The Launch of the New & Enhanced Founder/CEO David Stein Speaks

I am completely weak from Fashion Week pressures and some new tattoos…plus, I’m moving a little to the left of Brooklyn, toward Bushwick. Today I’m going to chat about which is "a patent-pending fingerprinting and rights tracking technology, which is the first ever turn-key solution to the legal monetization of DJ mixes, podcasts and mix tapes.” Are you still with me?

David Stein, who you used to hang out with the smart set at my smart clubs and even some smarter ones, is the founder and CEO of this internet radio platform. According to the press release, David founded "in an effort to allow festival-goers and club kids to relive the experiences created by the world’s best DJs on a daily basis, while discovering emerging music along the way. His passion to help DJs legally promote and monetize their music came when he realized the monumental challenges and setbacks of rights flow for mixed audio." You still here?

He used to book talent atthose smart clubs, and has a unique grasp on who’s-who and what’s hot. Now he’s gone digital. In April he launched an iPhone app, which is “the first to solve the industry’s long-standing copyright issue associated with mixed audio,” by accurately identifying the content of mixed audio.’s will also experience a complete overhaul of their platform, making it easy for users to revisit mega DJ performances, club events, and learn about future performances by their favorite DJ/performer. At launch, subscriptions will be free, with near-term plans for revenue streams in premium mobile and brand-supported offerings. Over 5000 DJs will participate.

I caught up with David Stein awhile back and asked him all about it.

Is this basically Pandora with really great DJs? is basically internet radio, curated by the best DJs in the world. And we enable DJs to upload their mixed tapes to the platform and let their fans access them and listen to them via the platform on the web and via mobile on our iPhone application. It’s sort of the first-ever legal kind of entity to allow for this to happen. Really, the core of our business is that we’re a music technology business; we’re focused around this concept of how do we legally, scale-ably, and effectively monetize and extract value out of long-format music content? If you know the history of a mixed tape and the DJ industry, you know there’s never really been a solution in terms of how to compensate the individual artist and copyright holders whose music is being used and played by DJs. So we exist to solve that problem. And we create technology, IP tools, around that concept. It’s really the core of why is able to be a legal internet radio that is curated by these mixed tapes.

The first, and really the basis of that business, is a technology and a concept that we created called Mix Scan. Mix Scan is a fingerprinting and rights core management tool specifically around long-format contract – mixed tapes, podcasts, live streams – that DJs make and play. Like Shazam on steroids. The way that it works is a DJ will upload a mix tape to our platform and we’ll run it through our algorithm of our software and we’ll pull as much metadata as we can so we’ll learn every artist, song, sample, song length – we know when one song ends and when one song begins. We timestamp that music file and create a unique set of metadata for the entire media file. That enables us to accurately cross reference against our analytics so we know every time within our eco system, our platform, each song gets played. Then we automate the report, these entities that exist to pay out to copyright holders. SoASCAP, BMI, etc… so that’s really the basis of how we operate a legal internet radio. We’ve been sort of operating as a free service while we build out our monetization models and we’re soon going to be launching pretty revolutionary ways where DJs can, for the first time ever, legally make money off of their mixes and podcasts. Who are some of the DJs that you’re involved with?
We represent music from 8,000 different DJs across all genres: From Bounce FX and DJ Scribble to your Mel Debarge and Cassidy, to your Dead Mau5, Tiesto, Skrillex. It’s all-encompassing. And it’s everything – rock, hip hop, dance…

So a person gets on and they have a choice, like Pandora, of different genres of music?
Yes, the platform is two-fold so you can get on the platform and get featured content that’s exclusive to the platform across all the genres. Or you can type in any DJ that you know you want to hear and we’ll give you all of their mixed tapes within their own profile. Or you can type in a song or an artist that isn’t a DJ and we’ll give you mixes that have those songs in them.

Are we going to see this in stores, trendy boutiques, hotel lobbies? Or in individual homes?
Well, the service and the platform is built for personal use, but people who aren’t supposed to be using it use it for whatever reasons they want. Eventually we hope to roll out services that are specific for business services, music-filing, those sorts of things.

Are you doing profiles on your DJs or feature DJs, stories about these guys, who they are, and why they’re important as well?
There are unique cases where we’ll cover DJs on our blog, but primarily it’s just the content. It’s mixes that you can’t really find anywhere else up on one platform. And it’s a combination of us allowing DJs to upload content themselves and then us partnering with different venues, nightclubs, and festivals and acquiring that content and then featuring it on the home page.

You used the word upload. Are you going to be able to download? If I hear something that’s pretty amazing and I want to be able to feel that DJ Thursday night, am I going to be able to download it?

There’s no downloading on the platform yet. It’s a streaming-only service and we abide by these rules that have been set in place by the copyright law that enables us to be a compliant web factor, and that means that we’re restricted to streaming only. It’s the only way that we can really quantify the function of the actual tracks within mixes.

But companies like Amazon and iTunes would love for you to link to them. Is that something you do?
Yes, so because we know what songs are in the mixes, there’s a pretty great discovery component to it. You’re able to learn and discover new music from your favorite DJ and you can see what songs you’re listening to. 

Now all these DJs, including me, have management. If I’m listening to Mel Debarge, which you mentioned before as one of yours, does it refer you to his management? If someone’s saying “Wow, I’m listening to this at my home but I want him to play at my Christmas party, this guy is unbelievable,” is there added value like that?
Yes, there’s absolutely added value in that regard. We’re not looking to be a middleman and block interaction. You can put, as a DJ, any contact information you like. But on the back end, we get requests from different brands, different platforms, different websites, blogs, Eater, Curb, TechCrunch, to name a few, that we work with really closely in booking DJs that are on our platform – the right DJ for their event. And all we do is facilitate an introduction. It’s part of that added value we bring to the DJs that we work with what’s on our platform.Is there a comment, for instance, of your clients? Can they rate a mix and say this one’s great, this one’s 94%, this one’s 70%?
There’s no percentage, but there is a “like” mechanism. We’re very against, “Oh, we don’t like this mix.” If you like it you click the “like” or “favorite” button. There’s mixes with hundreds of thousands of favorites on them.

How many people do you think it’s gonna reach? Give me some numbers and goals.
So we’ve been operating and have gained a pretty substantial user base solely on the love of the DJ and their bands. We were primarily working within this context of the DJ and the brand and the different magazines and entities that have visibility on our profile as our evangelists. They promote themselves to their fans via our platform and then we show love back by promoting them via our own page.

Theoretically, if someone likes Mel Debarge as an example again, they come in and listen to what Mel Debarge has posted on your site, and while they’re there, they’re exposed to other DJs.

How do you put these DJs in categories, so that Mel is near, let’s say, Cassidy or far away from Steve Lewis so that the person coming in can see things that are similar?
It’s categorized by genre but specific to the individual mix, not the DJ.

There’s a great difference between DJ Tiesto and, let’s say, Frankie Knuckles.
100 percent.

So how does a person find exactly what they’re interested in, without having to randomly explore?
At the highest level, the mixes are tagged by specific genres that are pretty broad in scope. All the sub-genres of house music, EDM, sub-genres of hip-hop, sub-genres of rock. On a more granular level, if you’re looking to hear specific songs or specific sounds within a genre – a search for rock ‘n’ roll, for example – you could type in Prince or “Bohemian Rhapsody” and you would get mixes that have those types of songs in them.

Young & Desirable: Talking to DJ Price

One of the perks of my new DJ career is working with "real" DJs. I can put a great track on after a great track and so on, but the art form of DJing is, of course, way more than that. I am also a specialist, playing mostly rock and roll, while most gigs require a broader command of genres. Mixed format DJs provide just that; they take their dance floor or table floor through a journey that includes hip hop, R&B, house, pop, rock, soul, disco, and even mash-in or "up" spoken word and …well, it never ends. Even the electronic music  DJs playing in front of tens of thousands are dabbling with mixed formats. More and more DJs are musicians, not just people playing recordings of musicians. I asked someone recently if another term other than DJ is becoming necessary. Although I was told no, I kind of lean toward a term like “dance artist,” or something similar to this. I, of course, would still be described as a DJ. To use the same term to describe what I do with Tiesto is ridiculous. The mixed format DJs are the bread and butter of the small club or model/bottle business. They command high fees and are in constant demand. I am signed with 4AM Artist Management and am easily the oldest and least talented of the crew. At the top of the heap are a bunch of young studs who amaze me every time I hear them. Jonathan Totaro is “DJ Price;” he is a resident DJ at multiple venues in multiple cities. Adam Alpert, mine and DJ Price’s manager, gushes like a proud soccer mom when asked about him. I had the pleasure of working with him one night at Avenue.

We DJ’d together one night at Avenue and you spoke of being a DJ that typically works where bottle service rules. Is this situation challenging?
I don’t consider myself a "bottle service DJ" because it’s the art and music and how it affects people that inspires me, regardless of the venue. It’s the best; every night I have to prove myself and my craft. The job can be challenging, but with the right amount of preparation and experience, it can be immensely rewarding. On top of that, DJs working in these environments need to be confident.  Often times we are forced to change musical directions quickly, and please a large audience. This takes countless hours of practice and determination to your craft.

When we worked that room, our conversations were about music fundamentals rather than the usual DJ banter. You seem to be totally involved with music. Tell me about that and where it will lead.
I take pride in the job and career I have created for myself.  I enjoy working on mixes of my live performances and spending time working on my own personal music projects, from remixes to original tracks.  This summer, I will release several tracks from my personal project: "Avalanche", "Let it Feel," and "Daylight."  Music can take you anywhere.  I never would have thought I’d be traveling the country, playing music to different crowds, and getting paid to do it!  I’d like to take it the next step and bring my personal tastes to their ears – music I have been working on for a year will finally be released!

Most DJs are very image-conscious, with clothing/dress playing a major role in branding and marketing. You have taken this farther; talk about your line.
I have always compared music with fashion, and I am really proud of how my line Reason has matured with my musical tastes. What started as a small hand printed t-shirt line has blossomed into a complete cut-and-sew men’s collection, with a retail flagship store in the East Village. The store, named Reason Outpost, is one of my proudest achievements.  Inside, you can find our full collection of apparel, as well as a carefully curated selection of vintage clothing from the 1940s to 1980s. The Reason Outpost is located at 436 East 9th Street between 1st Avenue and Avenue A, and we are open seven days a week from 12pm to 8pm. One of my favorite interests is marketing and design. I have always thought of DJ Price as a brand; mMusic and live performance was the product it sold. I am committed to expanding the brand and taking it to the next level.

The music festivals feature electronic dance music (EDM) almost exclusively. Is this a form of snobbery ?
I don’t think you can say that festivals have snobbery in the DJ sets. These are the best producers in the world. They are putting out the music that everyone wants at the moment, and they test out and introduce the EDM music fan community with new music at these festivals. They put on a show and they are creative. Even Skrillex will throw a hip hop song on in the middle of his set. Timbaland and Lil Jon will come out during Steve Aoki’s set… so will Madonna and Avicii. These are just some of the things that happened at the Ultra Festival that show how all music types are being mashed together with EDM, such as hip hop, reggae, pop, and rock.

DJ management has become almost a necessity, especially on your level. With so much work coming at you, what have you learned and how else do you benefit from management?
I’ve learned that with someone like myself who is always busy and pushing myself to be more creative and productive, it is essential to have management. Promotion, booking, invoicing, and invoice collecting is a ful- time job. I value the personal relationship I have with my managers and I value the commitment they have to seeing me succeed. The 4AM team is a family, and it’s comforting to know you have teammate DJs by your side. Having management allows me to know that I am not alone in this business, and that I know I will have some time to talk to about my product. With that being said, you only get back what you put in. You need to be giving your team material to work with; that includes constant new mix recordings, remixes, and your own unique sound and music. On top of that, you need to be able to brand yourself and market yourself. You need to find ways to separate yourself from the pack.

Tao Team Opens Arlington Club, Hotel Chantelle is Starting Rumors…

Typically, the period between Labor Day and Halloween is slow in the club world. People are paying down credit card debt accumulated in a summer of WHEEE! Things like the Jewish holidays, flu season, back-to-school, and a dearth of tourists add to the red ink. The change of weather and the loss of daylight as we wind down to the Winter Solstice near Christmas are all negative factors. The season theoretically begins in earnest on Halloween. Sandy literally put a damp on those concepts, but building for an inevitable future is happening all around.

On a small renovation job, an electrician told me that getting even the most commonplace electrical supplies is becoming problematic as the post-Sandy rebuild is taking everything. I can only imagine what getting permits and inspections will be like from an over-tasked buildings department. Still, I hear of a Frank Roberts’ "mostly-a-restaurant project down in lower Little Italy.” I hear of a redux of GoldBar. Marquee nightclub, for a decade the "in" spot for the going-out crowd, is in renovations that will bring it up to speed with its Las Vegas incarnation.

Meanwhile, that Tao team is inviting peeps to the Thursday opening of their Arlington Club on Lexington between 73 and 74th Street.  St. Jerome’s has, of course, been sold to The Bowery Electric crew. That has left the St. Jerome’s "crowd" looking for a new home, and Hotel Chantelle grabbing for that gusto. Chantelle started its weekly Tuesday  “Rumors” party last night, going forward with famously ex-ex-St. Jerome’s honcho DJ Luc Carl joining DJ Ian El Dorado.

There’s all sorts of things happening over at Bantam where absolutely nothing to speak of has been happening. A re-thinking is occurring. Construction at EVR on 39th street between 5th and 6th is almost over – or is that ovr? I was there the other day checking out the progress and was very impressed.

On a final note: Friday I will be DJing the late set over at The Hanky Panky Club, up the side entrance of Webster Hall. It is a Sandy-related benefit called “Rock-N-Rebuild.” Acts/bands like Hits, Roma, Wild Yaks, The Netherlands, Outernational, and Kendra Morris will interrupt sets by Djs iDeath, Gavin Russom and, thankfully, Steve Lewis er …me. This shindig starts at 8pm. It’s hosted by man-about-town Terry Casey and the lovely Flutura Bardhi. Please help where you can. While people are ordering $1000 bottles of booze, many are still without basic necessities.

Good Night Mr. Lewis: Gabby Mejia Breaks Up the Family at Santos

Last year at this time, and the year before that, and the year before that, I ended many of my evenings at subMercer, that Andre Balaz subterranean paradise in his Mercer Hotel. I would hang outside with lifelong friend/door guru Richard Alvarez and his sidekick Moses, or join the scene downstairs presided over by totally cool, hip, fun, temptress Gabby Mejia. Gabby was the reason to be cheerful for a mixed bag of adults who found this small joint with big music important. It was the kind of place that you didn’t have to think about "what was going on.” There was always Gabby, Richard, and Moses. There was always a great DJ, except maybe when I played, and the crowd was always sexy, always smart, and were never-looking-for-the-same-ol’-predictable programming featured around town. It was my secret spot that I told everyone about. Every summer it would close down as the Balaz crew headed to Shelter Island or other exotic lands to reboot.

Every year, when I lamented the end of summer, the knowledge that subMercer would now reopen was a reason to be cheerful. This year it hasn’t reopened and Gabby has moved on. They say it’s for renovation and I’m hoping they get it open again soon. Without Gabby I’m not sure it will be the same. It might be like Casablanca’s, Rick’s Cafe American without Rick, or Studio 54 without Steve Rubell. Often, a persona is bigger than a place. Andre Balaz didn’t get where he is without some smarts, so I figure he’ll make it right but won’t finish the "renovations" until he does.

Meanwhile the amazing Gabby Mejia is throwing a party and she has lined up all her usual and unusual suspects to make it right. It’s this Sunday in the basement of Santos Party House. It’s free. There are dozens of DJs lined up, including Arthur Baker, Stretch Armstrong, Cosmo Baker, Eli Escobar and Lloydski, Justin Strauss, Citizen Kane, Geology, Rok One, and so many worthy etceteras. I caught up with Gabby and asked her to tell me all about it.

Tell me all about the event.
The party is titled “Break Up The Family,” after the Morrissey song, because it’s a final family reunion of sorts, as the tight clan we’d formed over the last three years in subMercer is dispersing in order for wings to spread, as they purposefully should and inevitably always do. After three incredible years as subMercer’s director, and having started the first legitimate music label putting out original productions (and vinyl) for a hotel, I decided it was time to pursue new musical ventures. I stepped away from management and operations in order to focus primarily on musical programming and curating, and everyone else on the team was sort of naturally graduating onto the next phase of his/her life, too.  I thought the song was very fitting, as its lyrics denote a certain maturity in reflecting over the years and one’s own evolution, then realizing it’s time to fly the proverbial coop – but not without first wanting to see and hug all your old friends and peers that were with you along the way.

When subMercer closed for renovations, I was bowled over by the public’s reaction – all the heartfelt letters and social media testaments of the positive cultural impact we had had on the underground music scene – all by fostering an environment of creative freedom for DJs to fully express themselves and their individual styles on the decks.  I realized then that we had to get the gang back together one last time for a proper farewell, so I wrangled all our residents for a final showcase of their talents on the decks. 

And the legendary Arthur Baker is in this?
I also called Arthur Baker, who is a dear friend, mentor, and personal hero of mine, and he happily agreed to fly from London to headline the party.  Arthur is a seminal and legendary producer, who arguably changed the trajectory of dance music when he and Afrika Bambaataa and the Soul Sonic Force emerged from a late studio session one night with the groundbreaking hit "Planet Rock," which introduced the world to the revolutionary new sound of the Roland 808 drum machine.  He also went on to produce hits for New Order and Rockers Revenge, amongst others.  His music greatly influenced a lot of today’s dance music and inspired the careers of many of our DJs. It’s a great boost, too, for any DJ to get to play alongside such a musical pioneer. 

Tell me about the decision to move on…and leave the wonderful Andre Balaz family. How could you leave this gig that’s seemingly a dream?
Leaving AB was a hard decision because he was always so encouraging and gave me total creative autonomy at sub to develop and curate it as I saw fit. I’d been with the company on and off since 2004, between four hotels in NY and Miami; but in the end, I realized I had my own, independent goals I needed to pursue, and they understood and supported me in my decision. What is the legacy of subMercer?
subMercer was the best professional experience of my career thus far, and the one of which I’m most proud because we built a reputation of never compromising on the quality of the music or talent that played there. It was so intimate that it really ran like a family. There wasn’t any sort of clear vision I had for the place when I took it over.  I DJ myself, and most of my friends are DJs, so it just sort of happened very organically that it became such a music-driven club.  Once it started to come together, we really focused on making it really NY-centric to support the underground music community here.  A lot of clubs in the city these days tend to book European DJs, but we wanted to support our local community. NY has always been at the forefront of cutting-edge dance music, and we want to keep it that way. 

Nightlife in NYC is very bottle dependent. Can a standalone club survive without being in a hotel or part of a larger corporation?
No, I don’t think independent, free-standing clubs need to be bottle dependent to survive. I think you just have to have confidence, high standards, and maintain your integrity in the biz. Integrity is everything; it establishes your credibility and often adds to your longevity. When your output is consistently associated with good quality, people start to rely on that consistency. 

A woman in a managerial, programming position is rare in nightlife. What did you do to be one of the boys, or did you just say “fuck that” on day 1?
It certainly wasn’t always easy being a woman in senior management and being a music booker (two completely different jobs) – but I wear velvet gloves over my iron fists, and I’ve learned how to assert myself if/when necessary.   In the end though, that’s really all irrelevant. Once again, it’s your integrity that earns you the respect of your peers. 

You spend a lot of time in Miami and you confided in me that you will be spending more. You have a decade of excellent nightlife experience and a strong musical base. Tell me about the cultural differences between NYC and Miami besides the beach, the weather, and the Cuban sandwiches.

So much that’s great about Miami — for starters, it’s culturally Latin. There’s great music and a burgeoning art scene and Art Basel.  I’d like to bridge the two cities musically more, bringing Miami DJs up here, and vice versa. Last year, for Miami’s Winter Music Conference, I was able to put together a two-night underground party with a killer lineup that included Arthur Baker, Radio Slave, Rory Philips (who flew in just to DJ our party), and a slew of other big name DJs from LA, London, and NY, as well as too many DJs asking to jump on and play, too, after they had just headlined at Ultra. It was a ridiculous lineup that would have taken most promoters months to coordinate and organize, but I got it done in one afternoon, four days before the date of the party. 

Gabby Mejia

A Q&A With DJ Photographer Rukes

Considered the number one DJ photographer in the world, “Rukes is like a ninja,” according to mix master, Dirty South. The shutterbug, “beautifully captured the rise of a movement and the musicians that lead it that otherwise would have continued to go unnoticed if not for his amazing photographs," superstar DJ-producer Kaskade adds.

The worldwide client list of Rukes includes Swedish House Mafia, Deadmau5, Avicii, Zedd, Steve Aoki, Skrillex, Porter Robinson, Calvin Harris, Dada Life, Sub Focus and even Tommy Lee. When not on tour with DJ’s he can be found photographing massive events including Electric Daisy Carnival, Holy Ship! and Stereosonic in Australia, keeping Rukes constantly on the move

W Times Square approached Rukes with the idea of co-curating an exhibit as the brand is deeply committed to music and EDM in particular. Thus, “Inside the Booth” was born. The show will feature never-before-seen images of famous DJs shot by Rukes. Next to each DJ’s photograph, a listening station will be installed, allowing guests to enjoy the artist’s music while they fully immerse themselves in the moment as if they themselves were on stage. 

How did you become the go-to photographer for DJs?
A combination of trust and good photography! I started off taking pics of DJs around 2005 when digital cameras were just starting to get big, so there were very few people using them to capture the EDM scene. When I started honing my skills as the years went on and figuring out my eye for photos, they turned out to be the type of photos that most DJs wanted to represent their work. Not to mention my ninja-like skills of being able to take photos without getting in anyone’s way or even the DJs noticing I’m there!

You’re clearly a fan of EDM since listening stations will accompany this exhibition…
Yes, definitely! Been a fan since probably the very late ’90s, well before I even used my first camera!

Who is your favorite DJ and why?
It’s hard to pick favorites, there are so many out there for various reasons! I would have to pick two for now…

One would be Hybrid. They aren’t very well known, but should be. They have produced my favorite EDM music since I started listening to them, and were the first DJs to recognize that I had some talent hidden away and I should keep on working on my photography.

Second would probably have to be Zedd. We are really close friends; so much so that I was able to hang around in his top secret studio while he worked on his upcoming album, which is a MONSTER. One of those rare albums where pretty much every track could be its own #1 hit; and I rarely come across albums like that. He’s just starting out, and we definitely are planning on doing a whole lot of work together when he gets even bigger in the future!

Do you listen to hip-hop ever? Who?
Not regularly, but I’m pretty much a fan of every genre of music. I still haven’t fully branched out into hip-hop for my music catalog (I love to just load up tons of music on my iPod and hit shuffle in the car).

Who is your all-time favorite DJ to photograph live? Why?
Again, I can’t really pick just one, there are way too many for various reasons. From Deadmau5 and his amazing production spectacle, to Dada Life and their champagne and bananas, to Steve Aoki and his crowd interaction, every DJ has their own reason why I love to photograph them.

You seem to be everywhere at once since there are so many DJs all over the world everyday of the week! How do you do it? When do you sleep?
I am always on the move it seems. Thankfully summertime I usually have a little bit of time off before tour season really starts, so I’m able to get some breaks here and there, and plan a family vacation to Tokyo.

I try to follow a “normal” sleep schedule as much as possible. I have to put priority of my health and well being over photography, as there can’t be good photos without it. I won’t be able to react quicker to capture any photos, or hold my hands stable enough with a lack of sleep. So for the most part, my schedule is sleep, eat, work on photos, shoot more photos, eat, sleep. Rarely during tours do I ever have a moment off to even explore the city; usually the best chance I get is when I’m looking for some food.

Is there anyone you haven’t shot and are dying for?
Probably Daft Punk is all that’s left on my EDM list. I saw them at Coachella and I did have a camera in hand, but since I knew I was witnessing something amazing, I felt I should actually enjoy what was going on without working. I rarely do that.

Who inspires you as a photographer?
Not to sound cheesy, but myself. When I take a picture that is amazing, it just inspires me to keep taking photos at that level and improve myself so the next time I take a photo like that, it’s even better. I sometimes reach that stage of creative depression where I think “Oh, nothing will top that picture I just took” but then I just surprise myself later when I do!

What advice do you have for the budding shutterbugs?
My favorite piece of advice is to make sure you find your personal eye for photography. Figure out your style; don’t spend all your life trying to emulate another photographer, that is a dead-end. Take photos the way you want to take them and make sure they make you happy, don’t try to make someone else happy. If people like your work, they will respect what you do.

What’s your fave software?
Adobe Lightroom is my program of choice for editing all the RAW photos I have. Can’t live without it!

Definitely my new Canon 1DX, it’s an amazing camera that helps get some shots I couldn’t get with earlier cameras! Every new technological innovation makes it a little easier to get those extreme low-light shots the way I want them.

Second would have to be my new laptop, a Dell Precision M6700. A lot of people are surprised I’m not a mac guy, but when you realize the MacBook Pro doesn’t have a great screen for photo editing (colors are a bit off even when calibrated, doesn’t have a full gamut of the color spectrum) it really helps having a beautiful 10-bit IPS panel with 100% sRGB color and more. No need to hook up an external monitor; the colors on my laptop are now the same as the colors as my pro monitor at home!

How has EDM’s explosion in the US change your career?
It’s done a lot to help boost it up, but not too much to change it. I’m still doing what I used to do, just a bit more now. More DJs I have worked with for years are starting to tour bigger and bigger venues, and more festivals are popping up. So pretty much EDM’s explosion has just provided me with the opportunity with more work, better “Rukes shots” (the behind-the-DJ fisheye shot with the entire crowd) and now with this exhibition at the W Hotel in Times Square, the ability for people to see what they missed the past few years, like the beginning of Skrillex when he first was hanging out with Deadmau5 in 2010 as “Sonny” and then later opening for his first Deadmau5 shows before “Scary Monsters And Nice Sprites”

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