Tuesday, November 29, 2011

Classic DJ Weapons of Yore: The BCR 2000

What’s the most searched MIDI controller on Google? The answer might surprise you. It’s not a studio mainstay like the MPC or Trigger Finger. It’s not a relatively new controller or a futuristic, buzz-worthy device. Nope. It’s an unassuming collection of encoders that’s been on the market for the better part of a decade.  Is it worthy of a spot in your arsenal of gear? And, if you already own one, how can you make the most of it?


These days barely a week goes by without a new MIDI controller hitting the market. But back in 2004, Behringer had much less competition when it rolled out the BCR2000. Designed as a companion controller with the BCF2000 (a bank of motorized faders), it quickly caught on with electronic musicians, producers, and DJs.
Nearly eight years later, the BCR’s popularity endures. In production studios and on major tours – a pair of BCR’s were part of Daft Punk’s badass pyramid set-up on their Alive 2007 tour – the controller has quietly become a staple of electronic music.

Let’s take a quick look at the pros and cons of this time-tested MIDI tank, then dig deeper into some of its uses in the studio and on the stage. As we’ll see, there are some good reasons why the BCR’s use is so widespread.
  • Versatile - Eight columns of endless encoders is never a bad thing. But what really makes the BCR stand out is the top row of encoders. Using its four bank buttons, you can have those eight top knobs control 32 different parameters. Combined with an array of buttons (including the top eight knobs, which also have a push function), the control possibilities are endless.
  • Cheap - A new BCR will set you back $150. Look around on Craigslist or eBay, and you can find a used one for closer to $100.
  • Reliable - While it’s not built like the proverbial brick shithouse, the BCR can definitely take a beating. And if it does succumb to a spilled beer or steep drop, it’s not hard to replace.
  • Bulky – Weighing in at about five pounds and taking up a sizeable footprint, this is not a travel-friendly device. It’s not sleek and sexy – especially compared to modern controllers.
  • It doesn’t feel like a DJ mixerThe larger size and looser feel of the knobs is a far cry from the smaller, rubberized feel of most mixers. This might be a concern if you’re mixing “in the box,” and want your controller to feel like a mixer. Also, because the knobs are endless, you can’t feel where they stop and end.
  • Holy crap that’s a lot of knobs - The BCR might be overkill if you’re looking to keep it simple; there are more streamlined controllers that might better suit your needs. And if you absolutely must have faders (or a crossfader), there are none to be found here.


One look at the BCR, and you can easily visualize some natural MIDI mappings for studio work. With its eight columns of knobs, it’s logical to assign each column to a track. I like to assign the second row of encoders to the volume of each track, with the third and fourth rows assigned to reverb and delay sends. The pair of buttons on each column can then be assigned to solos and mutes.
The top bank of encoders can be designed around your more specific needs. For instance, you could have each of those four banks control a different FX rack in Ableton. They can also be assigned to various mixer effects, like frequency controls, volume, crossfade, and cueing. Having this much hands-on control is a big help when it comes to things like fine-tuning a mix or adding natural-sounding FX and volume automations to your songs.
To customize your controller settings (MIDI channels, button behavior, etc.), you can try Behringer’s own editor software at your own risk. A more straightforward, easy-to-use editor can be found here.


Live performance is where this thing really shines. If you want to mix up to eight channels at once, the BCR is a solid option. The intuitive eight-column design makes it easy to see what you’re doing. (For you Ableton cats, you can try setting up the Mackie Emulation with the BCR. I find the eight-channel mapping to be a lot more intuitive, especially on stage.)
Granted, stem-mixing eight channels is a lot to handle. If you want to take a more streamlined approach and use just four channels (say, drums, bass, lead, and vocals), you’ve suddenly freed up half the controller for other uses. The red LED’s are also easy to see in a dark club – and they look pretty sweet too.
For a DJ-centric approach, programs like Traktor and Serrato can be mapped to get the job done (check out the DJTT forums for more resources; this post has specialized Traktor mappings). This makes the BCR a cheaper alternative to controllers like the Kontrol X1. But again, the lack of typical mixer knobs and faders could be a deal-breaker if you’re aiming for a traditional DJ controller.


So is the BCR2000 still a smart buy despite its age? And is it right for you? If you fall into one or more of these categories, I’d say it’s definitely worth your attention.
- You’re a beginner who’s looking for your first MIDI controller. Simply put, this is a very cheap and easy way to start controlling your audio software.
- You need a knob controller for live performance. As I mentioned above, the BCR is a good option for gigs – especially if you want to control several channels of audio at the same time.
- You already have a pad controller. The BCR is an awesome companion to pad controllers like the Launchpad, MPC, and Trigger Finger. For example, you can hammer out beats or trigger clips with your right hand, while using the BCR’s knobs to tweak filter sweeps and FX with your left hand. This makes for a more involved live performance – more fun for you, and more entertaining for the crowd.
- You’re on a budget. In this craptastic economy, it’s important to remember that you don’t need the latest and greatest gear to make awesome music. Save up a hundred bucks, buy a used BCR (or something similar), and start kicking ass.


A few tips as far as using the BCRs – first, they come from the factory with a slight birth defect: the LEDs respond a bit sluggishly as you turn the knobs. This could be a problem if you want to perform super-fast knob tweaks. However, this can be fixed by following these steps. Some BCR users have also had luck using the latest firmware to customize knob speed.
The BCR is also a good option for live visuals. VJ’s have been using it for years, in combination with one of many VJ programs, to bombard retinas with dynamic images.
Additionally, I’ve used the terms “knobs” and “encoders” interchangeably in this article, but there are some important differences. As mentioned above, knobs have physical start and end points whereas endless encoders don’t. On the other hand, there’s a big advantage to having endless encoders: their position moves automatically as you switch between banks and presets.
Finally, it’s worth noting that if you prefer to use hardware over software (the way old school Live PA’s used to do it), don’t forget that the BCR can also be used to send MIDI commands to other devices.

Saturday, November 26, 2011

How To DJ In Traktor With Only Loops and Sample Decks

As some of you probably know, Traktor offers the ability to change any of its decks into 4 sample/loop players. What would happen if you switched all 4 decks into loop players? In this article I’m going to explore the concept, and feasibility, of running all four decks in sample mode, allowing for on the fly remixing and building tracks from the ground up in a live situation and trying to push the sample decks into being more than an auxillary tool.

Sample Decks Overview

The decks themselves are simple enough to get to grips with, and very similar to a stripped back track deck.
Looking at the screenshot you can see we have key correction, effects assign and monitoring options along the top, and basic controls for start/stop, volume and filter along the bottom. The only thing missing to make that into a basic four deck mixing layout is individual EQs – luckily they still exist on the mixer controls for the channel.
Each group of sample decks can also be controlled as a group just like a deck. They can be stopped, started, scratched and manipulated just like a individual song. 

Possible Performance Methods

Juggle –  Look at your collection at the moment- how many of your tracks have loops saved in them? Or a cue point that you use as a one shot? Now consider the possibility of being able to play those loops at the same time as well as juggle them, while dropping that one shot cue, and still having the other three decks free. Sounds messy, the point is that by chopping the tracks down into loops and loading them into a deck – or two depending on the amount of loops – you now have the ability to not only change the arrangement of a track, but layer bits up, and manipulate more ‘tracks’ than you can in a standard layout.
Layer – stop buying tracks, and buy sample packs. This method is based around loading a drum, bass, lead and vox/hook loop into each slot, then jamming out a new tune on the fly. Then loading loops on the other side and doing the same, fading between the two new creations. An additional dimension can be brought in by using external sources via the loop recorder – think Dub FX or Beardyman – and dropping that loop into a sample slot.
Most of you have probably realized that these are two sides of the same coin, and the obvious thing would be to use loops from tracks, and season with loops from sample packs. This is the method I’ve been playing with-  I have also found that treating A/C and B/D as A and B works easier, as there are only two sides to a crossfader.
I’ve also found that (if you’re using the spectrum waveform view) it helps to have different ‘coloured’ loops loaded in each slot. This gives a more dynamic ‘sonic range’ for you to move around in.


The basic controls
Besides the obvious mixer mappings, assuming you’re using internal mixing, you’re going to need to map the sample decks up. These are all found under ‘Sample Decks’ in the list of mapping functions.
  • Deck Play; same as on a normal deck, but instead of ‘device’ being a, b, c or d it will apply to the slot in the sample deck.
  • Load From List; again, the sample slot equivelent to loading a track from the browser.
  • Volume; controls the slots volume.
  • Filter On/Off & Filter Amount; same as the ones used when mapping the mixer, but per slot.
  • Phase Sync; helps keeps the grids of each sample better locked to master clock, i recommend mapping this to each play button – if you use it.

This basically equates to 16 buttons to control playback and 16 for loading, plus the same amount of knobs for volume & filter, unless you use modifiers.
As an example, I’m using a VCI for this. The buttons at the bottom control transport/loading for either deck A/C on one side and B/D on the other, depending on modifier state. To be honest a VCI isn’t the best choice, and something like a K2, APC or even Midi Fighter Pro – basically anything with a grid of buttons and a few knobs/faders – would work better.

Extra Controls

As mentioned at the start, there is an option for enabling/disabling a slot from the FX. The normal mapping for effects on to a track deck still applies, but you can go deeper by putting in the option to stop a slot from being affected, or being the only one affected – running Beatmasher on only a drum loop for example, and leaving everything else normal. This is the FX Enable option.
Copy From Loop Recorder is an option I haven’t used much in this concept personally, but used heavily when running 3 decks and 1 sample deck, messing with the effects while ‘plooping’  then copying the resulting sound into a sampe slot. You can also use this function for recording in from outside sources.
MASSIVE TIP: > I have found previewing through multiple samples to be a laborious task, so I’ve mapped load to preview deck and preview deck start to the same buttons I use to move up down the browser list, but using invert, so that when I stop on a sample it instantly previews. The preview stops playing when i load a track or switch back from browser view.

Prepping Loops (AKA: The Boring Bit)

So now that we have the basics of using all four sample decks outlined, we need to look at the prep side of things. Nothing fancy in terms of mapping is required here, but I have found that having a hotkey for save sample comes in very handy – I set mine to deck C, slot 1. Keep in mind that samples fall victim to bad grids/analysing the same way that a full track does, I’ll talk about this further down.
Creation of a sample from an existing track is simple enough, set a deck to ‘track deck’, load a track, set a loop, copy it to a sample deck, save it. Et voila. Rinse and repeat for every loop you need. If you’ve been using the sample decks already, you will be aware that Traktor saves all the samples you’ve made into a folder. You can link this folder into the favorites bar in the browser for easy access – check in the file management section of the settings for the location of this folder.
To import a sample pack, locate the files using Traktor’s browser, highlight them and select import to collection as loop/one shot.

Now that the samples are present in your collection, we need to check that they ‘behave’ properly. As I mentioned above, loops require an accurate grid. Unfortunately there is no quick way to correct bad grids, you’ll have to do it the same way as a normal track. Even a loop taken from an existing, perfectly gridded track can still end up up with a botched one after Traktor has analyzed it.
There are enough threads in the forum and a classic article relating to gridding, so I won’t go into detail here.

A Couple of Annoyances

Sample packs will import with hardly any of the BPMs correct, as well as the grid marker being placed improperly. A quick fix;
All loops in these packs have the bpm in the folder name or file name, so you can edit each tracks BPM field to match. Highlight multiple tracks in Traktor that have the same BPM, right click, select edit.

You can now change the BPM field, and this will be applied over all selected tracks, the same can be done with the auto gain.

Auto Gain is another thing that Traktor can mess up in analysis on some tracks, I’ve found samples from the same the track with different values. Also different sample packs are mastered at different levels, so these won’t always match up out of the box. Here’s a tip; always use the same track/loop to benchmark sound settings to keep things even.

Bottom Line

While the sample decks have become more usable than they were back in the S4 days, they still have a little way to go. Playing with all four decks in sample mode is relatively simple and fun, bringing new creative flow to any routines that you already have, and allowing more layering options than just four track decks, or a 2×2 layout. For people looking for something like Ableton but with dj flexibility, this is realistic option.
There are still some large drawbacks to the sample decks, especially in terms of prepping loops. Loops are frequently out of time and it’s challenging to get set up with proper grids – we’re hoping Native Instruments will do a little more work on getting beat grids working right in loops.
One option that would make loop DJing in Traktor really work is group loading of samples into one deck. 

The Concept in Action

BradCee Driven Loopy by BradCee Here is a six minute mix of Katy B – Lights On and Sidney Samson – Riverside, performed in Traktor Pro 2 with nothing but loops in the sample decks.
14 Loops juggled in all, three from Katy B and five from Sidney Samson, seasoned with six from a couple of sample packs (the extra drums, basslines and percussion) and garnished with some Beatmasher.
Download the loops and try it out for yourself here. Post your results in the comments!
This is a simple example of the sample slots in action. In Decks C and D I ran the extra drum/bass/perc loops, and in Decks A and B I ran the loops from the tracks.

Getting Creative With Serato Scratch Live ?!

We tend to focus a lot on Traktor in our controllerism articles because of its simpler and more flexible controller mapping capabilities, but there are a fair few hidden – or at least, subtly introduced – features that make controllerism in Scratch Live a lot of fun too. While many “Serato” djs may stick to the basic 1 +1 deck paradigm, there are now a lot of additional tools that allow for tinkering if you are so inclined. 
Serato appears to have made a conscious decision to make mapping MIDI controllers simple, and it is somewhat at the expense of power. For instance, mapping a MIDI control to more than one Scratch Live function isn’t possible… but to mitigate that, Serato have integrated the Super Knob and Ultra Knob concept. They’ve also made it impossible to map buttons to dials and vice versa, but their way of working provides a loose workaround for the effects you might want to achieve by performing such a thing.
Important! Before you start, go into the MIDI page of the setup window and create a new MIDI preset. After you’ve made changes, save. If you don’t do this, all your hard work will be lost when you quit. Not fun.


Scratch Live’s effects sit somewhere between Traktor’s group and advanced modes, with two assignable banks of three effects that can each be expanded to show their advanced controls. So, whilst Scratch Live only has two banks maximum, each bank has three effects that are always highly configurable – here are some advanced tips for creating effects behaviours.
The super knob concept allows you to create relative relationships between an effect’s main dial and its advanced parameters. The ultra knob goes a step further and allows you to create the same relationships between the three main effect knobs and an ‘omni knob’ for each bank. Here’s how:

  1. Click the expand button (pictured) to show an effect’s advanced controls.
  2. Now, press the newly visible pencil button, which will open up the relationship controls.
  3. Move the dial to where you want it to be when the main dial is fully anticlockwise (‘off’) and press the ‘-‘ button.
  4. Now move the dial to where you want it to be when the main dial is fully clockwise (‘on’) and press the ‘+’ button.
  5. Make sure the link button is engaged.
Now when you turn the main dial, the advanced dials will turn the amount you’ve set up. If you set the controls to the opposite of the main dial – so that the advanced dial turns clockwise when the main dial turns anticlockwise – then the ring around the dial will be red instead of green.


The super knobs and ultra knobs are obviously very powerful, but using Scratch Live’s native capability we’re limited to just one super knob per effect or one ultra knob per bank. If we use our MIDI intermediary software we can create as many as we like.
In testing, I learned two things about how Scratch Live treats MIDI input. Firstly, it’s got no issue with commands coming in simultaneously and so we don’t have to worry about creating delays between our message splitting. Secondly, it won’t learn the second in a string of MIDI commands even if you do put a delay in, so it’s necessary to build the MidiPipe template up with these steps:

  1. Set up a MIDI in in your MIDI software.
  2. Set up a MIDI out to go to ‘Scratch Live MIDI in’ in the software, and ensure that ‘pass through’ is enabled.
  3. ‘Learn’ the first command in Scratch Live.
  4. Add a message converter, change the CC of your control to something else (it’s a good idea to plan out what you’re doing to avoid a mess down the road) and put it after the first MIDI in in your MIDI software.
  5. Now that the control has been switched, go back to Scratch Live and learn the next command.
  6. Return to the MIDI software and move the message converter to the end of the pipe, adding another MIDI out after it.
  7. For extra controls, repeat from Step 4.


Scratch Live doesn’t count censor or loop roll as effects – this means that they can be used without taking up a slot in your DJ-FX rack. Whilst that’s all good, it also means they can’t be hooked up to super or ultra knobs, and so if we want to use them to their full potential we need to get a little creative with MidiPipe or the equivalent.
Here’s a trick that, whilst not super new, may have passed you by: instead of mapping a single loop roll button, you can map as many as you like to individual loop roll lengths by pressing ctrl+alt+click on the loop button in MIDI mode.

In a similar shortcut to the loop roll trick mentioned above, you can also ctrl+click on the effects activation buttons to turn them into momentary triggers. Try assigning loop roll activation and effects activation to the same button by creating a basic key mapper MIDI pipe and using these hidden momentary press controls for some very cool effects!
As a final note, because censor’s a button and Scratch Live doesn’t allow buttons to be triggered by specific values of CCs, we have to do some jiggery pokery in our MIDI software and turn our CC message into a note message. I use MidiPipe often because it’s very quick and easy to use, but when it gets to the more complicated actions, Bome’s Midi Translator Pro is the way to go. What we need to do is tell Midi Translator to turn only the final value on a single CC message (127, or 7F in hex) into a note on message, and also that the next one below (126, or 7E in hex) into a note off message. This will allow us to create a knob that can be assigned as we wish, but at the very end of its throw also sends things into reverse!
We know that sometimes it can seem a bit Traktor-centric around these parts, so I hope the Scratch Live users amongst you got a chance to pick up some tips and ideas for how to make things a little cooler. Do you have any other tips to share? Let us know!

The DJ SCHOOL “Top” 100 DJ List

Prior to the release of this year’s well-known DJ Mag Top 100 list, former DJ Mag editor Terry Church published an article detailing the complete failings of the list over the years, suggesting that the internet already has plenty of tools to determine the true popularity of DJs. We decided to take his conclusion to heart, and using stats from social media websites, see who has the biggest following. Continue reading to see the full list and how it stacks up against the much debated DJ Mag top 100. 

The Highest Ranked DJs (By Social popularity)

Here are the top 100 djs with the largest social reach on the internet and how the results compare to the Dj Mag top 100. For more information on those stats and to see the supporting data see the section below called: “Check our Math”. This was in no way intended to create an official top 100 list but a fun experiment to validate the Dj mag list against social media statistics.

Sometimes crowd-sourcing worked well in the DJ Mag contest, and as highlighted in green, there are positions that are impressively on the mark. David Guetta is the most popular DJ in the world  - even despite the fact that the crowd was less than kind to him when he accepted his title of number one at the official ceremony.  Aside from the inclusion of LMFAO, the DJ Mag top 5 is pretty spot on but after that things start to to shift dramatically. 

We were amazed at the number of people that didn’t make it on to the DJ Mag list, and you’ll probably have nodded along with a number of the items we highlighted in red. Just because an artist like DJ Shadow, Moby or the Chemical Brothers have been active for a long time doesn’t mean that they should be overlooked or ignored – especially if they’re still active, DJing all over the world, and producing!
In addition, we’ve highlighted how strange it is that Skrillex, master of brolectrostep, is in the original top 100, yet his very popular colleagues Bassnectar and Rusko are completely left out.
Also, we were impressed to see how incredibly popular LMFAO has become – and while many don’t view them as DJs, we’d argue that their live shows are often DJ sets. The Party Rock crew rolls deep with S4s, mixes songs all night long, and of course throws down plenty of shots.

What Are They Doing Here?

We couldn’t help but highlight a few epic fails from the DJ Mag Top 100 that placed well out of our Top 100 – it’s not to say that any of these folks are bad DJs, but the numbers seem to show that they’re simply not as popular as their DJ Mag number might make them out to be.

Most Impressive Rise to Fame!

While we were gathering all of this data, we also got the best estimates as to how long each of these groups and DJs have existed (under the name listed, not other names of the DJs or group members). This made for a really interesting analysis of who has had the most impressive, effective, and powerful rise to popularity.

How The Heck Did We Calculate This?

We decided it was best to collect the average number of fans/followers/listeners from three very popular websites on which I would be able to find all of the DJs in question – so Facebook, Twitter, and Last FM were pretty natural choices. If an artist did not have a Twitter or Facebook account, I used the most popular fan-made account, or in a pinch averaged out the other two numbers. This gives us an estimate of how many people really know about a artist and are actively following them – as opposed to simply how many people (or very simple-to-code vote bots) voted for that artist in an online poll.
It’s important to note that we’re well aware that there are potential flaws in our process, but it gets us very close, and possibly provides a better representation of real world popularity instead of online voting and polls, which can be susceptible to fraud and inaccuracy. If you have any great ideas on how we can improve our algorithm, please share in the comments – as we want to make it even better next year!

Check our Math!

Do you want to see the numbers and see exactly how this list was generated? Help yourself! All of the numbers in this spreadsheet were retrieved within the last two weeks. If you find an error, feel free to let us know in the comments. Click here to view the data collection spreadsheet.
More importantly, we want to address the most difficult part of making a “new”  list: picking the DJs to include. Naturally, we ran the numbers on all of the Top 100 from DJ Mag’s list, as well as 60+ others from a variety of sources. We did our best to include people who, when you see them at a show, are DJing. But where is the line drawn? It’s not an easy process these days with the lines between production and DJing blurring into oblivion.

Closing Thoughts

This list is not a true representation of the “top” djs in the world, but a statistical analysis each artists true reach across the most relevant platforms. To compile a real top 100 that took into account subjective parameters like skill or quality would be incredibly difficult.
Finally, remember that some of the best DJs you’ll ever see will not be on this list. This list is purely about popularity!  Talent doesn’t always mean you’re incredibly famous or even well-known, and we’re sure that there are hidden deck-masters hiding at weddings and wakes, as well as in bars and bar mitzvahs, all over the world.

Thursday, November 17, 2011

Top 10DJs IN THE WORLD 2011-2012

David GuettaDavid Guetta
When we track down David Guetta in Paris, he's already been told by his manager about his Top 100 victory. "I'm very happy of course, I was thinking it was going to be impossible for an...
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Moved Up
Armin van BuurenArmin van Buuren
Dutch powerhouse DJ/producer and scene leader extraordinaire Armin van Buuren has historically been the highest performer in the Top 100 poll, holding onto the No.1 spot for an unpreceden...
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Moved Down
He won DJmag's Top 100 DJs poll three times in the early noughties (2002-4), but if anything, Tijs Verwest aka Tiësto is bigger than ever now. "The whole year has been one amazing highli...
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Non Mover
Deadmau5 holds steady at No.4 in the poll this year, despite not campaigning whatsoever (and moaning on Twitter about others who did). But is it right that he appears at all? As he mentio...
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Non Mover
Above & BeyondAbove & Beyond
For Paavo Siljamäki, Jono Grant and Tony McGuinness, 2011 has been all about 'Group Therapy'. Which, of course, was the name of their second album (or third if you count 'Sirens Of The Se...
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Non Mover
One of the big success stories of the last couple of years in dance music has been the unstoppable rise of Avicii. The Swedish house star may not be part of any mafia, but he is certainly...
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Moved Up
“Of course, it's been a fucking great year!” says Afrojack, aka Dutch producer Nick Van de Wall. “I think we can all agree on that! I mean, 'Take Over Control' started out as a dance trac...
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Moved Up
Dash BerlinDash Berlin
While the past few years have seen the polished productions of Dash Berlin take centre stage after the release of 'The New Daylight' album, the past 12 months have seen DJing become the f...
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Moved Up
Markus SchulzMarkus Schulz
There's a whole greased-up machine behind the workings of a DJ like Markus Schulz, but thankfully it's not changed him one little bit. “It's always an honour and I always say it's the f...
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Moved Down
Swedish House MafiaSwedish House Mafia
The notion of the 'supergroup' belongs with kaftans and interesting tricks with Mars bars in the antediluvian annals of rock music. Sure, there have been stellar studio-bound collaboratio...
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The Top 10 Sexiest Female DJs 2011

The Top 10 sexiest female Djs is here, compiled for all readers that wants to know who is the most sexiest female DJs in the world. Note that, some of the female DJs below has performed in Malaysia in year 2011. The top 10 sexiest female DJs below are only for reference to promoters and viewing by our readers only. The list of female djs that are able to get you on the dancefloor and shake your booty. Sexy is the word to describe.

NO.1 Sexiest DJ - Niki Belucci

Niki Belucci is the symbol of beauty, charm, eroticism, freedom, sexuality and energy. At 19 she spent 6 months shooting, then in 2003 she announced that she was quitting the industry as she wished to make a career of her former hobby, DJ-ing. By then she had been performing in small clubs with her vinyl plates entertaining club goers around the country. In a real professional sense, Niki entered the club life in the fall of 2003. Thanks to her talent and ability to perform well under pressure, she had about 160 performances during her first year in Hungary and in the neighboring countries altogether. More and more new gates opened up to her in the upcoming years mainly Austria, Germany and Russia, while she also continued to perform in her homeland.

NO.2 Sexiest DJ - Mari Ferrari

Mari Ferrari is a well known female DJ's who plays in the some of the most fashionable clubs in the world. Despite her young age, Mari already built a brilliant and an impressive career, starting way back in '07 when she started touring extensively around the world.

As a producer 2011 was a blessed year for Mari, starting from her first Collaboration With Adam Reeves, She Created 'REACH OUT' [Gramma Rec] with remixes from Jesse Voorn, Daniel Bovie & Roy Rox, Denis Horvat, Martin Shape, Arbre Blass, a monster track which very few people could not have haired it since the release was played and charted from World's best DJ's and been included in many compilations, mentioning the last one, compiled by ‘Plastic Funk’ on the prestigious Clubstar Records.

Country : Russia
Genre : House Music
More about Mari Ferrari

NO.3 Sexiest DJ - Claudia Cazacu

Claudia Cazacu has positioned herself as one of the most highly anticipated new artists on the scene right now. As a DJ, her sets build from minimal influenced tech-house tracks that progress with expert precision to spine tingling tech trance to destroy dance floors!

As well as destroying dancefloors wherever she goes in the world, with recent gig destinations including India, Australia, Vegas, Italy, Poland and Sweden, Claudia runs her own label, ‘COUTURE’, produces a monthly radio show, ‘HAUTE COUTURE’, which is currently aired on 14 stations worldwide and receives regular acclaim for her own cross genre productions, with recent tracks signed to massive Dutch super labels Armada and Spinnin Records.

Claudia’s recent productions have been licensed to Dutch super labels Armada & Spinnin Records with massive support from the usual suspects. Armin Van Buuren has picked up the highly acclaimed ‘Freefalling’ feat Audrey Gallagher for release on his ASOT label and also the 2009 A State Of Trance Album.

Country : USA
Genre : Trance
More about Claudia Cazacu

NO.4 Sexiest DJ - Keli Hart

Keli got her start in early 2005 playing her first gig at the uber cool L’Otel in Sydney. Since then, in the space of only 5 years, Keli has played to hundreds of people all over Australia and Overseas.

Keli’s meteoric rise is a testament to her natural ability behind the decks with an incredible presence that can’t be ignored. Nothing is lacking in Keli’s performances as shown time and time again – as she breathes new life into the scene, Keli Hart single handedly turns humble dance floors into worshiping grounds for music lovers.

Striking a perfect balance between an underground sound and floor fillers, Keli’s purest love is for sexy, sassy, dirty electro house mixed with tech & fidget elements and just the right amount of breaks.

Country : Australia

Genre : House / Electro / Breaks / Tech / Progressive

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NO.5 Sexiest DJ - Juicy M

Juicy M is one of the most successful DJs in Europe. Since 2006 she performed in more than 200 venues in more than 30 countries all over the world and this is just a beginning . There are only high profile clubs & events like Trofana Arena (Austria), Pacha (Egypt), Alcova (Singapore), Horizon Lounge (Dubai), The Rooftop (Hanoi), Kino Cottage (Mumbai), D’Lux (Kiev) and many more. In 2011 Juicy played at official Backstreet Boys VIP parties in Saigon & Hanoi during their tour in Vietnam.

Behind that hot looking girl there is an ultimate scratch technique that is really challenging. Juicy M is always taking part in scratch and technique contests like DMC World Eliminations in Ukraine and World Technical DJ Championship in Dubai. She received the “Best DJane Of The Year” at ProDJ Awards in 2010.

Country : Ukraine

Genre : RNB / Hip Hop / Electro House

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Listen to mixtape : Around The World

NO.6 Sexiest DJ - Tamara Sky

With a sex appeal equaled only by her consummate taste for party rocking, anyone whose libido doesn’t get a jolt from DJ Tamara Sky is probably dead. Shit, dead people get turned on by her DJ sets. She’s not even allowed to spin within 100 yards of a cemetery.

The Puerto Rican temptress moved to Miami Beach at 19 and started hanging out with some of the cities most notorious partiers. It wasn’t long before she fell in love with the energy of the clubs music and needed to rock the jams herself! She went from scratching in her house 5 hours a day to establishing international acclaim, both for her turntable skills and her sultry style. It wasn’t long before Playboy heard the buzz and elected her as its official DJ/playmate.

Country : USA

Genre : Electronic Music

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NO.7 Sexiest DJ - Lisa Kensington

Lisa Kensington delivers music with attitude, style, and grace. Sheblends ethnic beats with sexy vocals, playing them between some of the hottest tracks being released. Motivated by her passion in housemusic, she transitioned from a model to a Dj overnight. Aware that her femininity is a novelty in this industry she is not afraidto embrace it, a sexy ambiance has become signature to her vibe and sound.

With much practice and perseverance from the day she first dropped the needle on a record she has flawlessly mastered her own technique. Lisa leaves nothing to prove when it comes to holdingher own. She takes the atmosphere and your perception of house music and sets her unique tone. Music is pumping, energy is flowing, and the vibe just right.

Country : USA
Genre : House Music
Listen to Mixtape : LIVLOUD Mix 2011

NO.8 Sexiest DJ - Sam Cooke

Sam Cooke loves music, she played her first set in february 2009 and is part of the glamour model/dj group headphones&heels. shes dj’d all around the world including China, India and America and appears regularly at Ministry Of Sound and entourage in Manchester. she loves lots of different types of music but djs house and uk funky. shes also started to move behind the camera and is clearly a woman of many talents!

Country : UK

Genre : House Music

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NO.9 Sexiest DJ - Kellie Acreman

Kellie Acreman has been all over the World and the Uk in the last 18 months destroying the decks and the competition wherever she goes leading to her success as the UK's leading No1 Sexiest Female DJ.

The 27 year old DJ, orginally from Torquay in Devon, decided to leave the country life behind in 2005 and follow her dream of becoming a successful glamour model in the bright city lights of London. She began her career in the now infamous 'high st honeys' competion placing runner up in 2005. Her sexy double page spread in the Magazine caught the eye of one of the top london agents who could obviously see kellies potential and determination. That year her agent decided to put together the 'FHM Honeys Tour' the sexiest magazine tour at the time.

Country : UK

Music : House Music

NO.10 Sexiest DJ - Charlotte Narni

Charlotte started Dj'ing on 2 different Radio stations on which she had her own shows for over a year . She then began Dj'ing in Clubs and has worked in countries such as Greece, Sri Lanka, China, Cyprus, USA, Canada, France, as well as many UK gigs.

She also heads a sexy DJ/Dance show under the name Narni Shakers, with 2 or 4 Dancers which has proved a massive hit everywhere they have taken it so far. They have travelled the world performing at many high profile events, and have danced for major artists such as Blu Cantrell, Tyrese, The Prodigy and Bassment Jax, as well as touring with big brands including Coca Cola and Hennessy.

Country : UK

Music : Hip Hop / Rnb, Funky Commercial House / Electro