DJ LIFE MAG, Vol.2 No.1 Featuring Nicole Moudaber by DJ LIFE MAG

THE LATEST

’22

Vol.2 No.1

DJ E-Clyps Social-Justice Warrior

DJs Vs. Photogs Can’t We Get Along?

Andrea Oliva Lubelski Wankelmut NYC’s Nebula Pioneer DJ XDJ-RX3 Nugen Audio Focus Elements

Mobile Marketing Debate

Nicole Moudaber

Lockdown Lessons & The Power of Music

NEWS

MIAMI MUSIC WEEK RETURNS WITH ULTRA FEST & MORE

By Jim Tremayne Miami, Fla. – After a two-year hiatus, Miami Music Week will return to South Florida March 22-27 with a variety of musicrelated activities, including one of the industry’s largest electronic festivals and a slew of club and hotel events that will run day and night. Ultra Music Festival, set for March 25-27 at Bayfront Park in Downtown Miami, will present seven themed stages and 28 hours of music that will feature more than 175 DJs and live performers. Mainstage headlinUltra Music Fest: Back at Bayfront Park. ers include: Kygo and Martin Garrix on March 25; Illenium and DJ Snake on March 26; and Davis Guetta and Armin van Buuren on March 27. On the Resistance Carl Cox Megastructure stage, headliners include Nina Kravitz, Tale of Us and Adam Beyer. On Resistance’s The Cove stage, headlinEric Prydz: Chemistry by DiskoLab party. ers include Pan-Pot, Camelphat, Solardo and Boris Brejcha. On the Worldwide stage, headliners include Zed’s Dead, Knife Party and Armin van Buuren. Live Stage headliners include Pendulum, Alison Wonderland, KSHMR, Madeon and SLANDER. UMF runs 4 p.m. to midnight on March 25, 1 p.m. to midnight on March 26, and 1 p.m. to 10 p.m. on Lutrell: Anjunabeats Open Air party. March 27. At presstime, a large number of club, hotel and On March 25, Shiba San: pool parties had been announced. A sampling of the events Basement Leak at MAD Club includes the following: Wynwood will include a perOn March 23, Spinnin’ Records Pool Party at the Nautilus formance by Shiba San. On Miami Beach will include performances by Cheat Codes, March 25, Brownies & LemonGreen Velvet: La La Land at The National. Danny Quest, LODATO and Showtek. On March 23, Will ade Miami at SOHO Studios Clarke: All We Have Is Now at MAD Club Wynwood will will include performances by include performances by Will Clarke, Alan Fitzpatrick and Louis The Child, Whethan and Yung Bae. Marco Faraone. On March 26, Green Velvet Presents La La Land Pool Party On March 24, Heldeep Records Pool Party at the Nautilus at The National will include a performance by Green Velvet. Miami Beach will include performances by Benny Benassi, On March 26, Anjunadeep Open Air Miami at MAPS Backlot CID and James Hype. On March 24, Gorgon City: REALM at will include performances by Jody Wisternoff, Lutrell and Yotto. Oasis Wynwood will include a performance by Gorgon City. On March 26, Dim Mak Miami at Oasis Wynwood will include a On March 24, DiskoLab’s Chemistry at RC Cola Plant will performance by Steve Aoki. On March 26, Yung Bae & Friends include performances by Eric Prydz, Maceo Plex, Innella and at Freehold Wynwood will include performances by Yung Bae, Cristoph. March 24, HARD Miami at 1-800-Lucky will include Autograf, Denault and Dombresky. performances by Moodyman, Tiga and TSHA. On March 27, Anjunabeat Miami at Nautilus Miami Beach On March 25, the In the MOOD Party at Factory Town will will include performances by ilan Bluestone, Mat Zo and Fainclude performances from Nicole Moudaber, Carl Craig, tum. Anane, Paco Osuna, Louie Vega and Rodriguez Jr. On On March 27, Chris Lake’s Black Book Records Showcase at March 25, MK & Friends MMW Pool Party at The National will Space Park Miami will include performance by Chris Lake and include performance by MK and HoneyLuv. HoneyLuv. VOL.2 NO.1

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IN THIS ISSUE

VOLUME 2, NUMBER 1

Sound + Vision Versatile DJ E-Clyps Uses the Full Force of His Artistry – Music & Pictures – to Move the Masses & Address Social Justice

The Ad Game

Two DJs Discuss the Pros & Cons of Online Advertising vs. Word-of-Mouth Approach

By Jim Tremayne

FEATURES

By Stu Kearns

The Next Big Step

Ibiza Fixture Andrea Oliva’s New Brand Brings Together Music, Events & Fashion By Jim Tremayne

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3O Club Spotlight NYC's Nebula

ON THE COVER A New Mood

After a Period of Reflection, Techno Queen Nicole Moudaber Returned from the Lockdown with Renewed Purpose – Both Musical & Personal By Jim Tremayne

In the Studio With… Wankelmut

Sound Bites Lubelski

14 8 Feedback

The Very Latest on DJX, Set for Aug. 8-11 in Atlantic City, N.J.

38 Studio Session

Nugen Audio Focus Elements

Modular Man

40 Playback

Pioneer DJ XDJ-RX3

42 Mobile DJ Profile

Philly DJ Changes Strategy, Reaps Rewards

44 DJ Business

Mobile DJs Vs. Wedding Photographers

46 Gear

New Products from Mackie, FL Studio & More

50 Tracks

Phat Tracks from Illexxandra + DJ Shakey & More

52 Club Play Chart

The Hottest Records, As Reported by Our Top U.S. Record Pools

VOL.2 NO.1

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FROM THE EDITOR JIM TREMAYNE

BACK FROM “THE PAUSE”

It was back in 2014 when I met Nicole Moudaber. With her superb album, Believe (Drumcode), gaining notice, she had begun to really hit the global-DJ circuit and, for a short while, she seemed to show up every place I was – club, conference, festival… or airport. Mostly through coincidence, I was fortunate to get to know her in a relatively short period of time. Her stories were riveting and her company was always warm and welcoming. Very quickly, I learned to appreciate Moudaber’s enthusiastic approach to her music and to her audience. In conversation, she exuded passion for all subjects and, you could tell, was a true believer in the power of music. Case in point: Born in Nigeria to Lebanese parents, she became a music-event promoter, who at one time attempted to unite Lebanese factions with an electronic music event in war-torn Beirut. That’s not a story you’ll ever hear from another DJ. As this was back in my days with DJ Times, we decided to feature her on the cover – we did the interview in Amsterdam the evening after an Awakenings gig with Carl Cox at the imposing Gashouder venue – imagine a wild techno party inside a massive oil depot. It turned out to be one of my favorite stories and one that, I hope, further revealed Moudaber’s humanity as well as her talents. And now with the world coming back to life with DJ-led events, I thought it might be time again to check in with Ms. Moudaber, who (like many DJs) went thru a bit of a crisis herself in returning to the music scene from “The Pause.” We hope you enjoy our conversation with someone the industry very often calls “The Queen of Techno.” In other features, we interview Swiss DJ Andrea Oliva, one of Europe’s more prominent DJ/producers, who recently launched All I Need – a brand that mixes music, events, and fashion. We also meet with E-Clyps, one of America’s more versatile jocks, who combines his music and his photography to move dancefloors and address social-justice issues. For the Sound Bites section, we present a pair of prolific DJ/producers. During a recent trip to Las Vegas, we connected with modular-synth man Lubelski (aka Jake Lubell) and saw him rock the Glitter Gulch venue, Discopussy, with plenty of selections from his recent album, Happy Accidents (Dirtybird). Additionally, for the In the Studio entry, we caught up with Germany’s Wankelmut (aka Jacob Dilssner) to discuss his recent spate of tasty collabs. For our Club Spotlight column, we visit a venue not too far from home – Nebula in New York City’s Times Square – and we were lucky enough to hear a hot set from deep-house master MK. In our tech-review columns, our Denver-based DJ/scribe Wesley Bryant-King got seriously busy. (And we thank him endlessly for turning them around on a tight deadline while recovering from COVID.) For Playback, he ran Pioneer DJ’s XDJ-RX3 all-in-one controller through its paces. Also, for Studio Session, he tested out Nugen Audio’s Focus Elements, an impressive trio of audio-mixing plug-ins. From the realm of the mobile entertainer, we visit with two DJs who differ on their methods of marketing their event services. We ask: What’s the best approach – online advertising or word-of-mouth? In DJ Business, we connect with a handful of mobiles who offer solutions on resolving conflicts with wedding photographers. And in Mobile DJ Profile, we feature Philly-based jock Ross Akselrad, a 2021 DJX presenter, who explains how a new business strategy has reaped real rewards. In the News, we preview our visit to South Florida later this month for Miami Music Week, which will include three days of big beats at Ultra Music Festival, plus round-the-clock parties at clubs, pop-up spots, and hotel pools. Also, on the opposite page, we preview DJX, America’s largest and longest-running DJ exhibition/convention. Set for Aug. 8-11 at the Hard Rock Hotel & Casino in Atlantic City, N.J. For the very latest on the show, please visit www.djxshow.com. We hope to see you there.

editor-in-chief Jim Tremayne jtremayne@hazanmediagroup.com editor-at-large Brian O’Connor boconnor@@hazanmediagroup.com web editor and social media manager Brian Bonavoglia bbonavoglia@@hazanmediagroup.com contributors Wesley Bryant-King, Chris Caruso, Amanda Chavez, Shawn Christopher, Paul Dailey, Reed Dailey, Chris Davis, DJ Deets, Tony Fernandez, Tommy D Funk, Jennifer Harmon, Ryan Hayes, Greg Hollmann, Josh Kerman, Michelle Loeb, Emily Makarewicz, Erik Miller, Lily Moayeri, Jordan St Jacques, Jeff Stiles, Ashley Teffer, Danny Turner, Phil Turnipseed, Travis Wackerly, Curtis Zack chart coordinator Dan Miller dmiller@hazanmediagroup.com national sales manager Josh Kerman jkerman@hazanmediagroup.com creative director Janice Pupelis jpupelis@hazanmediagroup.com director of technologies and project management Steve Thorakos sthorakos@hazanmediagroup.com graphic artist Andre D'Esterno adesterno@hazanmediagroup.com integrated media manager Cheyenne Chao cchao@hazanmediagroup.com Chairperson & COO/Co-Publisher Robin Hazan rhazan@hazanmediagroup.com President & CEO/Co-Publisher Shawn Hazan shazan@hazanmediagroup.com

Cheers, visit our website: www.djlifemag.com 516.767.2505

Jim Tremayne Editor, DJ LIFE

Editorial and Sales Office: DJ Life, Oyster Bay, NY 11771. (516) 767-2505 • (Sales/all other business): (516) 767-2505 • djlife@hazanmediagroup.com. Editorial contributions should be addressed to The Editor, DJ Life Mag, Oyster Bay, NY 11771 or sent to JTremayne@hazanmediagroup.com. DJ Life Mag is published bi-monthly starting with the second month annually. Design and Contents: copyright © 2022 by DJ Life Mag and must not be reproduced in any manner except by permission of the publisher. Web: DJLifeMag.com, DJXShow.com and HazanMediaGroup.com Subscriptions: Complimentary Digital Edition. Email: djlifemag@hazanmediagroup.com Phone: 516-767-2505 ext. 502 Web: djlifemag.com/subscribe

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FEEDBACK

DJX ’22: NEW SEMINARS Atlantic City, N.J. – Mark your calendars, DJs… because DJX is set to return to the Jersey Shore this summer with four days of can’t-miss action. Scheduled for August 8-11, 2022, at the Hard Rock Hotel & Casino, DJX will present an exhibit hall with the latest DJ-related technologies, 30 seminars offering solutions to the most-pressing industry topics, and After Dark events that will include star-studded parties sponsored by show exhibitors. And expect a few surprises to be unraveled as we get closer to the show. Debuting in 1990, DJX (aka DJ Expo) is the largest and longest-running DJ show in America. Usually drawing between 5,000 and 6,000 DJs of all stripes – mobile, club, bedroom, streaming, studio, etc. – DJX offers product drops from top manufacturers and distributors, careerenhancing education from the industry’s thought leaders, networking opportunities galore (on the showfloor, at the seminars, during the parties), and plenty of fun. DJX is produced by DJ LIFE and Hazan Media Group. On the seminar side for DJX ’22, some new topics will be presented. They include: “The Not-So-Fun Stuff That Allows the Fun Stuff.” Presented by Joshua Lask of LB Entertainment in Monroe, N.Y., this new seminar will explain how, through tight business management, LB Entertainment went from a

single-DJ operation to an event group with entertainment, photography, event rentals, and consulting components within two years. By explaining 10 crucial areas of business, this seminar will empower and enable DJ/entrepreneurs to push past their comfort zones and handle or delegate important tasks to ensure proper and profitable growth. “Post-Pandemic Marketing: Creating a Referral Network by Building Centers of Influence.” Presented by Jerry Bazata of DJ Jaz Music and Entertainment in Ogunquit, Maine, this session will show DJs how to create a primary source of leads through a referral network that reduces overall advertising costs and fills open spots on the calendar. A banker by trade, Bazata in 2018 applied those skills and knowledge to his DJ business. In 2022, every booked event on his calendar came from a direct referral source that he cultivated among his peers in the service and wedding industry. Learn simple techniques and practices that develop your brand as a trusted advisor in the market and create a continuous source of leads for your business. The takeaways from his seminar are actions and tools that are not tasks, but routines that become part of your everyday marketing efforts.

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SOUND BITES

MODULAR MAN: LUBELSKI & THE JOY OF SYNTHS

Happy Accidents: Lubelski’s latest embraces randomness.

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By his own admission, Lubelski is a bit of a modular-synth maniac. And if you listen to tracks like “Asylum” from Happy Accidents, his recent album on Dirtybird, you’ll quickly get the picture. It’s a manic tech-house excursion that fires you thru a gauntlet of compelling club sounds – nervy bassline, commanding kick drum, acid squiggles, the lot. It’s a thrilling ride that, according to his studio approach, resulted from the “conversations” he had with his synths. Quite a diverse outing, Happy Accidents is one of electronic music’s best recent full-lengths, and “All This Technology,” his recent tech-house collab with Mikey Lion on Desert Hearts, delivers the goods as well. He’s a genuine talent whose tracks have found a solid place in the American underground and beyond. As Lubelski (aka Jake Lubell) prepped for a gig at Las Vegas’ Discopussy club – where he later rocked the Glitter Gulch club’s terrific sound

system – we grabbed a few minutes from the L.A.-based DJ/producer/multi-instrumentalist. DJ LIFE: You’ve said that using “modular was like having a conversation with a synth.” Tracks like “Asylum” would seem to be an example of that. Can you expound a little on your approach to this album? Lubelski: I’m mostly talking about the fact that analog gear isn’t as “perfect” as digital synths. There’s more randomness in dealing with modular gear and a level of uncertainty that’s much more difficult to get with VSTs. I like to think of it like a conversation because I am essentially telling my modular rack to do something and it tells me something back, and oftentimes, something unexpected. Hence, why I called the album Happy Accidents. DJ LIFE: In a world of EPs and singles, why an album? Why Dirtybird? Lubelski: Well, I released my first album, The Universal Groove, on my own label [Percomaniacs] at the start of the pandemic, not intentionally. When I worked at the radio station where I went to university, I spent a lot of time cataloging the electronic-music albums in their collection. I remember starting from Z and working my way to A and stumbling upon [Claude] VonStroke’s first few records. I didn’t know I’d ever release an album on Dirtybird then, but I definitely recall thinking, “If I ever want to be taken seriously as an artist, I

have to release albums.” There’s something special about releasing a body of work like an LP. There’s a lot of thought that goes into it conceptually, and I think they are important in creating, not only a timeline of reference of growth as an artist, but also a narrative around who you are as an artist and what you might try to say. DJ LIFE: For you in the studio, what’s your mixture of hardware and software? Lubelski: I use Ableton Live a lot. I rarely sequence any of the modular recordings with MIDI from my computer unless I’m trying to do something very specific. I really enjoy touching the synthesizers, the sensation of the physicality of it feels more substantial to me and makes the process of creating music more fun. Plus, it helps me move around and keep from developing bad posture. DJ LIFE: What are your main studio components? Lubelski: I have HEDD Type 07 monitors, which are incredible. They are like a massive step up from the ADAM A7X’s – superclean transient and frequency responses. I also have a [Sequential] Prophet-6, [Sequential Oberheim] OB-6, Moog Sub 37, Moog One, Vermona DRM1 MKIII, [Roland] SH-101, and some turntables to sample vinyl, some outboard effects gear like the Sherman Filterbank, a UA 710 Tube amp, and some others. DJ LIFE: Other software? Plug-ins? Lubelski: I use a ton of different plug-ins for processing, mixing, and mastering like FabFilter, Soundtoys, Waves, iZotope, and Native Instruments. As far as making music goes, though, there’s a lot of really incredible plug-ins from Ableton’s Max for Live. DJ LIFE: In the DJ booth, what gear do you prefer? Lubelski: I’ve been considering getting a new modular case to bring on the road with me as an FX-send, but I usually just use whatever the club has. I love the [Pioneer DJ] DJM-V10 and the [Allen & Heath] Xone 92/96, but I’m not really a stickler about what mixer I use. The CDJ-3000s from Pioneer DJ are great, as well. DJ LIFE: You’re nearly finished with a 15-city tour – how would you describe the sets? Lubelski: I’ve been playing the album out a lot and doing a bunch of live edits of tracks, like “Asylum,” where I make the last breakdown three-minutes long by looping it, slowing it down, speeding it up, throwing effects on it, etc. I work in the studio nearly every day, so fans can always expect to hear some unreleased stuff. DJ LIFE: What are some tunes that are always in your DJ box? Lubelski: Good question – tough one. Three songs that I’ve been playing a lot this tour have been “Dis Konnekt” by Dino Lenny, an edit I made of “Sticks & Stones” by Red Axes, and another edit I made of “Wicked Game” by Chris Isaak. DJ LIFE: How do you approach DJing? Lubelski: I like to think I mix patiently. I like to let an entire song play out; but, depending on my mood, I can get a little antsy and tease other songs to trick and tease the crowd. Stylistically and genre-wise, though, I’m really all over the place. It’s all mostly house, but I feel like I’ve been known to throw in some disco, drum-n-bass, rock-n-roll, ’80s hits, and stuff like that. I try to keep it eclectic. – Jim Tremayne VOL.2 NO.1

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IN THE STUDIO WITH…

WANKELMUT: PROLIFIC PRODUCER, QUALITY SOUNDS Berlin, Germany – DJ/producer Wankelmut initially caught the global dance community’s attention in 2012 with his stirring remix Asaf Avidan’s “One Day/ Reckoning Song.” Then, his profile rose further the next year with his earworm track “My Head Is a Jungle” (with Emma Louise). The iconic MK remix of the latter tune brought even more attention and that led to high-profile DJ gigs and a slew of remix opportunities. Since then, he’s released a steady stream of productions and remixes, some leaning toward the deeper side of house, but always maintaining a uniquely catchy flavor. In fact, since the pandemic, he’s been at his most prolific – he’s released more than a dozen productions or remixes. Lately, Wankelmut has been involved in lots of collabs, including the snappy houser “Good in Goodbye” (with Felix Samuel and Xoro on Perfect Havoc), the ethereal “Cross My Mind” (with Marie Bothmer and NOØN on Kontor) and, the recently released hookfest “Greenlight” (with Tobtok featuring Louis III on Perfect Havoc). We recently caught up with the Berlin-based Wankelmut – aka Jacob Dilssner, 33 – to discuss his latest studio projects. (And, for those who must know… in German, “wankelmut” means “fickleness.” Feel better?) DJ LIFE: Musically, what were your first influences? What made you want to pursue music? Wankelmut: My first influences were the classic-rock acts my dad was listening to in the car: Neil Young, Deep Purple, CSN&Y, and so on. I’m still very much in love with rock-n-roll, but I don’t have enough talent when it comes to playing guitar or drums. That’s why I chose DJing and producing; I’m more comfortable working with a computer. My first electronic influences were probably Music Instructor and Wamdue Project. DJ LIFE: Let’s discuss process a bit. Creatively, how did you approach your “Good in Goodbye” project with Felix Samuel and Xoro? Wankelmut: I wanted the track to slap – ha! But seriously, I tried to give the drums and bass a lot of punch to work as a counter to the deep lyrics. The col-

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Studio Scene: Wankelmut got busy during & after lockdown.

laboration process did go down like all the studio collabs right now – over email and WhatsApp. Xoro and Felix Samuel had written the song together, and Xoro asked me if I would like to jump on the production, which I happily did. DJ LIFE: These days, what’s your main studio gear and software? Wankelmut: I’m working with Ableton Live as my DAW. The newest version finally added comping, so there’s no need for me to switch to Logic for vocal recording. My monitors are Genelec 8030s; but to be honest, I almost always produce on my beyerdynamic DT 880 Pro headphones. I own very little hardware apart from a handful of guitars – Fender and Hapas. I sold my last analog synth, an Access Virus TI, a couple of weeks back. But I’m looking forward to buying a Prophet-6 real soon! DJ LIFE: Which producer/remixers do you most admire? Wankelmut: There’s so many! I really do love whatever Kink is putting out, and Cinthie is always delivering quality house music. But I also admire SG Lewis for his funkiness, Wh0 for their raw power, and TSHA for her soulfulness. DJ LIFE: In the DJ booth, what gear do you use? Wankelmut: I use three Pioneer CDJs and the DJM mixer, like everybody else. I started out with Timecode Vinyl

and Native Instruments Traktor, but ended up opting for USB sticks and the Pioneers. It’s just way less stress for everybody. DJ LIFE: How would you describe your style of DJing? Wankelmut: While DJing, I try to blend catchy pop vocals with an underground attitude. But it always depends on the setting and crowd. Being versatile and flexible is a DJ’s best quality, in my opinion. DJ LIFE: Which DJs do you most appreciate? Wankelmut: I’ll never get tired of hearing Laurent Garnier play. Saw him live a couple of times now and he never disappoints. Also, I’m really enjoying the sets by Eli & Fur. DJ LIFE: What are three tracks that are always in your “DJ box” and why? Wankelmut: Moderat’s “Bad Kingdom (DJ Koze Remix)” from 2014. It’s iconic, works anywhere and anytime, but best to bring a DJ set to a close. BURNS’ “Talamanca” – for me, this was the tune of 2021. Incredible energy! Also, Random Soul’s “Vast Universe” from 2021. It has an amazing groove and perfect for effortlessly filling a dancefloor. DJ LIFE: How did you survive the lockdown? With the extra time on your hands, did that allow you to create something special? Wankelmut: Yes, I spent way more time in the studio than I would have while having a regular touring schedule. This way I could get my workflow and production skill on a next level. Also, I had time for exciting projects, like working on my own MasterClass with FaderPro, developing tunes for a movie soundtrack and putting out more than a dozen tunes this past year alone. DJ LIFE: You became known for your 2012 remix of Asaf Avidan’s “One Day/ Reckoning Song.” But for many people, “My Head Is a Jungle” with Emma Louise from 2013 is a starting point for their appreciation of you the producer. How much did that song and that MK remix help your career? Wankelmut: “My Head Is A Jungle” and especially the MK remix opened up the U.K. market for me. I’m still in awe at MK’s work on the remix – it’s iconic! The remix also became an Ibiza anthem for two years in a row, which really helped me to get some gigs on the White Isle. Normally, Ibiza isn’t really a market for German DJs. DJ LIFE: What’s next for you? Wankelmut: I’m continuing to hone my skills in the studio and will put out bangers on a wide range of labels in 2022. But I really can’t wait to get back on the road again and play tunes for a live crowd – I miss touring like crazy! – Jim Tremayne VOL.2 NO.1

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By Jim Tremayne Like all gigging DJs, Nicole Moudaber was blindsided by the pandemic in 2020. Not only were her touring opportunities put on pause, but with the global virus taking its tragic toll, creative motivation was at an alltime low. For “The Queen of Techno,” playing or producing music wasn’t her top priority.

After a Period of Reflection, Techno Queen Nicole Moudaber Returned from the Lockdown with Renewed Purpose – Both Musical & Personal

Nonetheless, as the lockdown moved on, DJs re-adjusted to the new normal. And DJs, being the hustlers they are, found new ways to remain noticed, if not fully active. Many took to Twitch and began live-streaming – some creating new profiles, some simply renewing their brands. Others, embracing the pause, hit the studio with a new ferocity. Re-engaging took different forms. For the London-bound Moudaber, it was maintaining her wildly popular “In the MOOD” weekly radio program that kept her tethered to DJing during the lockdown. And crucially, it gave her an outlet for her evolving musical tastes, which had expanded beyond kick-drumdominated techno. The show, which has now clocked in more than 400 episodes since its 2014 debut, started to include a musical stew that embraced, in Moudaber’s words, “vocal deep-house to drum-n-bass to Afro14

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N A

w e

d o o

“WE WERE LOST WITHOUT GATHERINGS, SMALL OR LARGE… WE NEED THE HUMAN TOUCH. WE NEED HUGS, LAUGHTER AND UNITY.”

house to trance.” Put another way, she was stepping out of the techno sandbox for a bit of diversity. Another blessing for Moudaber’s outlook was a much-needed holiday on the island of Bali. Her energies replenished there in Southeast Asia, and especially so with a DJ gig that, she says, re-affirmed her commitment to music and the gathering of people. Ultimately, this was her purpose, she realized, and she was ready to embrace it fully. Her epiphany in Bali recalls another eureka moment she experienced nearly 23 years ago. Before becoming an international DJ, the Nigerian-born/Lebanesebred Moudaber was a promoter of DJ-led events in London and Beirut, but her long-range career plans weren’t yet solidified. It was during a 1999 visit to New York that she caught a set by Danny Tenaglia at The Tunnel… and she saw the light. “It really reached me on a deep level,” she recalls. “It was a turning point in my life. I was supposed to get a traditional job… and I completely turned to the other side… the artist was discovered in me.” Since then, she’s released dozens of tracks and remixes. She’s founded her MOOD Recordings label and, of course, the In the MOOD radio program. She’s played at nearly every major international festival and some of the greatest nightclubs in the world. Her sets can be fiery, percussive affairs with tuned-in audiences

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that are deeply committed to her and her music – a rare thing. And now, nearly two years since the pandemic began to rage, she’s back playing gigs wherever her fans are allowed to gather. On March 25, during Miami Music Week, she’ll host a special In the Mood event that will include a stout line-up – Louie Vega, Carl Craig, Paco Osuna. Additionally, she’ll be supporting a slew of recent releases that include her recent techno banger, “What Was,” and her tech-house remix of Anthony Piacquadio’s “Flooty.” Here’s a recent discussion we had with the one-and-only Nicole Moudaber. DJ LIFE: We last caught up just as the lockdown was beginning in early 2020. At the time, you were cooped up in London, alarmed at the idea of gigs ceasing for all DJs; but you were also hopeful that the situation could create some opportunities and that the earth was hitting a big reset. So, two questions here: What did you learn from your lockdown experience – as it relates to both your professional and personal lives? Nicole Moudaber: Where shall I begin? A forced, unexpected, out-of-the-blue experience. I was in a catatonic state when the world had suddenly stopped turning, the rug got pulled from under my feet, I froze for the first three months. I come from war, and I could smell it… the minute airports shut down, events and festivals halted, airlines grounded. I knew it was war, another kind of war, not the

my way. How can I make music and “dance” when people are suffering? The process took much longer for me to achieve a healthy outlook on life. Humans will adapt eventually; the key is not to resist. That’s the one thing I learned is to work on myself and just adapt, like a chameleon. DJ LIFE: When and where did you

“HOW CAN I MAKE MUSIC AND ‘DANCE’ WHEN PEOPLE ARE SUFFERING?”

bomb shells we’re used to in Lebanon. This one had another image, and it was invisible. DJ LIFE: There was so much that was unknown initially… Moudaber: I was glued to the news 24/7. I could see how the media was having a field day with it, escalating the drama, developing the scenario. I completely froze. People around me, from friends and peers, were having a ball. “Two weeks to flatten the curve” was so gullible to many. Some called me a “Debbie Downer,” but I smiled and kept my mouth shut. Here we are two years later, still in the same position, if not worse. People died, lost their homes and businesses, away from their loved ones, including myself. I was crippled. DJ LIFE: Yes, I remember you were a bit out of sorts at first… Moudaber: I felt with the prisoners for the first time in my life. I understood the innocent ones who were thrown in jail, helpless. I finally grasped how they felt and how many of them found consolation with prayers and spirituality or writing a book, speaking to angels and the universe, channelling their energy to the higher forces – it’s very powerful. I learned how to change my perception about the whole situation and take advantage of the time I had, the time I never would’ve had, had I not stopped for a minute. DJ LIFE: The world definitely stopped, and especially for global DJs… Moudaber: I had to face my own music – touring extensively is also another form of escaping. I realized how tired I was, how obsessive I can get over meMentor & Friend: Moudaber with the legendary Carl Cox. nial, mediocre, lame issues that mean nothing in the grand scheme of things. I’m a control freak by nature and I had a window of opportunity to steer away from all the lower exeverything was set up and ready to go, but I pressions and to surrender without being scared of letting go. I learned wasn’t. that we are above this physical world experience and can detach and DJ LIFE: And I understand the lockdown pestep away and view things from different viewpoints. riod had another tragedy for you… DJ LIFE: On to the DJ/artist side, how did you manage to maintain your Moudaber: Yes, a terrible tragedy happened chops during the no-gig period? Did you get into streaming? in Beirut summer of 2020 – a massive blast Moudaber: My weekly radio show was an integral part of my sanity. It ravaged the city on a nuclear proportion. kept me going. I’m not a huge fan of streaming, to be honest; although my lounge developed into a video suite by April 2020. My walls were cov- My friend Karen Young and I rallied the entire ered in green screen, literally. I dislike that color. The tripods, the cameras dance community and put together a fundraiser with Beatport to help and support the wounded city of Beirut. Everyone extended their helping hands to help us achieve awareness and consequently raised more than $80K in one day. Our dance community is very strong, built on love and solidarity. Together we will always thrive, no matter what comes in our way. It gave me strength and faith again. Of course, I did a lot of music – my mojo was coming back! I did collabs with Jamie Jones [“Pepper Shake”], Eats Everything [“Big Dipper”] and the iconic Alan T [“The Volume”]. DJ LIFE: On the studio side, how did the downtime impact your creativity? Moudaber: It wasn’t easy at first. My focus and creative juices were very scattered, but I managed to regroup and center myself, eventually. Anxiety was in

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go back to gigging? And what did you find? Moudaber: On February, 2021, I managed to escape Alcatraz – aka London – and I fled over to the Island of the Gods, Bali. I’ve been going over there every year since 2015, usually with a large entourage. But this time, I was by myself. My first show at Savaya Bali was so intense! I was surrounded by a sea of people, the heat, the energy hit me hard on the head like a hammer. And I understood the meaning of my life there and then. This is what I live for. This is what drives

me and motivates me every single day. and I will cherish it forever. I will fight for it, hold onto to it until my last breath. DJ LIFE: Did you find any surprises? Moudaber: The surprise was my “aha” moment. I appreciated the simple notion of being together. You see, we’re not made to be controlled, to limit our freedom both physically and mentally; therefore, my friends – keep the frequency high, as when it’s low, anyone can hop on and highjack you, take over your mental health and sanity. How do we keep it high? Stick together, be there for one another… as love is the highest frequency. DJ LIFE: Not every country has reacted to the pandemic similarly. As a global DJ, what’s been the most difficult part of that? Moudaber: The U.S. has done pretty good and was one of the first countries, along with the U.K., to open before anyone else. But, the most difficult part for us touring artists is the uncertainty, not being able to plan our year like we used to, agents having to reschedule hundred of shows, clubs and festivals losing money and having to shut down permanently. This scenario is still ongoing in most of Europe, unfortunately. But we try to get on with it – otherwise, we will go nuts! DJ LIFE: How have your events in America been? Moudaber: In The MOOD parties in L.A., New York and Orlan-

do with EDC were next-level! Arc Festival in Chicago and my temple of love, Space Miami, were something else. I thoroughly enjoy the variety of music I’m playing these days – each show has a different meaning and color. DJ LIFE: Are you surprised that techno has taken off the way it has in America in recent years? It must be gratifying to see. Moudaber: It was expected. I remember when I used to say it very loud in all my press interviews, eight years ago. I wear black because I’m mourning. [laughs] EDM is dead – we should rejoice. Time to put some color in my wardrobe since good music is back, finally – house and techno will always prevail. DJ LIFE: You’re now past 400-plus episodes of your In The MOOD Radio and the music has evolved. What’s the process of doing your episodes? Moudaber: A weekly radio show is a big commitment and time-consuming, especially with a hectic touring schedule. I normally record all my shows when I’m on the road. However, during lockdown for a year and a half, I had to put a show together from scratch. So, I went out of the box, dabbled with various styles from vocal deep-house to drum-n-bass to Afro-house to trance – I loved it. DJ LIFE: And the response? Moudaber: My listeners enjoyed it a lot. It kept them going during these hard times. I was inundated with their beautiful messages every

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day. It was my way of telling them, “I got you…. I’m here to keep you company.” And the irony was I was completely alone. DJ LIFE: Sounds like it helped you as much as it helped your audience… Moudaber: The show helped me a lot on a personal level to power through – I had something to look forward to. There were days where I could listen to music for 18 hours and others I couldn’t fathom anything with a kick drum. Funk and disco did the trick for me. That was my way to re-set the chip in my brain. DJ LIFE: You have a genuine relationship with your audience and, over the years, you’d been very active on social media. Do you view that as still a vital component of connecting with your audience? Moudaber: I changed my perception about life. Mother Nature was calling for me to connect with her and I did exactly that when I was in Bali for two months. This period was an integral part of my life, as I view the world with a different lens right now. Social media isn’t as important to me as it was in previous years. It is a very useful tool to raise awareness about events and releases, but I prefer directmessaging with my fans, followers and friends. DJ LIFE: What changed for you? Did any of the “social-media toxicity” creep into your realm? Moudaber: During lockdown, staying at home, having more time on my hands, shone a bright light on certain people we didn’t know even existed, at least from my perspective. They weren’t on my radar as such. I was stunned by the level of ignorance, prejudice, hate, racism and sexism out there. Question is: Are there that many, or are they just loud? DJ LIFE: Sounds like it disillusioned you… Moudaber: People must understand the notion “we are all the same,” and we are being used by social media to create constant and ongoing divide, as it designed to do just that. There are two different timelines in our lives we see on a daily basis – the good and the evil, to put it simply. Which side will you take? DJ LIFE: Carl Cox has meant a lot to your life and career. You’re playing at Avant Gardner in Brooklyn soon with him at a very special two-night event. What should fans expect? Moudaber: We haven’t played a B2B together since Space Ibiza shut down in 2016 – and this event is a rescheduled show from 2020. This will be legendary – to me, a B2B is a musical hug. DJ LIFE: Why does Carl Cox still stand 20

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tall all these years later? Moudaber: Thirty years of experience, a vast knowledge of music, humble and tender, loving caring person – you can’t go wrong with these traits. What blows my mind is the artist behind Carl Cox. This guy can play salsa, drum-n-bass, funk and soul, house and techno, flawlessly. Learn is all I can say. DJ LIFE: The evolution of your DJ-booth set-up: What are you using to DJ now? Moudaber: I updated my set up during “the pause.” I used to play on the [PLAYdifferently] MODEL 1 mixer for many years with a bomb soundcard – Antelope Audio Orion32+. I have now switched to the Pioneer DJM-V10 mixer, which has two built-in soundcards, a compressor and loads of effects to play with… plus, I don’t have to travel with loads of gear anymore. The DJM-V10 is as powerful with six channels. This allows me to venture out, create and remix records on-the-fly. DJ LIFE: What else? Moudaber: I use four decks on [Native Instruments] Traktor, one channel for Ableton Live and another channel for volume effects. I have [an Ableton] Push 2 controller for Ableton Live to launch samples and loops, [an Allen & Heath] XONE:K2 controller for volume samples and effects, and two Native Instruments X1 controllers for my four decks in Traktor. The possibilities are endless with this set-up. It’s like driving a super-car and we all know damn-well how much I love super-hyper-cars! I’m working with Pete Tong’s DJ Academy; hopefully, I will showcase my setup and the way I play to those who are interested

in taking up a DJ career in the future. DJ LIFE: Let’s get into your studio process. What’s the main set-up? Moudaber: I’m a lover of the more organic and characterful analog sound, so I use a lot more outboard than plug-ins – things like a Eurorack modular system, Jomox Alpha Base, Akai MPC2000, Prophet-6, among others. I also love the more handson and tactile approach that you get with those instruments. Having said that, I do use plug-ins as well. I especially like the Native Instruments stuff – Reaktor and Battery, to mention a few – but mostly only for sounds that I can’t necessarily achieve on the analog stuff. I use Ableton Live, Arturia and good headphones and the best laptop possible, because I’m a nomad. I use engineers in different studios to finish up the work, obviously. The only gear I can’t do without is taste and good ears. DJ LIFE: Do you do studio work on a schedule with a process? Or does the muse have to strike you? Moudaber: The muse is unpredictable! Sometimes she disappears and other times she’s ever-so present. I try to switch off completely when I have a creative block… watch a film, talk to friends, take a walk, or get baked and commit carbacide. There’s no need to force it, as it’s pointless. DJ LIFE: Artistically, you’ve grown quite a bit in recent years. You still have some really tough, percussive techno tracks, like “What Was/What Is,” but you’ve also worked in some breaks, like “Break It,” and some sexy tech-house of late, like “I’m a Gangsta” and your remix of “The Vibe.” Where is your artistic heart leaning these days? Moudaber: It’s constant evolution. I’m not a fan of stagnation – I get bored very quickly! The music I’ve produced in the past cannot be repeated. I find it a tad boring to do so – but that’s my personal opinion. I have various projects with many collaborations on the boil. My dream is to work with bands and established artists, whether it’s pop-dance or Afro-beat and anything in between. I found myself recently humming catchy melodies in my shower, laughing my head off wondering, “Where on earth did this come from?” My ears are probably stamped from my childhood listening to funk, soul, disco and Afro-beat. DJ LIFE: Whether you’re spinning or not, I know you’ve spent lots of time in Ibiza – what’s the state of the island? Will you be there this summer? Moudaber: Ibiza already missed out on two seasons since 2020! However, restaurants and private villa rentals did very well, on the other hand. I will be over a lot this summer, provided everything is running smoothly without restrictions. Clubs suffered

tremendously all over the world, but football stadiums were packed – so go figure and make sense of it all. DJ LIFE: You’re very particular about clubs and sound systems. Can you give me three clubs you love to play because of their environments or sound systems? Moudaber: Space in Miami, Stereo in Montreal and Output in Brooklyn – R.I.P. DJ LIFE: Who are some DJ/producers that we should watch out for? Moudaber: The Italian Stallion from Italy, Malandra Jr., and the super talented Sly Faux from Australia – both are on the MOOD label DJ LIFE: What advice would you give to aspiring DJ/producers today? Moudaber: Trust your ears and do not copy anyone. We are all very unique in our own way – use it, as this is the only key element to success. Listen to all kinds of music, enrich yourself with knowledge and open your mind to new avenues – then, make it your own. DJ LIFE: With the success of your DJing, music, label, radio and more, you seem to have realized your dream. Do you ever sit back and take it all in? What else do you want to accomplish? Moudaber: The key is never to settle, got to keep moving and growing. The more I do, the better I get, and I’m only just starting here. A great film company based in L.A. approached me to do a documentary about my life. I was stunned when I found out who they were! Genuinely interested in my story… I was taken aback by this request, overwhelmed with emotions. I had tears

in my eyes and, in this instance, I sat back and took it all in. One tends to forget all the accomplishments for a minute. The producers said to me: “You remind us of Lara Croft!” DJ LIFE: You began as a promoter who threw parties – in Lebanon, notably – that weren’t always so well received by authorities. But, from the beginning for you, there was a deep belief that music brought people of all backgrounds together for the better – a higher calling, in a way. You seem to have maintained that belief. How is music, and your music, still bringing people together? Do you see that music is still powerful? Moudaber: More than ever. “The Pause” taught us one important thing… never take anything for granted anymore. We can all agree we were lost without gatherings, small or large. We are humans and we need the human touch. We need hugs, laughter, and unity. I’m working with Skin on a track called “Without Your Love.” She wrote this song during lockdown. We were vibing on Zoom from London to New York, spent many late nights working on this project and it speaks about people being together and how important it is to our psyche – “Without your love, there’d be no people dancing here.” Music has no boundaries nor limitations. It gives us emotions, nostalgia, and happiness. We make new friends every day and create memories when we dance together. When I played my first comeback show after lockdown, I could see and feel the energy surrounding us. It’s transcendental. I can’t think of a more powerful tool than music. VOL.2 NO.1

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THE

D GAME

By Stu Kearns

Two DJs Discuss the Pros & Cons of Online Advertising vs. Word-of-Mouth Approach

Recently, two New Jerseybased DJs had an online chat about the best ways of growing revenue for their mobile businesses — one a solo operator (Taso Dakas of Luxe Event DJ & Production) and the other a multi-operator (Gregg Hollman of Ambient DJs). The Knot and WeddingWire were at the heart of it, and the marketing-focused exchange proved illuminating for all. Here’s a sample of the best bits – enjoy. 22

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Solo Op: Taso Dakas benefits from word-of-mouth.

Awarded: Gregg Hollmann flanked by Mike Bacon (L) & Christopher Smith.

Taso Dakas, Luxe Event DJ & Production, Marlboro, N.J. This topic has always fascinated me. First off, it really depends on the business model and the numbers you need to survive. I’ve been doing this full time since 2012 strictly through word-of-mouth, and a little bit of YouTube. I’ve never spent any money on any tangible advertising of any sort. As a solo op, my business model is dependent on only needing 50 events a year – I always exceed that, though; yet I receive over 200 inquiries each year. I don’t have advertising, I don’t have a physical office space, or a lot of other costs that many multi-ops have. My biggest expenses are payroll/ workman’s comp and the reinvestment into making sure I have the production that my clients seek. I aim for what I consider a high-end market, meaning I don’t need a lot of volume, but rather targeted events that are willing to invest in the quality of service I believe I provide. Many try to become a word-of-mouth business, but it’s really not easy. First off, no one talks about average... average is just there, it’s convenient, but it’s not something people will go out of their way to rave about despite the good reviews. Even McDonald’s – just like the $300 DJ – can get fivestar reviews. But do you see people going out of their way to recommend McDonald’s? What people talk about are two things. It’s either very bad experiences — we see it all the time where people warn us online to stay away from a certain place for whatever reason — or they

Gregg Hollmann, Owner, Ambient DJs, East Windsor, N.J. I have a ton of respect for business owners who have been able to grow their companies without ever having to spend a dollar on advertising. Indeed, there are many different business models on the road to success. Lately, The Knot and WeddingWire have been getting roasted in the wedding professional community as predatory companies who excessively self-promote and whose advertising programs don’t work. For this business owner, I’ve been a long-term fan of advertising on both The Knot and WeddingWire. These reviewbased sites get our company in front of the right couples who fit our style and have the proper budget. It’s a like a 24/7/365 online bridal show – with our target market in attendance. Some years ago, a newly opened luxury hotel discovered us on The Knot – and touched base to get us on their initial recommended professionals list. Years later, we’re still on that list, and a series of successful weddings there has spawned dozens of referrals and additional bookings. Plus, professional relationships with other event professionals. In the words of the 1980s band The Fixx, “One Thing Leads to Another.” Marketing/advertising is critical in business. The biggest enemy of any business is obscurity. The area where I see some small business owners falling short is a reluctance to put time and dollars into marketing. Throw a showcase. Step up your venue relationships. Experiment with different advertising mediums and double-down on those with strong ROIs. Network with fellow event professionals. Explore the world of social media marketing. Don’t be afraid to make some mistakes along the way, as you tweak your formula. Once your business gets some marketing momentum, you are on the way towards creating a business machine!

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talk about amazing experiences that they’ll never forget. The latter is the category I always aim to be in. Giving an experience that is never forgotten, stands out, and is one my clients and their guests are proud and excited to share my info with. With word-of-mouth, you can also

to success, but it makes you wonder how some, who have been in the industry for so long, still require advertising to get leads, as opposed to their past 1,000-plus clients doing the marketing for them. Greg Hollman: Many excellent points! Respect to your successful

DJ Taso: Great customer experience is the best advertising.

expand your circles and grow beyond what reasonable advertising budgets can. WeddingWire and The Knot are one geographic location... so you’re either spending a fortune for, say, North Jersey, South Jersey, Philly, and New York... or you’re limiting your exposure. Word-of-mouth has gotten me personally in 15 different states... and in each of those states I have a circle of clients, regardless of how small. I find, in our industry, so many do what is needed to just get by at events, or are not really looking around for ways to stand out, whether it is performance-based, appearance, skill, etc. I also find in New Jersey, particularly, the personal experience has been lost in our industry with clients dealing more and more with secretaries or middlemen than their actual DJ. Or they meet with their MC, but not their DJ — the guy that’s actually creating the musical atmosphere. This is personally why I feel it is so hard for a multi-op to be a word-of-mouth business and not need some sort of advertising, because somewhere in the process with such a high volume of events experience may become sacrificed. This isn’t a bash to anyone in particular, as there’s more than one path 24

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possible for them and yourself, which for many involves an investment in advertising of different sorts. And I’m not taking away from the multi-op model – I have a team as well. It’s just a different kind of team [laughs]. It’s something I continuously consider and am exploring how I’d approach it if I were to go that route. I was just reflecting how it is a lot harder to achieve that word-of-mouth marketing in the multi-op business and, therefore, requires a significant investment in various advertising methods. I speak with many DJs who work for multi-ops, and some never speak to the couple. Some spend less than 30 minutes with them. The overwhelming majority never speak to them prior to the contract being signed. It’s hard to be word-of-mouth-based when that occurs. A business can also suffer significantly if it spends a lot of money on advertising and have one or two years of minimal return from those advertising investments, if not done

Multi-Op: Team Ambient prepares for an event.

business model. The multi-op business model is not without its perils, but can still be done very well to create personalized and memorable experiences that clients are enthusiastic to refer. I also personally enjoy having a team and the enriching experiences that are possible. Taso Dakas: Absolutely — a multiop can be successful, and there are many different models of success. Likewise, it is understandable that with a multi-op you’re expected to feed multiple DJs business and, therefore, need to generate as many leads as

properly. For example, you can advertise online all you want, spend $20,000 a year on being the top DJ on WeddingWire/Knot in different areas; but if you have a bad website or low-quality content, it’s not gonna get the phone ringing enough. Or you can spend countless dollars on bridal shows; but if your booth’s appearance is lacking or your communication skills aren’t there, the return on investment will be minimal. This is why I make a point on focusing on the customer experience – from the first call to the last song – on needing to be exceptional. That’s free!

I'LL SEE

YOU LIAN AMBER, BASSBOSS CEO

djxshow.com

CHRIS COX GRAMMY NOMINATED DJ

Continental Fave: Oliva remains one of Europe’s top underground talents.

All I Need: Oliva’s label will be more than just music.

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Today, Andrea Oliva is one of Europe’s more prominent underground DJ/producers. His often melodic, but tough-edged techno sounds have earned him nearly every opportunity a DJ can enjoy. In fact, with major slots in Ibiza (Space, Pacha, Ushuaia), a deep discography of productions (“Scream”) and remixes (Luciano’s “Rise of Angel”) on a variety of impressive labels (Cadenza, Defected, Desolat), and gigs at top festivals (Coachella, Glastonbury, Sonus), Oliva’s bio is on par with the Continent’s best electronic talents. But, like many DJs on the ascension, the Swiss-born talent wanted more. So, he recently launched All I Need, an Ibiza-focused music-label and event brand that gives him a platform for the totality of his artistic endeavors – like a fashion component that he intends to launch soon. The latest release from the label is “Transit,” a melodic nugget perfectly suited for late-night dancefloor action. To up the ante, Kevin Saunderson’s spacious remix, with its rumbling percussion, pushes the track in a bracingly more rugged direction. Even with the new venture, Oliva continues to release music on select labels. In fact, don’t sleep

By Jim Tremayne on “Alley Rave,” Oliva’s latest EP, on Patrick Topping’s Trick imprint. The title track’s a maniacally swirling, acid-tinged experience that sports a properly dirty synth-bass loop. Scintillating stuff. As the bookings for Ibiza’s 2022 season were beginning to firm up – he’ll be playing Saturdays at Ushuaia’s ANTS party – we caught up with Andrea Oliva to discuss his new label, his history and his future. DJ LIFE: Musically, what were your first influences? What made music important to you? Oliva: Carl Cox, a guy called Cosmic Baby – insane live. I started DJing when I was 12. Later in my journey, I’ve promoted parties, worked at record distribution and record stores, falling into it. Years later, I became a more international touring DJ and started to produce my own music. DJ LIFE: These days which producer/remixers do you most admire and why? Oliva: There’s so many. Kevin Saunderson of course, but then also Carl Craig, who’s incredible in the studio. I mean, I would be like a little kid, if I could just sit in the studio with him and not talk. I’d just look and learn because I think he’s really the master. But there’s so many talents. There’s a guy in Switzerland called Jimi Jules. I worked with him many times. He’s an old friend, but now he’s a musician. He managed to do house and techno in a way where he

Ibiza Fixture Andrea Oliva’s New Brand Brings Together Music, Events & Fashion

The Next Big Step can record a lot of instruments and he sings. So many to list. DJ LIFE: Can you give us rundown of your main studio gear? Oliva: I use Logic and always have. It sounds very professional, and it’s super-clean. Arrangementwise, everything is on one screen. Then all the new features on Logic are amazing. I have a lot of gear. On my new music, I work a lot with Moog Sub Phatty with my Minimoog

Voyager, I also have a Prophet 12. I have tons of plug-ins and some drum machines. For monitors, I have Genelecs. They’re very big ones, so I don’t need any subwoofer. DJ LIFE: What’s the idea behind your label, All I Need? What’s the intent and what makes it different from other electronic-leaning labels? Oliva: The whole idea was to create a brand more than just a record label. We’ve created a record label and event brand, a party brand, and then soon a fashion brand. So that’s the whole concept behind having this brand, making it my own. And then it will also be a platform for other artists, emerging artists and friends. In other words, I’ve created it like building a house, to invite everybody in there. It’s a family thing. DJ LIFE: Creatively, how did you approach “Transit”? What was your process in creating that track? Oliva: I changed my process of making tracks during the pandemic – I know that’s not the most creative thing to say. But obviously, I had so much more time to work on melodies and to work on harmonies and strings, synthesizers and more. I didn’t have a lot of time while touring to work on

this. In the past, I started with grooves and all my productions were very groove-driven. The main thing in my productions were grooves, hooks, breaks and then drops, and now it gets a little bit more melodic. DJ LIFE: So, how do you like Kevin Saunderson’s remix of “Transit”? Oliva: When I was writing the track, it did remind me of a Detroit record. It’s a melodic track, but the main part of the track is very repetitive and very loopy. So, having Kevin Saunderson remixing it was like Christmas for me, and it seemed perfect to 28

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get him on board. Having the big boss of Detroit techno was crazy because I didn’t think he would remix it. But he loved the track, and he loved the idea. He loved everything and we had a deal – so I’m super-proud of that. DJ LIFE: What makes a party like ANTS work? What components make a successful party, especially in Ibiza? Oliva: When we first started creating the idea together, we wanted to make the brand strong, and then add musical value to the brand by booking artists we like. So, being different to when you just throw a party and book the three biggest headliners just to sell tickets. So, we really had no pressure and we started in the small DJ booth at Ushuaia. One of the main things was that we also wanted to do something for workers in Ibiza. We gave free entry to workers in Ibiza, so they could enjoy the party, because tickets are very expensive there. ANTS was, of course, built on the music we play, but also wanting to give something back to the island and the workers. We opened at 12 p.m. instead of 4 or 5 p.m., so workers could come party with us until 7 p.m., and then go to work. Marketing-wise, what we did on the island for the first season, we sent out people in black costumes and people didn’t know what the hell was going on. Slowly, they realized that they belonged to us, and that it’s a brand – it’s ANTS, a colony. I think there’s a lot of factors which made the brand successful, especially in the Ibiza world, where it’s very easy to fail. It’s a constant evolution, because even once it’s a recognized brand, you still have to deliver. DJ LIFE: In the DJ booth, what gear do you use? How would you describe your style of DJing? Oliva: I have four Pioneer DJ CDJs – and it’s four of them because I like to loop a lot. Usually, I like to play maybe an a cappella loop, drum loop, and the track at the same time. I’ve always had an [Pioneer DJ] RMX-1000 with me, where you can add claps, hi-hats, drum loops, and snare rolls. I like to be busy in the DJ booth. I don’t like to play one track after the other. It’s crazy, because so many times people have said to me, “Wow, what’s that remix?” And I need to explain: I looped the vocal, and this is another drum loop I played, and then this is an original track I played on top of those loops. It’s great, and it’s a nice compliment. DJ LIFE: Which DJs do you look up to and why? Oliva: Energy-wise, it’s Carl Cox. Because at his age, even though his energy is very young, he’s so passionate about it. And having this high level of energy from start to finish, it’s unique – so… Carl Cox. Then music-wise, it depends. If I go to an afterparty and Ricardo Villalobos is six hours into a set, the next six hours are incredible – like, it’s something out of this world. Maybe the first six hours, no; but the next six hours are something out of this planet. And there are DJs I love for certain situations. At festivals, for example, I like live acts like Paul Kalkbrenner. DJ LIFE: How did you survive the lockdown? Oliva: You know, like everybody else… up and down. Overthinking, scared, but then in those situations, you also have to look at the positive things and not dwell. Having time for my friends or my family and for my girlfriend. I became a dad. There are situations with different perceptions and different views. I mean, we still are in a kind of lockdown, right? I play maybe 20-percent of the gigs I played before right now, because in Italy, Netherlands, and so many other countries, you can’t play right now. I made a lot of music and I created a brand, allgood! Then all the negative stuff, of course, was there also, like it was for everybody else. But I’m not the kind of guy who stays at home and cries. You’re angry, but what you got to do is to turn this anger in to drive. DJ LIFE: What’s next for you? Oliva: I had three All I Need releases so far. I had two of my favorite artists on the labels, being Deetron and Kevin Saunderson, and I just released “Alley Rave,” an EP on Patrick Topping’s Trick label, which is going super-strong and I’m very happy about that. Then, as we speak, we’re fixing the Ibiza dates. Slowly, you get more and more in touch with people from the industry, that you haven’t heard from in a year or two. You have people like Marco Carola asking for a date in the U.K., and us doing a show with ANTS at Printworks. Things are starting to pick up quite nicely. So, it’s reason to be very motivated for the future. I have a lot of gigs lined up, a lot of festivals coming up. Hopefully, we can play them all and then I’ll be the happiest guy on Earth.

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SOUND + DJ E-CLYPS USES THE FULL FORCE OF HIS ARTISTRY – MUSIC & PICTURES – TO MOVE THE MASSES & ADDRESS SOCIAL JUSTICE BY JIM TREMAYNE

Sometimes, versatility pays off. Case in point: DJ E-Clyps, who has successfully turned his many passions and talents into a life of art and community advocacy. Hailing from Fort Wayne, Ind., E-Clyps is equally adept at scratching classic hip-hop vinyl or mixing soulful house tracks on CDJs. And when he’s in the studio, he’s not sure what’s going to come out of “his lab.” But it’s always quality. Just check out his most recent releases on his Blacklight Music imprint, “Basement Bounce” and “Walk Away,” a pair of old-school house tracks that’ll warm up the dancefloor. And don’t sleep on some of his better lockdown-era tracks like “French Toast” and his pair of 2020 tech-house gems on Dirtybird – “Scooty Woop” and “Coffee Break.” Additionally, over the years, he’s released music on such respected dance labels as Defected, Ultra, Toolroom, King Street, and Nervous. And back on the hip-hop side, he’s also served as tour DJ for star MCs like Gucci Mane. In more recent times, he’s mixed his musical endeavors with a newfound passion for photography, which he exercised fully during the Black Lives Matter protests of the 2020 lockdown. His stark and moving images found a home in a variety of outlets, including Time and New York magazines. In line with his solid stance on social justice, E-Clyps hasn’t been afraid to call out his own music industry for its inadequacies, so he’s not one to stray from an opportunity to 30

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+ VISION discuss any number of topical subjects. Accordingly, with some solid, new releases out on the market, we thought it was a good time to catch up with DJ EClyps – to get some vital DJ and studio tips, sure, but also to better understand his sound and vision. DJ LIFE: What were your original musical influences? E-Clyps: My first influences were hip hop and a mixture of funk, jazz, and R&B. My uncle was the funk collector. My mom was all about the soul stuff. My grandma was more of the jazzier groovy stuff, and then when I found hip-hop, it changed everything. DJ LIFE: What got you into DJing in the first place? E-Clyps: Watching rap music videos and seeing a DJ scratch on records gripped me. It was instant, like, “I have to learn how to do that,” like that’s what I wanna do. From there, it was an addiction I’ve never been able to shake. It’s in your blood, like “how-do-you-not-do-this-every-day-of-your-life” kind of a thing. I love it. DJ LIFE: Was there a tune, a DJ or an experience that impacted you? E-Clyps: I used to watch the DMC battles and stuff, like… all of them. But I remember seeing a DJ live in-person at an underground party and just saw how you can change the entire mood of a person with music. People can come in having the worst day ever and leave feeling good – that’s a dope job to have. To be able to speak to people through music you love and hope they connect with it is what makes DJing different than just playing re-

cords. It’s never been like a job because I love what I do. Time flies every set because when you’re in that moment, you’re literally somewhere else – just you and the people. It’s what keeps us all doing it, even when things aren’t the greatest. You can’t see yourself doing something else. It’s just in you. DJ LIFE: Let’s get into one of your new records – “Basement Bounce.” It’s got a smooth groove, but it’s also got some cool effects along the way. What was your process in making it work? E-Clyps: I approach every record the same way… I just go in the lab and go with the flow. If anything, I don’t go in anticipating what’s going to happen, so I can be surprised myself. All I remember was playing with the keys, and once I came up with the first chord, the ideas came snowballing, and at the point you’re just a conduit to the ideas itself. But the engineer in me loves the mixing process, too, because that’s where the effects and stuff come in. The Solid State Logic UC1 [plug-in controller] really helped the mixing flow, and the Slate Digital and McDSP plugs have been my go-to for a few years now. They just work in a way where you’re focused more on the mix and less dealing with the fluff. DJ LIFE: In the studio, what else do you use? E-Clyps: For DAW, I’m Logic Pro X all the way. Some DAWs are better at certain things; but for the way I work, Logic Pro X just makes sense. Everything is laid out to do what you want and you can kick out ideas fast. As far as monitors, the Avantone CLA-10A’s have really made my mixes translate better, just because it makes you focus on what matters and not getting caught up in all the shiny new stuff. I added the new KRK S12.4 12-inch sub for playback and checking lows, but I don’t mix with it. DJ LIFE: What about hardware? E-Clyps: Vital hardware? I’d have to go with the Cranborne 500R8 interface. To mix in the box, as well as implement 500 series gear, without patching and running cables everywhere with no latency has been the tool I’ve been hunting for. Why more people aren’t raving about this interface is mind-boggling, especially if you’re looking for a way to blend analog and digital in your workflow. DJ LIFE: Which producers or remixers impress you the most? E-Clyps: I admire the greats: Dr. Dre, Stevie Wonder, Pharrell, Timbaland, etc. As far as electronic music goes, I don’t really admire many off the top because so many sound the same nowadays. There are so many loop-pack and sound-pack producers out now that even going through promos annoys me sometimes, because you’re picking the best version VOL.2 NO.1

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of a million clones. There’s some dope stuff out there, but it’s not being shown the proper respect, due to originality not being a criterion for what is dope as it once was. Originality is what used to separate the dopiness from the pack, and now it’s almost frowned upon to be too original because once something is trending, it seems like that’s what labels wants from artists now: clones. So, I guess I’d have to say I admire originality, strong drum work, and, overall, if the song is something that will last longer than news cycle or not. Making records is easy, making good ones is an art in itself. DJ LIFE: During the lockdown and beyond, did you get into live-streaming? E-Clyps: Actually, I didn’t get into streaming. Like, I wanted to for a minute, but when the pandemic started and saw everyone was doing it, I opted out because at that point I didn’t feel that was for me to do. On top of that there, were so many things going on simultaneously in the world that I felt I would be better served doing other things. If I’m going to do something, I want it to be from a genuine place, and for me live-streams weren’t it. But respect to those who really are able to do it and have a blast while doing it. DJ LIFE: How did you survive the lockdown? E-Clyps: I didn’t mind lockdown. I understood the why, and was completely content in my own space, and knowing if that’s what it took to keep others safe, then so be it. It made me more creative when I know others lost the urge to create. But also, the lockdown made me more appreciative of the stuff we tend to overlook sometimes. I had a lot of meaningful conversations with people because we then had the time to really have them and really dig deep into them. It also made me see proud how we as DJs and producers had the power to keep people motivated and inspired during such a bad time. Sure, we lost a lot of gigs, but we didn’t lose our life when so many did, and living is a blessing… so you have to embrace that and know that other people weren’t so fortunate. Many lost loved ones. It almost made you not want to look at social media sometimes because so many were dying and you never knew who was potentially next. So, for me, staying creative kept me from sliding into a dark place, I’m sure. DJ LIFE: How about when we began to gather again? E-Clyps: I started selectively playing gigs when things opened up a bit, but only gigs I knew that were taking proper protocols to keep people safe. What 2022 looks like for me gig-wise I don’t know… but I’m always going to care about the safety of everyone and not just playing out. DJ LIFE: In the DJ booth, what gear do you use? E-Clyps: My main gear in gigs are typically Pioneer CDJs and Pioneer mixers. I can play on almost anything, and I’m not afraid to try new gear out; but for most festivaland club-related gigs they’re typically the standard. So, it’s what you get accustomed to and they’re built really well, plus the layout is just always evolving. But give me a good rotary mixer and things get extra fun. DJ LIFE: How would you describe your style? E-Clyps: As far as my DJ style goes, whether it’s dance music or hip-hop sets, it’s really me trying to give people a good set with some unexpected curveballs they didn’t see coming – and that’s always the fun of it. My sets tend to hit pretty hard, and the more subs in the place, the 32

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crazier it gets. DJ LIFE: Which DJs impress you and why? E-Clyps: I admire different DJs for different reasons. Jazzy Jeff is the ultimate party rocker. Derrick Carter has some of the smoothest mixes ever. DJ Scratch and QBert are just unreal. Green Velvet is a monster on the decks. Nicole Moudaber, DJ Heather, so many to name… I admire DJs who leave it all on the decks. You can feel their sets. Their record selections are like an extension of themselves. However, they approach DJing – you can just tell they gave you a piece of themselves. DJ LIFE: It’s more than just the music… E-Clyps: Good DJs are like mad scientists on the decks because you realize the decks are your way to communicate without saying a word. It’s not about you; it’s about

the people you’re playing for. It’s one thing to say that to be politically correct and another to actually do it. You can feel the difference. Today’s DJ culture sometimes makes it about the DJ and the people the afterthought, and that’s not DJing. Real DJs understand your job is to give the people the best sets you can and leave them with a feeling that sticks with them – everything else is just ego tripping. DJ LIFE: So, in your mind, what makes a great DJ? E-Clyps: I think what makes a great DJ is their motivation for doing it in the first place. Now that DJ culture is so huge and such an accessible art from what it used to be, it’s easy to just look at it as a way to be popular, or play festivals and stuff, or just to be seen. But to be a real DJ is in your heart. You have to love this, because there are some days and moments that will try you and if you never really loved it or your motivations are right, you will tap out. A great DJ plays the same for the smallest room as they would for a stadium. A great DJ knows their records, and also learns to read the room. A great one knows it’s not all about them, but for the people. And I’d say lastly, a great DJ is always learning… you never know it all, and the pursuit of taking it to the next level is the thing that drives you to every piece of gear, every new record, every opportunity to do it, day in and day out. DJ LIFE: What are some tracks that are always in your DJ

box? E-Clyps: Me picking three tracks? Whoa… that’s tough. But always in my box? OK… Cajmere & Dajae’s “Brighter Days,” the Underground Goodies Mix – just classic. Second, Slick Rick’s “Children’s Story.” That’s one of my favorite hip-hop records ever made. A third? A whole folder full of curveballs. DJ LIFE: Tell us about your experiences as tour DJ for rappers/MCs. What were your tasks on those endeavors? E-Clyps: I was a tour DJ for Gucci Mane, as well some spot tour dates for other national artists when the situation arose. The experiences are fun as hell, but it’s also a job. So, you have to be on your A-Game. In my experience, you wore multiple hats. You checked the mics before the artist hit the stage, you communicated with the

“REAL DJS UNDERSTAND YOUR JOB IS TO GIVE THE PEOPLE THE BEST SETS YOU CAN AND LEAVE THEM WITH A FEELING THAT STICKS WITH THEM – EVERYTHING ELSE IS JUST EGO TRIPPING.” sound tech. Gucci trusted my ears to be sure everything sounded right before he got on. I also was the hype man, getting the crowd hype prior to him hitting the stage was part of it. DJ LIFE: For a DJ who wants to get into this, what are the requirements? E-Clyps: Having a stage presence of your own is a must. Knowing how to, not only DJ, but also having the ability to get on the mic and warm the crowd up is a definite plus. Understanding signal flow is a must! You’re the last line of defense between the artist and the venue, so if you can’t communicate clearly with the sound tech you’re in trouble. When something isn’t right, they look to you. DJ LIFE: What else should a DJ definitely know? E-Clyps: Also knowing their catalog like the back of your hand is important because the set list may change, depending on the city – so you have to remain flexible. Knowing how to communicate with the artist without always having to ask them things is another. No one wants a DJ that doesn’t know what they’re doing. Also, don’t be a fan – you can’t be starstruck by who you’re working with. They need you to be able to do the job, not being a groupie. DJ LIFE: Over the past couple years, your terrific photography from some of the BLM protests got significant exposure. Beyond your site, where can the public see it? How

does that side of your artistry fulfill you? E-Clyps: I started photography as a creative outlet away from music. When the thing you love becomes your job, you need another outlet to break away from it, to keep your mental health intact – and, for me, it was photos. I’ve been blessed to have my work featured in Time magazine, New York magazine, Flaunt, Adobe Lightroom, and others… and it’s weird now because I never thought anything would grab my heart the way music did – but photography has done that. It’s an extension of me now, so yeah… I’m a DJ, and a photographer working under the same name. You’d also be amazed how many of my other DJ friends have picked up cameras as well. I keep saying we should start a group to share each other’s work! DJ LIFE: We met each other a few years ago while we were both doing a project for Give A Beat, so I know that you stand strongly for social justice. Briefly, how does your artistry – the music and the photography – play into your stand for social justice? E-Clyps: To me, the point of having any form of influence is to speak for those who don’t. Music often is the soundtrack of people’s lives – we express things in ways they wish they could and that’s why certain songs resonate with them. Photography is the same way… in the cases of protest and issues that affect the Black community and people of color, or even in social injustice, many of those voices will now live beyond the brief moment in time – they’ll speak forever. To be able to use both, to me, is a blessing because I’m now able to tell stories visually and musically. DJ LIFE: So, there’s a larger calling for your artistry… E-Clyps: Some people only make music to drive their own ego. They don’t care about what the average fan may be dealing with in their own world or the difficulties they may face – and that’s a waste of influence. Some have gotten too high-minded in their exploits and forgotten about people, about connections, about being more than self. I mean, honestly… if you don’t care about them, why should they care about you? People spend their hard-earned money and resources to support what we do. Of all the tons of artists and DJs out there, they chose you… the least that one can do is show how much, not only you appreciate them, but also care that their lives are better by speaking up about things that may affect them. DJ LIFE: What’s next for you? E-Clyps: I’d like to get into doing more remixes. I love remixing. Also, to work with more mainstream and underdog artists to really experiment to make some really dope stuff. Right now, I’m just focused on progress, and always pushing myself to make great music, play great sets, and be great to others... and any opportunities that come my way to make those things happen more often: I’m here for it. I’ve worked hard to even get to this point, and I feel like I’m just getting warmed up, so always looking to take things up a notch and build on things, ya know? Also, heavily focused on doing things in the community and finding ways to inspire others to make real change happen. So much is going on right now in the world, and if I can use any influence I have to help make those changes happen, I’m here for those, too… especially when it comes to Black creatives and creatives of color. VOL.2 NO.1

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Floor Shot: Purple Disco Machine.

N E B U L A : N E W YO R K Papi Gordo: Carnage in da building.

Deep Sounds: MK in the mix.

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Dreamland: Zhu drops a beat.

New York City – Sitting smack in the middle of Manhattan’s famed Times Square district, Nebula is perhaps an unlikely place to find top-shelf tastes mixing with underground grooves. But, since the club’s opening this past fall, Nebula has done just that by booking top global-DJ talent to match its state-of-the-art light, sound and video systems. Filling out an 11,000-square-foot, dual-level room, Nebula has brought in some of the world’s best tech-house, deep house and techno DJ/producers. Recent bookings have included MK, Purple Disco Machine, CamelPhat, Damian Lazarus, Carnage, Duck Sauce and Lee Burridge. And, most recently, Diplo, who’s supporting a new, eponymous, electronic album, delivered a special Sunday-night set. (Editor’s Note: See DJ photos from Justin Katz, Arnag Baltaian, Jarrett Birnbaum and Gonzalo Cisterna.) Nebula is the result of a collaboration between New York nightlife fixture Richie Romero, a former partner at Butter Group, the outfit behind 1OAK and Up&Down, and Yang Gao, co-founder of MIXX Lifestyle Group. Musical programming is curated by Rob Toma, founder of TCE Presents, and special events are run by Erica Maurer, co-founder of EMRG Media. We recently caught up with Yang Gao to get a quick read on Nebula, New York’s newest superclub. DJ LIFE: What was the original vision for Nebula? Yang Gao: The original vision is to have an intergalactic-themed, high-end, high-tech nightclub to be in the middle of New York City. Also, at the same time, I wanted Nebula to be a breeding ground for up-and-coming DJs. DJ LIFE: In New York City, most of the DJ-driven nightlife has gone to Brooklyn, but Nebula’s in Times Square. What qualities does Nebula bring to the city’s nightlife that it didn’t already have? Yang Gao: Let’s call it Midtown! We are bringing the technology, the service and, most importantly, Nebula’s Yang Gao. the swag back to Midtown. Brooklyn is the hip, and we are the posh! DJ LIFE: Who is Nebula’s audience? How does the club best serve them? Yang Gao: Music lovers, trend setters, and high-net-worth individuals. We give them a different experience every time they come to the venue… through music, production, and service. DJ LIFE: The booking policy so far has been impressive. Some deeper-flavored acts – like Purple Disco Machine, MK, CamelPhat – have performed at the club. Yang Gao: Deeper flavoring is what we like, but we are definitely not defined by that. We try to pinpoint the market for specific days of the week and try to present the best talent for that genre. DJ LIFE: The sound, video and lighting systems get your attention right away. Tell me about what went into the house tech. Yang Gao: We have d&b audio throughout the venue – J Series PA, J Series subs, 30D amplifier. They sound clean and punchy, but not harsh throughout the frequencies. We still have tons of head room, even for the biggest craver for decibels. An Allen & Heath SQ5 mixer runs on Dante network for the front-of-house control. We have three P3.9 transparent LED walls behind the stage and six pods hanging from the ceiling. All are controlled by Resolume and EK Lighting fixtures controlled by a MA Lighting grandMA3 console. Also, Technical Arts Group, led by John Gonzalez, did the installation. DJ LIFE: What’s in the DJ booth? What makes a global DJ comfortable when playing at Nebula? Yang Gao: Depending on the DJ’s rider, we have the full Pioneer DJ set available – CDJ-2000NXS players, CDJ-3000 players, the DJM-900NXS mixer, the DJM-V10 mixer. For monitoring, we have V-Series speakers and Vi subs. We have a spiral staircase connecting the green room to the stage, so DJs don’t have to fight through the crowd to get onstage. DJ LIFE: In the end, what makes any nightclub special and lasting? Yang Gao: Customer experience, and the ability to recognize market demand and adapt quickly. – Jim Tremayne

K’S NEXT SUPERCLUB Booth Scene: Moonwalking astronaut.

Notorious: Masked Malaa mans the decks.

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Beamwork: Nebula’s lightshow.

Handstand: Dancefloor goes off.

Groovin’: Guy Gerber gets busy.

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CamelPhat: Da

Center View: DJ booth & tables.

ave Whelan & Mike Di Scala.

Duck Sauce: A-Trak & Armand Van Helden.

Heaven: Another night at Nebula.

Brit Beats: Nic Fanciulli rocks it.

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STUDIO SESSION

Terrific Tools:

NUGEN Audio's

Trifecta: Make a better mix with Focus Elements.

FOCUS ELEMENTS By Wesley Bryant-King

“FOCUS ELEMENTS ARE ALREADY PROVING THEMSELVES TO BE ESSENTIAL TOOLS IN MY MIXING ARSENAL.”

The fundamentals of mixing a music project in the studio haven’t really changed much over the years. While it involves equal doses of art and science, it’s not that much more than setting the level of each track, and its pan (where it sits in the stereo field) so that each of the tracks in the project (vocal, bass, percussion, leads, etc.) work as a cohesive whole. To be sure, there’s nearly always EQ to be dialed in, as well as effects, filters and other tricks of the trade, but that’s the gist of it. That said, it’s also one of the most time-consuming aspects of music production; one small tweak in one track can throw everything else out of whack to the point where it can become maddening. And that balance of art and science? Well, it’s just not easy, let’s put it that way. Leeds, U.K.-based Nugen Audio have a small collection of tools that can help put a few more tricks up your sleeve when things aren’t working out as well as might be. Called Focus Elements, it’s a trio of audio plug-ins, each designed to address a very specific mixing challenge in the simplest, most direct way possible. “Focus” is a great name for the trio, as that’s precisely what they provide: methods to help focus your mix. And adhering to a common naming convention, “elements” refers to the fact that these three plug-ins are simplified versions of three “big-iron” offerings of the same names that Nugen Audio has in their product line-up. While the company stripped back the feature set — and the price — what remains are powerful tools for any producer, and that I’ve found especially helpful with EDM. Let’s dig into each. Monofilter The basic goal of Monofilter is ensuring that the very low end of your mix is optimized to take maximum advantage of the available audio energy. The

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Monofilter: Optimizes your mix’s low end.

Stereoplacer: Pans stereo field by frequency range.

theory behind its operation is that low-frequency sounds are not particularly directional, so having any stereo information in that part of the frequency spectrum is not just unnecessary but can actually be detrimental to audio reproduction in the listening environment. Monofilter tweaks the low end, resulting in a more focused result that maximizes the power and impact of the track within the stereo field, and helping avoid results that sound weak or flat. Monofilter can be used on the master to correct the entire mix or can be used on individual tracks to achieve results that are otherwise difficult or impossible. One use case Nugen suggests is cleaning up the results of stereobased effects on a track by centering the low end back into place to maintain its energy. Simply dropping it in as the final step in the effects chain and tweaking the simple settings can help ensure a solid result. Monofilter includes an analyzer within the interface, so you visually see problem areas as you work to address them within the interface. Stereoplacer The Stereoplacer plug-in has a related set of capabilities, allowing you, in short, to pan in the stereo field by frequency range. Like Monofilter, it’s done within the context of visual analysis, so you can see both potential issues and the effects of your tweaks. To give you a sense of what it can do, a particularly intriguing idea Nugen suggests in the manual for Stereoplacer is panning a bassline. Bass sounds, whether a bass guitar or a synthetic equivalent, are nearly always composed of a blend of frequency components, with some truly on the bass end of the spectrum, with other elements (like the attack) closer to midrange. If you want to pan a bass track, the low end moves in the stereo field, too, weakening its impact. With Stereoplacer, you can leave the low end in the stereo center where it should be, while moving the higher frequency elements in the stereo field, positioning it where you want it without watering it down. Frequency-specific panning has a number of other interesting possibilities depending on the source material; you could, for example, take a single synth line and pan just a portion of the overall sound, for example, for an interesting feel, or to get it out of the way for other parts of the mix.

Stereoizer: Gives shine to individual tracks.

Stereoizer Of the three plug-ins included with Focus Elements, Stereoizer is perhaps the most fun – and most compelling. In short, it lets you widen the stereo field, and while you could use it on the master, it shines when dropped onto individual tracks that are getting lost in the mix. I loaded a recent project into Ableton Live as a test bed for Focus Elements. A particular synth line in the mix was certainly present in the final result, and I wasn’t unhappy with the overall sound. But when I dropped Stereoizer onto that synth track and dialed up the level while listening, I was, in short, amazed. The synth line “popped” without crowding anything else out, changing the entire character of the mix itself. My mind swam with possibilities for those times when a soloed synth sounded great, then proceeded to disappear in the context of the greater mix, no matter what I tried. The manual for Stereoizer offers a number of interesting use cases, but one I found particularly interesting is using it to create space in a mix for vocals and leads. As the manual notes, pads, guitars and other instruments can sometimes conflict, and using EQ, pan and level adjustments alone doesn’t always provide an optimal result. Stereoizer on these tracks can be used to simplify that process. One thing I would echo from the manual, and that is to take it easy with this plug-in. It can indeed be tempting to drop it into a track, max it out, and take in the incredible sounding results. But like any effect, misuse or overuse can turn a very useful tool into a disaster in the making. Conclusions Nugen Audio’s Focus Elements – $99 for the bundle of three plug-ins, $49 for each individual plug-in – provides a trio of tools that appear at first to have a very narrow mission, one perhaps with somewhat questionable value. But despite the seeming simplicity, they’re already proving themselves to be essential tools in my mixing arsenal. Providing subtle but powerful results, at an affordable price point ($99 for the bundle), I’m quite sure they’ll end-up being used on myriad projects in the years to come. If you have any questions for Wesley Bryant-King or the Studio Sessions column, please send them to If you have any questions for Wesley Bryant-King or the Studio Sessions column, please send them to djlife@hazanmediagroup.com.

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PLAYBACK Cool New Feature: Bigger, faster touchscreen.

Solid All-In-One:

PIONEER DJ's By Wesley Bryant-King For most DJs, the past couple of years have been pretty tough. But as pandemic restrictions continue to ease in most parts of the country and as the latest wave of COVID winds-down, I’m personally feeling a sense of optimism about what the remainder of 2022 might bring for us. Perhaps that’s boosted a bit as I get the chance to go hands-on with some of the newest gear to hit the market, among them Pioneer DJ’s new XDJ-RX3 all-in-one controller — a replacement for its predecessor, the XDJ-RX2. There continue to be myriad choices for DJs in terms of gear they could use to perform a set. Pioneer DJ, like its competitors, has been on a mission to continuously improve its offerings in what I call the “standalone” controller segment. Pioneer DJ prefers the term “all-in-one,” but it promises the option of DJ life without a laptop. Plug in some digital media full of tracks into the onboard USB ports, and you’re off. It’s worth pointing out

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XDJ-RX3

that most of these same controllers actually do support laptop-based DJing, for those who prefer it, and the Pioneer DJ XDJ-RX3 does exactly that, as a fullfledged Serato controller. First Impressions Pioneer DJ currently provides three offerings in this segment, from entry-level to flagship. The XDJ-RX3 fits in the middle of the line-up. The last time I played with a Pioneer DJ all-in-one, it was with what remains its flagship, four-channel model, the XDJ-XZ. While it was a nice controller, it was a bit of a beast, tipping the scales at nearly 30 pounds. The XDJ-RX3 provides many of the same capabilities, but thanks to dropping a couple of channels from the mixer, as well as some of the higher-end features, the XDJ-RX3 lands at right around 20 pounds, which makes a huge difference in terms of portability. The roughly two years between the introduction of the two models has given the company plenty of time to revisit the design. For starters, the XDJ-RX3 sports an enormous 10.1-inch touchscreen (vs. the 7-inch of both the previous XDJRX2, as well as the flagship XDJ-XZ), and Pioneer DJ has spent a lot of time improving the operation of the underlying operating system as well. The display is gorgeous, responsive and fast. (According to the company, “the song’s load time [when a track has hot cues] has been improved from about 2.5-to-5 seconds on the XZ to under a second with eight hot cues on the RX3.”) Like the company’s other all-in-ones, the XDJ-RX3 takes the majority of its ergonomic cues from Pioneer DJ’s industry-leading DJ media players and mixers. The approach is a smart one, as it reduces the learning curve considerably for experienced DJs accustomed to the company’s ubiquitous gear. The company has built in a range of ways to get your music into the system. As mentioned earlier, you can connect digital mass storage devices to the pair of USB ports, and you can connect either CDJs, vinyl turntables, or other sources into back panel. A switch in the mixer section, one for each of the two channels, lets you pick the desired input. And as mentioned previously, the

XDJ-RX3 is a full-blown Serato controller as well. As with prior Pioneer DJ all-in-ones, the onboard music analysis of the XDJ-RX3 is limited solely to BPM (tempo). There is no real-time, onboard detection of song key, and full-color waveform displays are not available. To get these benefits, you’ll need to perform offboard track analysis and prep, using the company’s rekordbox software. While I understand the value of the approach in some ways, as I’ve said before, I would have preferred a bit more onboard intelligence in the unit, with no requirement for pre-processing. Perhaps this is why Pioneer DJ opts to use the term “all-in-one” rather than “standalone” to describe the XDJ-RX3 and its siblings. Speaking of rekordbox, I’ve been a vocal critic of subscription-model software for DJs and producers, but that’s the business model that Pioneer DJ has chosen for the software. No matter how hard I try to see it any other way, monthly software subscriptions benefit only the software maker, and place an onerous financial burden on the user — often with questionable value and benefit. Pioneer DJ’s highest-end subscription is a whopping $30 per month, with tiers at $15 and $10 per month. Given the price of an XDJRX3, I would have expected better, frankly. The controller does provide a socalled “hardware unlock” for rekordbox, which provides a handful of features from the paid-subscription tiers for free. Whether these are adequate for your needs depends on your use cases; the rekordbox website has a feature comparison available to help you decide. (According to the company, “the only subscription features that are not unlocked by the RX3 are Lyric [which requires use of a computer], edit [which is again computer-centric], and lighting [which requires the RB-DMX box to function, and which unlocks Rekordbox lighting]. DVS is not supported on the controller, so even if it were unlocked it wouldn’t function. Point being, there isn’t any reason to pay unless you want to have the Dropbox functionality of our Creative and Professional plans.”)

In Use One thing I’ve always liked about the gear from Pioneer DJ is the build quality, and it appears that the XDJ-RX3 follows in that tradition. Knobs, sliders and switches all have a solid feel with little to no “play,” providing confident operation. And the unit’s jog wheels — complete with color LCD center displays, new since the XDJ-RX2 — provide accurate control. I do appreciate that the XDJ-RX3 offers a pair of microphone inputs, which I find essential during mobile gigs, in particular. Pioneer DJ has provided separate rotary level controls, and while a two-band EQ is provided for the mics as well, it’s just a single set of controls that apply to both mics, requiring that they be relatively closely matched. I alluded to this above, but one thing I’ve observed in the past with Pioneer DJ all-in-one units is that the embedded software that drives the unit has left a bit to be desired. The company has clearly invested in making improvements. The touchscreen is highly responsive, and the user interface itself feels much more modern than previous iterations, and relatively intuitive as well. You can take advantage of niceties like track previews, so you can more easily find and verify the track you want to mix into, and the unit even provides a countdown timer, which is great for live-streaming or recording sets. It’s nice to see some focus on this area of the company’s otherwise excellent all-in-ones. Now if they’d just address the scope of functionality you could tap within the unit and eliminate the requirement to use rekordbox on a computer for library management in order to get full functionality out of the controller, they’d also eliminate any basis for criticism in the process. (According to the company, “you can create playlists from your Tag List, and even set your newly created playlists to the favorites side bar under the ‘Playlist’ screen. You can also adjust your grids on-unit. So, while you need to analyze on the computer, you can do a lot of on-the-fly set preparation.) Finally, Release FX mode deserves a mention. Release FX mode provides an interesting way to spice up a set by applying any of eight different special effects with the ability to release them and return to the track without losing the beat. You can use them to emphasize or break up a section of track, or to provide a more dramatic way to transition to another one. I have to say, effects are Pioneer DJ’s “thing.” Beyond Release FX, you also get a wide array of Beat FX and Sound Color FX, both of which can be applied and controlled in various ways to provide incredible flexibility in tailoring your performance. Conclusions The Pioneer DJ XDJ-RX3 replaces the company’s XDJ-RX2 as its midrange, two-channel, all-in-one controller offering. With great build quality, improved onboard software, flexible inputs, and Serato compatibility, it’s a competent, great-sounding choice for both club and mobile use. And with a price right around the $2,000 mark, it’s going to win the hearts, minds and performances of a lot of professionals looking for their next serious DJ controller.

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MOBILE DJ PROFILE

Philly DJ Changes

STRATEGY, Reaps Rewards

By Stu Kearns Ivyland, Pa. – Never one to put all his eggs in one basket, Ross Akselrad is one mobile-entertainer/entrepreneur whose ability to compartmentalize – and change on the fly – has paid big dividends. To wit, he has divided his Philadelphia-area entertainment company into four divisions. They are: Pulse Entertainment (mitzvahs, Sweet 16s, generic parties, @pulseyourparty on socials); Pulse Wedding Entertainment (@pulseyourwedding on socials); Pulse Productions (corporate, government, A/V rental, @pulseyourproduction on socials); and Pulse Entertainment Proms and Schools (high schools, homecomings, proms, universities, campus and college events, @pulseyourprom on socials, proper website coming soon). In a related endeavor, he also owns a photography and video studio called Limelight and Tailor Studios (@limelightandtailor on socials). Additionally, he’s an industry thought leader. For example, at the 2021 DJ Expo in Atlantic City, N.J., this past August., Akselrad delivered tutorials on a pair of subjects – “Professionalism: How Mobiles Stay Ahead by Minding Their P’s & Q’s” and “Selling Your Services Virtually: Key Strategies to Increase Sales in a Socially Distant Marketplace.” The man definitely stays busy. DJ LIFE recently caught up with him to find out how he manages everything and keeps the revenue flowing. DJ LIFE: Pulse Wedding Entertainment – what’s the elevator pitch? Ross Akselrad: We are different than most companies because we offer most of the services you will need for your event under one roof. We are a true one-stop-shop for anything you need – except food and flowers. We can bundle your services together to custom-create a 42

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package and save you money. We call it our version of the Comcast Triple Play Bundle. DJ LIFE: What’s the advantage of bundling? Akselrad: The major advantage to bundling your services with us is that you have one vendor to follow up with and that our experience is so smooth with all of my staff being familiar with each other’s needs. Another value add we tell clients that we offer is the ability to personalize their wedding, not just customize it. Personalizing an event is a process in which we truly get to know our clients better so we can cater to their specific needs better. DJ LIFE: How does that work? Akselrad: For example, we always send two people to every wedding we do – an MC and DJ. The DJ focuses on the music playlist, while the MC manages the day’s events for you. They coordinate with the other vendors, facilitate your formalities, and help you to set the atmosphere to your wedding by how they interact with you and your guests. They can create a more formal event or a more wild-and-crazy event by how they interact with you and your guests, which brings you closer to the picture you have in your head for the event. DJ LIFE: How long has the company been around and why did you start it? Akselrad: I opened Pulse Entertainment in 1994 when I was 16-years old. Since I was 11, I had been working for a DJ that was my camp counselor. He taught me beat-mixing, MCing, and how events should be run, and I worked almost every weekend with him for close to five years. Unfortunately, I had told him that I could not work on the night of my prom, but he booked me a bar mitzvah anyway. When I told him I couldn’t do it, he told me to choose the dance or my job. I discussed it with my parents because I really loved DJing and wanted to continue to do it. They supported me and offered to buy my first set of DJ equipment and to help me run some ads to try to get business and start my own company. So, I quit working for the other guy and started Pulse Entertainment as a two-person team with me as the MC and my brother as the DJ. My mom and dad had to drive me to my first few gigs until I got my license, but from there we were off and running. DJ LIFE: I see you’ve incorporated streaming services. Seems like a COVID-era thing that makes sense to keep around – true? Akselrad: Yes, we are keeping it around. My corporate division and video division had been doing live-streaming for corporate events since 2012. They were few and far between because most events had in-person attendees, but occasionally we were live-streaming to other corporate offices around the globe. Once the pandemic started, we brainstormed how we could continue to provide services to clients and stay in business. We initially focused on mitzvah and wedding ceremonies and reached out to our existing clients to move their entertainment services to a streaming package, and about half of them did. All of a sudden, we were slammed with ceremonies and, in three months, did over 100 of them. Shortly after, we started getting calls from schools, non-profits and corporations to stream graduations, fundraisers, and training meetings. It really blew up at that point

and, since July of 2020, we have live-streamed over 400 events, helped charities raise millions of dollars and help people move their businesses and events forward. DJ LIFE: In your opinion, what’s the future of live-streaming? Akselrad: Looking at the future, live-streaming is here to stay, as right now we are seeing a lot of hybrid corporate events with a handful of people in person and the rest watching from home around the world. We also have many churches and synagogues that we are working with for holiday services that will continue in a hybrid capacity. Having the ability to live-stream has brought another revenue stream into my business and one that is helping to grow my overall business immensely. DJ LIFE: What gear to you generally carry to gigs? Akselrad: A Pioneer DJ DDJ-800 controller, Virtual DJ software, two Electro-Voice EKX-15P self-powered speakers, Sennheiser Evolution G4 microphones – handheld and wireless, Mackie 1202VLZ3 mixer, American DJ Façade, Ultimate Support speaker stands, Gator speaker pole scrims, two American DJ 4-foot truss with bases and top plates for our Chauvet Intimidator 355 IRC Lights, and an American DJ 3.0 lighting controller. DJ LIFE: You’ve got a robust website – tell me about the web strategy. Akselrad: Make that websites. Jordan St. Jacques from Digitera has helped me with the web strategy, SEO, and other digital marketing. But it started with a specific marketing plan I came up with about five years ago. Up until five years ago, I had one website for all my services, but I noticed people really trying to haggle me for pricing. I chatted with a few friends in the industry and came to the conclusion that when people come to my website, they see everything we do and think we don’t specialize in their specific event, so they think they can haggle the price or even just pay less since we don’t do their event all the time. The wedding clients would see mitzvah photos, corporate clients would see wedding photos, mitzvah clients would see wedding photos and info, and overall I don’t think we were taken as seriously. DJ LIFE: What changed?

Akselrad: For example, five years ago, we were charging $1,295 for a basic wedding – four hours – and people didn’t even want to pay for that. They would always say, “Can you do it for $1,000?” So, it was very hard to book at a decent “I came up rate. I came up with the idea to break out with the idea our primary services into separate websites Chris & Crew: The “DJ Alive” combo. and separate categories, which is why we to break out have a wedding, mitzvah, corporate, photo our primary and video, and a school website coming soon. Now people go to the website that just services into shows the events they are having and nothseparate ing else, and so they believe we just specialize in that only. This has paid off so much for websites and us. Since we have done this, we have been separate able to increase our prices between 50- and categories… 60-percent, and are even busier than before. That equates to more events at a higher dolSince we lar value, which means more money for my have done team and the business. By the way, we now charge $1,995 for that same basic wedding this, we’ve package. been able to DJ LIFE: You’ve also got an LGBTQ button on your website – has that connection to the increase our community been good for business? prices beAkselrad: This has been great to us. For 30 years, we have always performed at LGBTQ tween 50- and events, but as you know it has changed over 60-percent.” the years. We proudly advertise and market to the LGBTQ community and we employ quite a – Ross Akselrad few LGBTQ staff. It has set us apart from other companies that either don’t service them or are not as sensitive to the LGBTQ community and how their events differ from traditional events. Each year, we are booking more and more LGBTQ events and I personally am on two committees within my network that are specific to the LGBTQ community and how we can help them, not only with their events, but with their community goals as well. DJ LIFE: Sounds like a mutually beneficial connection. Akselrad: We look forward to increasing our business in the LGBTQ community and have a goal to triple our events within the next five years. We also have actually obtained 10 domain names with the extension .gay that Jordan from Digitera is helping me create micro websites for that can drive people from the LGBTQ community to our other sites, so we can help them from there as well.

DJ BUSINESS By Stu Kearns Among some DJs there’s a sense of resentment towards wedding photographers. They don’t always play as a team, it’s alleged, and it recently prompted DJ Mike Bacon of Ambient DJs in East Windsor, N.J., to start an online conversation. “Wedding photographers – not all – will take every possible measure to make sure I’m not in the background of any pictures,” he wrote, “or arrange

How DJs Resolve Conflicts with

WEDDING Photographers

any photos with me and the married couple, but also clutter their equipment in front of my booth, set up lighting that could light Yankee Stadium on the dancefloor and plug and attach their recording equipment onto my gear without asking. This doesn’t apply to the great ones; but if you feel attacked, it’s time to rethink your strategies. “Some wedding photographers think I’m throwing shade, but I did mention that there are plenty of great ones out there and my message wasn’t targeted at everyone. That being said, some of you photographers may have thought ‘What do DJs do for us?’ “I’ll hold out an olive branch: here are some things I try to do at every wedding to help improve the photographer’s experience: “1) I usually ask the photographer off the bat if there are any special shots they need me to help set up throughout the day. I typically get a ‘No, but thanks for asking.’ In the case of big group shots, I usually have to 44

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announce and encourage all of the guests to join in on the big family and friends photo. “2) I make sure the photographer is in the room and/or ready for the big moments. Things move pretty fast sometimes at weddings. Occasionally, photographers have to step out for XYZ or change a lens, etc. I’d rather not catch them off guard with something happening that they’re not fully prepared for in that exact moment. “3) Similar to No. 2, I’ve literally stopped what I was doing to notify a photographer that something important was taking place. At a recent wedding, all of the vendors had their meals in another room separate from the ballroom. I scarfed my food down, so I could mix dinner music live. The photographers took their time because they have a much longer day than I do. During dinner, the groom and his grandmother shared a dance on an otherwise empty dancefloor. This wasn’t on the planner. It wasn’t scheduled. It happened organically. Knowing this was a special moment, I ran down the hall and told the photographer crew that the groom and grandmom are dancing, someone should probably get that shot. One of the three photographers grabbed their camera and got to the ballroom in time to capture the dance. She was appreciative that I alerted her. “I’m in the trenches with the photographers, I look at this as a big, team effort even, if we don’t come from the same company. That’s just how I am. I just had to point out some things that I’d love to change. The great camera people are ahead of the game; some, unfortunately, aren’t.” Christy Geller, a photographer in Ewing, N.J., replied in the affirmative. “Mike, so nice you do these things. I am sure the couples are grateful, too. If one vendor falls short, it casts a shadow on everyone. I usually take timeline cues from

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the DJ. Our philosophy has always been to leave after bouquet/garter toss. We usually ask DJs not to do that too late. We don’t do too many weddings. We only do it if we think the experience will be a good one, so we’re not under as much strain as some of these photogs doing two or three a weekend. I don’t know how they do it.” Two other DJs chimed in with how they deal with photographers. DJ Eric Griggs of 3rd Alarm Entertainment in Trenton, N.J., said this: “I always have duplicate copies of timelines that I give to the photographers and whoever else needs them. Most are very appreciative and others shove it in their pocket and laugh saying we’ll never stick to it. In the end, the DJ and the catering staff pretty much have control over things. “Keeping everyone in the loop is imperative, even if some don’t think that way. I have even gone as far as to re-do a bouquet toss because the photographer decided to try and get shots standing behind me and I stepped into the shot. It’s all about adapt and overcome!” Chris Atwood of SCE Event Group in Edison, N.J. piped in as well. “Prior to intros, I ask photographers what time they are leaving,” he wrote. “At this time, I also remind them how much they hate when we do things without notifying them — the same goes for them taking the bride and groom out of the room without notifying us. “If they are planning any sparkler shots, nighttime shots, I say let’s try to coordinate that so they don’t miss too much of a packed dancefloor. “No hate, though, because I know they deal with DJs all the time not giving that same respect.”

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GEAR

REV-OLUTION IN THE AIR

IN THE ACTIVE COLUMN American Audio has released the APX CS8 column PA system with Bluetooth True Wireless Stereo, which can be used for venues or mobile applicat i o n s . Comprised of an active subwoofer enclosure with an 8-inch driver, a column speaker with four 2.5-inch neodymium drivers, and two column spacers, the APX CS8 is a versatile AC powered PA. The column speaker can be connected directly to the sub, creating a compact full-range setup, which measures 36.1 inches from the ground. Alternatively, one or both of the spacers can be used to lift up the top of the column speaker to a height of 54.6 inches or 73.1 inches, respectively. Also, a built-in 3-channel mixer with eight input connections, is housed within a panel on the back of the sub. American Audio/ADJ Products 6122 S. Eastern Ave. Los Angeles, CA 90040 (323) 582-2650 www.adj.com

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Pioneer DJ has introduced the first addition to its new line of controllers – the DDJREV7 controller for Serato DJ Pro. A solution for open-format and scratch DJs, the DDJREV7 emulates a professional DJM-S mixer and PLX turntable setup. For the first time ever on a Pioneer DJ controller, the tempo sliders sit horizontally on the top of the deck sections to mirror PLX turntables in a battle configuration, while the Performance Pads and Lever FX paddles sit in the mixer section to parallel the DJM-S Series mixer design. Key features include: plug-and-play compatibility with Serato DJ Pro; brand-new motorized, vinylized, 7-inch jog wheel for record-like feel; a 3.5-inch LCD display on each jog wheel, which includes Waveform Mode,Virtual Deck Mode, Artwork Display and DJ Logo Display; four original scratch samples to trigger; advanced audio design; Magvel Fader Pro; and 22 built-in beat FX. Pioneer DJ Americas 2050 W 190th St #109 Torrance, CA 90504 (424) 488-0480 www.pioneerdj.com

ON THE DARKSIDE G-Sonique has released DarkPsy FX466, a VST/AU plug-in designed for Darkpsy/Forest/Psycore music production and can be used in various genres of psytrance from full-on to dark prog. It can also be used in film music, video-game music, dark ambient, drum-n-bass intros, experimental, dark techno and more. All instruments/sounds can be additionally modified with LFO modulating volume/expression, panning, pitch, amplitude envelope – attack, decay, sustain, release, pan, space, you can choose glide (+ glide time), mono, legato or polyphonic modes, load additional bonus instruments etc. You can layer two or more instruments together to create new kind of sounds and use various external G-Sonique VST effects to modify the sound to brand new level. G-Sonique Digital Instruments Holubyho str. 921 01 Piestany Slovakia www.g-sonique.com

GEAR FRUITY LOOPS Image-Line Software has released FL Studio 20.9, which delivers new features to enhance your workload – new effects, multiple Playlist Track selection, redesigned Audio Recording and fearless editing with undo everything. New features include: Pitch Shifter Effect; Vintage Chorus Effect; and Sampler Channel & Audio Clips Instrument. Revived and updated features include SoundFont Player 64 Bit; NewTone Editor; Patcher Tool; and FLEX dump-to-score feature. Image Line NV Franklin Rooseveltlaan 348 D B-9000 Gent Belgium 32 9 281 15 33 www.image-line.com

I HAVE A STREAM Mackie has released the M•Caster Live Portable livestreaming mixer. A portable option for social streamers, gamers, podcasters, and DJs alike, the M•Caster Live includes a powerful software bundle from Accusonus, including a perpetual license of its ERA Voice Leveler and De-Esser plug-ins, and a three-month All Access Suite subscription, which gives users tools for audio repair, voice optimization, plus thousands of royalty-free sound effects and background music. Along with this new launch comes a line of accessories to amplify creator content – the mRing Line of ring lights and CreatorSling Streamer accessories. Mackie 16220 Wood-Red Road NE Woodinville, WA 98072 (425) 892-6500 www.loudtechinc.com

GLORY, GLORY The Glorious Mix Station 2, distributed Stateside by American Music & Sound, transforms every living room into an affordable, professional DJ booth. The convenient workstation design offers space for two turntables or CD/media players and a mixer – up to a width of 14 inches – or a DJ controller with laptop. With its anti-vibration design, the Mix Station 2 is especially sturdy, making it perfectly suited for any DJ application. The ergonomic height is ideal for mixing and smart outlets offer easy cable management. Thanks to an easy assembly, in just a few steps the DJ table is ready for use. The Mix Station 2 is made of solid particle board with a black finish and perfectly matches the Glorious Modular Mix and Vinyl Storage furniture series. Glorious/American Music & Sound 925 Broadbeck Dr. #220 Newbury Park, CA 91320 (800) 431-2609 www.americanmusicandsound.com

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GEAR KILL THE NOISE Shure has introduced the AONIC 40 wireless noise-cancelling headphones, which meet the needs of on-the-go music lovers, commuters and travel enthusiasts. Crafted from premium materials and precisionengineered, the AONIC 40 was designed for long-wearing comfort and durability. Listeners can block out the world with adjustable noise cancellation or activate Environment Mode with the click of a button to hear the outside world without missing a beat. Also featuring up to 25 hours of battery life, premium call quality, and customizable EQ, the AONIC 40 combines portable and elegant design with industryleading Shure audio. Available in two colors (white/tan and black.) Shure Inc. 5800 West Touhy Avenue Niles, IL 60714 (847) 600-2000 www.shure.com

ARE YOU EXPERIENCED? Looking for a must-have item for the next music festival? Loop Experience earplugs fit the bill. According to the company, these unique earplugs reduce noise by 20 dB by combining an acoustic channel and filter for natural sound. This allows festival-goers to comfortably keep their hearing in check without causing their ears to ring, risking long-term damage. Each set comes with several eartips made in soft silicone for ultimate comfort. Loop Experience earplugs come in a variety of colors – Midnight Black, Swinging Silver, Glorious Gold and Rose Gold – to match any festival’s theme. Loop Earplugs Posthofbrug 6-8 PB Antwerpen, Belgium 32 3472881203 www.loopearplugs.com

COVER ME Decksaver, distributed stateside by Mixware, has launched 28 new Decksaver covers for a wide range of DJ, music, and lighting gear. The range includes lids for popular DJ-related items like the Pioneer DJ XDJRX3, the Numark Mixstream Pro, the Denon DJ LC6000 PRIME. New lids for studio products include units from TASCAM, SSL, and RME. For synth owners, new covers are available for units from Behringer, MonoPoly and Eurorack Go. Mixware LLC 11070 Fleetwood St., Unit F Sun Valley, CA 91352 (818) 578-4030 www.mixware.net

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GEAR DMX CONTROL The ADJ Lighting WMX1, powered by Wolfmix, is a standalone lighting control system designed with the performer in mind. Featuring a 4.3-inch color touchscreen display and 37 backlit silicone buttons, it allows intuitive hands-on control of a DMX lighting set-up. It feature a toolbox of FX modules and eight independent fixture groups which allow for the simple creation of high-impact light shows on the fly without a computer. Ideal for mobile entertainers, as well as bars, clubs, and other entertainment venues, this compact, but powerful controller puts creative lighting control at any user’s fingertips. ADJ Products 6122 S. Eastern Ave. Los Angeles, CA 90040 (323) 582-2650 www.adj.com

JUNIOR SAMPLES Waves Audio is now shipping the free COSMOS A.I.-Powered Sample Finder. Included in the Waves CR8 Creative Sampler, COSMOS solves sample-collection issues – i.e., misplaced or misnamed samples in disorganized folders – by bringing all the one-shots and loops on a hard drive into one easy-to-search place. It uses advanced Waves Neural Networks technology to analyze, auto-tag and sort an entire collection of samples into one unified database. No matter where you placed your samples, or how the files are named, COSMOS will find them. Compatible with all WAV, AIF, OGG and FLAC files, COSMOS also includes over 2,500 free samples. Waves Audio 2800 Merchants Dr. Knoxville, TN 37912 (865) 909-9200 www.waves.com

PORTABLE PA Galaxy Audio has introduced the Traveler TQ8X portable, rechargeable PA system. Perfect for a variety of applications, including mobile events, the 150-watt TQ8X features onboard mixing, 3-band EQ, Bluetooth media player, extended battery life and 16-channel selectable UHF wireless microphone option. The TQ8X has an 8-inch woofer with a wide-dispersion HF horn with a 1-inch compression driver and two wired mic/ line inputs. Complete with a carrying handle, the active system may be ACpowered or operated from its internal battery for up to 24 hours of continuous use. Galaxy Audio P.O. Box 16285 Wichita, KS 67216 (316) 263-2852 www.galaxyaudio.com

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“BASS ARITHMETIC” EP ILLexxandra + DJ Shakey Producer Dojo A truly fun and funky bit of business from this Brooklyn duo. With deliberate, headbobbing breaks and a warped synth bassline – imagine Bernie Worrell downing some very spiked punch – “Nutty Queen,” “Bubble Rap” and especially the groove-laden title track kick up a big froth. Psychedelic calliope track “Mushrooms on Parade” and its instrumental mix dump you in the middle of a faux Willy Wonka soundtrack. Tasty. – Jim Tremayne

“YOUR TONGUE” HoneyLuv Insomniac This hooky tech-house track delivers a sassy vocal with a “Bust a Move” vibe. Pumpin’, primed for the dancefloor and stone-cold catchy. – Jim Tremayne

“5 DOLLARS” LA$$A feat. Isabel Usher Universal Music Flexing the omnipresent Robin S hook, this snappy track fires off in a poppy house direction and pushes a uniquely husky female vocal from Usher. Hook-filled and fat drops aplenty, of course. – Jim Tremayne

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LA$$A

Miguel Migs

HoneyLuv

“VELA” Drega feat. Maline Aura Sondela An intoxicating Afro-influenced house track from South Africa’s Drega. With Aura’s sweet vocals out front, the percussive groove matches perfectly with the soulful melody to create an irresistibly hypnotic result. For maximum dancefloor effect, check the “Extended Mix.” – Tommy D Funk

ILLexxandra + DJ Shakey

TRACKS

“PROMISES” (REMIXES) Miguel Migs feat. Lisa Shaw Soulfuric Deep The “Antenna! Remix” sports an ’80s synth-pop groove with Shaw’s rich vocals up front – tasty. “Girls of the Internet Remix” dives deeper with its undulating groove, but also drops a snaky guitar line and some warm keys for extra effect. The smooth “Migs Piano Love Vocal” gets bumpin’ for some sleek lounge-house flavor. – Tommy D Funk

“SUPERNATURAL” (REMIXES) Funk Cartel & Ultra Naté Skint Tight remix package. Highlights include the smooth, extended mix, which never stops bumpin’. But also check out the storming “GotSome Extended Mix,” which delivered plenty of sass. And if you’re looking for maximum funk, go with the “John J-C Carr Extended Remix.” Solid. Also, from the DJ-only promos, the disco-infused “Freemasons Remix” and the Moroder-ish “Black Stereo Faith Mix” (from Quentin Harris) keep the party going. – Jim Tremayne

“F WITH ME” DESTRUCTO feat. Chromeo & Tima Dee All My Friends A naughty, percolating, deep, electronic-funk track from the West Coast vet Gary Richards. Hard not to get your groove on to this collab – it throbs with a thick rhythm that recalls the Zapp Band. – Jim Tremayne

“IT’S A GROOVE THANG” Mike Dunn Big Love Longstanding Chicago talent Dunn once again delivers with his signature flair – spoken-word toasts over a strippeddown groove that will work a dancefloor. With a hint of hip-hop texture, this bouncy house track will definitely make you move. – Tommy D Funk

Mike Dunn

Ferreck Dawn

DESTRUCTO

“SAUCE” (REMIXES) Dave & Sam Classic Music Company Two dope Manoo remixes spice up this hot cut from the duo’s 2021 album, No Shade. His “Buzzin Vocal Mix” plays up Dave’s topical on-mic musings; meanwhile, the “Buzzin Dub” keeps the rugged groove burning. And there are great elements throughout – live keys, wafty synths and insistent beats. – Tommy D Funk

Ultra Naté

TRACKS

“BACK TOMORROW” (REMIX) Ferreck Dawn & Jen Cooke Defected Check this one out – LP Giobbi’s remix takes an already uplifting house record to a new level. Filtered vocals and classic piano sounds mix wonderfully with a raw percussive track – truly scintillating. – Tommy D Funk

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NOW! Listen the DJ Life National Dance/Crossover Chart on SPOTIFY! LISTEN NOW!

Compiled As February 28, 2022

TRACKS…MIXES…COMPILATIONS

C LU B P L AY C H A R T

NATIONAL CROSSOVER POOL CHART

NATIONAL LATIN DANCE POOL CHART

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Neiked / Mae Muller / Polo G Better Days A-Craze F/ Cherish Do It To It Adele Easy On Me Alesso & Katy Perry When I’m Gone Pitbull F/ Anthony Watts I Feel Good Elton John F/ Dua Lipa Cold Heart Allegra If You Wanna Love Me Ed Sheeran Shivers Swedish House Mafia / The Weeknd Moth To A Flame Tiesto & Ava Max The Motto Joel Corry & Mabel I Wish Latto Big Energy Doja Cat Need To Know Chloe Have Mercy Reba Mcentire The Night The Lights Diana Ross If The World Just Danced Justin Bieber Ghost Gayle abcdefu Farruko Pepas Bruno Mars / A Paak / Silk Sonic Smokin’ Out The Window Enrique Iglesias Me Pase Post Malone & The Weeknd One Right Now Lil Nas X & Jack Harlow Industry Baby Steve Aoki & Armin van Buuren Music Means Love Forever Billie Eilish Happier Than Ever The Weeknd Sacrifice Jennifer Lopez On My Way Nik:11 Pillow Talk Telykast F/ Sam Gray Unbreakable KC & The Sunshine Band Romantica Charli XCX. / Christina And Queens New Shapes Bradley Gentx &Eric Kupper Words Are War Lil Nas X That’s What I Want Oliver Tree Life Goes On Anabel Englund Midnight Rapture Adele Oh My God The Weekend 88 Rising & Bibi Audien F/ Cate Downey Wish It Was You Andrew Rayel & Takis F/ Zagata Closer Jam & Lewis & Mariah Carey Somewhat Loved

Most Added Tracks 1 2 3 4 5 6 7 8 9 10

The Weeknd Adele Peru Oliver Heldens/Anabel England Navos & Harlee Doja Cat Charlie Puth Georgie Porgie Alesso Ashley Paul

Capitol Thrive Columbia 010:22 PM Mr. 305 Universal Radikal Atlantic Republic Black Hole Atlantic RCA RCA Columbia Universal Decca Def Jam Atlantic Orchard Atlantic Sony Republic Columbia Armada Interscope Republic Sony Underground Casablanca TK / Epic Atlantic Dubtrap Columbia Atlantic Ultra Columbia 88 Rising Armada Armada Music BMG

Sacrifice Oh My God Fireboy DML f Ed Sheeran Déjà vu You & I Woman Light Switch Life Goes On Somebody To Use When Boys Cry

Republic Columbia Empire OH2 Casablanca RCA Atlantic Iamhouse-Mpg Def Jam Dauman

REPORTERS

Gary Canavo

Masspool

Saugus,MA

Blake Eckelbarger

Dj Stickyboots

Syndicated

The Dance Environment

Los Angeles, CA

Manny Esparza

Nexus Radio

Chicago,IL

Howard HK Kessler

In The Mix With HK

Minneapolis,MN

Peter K. Productions

Peter K

Syndicated

Miss Joy

TAO Group

Las Vegas, NV

Steve Tsepelis

Pacific Coast DJs

Long Beach,CA

Brian Stephens

Mixxmasters

Lithonia,GA

Chris Egner

Victors

Milwaukee, WI

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Valentina La Fuga Rauw Alejandro Daddy Yankee Sergio Vargas Maluma Elvis Martinez Y Prince Royce Judy Santos Eix x Chimbala x Kiko El Crazy Natti & Becky G Choco Orta Sebastian Yatra El Jefferey Mambo Flow Van Lester Luisito Ayala y Puertorican Power Anuel AA Domenic Marte Karol G Marc Anthony

LYNFO Te Digo Adios (Bye Bye Ciao) Dile a El El Pony Es Merengue Algun Problema Rumba Veterana No Puedo Desacatao Ram Pam Pam La Voz Del Pueblo Tacones Rojos A Mi Manera Millonario Ya No Queda Nada La Pata Suelta Dictadura Toma Mi Mano Bichota Pa’lla Voy

Reversed Tornado Slammin’ Duars El Cartel/Universal JN Sony Joch Ent Recognize The Talent Duars Ent. Pina Music CO Prod. Universal Volanta JN Cuquita JN Real Hasta La Muerte Direct Balance UMLE Sony

Most Added Tracks 1 2 3 4 5

Don Omar Molella & Biagio D’Anelli feat Peralta Alex Matos Rauw Alejandro y Chencho Corleone Mariah Angelique

Sincero Loco Por Ti El Borracho Desesperado Toxica

Unisono/Saban Radikal AJD Duars Universal

REPORTING LATIN POOLS n n n n n n

Latinos Unidos Record Pool Salsamania Latin Record Pool Lobo/Bass Record Pool North East Record Pool Mixx Hitts Record Pool Ritmo Camacho Record Pool

n n n n n n

Ritmo Internacional Record pool DJ Latinos Record Pool MassPool Record Pool Latino Latin Beat Chicago Record Pool All In Music Pool

ATTENTION DJ LIFE READERS: DJ Life is currently looking for DJs that are interested in reporting to the DJ National Dance/Crossover chart and the DJ Times National Urban Dance chart. Reporterships are open to Record Pools and individual DJs. For more information contact: Dan Miller, dmiller@hazanmediagroup.com

DJ LIFE MAG, Vol.2 No.1 Featuring Nicole Moudaber

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