Showcases: A.D.E. packed the houses.
By Jim TremayneAmsterdam, The Netherlands – Since its 1996 inception, Amsterdam Dance Event has seen impressive growth as a show and rising influence as a brand. Working as a seminar-heavy convention, a tech-filled tradeshow, and a star-studded series of club showcases – all in one event – A.D.E. has become the world’s largest dance-music industry gathering.
But, like many other conventions, the immediate post-pandemic era has not been kind to Amsterdam Dance Event. In 2020, A.D.E. presented an online-only/virtual event that included panels, keynotes, and tutorials. It was as impressive as a virtual event could be, but it was… well, virtual, and there’s only so much utility to be gained in that scenario. Then, the next year’s event had to cancel its seminar segment, so, in the end, A.D.E. ’21 saw only live events – and a reduced number at that.
Thankfully, the 2022 version of A.D.E. returned to full-force. Held this past October 19-23 in a variety of venues around the Dutch capital, A.D.E., welcomed a record number of 450,000 visitors to the city for its conference and festival programs. According to A.D.E., the 27th version of the show presented over 1,000 events and initiatives in over 200 spots around the city, hosting more than 2,500 DJ/artists and speakers.
For the electronic-music industry attendees, the ADE conference portion took place at the venerable Felix Meritis Centre, touching on topics ranging from mental health for DJs and professionals to live-event sustainability to social change and inclusivity.
Highlights included intimate keynotes and tutorials from Ellen Allien, Diplo, Oliver Heldens, Joris Voorn, Ferry Corsten, Peggy Gou, Seth Troxler, Sydney Blu, Richie Hawtin, Don Diablo and Youssou N’Dour, among others. Additionally, as is custom, Saturday’s seminar schedule was highlighted by the 25th annual version of “Demolition” – an A&R/track-grading session featuring Dave Clarke.
Tech talk included masterclass presentations from Ableton (on Live), Native Instruments (on KOMPLETE 14), and iZotope (on Neutron 4, Ozone 10 and RX10), among others.
And on the festival/club side, a slew of evening events from labels like Armada, Anjunadeep, Coldharbour, De-
fected, Monstercat, Nervous, Protocol, Spinnin’, and Wall filled up the area nightclubs and presented top talent like Armin van Buuren, Markus Schulz, John Summit, Louie Vega, Nicky Romero, Blasterjaxx, Afrojack and more. Additionally, club brands like Awakenings filled the Gashouder venue with techno faves like Richie Hawtin, Adam Beyer, Ben Klock and Marcel Dettmann.
The next Amsterdam Dance Event will take place October 18-22, 2023. For more on Amsterdam Dance Event 2022, please visit pages 30-31.
In late 2013, when I was running DJ Times , we were fortunate to get a chance to interview DJ White Shadow.
In addition to releasing his third in a series of solo EPs, DJWS (aka Paul Blair) was deep in the middle of his studio collaborations with Lady Gaga, the world’s biggest pop star. Indeed, Artpop had just been released and a big, supporting tour was on the immediate horizon. With lots to talk about – including discussion of his DJ origins in Detroit and Japan – he gave our Chris Caruso one of the magazine’s better interviews.
Fast-forward nearly a decade and Blair, 44, is a Grammy winner, as his work on the film soundtrack for A Star Is Born was honored in 2020. Additionally, he’s earned recognition for his remixes/productions for other artists (like Pitbull, Ne-Yo, and Jennifer Lopez) and he continues to DJ choice gigs. As he’s on the go very often for a variety of reasons, Blair made the perfect subject to discuss making music on the move… so, that’s just what we did. Enjoy.
Of course, as 2022 runs into 2023, we thought we’d reach out to the DJ world – club, mobile and studio jocks alike – to find out what rated with them this past year. We asked three questions: What was their favorite track (one that wasn’t theirs)? What was their biggest accomplishment? And what was the best musical moment they experienced? We were fortunate to be overrun with responses – so, the first 100 we received are here in this issue. (And don’t sleep on the music links – there are some great tunes in there.)
In other DJ/artist features, we connect with Ultra Naté, truly one of house music’s legends. Not only has the Baltimore native been a hitmaking vocalist for more than 30 years, but for the past two decades she’s been an active DJ with a terrific party, Deep Sugar, showcasing the best of the underground. In Sound Bites, our Brian Bonavoglia interviews Sidepiece, the hitmaking duo that gained a Grammy nomination with “On My Mind.”
Also in Sound Bites, we go into the studio with another Grammy winner, Dave Audé, who just released his debut artist album, Motions
In our review columns, Minneapolis-based scribe DJ Deets runs the Numark NS4FX controller through its paces. Whether you’re a mobile jock or a live-streamer, this might be a perfect unit for you. Meanwhile, our Denver-based writer Wesley King reviews Note, Ableton’s latest unique solution for music creation. Get your ideas down, no matter where you are, then transfer it all to Ableton’s Live software – presto.
In Mobile Profile, we visit with Brian Botens of Beloved Entertainment in Buffalo, N.Y. – he’s a DJ for whom diversity has become his calling card. Whether it’s spinning weddings, rocking clubs or renting tech to big events, Botens has you covered. In DJ Business, Joshua Volpe further explains geofencing and how mobile jocks can benefit by amping up their digital ads.
In Festival Spotlight, we take a look at Time Warp, which hit the Brooklyn Navy Yard this past November, and presented top techno talent like Adam Beyer, Nicole Moudaber, and Sven Väth. In News and also as a feature photo spread, we bring Amsterdam Dance Event home to you. After two years of COVID-impacted events, A.D.E. delivered fully this past October.
Also, don’t forget about DJX ’23. Set for Oct. 7-10 at the Hard Rock Hotel & Casino in Atlantic City, N.J., DJX will bring you the latest technologies on its exhibit floor, discuss the best topics in its seminars/keynotes, and present the hottest sponsored parties during its After Dark series. Registration is open and we hope to see you there!
Jim Tremayne Editor, DJ LIFEeditor-in-chief Jim Tremayne jtremayne@hazanmediagroup.com
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Atlantic City, N.J. – The dates for DJX ’23 are now set. The long-running show – produced by DJ LIFE mag and Hazan Media Group – will take place August 7-10 at AC’s Hard Rock Hotel & Casino. Registration for DJX ’23 is now open. The 2022 show, which ran this past August at the same location, featured more than 35 seminars, top technology exhibits, and sponsored After Dark parties. Here are some of the post-show responses from exhibitors and attendees: “A wonderful DJX show – the show was great. We truly enjoy attending every year. It is exciting to see attendance growing year after year. It was compelling to see everyone enjoying themselves – from the vendors, retailers, and entertainers. The hotel was perfect and the show management was very accommodating, making us feel like family. DJX is one of the best shows for mobile entertainers and we are looking forward to attending next year for DJX ’23!”
– Jason He, JMAZ Lighting, El Monte, Calif.
“The BASSBOSS team had a blast at this year’s DJX! 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.
“It’s crucial for our industry to gather each year to reconnect, re-engage, and enjoy some party time together. We’ve been able to build many lasting relationships through the years at DJX, and each year we meet more new friends. If you haven’t attended DJX in the past, mark your calendar – it gets better and better each year.
– Lian Amber, BASSBOSS, Los Angeles “For the past 20 years, this convention has been my recharge. It has been a place to grow, learn, relax, and surround myself with other like-minded professionals. This show is the reason that I believe being a DJ is more than a profession, it’s a culture.”
– Joshua Lask, Hudson Valley Event Group, Monroe, N.Y. “DJX ’22 was an incredible week! I came home with so many new business strategies that I can implement immediately to make my company stronger and more profitable. Plus, the networking was amazing. Between the conversations in the hallways to the sit-down meals with my industry peers, I felt like I was at the ultimate networking event. I can’t wait ’til next year!”
– Mike Walter, Elite Entertainment, Tinton Falls, N.J. “I’ve been coming to this show for years as a DJ and spectator, but to have the experience I had this time as a vendor was great.”
– Brian McGann, SMPL Events, Poughkeepsie, N.Y.
By 2019, Nitti Gritti and Party Favor were two DJ/artists who had enjoyed more than a modicum success on the bass-music side of the EDM scene.
Party Favor had scored with whoppers like “Circle Up,” while Nitti Gritti had collaborated with some of Latin music’s biggest acts – Enrique Iglesias, Pitbull and Bad Bunny – and hit with festival pumpers like “Crack.” However, one phone call would change the fortunes of the two. In that conversation, Nitti Gritti (aka Ricky Mears) and Party Favor (aka Dylan Ragland) would form Sidepiece, a house-music collab project that found success relatively quickly.
Their debut DJ performance took place at Diplo’s Mad Decent Presents: Higher Ground party at The Brooklyn Mirage later that same year. Additionally, the duo released its debut single, “Wanna See You,” around the same time. But Sidepiece’s second release, “On My Mind,” its colossal collaboration with Diplo, blew up massively. Eventually graced with popular remixes from MK and Purple Disco Machine, “On My Mind” became such a dancefloor phenomenon that it earned a 2020 Grammy nomination for Best Dance Recording.
Following up with hard-hitting house hits like “Together ” and “Temptation,” Sidepiece started to light up clubs and festivals. And now, as the duo returned with its latest single, “Reborn,” Sidepiece has ventured out on its “Kiss and Tell: Second Base” headline tour, which will run through February. With this as a backdrop, we caught up with Sidepiece’s Dylan Ragland and Ricky Mears.
DJ LIFE: For those who may not be familiar, tell us a little about the origin story of Nitti Gritti and Party Favor joining forces to create Sidepiece?
Mears: We started talking on Twitter DMs and decided to Facetime about working together. Then, in pretty much one call, we showed each other some house-music ideas that led to realizing we both had an idea to do a new project just for house. We even came up with the name, Sidepiece, on the first call.
DJ LIFE: For anyone new to the Sidepiece experience, how would you describe your sound?
Ragland: We like to make house music with a fresh take by mixing up old samples or writing our own simple vocal lines, and sometimes we actually go in and write full songs with singers. The main goal of our sound is that we want to keep everyone dancing at our sets nonstop.
DJ LIFE: When did you two realize you wanted to bring your passion project to life?
Mears: I think we both have different timing in our careers, but it lined up for us to start a project based around house music in 2019. It was always in the back of our heads, but that phone call really made us excited to start this project.
DJ LIFE: Were you two ever nervous about how your new music would be received?
Ragland: Its always nerve-wracking when you release new music, but even more so with a new project under a brand-new name. Luckily, for us we didn’t put too much pressure on this, and then we had “On My Mind” blow up on TikTok and YouTube, so it made us excited to keep working on new music.
DJ LIFE: You two have always been true bass enthu-
siasts. What was it that made you fall in love with the house-music genre so much that you decided to create Sidepiece?
Mears: We both always loved house music and made our own versions of it before we started Sidepiece – but it just never got the time and attention from us before Sidepiece. This is us letting out the side of us that loves to make house.
DJ LIFE: House music has forever been the backbone of electronic dance music. Why do you think it has had such a new surge in popularity here in the United States, quickly becoming a festival fan-favorite?
Ragland: It lends itself so well to an endless party. There is a constant grove the whole time and the way you can mix house music is less “start-stop” then a lot of other genres in dance music.
DJ LIFE: You two have been releasing music individually for quite some time now. How would you say the electronic dance music landscape has changed since the earliest days of your career?
Mears: It’s always evolving and we try and be aware of that, but I think we’re both in for the long haul and fans can expect Sidepiece to be around for a long, long time.
DJ LIFE: Being a producer/DJ is a whole different ballgame compared to when you first popped onto the scene. What advice do you have for bedroom producers out there who may be overwhelmed or feel pressured to do things a certain way, juggling all these social-media platforms while getting music out there?
Ragland: Make as much music as possible until it is undeniable, and then start posting it online. We live in a day and age where the internet and social media will help anyone get the recognition they deserve.
DJ LIFE: Where do you two find inspiration when it comes to production?
Mears: Traveling and playing shows. But hearing other songs is usually the best way to get inspired for us.
DJ LIFE: Walk us through a studio session with Sidepiece. Are you two usually on the same page? What’s your DAW?
Ragland: We both use Ableton Live. We always have a bunch of new ideas to flush out, but we mainly write with other vocalists when we get in the studio.
DJ LIFE: When you two have a rough week or hit a wall creatively, how do you get back on track?
Ragland: Going home and re-setting with some workouts, good healthy food, video games, and being able to see our friends and family always re-charges.
DJ LIFE: Tell us a little bit about your new track, “Reborn,” and the process of putting it together.
Mears: We got a demo of this song about a year ago and it was instantly inspiration for us to finish the song. We’ve been playing it out for a few months and it’s so satisfying seeing people sing along to it now.
DJ LIFE: With 2022 about to come to a close, what does Sidepiece have in store for 2023?
Ragland: Some amazing shows while we finish our tour and we’re also gearing up for brand-new music and a huge remix of a well-known rapper coming early next year.
– Brian BonavogliaBy now, a peek at Dave Audé’s burly bio is like looking at a Baseball Reference page for a still-active Hall of Famer. The boldfaced listings of accomplishments can overwhelm you.
A few examples… By his own estimation, he’s made more than 1,500 remixes. He’s created 135 No. 1 Billboard Dance tracks – more than any remixer in history. He’s worked on songs from the very biggest acts in the pop, rock, country, dance, R&B, and hip-hop genres – from Madonna to U2 and everyone in between. In addition to several Grammy Award nominations, he earned his award in 2016 for his remix of “Uptown Funk.”
When we first met, he was running underground imprint Moonshine Music during L.A.’s rave-happy ’90s, a time of vinyl and a more insular dance-music community. But since then, the DJ/producer has flexed out even further, scoring big as a solo artist, remixer, producer, musical director (Pussycat Dolls tour), label owner (Audacious), and Twitch host
These days, he’s in Nashville and he’s just released Motions , his first solo album in 20 years. On it, Audé offers 11 tightly crafted pop-dance songs (plus three remixes) with a range of talented vocalists, including LeAnn Rimes (the soaring Alanis Morrissette cover, “Uninvited ”), Cody Belew (the ultra-catchy “Neon Moon”), ZEE MACHINE (the Italopiano-fueled title track), and Luciana (the buzzy/sassy “God Save the Queens”). It’s quite a ride.
So, as Audé, 53, prepped for his album’s release, we checked back in with the ultra-decorated DJ/producer.
DJ LIFE: On your new album, Motions , you’ve got a host
of really catchy electronic pop tunes with some very talented vocalists aboard. Why an album now? And how did you decide on which artists to work with?
Audé: I’ve been making records for other people for so long, I really wanted to sit down and see how it feels to produce an album of my own. It was an obvious decision to work with all of my friends when I sat down to do this – so these songs were mostly put together in the past year. Many of these artists I met when I moved to Nashville.
DJ LIFE: What was the process for making this vocal-heavy album? How much of it was done remotely swapping files? How much was done in-person in your studio?
Audé: I think there was only one vocal on the album that I didn’t record myself. So there really wasn’t a whole lot of file-swapping going on, as I’m a one-stop shop! [Laughs] One aspect I really enjoy – and hate – is recording vocals. I also don’t want anyone else copying and editing anything. I guess I’m a bit of a control freak when it comes to that.
DJ LIFE: From your main studio gear, what’s your DAW? Monitors? Favorite plug-ins?
Audé: It’s Pro Tools all the way. My ATC SCM25A monitors are the best speakers I’ve ever owned. Some of my favorite things to use and that were used on this album include: from Waves, Abbey Road TG [mastering chain], Vocal Bender, Aphen Aural Exciter, CLA Epic [reverb/delay], and Abbey Road Saturator; the Soundtoys Decapitator; the McDSP ML4000 [mastering limiter]; from Valhalla, everything they make; from FabFilter, everything they make; from Roland Cloud, the JUNO-106 [synth], SH-2 [synth], TR-909
[rhythm composer], JUNO-60 [synth], and XV-5080 [synth]; from Plug-In Alliance, the Brainworx bx_stereomaker and bx_digital V3 [EQ]; and the Xfer Records OTT [compressor].
DJ LIFE: How did you survive the COVID/lockdown period? Did you do it creatively or was it difficult to find your muse?
Audé: I spend most every day in the studio by myself, so it really wasn’t a huge change for me. My kids spent a lot of time in our pool, which is pretty fun when you’re a kid. I swam more than ever, too.
DJ LIFE: Musically, what were your first influences? What made you want to pursue music?
Audé: My first influences were E.L.O.’s Jeff Lynne, Foreigner’s Mick Jones with their producer Mutt Lange, Journey’s Steve Perry, Erasure/Depeche Mode’s Vince Clarke, and really everything on pop radio when I was growing up in Los Angeles.
Remix Faves: Dave Audé’s 7 Standouts Alexis Jordan’s “Happiness” [2010]: “When I did this remix, I wasn’t even thinking. I was just going purely by feel. Because I didn’t overthink is probably the reason that this one still holds up after a decade. In the end, it’s just a phenomenal song, so it makes my job a lot easier!”
Beyonc é ’s “ Partition ” [2014]: “ Speeding up Beyoncé’s vocals sounded awful, so I opted to do a mix at 95 BPM and the result was magic.”
Rihanna’s “ Diamonds ” [2012]: “At the time, most of my remixes were 128 BPM, so when I turned this one in, I wasn’t sure what the label [Def Jam] would say. But they ended up adding this to her Unapologetic LP. I’m excited to see her perform in the SuperBowl halftime show.”
Reba McEn tire’s “ Fancy ” [2020]: “Remixing iconic songs isn’t easy, but this was. Because the original is so good – what a great story!”
Madonna’s “ Girl Gone Wild ” [2012]: “This is probably my most underrated remix. Thanks to Twitch, I’ve discovered that it’s one of my faves, too!”
Maren Morris’ “ The Bones ” [2019]: “Just a phenomenal song that I mixed when I first moved to Nashville.”
Mark Ronson feat. Bruno Mars’ “ Uptown Funk ” [2015]: “This one’s a bit different, as it’s more of a breakbeat remix, and it also helps I won a Grammy for this one.”
DJ LIFE: Over the years, you’ve seen electronic music’s popularity go up and down in the States. But for the past decade, it’s become a predominant genre of mainstream music in the U.S. Why do you think this generation of Americans have gravitated so much toward EDM and DJ culture?
Audé: I think it was inevitable that electronic music would hit the mainstream, due mostly to technology. The internet really helped take all music to the mainstream, instead of just what radio plays. I grew up on radio, so that’s what I liked; but now everyone has access to everything because of things like YouTube. So, I think everyone’s music palettes have become drastically more diverse. Electronic music was bigger everywhere outside the U.S. before the internet explosion, and now it›s just the same everywhere. I’m thrilled that electronic music and DJ culture have exploded – it’s something I’ve spent most of my life involved in!
DJ LIFE: You’ve probably made more remixes than anyone I know – anyone not named David Morales, maybe. What quality do you think the artist/label wants you to bring to their song?
Audé: David Morales was definitely someone I looked up to when I started remixing. He was one of the first guys doing it back in the day. Anyways, I think you just said it… quality. Labels and artists know if they hire me, they will get a quality remix. And because I have produced 1,500-plus remixes, I have a pretty good track record. There are a ton of new guys making killer remixes, but I think consistency takes time. So, when you hire them you are rolling the dice – kinda like when people rolled the dice on me earlier in my career. I think people trust me and like what I do, so they hire me.
DJ LIFE: What did winning a Grammy Award mean to you?
Audé: It means a lot to know that other people in the industry have noticed all of the hard work and countless
hours I’ve put in. It’s also pretty amazing that my family has something to show for all of the time I’ve put into my craft. I hope my kids will consider this cool one day and be proud.
DJ LIFE: Which producer/remixers do you most admire and why?
Audé: I usually end up admiring guys that keep knocking it outta the park time and time again. Stuart Price, Calvin Harris, David Guetta, Fisher, CID, Purple Disco Machine, Noizu, and Lissat are all guys that are consistently pumping out solid productions.
DJ LIFE: In the DJ booth, what gear do you use and why? How would you describe your style of DJing?
Audé: I’ve been using Pioneer DJ CDJs since they came out. I haven’t caved into using a laptop yet, but I’m thinking those days might be right around the corner, as I find myself playing more diverse sets these days – from Prides to Jersey Shore to corporate gigs. My style of DJing is a cross between big songs you can sing along to and dirty stuff that hits you in the face I’m just trying to facilitate people having a good time on the dancefloor.
DJ LIFE: What are a few tracks that are always in your DJ box and why?
Audé: Lissat and Jackers Revenge’s “Dancing Queen.” Doesn’t matter who you are, everyone loves “Dancing Queen.” Guz’s “Set U Free.” This is actually a new remix of a song that was first put out on Moonshine Music, my first label. So, it’s been part of my career for 20-plus years and will always have a special place in my heart. Wildchild’s “Renegade Master .” I have dozens of mash-ups and bootlegs of this amazing vocal from A.D.O.R.
DJ LIFE: What’s next for you?
Audé: I’ve dedicated my life to making music for dancing, so I’ll continue to do that until the dancefloor clears. Also, I’ll be DJing live on network TV on New Year’s Eve this year, playing at The Palms Hotel in Las Vegas, injecting my music into 20 Million households!
– Jim TremayneWhether you know him as Paul Blair or DJ White Shadow, this Grammy Awardwinning producer, musician, songwriter, and DJ has been crafting your favorite earworms for more than a decade. From Lady Gaga’s Artpop to captivating remixes for the likes of Pitbull, Ne-Yo, and Estelle, Blair knows the secret sauce to creating tracks that you just can’t help loving.
It’s been nine years since DJ Times – the mag I ran until 2021 – sat down with Blair, and it’s safe to say that the music industry looks a bit different now than it did then. We saw a worldwide pandemic halt the industry for one thing. But, we’ve also seen a boom in the portable-gear category –for DJ/producers on the go, content-creator bloggers/ Twitchers, and more. Then and now, there remains the increased expectation to stay relevant in a fastpaced world.
In the previous interview, Blair got deep on his involvement with Lady Gaga’s Born This Way (2011) and Artpop (2013)
albums, including his songwriting and studio contributions to hits like “The Edge of Glory” and “Applause.” Since then, he scored his 2020 Grammy win (“Best Compilation Soundtrack for Visual Media”) for his songwriting and production efforts on the film soundtrack to “A Star Is Born” and he’s continued to DJ and make music, whether he’s in a commercial studio or on the move.
With a variety of newer projects in the mix, Blair sat with DJ LIFE to reflect on his career, the industry, and how mobile production is integral to his workflow.
DJ LIFE: As a producer/artist, how important is it for you to be able to create and capture ideas quickly?
Blair: In today’s world, cultivating ideas quickly is really important – everything is more lightning-speed than it used to be. Over the last five to 10 years, it’s become more important to respond to requests as quickly as possible. From ideas to final creations, speed and accuracy are key.
Some people will spend hours trying every new product that is released and, by the time they’re done, something new is out on the market. I say, just find four or five essential pieces of gear for your digital audio workstation and master them. If you’re confident in using your equipment, you’ll be able to work faster, even if the way you use them is completely different than another person. Perfect your workflow and you’ll be more efficient.
DJ LIFE: Is there a story behind a song where a good idea came to you in an odd place?
Blair: I was working with an artist in the Dominican Republic who had very similar artistic influences as me. I was able to grab my laptop and start working right away. What resulted was a newly discovered, mutual appreciation for the Miami freestyle vibe. If we hadn’t immediately jumped into the production, we might not have had the same flow and cohesion.
DJ LIFE: Do you have a process for producing on the road or getting song ideas together while traveling? How do you make it happen?
Blair: It’s a three-stage thought process: thousands of crazy ideas, good ones that come 50 at a time, and ultimately the final, perfect idea. It’s about weeding through those crazy ideas to figure out what works.
Once I have the ideas, I immediately make a note or voice memo on my phone. I might walk down the street and see something that inspires me, and I’ll make a note for the next time I’m working. Out of context, it’s the ramblings of a madman, but I go back over those ideas and distill the good from the bad.
You need a mind-state that encapsulates all three stages. If you have no motivation or intent in the first stage, you’ll never get to the last. Getting through that final stage
comes down to knowing your gear. I won’t finalize an idea on the road with a bad pair of headphones; I need equipment that’s similar to what I use in the studio. If the idea doesn’t translate into the next stage, it goes away forever.
DJ LIFE: How have the new KRK GoAux portable monitors worked into your music-making routine? What advantages do they afford you? What do you like about them?
Blair: It’s rare that I add something to my routine, but the GoAux are super-dope. There’s really nothing like them that does what they do. It’s an entire world of difference between playing my new GoAux and my old laptop speakers – it’s nuts. The price point, sound, portability, and ease of set-up are ideal.
I used to use my headphones on the road, but it degrades what I do. I didn’t even realize that until I used the GoAux. The freedom of movement makes such a big difference for me. I work so much better this way. The only negative is that I have to find an extra spot in my suitcase. But I bought a bigger suitcase just so I could take them around with me whenever I travel.
DJ LIFE: Is there something that makes these KRKs different from other portable monitors you’ve encountered?
Blair: Before GoAux, I had a little set of cheap-sounding speakers. GoAux translates well, sounds good, and conveys emotion –you can actually feel what’s going on. It has a range and presentation that I haven’t seen before in this small package. The room correction button that adjusts based on your environment is awesome. They work perfectly with a headphone cord, but the Bluetooth works really well, too. I don’t usually produce with Bluetooth because it can get annoying, but this one had an unnoticeable
“I’LL NEVER STOP DJING. I’LL DJ MY OWN FUNERAL ― OR AT LEAST MAKE A MIX TAPE FOR THE OCCASION.”
lag. It’s the first time I ever saw that happen.
DJ LIFE: What qualities do you require from a set of monitors in any studio setting?
Blair: It’s about reference and translation for me. I pick something I’m used to rather than something everybody else says is the best. A new, expensive piece of equipment can sound dope, but if you’re not familiar with its translation, then it doesn’t matter how it sounds. It’s more about: “How do I translate this from a piece of equipment I love to somebody listening with their headphones or in the car?” That’s also why the GoAux are dope. You can carry them around and A/B them in any studio to figure out what’s different between the mains and what you’re hearing.
DJ LIFE: What does your mobile studio look like? What are the vital components?
Blair: I try to squeeze everything into my backpack, so I can just grab it and go. I don’t need 88 keys on the road with me. I just need to get out ideas and make sure others understand what I’m talking about.
I regularly use Waves Audio and FabFilter plug-ins, along with AutoTune, u-he, Native Instruments, and Xfer Records suites of products. Then I use a tiny little Akai keyboard and the tiny little Shure USB mic that just plugs in. If I’m taking my production laptop, then the GoAux will come for the trip, too.
DJ LIFE: Away from the road, what does your studio consist of?
Blair: My studio in L.A. is a full SSL room with anything you could ever want: Neve 1073, Tube-Tech CL 1B, 808s, 909s, 727s, and 303s – the whole get-up with big PMC monitors, a bunch of different Juno mics, a variety of different guitars, and every piece of gear imaginable. This includes some older gear that I never really light up anymore, but keep because I get inspiration from it ― like the Roland XP-80, Alesis QS8, and Korg Triton.
DJ LIFE: What’s your DJ setup now? Are you still a Serato guy? Why do you choose your current setup?
Blair: I am a Serato guy. My current setup is the Rane TWELVE mkII and a Pioneer DJM-S11. If I use a one-piece control, it’s the Rane [TWELVE] controller with motorized platters – so it looks like a CDJ, but operates like a turntable.
Most people use CDJs and love them. I learned on turntables and love being able to manipulate them. It all goes back to my point about knowing what you’re good at and using it to perform your best. It’s like Happy Gilmore Syndrome – he could putt with a hockey stick better than he could with an expensive putter. This is my version of that – it’s tough to get me away from a turntable.
DJ LIFE: Have you tried Serato Stems? What do you think?
Blair: Not yet, but I did do the demo, and it’s incredible. It’s insane that you can take its pieces apart on a whim. I think it’s indicative of the future of music production.
DJ LIFE: Are you DJing much these days? What kinds of events/venues?
Blair: I’ll never stop DJing. I’ll DJ my own funeral ― or at least make a mix tape for the occasion. But I kind of pick and choose what I want to do nowadays. I’ll do a couple things in the production world, and then I’ll pick some clubs every year to DJ.
I like to DJ here in Chicago and in Miami — I have residencies at venues in both cities. I play at Poppy when I’m in L.A. or Temple if I’m in San Francisco. Someone might ask me to play a festival, and I’ll do that. The one thing all these places have in common is the people who run them. I trust them and have a solid engagement with them.
DJ LIFE: Which DJs do you admire and why?
Blair: My admiration for DJs varies; it’s not always musically based. The way DJ Khaled handles his business is insane. He’s an excellent curator of music. I also like Skratch Bastid and the culture that he’s built. He puts on a huge barbecue, plays hip hop, and is just a dope DJ. I don’t want to say one DJ, in particular, is my favorite, but if I had to pick, it would be someone like Moodymann, Felix da Housecat, or Richie Hawtin.
Steven NunezDJ LIFE: How would you describe your DJing style now? How has it evolved from your earlier days growing up in Detroit or when you lived in Japan?
Blair: What I’m playing now is the same as when I was 21. My style has never really changed. Sometimes you want to change, but you can’t. If you start at one point, you can change a little. Jump too far, and you’re an entirely different artist. Change is not necessarily an asset to creating or curating music. Knowing what you can’t do is as important as knowing what you can.
DJ LIFE: What sounds are turning you on these days? Which producers have caught your ear?
Blair: I’ve really been loving [Vaughn] Oliver. He’s the one producer where I’m like, “Man, that guy really nails it every single time he plays something.”
DJ LIFE: Are you still with W Hotels? What are you doing there?
Blair: No, I started working with a hotel group in Nashville called Graduate. They primarily focus on boutique hotels for college towns and markets. I operate and program all the music for those hotels. We’re also doing art studios now; so, rather than focusing completely on music, we’re integrating painters, sculptors, and physical art projects. The artists move into the hotel, work for three months, present a project – often their first – and we help them monetize it. It provides them with the opportunity to gain mentorship and meet
people from cross-disciplinary artistic genres to enhance and grow their personal craft. As far as creativity, it’s not about just looking at a wall or room in a house, but instead at the whole house ― creating a collaborative, exciting environment that exists beyond the scope of the traditional. It’s really cool. Check out graduatesweetdreams.com. It gives background on the latest artists and what they’re doing.
DJ LIFE: Your successes working with Lady Gaga really put you in an incredible place. In an interview you did with DJ Times about nine years ago, you talked of how you two might butt heads in the studio sometimes, but you still had a sibling-like relationship and a unique creative relationship. Why do you think you two vibed so well creatively right away? What do you two both bring to the creative mix?
Blair: We had a good back-and-forth. If you care about somebody, it’s healthy to not always agree and do the same thing or have the same goals. I don’t want people sitting around agreeing with me all the time. If that happens, you can end up in a pretty bad place. To have the discourse we had requires mutual respect ― a healthy dialogue to figure out where you stand.
DJ LIFE: That interview was during the Artpop period, which we now know wasn’t the easiest time for either of you. Despite the difficulties that went into its making, it’s still a helluva record. How do you look back on that period and that particular project?
“[LADY GAGA AND I] HAD A GOOD BACKAND-FORTH. IF YOU CARE ABOUT SOMEBODY, IT’S HEALTHY TO NOT ALWAYS AGREE AND DO THE SAME THING OR HAVE THE SAME GOALS.”Steven Nunez
Blair: I don’t feel any different now than I did then — I still love the record. I’m just grateful that people cared so much about our work. It came out, and everybody’s looking at it through one lens, pointing out what it’s not doing. Once people get further back, they can see it in full. I almost want to say, “I told you so!” now, but time settles debts and makes things clearer. As an artist, it boils down to being true to yourself. The amount of love that you put into a project is what it will continue to generate over time.
DJ LIFE: What did you think of the outpouring of positive reaction to the idea of releasing more of the Artpop material? Think the public will ever get a chance to hear it in a properly released form someday?
Blair: I try to answer this in the best, most political way I can every time I’m asked: I am aligned completely with what everybody wants. Now, I’m not sure everyone knows what they want. People ask for the second half of this record, but we didn’t release it the first time for a reason. Why chance releasing something people didn’t like? Again, when you back up and look at the general sentiment, people love this project and the innovative sound, and that’s awesome — we can do that all day. Maybe we release more of what we put out 12 years ago, but I think people would like that less than us going back into the studio and cutting a new album in the spirit of Artpop . I think that would come out a lot better. Sometimes it’s hard to explain that I know what people are asking for, but that is not the right thing. I still appreciate it so much and would never say “no” to doing or trying it. I won’t stop advocating for it, but some of what we didn’t release, you probably don’t want to hear. We probably don’t want to hear it, either.
DJ LIFE: In a lotta ways, you’re still living the dream that a lotta DJs would imagine – are there things you still wanna accomplish, musically or otherwise? What keeps you going? Are there any unfulfilled goals?
Blair: I never think of it as “living the dream” — I don’t even know what that is. When I was 25, my goal was to get a Ferrari, live in a $20 million condo on Miami Beach, and jet everywhere on a private plane. Now, my goals are to live next to a lake where I don’t have neighbors for miles and to vacuum my whole house with the cord plugged into one outlet. What you think will make you happy rarely does, and sometimes you have to run through those things to figure out what is really gonna make you happy.
Of course, there are unfulfilled goals. I don’t know that I’ll ever fulfill them all. My advice: have lofty goals and try and achieve as many as you can.
Short order is bringing new things into the universe and helping people out; that’s probably my biggest motivator. The best gift you can give somebody is your time, effort, and energy. What I want to do for the next 20 years is build things that change the way people think and make content with substance.
DJ LIFE: I’ve interviewed a ton of DJs over the years. Whether I’m talking to a hip-hop legend or a newer electronic talent, the commonality I hear is their lasting dedication to music, but also the importance of maintaining your hustle, especially in the beginning of their careers. Do you have any advice for up-and-coming DJs?
Blair: If you look at people who are successful, they’re most often multi-hyphenates. All that time you spend learning about music, you better spend the exact amount of time learning about business ― how to conduct yourself, save money, and be organized. Contributing, investing, and knowing what to do with your money is important.
Also, think about what you love besides DJing. What else do you want to do? People will focus on the pinpoint accuracy of becoming a producer, but the most successful creators I know only produce maybe 20-percent of the time. Zoning in your focus, paying attention, and staying dedicated is a big part of it, but if you’re just growing one tree, you don’t have a forest.
DJ LIFE: What’s next for you?
Blair: I’m trying to figure out what I can create, using what I know about how the system works, and applying that to multi-disciplinary endeavors. I have a couple weird, nerdy projects in the works. I’m not gonna quit music and start painting or anything, but what I’m doing is music-adjacent.
I’ve never wanted to be the biggest DJ in the world. I did it at a high level, and I was pretty successful. Right now, I’m building studios for kids to work in for their first project as an artist. And I’m figuring out how to create a movie ― there are two films I’m producing. One is about existing as someone who feels like an outcast. I’m also working on a music project that I think is in line with the messaging that I’ve put out into the universe.
Then maybe I’ll learn how to fly a plane or start a festival or discover a new artist. I’m more concerned about accomplishing things that I’m interested in that I’ve never tried before. And I’m not buying a Ferrari ― that’s what I’m not doing.
Here we are, finally, where 2022 meets 2023. Luckily, the past year saw a return to relative normalcy in the DJ world – parties, clubs and festivals came back in a big way.
So, as we wrapped up ’22, we conducted a quickie poll to DJs of all stripes and from all over the world, inquiring about the past year. We asked three simple questions: What’s your top tune of the year? What was your best accomplishment? What was the best DJ/ musical moment you experienced?
Here are the first 100 responses we got. Off we go…
BY JIM TREMAYNE1 Purple Disco Machine, Sony Music Germany/RCA Records, Dresden, Germany
Tune: Lizzo’s “About Damn Time.”
Accomplishment: My second album, Exotica, released in October 2021, reached over 1 billion streams.
Musical Moment: My first performances at Coachella Festival & on the Main Stage at Tomorrowland.
2 Paul Oakenfold, Perfecto Records, L.A.
Tune: Whoriskey’s “Observa.”
Accomplishment: The release of my new album, Shine On, and my autobiography, “Ready Steady Go.”
Musical Moment: DJing at Madison Square Garden & The Hollywood Bowl this year on The Unity Tour!
3 Alison Wonderland, Astralwerks, L.A.
Tune: Fred again.. X Swedish House Mafia’s “Turn on the Lights again..” feat. Future. Accomplishment: Releasing Loner, my favorite album that I’ve ever made.
Musical Moment: Definitely playing Red Rocks, but Life Is Beautiful, Hard Summer & EDC Orlando were also really memorable moments… as well as playing my album-launch party in a laundromat to a small group of fans.
4 Paul van Dyk, VANDIT Records, Berlin
Tune: Analog Jungs’ “Tadasana” (Sean & Dee Remix)
Accomplishment: I made a phenomenal chicken soup.
Musical Moment: The SHINE Ibiza season was an amazing experience, thanks to all of you!
5 DJ Spen, Quantize Recordings, Baltimore
Tune: Melvo Baptiste’s “Gonna Be Alright” feat. Jamie 3:26 & Annette Bowen.
Accomplishment: Pulling off our 10-year anniversary party for Quantize Recordings at London’s Ministry of Sound with Crystal Waters, Barbara Tucker, members of Jasper Street Company, alongside many of my favorite performers & DJs.
Musical Moment: Playing the Defected party early this year for the closing night of De Marktkantine in Amsterdam – insane!
6 John Digweed, Bedrock Records/Transitions Worldwide Radio Show, London
Tune: Bicep’s “Meli (II).”
Accomplishment: I am just happy that things started to return to some sort of normality this year in clubland, so I have enjoyed seeing this for the nightlife industry the most. So, this accomplishment is best for everyone involved.
Musical Moment: Played the closing set at Noisily Festival & was blown away by how amazing & authentic this festival was with such a genuine & fun-loving crowd.
7 Gryffin, The Darkroom/Interscope, L.A.
Tune: Fred again..’s “Danielle (smile on your face).”
Accomplishment: Releasing my sophomore album, Alive, this past November. Musical Moment: Doing my biggest headline show ever at Los Angeles Historic Park for 18,000 people.
8 Mark Knight, Toolroom, Maidstone, U.K.
Tune: Janet Jackson’s “Love Will Never Do” (Sgt Slick’s Discotizer ReCut). Really clever mash-up of the backing track with Janet’s vocal on top. If you’re a fan of ’80s funk & boogie, this is for you.
Accomplishment: Starting my own football club – Toolroom Academy FC.
Musical Moment: I’ve just remixed an unreleased Whitney Houston record – set to be released in line with an upcoming film biopic. Proud of this one!
9 Markus Schulz, Coldharbour Recordings, Miami
Tune: Vintage Culture & Goodboys’ “This Feeling.”
Accomplishment: Surviving another Ibiza residency.
Musical Moment: Debuting my latest project at EDC Mexico City, The X Project. Also, seeing Sasha & Danny Tenaglia B2B for the first time ever at Art Basil.
10 Barry Ashworth/Dub Pistols, Cyclone Records, London
Tune: Bou & Trigga “Veteran” (Alix Perez Remix).
Accomplishment: Curating, producing & selling out my own Festival Mucky Weekender. Musical Moment: Headlining Glade Area Glastonbury & the live experience returning to The Electric Castle festival in Romania.
11 Claptone, Golden Recordings, Berlin
Tune: CID & Westend’s “Let Me Take You.”
Accomplishment: “The Masquerade” season in Pacha Ibiza & “The Masquerade” events
worldwide.
Musical Moment: Dombresky.
12 Nicole Moudaber, Mood Records, London/Miami
Tune: Chris Liebing’s “Fault Line” (6 AM Club Mix).
Accomplishment: “In the Mood” Tour across London, Canada and the U.S. – sold-out shows across the board.
Musical Moment: It would have to be the B2B with Carl Cox in New York. It was his first-ever B2B with his hybrid set-up.
13 Kayzo, Welcome Records, L.A.
Tune: Luude & Mattafix’s “Big City Life.”
Accomplishment: Settling into a home with my girlfriend & pets.
Musical Moment: Announcing my largest bus tour for ’23, with my biggest show ever in L.A. at the Kia Forum – & building my dream studio.
14 Flux Pavilion, Circus Records, London
Tune: Wavedash’s “Satin Cash, Pt. 2.”
Accomplishment: Writing more demos than the previous five years combined.
Musical Moment: Working with original Frank Zappa stems.
15 Radio Slave, Rekids, Berlin
Tune: Mark Broom’s “Late Nite Rave Muncher.”
Accomplishment: Finishing my forthcoming third album.
Musical Moment: It’s just been an incredible year to reconnect with people & finally hear music being played in the clubs.
16 Vintage Culture, So Track Boa, São Paulo, Brazil
Tune: The Martinez Brothers & Gordo feat. Rema’s “Rizzla” (Mochakk Remix).
Accomplishment: Completing two weekly residencies with Hi Ibiza & Tao Group Las Vegas on different continents & thousands of miles apart, all summer long.
Musical Moment: Performing on the Mainstage at Tomorrowland was a magical moment & something I’ve dreamed of since the day I started.
17 Maya Jane Coles, I/AM/ME, London
Tune: FM-3’s “Money Talks.”
Accomplishment: Finally releasing my collab EP, “LDN,” with Chasey Jones, an old school friend – it’s a project close to my heart.
Musical Moment: Watching Björk play a DJ set at a Gucci party in London recently was pretty epic.
18 Dave Audé, Audacious Records, Nashville
Tune: Dom Dolla’s “Miracle Maker” feat. Clementine Douglas.
Accomplishment: I finally released my first full-length artist LP, Motions!
Musical Moment: Twitch put me on the front page early in 2022, & I have 200,000 viewers for my “Wake & Shake” stream.
19 Cedric Gervais, Armada Music, Miami
Tune: Vintage Culture’s “Fractions.”
Accomplishment: Taking in lots of shows & getting inspired while in Ibiza to make fresh new music.
Musical Moment: Seeing Tale Of Us during Miami Music Week.
20 Joel Corry, Atlantic Records, London
Tune: Supermode’s “Tell Me Why” (Meduza Remix).
Accomplishment: Having the Beatport overall chart No. 1 & No. 2 positions at the same time with “Liquor Store” and “The Parade.”
Musical Moment: Playing the main stage at Tomorrowland – a dream come true!
21 ACRAZE, Thrive Music, Orlando, Fla.
Tune: Mau P’s “Drugs from Amsterdam.”
Accomplishment: The opportunity to tour the world.
Musical Moment: When I brought out Cherish for “Do It to It” during my EDC Las Vegas set in front of 80,000 people.
Tune: BLR & anamē’s “Influencer.”
Accomplishment: Finally, being able to tour my “What The F” open-to-close shows where I exclusively play my own productions, bringing together my past & future self under one roof.
Musical Moment: It would have to be playing at Printworks, London, as I’ve always loved the venue & I’m incredibly grateful to have played there before they shut the doors forever.
23 Ultra Naté, BluFire/Peace Bizquit, Baltimore
Tune: David Morales’ “Life Is a Song” feat. Michelle Perera.
Accomplishment: Successfully releasing my 10th album, ULTRA, as an independent in a very volatile dance music industry.
Musical Moment: Performing live at Wembley Stadium for the Women’s Euros historic championship game.
24 DJ Tay James, Playbook/Justin Bieber, L.A.
Tune: J.I.D’s “Surround Sound” feat. 21 Savage x Baby Tate
Accomplishment: Performing at the Grammy Awards.
Musical Moment: DJing at Rock in Rio in front of 200,000 people.
25
Tune: Central Cee’s “Doja.”
Accomplishment: Getting on the front page of Apple Music with my Today’s Hits Mix.
Musical Moment: Being in the studio working on a song when Ryan Tedder walked in & said it sounded great.
26 Maxim Lany, Armada Electronic Elements, Gent, Belgium
Tune: Delerium feat. Sarah McLachlan’s “Silence” (AVIRA Extended Remix)
Accomplishment: Being able to turn the tide around after COVID & get back to touring, releasing new music & connecting people all over the world through music.
Musical Moment: Playing for a sold-out festival show in Dreamfields Mexico on the Armada Music stage & testing brand-new music.
27 Sara Simms, Simmetry Sounds, Toronto
Tune: Eli Brown’s “Believe.”
Accomplishment: I performed at Electric Island, a summer festival series in Toronto.
Musical Moment: I opened for Victor Ruiz at Discopussy in Las Vegas for Elation Events. It was an amazing show.
28 Tokyo Fan Club, Bedrock Records, U.K./Italy
Tune: Kaz James’ “Footprints.”
Accomplishment: Releasing our amazing album, We Live Electric, on Bedrock.
Musical Moment: Seeing Hernan Cattaneo play our tune, “All I Need,” on Music To Die For in front of 50,000 people – that was a head-spinner.
29 Miles Atmospheric, Bedrock/Atmospheric Existence, Brighton, U.K.
Tune: Helen Copnall’s “Lotuses in a Sea of Fire.”
Accomplishment: Releasing my album, Ancestral Communication, on John Digweed’s Bedrock & being a part of the seminal Quattro series (Quattro III).
Musical Moment: Performing at Audio Farm Festival in Wales with my 9-year-old daughter dancing next to me in the DJ booth.
30 Howard “HK” Kessler, In The Mix with HK, Minneapolis
Tune: Glass Animals’ “Heat Waves.” This song just won’t go away & there’s so many great remixes to sustain programming life. Tough competition this year. Could have easily been something from Harry Styles, Doja Cat, Lil Nas X or newcomer Gayle.
Accomplishment: My syndicated radio show being No. 1 in the ratings on broadcast radio across the country & our podcast being heard in 28 countries.
Musical Moment: Going to No. 22 in 2022 on the Mixcloud Global 100 Remix.
31 Joey Dino, Philly Video DJs/Boogie Nights, Philly
Tune: David Guetta & Bebe Rexha’s “I’m Good (Blue).”
Accomplishment: Expanding my brand beyond nightlife & into the corporate/private events market has been a rewarding challenge for me this year.
Musical Moment: I celebrated 15 years of nightlife & pro DJing this past year & consider myself blessed to have worked alongside so many talented people for this long.
Karma Fields, Sweat It Out, LA
Tune: Poté’s “Young Lies” feat. Damon Albarn.
Accomplishment: Producing a good chunk of the new Tove Lo album & hearing it everywhere.
Musical Moment: Getting to work with Max Martin on a few tracks.
33 Venessa Michaels, 2090 World Music, LA
Tune: Ferra Black’s “Vibra.”
Accomplishment: Completing my first full-length project, to be released at the top of 2023.
Musical Moment: Opening the Sahara Stage at Coachella & closing out the campgrounds.
34 Gl0bal, Rebirth Records, Kelowna, B.C.
Tune: Drake & 21 Savage’s “Jimmy Cooks.”
Accomplishment: Finding better mental peace in this music space
Musical Moment: Finishing my debut album
35 Maddy O’Neal, Mammoth Music Group, Denver
Tune: GRiZ x CloZee’s “Color Of Your Soul.”
Accomplishment: The release of my sophomore, 10-track album, Ricochet Musical Moment: Getting to play Lollapalooza – because it was the first festival I ever attended as a fan.
36 SoDown, GetDown Records, Denver
Tune: “Jack Harlow & Pooh Shiesty’s “SUVs (Black on Black).”
Accomplishment: Releasing my first album, Worlds Beyond
Musical Moment: Playing at Red Rocks Amphitheatre!
37 Frameworks, Foreign Family Collective, Manchester, U.K.
Tune: Fred again..’s “Faisal (Envelops Me).”
Accomplishment: Finishing my new album that will be released in 2023. Musical Moment: Playing a set at The Caverns in Tennessee.
38 Crooked Colours, Atlantic Records, Fremantle, Australia
Tune: Skin On Skin’s “Burn Dem Bridges.”
Accomplishment: Releasing our first major-label album, Tomorrows
Musical Moment: Finally, getting to perform at the iconic Red Rocks Amphitheatre in Denver after three cancellations due to being locked down in Australia during COVID.
39 Amtrac, Openers, L.A.
Tune: Braxe + Falcon’s “Step By Step” feat. Panda Bear
Accomplishment: Slowly, but surely, becoming a better chef – I put as much time into music as I do cooking.
Musical Moment: Being able to bring my live show to a festival for the first time was magical – Okeechobee Festival is one to note.
40 Young Franco, Universal Music, Sydney, Australia
Tune: Hope Tala’s “Party Sickness.”
Accomplishment: This year’s Lollapalooza Festival was a huge moment for me.
Musical Moment: Getting to seeing Jungle live at Portola Fest was incredible. I’ve been a huge fan for a while.
41 Joe Bermudez, Mass Movement Radio, Boston
Tune: David Guetta & Becky Hill & Ella Henderson’s “Crazy What Love Can Do.”
Accomplishment: Being one of the opening acts for Alan Walker’s “Walkerverse” tour.
Musical Moment: Seeing the brand-new 200-foot LED wall at Brooklyn Mirage for the first time.
42 Herbert Holler, Freedom Party/My House, NYC
Tune: Dua Lipa “Levitating” feat. DaBaby. Still seems to get everyone on the dancefloor, more so than other songs.
Accomplishment: I had more gigs this year than ever before.
Musical Moment: Doing my Freedom Party’s Michael Jackson Tribute at Le Poisson Rouge – ’twas heaven!
43 Jonas Blue, Astralwerks, London
Tune: LF System’s “Afraid To Feel.”
Accomplishment: My residency in Zouk Vegas again this summer – to be a resident in Vegas was always a dream of mine.
Musical Moment: Listening to the final mix of my single “Don’t Wake Me Up” with Why Don’t We, I absolutely loved working on it & it’s always a pleasure to play this one out.
44 Melissa Nikita, As You Are Recordings, NYC
Tune: Dubfire’s “Bottom Dweller.”
Accomplishment: Playing the main stage at DJX in Atlantic City. After being a part of the show for 10 years & being able to showcase techno, my way, was so important to me.
Musical Moment: Having a chance to play the “As You Are” event, brought to you by my brother Anthony Nikita.
45 Rob Garza/Thievery Corporation, Magnetic Moon, San Francisco
Tune: The Shapeshifters feat. Ramona Renea & Fiorious “Slippery People.”
Accomplishment: Traveling to Yemen with the World Food Program & working on a music project with Yemeni refugees.
Musical Moment: Opening for Duran Duran & Nile Rodgers – two big childhood influences – at the at the Chase Center in San Francisco
46 Ship Wrek, Astralwerks, L.A.
Tune: Kx5’s “Escape” feat. Hayla.
Accomplishment: Selling out our debut L.A. headline show.
Musical Moment: Collaborating with The Chainsmokers on “The Fall.”
47 Pri yon Joni, Sheeva Records/Pioneer DJ, Des Moines
Tune: Top Gun: Maverick (Original Motion Picture Soundtrack) by Harold Faltermayer, Lady Gaga, Hans Zimmer & Lorne Balfe. The entire score is a musical masterpiece.
Accomplishment: My YouTube channel crossed 50,000 subscribers! Musical Moment: I made two appearances to speak about spinning music for a class of 2nd graders in Iowa, as well as a DJ class at M.I.T.
48 Topic, Astralwerks, UAE
Tune: Swedish House Mafia’s “Time” feat. Mapei. Accomplishment: Consistency in the gym.
Musical Moment: Playing Tomorrowland’s mainstage.
49 Sky White, Afrocentric/Musiqbuk, Maputo, Mozambique
Tune: Enoo Napa & DJ Merlon’s “Two Zulu Men In Ibiza.”
Accomplishment: Creating my new “Leave Me” EP on Afrocentric. Musical Moment: Playing at the UR Home event in South Africa.
50 Samantha Michelle, The Kagency, NYC
Tune: Bakermat’s “The River.”
Accomplishment: I got to spin in six different countries over the last six months, spreading joy, love & boogie vibes far & wide.
Musical Moment: Opening for Duran Duran & Nile Rodgers at the Budweiser Stadium in Toronto – it’s where I’m from & where I attended my first-ever concert. It was a magical, full-circle moment, lovingly nodding to my inner Canadian kid.
51 Solu Music, Solu Music, NYC
Tune: Beyoncé’s “Break My Soul” (Terry Hunter Remix).
Accomplishment: After being away for 15 years, we’ve returned to the scene with two brand-new tracks – & the great response reminded us why we love making music.
Musical Moment: Traveling to Jacksonville to work with Gabby Law, hearing her voice vibe with the music, & Sknowing something special was happening.
52 Paris, Guerilla Funk, Sydney
Tune: Bonobo’s “Otomo” feat. O’Flynn
Accomplishment: Having the pleasure of remixing a track for Lane 8 & releasing it on his label, This Never Happened.
Musical Moment: Playing the main stage at Pitch Music & Arts Festival in Victoria, Australia.
53 Bruise, Foundation Music, London
Tune: Jungle’s “Good Times.”
Accomplishment: Finally releasing the first tracks from Bruise “EP2.”
Musical Moment: Playing “Brass Tacks” & “The Dassy Slide” live at North Fest 10 Carnival & seeing the great reaction on the dance floor
54 Jacana People, Hide The Moth, London
Tune: Villager’s “In Town.”
Accomplishment: Playing our first U.K. live tour with a show at Printworks as well as supporting George Fitzgerald and T.E.E.D.
Musical Moment: Lost Village Festival was an amazing time – Elkka’s set at the Junkyard stage was ridiculous
55 Leaps, Headroom Records, London
Tune: TSHA’s “Giving Up” feat. Mafro.
Accomplishment: Having the lead single off my forthcoming EP, “Close,” played on BBC Radio 1 by Jaguar.
Musical Moment: Experiencing the Cercle Festival, based at the Muśee de l’air et de l’espace in
Paris, was truly a moment I will never forget.
56 Nocui, Shapeless Culture, Berlin
Tune: Sofia Kourtesis’ “By Your Side.”
Accomplishment: Opening my own record label!
Musical Moment: Hiro Kone’s concert here in Berlin.
57 Avaion, Sony Music, Berlin
Tune: Nu Aspect’s “Strings Attached.”
Accomplishment: I’m really proud of all the music that I’ve released this year & my overall growth as an artist. It feels like I’m heading in the right direction.
Musical Moment: When I played my single, “Pieces,” in front of a couple thousand people at a festival in summer & everyone was singing the lyrics back to me – simply breathtaking.
58 Arkley, Spirit of Rave, York, U.K.
Tune: Matt Guy’s “Set My Mind Free.”
Accomplishment: Having only launched in 2021, I feel I really found my own style & hit a creative groove now – a ’90s-dance-influenced, ravey groove!
Musical Moment: My livestream for Clubbing TV back in the summer was a blast!
59 Mike Walter, Elite Entertainment, Eatontown, N.J.
Tune: David Guetta & Bebe Rexha’s “I’m Good (Blue).”
Accomplishment: Personally rockin’ over 80 weddings & overseeing over 1,000 for our company.
Musical Moment: Spun an ’80s set at an industry event that was very well received – there’s nothing like getting my fellow DJs dancing!
60 DJ Zhangye, Cyanhill Music, Beijing, China
Tune: Fred again.. X Swedish House Mafia’s “Turn on the Lights again..” feat. Future. By far the coolest song released this year. I love the angle Fred again.. has to his productions & the combination with Swedish House Mafia has really paid off.
Accomplishment: Releasing my own music & compositions – the best is yet to come.
Musical Moment: Collaboration with KARRA and Janieck, even though it was remotely, was an inspiring experience.
61 North Street West (Ashley Beedle, Darren Morris & Jo Wallace), Ramrock Records, Ramsgate, U.K.
Tune: Emma Jean Thackray’s “Venus” (Black Science Orchestra Remix)
Accomplishment: Being commissioned to rework and compose a brandnew bed under the original version of The Last Poets’ “When the Revolution Comes.” Out on Charly Records soon.
Musical Moment: Feeling the spirit of Charles Stepney in the studio when we worked on Groove Armada’s “We’re Free.”
62 Joy Anonymous, Astralwerks, London
Tune: Arctic Monkeys’ “Mr. Schwartz.”
Accomplishment: Playing in a Robin Hood-themed water park in Benidorm, Spain, at 5 a.m.
Musical Moment: Our top DJ moment of ’22 was seeing Four Tet, Skrillex and Jamie xx play at Moth Club after we had just supported Fred again.. at Village Underground. Seeing those three play for five hours in a tiny club like that felt like a rare treat.
63 Chris D’Amico, D’Amico Entertainment, Roxbury N.J.
Tune: Lizzo’s “About Damn Time.”
Accomplishment: Being a speaker in a packed room at DJX in Atlantic City & getting a standing ovation.
Musical Moment: DJing & performing live music with former New York Giants Super Bowl champions.
64 Robbie Wilde, Queenpin Recordings, Atlanta
Tune: Anyma + Chris Avantgarde’s “Consciousness.”
Accomplishment: Finishing all my new original productions.
Musical moment: Hearing Mochakk play – my choice for DJ of the year.
65 Henry Fong, Banzai, Jupiter, Fla.
Tune: Anti-Up’s “Chromatic.”
66 DJ Jess, DJ/MC/Event Hostess, Pittsburgh
Tune: Waka Flocka Flame’s “No Hands.”
Accomplishment: Doing a self-led work retreat where I curated a “Client Experience” that fosters connection & increases my value.
Musical Moment: Dancing with my girls DJ Dayna & Megan Taylor & not getting out of breath –because I quit smoking, finally!
67 Steller, Bassrush Records, Miami
Tune: Odesza’s “The Last Goodbye” feat. Bettye LaVette.
Accomplishment: Playing Lollapalooza and having it streamed on Hulu.
68 Surf Mesa, Astralwerks, L.A.
Tune: Lane 8’s “Watermelon Wormhole.” I highly recommend playing this song on a long drive!
Accomplishment: I re-signed my record deal with Astralwerks/Capitol Music Group. I’m so excited to continue this music journey with them.
Musical Moment: Playing Outside Lands festival. I’ve never seen so many people in a crowd before – it was amazing!
69 Niiko X Swae, Armada Music, L.A.
Tune: Disco Lines’ “Baby Girl.”
Accomplishment: Releasing collabs with artists we have always looked up to such as Deorro and Nicky Romero.
Musical Moment: When our “Typical Love” hit No. 2 at U.S. Dance Radio.
70 Lost Kings, Disruptor/RCA Records, L.A.
Tune: Steve Lacy’s “Bad Habit.”
Accomplishment: Making our Coachella debut and playing it twice.
71 Skyler, Monstercat, L.A.
Tune: RL Grime & Hex Cougar’s “Silo” feat. fknsyd. Accomplishment: Playing overseas for the first time at Tomorrowland, hands down! Musical Moment: Being able to remix a tune for the legend Flux Pavilion.
72 Michael Canitrot, Monumental Tour, Paris
Tune: Bob Moses & Kasablanca’s “Afterglow.”
Accomplishment: My first international show with my “Monumental Tour” concept, in Lisbon City Hall Square in front of more than 5,000 people.
Musical Moment: Fred again.. for his performance at the Elysée Montmartre in Paris.
73 NURKO, Astralwerks, L.A.
Tune: Skrillex, Noisia, josh pan & Dylan Brady’s “Supersonic (My Existence).”
Accomplishment: Signing a deal to a major record label. Musical Moment: My Escape Halloween set was an energy I’ve never felt before, and was so grateful.
74 Avi Sic, Skink/Blanco Y Negro, Chicago
Tune: Dom Dolla’s “Miracle Maker” feat. Clementine Douglas.
Accomplishment: Playing over 300 live shows & still making the time to produce music. Musical Moment: DJing as direct support for Joel Corry to a massive, sold-out room.
Smokey Bubblin’ B, Armada Music, London
Tune: Gorgon City’s “Sidewindah” feat. Flirta D.
Accomplishment: The birth of my son!
Musical Moment: Fred again.. playing one of my tracks on his already iconic Boiler Room set.
76 Disco Fries, Liftoff Recordings, New Jersey/Virginia
Tune: James Hype & Miggy Dela Rosa’s “Ferrari.”
Accomplishment: Growing our label, Liftoff, which had great success with records from Viiq, Lena Leon & more.
Musical Moment: Being back in Miami for the first time in too long for MMW playing Bingo Beach at the Clevelander.
Whipped Cream, Monstercat, Vancouver
Tune: d4vd’s “Romantic Homicide.”
Accomplishment: Playing Coachella & having all my best friends there.
Musical Moment: Bringing Jasiah in to cut vocals on an opera vision, & then filming a music video directed by me. Can’t wait to share.
78 Ned Davis, Queenpin Recordings, W. Palm Beach, Fla.
Tune: Mammoth WVH’s “Horribly Right.”
Accomplishment: Finishing many years of work on my music to finally release to the public & working with incredibly talented collaborators, like Shaun Cuddy.
Musical Moment: Seeing my artist name & my first release, “Mission Scrubbed,” on all the major streaming platforms.
79 Serafin, Sleeping Giant Music/Pitch The Tempo, LA
Tune: Sam Smith & Kim Petras’ “Unholy.”
Accomplishment: Good to be back doing shows, for sure!
Musical Moment: Just getting back on a plane to do shows feels weird now.
80 Cody Chase, Cody Chase Records, Miami
Tune: Eli Brown’s “Believe.”
Accomplishment: Quitting my six-figure-a-year day job to DJ full-time.
Musical Moment: Carl Cox MegaStructure at Ultra Fest.
81 James Hurr, Toolroom Records, London
Tune: Julio Navas, Gustavo Bravetti & David Amo’s “Raw” (Tony Romera Extended Mix).
Accomplishment: Collecting my award in Amsterdam for being in the Top 101 Producers worldwide was a highlight.
Musical Moment: Thanks to Paul Harris – we wrote and produced a record with Tiësto… definitely a moment.
82 DJ Staci, The Track Star, Redlands, Calif.
Tune: Saucy Santana feat. Latto’s “Booty.”
Accomplishment: I’m most proud of re-inventing my DJ business after COVID to focus solely on corporate clients.
83 Moon Boots, Anjunadeep, Brooklyn
Tune: LF System’s “Afraid to Feel.”
Accomplishment: I became a dad in August!
Musical Moment: Playing at Elsewhere in Brooklyn with my wife as opener — this year was all about family for me!
84 Myrne, Seeking Blue, Singapore
Tune: Anish Kumar & Barry’s Can’t Swim’s “Blackpool Boulevard.” I was very fortunate to have grown up on blues, disco, funk, & sample-based music. It’s really amazing to see it executed so beautifully in electronic music.
Accomplishment: I’ve finally figured out what I love, when it comes to my own music! It took several years, but the most favorite record I’ve released has to be between “Secrets” or “Falling Back” – with a good friend of mine, Shallou!
Musical Moment: Playing Ultra Korea, after two years without shows, was extremely fun, & I was glad to finally dance again. My top show highlight would be catching The 1975 live in L.A. They’re truly at their very best.
85 Nick Spinelli, SCE Event Group/Beatsource, Vineland, N.J.
Tune: Bad Bunny’s “Tití Me Preguntó.”
Accomplishment: Having my first child, Nick, Jr.!
Musical Moment: Missy Elliott shared a video of me playing her music.
86 Paradoks, Antinome/Purified, Zurich
Tune: Colyn’s “Oxygen Levels Low.”
Accomplishment: Toured worldwide in over 10 countries, 25 cities & launched my own label, Antinome.
Musical Moment: Playing New York’s Brooklyn Mirage at peak time.
87 DJ Washburn, Washburn Entertainment, Ithaca, N.Y.
Tune: Blasterjaxx & Timmy Trumpet’s “Narco.” It came out a few years ago, but it peaked in popularity this year because the Mets closer, Edwin Diaz, uses it as his entrance song. It’s so catchy & uplifting that it really caught on & became super-popular among baseball, the city of New York, the sports world, & was a banger on many dancefloors.
Accomplishment: Speaking at four national DJ conferences.
88 Mason, Animal Language, Amsterdam
Tune: A-Trak’s “Bubble Guts” (ABraxe + Falcon Remix).
Accomplishment: Creating The Masonettes to play live with me.
Musical Moment: Clubs opening in The Netherlands & thus throwing lots of weird raves throughout the city – the vibe has been unreal.
89 James Juke, Robsoul/Kitsuné Musique/Brobot, NYC
Tune: There are two… Ridney’s “The Inside” (Richard Earnshaw Remix) &, as a more mainstream option, Honey Dijon’s “Work” feat. David Giles II, Cor.Ece & Mike Dunn
Accomplishment: Releasing an EP on Robsoul, which was one of my biggest goals for 2022.
Musical Moment: As a DJ, playing for a few hundred people at Webster Hall in NYC. As a dancer, seeing Theo Parrish play from 9 a.m. to 3 p.m. at Nowadays
90 PS1, Columbia U.K., Miami
Tune: Tiësto & Ava Max’s “The Motto.”
Accomplishment: Restructuring & setting up a new team for 2023.
Musical Moment: Playing in Ibiza & hearing the crowd singing along to my songs.
91 Frank Klassen, Purified Records, Bielefeld, Germany
Tune: Fred again.. X Swedish House Mafia’s “Turn on the Lights again..” feat. Future.
Accomplishments: There’s three… having a Beatport Top 10 song (“Alive”), performing in the world’s most legendary clubs and festivals, & getting chosen as one of the “Future Four” by Tomorrowland Radio.
Musical Moment: Every damn show, as I’m so happy after two years to play live again, feel energy, & spread love through art.
92 David Osborne, Sound Insight Productions, Athens, Ga.
Tunes: A tie between Lizzo’s “About Damn Time” & Whitney Houston x Clean Bandit’s “How Will I Know.”
Accomplishment: Launching Blueprintlearn.com, an online DJ training platform, & hearing the massive success stories from both solo-op & multi-op DJs around the country.
Musical Moment: DJing a silent disco in Cancun for some amazing DJ-industry leaders.
93 Amelie Larsen, Kontor, Marburg, Germany
Tune: Fred again.. X Swedish House Mafia’s “Turn on the Lights again..” feat. Future.
Accomplishment: To have turned 18 & finally be able to visit the best clubs.
Musical Moment: I participated in the World Club Dome in Frankfurt & saw so many great artists like Timmy Trumpet & Robin Schulz.
94 Koven, Monstercat, London
Tune: Odesza’s “The Last Goodbye” feat. Bettye LaVette.
Accomplishment: Seeing people sing our lyrics in parts of the world we never dreamed possible. Musical Moment: Tomorrowland – there was something so magical about the crowd and the moment.
95 Gabor Kiss, Boogie Nights, Atlantic City
Tune: David Guetta & Bebe Rexha’s “I’m Good.”
Accomplishment: After 25-plus years of DJing, I’m still able to passionately do what I love & perform for crowds of all ages.
Musical Moment: Performing for Boogie Night’s ultimate Halloween party.
96 The Second I, Hungry Koala Records, Cologne, Germany
Tune: Neelix, Ghost Rider, The Gardner & The Tree’s “Wonders.”
Accomplishment: Playing different countries in the world.
Musical Moment: We had the most amazing show in Colombia, because the energy was so intense & the people were freaking out – the best feeling in the world!
97 Ocula, Monstercat, Lichfield, U.K.
Tune: Lane 8’s “Reviver.”
Accomplishment: I released my debut album after months of work & determination.
Musical Moment: Starting my journey into performing live & seeing crowds react and dance to music I’d been wanting to play for so long.
98 Joe Bunn, Bunn DJ Company/Crate Hackers, Raleigh, N.C.
Tune: James Hype & Miggy Dela Rosa’s “Ferrari.”
Accomplishment: Crossing over 4,000 Crate Hackers members.
Musical Moment: Putting on & performing my first public event in a decade.
99 Trimtone, Love to be…, Huddersfield, U.K.
Tune: Wh0 & Just Aaron’s “Feels” feat. Jinadu.
Accomplishment: Our tour of the USA.
Musical Moment: Our Ibiza residency, WNDRLND at Eden.
100 Sleepy & Boo, 3Bridge/Transmit, NYC
Tune: Bob Sinclar feat. Steve Edwards’ “World Hold On” (Fisher Rework). This brought a lot of smiles & much-needed positive vibes to the dancefloor this summer.
Accomplishment: Making our return to Europe after missing it due to the shutdowns.
Musical Moment: Bringing our #ILLUSION concept to the beautiful Paradise Club in Times Square.
A.D.E. ’22 Re-Convenes Global-Dance Scene
Amsterdam, The Netherlands – Amsterdam Dance Event ’22 returned to Holland’s capital this past Oct. 19-23. More than 450,000 visitors came to town throughout A.D.E.’s festival and conference programs, which featured more than 1,000 events over 200 locations, hosting more than 2,500 DJ/artists and speakers. It all looked like this:
Any DJ with a love for soulful house music will know Ultra Naté as a genre legend. Scoring with evergreen hits like “Free ,” “Found a Cure,” “Automatic,” and “Unconditional,” she has one of dance music’s most stirring and recognizable voices.
But for the past two decades, she’s also been a very busy DJ. Running the Deep Sugar events in her native Baltimore and beyond, she’s kept the party soulful and maintained her support for all things underground.
In late 2022, she released her eighth album, ULTRA, which includes recent singles “RICH M’FKs,” an electro-jam collab with Henrik Schwarz, and “Survivor,” a life-affirming collab with Tracy Young. So, we connected with Ultra Naté to discuss her latest music, her DJing, her Deep Sugar parties, and her ongoing contributions to dance music.
DJ LIFE: Your most recent album, ULTRA has got a mixture of strong material there –house, pop, funky jams, plus some electro & Afro-house vibes – and some really cool collabs. Creatively, how did you approach the ULTRA album?
Ultra Naté: Thank you! I was already putting the framework of an album together for a year or more before the pandemic hit. It was a different feel, and I was working on it very loosely in between my touring schedule. Once the pandemic lockdown happened, it inspired a different kind of energy and afforded me the time to focus and concentrate on working consistently on crafting this new piece. The timing is all based on what has happened over the last two years in our lives and how, as cre-
atives, we have been able to not only help ourselves, but also help others. Our ability to create has been a lifeline for us and needed by the people out there suffering through so much hardship and trauma.
DJ LIFE: “RICH M’FKs” has quite a fun electro vibe to it. There’s always a great tension on tunes with a soulful voice over a taut beat and groove – like “I Feel Love.” How did that tune come about?
Naté: Henrik Schwarz and I had been fans of each other for quite a while. We have never met on the road and we have never worked together, but the lockdown gave us a great opportunity to meet online and bring our creative energies together. I was very excited to connect with him! He was so easygoing and so open and sent me the backing track to two different concepts. “RICH M’FKs” was the first one and I loved that exact tension you speak of. It inspired me to talk about the angst that I was feeling watching so much racism, economic disparity, social injustice, and hate going on every day, as we were stuck in a loop of news media and fear.
DJ LIFE: What was your process in the other collabs? How did you work with the producers and get the results you wanted?
Naté: The great thing about having a long history and body of work is that you come to the table not having to prove yourself. Everyone steps up, respects each other’s art and are also secure in the knowledge of what the other person is going to bring to the equation. That negates a lot of drama, and you can connect and get on with the business of making music. That’s pretty much what the entire process was like, connecting with collaborators and everyone picking up the ball and running, coming with their A-game, and ready to hit a home run. No guarantees of what the outcome was going to be or where anything was going to go from that moment, but just the basic need and desire to create and collaborate was the primary directive.
DJ LIFE: How did you get through the lockdown?
Naté: By throwing myself headfirst into making the ULTRA album and putting myself on a schedule every day to create. I also enrolled in university for the year and immersed myself in academia. Both disciplines fed my soul, gave me direction and purpose, while I navigated a lot of loss and instability. I was losing friends to COVID
around the world consistently for a year and a half. I was in a very turbulent relationship with a guy I was really into, but we had some real foundation problems that we could not seem to grow beyond, and my livelihood was brought to a screeching halt. So, there were a lot of balls in the air I was trying to juggle, a lot of things pulling me in a lot of different directions. I felt raw emotionally, just rung out! The creative process was definitely the lifeline I needed to feel in control of something and to stay in touch with my inner being.
DJ LIFE: Were you streaming during lockdown?
Naté: I did stream , although I didn’t jump into that until probably three months into the pandemic. I kind of watched what others were doing and got a feel for what I wanted the production value around my stream to be. Because we were in isolation, I had to execute a lot of things on my own and pretty much wore 12 hats in producing the shows that I did do. I built a streaming studio in my house, I studied how to light it with a green screen, I worked a lot with my graphics and sound guys remotely. I needed to learn what programs to use to execute the stream, what my computer needed to be doing, what my lighting needed to be doing. Somewhere in that I also had to be the artist and think about what I looked like, what I sounded like, whether I was singing or DJing. It was a lot! I pulled it off and they came out great, but I don’t want to work that hard. It was stressful!
DJ LIFE: Do you have a home studio? How do you get your song ideas down?
Naté: Yes, I do have a home studio. The more independent I have become over the years, the more the necessity to have a setup in house. I still try to keep things simple and straightforward and leave the heavy lifting to proper studio setups outside of my home. However, with the pandemic, all bets were off, and my home set-up became Ground Zero for creativity. I generally work with basic GarageBand to get my ideas down.
DJ LIFE: In the studio, is there a microphone that you prefer?
Naté: I live by my Neumann U87 microphone. It’s a beast. I love the clarity and precision, the warmth and sensitivity of the microphone. It really sits the vocals right in your lap.
DJ LIFE: Can you give us a few producer/remixers do you most admire?
Naté: I’ve been a fan of producers like Linda Perry, Pharrell, Louie Vega, Stargate, David Morales, Mark Ronson, and Trevor Horn. They are genre-defining and have created amazing pieces that will sound flawless until the end of time.
DJ LIFE: Obviously, everyone best knows you for your voice, but when did you begin DJing? What pushed you in that direction?
Naté: I started spinning 20 years ago. It happened organically as a result of the Baltimore underground dance-music scene evolving in a way that I found to be detrimental to its survival. Venues were shrinking and disappearing, youth culture was not embracing or being embraced by the scene, and the music was becoming disjointed. Instead of complaining about it, myself and my bestie DJ Lisa Moody just started playing the records we wanted to hear. We gathered our vinyl, connected with another girlfriend that had two Pioneer Technics 1200s in her house, and just started playing. The bug bit us at that point and we developed a party to help feed the scene shortly thereafter.
DJ LIFE: And that’s Deep Sugar…
Naté: The party continued to grow and become its own thing. Deep Sugar became our homebase and my training ground. It was important to build our own house and invite everyone in. Inadvertently, it was the perfect way to grow my skills, especially growing up in club culture. I already knew what the expectation was from myself as an established recording artist.
DJ LIFE: In the DJ booth, what gear do you use?
Naté: I grew up in the culture of analog sound systems. I learned how to play using vinyl on turntables, and the mixer was always a UREI or Rane knob mixer. That is where I’m most comfortable, but it’s considered “old school” now. It took a while for me to get used to sliders and for me to make the transition to CDs and then eventually to drives. I’m totally good with the way things are, though; you must adapt and move with technology, while preserving the culture. So, I have a certain advantage in my mind.
DJ LIFE: And when you can’t get an analog mixer?
Naté: I prefer to use a Pioneer DJ DJM-V10, but I will certainly make it work with a DJM-900, if need be. The V10 has all the bells and whistles with built in 3-way iso, compression and send/return features for options to create vibes. I also like a nice sub in the booth, in addition to my monitors. I like to feel the bottom end. It’s really about the vibe you create and having the equipment you like puts you more in a comfort zone immediately. However, as time goes on, conditioning makes it easier for you to be effective no matter what – as long as it’s not an absolute trash situation!
DJ LIFE: When you spin, what’s your breakdown on material? How much of it is your tunes?
Naté: I don’t play my own stuff heavy in my sets. It’s just not a habit I ever really picked up. I like for it to feel special when I do, not expected every time I play. I like to mix up the vibes within a four-to-the-floor energy. I play Afro, gospel house, disco, soulful house, beats, DJ tools and some left-of-center-leaning things. Whatever appeals to me for the dancefloor, I’m in front of.
DJ LIFE: What are a few tracks that are always in your DJ box?
Naté: Lil Louis feat. ChinahBlack’s “Fable” (Frankie Knuckles’ Directors Cut Classic Club Mix)… just because I love it! DJ Spen’s “Love Is Respect,” because no one can resist disco mashed up with Baltimore’s bang-shanga-lang. And Toto’s “Africa ,” which is a great end-a-night tune for the dancers with the lights up.
DJ LIFE: Which DJs do you admire?
Naté: That list is way too long over the course of 30 years! It’s simpler to say I enjoy DJs that connect with the crowd and take them on a journey, not just play the Traxsource or Beatport Top 40 tracks of the moment.
DJ LIFE: In your mind, what makes a great DJ? What moves you?
Naté: I’m a soul kid at heart. My faves are DJs who can make me sing on the dancefloor. I want all the emotion and beats. I’ve always loved to get lost in dancing. That can be inspired by many different kinds of moments, but soul is going to hit me the deepest.
DJ LIFE: Musically, what were your first influences?
Naté: Like most inner-city kids in America, I grew up on soul classics from artists like Rufus and Chaka Khan, The O’Jays, LaBelle, Stevie Wonder, and Sunday-morning
church service. As I got older and tuned into the radio, there was Michael Jackson, Madonna, Tina Turner, Pat Benatar and The Police. I don’t think I ever actively decided to go into music – the music came to me. I was going into medicine after high school, but I discovered club culture. In that environment, I met the Basement Boys, who became my producers when we started hanging out and working on songs.
DJ LIFE: That certainly worked out…
Naté: For me, it was fun and experimental. I did not see it as a path to suddenly become a thing, but I wrote and recorded a song called “It’s Over Now” with them as my first demo. Once they gave it to Tony Humphries in Jersey, it became an underground classic before it was even released. Shortly after, I ended up on Warner Records in the U.K., suddenly recording albums. At some point along the way, I realized, you are considered a professional recording artist and songwriter! My mind was boggled for quite a while in those early days – what had just happened? From such an authentic and innocent moment, a whole new world and path in life had unfolded.
DJ LIFE: Baltimore has always had a great club-music scene and it’s been appreciated around the world. Why do you think so much talent has come from there and why, over the years, have locals loved and supported this music so much?
Naté: I think the evolution of house music coming along in the mid to late ’80s, as a derivative of R&B, gospel and disco, gave would-be young, under-financed producers the opportunity to make art and be creative with no judgment and no repercussions. The music that was being created had energy. It was new and it appealed to the new generation that was coming up in the clubs in that era. It felt like a community. It was spiritual, it was freeing and it was church, a home away from home for many people. Everyone was feeling it in all the urban centers where house music was bubbling. Whether you were making the music, playing the music, or dancing to it, you were part of something new and wonderful and it belonged to us.
You only got it if you went to the specific places where it was played, so you were part of a very special secret society. Baltimore has always nurtured that culture. It’s gotten more difficult now that the music business has splintered the scene significantly, but there are still pockets where kids just wanna dance all night. They don’t care about bottles or models or flashiness or pyrotechnics or songs that are played on the radio 50 times a day. They just want to dance, period.
DJ LIFE: So, these days, what can people expect when they attend a Deep Sugar party?
Naté: Deep Sugar is a continuation of the legacy of our early club community vibes where the dancers are the central focus. The music is true to underground club culture, and we always work to create an immersive dance experience where everyone feels welcome. It’s not pretentious. It’s about love, community, and safe spaces for all. Basically, what built the culture is that very ideology. Dance-music culture has evolved into a completely different animal globally, but there is room for all of it. It’s important, however, for these kinds of spaces to survive… where you can “leave it all on the dance floor.” But, in order for them to survive, those of us from the culture have to do our best to create and support them.
Brooklyn, N.Y. – Global techno party Time Warp filled the Brooklyn Navy Yard this past Nov. 18-19 for its fifth U.S. edition, bringing in the genre’s biggest names.
Produced in partnership with NYC’s Teksupport, Time Warp rocked the room with headliners like Drumcode Records founder Adam Beyer, MOOD Records head Nicole Moudaber, and German techno legend Sven Väth. With other strong acts like Anfisa Letyago, Mind Against, Enrico Sangiuliano, Fadeface and Artbat filling out the bill, Time Warp was a mad time for genre heads. It all looked like this:
Photos from offbrandproject/Teksupport
Astral Projection: Enrico Sangiuliano rocks it.
Going Off: Mind Against starts the party.
Hand-Held: The scene inside Time Warp.
Night Two: Fadeface hits the decks.
G’night All: Nicole Moudaber wraps things up.
Drumcode: Adam Beyer drops a beat.
Lights On: All the way to the back.
Our Space: Artbat gets grooving at Time Warp.
Vinylist: Sven Väth works his record box.
Electifying: Anfisa Letyago gets busy.
It’s hard for me to fathom that it was over two decades ago at this point, but I still vividly remember the enormous challenges that I had in trying to learn a DAW – that’s digital audio workstation software, although that’s not the term that was really used back in the day.
Then, as now, all the leading software seemed to share the same fundamental concept of multiple tracks, arranged on a timeline. You started the software, and there in front of you was this blank slate with dozens (or hundreds) of switches and dials and knobs and buttons and lines and boxes covering the screen. With no clear path for a newbie to get started, and manuals — actual printed ones, at that point — as thick and dense as a telephone book (remember those?) for a medium-sized city. The fact that I tried three or four different ones along with an utterly complete failure to make anything musical at all shouldn’t have been a surprise, I suppose.
Then, with a hardware purchase roughly 15 years back, along came a CD-ROM for yet another music creation package I’d not even heard of – Ableton Live. It was bundled and free, so why not give it a whirl? Live was different; you started it, but there was no timeline. (Well, it was there, a click away, but it wasn’t its default.)
Instead, Live showed its “session view,” a grid of pads. It didn’t take a lot of tinkering before I figured out what they do, and how to trigger them. Before I knew it, I was making music. Sure, it wasn’t music that’d climb any charts anytime soon, but it was music and better still, I’d successfully created it , and I credit Ableton to this day for making “the” thing that unlocked my ability to be musically creative (although these days, I actually do start with the software’s “arrangement
view” and its timeline-centric design.)
While I’m pretty savvy with it all these days, a continuing challenge in music-making is being able to play with ideas in the moment — which often doesn’t occur sitting in front of the Mac in my home studio. Sure, Garage Band and a zillion other things have come along with solving that problem in-mind, but the issue has always been: How do I get any of that (easily, anyway) into Ableton Live to develop it further?
Ableton might have been late to this particular party, but they have now arrived, in the form of Note — its new app to solve this very problem, in a very Ableton-esque way. Spoiler alert: It was worth the wait.
The very idea of Note is to craft and document musical ideas anytime, anywhere — or at least anytime and anywhere you have your iPhone or iPad with you. (For me, anyway, that’s all the time, and everywhere. But Android users take note: There’s no Note for you.)
I think Note is best envisaged as Live’s session view, just repackaged in the form of an iOS app, but slimmed down and morphed a bit — both in terms of the user interface, as well as the underlying content. But saying that is probably not fully accurate, as Ableton has crafted a very capable app, which may well in fact be too capable.
Having been in software development and product management myself a few times in my career, I can barely wrap my head around how I’d scope out the functionality of an app like this. Where, exactly, do you draw the line? Do you make something so simple its utility is questionable, but it’s easy and quick to use? Or do you make something with depth and breadth, but then has a steep learning curve and an interface that makes it difficult to fulfill its mission? I don’t know that Ableton Note is fully one or the other.
While Note is, design-wise, very well-aligned with Live and with Ableton’s own Push hardware controller (and thus, will quickly feel somewhat familiar), Ableton has packed a lot of “stuff” in and around the corners and edges that isn’t necessarily intuitively obvious. Much of this, I think, reflects the fact that with an app on a mobile device, the screen real estate (especially on the iPhone) is limited, and the user-experience paradigms are quite different.
What that means is that you’ll spend a considerable amount of time experimenting — and making mistakes and/or getting frustrated — or you’ll need to invest some actual effort in viewing Ableton’s walkthrough video for the app. I chose the latter, but it also meant pausing the video for long periods as I went off and attempted to tinker with whatever the presenter was demonstrating.
Ableton capped the projects in Note to having up to eight tracks each with up to eight clips, arranged over eight scenes. That’s plenty to not just sketch out musical ideas, but to actively develop them. Ableton has also included a comprehensive sound library; while not infinite by any means, there are plenty of samples, drum kits and presets — sufficient to cover a wide range of electronic genres. Depending on your musical style, you may not find everything you want precisely, but it’s more than adequate to sketch out musical ideas. And if it’s not enough, you can even record audio through the device’s microphone, and using a limited, but useful array of controls, you can tailor and shape the samples in a range of interesting ways.
But where Note really shines is its native ability to move your projects to the full Ableton Live intact and complete — much as you can open Garage Band projects in Logic Pro. That’s truly what Note was designed for: Enabling you to capture the essence of your creative ideas when your muse strikes, anytime and anywhere, and then develop them freely at a later time, using the full Live platform.
About the only downside of Note isn’t really anything to do with Note itself – it’s the hardware it’s running on. Sure, it installs and scales nicely on an iPad, which solves some of the issues. But if Ableton’s promotional videos are to be used as a model, Ableton designed it with the iPhone in mind, and even the biggest iPhones don’t have a screen large enough to make manipulating things particularly easy.
By modeling the interactions in large part on the design of the Push, however, Ableton has made the most of the limited space. The concept of creating beats with pads has been around for a very long time indeed, so that’s not so much of an issue. But, for me personally, tinkering with melodic ideas on anything other than a standard keyboard controller with its conventional, piano-key-like arrangement is always going to be a big stretch outside of my comfort zone. For melodic input, Ableton used the same methodology they settled-on for the Push; a piano keyboard it isn’t, but it does work, and has some interesting side benefits for creating interesting, in-key patterns due to its unique layout.
Apart from the learning curve and taking the time to really let the UI sink-in fully, I think Ableton has done an amazing job packing a whole lot of capability into a small, affordable package — one that adds considerable value to owning Live. And as a long-time Live user? Well, I look forward to finally being able to expand my creative universe to a world well outside of my home studio.
“NOTE ALLOWS YOU TO CAPTURE THE ESSENCE OF YOUR CREATIVE IDEAS WHEN YOUR MUSE STRIKES.”User Interface: Begin with a beat or a sample and more. Digital Sketchbook: Note works as a session starter.
One of the most-exciting niches in the DJ gear space is what I like to call the intermediate controller – this is the first step up from an entry-level controller.
At this point, if you own one of these units, you’re likely a proud, card-carrying member of the DJ community, and here is where some of the cool features found on flagship DJ gear first begin to make appearances.
Cumberland, R.I.-based Numark, an inMusic brand, is no stranger to this space. After all, its Mixtrack lineup has provided an accessible gateway to the world of DJing for over 10 years. Numark’s all-new NS4FX feels like a bigger brother to the very-solid Mixtrack Platinum FX, and DJs of all skill levels (especially those who might be graduating from a Mixtrack) will feel right at home. It’s one of the most-accessible 4-channel controllers on the market and a compelling proposition for DJs wanting control over four physical channels.
The NS4FX currently supports Serato DJ Lite, Serato DJ Pro (upgrade needed), Virtual DJ, and Algoriddim’s DJay Pro. It’s around 23-inches wide and weighs just over 6.5-pounds. It’s able to be this light because its construction is predominantly plastic. It’s definitely not flimsy, but I wouldn’t call it as solid-feeling as a metal-made controller. There’s a tradeoff here – some DJs would gladly choose lightness over metal for specific applications.
It has a gray finish that is lighter than the typical black we’re used to seeing on a lot of DJ controllers. In some situations, I did notice some glare and reflections from the top surface of the controller, but it was never terribly bothersome.
The controller layout consists of two deck sections with a mixer section in the center. The deck sections are identical, as opposed to mirrored – this means the transport controls (play, cue, sync) are always on the left, and the pitch fader is always on the right. I personally prefer this layout over
the mirrored layout because it feels more natural to me. Each deck section has a large 6-inch jogwheel with a bright center display in the middle.
Let’s talk about these jogwheels: They’re some of the best on any controller under a thousand dollars. They’ve each got a good amount of weight to them, and their size is a real asset. I’ve really enjoyed scratching and beat-juggling on them. The center jogwheel display recalls the displays found on Numark’s smaller Mixtrack Platinum FX and larger NS6II. It shows a bunch of helpful information, including a visual playhead, the BPM of the current track, and which deck is selected. In my opinion, it’s a very handy feature at this price point.
Below the jogwheels, you have eight performance pads. The pads are a bit on the small side, but I recognize the stars of the show are the jogwheels. The pads control different things depending on what software the controller is running, but all the usual suspects are here, including hot cues, auto loops, loop roll, and samples.
Carried over from the current-generation Mixtracks is Fader Cuts mode. Activating the pads in this mode triggers preset crossfader patterns, which can be helpful for DJs who might need to quickly deploy a scratch sequence and don’t want to worry about the crossfader. I didn’t end up using this feature a whole lot because I’d much prefer having manual control over the crossfader when scratching.
Next to the performance pads are the loop controls. Pressing the loop button quickly activates a loop, and there are options to halve or double the loop length below. To the right of the jogwheels are long pitch sliders. These were heavily praised on the current Mixtracks, and I’m glad to see them make an appearance here. There are physical buttons for pitch bending, key lock, and controlling the tempo range of the pitch slider.
The mixer section has four channels. Each channel has a 3-band EQ with a dedicated gain knob at the top and a com-
“DJS WHO DO A LOT OF LIVE-STREAMING WILL LIKE THAT THE EXTERNAL INPUTS ARE ROUTED THROUGH THE USB, ALLOWING THEM TO RECORD OR BROADCAST THE MIC OR AUX INPUT.”
bo low-pass/high-pass filter knob at the bottom. Both the pitch faders and crossfader feel nice. It is worth noting that the mixer section cannot function as a standalone mixer and can only control a software-based mixer. The effects section in the middle of the mixer made its debut with the latest Mixtracks, and I’m glad to see it here again.
There are two spring-loaded paddles that can trigger effects. Pulling the paddles down temporarily activates an effect, but only as long as the paddle is pressed; if you let go, the paddle springs back to neutral and the selected effect is deactivated. On the other hand, pushing the paddle up locks in the effect. Above, there’s a wet/dry knob and a beat knob.
I think the paddle system is a really fun way to play with effects and an efficient use of space. Having a single dedicated effects section at the center of the mixer, as opposed to individual effects units at the top of each deck section, leaves more room for oversized jogwheels. The only drawback I see with this arrangement is that you cannot have different effects on multiple decks simultaneously.
On the front of the unit, you have two headphone jacks (a ¼- inch and an 1/8-inch), crossfader assignments for each channel, and a second mic input on a ¼- inch jack with level and tone controls. On the back, there is a balanced output on XLRs and a booth output on RCAs. Both the main output and the booth output have individual level controls, allowing DJs to set different levels for each.
There’s also another mic input on a ¼-inch jack and an auxiliary input on RCAs. The aux and mic level is controlled by a knob on the left deck section. You can only run either a line-level aux input or a microphone at one time. Of course, there’s always the other mic input on the other side.
DJs who do a lot of live-streaming will like that the external inputs are routed through the USB, allowing them to record or broadcast the mic or aux input. Finally, there is a USB type-B connection for connecting the controller to a laptop and a connection for the external power supply. Personally, I would’ve preferred the controller to be USB-powered – this makes one less cord to carry. However,
sound quality is exactly as expected – no complaints in that department. (Editor’s Note: According to Numark/inMusic, “In order to have XLR outputs, you need more power than bus-powered USB offers. So, wanting that feature would mean you couldn’t have XLR, which we knew was important for that next level of DJing.”)
As mentioned earlier, the NS4FX works with Serato DJ Lite, Virtual DJ, and Algoriddim’s DJay Pro right out of the box. You can certainly use it with Serato DJ Pro, but you’ll need to pay for a license. Many have lamented the fact the unit doesn’t automatically unlock Serato DJ Pro, and I find myself agreeing. This controller would have been almost unstoppable if it shipped with the ability to activate Serato DJ Pro. (Editor’s Note: According to Numark/inMusic: “This controller also will control Stems with Serato DJ Lite out of the box. At the original writing, this would not have been known, but it is now.”)
I can easily see this controller being purchased by mobile DJs who might want a portable 4-channel DJ controller with XLR outputs and dual microphone inputs – this could easily work for gigs that might not need a larger controller. Bedroom DJs and house-party DJs also want to consider the NS4FX: It could be a great next step for DJs who want greater control of four decks and are stepping up from 2-channel controllers.
However, the real winners are DJs who record or livestream their mixes over the internet. Having the microphones and aux inputs route through the computer’s recording output is a killer feature and something not typically seen at this price point. One of its closest competitors is Pioneer DJ’s slightly-more-expensive DDJ-FLX6 – this controller offers 4-channel functionality and control of Serato DJ Pro, but is less portable and lacks XLR outputs and center jogwheel displays.
That said, Numark’s NS4FX ($549 MAP and currently available exclusively via Guitar Center) is one of the industry’s most-accessible 4-channel DJ controllers. It offers a great deal of features and functionality, all wrapped in a very portable form-factor. Well-done, Numark.
Buffalo, N.Y. — Brian Botens has branded his DJ business Beloved Entertainment , at once acknowledging the role that music can play on the most important days of our lives, while also differentiating himself in a crowded Buffalo market.
We asked Botens to explain how he went from solo op to multi-op and how he succeeds by diversifying his services.
DJ LIFE: Beloved Entertainment…when did you start the company, and how do you differentiate it from your competition in Buffalo?
Brian Botens: I started as a DBA in 2006, but changed over to a corporation in 2012. There are many DJ companies in the Buffalo/Western New York area, so what we do differently than most is full-on event production. So, we’re not just DJ service, photo booth, and a little bit of lighting. We offer that, plus programmed light shows, LED video walls, digital projections, special effects, such as CO2 jets, haze, dry ice, cold sparks and much more.
DJ LIFE: I see you do a lot of rentals – what went into that business decision? Are rentals a big part of your revenue?
Botens: I have always been one to buy top-of-the-line first, so I don’t have to upgrade later. With that being said, over time, I became the one local promoter who you’d come to for DJ equipment for their DJs coming in from out of town. Whether it was a club gig, rave party, or tour date, many travelling DJs have requirements to perform, and I became someone that always had what they needed. In the last five to 10 years, this has become a big part of my business –especially the LED-wall rentals.
DJ LIFE: You specialize in VJing – is that an upsell? How do you sell that?
Botens: Actually, it depends. If you are referring to DJing with music videos, I don’t really use that as an upsell for the service. But I do charge additionally for the video screens, when needed. If the venue I am playing at already has screens and I just have to plug in, then there is no additional charge for it. The fact that I even have the ability to provide that makes me more of a commodity than most of the competition. But it also allows me to show my more creative side in my performances since I do my own custom
video edits. It helps me stand out, which in turn helps book more gigs. Plus, I love doing it. So, I don’t feel the need to charge extra for that part.
Now if you are referring to VJing with just visuals for other peoples’ performances, yes, that is an upsell. When I rent out my video displays, most of the time the clients will need a video tech to play specific content. Most of the time, for our business anyways, this tends to be big DJs on tour that want their own visual content played on stage. I actually have built a team of video guys that can even handle doing this for me at the gigs where I cannot be there, as we are now doing multiple events in a day on most weekends.
DJ LIFE: Playing nightclubs and bars –for you, how different is music programming compared to weddings?
Botens: Much different. Weddings have a much more diverse crowd. For the most part, you are required to play a list sent from the bride and groom mixed with all the hits from the last three to five decades. Bars, I find myself playing a lot more hip hop, some oldschool, but mostly newer-trending music for college crowds. Nightclubs, for the most part, are a lot of EDM/dance music. When people come to that type of environment in a nightclub, you are expecting they are there to rage.
DJ LIFE: What’s in your gear set-up?
Botens: For software, I use Serato DJ Pro. I use MixEmergency, the Mac app for VJs. I use Resolume Arena VJ software and media server. And I use SoundSwitch lighting-control software. I have a Macbook Pro from 2019. For my PA, I have Pioneer XPRS12 12-inch speakers and QSC KS118 18-inch subwoofers. My lighting lineup includes products from ADJ like the Inno Pocket Wash and the Pocket Pro – both are mini-moving-head fixtures.
DJ LIFE: Are you an entertainer or business owner first?
Botens: That is a really good question, and something I never really asked myself. I have always been the entrepreneur type. I did start DJing as a hobby, just because I love to make people dance, and I love bringing people together through music. It just kind of developed into a business that I did not expect. Not sure if that answers the question, though, because I guess I am a lot of both.
By Joshua Volpe
In my last article, I talked about how today’s business owners and marketers are using new and unique ways to reach targeted customers with a location-based marketing tactic called Geofencing.
That article created a lot of messages and inquiries from DJs asking more about it, the costs, what type of software is needed, and how someone can start doing it quickly. So, read on in this Part 2 that explains things more in depth if you want to start doing effective Geofencing properly.
Geofencing, simply put, is a digital-advertising tactic that involves location-based ads that are served to people through social media, phone apps, app notifications, text messaging, and within the Google Display Network.
Because the ads are location-based, they are triggered by cellular data and GPS when a mobile device or RFID tag enters or exits a virtual geographic boundary, known as a geofence. So, when a bride enters a competitor’s location or a wedding venue or a bakery, you can serve them ads about your services and company, or even a special promo deal, which only shows up for them when they enter that specific location that you set a virtual fence around.
If you’re familiar with buying Facebook ads, Google ads, Display Network ads, YouTube ads, and other forms of digital advertising, you’ll already know about many of the different advertising C’s – CPM, CPV, CPL, CPI, CPC, CPA, and CTR. Without going into too many details, these are cost measurements for individual clicks, impressions, views, acquisitions, leads, installs, and total click-through rates.
For Geofencing, there are typically two buying models for the campaigns you set up – CPM (Cost per Mille or Cost per 1,000 impressions) and CPV (Cost per Visit). CPV is more for those with a physical location (like, say, a store in a mall with heavy foot traffic) and want people to be served ads when they walk or drive past your location. CPM is the most common buying model for Geofencing, and it typically includes brand-awareness campaigns or campaigns that focus on reaching a specific audience. Industry pricing can range anywhere between $3.50 to $15 CPM for mobile and desktop campaigns.
The pricing ranges of CPMs vary depending on a number of factors, such as the volume of impressions purchased or the types of targeting tactics used.
The more localized or narrow your targeting is, the higher the CPM can be. Other factors that can change the costs are the tools or software you use for setting up and monitoring Geofencing campaigns, the number of Geofences you set up, and the platforms.
There are between 15 and 20 different types of software packages out there to help someone do Geofencing, set up campaigns, and monitor performance. They can range between free (extremely limited) such as Plot Projects, to upwards of $500 to $3,000, to even SaaS-based software with monthly costs in vast ranges. You, as an individual, can purchase some consumer-based tools and software to do it yourself, but generally when someone wants to start Geofencing, they go to a digital marketing agency that already has the tools, software, and experience in place.
If you decide to use an agency with this experience and the capabilities, there will be a greater cost because you will be paying the agency to set up your campaigns, do the analysis, the optimization, the research, and analytic reporting. Add all of that to whatever monthly budget you have set for your Geofencing campaigns and you can easily see how this will get quite expensive. But also keep in mind that if you have great results with a proper ROI, the revenue you generate from the leads that come from Geofencing will offset many of the costs.
Not only can someone do all of this themselves through third-party tools and software, but you can set up Geofencing campaigns through Google Ads, too. Keep in mind that there are limitations to doing Geofencing with Google Ads, compared to what you’re able to do with third-party software. Google Ads allow you to set up Geofencing on the ads displayed on Google Search results, the display network, and YouTube, but that’s it and may not get you the same results as you would with professional tools and software.
It’s very important to know right away that there is a steep learning curve to understanding Geofencing and setting up ad campaigns. Without having at least the basic fundamentals and the understanding of how digital ads work or how to optimize your campaigns for the best ROI, you could very easily end up wasting money or getting zero results. And because Geofencing is generally more expensive than traditional digital advertising, you want to be smart about how you spend the money and making sure it’s a not a wasted effort.
But like I noted above, if you are able to pull off a successful campaign and get a large amount of leads that convert to bookings from it, it’s a worthwhile cost. There is no rule saying you can’t start off small by setting up a basic Geofencing campaign in Google Ads and then migrate to something better with professional third-party tools, software or agencies to get even more bang for the buck if you decide that Geofencing is one of your most effective digital marketing strategies for your DJ business.
As always, friends, if you have any questions or want to learn more, I’m just a Facebook message or email away from helping out. I hope everyone is haing a wonderful holiday season, and may 2023 be your best year yet! Stay healthy and well out there!
Pioneer DJ has released the DDJFLX4, 2-channel DJ controller – a beginner-friendly unit coupling prostyle design with an intuitive user interface. The unit integrates two new smart features to help begin ner DJs start mixing – Smart Fader and Smart CFX. Smart Fader allows artists to effortlessly transition between tracks with a simple glide of the crossfader or channel faders. After sliding the fader, the DDJ-FLX4 automatically adjusts the track’s BPM, volume, bass volume and other aspects of the music to create a seamless transition into the next song. Artists can also spice up their favorite tracks with the help of Smart CFX, an effect that applies complicated combinations of effects to the music with the turn of a knob. The controller’s design couples a simplistic matte grey body and
metallic grey mixer to provide DJs a sleek, performance-intuitive first controller to start mixing on. DJs can familiarize themselves with fundamental mixing skills using the controller’s two glossy jog wheels and sampling techniques with eight performance pads on each deck. The controller employs a bright amber orange LED light to illuminate key controls, while still maintaining the controller’s minimalistic aesthetic.
Pioneer DJ Americas 2050 W 190th St #109 Torrance, CA 90504 (424) 488-0480 www.pioneerdj.com
Decksaver, distributed by Mixware, has released 15 new covers for a whole host of DJ, producer and content-creator gear. The list includes Decksaver covers for the following products: Korg’s Microkorg and Microkorg S keyboards; Pioneer DJ’s DJM-S5 entry-level battle mixer; Arturia’s PolyBrute synth and its Keylab49 MK2 and Keylab61 MK2 controller keyboards; Waldorf’s M wavetable synthesizer, Kyra hardware virtual analog synthesizer, and Iridium synthesizer; Loupedeck’s Live streaming console, CT editing console, and Loupedeck+ video/photo editing console; RODE’s RODECaster Pro II podcaster production studio; SSL’s BiG SiX desktop analog mixer and interface; Erica Synths’ Perkons HD-01 performance/sound-design instrument and its SYNTRX and SYNTRX 2 analog synths; UDO Audio’s Super 6 Desktop; Teenage Engineering’s TX-6 mixer/interface; and Ecler’s WARM2 rotary DJ mixer. Decksaver/Mixware 11070 Fleetwood St., Unit F Sun Valley, CA 91352 (818) 578-4030 www.mixware.net
Electro-Voice has released EVERSE 8, a weatherized, battery-powered loudspeaker with Bluetooth audio and control. Created for a variety of apps, including DJ events, EVERSE 8 has a maximum SPL rating of 121 dB and wide, even 100- by-100-degree coverage. Core components include an 8-inch woofer mounted using EV’s patented SST (Signal Synchronized Transducers) port design, and a highoutput titanium tweeter mounted onto a custom constantdirectivity waveguide. EVERSE 8 is driven by a high-efficiency Class-D amplifier and DSP module. Pro features include a built-in 4-channel digital mixer with studio-quality effects and processing, 48 V phantom power, feedback suppression and audio ducking. Wireless control and monitoring is handled with the EV QuickSmart Mobile app, which can be used to adjust all audio, effects and mix functions via phone or tablet.
Electro-Voice 12000 Portland Ave Burnsville, MN 55337 (800) 289-0096 www.electrovoice.com
Mackie has released M*Caster Studio, the new flagship of its M*Caster Series of live streaming mixers. Designed to be the heart and hub of a streaming set-up, M*Caster Studio is a professional audio solution for Twitch-based gamers, YouTube Live creators, podcasters, and live-streamer. M*Caster Studio offers user-friendly control and professional features, like a built-in sampler and full-color MixViewer display, making it easier than ever to deliver your content and your sound. Just plug in, choose your profile and effects, and start streaming. The kit features the EM-99B Broadcast Microphone and the DB-200 Premium Desktop Boom Arm. M*Caster Studio also features dedicated headset and media-player inputs, along with USB connectivity to function as an audio interface on Mac or PC, and an integrated RGB LED strip with seven user-selectable colors.
Mackie 16220 Wood-Red Road NE Woodinville, WA 98072 (425) 892-6500 www.mackie.com
ADJ has released the Mirage Q6 Pak Black uplighting system, which includes six feature-packed, battery-powered, wirelessly controllable, IP65-rated LED wash fixtures supplied in a purpose-built charging road case. Each new fixture offers everything the original chrome-finished Mirage Q6 IP units do, but with an understated, gloss black outer casing. Each new fixture features four 10-Watt 4-in-1 RGBA color mixing LEDs, which together generate a vibrant output with an expansive choice of color options. It incorporates a potent rechargeable battery, which allows it to run for up to 40 hours on a single charge, and is encased in an IP65-rated shell, which makes it suitable for temporary use outdoors with protection against the elements. It also features a built-in WiFLY EXR wireless DMX transceiver and offers a variety of useful features, including a theft protection alarm, integrated kick stand and retractable carry handle. ADJ Products 6122 S. Eastern Ave. Los Angeles, CA 90040 (323) 582-2650 www.adj.com
KRK, a Gibson Pro Audio brand, has expanded its studio monitor offerings with the introduction of the GoAux Portable Monitor System. Available in two compact sizes, the 3-inch GoAux 3 and 4-inch GoAux 4 are professional-quality monitors with a portable design, featuring Bluetooth technology – a complete nearfield reference monitor solution. With KRK GoAux speakers, glass aramid woofers work alongside a one-inch soft textile dome tweeter in a bi-amplified two-way design, while rear-ported ABS cabinets supply bass extension. Users can also adjust their monitors’ response to the room and personal preference thanks to built-in LF and HF EQ. The added option of connecting headphones to the front panel 1/8-inch stereo output automatically mutes the GoAux speakers for a silent monitoring option. Unique to the GoAux 4 are additional features, such as a measurement microphone and built-in Auto ARC (automatic room correction). This allows for automatic optimization of the speakers’ response to the acoustic environment. The GoAux 4 also exclusively offers additional USB and ¼-inch TRS balanced stereo inputs. Each set of monitors come equipped with power and speaker cables, adjustable isolating stands, and a carrying bag.
KRK/Gibson Pro Audio 309 Plus Park Boulevard Nashville, TN 37217 (800) 444-2766 www.krkmusic.com
Denon DJ has introduced the SC LIVE DJ controller series, the only controllers with Amazon Music Unlimited streaming capabilities. The 4-deck SC LIVE 4 and the 2-deck SC LIVE 2 are club-style, Wi-Fi-enabled, standalone DJ devices that give DJs the power to perform without a laptop and provide an immersive audio experience with on-board speakers. Designed using an exclusive secure chipset to meet Amazon’s music-streaming requirements, the SC LIVE series gives DJs instant access to over 100 million CD-quality (aka “lossless”) songs across all musical genres (Amazon Music Unlimited subscription required). With the SC LIVE 4 and 2’s built-in Wi-Fi and lightning-fast onboard song analysis, DJs can now perform a full set without owning or preparing any music ahead of time. With their built-in Wi-Fi, 7-inch multi-gesture touchscreen, SD and USB media slots, and dynamic performance FX options, the SC LIVE 4 and SC LIVE 2 are designed for creative mixing and live performances using a combination of stored media and music-streaming sources.
Denon DJ/inMusic Brands 200 Scenic View Drive Cumberland, RI 02863 (401) 658-3131 www.denondj.com
Focusrite has released Vocaster, a new range of audio tools designed for the rapidly growing market of podcasters and other content creators – it provides everything they need to start recording broadcast-quality sound in seconds. The range features two standalone interfaces (Vocaster One and Vocaster Two) and two studio packs (Vocaster One Studio and Vocaster Two Studio) that has everything needed to record podcasts in one box. Just plug in your new interface, follow the “Easy Start” onboarding process, and away you go. Also, Vocaster Hub, the companion app for the Vocaster interface, is like opening the door to your very own broadcast studio. It is the central hub for setting up, recording, and mixing your show. Control your interface settings, set your levels, enhance your sound, route audio from your phone and computer, and more.
Focusrite Group US Inc. 909 N. Pacific Coast Hwy, Ste. 270 El Segundo, CA 90245 (310) 322-5500 www.focusrite.com
JBL Professional has released its PRX900 Series of powered loudspeakers and subwoofers. The line, which includes three powered 2-way loudspeakers and two powered subwoofers, has been entirely built from the ground up to leverage JBL’s most advanced acoustic innovations. Its driver systems are powered by 2,000-watt (peak) Class D amplifiers, which deliver clarity and definition at maximum volume, with improved dispersion and smooth low-frequency extension. The PRX900 Series is a versatile solution for DJs and bands, music venues, rental houses, corporate A/V providers, or anyone who needs durable professional systems that deliver powerful, room-filling sound in any portable or installed scenario. The range includes: PRX908 2-way, 8-inch loudspeaker; PRX912 2-way, 12-inch loudspeaker; PRX915 2-way, 15-inch loudspeaker; PRX915XLF 15-inch subwoofer; and PRX918XLF 18-inch subwoofer.
Harman International 400 Atlantic Street Stamford, CT 06901 (203) 328-3500 www.jblpro.com
Concord Recalling ’90s electronica-era acts like The Prodigy, this breakbeat whopper crunches and scorches with rock-flavored abandon. Stadium-ready.
– Jim TremayneGorgon City feat. Flirta D
This bouncy, rollicking house track booms from beginning to end. With grime MC Flirta D out front with his frantic, scattershot flow, “Sidewindah” recalls Basement Jaxx a bit, but that’s really a compliment. Rough, ready, and rumbling.
– Jim TremayneThis Afro-Caribbean flavored vocal features a robust, funky bassline, a powerful, commanding Haitian-influenced chorus and a clever use of melodic keys that come together for an outstanding production. Great for late-night action.
– Shawn ChristopherOrbital
Mixing medieval elements with Orbital’s distinctive synths and anthemic melodies, this one will stick in your head for awhile. From their upcoming Optical Delusion album, the Hartnoll Brothers have another winner here.
– Jim Tremayne
Lush and seductive, this Marshall Jefferson production grooves along smoothly and showcases Byron Stingily’s legendary falsetto. An early evening jam that’ll easily set the mood.
– Jim Tremayne
From his sublime Divinity album, this simple, but effective house groover from Nutritious doesn’t let up. A sultry female vocal glides over a chimey hook and before you know it, your head’s bobbin’ and your ass is shakin’. Sweet.
– Jim Tremayne
With this love song to rave culture, The Blessed Madonna teams with vocalist Uffie for a housey groover that celebrates all the madness. Bumpin’, pumpin’ and plenty of fun.
– Jim Tremayne
Slam
This propulsive, rattling techno track barrels through the dancefloor like a runaway 18-wheeler – whopping kicks, disturbed synths, epic. If you like your techno tough, this one’s for you. From the eponymous four-track EP.
– Jim Tremayne
Wh0 & Armand Van Helden Feat. Joe Killington Musical Freedom Gospel-infused and uplifting, this fullthrottle pumper gets right to business with a statement of purpose to go with its whopping rhythm. Relentless.
– Jim Tremayne
Epic and a bit old-school (in a good way), “Prestwick” finds this techtrance collab carrying the listener on a celestial journey, but one marked with powerful kicks and enormous synth washes. Yes, it’s a little bit techno, a little bit trance, but it easily mixes the hypnotic and the forceful. Definitely for the late-night sets.
– Jim Tremayne Markus Schulz & BT Coldharbour The Blessed Madonna Armand Van Helden Markus Schulz1 Tiesto F/ Tate McRae 10:35 Musical Freedom 2 Sam Smith & Kim Petras Unholy Capitol 3 David Guetta & Bebe Rexha I’m Good (Blue) Warner 4 Taylor Swift Anti-Hero Republic 5 Nicki Minaj Super Freaky Girl Republic 6 Reve Whitney Capitol 7 Lena Leon Spiral Bmg 8 P!nk Never Gonna Not Dance Again RCA 9 Loud Luxury F/ Kiddo These Nights Armada 10 Meghan Trainor Made You Look Epic 11 Acraze F/ Goodboys Believe Capitol 12 Maup Drugs From Amsterdam Repopulate Mars 13 Meduza & James Carter Bad Memories Republic 14 Regard X Drop G No Love For You Epic 15 Joel Corry & Tom Grennan Lionheart (Fearless) Atlantic 16 Metro Boomin’ The Weeknd & 21 Savage Creepin’ Republic 17 JVKE Golden Hour JVKE/AWAL 18 Beyonce’ Cuff It Columbia 19 Gryffin & Olivia O’Brien Caught Up Interscope 20 Oliver Tree & Robin Schulz Miss You Atlantic 21 Alok Sigala & Ellie Goulding All By Myself RCA 22 Britney Spears & Elton John Hold Me Closer Interscope 23 Sia Unstoppable Crush 24 Sunday Scaries And Pickuplines Chill Like That Capitol 25 Skrillex, Fred Again & Flowdan Rumble Atlantic 26 Eliza Rose & Interplanetary Criminal B.O.T.A. Warner 27 Charlieonafriday Enough 88rising 28 Sheryl Lee Ralph In The Evening High Fashion 29 Tate McRae Uh Oh RCA 30 Ava Max Million Dollar Baby Atlantic 31 Remy & Selena Gomez Calm Down Mavin
De La Fe feat Alex Abreu A Otro Con Ese Cuento Altafonte
Karol G Cairo Universal
Pablo Perez Mi Ritmo Tiene Fuego PPB
Black Eyed Peas feat Anuel AA Muévelo Sony
Me Muero Por Eso Flame
Fuego Candela OF
La Sonora Matancera Medley 3 J&N
Omar feat Lil Jon Let’s Get Crazy! (Mambo Drop) Inisono/Saban
2DEEP Guaracha En Reggaetonlandia Dim Mak En Fuego
Beto Collado Conmigo No Te Metas MP
Alfredo De La Fe feat Gilberto S.Rosa Salsero Al Mango Altafonte
Bizzarp feat Shakira Sessions # 53 (Cubanito Extended) Dale Play
Los Hermanos Rosario Me Gustan Las Mujeres PR Inc.
Marito Rivera Bravo Cumbia MR
Alsikiatra Tas Mordio Alsikiatra Music
Albita y Gilberto Santa Rosa Que Manera De Quererte InnerCatMusic
ATTENTION DJ LIFE READERS: DJ Life is currently looking for DJs that are interested in reporting to the DJ National Dance/Crossover chart and the DJ Times National Urban Dance chart. Reporterships are open to Record Pools and individual DJs. For more information contact: Dan Miller, dmiller@hazanmediagroup.com
