FOUNDER'S STORY

JP Solis didn’t just stumble into the nightlife scene—he practically grew up in it. The DJ and music industry veteran recalls cutting his teeth in downtown NYC clubs, spinning records and dancing his way through high school.

 

“I spent most of my teenage years in the club, especially on West 27th Street,” JP tells us. Fun fact? His guidance counselor wasn’t exactly prepping him for college—he was a club promoter.

 

Naturally, that led to JP’s first DJ gig, where he had the crowd moving to Sandy B’s “You Make The World Go Round (Deep Dish Remix)” by 12:30 a.m. sharp.

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“I got paid 50 bucks that night, spent it all on records, and never looked back,” JP says, reminiscing about the Houston and 2nd Ave venue that started it all.

JP’s obsession with music wasn’t limited to the dancefloor. He spent so much time at the legendary Satellite Records that they eventually put him on payroll.

 

“Nobody wanted to work the 1 a.m. to 9 a.m. shift, so I stepped up,” JP laughs.

 

Those overnight shifts turned out to be his golden ticket, as he sifted through records arriving from all over the world, learning the nuances of electronic music and rubbing elbows with the city’s top DJs.

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“Kevin Saunderson, Francois K—they all came through,” JP recalls.

 

“And my coworkers? One was in KIDS, another worked for Junior Vasquez, and someone else was with Masters at Work."

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From those humble beginnings, JP skyrocketed into the upper echelons of NYC’s nightlife.

 

His big break came when David Waxman of Ultra Records tapped him to be the Assistant Music Director at the iconic superclub Crobar. “This was the Mark Ronson and DJ AM era,” JP says. “Watching them mix rapid-fire sets was like a masterclass. It was a completely new way of thinking about DJing.”

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Under the glow of Crobar’s famous Phazon soundsystem, JP learned the art of pacing a set. “Mike D, our lighting tech who worked everywhere from Palladium to Twilo, gave me some of the best advice: ‘Take your time. Build a groove.’”

 

And from sound legend Steve Dash, JP developed a lifelong obsession with audio quality.

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When the EDM explosion hit, JP was at the forefront as Music Director at Riff Raff’s, curating the sound of Manhattan’s wildest parties. But he wasn’t just chasing big drops—JP was also laying the foundation for the next generation of talent.

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JP co-founded Dubspot, a trailblazing DJ and music production school. “We were the first Ableton Certified Training Center in North America,” he says. “We had partnerships with Pioneer, Ableton, Serato, and even had Louie Vega play our launch party.”

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Inspired by nights at Cielo, where the Funktion-One sound system was king, JP later built a club-like studio to teach aspiring artists. “We wanted to replicate that feeling of being on the dancefloor,” he explains.

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Always ahead of the curve, JP launched NOISE212, a livestream DJ mix series that became a staple in the underground scene. “We documented Jersey Club with DJ Sliink, Ballroom with MikeQ, and Trap with Baauer before ‘Harlem Shake’ blew up,” he notes.

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The series evolved into the event brand Night Vision, hosting acts like Disclosure, Duke Dumont, and even A$AP Rocky at their first NYC appearances. “

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From West 27th to the world stage, JP’s career has been a masterclass in reinvention, passion, and the power of great sound. “It all started with a $50 gig,” he muses. 

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JP's story doesn’t just stop at the DJ booth or the dancefloor. Over the years, he’s delved deep into the art and science of mixing and mastering, carving out a niche in the world of professional sound engineering. 

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And it’s not just any credits he’s racked up—JP’s expertise has landed him gigs on major projects, including work for the Barbie soundtrack, Hugh Jackman, and for cinematic heavyweights like Ben Stiller and Spike Lee.

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“This wasn’t something I planned,” JP shares, “but I’ve always been obsessed with sound quality. Whether it’s a club mix or a film score, the principles are the same—you’re shaping emotion through sound.”