Goodbye Serato Scratch Live. Serato DJ With DVS is Here.


Just announced on Sept 4th, the merging of Serato’s DJ softwares has begun – bringing DVS support to Serato DJ with the launch of a new version of the program, 1.5. The announcement comes in tandem with three new pieces of gear: the Rane Sixty-Four mixer, a Pioneer DJM-900 SRT Serato DJ Edition, and the Pioneer DDJ-SP1 controller.

As many industry experts predicted, developing three different programs (Scratch Live, DJ, DJ Intro) would serve only to frustrate and bog down Serato’s development cycle – and that a unification between them would be inevitable. Today we get to see the complete plan:

October 2013: 1.5 Release – Vinyl and CDJ control added to Serato DJ for the new mixers
December 2013: 1.6 Beta – Beta DVS support for Sixty-Eight, Sixty-Two, Sixty-One, SL2, SL3, SL4
February 2014: 1.6 Release – Full DVS support for above mixers + soundcards
Serato is bringing their trademarked NoiseMap DVS technology from Scratch Live into Serato DJ, meaning that you’re not going to need new timecode CDs/vinyl, and that it will continue to be the same reliable engine that DVS users have grown highly accustomed to performing under pressure.

End Of The Line: Of note, the Rane SL1 and Rane 57SL will not be receiving DVS support – apparently the technology in the soundcards in each is too limiting to be supported in Serato DJ.

Watch Serato’s CEO Sam Gribben detail more information about the future of Serato Scratch Live, Serato DJ, and more in the video below:

Posted by Dan White (Via

Rise of the Superstar DJs Trailer

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Waiting For The Drop—Rise of The Superstar DJs traces the evolution of electronic dance music, from the late 80s Ibiza and the raves in the fields of the U.K. to the modern-day “EDM” industry estimated to be $6.2 billion in size and more global every day.

They explore the turning points that led to the creation of the “superstar DJ,” including the crash at the Millennium, and they feature some of the most important DJs in the historical timeline, including Tiësto, Carl Cox, Paul Oakenfold, Fat Boy Slim, Alfredo Fiorito, Sebastian Ingrosso (Swedish House Mafia) and Avicii. Alexei Barrionuevo, a former staffer at The New York Times and The Wall Street Journal, is directing the documentary. Watch the trailer below.

Posted by David Miller

A word with Hakkasan’s Neil Moffitt.

Photo Credit: Isaac Brekken

Photo Credit: Isaac Brekken

Over the last few years the center of the electronic dance world in the United States has shifted to Las Vegas, where top D.J.’s now earn some of their biggest paychecks from casino megaclubs.

The latest arrival to this scene is Hakkasan Las Vegas, part of an international chain of high-end Cantonese restaurants, which has its grand opening this week.

Developed at the MGM Grand at a reported cost of $100 million, the club is 80,000 square feet of Vegas-style chinoiserie, and is the city’s biggest nightclub, according to Neil Moffitt, chief executive of the Angel Management Group, which will manage the club with the Hakkasan company. Along with another new space, Light, it represents the next stage in Las Vegas’s evolution as a luxury mecca for electronic dance music, or E.D.M.

Mr. Moffitt, 46, a veteran of the British dance business, has been the driving force behind the club. He spoke recently about Hakkasan, dance music’s role in the Las Vegas hospitality industry and the comparative economics of dance and rock. Here are edited excerpts from that conversation.

Q. How did the nightclubs of Las Vegas reach their current level of competition for the big names in dance music?

A. My first foray into the electronic-music market in Las Vegas was Paul Oakenfold at Ice in 2004. At that time there was the odd stand-alone room that might have a D.J. on Wednesday night. D.J.’s going from L.A. or Chicago would stop off here, get a suntan, a nice dinner and a check. It was never a serious market.

Then in 2007 there was the decline in the gaming market, and all of a sudden casinos are scrambling for revenue. Pure became the market leader. There were rumors about $1 million nights, Paris Hilton here, another celebrity there. And they all looked at it and said, “Wow, this business can generate a lot of money.”

So nightclub after nightclub started to get built, and over the last six years Las Vegas has invested in bringing a new demographic to this market, which is primarily food and beverage and hospitality driven.

Q. How does Hakkasan fit into this?

A. It’s sort of the first of its kind, and it has been built with change in mind. The nearer you are to the restaurant, the more of the DNA of the restaurant is in it. Farther away, whilst it will contain some of the restaurant, it will take on a feel of its own. It doesn’t ooze rave; it oozes class.

Downstairs we have the Ling Ling Club, a 10,000-square-foot experience, and a separate, more intimate and V.I.P. environment known as the Ling Ling Lounge, which offers a more relaxed atmosphere with top-notch mixology. Upstairs is the main room, which I could call a gladiatorial, high-energy room with a very intense sound-and-light show. To the right, the Pavilion can act as part of the main room, or independently.

Q. Gladiatorial?

A. If someone were to shoot “Fight Club 2,” they could film it in that room. A very intense experience. It reminds me of when we had Tiësto at Godskitchen, my nightclub in Birmingham. I remember getting in the D.J. booth, and the energy in that room.

Q. These days people talk about an “arms race” in the E.D.M. business, and no place seems to symbolize that better than Las Vegas and these elaborate new clubs.

A. It’s an evolution. For years people have been charged a ton of money to go into mediocre buildings with poor facilities and can’t believe they paid that much money to sit next to the toilet. And they leave disenchanted.

Las Vegas itself has evolved. We’ve been through the financial crisis, and people are selective about where they spend their money. They don’t want to go to poor venues and eat poor food. Customers expect a certain level of service and environment. Maybe we still haven’t reached the peak.

Hakkasan Las Vegas is a Michelin-star restaurant that has evolved into a nightclub. That’s where we are. If some people see that as an arms race, maybe it’s just sour grapes.

Q. How do the economics of running these clubs and putting on big dance events compare to the other side of the live-music business?

A. E.D.M. today is what hip-hop was to the MTV generation. We have D.J.’s capable of producing enough ticket sales to compete with Grammy-winning live artists.

If you think about a rock ’n’ roll concert, you’re lucky if these guys will come onstage and do an hour and 20 minutes. We are getting three to four hours of value out of our D.J.’s. We can get 6,000 or 7,000 people through the doors who are willing to pay to see them, probably at an average ticket price higher than I could get for a live act. And it’s a show!

Tiësto was booked to play for me on New Year’s Eve at a casino in Atlantic City, in a room that held 5,000 people. I had absolutely no problem selling that out, and no problem making money. Six weeks prior to that I had a date with a live artist who had terrible problems selling out, and no problem losing money. And yet people think this guy is a superstar.

Q. Another big concern is that this is an economic bubble, with D.J. fees rising and $100 million deals being done. Do you agree with that?

A. A lot of people out there are saying that D.J.’s are getting paid too much. It’s correct that the fees are escalating. But that’s because of demand — demand from competitors and also demand from consumers. These guys are very sophisticated, with sophisticated management.

No, I don’t think the bubble is going to burst in the foreseeable future. But I do think that for people who jump into this world with limited understanding, whether you’re promoting a rock act or an E.D.M. act, there will be casualties.


Posted by Ben Sisario (via The New York Times)

15 Questions With Dillon Francis.


Club Killers official DJ Yung Jon Que had a chance to catch up with one of the hottest names in dance music recently here in Las Vegas for 15 quick questions to help us understand what Dillon Francis is all about…

1. How did you come up with your name?
I was born with it….

2. Favorite all time 90’s film?
Cant hardly wait

3. An artist out of left field you would like the chance to work with?
Fiona Apple

4. Where do you think music programming in Vegas will be in 2 years?
“I think Vegas will still be PLUR”

5. Who was your DJ role model or favorite DJ growing up?
Hmmm never really had one till i saw daft punk live at Coachella.

6. Your all time favorite record?
Acceptable in the 80′s is one i really love off the top of my head

7. Your go to prime time set record right now?
LRAD by knife party

8. What is your favorite city to DJ in?
Right now I think Seattle because the last party i played there was incccrredddiibblllee

9. What is your favorite city to vacation in?

10. Most memorable, craziest, wild party you ever spun at?
the hoxton in toronto on my WURLD TURR with oliver….the party was so crazy and sweaty i thought the floor boards were gonna break

11. Worst memory you have from a gig?
I was playing in philly at the Mad Decent block party and my booth monitors were on but the main speakers weren’t so i was rocking out and the crowd couldn’t hear anything and i didn’t know what was wrong i thought they hated the song or something and it was the worst feeling ever.

12. What was the turning point for your career?
when diplo put out my Westside EP

13. What are your favorite tools for music production?
Ableton live and a bunch of VSTs

14. Who is a young DJ that has caught your eye & we should look out for?
Martin Garrix…i just did a song with him he is gonna blow up quick kid is a genius

15. What advice would would you give a younger you?
Keep doing you and keep practicing and don’t think about anything but the end goal that you want.

Follow Dillon Francis on Twitter:
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Listen to Yung Jon Que, weekdays on 98.5 KLUC-FM Las Vegas 10am-2pm.

Posted by David Miller

Beyonce & Jay Z Announce Summer Stadium Tour


The Carters have officially announced their rumored joint tour. Beyonce and Jay Z will head out on a 16-date stadium tour they’re calling On The Run, to kickoff in Miami on June 25th and wrap in San Francisco on August 5. The tour is sponsored by Chase.

Chase cardholders as well as Beyonce Fan Club members will be granted access to a ticket pre-sale tomorrow, April 29, at 10AM. General pre-sale will be available at 10AM on May 1. $1 from each ticket sale will be donated to the Shawn Carter Foundation, which provides scholarships to underserved students. The donations are in partnership with Beyonce’s #BeyGOOD initiative, which supports a number of charities.

The couple recently made surprise appearances during the first weekend of Coachella, with Beyonce popping in during her sister Solange’s set and Jay Z dropping by Nas’ midnight set in Indio.

Jay Z’s tour with Justin Timberlake in 2013 brought in an average of $5 million a night, according to Billboard Boxscore. Check out concert schedule after the jump.

Wednesday, June 25
Miami, FL

Sun Life Stadium

Saturday, June 28 Cincinnati, OH Great American Ballpark
Tuesday, July 1 Foxborough, MA Gillette Stadium
Saturday, July 5 Philadelphia, PA Citizen’s Bank Park
Monday, July 7 Baltimore, MD
M & T Bank Stadium

Wednesday, July 9 Toronto, ON
Rogers Centre

Friday, July 11 East Rutherford, NJ
MetLife Stadium

Tuesday, July 15 Atlanta, GA
Georgia Dome

Friday, July 18 Houston, TX
Minute Maid Park

Sunday, July 20 New Orleans, LA
Mercedes-Benz Superdome

Tuesday, July 22 Dallas, TX
AT&T Stadium

Thursday, July 24 Chicago, IL
Soldier Field

Sunday, July 27 Winnipeg, MB
Investor Group Field

Wednesday, July 30 Seattle, WA
Safeco Field

Saturday, August 2 Los Angeles, CA Rose Bowl
Tuesday, August 5 San Francisco, CA AT&T Park

Posted by Andrew Flanagan (Via Billboard)

Diplo: “Labels just want to jump on EDM dick”


If there’s one man you can count on to consistently deliver memorable one-liners, it’s Diplo. Sure enough, when the ever-acerbic Mad Decent boss sat down with The Huffington Post last week, his opinion on all things label-related didn’t come sugarcoated. A few days before he opened up about how Baauer’s chart-topping, viral hit Harlem Shake “saved” Mad Decent from going under (“a year ago we were going to fold because we couldn’t figure out how to make money,” he told the same outlet at Coachella over the weekend), Wesley Pentz talked through the label’s game plan.

“We are a label that exists on the internet, so when something like that happens, we know how to incubate it and make it go crazy,” Diplo told Huff Post about that YouTube-dominating meme. “There are no rules to running a label anymore. We have, like, seven people working for us, but Interscope probably didn’t even have a record as big as Harlem Shake last year and they have thousands working for them.”

“Interscope dropped Major Lazer when we asked for money for a video for Get Free, and we sold 150,000 copies of that song,” he continued. “So that just proves that labels have no idea what’s going on anymore. They just want to jump on EDM dick – shit that sucks because they don’t feel the music but think it’s happening. We are in these streets.” As he puts it: “When it comes to dance music on the fringe, there’s no A&R that can teach you or guide you.”

But dance music’s renaissance man wasn’t done dropping quotable gems yet. “Dance music is so interchangeable,” Pentz added. “There’s not a lot of face to it. It’s a bunch of Dutch DJs with the same haircut. You go see a dance stage at a fucking dance festival and I’m bored out of my fucking mind. That’s not going to last very much longer, because kids see that it’s the same shit every single time.”

Posted by Katie Cunningham (via In The Mix)

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