How to Pirate A Vinyl Record, And How Vinyl Records Are Made


Vinyl records have a unique place in the world of music media. Aside from their warm analog tone, vinyl is the only popular medium that is nearly impossible to create or duplicate at home – something that can’t be claimed by cassettes, CDs, DVDs, and certainly not mp3s. Not to be an apologist for piracy, this inherently creates more value for recorded music than using an easily reproducible medium (be it physically or digitally) does. But as we all know, digital is the present and the future, and I am not complaining about that at all; one look at my iTunes playlist and you’ll know what I mean.

A while back, the site ran a piece on how to “pirate” a vinyl record using normal silicone casting materials. Sadly, the link is broken, but thanks to the Wayback Machine, I’ve pulled the archived copy up and am attaching it here for posterity:

Posted May 14, 2006 at 06:49AM by Anna S.Listed in: Misc. Gadgets

So you thought you’ve pirated everything huh?

Step 1

Using the wooden strips, make a box around the glass plate. Seal off the edges using the window cement. Make sure everything is air tight.

Step 2

Place your record inside the box making sure that the portion to be copied is facing upward. Squeeze in some window cement to mark where the hole in the record is.

Step 3

Mix the silicone (Smooth On OOMOO 30 or OOMOO 25) for about 3 minutes before pouring in to the mold.

Step 4

Pour in the mixture. Start from one corner and let it fill-up the mold to about half a centimeter. Make sure it’s even. Let it dry for 6 hours.

Step 5

Peel off the silicone from the cast. Cut off the excess using a cutter.

Step 6

Pour the liquid plastic (Smooth On Task #4) on top of the silicone cast.

Step 7

Make sure that nothing spills over the round form. You can also brush off any air bubbles that might occur.

Step 8

Carefully loosen the plate from the silicone form. Using a drill press, bore a hole through the center of the plate. You can use the silicone form as a template to make more copies.

There you have it. Your very own pirated record.

(QJ translated this from the German site, also unavailable except via archive)

How well does this work? To be seen… the next step is to rip a vinyl record (pretty easy to do using a USB turntable), then cast a copy of it using this technique. Rip the copy, compare waveforms and look for any major discrepancies. That’s an upcoming project.


Now, if you haven’t seen the exact process in how records are created, you might be surprised at how much manual cooperation is involved. From inspecting the metal pressing discs and the lacquered masters, to centering the disc for hole punching, you’ve got sweet old ladies who are meticulously making sure your music will sound great. And the actual assembly process, even with automation, is like something you’d see in a Detroit auto maker’s factory: heavy hydraulic equipment pressing hot platters into precision shapes, rotating slicers, and vacuum-assisted label placers.

You can watch the whole process happen, courtesy of Discovery’s “How It’s Made” – part two is where things get interesting.


DJ Logo Design 101


Every DJ needs to establish their signature sound and musical style – when you’ve got that down and are playing gigs regularly, branding can be a great next step. Designing a logo is an important branding decision, as your DJ logo will appear on all of your fliers and promotional swag, so it’s worth investing time and real effort into this creative process. Today we’ve got some great tips on the creative process of DJ logo design – from pure inspiration, to finding a designer, to how to use your snazzy logo when it’s finished.



“Simplicity is the ultimate form of sophistication” – Leonardo da Vinci

Before we get started, let’s go over a few basic rules and principles of logo design. A DJ’s logo should be:

  • Describable
  • Memorable
  • Effective with and without color
  • Scalable

The first thing to think about is the essence of what your logo will visually represent; you and your sound. What do you want your logo to say about you, the music you play, and your style of DJ performance? Take a few minutes to figure this out by writing down the answers to the following questions.

1) What is my musical style?
2) What is my DJ personality and performance style?
3) What do I want to communicate to the world with my logo?
4) Are there any shapes, symbols, or colors that come to mind when I think about myself as a DJ?

Once you’ve decided what you’d like to convey, you’re well on your way to creating a great design.


One of the best ways to find inspiration and discover what elements are important to you in a logo is to check out some of the designs of artists who have a strong visual identity. Let’s have a look at a few well-designed DJ logos:


Why it works well: Tiesto’s logo is symmetrical, makes good use of space, displays contrast (between the thickness of the bird and the thinness of the circle) and is a recognizable shape.  I like the fact it incorporates a bird design; this may symbolize the positive energy in his music and the genre in general.




Why it works well: DJ QBert’s graffiti signature visually represents his fresh scratch style and b-boy status.  The use of movement and effective use of negative space make this design particularly eye catching.


Why it works well: DJ A-Trak’s logo is a good example of a modern, youthful design; you can certainly get a feel for his decade-transcending sound by the flashback style and shape of the letters. His logo demonstrates balance, repetition, and will easily translate into black and white.  It’s a simple design that is easy to read.

This analysis of popular logos is one of the best practices that you can do while preparing to design your logo – so take some time and find logos that you think work well and break down what it is you like about them so that you can consider employing similar design strategies in your logo creation process.


Now you’ll want to start brainstorming to create a concept for your logo. Not everyone is a brainstorming expert (Editor’s Note: Ean’s a professional at brainstorming), so here are some ideas to get your creative juices flowing:

  • Play one of your favorite tracks (or your own tracks), close your eyes, and visualize.  Once you have an idea, sketch the images that come to mind. If you can’t draw well, be sure to write down descriptions as well!
  • Think of your favorite symbol, or shape and use this as a starting point for a sketch.
  • Draw a few shapes or rough ideas in Photoshop or on a tablet.
  • Ask a friend, a fan, or a family member who is more visually inclined than you if they have a brilliant idea (they just might!).

Once you have established a basic concept, you’ll need to decide whether to create the logo on your own, or find a designer to work together with. If graphic design isn’t your forte, I highly recommend finding at least semi-professional designer.  It’s an option that may cost more, but a great logo will benefit you for many years to come along your DJ career.


It’s a jungle out there. Here are a few ideas on how you can easily find the right designer:

Craigslist: Post an ad (In the Gigs: Creative section)  for a designer on the internet’s classifieds section. Within a few hours, you’ll receive many inquiries from designers.  Choose the best one, and make sure to communicate clearly about the project requirements, timeline and your budget.  If you don’t have the funds to pay a designer, Craigslist is one of the few online sites where it’s acceptable to barter to exchange services. (eg. A night of DJing in exchange for the logo design)


  • Pros: You’ll get a ton of interest from designers who want to create your logo within a very short time.
  • Cons: The selection process can be time consuming.  You’ll have to sort through dozens of emails, and portfolios, both good and bad. Craigslist is often full of bots and mass-emailers who won’t even read the specifics of your post.

99 Designs: This is a relatively new design service that allows you to host a design contest, where a crowd of graphic designers compete to design a logo you love, or your money back. Within seven days, the site promises you dozens of designs to choose from, and you pick your favorite. They also have ready-made logo designs that they will customize for you for $99 USD. I personally haven’t used this service, but it does look interesting if you’re on a limited budget.


  • Pros: The design contest often leads to a variety of options of quality designs – meaning you’ll have a lot to pick from! 99 Designs has a great track record with a large community of designers active on it.
  • Cons: If you run a design contest, the minimum investment is $295. The $99 customization of a logo means simply tweaking a graphic, as opposed to having creating a design from scratch that is uniquely yours.

Headhunt a designer: Earlier in the article, we noted that you should find and collect logos you think are great. Do some snooping, and figure out who designed those logos – sometimes this might involve emailing an artist’s management or even reaching out to the DJ or artist themselves. It’s worth looking around your local scene here as well – what DJs who are playing out in your town have a well-made logo that they’re sporting? You’ll be surprised how many designers you’ll learn about simply by asking folks who’ve been through this process before.

  • Pros: You’ll be working with a trusted designer whose work you’ve seen and enjoyed. Depending on the context of the referral, you might be able to swing a discounted price.
  • Cons: This option could also break your piggy bank, if the DJ who you found the designer through turns out to be a high-roller and paid a lot for their design.

In the end, you have to choose the option that best suits your purposes, and budget. Don’t forget to consider seeking out friends and colleagues who might have experience in graphic design, as often even if they’re not up to the challenge, they’ll have a great reference for you!


Once you find the designer you’d like to work with (or when you start a 99 Designs contest), send them your sketches, reference pictures and ideas for the logo design. It’s a good idea to include the description you wrote of your DJ sound, personality and the main idea that you want to communicate. You’ll also want to consider your main logo colors. The colors you use could help to build your DJ brand – are you drawn to certain colors, or does the music you play make you think of

When the designer sends you back a few prototype designs (or you see the results of the contest on 99 Designs), you’ll be able to choose your favorite and provide them with feedback. At this time, once you’ve refined and perfected the design with your designer, it’s time to put your amazing new logo to good use!


Place your new logo on all of your social media; make sure to place it in a location where the viewers will notice it. You could create a banner header with your logo on it, and use this picture as your blog header, and as your Facebook Timeline picture. Another good idea is to have your designer create a pattern or tile design with your logo (or just do it yourself!) and use this as the background on one of your sites.

DJ Tiesto’s website is a great example of how to creatively tile a logo pattern as a background

Twitter: You may want to make a special background that uses your logo, and use it as your Twitter background. Try using this .PSD file as a template – it helpfully shows what will be visible and what won’t.  I like how Fatboy Slim uses his logo on only the left hand side of his Twitter page.

You’ll want to post up your logo on all of your online mix profiles, especially SoundCloud and Mixcloud. This version of your logo is usually a shape, with your logo in the centre.  Check the mix sites for the exact dimensions and file requirements. (Usually a .jpg file is acceptable)


Create different colors and sizes of logos for promotional purposes – you’ll want to have:

  • colored and black logos for white backgrounds.
  • a light version for black backgrounds (eg. your logo in white, against a black or transparent background).
  • a high-resolution version of your logo, (eg. A TIFF file).
  • smaller jpg versions for online use.

It’s super-handy to have several versions of your logo in a .zip file (or bundle it into your electronic press kit), so they’re ready to send out to promoters every possible option they might want when you’re asked for them.


Some DJs want to throw their name up on their gear, and have a custom laptop cover or skin (a skin is a large sticker) designed with their logo and DJ name on it. You can also customize your controller, mixer or hardware with your logo. If you use control records, consider having custom stickers designed for them. Use your one-of-a-kind-gear at gigs, in your photos and videos – and people will notice your unique kit.

12inchskinz and Styleflip are the two main companies who specialize in designing custom skins for DJ gear. Here’s a breakdown on the services they offer:

12 Inch Skinz specialize in skins for DJ and musical equipment for all the major brands. Their skins are easy to apply, and are made from a speciality vinyl engineered with a permanent pressure sensitive adhesive. They’ll also custom design a skin for you, their lead time for orders is 1-5 business days. designed my laptop and mixer skin; I would recommend contacting this company for high quality skins.  Their celebrity clients include: DJ Kentaro, Mixmaster Mike, Shortee, and Faust.

Styleflip creates skins for DJ gear and musical equipment (including headphones), phones, tablets and more. Their skins are made of automotive-grade 3M vinyl for simple application and residue-free removal. Their website has a fully functional flash player that allows you to design your own skin, and they offer custom designs. Orders are processed within 3-5 business days. Their celebrity clients include Dubfire, RJD2, Digweed, DJ Dan and Josh Wink.


If you have a VJ at your show, you can have them open and close your set by displaying your logo on screen. (Just remember to have them include other interesting content too, to broaden the appeal of the visuals.) You’ll want to contact your VJ before your gig, to verify the file format they require your logo to be in. Most VJ software programs are able to import many kinds of video formats, flash animation and image files, however, its always best to check this in advance. You’ll also want to run a test before your event to make sure that your logo images work properly.


This requires a little more capital, but these can be an effective promotional tool – and will have you looking quite a bit slicker than the old school DJs still passing out mix CDs. Order custom USB keys with your logo, load them up with your music and mixes, and give them out to contacts you meet at networking events. (You can also sell these too if you decide to setup an online shop)


Print t-shirts, hats, and bags with your name and logo. Wear them, have your friends wear them, and have the event photographers at gigs you play snap shots of people wearing them. You may want to give away a couple at each show you play; the audience will love you and your loyal fans will help to spread the word about your awesome sets.

Have fun designing your new logo; it’s an activity that’s well worth the effort. Keep in mind that a great logo gives the world one more good reason to remember you and your music.

DJ Name Drops In 2012: Cheese Or Choice?


In the past we’ve covered how to make DJ name drops and IDs, and at the request of a number of emails we’re revisiting the topic to discuss why it’s important to have a drop, on what formats to use them properly , and what new resources exist to make your own quality drops. We sparked a lot of controversy the last time we wrote on this topic – with a lot of DJs claiming that drops are always tacky and uncalled for – so we’ve made some clear guidelines for when throwing your name in the mix works in your favor.



A traditional DJ drop is a simple name drop of the DJ playing, usually thrown into the mix during a transition or break in the music. Stereotypcially, name drops are heard in three styles:

  • a deep pitched radio announcer/movie trailer narrator male voice
  • a coy, flirtatious, phone-sex-operator-sounding female voice
  • a computerized voice (often the default text-to-speech voices found in Apple computers).

It’s likely a direct result of the overuse of these three styles that so many DJs abhore namedrops and find them as tacky as an airhorn sample. All three  are quite commonly found on radio stations – mainly because those are the resources that radio show producers already have around them (often sending quite a bit of promotional work to professional male and female announcers similar to those described above).


Many drop-seeking DJs see the above styles as models for producing their own drops, and I personally experienced this while working for a mobile DJ company. It’s understandable in that community of DJs because there’s such a strong emphasis placed on selling a sense of professionalism and authenticity to customers

Beyond simply identifying the DJ, successful drops also lend credence to the importance of the DJ in the mix. For this article, we actually reached out to DJTT friend J. Espinosa (who you might remember from his cameo in this tutorial about switching out DJs) who’s been DJing major radio mixshows since 2001. He holds down three hour long mixshows every single day – two on 94.9FM San Francisco and one on KISS in Phoenix, so he’s an excellent example of a DJ who knows how to use name drops to success. His favorite drops showcase his connections as a DJ:

Name drops that I use are usually just artist drops, working for radio has its perks, we have a lot of artists roll through. I’ll usually use the ones that sound catchy, or if they have a cool accent. Name drops are great for branding. People remember cool name drops, I think every DJ should have at least one!

So let’s take the core lessons here: branding and authenticity. When a name drop works to remind the listener what the DJ is they’re listening to and does so in a way that makes the DJ important in/appropriate for the situation, and it does that without being overbearing, it’s a winner.


It’s always important to start the process of making something new by finding examples of those things that are really well done. We’ve selected a few favorites in this section – but we’re also interested to hear your own examples in the comments below of artists who use successful self-labeling samples.

Flosstradamus uses a classic vocoded vocal of their name with a stutter at the beginning to mark their mixes, remixes, and in their live sets.

Girl Talk restricts his own version of a name drop for just the intro of his set – right before coming out on stage, he plays a track that’s an tempo-rising chant of samples of people saying “girl” and “talk” respectively.

Here’s another great tip: instead of a name at all, why not choose a signature sound or sample to associate your mixes and productions with? Crookers’ remixes often have their signature “Wow” sample, and producers in the recent popular Trapstyle/Future Trill genre has taken on their own favorite sample to simply identify their mixes with – “Damn, Son, where’d you find this?” 


As many responses from us posing the question on Twitter last week indicated, there are clearly times, mediums, and genres where it is and isn’t appropriate to use a name drop. We’ve put together a brief set of guidelines as to what works below.

In mixtapes, it’s appropriate to pepper your mix with a variety of call-out samples that remind the listener who’s the curator and mixer behind the mix,- this is especially appropriate in longer, radio friendly mixtapes. Additionally it’s handy to make sure another DJ doesn’t slap his/her name on your downloadable mix and claim it as their own.

In original tracks, remixes, and mashups, it’s generally acceptable to put a drop in the introduction or outro, but when you’re producing a track that you want other DJs to play out, don’t break the feeling of the song just because you want to be recognized. J. Espinosa takes this point a bit further:

I personally hate when producers/remixers slap their name drops into songs. If it’s in the beginning of the track, and its subtle, that’s ok. If I download a track thats “Produced by ____” I think that’s great, but I don’t really think its necessary to hear who produced the track while its being played.

If you’ve got a cooler/more musically integrated shout-out, consider editing it to keep it interesting – for example, chopping the sample up in time with the rhythm of the song like in this 2010 remix by The Girls Can Hear Us:

On broadcast and web radio, DJs and radio programs use drops fairly regularly to remind people what they’re listening to and who’s in the mix  – as well to protect any exclusives and world premieres that are being broadcasted as a part of the show. Radio One has exclusive tracks all the time and has to prevent bootleggers from ripping the track for nefarious purposes, so Pete Tong and friends throw protective drops into these particular songs:

Live DJ sets and club gigs is where the drop seems the least appropriate. Most of the time, the DJs who are playing have their names all over the event already, and pull out a significant crowd. Perhaps a very rare drop might be alright, but they often feel absurdly commercial and out of place at house parties, warehouse ragers, and so on. If you’re going to use a drop, either save it for the beginning or end of your set, or it has to fit with the music.

Why not take this opportunity to make some kind of performance out of it? Scratch DJs are the model here – if you can cut up your own drop in a mix, it’ll show off your skills without breaking the groove. Genre/context of the event can be a factor as well – in a more Top 40-focused club, DJs are more able to get away with throwing in their name into the mix than at a deep house party.


Just like any kind of sample playback, timing is everything. Remember that no matter how cool your drop is, people will get sick of it if you use it during every transition in a mix or all over a song.  You also don’t want to kill the vibe of the song you’re playing or drown out the vocals- here’s J. Espinosa’s thoughts on when and how to throw in your IDs:

Preferably DJs shouldn’t hit drops over parts of songs that have words. For radio, I’ll use ‘em either before the climax of a song, during a build-up, or over an instrumental. Or get creative and insert your name drop in where another word of a song is, like live wordplay.

I love to use effects on my name drops. I’ll add some echo and tweak it over beats. I don’t really think there are many rules to hitting name drops. If it sounds good, then do it – but too much of anything is never good, so also keep that in mind!


Hiring a professional to record your drop will sometimes be the right choice – especially if their voice matches the sound you’re going for – but don’t doubt your own ability to record a decent quality drop.  We covered the basics of making your own drop in a previous article, including how to record a clean drop into Ableton and using your computer’s built-in speech-generation programs, but we wanted to add a few other ideas into the mix:

  1. FL Studio has a vocal synthesizer that’s dynamic and more interesting to play with than your standard computer-speech voices
  2. For different-sounding text-to-speech voices, try AT&T’s Natural Voices
  3. If you’ve got any vocal presence, consider doing a drop live on the mic and manipulating it on the fly with your mixer’s effects or through your DJ software (anyone interested in a tutorial on using a mic live effectively?)
  4. Don’t be afraid to friendsource. Think about friends and family you know whose voices might work in your drop
  5. Try using Fiverr, a great resource for getting semi-pro/pro drops recorded for $5!

2012 Atlantic City DJ Expo Full Video Coverage[Videos] 2012 Atlantic City Full Video Coverage

The 2012 Atlantic City DJ Expo at the Trump Taj Mahal Hotel and Casino is finally drawing to a close. This year we saw lots of cool DJ and Pro-Audio gear from the big manufacturers and was on-hand to bring you lots and lots of exclusive booth and product rundown videos that you won’t see anywhere else. There was so much going on, but most of the gear at this year’s show was already expected, except for a few new Pioneer DJ gems here and there.

***2012 DJ Expo Booth Walk-through HD-Video Links:
American Audio Booth
Denon DJ Booth
DJ Tech Pro USA Booth
Gemini DJ Booth Booth (Reloop/Electrix/UDG/Decksavers) Booth
Pioneer DJ Booth
Rane-Serato DJ Booth
Stanton DJ Booth (Stanton, KRK, Cerwin Vega)
Vestax + Allen & Heath Booth
Virtual DJ Software Booth

***2012 DJ Expo Booth New DJ Gear HD-Video Rundown:
Pioneer XDJ-AERO
Gemini CDMP-7000
Gemini CDJ-650
Stanton SCS.4DJ 3.0 Firmware Upgrade Video
Electrix Tweaker
Denon DJ SC2900

For the “Best-of-Show”, I’m going to have to give it to the Pioneer XDJ-AERO as there was always a group of smiling faces hovering over the two units that were right smack in the middle of the Pioneer DJ booth. It’s just a tight piece all around and DJ’s were flocking to it. Finishing in a close second for “Best-of-Show”, I’m going to have to give it to the booth which had lots of Custom Technics 1200’s on display and the whole booth had a cool layout and lots of energy. I hope I covered everything you all wanted to see at this year’s show… If there is something that I left out or any questions you may have, don’t be afraid to send me an email to! Stay Tuned!

How to Make Acapellas for Remixes in Ableton Live 8: HD

This is a 2 part HD video tutorial set on how to make your own acapellas from full songs.  This technique uses Ableton’s EQ8 device in mid/side mode to isolate the vocal and the Multiband Dynamics device in downwards expansion mode to reduce unwanted elements from the instrumental backing.  

If you’ve never tried mid/side equalization before, then part 1 will be a good tutorial to watch as it has application far beyond this technique.  It’s commonly used in mixing and mastering. Enjoy the tutorial.

Stones Throw Podcast 76: Cut Chemist’s Cassette Culture

Stones Throw Podcast 76: Cut Chemist's Cassette Culture




  • August 15, 2012


The Stones Throw podcast is free. Subscribe and download via iTunes, or using our RSS feed  | Or via direct MP3 download here

While Cut Chemist was prepping for an all-cassette mix with 4 decks at an event this past weekend (Cinespia: music played by great DJs at a Hollywood cemetery before a film), he put together this mix for the Stones Throw Podcast – Cassette Culture.  It’s an all-cassette, post punk mix, featuring a few tracks from an upcoming release on A Stable Sound next year called Funk Off. Need a track list?  You’ll have to chase down Cut for that … try him on here, here or here and let us know because we want the track list as well.   

Cut Chemist’s latest solo release is the single “Outro (Revisted)” and hopefully and album soon to follow.

Cut’s cassette mix comes just as Stones Throw is dropping our first cassette-only release, Cassette by Jonwayne, and putting together a comp from the cassette label, Leaving Records. Some kind of conspiracy?  Actually, no … it’s mere coincidence. Adding to the coincidence is the somewhat unlikely claim made by Wall Street Journal today that “In fact, among adults, cassette tapes remain more popular than many online music services, or even vinyl records, despite the latter medium’s purported comeback in recent years.” – WSJ, 8/14/12 (link). 

DJ Rob Swift Unites With ESPN U’s New Show

Battle DJs and sports go hand-in-hand. Think about it, one focuses on demolishing your opponent and the other does the same thing. Training is involved in one as is the other, studying of the competition is paramount in both and consistent winning in either puts you with legends…icons even. So first off let’s salute a turntable titan, innovator and champion of sound, DJ Rob Swift of mix master/DJ battle crew The X-ecutioners, on his addition to ESPN U’s newest show Unite debuting on August 27th.

Rob has been traveling the world spreading the good music gospel with expert skills in turntablism and the history behind how the genre was created. He also has a deep family rooted love for sports. What better way to make money and have fun doing what you love by being the music selector for a sports driven television show? Rob has certainly found his dream job with this best of both worlds situation.

The maestro recently wrote a blog about his new position at ESPN U, check his words and then tune in on August 27th to see a real DJ get busy on the set!

“On Monday, August 27th I take my career and the art of DJing to new heights as a cast member for ESPN’s first late night – sports entertainment show, UNITE (ESPN U). A fitting title because it’s going to be the first time since I was 17 that I get to re-UNITE my two passions in life, DJing and sports. My roll on the show revolves around me scoring highlights from various college sports games, providing the soundtrack to the show as the cast (former Florida State Seminole & NY Giants QB Danny Kannel, TV personality Marianela, and
comedian Reese Waters) debate and poke fun at the day’s college sports topics. I’ll be rockin’ two Technic 1200s, the Rane Sixty-Two and my Serato. This is the first of it’s kind ya’ll. Never has a DJ been such an integral part of a live television show. ESPN is the most recognized sports network across the world and with my passion of sports and Djing combined, this is yet again, a defining moment in my career.

UNITE will air Monday through Friday from midnight to 1am (eastern standard time). If you’re in the NYC area and have TIME WARNER CABLE that’s channel 170 or 479 if you want to see kill it in HD. I hope you’re there every step of the way.

Never would I have thought as a 12-year-old that DJing would take me this far. It is something that I have always done out of pure love. Now I’m being contracted for a full time TV position and paid to do something I truly love. It just goes to show, when you do something for the right reasons, the right things happen. Stay positive, stay true to what you love, don’t compromise your craft and never give up on your dreams.

I’d like to thank ESPN, specifically Kevin Wilson and Yaron Deskalo, for giving me the opportunity of a lifetime. I promise not to let them or my fans down!!! An honorable mention goes out to my production team, GenErik, Dr. Butcher and Seth Wolf for helping me put together a lot of the music I’ll be playing on UNITE. I’d also like to thank CJ York (Keep It Movin) and Gracie Blackburn (ESPN) for handling press, Katalyst Bree for helping me get my thoughts together on this blast to all of you and the rest of the ESPN family for making me feel so welcomed.

Wish me luck ya’ll!


8/15 Episode 85 Feat. DEE COMPOSE

8/15 Episode 85 Feat. DEE COMPOSE.

” I started bboying at age 6 ,then age 12 started djing . Age 16 started making beats with an sampler , turntable and a 4 track. Age 18 got an asr 88 and started to dig in the crates for samples and sounds.   Im not in this to make money ,I do music for me . I like to create something out of nothing with my own 2 hands. ” – DEECOMPOSE

LIVE BROADCAST 8/15 8pm – 10:30pm


This weeks special guest dj is somewhat of jack of all trades when it comes to music and hip hop culture.  Born and raised in SD, he says he and grew up in Spring Valley. We met him during our skratchLab event last year.  He rolled through, pretty much no one knew who he was,  and he just jumped right into the scratch battles. He’s got some real funky styles of riding the beat.  It’s unusual, and unique.  Really creative and should definitely be heard.  You can judge for yourself. It can well be the sickest beats you’ve heard in a little while.  The homie shows a lot of love for the hip hop arts and he’s been active the past few months making his own music, his own beats, his own rhymes, he does his own videos, a Family man, he goes by the name of DEE COMPOSE.

Here are some links for you to get familiar with a san diego talent that you barely know about. Listen to his music and provide him some honost feedback.

Back to the Essence

Ridiculous ill ish



Obama Campaign Launches ‘DJs For Obama’

‘DJ’ing is about motivation, celebration, inspiration,’ says DJ Cassidy. ‘That’s what this election is all about’

Barack Obama
Marc Piscotty/Getty Images
August 14, 2012 6:30 PM ET

In yet another sign that 2012 is truly the year of the DJ, Obama for America has launched a program entitled DJs for Obama – a reelection effort that calls upon top acts to voice their support of the incumbent. “I would never have imagined that my love for hip-hop, my love for music would allow me to get involved like this,” said DJ Cassidy, who was tapped by Barack Obama himself to spin at the President’s inauguration in 2009. “It’s very surreal.”

Cassidy was one of three particpating artists, including D-Nice and DJ Rashida, who took part in a conference call with journalists on Tuesday to promote the program. DJ Rashida, who has collaborated with the likes of Prince, said that with EDM culture at an all-time high the time is right for DJs to take center stage. “Our platform is to a lot of young people,” she explained. “Knowing myself as a young person, I didn’t really know what the power of my vote was. No one should underestimate the impact they can have.”

D-Nice,  a member of the pioneering Eighties hip-hop group Boogie Down Productions, said he’d be involved with the President’s reelection campaign regardless of his profession. “Even if I wasn’t a DJ I would still be out here trying to get it done,” he said. “To spread the word. To get people registered. It’s my responsibility as an American to get out there.”

Cassidy added that he sees a correlation between what DJs do on a nightly basis and what this election stands for. “DJ’ing is about motivation, celebration, inspiration,” he said. “DJs are in front of so many crowds every night of all ages, races, genders. When you think about it, that’s what this election is all about: people from every background, race and creed joining together to celebrate what makes America great and all that Obama has done to make it even greater.”

The DJs, who all agree President Obama’s work is just beginning, stressed the importance of informing young Americans on the importance of their vote.