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Opening DJ's...
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| Nerologic |
Need to take note.
Many threads have threadjacks just on this topic:
How do you like openers to warm up for you?
That's a very good question you ask. Opening DJs sometimes go crazy, playing hard, peak-time stuff -- and I hate that. If you're going to warm up for a DJ, you should play warm-up music that's appropriate to the setting and set time. I prefer 126 beats per minute -- nothing too hard, no big breakdowns. Warm-up music, that's what I like.
I think he said it best, but its reinstating whats in those other threads...
http://blogs.laweekly.com/westcoast...e-rivera-hates/
| quote: | Interview: Robbie Rivera Hates It When His Warm-Up DJs Play 'Crazy' Hard
By Dennis Romero in Interviews, Nightlife and Events, new tunes
Thu., Nov. 5 2009 @ 2:36PM
The dance music underground might be rocking bleepy techno and dark-wave house from Europe, but the stuff that really moves the masses combines the synthetic strings of trance with the tough percussion of house. One look at the most popular DJs in the world, from Tiesto to Deadmau5 to Kaskade, points to the resonance of thick bass-lines dipped in symphonic candy.
Miami's Robbie Rivera has the sound down naturally. A native of San Juan, Puerto Rico, he taught himself how to DJ at age 13 and only a few years later was making dance music with drum machines, tape decks and sequencers. He grew up on British new wave and New York freestyle and by the time he moved to states had fortified his big room sound.
rivera.jpg
Malou Ericsson
Robbie Rivera wants warm-up DJs to mellow out.
Rivera became a go-to remixer (Madonna, Rickie Martin, Kylie Minogue) and top-tier super-club headliner who established his own Juicy Music label. He's a rare DJ who appeals to genres entrenched in separate corners of the dance floor - house and trance - with his muscular grooves and waify vocals. Rivera's alchemy is apparent on artist album, Closer to the Sun, released this week on Ultra Records. (Check out the title track at his site). Before he got on a plane to Southern California to perform three area dates, including a Saturday night headlining slot at Giant, we caught up with Rivera to ask him a few questions.
LA Weekly: You grew up in Puerto Rico. Was there a house music culture when you were learning to spin and make beats, or were you dabbling in other music such as hip-hop?
Robbie Rivera: No, I was definitely into dance music from the start. On the radio, jocks would play a lot of European house tunes and British electronic music, like Depeche Mode. Other stations would play Latin freestyle music from New York City. It was a mixture. There was a lot of dance music over there. Put it this way: If you listened to dance music, you were cool. If you listened to Latin or meringue or salsa, you were not cool.
Were your parents accepting of your DJing?
Yeah, my parents were 100 percent super-supportive. They were the ones driving me to every club gig and every party when I was 15-years-old, before I could drive. My dad would take me to the show and I'd up his car with all of my gear [laughs]. He'd go back home, and then he'd come pick me up again at 4:00 a.m. That was until I got my driver's license.
What was your impression of the Miami club scene when you first were exposed to it? How did it compare to what you experiences in terms of dance music in San Juan?
I got to Miami in 1992, and it was very different. They were into a lot of early-techno, punk, goth music, the Prodigy. I'd never heard that kind of music in Puerto Rico. That was really odd to me. I kind of got into it, though. When I was in school, I was not DJing parties or anything like that. I was doing music production in Ft. Lauderdale and they were very into freestyle like the people from New York City. I was not into that sound, but eventually, it grew on me.
How has Latin music influenced your sound?
It's in my blood. When I started making music, I started making beats. When I make beats, it just naturally comes out, the Latin influence. I do listen to a lot of Latin music when I'm on my own, as well.
Are you ever surprised at how much Latin flavor there is in superclub music, from the sounds of Danny Tenaglia to the flavors of Steve Lawler and even Loco Dice and the German producers? Does it make you proud at all?
Of course, man. Latin music has a groove, and Latin people just love to dance. It's in our soul. It's just natural, and everyone wants to have a groove on that tune. The Germans are going crazy with that [Latin-influenced] beat.
In producing your new album, what kind of gear and software did you use? Was there anything that really helped you to put a signature sound on the record?
I did all of it on Apple Logic, because it's just easy for me, and I use a lot of sounds. There are two particular software applications I use a lot: one is the Predator software synth that has all of the current sounds of electronic dance music to manipulate. The other one is the Mini Moog software with all of the classics leads from the 1970's up through today. You get that dirty, electro sound, as well.
You're with Ultra, perhaps the biggest, most powerful label in American dance music. Has that changed your life in terms of exposure, booking and marketing? If so, how?
Well, I've had a few albums in the past with Ultra, and they do get a lot of love on radio. Their tunes get great promotion. Their albums also get a lot of good adds on iTunes. They're so popular, they get you into more places [at retail], which is very important. Black Hole Recordings signed my album for the world from my label, Juicy Music. Black Hole is the home of Tiesto for the last six, seven years, so of course a lot of doors opened when Black Hole signed the album. Black Hole licensed the album in something like 16 countries, and their team is so professional and they are really great to work with.
When you spin, how much of your own music do you throw into a set?
I'd say my sets are 90 percent my own productions or music released on Juicy Music. If my set is over two hours long, I can go crazy with other people's music. But, I want fans to have the Juicy experience, and I'm the only one who can do that.
CDs or laptop?
I am a CD type of guy. Nothing else.
How do you like openers to warm up for you?
That's a very good question you ask. Opening DJs sometimes go crazy, playing hard, peak-time stuff -- and I hate that. If you're going to warm up for a DJ, you should play warm-up music that's appropriate to the setting and set time. I prefer 126 beats per minute -- nothing too hard, no big breakdowns. Warm-up music, that's what I like.
On the road, what are the hottest, most-accepting cities for your sound right now?
Some of the hottest, most open-minded cities for me right now are Miami, Chicago, and Los Angeles. L.A. is truly one of the best places to play. I've been playing here for years. It's always so much fun, with fans from all backgrounds - Mexican, Asian, American -- it's really just everybody. And I get great feedback when I DJ in L.A. People are very open-minded musically.
What producers do you find in your record box these days?
Right now I'm into Laidback Luke, Avicii, Deadmau5. I play Dero from my label. I play tunes from DJ Ralph from France. I'm also releasing music from my new alias, DJ Spacecake. I have a new tune coming out this week that is pretty amazing, titled, "I Am A Rockstar."
What's next for you?
Juicy Beach [party] at WMC [Winter Music Conference] 2010 in Miami this year is going to be massive. I'll announce more about that soon, but the lineup is really incredible. We are working on that. Juicy Beach has earned an international following and reputation since I started it, so I'm very excited for WMC this year. Besides Juicy Beach at WMC 2010, I have three remixes due in the next day: a remix for Tiesto, a new one for Stonebridge, and a new George Acosta remix. I'm keeping busy.
Robbie Rivera DJs Saturday at Giant at Vanguard, 6021 Hollywood Blvd., Hollywood. 21+. Tickets $33 in advance. Doors at 9:30. Info: giantclub.com. |
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| Kismet7 |
| quote: | What producers do you find in your record box these days?
"Right now I'm into Laidback Luke, Avicii, Deadmau5. I play Dero from my label. I play tunes from DJ Ralph from France. I'm also releasing music from my new alias, DJ Spacecake. I have a new tune coming out this week that is pretty amazing, titled, "I Am A Rockstar." |
Dj Spacecake? I thought I made carelessly weird pseudonyms. But DJ Spacecakes beats anything I could think up :stongue: |
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| MikeLord |
| they should post this article in the dj booth at circus between 9pm-12am |
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| DaveT |
| you said it, but yep. you're prob right. if there was any one place in LA to post it. |
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| bscarbro |
You know I would have to agree and disagree with this at the same time.
Imo the perfect opening DJ is Kristina Sky. She plays a good variety of tracks that are perfect for an opening DJ as well as tracks that kick it up a notch every now and then.
I would have to say that 90% of the time I go to see a big name DJ I find myself putting up with an opening set by them rather than really enjoying there music. I agree that an opener shouldn't be playing bangers but still they can mix it up a lil to where the set isn't boring.
The only DJs that I have been impressed with over the years as openers are Bamaca, K Sky, Josh Allen, Torin, and Victor Dinaire when he used to open back in the day when Spundae was at Circus. Other than that I would say the openers need to pick it up a lil. I'm jus saying.
... and yes Circus is another story. |
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| Cool1g |
what's funny in context of that article coming out is Theo banged it out pretty hard at Giant on Sat opening for Robbie Rivera (granted he played until 1 so i guess that's late enough to turn it up at some point...)... and the noise Reza played last monday before Steve Lawler at Playhouse almost made our ears bleed with all the Sat nite peak hour hoovers and horns. :whip:
I agree Torin is a great opener... i could see him headlining Giant at Vanguard if it were not for his lack of name recognition |
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| DaveT |
Victor Dinaire is def a real good one. He's been around the block opening for the top DJs.
Kristina Sky is good - if I have one issue with her, it's that she plays a big breakdown here or there. And maybe too many vocals. But other than that, last I heard her she did decent. She's known to play tracks real long, too, but didn't encounter that issue last time I heard her (Halloween night)
Gil La is also one to keep an eye on.
BTW, I think it's fine for an opener to bring their set up to a peak. Just don't go past what the headliner will, and make sure the peak is a good hour before the headliner comes on and progress it down. The big mistake 95% of openers make that might have a big peak is they tned to do that peak only like 15-20 minutes before the headlienr gets on and then brings it down (if at all) in just the final 1-3 tracks, which kills the energy in the room real fast and chances are the headliner will be right there and notice the peak being so close to his set. |
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| gypsygirl |
| quote: | Originally posted by Cool1g
what's funny in context of that article coming out is Theo banged it out pretty hard at Giant on Sat opening for Robbie Rivera (granted he played until 1 so i guess that's late enough to turn it up at some point...)... and the noise Reza played last monday before Steve Lawler at Playhouse almost made our ears bleed with all the Sat nite peak hour hoovers and horns. :whip:
I agree Torin is a great opener... i could see him headlining Giant at Vanguard if it were not for his lack of name recognition |
reza's opening set for lawler has to be hands down one of the worst i've heard. problem there is, reza didn't play like an opener and didn't act like he was opening. they should have just stopped the music altogether thanked reza and then introduced steve. atleast the transition would have been easier. steve had to come in higher than normal, he couldn't come in with his normal bpm and so it felt awkard.
i agree as the night progresses it is nice to have the opener take you there a little bit more and more and then have the crowd ready to go once the headliner gets on. i get the progression and dj "code" lol although i am an impatient girl ;)
give me dark, scary and hard all night long, i'd love it but i also love the journey so i get that too.
oh wait, the worst opener had to be some dj down in SD opening for JOOF at on broadway, the guy was playing mash ups like usher and prince. for God's sake, at least have the opener play a similar genre as the headliner. the look on john's face when i found him to say hi was priceless. he just looked at me and was like WTF? he managed though to mix into it quite nicely but that's john for you, ever the professional and perfect at mixing :) |
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| 72hrpartyanimal |
is this the part where we list our favorite openers and then it turns into a listing of every local dj. then we argue which locals are better then the other???
if thats the case, I like the Avalon Afterhours crew (DJ Ruff and his friends). They always make for a good time. Getting G'd out and taken away in an ambulance. |
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| djjoshuaallen |
openers need to know their roll. They are part of a long night, and need to construct their set accordingly, and show a little respect for international headliners that have been paid $$$ to come across the globe to play. The key is to make your set solid, but have it compliment the headliner's set at the same time, putting the crowd in a position to explode once the headliner gets on.
However you don't want to play some boring ass tracks for 2 hours just cause you are the opener. It is your job to set the headliner up, but at the same time you need to get the energy brewing. Its a tough job and takes a lot of practice and time digging for those perfect tracks.
That is a big reason why i moved into playing progressive. I built my sound around setting up The big DJs cause I knew that opening slots were the spots I was aiming to get in the club scene around here. Progressive is perfect because the build ups are not to crazy, and the BPM's are completely flexible and can be progressed accordingly. With the absence of the big build ups, for trance crowds its perfect for setting up because they are eagerly awaiting those big trance buildup tracks by the time the headliner gets on. Additionally, progressive sounds have such a wide variety that you can pick stuff to set up a headliner's sound but still remain consistent with your own sound at the same time. |
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| msilin |
Here's a good article on that:
http://www.residentadvisor.net/feature.aspx?1095
The problem with opening for other DJs that I have found is that while you wanna keep it down low, you also gotta get the crowd to move. And I personally know that there are a few big tracks that will just get everyone to stampede the dancefloor and get into the music, from there you can kinda go back to doing your own thing. It's really tempting to play those tracks because otherwise you feel like people aren't feelin your stuff that much.
So it's all about balance, like you guys said. Not going balls out but at the same time getting the crowd into it. |
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