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Friday, 13 November 2015 01:29

Thanksgiving Eve Party - Electric Tiki

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Come Out & Support the Florida Dance Scene!


Live @ Shephards Beach Resort - 619 S Gulfview Blvd, Clearwater, Florida 33767


  • 18 & UP ALL AREAS

On Thanksgiving Eve Shephards Beach Resort transforms into ELECTRIC TIKI BEACH. You will enter into a world of an Audio and visual experience featuring indoor & outdoor areas of sound, high-end lasers illuminating the sky as you dance the night away listening to one of the multiple dj's right from the Gulf of Mexico! 18 and up will be allowed to experience the main tiki stage. Explore the indoor and outdoor areas of sound underneath the stars with high energy music pulsating on the gulf of mexico.

Artists & More:

  • Danny Avila
  • Deniz Koyu
  • Felix Cartal
  • Djnova
  • DJ Ayesik
  • Ronnie Lopez
  • DJ DOSE (GremlinRadio resident DJ)
  • Nathan Ray



Join over 2000 people Thanksgiving eve (NO SCHOOL NO WORK NEXT DAY)

Room packages available including a room with 2 queen beds & 4 tickets

VIP Packages Available:

  • Package for 4 includes 4 tickets VIP table and VIP access bottle of choice
  • Package for 8 includes 2 bottles of choice VIP Couch sidestage access and 8 tickets

Full line up and set times to be announced via facebook...


Friday, 30 October 2015 01:14

Underground Zero

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Underground Zero takes a look back at the Florida rave scene of the mid-’90s!

“No government. No rules. Just go out and have a good time.” That’s the opening salvo of Underground Zero, the first film we’d like to highlight in a new weekly feature called Friday Matinee, in which we’ll hip you to a classic dance-music film or documentary that you can absorb over the weekend.

Featuring interviews with DJ Monk, DJ Three, promoter Uncle Ted, and tons of other scene-makers, Underground Zero is a real slice-of-life kind of documentary that takes the Tampa rave scene of the ’90s at face value—more an ethnography than a penetrating examine of causes and effects. But all the same, it’s got some awesome footage of the parties themselves and more than its fair share of funny interviews with rollin’ ravers and those credited with the community’s foundations. Enjoy!


Rare footage of the Tampa, Florida Rave scene. Circa 94/95. Interviews with Dj Monk, Dj Three, Uncle Ted, and more.

(This article was provided by Beatport Buzz)

Wednesday, 28 October 2015 23:37


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Don't miss this! Gremlin Radio's Resident DJ; DJ UHOH dropping that old school and nu school with (TEK) Tampa Electronic Krew.

TEK has been actively representing the breaks industry in the Tampa Bay area for several years now. If you have the opportunity, we challenge you not to miss this night and help support the growth of breaks.

Tuesday, 22 September 2015 20:18

Rekordbox DJ

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Article written by Djtechtools.com


Rekordbox DJ? Pioneer Is Getting Into DJ Software

In January at NAMM, Pioneer reps hinted at a huge announcement for the company later this year – and it looks like we might be there. Pioneer has just released a brand new teaser video that seems to indicate a new DJ software from the company based off of their Rekordbox platform. Watch the teaser and check out what we see so far in the software.


Rekordbox DJ Software

For the beginning of the video, it looks like we’re just looking at elements of good old Rekordbox, Pioneer’s track preparation and organization software. But things take a bit of a turn a few seconds in – when we see a proper track deck that looks straight out of Traktor or Serato – except the layout of controls is organized just like the bottom of a DDJ-SX2 or XDJ-RX:

Then a few seconds later, a shot of an FX rack – with a uniquely Pioneer effect (Spiral) making it’s first appearance in software form:

Followed up by an array of sample players:

Here’s what we know so about this Rekordbox DJ software so far – very little.

  • It doesn’t look like a rebranding of Traktor or Serato
  • It’s full of Pioneer-style control labels (Spiral, Slip, Master Tempo)
  • It has two types of FX: FX and CFX (which could be Crossfader FX? A throwback to older Pioneer gear that actually had FX triggered on the crossfader?)
  • Likely four decks – look closely at the FX assignment on the far left of the FX1 box.

It looks like we will be getting many more details on the software as early as next week, as there’s an early adopter program that DJs can apply to on the Rekordbox site that will allow accepted applicants to try out a beta version of the software. The dates on this program also seem to indicate that there will be a full public release of the software in September 2015.









News from Qbert’s Thud Rumble that they’ve partnered with Intel on a new project that bring tiny microcomputers into the DJ booth and potentially eliminate the need for laptops as the central hub of digital DJ’s setups. The project is debuting this weekend at Maker Faire – but we’ve got the first hints of what the project is all about.









Edison + DJ Gear = Microcomputers For DJ Gear?

The entire concept is based around a small breakout computer module called the Intel Edison. The Edison (which runs just $55) has a dual core/dual threaded 500MHz CPU and additional 100 MHz Quark microcontroller, onboard memory, USB ports, and wireless connectivity for accessing and controlling it.

Thud Rumble has taken the board and helped develop applications to run on them that allows control over audio playback and production gear. Proof of concept applications expected to debut at the Maker Faire include a STR8-150 turntable (for DVS control), a Native Instruments S25 keyboard, and a Maschine MK2.









We don’t yet know the specifics of how the software works, but the press release makes it clear – Thud Rumble is aiming to bring DJing and production.

“back to its roots […] reconnecting the DJ  while still utilizing the convenience of digital audio files. In lieu of a computer, the artist simply inserts their USB drive of personally selected music they wish to use in the live set.”

Tracking Turntable Movements









Beyond just making “headless” (laptop-free) digital DJ gear, Thud Rumble has gone one further and is also debuting a new sensor technology that is integrated directly onto a turntable that allows all of DJ’s interactions with it to be digitized. This apparently is beyond just simple DVS –

"Thud Rumble has also inserted sensor based technology into the the turntable that records the record, platter, and tonearm movement. The sensor technology allows soundwave data to be captured, which can then be translated in normal DJ sets or manipulated by the user in any experimental fashion."

What Does This Mean For DJs?

As the price of tiny computers like the Edison and the new Raspberry Pi 2 have dropped and their processing power has skyrocketed, it makes a lot of sense to think about how to get rid of the $1,000+ piece of gear in so many DJ’s touring and production rigs. It might be a while before we see a consumer version of this gear on sale as it’s just at a prototype phase.

But imagine this – a future where every type of electronic musician and DJ has the same experience as CDJ-only DJs do today, where instead of bringing a laptop and hard drive to every gig, all you bring is one tiny USB drive with your files and applications – and you’re ready to rock.

Original article written by Dan White @ DjtechTools.com

Digital platforms can be divided into two distinct breeds: There are products like Facebook, which despite being immensely popular are rarely described by users as something they “love.” Whereas Zuckerberg’s social network was once a fun way to connect with old friends and stalk the girl who sits behind you in Chem 101, today Facebook is as much a utility as anything. You don’t hear anybody say, “I love the power grid.”

Meanwhile, other platforms like Twitter are considerably less popular but inspire far greater measures of devotion from each user. These networks generally place less emphasis on monetization, frustrating Wall Street but delighting early adopters. Generally, the more aggressively a company chases revenue the more likely it is to alienate longtime users, whether by flooding its service with unwanted ads or overhauling its interface to appeal to more mainstream consumers. It’s the digital equivalent of gentrification — power tweeters have even adopted the parlance of Portland’s mustachioed, penny farthing-riding purveyors of homemade Kombucha with their rallying cry: “Keep Twitter Weird.”

SoundCloud, which is described by many as “YouTube for audio,” has for years belonged to that second genus. It offered a massively open and affordable platform for musicians of all shapes and sizes — from bedroom DJs to Beyonce. In a seminal paean to the platform’s vibrant communities of artists and enthusiasts, Gizmodo’s Leslie Horn wroteSoundCloud is by and large one of the rare pure and good things on the internet that the world, in an artistic sense, would be worse off without.”

But purity and goodness aren’t the kind of returns VCs like to see. And while in SoundCloud’s case the company can buy love, it’s enormously expensive — especially when there are 350 million users who adore you. According to Techcrunch, the company’s operating losses doubled between 2012 and 2013. And in taking steps to “mature” and legitimatize its business, it’s not only threatening to lose the love it worked so hard to earn from some of its most impassioned users — particularly those operating in the site’s vibrant remix and EDM culture who helped build the platform into what it is today. No it’s even worse: SoundCloud is also failing to satisfy the money-hungry major labels, who are now pulling more legitimate EDM artists from the platform due to “a lack of monetization options” — at least when compared to Spotify and other streaming services. And what’s more, the company’s already gone too far down the road of alienating certain artist communities in favor of chasing ad dollars, that it needsthese major labels and the content they own more than ever to survive.

To increase revenues for both SoundCloud and creators who possess enough legitimacy or legal acumen to copyright their work, the company struck a partnership with ZEFR, an LA-based startup that tracks and identifies unauthorized copyrighted content so that the owners of this material either monetize it through ads, do nothing, or have the upload taken down. ZEFR already offers this service to YouTube, and considering that many call SoundCloud “YouTube for audio,” it’s a logical progression for the company.

Not everybody is happy about SoundCloud’s ambitions toward profit and legitimacy, however. The platform rose to prominence on the backs of remix artists, many of whom use copyrighted material in their work. This has resulted in a huge purge of material from DJs large and small. And while copyright owners deserve to be compensated for their work, some of the best and most creative remixes constitute what the courts call “fair use” — meaning that the new work is sufficiently “transformative” and exists as an independent piece of art.

And this isn’t some hipster Molly-popping pie-in-the-sky legal defense, either. Defenders of remix culture include US Representative Mike Doyle (D-PA) who spoke up on the floor of Congress in defense of mashup artist Greg Gillis, better known as Girl Talk. And what’s troubling about ZEFR’s model on YouTube — and now SoundCloud — is that it takes the power to defend a work as “fair use” away from judges and other legal experts and puts it in the grubby little virtual hands of algorithms.

Troubling or not, there’s nothing novel about SoundCloud’s move to monetize content at the expense of openness and creativity. The company is following the same playbook used by countless Silicon Valley consumer platforms — platforms that, after achieving scale on the backs of freely-provided and loosely-moderated content, tighten the noose around what content can and cannot live on its platform, if and how that content is monetized, and who gets paid. And while a number of creators are leaving SoundCloud — either voluntarily in protest or because their remixes are no longer welcome there — the move is vital to the company’s survival, and not just because it improves SoundCloud’s revenue margins. No, now that SoundCloud has shifted away from fostering open artist communities and independent creators, the company needs more than ever to keep the major labels happy — and that means making as much cash as possible.

It would appear then, from a business perspective, that SoundCloud had no choice but to sweeten the pot for these powerful record labels — despite the fact that labels already earn more than any other constituency whenever a song is played on Spotify or some other platform. That’s because they own that precious content — and withholding it can make or break a startup. There are plenty of digital distribution channels, but there’s only one Katy Perry.

But now it appears that SoundCloud’s monetization schemes are “too-little-too-late”; and thus its act of throwing independent remixers and other EDM artists under the bus may have all been for naught.

The trouble began earlier this month when Sony Music removed SoundCloud recordings belonging to a number of high-profile artists, including Adele, Miguel, and Kelly Clarkson. The reason, an anonymous music executive told Billboard, was “a lack of monetization opportunities.” SoundCloud spent so much time building a product people love, that it may be too little and too late when it comes to feeding the insatiable maws of the majors. SoundCloud’s ad offerings are indeed in their infancy, having launched the first of these efforts, the “On SoundCloud” partner program, just last August. And “On SoundCloud,” well, it hasn’t exactly set the world on fire. SoundCloud told Billboard — as if it’s somehow proud of this number — that it has paid out over $2 million in advertising revenue to creators in the nine months since launched its monetization efforts. As a point of comparison, Pandora generated $178.7 million in advertising revenue just last quarter and sent $126 million of that to rights holders as part of the company’s “content acquisition costs.”

Granted, SoundCloud’s monetization schemes are still very limited and involve just over a hundred artists, and so this is absolutely an “apples and oranges” comparison. That said, even if each creator receives more ad money per play on SoundCloud than on Pandora, all that matters to the huge labels — who wield the most power over SoundCloud’s destiny — are aggregate numbers. They don’t care about “artists getting paid.” And when it comes to writing big checks to giant record companies, what SoundCloud can offer simply isn’t as compelling as Pandora’s advertising platform or the huge advances Spotify pays to record companies.

Now this week, in a huge symbolic defeat for SoundCloud, Sony isn’t just removing the music of big pop stars — it’s removing music from SoundCloud’s beloved EDM genre. So while SoundCloud’s monetization efforts first resulted in killing smaller EDM remix artists thanks to their use of copyrighted material, now SoundCloud is losing the bigger EDM artists as well because those same monetization efforts aren’t aggressive enough for major labels.

In a series of tweets spotted by Digital Music News, EDM megastar Madeon says Sony is removing all of his music from SoundCloud.

“Thank you SoundCloud for being such a great discovery platform over the past five years,” Madeon said. “Well done Sony for holding your own artists hostage.”

In short, smaller remix artists who want to be on SoundCloud are getting kicked off by SoundCloud itself. Meanwhile, bigger remix artists are getting kicked off by their own labels. And it’s all thanks to the platform’s belated and inadequate attempts to sell ads. What a mess.

With Apple planning to unveil its dramatic Beats Music reboot at the WWDC conference next month, YouTube Music Key slowly rolling out to the general public by the end of the year, and the old mainstays Spotify and Pandora continuing to dominate the space in terms of listening hours, the streaming music sector is getting insanely crowded. Maybe SoundCloud could have survived as a platform devoted solely to unlicensed music and supported by subscriptions — something less scalable but modestly profitable, and therefore without the pressure from investors to cash in on the well-deserved love users feel for the site.

But by chasing the same monetization strategies as more entrenched competitors like Spotify and Youtube — but launching these efforts far too slowly and far too late, there’s likely no room for SoundCloud to succeed as a traditional streaming music play. And as SoundCloud begins to alienate constituents in the music industry both big and small, perhaps the only way forward for SoundCloud is to find an acquirer — regardless of whether said acquirer operates in the music space or not — and one that wouldn’t mind adding 350 million new users in one fell swoop.

Original Article Posted on Pando.com

Written By: David Holmes



In today’s digital age where even CDJs have a sync button, it’s becoming harder for veterans to explain to younger DJs the benefits of learning to beatmatch manually (by ear). While I do believe that, for better or for worse, beatmatching continues to quickly lose relevance in the DJ realm, that doesn’t mean that I suggest writing it off.

It’s no wonder that a lot of traditional DJs get their panties in a bunch about this subject, because it’s a skill they took weeks, months, or even years to master… and now “any Joe Schmoe” can press a button and have a computer do the hard work for them.  Because of this, newer DJs often miss a lot of the subtle details and observations along the way.

In this post, we’ll go over some reasons why new DJs might still be interested in learning this skill.  I’ll also go over some tips on how to learn, if you don’t already know.  What you won’t find is a lengthy diatribe on how it’s your duty, that’s what real DJs do, and how the sync button is ruining DJing.

Practical Uses

  1. You can play on anything.  Knowing how to beatmatch manually gives you options.  Someone throwing a vinyl-only gig?  Show up at a gig where there’s no room for your controller (but they provide a pair of standard CDJs)?  Impromptu party at a friend’s house and want to use their gear?  What if your controller breaks or your laptop goes “tango uniform” the day of your set?  If you know how to mix the good ol’ fashioned way, none of these will be a problem to you.
  2. It helps you learn about rhythm.  Beatmatching manually causes you to rely on your ear.  You are forced to truly listen to what it is that you’re doing, rather than allowing technology to fill the gaps.  Your ear begins to zero in on auditory cues, such as a distinct snare or hi-hat.  You start to notice how the percussion is structured… the syncopation and groove of the rhythm.  This, in turn, helps aid you with things like switching up genres and subtle mixing.
  3. BPM counters and software are good, but not perfect.  I’m one of those DJs that doesn’t beat-grid his tracks when playing digitally.  The only kind of prep work I do has to do with library management, and occasionally, a cue point or two.  This affords me the opportunity to be “lazy” in that when I buy 20 tracks, it takes me 5-10 minutes to “prep” them rather than making an evening out of it.
  4. It allows you to mix to, from, or with other DJs.  If you are reliant on one particular setup and the ability to sync your tracks, you might as well throw out the idea of an impromptu tag-team set with a fellow DJ.  While it’s true that there are ways to electronically sync multiple DJ setups, it adds unnecessary complication, doesn’t always work, and doesn’t allow for you to play alongside a vinyl DJ.  It’s much easier (and more fun) to be able to just mix back and forth and not worry about what media formats are being used.
  5. You can mix songs with tempo variations without having to modify the source track or use something like Ableton to warp it.  Not just songs that have an intentional BPM change, but also songs that aren’t perfectly quantized (such as mixing funk records with live drummers).

The More Subjective Points

I separate these more obscure ideas from the practical uses above, because they do not help you do anything technical and might not matter to every DJ.  But, they are points worth mentioning all the same.  It’s up to you to decide which of these resonate with you.

  1. It helps you know your roots.  You might also call this “putting in your time”.  Beatmatching is one of the foundational pillars of DJing, and it doesn’t hurt to learn your craft from the bottom up.  Learning to do it the original way really allows you to appreciate DJing as a culture and to understand where this whole thing comes from.  (Learning to walk before you run, learning to add and subtract before using a calculator… etc.)
  2. It earns you respect amongst your peers.  Let’s face it… whether or not it matters to you, there’s an instant level of respect (especially amongst other DJs) when you can prove that you’re not entirely reliant on technology to do your mixing for you.
  3. For many, it’s more fun.  There’s something sexy about spinning wax, and having to really put your focus on what you’re doing.  Many people like digging through crates and pulling out that next killer tune, and many people enjoy watching it.  You get a certain tactile and intimate feel that you don’t get as much with software DJing.  Some people enjoy flipping through a CD book and get a similar sense of satisfaction by playing this way.  Sync buttons can lead to boredom.
  4. It can be more rewarding.  When you play a set of 20 songs on a Traktor rig with the sync button engaged, you’re not pleasantly surprised when the tracks… well, all stay in sync.  There’s a sense of accomplishment and reward to be had by actually doing the work yourself.
  5. It helps maintain a human element.  Somewhat like comparing a live drummer to a drum machine, there’s something more “human” about manual beatmatching (not in just the feel, but in the output).  Manual beatmatching is one way to help give your sets a live feel… to let your audience know that you are more than a large iPod.*

* That being said, have a look at my earlier post titled Being a DJ is Easy for Richie Hawtin’s thoughts on that subject.

Tips For Learning

  • Beatmatching is the one “big” DJ technical skill that usually takes the most time for people to learn.  It’s going to be frustrating… it takes perseverance.  But it’s worth making the investment. Try it a little each day and you’ll be surprised how quickly you can pick it up.
  • You don’t have to have a pair of turntables to learn how to beatmatch (though, they are the most challenging).  You can beatmatch manually using just about any all-in-one DJ controller by simply turning off your software’s “sync” function and turning your screen away, or on your CDJs by hiding any displays and BPM counters with a piece of tape.
  • When matching two tracks, it helps to push the cued track’s tempo (pitch fader) up significantly faster than the track that’s already playing.  That way, there’s no question of which track is playing faster than the other (and which way you need to adjust the tempo)… you can pretty much guarantee that the “incoming” track is faster and you need to start slowing it down to compensate.
  • Phil Morse of the well-known and respected blog DigitalDJTips.com has a great online coursecalled “How To Digital DJ Fast”.  In it, Phil teaches you how to beatmatch (on a controller, using software) before even touching the “sync button”.  I have gone through all ten videos of this course and can genuinely say that I highly recommend it for anyone who is either a brand new DJ, or a long-time DJ thinking about making the leap to digital.  It is a paid course, but very affordable and worth the money if you don’t have a mentor to help you with this sort of thing.

Note: This article was wrote and published by http://www.passionatedj.com/

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