Club Eifel's DJ Blaze performing at the 2009 Air Force Ball.

A disc jockey, also known as DJ, is a person who selects and plays recorded music for an audience. Originally, "disc" (sometimes spelled "disk", although this is now uncommon) referred to phonograph records, not the later Compact Discs. Today, the term includes all forms of music playback, no matter the medium.

There are several types of disc jockeys. Radio DJs or radio personalities introduce and play music that is broadcast on AM, FM, shortwave, digital, or internet radio stations. Club DJs select and play music in bars, nightclubs, or discothèques, or at parties or raves, or even in stadiums. Hip hop disc jockeys select and play music using multiple turntables, often to back up one or more MCs, and they may also do turntable scratching to create percussive sounds. In reggae, the DJ (deejay) is a vocalist who raps, "toasts", or chats over pre-recorded rhythm tracks while the individual choosing and playing them is referred to as a selector.^[1] Mobile DJs travel with portable sound systems and play recorded music at a variety of events.

Equipment and techniques[link]

Technics 1200 MK2, Technics 1210 MK2 & Pioneer DJM-500 shown in a common DJ configuration

A DJ at Sundance Film Festival 2003

Club DJ equipment may consist of:

• Sound recordings in a DJ's preferred medium (for example, vinyl records, Compact Discs, computer media files, etc.);
• A combination of two devices (or only one, if playback is digital) to play sound recordings, for alternating back and forth to create a continuous playback of music (for example, record players, Compact Disc players, computer media players such as an MP3 player, etc.);
• A multiple Sequencer which can mix MIDI tracks with Digital Audio;
• A sound system for amplification or broadcasting of the recordings (for example, portable audio system, PA system) or a radio broadcasting system;
• A DJ mixer, which is an (usually 2- or 4-channel) audio mixer usually equipped with a crossfader used to smoothly go from one song to another, using two or more playback devices;
• Headphones, used to listen to one recording while the other recording is being played to the audience, or to listen to both recordings simultaneously; and
• Optionally, a microphone, so that the DJ can introduce songs and speak to the audiences.

Other equipment could or can be added to the basic DJ setup (above), providing unique sound manipulations. Such devices include, but are not limited to:

• Electronic effects units (delay, reverb, octave, equalizer, chorus, etc.). Some club DJs use a subharmonic synthesizer effect which either doubles low frequencies with energy added an octave lower or synthesizes harmonics such that the impression of a very low bass sound is added to the mix.
• A computerised performance system, which can be used with vinyl emulation software to manipulate digital files on the computer in real time.
• Multi-stylus headshells, which allow a DJ to play different grooves of the same record at the same time.
• Special DJ digital controller hardware can manipulate digital files on a PC or laptop;
• Samplers, sequencers, electronic musical keyboards (synthesizers), or drum machines.
• A Midi Controller used to trigger different aspects of DJ Software, such as Serato Scratch Live, Virtual Dj, and Traktor.

Several techniques are used by DJs as a means to better mix and blend recorded music. These techniques primarily include the cueing, equalization, and audio mixing of two or more sound sources. The complexity and frequency of special techniques depends largely on the setting in which a DJ is working. Radio DJs are less likely to focus on music-mixing procedures than club DJs, who rely on a smooth transition between songs using a range of techniques.

Club DJ turntable techniques include beatmatching, phrasing, and slip-cueing to preserve energy on a dancefloor. Turntablism embodies the art of cutting, beat juggling, scratching, needle drops, phase shifting, back spinning, and more to perform the transitions and overdubs of samples in a more creative manner (although turntablism is often considered a use of the turntable as a musical instrument rather than a tool for blending recorded music). Professional DJs may use harmonic mixing to choose songs that are in compatible musical keys.

History[link]

Parts of this section (those related to The history section of this article needs to be updated, starting with the end of 1999 to the start of 2011.) may no longer be up to date. Please update this section to reflect recent events or newly available information, and remove this template when finished. Please see the talk page for more information. (May 2012)

19th century to 1920s[link]

In 1892, Emile Berliner began commercial production of his gramophone records, the first disc records to be offered to the public. In 1906, Reginald Fessenden transmitted the first audio radio broadcast in history also playing the first record, that of a contralto singing Handel's Largo from Xerxes.^[2]

The world's first radio disc jockey was Ray Newby, of Stockton, California. In 1909, at 16 years of age, Newby began regularly playing records on a small spark transmitter while a student at Herrold College of Engineering and Wireless, located in San Jose, California, under the authority of radio pioneer Charles "Doc" Herrold.^[3][4]

We used popular records at that time, mainly Caruso records, because they were very good and loud; we needed a boost... we started on an experimental basis and then, because this is novel, we stayed on schedule continually without leaving the air at any time from that time on except for a very short time during World War I, when the government required us to remove the antenna... Most of our programming was records, I'll admit, but of course we gave out news as we could obtain it...^[3]

—Ray Newby, I've Got a Secret (1965)

By 1910, regular radio broadcasting had started to use "live" as well as prerecorded sound. In the early radio age, content typically included comedy, drama, news, music, and sports reporting. The on-air announcers and programmers would later be known as disc jockeys. In the 1920s, juke joints became popular as places for dancing and drinking to recorded jukebox music. In 1927, Christopher Stone became the first radio announcer and programmer in the United Kingdom, on the BBC radio station.

1930s–1950s[link]

In 1935, American radio commentator Walter Winchell coined the term "disc jockey" (the combination of disc, referring to the disc records, and jockey, which is an operator of a machine) as a description of radio announcer Martin Block, the first announcer to become a star. While his audience was awaiting developments in the Lindbergh kidnapping, Block played records and created the illusion that he was broadcasting from a ballroom, with the nation’s top dance bands performing live. The show, which he called Make Believe Ballroom, was an instant hit. The term "disc jockey" appeared in print in Variety in 1941.^[5]

Prior to this, most music heard on radio was live; most radio stations had an orchestra or band on the payroll.^[6][7] The Federal Communications Commission also clearly favored live music, providing accelerated license approval to stations promising not to use any recordings for their first three years on the air.^[5] Many noted recording artists tried to keep their recorded works off the air by having their records labeled as not being legal for airplay. It took a Federal court ruling in 1940 to establish that a recording artist had no legal right to control the use of a record after it was sold.^[5]

In 1943, Jimmy Savile launched the world's first DJ dance party by playing jazz records in the upstairs function room of the Loyal Order of Ancient Shepherds in Otley, England. In 1947, he claims to have become the first DJ to use twin turntables for continuous play, and in 1958 became a radio DJ at Radio Luxembourg. Also in 1947, the Whiskey à Go-Go nightclub opened in Paris, France, considered to be the world's first commercial discothèque, or disco (deriving its name from the French word meaning a nightclub where the featured entertainment is recorded music rather than an on-stage band). Regine began playing on twin turntables there in 1953. Discos began appearing across Europe and the United States.

The postwar period coincided with the rise of the radio disc jockey as a celebrity separate from the radio station, also known as a "radio personality". In the days before station-controlled playlists, the DJ often followed their personal tastes in music selection. DJs also played a role in exposing rock and roll artists to large, national audiences. While at WERE (1300 AM) in Cleveland, Ohio, DJ Bill Randle was one of the first to introduce Elvis Presley to radio audiences in the northeastern US.^[8]

Notable US radio disc jockeys of the period include Alan Freed, Wolfman Jack, Kasey Kasem,^[9] and their British counterparts such as the BBC's Brian Matthew, Radio London's John Peel, and later in the 60s, Radio Caroline's Tony Blackburn.^[10]

Freed is commonly referred to as the "father of rock and roll" due to his promotion of the music and his introduction of the phrase "rock and roll" on radio in the early 1950s. Freed also made a practice of presenting music by African-American artists rather than cover versions by white artists on his radio program. Freed's career ended when it was shown that he had accepted payola, a practice that was highly controversial at the time, resulting in his being fired from his job at WABC.^[11]

In the 1950s, American radio DJs would appear live at "sock hops" and "platter parties" and assume the role of a human jukebox. They would usually play 45-rpm records, featuring hit singles on one turntable while talking between songs. In some cases, a live drummer was hired to play beats between songs to maintain the dance floor. In 1955, Bob Casey, a well-known "sock hop" DJ, brought the two-turntable system to the U.S. Throughout the 1950s, payola continued to be a problem and one result of the payola scandal was tighter control of the music by station management. The Top 40 format emerged, where popular songs are played repeatedly.

In the late 1950s, sound systems, a new form of public entertainment, were developed in the ghettos of Kingston, Jamaica. Promoters, who called themselves DJs, would throw large parties in the streets that centered on the disc jockey, called the "selector," who played dance music from large, loud PA systems and bantered over the music with a boastful, rhythmic chanting style called "toasting". These parties quickly became profitable for the promoters, who would sell admission, food, and alcohol, leading to fierce competition between DJs for the biggest sound systems and newest records.

1960s and 1970s[link]

In the mid-1960s, nightclubs and discothèques continued to grow in Europe and the United States. Specialized DJ equipment, such as Rudy Bozak's classic CMA-10-2DL mixer, began to appear on the market. In 1969, American club DJ Francis Grasso popularized beatmatching at New York's Sanctuary nightclub. Beatmatching is the technique of creating seamless transitions between records with matching beats, or tempos. Grasso also developed slip-cuing, the technique of holding a record still while the turntable is revolving underneath, releasing it at the desired moment to create a sudden transition from the previous record. (This technique had long been used in radio.)

By 1968, the number of dance clubs started to decline; most American clubs either closed or were transformed into clubs featuring live bands. Neighborhood block parties that were modelled after Jamaican sound systems gained popularity in Europe and in the boroughs of New York City.

In 1973, Jamaican-born DJ Kool Herc, widely regarded as the "father of hip-hop culture," performed at block parties in his Bronx neighborhood and developed a technique of mixing back and forth between two identical records to extend the rhythmic instrumental segment, or break. Turntablism, the art of using turntables not only to play music but to manipulate sound and create original music, began to develop.

In 1974, Technics released the first SL-1200 turntable, which evolved into the SL-1200 MK2 in 1979—which, as of the early-2010s, remains an industry standard for DJing. In 1974, German electronic music band Kraftwerk released the 22-minute song "Autobahn," which takes up the entire first side of that LP. Years later, Kraftwerk would become a significant influence on hip-hop artists such as Afrika Bambaataa and house music pioneer Frankie Knuckles. During the mid-1970s, Hip-hop music and culture began to emerge, originating among urban African Americans and Latinos in New York City. The four main elements of Hip Hop culture are graffiti, DJing, breakdancing, and MCing (rapping).

In the mid-1970s, the soul-funk blend of dance pop known as disco took off in the mainstream pop charts in the United States and Europe, causing discothèques to experience a rebirth. Unlike many late-1960s clubs, which featured live bands, discothèques used the DJ's selection and mixing of records as the entertainment. In 1975, record pools began, providing disc jockeys access to newer music from the industry in an efficient method.

In 1975,^[12] hip-hop DJ Grand Wizard Theodore invented the scratching technique by accident. In 1976, American DJ, editor, and producer Walter Gibbons remixed "Ten Percent" by Double Exposure, one of the earliest commercially released 12″ singles (aka "maxi-single"). In 1979, the Sugar Hill Gang released "Rapper's Delight", the first hip-hop record to become a hit. It was also the first real breakthrough for sampling, as the bassline of Chic's "Good Times" laid the foundation for the song.

In 1977, Saratoga Springs, NY disc jockey Tom L. Lewis introduced the Disco Bible (later renamed Disco Beats), which published hit disco songs listed by beats per minute (tempo), as well as by either artist or song title. Billboard ran an article on the new publication, and it went national relatively quickly. The list made it easier for beginning DJs to learn how to create seamless transitions between songs without dancers having to change their rhythm on the dance floor. Today, DJs can find the beats per minute of songs in the BPM List.

1980s[link]

In 1981, the cable television network MTV was launched, originally devoted to music videos, especially popular rock music. The term "video jockey", or VJ, was used to describe the fresh-faced youth who introduced the music videos. In 1982, the demise of disco in the mainstream by the summer of 1982 forced many nightclubs to either close or change entertainment styles, such as by providing MTV-style video dancing or live bands. Released in 1982, the song "Planet Rock" by DJ Afrika Bambaataa was the first hip-hop song to feature synthesizers. The song melded electro hip-hop beats influenced by Yellow Magic Orchestra with the melody from Kraftwerk's "Trans-Europe Express." In 1982, the Compact Disc reached the public market in Asia, and early the following year in other markets. This event is often seen as the "Big Bang" of the digital audio revolution.

In the early 1980s, NYC disco DJ Larry Levan, known for his eclectic mixes, gained a cult following, and the Paradise Garage, the nightclub at which he spun, became the prototype for the modern dance club where the music and the DJ were showcased. Around the same time, the disco-influenced electronic style of dance music called house music emerged in Chicago. The name was derived from the Warehouse Club in Chicago, where resident DJ Frankie Knuckles mixed old disco classics and Eurosynth pop. House music is essentially disco music with electronic drum machine beats. The common element of most house music is a 4/4 beat generated by a drum machine or other electronic means (such as a sampler), together with a solid (usually also electronically generated) synth bassline. In 1983, Jesse Saunders released what some consider the first house music track, "On & On." The mid-1980s also saw the emergence of New York Garage, a house music hybrid that was inspired by Levan's style and sometimes eschewed the accentuated high-hats of the Chicago house sound.

During the mid-1980s, techno music emerged from the Detroit club scene. Being geographically located between Chicago and New York, Detroit techno artists combined elements of Chicago house and New York garage along with European imports. Techno distanced itself from disco's roots by becoming almost purely electronic with synthesized beats. In 1985, the Winter Music Conference started in Fort Lauderdale Florida and became the premier electronic music conference for dance music disc jockeys.

In 1985, TRAX Dance Music Guide was launched by American Record Pool in Beverly Hills. It was the first national DJ-published music magazine, created on the Macintosh computer using extensive music market research and early desktop publishing tools. In 1986, "Walk This Way", a rap/rock collaboration by Run DMC and Aerosmith, became the first hip-hop song to reach the Top 10 on the Billboard Hot 100. This song was the first exposure of hip-hop music, as well as the concept of the disc jockey as band member and artist, to many mainstream audiences. In 1988, DJ Times magazine was first published. It was the first US-based magazine specifically geared toward the professional mobile and club DJ.

Starting in the mid-1980s, the wedding and banquet business changed dramatically with the introduction of DJ music, replacing the bands that had been the norm. Bandleaders, like Jerry Perell and others, started DJ companies, such as NY Rhythm DJ Entertainers. Using their knowledge of audience participation, MC charisma, and "crowd-pleasing" repertory selection, the wedding music industry became almost all DJ while combining the class and elegance of the traditional band presentation. New DJs as well as bandleaders with years of experience and professionalism transformed the entire industry.

1990s[link]

During the early 1990s, the rave scene built on the acid house scene. The rave scene changed dance music, the image of DJs, and the nature of promoting. The innovative marketing surrounding the rave scene created the first superstar DJs who established marketable "brands" around their names and sound. Some of these celebrity DJs toured around the world and were able to branch out into other music-related activities. During the early 1990s, the Compact Disc surpassed the gramophone record in popularity, but gramophone records continued to be made (although in very limited quantities) into the 21st century—particularly for club DJs and for local acts recording on small regional labels. During the mid-1990s, trance music, having run rampant in the German underground for several years, emerged as a major force in dance music throughout Europe and the UK. It became one of the world's most dominant forms of dance music by the end of the 1990s, thanks to a trend away from its repetitive, hypnotic roots, and towards commercialized song structure.

In 1991, Mobile Beat magazine, geared specifically toward mobile DJs, began publishing. In 1992, MPEG which stands for the Moving Picture Experts Group, released The MPEG-1 standard, designed to produce reasonable sound at low bit rates. The lossy compression scheme MPEG-1 Layer-3, popularly known as MP3, later revolutionized the digital music domain. In 1993, the first internet "radio station", Internet Talk Radio, was developed by Carl Malamud. Because the audio was relayed over the internet, it was possible to access internet radio stations from anywhere in the world. This made it a popular service for both amateur and professional disc jockeys operating from a personal computer.

In 1998, the first MP3 digital audio player was released, the Eiger Labs MPMan F10. Final Scratch debuted at the BE Developer Conference, marking the first digital DJ system to allow DJs control of MP3 files through special time-coded vinyl records or CDs. While it would take sometime for this novel concept to catch on with the "die hard Vinyl DJs", This would soon become the first step in the new Digital DJ revolution. Manufacturers joined with computer DJing pioneers to offer professional endorsements, the first being Professor Jam (aka William P. Rader), who went on to develop the industry's first dedicated computer DJ convention and learning program, the "CPS (Computerized Performance System) DJ Summit", to help spread the word about the advantages of this emerging technology.

In 1999, Shawn Fanning released Napster, the first of the massively popular peer-to-peer file sharing systems. During this period, the AVLA (Audio Video Licensing Agency) of Canada announced an MP3 DJing license, administered by the Canadian Recording Industry Association. This meant that DJs could apply for a license giving them the right to perform publicly using music stored on a hard drive, instead of having to cart their whole CD collections around to their gigs.

Photo gallery[link]

• 

  Club Sevillas's DJ 2CAN performing in a local club in the Inland Empire of California.

• 

  Romina Cohn @ Sobremonte (Mar del Plata, Argentina)

• JasonJollinsPachaBsAs.jpg

  Jason Jollins performing at Pacha, Buenos Aires

• 

  Jeff Mills, live with 3 CD and a Roland TR-909 drum machine, 2007

• 

  Trance DJ Ferry Corsten in Canada

• 

  DJ Hazel

• 

  Dj Markus radio Dj (exDFM)

See also[link]

• Computer DJ
• Digital DJ licensing
• Disc or disk (spelling)
• Live PA
• Mixset
• Record collecting
• Seoul World DJ Festival

Notes[link]

References[link]

• Assef, Claudia (2000). Todo DJ Já Sambou: A História do Disc-Jóquei no Brasil. São Paulo: Conrad Editora do Brasil. ISBN 85-87193-94-5.
• Brewster, Bill, and Frank Broughton (2000). Last Night a DJ Saved My Life: The History of the Disc Jockey. New York: Grove Press. ISBN 0-8021-3688-5 (North American edition). London: Headline. ISBN 0-7472-6230-6 (UK edition).
• Broughton, Frank, and Bill Brewster. How to DJ Right: The Art and Science of Playing Records. New York: Grove Press, 2003.
• Graudins, Charles A. How to Be a DJ. Boston: Course Technology PTR, 2004.
• Lawrence, Tim (2004). Love Saves the Day: A History of American Dance Music Culture, 1970–1979 . Duke University Press. ISBN 0-8223-3198-5.
• Miller, Paul D. aka DJ Spooky, Sound Unbound: Writings on DJ Culture and Electronic Music, MIT Press 2008. ISBN 0-262-63363-9 ISBN 978-0-262-63363-5.
• Poschardt, Ulf (1998). DJ Culture. London: Quartet Books. ISBN 0-7043-8098-6.
• Corrado Rizza, Marco Trani, "I love the nightlife"' Wax Production (Roma), 2010
• Zemon, Stacy. The Mobile DJ Handbook: How to Start & Run a Profitable Mobile Disc Jockey Service, Second Edition. St. Louis: Focal Press, 2002

External links[link]

Wikiquote has a collection of quotations related to: Disc jockey

Wikimedia Commons has media related to: Disc jockey

• DJs at the Open Directory Project

Armin van Buuren
Van Buuren performing on Queensday in Amsterdam, 2011
Background information
Birth name	Armin van Buuren
Also known as	Gaia, AVB
Born	(1976-12-25) 25 December 1976 (age 35) Leiden, South Holland, Netherlands[1]
Origin	Koudekerk aan den Rijn, South Holland, Netherlands
Genres	Trance Progressive Trance Uplifting Trance Neo-trance
Occupations	Remixer, Producer, DJ, Composer, Musician, Pianist, Songwriter
Instruments	Synthesizer, drum machine, equalizer, personal computer
Years active	1995–present
Labels	Armada Music (2003–present), Vandit (Co-Joined), Ministry of Sound Australia
Associated acts	Alibi, Dark Matter, Electrix, Lilmotion, Major League, Monsieur Basculant, Red & White, Technology, Triple A, Wodka Wasters, Nadia Ali,[2] Christian Burns,[2] Ferry Corsten,[2] Adam Young,[2] BT,[2] Sophie Ellis-Bextor,[2] Guy Chambers[2]
Website	arminvanbuuren.com

Armin van Buuren (Dutch pronunciation: [ˈɑr.mɪn vɑn ˈby.rə(n)]), OON (born 25 December 1976 in Leiden, Netherlands)^[1] is a Dutch trance producer and DJ. Between 2007 and 2010, he was voted number one in DJ Magazine's annual top 100 list of the most popular DJs.^[1] In the 2011 list, he ranked in second place. Since 2001, Van Buuren has hosted a weekly radio show called A State of Trance, which claims to have around 15 million weekly listeners in 26 countries,^[3] which would make it one of the most listened-to radio shows in the world. His 2008 studio album, Imagine, entered the Dutch album chart at #1, a first for a dance music artist in Dutch music history.^[4]

Personal life[link]

Armin van Buuren was born in Leiden, Netherlands on 25 December 1976,^[1] but grew up in Koudekerk aan den Rijn. Van Buuren started making music when he was 14.^{[citation needed]} He was inspired by French electronic music composer, Jean Michel Jarre, and wished to become a great electronic music composer like Jarre.^{[citation needed]}

He finished high school at the Stedelijk Gymnasium Leiden in 1995, and left for college to study law at Leiden University. While studying law, Van Buuren's interest for making music blossomed, and he began working as a DJ in a local club called Nexus. As his musical career began to take off, he put his law degree on hold, although he did return to finish law school in 2003.

On 18 September 2009, Van Buuren married Erika van Thiel in Wassenaar, Netherlands. They met during a vacation on Crete, and had been together for nine years prior to the marriage.^[5][6]

On 12 January 2011, Van Buuren announced the pregnancy of his wife Erika on Twitter.^[7] He hoped the baby, due that summer, would be his "best production ever."^[7] Their daughter, Fenna, was born on 24 July 2011.^[8]

Career[link]

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2012)

1995–1999: Early career and success[link]

In 1995, Van Buuren had his first major success with a track called "Blue Fear", which was released under the Cyber Records label; he was 19 years old at the time. This track, which was produced in the "Euro Trance" mold, made it onto the UK Chart. Another successful track, "Communication" was released under the same label, and became popular in Ibiza, Spain in the summer of 1999. After being signed to AM PM Records, this track entered the UK Chart at No. 18 in 2000.

Armin van Buuren at Lizard Lounge, Dallas, Texas, 9 August 2008

Van Buuren began his DJ career at club Nexus in Leiden, where he learned to play long DJ sets, which were regularly six to seven hours per set.^[9] During school holidays he played more than four times a week. In 1999, he met Dave Lewis who introduced him as a DJ in England and the United States.^[9] His career accelerated, entering the DJ magazine Top-100 in November 2001 at Number 27.^[9] He has played in more than 25 different countries and can often be found on the main stage at big summer festivals. Van Buuren played a record-breaking twelve and a half hour set for Dancetheater in The Hague (the Netherlands).^[10][11] In the United Kingdom he performs regularly at Passion (resident 2002), Godskitchen, Gatecrasher, Slinky, Ministry of Sound, Peach and Golden.

In the beginning of 1999, Van Buuren started his label Armind together with United Recordings. The first release, Gig – "One," was well received. The second release "Touch Me," under the name Rising Star was signed to Ministry of Sound in the UK, before the record was released.

By the time of his third release, Gimmick – "Free" was signed to R&S Records, Van Buuren had managed to make his label popular very quickly. Under the surname Gaia he released "4 Elements" on Captivating Sounds, a sub-label of Warner Brothers. Teaming up with Tiësto, two new projects were born: Major League – "Wonder Where You Are?" was released on Black Hole Recordings and Alibi – "Eternity" was released on Armind. "Eternity" received club and chart success and was signed to Paul van Dyk's imprint Vandit Records. Another major collaboration followed this. Together with Ferry Corsten, Van Buuren recorded a riff-classic titled "Exhale" for the System F. album. Released as a single, this track reached gold status in less than a month.

[edit] 2000–2004: A State of Trance and 76

In 2000, Van Buuren started his own Armin van Buuren compilation series. He managed to find a balance between progressive house,and vocal trance music styles. His first compilation album, A State of Trance (not to be confused with his weekly A State of Trance radio shows), sold more than 10,000 copies and contains Van Buuren's well known remix of Moogwai, "Viola." His second album, Basic Instinct featured a new track: "Perpetuous Dreamer" – "The Sound of Goodbye." This track entered the Dutch charts in June 2001 at number 26. Later in the year, the track hit No. 1 on the Hot Dance Music/Club Play chart. The third album, In Motion was released 6 August 2001. This album contained the real trance sound and was very popular in the United States. A fourth album, Transparence, followed in 2002. In 2003, he worked with such artists such as DJ Seth Alan Fannin throughout a global tour on Dance Revolution in Europe, selling out to crowds of 20,000 people in Armin's home country of the Netherlands.

In March 2001, Van Buuren started his own radio show on ID&T Radio (traditionally broadcast in Dutch and later English since ASOT 183). In this weekly two-hour show, entitled A State of Trance, he plays the latest popular trance music tracks. His show and the artists he features are popularized by publishing the artists and track titles on his website. This radio-show/website combination has proven popular internationally. When ID&T Radio changed genres in 2004, Van Buuren left and took A State of Trance with him. The show then moved to Fresh FM, a Dutch radio station. It is now a weekly feature on SLAM!FM, another Dutch radio station, DI.FM, an online radio station, and on XM Satellite Radio, channel 80 in the United States and Canada. A complete list of stations that broadcast A State of Trance can be found at the ASOT section of Armin's website. Also in 2004, Van Buuren remixed the 24 theme song into a trance hit. In June 2005, the 200th episode was celebrated in Amsterdam and subsequently aired on radio. The 250th (eight hour) anniversary episode was celebrated in Club Asta in The Hague, Netherlands, featuring Van Buuren, Jonas Steur, M.I.K.E., John Askew, Rank 1 and Menno de Jong.^{[citation needed]}

In 2002, he had a residency at Glow in Washington D.C.,^[9] and he has played all across North America in San Francisco, Vancouver, Houston, Toronto, Boston, Calgary, Charlotte, Chicago, Montreal, Detroit, Edmonton, Atlanta, Austin, Denver, New York City, Los Angeles, St. Louis, Minneapolis, Seattle and at The Necto (nightclub). He has also regularly appeared at Amnesia on the island of Ibiza, Balearic Islands, Spain. In October that year, Van Buuren was voted Number 5 in the DJ Magazine 100 top DJ's. The following year, he jumped up to the No. 3 spot, and held 3rd place for the next three years. His work left him at the No. 2 spot, just below Paul van Dyk in the 2006 polls, and, in 2007, Armin reached #1, heading the 2007 DJ Mag Top 100. He was voted No. 1 again in 2008, 2009 and again in 2010.^{[citation needed]}

In June 2003, Van Buuren released his debut studio album, 76, a 76-minute album divided into 13 tracks.^[12]

Armin Van Buuren performing at Avalon, Boston, Massachusetts 2007

[edit] 2005–present: Shivers, Imagine and Mirage

On 8 August 2005, Van Buuren released his second studio album, Shivers. On the album Van Buuren worked with artists such as Pakistani-American singer Nadia Ali, English singer Justine Suissa and American trance duo Gabriel & Dresden.

On 11 November 2006, he had a live performance called Armin Only in Ahoy Rotterdam for the second time (after 12 November 2005) with a nine hour solo set, where he performed to over 11,000 fans.

In the summer of 2007, Van Buuren recorded and released a live set at Amnesia, Ibiza. Universal Religion Chapter 3, Live from Amnesia at Ibiza was released on 28 September 2007 as a mix compilation on Armada Records and in the US as "Universal Religion 2008" on Ultra Records on 4 December 2007.

On 17 April 2008, Van Buuren released his third studio album, Imagine. It features collaboration with singers such as Sharon den Adel of Within Temptation and Jacqueline Govaert of Krezip. The album debuted at number one on the Dutch Albums Chart. Since the release of Imagine, Van Buuren has been working with Benno de Goeij and DJ-RA of Rank 1 on solo productions and remixes.^{[citation needed]}