were Ellen Allien at Sugar Factory and Miss Kittin at Melkweg.) For anyone serious about the dance-music industry, A.D.E. remains a must-attend show. Check out our report and the terrific photography.

Also, if you look page-right, you’ll see some quick takeaways from DJs who attended the “2016 Audio Symposium” at the Electro-Voice headquarters in Burnsville, Minn. In addition to enjoying the show’s entertaining and detailed sessions, Symposium attendees were rewarded with a terrific night out at The Bunker in downtown Minneapolis with Dr. Mambo’s Combo—one of America’s best funk/ soul/R&B groups. Thanks, EV. In the News section, we also report from LDI ’16 in Las Vegas and bring you a quick rundown of the latest lighting-related products that expect to impact the DJ and nightclub markets in 2017. A big shout-out to Testa Communications’ Rob Iraggi for his help in this endeavor.

On the gear/tech tip… in Making Tracks, our St. Louis studio maven Josh Harris tackles Spectrasonics’ Keyscape, a new virtual instrument that brings the world of collector keyboards to your music-making process. In Sounding Off, Denver DJ/producer Wesley Bryant-King reviews the Roland DJ-808, a DJ controller with drum sequencing, vocal processing and more—it’s a unit that blurs the line and helps re-define the notion of the DJ as artist.

In his feature, longtime Virginia jock and DJ Expo presenter Tony Fernandez offers a primer on current copyright laws and explains how and why they impact many of the takedowns of digital DJ-mixes that we’re seeing all over various internet platforms. Is it an outdated system? Many believe so and many believe it should change—check the July 2016 issue in our online archives for more on that topic. But for now, it’s certainly instructive to understand the laws as currently constituted.

From the world of the mobile entertainer, our longtime Iowan DJ/scribe Jeff Stiles asks a handful of jocks: In battling with full-time DJ companies for client-dollars, how does a part-time DJ succeed?

Full-timers and part-timers weigh in. In Mobile Profile, we connect with Chris Hintz of Pinnacle Productions in Sioux Falls, S.D., who explains how going big was a part of his roadmap to success.

And in Business Line, we quickly examine what the upcoming Trump presidency might mean to smallbusiness owners (aka DJ companies). Gulp.

Meanwhile, back in the world of social progress and love for one’s fellow man… we were saddened at presstime to hear of the passing of DJ/legend David Mancuso. He was 72. Best-known for his Loft parties and founding America’s first record pool, Mancuso had an immense impact on the DJ and club cultures that would to follow in his wake. Thanks to legendary audio installer Alex Rosner, I was fortunate enough to spend some time with Mancuso at a Red Bull Music Academy in 2001, and was struck by his selflessness, his ability to deflect any sense of adulation directed his way, and his desire to always let the music do the talking. So, remember, now more than ever: Love is the message. Live it.

Cheers,

Jim Tremayne Editor, DJ Times

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

art director Janice Pupelis jpupelis@testa.com

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

production manager Steve Thorakos sthorakos@testa.com

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

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small changes since.”

Courtney Hampton of Hampton En‑ tertainment in Breckenridge, Col., said, “One of my biggest takeaways was realizing the difference between doubling power and perceived loud‑ ness. For example, +3dB is double the power, +6dB is double the amplitude [sounds louder], but +10dB makes it sound twice as loud.

“Another takeaway was how to calcu‑

late a delay. This was particularly im‑ portant to me, as I have an upcoming event in a hallway that is 25-feet-wide by 200-feet-long. I knew that I needed to delay the speakers, but had no idea how to do that – now I do.”

And this month’s Mobile Profile sub‑ ject, Chris Hintz of Pinnacle Produc‑ tions in Sioux Falls, S.D., said: “My most useful takeaway was watching two other members of our company

team and their ‘aha moments.’ Talking with other people from around the country and different avenues—from church installs to mobile DJs to live sound—it was great to see everybody learning together.

“DJs, as a whole, often think they know everything and don’t always invest in any training. I say, invest in training, invest in your company, invest in yourself.”

10/19/2016 10:43:21 AM

% 31, 2 10mber ve Dece Sa r 1 –

shape your

6 01

AUDIO SYMPOSIUM This past Oct. 10-11, DJ Times ven‑ tured to Burnsville, Minn., for the “2016 Audio Symposium.” Hosted by Electro-Voice at its corporate offices, the two-day event featured eight indepth seminars (presented by ElectroVoice staffers and industry experts like NLFX Professional’s Ben Stowe) covering an array of topics.

With sessions titled “Speaker Place‑ ment,” “Setting Gain Structure,” “Us‑ ing DSP to Optimize Your Sound” and “Identifying Frequencies,” the gather‑ ing drew an audience that included several DJ/entrepreneurs. After the event concluded, we asked the DJs for their “Audio Symposium” takeaways: Lance Gray of Epic Sounds Entertain‑ ment in Charlottesville, Va., said, “As a DJ, I was originally thinking that ‘Setting Gain Structure’ was going to be my biggest takeaway from this class – I will say it was very helpful, especially seeing the vast differences between standard DJ controllers/mix‑ ers and mixers used by sound engi‑ neers. However, to me, it was realizing and recognizing quality-vs.-quantity – the dynamics of music, what it takes to not just produce sound, but good sound.

“An entire 5K system can sound cheap due to a low-grade soundcard or even low-grade cabling—so many over‑ looked variables to consider! When you step back and analyze your sys‑ tem, you ask, ‘What is your weakest link in the chain?’ I’ve been making

be m ve No

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.

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DJ TIMES

DECEMBER 2016

MATOMA: STREAMING TROP-HOUSE

8

The tropical-house sound brought new pleasures to many American ears in 2015 and now one of the genre’s foremost practitioners has presented a novel way to distribute his music.

Matoma, the 24-year-old Norwegian DJ/producer (aka Tom Lagergren), has released Hakuna Matoma, a digital album using a playlist format that can expand and evolve over time. Available via all download and streaming platforms, Hakuna Matoma includes recent singles like “False Alarm” feat. Becky Hill and “Feeling Right (Everything Is Nice)” feat.

Popcaan and Wale, big remixes (“2 AM”

by Astrid S), and other faves “Old Thing Back” with Notorious B.I.G., Ja Rule and Ralph Tresvant and “Try Me” with Jason Derulo and Jennifer Lopez.

Considering that, in one year’s time, Matoma’s releases earned over a quarter of a billion streams, his global fanbase should be primed for consumption. We caught up with Matoma as he prepped for his recent 27-date North American tour.

DJ Times: Tell us about your new digital album – it has quite a unique approach.

Matoma: Hakuna Matoma uses the playlist format to help the album evolve as I go. I’m also able to add songs for special moments. For example, I did a song together with Sean Paul called “Paradise.” We produced it right before Coachella, and we knew that we wanted to release it at Coachella. During the Coachella set, I brought Sean Paul up onstage with me and we made an amazing moment out of the song’s release. I could not have done that if I had waited for a regular album. This album is a story where you can subscribe, join the story and follow along.

DJ Times: How did you get involved in DJing?

Matoma: I started DJing when I was at a student-community [center], where I applied for a DJ position at the club and I got the job. It was amazing. The hardest things about DJing at the student community, though, was playing for the people that didn’t go to listen to your music and were just there to party and get drunk. I knew that during the night if I played a nice and people didn’t come up to the DJ booth and request songs then I knew I was doing something right.

DJ Times: In your opinion, what makes a good DJ? Matoma: I think being a good DJ is about reading the crowd, adapting, making the best of what you have and always evolving your set. The energy and the dynamic are big aspects. In my opinion, you don’t have to be the most technical DJ to be a good DJ – you just need to know the right tools and how to take it from one place to another. You want to read the crowd and play what they are feeling.

DJ Times: Which DJs and producers

do you find influential and why?

Matoma: One of my favorite DJs is Carl Cox. The energy onstage is amazing and he is also a very technical DJ who he has been around for 30 years. I really look up to him. For producers, I have to say Max Martin, the Swedish pop producer. When you listen to his productions, you can hear it’s him, but he always evolves and has new sounds that keep current with the music.

DJ Times: How was touring with The Chainsmokers and what did you learn from the tour?

Matoma: Touring with The Chainsmokers was probably one of the best experiences of my life. They had the best energy. I learned so much from them and from the touring life – from how to live on the bus to how to make a great show. Being able to become friends with them and know them on a personal level was really great. I loved every single moment of it and I think about that tour almost every single day.

DJ Times: For a DJ, what is the difference in approach for opening and headlining?

Matoma: As an opening DJ, you can’t play as if you are headlining.

You need to be considerate of what the headliner is playing and you also need to be a bit chiller and not play the hard stuff – especially if you are playing a festival where a lot of DJs are playing hard tunes. It is important to respect the headlining slot and play music that’s suitable for an opening act.

DJ Times: What DJ gear do you use?

Matoma: I use a MacBook laptop, and I use [Native Instruments] Traktor software, connected to three Pioneer CDJs 2000NXS and DJM900 mixer.

DJ Times: What are some of your favorite clubs and festivals?

Matoma: One of my favorite clubs is Omnia in San Diego, 9:30 Club in Washington, D.C., and LIV in Miami. There are so many nightclubs, but usually the ones in the big cities are the best. I have so many favorite festivals, but to name a few – Firefly, Coachella, Electric Zoo, Electric Forest and Tomorrowland.

DJ Times: Why do you think dance music broke so big? What do you see next for this music?

Matoma: I believe that music is always evolving and getting more and more complex. All the producers these days are on the right path.

Sounds are becoming bigger and bigger. EDM is more or less pop music, which everyone loves, so I think that’s the reason.

– Michelle Fetky

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IN THE STUDIO At the moment, Alfie Granger-Howell and Nick Harriman are spending most of their studio time in a somewhat distracted manner. Instead of producing new Dusky music, they’re tweaking aspects of their live show. They’ve performed it a few times in Europe already, but there are still some challenges.

For one, Harriman is trying to work out a way to sit down during the group’s performances—he cites a sitting Jeff Mills playing the 909 as both an inspiration and an aspiration.

Though Dusky hasn’t quite achieved Mills’ status to confidently pull off the sit-down, the prolific duo does have a new

long-player, Outer, around which the show revolves.

Strongly informed by ’90sera dance-music grooves, Outer begins with the ravey sounds of “All We Ever Needed” and it delivers a cross-section of vocal styles, including the ragga chants (courtesy of Wiley) on “Sort It Out Sharon.” It offers the deceptively simple bleeps of the Solomon Grey-fronted “Long Wait,” the moodiness of “Swansea” (featuring Gary Numan), the spacy rhythms of “Trough” and the pure techno of “Songs of Phase.”

Outer is like a guidebook to beginner styles of dance music, updated for today.

“We have to work back-

wards, deconstructing the tracks to figure out how to best reconstruct them onstage,” Granger-Howell explains from the group’s Nor th London studio.

“We’re splitting everything into different elements in Ableton. We use a couple of MIDI controllers and Novation Launchpad as the equivalent of a digital mixer with 12 channels of sound we have individual control over. We control internal effects on different stems in Ableton and external effects using Strymon pedals.”

Both Granger-Howell and Harriman have traditional music training, the former with a degree in piano composition from the Royal Academy, the latter in drums and saxophone—which he is quick to point out he

played “really, really badly, so I wouldn’t say I’m musically trained at all.”

Many elements of the show are performed live by Granger-Howell, who has a full-sized keyboard and an Akai MPD, from which he generates percussive hits.

Harriman has a Roland TR-8 for replacement drums and a Roland TB-3 for basslines, as well as another Akai MPD. All these, as well as pads, strings and triggered samples are fed into the Roland MX-1, which the fellows prefer, as it functions like a DJ mixer with effects.

Still, DJing figures largely into the Dusky equation.

Not unlike Outer, the duo’s DJ sets are a mixture of house and techno, with a generous sprinkling of their own productions, staying within the 118- to 130-BPM range.

“Dusky gives us freedom,” says Harriman, referring back to the duo’s previous moniker/incarnation, Solarity. “When we were Solarity, we weren’t getting enough gigs to work on

DJ TIMES

DECEMBER 2016

DUSKY’S OUTER LIMITS

10

Dusky: (from left) Nick Harriman & Alfie Granger-Howell.

music full-time, which takes away from your freedom. As Dusky, which we became for [2011’s] Stick by This, which we wrote while we were still Solarity, we were actually getting gigs and getting paid so we could spend time doing music.”

Then and now, Dusky stay very much in the box: A combination of Logic X and 9 combined with virtual instruments and plug-ins like Reaktor, Rob Papen, Trillian, Omnisphere, and Waves for dynamic processing. Macintosh with DynAudio speakers, Prism interface , and Coleman Monitor Controller, and a Neumann TLM 103 microphone are their only tangible bits. “The TLM is a good all-rounder,” says Granger-Howell referring to the variety of vocals on Outer, some of which were recorded by Dusky in their studio. “Tracks like ‘Spruce’ with Pedestrian were sung very, very softly close to the mic whereas ‘Long Wait,’ Solomon Grey was belting it, further away from the mike.

Those were EQed very differently with a big difference in the reverbs. The reverb delays were based on the vibe of the track rather than just the vocal.

“We like the sampling approach,” he continues.“Some are proper songs with real structure and others are just vocal hooks. ‘Tiers’ with Ed Macfarlane from Friendly Fires, we thought it would suit the track to be more of a short repeating hook, rather than a full verse. That makes it feel like the vocal is another aspect in the mix, another instrument as opposed to the real focus of the track that everything else is supported. It’s much more blending in as another equal part to the others.”

In releasing a multi-genre album in an age of singles, remix packages and EP, Harriman says, “It’s a way to present music in a different way and an opportunity to put stuff out which you wouldn’t normally put out on a club EP. Outer is not that different to what we were doing before—it’s just a wider-reaching side of the ‘90s, much more of a listening experience.”

– Lily Moayeri

DECEMBER 2016

DJ TIMES 12

To radically paraphrase and modify Portlandia’s series-opening song in so many words: the spirit of the DJs of yore are alive and well in Patrick Topping.

With a career whose beginnings include buying a pair of decks, starting and booking his own club nights at university, and first dipping his feet into production courtesy of a Point Blank course, Patrick Topping truly represents the classic tale of a DJ building stardom from the ground up.

Success doesn’t exist in a vacuum, so in 2014 when his anthem “Forget” started to blow up just about every dancefloor in Ibiza (a feat that earned him a pair of DJ Awards: Best Newcomer and Best Track of The Season), it wasn’t due to just luck. Shortly after, the track spread

DECEMBER 2016

DJ TIMES

to clubs across the world, putting Patrick Topping’s name on the lips of every electronic music fan under the sun.

In the two years that have followed, the club slayer has maintained that stranglehold on the techhouse world with a nonstop series of similarly effective originals and remix releases on seminal labels like Truesoul, Emerald City, Repopulate Mars, and Moon Harbour, as well as definitively marking himself as a superb selector in his own right. With a gigging schedule that’s only matched by his release schedule, Topping has carved out an artistic identity that’s as strong in a club as it is in the studio.

This December, Topping will reach an important milestone in the career of any DJ: his first-ever mix compilation. Contributing a mix alongside Nathan Barato to Hot Creation’s new two-disc release Paradise on Earth: Mexico, the Newcastle lad is ready to show off his chops behind the decks to a wider audience than ever.

Channeling the spirit of Jamie Jones’ famed Paradise party at Ibiza’s DC-10—of which Topping has been an official resident of for three years—the set is a stunning encapsulation of Topping’s strengths and a succinct primer for those somehow unfamiliar with his work. Clocking in at just about 80 minutes, the mix is a break-neck tour de force of energetic hi-hats, thick low-end, and more than a fair share of quirky surprises.

We caught up with the British DJ/producer right on the eve of a busy Amsterdam Dance Event, where

13

DJ TIMES

DECEMBER 2016

with what you got there. Normally [for me], you could add any track you want at any point in the process, so this was different. Luckily, I got access to loads of them and they fit together nicely. Well, I hope they do [laughs]! It gave me a new appreciation for the licensed DJ mix. When I’ve listened to other ones like fabric, I’ve never even thought of these constraints.

DJ Times: What about the approach to the mix? Were you trying to take them through what a night out at Paradise might be like? Was there an aim for it, or was it simply to make a great mix?

Topping: I wanted to make something that was representative of something I would play at Paradise, yeah, but since it’s not just a live club mix and more of a listen-athome kind of thing. It’s definitely more oriented toward what someone would hear me play at Paradise, but I tried to keep away from stuff that I have been hammering at Paradise. I didn’t want to just be like Cocoon doing The Sound of The Summer with the biggest tracks of the summer. It’s not just my biggest tracks of Paradise at all. A few of them I have played once or twice, but then as soon as I had the idea for doing the mix, I kept some of them back for it. Some of them I haven’t ever even played out before. The mix kind of gives the freedom to include them in.

DJ Times: The mix itself has a very diverse set of sounds.

There’s your signature tech-house thing going on, but there’s also stuff like Itchy & Scratchy’s “Disco Girlfriend,” as well. Were you trying to show different sides of your sound?

Topping: Yeah, definitely! I think that’s quite representative of what I play out, anyway. When I play out, especially if it’s a solo set, I quite like to include different styles, so I

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he chatted on everything from his parents’ records to his present-day success.

DJ Times: Your mix for Paradise on Earth is your first mix that’s going to be officially released. Was it different creating that one than one you might just upload to SoundCloud?

Patrick Topping: It was really different, actually. [The difference between them] was something I’d never really thought about before because it’s my firstever time doing this type of mix. The main difference is that all the tracks have to be licensed, so they have to be agreed by the label to be part of it. Not all of them do get approved, so a few tracks I had in mind weren’t allowed to be used.

DJ Times: What was the impact?

Topping: That kind of changed the whole direction of the mix and what I wanted to do for the mix. Then you have to rethink it. That was the main challenge on it, along with additional time constraints that you don’t really have with a podcast or something. Normally, when I’m doing those types of mixes, you’ve got unlimited tracks that you can put in—you can put in what you want. This was fun. It was a different challenge to do it with a limited tracklist.

DJ Times: Was it almost like a puzzle?

Topping: Yeah! The label was like, “Send over some tracks; send more than you would need.” Only some of them come back, so you’ve got those ones there.

Then I had another round where I was like, “Right. Considering that, let’s try and get these other ones.” They didn’t have any more time to get more, so you do it

wanted to include that in the mix. I like playing a little bit of disco and some techno, electro, some full on vocal stuff, as well. I suppose it always comes back to tech-house; it’s the root of most of my sets. I wanted to show those styles in the mix. And unlike a DJ set, you’ve only got an hour and 15 minutes, so I couldn’t vary too much. But I think I managed to include a few different things.

DJ Times: You’re no stranger to a back-to-back set: Pete Tong, Richy Ahmed, wAFF, Jamie Jones, etc. What’s the secret to a successful B2B set as a DJ? Topping: To start, I think most of those artists like the same type of music as me, generally speaking. You need to have that, but for most of the sets I’ve known the artists quite well, so I knew we’d get on well personally. It quite helps to get that connection going. Some of them, like Pete Tong, I didn’t really know him that well when we did our first one, but he had been playing a lot of my music on his show and I had been a fan of what he does. The main thing with a back-to-back is not going off too much on a tangent and doing your own thing, being respectful of what they play but trying to make it exciting as well.

DECEMBER 2016

DJ TIMES 16

DJ Times: What sort of musical upbringing did you have? Was your family musical growing up?

Topping: They weren’t musical in the sense that they played instruments, but they’ve always really been into listening to music, collecting music, and encouraging me to collect music. As weird as it is, some people don’t even listen to music! When I was little, they pushed me into playing the piano, so I was playing the piano in primary school. I did one performance in front of the school—me dad’s still got the picture of me in front of the school—but I didn’t like it because they were sort of forcing me so I stopped doing it.

DJ Times: Any regrets there?

Topping: I wished I continued it, and to be honest I forgot all of it. Me dad actually used to be the director of a music festival. It was run by the local council—just a free music festival. He did that, so he’s always been really passionate about music, so maybe that’s where I got my interest in promoting myself and putting on events.

The first event I put on was like the second time I’ve ever DJed out, as well. It was from putting on me own events that I was given the option to play out, since I wasn’t being invited anywhere else since I just started.

DJ Times: You grew up in Northern England. What’s the clubbing scene around there like and was it something of which you were a part?

Topping: The clubbing scene there is really strong. I find that the north of England tends to have a better scene than the south, generally speaking.

There are really good parties down south as well, but I think the crowd of the north seems to go mad up there—Newcastle, as well, even though it’s a smaller city than Manchester or Leeds. I’ve been going out there for years, and that massively influenced me. Before I started my own night, I knew various promoters that scene. I wasn’t part of it, but I was quite pally with people. It’s got a night called Shindig, which is I think the second-oldest—after Back to Basics in Leeds—house nights that’s still going.

DJ Times: A lot of your story starts when you started your party Motion. When did that happen? How did it start and what were the first few years of it like?

Topping: That was 2009. It was basically just because me and my friends had been going out in Newcastle for about two or three years and just wanted to do our own thing and bring over some people that we liked. Initially, 150 [of the patrons] were just mates because we sold paper tickets, so for the first few we nearly knew everyone there. There were probably only about 100 people who bought tickets, so without our mates, it would’ve flopped since we half filled it with them.

They didn’t even like the music! Most of them were just mates from school, so it was just like a school reunion for years. To be honest, it’s been the one thing that’s kept all of us from school still mates—we’re just very much still close. I think that’s been something that everyone’s latched onto, so it’s been nice for that. For me, musically, it’s where I first started DJing regularly. Off the back of that, I started getting asked to play at other nights in Newcastle.

DJ Times: You were doing most of the booking for the party. What sort of connections did that open for your own music career? Did it pave the way for anything?

Topping: I suppose so, yeah, in a way. I met people like Richy [Ahmed] for the first time when I booked him. I booked Lee Foss there, as well, but it wasn’t actually thought that I got in [Hot Creations and Paradise]. I actually kept in touch with Richy only, and it wasn’t through that kind of avenue that they got my music. It did help, I suppose, to give me the confidence to try and make something.

DJ Times: Then how did you get connected officially with Jamie Jones and Lee Foss?

Topping: A friend of mine sent a track to their SoundCloud, and luckily they listened to that and got in touch. It just went on from there.

DJ Times: Was that your release on Hot Trax?

Topping: It wasn’t actually. It was a track called “Fat Ballistic.” It’s a stupid name [laughs] and has a story from Ibiza that I won’t go into. That was probably only about the fifth track I had ever made. I had been sending a couple little things out to labels, but I hadn’t sent anything to Hot Creations because I didn’t think the tracks were good enough to go on [the label]. One of me mates sent that one, and then Jamie played it. I think the one on Hot Trax [2013’s “Walk On”] was the fifth one of mine he had been playing, and then he signed it. At that point, we started talking; before we hadn’t spoken—I was doing all of this via his tour manager.

DJ Times: Which came first: DJing or production?

Extra Toppings: 3 Essentials Beyond “Forget”

For many, “Forget” proved to be their first peek into Patrick Topping’s world back in the summer of 2014. Slick, shiny, and infectious, there’s little wonder it was digested so readily by the clubbing masses in droves.

However, Topping has proved to be anything but a one-hit wonder, thanks to a cavalcade of stellar studio productions that have come before and after. Here are three more cuts of his that are every bit as superb as his opus: “Voicemail” (Relief Records) [2014]: The first of three collaborations with Green Velvet/Cajmere and arguably Topping’s second biggest hit, “Voicemail” is an unabashed banger of epic proportions. As a spiritual successor to Green Velvet’s classic “Answering Machine,” this one pairs unforgettable spoken monologues over a squeaking topline and pressurized bass bumps.

“Any Amounts” (Hot Creations) [2013]: Tech-house doesn’t get any brighter than this one. Built around a delightfully bouncy synth riff that will be stuck in your head long after you leave the dancefloor, this track is a certified, show-stealing daylight anthem. There’s even a story of Green Velvet once coming into the booth and asking Topping to play this one when they first met, which is probably the highest praise that can be sung at a track.

“Foxton” (Truesoul) [2015]: Opening with a wobbling bounce that gives way to one of the best big-room tracks of 2015, this one is an absolute warehouse destroyer. The quirky pops quickly descend into a sinister blitzkrieg of nocturnal grooves, ready for the peak-hour and beyond.

– C.C. Topping: I got decks first, but they just laid dormant; I didn’t put any time into them. I kind of felt like I had to learn production first before I could go on them. It sounds stupid, but I felt embarrassed trying to DJ. I felt like I needed to know the production first before I could be like, “I’m a DJ.” So I got the decks first, but I didn’t really do anything with them. Then I got into production and had made quite a few tracks before I actually learned how to DJ properly.

DJ Times: You took a Point Blank production course, correct?

Topping: Yeah.

DJ Times: I read it was in Minimal Techno, which is pretty different to what you’re doing now. What lessons did you take from that experience?

Topping: It wasn’t really the musical minimal techno side that I took, really. It was more being able to navigate Logic. It was getting the grips of the basics of how to use the software. It’s quite mindboggling when you first look at that type of program; it’s kind of complicated. That gave me the basics in how to use that [DAW], so after the course I was able to follow online tutorials on more advanced stuff.

DJ Times: What’s your current production setup?

Topping: It’s exactly the same as when I first started, except it used to just be a MacBook, but now I’ve got an iMac. It’s exactly the same speakers: KRK Rokit 5s. They’re not the best speakers, but I know how they translate into a club sound system and I’m really familiar with them, so I don’t want to change even though I could afford better ones now.

I use them and mix down with my Sennheiser [HD 25] headphones that I DJ with. I’ve got quite a few more software plug-ins than I used to.

DJ Times: Are you all software-based or do you have any hardware?

Topping: All software.

DJ Times: From a production standpoint, it seems most of your originals and remixes veer to(continued on page 42)

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DJ TIMES

DECEMBER 2016

Mixtapes. DJs. Mixtapes and DJs go together like peanut butter and jelly. The mixtape is a DJ’s calling card, a DJ’s sonic resume. Personally, I come from a point in time where you actually used tape to create one.

Over the years, I’ve used reel-to-reel, cassette, and DAT. We’ve all made mix-CDs… for our girlfriends, boyfriends, travel tunes, business cards, promotional showcases… the uses are endless.

But let’s fast-forward to our current state of affairs: SoundCloud, Mixcloud, Facebook, Facebook Live. All are great vehicles that allow DJs to share their talents and tastes with the world. However, there is conflict in the air. The waters are churning.

There is strife between the DJ world and the digital world. The same vehicle(s) that have allowed DJs to share their visions and skills with the world is clamping down on the sharing and showcasing of those skills.

This piece is an attempt to explain why this “backlash” is occurring. Allow me to also state that I am not a lawyer (nor do I play one on TV). I did have my “facts” checked by a lawyer (who is a DJ, producer, and copyright holder) that does have a specialty in copyright law and IP. None of what I am putting forth is to be taken as legal advice. I am merely trying to explain in “simple” terms to DJs why mix tapes and the streaming of those mixes are being removed.

While there is a ton of information out there, this article is an attempt to consolidate the information and put it through the lens of our DJ world.

Let’s dig in….

DJs need to realize that the music they mix, play, use, and purchase is not their music. It doesn’t matter if the music is given to you, serviced to you, or acquired by you…. it’s not your music. All you’ve done is acquired the physical medium to play the music at your leisure and you have the license to do just that, play the music for your personal listening.

It’s simple to draw the conclusion that because you own or purchased a song you’re allowed to play it publicly in a DJ set. Well, according to U.S. copyright law, this is incorrect. There are several types of rights copyright owners obtain under the law for musical works, all of which are exclusive, including:

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1) Copyright in the composition of the music.

(Think sheet music) 2) Copyright in the sound recording of the music.

(The actual audio recording of the work/song— think the masters.)

Here’s more of a detailed, but brief explanation of the different rights copyright owners get for their musical works: Types of Copyright Rights Public Performing Right The exclusive right of the copyright owner, granted by the U.S. Copyright Law, to publicly perform a copyrighted work. For musical works, BMI, ASCAP, SESAC (performance rights organizations, i.e. PRO) issues licenses on behalf of copyright owners affiliated with their organizations granting others the right to perform the work in, or transmit the work to, the public.

Reproduction Right The exclusive right of the copyright owner, granted by the Copyright Act, to authorize the reproduction of a musical work as in a record, cassette or CD. For musical works, the Harry Fox Agency, Inc., issues what are known as “mechanical” licenses on behalf of copyright owners granting others (usually a record company) the right to reproduce and distribute a specific composition at an agreed upon fee per unit manufactured and sold.

Derivative Work Right The exclusive right of a copyright owner to make other works that utilize major parts or components of his or her work. Think remixes, mashups or videos. For example, when a producer wants to incorporate someone’s copyrighted musical work into a visual work like a movie, the producer needs to obtain a synchronization license to synchronize the musical composition in timed relation with audio-visual images on film or videotape.

Public Performance (transmitting or performing the work in public) Reproduction (copying/duplicating) Digital Performance (internet streaming)

Digital Performance Right in Sound Recordings Sound Exchange along with Record Companies license the exclusive rights on behalf of copyright owners in a sound recording (which is separate from the copyright in the underlying musical works that BMI, ASCAP, SESAC represents) under U.S. Copyright Law to authorize many digital transmissions (e.g., Internet streaming).

Also, keep in mind, for the recorded music that we all know, use, and love, there are actually two copyrights associated with a piece of recorded musical work/song:

There are two types of licenses for digital streaming of a sound recording: 1) The license to use the music composition embodied in the sound re-

The 4 Factors of Fair Use Let’s begin by stating first and outright: There is no definitive answer on whether a particular use is considered fair use. The only way to have a “clear” answer is to have it resolved in federal court.

There are four factors used to resolve fair-use disputes. It’s important to understand that these factors are only guidelines. The courts are free to adapt to particular situations on a case by case ba-

The drafters of the Copyright Act created four factors to determine Fair Use: 1) The purpose and character of the use, including whether such use is of a commercial, nature, or is for nonprofit educational purposes; 2) The nature of the copyrighted work; 3) The amount and substantiality of the portion used in relation to the copyrighted work as a whole; 4) The effect of the use upon the potential market for or value of the copyrighted work.

What If You Acknowledge the Source Material?

It is commonly believed that the unauthorized use of a work (or portion of it) is permitted if an acknowledgment is made.

This is not true. Acknowledgment of the source material may be a consideration in a fair-use determination, but it will not protect against a claim of infringement.

Does It Help to Use a Disclaimer?

A disclaimer is a statement that “disassociates” your work from the work that you have borrowed.

However, generally a disclaimer by itself will not help. That is, if the fair-use factors weigh against you, the disclaimer won’t make any difference.

Despite a disclaimer, material and original works used can be an infringement, ergo, not a fair use.

So for us DJs, this means Fair Use cannot be applied to DJ mixes.

An important distinction to be made between DJ mixtapes and retail compilations of pop music is that the retail compilations obtain permissions for the use of copyrighted songs contained in the mix, while the DJ usually does not. As a result, mixtapes, such as those produced and sold by club DJs, are illegal. Most mixtape enthusiasts assume that private mixtapes are a form of fair use, but this is not the case whatsoever.

As of this writing and from what I could find, Facebook Live does not have any streaming audio licenses with PROs. As DJs have discovered, Facebook, SoundCloud, etc., have programs that search the uploads to determine if any music with a copyright has been uploaded. If so, the “offending” file is removed.

Keep in mind, just because there isn’t a way to detect infringing works doesn’t make streaming “legal.”

If a label/artist holding the rights to a song

somehow discovers you using their songs in a stream, and really wanted to take legal action against you, they would have sufficient grounds to start a case.

While the copyright law may be interpreted in grey terms, SoundCloud’s terms are clear: Uploading copyrighted material is not permitted. In the beginning, SoundCloud was a haven for DJs’ creativity… hosting mixes, remixes, bootlegs, entire mix shows.As SoundCloud has grown, it how found itself needing to assuage the copyright owners that keep seeing their property posted up on its site. The end result has been SoundCloud taking down questionable material at the request of the copyright holder.

So what are DJs to do?

Here are some sentiments regarding how DJs feel (no names are used, these are all real posts….): “It’s ridiculous to not be able to show my craft and entertain it’s not like I’m making a profit from it” “We as DJs promote the music through our mixes for the artist on live mixes.” “….why should we be punished?”

“DJs have been an important cog in the wheel of music since the invention of radio and then the turntables. We showcase the works of artists so that people can go and buy their music. Without us, much music would go unheard. This is about greed, nothing else. Artists should be grateful that their music is being showcased as many other outlets on the internet tend NOT to showcase some genres and acts and only focus on the famous and hyped.”

“This shouldn’t be no more different than deejaying in the club or as a radio DJ” (continued on page 40)

DECEMBER 2016

With these explanations in hand, we can move forward and explain why DJs aren’t “allowed” to post, stream, or share their mixes. The simple answer/reason is: DJs don’t have the license to share, post, broadcast, or stream the music comprised in the DJ mix they created.

When a DJ spins at a nightclub/venue, it’s incumbent on the venue to make sure they have a license for public performance. This license, in the United States, is acquired from the PROs. When the venue has the public-performance license, it means that DJs can play recorded music registered with the PRO, KJs are able to perform, background music is allowed, and bands can cover songs.

Radio stations pretty much work the same way.

The difference is the radio stations license is for broadcast. Their license authorizes the radio station to play music into public airwaves.

Streaming services do not have a clear relationship with PROs. When a DJ creates a live stream and starts broadcasting music to the Internet, the DJ has become a radio station. As such, the DJ needs to have the appropriate licenses. Therefore, no licenses, no stream.

Furthermore, when DJs see their prom or wedding videos being pulled down by Facebook/ YouTube, the reason is pretty much the same: the person posting the video doesn’t have the licenses to allow for the posting of the music contained with the posted video. And you also have to keep in mind that you will need an additional synchronization license to cover the video medium.

Unfortunately, this is where we, as DJs, find ourselves… in the crossroad of the DJ’s artistic expression vs. the rights of the copyright holder.

It’s apparent that copyright laws are falling behind.

(Editor’s Note: Please see the July 2016 issue of DJ Times for a pair of unique perspectives on that topic.)

DJ sets are not a protected form of free speech.

DJ sets don’t generally fall under “fair use.” As such, copyright takedowns happen.

While we’re here, let’s touch on Fair Use….

sis. In other words, a judge has a great deal of freedom when making a fair-use determination, so the outcome in any given case can be hard to predict.

DJ TIMES

cording. Acquired from the PROs. 2) The license to digitally broadcast the sound recording of the musical composition. Acquired from Sound Exchange.

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DJ TIMES

DECEMBER 2016

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B Y Boom: Nervo rocks Amsterdam.

Vincent van den Boogaard

Industry Legend: Keynoter Daniel Glass.

Maurice Vinken

Keynoter: Richie Hawtin at A.D.E. Tim Buiting

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a place to ease it in, while always reading the floor.

Most importantly, though, you cannot forget why people come out – to get laid, get high… and have a dance.”

Later that day, on “China: A New Electronic Nation,” Robin Leembruggen, a Dutch DJ/producer who runs the Mad Panda booking/management agency in Shanghai, explained the challenges and the great potential upsides of doing dance-music business in the world’s largest country.

“Right now, there are an estimated 80,000 to 100,000 DJs in China,” he said. “Of course, the internet is not completely open in China, so it makes it more difficult to promote, but the technology has made it easier to DJ and to create music. The scene and the music continue to grow very quickly.”

Paul Neuteboom of China’s Modern Sky Entertainment, referring specifically to the STORM and Midi electronic festivals, chimed in, “Yes, China is fourtimes the size of the U.S. market, so China’s emerging festival scene is drawing more attention from all kinds of brands looking at this space,” he said. “These days, you are seeing more and more companies getting into EDM, even though they don’t even know how to spell it, much less understand the music. So, we fully expect 2017 to be another big year for dance music in China.”

On Oct. 20’s “What Do Artists Do All Day?” panel, moderator Dave Clarke had producers explain their creative processes. Thai DJ/producer Celeste Siam, for example, said she puts her phone in Flight Mode while in the studio, so that she can concentrate fully on making music. New Jersey’s Cevin Fisher said he hits the gym before he begins creating, but stays away from the studio the day after he returns from traveling, so that he can “clear his head.” And Britain’s Eats Everything said he lives in fear of irrelevancy, so he’s

DECEMBER 2016

Talkin Loud: Keynoter Gilles Peterson.

Tim Buiting

DJ TIMES

Big Events: A.D.E. nightlife.

Joris Bisschops

Amsterdam, Holland – If it’s mid-October, then Holland once again has become the epicenter of the DJ and dance-music world.

As always, Amsterdam Dance Event—held this past Oct. 19-23—provided a deep slate of industryrelated seminars/keynotes, DJ-driven parties and endless networking opportunities. Of course, DJ Times was there to take all in the activities. Here, we offer highlights from the seminars we caught at Amsterdam’s Felix Meritis Centre: During his Oct. 19 keynote, Gilles Peterson, the wildly diverse U.K. DJ, explained how to succeed playing music that doesn’t always conform to the mainstream.

“There’s never been a better time [for a DJ] to play avant-garde sets—I mean, Four Tet plays Jackie McLean records!” he enthused. “You can play adventurous music, provided you have something different or better to say. I like to stray from genres because I really believe audiences want to be taken on a journey, but I wouldn’t say you should be eclectic just for the sake of it.”

Nonetheless, he offered further advice that all DJs should remember. “Don’t forget the dancefloor,” Peterson warned. “Sure, find ways to slip in your jazz elements, say, if that’s what you want to do. Look for

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Felix Meritis Centre: A.D.E. home base.

Coen van Tartwijk

Soundlab: Tech time at A.D.E. Willeke Machiels

DJ TIMES

DECEMBER 2016

Local Hero: Nicky Romero on the mic.

Maurice Vinken

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City Center Scene: Fans climb aboard.

Maurice Vinken

Mammoth: Noisia at Melkweg Coen van Tartwijk

Street Scene: A.D.E. networkers Willeke Machiels

loathe to take too much time off DJing or producing – although he’d prefer to just DJ these days.

Clarke, engaging Dutch DJ/producer Benny Rodrigues, pounced on that idea of career obsolescence and artists’ desperate attempts to avoid it. “We all have a fear that if we aren’t out there—DJing and producing music—people will forget us…,” he said. “Still, we are at the forefront of a new artistic life – unlike many other types of artists, we do everything.”

Rodrigues responded, “It’s a choice—you are the master of your destination. It can be lonely at times—the studio time and the travel—but it’s the ultimate way of life for an artist.”

On Oct. 21’s “The Future of North American Music (Business),” New York-based DJ/producer Tommie Sunshine moderated a panel of industry vets, journalists and new-media types that discussed how the U.S. dance-music industry has begun to settle after years of flux.

“Right now, we’re seeing the next wave of technology in dance music,” asserted MetaPop’s Matt Adell, referring to the prominence of streaming sites like Spotify. “Recorded music grew 8-percent last year, so the era of the Wild West is over.”

Mike Darlington of the Monstercat label responded, “Everything is data-driven, so people are making better decisions now.”

As to dance music’s continuing popularity, Billboard Dance editor Matt Medved painted an optimistic picture. “More than half of the current pop Top 10 is EDM-related,” he said.

“With acts like DJ Snake, Major Lazer and The Chainsmokers, dance music is having another big crossover moment right now. And as dance music is such a technology-driven genre—anyone can create or hear the music—I don’t see that changing. That’s our culture now.” n

DJ TIMES

DECEMBER 2016

Interview Time: Michel de Hey. Maurice Vinken

At Ziggodome: Tiësto & Hardwell.

Joris Bisschops

On Top: Martin Garrix blasts off.

Tim Buiting

In the Mix: Joris Voorn rocks the party.

Max Kneefel

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THE PLIGHT OF THE PAR T-TIME DJ NOT ALL DJS ARE CAREERISTS, BUT THAT DOESN’T MEAN THEIR COMMITMENT IS LESS THAN FULL

The DJ career of Dean Goninen began when he was in high school, before he had a driver’s license.

“Thankfully,” says the former owner of Ultimate Entertainment in Dickeyville, Wis., “I had an older brother who was willing to drive me to my first couple of gigs.”

Throughout college and the next 25 years, Dean continued to DJ part-time—first during a career as a radio DJ and later as operations manager for Lifeline Audio Video Technologies.

“I mostly booked one event per weekend, with 15-20 Saturdays throughout the year— plus a nearly 10-year span that I played for a singles dance at a local hall every Sunday night,” he recalls. “I must have been younger and hungrier in those days, because I was also working a morning radio show, which had me on the air at 5 a.m. every Monday morning.”

We asked mobile DJs from throughout the country—those who started as a part-time DJ and later transitioned to a full-time career; those who started out part-time and are still only weekend warriors; and those who continue to equally balance DJing with a “regular” job—about the positives and negatives of balancing mobile DJ work with another career.

What challenges do part-time DJs face, including having less time with their families, avoiding conflicts with their work or school schedule, etc.?

Although Dean Goninen’s working hours—balancing time as a broadcast DJ as Dean Michaels—plus doing mobile DJ work on the weekends were sometimes tough, he says the extra money was necessary.

“Because, as I said, I was only just a radio announcer,” he says with a chuckle.

“But during those early years it did bridge the gap when it came to bills, while in later years it became my family’s ‘fun’ money. We would use that cash to spend on fun things to do, or for purchases we wouldn’t normally take out of our family budget. We could do that guilt-free.”

Goninen said his part-time work in the mobile DJ business also provided him with many lessons in business that later came in handy in both his personal and his professional life— from purchasing his first pieces of equipment and upgrading gradually over the years, to marketing and dealing with different types of people, whether customers or other vendors.

Of course, there were aspects of the job that eventually led this part-time mobile jock to eventually abandon his weekend DJ work.

“The greatest downside certainly was the time spent away from my family on weekends and holidays,” he says, “It was often frustrating to see my family head out for extended family visits, while I was loading up to head to a wedding gig. My son was born on New Year’s Eve in 1999 and, of course, I was booked for an event. I had to have someone fill in for me that night, and that was the last year I ever booked that date.”

Goninen moved from working during the week as a radio jock to working at Lifeline Audio Video in 1999, and immediately it was a match made in heaven.

“One great benefit of working at Lifeline was it gave me a chance to test new equipment,” he explains. “I could take the latest equipment on the road, plus it was good for my employer because I had good feedback to give customers on that new equipment.”

“I always said over the years that I was working that I would have an awesome sound system someday that was paid for by someone else [my clients], and as it turned out I had the majority of my equipment sold two weeks prior to my last gig.”

In Chicago, K.C. KoKoruz of The Keith Christopher Group started DJing part-time when he was still in high school. His brother had worked as a mobile jock in college, but eventually had hung up his headphones to become a graphic designer.

On the other hand, KoKoruz found success turning his part-time DJ work into a fulltime career that has so far lasted 20-plus years. But he says it doesn’t really mean much

DJ TIMES

DECEMBER 2016

By Jef f Stiles

26

to a client these days whether the entertainer for their special event is working part-time or full-time.

“The most important thing to clients is that their DJ is available to them when they need them to be,” he says. “If a part-time DJ trains their client by being upfront from the beginning about their availability and the client hires them anyway, there’s no problem.

“That being said, I don’t believe a part-time DJ can give the same level of service as a quality full-time company. I personally believe that a client gets a part-time commitment from a part-time DJ company.”

Then again, KoKoruz admits that being a full-time DJ doesn’t mean that the client will necessarily get a better end-result. “It simply means that the client will ‘in theory’ get service on a full-time basis as needed,” he says.

“I do know a lot of very talented part-time DJs who like to keep it part-time, and I also know a lot of full-time DJs who I wouldn’t hire to play background music—let alone someone’s wedding.

“While there’s a certain percentage of full-time DJs who loathe part-time DJs, I don’t. I acknowledge that even at half of my current pricing it’s an incredible way for a person to make a

“The greatest downside certainly was the time spent away from my family on weekends and holidays.”

— Dean Goninen

“The most important

“I consider both

“The only advice

thing to clients is that

my careers as

I can give

their DJ is available

professional, and

is to ensure

to them when they

devote time to

you treat

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educate myself on

your family

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trends, marketing,

with the upmost

their client by being

sales management

respect with

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ability and the client

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— Ben Zutter

hires them anyway,

— Jerr y Bazata

there’s no problem.”

— K.C. KoKoruz

ond career is running Brian Zutter Productions.”

Over the past 27 years, there are many techniques that helped Zutter to manage both of his careers.

“With just one career, a life balance can be an issue, so having two careers can make it twice as difficult,” he says. “The only advice I can give is to ensure you treat your family with the upmost respect with regards to your time.”

Zutter reiterates that there’s no such thing as a part-time job. “Both of my working environments are not merely jobs,” he says, “they’re careers.

“It’s easy to recognize your primary work as a career,” he continues. “You might be an electrician, lawyer, doctor or factory worker, and these and many more careers take time and education to master.

“Yet the DJ business is no different. If you look at your DJ career as a parttime hobby, you’ll gain only part-time or hobby success out of it.

“I understand that DJing is fun—that’s why I started down that path. However, to ensure your customers are provided the best service, your DJ work must be focused. The old saying goes ‘half-hearted effort yields half-hearted result’—do you want half-hearted results for your DJ customers?”

In conclusion, Zutter says he’s found his “dual career” to be beneficial to both him personally as well as to his family.

“I believe that there are aspects of everyone’s careers that are not totally fulfilled,” he says. “Having a second career, especially as a DJ, can be fulfilling the social aspect that’s often missing in n many careers.”

DECEMBER 2016

the time for the event—which in most cases is an entire day—but the time prior to the event to properly prepare and plan. Often during wedding season that means late nights, which sometimes means past midnight in my home office/studio, then several hours of sleep and then off to my full-time job.

“Over the years, I’ve repeatedly read about the conflict between full-time and part-time DJs—specifically that many of us aren’t dedicated and take this more as a hobby than a profession.

“Yes, there may some truth to that. However, I consider both my careers as professional, and devote time to educate myself on trends, marketing, sales management and technology to stay current and informed.

“The part-time DJs that I know and have met over the years embrace these same core values. Just as I’m required to attend industry events for my full-time job, it’s equally important to attend and be part of industry events in the entertainment and wedding industry.

DJ/entertainer Brian Zutter has been operating Brian Zutter Productions in New England for over 25 years. With a degree in information technology, this certified projectmanagement professional says he enjoys using his years of computer knowledge and planning skills to impress his DJ-service customers with his organization skills and attention to details. His company’s mission, he says, is “to be the recognized leader in the mobile disc jockey business.”

Zutter, based in Windham, Maine, says having two careers is better than having just one. “It’s not for the faint of heart, though if you’re dedicated to your primary career, then you have to dedicate that same amount of time to your DJbusiness career,” he says. “My primary career is a program manager for a major medical-device company, while my sec-

DJ TIMES

lot of money on a weekend while doing something they love to do.

“Some full-time companies feel these DJs are keeping the industry down, while I simply view it as the client simply doesn’t see the value in hiring a full-time company and as such, so they get what they pay for.”

Over the past 20 years, the challenges for Jerry Bazata of Jaz Music and Entertainment in Ogunquit, Maine, to having what he refers to having a “dual career” definitely has a negative impact on social and family time.

“Giving up family weekends away or your daughter’s performance in theater is one example,” he says. “Since a typical day in the office starts at 7:30 a.m. and ends at 5 p.m.—along with two or more evening events per week to attend on behalf of the company—leaves me little time to take an event during the week.

“Early on, I established parameters to which I would devote the number of hours needed to run a successful and profitable DJ business.

“For many like myself, the types of events I can accept are limited to nights and weekends; therefore, you are often much more selective in responding to inquiries from wedding couples, general parties, school events and corporate work. Primarily, I can only accept contracts for weddings and events on Saturdays and Sundays. “ During weekdays, Monday through Fridays, Bazata cannot perform due to family or work obligations, so he often refers inquiries to other DJs, who then become part of his network and a valued business partner.

“Conversely, I also limit the months during the year in which I’ll book events and the number of weekends during that month I want to accept a gig,” he says. “We know as DJs that we not only have to take into account

27

MAKING TRACKS STUDIO…HARDWARE…SOFTWARE…

KEYSCAPE: A KEYBOARD COLLECTION

Spectrasonics Keyscape: Collector keyboards galore.

DJ TIMES

DECEMBER 2016

By Josh Harris

28

Every couple of years or so, Spectrasonics comes out with a new virtual instrument that I know I must have. Keyscape is the Burbank, Calif.-based company’s most recent offering, and it features the largest collection of collector keyboards in the world.

It was 10 years in the making, and if there is one thing I have always appreciated about Eric Persing and the the Spectrasonics family, it’s how meticulously multi-sampled and organized their libraries are. Keyscape’s content weighs in at 77GB, so I knew I was in for a treat. There is also an alternate install, which is 30GB, and has a pared-down collection of keyboards.

As a classically trained pianist and longtime synth lover and owner, I couldn’t wait to dive into this collection. My spotty internet at my studio made the download take longer than necessary, but in the end, it was worth the extra wait. (Of course, the boxed version that’s sold through retail dealers offers two USB drives for easier installation.) For me, this collection is all about authentic expression and custom control of the instruments.

In total, there are 36 different instrument models, yielding over 500 presets. The instruments range from an LA Custom C7 Grand to a Wurlitzer 140B. Other instruments include the Roland MKS-20, 1972 Fender Rhodes, Dolceola, Clavichord and Harmochord.

And, to add icing on the cake, some hybrid/duo patches are included. For example, ever wondered what an MKS EP and LA Custom C7 sound like together? With Keyscape, you have your answer.

There are two different ways to use Keyscape: as a stand-alone plug-in or within Omnisphere—however, you will need to update to Omnisphere 2.3. Using Keyscape within Omnisphere is fantastic—users can take advantage of Omnisphere’s Live and Stack Modes, as well as its expansive effects. It’s definitely worth exploring.

Also worth mentioning is the fact that Keyscape needs a 64-bit host, but its sounds can be played within Omnisphere 2, which can operate in 32-bit hosts.

Having played the hardware versions of many of these keyboards, I have

to say that this library is incredible. I own a Roland JD-800 and the Crystal Rhodes patch is spot-on. One of my favorite classic keyboards is the Yamaha CP-70, and I am so happy to have it in my collection now. There is something about that keyboard that inspires me. I really enjoy the different presets that were created for the Custom C7.

There are some cinematic piano presets that have so much depth. I happened to be working on a deep-house track during my first week with Keyscape, and I quickly found my way to the Suitcase Rhodes, put down my part and blended it in my track. After working my way through the entire library, I have to say that one of my favorite keyboards is the Rhodes Piano Bass. It’s got such a full and rich sound.

In terms of custom controls, each patch was created with specific performance controls. For example, some patches allow for control of the key’s release noise, and some allow for the patch’s sonic character to be changed from dark to bright. Some patches allow for control over reverb and compression. It varies from patch to patch.

At the time of writing this review, new velocity curve presets were being created, so depending on what controller you’re using, you will have options to select the curve that best suits your playing style, and your controller’s touch response. [Editor’s Note: According to Spectrasonics, the latest version of the patch library has curves for over 50 controllers.] Another goal with this collection is to allow for “live” use onstage. Imagine being able to have all of these keyboards on stage in a laptop?

Those of you who are working on tracks that call for piano and vintage keys will truly love Keyscape. I can see it finding a home with TV and film composers, as well as with pop, R&B and gospel keyboardists. In the dance-music world, I can see soulful and deep-house producers getting a lot of mileage out of it.

For $399, you’re getting well over 100K worth of collector’s keyboards in a plug-in. For a little perspective, consider that I paid $900 for my JD-800 back in 1998—and it was used! So, bottom line: Spectrasonics (www.spectrasonics.net) has done wonderful job with this collection. Check it out!

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

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SOUNDING OFF PLAYBACK…PRO AUDIO…PROCESSING

ROLAND DJ-808: BLAZING NEW TRAILS

DJ TIMES

DECEMBER 2016

By Wesley Bryant-King

30

It seems empirically obvious that for many years now, there’s been a gradual blurring of the line between what constitutes a club DJ, and a performing artist.

Functions common to virtually all modern DJ applications—looping, sampling, jumping around cue points, and otherwise manipulating source material—have allowed club DJs and others to perform what is essentially real-time remixing: chopping-up, rearranging and manipulating material in ways that DJs a decade ago could scarcely dream about. And both DJ software and hardware controllers have attempted to bring more production elements to the table to enable even more flexibility with this on-the-fly remixing.

But imagine for a moment a set-up that takes all of those capabilities, and stretches it even farther.

Imagine a DJ controller and software set-up that provides four decks’ worth of the usual DJ capabilities, but pairs it with some of the music industry’s most iconic drum machines. Imagine that this same controller throws in some state-of-the-art pitchand-timing adjustment capabilities, enabling you to warp your source material in entirely new ways.

And then imagine that—just for good measure—a vocal-transformation-effects engine was put onboard, allowing you to have a little creative fun with a microphone alongside everything else. Oh, and one more thing: Let’s just toss in some cool new ways to synchronize your DJ performance with other instruments, or a full-blown DAW (digital audio workstation).

Well, you don’t need to use your imagination

anymore. That DJ controller and software bundle is here, in the form of the new Roland DJ-808, a hardware controller for Serato that (as I just described) brings some interesting innovations to the fore.

Maybe you’re thinking right about now, “Wait— Roland?” So, yes, the iconic music hardware company has introduced its first entrée into the DJcontroller market, and they’ve clearly aimed to make an impact.

The Basics: Let’s start with all the stuff you’d expect of a high-end DJ controller designed for Serato. First, obviously, is Serato itself; the controller unlocks the full Serato DJ application. I’ll come back to this later, but you also get a certificate you can redeem online to receive Serato’s Pitch ’N Time DJ Expansion Pack, which normally retails for $29.

On the hardware side, there are four decks’ worth of digital DJ control. There are faders and gain knobs. There’s 3-band EQ knobs just where you’d expect to find them. There’s a crossfader, should your style dictate that you need one. And in an approach that’s very common among Serato controllers in particular, you have eight multifunction pads that control various “extras” (like the new Pitch Play functions and the TR mode that lets you play the TR from pads). And yes, of course, there are two nicely sized rotary encoders with the expected transport buttons, with pitch faders nearby.

As you’d probably expect from hardware sporting the Roland name, the build quality is top notch.

Knobs and faders have a perfectly balanced feel, and the jog wheels in particular are a pleasure to use.

And while the unit itself is fairly big, it’s not terribly heavy. Even with an appropriate case to protect it, you’re not going to be pulling any shoulder muscles toting it around.

The DJ-808 also delivers über-flexible, pro-grade I/O—any of the four channels can be switched between PC (i.e., a Serato virtual deck), and then either line level input or phono level input (for two of them), or line level or USB input (the other two; more on those USB inputs later), letting you easily hook up external signal sources to augment your digital ones.You get front panel headphone jacks in both sizes, and on the back, the flexibility of booth outputs, and master outputs with both XLR and ¼-inch combo, as well as RCA options. There’s also a mic input (also in XLR and ¼-inch combo).

I also appreciate the fact that the DJ-808 can be used standalone—in other words, without Serato, or a computer. That extends it utility, of course, but much of the power of the unit is best realized when paired with Serato.

Well Beyond the Basics: The DJ-808 would make a pretty decent DJ controller if they’d stopped the design process at this point in my walk-through, but they didn’t.

On the DJ-centric side of things, buttons on both the left and right edges let you control Serato’s aforementioned Pitch ’N Time DJ Expansion Pack (P’NT DJ) capabilities. P’NT DJ brings superior time stretching and key shifting capabilities to Serato, letting you tinker with tracks at margins that just aren’t possible otherwise, opening up new creative power in the process.

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But it’s along the top portion that you’ll find all the buttons and knobs for the features that make the DJ-808 so special, and blur the lines between “DJ” and “performing musician” in ways I’ve just not seen before.

First, the TR-S section provides a full 16-step sequencer that lets you program rhythms that use the sounds of Roland’s renowned drum machines, the TR-909, -808, -707 and -606. Programming beats is straightforward, and if you’re familiar with these or other drum machines, the concepts largely carry forward to the DJ-808 with ease.

For everyone else, a quick read of the manual will get you on your way in minutes. The TR-S has its own fader in the middle, between the two pairs of regular channel faders.

The TR-S also offers independent faders for the four key rhythmic elements: bass, snare, and open and closed hats, allowing real-time performance control. You also get controls to tweak elements like the attack curve. Needless to say, with the range of sounds provided on board, along with the capability to use the sequencer to trigger samples loaded into Serato, you can go into some interesting territory, creatively speaking.

Second, you’ll find the VT (Vocal Transformer) section, which provides real-time effects to the signal of the microphone input, allowing you to adjust both the pitch and the formant characteristics of your voice—live. I was perhaps not quite as impressed with the VT feature as I was with the TR-S, but I can see its potential for certain styles (continued on page 40)

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MOBILE PROFILE CAREERS…INNOVATIONS…SUCCESS STORIES

SOUTH DAKOTA DJ GOES BIG

DJ TIMES

DECEMBER 2016

By Con Carney

32

Full-Timer: Pinnacle’s Chris Hintz.

Sioux Falls, S.D. — Good thing Chris Hintz’s high-school principal knew he loved music. Otherwise, Hintz might have another career.

“I was a senior in high school and our principal asked if we could fill in for a DJ that cancelled last minute for our dance,” says Hintz. “We borrowed some home stereo equipment from my parents and some friends, and DJed my first party.”

Hintz says it wasn’t glamorous—or even good, for that matter.

But watching the other students’ collective excitement when he played a sure-fire track was intoxicating.

Fast-forward to 2002 — the year he decided to start building a DJ business, while working a full-time job.

“Building a business 30 hours a week and managing a full-time career, which I was pretty damn good at, was challenging,” says Hintz, who opened Pinnacle Productions during that time. “The balancing act of family time, my responsibilities to my employer, and building a future for myself and my family were not easy.”

Hintz says the leap was scary, but after nearly four years he left his job to pursue DJing full-time. “It’s been 11 years,” he says, “and I haven’t missed working for anyone since.”

To start the business, he withdrew $2,000 from his 401K. “That was literally gone in five or six clicks of the mouse,” he says. “We also weren’t sure how we were going to be able to create connections with venues, bar management and ownership, and had no idea of how to sell to brides.”

So, how did Hintz overcome those challenges? “Perseverance, love and faith,” he says. “We felt like there was a genuine disconnect in the way many people approached the bridal and nightlife entertainment industry. We talked with many managers, many brides, and did our best to connect… to be real.”

Hintz also developed a relationship with his community bank, which helped finance the growth necessary to scale. It really helped in 2014, when Hintz acquired another DJ company, The Musical Edge. “[Musical Edge owner] Jeff Meuzelaar and I had known each other for a couple years, had developed a friendship, and worked together in a couple different events and ventures,” says Hintz.

“The thought process was to develop a deep talent pool to be better than one- or two-deep. In the multi-op world, it seems like there is one superstar and a bunch of subordinates.”

Hintz says the acquisition was a perfect fit: He credits Meuzelaar with being “insanely” talented in marketing, social media, and web. “He’s also an incredible promoter,” says Hintz, “and has developed relationships on a national level doing very high-end events for some very high-end clientele.”

Meanwhile, Hintz’s strengths are in the financial sector of the business, networking, and connecting with the bridal and corporate markets. Still, the acquisition created its own pressure, which Hintz calls “The three S’s”: Scaling, Staffing and Stress.

“When you’re building something, it’s so much bigger than one or two people,” he says. “You need to develop talent. You need to find ways to encourage growth, while respecting the differences we all have. You have a huge responsibility when you onboard employees. You have to consider every decision you make and how it affects others. Are you making the right investments? Are you scaling too quickly? Can you support the workload you’re carrying?”

The result has created a key differentiator for Hintz and team. “We have depth – 22 people that work with Pinnacle Productions,” he says. “We’re very flexible and cross-train our team to do everything. We develop talent internally, invest in

workshops and training, and encourage them to be the best versions of themselves. We don’t like clones. We respect our people, we work hard to give them time off when needed, and we’re fortunate that they are passionate about our vision.”

Pinnacle DJs are trained to mix music in a number of environments— weddings, nightclubs, promoted parties, etc. The company averages 30 events a week in the Sioux Falls market, which Hintz refers to as one of the best in the nation. “Without a doubt,” he says. “We have some very talented people in our industry. Most of us have our egos in check, and work together to raise the bar across the board.”

Hintz believes that “raising the bar” is a consequence of the more you see, the more you perform, and the more you’re around different types of events, the better you can hone your skills. “I think specialization is great,” he says, “but I think it’s better to be great in more than one skill set.”

On the gear side, Pinnacle carries 15 full mobile systems that all use Serato DJ for playback. The PAs include systems from QSC Audio, JBL Professional and Electro-Voice. For lighting, Pinnacle mixes and matches effects from a variety of suppliers. “We use units from Chauvet, ADJ, Eternal Lighting, Blizzard—just depends on the right tool for the job,” he says.

“For most of our weddings, we use totems and moving heads, along with uplighting. For our smaller bar events, we use the Chauvet GigBAR. For really large events, we’ll use anything from 10R moving heads, crowd blinders, and high-power lasers.”

Ask Hintz where he sees the future of his business, he answers by dialing back to the previous two years.

“We have set some pretty lofty goals for our partnership’s first five years,” he says, “and honestly we’ve almost surpassed them in two years.”

By 2020, Hintz hopes to have a couple full-time office and sales managers, a team of 30-35 people, and double Pinnacle’s current sales.

Lofty goals, sure. “But we’ve got the foundation, the passion, and most importantly, the people,” he says.

“You are nothing without the right people!”

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THE

CLUBWORLD TAPES A new podcast featuring unfiltered conversations with nightlife’s biggest artists, legends, promoters, pioneers, and professionals.

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BUSINESS LINE SALES…MARKETING…SOLUTIONS…

YOUR DJ BIZ & A TRUMP PRESIDENCY

DJ TIMES

DECEMBER 2016

By Stu Kearns

34

Donald Trump’s election-day victory initially cast the stock market into a tailspin. In the days since, it’s bounced—even roared—back. Why the yo-yo?

Markets don’t like uncertainty. It wasn’t prepared for a Trump victory—who was? But once it became accustomed to the idea and familiarized itself with what a Trump presidency can mean (to bank stocks, especially) it seems to have adjusted.

It’s not so clear for small-business owners, unfortunately. But there are several utterances from Trump’s campaign speeches that serve as tea leaves, that offer some clues as to what the next four years may mean for small-business owners, like mobile-entertainment companies.

According to CNBC, small-business owners were largely supportive of Trump during the campaign—as of the first week in October, 58.7-percent said of that demographic said would vote for him. It’s generally acknowledged, at least anecdotally, that the small-business community was looking for a change, someone they view as empathetic to its concerns. (Although President Obama’s quote often has been presented out of context—he was discussing his opponent’s proposed tax policy— some small-business owners were rankled when he said at a 2012 campaign stop: “Look—if you’ve been successful you didn’t get there on your own.”)

What we do know is this: Trump has said he will reduce taxes across all income levels, and compress the tax code to three brackets from its current seven. Under this plan, top earners will see a reduction in their tax rate to 33-percent, down from the current top individual rate of 39.6 percent. (The Bush-era tax rate for highest earners was 35 percent.) A married couple making $90,000 would see their 25-percent

rate remain the same.

Not all small-business owners are enthused about the personal tax cuts, however. In a recent Huffington Post article, members of the Main Street Alliance—a national organization of small-business owners—said the following: “The vast majority of small-business owners don’t support a tax system that augments their piece of the pie by cheating their fellow citizens out of theirs,” said David Borris, the owner of Hell’s Kitchen Catering in Chicago. “When we contribute our fair share of taxes, those dollars get reinvested in our local communities, which support tens of millions of small businesses nationally.”

Deborah Field, the owner of Paperjam Press in Portland, Ore., concurred.

“To level the playing field for Main Street businesses, our tax code must no longer skew in favor of large corporations and their shareholders,” she said.

“Without holding multinational corporations accountable to pay what they owe and first providing relief to low and middle-income earners we shouldn’t begin to consider tax cuts for the rich.”

Amanda Ballantyne, national director of the Main Street Alliance, says, “Mr. Trump’s tax breaks would deprive the government of badly needed funds for investments in infrastructure, transportation, education, and social services.

The resulting budget cuts hinder the types of investments that drive local economies and put small businesses in a better position to succeed.”

Ballantyne went on to say: “The kind of tax policy that small businesses need is one that supports their customer base and their communities.”

Aside from personal tax rates, Trump has said much about what he’ll do for corporate and small-business taxes. In a word: cut. First, he said he’ll decrease corporate taxes to 15-percent—they’re currently at 35-percent.

For small-business owners, many of whom are S-Corps or other pass-through entities like LLCs, their tax rate would also max out at 15-percent.

That means the majority of business income that gets passed through to its owners would be subject to a 15-percent tax rate when they reported it on their individual tax returns. At a speech in Detroit in August, Trump said, “Under my plan, no American company will pay more than 15-percent of their business income in taxes. Small businesses will benefit the most from this plan.”

The National Federation of Independent Business, a conservative lobbying group, approved.

“Mr. Trump’s plan would eliminate the disparity between the way large corporations and small businesses are treated under the code and all businesses would be taxed at a substantially lower rate,” the N.F.I.B.’s president, Juanita Duggan, said in a statement.

For businesses, specifically, Trump has proposed closing the H-1B visa program — the federal program that allows for as many as 65,000 skilled immigrants to work in the U.S. each year. This impacts larger companies like Facebook and Google, who regularly hire foreign skilled workers. Trump has said that he would require companies to hire American workers first.

What will the future yield? Trump is an oddity in that he’s made claims on both sides of many issues. But there’s little doubt that personal tax cuts will be a major part of his program.

DJ-business owners of America, stay tuned…

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

“Several utterances from Trump’s campaign speeches serve as tea leaves for small-business owners.”

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

Harman International 8500 Balboa Blvd Northridge, CA 91329 (800) 397-1881 www.jblpro.com

Chauvet’s Strike 1 is the latest addition to the Strike Series—the single pod light acts as a blinder, strobe, wash and flood. It features a 230W warm white LED source, 16-bit dimming control and emulated red shift, which the company says warms the color temperature of the light as it dims to replicate the look of an incandescent fixture. This outdoor-rated fixture has 2, 3, 4 or 5 DMX channel modes as well as 2, 3, 4 and 5 channel personalities.

The PRX800W from JBL Professional is a high-powered portable PA system that offers complete wireless control via the PRX Connect mobile app for iOS and Android. The unit features integrated 1500-watt Class-D power amplification, eight-band parametric EQ and DSP built into each speaker. It is housed in an all-wood cabinet that features durable tonguein-groove joints, a DuraFlex protective finish and dent-resistant 16-gauge steel grilles. There is also a redesigned Crown input panel that offers XLR, ¼-inch and RCA inputs, plus XLR loop-through and professional outputs.

Eye of the Storm

Hazer Shade of Winter

Blizzard Lighting N16 W23390 Stoneridge Dr. Suite E Waukesha, WI 53188 (414) 395-8365 www.blizzardlighting.com

Mega FX 18668 Hwy 16 N. Helotes, TX 78023 (210) 684-2600 www.megasystemsinc.com

Blizzard Lighting’s DMXPC cables come in two different styles – PowerCon compatible (male-blue) to (male-white) 14 AWG power + 3-pin XLR (M) - XLR (F) 120 ohm DMX combo cable, and PowerCon compatible (male-blue) to (male-white) 14 AWG power + 5-pin XLR (M) - XLR (F) 120 ohm DMX combo cable. Both models are available in three-, six- and 10-foot versions. According to the company, they are built with “thicker wire gauges, better jackets, shields and connectors.”

Mega FX introduced the H5 Hazer, which can fill a room with haze at 10,000 cubic feet per minute. The H5 hazer holds 1/2 gallon of Mega Nectar, the company’s signature water-based haze fluid, and the unit will automatically turn off when fluid runs out. It comes equipped with both three-pin and five-pin DMX, a single mounting yoke for rigging, and an on board control panel where uses can control interval, duration, timer and fluid sensor settings via a digital display.

DJ TIMES

Going on Strike

DECEMBER 2016

GEAR AUDIO…LIGHTING…STUFF

35

GEAR AUDIO…LIGHTING…STUFF

Space Invaders

Cover to Cover

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

Mixware, LLC 11070 Fleetwood St, Unit F Sun Valley, CA 91352 (818) 578-4030 www.mixware.net

DJ TIMES

DECEMBER 2016

www.americandj.com The ADJ Asteroid 1200 is a spherical centerpiece effect that features a 180-watt quad-color LED source and 360-degree continuous rotation of head and yoke. The pan and tilt are individually controllable, while the advanced lens optics make sure that there are no RGBW shadows getting in the way of the multi-beam effects. Additionally, pixel-mapping capabilities can be accessed using DMX, Artnet or KlingNet control protocols.

The unit operates in Sound Active and Auto modes, as well as 18-, 20- and 69-channel DMX control.

36

Decksaver released a new model designed to fit the Rane MP2014 mixer, protecting it from dust, liquid and accidental impact. Manufactured from extra thick premium polycarbonate, the unit is precision molded to cover the MP2014 while the cables remain connected. The cover features adjustable mechanical sides that adapt to differing tolerances in the MP2014’s wooden side panels.

The Life of Pioneer

Party Like It’s 99

Pioneer DJ Americas 2050 W. 190th Street Suite 109 Torrance, CA 90504 (424) 488-0480 www.pioneerdj.com

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

The XDJ-1000MK2 from Pioneer DJ is an update on the company’s CDJ-2000NXS2 that sports many of its predecessor’s features, including a 7-inch full-color high-resolution touch screen and a Qwerty touchscreen keyboard. The XDJ-1000MK2 comes with a new Matching feature that “displays suitable tracks you’ve previously tagged in rekordbox when they’re mixed with the track that’s currently playing,” according to the company. Additional features include eight Hot Cues and illuminated USB ports that will reflect the user’s color-coded USB devices.

Roland introduced two new models—the TT-99 Turntable and DJ-99 DJ Mixer. The TT-99 is a three-speed turntable that features a direct drive system for stable torque and a built-in phono equalizer. The unit ships with a 909 special edition slipmat. The DJ-99 is a two-channel mixer that features a pro-grade mini innoFADER crossfader and dedicated DVS inputs/outputs. Each input also features a three-band equalizer.

AUDIO…LIGHTING…STUFF

Allen a Day’s Work

You KOMPLETE Me

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

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

Allen & Heath launched the Xone:PX5, a new 4+1 channel DJ performance mixer. The unit comes with an internal 20 channel/24bit/96kHz USB2 soundcard with Xone:Sync and MIDI integration that is class compliant on Mac and enables five stereo channels to be streamed into the mixer from performance software. There is three-band total kill EQ on all channels, as well as a new internal Xone:FX engine and a Xone VCF filter.

GEAR

Native Instruments released the eleventh generation of KOMPLETE production suites in a variety of models. KOMPLETE 11 features 45 products, 13,000 sounds and seven new instruments, while KOMPLETE 11 ULTIMATE has 87 products, 18,000 sounds and 13 new instruments.

Both come with FORM, a new synthesizer that lets producers set playback rates according to sample length, frequency or BPM. KOMPLETE 11 SELECT features more than 2,500 sounds and more than 25 GB of instruments and effects, including 11 full instruments.

DrumBrute Strength

DJ TIMES

DrumBrute is an analog drum machine and sequencer that includes 64 sequences that contain up to 64 steps and can be chained together in a song mode. Users can access 17 fully analog drum and percussion instruments, including two kicks, snare, clap, open and closed hats, high and low toms, conga, maracas, rimshot, clave, tambourine, zap, cymbal, and a reverse cymbal. Additional features include 3.5mm and ¼-inch headphone outputs, MIDI clock and a variety of editing options, including Step Repeat, Roller and Looper functions.

DECEMBER 2016

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

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TRACKS…MIXES…COMPILATIONS

“ALL ABOUT LOVE” u Mark Di Meo u Soulstice A killer cut from Italy’s Mark Di Meo marks the latest Soulstice release. Mixes from Reelsoul, Rightside and Mark himself give this an essential feel.

– Curtis Zack “HOOK ME UP” u Seb LeBrox u No Definition Norwegian newcomer LeBrox drops a deep, soulful house number that’s just thick and rugged. The vocals are a preacher getting the crowd all riled up while the bass-heavy groove carries the vibe. Just an old-fashioned house banger.

– Phil Turnipseed “WHISPERS IN THE NIGHT” EP u LTN u Silk Music On this tight two-track EP from the Indonesian producer, the proggy title cut kicks a dark, electro bassline, then offers an echoey synth breakdown—heady and hip-swaying for the dancefloor. But check the B-side’s gorgeous and trancey “Thunderball,” which delivers a bouncy bassline and twisted synth stabs until its anthemic breakdown and superb drop. It comes five minutes in, but well worth the wait.

– Jennifer Harmon “YOU & I” u Sonny Fodera u Defected An epic breakdown and killer bass run the show on Sonny’s new release. Taken from his forthcoming album, you can expect to hear this all over the Winter months.

– Curtis Zack “TAKE SOME TIME OUT” u Arnold Jarvis u Fourth Floor Records On this re-release, Jarvis’ 1987 original, with its deconstructed vibe, loose percussion and punchy, melodic bass, remains a house classic. The bonus bits include the “Paradise Ballroom Mix” and “Some Extra Drums” for those who want to harness that timeless Fourth Floor beat.

And don’t sleep on Ilija Rudman’s new “Reconstruction Mix,” which offers an updated vibe, but still percolates.

– Tommy D Funk “KEEP PUSHING” u Full Intention u Defected This new one drops that unmistakable, syncopated Full Intention house groove. With its live-and-direct bass, spliced-up vocal sample and punching synth chords, this track ups the dancefloor heat. And check Todd Terry’s superb remix, which recalls the best of the ’90s.

Sonny Fodera

– Tommy D Funk “RISE UP” u Rhemi & Vanessa Freeman u Rhemi More heat from Ziggy & Neil, this time featuring the outstanding vocals of Vanessa Freeman. Vibes straight out of the Roy Ayers playbook and awesome synth hooks give this all the elements it needs for another Rhemi masterpiece.

– Curtis Zack

DJ TIMES

DECEMBER 2016

“KEEP PUMPING” EP u The Deepshakerz u DFTD

38

For this melodic two-tracker, the Italian duo drops some quaking bass on the title track. Meanwhile, “Shake Me” goes in the jacking-house direction, but maintains its techy elements. Quality.

– Tommy D Funk “BREAK YA DOWN” u Jay Vegas u Hot Stuff Mr. Vegas is certainly on a roll as this latest outing on his Hot Stuff imprint.

Featuring a well-used sample from a War classic (“Galaxy”), the result is never in doubt with instant dancefloor appeal.

– Curtis Zack

Full Intention

TRACKS…MIXES…COMPILATIONS

Arnold Jarvis

Mark Di Meo

LTN

808 State

The Deepshakerz

“DREAM” u Dorian Bay u Roxten Records The Estonian DJ/producer/vocalist drops a sick prog-houser that offers some hands-in-the-air moments. This splashy EDM killer is worth banging on your floor.

– Phil Turnipseed “SO MUCH TIME” u Mannix feat. Lisa Shaw u Favouritizm Vienna’s Mannix makes a welcome return with a superb soulful-house number, featuring the unmistakable Shaw. This deep groover features airy synths, sweeping strings and an uplifting vibe. Dreamy.

– Tommy D Funk “PROMISE” u Sublevel & Blakdoktor Feat. Lillia u Classic Music Company With a bottom-heavy, reverb-soaked bassline, some mellow keys and Lillia’s laidback vocal, this one’s a monster house track. Also, the “Atjazz Floor Dub” gives DJs a full range of tools to express their creativity. Classic Music Company has done it again, full support on this winner.

– Tommy D Funk “TRUST” u Rao u Red Kyte The second release from fledging label Red Kyte and what a corker. Rao is building a name for his live sets, however the studio release takes things up a notch with its old school vibe and sublime chords.

– Curtis Zack “BIRTHDAY OF BLACKNESS” u Cazz Ear & Natasha Kitty Katt u Tribe The current queen of disco, Natasha Kitty Katt teams up with Cass Ear for some soulful goodness. Brass and piano combine exquisitely and with a club and more laidback lounge mix, there is something here to suit all moods.

– Curtis Zack

GUEST REVIEWER: Herbie Saccani

QUADRASTATE 808 State Creed OK, kids, here’s a look back: This Acid-House-era extended player, which has since been re-released on Rephlex, influenced me (and so many other DJs) in so many ways.

With its abstract, but yet wideappealing Mancunian stamp on it—and featuring the timeless “Pacific State” as its centerpiece and sublime genre tracks like “Disco State”—this one was a breath of fresh air in the midst of all the Acid House madness. Rediscover 1989.

39

Copyright 101

(continued from page 21) “Without us playing their music they would be nothing!”

Well, let me state that what I’m about to say, isn’t going to be popular or garner me new fans…

It isn’t about promoting new music. It isn’t about doing it for fun. It’s not about you (the DJ).

Music will still get “out there” without your mixtape. It isn’t about doing it

for the craft. It’s not about doing it for the love of the art. It doesn’t matter whether you’re not making money from it.DJs aren’t being punished.

The law is being followed.

As a DJ, while I agree with the above sentiment (most of it, not all of it), it come down to the facts within the world we live — SoundCloud, Facebook and the other hosting services aren’t the bad guys in this story.

The Copyright Act is the law of the land. These “hosting” companies are limiting their liability and exposure.

The facts are, as the Copyright Act is currently applied, the DJs ability to stream and share mixtapes is severely limited if you want to operate with the legal confines of the law.

So don’t hate on Facebook. Write your congressman and get the laws changed. Or develop a system where DJs and copyright holders have a ve-

hicle where DJs can showcase their talents and the material/music being used is done in a forum and manner that’s mutually beneficial to the DJs and copyright holder(s).

It’s a brave new world out there. At least, now you know why your mix is getting yanked down.

Tony Fernandez is a longtime DJ from Richmond, Va., and a recent presenter at DJ Expo.

lerhead, in Reason 9. It’s also been embraced in a growing number of iOS apps as well.

With Serato’s support for Link, it’s possible to have a full-blown DAW on the stage alongside the DJ-808 and Serato—with all the innovative capabilities that that combo brings to the table—with everything running in perfect sync. It’s not singular either; multiple DAWs, and/or a mix of iOS devices running compatible music apps can all be part of the performance as well, effortlessly joining or leaving the session. The possibilities are a bit mind-boggling, frankly. I tested Link by running Serato and the DJ-808 on one computer, with Ableton Live running on another, and even extended the clock synchronization to my Prophet 6 synth from Ableton Live via MIDI Clock. I’m pretty sure a little smoke was coming out of my ears as I considered the possibilities while I tinkered with the setup. Impressive.

Conclusions: With so much power provided by the DJ-808 itself to stretch the art of DJing into completely new territory through the

integration of the TR-S and VT functionality, coupled with the software power and Link support of Serato, the net-net of this combo is empowering a DJ to explore new creative territory on his or her own—or to be a true part of an ensemble of stage performers with the exponential boost in creative potential that those synergies can bring.

Of course, let’s not forget that the DJ-808 + Serato is a pretty powerful combo for even the most ordinary of DJ activities, with all the connectivity, functionality and quality you’d expect from a truly professional DJ controller and DJ application.

With a street price in the neighborhood of $1,500, the Roland DJ808 is no small investment, and its raw power will likely appeal to a particular echelon of DJ for whom the price is not a significant barrier to entry. But it’s worth considering for many types of DJs, and regardless, it definitely blazes wholly new trails among DJ controllers. I’m sure it’s going to be turning the heads of many a DJ, and I, for one, can’t wait to see what people do with the power it offers.

Sounding Off

(continued from page 31)

and situations.

Where I think things get even more interesting with the DJ-808 can be partially attributed to Roland, and are unique to the hardware, and partially can be attributed to new capabilities in Serato itself. Both have the same aim: Allow a DJ, using the DJ-808 and Serato, to perform live with external music creation hardware and/or software—either under the control of the DJ, or other performers.

On the Roland side, the company has integrated a couple of things:

DJ TIMES

DECEMBER 2016

First, MIDI out. Various actions on the DJ-808 output MIDI messages as you might expect (in ways that appear to be undocumented presently), but of interest here is that the DJ-808 can be a MIDI clock master or slave.

While not particularly sophisticated, MIDI clock can be used to keep the unit in-tempo with companion hardware, at least in its rudimentary way.

40

Second, AIRA Link. AIRA is Roland’s secondary brand name for a family of interoperable products, and I have to say this is the most poorly documented and poorly described aspect of the DJ-808; in fact, I could find literally nothing about it other than a statement on the box—and on the Roland web site—that it was supported. (It’s not even mentioned in the manuals.) While Roland has a web microsite for AIRA, it’s not very helpful to really grasping the “whats” and “whys.” It seems as if Roland has followed other tech companies down the rabbit hole of applying a single name (AIRA) to a range of things that are only loosely related. One of those “things” is AIRA Link, which is plug-and-play.

AIRA Link allows the use of a standard USB cable to connect multiple compatible devices, which can then share digital audio, MIDI, time sync, and bus power between them. On the DJ-808, the two aforementioned USB inputs are set aside for AIRA Link connections, which currently includes Roland products such as

the TB-3 bass machine and various synths including the SYSTEM-1, among others. In this respect, the DJ-808 echoes the capabilities of Roland’s MX-1 “AIRA” mixer. Keep in mind that AIRA Link is (at least at the present time) proprietary, so don’t look for non-Roland products to function with the two provided USB ports.

To evaluate the AIRA Link functionality, I connected a Roland TB-3 to one of the ports, changing the front panel switch to use the USB input for the corresponding channel on the DJ-808. Pressing the “start” button in the DJ-808’s TR-S section, the programmed drum pattern started to play—and so did the currently-loaded bass pattern on the TB-3, in perfect sync, and with the same beat offsets on the respective step sequencers. Meanwhile, I starting mixing in a couple of tracks in Serato, looping some sections of each, while manipulating effects on the Serato side, while adjusting effects and envelopes on the TB-3.

The creative potential here is very easy to see.

That potential starts to increase even more exponentially on the Serato side of the equation, due to the company’s recent announcement of support for Ableton Link. This innovative technology—supported in Ableton’s own DAW, Live, but also available via open source libraries to other developers—is designed to support network-based synchronization of tempo, beat, and phase.

Link allows performers using either iOS devices running Link-compatible apps, or computers running Link-compatible music software, to perform together in a flexible manner that echoes the way that traditional musicians have been doing it for eons. I won’t bore you with the technical minutia behind Link—I will say it’s a novel and effective approach to the multi-electronicmusician synchronization problem, and apparently sufficiently novel and effective that it was adopted

by Ableton’s competitor, Propel-

1. Publication Title: DJ Times 2. Publication Number: 1045-9693 3. Filing Date: September 26, 2016 4. Issue frequency: Monthly 5. Number of Issues Published Annually: 12 6. Annual Subscription Price: $19.40

Contact Person: Vincent P. Testa (516-767-2500) 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 2016 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) 23,080 23,158 B1. Paid/Requested Mail Subscriptions 1,082 1,060 B3. Sales Through Dealers and Carriers 15,672 15,393 C. Total Paid and /or Requested Circulation 16,754 16,453 D4. Nonrequested Copies Distributed Through the

USPS by Other Classes of Mail 5,966 6,480 E. Total Free Distribution 5,966 6,480 F. Total Distribution 22,720 22,933 G. Copies not Distributed 360 225 H. TOTAL 23,080 23,158 I. Percent Paid and /or Requested Circulation 73.7% 71.7% 16. Electronic Copy Circulation A. Requested and Paid Electronic Copies 2,328 2,859 B. Total Requested Print /Electronic Paid Copies 19,082 19,312 C. Total Requested Copy Distribution/Requested/Paid Electronic Copies 25,048 25,792 D. Percent Paid and /or Requested Circulation Print/Electronic Copies 76.2% 74.8% 17. Publication of Statement of Ownership: Will be printed in the December 2016 issue of this publication.

18. Publisher: Vincent P. Testa, President Date: September 27, 2016

MP3s in 6

Compiled As November 8, 2016

NATIONAL CROSSOVER POOL CHART

NATIONAL URBAN POOL CHART

1 Christina Aguilera F/ Nile Rodgers Telepathy RCA 2 Katy Perry Rise Capitol 3 Chainsmokers F/ Halsey Closer Columbia 4 DjGozzi & The Extraordomary Gentlemen Beautiful Life (feat. J. Walker) Overdrive 5 Major Lazer F/ Justin Bieber & MØ Cold Water Def Jam 6 Stonebridge F/ Therese Put ‘Em High 2016 Stone’d 7 Calvin Harris F/ Rihanna This Is What You Came For Roc Nation 8 Ralph Rosario & Frankie Catalano F*ck Your Boyfriend Carrillo 9 Betty Who I Love You Always RCA 10 Kristine W. Out There Fly Again 11 Dj Snake F/ Justin Bieber Let Me Love You Interscope 12 Salt Ashes Save It Radikal 13 Adele Send My Love Columbia 14 Britney Spears F/ G Eazy Make Me RCA 15 Dawn Tallman Teardrops Slaag 16 Bello Boys And Dan Donica F/ Seri It Aint Over Radikal 17 Jonas Blue F/ JP Cooper Perfect Strangers Capitol 18 Alicia Keys In Common RCA 19 Tinashe Superlove RCA 20 Manuel Riva And Eneli Mhm Mhm Radikal 21 Joe Bermudez F/ Louise Carver Sunrise 617 Records 22 Martin Garrix & Bebe Rexha In The Name Of Love RCA 23 Lady Gaga Perfect Illusion Interscope 24 Weekend F/ Daft Punk Starboy Republic 25 Lodato & Joseph Duveen Older Overdrive 26 Bruno Mars 24K Magic Atlantic 27 Bonnie Anderson The Ones I Love Radikal 28 Calvin Harris My Way Columbia 29 Jessica Sanchez Stronger Together Republic 30 David Lei Brandt She Got It Theaudiokids 31 Meghan Trainor Me Too Epic 32 Crystal Waters F/ Sted-E & Hybrid Heights Believe 418 Music 33 Drake F/ Rihanna Too Good Republic 34 Axwell & Ingrosso Thinking About You Def Jam 35 Kungs Vs Cookin On 3 Burners This Girl Republic 36 Pet Shop Boys Say It To Me Kobal 37 Fifth Harmony All In My Head Epic 38 Karine Hannah Victory Cash Money 39 Mike Taylor Body High Restless 40 Gia 7 Sweet Something Staatsakt

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

Lodato & Joseph Duveen Bastille Galantis & Hook N Sling Crystal Waters F/ Sted-E & Hybrid Heights Chainsmokers F/ Phoebe Ryan Bruno Mars Manuel Riva And Eneli Christina Aguilera F/ Nile Rodgers Dj Khaled F/ft Chris Brown Nicki Minaj et al The Richie Family

Older Good Grief Love On Me Believe All We Know 24K Magic Mhm Mhm Telepathy Do You Mind Ice

Overdrive Capitol Atlantic 418 Music Columbia Atlantic Radikal RCA Epic RCA

REPORTING POOLS Masspool - Saugus, MA; Gary Canavo n Dirty Pop Productions - San Diego, CA; DJ Drew n Dj Stickyboots - Goshen, NJ; Blake Eckelbarger n Nexus Radio - Chicago, IL; Manny Esparza n Wave Radio - Hollywood, CA; Rich Fayden n Soundworks - San Francisco, CA; Sam Labelle n New York Music Pool - New York, NY; Jackie McCloy n Dixie Dance Kings - Alpharetta, GA; Dan Mille n In The Mix - Charlotte, NC; Alfredo Pareja n MOOD Spins - Seattle, WA; Randy Schlager n Mixxmasters - Lithonia, GA; Brian Stephens n DJ Laszlo - Las Vegas, NV; Laszlo Szenasi n Pacific Coast - Long Beach, CA; Steve Tsepelis n Peter K. Productions

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

Dj Khaled F/ Drake Drake F/ Popcaan Tory Lanez Beyonce Dj Drama F/C Brown/ Skeme & Lyquin Dae Dae Steven Streeter F/ Gucci Mane Jidenna Rae Sremmurd F/ Gucci Mane Drake F/ Rihanna Usher F/ Young Thug Wale Weeknd F/ Daft Punk T.I. F/ Marsha Ambrosius Lil Uzi Vert Ayo Jay J-Soul D.R.A.M. F/ Lil Yachty Partynextdoor F/ Drake Yo Gotti F/ Blac Youngsta

For Free Controlla Luv Hold Up Wishing Wat U Mean (Aye Aye Aye) Prolly Little Bit More Black Beatles Too Good No Limit My PYT Starboy Dope You Was Right Your Number Slow Wine Broccoli Come And See Me Wait For It

Epic Republic Interscope Columbia One Polydor Atlantic Epic Interscope Republic RCA Atlantic Republic Roc Nation Atlantic RCA Cash Money Empire Isis Warner Brothers Epic

Father Stretch My Hands Last Time Next To You Love On The Brain Black Beatles

Def Jam Atlantic Empire Roc Nation Interscope

Most Added Tracks 1 2 3 4 5

Kanye West Gucci Mane F/ Travis Scott Twista F/ Jeremih Rihanna Rae Sremmurd F/ Gucci Mane

NATIONAL LATIN DANCE POOL CHART 1.

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Beck ft. Muelas De Gallo Jandres Hector Acosta LT ft Don Omar, Maluma, Sharlene Adassa feat Ayrin Rey Chavez ft El Chacal Farruko ft KY Mani Marley Jay Cool Prince Royce ft G Ortiz Daddy Yankee Toño Rosario Juanes Hector “Pichy” Perez Ricky Martin feat Maluma Alsikiatra Charly Black Jav Teran ft. Buda Khan A Sanz ft M Anthony De La Ghetto Pedro Arroyo

Wow Te Voy a Amar Amorcito Enfermito La Fila Tu Complice Ella Tiene Chillax Señorita (RMX) Moneda Shaky Shaky Dale Vieja Fuego Zumbele Vete Pa Casa (Salsa mix) Como Se Mata El Gusano Gyal You A Party Animal PowerFrom My Love Deja Que Te Bese Acercate Perdoname

Capitol South Star Dam Music Universal Warner/Vale/Kult RC Music Latin Hits JayCool Charisma Sony Universal Cerro Music Latin Hits SBD Prod.

Summit Ent Wave Factory Aftercluv Jiat Music Latin Hits Warner Music Latin World

Most Added Tracks 1.

2.

3.

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Oscarcito Kevin Roldan Gloria Trevi feat Cali & Dandee Grupo Niche Magia Caribeña

Al Baile Ruleta Rusa Dimelo Al Reves El Coco La Moza

360 Music Group Universal Latin Hits Select O Hits MC

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.

Topping

(continued from page 16) ward being set weapons rather than DJ tools. Is that by design?

Topping: Yes. I always try and make something memorable. I’m not trying to make a “hit,” but I always want something that people will remember. I’m not always making anthems, but I just feel like it’s a bit of a waste of your time to just make a DJ tool.

DJ Times: One of the massive anthems you made was “Forget.” Give me a little bit of the oral history of that track and how it came to be and take off.

Topping: That track came about like most new tracks do, really. I didn’t set out with an idea to make a big vocal track or a hit or anything; I was just messing about with sounds and looking for samples and I came across the vocal. The vocal inspired the full track, and it came about really quickly—in about three hours or something the main track came about. It was just one of those [songs]. Sometimes it takes much longer, but that one came about really quick. It’s quite a simple track. I found that sometimes the simpler ones do the best.

DJ Times: What did you think when you made it?

Topping: As soon as I made it, I knew initially that it was definitely something I wanted to play in my sets. I sent it to Jamie, and as soon as I sent it, he emailed me back and said, “This is the biggest track you’ve ever done.” I had already had two EPs with him before that, and the one before that had done really well. So when he said that, I was thinking, “If he thinks this is the biggest one, hopefully this can do well as well!” He played it at BPM Festival 2014 on [a] BE-AT.TV [online stream] at the Paradise Party, and it got ID’d and people went mad

for it there. From then, it kind of snowballed and started growing this massive hype on it. I was thinking then, “Hopefully, this can do well!”

Four months later—it came out in April—and it did really well.

DJ Times: It was a big Ibiza hit.

You’ve been a resident at Paradise at DC-10 on the island for three seasons. What sort of experience has each one been, and does being a resident at a club in Ibiza teach you more as a DJ? Topping: It’s been really fun! I’ve been doing more and more dates each year. I actually played there [at Paradise] four summers ago, but that was as a guest. During my first year as a resident, I think I did four dates, then last year six dates, and then this year I did seven. Playing more regularly has been a bit more of a challenge to mix it up and not just go in and play the same set every time. It keeps you looking for new stuff. I’ve had quite a few back-to-back sets there this summer : Richy Ahmed wAFF, Eats Everything. I definitely think after doing back-to-back sets that I’ve become a better DJ, especially off the ones with Eats Everything. He’s really technical with what he does, and I think that some of the stuff he’s been doing—I’ve played with him quite a bit—has been rubbing off on me.

The style of the way he does it… I’ve been picking up on that myself. I never used to play in that style, so I think that’s been a cool way to develop.

DJ Times: Preferred setup for gigs?

Topping: Three [Pioneer] CDJs. I’m not constantly on three CDJs like some people, but sometimes during the set you’re doing a capellas or loops and sometimes you need three.

Then the new DJM-900nxs2 is probably the best mixer.

DJ Times: You’re no stranger to Ibiza. This summer has seen a lot of changes out on the island: police crackdowns, club ownerships changing, shifts toward VIP, etc.

What have you noticed personally and what effect has that had on the island and its place as a dance music institution?

Topping: I think musically that the island is in a really good place.

There is EDM there, but the main music on island is techno and techhouse. I think it’s really strong there, but then I do worry increasing regulations and stuff like that. I just hope that side doesn’t spoil it because musically—and all the clubs—it’s got all the infrastructure there. I hope they don’t get too much with the closing times and putting pressures on the clubs because that would be a real shame. I know it was closing at [6:30 a.m.] this summer, hopefully they don’t push it any earlier.

That’s part of the thing about Ibiza: you’ve got massive opening hours so you can have such good lineups and such long sets. That’s part of the draw of it. It’d be a shame if it ended up like Newcastle, which ends at 3 a.m. As a holiday destination, this is [people’s] big thing. They want to have a big blowout and make the most of it; they don’t want to go in early. There’s also been starting to be small outdoor parties there, but they’ve been clamping down after 4 a.m. Hopefully they don’t shut that down anymore because outdoor clubbing is part of the appeal of it as well.

DJ Times: A lot of people have come to know you through your productions, which I’m sure brings people to your shows. How do you aim to balance your production identity and your DJ identity?

Topping: I think when I first started, I was a little bit paranoid about that because I had quite a few big tracks initially. I didn’t want to just be known as a producer. But now I hope I’m equally as known as a DJ as I am a producer. I suppose that could be part of the reason why I don’t play as many of my tracks as I used to—I used to play loads of my tracks.

I don’t play as many anymore maybe because subconsciously I’m trying to show my DJing off. That being said, some people don’t play any of their tracks at all; I do like including my own tracks, especially when I’m going to a new place for the first-ever time.

DJ Times: Will you play “Forget”?

Topping: In a new city or new country, I will play “Forget.” But I won’t play “Forget” in DC-10 because I’ve played there loads, or I won’t play any of the big tracks at the gigs here [at Amsterdam Dance Event] because I’d rather present some new music I’ve made or music by someone else.

It’s a bit of a balance. If I’m at a gigs and loads of people are asking for “Voicemail,” then I will play it to make their night. I enjoy playing it still, but I try not to depend on [my big tracks] too much.

DJ Times: Do DJing and producing have an influence on each other for you?

Topping: Massively. I get most of my ideas from hearing other people DJing and the songs they play and the songs I play, as well. I love these songs and I love hearing what they’re like, so then from hearing tracks in those environments, I’m always getting ideas on what I want to do in the studio. Me biggest influence is hearing influences in clubs, definitely. In the studio, loads of times I’m just making stuff for my sets based on reactions I’ve been seeing for certain things. n

REZZ: Through the Looking Glasses

But my tracks are no joke.

REZZ, Next Month in DJ Times

Rukes.com

And yes, I wear these goofy glasses…

Rukes.com

42

Will Selviz

DJ TIMES

DECEMBER 2016

OK, my label boss wears a mau5head…

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