We have a late edition of Fan Fridays — Dj Chris Cham mixing and party rocking @ the Standard. He’s sporting our Paired Down Tee shirt right from our apparel collection. He’s provided a playlist from his live mix. Feel free to send us pictures and your playlist as well!
Tracklist:
David Guetta feat Snoop Dogg, Lil Jon and Fatman Scoop – Wet (DJ Beatmaster Summerbomb)
Ian Carey feat Snoop Dogg & Bobby Anthony – Last Night (R3hab Remix)
Laidback Luke & Steve Aoki feat Lil Jon vs Rednex – Cotton Eye Turbulence (Dada Life Mash)
Sidney Samson vs Tara McDonald – Dynamite (Nicky Romero Remix)
Chuckie & Klosman feat Promiseland vs Greg&Roog – Twisted Mutfakta (Dani Veiga in the Air Mashup)
Tiesto – Maximal Crazy (Original Mix)
Missy Elliot – Get ur Freak On (Alvaro & Punish Moombahton Bootleg)
Dillon Francis & Dave Nada – Brazzer’s Theme (Munchi’s Fuck remix)
Chuckie & Groovematic – Move it 2 the Drum (Groovematic Moombahton Edit)
Rednek – Game Over (Calvertron Remix)
3LAU – Dubsex (Skrillex & Nero feat. Britney vs Daft Punk vs Posner vs Amanda)
Kelly Rowland w/Lil Wayne – Motivation (Diplo Remix)
Chris Brown – Look at Me Now feat Lil Wayne & Busta Rymes w/ Look at me now (Gusto remix)
Chelley – Took the Night (Alvaro Remix)
Alexandra Stan – Mr. Saxobeat (Jay Amato Elektro Mix 2011)
Jay-Z ft. Pharrell – Give It to Me (Kid Kaio Remix)
Afrojack – Polkadots 2010 (Oliver Twizt Remix)
Afrojack – Vancouver (Original Mix)
Hyper Crush – Fingers Up
Chuckie & Gregor Salto – What Happens in Vegas (Club Mix)
Duck Sauce vs Darth and Vader – Charlie Sheen (Mike Teez Dirty Remix)
Ellie Goulding – Lights (HLM Remix)
Marco V – Unprepared (Marcel Woods Remix)
Daft Punk – One More Technologic (Alex Todd Bootleg)
Tiesto – Slumber (Original)
Fedde le Grand vs Daft Punk – Metrum Rock (Chris Cham’s Robotic Mash)
Congorock – Babylon (Dub Mix)
Flash Vegas vs LMFAO – Party Rock Anthem Mush Mush
Lil Jon & Diplo VS Jump Smokers – Fuck the Club up
DiBella – The Cinema of Valentina (Alesso, Dune, Benny Benassi , Journey, Lady Gaga)
As technology has improved and digital music has become more ubiquitous, finding and collecting music has become less of an issue and now organizing it is the new problem that a DJ and producer faces. We get music on a daily basis from a variety of sources around the web, and we even get white labels from upcoming artists. We have so much music as our disposal it’s really important for us to start organizing our music in a way that allows us to access our music with ease and convenience. After all, especially if you’re performing, the whereabouts of yourmusic is just as important as your ability to perform in front of a live crowd. Also, as a producer, it’s important to know where you music is so you are spending most of your time MAKING music than finding it. Let’s go through the several options we have to organize our music.
1. Organizing Music by Beats Per Minute
I’ve seen this as a method for organizing music, especially as a beginner DJ. Back when records and vinyl were still popular among the DJ masses, crates would be organized my BPM, which made sense since transitioning between songs would be much easier and simpler. Organizing music by crates was the way to go. In the digital age, most DJ software will analyze your music for you so when you bring it up (serato,traktor, ableton, etc) you really don’t need to go hunting for the BPM. For a beginner DJ, this may be the preferred method just because you can concentrate less on whether the song will mix and more on WHAT you will mix. Imagine as a beginner DJ, you are worried about whether or not the two songs will mix. With the BPM organization method, you know it will mix. Now, whether the tonal quality of the two songs will match is a different story. We all know that a train wreck in mixing is much easier to notice than two songs rhythm and tone don’t match. So organizing by Beats Per Minute will prevent this from happening.
2. Organizing Music by Genre
After djing for 10 or so years, I realized that many DJ’s organize their music by genres, especially if you play for an eclectic, mainstrea,, hollywood club crowd. For example, most party rockers who play in large mainstream club music atmospheres will absolutely need to have a wide variety of music at their disposal. You’ll have people asking for house, dance, hip hop, alternative, 80′s, 90′s, etc. This is when organizing by genre makes sense. If you are strictly and trance, dance, or house DJ, this method doesn’t really make sense for performing because everything is in the same genre. We won’t go into the sub-genres because that’s a whole other argument we can get into.
3. Organizing music by Dates and Years
Personally, after several years of mixing and remixing, I started organizing my music by dates and year. Here’s why. Trends in music begin to change and evolve. By organizing by years, I will know what I can use that’s more up to date. For example, when playing live, I like to mix a variety of folders with different years depending on the crowd. If it’s an older crowd, I know that they love to reminisce and nostalgia kicks it when that 80′s or 90′s song comes ripping into the mix. Also, I began to get more specific with the dates, for example, months, like 2011 August. I know my music collection well enough that I know what songs are in there and usually I will include mostly hits and semi-hits in those folders. I’ll take the crowd through the several years and trust me, people love a DJ who can play more than just the new hits, but also hits that bring back memories. A DJ is supposed to take you through a journey, it’s an experience. You HAVE to play for the crowd if you’re performing. Organizing music by dates is a great way to bring out that nostalgia to the crowd in a methodical and organized way.
4. Organizing music by a Combination of the Previous
Although the previous 3 methods of organizing music are very logical, this last way is very particular to performing. If you’re just organizing music, you obviously won’t use this method. I sort of lied in my number 3 when I said I organize my music by year. I actually do a combination of both music and genre. However, it’s a little more complicated than that. For big hits and anthems, I organize them by genre so that I can access them quickly, especially if I start forgetting about them after a while. I think after you’ve used your music collection for a while, you’ll know which songs are anthem bombs and big hits that will always get a reaction from the crowd. The important thing is that you don’t continually drop the anthems or else you might be crowd burnout. I overheard a DJ complain to the promoter (who was headlining) that the opener DJ was just dropping all the bombs and left nothing for the headliner. Interesting right?
Summary
So to summarize, I know you will hate this, but it’s really personal preference. Personally, my suggestion is to organize your music as if you were djing with a handful of records. I used to dj with 3 crates, that’s what your mindset should be like. Have your songs organized in something like the “latest hits” and then have some of them organized by either genre or dates, or by both! Basically it comes down to the fact that the more you DJ and perform, the easier it will be for you to access your music. It’s ok, experiment because there really is no right way of organizing it. No matter what people say, there’s no right way and you need to find a way that works for you. I’m just providing the options you have and some ideas of how people organize their music.
If you have pictures of your collection, would love to see it! Send it to us at www.dbmlabs.com/contact.php and we’ll add it to this post!
Since I first started Dbmlabs, one of my goals and visions of this small company was to help share and expose lesser known artists passionate about making music to share with others. Sure, we all have our opinions on what’s good and what’s not, but the goal is to really help share with others what you’ve done and how you express yourself through music. Music is so powerful that it crosses boundaries–geographical, racial, cultural, gender, ethnical, — you see the point. I wanted to use this company to do more than just to create a brand to represent artists, but to help sponsor and promote DJ ‘s remixers and producers from around the world. This is the same vision we set out 3 years ago and still exists in the same form. We might not be a large record label with millions of marketing dollars, but at least we’ll take a listen to what you have and spread your love and passion with the rest of our fans.Contact us with your work and let’s talk!
Our boy from the UK busted out a new single that will knock your socks off. He samples Stephanie Mills in his new dance track and drops a little rhythmic indulgence to the sample. I personally love what he did with it, it’s simple, elegant and Mrs. Mills would respect what he did with it. Take a listen below and feel free to download it here or from his website
LISTEN BELOW!
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We’ve updated the most popular DJ’s list for September 2011 here!. In the spirit of the new Google Instant that has revolutionized the way people search, we decided to use an old feature of Google, the Google Auto-complete feature to see who and what are the most popular DJ’s and top dj’s in the world for the year 2010 searched on the web. The results, as of 9/17/2010 are shown below:
DJ Earworm
DJ AM
DJ Tiesto
DJ Shadow
DJ Khaled
According to Google, the most popular DJ’s on the web are:
1. DJ Earworm
who he is: An San Francisco based mashup dj/producer/remixer
why he’s popular: I personally heard him several years ago before his mashups were being played on the radio. His mashups are technically sound, precise and he does a good job of making the extra effort to drop in custom samples to round out the mix. He rose in popularity from his billboard mashups that received (deservedly) national radio play around the nation, and even the world. He went on to gain internet popularity, posting his mixes available for online downloads.
Here is an excerpt from his website, where he humbly explains what he does. I’m sure what he does is a little more complicated than the way he presents it:
“Basically, what I do is take a bunch of songs apart and put them back together again in a different way. I end up with tracks called mashups, which I post to this website. I also DJ with my laptop.”
who he is: An American DJ who rocked the parties for hollywood celebrities with his eclectic mix of mainstream, 80′s, 90′s and rock blends.
why he was popular: While many have questioned his true djing techniques and artistry, it’s undeniable that his ability to rock the celebrity crowds till the early morn has what earned him a respectable legacy despite his unfortunate and untimely death. He has worked with the likes of Will Smith and Madonna, and earned himself celebrity status on several shows including ‘The Entourage’ where he stars as himself. He’s definitely got big shoes to fill.
“Adam Michael Goldstein (March 30, 1973 – August 28, 2009) was an American club DJ and musician better known as DJ AM. Goldstein was a member of the rock band Crazy Town, co-owner of a management company called Deckstar and worked on albums for Papa Roach, Madonna, and Will Smith, among others. He was a frequent collaborator with Travis Barker of Blink-182 and appeared on several television series.” — from his wiki entry
who he is: A Dutch electronic DJ, producer, remixer
why he’s popular: Needs no real introduction with his “In Search of Sunrise Series” and ability to draw in crowds the size of stadiums. Here’s an excerpt from his website:
“Inspired by the likes of U2, he invested heavily in the live aspect of his sets, employing his own sound, light and visual crews, creating arena-friendly dance music spectaculars. In 1997 he formed his own label, Black Hole Recordings, to release both the records he made himself and ones made by likeminded electronica visionaries. He has been nominated for a Grammy, had worldwide hit singles (his remix of Delerium’s Silence featuring Sarah McLachlan; Dance4Life featuring Faithless’s Maxi Jazz), performed at the opening ceremony of the Athens Olympics with music he composed especially for the occasion, wowed the rock festival crowds at Coachella, and remixed the likes of The Killers, Yeah Yeah Yeahs and Bloc Party. He is, in short, the biggest DJ in the world.”
http://www.tiesto.com/
4. DJ Shadow
who he is: A hugely popular underground hip hop dj/turntablist/producer
why he’s popular: He’s been credited for many things including the development of instrumental hip hop and pushing the envelopes for sampling and production of hip hop instrumentals. DJ Shadow has worked with high profile artists such as Q-Tip, E-40, and Cut chemist along with his participation in the hugely popular DJ Hero game. He even appeared on David Letterman in a performance role with Q-Tip. From his website:
“DJ Shadow (born Josh Davis) is widely credited as a key figure in developing the experimental instrumental hip-hop style associated with the London-based Mo’ Wax label. Inspired by hip-hop’s early years, he then grew to absorb the heyday of crews like Eric B. & Rakim, Ultramagnetic MCs, and Public Enemy; groups which prominently featured DJs in their ranks.
Josh “Shadow” Davis had already been fiddling around with making beats and breaks on a four-track recorder while he was in high school in the NorCal cow-town of Davis, but it was during college that he co-founded his own Solesides label as an outlet for his original tracks. Hooking up with Davis’ few b-boys (including eventual Solesides artists Blackalicious and Lyrics Born) through the college radio station, Shadow began releasing the Hip-Hop Reconstruction mix tapes in 1991 and pressed his 17-minute beat-head symphony “Entropy” in 1993. His tracks spread widely through the DJ-strong hip-hop underground, eventually catching the attention of Mo’ Wax.”
http://www.djshadow.com
5. DJ Khaled
DJ Khaled We The Best Album Cover
who he is: A Hip Hop DJ, producer and record label executive who
why he’s popular: Nominated as DJ of the year multiple times by BET, DJ Khaled has worked with major hip hop artists such as Fat Joe, Drake, Lil Wayne, Rick Ross, Nas, Snoop Dogg, Ludacris, and Nelly. Here’s an excerpt about him from his wikipedia entry (doesn’t seem to have a legitimate website:
“Khaled Bin Abdul Khaled (born November 26, 1975), better known by his stage name DJ Khaled, is an American record producer, radio personality, DJ, and record label executive. He is a radio host for the Miami-based urban music radio station WEDR and the DJ for the hip hop group Terror Squad. In 2006, Khaled released his debut album Listennn… the Album. Following were We the Best (2007), We Global (2008), and Victory (2010). In 2009, Khaled became the president of record label Def Jam South.”
http://en.wikipedia.org/wiki/DJ_Khaled
Of course, these google results never represent the true popularity of DJ’s and even to realistically measure “popularity” of a DJ is truly impossible. DJmag puts out a top 100 DJ’s in the world (mostly electronic dj’s) but even this list has stirred controversy.
Do you think there is a good way to rank and rate mix DJ’s? By the way, while you’re here, come check out some of our Dbmlabs brand dj clothing. We sponsor and recognize talent when we see it! Support the effort!
Ben G, one of our readers was looking for dj controllers himself and decided to whip up an article with his findings as he continues to look for his next dj controller. With lifestyles and hobbies ever encroaching into the digital realm, DJs have learned to embrace non-vinyl swagger. The world of turntables, MIDI and Digital Vinyl System controllers has expanded to reach almost every boundary to reach almost any DJ’s needs.
Vestax VCI-300
The additional control with jog wheel controllers as opposed to smaller DJ software controllers is apparent through the VCI-100 which has smaller jog wheels which act as the platters. Mobility remains a strength, as the unit is small, portable and built to rugged specifications. What makes it unique is the integration with Serato’s ITCH software, designed in direct conjunction with Vestax; the hardware and software were literally built for each other. ITCH is professional DJ Software that speaks directly to iTunes, and while not as full-featured as Traktor or it’s sibling Scratch, it gets the job done seamlessly.
Touch-sensitive jog wheels, full-feature buttons, mic/headphone input, along with two forms of output define the VCI-300 as a very compact and powerful controller. For the money, it is a great option for a DJ looking to jump right into powerful mixing with a reliable, easy-to use software.
Numark OmniControl
This jog wheel controller developed by Numark ships with Traktor LE software, and uses USB interface to connect to a computer. Like Serato’s ITCH, it is a diet version of the professional version of the software; so DJ’s looking for full-featured software for sampling or production purposes will need to do minimal. The unit has it’s own auxiliary and RCA outputs on the backside, and a headphone input on the front, which is oddly not complimented with its own independent volume knob.
Physically, the OmniControl is pieced together from high-grade aluminum and altogether showcases Numark’s recent efforts towards durability. Sacrifices arise when given the advantage of mobility; the OmniControl is not large, resulting in a crowded face. Multiple reviews have warned that careless fingers or large hands will have trouble with accidently tweaking knobs or bumping faders. While scratching on the jog wheels is possible, it comes nowhere close to the feel and performance of 12” vinyl, and most users of the unit will not use it primarily for scratching.
Overall, the OmniControl caters to some specific features well, and doesn’t sell itself on the ones it doesn’t, which positions the product towards the entry-level DJ who wants to learn the basics and develop skills at a moderately low price.
Cortex DMIX-300/600
Similar to the other jog wheel controllers in shape and size, the Cortex DMIX 300 offers similar features with a 2-channel mixer, 3 RCA outputs, but with an interface that speaks to an external storage device instead of designated software. The user can connect an external hard drive, a USB flash drive or an iPod, and play all tracks directly from that one device. Navigation is easy with LCD displays and keyboard support.
The easy-to-use, all-in-one system essentially eliminates the need for all other hardware, even a laptop. PC integration is possible however, and Cortex includes database software that allows the user to conveniently organize crates, update firmware & update the iPod.
Unfortunately, the unit is somewhat limited. Saving cue points is a hassle, because the iPod must be specially formatted through Windows, there are no full EQ kill switches, no BPM detection and no key lock – features that were added onto the older brother, the updated Cortex DMIX 600, which possesses the same qualities that set the DMIX 300 apart from other jog wheel controllers, with altogether better hardware and broader database management options.
A cheap option, with the 600 being the recommendation, as it is only $100 USD more than the younger 300.
Hercules RMX
Separating itself from other jog wheel controllers through its extreme level of durability and build quality, the Hercules RMX delivers full-fledged entry-level control, and comes with a diet Virtual DJ version. In contrast to a higher-end controller like the VCI-300, which runs on Serato ITCH, the differences are highly noticeable. Many reviewers dislike the native limited Virtual DJ software, which is unattractive and insufficient. However, you can map the controller with other compatible software. For some, the price and durability of this controller is right up their alley, but those who want a high level of performance and broader compatibility, it is in the shadow of controllers such as the VCI-300.
Numark NS7
Upon it’s release, the Numark NS7 was in a league of its own in the world of software controllers. Full 7” aesthetic vinyl turntables, a software navigation panel, a CP-pro crossfader, five hot cue buttons, strip search and professional build all around make this unit a software DJ’s dream. Like the Vestax VCI-300, Serato helped develop it’s ITCH software directly in conjunction with Numark’s hardware. The software navigation panel near the top of the NS7 allows the user to do 95% of track surfing without touching the laptop. DJ’s who have used software with latency issues will instantly notice the instantaneous reaction the software gets from the hardware. Scratching is more natural with the vinyl surfaces and much wider room to work in contrast to the cluttered jog wheel controllers. For beginning DJs who have never owned or operated any equipment before and are looking to get right into full-featured professional software mixing, this is the cutting edge setup. Numark’s price is steep compared to the jog wheel mixers, but compared to dropping thousands of dollars on CDJs, it is a rather reasonable solution.
Mobility is the only issue that raises a flag. The entire rig weighs in at about 35+ pounds, and is extremely unwieldy unless contained within a travel case, which cost another ~$300. Most reviewers agree, you get what you pay for, and if you are in need of new hardware or a solid upgrade, and money isn’t extremely tight, this won’t miss.
Recently, Numark added an effects controller, the NSFX, and also introduced the V7, which is essentially one of the NS7’s turntables sold separately, with the ability to work with any mixer and ITCH.
Overall, in recommending controllers for potential buyers, it essentially comes down to how much you’re willing to spend. Functionality, ease of use, mobility and build quality are all factors that are highly proportional to how much you’ll spend.
For controller searchers with a smaller budget ($100 – $300) I’ll recommend the Native Instruments Traktor Kontrol X1 for DJs who are looking for a great way to ease through their Traktor software, or DJs with an existing setup that want to integrate software into their spinning. The jog wheel controller that I feel provides the best value is the Hercules RMX; essentially the same price as the Numark OmniControl with a little more versatility and the build toughness worthy of the name Hercules.
Buyers with an intermediate budget will likely not regret the choice of a Vestax VCI-300. The sleek design, the myriad of features, the seamless integration with Serato’s ITCH, and the stellar reviews all reflect the wonderful value you’ll get out of this unit.
For high-end buyers looking to make an investment for the sake of professional-style mixing and scratching, the Numark NS7 is still in a legue of its own. At first glance, it’s still an expensive product, especially since it’s release was more than a year ago, but after dissecting everything you’re really getting, the reasonability of the price will reveal itself. If money isn’t a high priority in your shopping, this is the software controller that will keep raising eyebrows longer than it’s competitor controllers.
Dbmlabs is an apparel and accessories company dedicated to the lifestyle of mixing, remixing and producing music. Check out what we have in our store. Check the Dbmlabs Clothing and Apparel Store!
Since I first started Dbmlabs, one of my goals and visions of this small company was to help share and expose lesser known artists passionate about making music to share with others. Sure, we all have our opinions on what’s good and what’s not, but the goal is to really help share with others what you’ve done and how you express yourself through music. Music is so powerful that it crosses boundaries–geographical, racial, cultural, gender, ethnical, — you see the point. I wanted to use this company to do more than just to create a brand to represent artists, but to help sponsor and promote DJ ‘s remixers and producers from around the world. This is the same 
