We offer professional wedding planning services to make the busy day go as smoothly as you can dream it. You will also find us working with MANY colleges and high schools providing sound and lighting for many graduations ceremonies, proms and socials. Your guest will enjoy a hassle free experience with an crowded appropriate assortment of Props and Hats! Our professional attendants will always assist your guest with the many Social Photo Booth options we offer.
We know what it takes to first off make a School Social look great, but we know how to keep them pumped up! With our brother company BASS Event Production, we are able to give your clients a Show and Experience that will have them coming back for years to come! We have all the Video Monitors and Projectors your event can need. With the custom touch we always look out for, you will be care free event!
Oxford MA Your details were sent successfully! Really easy to work with. They are very responsive and helpful on coordinating for having your day exactly the way you want it. All of the songs we requested were played. The online setup for planning your reception and ceremony music is very easy to use. We were very pleased with everything. The pricing is very competitive and a great value.
Justin was an amazing choice for our wedding! From our first phone call to our thank yous and goodbyes he was always cheerful and helpful. The website he set us up with was easy to use, and even though we had a hard time picking songs for the bouquet and garter toss he already knew what to play that fit the theme of the wedding! You had people from every place in Orlando. We had our own little thing. I could do whatever I wanted to do.
West Coast was kind of neutral but not really, because they had their own thing. It was alright being in Orlando, because I could do what I wanted to do. What was this cousin bit all about — you said your cousin, Scratch? It is not really common that you have two DJs in a family right?
I started DJing when I was Scratch started when he was I was into sports, I liked all that. But then I was drawn to music, and that was what I started doing, and we started practising together. You started DJing at a very young age. At 14, you were DJing at a local roller disco, is that right? Did you do that together with your cousin? No, because he was in Florida, and then he went back to New York.
I stayed in Florida. But we constantly stayed in contact and visited each other. What were you playing? Then everything changed, as far as Florida was concerned. How different is playing to a roller rink, to any other places you played later on?
Did you do the mic stuff as well? Obviously that part of America interpreted that kind of blueprint in a different way to the rest of America. Why do you think your area developed the sound that it did?
It was a worldwide sound. But we were already doing fast beats at that time anyway. And so people took it and moulded it in their way. You know I got paid a huge compliment from Bambaataa about the remix.
He told me that my version was the only one that stayed true to it and that it was the only one that he liked, out of all of them. When we did the remixes, they sent out the track master. I knew I was going to use the vocals. Once I started hearing those, I was sampling them, playing them and just having a good time with it. So I used those sounds and changed the beat.
It was electroish. I kept it that way, but added an old school feel to it. Just to bring it back down South. That was the first drum machine I ever had. Before I knew how to go inside and tweak everything, I just turned the sustain all the way up on it.
That was it. So you hit it and Everything was derived from there. Even before I learned how to go inside the machine and tweak it, I learned to sample it and then slow it down. Once I sampled it and slowed it down, it was a different one. I started making patterns with it. But then it got to a point where that note was too short. Then you had to come up with something else. Instead of using the , I took the sustain and turned it all the way down to 30 Hz; until I had just the moan. I sampled it into my keyboard.
Then put the kick on top of it. Now I could have it last as long as I wanted it to last — once I had it in loop mode.
When it comes to sonics on that end. How did you manage to not let a bass like that clash with the actual kick? Well, just by looking at frequencies. And with the kick, you want to hear it more so than feel it. As long as you have the sustain going on, I used to keep that anywhere from 70 Hz and lower, and then I just cut it off. And so my kicks would always start ish and then go up to wherever they want to go.
This way they would never cross. Then you would get all kinds of fluctuations coming back. What is the power of the bassline? OK, I want to go back to the beginnings of what happened. The average person would be pissed when something like that had been done to your song. Why did they take my song and slowed it all the way down?
I had one song left to go. We recorded it, took it to the car, went back to the studio, until we got one that was exactly right. That was the first track. Everyone knows that when you listen to something in your car, you really hear it because you are in a confined space. If the highs are too loud, you know it immediately. The first thing I do is take the CD and listen to it in my truck. No, not really. I use my car mainly for testing low-end anyway, not necessarily for high-end.
At British raves, they used to say that the bass is only right, if you put a can on top of the speaker and it would jump. But it sounded shit. In the truck that I was using there was no rattle, no shake, there was nothing. Or would that just totally blow their budget? It depends on your trunk space. It depends on what kind of car you have. What happens is: People put it in and then it sounds good for a minute. But all of a sudden they want more. Well, in the States they do it now pretty much once a year in different parts.
They have big sound-offs. You need to protect your ears. Going back from the car technicalities to the studio technicalities. What did you use when you set your sampled ? I came from the Then I went to an SP Everyone knows that the SP is great for drums, but you have no time, only ten seconds. It had just an unbearable amount of sampling time, something like six minutes mono, stereo only three minutes.
Everything that I needed as far as vocals, I would do a scratch and sample it. It had that much sampling time. The next thing was the MPC.
So I got the MPC But when the 60 MkII came out, I had to have that. And then the MPC came out. I still use this one. I bought the when it came out, but I hated it. It just sounded horrible. But my is perfect. I bought gear and everything, connected it with the computer. Now I have way more time than I could possibly ever need. So you must have been already pretty settled back then, being able to afford all the newest gear.
At the beginning, all the artists usually have these stories about being fucked over. My first dealings in the music industry were like those of the majority of people. You pay your dues, you get screwed. I got in and I was working. I use it as a lesson learned. Can you explain how the whole publishing works? That is tricky. When you are a writer, your works of music usually are owned by yourself — unless you sign your publishing away.
But labels get a little tricky and try to sneak that away from you. You have to pay attention to your contracts. You might not realize what this means until you have to file a lawsuit. Are there any other common traps in the small print? That was the one that trapped me back then. After that I started my own label. If I had a demo here and I wanted it to get signed somewhere — do you have any recommendations of what to avoid? My recommendation is: put it out yourself!
So you can take that money and put it into your next project and keep building and keep going. We we did the Royal Posse album, what we wanted to do was 20, units. We wanted to sell 20, units and see it on Billboard. That was all we wanted to do. At the end we sold way over 20, We just kept selling and kept selling and kept selling. Then we took care of all of Florida.
We sold it to a little one-stop in Miami and they took care of getting it all over Florida. Once that happened, we dealt the whole South East, and then it was the whole US. You said that you were driving from shop to shop with your car. What are the things you are looking at when you start working with a distributor? It was a one-stop. It was pretty easy at that point.
Once the one-stop said that they wanted to work the project, it was easy. We did the manufacturing and shipped to them, they took care of all the stores. Then we finally decided to go through a national distributor. The distributor is dealing with so many different labels, so we needed someone in staff to make all the calls to the different stores. We still took care of our area, but now we had to check a national list of stores.
We took care of states by the week. We dealt with it, we had enough people to do it. That was the thing when we started working with a distributor. I liked it better when it was just the label and the one-stop.
It was a lot easier to deal with. But suddenly your overhead is skyrocketing. But with our first album, we were selling and selling. Once we counted how many albums we had sold, we were at 1. When you sell half a million copies, that generates anywhere from 2. We knew money came in, and it was a lot of it. So we brought people in to be able to do all of that.
You sold your records from the back of your van. What do you get from that DIY approach to distribution, especially at the beginning of a label? Just the humbleness to always know where you came from and how it got started. If you were working for me and tried to sell my record to him, you would be trying to sell it to the best of your ability.
Check it out and let me know what you think. If you can do something with it — cool. Would you put it on iTunes? Probably not. I would promote it and try to build a buzz from the ground up. Once the buzz gets big, I would let him call me. But you have to be able to maintain it — just in case. We dealt with a lot of chains. Once we started getting into the chains, that was more a distributor thing. They can only sell so much. After that you got to have a distributor just to keep that kind of numbers going.
We had the manufacturer just constantly make our product, 24 hours a day. Once you get to that kind of level, then you have to go to a distributor. You really have no choice with that. OK, right now, when you are at that spot, what are the common traps to avoid? I mean, the artist is always pissed off at the label, the label is always pissed with the distributor. I know both sides of it. Artists usually get pissed off at the labels because of not getting enough money in their pocket and not doing enough promotion.
If you have 30 or 60 days terms in your contract, then you expect the money after 30 or 60 days. I just like music. I like the new school, just tweak that sound and all kind of weird things.
Once you get the crowd in your control, then push the envelope. And we push it. We will push the envelope to no end. They hold probably 60 records. And I usually keep doubles of every record because I never know what I want to do. Also in the bags I probably have three to four different genres of music.
When we show up, we play everything. What do you mean with that? No, not backpacker. The scene in Orlando has changed a lot. They play hip-hop, they have no choice.
That kind of a DJ brings a certain type of crowd. Our hip hop crowd is intelligent because they know what we do and how we do it. They get into the style more so than the song. Nothing plays all night. You hear 30 seconds, you might hear a minute, you might here a hook, you might hear a record that starts at the third verse — we take the night and make it a melting pot. Like a big mastermix, and then it is what it is.
You have to find the time for it. And even so, I very seldom play my songs. Every so often I slip one in. But even then, people might hear 30 seconds of it. It could be the biggest song out. As soon as I get bored with, my crowd will get bored with it. People are not going for it. But as far as what we play, we stretch it pretty far. What about other types of bass sounds? Could you enlighten us how those styles came about and how you learned about them?
There was a time in my career where I was playing in Detroit probably once every three or four months. Just because of what I was doing, the South had started getting national appeal, we were always in Detroit.
Actually, it broke in Florida first and in Detroit second. That was when I realized that everything that was going on in Detroit was totally different to what was happening in Florida. As far as bass was concerned, they had the ghetto tech and that was just their style of bass music.
It was like a hybrid of bass, techno and house. But it was just so fast. What they would do with Florida music was to take it and just speed it up. Where we were just ish, as far as bpms, Detroit was plus. Everything was just constantly moving that fast. The only time I would hear these songs is when I went to Detroit. I would never play anything from Detroit unless I knew the person.
What about stuff like Dynamix II? Earlier you mentioned Cybotron and their song "Clear". Was that big down there as well? Dynamix II, that was from Florida. Quadrant Six was coming out at that time. It was so early in the game that nobody really paid attention to where it was from. Almost every bass song that I can think of sampled "Clear" in some form or another. Once you start getting into the ghettotech and stuff like that, none of that made it in Florida.
Must have been His sound had mass appeal, but it lost the street credibility. When they did volume two, the sales went down, and of volume three, nobody really knew that it existed. A couple of months ago, he was credited in Scratch Magazine saying that I was the reason that he was doing what he is doing to this day. You were saying that everything that was big in Florida came out of Atlanta. Uh-huh, OK. We can discuss it there at length. The same person explained to me that in the s, women in bathing suits or with their backs exposed were already a huge fascination luring people to come to Florida for their holidays.
What is that all about? I have always been more on the bass side than on the booty side. No, I appreciate the booty [ laughs ]. But not as far as my music is concerned. That was Cool Rock and Chaszy Chess. They were part of the Clay D staff. I worked with them in my early days when I went to Miami. The whole song was about nothing. It was just about booty. There was no lyrics, there was nothing going on in that song. We were just inside the vocal booth and talking, having a conversation.
And then we went back to talking. So there was no structure to the song at all. We talked about booty, but not in the form or fashion of a booty song. There was no verse that you could sing, there was nothing that you could rap to, there was nothing going on in that song. But I was doing bass music, more so than booty music. Mostly our booty songs have bass in them. I was the first person doing instrumental bass music.
They were more so designed for the cars, more so than anything else. Some DJs started playing these records in clubs as well because people liked the sound of the songs in a club.
But these were instrumentals, so there was nothing really to go on at that point. Radio picked up on it and that album went gold. It just has to be at the right time or the right place. Bass songs are either instrumentals or about booty. They had this one song and tried to come back with something else, and that was it for them.
It was just a pop-oriented hit that took off into the pop world, but not with the street. How many of those cycles have you seen throughout your career? Cycles like being in the public attention, having all the journalists ringing your house, not ringing your house 12 months later anymore and coming back after three years or so. Quite a few actually, but not as far as bass music was concerned.
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