As 2011 comes to an end we reflect on what the year brought to the worlds of nightlife and DJ’ing. Nightlife was relatively unchanged, except for the fact that radio/commercial “house” music came into it’s own (we still think most of that stuff is garbage and calling it “house” at all is a travesty), but digital really took a few steps forward in the world of the club DJ. Both in popularity and functionality.

Traktor Kontrol S2

The big move was with the all-in-one or “DJ in a box” controller. A MIDI controller featuring at least two decks, a mixer, and a built in soundcard. Truly plug and play for those just starting out in the digital realm (or starting out in the DJ world at all). The “DJ in a box” controller is just a few year fad though. Something more than acceptable for the DJ that brings all his own gear and plays all night in bars or at private parties, but you will never see clubs adopt any of these controllers, even the Pioneer’s, and pro deejays aren’t going to want to be lugging these things around and trying to find a place to set up in a booth that already has thousands of $$$ worth of superior deejay equipment in it.

CDJ 2000

No, while some are claiming those all-in-one boxes are the future they aren’t. Something else is going to bridge the gap between them and a more traditional club set up. Companies like the already club standard Pioneer have hinted at the future with what they are doing with the CDJ2000. The price is out of reach for most people but you don’t have to have CDJ2000′s at home to be able to play on them. The CDJ2000 can control the DJ’s choice of software (Traktor, Serato Scratch Live, Virtual DJ) via a new, advanced, protocol called HID (Human Interface Device) over USB, giving the CD player full control over the software’s functions, and they can also play music files without the DJ bringing a computer at all, but instead just a flash drive, via Pioneer’s new Rekordbox system.

As this technology goes forward CDJ-type controllers will continue to be standard in clubs and HID will be the standard of working/traveling club deejays. Sasha, for example, just ditched all his controllers and gear he would travel with and uses CDJ2000′s exclusively (until that changes)… The current CDJ900/2000 firmware already supports four CDJs connected (via Ethernet) if you are using Rekordbox. Just one USB cable and you are ready to go. For SSL or Traktor you can connect four CDJ2000′s via HID as well, you’ll just need a USB hub (until they update the firmware to allow the Link function to work with software other than Rekordbox).

Rane Sixty Eight

Going further than CD/MIDI/HID decks with built in soundcards are mixers with soundcards built in. These already existed with things like the Rane SixtyEight and the Pioneer DJM2000, but these products are limited (the Rane only works with Scratch Live and is ridiculously overpriced, and while the Pioneer’s soundcard will work as a MIDI controller for pretty much any MIDI software, it does not enable tactile control of any decks). A nice start but not quite there.

What we are about to see is what Pioneer hinted at when they released the DJM900 this year. This mixer really does it all with a fully functional 4/4 in/out soundcard that can be used by almost any DJ software in existence, but it also is Traktor Scratch certified, and also outputs timecode signals for use with any other timecode software.

DJM 900

It just makes too much sense. The future is showing up with nothing more than your laptop, headphones, and a USB cable. That’s it! No controllers (maybe people will still carry their own Kontrol X1-type mini controllers for control of software effects), no audio interface, no multicore cables, etc… No setting up anything. Open up your software (which will all work on the new players/mixers) and start playing. That’s it. That is the future of the club deejay. Oh ya, and CD deejays can continue to keep playing the way they still always have been (there’s A LOT of pro club jocks that still only play CDs). The DJ-in-a-box fad will be short lived and even though it seems popular now pro’s are not really adopting it now anyways (it’s more of a hobbyist/wedding/bar deejay thing). There is no doubt about it.

Of course the DJM900 doesn’t solve all the problems of the digital DJ just yet. There is still the issue of all the different platforms, not everything works together perfectly, and interoperability isn’t quite there yet. But until it does the future is already here for clubs that invest in a DJM900 and a Serato SL box as this will cover 99% of digital DJ’s in the world today. Laptop, headphones, and a USB cable! For clubs adopting this mixer/interface platform that is it!

Will the next generation, maybe 2012′s batch of new and cool shit, get us closer to interoperability the club/DJ world needs?

~Vivenite

P.S. I’m not saying it will necessarily be Pioneer that becomes the standard club controller, although I think it will be, but some other company may up their game enough and/or be first to market with it and they will be the next Pioneer.

(wallylopez.com / tremenda music to take away)

Thursday, November 3 @ D30 Sacramento

Undeniably Sacramento’s Finest Audio System. You won’t believe your ears…

One of Spain’s top deejays, Wally Lopez, comes to Sacramento for the first time. This Thursday District 30 does us all a favor bringing something SPECIAL to Sacramento. Come see one of Europe’s favorite deejay’s and producer. If there’s just one night you go out in Sacramento this month this I Love House with Wally Lopez is the only one Revival Nitelife recommends!!!

Now it’s the Sacramento Music Festival. Here’s the SacBee article on the change:

http://www.sacbee.com/2011/08/30/3870809/no-jazz-no-jubilee-next-year-its.html

What do you think about the change? Will the inclusion of more/different kinds of music be a good thing (and entice you to go)?

I will also throw up party reviews, EDM news, or whatever I feel is relevant to our music. Basically, whatever I’m feeling at the time I will pass on to y’all and hopefully you’ll find some good information. Anyways, I hope that you will find some music in this blog that you might not normally grab or listen to. Please listen with an open mind and enjoy!

(Btw, I recommend not just listening to this music on laptop speakers, you need a good set of headphones or earbuds that can react to the bass frequencies and broadcast the subtle nuances of the song)

This track is almost on the cheesy vocal side for me, but I don’t think it crosses that line. The melody, her vocal and bouncing synth line throughout really feels energetic to me. I can’t wait to play this at the club tonight to see the reaction!

-Gareth Emery & Jerome Isma-ae – Stars (hardwell remix)

Gareth Emery has such an incredible ear for music, from his podcast to his original productions. He has made a name for himself and completely deserves it! Jerome isma-ae is another name that keeps putting out quality productions. If I see these guys on a track, I normally grab it cuz I know I’m gonna dig it. This track has more tech sounding elements to it, but is very driving as well. I don’t dig too many non vocal tracks, but the production quality of this song is incredible!

-Alex Kenji & Starkillers feat. Nadia Ali – Pressure (original mix)

Alex Kenji is another producer that I really watch out for new music from. I have really liked almost everything he has put out in the past year. This is a winning combination in my book, with starkillers and the legendary Nadia Ali on vocals. This song has a very sexy, almost tribal beat to it. So much to say about this song, cuz I LOVE it! But I’ll just let you listen.

-Kerli – army of love (chew fu remix)

I first wanna say that the music video for the original of this song is HOT. I really like the melody to this song, and I love the filtered vocal (I think that’s the effect). Chew fu does a great job at remixing songs and creating a big room/club sound.

-Kenneth Thomas feat. Roberta Harrison & Steven Taetz – Drive (Thomas Sagstad & Mike Hawkins RMX)

I’ve always liked Kenneth Thomas, especially after meeting him when he was here in Sacramento a few years ago with Oakenfold. He’s genuinely nice guy and great musician. I haven’t heard much from him though since his HUGE hit “ghost in the machine” a few years back. It’s great to see him back with this incredible tune. Also, I have never heard of this vocalist, but her voice is gorgeous!

-DBN- All my life (syke’n’sugarstarr remix)

I love the bass in this song! And the key rise in the first breakdown is unexpected and extremely enjoyable. Great rises and drops in this track. Also, check out DBN’s remix of Beachball 2010, their remix of the classic is the best one that came out last year.

-The Aston shuffle feat. Lovers electric- start again (hook n sling remix)

The song writing skills are very apparent to me on this one. I love her vocal, and the production is really well done. I also love how well they chopped up the vocal on certain parts. The first drop is a great one, can’t wait to play this for the dance floor!

-Martin Solveig feat. Dragonette – Hello (Pat Farrell remix)

I know this track has been out for a minute, but it just keeps getting bigger and bigger. I dug the track the first time I heard it. I’ve played the Michael woods remix a few times and it has always gone over really well. This remix I just found recently, and I’ve never heard of the remixer, but I’m def diggin this one.

-Dirty Vegas – Changes (Ortzy big room remix)

We haven’t heard a whole lot from Dirty Vegas in awhile, from what I understand they were taking a break to get re-energized about music. They have def. come out with a hit on this one. Lovin the big room sound from this remixer, I have another original production from this cat and I’ll def. be keeping an eye out for him. The last rise and drop are incredible as well.

I’ll be posting more very soon. Thanks for reading, please feel free to give me feedback or get in contact with me at www.facebook.com/otherpromotions .

Here’s the link to his post and I’ve included the CLUBS portion here…

http://www.wmtgw.com/2011-state-of-the-dj-address/

CLUBS
The result of these “advances” means the average club going audience has gotten used to mediocre DJs & Performances that don’t truly move them; both their body and their soul. So when music directors, general managers, owners, etc. line-up entertainment for their club, especially in the current economic situation, they go for the lowest common denominator. “Who can give me the most bang for my buck right now?” It is about immediacy of return, not about building a club that will reap dividends over time. However, this is just shortsightedness on the part of management as a club with a defined musical direction and a cohesive stable of 2-3 resident DJs versed in diversity and dance floor manipulation will do far better in the long run than a club that does something completely different every night and tries to follow every fad. This lack of know-how and faith combined with laziness and the ever present quest for the easy buck is why management now puts the full responsibilities on the entertainers (DJs & Event Producers) to promote and sell the event and then only offer what is made as a cover charge as compensation. It’s a no-lose situation for the venue because they have nothing invested, they keep the highly profitable bar sales and they receive tons of free advertising for the venue through the various “entertainers” they use to fill their clubs. However, what these people fail to see is that this system waters down the identity, and in turn, integrity of their establishment and does not foster an environment of partnership between the venue and the talent. For example look at the way Robert Williams supported Frankie Knuckles at The Warehouse and then later Ron Hardy at The Music Box. When Frankie Knuckles first began playing his New York styled disco sets at The Warehouse in Chicago (the venue where ‘House Music’ got its name) it was slow and Frankie was not well received, it has been described as luke-warm at best. However, given the unwavering support of owner Robert Williams based on his belief in the music and Frankie, Chicago became the birthplace of House Music. Imagine for a moment if after the first couple of slow nights Williams had cut Frankie and tried to get something more financially lucrative and successful? The same can also be said of Michael Brody and Larry Levan’s partnership which began at Reade Street and led to the legendary Paradise Garage, or Tony Wilson and Rob Gretton’s support of Mike Pickering and the Acid House sound at The Hacienda.

In short clubs truly are no longer clubs, but venues. They are a place for DJs and Event Producers to hold events, not a place for people to get together and unify over a common cause (which in this case is music and nightlife culture). This, combined with lackluster talent, has driven down the club-goer’s desire to attend events, especially when they have to pay a cover. The word that best describes the average American club goer is apathetic. It doesn’t matter to them who’s playing or what’s happening because they simply can’t tell the difference anymore. They are solely there to be seen and get laid. Times were a lot better when it was dance your ass off to amazing music, then be seen and then get laid. To all you club goers out there, times are hard and we’re all trying to save a buck, however that DJ is working hard for your $5, $10 or whatever cover may be, so stop asking to be on the guest list and stop complaining about cover charges. If you don’t have the money, don’t go out and if you just don’t like the cover complain to the venue’s management that they don’t compensate their Entertainment adequately in order to keep the cost down for their clientele.

Or should we start the poll over since District 30 is just opening this week?

-Vivenite

The next-gen MySpace, all-new logo and all, shifts social networking on the site from people discussing the latest happenings in their lives, most of which would only be of interest to friends and families, to what they say is a “new visual identity and product features that put content center stage.” What is looks like is News Corp (owner of Myspace, Fox, The New York Post, and half the rest of the world) made the decision to quit competing with Facebook almost entirely, taking the site in another direction in an attempt to rejuvenate the brand. At one time this was THE social network but it’s been badly beaten by Facebook the last couple years, to the tune of about 140 million users to Facebook’s half BILLION!

The new MySpace is currently in beta and will be rolled out to all users by the end of November. New users will be entered into the beta version starting today. From there they plan to launch a new mobile app for accessing Myspace on smartphones (iPhone OS and Android apps are on the way). What is different about this new app and the one I already have on my phone? I have no idea…

Big changes begin with the welcome page, rather than start with a person’s profile as it used to, the page has entertainment-related content covering music, movies, television and celebrities (who the F cares, blehhh!). All targeted-content will reflect the interest expressed by the user in their profile. On top of that they’ve created ‘content hubs’, where users can see news, videos and photos related to specific topics. Generally speaking, these hubs, which will be rolled out over the coming months, will focus on games, comedy, sports and fashion.

Every page will now include a Discovery tab that drops down as a horizontal box displaying videos that a user’s friends are watching, in addition to what’s popular on MySpace. And keeping in line with the Myspace of old they are including a new My Stuff  tab that gives users quick access to their profiles, photos, videos and uploaded content. Also, after recognizing Facebook’s social network dominance the last couple years, MySpace synced its service with its archrival (as well as Twitter and a few others), making it possible for users to share all updates on Facebook at the same time. After the accounts are synced, MySpace updates appear on the pages of Facebook friends.

Newscorp is obviously going after Gen Y, covering ages 10 to 30. Going forward Myspace content will be geared to the entertainment tastes of the age group, what’s featured on welcome pages and content hubs will be drawn from what’s popular today.

Going back to its roots the MySpace overhaul is an expansion of the original driving force behind its growth, that being music. Sharing of music on the site led to many artists joining the social network, which was a huge element of its growth before King Facebook became a major player with his better tools for building profiles, sharing content and communicating with friends. Does this mean I’m going to get reacquainted with my old friend? Maybe, OK probably. I’m already logging in and updating my profile right now…

~Vivenite

Tickets never went on sale and promotions were never staged, but a planned headlining concert by electronic artist Tiësto is the center of a seven-figure civil suit filed against the city of Los Angeles on Friday. Local dance promoter Insomniac Inc. claims the city breached its contract when it canceled what would have been an Oct. 30 concert by the well-known trance artist in the West Hall of the Los Angeles Convention Center.

On Monday, the mayor’s office referred requests for comments to the convention center, and a spokeswoman for the facility said no statement or comment would be forthcoming. In its filing, Insomniac — the company that also staged the now-controversial two-day Electric Daisy Carnival in and around L.A. Memorial Coliseum in late June — claims that the city did not have proper cause to terminate the concert, for which tickets were to go on sale Aug. 17.

Insomniac writes in its complaint that the city cited the rampant use of the drug Ecstasy at Electric Daisy, as well as the death of a teenage girl who attended the concert and died of a suspected overdose, as its reasons for calling off the Tiësto appearance. In its claims for damages, Insomniac cited more than a dozen recent deaths at or after major music or sporting events, including that of a 27-year-old man who died after being punched at a Los Angeles Angels of Anaheim game, essentially arguing that the Tiësto appearance was unfairly singled out because of public perceptions of dance and electronic rave-like concerts.

“Events like [Electric Daisy] and the Tiësto concert are held at legal venues and are planned in conjunction with law enforcement and medical personnel,” reads the claim. “[The Convention Center’s] unilateral termination of the contract will send the wrong message by suppressing the popularization of electronic music, encouraging it to revert back to its underground, unsafe beginnings.”

Insomniac is asking for damages of at least $1,015,180, citing a loss of profit of $436,250 and an estimated production cost of $668,750. Court documents state that Tiësto was guaranteed $250,000 for the single-night event. The artist’s management, Complete Control, did not respond to requests for comment.

Insomniac, which promoted five sold-out Tiësto shows in and around Los Angeles in 2008 and 2009, noted that its planned convention center event was no different from Sunday’s concert at the Hollywood Bowl, which featured dance act the Chemical Brothers.

“I can’t help but draw comparisons to the ’80s movie classic ‘Footloose,’ where dancing and rock music were banned,” Insomniac founder Pasquale Rotella is quoted in a statement. The company believed as recently as Aug. 4 that the Tiësto concert was a go, but less than two weeks later, the city returned Insomniac’s second rental payment of $14,400.

“If this breach is allowed to stand, Insomniac will be known as a promoter that cannot follow through on its commitments,” reads the filing. “As a result, artists of Tiësto’s caliber may henceforth by unwilling to contract with Insomniac.”

A copy of Insomniac’s rental agreement with the convention center notes that the city may terminate the contract for the reason of “good cause.” Should it do so, reads the contract, the “tenant agrees to waive and forgo any and all claims for damages against City by reason of such termination… Tenant shall have no recourse of any kind against city.”

The dance community has faced strict scrutiny in Los Angeles since the Electric Daisy Carnival, which drew an estimated crowd of 80,000 to 100,000 people per day, and led to more than 100 hospitalizations. Two days after the event, 15-year-old Sasha Rodriguez died of suspected drug-related causes.

The Coliseum Commission then imposed a temporary ban on rave contracts, although three events scheduled for the remainder of 2010 were granted approval to continue. The commission — the joint state, county and city panel that oversees the venue — has, however, imposed new restrictions on the promoters of dance events.

Going forward, promoters must enforce a strict age limit of 18 by checking identification, hire a team of emergency-room doctors to work on-site and warn rave-goers about the dangers of the illegal drug Ecstasy. The July 17 electronic-focused Hard L.A., which was to feature appearances by M.I.A. and Die Antwoord, among others, was canceled, and promoter Gary Richards noted that the city forced “a lot of extra stipulations and requirements” that “resulted in unforeseen costs to the event.”

A heavily policed Aug. 7 festival, Hard Summer, went off as planned, and resulted in only four arrests. An Aug. 21 dance concert at the L.A. Sports Arena didn’t fare as well, resulting in more than 80 arrests and three hospitalizations.

– Todd Martens

R’House Features…

• The only consistent weekly party in the Sacramento area bringing the best in global club music
• One of the best Sac area club sound systems
• A unique cosmopolitan loft style party not found anywhere else in the area
• Unbeatable drink specials (and food too)
• Amazing selection of import, domestic, and micro-brews on tap and in bottles
• 2 dancefloors
• VIP area with direct bar service
• Beautiful balcony patio with view
• And much, much more…

Also featuring…

RECESSION BUSTERS:

Two 4 One on any drink B4 11PM
&
$3 you-call-it well drinks all night long

All with NO COVER CHARGE (for now).

This ain’t your father’s old-Roseville. R’House inside the Owl Club loft, every Saturday night 10-12. Starting this Saturday night with Roseville boy made good, Gavin Varitech and a special four hour set!

P.S. (Two 4 One B4 not good on $3 well offer)