Monday, June 24, 2013


Founder/Owner/ manager of DJ SCHOOL LEBANON

Genre : Pure, Deep, Teck and progressive House.

Hometown : Beirut, Lebanon

    The music was the first thing for saiid . He found his self in love with the music and the beats where he was the one that
    taught himself, He was first inspired by the radio stations in his country ( Lebanon ),

    and when Mixing the tracks and the cool tunes is mostly what attracted saiid into music.

    Exploring his ability to be a DJ, and a natural talent on the decks. Started back in 2006 as a bedroom DJ then in 2008 he
    was seen playing gigs in Beirut.

 he was spinning old School Disco , Hip Hop, and R'n'B music . Bye the time hes started to spin the electronic music .

    DJ SAYSOW a.k.a SAIID ZEIDAN  : Played every Tuesday and Thursday and going to take ur requests live @ RADIO ONE (27 years of success 105.5 FM) just text on 1055 from 2:00pm to 4:00pm (2010)
  SAIID ZEIDAN a.k.a DJ SAYSOW was resident DJ@ Buffalo Hazmieh for more than      years       2010-2011-2012
played in more than 20 clubs

in Lebanon like : 2007 – Present
Deejay  freelancer

LIVE - Zahli
Beer Bar- Monot -2007
Zero DB - Monot -2008
Silver B - Jonieh  2008- 2009
Cayan (weeding DJ ) 2009-2010
more than 300 weddings and big events  at most cultural and international places  (Dubai, Jordan, UAE)

Contact Information

Sunday, June 23, 2013

Arpie aka _ DJ RP

Name : Arpie Sakabedoyan (aka DJRp)
Location : Lebanon
Genre : Progressive House/Trance/ commercial/ R&B/underground/ Deep House/ Electro House
Age : 25 / female 
INSPIRational role models : 

At early age Arpie discovered the beauty of music, entered in choir to sing for 4 years, played classical flute “traversiere” for years. At age of 19 she knew she loved music more than anything else and she realised she could do something about it so by the help of friends she started the journey on computer softwares to practice to become a dj. After years, age of 24 she finally bought CDJ 100S  mixers and practiced at home. Were oppurtunity struck and she became resident dj in LIFE Bar in Jemeyzeh on 350 mixers for nine months . After that she was regular dj at Obladi pub 400S, and guest dj at Spin out and Nova club while djing at private parties, and birthday parties.
 After these experiences and good memories she’s prepared to take it to the next level.
For more info please contact her in person :

Saturday, June 22, 2013

Your DJ Social Media Strategy: Supercharge(Part 1)

This article marks the first in a series of four tutorials that seek to answer a hard question DJs and producers face constantly: with a good strategy, the right tools, and a little guidance: could you get good at social media, double your followers, and enjoy the process at the same time? That seems like a tall order, but with the help of a few industry heavyweights I am going to try to do just that – and share what I learn with you in the process.


First, a small confession is in order. I have been avoiding social media for years – and my fan numbers on Facebook reflect it.  The reason was simple,  it seemed like a total waste of time. Why spend all day posting small bits of information when you could instead work on a helpful video tutorial, design a new product or write a great article?
That was until I met Terry Church, co-founder of JustGo Music, former founder/editor of Beatportal, past editor of DJ Mag, and a social media expert who has worked with some of the biggest DJs in the world including David Guetta, Eric Prydz, Luciano, Dubfire, Sebastien Leger, and Satoshi Tomiie.
Terry helped me see that social media can be a great way to provide real value to fans, just in small, easily digestible bite-sized chunks. Make no mistake, many of these “social” sites are a vacuous wasteland of wimpy words – but if used properly, they can be powerful connectors of people too.
“Building a social media fanbase is no longer an opportunity for DJs, it is a necessity,” Terry told me. “From the very beginning of their careers, bedroom DJs and producers need to learn how to communicate effectively, and work towards building a brand. Think of yourself as a magazine – one in which you are the cover star everyday.”
Terry explained that many fans might not have time to listen to a full song or a mix when they are at work or at school, but they will still get a lot of value from small, meaningful interactions with artists. Social media can provide the glue that keeps us closer and fills the gaps between big releases.
Ok – I’m sold. Social media canbe valuable – now what?


Over the next four week, I will undergo a social media “make-over”. With the help of Terry (pictured at right), and a few other industry experts, we are going to inject a lot of life into my Facebook, Twitter, Soundcloud, and Instagram pages. By providing consistent value to fans through the sites
they use regularly, we plan to double my followers and teach me how to use the platforms better in the process. My hope is that you will follow along, and learn the principles too. Perhaps you could even follow the same protocols, set a personal goal, and complete your own social media upgrade over the next 30 days.
Every Wednesday for the next four weeks we will publish a different set of strategies, and specifically explain how DJs can better connect with their fans.
  • Week 1  - The Plan (This week) How to create a plan, and build the framework for success.
  • Week 2 – The Gigs What to do on social media before, during, and after a gig.
  • Week 3 – Rich Media Great content that people will love.
  • Week 4 – Wrap Up Good tools that will build your fan base and a summary of everything that we learned.

Ok, it all starts here . Let’s dive in and set the stage for the work to come.


Step 1: Build a folder of digital assets: “The secret to effective social media communication is building a buffer of good content,” explains Terry Church. “Remember, you are a magazine, and you need to plan ahead, just like editors do each issue. Artists who fail at social media, generally fail for the same reason – they take that first big step and make a commitment to social media, and then when they get all the way to Facebook or Twitter, they find they have nothing meaningful to say.”
Great content drives high engagement - and new fans!
So step 1 to excellent social media communication is building a folder of content, that you will then share over the next month.
Create a list of assets and media you can realistically create and share on a regular basis. Think out of the box and find media or tangible items that can be shared over the next month. For me it will be:
  • 30 photos – throwbacks, current, flyers, behind the scenes shots, and studio snaps.
  • 4 Unreleased Tracks – things I am working on or tracks that have not been published yet.
  • 4 Special Mashups from the Past actual audio files from my controllerism performances.
  • 1 New DJ Mix – a full fresh mix that summarizes my sound right now.
  • 1 Fun DJ Mix – a unique mix that is a different sound or style to my normal sets.
  • 1 Competition – a competition to get into a Q&A Google hangout with me.
  • 5 Songs I Like – great tunes that you might like too.
  • 2 Mixes from Other DJs I Like – good examples of quality work, and mixes that I think are special.
  • 3 Industry Commentaries/Opinions – personal insights, rants or perspectives on the DJ industry and scene that I represent.
  • Great Performance Videos – past videos and unreleased content from previous performances.
Step 2. Collect, organize, and schedule: Terry’s social media protocol involves posting a lot to Facebook and Twitter on a daily basis. This is unrealistic for most people, but especially busy artists. The way to get around that is by pre-collecting and creating a folder of assets in advance. Create a social media folder and group all of your assets into types. For the text based commentary – pre-write as much as you can, and put it all in a well organized text document.
Step 3: Identify a system that can help you manage this process: Actually logging in every day Just Go Music - a very simple online dashboard for DJs and electronic artists that does two critical things:
and publishing content throughout the day is tedious, no fun and not terribly realistic. We want to set you up for success – so it is critical that you have some help in this area right off the bat. Can’t afford a personal social media manager? Not a problem – there are a number of tools out there that will help you to dominate social media. The one I am using over the next 30 days is
  • Provides an overview of your social media profile, and shows you how things are doing statistically so you can learn how to communicate better.
  • Allows you to schedule and plan the publishing of content in advance to Facebook, Twitter, Soundcloud, YouTube and Mixcloud – critical for effective time management.
I’ll be using the JustGo Music social media dashboard to set my goals and measure my progress. Here is my condition right now:

Step 4. Create a communication schedule: Once you have your content it’s time to set goals for daily engagement and then create a publishing schedule that meets those goals. Terry recommends:
  • 5- 10 tweets a day
  • 2 – 3 Facebook posts a day
  • 1 music upload a week
Not all of these posts need to be high value, media rich content, so the schedule will spread out your most valuable assets and balance the really juicy material with commentary and quick snippets.

Set a number that is realistic, but substantial and then stick to it. “Fans are like plants – you have to water them consistently, rather than drown them with a huge bucket once a year,” says Terry.
“Communicating with fans regularly and consistently is the only way to ensure that your fanbase continues to grow online.”
One other critical thing to consider is the content itself. The easiest way to do that, is by thinking about what kind of posts you like to read on social media.
“What artists may consider as high value social media content, often isn’t that valuable to fans,” says Terry. “The number one rule of social media communication should be ‘entertainment’. If you ask yourself before every post, ‘is this entertaining?’, you will quickly discover that what is high value to you, might not be so entertaining for fans. For instance, DJs and artists often shout loudly on social media about their new release on Beatport, or their upcoming big gig on the weekend, however fans generally find that kind of self-promotion pretty boring. Entertain your audience first, and then once you have them engaged, they are much more likely to accept that kind of occasional advertorial.”
Your personal publishing schedule will depend a lot on the types of assets and media you plan to share. The key is balance them out and keep things consistent.
Want to see this series in action? Head over to my Facebook page and give it a like to follow along with my month-long quest to strengthen my presence in the social media world.

The People Behind Successful Artists: When, How, Where To Start Building A DJ Team.

On the surface, DJing seems like a one-man job; the perfect field for personalities who are well-suited to working on their own. However, behind every major successful DJ is a team of people who work together to build the DJ’s brand and keep them at the forefront of the industry. When the time comes to elevate your DJ career, it’s a good idea to build your DJ team – instead of working harder, try working smarter and let other people help you out. But who do you really need on your team, what qualifications should they have, and how do you find these people? Read on!


Great for: Balancing the various aspects of your career, providing you with strategic advice, hustling up big opportunities for you, making sure you don’t use up all your drink tickets before your set.
Not for: Setting your beat-grids, deciding what your sound and brand should be, paying the bar tab for all the girls you invited to the club.
A manager’s main role is to handle the day-to-day business for an artist. At some point, you may reach a point where the business of DJing begins interfering with you actually having time to produce mixes/music and DJ. A good manager will create opportunities for you, and help to make you money.
At the beginning of your career, you may not need a manager. Many managers won’t consider working with a DJ until you’ve established your brand, and have a firm long-term vision. Although the process of finding a manager is different for everyone, you may need to have released several successful tracks, videos, or mixes before you’re able to find the right one. Keep in mind that the right manager for you may not be an established manager working at a big company.
For example, Avicii met his manager, Ash Pournouri, online at a music blog. Ash had no previous experience managing DJs, but contacted Aviici because he was “more or less curious about what I could offer creatively to help someone who I thought was talented but needed direction.”
A manager will help you to oversee many facets of the business, including your label, shows/tours, merchandise, music publishing and creation of new content for social media. According to Ash, “an artist has three legs of strategy that can be built up separately but make use of each other. One is music, one is performance, and one is brand/profile.” A manager is going to create strategies to generate income from these three areas. At the end of the day, you’re in the business of DJing, and you want to do well.
One key role of the manager is to make you money. Most managers use a commission pay scale (15 to 20 percent). If you begin making more as a result of having a manager, then your manager is an income source. If they’re not bringing in any money for you, it’s time to say goodbye.
Finding A Manager: Word of mouth. If you’re a talented DJ (and music producer) people will hear about you. If you’re dedicated to posting up music, mixes and content for social media, chances are a good manager is already watching you.
Networking. Attend music conferences and conventions, and introduce yourself to people. You never know who you will meet, or what opportunities could present themselves. Be open to new contacts and present yourself professionally.


Great for: Finding you gigs in places you’ve never heard of, handling the boring paperwork, sending you cheques.
Not for: Giving you wake up calls when you’ve got an early flight to catch, making sure you’ve
packed power adapters for foreign countries, asking for ‘freebies’ for you from corporate gig bookings.
If you would like to DJ around the world, you will probably need an agent. A DJ’s agent is responsible for booking gigs, tours and media appearances, as well as sending out promotional materials, negotiating and issuing contracts, and arranging for flights and hotels. A booking agent may work closely with your manager; in the early stages a manager could also function as your booking agent. Agents may be freelancing, or work for a larger DJ agency.
Finding An Agent: If you’re focused on your music and it’s great, chances are an agent will reach out to you. That being said, it’s a good idea to be pro-active and utilize your network to establish contact with agents. Do keep in mind many of these people are already quite busy handling their current DJ roster. Stay in touch with agents you meet, you never know what will happen down the road.


Great for: Making sure that news about you makes the headlines, pressing ‘send’ on press kit emails, writing your updated bio because you’re too busy recovering from your big gigs in Ibiza or Vegas
Not for: Ensuring that your new single is actually press-worthy, creating a hardcore workout plan for you so you can tone up before press photos, exaggerating the list of clubs you’ve played at to give you more street cred.
Publicity plays a key role in a DJ’s success, and a publicist is perhaps the most underrated member of a DJ’s team. A publicist will send out information about you and your projects to the media, including blogs, magazines, TV, radio or newspapers. The publicist will work together with your manager and agent to obtain exposure for you through interviews, press releases and promotional opportunities. Being featured in the media will help you to develop a larger audience, and broaden your fan base. Good publicity is also good advertising, which will sell your shows, music, merch and mixes for many years to come.
Finding A Publicist: There are many freelance publicists who work for DJs that you can hire. If you’re not quite ready for this option, try contacting a music business school and see if there is a recent graduate who’d be willing to work together with you. It’s key for a publicist to have a lot of media contacts, or be good at seeking these contacts out.


Great for: Carrying all your gear out the front door, packing it into your Honda Civic, unpacking it at the club, and doing the reverse routine at 4 am.
Not for: Scoring the digits from all the ladies who are crowding around you in the DJ booth.
If you’re doing a lot of gigs where you’re transporting equipment, you’re going to need an extra pair of hands. Whether you’re a mobile DJ with a busy schedule, or a touring DJ with an elaborate stage setup, having a member of your team who can setup and tear down equipment quickly is vital. Even if you’re capable of doing it all yourself, you can save time if you have someone who can meet you before and after the gig to help with the gear. You’ll be able to get in and out of spots faster with a roadie, which means you can spend your time on more important things. Like calling the cute girl you met at the end of your awesome set last night.
Finding A Roadie: If you can afford to hire someone, try posting on Craigslist or a local DJ/music forum. Otherwise, try contacting an audio school, and see if they have any recent graduates who would be able to lend a hand. You could see if they will volunteer (be sure to offer them a letter of reference if they do) pay them a few bucks after the gig, or buy them lunch. You just might find a great new team member!


Great for: Finding out about new artists, turning you onto to rare gems, discovering dusty horn samples that are waiting to be flipped in your next controllerism routine.
Not for: Sending you this week’s Top 10 tracks on Beatport, finding lame records, making sure you’ve got enough coin in the bank to buy all the dope tracks they put you onto.
These days, there are more records than ever being released. Chances are, you don’t have enough hours in your day to search through all the demos, and label promos you’re sent. Listening to new tracks is almost a full-time job in itself!  An extra pair of ears can give you the competitive edge you’ll need to keep your sets on the cutting edge. A crate digger can sort through new music and every week send you a list of tracks that would work with your style.
Finding A Digger: This is a tricky one. If you know someone who really knows their music, ask them if they’d be willing to sort through some tracks every week, in exchange for something. (eg. new tracks)  You need to find someone who really has their ear to the ground.


Great for: Writing top lines, creating customized presets for you, crash courses in subtractive
Not for: Rolling joints for you in the studio (they’re going to be too busy programming patches in Massive), coming with up all of your creative ideas for you.
If you don’t have a big track out yet, isn’t it time to make one? Hiring someone to make your hit might be a bit too artistically compromising, but if you’ve been too busy juggling a ton of DJ gigs (and perhaps a day job), you may not have had time to hone your production skills. These days it’s almost essential to put out remixes and original productions to become successful. In 2013, I think it’s safe to say (and a bit sad to say – Ed.) that the ghost writing industry is bigger than ever. Collaborating with a studio-savvy producer or perhaps even hiring a writer might be a good move, if you’d like to go down this route. Even top DJs like Armin Van Buuren work together with scientists of sound like Benno De Goeij to make their tracks sound stellar.
Finding a producer to collaborate with: Since producers are usually locked away in their studio, I would seek out these type of people online, on music forums, blogs or even YouTube.  You might be able to find them hanging out in local equipment or record shops.


Great For: Keeping your workspace tidy, researching new genres, emailing other DJs your tracks, and of course, making sure the coffee’s always freshly brewed.
Not For: Writing your music or business plan, booking your gigs, texting your significant other.
An intern is the person who does it all (and hopefully they do it right, as they are usually new to the industry) From social media to online research, from carrying gear to working the merch booth at your shows, an intern can be an invaluable member of your team. Interns are usually ‘keeners’ who have just graduated from school, and need some experience for their resume. They will usually be able to work for you for a defined period of time, for a certain number of hours per week. You’ll need to put aside time to properly train them on your systems, and give them tasks to work on. Make sure you have specific work for them to do before you try to find one. If you’re lucky enough to have an Intern, be sure to treat these people with respect. They often have to do thankless tasks, so be sure to be kind and reward them for good efforts.
Finding an Intern: If you have a legitimate DJ business, it should be relatively simple for you to contact an audio school, and submit a job description of what type of person you’re looking for. Since Interns usually work for free, in exchange for valuable experience, make sure you provide them a challenging but not overbearing workload.


Great for: Deciphering contracts that may make or break your career.

Not for: Making sure you didn’t let uncleared samples sneak into your released tracks (they’ll help you clean up the mess afterwards, though).
The DJ industry has its share of contracts, licenses and paperwork. Somewhere along the line, you’re going to need professional assistance. Rather than writing out dodgy contracts yourself (or trying to understand all the legal jargon they’re written in) it may be a good decision to reach out to a professional who can help you to negotiate your way through the maze, and make solid decisions along the way.
Finding a lawyer: Online, backstage at music festivals, or at industry networking events.


Great for: Designing your mix tape covers, modding your equipment, being the MC/host for your
next event, doing the majority of the ‘behind the scenes’ grunt work and receiving little credit for it.
Not for: Taking for granted. Do treat these people like gold, your ‘secret weapons’ could be the most valuable people you have on your side.
Many famous DJs have had ‘secret weapons’ that helped them succeed in the industry. More often than not, these so-called ‘secret weapons’ were actually members of the DJ’s family! For example, Richie Hawtin’s father was a robotics engineer, who helped him to develop many of his technologies for DJing. Richie Hawtin’s mother used to work the door at his parties in the early days, so that no one would sneak in.
Finding a secret weapon: A successful DJ usually has a few ‘secret weapons’ working behind the scenes with them, including creative directors, stylists, and advisors. Do you have any family members or friends who could help you out? Offer to take them out for lunch or coffee, and brainstorm new ideas for your DJ game. That little brother of yours could be more useful than you think!


It’s important to remember that once you find your new team members, that you don’t sit around on your laurels. You need to continue to produce new music, mixes, photos and videos on a regular basis, so that you have new products to market. So keep it coming, and best of luck in assembling your team!

leave your comments down :)

Friday, June 14, 2013

DJ NIBAL (lebanon)

Nibal Haddad; born on the 21st of May 1982 in Beirut ,Lebanon.
Starting from the age of 15 Nibal started watching videos of DJs and was amazed by their music and performance. He was deeply impressed and interested in what they had to offer. His parents got him his first CD player (Pioneer DJ 100) at the age of 19.
He started playing music when he moved to Beirut at the age of 21 at a night club in Jounieh.
After that he played in Batroun. In 2005 Nibal moved to Canada and also played there in many places for almost a year. After coming back to Lebanon he went back to playing in clubs and private parties.
In 2009 he travelled to Nigeria and played at a club there.
When he came back to Lebanon he played at The Cyan Resort for three years and other resorts such as Edde Sands, Oceana and Palapas.
Music for him is not a profession but rather more of a passion!

contact info :