Atlantic City, N.J. – Continuing its focus on community, DJX energized its industry once again this past August with the Largest Gathering of DJs in the Americas. Held this past Aug. 8-11 at the Hard Rock Hotel & Casino on Atlantic City’s famous Boardwalk, DJX – a trade show/exhibition now in its 33rd year – presented another winning combo of technology exhibits, educational seminars, and sponsored parties.
Produced by DJ LIFE mag and its publisher Hazan Media Group, DJX filled the Hard Rock’s Mark Etess Arena with a deep roster of brands and provided a more experiential offering than past shows with a focus on developing and deepening rela tionships. For DJX’22, badge-holders (exhibitors, mobile/club DJs, remixer/producers, streamers and upstart/bedroom jocks) saw a 19-percent increase from the 2021 show. With its 36th show since 1990, DJX remains the DJ industry’s longest-running and most-impactful trade show/exhibition.
The Show: DJX delivered a deep slate of exhibits, demo rooms, seminars, and parties. The show enjoyed participa tion from exhibitor/sponsors like Pioneer DJ, Bose, Chauvet DJ, Technics, Beatsource, SMPL, cue Platform, Mixware, RCF USA, Silent Sound System, DAS Audio, INNOFADER, BassBoss, 12inchSkinz, Reloop, ProX, Hercules, Jetpack, Glowtronics, DMC USA, Custom Litt and Ortofon, among many others.
Education: In addition to a schedule of 38 topical seminars benefitting mobile, club, streaming, and studio jocks, DJX presented special keynotes from a pair of industry notables. To a packed house, DJ HAPA (aka “The DJ Coach”) detailed his rich career in the performance and technology spaces, and he also doled out valuable advice to vets and upstarts alike. The following day, trance titan Markus Schulz – the only jock voted “America’s Best DJ” thrice – gave insight to his rise through the ranks and offered tips to DJs of all stripes.
After Dark: DJX’s elevated After Dark parties livened up ven ues up and down the Boardwalk, including a rousing openingnight party at HQ2 at Ocean Casino Resort – working with the Lucy The Elephant festival, DJX presented global fave Markus Schulz. Tuesday night saw a pair of hoppin’ parties – Sunset Silent Disco presented by Silent Sound System at the Steel Pier and “Twisted Tuesday” with DJ Craze presented by DAS Audio at The Beach Bar at Hard Rock. Wednesday night wrapped up the evening entertainment
with two more events. At Boogie Nights in The Tropicana, the mobile-centric “Turning the Millennium” party celebrated the music of yesteryear. Then, later at DAER nightclub in the Hard Rock, the “Friends of DJX” party, presented by INNOFADER, brought a cavalcade of DJs, including DJ Throdown, Keith Shocklee, and As One, and delivered a slew of giveaways to attendees from a variety of brands.
The Winners: On Aug. 11, Bruce Sabb of Manhattan’s Wizards on Wax won the Ultimate DJ Giveaway. The winning system included products from the following exhibitor/spon sors: Bose (L1 Pro8 portable PA system with gig bag); JetPack (a Beatsource Death Row Records Limited Edition Back pack); JMAZ Lighting (Versa Flex Bar lighting FX bar); Ortofon (two Concorde MK2 Club phono cartridges and a Digibag DJ Backpack); Pioneer DJ (two PLX-1000 direct-drive turn tables, a DJM-S7 scratch mixer, two VM-70 active monitors, and HDJ-X7-K headphones); RCF (two AYRA 5 studio moni tors); Resynate (gift bag of cannabis products); and Salt Spa Breathe (gift card for Hangover IV Drips).
Also, on Aug. 10, DJX set a new world record for the longest DJ carousel. Led off by DJ Blake, 181 consecutive DJs spun at least four bars on a set of DJ decks. The previous record was 147 participants.
The response to the show from exhibitors was effusive.
“The BASSBOSS team had a blast at this year’s DJX!” said BASSBOSS CEO Lian Amber. “From the insightful seminars to the booming after-parties, this show stood out as one of the most memorable years ever. A new focus on inclusion and diversity made the show feel even more welcoming and we met many first-time attendees who were engaged and impressed with all the show had to offer.”
DJX attendees concurred: “DJX ’22 was an incredible week!” said Mike Walter of Elite Entertainment in Tinton Falls, N.J. “I came home with so many new business strategies that I can implement immediately to make my company stron ger and more profitable. Plus, the networking was amazing. I can’t wait ’til next year!”
Produced by DJ LIFE and Hazan Media Group, DJX will return to the Hard Rock Hotel & Casino, August 7-10, 2023. For the latest info, please visit www.djxshow.com
For more on DJX ’22, Please visit Pg. 8 and Pgs. 20-24.
By DJX Photographers
FROM
I remember nearly a decade ago, during an America’s Best DJ closing party in Las Vegas, our club promoter was good enough to have Seven Lions open for that year’s winner, Kaskade. Seven Lions (aka Jeff Montalvo) played an energetic set of melodicdubstep tunes that a handful fully appreciated, but unfortunately found a relatively indifferent crowd. Everyone came to the club, it seemed, for the headliner and was mostly still filing into the room during Seven Lions’ set.
After he finished, I went up to Montalvo to tell him how I enjoyed his set and thank him for his efforts, but I could see that he was a bit confused and upset by the whole experience. The finicky Vegas club scene, it seemed, wasn’t for him. That night, I fully understood – he’s right. Vegas can be downright weird to a DJ, especially if you’re not dropping familiar bombs left and right. Nonetheless, I was impressed by his dedication, and I thought, “Keep an eye on that guy. He could’ve mailed in this gig, but he didn’t. He played his heart out.”
Well, cut to the next scene and Seven Lions is on top of the world, relatively speaking. He’s headlining almost every festival, his imprint (Ophelia Records) is going great guns, and 10 years into his career making music, he’s finally releasing his debut full-length, Beyond the Veil. Our Brian Bonavoglia caught up with Seven Lions to help bask in the glow. Congrats Jeff, you deserve it.
We also visit with Israeli psy-trancers Infected Mushroom and help celebrate their 25th anniversary of making music. We go into the studio with Swedish Nu Disco DJ/producer Tobtok, who details his creative process. We also connect with Belgian multi-genre DJ Lefto, who might be the most unpredictable DJ I’ve ever heard.
In our review departments… with hearing protection in mind, Denver’s Wesley BryantKing offers an IEM/earplug deep dive in Studio Session, as he reviews ASI Audio’s 3DME G2 in-ear monitor system and takes a quick look at Minuendo’s lossless earplugs. For the Playback column, Chicago’s Reed Dailey finally gets his hands on Pioneer DJ’s DDJREV7 controller for battle and open-format jocks. As he’ll tell you, it was worth the wait.
As is our Labor Day Weekend ritual, we visited NYC’s Randall’s Island for Electric Zoo 3.0, a massive festival that drew more than 100,000 fans to see a diverse set of headlin ers, including Carl Cox, Diplo, Armin van Buuren, Jauz and more. In Festival Spotlight, we show you what it all looked like.
In our mobile sections… our Mobile DJ Profile focuses on Long Island jock Jimmy Strange and we find out why he’s in such demand. Also, in DJ Business, Joshua Lask explains how location-based marketing could very much be the future for the mobileDJ industry. And in his feature, Jordan St. Jacques of Canada’s Digitera shows us how artificial intelligence can help you blog on your DJ website – and benefit its SEO.
And as you’ll see in the News, Feedback and Feature sections, much of this issue is a recap of DJX ’22, which ran this past Aug. 8-11 at the Hard Rock Hotel & Casino in Atlan tic City. We were gratified to be able to bring another great show to the DJ community and we thank our sponsors, exhibitors, attendees, presenters, performers, and all sup port staff for their efforts. We look forward to doing it all again next year – same place, Aug. 7-10 – and we hope to see you there. For the very latest, please visit www.djxshow.com
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, Lexi Ferguson. Ryan Hayes, Greg Hollmann, Erik Miller, Lily Moayeri, Jordan St Jacques, Jeff Stiles, Ashley Teffer, Danny Turner, Phil Turnipseed, Joshua Volpe, 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
integrated media manager Cheyenne Chao cchao@hazanmediagroup.com
Chairperson & COO/Co-Publisher Robin Hazan rhazan@hazanmediagroup.com
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Atlantic City, N.J. – Produced by DJ LIFE mag and Ha zan Media Group, DJX ran this past Aug. 8-11 at the Hard Rock Hotel & Casino. Here are some of the responses:
“The DJX show is one of the highlights of the year for Pio neer DJ, as it serves as a pivotal opportunity to reconnect, in-person, with the DJ community as a whole. Participa tion in DJX opens a productive forum for artists to speak directly with the brand to share what they love about the products and, more importantly, offer feedback on what they are missing from the product lineup.
“I couldn’t talk about DJX without also mentioning the educational seminars. Not only do seminars offer a chance to teach artists about new ways to use the gear, but we also get to hear and see how artists currently use the gear and receive additional product feedback. A major shout-out to everyone involved in planning DJX –we cannot wait to see everyone back in AC in ’23!”
– Hector Escobedo, AlphaTheta Music Americas, Torrance, Calif.
“As a DJ, there is nothing quite like DJX – the largest gathering in DJs in one place with some of the very best minds and talent speaking on their truths. It’s an incredible experience of education and camaraderie. As a business owner, it’s important because it’s the largest network of
DJs of all stripes all under one roof for three days. Whether you’re seeing familiar faces or networking with new ones, this is a show that is a must-attend.”
– Lou Paris, cue Platform, Kingston, N.Y.
“The show was a success. It was so exciting to see old faces and tons of new ones. So many DJs were meeting new friends and networking. The quest for knowledge was at an all-time high.”
– Randy White, Washington Music Center, Wheaton, Md.
“DJX is an institution in the DJ community, and I’m hon ored to have been a part of the programming this year! Now more than ever, it’s important that we come together as often as we can as a community to learn from one an other and grow.”
– DJ HAPA, The DJ Coach, Los Angeles“Attending DJX has been part of my yearly routine for as long as I can remember. There are so many reasons that I go – to learn, to see my industry peers and friends, to sell products, to buy products – and honestly, just to have fun. You can always count on seeing this NC guy in AC every August!”
– Joe Bunn, Bunn Gear, Raleigh, N.C.
In its 25 years of making music, the Israeli psy-trance duo Infected Mushroom has always approached its creative process with a variety of sources at hand. Using everything from analog synths and acous tic guitars to a panoply of effects processors and their own Infected plug-ins, the pair – Amit “Duvdev” Duvdevani and Erez Eisen – has given us a dozen memorable full-length albums and supported it all by touring the world.
So, it should come as no surprise that its 13th album, IM25 (Monster cat), a career Silver-Anniversary celebration, features tastes of musi cal genres from all over the map. Indeed, IM25 offers electro-pop (“Lies & Deceptions” and “Zazim Beyhad” with May Sfadia), quirky Middle-Eastern flavors (“Turkish Nights” with Joseph E-Shine), and mind-bending, guitar-fueled glitch (“Billy on Mushrooms” with Mr. Bill). But it’s the collabs with Israeli talent Bliss (aka Yonatan Marcow) that really stand out.
“Boss La Rosh” delivers crunchy beats and dramatic synth lines with Sabbath-like stun-guitars, while epic single “A Cookie from Space” ventures into prog territory with its relentless, disorienting pulse. The psychedelic flourishes remain and the dancefloor drops are there, but the tracks’ nervy melodies and forceful rock flavors shine through.
As the duo prepped for a dozen North American tour dates – from NYC to Honolulu – DJ LIFE caught up with Duvdevani, 48, and Eisen, 42, to discuss their 25th anniversary of making music and more.
DJ LIFE: You two have been making waves in electronic-music scene for 25 years. What’s the view been like from your perspective?
Erez Eisen: Dance music now has a wider audience, which has resulted in a worldwide takeover of music and culture. Our little world has become an artifact of popular culture – what was once a hardto-find party in the forest is now a massive production with big spon sors. Stages are bigger, sound is beefier, lights are trippier. In a lot of ways, the stigma that once plagued dance music has made way for understanding and engagement. I’m grateful our passion has become shared by so many people. Dance music rises above the variables that typically divide us, so I’d like to think the changes over time have allowed for more connectivity and unity on this planet.
DJ LIFE: How would you say Infected Mushroom’s sound has evolved since then?
Amit Duvdevani: With the advance of technology and the influ ence of emerging sounds, we’ve managed to adapt to the chang ing world, while holding onto our signature style. We don’t like being in a box, so we’ve used the passing of time to try new things, col laborate, and innovate – resulting in a loyal following, who we dearly love.
DJ LIFE: You two are recognized as pioneers of psy-trance music –how do you think that genre has withstood the test of time?
Eisen: The number of psy-trance fans – and fans of all electronic music – has grown immensely over the last 25 years. The genre we helped to pioneer, known as psy-trance, has evolved since the early
days, with many talented musicians pushing new boundaries and their own signature styles. Psy has become more stylistically acces sible to the masses, and has gained respect amongst lovers of all electronic-music genres.
DJ LIFE: In the studio, what’s your current set-up look like?
Duvdevani: Currently, we are using a Mac with an M1 Max chip, two Barefoot Sound monitors, three UAD Apollo interfaces, Eventide H9000 effects processor, Lexicon 960L digital-effects system, API pre amps, Neve 1073 preamp/EQ, Blue Bottle tube mic, some Universal Audio compressors, Teletronix LA-2A leveling amp, Moog synths, and other various keyboards, along with our wicked Infected plug-ins.
DJ LIFE: Over two decades in the studio, is there one piece of equipment that helped define your sound?
Duvdevani: That would have to be the Eventide unit. We’ve updat ed the model over the years, but it’s always been with us. It’s such a special effects processor with a unique sound.
DJ LIFE: When it comes to production, what’s a studio session like with Infected Mushroom?
Eisen: Sessions often start from a recording on the iPhone and an idea we randomly come up with. After making a melody, then we proceed with a kick and bass groove. Once we have the melody and groove dialed-in, we have fun and play around like storytellers.
DJ LIFE: When the ideas aren’t coming in the studio, what do you do?
Eisen: Let it roll. Work on a new idea. Move on to a new day. Don’t take it too seriously. If we are really blocked, we leave the track and revive it later on. Oftentimes, giving it a rest is the best thing you can do.
DJ LIFE: Tell us about your 25th-anniversary album, IM25 , and how it came together.
Duvdevani: This is an album that celebrates a quarter-century of the evolution of our sound. It came together organically during the extra time we had in the studio during COVID. We are so proud of the musical diversity, collaborations, and support from our label, Monstercat. Moreover, we are honored, after all this time, to still be relevant and respected. Excited to see what will come in the next 25 years. Our legacy is our music, and we want to keep making more of it for the world.
DJ LIFE: Two months prior to its inclusion on the album, “A Cookie From Space” was released as a single. Also, after the album’s re lease, “Zazim Beyhad (We Move Together)” was its first single. What’s the story behind those two tracks?
Eisen: “A Cookie From Space” was the first single because the al bum is musically diverse, and we wanted to usher it in with a modern psychedelic jam reflecting our signature vibe. We love collaborating with Bliss – it’s like a three-headed monster. We have been drop ping this bomb on dancefloors, and it has been making people go mental. So, we figured it was a good song to lead off with. The song “Zazim Beyhad” drops with the album… Monstercat liked this power ful, melodic track, and felt like it offered a unique sound, so we went with that.
DJ LIFE: Is Infected Mushroom pumping the brakes following the album’s release? What are your plans?
Eisen: Pumping the brakes is not something that we do. Staying busy is what we are good at. We will continue making music and breaking dance floors for as long as you’ll have us. Cheers to an other 25 years!
– Brian BonavogliaSince the world opened back up in 2021, Tobtok has been on a roll. With a slew of catchy dancefloor singles, the Swedish DJ/producer has scored with original productions, remixes and collaborations that has kept his name at the forefront of the Nu Disco scene.
Most recently, his rollicking remake (with fellow countryman Oliver Nelson) of The Flirtations’ Northern Soul classic “Nothing But A Heartache” perked up summer dancefloors. But popdance cut “Better Day” (another Nelson collab) and pumping house track “My Carousel” (featuring Jem Cooke) also won over plenty DJs and listeners. Expect similar reactions with melodic mover “Overnight,” his upcoming collab with Adam Griffin on Perfect Havoc.
Of course, Tobtok – aka Tobias Karlsson, 30 – is no newcomer to the scene; he’s been making tracks for more than a decade. Among other notable hits, he scored in clubs and on radio with his 2016 take on Tracy Chapman’s “Fast Car” and his 2018 collab with Adrian Lux, “As I Sleep.” And, as a cancer survivor, he’s not one to let time waste – he says he used the COVID-period downtime for prolific purposes. Tobtok simply just kept cranking out the hits.
DJ LIFE recently connected with Tobtok (that’s Swedish for “Crazy Tobias”) to discuss his surge in productivity, his studio process, and more.
DJ LIFE: Musically, what were your first influences? What made you want to pursue music?
Tobtok: With electronic music, it started with ’70s disco and, with that, I discovered French house like Daft Punk and Justice. I was really into sampling and two-second disco loops. Music was always my biggest interest as a kid, but it started with metal and rock. I never
really saw it as something that I would work with, though. But it totally makes sense for me, as the things I’m good at are music, technology and design – and I get to work with all those things.
DJ LIFE: The past year or so has seen you drop some killer releases, including the two very different styles of “My Carousel” on Selected and “Better Day” with your pal Oliver Nelson. How do two such differing sounds come out of the same studio mind? Do you sit down with a plan or is it always organic?
Tobtok: I’ve always done different kinds of styles since the start of this project and I always strive to reinvent myself and to try different styles. I think it’s important to show diversity, and it also makes this job more fun! Disco and house have always been close to my heart and I love to make both. I don’t really have a plan at all. I just take inspiration from what I’m listening to at the moment and try to put my own spin on it. For example, with “Better Day,” I was inspired by Jungle, which is probably my favorite band at the moment.
DJ LIFE: Creatively, how did you approach “Satellite,” one of your catchier singles this year? What was the collab like with Arinn?
Tobtok: It all started out with Arinn reaching out to me on Instagram. She sent me an a cappella – and lyrically, it had quite a lot more sub stance to it. I really loved her smooth tone and I dissected it in my head of how I wanted it to sound. I ended up cutting a lot of sections up and wanted it to be more repetitive for the dancefloor. I liked the fact that the vocal is quite calm and chill, and I wanted to go in an opposite direc tion with the instrumental to have a cool balance. The track doesn’t have too many elements, though, as I wanted to leave space for the vocal.
DJ LIFE: From your main studio gear, what’s your DAW?
Tobtok: I’m a happy [Propeller head] Reason user for 12 years now. I like the fact that they have so many of their own sounds and synths; it’s easy to not sound like everyone else out there. For example, a lot of peo ple asks me about my pianos, and they are all Reason-made sounds!
DJ LIFE: How about monitors? Vital hardware? Favorite plug-in?
Tobtok: Monitors are Genelec 8030 – quite small, but a big sound, which I like. Vital hardware? Apart from the obvious computer, it’s probably my Roland RE301. It’s a vintage space echo with tons of mojo. It just makes everything sound better and more interesting in a creative way. My most-used plug-ins are prob ably FabFilter Pro-Q3 equalizer and iZotope Ozone Dynamics multi-channel com pressor.
DJ LIFE: When people seek you out for a remix, what sound or feel do you think they’re looking for? How do you approach a remix compared to an original track you produce?
Tobtok: Honestly, it’s never like a specific sound. I’ve probably done hundreds of remixes during my career and they are really different from each other. I’ve done a lot of U.K. house-style remixes the last two years, but my last one was a proper disco-pop remix for “AM Gold” by Train and Melanie C. I love making remixes because it’s fun to put your own spin to something that’s already been made. I usually strive to do something completely different from the original and only use a few elements or just the vocal. Occasionally, when the original is already kind of perfect or has the vibe I would go for, I usually keep a lot of stuff, but maybe give it a different tempo and groove.
DJ LIFE: How did you get through the relative downtime of the COVID period? Were you creative?
Tobtok: I survived by cuddling with my girlfriend and our Corona dog that we got – a miniature poodle that literally looks like a teddy bear. I had a pretty good run, creatively, during lockdown and finished loads of tracks. A lot of the tunes I’m releasing this year I finished last year.
DJ LIFE: Were you streaming during lockdown?
Tobtok: I only did one live-stream actually and haven’t really done a big return to DJing yet. I’ve been so focused on working on new tunes and trying to really improve my output with more frequent releases because it’s just how the climate is right now. People consume music faster.
DJ LIFE: So, have you returned to clubs? How’s it been?
Tobtok: I played some dates in Ibiza at the Eden club this summer with the Per fect Havoc label, which I was very excited about. What’s upcoming? At Amster dam Dance Event, I’ll be playing the Perfect Havoc/LoudKult party at the Maïa club – super-excited to hit the decks there.
DJ LIFE: In the DJ booth, what gear do you use and why? What’s your ap proach?
Tobtok: I’m quite conservative, so I use the standard Sennheiser HD 25 head phones and a USB stick – with a few back-ups – with a Pioneer DJ set-up. My style is quite old-school, as I DJ for the crowd and don’t really have a set that’s prethought-out. I don’t like to do silly moves and shout in the mic much.
DJ LIFE: Do you have tracks that you always play?
Tobtok: I don’t really have any tracks I always play. I always wanna play current things that are no more than a few months old, if they’re not my own releases. One track that will probably always be on my sticks, though, is my track with Adrian Lux, “As I Sleep.”
DJ LIFE: Which DJs do you admire?
Tobtok: I think Goldfish are really cool! I saw them at Hangout Festival a few years ago and they had this incredible energy and also played a bunch of instru ments flawlessly. Would love to see them again.
DJ LIFE: For a young person who wants to become a successful DJ/producer, what advice would you give? What are the most important skills to master?
Tobtok: Well, today it’s a bit different climate with social media, etc., com pared to when I started… but the main product you are selling is the music and composition, so that’s where you need to start. I would say to understand how to compose music and chords, and to structure it properly is the foundation. Sounddesign and mixing comes later. When I listen to my old music, I think I had good ideas, even though the mix and sounds sound really awkward.
DJ LIFE: A favorite remixer/producer?
Tobtok: I love Calvin Harris. He has his own sound that no one seems to be able to replicate – and he seems like a big nerd, which I love. He also knows his way around a garden, which is cool. I got my own little plantation operation on the balcony – nothing illegal, though.
– Jim TremayneEver since bass music began to gain traction in the U.S. a decade ago, the melodic-dubstep subgenre has played an integral part in its success. And when you look back at which artists helped pave the way for this emotion ally charged sound, look no further than Seven Lions, who popped onto the scene in 2012.
Seven Lions – aka Jeff Montalvo, 35 – grew up in Santa Barbara, Calif., and was a drummer for several high-school bands before transitioning into electronic-music produc tion. As is often the case with band situations, he quickly grew tired of waiting for the group to create music – so he began to do it himself. Getting busy with a friend’s Fruity Loops production software, he began to get the hang of it, honing his craft with constant experimentation.
As a 20-year-old in 2007, he attended his first rave, and he was immediately inspired to begin producing trance music. However, he waited another four years before he began to release bass-leaning music under his Seven Lions moni ker. With a name taken from a character in Gene Wolfe’s fantasy book, “Latro in the Mist,” Seven Lions quickly began to make waves as a producer. His first release was an unof ficial remix of Florence and the Machine’s “Cosmic Love,” which would later be included as part of the official single package released by Moshi Moshi Records.
Shortly after, Seven Lions would enter a remix com petition hosted by the legendary trio Above & Beyond, where he put his own spin on A&B’s “ You Got To Go .” His version would later reach at No. 2 on Beatport’s Dubstep chart for over six weeks (behind Skrillex’s remix of Avicii’s “ Levels ”) and, not surprisingly, end up winning the com petition. The remix was later officially released on A&B’s Anjunabeats label in December of 2011. Seven Lions was officially on Above & Beyond’s radar and the rest of the EDM community was watching – quite a start for a blos soming music producer.
His first major tour would begin the following year, when
he hit the road with Gemini and Koan Sound. Also, 2012 saw the California native add to his arsenal with an offi cial remix of Above & Beyond’s “ On My Way To Heaven .” Continuing to ride a hot hand, he would release his de but EP, the six-cut “ Polarize ,” i n addition to his four -track EP, “ Days to Come ,” which was signed to Skrillex’s power house imprint, OWSLA.
By this point, Seven Lions had become one of the hottest names in bass music – not to mention all of electronic-dance music. The melodic mastermind would hit the road, provid ing support for the likes of Porter Robinson and Krewella, while also making appearances at major events like Ultra Music Fest in Miami, Electric Daisy Carnival in Las Vegas, and SXSW in Austin. Even with such a hectic touring schedule, he continued to pump out new music, consistently releasing a barrage of originals, remixes, and EPs.
In February 2018, after cultivating a loyal fanbase with his frequent gigs and hefty musical output, Seven Lions launched his very own label, Ophelia Records. Starting with the release of his single, “Calling You Home,” his imprint would quickly evolve into a bass-music staple with weekly releases and a catalog that features quality artists like Kill the Noise, Wooli, and Jason Ross.
Always one to keep things interesting, Seven Lions joined forces with psy-trance duo Dimibo to create their alias Abraxis, which would debut their live show at Dreamstate SoCal 2019. But even with a well-received side project, Seven Lions never seemed to slow down. With an undeniable work ethic, he began to garner a cult-like following, which turned Ophelia Records into a juggernaut.
In 2022, he would celebrate a decade of releasing music as Seven Lions, putting together his 10 Years of Seven Lions compilation, which was accompanied by a decade-anni versary merch collection and a documentary that touched on his career, roots, personal life, and upcoming projects. To take the celebration one step further, he will release his first ever studio album, Beyond The Veil, at the end of October.
With all these milestones in mind, it only seemed right to chat with one Jeff Montalvo to discuss the past, present, and future.
DJ LIFE: So far, 2022 has been quite the year for you. Ophelia Records continues to thrive, and you’re showcasing the sounds of your Abraxis project, in addi tion to the release of your debut album. It also marks a decade of Seven Lions. How does it feel to have this project hit such a milestone?
Seven Lions: “Ten Years” has definitely been a big moment for me career-wise, and also personally. I’m a very goal-ori ented person, so having all these differ ent projects has been amazing for me.
DJ LIFE: What was the process of put ting together your 10 Years of Seven Lions compilation. How were you able to narrow it all down to just a dozen tracks?
Seven Lions: I really wanted to make sure I got all the songs I thought told the Seven Lions story and showed the wide range of types of music I like to make.
One song that we couldn’t get on there that I really want ed was “Leaving Earth.” Other than that, I feel fortunate we were able to put that compilation together.
DJ LIFE: What was so appealing about melodic dubstep sound that you wanted to produce it yourself?
Seven Lions: I don’t really think there was much melodic dubstep back in those days. I was mostly just interested in blending what I loved about trance the songwriting, the melody – with what I loved about dubstep the rock influence and the heaviness.
DJ LIFE: How would you say your sound has evolved since popping onto the scene 10 years ago?
Seven Lions: I feel like I definitely make more “crowd pleasers” now than I did back in the beginning. When making music for big, live events there needs to be a predictability and a simplicity that will sound good on a big system. I think with the album I was able to go back and make songs that were more experimental, and that allowed me to be more creative again.
DJ LIFE: When it comes to the world of electronic-dance music, what would you say is the key to longevity and suc cess over such a large chunk of time?
Seven Lions: Having realistic expectations. I think also a big one is to really not compare yourself to others. I’ve seen it eat so many people alive, and it’s an easy road to go down. I’m very conscious of what I consume on social media, and I mostly stay away from EDM-related stuff. I really love my home life and my family, and I feel like my life is full and meaningful without validation from the music community, because that can be a fickle thing. So mainly, be aware of where you let your mind wander. Do what you do because you love it, not for external validation.
DJ LIFE: You’ve been a part of this bass-music scene since 2012. What are some changes you’ve noticed over the years?
Seven Lions: I think there was a while there where the scenes were really starting to blend and bass music was this all-encompassing thing for experimental genre-bend ing, non-four-on-the-floor stuff. Unfortunately, I feel like the scene has really gone backwards into rigid genre lines. The bass scene now reminds me of the trance scene, which is known for the most rigid and easy-to-piss-off fans I’ve ever come across. If it isn’t all the exact genre tropes, people tend to get mad. I hope to see it ease up again in the
future and allow for more experimentation.
DJ LIFE: A lot has changed since then, especially when it comes to technology. What gear and programs do you use in the studio these days?
Seven Lions: Same as I was 10 years ago. My favorite synth is still [LennarDigital] Sylenth1. I’m still using Voxen go stuff. I’m still using Fab-Filter Pro-Q – I guess we are on Version 3 now, instead of two. The only really new ones are Serum, which has been pretty cool, but that was still years ago.
DJ LIFE: Anything else? DAW? Monitors? Vital hardware?
Seven Lions: I use FL Studio, Dynaudio BM5A monitors and ADAM Audio A8X monitors. I don’t use hardware –just mics, torn-up speakers, a record player, field recorder and some guitars. Sylenth1 is my bread-and-butter synth. It’s in every, single song.
DJ LIFE: When it comes to production, walk us through a studio session with Seven Lions.
Seven Lions: This is a month- or year-long process. Usu ally, I will start a song with a melody or intro and work on it for a week or two, and then get it in a place to send to a vocalist. At this point, it can be a week or a year before something comes back that I like. After that, I start to fin ish the rest of the song, vocal processing, do the drops, finish the structure. From there, I stem out each track, usu ally ending up with 15 to 20. After that, I do the final mix. If it’s a song I intend to play live, I will play it out a few times and go back and continue to work on the mix. Finally, I
send it to an engineer to get mastered to finish the track.
DJ LIFE: When you have a rough week or hit a wall cre atively, how do you get back on track?
Seven Lions: I just take a break. If I’m feeling a time crunch, then I will work on something else. I really feel like creativity can’t be forced. Sometimes, if I am really up against the clock on one song, then I will just power through and try and brute-force it. But oftentimes I hate those songs in the end, so it’s usually not worth it. I’d rather push the deadline and come back with fresh ears.
DJ LIFE: In the DJ booth, what gear do you use and why? How would you describe your style of DJing?
Seven Lions: I use four Pioneer DJ CDJ-2000NX2 play ers and a DJM900NX2 mixer. I keep it simple in the booth because, for me, the focus has always been in the studio. I timecode everything and make a ton of edits, so the sets are mostly planned out, except for the endings.
DJ LIFE: You seem to collaborate with artists, more often than not. Why do you choose to go that route as a pro ducer?
Seven Lions: It probably seems that way because I haven’t released much solo work since I’ve been focusing on the album. This goes back to the previous question… if I feel creatively stuck and I don’t absolutely love the song for myself, then I will tag in a friend. I’ll pick the person whose skill set makes the most sense for the track, especial ly for the psy-trance collabs. I am just not able to sit in front of the computer and dial in a kick and bass like a proper
Ashley Von Helsing
psy-trance producer, so I will tag in people who are way better at that than I am.
DJ LIFE: Which producer/remixers do you most admire and why?
Seven Lions: I don’t listen to much electronic music, but I would say Tourist, Above & Beyond, Porter Robinson, and Andrew Bayer. I think they are all unique and great songwriters.
DJ LIFE: Which DJs do you admire and why?
Seven Lions: Above & Beyond and Tiësto. There are so many good memories in the 2007-09 era that really made me who I am as a musician.
DJ LIFE: You’ve released plenty of tracks and EPs over the years, but Beyond The Veil is your debut album. What was the process like putting a full-length album together?
Seven Lions: I didn’t set out to make an album, but I saw the opportunity when the pandemic was hitting and everything was shutting down. Some of the songs had already been started, so there was a bit of retroactive going back in and making sure everything sounded good together. I’d say, halfway through is when I really figured out the sound and the story I wanted to tell.
DJ LIFE: Tell us about the album’s lead single “Every Time” featuring So Below. How did it come together?
Seven Lions: This song pretty closely resembles the stu dio session question. I got the track about halfway and then spent months and months looking for the right vocal.
We had a few different options, some that I really loved. So Below sent their demo in, and I knew immediately this was the one. She sent it back and I wrapped it all up. The mixing process on this one was probably the longest of all on the album because it’s a little more stripped back than my other stuff, and it took a while to dial it in. I’m really happy with this one.
DJ LIFE: Can you pick a favorite track on the album?
Seven Lions: I honestly don’t think I can. I’d say, “Falling Fast” or “Between,” but even then, that’s a tough one.
DJ LIFE: Ophelia Records launched in 2018, and it has quickly turned into a true powerhouse imprint in the bass scene. How does it feel to see it blossom into what it has become today?
Seven Lions: It’s been amazing. We’ve all become good friends, and we all get to tour together. I feel like it has given me a new focus. I love Seven Lions and I am so happy to have that project, but it’s a totally different kind of feeling to be helping someone else’s career and build ing a strong team. Seeing the success so far has been re ally encouraging and the community springing up around it has been amazing to watch.
DJ LIFE: After a jam-packed year filled with a little bit of everything, what does Seven Lions have planned for the remainder of 2022 and beyond?
Seven Lions: Some rest – 2023 is going to be a very busy year!
By Cheyenne Chao & Ronald Mungo
New Mark: DJX’s DJ carousel sets a record.
RM Respect: A DJ gets busy on the floor. CC
Party Hosts: Jake Jacobsen & Mike Alevras. RM
Showfloor Stage: Melissa Nikita in the mix. CC Keynoter: DJ Hapa, the DJ Coach. CC Silhouette: Figure at the Beatsource booth. Stevie B
CC
Showfloor Scene: JMaz Lighting booth.
Latin-Music Producers: Kazzanova & LeXeDIT.
Every attendee at the DJX show in Atlan tic City, N.J., from the last several years has already heard vari ous speakers, such as myself, talk about the importance of blog ging to a DJ-compa ny site’s overall SEO effort.
There’s just no way around it… blogging regularly will get you a higher ranking. The problem is… most of you seem chal lenged with respect to writing.
Whether you are lacking in good writ ing skills or just have a permanent case of writer’s block, most of you are not listen ing to the advice of people like me. Some of you hire a profes sional blogger, which is a decent solution. However, those costs can add up, as good organic blogging can take hours upon hours to get done.
There’s another solution that’s avail able that will make all of you Do-It-Your selfers happy, and that’s in the recently new area of con tent creation with Artificial Intelligence, otherwise known as AI Blogging.
Before I begin to tell you how to cre ate a blog article using AI, let me state that this is still an im perfect area. To use an AI blogging tool properly, you must expect that you will need to go over its output so that you can edit any obvious mistakes. Remem ber this, Google still wants organic experiences, so if your article sounds too artificial, it may cause you a small penalty. Giving your article a good read after it’s pumped out is always best prac tice.
OK, let’s get into it: The following illustration is done through a tool I use called WordHero. There are many others out there, though, so feel free to engage with the tool of your choosing. The basics are pretty much the same, though… here’s the process:
Find a Blog Topic
Run this topic through a Blog Outline
Run the topic again to obtain a Blog Headline
Use the Blog Intro tool to obtain your first paragraph
Run each proposed section from your Blog Outline into the Blog Paragraphs tool
Obtain a Blog Conclusion
Piece it all together as follows… Blog Headline Blog Intro Blog Paragraphs
Blog Conclusion
Read it over with a human eye, and fix it up Presto, you have your blog article!
Let’s do a sample article so we can see how this is applied from a DJ-company perspective. Our example will be for Ken Cosco from A Touch Of Class DJ’s – a DJX contributor who runs one of the Boston area’s leading mobile-entertain ment companies.
Using the Blog Topic tool, the input we use is “Boston Wedding DJ,” and this is the output that comes back to us. Boston Wedding DJs for Every Kind of Celebration
The Top Five Boston Wedding DJ Companies
How to Choose the Perfect Boston Wedding DJ
Boston Wedding DJs
How to Choose the Right One for You
5 Reasons to Hire a Boston Wedding DJ
The Importance of a Boston Wedding DJ
From these, let’s choose How to Choose the Perfect Boston Wedding DJ. Next, let’s run this through the Blog Outline tool. This then gives us the following paragraph suggestions.
Introduction
How to choose a DJ
Types of DJs
Questions to ask a DJ
The wedding process
Conclusion
As mentioned above, the next step is to find an Intro. Three variations are given, I’ll choose this one: When choosing the perfect Boston wedding DJ, there are a few things to keep in mind. First, it’s important to find someone who is experienced and knowledgeable about the city’s music scene. Second, it’s important to find someone
who’s able to read the crowd and adjust their play accordingly. Third, it’s important to find someone who is friendly and easy to work with.
Going back to our outline, let’s run each of the four middle paragraphs. Here’s the output:
When it comes time to choose a DJ for your wedding, there are a few things you’ll want to keep in mind. First, think about what style of music you and your guests would like to hear. Then, find DJs who specialize in that type of music. You can ask friends and family for recommendations, or search online for reviews. Once you’ve narrowed down your list of potential DJs, take the time to meet with them in-person. This will give you a chance to see if their personalities are a good fit for yours. Be sure to ask them about their experience playing weddings, as well as their equipment and backup plan. Finally, don’t forget to budget for your DJ! The cost of hiring a DJ will vary depending on the size and location of your wedding, but it’s important to make this expense a priority.
There are all sorts of DJs, each with their own unique style. Some DJs focus on mixing music together, while others prefer to scratch and beat-match records to create a unique sound. There are also wedding DJs, who have special ized in creating the perfect soundtrack for weddings. Whether you’re looking for a hip-hop DJ, a dance DJ, or some thing else entirely, there’s sure to be someone out there who can deliver the perfect set for your event.
When looking for a DJ for your wedding, there are many things to consider. Here are some questions to ask poten tial DJs:
1. What type of music do you specialize in?
2. Do you have a song list? If so, can I see it?
3. What is your experience DJing weddings?
4. How would you describe your DJ style?
5. What kind of equipment do you use?
6. Are you available on our wedding date?
7. How much do you charge?
8. Do you have any references I can contact?
When planning a wedding, there are many things to take into consideration. The process can be daunting, but it can also be exciting as you create the perfect day for you and your partner. Here is an overview of what to expect when planning your wedding. The first step is to set a budget and find a location that fits your needs. Next, you’ll need to choose a date and start working on your guest list. Once those details are ironed out, it’s time to start thinking about the ceremony and reception. You’ll need to decide on a theme, colors, and decor for both events. Then it’s time to think about food and drink options, as well as music and entertainment. Finally, you’ll need to plan the logis tics of the big day and make sure everything goes smoothly!
Lastly, it’s time for the conclusion, which was returned to us as follows:
There are a few key things to keep in mind when choosing a wedding DJ. By following these tips, you are sure to find the perfect DJ for your Boston wedding.
Reading this over as a human shows that this is choppy. There’s no flow between sections, and the AI writer didn’t use the keyword Boston anywhere in the article. However, this is still a worthwhile thing to do, as you can then as a human rewrite the paragraphs in your own words while having the AI output as a de facto guide that will give you a strong starting point.
WordHero (as well as other AI Writers) has other writing tools, as well, that go beyond just blogging. The following are available to use:
Brand Name Ideas
Cold Emails
Content Rewriter
Cover Letters
Email Subject Lines
Facebook Ads
Google Ads
Grammar Corrector
Marketing Ideas
LinkedIn Bio
Product Reviews
Quora Answers
SEO Descriptions
Video Descriptions
And much more….
If you have a tough time writing articles or other needed text for your website and other digital assets, consider us ing an AI Blog Writer such as WordHero or other similar tools. Although it won’t replace quality human-produced jour nalism, it can help you outline your article properly, as well as give you some context that will help you break writer’s block. Sometimes, we all need a little boost to get going, and an AI Writer can do just that.
Jordan St. Jacques is the President/Lead Digital Marketer at Digitera.Interactive in Ottawa, Ont., Canada.
Back in October 2017, during Amsterdam Dance Event week, I set out one night with the idea that I’d make several club stops. As is my nightly routine, I tried to hear as many different DJs as I could by popping into as many spots as the night would allow – with the expectation of including the musical highlights in my DJ Times wrap-up story. Lucky for me, things didn’t go according to plan.
Typically, at A.D.E., I’d hit at least three venues in the bustling Rembrandtplein square near the Amstel River. That night, after popping into the Air and Escape nightclubs for some mostly regulation-EDM fare, I stopped into Claire, an upscale and remodeled club that had replaced Studio 80, one of the city’s best underground spots.
“Wow, they really changed this place,” I thought, recalling the stark, black-box atmosphere of its former incarnation. I checked Claire’s DJ schedule and saw that Lefto was on the bill, and he was about to hit the decks.
Not long after he began playing, I was taken by his left-field selections and began Shazaming up a storm – what, for example, was this wonderful Middle-Eastern music? Soon I realized that I wouldn’t be club-hopping anymore that night.
The music was vibrant and wonderfully diverse – when have you ever heard bebop, rave classics and Cypress Hill in the same set? – with a room vibe so rich that I simply couldn’t leave. Here’s what I wrote of that evening in my A.D.E. wrap-up story:
“At Claire, Belgian DJ Lefto delivered a genre-jumping, roller-coaster ride, a shockingly seamless set that included Middle Eastern singalongs, percussive Baile funk workouts, soulful vocal loops, blistering acid-house tracks, and eventu ally hip-hop hits, party jams, and R&B faves. It was a masterful performance.” And I’ve been intrigued ever since.
Born Stéphane Lallemand, the 46-year-old Brussels native has been a mainstay on Belgian radio, a curator for Eu ropean club nights and festivals, and a frequent club jock. More a selector than producer/remixer, Lefto seems to happily embrace the role of tastemaker. And trust me, an evening with him in the DJ booth will definitely turn you onto some tunes you never thought you’d dig.
Although he’s not a frequent visitor to the States, I was happy to see that Lefto has recently graced us with The Beauty Is Inside (BBE), a proudly eclectic compilation of original tracks from up-and-coming artists with electronic, soul, and jazz entries. So, we reached out to the Belgian selector and it went like this:
DJ LIFE: When I saw you play during A.D.E. week a few years ago, I was really elevated by the diversity of your set, especially some of the African and Middle Eastern music. I’m not sure those sounds would’ve hit me the same way outside a nightclub. You seem to re ally take some responsibility for your role as a selector. Ultimately, how would you describe your job?
Lefto: Ah, thank you for the kind words and for recognizing the subtlety of what I try to do every night all over again. My job is basically to take people out of that box that pro moters usually try to put you in. It’s 2022. People into music like all sorts of music – depending on the day, it might be totally different. For me, it’s really how I feel at that particu lar moment in the club. I get bored easily, so when I switch to something else –a different genre – it prob ably means it was time to change the vibe of the night, or to change that particular moment. Some times I switch because I feel people are not always
into it, so there is still the art of studying the crowd.
DJ LIFE: Musically, what were your first influences? What made you want to pursue music?
Lefto: Watching rap per formances on TV at a very young age really helped. Hearing the underground radio station in Brussels play New Beat music really helped as well, and end ing up working at the local record store really, really helped. The world of mu sic and the people who represent it is unique, and the people are usually very open and creative – there fore, it is a very interesting place to live a life surround ed by that world. If you can live out of that creativity, it’s magic.
DJ LIFE: What was the Bel gian music scene like when you were coming up? It always struck me as very diverse – for you, how has it evolved over the years?
Lefto: When I was coming up, I had a feeling it was still very divided, or everything was in a box – although there was something like hip-house, which would mix both genres. Around me, it
really felt like all movements were separated. So, by the time I started working at the record store, I got into so much more music that it was a real eye-opener. As I was really into rap music, it was hard for me to incor porate different genres of music to a crowd that wasn’t open for it. So, I took my time, and when I felt it was right, I started to mix up genres. That was also the time I started mixing up genres at the radio station during my weekly. From that point, it started to be a lot easier – no more taboos, total freedom of genres.
DJ LIFE: You’re well-known as a festival curator and a radio jock. What talents are required for those positions? How do you stay clued-in to new music?
Lefto: It all comes from a feeling. If I feel it, there’s a big chance that it can take one of those positions. It’s super-easy, isn’t it? But it’s just that. I have to feel it and fall in love with the art ist’s music. Therefore, I dig deep on the internet. I talk to other people about what they are listening. I get, of course, a lot of music in my
mailbox, and I like to see if a band I like has different links with other artists. That’s pretty much what I do on a daily basis.
DJ LIFE: Creatively, how did you approach your lat est compilation project, The Beauty Is Inside? What thought went into the musi cal selections?
Lefto: Throughout the years, I’ve had many links with artists, some who are world-famous or famous in the underground. Some are not famous, but very tal ented. The compilations are pretty much my contacts, people I talk music with, or I chill with, or who are weekly listeners of my radio show, who happen to make great music. So out of all these contacts, I asked a bunch of them if they wanted to be part of this compila tion, and most of them, of course, were very happy to send in an exclusive track for this project – and I was very happy [laughs]. From there, I just had to make a coherent structure for people, who want to listen to the compilation from beginning to end, just like a radio show or a mix I would
“ United In Grief” by Kendrick Lamar. “It’s a tune I’ve been starting a lot of my gigs with recently to remember the people I’ve lost this year, friends I’ve lost.”
“Red Bull” by DJ ADHD. “It’s just a vinylexclusive banger from an artist I really like, coming with that freshness with his partner Chloé Robinson.”
“ I Wanna Rave” (KiNK Remix) by LB aka LABAT. “It’s another banger from a friend, who’s also on the compilation, this time remixed by the don KiNK!”
record.
DJ LIFE: How did you sur vive the lockdown? Have things settled into a more “normal” situation?
Lefto: I survived quite eas ily mentally, as I was there to watch my son growing up – first steps, first words. It was kind of perfect for me and the weather was great, I remember. I was also very creative during that time, recording music a lot and having the weekly radio shows, as well. Now, it’s more or less back to normal, although I feel like it’s hard for venues and promot ers to get back on track to the regular program. Most clubs/venues have a schedule that was planned last year or sometimes even two years ago. So, it’s hard for an artist who’s releasing something today to actually promote it properly, as most venues are full from COVID line-ups.
DJ LIFE: How has it been like returning to the liveperforming world?
Lefto: It’s been as good as it is. There is definitely a pre-COVID era and a postCOVID era. Lots of things
happened during the pan demic and it changed the landscape, and adapting to that landscape requires time. But I do love to travel again, share the music again and see people go ing all out to music. One thing I realized is that the crowd wants to dance to faster music, like they are in need of letting go certain emotions or frustrations. I’ve heard the term “re venge parties” a few times – it makes sense in a way [laughs].
DJ LIFE: In the DJ booth, what gear do you use and why?
Lefto: For some time, I used Serato vinyl, but switched to [Pioneer DJ] CDJs a while back and to real vinyl for the fun of it. Bringing a computer to a club isn’t really suitable if you plan on making people go crazy. There’s nothing worse than people going wild around your computer and jumping around with drinks. CDJs are stable, though, and I manage to be very creative with CDJs as well. It’s fun.
DJ LIFE: What really
Lefto: A genre-jumping, supreme selector.
caught my attention at Claire was that, yeah, you’re a multi-genre DJ, but it didn’t always strike me that you were just jamming in things that didn’t seem to fit together in some way. How do you keep that flow going between genres? How would you describe your style of DJing?
Lefto: It’s funny you say that because I think I actu ally do jam with things that don’t fit together.
DJ LIFE: Hey, maybe I had too much of that good Belgian beer…
Lefto: Well, I just make sure they actually do fit together or that the story makes sense in the end. There are ways of doing it, and those ways are usually based on rhythm and tone, melody and using those in a very creative way, a way that blends everything per fectly, although they were not made to be together… like a mix of a ’70s jazzfunk tune into a 2022 rave banger. It just happens! Describing my style is kind of hard, but an all-round DJ probably fits my profile.
DJ LIFE: Which DJs do you
admire and why?
Lefto: I admire DJs who can help me discover new bits that blow my mind. I don’t really have names for you because it usually can be a DJ who’s going to play that one particular tune that will blow my mind. But I do hang with a lot of DJs I respect for their cre ativity, taste and, history –and they are mostly friends of mine.
DJ LIFE: What’s next for you?
Lefto: Right now, I am trying to travel around the world to promote my BBE compilation, with gigs in Japan and South Korea soon. Then, in November, I’m trying to make my way to the U.S.A. again, but it seems tough to find the right parties, really.
DJ LIFE: Any advice for up-and-coming DJs?
Lefto: Trust your feelings. If you feel something you hear, play it out – don’t do it for the crowd. It can hap pen that the crowd won’t feel what you feel, but that thing gives you, the DJ, per sonality. It’s you behind the decks, no one else.
New York City – With its 13th incarna tion, Electric Zoo rocked Randall’s Is land this past Sept. 2-4, as it presented 107 DJ/artists playing four stages, while drawing more than 100,000 fans.
Featuring top DJ acts like Armin van Buuren, Carl Cox, Diplo, Martin Garrix, Jauz, Porter Robinson and Slander, the festival also presented a futuristic 3.0 theme with A.I.-assisted production –and enjoyed a weekend of almost-per fect weather. It all looked like this:
All Photos by ALIVE Coverage
Blast Off: EZoo’s mainstage gets wild. Summer Thing: Afrojack rocks the crowd.
Legend: Carl Cox fires up The Landing.
Big Fun: EZoo fans get bubbly.
Diplo Onstage: Welcome to the party.
Laser Lights: EZoo 3.0 gets lit.
Cypher: Breakdancers circle up.
Serene Scene: EZoo with NYC backdrop.
Headbangin’: NotLö lets go on Levitron Stage.
Signing Off: EZoo closes out Sunday night.
Hoop Star: Diesel (aka Shaquille O’Neal) flexes.
I’m a long-time fan of in-ear monitors (IEMs). The primary reason? The environments in which DJs perform are almost universally loud, and a properly fitting set of quality IEMs pro vides passive noise reduction that can help protect your hearing in these noisy settings. (Of course, one needs to manage one’s monitoring volume as well, or using IEMs can defeat that benefit rather quickly.)
The main problem for DJs with IEMs has long been that they don’t merely slip off like a pair of classic, can-style headphones, making it difficult to speak to guests, take requests, or for those of us doing mobile work, attending to such minutia as coordinating the evening’s ac tivities with a wedding or event planner.
A few years back, ASI Audio came-up with a clever solution to this problem, a product offering they call 3DME, which takes an innovative approach to monitoring, in three parts.
It begins, as you might expect, with a set of universalfit IEMs. The product comes with foam ear tips in multiple sizes that can easily be replaced as needed. Like most true IEMs, there’s a formable behind-the-ear loop that provides a secure anchor for the monitors when you have them inserted.
But rather than connect the IEMs to an audio source directly, with the 3DME, they’re connected to a recharge able battery pack and amplifier “body pack” that typi cally is clipped to one’s waistband or belt.
Extra battery life, squeal suppressor & more.
Lastly, a companion app for Android or iOS pairs with the body pack via Bluetooth, and allows you to customize your monitoring set-up, including EQ, and a range of other settings. (You don’t have to have the app running, or your device nearby, when using the system; it’s primarily for set-up purposes.)
But the real power of the 3DME system is the ability to mix in ambient sound in realtime. A rocker switch on the body pack allows you to turn up or turn down the ambi ent monitoring. When turned up, micro phones pick up the sound around you with ease, allowing you to continue monitoring while simultaneously carrying on a conversa tion with someone around you — all without removing the IEMs from your ears. Once you decide to go back to work, simply turn down the ambient component as desired.
Using this approach, it becomes realistic for DJs to use IEMs when performing, without the need to keep removing and reinserting the monitors into one’s ears to communi cate with someone, and it all works remark ably well.
While the 3DME system is designed primar ily for performing musicians and others, ASI Audio has attracted a following among a cohort of DJs who recognize the benefits of using IEMs with the company’s innovative approach. In recognition of the interest from and uptake among DJs, the company has even added a new DJ audio cable to their product line-up, making it simple to connect the body pack to your DJ mixer or control ler without having to hunt down an adapter cable on your own. The high-quality cable is just the ticket, and it fits easily inside the pouch of the 3DME’s carrying case, so you have everything you need for monitoring in an elegant, well-designed, rigid-bodied, zip pered case.
I’ve tested the 3DME system in the past, but the company has recently improved the product, dubbing the result “G2” or “Gen 2” to reflect the improvements. They include longer battery life in the body pack, reportedly up to a full eight hours on a single charge, along with squeal suppressor, and additional configuration and operational options that provide even more utility. And as before, the 3DME system sounds terrific, with awesome bass response.
While the system is an investment (at just under $800), if you value your hearing and the flexibility to do your job without compro mise, the 3DME in-ear monitoring system is worth a look. For more information, you can visit www.asiaudio.com.
While the hearing protection benefits of IEMs is important while actively DJing, most of us don’t spend every moment in the DJ booth; we’re often partaking of the same entertainment options in which we perform. And in those situations, hearing protection is just as important. The challenge has been how to protect your hear ing, without ruining the experience of listening to music in a club or other venue.
The idea of “high-fidelity” hearing protection has been around awhile now, but I’ve witnessed it getting progressively better over time. And one of the best I’ve used so far hails from Norway: Minu endo’s simply named Lossless Earplugs.
Inside the box is a set of plugs, carrying case, cleaning brush, neck leash, and an incredible 11 sets of ear tips that let you tailor both the fit and the function of the plugs. There are simple foam tips, as well as single-, double-, and triple-flanged tips. The more flanges, the better they perform at attenuating sound; in other words, the more protection they can offer. (The foam tips are roughly middle-of-the-road, in terms of attenuation.)
I like them for a pretty obvious reason: They work. But I love them for an even better reason: They’re adjustable.
Not every situation is the same, so you don’t always need maxi mum protection. With Minuendo’s Lossless Earplugs, you can dial in what you need with ease. A simple lever, which can be adjusted without removing the earplugs, moves from minimum to maximum available attenuation.
Between the comfort, perfor mance, and adjustability of the Minuendo plugs, they represent a must-have purchase for anyone who finds themselves listening to music in overly loud environments; in other words, pretty much any of us, in any venue I can think of. Minuendo’s Lossless Earplugs have an MSRP of just under $160. More information at www.minuendo. com – W.B-K.
I was thrilled when Pioneer DJ finally put a DDJ-REV7 re view unit in my hands. This was the first time that Pioneer DJ had released a controller tailored-made for battle DJs, and I had to answer two central questions: Was the hype real? And was this unit finally the white whale so many open-for mat DJs had been dreaming of?
In this review, we will explore the DDJ-REV7, discuss fea tures with the controller tailored for the open-format/battle DJ, and discuss if this controller is suitable for a mobile jock or house DJ, and if upgrading makes sense.
Let’s first discuss the fact that the DDJ-REV7 does not conform to what has now become the standard controller layout. Most controllers in the market follow a similar design language. Sure, there are differences between manufac turers and software platforms. Still, most controllers have two plastic platters with cue buttons in front of each platter, and a mixer section in the middle, often either supporting or structured for four channels. A central FX control section runs along the mixer section, almost looking like a third/fifth channel, depending.
Well, throw out nearly all that design language for the DDJ-REV7. For those unfamiliar with open-format/battlestyle DJ setups with turntables, the turntable rotates 90 degrees counterclockwise to move the turntable arm out of the way when scratching, along with the pitch fader being relocated to the top left of each platter section.
Applying the approach to the DDJ-REV7, we see the platters on the left and right, with the pitch faders on the top. Located between the platters and the pitch faders is a series of
hot-cue buttons that have dedicated functions in Serato DJ Pro software. Unlike many of Pioneer DJ’s other controllers, which see the hot-cue buttons in front of each platter, the hot-cues/control buttons are located in the mixer section. For those familiar with Pioneer’s battle mixer “S” series, the controller dropped an S7 right in the middle of the two plat ters.
Let me start by saying these platters are incredible. Not only do they look like mini-turntables, but they also perform. They are built to last from a construction standpoint, with their core being a metal platter with a familiar dot pattern reminiscent of turntables from my youth.
Like the approach Pioneer DJ has taken with its CDJs, users can adjust the torque to tailor their scratching experi ence. While seemingly straightforward, Pioneer DJ put two indicator lines on the unit to make returning to “center” clear and more familiar to DJs who would have put tape on their records back in the glory days of vinyl. The only significant difference from traditional turntables is that there isn’t a central pin that I typically used to accelerate/de celerate; in place, you have a pitch fader, pitch-adjuster buttons, and a sync button.
In contrast, it did take me a few sessions to get accus tomed to not having the center pin. Having the torque control, tempo sliders, and the beloved sync button made up for the missing feature. The bonus of having track and waveform information in a beautiful bright 3.5-inch LCD screen made me care even less about the lack of a turn knob. With all that visible information within the platter, I found myself looking more at the controller and less at the computer screen. It was a better playing experience and it allowed me to move faster in my transitions. It also enabled
me to execute new mix tech niques and combos that I had not been able to do with previ ous controllers.
With the DDJ-REV7 being a controller, you are no longer bound to the singularity of moving a piece of vinyl slower or faster to manipulate a track. Thanks to the section of hot cues and track manipulation buttons, you have an instant scratch button section, sam pler bank, and loop/auto loop buttons. While I did use these from time to time, I found myself gravitating to the button section within the mixer and wondered if I had the review unit for longer would my opinion have changed.
All Pioneer DJ devices that I have come across use a three-button system for looping, comprised of “auto loop,” and “1/2x,” and “2/x” buttons. I would much rather have seen Pioneer DJ transition away from this for mat and move to an encoder button that would replace the loop buttons and allow the user to increase and de crease the loop size or activate or deactivate the loop. I find this workflow more intuitive and easier to manage and manipulate.
For those who have used Pioneer DJ’s battle-style mix ers – like the DJM-S5, DJM-S7, or the DJM-S11 – the mixer section of the DDJ-REV7 is comprised mainly of the same attributes found on the DJM-S7 with a few tweaks here and there. As someone who has primarily played on Pio neer DJ’s DDJ-1000 or traditional turntables with a DJM800 and an extra MIDI controller to control cue points, I was pretty fired up to check out how my workflow would change with the performance pads section now located above the crossfader – as opposed to below the plat ters like on my DDJ-1000 or a separate control unit when using my traditional DJ set-up. Not to mention, it’s a completely different approach to FX, compared to my DJM-800.
Let’s first start with the performance pads. In contrast, there are various ways to use the performance pads’ roll, saved loop, and sampler. I tend to stick with hot cues and use them not only for track beat-matching, but also to find them easier to jump around the track and not al ways have the following way coming in at the start. These pads in the middle of the set-up made beat-jumping, quick-cueing, and general mixing much more manage able. They felt more intuitive, especially when trying to quickly go between two tracks.
Above the performance pads sat the FX section, com prised of six pre-set buttons, a mini screen, FX parameter adjustment buttons, filter knobs, and FX on/off/lock-on switches. I came from mixers and controllers that utilize
a button to activate/deactivate the FX with a knob to control the depth, so I was most interested in how I would like the switch approach to FX control.
To say it was my favorite feature of the whole device is an understatement – it was by far my favorite feature to use. I found the workflow – from jumping from the various six FX buttons and manipulating the FX parameter with the two up/down buttons and associated screens – to be straightforward to learn and use. The ability to man age both tracks simultaneously with the FX controls felt way more intuitive than a button-knob combo. The fact that the filter knobs are located nearby made track ma nipulation more accessible and faster, perfect for battle DJs moving with speed and precision.
As someone who has used pretty much every version of Serato and its associated controllers, I have to say this has been by far the most fun I have ever experienced with a controller. From top to bottom, Pioneer DJ’s DDJREV7 checks almost every box. For the first time in a long time, I felt I was doing a different type of beat-juggling, using long-standing favorite FX in new ways, and explor ing some of the more unique FX features.
I played a handful of house sets with the DDJ-REV7 and, while there wasn’t the same number of FX com pared to other DJM mixers, I found that having the turntable-style mixing resulted in me playing longer transi tions and brought me back to the good ol’ days of vinyl and start-to-end-of-night sets.
Overall, it had every bell and whistle a battle DJ or open-format jock would want. At $1,999, the unit might not be the right financial fit for everyone. But, when you break it down with the fact you are essentially getting two turntables, a DJM-S7, and added hot cue, it is one loaded controller with everything you need, and nothing you don’t.
Add in the fact that it’s a built-for-Serato unit makes adoption for anyone familiar with digital DJing easy – it’s a seamless transition. For Serato DJ users, it brings ev erything into a purpose-built unit, ready to perform and battle.
Massapequa, N.Y. – Jimmy Strange, owner of Rhythm Force En tertainment on the South Shore of Long Island, has been in the DJ game since the early 1990s. In that time, he’s developed a stage persona, and an act to go along with it, spicing up his interactivity with humor, inventive games, and, most importantly, a sense of fun.
We asked the Massapequa-based Jimmy Strange (aka 52-yearold James Wilson) some questions about how he’s gotten it done for the last 30-plus years.
DJ LIFE: Where did the inspiration to DJ come from?
Jimmy Strange: I was working at Manor East, a catering com pany in Massapequa, as a waiter when I was 18-years old, and I’d seen a lot of bands and DJs come in and play various events. I had watched them all and said to myself, “That looks fun, and they’re getting paid for it? That’s for me.”
DJ LIFE: And how did you learn to do it?
Strange: After talking with one of the DJ companies, I started as a roadie, then a dancer-interactive guy, danced on MTV’s “The
Grind” back in the day, too, started buying records from Music Trends in Levittown and Rock and Soul in Manhattan, started to build up my vinyl collection to 12 crates [laughs]. And carrying them around was no joke. I started DJing. Then I worked up to being an MC, then a lighting guy, then a computer-tech, etc. I did it all. I worked for my self, as well as others, all along the way. All in all, I was self-taught.
DJ LIFE: We’ve talked about your business and the unique, fun qual ity you bring. Can you describe some things – props, attitude, games – that you’ve used that have helped set you apart?
Strange: At Rhythm Force Entertainment as Jimmy Strange, I’ve been doing this a long time — almost 35 years trying to differentiate myself from the competition on Long Island. The props and attitude I bring to my events are different and unique in all aspects – one being my style of attire and my interaction with my guests. My games and interaction have a flair for comedy, and I like to engage my audience so every one enjoys the performance, like a show. I like to put myself out there in the midst of everyone to ensure a good time by all. The games I bring are a hybrid of games I’ve seen at the DJ Expo and reworked to fit my demographic along with my own creative spin!
DJ LIFE: Describe the Long Island market for mobile DJs – where do you fit in?
Strange: In my personal opinion – and it’s just my opinion – Long Island DJs are a dime a dozen. There is always going to be some one out there who says they can do it better or bigger and for less. However, that is with any business, I guess – so it is what it is. Just do you and all will work out just fine. Where I fit in in all this, well… I can do the big stuff and I can do the small stuff and all that’s in-between. I love what I do, so it makes no difference in the type of events I’m doing. I wouldn’t change it for the world.
DJ LIFE: What’s the current state of competition in your area? Are younger guys coming in with iPads? Couples using Spotify, instead hiring DJs?
Strange: First of all, I don’t use Spotify, never have and
never will, and tell clients not to use it either, as a professional DJ reads the crowd and takes them on a musical journey. The iPad and all the tech that’s out there are good in one form or another. But I’m from the old school where we carried crates of records — seven or eight crates some times. I’ll say that with the young guys out there today, they don’t have the know-it-all knowl edge and didn’t grow up with the greatest musi cal genres like we have. They feel they can just Google an era and download everything and say, “I’m a professional DJ.” The equipment alone is a whole other story.
DJ LIFE: What’s in your DJ system?
Strange: My basic set-up consists of a Pio neer DJ DDJ-SX controller, a Samson mi crophone, Serato DJ software, two MacBook Pro computers – circa 2012 because they’re the ones you can up
grade.
DJ LIFE: RCF always has a big presence at our DJX show in Atlantic City...
Strange: Yeah, I upgraded my sound system from Mackie SRM450v2 units on tripods with no bass bins to the RCF set-up. I always wanted bass bins, but it just never happened for me. I saw an opportunity to get the RCF, and I just did it. I’m very happy with the portability and size and sound of RCF system. I feel like I made a good choice.
DJ LIFE: Speaking of DJX – formerly known as DJ Expo –you’ve been coming to the show for a long time, right? For you, what’s the value of going to the show?
Strange: I’ve been coming to the DJ Expo in Atlantic City since
it started, every year, and I’ve learned more and more to add to my arsenal, and I tweak it to fit my demographic. In 2017, I decided to give back my knowledge I’ve learned over the years and spoke to Mike Alevras and Daryl “Jake” Jacobsen to be included in the “Games” seminar on Tues day. It went over so well that I wish I’d done it earlier. Since then, I have been included in the “Games” seminar and have brought my creativity and wisdom to the younger guys coming up. I believe these DJ shows are an integral part of our business because we can all learn something from each other.
DJ LIFE: Jimmy Strange – what’s up with the name? Has it helped your branding?
Strange: Ha! The name, Jimmy Strange, happened when I was at an event in the early days. A co-worker, Tom Kilkenny, said to me at the event where I was just cre atively being me, “Dude, you are strange – you are Jimmy Strange!” And it stuck. I’ve have had that name for over 30 some years. It’s my Facebook name and friends call me that, as well. It’s funny, in 2017, after I did the “Games” seminar at the DJ Expo, DJs in the hallway would call out my name. That’s when I knew I was recognized as a great entertainer.
DJ LIFE: How have you marketed your company, Rhythm Force Entertainment? What’s been the best method for you?
Strange: My marketing has pretty much been all wordof-mouth and referrals. Seems to work best for me, any way. Friends and family always helped out, too, spreading the word. My grammar school, Maria Regina in Seaford, always hired me for all the dances. All in all, it kinda just grew from there.
DJ LIFE: Where do you see your business in five years?
Strange: I expect it to become more technical, meaning that the equipment will be smaller and faster. Wireless lights will be more compact with a stronger throw capacity. The use of projectors will be more widespread as well, in my opinion. DJs will have to up the game and skill set if they want to continue doing what they love for a living.
DJ LIFE: Do you see yourself as an entertainer first – or a business owner?
Strange: I definitely see myself more as an entertainer than as a business owner. The day-to-day work isn’t as fun as working the tables at an event or getting out in front on the mic. Also, if you saw some of the events I do with the kids, the parents as well as the kids and myself have a blast dancing and laughing.
DJ LIFE: What benefit do you get, personally, from DJing parties. In other words, why do you do it?
Strange: The benefit I get personally from the events I do is the smiles on the faces of the guests at my event. Some people have told me they’ve never seen many of the things I bring to the event, such as the comedy I work into what I do. Some guests have said I should have been a teacher with how I perform at the kids’ events. Some have come up to me to shake my hand and say thank you for making what would be just another party go above and beyond to make the most fun they’ve experienced at any other event, and how it looks like I’m in the right business!
Where would we be today without our cell phones? They have become a part of everything we do. We depend on our phones for commu nication, from making appointments to talking with current and future clients.
Most DJs will tell you that a smart phone is a crucial tool for conduct ing a successful business. It’s estimat ed that at the end of this year, there will be almost 7 billion smartphone users – which is almost 3 billion more than just six years ago. Statistics like that mean advertisers, marketers, and business owners have learned to become savvier in how they market themselves to customers.
The rise of mobile phone usage over the years means you can target customers in so many new ways be cause they are on their phones for a large part of the day.
So how can you as a business owner leverage a digital marketing tactic that gets your information in front of potential clients?
I’ve discussed Geofencing in some of the local Facebook groups and I’ve received a lot of messages from DJs asking how it works, the costs, software you need, agencies that do it, and other questions that piqued their curiosity about it. Without go ing too much down a rabbit hole, Geofencing simply put is a digital advertising tactic that involves
location-based ads that are served to people through social me dia, phone apps, app notifications, text messaging and within the Google Display Network.
Because the ads are location-based, they are triggered by cel lular data and GPS when a mobile device or RFID tag enters or exits a virtual geographic boundary, known as a geofence.
Let’s say a woman recently became engaged and she started her journey of wedding planning. She enters a venue that she is interested in to see the layout and receive information. While inside waiting for the coordinator, she jumps on social media to message a friend and immediately starts seeing ads for your DJ services. She also jumps on her favorite shopping website real quick and instantly sees ads for you in a sidebar within the Google Display Network that the website is using.
A couple of days later, she goes to meet with a competitor of yours at their office. She doesn’t sign with them because she wants to think things over or meet with other DJs. She gets coffee down the street at a coffee shop, launches an app on her phone and starts seeing video ads for your services that give better value and everything she’s looking for. She immediately clicks on the ad, goes to your website, and requests a consultation.
A week later, she goes to a big bridal show to meet with ven dors. While inside, she receives an app notification about your services, an exclusive deal that expires within a couple of hours, and a call to action to fill out an inquiry form on your website to take advantage of the deal even though you’re not at the show as a vendor.
These are just some of the basic ways that Geofencing works or could be used. You have better targeting versus just casting a wide net when it comes to digital-media buying. With the abil ity to hyper-target people, you’ll not only be able to reach your clients at the right time and at the right place, but be able to engage them with messaging that is relevant and timely.
And most important, by targeting clients in a specific geograph ic area, and filtering that area by specific targeting criteria, you’re much more likely to engage and convert them into actual paying clients or steal market share from the competition.
Auralex Acoustics has released Platter Matter v2, a profes sional turntable mat. The Platter Matter v2’s inert, highly op timized composition physically calms the record, providing superior isolation from motor rumble, as well as structure-borne vibration and airborne acoustical sound. Perfect for discerning home listeners or working DJ/turntablists, the Platter Matter v2 is packaged in a sturdy album jacket and sleeve for safe storage – and it includes a five-year limited warranty. For an additional fee, Auralex also offers an optional slipmat, ensuring that re cords spin freely above the Platter Matter v2.
Auralex Acoustics 8802 Bash St. Ste. A Indianapolis, IN 46256 (317) 842-2600 www.auralex.com
Chauvet DJ has released the Shocker Panel 480, a punchy, single-zone blinder with cool white SMD LEDs. As a blinder or strobe eye-catching effects can be triggered easily with the built-in display, DMX, or with the optional IRC6 remote. Shocker Panel 480 is road-ready, too, with its rug ged housing that makes it ideal for mobile applications and powerCONcompatible power input/output connections for secure power linking. Transports easily in the optional CHS-25 VIP gear bag. For the 9.4-pound unit, features include: four DMX channels; 3-pin XLR; 0 to 28 Hz strobe rate; 111-degree beam angle; 155-degree field angle; and 14,974 lumens
Chauvet DJ 5200 NW 108th Ave. Sunrise, FL 33351 (800) 762-1084 www.chauvetlighting.com
Serato has announced a public beta for Serato Stems – a new, real-time, audio-source-separation technology. Powered by Serato’s machine-learning algorithm, Stems allows DJs to create a cappellas or instrumentals at the click of a button, isolating or removing parts to create smooth transitions. DJs can instantly isolate vocals, melody, bass or drums, and add creative Pad FX, like Echo and Braker to transition between stems. DJs can create mash-ups on the fly with just a few clicks – no more dig ging through tracks or putting together custom edits. Serato Stems integrates seamlessly into your existing hardware with a brand-new Stems Pad Mode, and the feature is free through Serato DJ Lite 3.0 and DJ Pro 3.0.
Serato Limited Private Bag 90215 AMSC Auckland 1142 New Zealand 64 9 379 4944 www.serato.com
Audio technology company iZotope has introduced RX 10 audio-repair software and Ozone 10 mastering suite – now with new, intelligent features that make audio repair and master ing more intuitive. Both updates bring users tools with increased intelligence, making it easier and faster to get professionalquality results, while still allowing plenty of opportunity to personalize sounds to taste. Built on decades of research, RX 10 is the complete toolkit for audio clean-up in music and audio post-production. From analyzing audio capture and production issues to providing processing solutions, RX 10 speeds up editing
workflows, salvages poor audio takes that were once unfixable, and delivers reliably clear sound quality. New RX10 features include: Repair Assistant Plug-in; Dynamic Adaptive Mode in De-Hum; Upgraded Spectral Recovery; and Selection Feath ering. New features in Ozone 10 include: Stabilizer Module; Impact Module; Improved Master Assistant; Magnify Soft Clip; and Recover Sides. iZotope, Inc. 700 Technology Square, Ste 400 Cambridge, MA 02139 (617) 577-7799 www.izotope.com
Mackie has released a redesign of its Thump loudspeaker series, which includes updates to the standard Thump and the allnew ThumpXT. Featuring a completely new design, the all-new powered loudspeakers maintain Mackie’s signature Built-Like-A-Tank construction and versatile I/O of the popular Thump Series loudspeakers plus some pow erful upgrades. The 1,400-watt ultra-efficient Class D amplifiers provide ample headroom, allowing vocals, instruments, and music to cut through loud outdoor venues or indoor crowds with up to 128dB and 47Hz - 20kHz for optimal clarity. Available in Thump and ThumpXT options, both offer a built-in Feed back Eliminator in addition to a convenient Music Ducking Mode. The new ThumpXT tacks on extra capabilities with venuespecific voicing modes and supplementary controls via the Thump Connect 2 App. Mackie
16220 Wood-Red Road NE Woodinville, WA 98072 (425) 892-6500 www.loudtechinc.com
ADJ has released the ULTRA LB18, the company’s latest addition to its range of LED-powered wash fixtures utilizing lime-infused color mixing. The versatile linear lighting device incorporates powerful 5-in-1 RGBAL LEDs to deliver enhanced color mix ing, including tunable white, and a high CRI. Offering a variety of useful features and customizable operating parameters, including zone control, it is designed both for permanent installation and temporary event use at indoor locations. The fixture’s 18 LEDs are grouped into six separate zones of three LEDs, each offering in dependent color-mixing control. This facilitates the creation of eye-candy chase effects, with a useful Pixel Flip function allowing the order of the zones to be reversed for convenient programming. For added conve nience when programming, the fixture offers tunable control from a single DMX channel, making it easy to select the right color temperature of white light for any given applica tion.
ADJ Products 6122 S. Eastern Ave. Los Angeles, CA 90040 (323) 582-2650 www.adj.com
VocoPro has released its SmartOke system
– a new DSP karaoke mixer with two wireless microphones for SmartTVs and tablets. For KJs and enthusiasts looking for a fun karaoke expe rience without using discs, the SmartOke system allows users to sing along with thousands of ka raoke songs on YouTube or other sites. Users just
connect their smart TV with the includ ed optical cable or send a Bluetooth signal from their laptop, tablet or smart phone. Then just connect the output of SmartOke to any sound system and let the fun begin. SmartOke comes with two wireless microphones with controls built in, so each singer can choose their preferences of volume, mic effect level and mic EQ.
VocoPro 1728 Curtiss Court La Verne, CA 91750 (909) 593-8893 www.vocopro.com
Artesia Pro and ESI have released the Xjam mobile pad con troller. Perfect for DJs and music producers, the feature-packed, MIDI, USB-powered mobile creation station offers an ultra-thin form factor and users can easily customize and control their in struments, while traveling and performing without sacrificing cre ativity. Loaded with recording and editing software, users have everything they need to get started (Bitwig Studio 8-track and Wavelab LE for Mac and PC, plus Cubasis on the iPhone and iPad). The Xjam comes loaded with 16 genuine pads that offer a thick-and-fat feel, plus polyphonic aftertouch. Six assignable knobs let producers take control over a variety of parameters, such as volume, pan, filter, cutoff, and more.
Artesia Pro 1308 N. Magnolia Ave El Cajon, CA 92020 (888) 998-9848 www.artesia-pro.com
IK Multimedia has released the iLoud Precision series of nearfield monitors. Avail able in three configurations – 2-way 5- or 6.5-inch, and two 5-inch MTM – these monitors, according to the company, offer a frequency response from 36 Hz to 30 kHz, with ±1 dB tolerance from 45 Hz up. The iLoud Precision also lever ages its 96 kHz internal DSP processing, digital crossover and customdesigned Class D amplifier to deliver true linear phase response above 150 Hz. The iLoud Precision series introduces X-MONITOR, a unique and advanced control ap plication for Mac and Windows that assists with ARC calibration and enables extended acoustic and voicing selection and adjustments, plus con venient access to the settings on the Precision’s back panel. The software is plug-and-play via a simple USB connection with no special set-up needed.
IK Multimedia 590 Sawgrass Corporate Pkwy Sunrise, FL 33325 (954) 846-9101 www.ikmultimedia.com
Decksaver, distributed Stateside by Mixware, has released a new range of impact resistant polycarbonate covers for a variety of recently released and popular DJ products. With protection ready at hand to make sure the beats keep coming, Decksaver’s latest covers are custom-molded for: Pioneer DJ’s DDJREV7 controller; Pioneer DJ’s DDJ-REV1 controller; PLAYdifferently’s Model 1 profes sional DJ mixer; PLAYdifferently’s Model 1.4 professional analog DJ mixer. Mixware LLC
11070 Fleetwood St., Unit F Sun Valley, CA 91352 (818) 578-4030 www.mixware.net
Avid has released Pro Tools Intro, a brand-new free offering for cre atives who are eager to explore the world of music and audio. This updated version introduces the powerful Pro Tools Digital Audio Workstation that enables new creators to start turning their ideas into songs, beats, and loops, while bringing them into one of the music industry’s most important creative communities of award-winning art ists and professionals that make up the Pro Tools ecosystem. Pro Tools Intro is built on the unsurpassed DNA of the Pro Tools code base, which ensures that everything a user learns and produces can go forward with them whenever they decide to move up to the more powerful Pro Tools subscription tiers. Pro Tools Intro delivers a creative palette with all the essentials for easily making professional-quality music and sounds, including MIDI tools and dozens of core effect and instrument plugins. The creative ex perience surrounds first-timers with a wealth of instructional videos, webinars, online community forums, and other friendly resources for get ting up-and-running fast and then expanding their creative repertoire.
Avid
75 Blue Sky Drive Burlington, MA 01803 (978) 640 3000 www.avid.com
Yosh’s Drum Warehouse has released Volume 2 of its popular drum-sample library. Introduced by seven-time Grammy Award-winning engineer/ producer/mixer Josh “Yosh” Jaszcz, the expansive collection features more than 2,000 new multi-sampled, multivelocity drum hits recorded with three different kits and over a dozen snare drums to fit the groove of a wide range of music genres. The Volume 2 library features 24-bit, 48 kHz WAV files suit able for use in any DAW or sampler. The library includes: three sets of kick drum samples; three different sets of tom samples, featuring 8-, 10-, 12-, 14- and 16-inch toms (a spectrum of options missing from most sample libraries); and 13 different snare drum sample sets.
Yosh’s Drum Warehouse www.yoshdrumwarehouse.com
From the Dirtybird Campout Compila tion 2022, this hypnotic and slightly psychedelic tech-house track should light up plenty of dancefloors. Loopy and groovy, “Swivel” delivers the regu lation lifts and breakdowns, but in the end, its disorienting vibe is what grabs you.
– Jim Tremayne
On Patterson’s remix, lush keys, soar ing horns and a pumping house rhythm work together to create a hands-in-the-air winner. DJ Rae’s soul ful vocal still stands out, but Patter son’s mix makes it memorable.
– Jim TremayneAdding his signature touch to this funky Tensnake fave from 2010, Germany’s Purple Disco Machine (aka Tino Pion tek) soups up the rhythm to give it a more percussive, Nu Disco flavor. Plus, he adds a snappy breakdown that’ll please plenty a dancefloor. Boomin’.
– Jim Tremayne
This euphoric, classic, deep-techno EP begins with a 12-minute “Manchester Club Remix” primed for a boat party or softer club-night moment. The alsolengthy “Sunset Mix” is ready to stretch the pliable minds of punters watching a sunrise or sunset. The “short” version of that mix clocks in at seven minutes. Sublime.
– Chris DavisEats Everything (feat. Fatboy Slim)
Three Six Zero/Ministry of Sound
A simple banger, but plenty of fun, this one has all the loopy dynamics of the late ’90s Fatboy era. There’s no shortage of quirky sounds, break downs and singalong chants here –manic and peak-hour, for sure.
– Jim TremayneA cut from Tchaparian’s new Bolts al bum, “Round” gets the way-out remix treatment from Four Tet. Banging at some points, ethereal in others, Four Tet’s re-rub establishes its momentum with a pumping rhythm and psyche delic synths – then it give us a euphoric breakdown. Blissful, pulsing, ecstatic –a gorgeous techno mix.
– Jim TremayneKx5 feat. The Moth & The Flame mau5trap
With its haunting and occasionally creepy musical backdrop, this vocal houser offers plenty of deep and nervy vibes, then slowly turns ethereal. For the darkest of dancefloors.
– Jim Tremayne
Anfisa
Factory 93
A hypnotizing swirl of a techno track, the latest from Italy’s Letyago offers acid flavors, melodic, trippy synths, rolling kicks, and breathy, female, spoken-word vocals. Part banger, part trip-out tune, this one can work a peak-hour floor or chill-out room.
– Jim Tremayne
As found on the Anjunabeats Volume 16 comp, this is a real melodic buzz bomb. Flaunting G&D’s newfound interest in the modular synth, “Bias” burbles, swells, chugs, and rollicks its way into your head, somewhat remi niscent of early Underworld tracks like “Rez.” And for a real ride, check the trippy extended mix.
– Jim TremayneOver a pumping rhythm and ultramelodic synths, Douglas delivers a sweet, strong, affecting vocal on this emotive house track – a bit of a departure for Hannah Wants. The extended mix, as one might expect, offers plenty of extra, smooth dance floor grooves.
– Jim Tremayne “CURE MY DESIRE” Hannah Wants feat. Clementine Douglas Kx5 Gabriel & Dresden Hannah Wants3
Taylor Swift Anti-Hero Republic
Harry Styles Music For Sushi Restaurant Columbia
Doja Cat Vegas RCA
1 CLUB PLAY CHART REPORTERS
Diveana La Reina Homenaje A Wilfrido Vargas J&N
Don Moña Lo Que Te Gusta Industry MGT
Alberto Paracatin Bamban!
Viran en la Guagua Envidia
1 Elton John & Britney Spears Hold Me Closer Interscope 2 David Guetta & Bebe Rexha I’m Good (Blue) Warner 3 Nicki Minaj Super Freaky Girl Republic 4 Lizzo About Damn Time Atlantic 5 James Hype & Miggydella Rosa Ferrari Universal 6 Sam Smith F/ Kim Petras Unholy Capitol / EMI 7 Doja Cat Vegas RCA 8 Company B Let’s Just Dance H. O. P. 9 Joel Corry & Becky Hill History Atlantic 10 Tiesto & Charli XCX Hot In It Atlantic 11 Post Malone & Doja Cat I Like You Republic 12 MK & Burns F/ Teddy Swims Better Ultra 13 Onerepublic I Ain’t Worried Interscope 14 Beyonce’ Cuff It Parkwood/ Columbia 15 Yung Gravy Betty (Get Money) Republic 16 Harry Styles Late Night Talking Columbia 17 Zedd, Maren Morris & Beauz Make You Say Interscope 18 Harry Styles Music For A Sushi Restaurant Columbia 19 Alok, Eyre, Dope F/ Never Dull Deep Down Arista 20 Tove Lo 2 Die 4 Pretty Swede 21 Ellie Goulding / Big Sean Easy Lover Polydor 22 Lizzo 2 Be Loved (Am I Ready) Atlantic 23 Beyonce’ Break My Soul Columbia 24 Meduza X James Carter Bad Memories Republic 25 Black Eyed Peas & Shakira Don’t You Worry Epic 26 Harry Styles As It Was Columbia 27 Traig High On You Swishcraft 28 Telykast Body To Body Spinnin’ 29 France Joli Fallen Swishcraft 30 Charlie Puth F/ Jung Kook Left And Right Atlantic 31 Rob Moore F/ Kiva Turn Me Loose Moore Music 32 Acraze F/ Goodboys Believe Capitol 33 Ltbeam X Eric Kupper / Magnolia Hope Beam Machine 34 Billie Eilish Armani White Def Jam 35 Shab Serenity Shabnam 36 Ava Max Million Dollar Baby Atlantic 37 Gypsy Love Loving You Is All I do GLP 38 Nicky Youre & Dazy f. 24k Goldn Sunroof Columbia 39 Fredrik Ferrier / Dan Carasco Ain’t No Sunshine Robbins 40 Dark Intensity & Tina Decara How We Feel Tazmania n Ritmo Internacional Record pool n DJ Latinos Record Pool n MassPool n Record Pool Latino n Latin Beat Chicago Record Pool n All In Music Pool
Ava Max Million Dollar Baby Atlantic Listen the DJ Life National Dance/Crossover Chart on SPOTIFY! LISTEN NOW!
Latinos Unidos Record Pool
