DJ LIFE MAG, Vol.3 No.4 John Summit

DJX ’23: BIG NAMES AT PARTIES & KEYNOTES

By Jim Tremayne

Atlantic City, N.J. – It’s finally here!

Slated for Aug. 7-10 at the Hard Rock Hotel & Casino in Atlantic City, N.J., DJX’23 is ready to roll. Running since 1990 as the DJ industry’s longest-running DJ exhibition/convention, DJX will bring DJs of all stripes – club, mobile, turntablist, studio – to experience a program that includes educational seminars and keynotes, sponsored After Dark parties, and the DJ industry’s largest exhibit hall.

Produced by DJ LIFE magazine and Hazan Media Group, DJX will present a showfloor full of the latest DJ-related products (audio, lighting, studio, accessories, etc.), a slate of 37 seminars, panels, and keynotes tackling the latest industry topics, and nightly parties featuring top DJ talent.

The Talent: DJX’23 will kick off its After Dark series of evening events by presenting Grammy-Award-winning DJ/producer/artist Dave Audé at the HQ2 Nightclub at the Ocean Casino Resort on Monday, Aug. 7. Additionally, the next afternoon, Tuesday, Aug. 8, the prolific talent will participate in a special DJX “Keynote Q&A” back at the Hard Rock.

The next night, Aug. 8, D.A.S. Audio will deliver its much-loved “Twisted Tuesday” party at The Beach Bar at Hard Rock featuring an exclusive set from Toronto’s Skratch Bastid, who is not only one of our greatest turntablist/scratch champ/party rockers, but he’s also a two-time Juno Award nominee for his studio work. He’s served as the global ambassador and judge for Red Bull’s The3style DJ competitions, and host for his Bastid’s BBQ block-party events. The beach-party lineup also includes Buck Rogers, DJ Serafin, Sophie Lin, and Chitown Shani.

At DAER nightclub on the evening of Aug. 9, DJX attendees get a double dose of parties. From 8 to 11 p.m., it’s the “Mobile Mash-Up Party,” co-hosted by Jake Jacobsen and Mike Alevras and sponsored by RCF. In addition to handing out giveaways, including a grand-prize pair of RCF ART 9 Series loudspeakers to one lucky winner, the co-hosts will present performances from DJ/artist Joe Bermudez (debuting his single, “Alone”), mash-up mixmaster DJ LG, Tik Tok phenom Mr. Wired Up, and DJ Kid Kasper.

Then at 11 p.m. in the same venue, DJX’s After Dark series presents Mell Starr & Friends, as they celebrate 50 years of hip hop. Sponsored by ROCAVAKA, with gear by Pioneer DJ, and audio by RCF, the event will include Grandmaster Flash, Grand Wizzard Theodore, Jazzy Jay, DJ Skribble, and Scram Jones on the decks, with performances from the Sugarhill Gang and Melle Mel & Scorpio.

Keynote Q&A Sessions: On Aug. 7, the show’s opening day, DJX will present “Whoomp – There It Is! Keynote Q&A with Tag Team’s DC the Brain Supreme.” DC (aka Cecil Glenn) will tell the success story of one of the world’s biggest and most-enduring party songs, plus his own career rise at Magic City – Atlanta’s legendary gentlemen’s club and epicenter for its urban music scene.

In addition to the afore-mentioned Dave Audé keynote on Aug. 8, DJX will also present a “50 Years of Hip Hop” Q&A that will include Grandmaster Flash, Kool DJ Red Alert, Grand Wizzard Theodore, Jazzy Jay, DJ Skribble, Mell Starr, Grandmaster Dee (Whodini), and Chuck Chillout.

Sponsored Seminars: DJX’23 will present a half-dozen seminars sponsored by show exhibitors. They include sessions from: Mixware and Pioneer DJ (Aug. 7); Chauvet DJ and SMPL (Aug. 8); Carnival Cruise Line and Vibo (Aug. 9).

For more on DJX, please visit Page 8. For the very latest on the show, please visit www.djxshow.com

DC: Whoomp – There It Is!

D.A.S. Party: Skratch Bastid.

Legend: Grandmaster Flash.

Theodore: A Grand Wizzard.

Radio Star: Kool DJ Red Alert.

IN THIS ISSUE

Sound Bites

Electric Forest ’23

Michigan’s 4-Day Fest Goes Deep into the Woods

By ALIVE Coverage 22

Battle of the DJs

DJ Baby J’s Picture Book Takes a Nostalgic Look at NYC’s Old-School DJ Scene

By Jim Tremayne

In the Studio With…

The Rabbit Hole Circus

Markus Schulz’s Wild Concept Show Hits Miami’s E11EVEN Club

By

Jim Tremayne & Adi

Adinayev

30

Mell Starr

By Mark Mancino

SUMMIT’S LIFE AT THE TOP

If you listen to John Summit talk, he’ll tell you that getting fired from his accounting gig might be the best thing that ever happened to him. Already dedicated to the DJ life, his sudden professional hiatus, which included the pandemic period, gave him the extra time to sharpen his production skills. And once he found his creative voice – a style that meshes old-school house grooves with modern hooks and production – and got “Deep End ” signed to Defected in 2020, he hasn’t looked back.

Indeed, the productions (like 2021’s “Human” feat. Echoes) and remixes (like his 2022 take on Kx5’s “Escape” feat. Hayla) that followed kept a three-year hitting streak alive. And now he’s returned with Hayla in ’23 with “Where You Are,” his biggest hit ever. Our Mark Mancino sat down with clubland’s new king to find out what the view is like from the top.

Also from the club and festival world, we offer plenty of unique visuals. For starters, we give you a look at Electric Forest Festival, which ran this past June 22-25, and featured modern attractions (Above & Beyond) and legends (Jellybean Benitez) playing deep in the Michigan woods. This past July 3, we ventured to Miami’s E11VEN club to see Markus Schulz and The Rabbit Hole Circus for a wild evening that combined trance tunes with singers, dancers, aerialists, and acrobats. Returning home to NYC, we stopped into Brooklyn’s Jolene Sound Room (for our Club Spotlight) to catch an evening of deephouse music with the one-and-only Tony Humphries spinning with Rissa Garcia at her Dancing Room Only party.

In a pair of features, we look back and leap forward. In the modern world, HAPA (aka The DJ Coach) kicks off a regular spot in the magazine by tackling this issue’s topic: Where do I get my music? As you may or may not know, there are more options than ever. And in the way-back machine, we visit with DJ Baby J, whose self-published picture book, From My Bedroom To Broadway: Battle of The DJs, 1973-1984, will take you back to the early days of NYC DJing with an amazing collection of street flyers and party pictures.

In our Sound Bites section, we visit with decknician Mell Starr to discuss his DJ journey, which has included touring with Jay-Z, a fortuitous stint on BET’s “Master of the Mix” reality show, and spinning for President Obama. Additionally, Mr. Mancino visits with Hardwell – our cover-story subject a year ago – to see how the Dutch EDM star’s comeback is going.

In our review sections, Wesley King again does double duty. For Playback pro-audio department, he takes on Ultimate Ears’ UE Premier in-ear monitors – with 21 drivers and a 5-way crossover, it’s quite a system. Also, for Studio Session, Wes tackles the new DJ.Studio software, which helps DJs with mix shows, playlists and more.

For our mobile-centric departments, we visit with Philadelphia jock-of-all-trades Greg Curran in Mobile DJ Profile. He spins, he teaches, he does A/V – and he’ll be presenting two seminars at DJX in Atlantic City this month. And in DJ Business, Joshua Volpe explains the concept of emotional branding and demonstrates why it has emerged as a powerful tool for businesses (like your DJ company) to better connect with clients.

And, of course, we offer our final previews of DJX’23, which will run Aug. 7-10 at the Hard Rock Hotel & Casino in Atlantic City, N.J. Without a doubt, this year will be a blast. For the very latest on the show, please visit www.djxshow.com. We hope to see you in AC!

Best,

editor-in-chief

Jim Tremayne jtremayne@hazanmediagroup.com

editor-at-large

Brian O’Connor boconnor@@hazanmediagroup.com

web editor and social media manager

Mark Mancino mmancino@@hazanmediagroup.com

contributors

Wesley King, Chris Caruso, Amanda Chavez, Shawn Christopher, Paul Dailey, Reed Dailey, Chris Davis, DJ Deets, Tony Fernandez, Tommy D Funk, Lexi Ferguson. Ryan Hayes, Greg Hollmann, Erik Miller, Lily Moayeri, Jordan St Jacques, Jeff Stiles, Ashley Teffer, Danny Turner, Phil Turnipseed, Joshua Volpe, Travis Wackerly, Curtis Zack

chart coordinator

Dan Miller dmiller@hazanmediagroup.com

national sales manager

Josh Kerman jkerman@hazanmediagroup.com

creative director

Janice Pupelis jpupelis@hazanmediagroup.com

director of technologies and project management

Steve Thorakos sthorakos@hazanmediagroup.com

Chairperson & COO/Co-Publisher

Robin Hazan rhazan@hazanmediagroup.com

President & CEO/Co-Publisher

Shawn Hazan shazan@hazanmediagroup.com

Jim Tremayne Editor, DJ LIFE

visit

516.767.2505

Editorial and Sales Office: DJ Life, Oyster Bay, NY 11771. (516) 767-2505 • (Sales/all other business): (516) 767-2505 • djlife@hazanmediagroup.com.

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DJX ’23: SALES & PRICING SESSIONS FOR MOBILES

Atlantic City, N.J. – At DJX ’23 – set for August 7-10 at the Hard Rock Hotel & Casino in Atlantic City, N.J. – its seminar schedule will offer educational sessions for mobile, club, and studio jocks. And, specifically for the mobiles, the slate will present tutorials dedicated to pricing and better selling your services. They include:

The Psychology of Sales: Go For the No! As DJ/salespeople, we’ve all been programmed to push for “the yes,” to persuade and overcome objections. People are numb to it. But when you “go for the no,” you actually free people up to say yes on their own. And that leads to long-term success in both your sales and relationships. In this talk, the Charlotte-based Troy Adams of the Carolina DJ Professionals will share the techniques he’s used to generate a 75-percent average close rate across his team of 30, while experiencing little turnover in his team, and amassing over 2,000 reviews to place Carolina DJ Professionals Top 10 in the country.

The Pricing Panel: How Much Do You

Cost? Philly-based DJ Greg Curran of the DJ Entertainment School will be joined by a panel of veteran mobile jocks from a range of regions to discuss how they set prices in their markets and explain strategies for pricing in your market. Bring your questions and prepare to dig into this heavily debated topic.

The Importance of Selling Add-Ons To Your Clients.

Are you selling add-ons or including them in your DJ package? If you aren’t, why not? You’re missing out on extra revenue that could change your business or take you from a part-time DJ to a full-time jock. In this seminar, Ross Akselrad from Philly’s Pulse Entertainment will teach you how to sell add-on items –from uplighting and audio guest books to photo booths and videography – so you can dramatically increase your average booking fee and build your bottom line.

Branding & Connection: The Secret to Optimal Sales Isn’t Always About Selling. Whether you’re a DJ flying solo or running

DJX STORE

T-Shirts Slip-Mats Comic Book Booth #615

a multi-op mobile-entertainment company, if you’re going to succeed in the long-term, you gotta get the gigs – and you keep getting them. Every successful mobile jock has his or her secrets, and in this session, Chris Washburn and Tori Vee of Ithaca, N.Y., will reveal some of theirs. In this entertaining presentation, they will explain how authentic branding and genuinely connecting with people are essential for achieving optimal sales. They will share their proven processes and techniques that have allowed their company, Washburn Entertainment, to thrive in their upstate New York market. They’ll also dive into some cool socialmedia marketing strategies that will help your brand become a desired commodity that generates more value – and profits!

For the latest on DJX’23, please visit www.djxshow.com

MELL STARR: A DJ’S JOURNEY

With a musically attuned family, DJ Mell Starr was fortunate to have plenty of inspiration at a young age. Lucky for him (and us), all that musical direction paid off and he’s made a career as a big-time party jock and more.

Starting on the turntables as a third-grader, Starr moved his way up the ladder. It’s a journey that’s included plenty of high points, including playing private events for major celebrities and even an inauguration party for Pres. Barack Obama. He traveled with Jay-Z and played afterparties on 2009’s “The Blueprint 3 Tour.” Earlier that year, he did a USO tour that saw him play for the troops in Iraq and Kuwait.

In 2010, he created The Cut Café, an internet platform for DJs. The next year, he became known to TV audiences with his participation in BET’s DJ-competition/reality show “Master of the Mix.” Despite being eliminated from the competition, his memorable turn earned him an opportunity to work as a spokesman for Smirnoff, the show’s sponsor.

Since then, he’s continued to be an in-demand DJ, touring and playing private events, and a jock that teaches the next generation about the DJ game. At DJX ’23 in Atlantic City, N.J., this Aug. 7-10, he’ll participate on the “50 Years of Hip Hop” keynote Q&A. He’ll also serve as the host of “Mell Starr & Friends – 50 Years of Hip Hop” party at Club DAER featuring Grandmaster Flash, Grand Wizzard Theodore, Jazzy Jay, Melle Mel & Scorpio, DJ Skribble, Scram Jones, and The Sugarhill Gang.

We recently caught up with Mell Starr – aka Leugene Jamel Simpson, 48 – to look back at his career and look forward to the DJX party.

DJ LIFE: What made you want to pursue music?

Starr: My father was a ghostwriter and he wrote for a lot of artists – major and B-list artists – so, being in a studio was normal for me as a kid. Music was in my home, faithfully. He wanted me to sing, but I was too shy and afraid of the stage, so I learned in other ways – how to use the board, how to mix, and come up with ideas – so that I don’t have to sing [laughs].

DJ LIFE: Did you play musical instruments in your youth?

Mell Starr: Yes, congas, timbales, shakers, maracas, cowbells, crash cymbals, bongos… as a kid, I was taught how to play these instruments since the age of six.

DJ LIFE: Were there songs or artists that stopped you in your tracks? What were the ones you can remember?

Starr: There are so many, really. Peech Boys’ “Don’t Make Wait,” D Train’s “Keep On,” The Chi-Lites’ “My First Mistake,” Biz Markie’s “Nobody Beats the Biz,” Eric B & Rakim’s “Eric B Is President,” MC Shan’s “The Bridge,” De La Soul’s “Me, Myself & I,” the Jungle Brothers’

Diverse DJ: Mell Starr, a man of all genres.

“I’ll House You,” Marshall Jefferson’s “The House Music Anthem,” Adeva’s “Respect,” Roger Sanchez’s “Luv Dancin’.”

DJ LIFE: Which DJ first caught your attention and why?

Starr: Tony Humphries. It was the way he mixed two records and they sounded like one. He was, by far, a hero for me. There are many others, but Tony just stuck out to me.

DJ LIFE: So, you always had an appreciation for hip hop and house music, right?

Starr: Yes. My uncle, Butch Williams, would always say you must know how to mix club music – meaning disco and what is also known as house music – before you can start playing out in clubs.

DJ LIFE: When did you start to DJ? How did you learn?

Starr: At the age of 8! I was learning and watching my uncle on a pair of [Technics] 1200s, a Bozak mixer, asskicker bullets for highs, Furman Sound 3-way crossover, 25-channel EQ, Crown DC-300 and Crown D-75 power amps. I’d never seen a crossfader at this time.

DJ LIFE: Where did you get your first gigs? How did you pursue your career?

Starr: My first gig was a house party in Brooklyn. My uncle left me at the party by myself, scared to death, only because I remembered the songs he played. Father MC walked in with a purple and gold leather suit. He danced for a bit and definitely gave me the extra spark to continue my journey as a DJ.

DJ LIFE: I know this is a big question, but being a DJ with broad tastes, which jocks do you admire the most?

Starr: It’s so many… Tony Humphries, DJ WizKid, RIP, Mastodon, RIP, DJ Miz, Diamond J from Long Island, DJ Battle Cat, Kool DJ Red Alert, Shep Pettibone, Larry Levan, DJ Clark Kent, Timmy Regisford, Pete Rock, Kid Capri, and Jazzy Jeff. Also, Kenny Dope and Little Louie Vega – thank you for allowing me to intern.

DJ LIFE: How did the “Master of the Mix” TV show impact your career?

Starr: Awww man… “Take On Me” a cappella to “Teach Me How To Dougie” mix changed my whole life. Shouts out to Eddie B. Swift and Pep for talking me into doing the audition. Shout out to Kid Capri for giving me the opportunity to blossom.

DJ LIFE: What was it like doing tours with artists like JayZ? What did you learn from it all?

Starr: I was touring and DJing the afterparties for Jay-Z’s “Blueprint 3 Tour,” and I was able to meet so many incredible artists and see the come up on most of today’s music, and also understand and learn the business of it all. I built relationships with great people. What did I learn? I always say, if it’s authentic, you will be in the business forever.

DJ LIFE: On the studio side, which producer/remixers do you most admire and why?

Starr: DJ Premiere, DJ Clark Kent, Tony Humphries, Larry Levan, Quincy Jones, Teddy Riley, Kenny Dope, Lord Finesse, Jazzy Jeff, At Jazz, Kerri Chandler, Steve Silk Hurley, and Just Blaze. I’ve learned and listened to so many great producers to come up with a signature of my own. These artists have paved the way for me and many others.

DJ LIFE: You’ve made some USO tours along the way – what was it like for you to perform for the troops in Iraq and Kuwait?

Starr: It’s absolutely amazing giving the troops some mu-

sic and taking their minds off of war for a few days and just giving a huge reset for the troops. I saw 200,000 smiles a moment to put the weapons away and have peace and unity between everyone. It was a beautiful thing to watch.

DJ LIFE: How did you get involved with radio? Which stations/platforms have you DJed on?

Starr: Hot 97 Boston, thank you DJ Chubby Chubb. LL Cool J Rock The Bells Radio, thank you, LL. Power 88 Las Vegas, Mr. Craig Knight. Radio 103.9 NYC, 108 Soul NYC, thank you, Jamie Roberts. 107.5 WBLS NYC, thank you, Doug E Fresh. V101.9 Atlanta, Charlotte, Virginia, thank you, DJ Butta. A bunch of great people who gave me a shot on the airwaves and I absolutely appreciate you all.

DJ LIFE: In your mind, what makes a great hip-hop DJ on radio?

Starr: The key is being creative and being spontaneous, pushing the bar, great transitions, and learning how to pick areas to shine, while working.

DJ LIFE: What are you spinning these days?

Starr: Everything included ’70s, ’80s, ’90s, 2000s. Now I believe a dancefloor deserves everything, no matter what age group it is. Great energy will keep everyone dancing

DJ LIFE: In the DJ booth, what gear do you use and why?

Starr: On the set, from Pioneer DJ, I use PLX-1000 turntables, a DJM-S11 mixer, CDJ-3000 players, and rekordbox software. A big thank you to everyone at Pioneer DJ. I use Serato DJ software and, for needles, it’s either Ortofons or Shure M44s.

DJ LIFE: How would you describe your style of DJing?

Starr: I am a party DJ with battle-jock tendencies.

DJ LIFE: To you, what makes a great club DJ?

Starr: I feel you should have all the elements of being a great DJ. You should know how to play all genres. You should be able to mix, understand a crowd, find moments to shine, and be very creative. Don’t play the same sets over and over. There are signature things that we all do as DJs, but it should never come with the same set.

DJ LIFE: What are three tracks that are always in your DJ box and why?

Starr: Fatman Scoop’s “Be Faithful” and Busta Rhymes’ “Put Your Hands Where My Eyes Can See” for all the party-goers. Also, the a cappella of Frank Sinatra’s “Fly Me to the Moon” to get everyone’s attention.

DJ LIFE: You’ve always been big on paying it forward and educating young DJs – why is that important to you?

Starr: I believe at the time when I was coming up, the DJs that I was listening to were all questing and really working, so hip-hop, house music, and club music was on the rise. The way of the world today is different via internet and social-media platforms allowing people to see how these things have come about. I choose to teach it to the young. They are fierce and want to know and push the bar – I say let them shine! My goal is for the youth to practice and learn it all. Be at your best all the time. All music counts, all of it.

DJ LIFE: What can DJX fans/attendees expect at the “Mell Starr & Friends/50 Years of Hip Hop” party in Atlantic City?

Starr: Absolute hip hop. This is absolutely for the originators, the ones who have paved the way for people like myself. They deserve all the flowers.

– Jim Tremayne

HARDWELL: BACK TO WORK

To the world outside EDM, Hardwell may not be a household name. But to followers of the music, he’s a genuine superstar.

For starters, he’s been a hitmaker for well over a decade. Known to legions for hits like “Call Me A Spaceman,” “Apollo” with Amba Shepherd, and “Live The Night” with W&W and Lil Jon, the Dutch DJ/producer enjoyed all the trappings of a global DJ. But in late 2018, he announced an indefinite hiatus from touring, which lasted until 2022, when he launched a worldwide tour to coincide with new album.

Six months after returning to live shows with a memorable set at Miami’s Ultra Music Festival in March, Hardwell released his 14-song full-length, Rebels Never Die, on his very own Revealed Music label. The album featured a handful of the songs Hardwell had been spinning upon his return to the scene, including “I Feel Like Dancing,” “F*cking Society,” “Into the Unknown,” “Pacman,” and the title track.

This year, Hardwell kicked things off with another performance at Ultra Music Festival in Miami, and now is fresh off a closing set at the breathtaking Adscendo Mainstage at Tomorrowland in Belgium. Between those bookend shows, Hardwell also brought DJ sets to major fests, including Balaton Sounds, Electric Love, Ultra Europe, Airbeat One, Parookaville, Dreambeach, Mysteryland, and more.

As Hardwell entered his Rebels Never Die era, not only did his productions mature and evolve, so did his DJ sets. Responsible for bringing – what he’s heard it referred to as – “big room techno” to the masses, there’s no denying that his style has developed into what he calls a “hardedged, techier sound.”

DJ LIFE had the opportunity to touch base with Hardwell – aka 35-year-old Robbert van de Corput – on his latest new music, “Acid” with Maddix & Luciana, “Anybody Out There” with Azteck (feat. Alex Hepburn), and a new collaboration with Space 92 on Oliver Heldens’ techno imprint, HILOMATIK. In addition to his latest originals, Hardwell also provided remixes this year for Calvin Harris & Ellie Goulding’s “Miracle” and David Guetta & Benny Benassi’s “Satisfaction,” along with Maddix It went like this:

DJ LIFE : How and when did you first begin exploring dance music and DJing? Did you learn how to DJ or produce first, or did they go hand-in-hand?

Hardwell : DJing was first, but my passion for music ran deep way before I ever put on a pair of headphones. I was learning piano as young as 4-5 years old and later drums, long before I became hooked on electronicdance music.

DJ LIFE : Were you classically trained?

Hardwell : No, it was simple things to begin and later, around 6 years old, when I was a little more proficient on the keys, I started to practice classical and jazz music. I developed an ear for music early on.

DJ LIFE: You’ve managed to make a grand return that

stuck to your roots, while at the same time, completely reimaging your set style. How did you go about deciding the direction of your new sound and how would you describe it?

Hardwell : I’ve always believed an artist should not imprison themself to one particular style, but instead continue to evolve in whichever direction feels right for them at that time. For myself, I felt I wanted to go back and reconnect with the music that first sparked my love for electronic music, and I wanted to bring in a lot of these passions into my sound and sets. It’s definitely a hard-edged, techier sound, which for some is labelled as “big room techno,” and for others it’s called something else. But, for me, it’s just music I’m passionate about and reflects the Hardwell sound of now. As my new single “Anybody Out There” shows, there’s still a strong wave of other influences in my music.

DJ LIFE : When you first began playing DJ sets again, were you at all surprised by certain songs getting a bigger response than you’d imagined? If so, which?

Hardwell : Yes, but for me that’s one of the beauties of DJing. That buzz a crowd can give you to a certain track you just weren’t expecting. Seems funny now, but “Into the Unknown” was a track I just wasn’t sure how it was going to be received. It was a massive leap in sound and the first official single, so a big question mark was around that track. And I guess “Black Magic,” just because of how techy it is in sound, and then “F*cking Society” because of how long it took me to finally nail that track down in how I wanted it to sound.

Collabs/Remixes: Hardwell’s had a busy ’23.

DJ LIFE : What does your current DJ setup consist of for your sets?

Hardwell : My current set up is a Pioneer DJM-900NXS2 with four Pioneer CDJ-3000s.

DJ LIFE : How far off is your current setup from what you originally learned how to DJ on?

Hardwell : Ah, it’s a world away… like many DJs who’ve been at this a while now. My first entry to DJing was through vinyl, and later CDs, before it all went fully digital. I still have my Technics at home in my living room, and occasionally, I use them for DJing. But these days, I mostly use them for listening to favorite albums.

DJ LIFE : If there was any one song you had to play in every set for the rest of your life, what would it be? What would be the one song you’d never want to play again?

Hardwell : OK, I think I can cheat here a bit and say “Spaceman,” because I’m guessing most fans would love that idea. One I’d never want to play... hmm... this is hard because I don’t hate any music because I appreciate the effort that goes into making all music. But if I had to choose something, then I guess I’ll go with Psy’s “Gangnam Style.” Although I can see it’s a bit of fun, it was still crazy to watch how big of a global trend that record became.

DJ LIFE : You’ve produced hundreds of tracks thus far in your career. Which ones would you consider to be your best and why?

Hardwell : I think about this from time to time, and I’m really not sure, because I don’t believe I’ve created my best work so far. It’s why, even though my current sound is a lot harder and techier, I still want to explore vocal-driven anthems, because I love the timeless quality of those kind of tracks. I’m super-proud of my latest track “Anybody Out There,” which is a big collaboration release, because I think it creates its own involuntary musical imagery, which is what a memorable track needs. Of course, I have to put “Spaceman” in the list because of its impact and relationship with the fans. Not an opus track, but “Zero 76,” in many ways was a coming-of-age track for me as an artist in the realm of collaborations. When I can hear it, I can still hear the younger me producer in that track.

DJ LIFE : You’ve mentioned you have a new single called “Anybody Out There” and that it’s your latest big collaborative release. Why is this song special to you?

Hardwell : It’s a collaboration with Azteck, who I’ve known for a while because we’ve worked together on music before, and Alex Hepburn, who brings her incredible voice to the mix. Alex has this unique raspy quality to her voice which was the dream fit for the final version of this song. After the album, I wanted to re-purpose my new style into a vocal-driven anthem that blended other elements of my sound to create a sort of hybrid track. A song that has the right emotion, the right chords, and perfect balance in arrangement to fit the current sound. A lot of fans perhaps thought that because my new sound is a lot harder-edged, I’ve lost a passion for vocal-based dance music, so this project started out life as a way show them I still love the magic a big vocal track has.

DJ LIFE : For those who might not have insight on what life is like as one of the world’s most successful DJs, can you share some of the highs and some of the lows of your

profession?

Hardwell : For me, I love it. It suits me and allows me to be the person I feel I need to be, but like most things in life, there can be highs and of course, some lows. If you’re doing 200-plus flights a year as a touring artist, it can leave little energy for life as a normal person, to hang out with loved ones, be creative. etc., which eventually turns into a low. But look, the highs, performing in front of a crowd, sharing new music, connecting with the fans. It’s indescribable joy. So, from my perspective, I’m not complaining. I just realize now that it took me a while to strike the right balance, which makes me happy, between being at home or in my studio or being on the road.

DJ LIFE : You perform at top music festivals across the globe, including spring performances at Ultra Music Festival Miami. How were these shows for you and what’s it like to play these fresh sets for your fans?

Hardwell : Ultra is like a home to me. I’ve been blessed to have so many incredible experiences on that stage. So, to have the most nerve-wracking performance of my entire career with my comeback show on that stage seemed like the best idea [laughs]. What an amazing, crazy run of shows that recent North America tour was. It was a crazy, crazy ride and I really loved every minute of it. The energy was so good at every show and the crowds were also really into the music, singing along and everything. I loved it. After a long album, I was excited to be back with new music and just freeing my set up a little more to include a real mix of everything I love, had just released and had been working on.

DJ LIFE : What can you share with us about what you have lined up for the near future?

Hardwell : Right now, I’m just keeping it simple and having fun in the studio, working on tracks, and releasing fresh music. After a big project like the album, which was a solo effort, I wanted to just get in the studio with artists I admire and create cool music. I have a lot of new material still yet to come out. My next track being the “Anybody Out There” collaboration with Azteck and Alex Hepburn, which is an important song for me. On the road, I’ve a busy festival season with shows at Balaton Sounds, Electric Love, Ultra Europe, Airbeat One, Parookaville, Tomorrowland, Dreambeach, Mysteryland, plus many other festivals this summer. I can’t wait!

DJ LIFE : You’re releasing your next collab on Oliver Heldens’ techno imprint HILOMATIK. What can you share with us about the release?

Hardwell : I’ve been a fan of Space 92’s music for a while now, and the prospect of combining the elements of his trancey techno and distorted percussion with my sound made this collaboration a really exciting project.

DJ LIFE : The past five years, for you, has been a rollercoaster. Where do you see yourself in five years’ time?

Hardwell : Honestly, just being in the current place I am right now, which is a place of complete happiness and filled with appreciation for life and those around me. I have a good balance in life, and so I’m loving being back on the road, as well as spending so much creative time in the studio, whilst still being able to see friends and family, connecting with the fans again.

– Mark Mancino

LIFE AT THE

NEW CLUB KING JOHN SUMMIT KEEPS HIS HITTING STREAK ALIVE WITH “WHERE YOU ARE”

If you’re a fan of electronic music, then there’s only a slim chance you’re unfamiliar with the work of John Summit. And if somehow you really aren’t familiar, there’s a better chance you might’ve been living under a rock. Why? Because, in a very short amount of time, Summit and his ubiquitous modern-house sounds have taken over the dance-music world.

Initially, it probably seemed like a very unlikely story. Starting his professional life as an accountant, Summit (aka John Schuster, 29) broke from the 9-to-5 life – though it wasn’t exactly his choice – and rotated back into the DJing and club-music world he first experienced in college. He worked fanatically on creating and soliciting music, especially through the pandemic, and eventually found some takers, namely Defected Records, which signed “Deep End” – and it blew up.

By Mark Mancino

Following the success of that 2020 hit, Summit in late 2021 released another big track, “Human” feat. Echoes, through Parlophone Records. The song went on to garner the support of DJs across a multitude of genres due in part to its nearly unclassifiable, but genuinely accessible sound. Summit followed up with another Defected record in early ’22 with “La Danza,” a banging, Latin-leaning track. He was off and running. During this period, he became an in-demand remixer. His output includes his work on tracks for deadmau5 & Kaskade (“I Remember”), Kx5 (“Escape” feat. Hayla), and Kygo (“Freeze”).

This past March, Summit released one of the year’s biggest tunes, “Where You Are” with Hayla. To date, the song has accumulated over 70 million streams and it still remains on the U.S. Dance Radio chart, having reached No. 1, as well as earning the No. 9 position on the Billboard Dance/Electronic chart. Played in countless DJ sets and music-festival performances, the tune has seen a slew of DJs creating their own edits, in addition to the official remixes released by Zedd, Gorgon City, and GRiZ.

To indicate his new level of popularity, check out what he did in New York City’s biggest DJ venue this past June. For his string of three sold-out nights at Avant Gardner’s Brooklyn Mirage outdoor arena, he sold more than 20,000

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Visuals

THE TOP

tickets. But this wasn’t your typical Mirage showcase. Avant Gardner opened its adjoining Great Hall and Kings Hall for a full takeover and added space to accommodate the overflow crowd.

The summer and fall promise more live-show madness. Returning to NYC’s Randall’s Island this Labor Day weekend for his third Electric Zoo Festival, Summit will collab with Dom Dolla to present EVERYBODY ALWAYS, their official stage takeover. Additionally, over the course of the next few months, Summit will play U.S. gigs from Los Angeles (HARD Summer Festival) to Baltimore (Moonrise Festival) and European shows from England (Creamfields) to Spain (Hï Ibiza). He’ll even spin at sea for Groove Cruise Miami and in Asia at EDC China. Busy fellow, he is.

With all that in mind, we bring to you our chat with John Summit:

DJ LIFE: What got you interested in electronic-dance music?

John Summit: So, the first song was deadmau5 and Kaskade’s “I Remember” – that was 15 years ago. My official remix for that song actually just dropped in July, so that’s like a full circle moment for me since that’s what got me into this. One of the first shows I saw was deadmau5 at Lollapalooza in 2011, my senior year of high school, in the pouring rain – and ever since then, I just became obsessed with it.

DJ LIFE: Where did it go from there?

Summit: I went to college [at University of Illinois] and did the normal Big Ten/state-school stuff, and I’d go to music festivals on the weekends. It’s the same story that you hear from a lot of DJs who start out doing it as a hobby. You go to the festivals, you go to the afterparties. It really was just a hobby that I never ever really planned on doing full-time – I started making music for fun. Once I did that, I started getting traction on SoundCloud, and before you know it, I’m now a big touring DJ. I have to pinch myself all the time to make sure that this life is real; I feel like I’m living in a simulation [laughs].

DJ LIFE: How exactly did you get into DJing?

Summit: It was sophomore year of college, so about 10 years ago now. I was a bartender at this bar, and I got fired, but I still wanted to work there. They said, “We need a DJ.” So, I said, “Well, good, because I can DJ.” I was not good [laughs]. But then I started doing a lot of the bars around campus playing open-format. I was playing five or six hours per night. Because I was really into house music, they would let me play things like that. Back then, 10 years ago, anything that was techno or tech-house, they would call “deep house.” I’m talking everything from Oliver Heldens to Dirtybird to Jamie Jones –because I liked it all. From there, I started producing because I moved to Chicago right after college and got into the underground scene there.

DJ LIFE: What equipment did you learn to DJ on?

Summit: Serato and a Pioneer DJ DDJ-SB2 controller. You just plug it right in, and it wasn’t too expensive, like $200, which was all I had to my name. I think I made $100 a night, but I wasn’t even really making any money because of the amount of songs I had to buy, and subscriptions to DJ pools I was paying for every month. I don’t use them anymore, but I know they used to have all these different edits of radio hits that I needed when I was playing at the college bars. I’m a big believer in the fact that you don’t really need to buy CDJs to learn. When I was first learning how to DJ, I used to go to Guitar Center and play with their gear for as long as I could before they’d kick me out [laughs].

DJ LIFE: What’s your current DJ set-up?

Summit: Same set-up at home that I use in shows – Pioneer DJ CDJ-3000s and DJM-V10 mixer. I am completely sold on the V10. When I do the long blends of house and techno, having the 4-channel EQ is huge for me. I like being able to do the low mids and low lows, and be able to EQ out the vocals. I like to think my mixes are very precise [laughs].

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DJ LIFE: Anything else?

Summit: Besides that, I don’t really use the [Pioneer DJ] RMX-1000 much, even though it is on my rider. It’s kind of a pet peeve of mine when there’s too many effects added to songs because I think you should let the songs just talk. That’s for more of when you’re playing with the DJ tools or going minimal and underground. When I’m playing in Ibiza or something, I like to use the RMX to add snare rolls, echoes, and a lot more effects. When I play “Where You Are,” it doesn’t really need an extra three snare rolls to it, you know? [laughs]

DJ LIFE: How about your music-production set-up?

Summit: I am all in the box; I’m all laptop and headphones. Because I’m on the road 90-percent of the year, if I was just able to use a studio, I would never make music [laughs]. So, I have all my software [on my laptop]. I use Ableton Live for production and I have all the soft synths in there – [u-he] Diva is where I make all of my synth sounds.

DJ LIFE: You were an accountant before your DJ career really took off. When did you know you might get big and never have to look back on accounting again?

Summit: I knew it was time [to quit the day job] when I got fired [laughs]. It was one of those things where you become an accountant, you get an accounting job – unless for some reason you love it – because it’s safe… health insurance, all that. But I still get to pursue my hobby on the side. Six months prior to getting let go, I signed records with Dirtybird and then Repopulate Mars, which were two of my target labels at the time. Because of that, it allowed me to start touring, even once a month during the weekends. When I say touring, then it was doing opening slots for bigger acts in different cities outside of Chicago.

DJ LIFE: Your musical options began to open…

Summit: Yeah, and by then, I started becoming a really bad employee because I was really focusing on that, marketing my music. I would stay up superlate nights and then show up to work really late. In a way, I was almost kind of asking to get fired because I didn’t have the balls to just do it myself. Once that happened, I knew. I had saved up enough money. I’m a big believer that – and I tell people who want to quit their day jobs – you have to have at least $5k that you’re sitting on, at least

DJ LIFE: Sage advice…

Summit: If you’re not making money full-time while DJing, then how can you quit your job? So many people will tell me now, “John, you’ve inspired me so much – I quit my job to become a DJ.” I’ll ask them, “Do you know how to DJ?” and I’ll get a response back like, “Well, I’m just learning how to DJ now.” In cases like that, I think you might have quit your job a little too soon! That’s unless you have a job that has no work/life balance… My first accounting job was with [Ernst & Young], and that was like 80-something hour weeks, so that was just not doable, you know? And then the pandemic hit – and thank God for unemployment [laughs].

DJ LIFE: With no real shows, how did you spend your pandemic time?

Summit: I was working my ass off! I probably made over a hundred songs minimum in 2020 alone. The pandemic was when I really sharpened and honed my production skills. If you listen to my songs before then, they’re very much just tech-

house – there isn’t much music theory involved. In 2020, I spent half my days learning music theory every single day, and also doing production. Now when you listen to my songs like “Where You Are” and how complicated the synths are compared to my earlier work, I think my productions have really grown. I’m curious where they’ll be even in a couple of years from now.

DJ LIFE: How did you transition into bigger shows?

Summit: I’ve only been playing festivals [and big events] for about two years now. I used to go to Electric Forest and Dirtybird Campout, stuff like that… because even when I wasn’t getting booked to play at festivals, I would still show up and [be able to] play sets there. So that’s kind of how I got my start in building my following. I was playing shitty gigs in the early days and learning how to build my chops. Learning how to DJ in a place like Chicago also helped me really hone my proper house and techno DJ sets.

DJ LIFE: So, the post-pandemic shows have been a lot better, right?

Summit: The shows this year and last year have just been so insane. I still get incredibly nervous before every show. People think that I’m always pre-gaming and having fun before my shows, but I’m actually just a nervous wreck in the green room. I’m almost like “don’ttalk-to-me-right-now” kind of vibes. But then that changes as soon as I get onto the stage. That’s why, when you see me, I rip a few shots as soon as I get onto the stage because of my nerves, and then I’m in the pocket after that [laughs].

DJ LIFE: How did you create “Where You Are” with Hayla? It’s really become one of the year’s top songs.

Summit: We actually did everything through Zoom. Believe it or not, that’s still my preferred way of working on music. I don’t prefer to do studio sessions because I just think of the ways in which I got my start. Especially during the pandemic, I was able to make so much new music. I was doing all of the Zoom tutorials, took Ableton classes three days a week for a year and a half. That’s the way my workflow goes – work on songs and be able to shoot things back and forth really quickly on Ableton. Hayla lives in London, so there was a ton of back and forth with her.

DJ LIFE: How did you approach the track with her?

Summit: We wanted to do a track

Tyler Rittenhouse

AND IN THE LOOP.

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THERE’S MORE DJ GEAR HERE

that was very feelsy and melodic and then also very high energy. One of my favorite loves of the past is early trance, back when Tiësto went by DJ Tiësto. One of my references for “Where You Were,” if you can kind of notice, is Delerium & Sarah McLachlan “Silence.” When he has that huge synth break; that’s kind of what I was going for on “Where You Are.” I’m a big believer in that music is just innovation on prior stuff… not to the extent as to where I think you should ever copy older tracks or trends, which is also why I think tech-house got kinda stale, because everyone sort of started copying each other. But if you take a song along past influences, then innovate it and make it more modern, that’s how you make progress.

DJ LIFE: Were you surprised at its level of support from other DJs?

Summit: I saw Martin Garrix play it. And I mean, “Animals” was one of the first EDM tunes I ever really heard in that big-room style and when I first started going to festivals, it was one of the songs I just heard everywhere. So, when I saw Garrix just played the Brooklyn Mirage, he played the full-on original, and it went crazy. It just felt like such a blast from the past, seeing him ripping my record. That had to be the biggest surprise for me.

DJ LIFE: Have you thought about how you’re going to follow that up?

Summit: I’m a big believer that you can’t recreate magic. After this, as a follow-up to “Where You Are,” I don’t want to recreate that. I think that whenever artists have a big record and they try to re-create it, it just never hits the same. It’s like when you see a movie sequel, it’s just never as good as the original. Right now, I’m in this phase of testing a bunch of stuff. I’m testing out some new records and I’ve got some stuff that I really like.

DJ LIFE: Let’s touch on “Deep End” a bit, which is really what put you on the map. How did that come about?

Summit: “Deep End” was the catalyst of everything. People always say to me, “You have all of these amazing vocalists that you work with now… but I’m a small producer – how do I do that?” I’ll be honest, [when you’re at that level], unless you know somebody in your local scene or you know somebody who sings, there are other ways you can go about it. You can even post on Facebook about it because there are so many talented vocalists out there who are just as hungry as producers are and they would love to work with other people. But the flipside is that “Deep End” was a Splice sample. That vocal was completely royalty free. I did actually ask the singer who did the Splice sample if she wanted to be featured on the record because it ended up becoming a huge record. Because she’s not in the house music or dance lane, she didn’t want to and actually ended up using the sample and cutting an R&B-style song with it. It just shows you that there are no rules when it comes to music production.

DJ LIFE: That one certainly worked out.

Summit: I never thought that I was going to become this big. The story behind the song was that I was sending Defected Records demos every single day. I would make a new record every single day, all throughout the pandemic. It was the middle of May, so maybe about the 50th demo that I had sent them – and keep in mind they only responded to every 10 or so of them. I finished “Deep End” in about 24 hours, sent it over to them at 3 a.m., and I woke up to a message from the Defected A&R, basically like, “Zoom call now.” I took the Zoom, and there were like 10 people on the call, and they wanted to sign it. They said, “This song is going to be a hit – we can already tell.” From there, the rest is pretty much history. It’s been a straight up bender ever since [laughs].

DJ LIFE: Do you have any tips for aspiring DJs?

Summit: Don’t care too much about what others think… care about what others think, but also don’t give a fuck. I think that’s why I’ve grown such a big fanbase, too – it’s because I’ve never tried to be too cool on social media, and I’ve always just been 100-percent myself. I always feel that if you’re going to do something, you’ve gotta completely put yourself out there without fear of judgement.

DJ LIFE: Seems like it works for you.

Summit: It’s the same thing when it comes to making music. If you found a cool sample, use it – who cares? There aren’t any real “rules” when it comes to making music – if it sounds good it sounds good. Another huge thing: The only reason I’ve come as far as I have is because I’ve collaborated with so many people when I first started. Because no one knows shit – I know a ton now about music production, but there’s still so much for me to learn. Whenever I

work with somebody new I always learn something new. So, don’t do everything yourself. When you look at some of the great projects, there’s always a team of people behind those things. So that’s definitely a big tip: Collaborating with others is huge.

DJ LIFE: How does your approach to remixes differ from your original productions?

Summit: I usually just take the vocal for a remix, and then I pretty much just try to make my own track. That’s really how I made all of my first records. I would just dig on YouTube or in sample packs to try to find an awesome vocal. I don’t always like writing from scratch. For instance, when a painter has something or a subject to base something off of –that’s sort of how I look at it. And then from there, I’ll see if there were maybe any cool chords within the track that I’ll use or chop them up or remake myself. But as far as remixing goes, I think that’s always the move.

DJ LIFE: Any dream collaborators or artists you’d love to work with?

Summit: Dua Lipa would be fucking amazing because all of her records are so good, and she’s just so iconic. I also think she does so well on dance records, even compared to other pop singers. I actually saw her in Ibiza. We were backstage at the same club – and, of course, I was too nervous to say hi. Next time I won’t be, though [laughs]. Another would be working with a huge Latin artist, like Rauw Alejandro or Bad Bunny. I just love Latin music and I love that scene so much. When I played in South America, it was honestly the most fun I’ve had.

DJ LIFE: You recently moved to Miami – why there?

Summit: I was spending a lot of time here. I was also doing a lot of those underground parties here in 2020 and 2021. At the time, I was starting to really grow a big following. So, I’d go to Club Space, which was one of the only clubs that was actually open here, and I’d go every single weekend. I just became friends with so many different people here and got really connected in the scene. I feel like you’re not even in America when you’re here; Miami feels like Ibiza. Half the people in Miami speak Spanish; I really feel like I’m not in America half the time, which I love because I love to food, culture, and the music scene a ton. And… after that last Chicago winter I knew I needed to get the fuck out of there [laughs].

Photos by ALIVE Coverage

By Jim Tremayne

Rothbury, Mich. – Nearly 50,00 fans ventured into the Michigan woods for Electric Forest this past June 22-25 for the 11th annual festival that brought out some of EDM’s biggest and most-legendary names. Produced at the Double JJ Resort by Madison House Presents and Insomniac Events, Electric Forest presented Above & Beyond, Rezz, Jellybean Benitez, SOFI TUKKER, Illenium, Zeds Dead, Chris Lake, Lane 8, Gryffin, and many more. It all looked like this:

Bassrush: Black Carl! drops some bombs.

Michigan’s 4-Day Fest Goes Deep into the Woods

Majestic

Celebrate: Forest fans get loose.

Trippy,

Dude: Forest art piece mesmerizes.

Mix: Apashe at Sherwood Court.

Tripolee: Gorgon City gets groovin’.

Laser Show: A scene at The Observatory.

Wild: A panoramic view of the Forest.

FlyKicks: Chris Lorenzo at Tripolee.

A Hoot: Forest fans whoop it up. Lit Up: Another big moment in the Forest.

Day Party: Levity at Honeycomb stage.

Tripolee

Scene: Aluna on the mic.

The Woods: Fans frolic between stages. Onstage: SOFI TUKKER at Ranch Arena.

Aglow: REZZ closes Sherwood Court.

Until Next Year: Fans bid adieu.

BATTLE OF THE DJ s

DJ Baby J’s Picture Book Takes a Nostalgic Look Back at NYC’s Old-School

DJ Scene

By Jim Tremayne

Like a lot of jocks, Victor “Baby J” Rodriguez got bitten by the DJ bug as an early teen. Properly inspired by a much older jock spinning a New York City college party in 1973, the Queens-based DJ Baby J pursued an eventful career doing mobile and club work – DJing and promoting – that brought plenty of genuine highlights.

Unlike a lot of DJs, however, he kept everything… every promo poster, every contract, every business card, every Polaroid picture, every newspaper clipping, every single memento. And lucky for us, he’s collected it all in his eyeopening picture book, From My Bedroom To Broadway: Battle of The DJs, 1973-1984.

In this self-published effort, he reveals his personal journey, while also showing (via his impressive collection) New York City’s nascent street-DJ scene of the ’70s and, later, the club and hip-hop cultures it spawned in the ’80s.

If you have any appreciation for the history of the DJ, you won’t be disappointed. This book delivers a trip back in time when party jocks’ primitive set-ups might have included

belt-drive turntables placed on their very own shipping boxes, wildly mismatched loudspeakers, boat-anchor amplifiers, and lots and lots of wires.

Of course, the book’s visual trip through that era also offers plenty of polyester disco shirts, blocky platform shoes, floppy tennis hats, colorful dashikis, and personalized, ironon t-shirts, not to mention some serious Afros and braids.

But what’s most fun is spying all the homemade posters and crackly pictures of the DJ crews big and small, as they announced their battles in rec centers, parks, roller rinks, and other impromptu venues. As DJ Baby J added partypromotion to his range of talents, the opportunities got even juicier, so the book includes pictures and flyers from some of the day’s notables and soon-to-be stars – people with whom DJ Baby J crossed paths, promoted events, or shared a stage.

They include New York DJ legends like Eddie Cheeba, DJ Hollywood, Pete DJ Jones, Grandmaster Flowers, DJ Starski, Grandmaster Flash, the Disco Twins, Mr. Magic, Jam Master

DJ Baby J: Woodside Projects, 1974.

Afro Beats: DJ Baby J in the mix.

Jay, Marley Marl, and Dr. Bob Lee. Plus, he promoted early shows from New Edition, Kurtis Blow, Cold Crush Brothers, Afrika Bambaataa & Soulsonic Force, Man Parrish, Whodini, Force MDs, and Shannon. All those related career keepsakes – even receipts for two New Edition shows from Norby Walters Associates – fill this 247-page book.

We caught up with DJ Baby J, 62, at one of his book’s recent press events at a restaurant/bar in Astoria, Queens, where he spun music, held court, played a slide-show, and introduced several of the people featured in the book. Check it out – it’s a real kick.

DJ LIFE: Explain the Battle of the DJs book – the concept inside the book and the book itself.

Baby J: From My Bedroom To Broadway: Battle of The DJs represents my origin story in pictures. The book features hundreds of rare photographs, flyers, and other material. It traces my journey as a mobile DJ and party promoter in New York City from 1973 to 1984.

DJ LIFE: You highlight so many parts of the DJ culture – parties in parks, rec centers, rented halls, clubs, skating centers, etc. DJing in the ‘70s especially was a very do-it-yourself endeavor. You really had to want to make it all happen, right? What gave you the bug to get out there and DJ, then eventually throw parties?

Baby J: I caught the bug in Novem-

ber 1973 when I observed Jose “DJ Mr. J” Torres from The Bronx spinning at Marymount College. He inspired me to become a DJ and party promoter at the age of 13, and now in 2023 I am celebrating 50 years as a professional DJ and party promoter. When I started in 1973 at the age of 13, everything was new to me. I loved all types of music, and I fit in everywhere we went to play.

DJ LIFE: What were your jams when you started? What sounds and artists lit up your dancefloors in, say, 1974?

Baby J: My jams included many different genres – soul, funk, Latin, salsa, disco and lots of slow jams. We were playing James Brown, Barry White, the Isley Brothers, and Fania All Stars.

DJ LIFE: Where did you DJ and when?

Baby J: The book includes dozens of locations throughout Queens, Manhattan, Brooklyn, The Bronx and Tarrytown that I played from 1973

to 1984… community centers, parks, dead-end streets, schools, bars, and clubs.

DJ LIFE: Looking at the book, it sure seems like you kept everything… the homemade handbills, the gig posters with transit instructions, the DJ-business cards, the Polaroid pictures…

Baby J: These artifacts have a lot of sentimental value. I’m very proud that, at a very young age, I had the foresight to recognize the importance of preserving all of this important musical history.

DJ LIFE: In the book, there are a lot of DJs whose names still resonate with people in the New York DJ community – the Disco Twins, Pete DJ Jones, Flowers, DJ Hollywood, Mr. Magic. In your mind, who were the best or most influential DJs of the era and why?

Baby J: The most influential DJ of the era was Grandmaster Flowers. He was a highly skilled mixer. He had multiple sound systems, and I saw him rock many venues throughout New York City, including the Hotel Diplomat and Manhattan Center. I studied him and shared the stage with him at Turn Hall in Queens. He was Brooklyn’s finest. DJ Hollywood made a strong impression on me, too. He stepped it up with his showmanship – rhyming and cutting the hottest jams that kept the crowd rocking with him.

DJ LIFE: At a certain point, I see you started booking more hip-hop performers – Kurtis Blow, Starski, Grandmaster Flash at the Super Sperm Jam. Its poster

Memory Collector: DJ Baby J today.

Street Marketing: Homemade party flyers.

reads: “All DJs guaranteed to appear and play.” When did hip hop start to take over the DJ scene?

Baby J: It would be impossible for me to pinpoint an exact date. I was writing graffiti from 1972 to 1974. That was an element of hip-hop. I rocked Woodside Projects Community Center from 1973 to 1977, and we had breakers called The Booty Masters. That was an element of hip-hop. I had numerous MCs as a part of my set throughout the ’70s – that was an element of hip-hop. As I recall, the elements of hip-hop were always a part of my lifestyle growing up as a teenager in New York City.

DJ LIFE: What was your first DJ set-up? Can you remember the brands and model numbers?

Baby J: My first DJ set-up was the Meteor Clubman mixer, two Pioneer PL112D turntables, one Dynaco pre-amp, one Dynaco 400 amplifier, and two Cerwin-Vega midrange speakers.

DJ LIFE: From the other crews that you saw back in the day, can you give us a couple of examples of the DJ gear and sound systems they put out there?

Baby J: The other DJs put out Technics 1200 and 1100A, Thorens, Pioneer, and Garrard turntables; JVC, GLI, Cerwin-Vega, Sony, Altec Lasing, JBL, and Yamaha speakers; MPS, Dynaco, Crown, Phase Liner, BGW, and McIntosh amplifiers; Club One, Sony, GLI, Bozak, and Realistic by Radio Shack mixers.

DJ LIFE: What was it like shopping for DJ gear and sound gear back then? Some of it was done in Canal Streettype hi-fi stores, right?

Baby J: In the early days, when I first started DJing, my set-up was unsophisticated. When I was able to afford it, I bought my first professional DJ gear and sound gear at an electronics shop on the corner of Steinway and Broadway in Astoria, Queens. Some of the popular stores to shop for DJ gear and sound gear at the time were Crazy Eddie, Sam Ash, and AST.

DJ LIFE: And, in the beginning, you were rocking belt-drive turntables, right?

Baby J: In the early years, right, I couldn’t afford direct-drive turntables. I was only able to afford belt-drive turntables, but I didn’t know the difference. I had to spend thousands of hours practicing on belt-drive turntables, but I got it right and they worked very well for me.

DJ LIFE: Playing mobiles back in the day was really “playing mobiles.” I

heard you tell some crazy stories about getting your gear to gigs…

Baby J: Yeah, in the 1970s, we would do whatever it took to get our gear to the gig. If transportation wasn’t available, I would load my setup onto a shopping cart and push it along 31st Avenue – from Woodside Projects to St. Gabriel’s or 127 Park in East Elmhurst or wherever I was playing.

DJ LIFE: When you were throwing parties, what was your process? How did you go about it?

Baby J: I can’t reveal the recipe to my secret sauce, but as resident DJ and party promoter at USA Roller Rink in Jackson Heights, Queens, my formula was so successful that I was asked to become the resident DJ and party promoter at the legendary Roseland Ballroom in midtown Manhattan – and we had a very successful run. There were so many great parties – hundreds, if not thousands!

DJ LIFE: Any less-than-memorable events?

Baby J: I’ve been fortunate that none of my events from 1973 to 1984 were a disaster. There were incidents that occurred during my time at Roseland, but that will be covered in my next book. It will focus on my time as resident DJ and party promoter at the legendary Roseland Ballroom in midtown Manhattan from 1984-1990.

DJ LIFE: Where did you buy your records?

Baby J: I got my records from Steinway Records, Saratoga Records, Downtown Records, Record Mart, Rock and Soul, and Vinyl Mania, among other spots in New York City.

DJ LIFE: Did you pick up any free gear during the NYC blackout in the s ummer of 1977? Lotsa legendary stories about that…

Baby J: No, I stayed at home in Woodside Projects.

DJ LIFE: Was there any beef between the different NYC boroughs and their DJs, like it was for the MCs later?

Baby J: I can only speak about my own experience. I never had any beef. I was based in Woodside Projects, Queens, and I was able to travel to all five boroughs with my crew to play. In the early days, DJ battles were all about the party. We did it for the love of the music. It was never any beef. I was embraced by other projects and I was embraced in other neighborhoods. I battled Cousin Bruce & The Sound Masters in Queensbridge

Projects. I battled Frankie D from Marcy Projects at the Eclipse Roller Disco on Atlantic Avenue deep in Brooklyn. I battled DJ Donald D and his crew uptown Harlem at the Renaissance Ballroom. You can see the flyers and my trophies from these battles in the book.

DJ LIFE: Are you surprised that hip hop grew to get as big as it got?

Baby J: No, I’m not surprised that hip hop grew to get as big as it got. I always knew it would eventually explode, all the way back when I was hanging out with Mr. Magic – aka John Rivas – at WHBI. Magic was the inventor of hip-hop radio. He created the very first hip-hop radio show in 1979 on WHBI in New York. You can see several photographs of Magic in the book, including a shot of us at the original WHBI studios on 80th Street and West End Avenue.

DJ LIFE: A re you still DJing? Tell me about what you’re up to now.

Baby J: I’m based in the Lehigh Valley, Pa., and I’m still in New York on a regular basis. I still play parties that run the gamut – clubs, private parties, roller-skating rinks, bowling alleys, etc. For the mobiles, I don’t promote heavily on social media. I’ve worked in radio and television in Pennsylvania for the past 33 years, so I have a wellestablished clientele. The name of my company is Baby J Productions, Inc.

DJ LIFE: What kind of gear are you using these days?

Baby J: I’m using Crown and Peavey amps, Cerwin-Vega, JBL and Peavey speakers, Numark and Rane mixers.

DJ LIFE: You told me about the book when we met at DJX last year and it’s great to see that it’s finally available. What do you learn at the show each year? What keeps bringing you back?

Baby J: Each year at DJ Expo, there’s always something new that I enjoy learning about. I’ve seen a lot of changes throughout the years, and I’m always fascinated watching the new generation of DJs do their thing. That’s what brings me back year after year. I’ve been attending for over 30 years and I plan to keep coming back.

If you’re interested in “From My Bedroom To Broadway: Battle of The DJs, 1973-1984” – and we recommend it highly – it is a limited edition, but still available at presstime. For domestic orders, send $60 (which includes shipping and handling) via Zelle or Venmo to babyj125@me.com

The Rabbi T h ole Ci RC us

Markus Schulz’s Wild Concept Show Hits Miami’s E11EVEN Club

Photos by Adi Adinayev

By Jim Tremayne

Miami, Fla. – The Rabbit Hole Circus blew into town this past July 2, as the Markus Schulz-led troupe of dancers, aerialists, acrobats, actors, and singers took the open-toclose, concept show to downtown Miami’s E11EVEN club. Supporting the DJ/producer’s Rabbit Hole Circus album, the immersive, circus-themed show included vocal performances from Emma Hewitt, Adina Butar, Haliene, Sarah de Warren, and Pretty Poison’s Jade Starling, plus an opening set by Tim Clark. It all looked like this:

Away We Go: Markus Schulz gets started.

It’s Showtime: Performers get into character.

On Mic: Emma Hewitt with “Till We Fade.”

E11EVEN Scene: Acrobat wows the crowd.

Catch Me: Pretty Poison’s Jade Starling.

Transcendent: Markus Schulz hits his groove.

Dynamic Duo: Aerialists fly thru the sky.

Glittery: Adina Butar sings “Waves of High.”

Oasis: Vegas DJ Tim Clark in the mix.

Madcap Show: Acrobats get busy.

Look Out Below: Aerial bender at E11EVEN.

WHERE DO I GET MY MUSIC?

The Modern DJ Has More Options Than Ever –Here’s A Rundown from “The DJ Coach”

By DJ HAPA

As a DJ, there is a constant quest to discover and acquire music and this has remained relatively the same since the 1970s. However, as we know, the media platforms have changed, as we’ve gone from cassette tapes and vinyl records to CDs, MP3s, and other digital files to now streaming services. At the time of writing this article, we, as DJs, are probably some of the only people in the world who are still downloading actual MP3 and WAV files – and I can’t help but feel a bit like a dinosaur waiting for the meteor to crash into the Earth. Whether you are a brand-new DJ, or a veteran, I wanted to share some different ways that you can add more to your library:

Streaming Services (Beatport, Beatsource, TIDAL, Soundcloud Go+)

I’m an avid Spotify user and that’s my go-to when listening to music at my desk, in the car, on a run, and everything in between, outside of DJing. Several years ago, algoriddim djay had a Spotify integration that allowed us to spin with music from Spotify playlists, but unfortunately, that came to a halt. In my opinion, the next best thing is TIDAL. While I am a fan of Beatport and Beatsource’s offline locker feature, which allows you to be able to play select songs, even when there’s no wi-fi, I still find that TIDAL has the closest selection to my beloved Spotify. ]

My workflow when preparing for a gig is to start to make a playlist inside of Spotify. I check for user-generated playlists that may match what I am looking for and whittle down to tracks that make the cut. I also will use the “Go to Radio” feature when I find a song that I like to see what the algorithm identifies as being similar. Once I have my playlist, I use a third-party program, Soundiiz.com to transfer and sync that Spotify playlist to a TIDAL playlist. Now I essentially have a Spotify playlist inside of my Serato or rekordbox software!

Subscription Service DJ Record Pools (DJCity, BPM Supreme, DMS, Headliner Music Club, ClubKillers, Pitch the Tempo, ZIPDJ, MyMP3Pool, Promo Only, and more)

A majority of the music that I have in my library has come from one of these record pools. The concept of a record pool dates back to the vinyl era when radio DJs and select club DJs would be invited to be members of an exclusive group of jocks that were serviced promo records from major and independent labels looking to get their newest releases spins on air or in heralded clubs. Back then, most labels were only servicing a select number of promos (usually in quantities of 30 since that was the most common quantity of vinyl records in a box) and, in exchange for the free promos, DJs would provide feedback on the tracks and would also pay a nominal monthly fee to help with the administration costs of the pool.

Today, the digital pools don’t have the same limitation of only being able to service 30 DJs, and instead have hundreds or even thousands of members. Many pools still require DJs to apply for membership, pay monthly dues and provide feedback on tracks that they pass on to their contacts from promotional departments at a variety of record labels. The pools also offer curation from their members, extended intros and outros, alternative “unofficial” edits, remixes, and mashups that are great for DJs, produced by fellow DJs. Once you download the MP3s, you own them, even if you no longer are a member of the pool, and you could also create your own re-edits of these tracks as well. In line with the service that record pools provide, most of them offer more of the newer, club-friendly, mainstream tracks with a fraction of the amount of songs you would find on Spotify or any of the other streaming services.

In my opinion, every working DJ should have at least one record-pool subscription with the current state of DJing.

Purchasing Individual Tracks (iTunes, Amazon MP3 Store, Beatport, Traxsource, Bandcamp).

About 10-percent of my library is made up of music that I have purchased-per-track from a variety of sources. There are definitely times where I am preparing for a gig and need to have songs that I cannot find on any of the DJ pools, and I can’t risk an unreliable wi-fi connection. In these instances, I opt for purchasing the actual MP3s. I also like to support artists that I like and will purchase albums or singles from Bandcamp or other stores.

Another option that I would highly recommend and encourage any of the DJs or readers out there to revisit is popping into a local record store! I used to own a record store in Los Angeles (R.E.H.A.B. Projects) many years ago and there is just something magical about crouching down on a semi-clean floor and digging through a dollar bin of wax. You can purchase records and record them into your DJ software. You can purchase CDs and burn them into your laptop with an external CD drive (since the computers don’t come with them anymore). There’s actually a decent amount of music that never made it to the digital stores and this is a great way to discover forgotten gems.

In a world where most have access to every song ever made, curation becomes incredibly important. The music that you bring into your DJ software, and then inherently through the speakers onto dancefloors matters. I hope this helps demystify where you can get music, but also challenges all of us as DJs to “dig deeper.”

Dubbed “The DJ Coach,” HAPA has found a way to blend his 20-plus years of experience as a DJ with his passion for teaching, to deliver informative and digestible concepts in the classroom. He’s also shared stages with artists like Michael Jackson, Bruno Mars and Drake, and spun for clients that include Microsoft, ESPN, and The Grammys.

“In a world where most have access to every song ever made, curation becomes incredibly important.”

INTIMATE CLASS:

By Jim Tremayne

Brooklyn. N.Y. – In a city that never seems to slow down when it comes to club openings, Jolene Sound Room is a new venue that’s already standing out. Opening this past March, Williamsburg’s Jolene offers a cozy dance environment that includes top-notch sound and lighting, plus clued-in DJ bookings.

Situated next to the trendy Moxy Hotel, the Jolene vibe is classy, but not stuffy. For those who remember Cielo – the popular club that operated in Manhattan’s Meatpacking District from 2003 to 2018 – imagine a mini-version of that much-loved venue. It’s simply dancing, drinks and quality DJs in an intimate, colorful space.

On the night DJ LIFE stopped in, Rissa Garcia’s Dance Room Only party presented a bumping set from Garcia herself, then a rousing performance from the legendary New Jersey house DJ Tony Humphries, which included deep groovers like Kerri Chandler’s “Sunlight” and crowd-pleasers like Lizzo’s “About Damn Time” and Chaka Khan’s “I’m Every Woman.”

We caught up with Jolene Sound Room programmer Will Buck, who is also a DJ/producer and owner of NYC house label Off Track, to discuss the venue.

DJ LIFE: What’s the concept of Jolene Sound Room?

Will Buck: Jolene Sound Room is the first formal collaboration between Moxy Hotels, hospitality pioneers Bar Lab Hospitality, and Link Miami Rebels/Space Invaders — the Miami-based nightlife trio formed in 2016. The Sound Room Brooklyn combines hi-fi sound with unique cocktails and great DJs. Our beverage program is run by Christine Wiseman who was just named North America’s Best Bartender by North America’s 50 Best Bars and our sound system was designed by Phonic Technologies who were behind two of New York’s nightlife institutions, Cielo and Output. The intimate room has impeccable sound and enables us to tap into the ever-growing nightlife of Brooklyn.

DJ LIFE: One may not expect a high-concept venue like this to be inspired by Dolly Parton’s oft-covered song. What’s the connection?

Buck: The space is inspired by the fierceness and femininity of Dolly Parton.

Will Buck: Club programmer.

Side View: Jolene before opening.

The DJs who come into the sound room now often play their own take on the hit classics, which is always fun to hear.

DJ LIFE: How does this venue fit into the hotel and into the greater neighborhood?

Buck: Jolene Sound Room offers a more intimate service-focused room to experience DJs and parties in the neighborhood. It’s the final destination for hotel guests who go up to Lillistar for happy hour, eat some Tel-Avivian food at Mesiba, and then want to party till 4 a.m.

DJ LIFE: The venue makes a big point to explain that Brooklyn DJ/artists will be celebrated. Why is that important?

Buck: Our homegrown DJs and parties are what define New York’s nightlife. Our approach is to pair the best local DJs and parties with national and international house, disco, and techno acts.

DJ LIFE: What qualities are you looking for in a DJ?

Buck: We don’t have residents, but we’re lucky enough to host some of New York’s top DJs in the room. We’re looking for DJs that are dedicated to their craft and are building excitement within the neighborhood.

DJ LIFE: Tell me about your unique lighting system and how it fits into the room.

Buck: Our Madrix lighting system, operated by our talented lighting designer, Alana, is the backdrop to the music coming through the speakers. It consists of hundreds of lightbulbs laid out across three panels on the ceiling.

The night usually starts with a warm red and orange glow and then builds into intricate kaleidoscopes of colors and patterns, each designed to complement elements of the songs being played.

DJ LIFE: Tell me about the architecture of the room and how the venue was set up. What kind of vibe were you going for?

Buck: We designed Jolene Sound Room Brooklyn as an ’80s rendition of Jolene Miami. Following the importance of the sound, the build-out was carefully designed to create great acoustics, but in more of a classic club layout. Wood finishes and acoustics panels were used throughout the space, as well as Jolene’s color palette of greens and burnt oranges. We created a classic ’80s vibe with the whimsical light system, as well as the bold furniture shapes and the overall feel of the room, reminiscent of clubs and dance venues of that era.

DJ LIFE: What kind of clientele are you looking for? What are you providing for them?

Buck: We’re looking for open-minded guests that appreciate good dance music and want to see DJs in a small hi-fi room with great drinks.

DJ LIFE: What do you think keeps New Yorkers coming to a particular club?

Buck: I think that New Yorkers are very busy and have a lot of options when they go out. They want to go to a club where they don’t have to deal with any drama. They expect good service and they are very discerning.

IDEAL FIT: JOLENE & NYC HOUSE MUSIC

We caught up with NYC DJ Rissa Garcia, whose Dancing Room Only event recently filled Jolene’s dancefloor with proper house music – both with her grooves and the sounds of the legendary Tony Humphries.

DJ LIFE: Jolene reminds me of a mini version of Cielo. How would you describe the room?

Garcia: That’s exactly as I describe it to people and it’s what many have mentioned to me in messages after they’ve come for a visit. Both in terms of acoustics and aesthetics, it very much has a similar feeling to Cielo. The room is warm and welcoming with an inviting, intimate vibe. The sound is superb with excellent low end, clear mid-range, and crisp highs. It’s not too much on the ears.

DJ LIFE: As a DJ who runs her own party, Dancing Room Only, what makes Jolene a venue that works for your purposes?

Garcia: For me, the most important is a great sound system, but the wood floors, friendly staff, and location are all key factors. But also, the room itself should have a certain energy to it. Some spaces are great, but they don’t have

that certain something that just feels right. It’s not really something I can put into words – it’s just a feeling. It sounds strange, I know, but some rooms feel cold and unwelcoming, and some feel familiar, warm, and welcoming, even though you may not have been there before…. it’s comfortable.

DJ LIFE: In the tradition of New York house music – which you obviously rep hard – how do you see your house-centric party and Jolene fitting together?

Garcia: I think Jolene and our Dancing Room Only party are an ideal fit because of the DJs we prefer to showcase are the type of guys and gals who love an intimate room with a fantastic sound system and environment that lets them just focus on music and be free. When someone like Tony Humphries doesn’t want to stop playing, it’s a testament to the room and sound system… The only thing that is missing is a disco ball [laughs]. I’m just continuing the roots and spirit of the NYC nightlife legacy and hope it carries onto the next generation.

Rissa Garcia

Best of the Best: UE PREMIER IEMS

By Wesley King

I’ve been writing about DJ technology for what feels like an eternity at this point, and if you’ve seen any of my prior ramblings about hearing protection, then what I’m about to say isn’t going to come as much of a shock: If you’re a DJ, whether performing nightly or only at the occasional gig, you need get serious about protecting your hearing, and you need to get serious about it now

The magic number, according to many experts, is 85db. Prolonged exposure to sound pressures in excess of 85db can cause permanent hearing loss. Concerts and clubs and other performance venues often deliver sound in excess of 100db, and I spent my younger years not really thinking much about the ringing in my ears after a night out — or what the long-term consequences might be. And the result? While my hearing is still intact, I suffer from a level of tinnitus, as well as diminished hearing sensitivity in certain frequency ranges. That youthful sense of invincibility strikes again, long after the fact.

As DJs, the challenge is that we have a job to do, and that job involves hearing music clearly… clearly enough to be able to mix tracks, apply effects, and align beats competently. When there’s a ton of ambient sound from the house sound system or PA that’s relaying our

work to the audience, that can be a challenge. In addition, “turning it up” is just not the right answer.

The solution? In my view, it’s in-ear monitors — or IEMs. They come in various types, including “universal fit” models that are merely regular “ear buds” with better audio. But I think the real benefit of IEMs is when you go with the custom-fit types that have been used onstage by professional performing musicians for years. And it’s now been just short of a decade since I got my very first pair of customfit IEMs, from Ultimate Ears Professional, or UE Pro for short.

Founded in 1995 and owned today by Logitech, the wellknown computer-accessory company, UE Pro offers a

and are used to manufacture your order, and ensure that your set of custom IEMs fit your ears perfectly. This is essential for the sound isolation to provide its full benefit, which in UE Pro’s case is –26db of reduction in the gain of ambient noise. (It’s worth noting that UE Pro also has a 3D scanning system that can be used in lieu of audiologist molds; the company can provide more details on availability of the scanning service.)

As I’ve written in the past, DJing with IEMs can take some real getting used to, and how much of an adjustment they are depends on your style and approach. I got my start mixing at home and was used to wearing headphones over both ears for extended periods, which I continued with both club and mobile work over the years. So, for me, it feels natural to have them in, and I quickly got used to popping one out with ease when I needed to speak to a guest.

UE Premier: The Best Yet

Over the years, I’ve had the great privilege of using a few different UE Pro IEM models, and honestly, every single pair has surpassed my expectations, including the UE 6 Pro, a relatively simple 3-driver offering at an attractive price point. I’ve also tried UE Live Pro, an 8-driver model with an admittedly premium price point, but with an audio quality boost that goes with it.

line of eight different models, spanning a wide price range. Ordering a set begins with impressions — these are molds of the outer ear canal and the area around your ear opening, taken by a professional audiologist, the same process used for making custom-fit hearing aids. The finished impressions are then sent to UE Pro,

But this year, UE Pro has introduced a new model that borders on insane (in a good way) and seems to show what the company’s engineers had been up to during the pandemic lull when live music went on hiatus — and a market demand for IEMs went with it. That offering? The UE Premier.

The UE Premier truly takes custom IEMs to a completely new level, with a whopping 21-driver solution and unparalleled sound. Essentially, as the company explained, UE Pro uses multiple drivers within specific frequency ranges

UE Premier: 21 drivers, incredible sound.

to deliver truer sound by (in simple terms) distributing the load between them, vs. trying to push a single driver to its limits. There’s a super tweeter, mid driver, four mid-low drivers, a pair of sub-low drivers, and a single True Tone Plus driver to add dimension on the high end. It comes together with a 5-way passive crossover.

The duplicated drivers, you’ll note, are at the lower end, and indeed, the UE Premier has amazing low-end reproduction that leaves me speechless. I’m used to feeling the really low frequencies, and somehow, wearing the UE Premier, the sensation is the same; I’m not sure how they achieve that, but they do. In my view, that low-end definition is precisely what makes them appealing for those spinning and mixing EDM. There’s no mistaking whether your beats are perfectly aligned when mixing, or when you’re running things too hot and need to tweak your EQ – simply put, nothing gets lost in the mud.

The definition and accuracy of the UE Premier IEMs is hard to describe, but it seems to have a way of making music come alive. That’s generally a good thing, but if there’s a flip side, it’s that they also have a way of shining a great big spotlight on poorly engineered tracks that were neither mixed nor mastered especially well. With the types of music that I casually listen to, many of which are lesser-known artists on indie labels, let’s just say I’ve noticed the poor workmanship in some tracks, and leave it at that.

But apart from that, in the weeks I’ve been using the UE Premier, I have quickly become a massive fan — a massive,

spoiled fan. My set of them goes everywhere I go, tucked neatly in their personalized metal case. That said, a pair of UE Pro IEMs of one flavor or another have been a constant companion for years now, and it’s hard to imagine either DJing or doing any personal listening without them. It’s merely that the UE Premier has set an even higher level of “spoiled” for me. Whether wanting to protect my hearing during a gig while still hearing what I need to hear, or just wanting to tune out the sounds of the neighborhood kids playing in the public park outside my back door, I wouldn’t want to do without them.

It might go without saying that these driver-packed, incredible-sounding, custom-made in-ear monitors come at a premium, but I’ll say it anyway: They come at a premium. How much? Well, they’re just shy of $3,000 a pair. Are they worth it? To me, yes. But it implies that the other options in the UE Pro lineup are somehow grossly inferior, and I think that’s unfair. In fact, having DJed with the $750 UE 6 Pros, with their enhanced low-end, I can confirm they’re a nice option as well, and they provide the same –26db reduction in ambient sound, while providing impressive sound quality all on their own.

The bottom line? If IEM-based monitoring is appealing, UE Pro has options designed to fit a range of budgets. But if music is how you make your living, or you simply want to experience the best of the best, the UE Premier custom IEMs provide the dual benefits of an unmatched listening experience, along with important hearing protection.

DJ.STUDIO

Masters of the Mix

By Wesley King

Seemingly eons ago, long before I ever touched a DJ controller or looked at a serious piece of DJ software, I stumbled across something that promised that I, too, could put together seamless mixtapes of my favorite dance tracks. That software was MixMeister, and I can remember tinkering with it a bit before eventually finding my way to more traditional approaches to DJing, and developing my chops in using them.

Separation & More

The premise of MixMeister is straightforward enough: Like a purpose-build DAW, the software allows you to load tracks, dragging and dropping and arranging them on a timeline, then allows you to align beats and set up transitions between songs. The net result was very much like traditional seamless track-to-track DJ mixing, but without the actual DJing part. The solution was perfect for people like fitness instructors, and for casual users who wanted to “up” their mixtape game. But some DJs also used the software to create demos, mix shows, and even longer, pre-mixed song selections that could be put on during a “relief break,” as it were.

While the software dated back to 2000, in 2007 it was acquired by inMusic (owners of Denon DJ, Numark, Rane, and several other brands). And while the company eventually brought the software from Windows to Mac users as well, evidence suggest that the code base hasn’t been touched in a very long time. While still for sale, it’s said to have reliability issues with modern operating systems, and on the Mac, requires a five-year-old (or older) version of macOS.

Which brings us to this review of a new software application that promises to pick up where MixMeister seems to have left off. That new application? DJ.Studio. The software hails from Leeuwarden in The Netherlands, where the company’s CEO, Siebrand Dijkstra, himself wanted to create DJ mixes, but wasn’t a DJ — and then became disenchanted (but inspired) when he discovered that MixMeister had apparently been left to rot on the vine.

Sensing a market opportunity, Dijkstra brought his company to life with the vision to create something similar to MixMeister, but for the modern era, with modern code. So, how did he and his team do?

Interoperability to Spare

The short, simple answer? Pretty good, actually. DJ.Studio is indeed a modern-looking, and modern-working piece of software. It’s readily apparent that the company invested a lot of time and effort into the user-interface design, as I found it crisp, fresh, and intuitive to use. With tasteful colors, a logical layout, and clean visual design that extends to its modern

iconography peppered throughout, it makes a nice first impression. As does the initial set-up…

When you download and install the app, you’re offered the opportunity to directly use a music library of your choice, and in a nod to the market who might use DJ.Studio, the majority of the options are professional DJ software applications in their own right, or companion apps for DJ products. They include Serato, rekordbox, Traktor Pro, Engine DJ, VirtualDJ, and DJay Pro. (You can also use DJ.Studio as your library.) In my case, I chose Serato, and instantly, my Serato library was loaded, and I could immediately begin using the tracks within it to create a mix.

Even without watching the offered tutorial video, it was intuitively obvious how to construct a playlist by just dragging and dropping. Given that my library is already analyzed and marked for song keys using the Camelot method, I could easily apply my knowledge of using that method to build a playlist. But DJ.Studio has integrations for Mixed in Key as well, the popular key and energy analysis tool, and as I started to build my playlist, the built-in Mixed in Key powered analyzer scanned my tracks.

At the top of the screen sit two clear buttons: Library, and Studio. The former shows your music library in full at the top, and allows you to build a playlist by drag-and-drop at the bottom, while the latter shows what is essentially a twotrack DAW timeline view. The software automatically takes a swing at overlapping and crossfading the tracks.

While the default is a simple volume crossfade, you can tailor the mixes in various ways, changing how volume or EQ band transitions work, how long the transition (overlap) is, as well as adding filters and effects — although as I reviewed the software, not all the effects are implemented yet. (The software is brand new to market, so perhaps that’s not surprising.)

It’s worth mentioning here that you can also use the software’s “automix” functionality to analyze the tracks in your playlist and assemble them in the optimal order with optimized mixing. In my light testing of the automix feature, I have to say it appears to work well.

But even with the default simple crossfades on a manually ordered playlist, I have to say I was impressed with the results. Even if the approach was different from what I might personally take if I were mixing the same tracks in Serato, for example, in my testing anyway, I didn’t find a

DJ.Studio: For mix shows, playlists & more.

single mix that didn’t work well just as the software itself had set it up, which to be candid, rather surprised me.

With a playlist in place and the mixes configured as you want them, DJ.Studio shows its love for integration when it comes time to export your results, with options to export and upload to Mixcloud, export and upload to YouTube, export to an Ableton Live project, make a local file (MP3, WAV, video), or even export the playlist with its referenced tracks to rekordbox, Serato, and others.

Some Questionable Choices?

While installing and using DJ.Studio was simple, fast, and intuitive, I do take issue with a couple of business decisions the company made in producing the software.

First, it requires a login to run, which is fine, but the only options are to use an existing Google, Microsoft, Apple, or Facebook ID. For security and other reasons, I never couple a website or application login to a third party entity, but DJ.Studio gives you no choice. It’s one of those four, or nothing. Not a dealbreaker necessarily, but not a plus, either.

And secondly, the company has decided to lead with a

licenses (one-time purchase option), those prices ($199 and $499 for the Lite and Pro versions respectively) seem a bit out of line when viewed against a backdrop of typical pricing for professional DJ or music software. As always with price sensitivity, your mileage may, of course, vary.

Conclusions

I think DJ.Studio has done an outstanding job of creating a piece of software that fills a specific market niche, and does it with style, finesse, and utility. Software companies often refer to initial versions of a new offering using terms like “minimum viable product” — what’s the very least they can get away with in terms of features in order to bring a new software application to market? DJ.Studio clearly thought bigger than that. What they’ve shipped is a polished tool for creating pre-assembled mixes with a minimum of effort, which some additional polish (e.g., more effects) soon to come.

The company has positioned the software for both newcomers and DJs alike. For the pros, it’s a tool to create mix shows or demos with ease, or perhaps a tool to try out how

DJ Vet Keeps

PHILLY SPINNING

By Stu Kearns

Philadelphia – Greg Curran’s on a mission. As the owner of The DJ Entertainment School, DJ Greggie C teaches adults and kids how to DJ — it’s a pipeline to placements at some of Philly’s largest DJ companies.

And Curran’s as qualified a DJ as any to be a mentor. He’s the owner of Curran Entertainment, a multi-system business that offers photography, videography, duos/bands, equipment rental, slideshows, and music production – plus, he’s a wedding officiant.

We spoke to Curran, who will be presenting two seminars at DJX this August, and found out how he stays top of market in crowded Philly.

DJ LIFE: You’ve got a lot of services you’re offering. Did you start as a DJ and then expand?

Greg Curran: I started out as a DJ in the early 1990s. I got a job with a company that turned out to be the nation’s largest entertainment services provider that offered multiple services. Around 2006, I helped them add photo-booth services to the nation. Several years later, that company went through a major transition and laid off most of their management staff and executives, which gave me the opportunity to expand my own photo-booth business and provide my DJ services, as well as adding photography and videography and especially adding wedding officiants — which took off during the pandemic.

DJ LIFE: Do clients come through the door mostly for DJ services first or other services?

Curran: A big portion of my business revolves around disc-jockey, photo-booth, and wedding-officiant services, but we also do a fair amount of photography and videography.

GREG CURRAN’S GEAR

2 Peavey PVXp 12 speakers

2 Peavey DM115 subs

Peavey PV 10 BT mixer

Shure BLX1288/SM35/SM58 wireless system

Pioneer DJ DDJ-REV7 controller

Serato DJ Pro software

Pro X Cases

Chauvet GigBAR2

Chauvet 4Bar LTBT

15 Par-56 uplights

Curve DSLR MAX Design Photobooth

DJ LIFE: You’ve got a staff of DJs. How do you train them?

Curran: All of my DJ, photography, and videography staff has a minimum of at least five years’ experience or more, especially if they are doing weddings. I encourage all of my staff, including disc jockeys, to continue their education, especially by networking, joining professional organizations, taking classes in their special field, and attending trade shows, especially DJX.

DJ LIFE: How is the Philadelphia-area market? Supercompetitive?

Curran: I helped manage multiple different states when I worked as a manager years ago and I learned that the Philadelphia market was not only competitive, but very different from other areas because of the interesting demographics of the area and the types of parties that can be played. For example, you can do a country wedding and then, 20 minutes down the road, do a hip-hop wedding. Or a high-end bar mitzvah. But that can also be said for a lot of markets across the country that are similar to Philly. Because of the increasing popularity of disc jockeys that seems to increase every year, the major metropolitan cities get flooded with disc jockeys that grab a computer and a controller off Amazon and learn their trade on YouTube and that can pose a problem when trying to book events if you don’t know how to weed out certain clients that are looking to book that DJ who is probably only charging $100 a party.

DJ LIFE: How do you stand out from the competition?

Curran: Excellent service! We basically make sure that we exceed every client’s expectations and go the extra mile and make sure that they know that we are doing it for them in very subtle ways. Our reputation and word-ofmouth also helps give a boost to our business. One example would be our DJs do their best to try and entertain the crowd rather than be just music players.

DJ LIFE: Are you generating gigs mostly from referrals?

Curran: Referrals are a huge part of our business, but that also helps drive our presence on Google and other search

Multi-Service: Greg Curran spins, teaches, does A/V.

engines, which provides a lot of bookings. We also attend bridal shows during the year and have several different marketing campaigns that we implement that help drive people to our website and, in turn, they turn into bookings.

DJ LIFE: Are weddings your company’s chief money maker?

Curran: Fifty percent of what we do are weddings and the rest is broken down into corporate events, schools, bars, clubs, and other private events. We also have a big crew that works the nightclub scene as audio visual technicians in the Philadelphia area.

DJ LIFE: When a client hires you to DJ, what should they expect? What do you bring to the party?

Curran: When I personally am hired to do a party, most of my clients expect an entertainer that, if need be, will get out there and show a couple of line dances or at least be involved on the microphone when needed. I go above and beyond the call to exceed my clients’ expectations and that is where a lot of my referral business comes from. Besides being a great MC and mixer, one of my talents is being able to read the crowd’s mind, if they are not throwing me a lot of requests, and play what they want to hear and keep them dancing. When they get me, they expect an exciting, energetic DJ that is not afraid to get out on the floor and join the party if needed. I also check in with my client during the event to make sure that everything is running smoothly and if there is anything else I can do for them.

DJ LIFE: How often do you add to your audio/lighting setup?

Curran: I’m one of those DJs that likes to keep up with the times, but waits a bit, as well, just to be safe. With that being said, you’ve also heard the phrase “if it is not broke, don’t fix it.” But in this industry, you must keep up with the times to look good and make your brand look good, so you must invest in new equipment. So every few years, I like to upgrade or add something special to my rig, whether it’s the sound or lighting, like my Chauvet system I just upgraded. I am now working on bringing the DMX knowledge that I have gained from working in nightclubs in Philadelphia to my mobile set-up as well.

DJ LIFE: Tell me about the DJ Entertainment School –how did that start?

Curran: The DJ Entertainment School started in the early ’90s when I was working for a large weddingservices company called The Entertainment School. I purchased the company before the turn of the millennium and rebranded it as The DJ Entertainment School. I started teaching face-to-face classes immediately and that evolved into group classes and then online and streaming classes. I also wrote a book from the teachings of the class called The DJ Entertainment School: How to Do Weddings & Parties, and it is sold on Amazon.

DJ LIFE: What courses do you teach? What can a student expect to learn from the school?

Curran: We have wedding, beat-matching, scratching, and production classes, to name a few. Most DJs that come to the school, whether they’re old or young, want to learn how to set up the equipment they just bought and use it or they want to learn how to beat-match and

scratch on the equipment that they have. Then, there are others that want to take classes on how to do weddings and basic parties or simply take their DJ game to the next level. Our philosophy at the DJ entertainment school is teaching our clients exactly what they want and giving them exercises to help them practice and achieve their goals.

DJ LIFE: You also get work outside the mobile-DJ arena, too, right?

Curran: Yes, and being a DJ and a music technician has helped further my career, especially in the audio-visual and lighting industries. I’m getting a lot of corporate audio-visual work at different companies on the East Coast. I also work at a club called Roar in Philadelphia – it’s currently one of the hottest nightclubs in the area. It actually encompasses three clubs in one – it has an indoor nightclub, an outdoor club/Tiki Bar, and a cigar bar/restaurant. I’m in charge of the lighting and visuals and audio throughout the club and I have a team of mostly DJs that help me run this club during the week, especially when I have mobile jobs.

DJ LIFE: What is the most gratifying part of your job?

Curran: I’ve always said that when I get a round of applause at the end of the night… that makes everything worth it. I love putting smiles on people’s faces and helping them have a great time at the events they go to by playing the music that they love to dance to.

EMOTIONAL BRANDING: Powerful

Client-Connection Tools

By Joshua Volpe

In today’s competitive DJ marketplace, entertainment businesses strive to stand out and create lasting impressions on their customers. When it comes to planning a memorable event or celebration, hiring a good DJ can make all the difference.

While a DJ’s primary job is to provide great music, their impact goes far beyond that. There is something that many DJs often lack or forget when laying out their marketing plans for the year, which I’m going to explain a bit in depth. This is something that I have perfected over the years and have given keynote presentations on.

Let’s dive into the world of emotional branding and how it can influence someone to hire a good DJ for their special event. In this pursuit, emotional branding has emerged as a powerful tool and it has become vital for businesses to connect with their audience on an emotional level.

What is Emotional Branding?

Emotional branding is the practice of creating and nurturing emotional connections between a brand and its customers. It goes beyond promoting features and benefits; it focuses on evoking specific emotions that resonate with the target audience. By leveraging emotions, businesses aim to forge strong and enduring relationships with their customers.

Here are some examples, some important points to understand why emotional branding is so important, and why it should not be ignored when crafting marketing plans or messaging.

1. It’s A Differentiation in a Crowded Market DJs are a dime a dozen, so you

have to come up with unique and fresh ways to stand out. Because of it being a saturated marketplace, emotional branding sets you apart from competitors. When products or services ( and even prices) are similar, emotions become a key factor in decision-making. By infusing your brand with distinct emotional qualities, your business and services can create a unique identity that resonates with customers and sets you apart from the competition.

2. It Builds Customer Loyalty

Emotions play a crucial role in building customer loyalty. When your customers feel a deep emotional connection to your company or brand, they are more likely to remain loyal and become brand advocates. Emotional branding creates a sense of belonging and fosters trust, leading to long-term customer relationships that withstand competitive challenges. This means a customer will be more open to booking you in the future for other events or new events without shopping around and talking to other DJs.

3. It Enhances Brand Recall

Emotions have a profound impact on memory. By tapping into positive emotions, your DJ services and business can create memorable experiences that stick in customers’ minds. When a brand successfully triggers positive emotions, it increases the likelihood of customers remembering and recalling the brand when making future purchasing decisions or referring you to others who are looking for a specific type of DJ.

4. It Influences Consumer Behavior

People often forget that emotional branding has a direct influence on consumer behavior. Large corporate brands know this and use it to their advantage to persuade consumers to buy their products. When consumers feel emotionally connected to a brand they are more likely to make purchasing decisions based on their emotions rather than solely on rational factors. Emotions can create a sense of urgency, desire, and a personal connection, driving customers to choose one company or brand over another.

5. Different Emotions, Different Appeals

Emotional branding allows a DJ to appeal to different customer segments based on their emotional preferences. For example, some customers may be drawn to a DJ that evokes a sense of energy and excitement, while others may seek a DJ that provides comfort and reliability. By understanding their target audience and aligning emotional appeals, a DJ can attract and retain diverse customer groups.

6.

Positive Customer Experience

Emotional branding will always extend beyond advertising campaigns or traditional marketing tactics. It encompasses every touchpoint your customer has with you as a DJ or your company, including customer service, website design, and interactions with you. By consistently delivering positive emotional experiences across different or multiple touchpoints, DJs can create a holistic and memorable customer experience that drives loyalty and advocacy from their customers.

“SOME CUSTOMERS MAY BE DRAWN TO A DJ THAT EVOKES A SENSE OF ENERGY AND EXCITEMENT, WHILE OTHERS MAY SEEK A DJ THAT PROVIDES COMFORT AND RELIABILITY.”

THESE WERE THE TIMES

HYBRID TURNTABLE

AlphaTheta Corporation’s Pioneer DJ has introduced the PLXCRSS12 professional digital-analog hybrid turntable. It’s the world’s first unit to offer DVS control of digital music via DJ software as well as analog playback of vinyl records. Never worry about needle skipping when using the unit in DVS mode with Serato DJ Pro or rekordbox. The tone-arm-free playback means DJs can scratch a real analog record as vigorously as they like without fear of missing a beat. And when they want to play a record the traditional way, they can simply switch th to analog mode and use the tone arm as normal. By adjusting the dial on the included MAGVEL CLAMP, DJs can change how “heavy” o record feels. DJs can also adjust the turntable’s torque level in the utility settings, and there are three stopping speeds to choose from. Four built-in M pads allow DJs to select their preferred features.

AlphaTheta Music Americas 2050 W 190th St #109 Torrance, CA 90504 (424) 488-0480 www.pioneerdj.com

STORCH CLASSIC

KRK has released its new limited-edition signature artist release, the KRK Scott Storch CLASSIC 8ss active, 2-way, studio monitor. Designed in collaboration with the legendary producer whose work has been featured on eight GRAMMY-winning albums, these 8-inch studio monitors offer all the features that have cemented the CLASSIC 8 monitors as Storch’s speaker of choice. Limited to only 500 pairs, each CLASSIC 8ss―aka Scott Storch model―offers a distinctive gold chrome electroplated front baffle, as well as Storch’s logo and signature, making it a unique solution for any professional engineer, mixer, and/or Scott Storch fan. The monitor utilizes a 1-inch textile soft dome tweeter paired with an 8-inch Glass Aramid Woofer. The built-in power amplifiers provide a total of 100 watts of power, with a 75-watt amp driving the woofer and a 25watt amp for the tweeter.

KRK/Gibson Pro Audio

309 Plus Park Boulevard Nashville, TN 37217 (800) 444-2766

www.krkmusic.com

THE CAPTAIN

Mixed In Key, the developer of award-winning plug-ins for music producers, has released Captain Plugins Epic 7.0. With this upgrade to its renowned software suite, crafting your own melodies, chord progressions, and bass lines has never been more intuitive. This updated version unlocks new possibilities for your music, all 100-percent royalty-free! Developed in response to current user-community feedback, the Epic 7 upgrade includes the requested features from thousands of users, resulting in the company’s most powerful and userfriendly version of Captain Plugins Suite yet. The suite has been actively improved upon for 11 years and boasts five great plug-ins, seven innovative patents, and is critically acclaimed by the world’s best producers. Captain Plugins Epic 7 Upgrade is available now for purchase on the Mixed In Key website and is compatible with Ableton Live, Apple Logic Pro, FL Studio, Cubase Studio One, and Pro Tools. Mixed In Key 5660 Strand Court #A29 Naples, FL 34110

www.mixedinkey.com

UNO SYNTH

IK Multimedia has released the UNO Synth PRO X, a powerful analog synthesizer. From offering exciting new sounds to becoming the centerpiece of more complex rigs, the synth represents the sweet spot between an expandable and versatile analog sound engine, hands-on controls, and portability. The synth has a unique analog sound engine that allows to sculpt to be anything they desire. With a fresh layout, the new unit gives players immediate control over its dual-filter, 3-oscillator paraphonic design, 256 presets, 64-step sequencer and much more. To add more color to the sound, there’s a warm and organic true-analog overdrive, plus 10 studio-quality effects (including a new

DOUBLE DOSE

Audio-Technica has released the ATH-M50xIB professional monitor headphones – a limited-edition Ice Blue color version of A-T’s popular ATH-M50x model. The new model is the is the result of a global crowd-sourcing campaign, where end users voted on their favorite color of the next ATH-M50x model. Also being introduced is the wireless ATH-M50xBT2IB iteration. From the 45-mm large-aperture drivers to its soundisolating earcups and robust construction, the ATH-M50xIB provides an unmatched experience for the most critical audio applications, including recording, live sound, broadcast, DJ, and personal listening. The headphones incorporate technology drawn from Audio-Technica’s long history in the field of high-performance professional audio, providing natural, accurate sound with impactful bass and high-frequency extension. With professional-grade earpad and headband material and a collapsible design with detachable cable, the ATH-M50xIB headphones transport easily and remain comfortable throughout long monitoring sessions.

Audio-Technica 1221 Commerce Drive

Stow, Ohio 44224 ( 330) 686-2600

www.audio-technica.com

shimmer reverb and uni-vibe-like modulations) in three simultaneous slots: modulation, delay and reverb. External signals can be routed through the filters and the effects in addition to UNO’s original thru-put for daisy-chaining multiple units together without using a mixer.

IK Multimedia 590 Sawgrass Corporate Pkwy Sunrise, FL 33325 (954) 846-9101

www.ikmultimedia.com

ADJ/ELIMINATOR LIGHTING

The Focus Flex L19 by ADJ Lighting is a powerful moving-head luminaire that offers versatility and creativity to its users. It features 19 40-Watt RGBL color-mixing LEDs that can be controlled independently, allowing for a broad range of output colors. The fixture also offers Virtual CMY mode, Virtual Foreground and Background Color Wheel control, and variable color temperature. With motorized zoom and fine pan and tilt motor control, the Focus Flex L19 can create broad washes, concise beams, and impressive aerial effects. Robust and punchy, the unit is capable of creating wash, beam and pixel effects. Designed to provide both flexibility and creative potential, it is ideal for event production and rental applications as well as for permanent installation in concert halls and nightclubs.

6122 S. Eastern Avenue Los Angeles, CA 90040 (323) 316-9722 www.adj.com

WIRELESS SYSTEM

For producers of streaming content, educators as well as public speakers at live/virtual events, VocoPro has released a new wireless headset mic system, the Commander-Air Package. It’s a low-profile, versatile, digital one-way wireless communication system. Both the transmitter and receiver are rechargeable with up to four hours of usage per full charge. The system is equipped with the latest digital “Mic-on-Chip” technology to deliver crystal-clear sound in a super-compact package. And with four frequency groups available users can run up to four Commander-Air transmitters at one time. This turnkey system includes a transmitter with a headset microphone, belt clip and a receiver that is compatible with any standard 1/8-inch (3.5mm) headphones (not included). The transmitter can support unlimited receivers, (additional receivers sold separately) which makes the system perfect for education or corporate use.

VocoPro 1728 Curtiss Ct. La Verne, CA, 91750 (909) 593-8893 www.vocopro.com

SYNC IT!

MIXO is a music-library app that allows DJs to sync their tracks to their phone and other devices on Mac, Windows, Linux, iOS and Android. DJs can import their tracks from any popular performance software, including Serato, Rekordbox, Engine DJ, TRAKTOR, Virtual DJ and others. Users can then hook up your own Google Drive, Dropbox or Microsoft OneDrive and MIXO will sync the entire DJ library to the cloud. DJs will get all their tracks, cuepoints, beatgrids, waveforms, artwork, meta data and more on your phone, and other devices. DJs can edit tracks, build playlists, and add cuepoints, wherever they are, and sync everything through the cloud.

MIXO www.mixo.dj

LASERS IN A BAR

With the release of the RTI NEO 12, the very successful RTI NEO 6 got a powerful sibling. RTI NEO 6 has been the first laser beam array bar with scanners in the world, and the demand for the same durability and build quality but with higher powers came up over the years. With the RTI NEO 12 this demand is satisfied: With 12W power this laser beam array bar with scanners is nearly eight times as powerful as the NEO 6. It has a color balance of 6 x 600mW red, 6 x 600mW green and 6 x 800mW blue, so the RTI NEO 12 has extremely good visibility and is even suitable for large scale festivals and big concerts. The excellent beam specifications maintain good visibility even from longer distances. It has the same professional DMX control features as the RTI NEO 6, so seamlessly integrates with existing NEO 6 and goes very well with any lighting or multimedia setups. Laserworld/RTI Kreuzlingerstrasse 5 8574 Lengwil, Switzerland www.laserworld.com

SYNTH COLLAB

Created by Erica Synths and Richie Hawtin, Bullfrog is an educational electronic music instrument designed to captivate and inspire both youth and professionals alike. Bullfrog invites you to unlock musicality while combining the thrill of electronic music production with a comprehensive learning experience. Bullfrog is a classical subtractive synthesizer – it consists of several “modules” for sound generation (VCO, Noise Generator) and treatment (VCF, VCA/Delay), as well as “modules” that generate control and modulation signals to control them (Envelope Generators and Sample & Hold). The Bullfrog will not make the sound on its own unless it is patched – using Eurorack patch cables to interconnect the “modules” or by inserting voice cards that create internal connections between the “modules” in a specific way and add extra functionality, like sampler/looper, sequencer, groovebox, etc.

Erica Synths Slokas iela 31-2 Zemgales priekšpilsēta Rīga, LV-1048, Latvia www.aricasynths.lv

INJECTION

Audiomovers, developers of software tools that enable music professionals around the globe to stream, listen to and record highresolution multichannel audio remotely and in real time, has released its INJECT plugin. The new plugin communicates with any of a system’s audio devices and allows DAW users to easily route audio in and out of DAW channels with no need to switch DAW Playback engine. Whether it’s a synthesizer connected via USB, or an iOS device with your favorite synth app, integration of devices has never been easier. INJECT works on Mac or Windows machines, with hardware audio device support (CoreAudio and WDM). INJECT’s built-in recorder has dragand-drop functionality that allows users to quickly capture audio snippets for further manipulation or referencing in any major DAW. INJECT is also supplied with a virtual audio driver for inter-application audio routing. INJECT simplifies and streamlines the integration of external audio streaming from a synth, audio interface or even an iPad, with minimal setup.

Audiomovers 4 Pancras Sq, London N1C 4PW, U.K. www.audiomovers.com

DUSTED

After the early 2023 release of SkyDust 3D, a spatial synthesizer, Sound Particles is raising the bar once again with updates that bring a host of new features and functionality to SkyDust users. SkyDust 3D is a virtual instrument with full 3D audio support – you play a note and get instant spatial audio. By fully integrating Sound Particles 3D engine with a polyphonic synthesizer, you will be able to achieve ground-breaking results in more than 30 output formats, including stereo, 5.1, 7.1, 7.1.2 (Dolby Atmos), 9.1.6, Ambisonics (up to 6th order), Binaural (3D sound over headphones), among many others. SkyDust 3D v1.1 is now available and brings full MPE support, more unique and musical presets as well as performance enhancements designed to streamline the user experience.

Sound Particles SA R. da Carvalha 570 2400-441 Leiria, Portugal www.soundparticles.com

PARTNERSHIP

Roland, a leading manufacturer of electronic musical instruments and professional video products, and online music education tool Melodics announce a new partnership, the Beat Maker Sample Pack x Melodics Series. This series features professionally crafted sample content from global artists, in addition to companion lessons, to help further the development of finger drumming skills on the SP-404MKII Creative Sampler and Effector, a top instrument for the craft. Users can enjoy a library of pre-recorded lo-fi backbeats, chill hip-hop groovers, and off-kilter rhythms, or use the sample material to create new remixes and compositions. This sample pack is available as a project, ready to load in the SP-404MKII with samples and patterns arranged in eight banks of ready-to-play loops and oneshot samples.

5100 S. Eastern Ave. Los Angeles, CA 90040-2938 (323) 890-3700 www.roland.com

ALL-IN-ONE

Arturia has released the MiniFuse Recording Pack which allows users to record, produce, and perfect any sound with an allin-one package that ticks all the creative boxes. The MiniFuse Recording Pack combines a next-level audio and MIDI interface with the accessories and software that producers need to make their sound happen. It includes: MiniFuse 2, a 2-in/2-out audio & MIDI interface; CM1 cardioid microphone with shockmount and pop filter; EF1 closed-back monitoring headphones with adapter; 3m XLR cable; and six 6 premium music-making software titles. They include: Analog Lab Intro; Ableton Live Lite; Arturia FX (Rev PLATE-140, Pre 1973, Delay TAPE-201, Chorus JUN-6); Native Instruments GUITAR RIG 6 LE; Auto-Tune Unlimited (3 month subscription); and Splice Creator Plan (3 month subscription).

Arturia 26 Av. Jean Kuntzmann 38330 Montbonnot-Saint-Martin France www.arturia.com

HEALING AND OPPORTUNITY THROUGH MUSIC ONE PERSON AT A TIME

YOUTH MUSIC PRODUCTION AND DJ PROGRAM ON A NEW TRACK REENTRY MENTORING PROGRAM PRISON ELECTRONIC MUSIC PROGRAM

giveabeat.org giveabeat igiveabeat L

I GIVE A BEAT PATREON MEMBERSHIP

Be a champion for the transformative power of music while promoting social justicebecome a Give a Beat member today!

The I Give a Beat Patreon Membership offers an opportunity to support our mission to use the power of music as a pathway to healing and opportunity for those impacted by the criminal justice system while also receiving valuable perks.

Benefits include discounts and subscriptions to Ableton, Beatport LINK, IO Music Academy, OM Records, ROSTR, great swag and more!

giveabeat.org/PATREON

“Keep Fighting”

Callyy & Ant Schillaci feat. Michelle Weeks

Tinted

Australia’s Tinted Records keeps the good time coming on this latest release. A big, sassy vocal number featuring the unmistakable vocals of Michelle Weeks, this whopper’s supported by a funky groove, an uplifting piano, and an uplifting, affirming message.

– Curtis Zack

“Love So Good”

HP Vince & PD

Artfunk

HP Vince returns to the U.K.’s Artfunk label and is joined by PD for a slice of disco delight. Originally written by Kashif, this big groover serves up a killer bassline with disco synths and can’t fail to make you move.

– Curtis Zack

“Shackles”

Jason Herd & The Bohemian Disco Choir

Bohemian Disco Covers are often risky business. But when done right, they can fly right through a generational wormhole – Mary Mary’s 2000 hit “Shackles (Praise You)” is a golden example. But if you’re U.K. producer Jason Herd, you turn this untouchable classic into pure disco fire, hands-up, house-party style.

– Joe Berinato

“Invincible”

Michael Gray feat. Tatiana Owens

Sultra

The fine run of form continues with yet another summer, soulful-house anthem from Michael Gray. Uplifting piano, a devastating bassline and excellent vocal all meld for one of the songs of the year.

– Curtis Zack

“It’s Not Right, But It’s Okay” (Grant Nelson Remix)

Risk Assessment feat. Monica Blaire

Reel People Music

A cover of the Whitney Houston classic gets a Risk Assessment makeover with some additional remix help from the legend that is Grant Nelson. Vibes and guitar combine with the instantly recognizable vocal hook to produce an anthem that will do serious dancefloor damage.

– Curtis Zack

HP Vince

Grant Nelson

Michael Gray

Jason Herd

“Serious” (Remixes)

Donna Allen

Hi-Fashion

This 1986 smash gets a serious makeover from two of the hottest remix artists around. First up is Michael Gray, who delivers a stunning nu-disco anthem, while on the flip – yes, this one’s on vinyl – Wayne Soul Avengerz & Odyssey pump proceedings up to level 10.

Mark

Fool’s Paradise

Launching a new label from Toolroom’s Mark Knight, some serious talent combines for a splendid cover of the Prince anthem. I’m pleased to say they do it full justice and even give it a new lease of life with Knight’s superb vocal. An immense start for Fool’s Paradise

– Curtis Zack

“I’ll House You”

Lexx Sequoia

Planet Hum

A jumpin’ pumpin’ take on the Jungle Brothers’ 1988 hip-house classic, this sexier version brings a summer vibe with solid grooves, sultry vocals, and a hipshaking breakdown.

“Café

Energy 52 Superstition

On this deeper, darker, techno take on the 1993 trance classic, France’s Cosmic Boys ramp up the heat with a churning remix that should scorch some dancefloors. Hard-hitting with a whopping drop.

“Sweet Love”

Sophie Lloyd feat. Amy Douglas Classic

A seriously classy release from Sophie Lloyd who gets better and better each production. Starting slow, then morphing into a killer disco vibe, this one really burns. If you are looking for something to stand out from the crowd, then look no further.

– Jim Tremayne

“I Wanna Be Your Lover”

Knight, Sgt Slick & Beverley Knight

Mark Knight

Del Mar” (Cosmic Boys Remix)

– Jim Tremayne

Cosmic Boys

Sophie Lloyd

Lexx Sequoia

– Curtis Zack

– Curtis Zack

CLUB PLAY CHART

National Crossover Pool Chart

National Latin Dance Pool Chart

1 Nino Segarra feat Santa La Salsera Plan Divino Opus Factory

2 DJ Swagrman feat Yubeili, Oplus HYM Duncan Group Ent.

3 Melissa Bonilla Baila (Remix) Don Juan Ent.

4 Prince Royce Me Enrd Sony

5 Chayanne Bailando Bachata Sony

6 Beto Collado Punto Y Coma MP

7 Don Omar Y Checho Corleone Podemos Repetirlo Saban Music

8 Oscarito & Tono Rosario Playa Flame Ent.

9 Tainy, Daddy Yankee, Feid, Sech La Baby NEON16

10 Alexandra Queen Ya Fuiste J&N

11 Don Perignon Afinque Cadencia y Sabor DON

12 Rikarena Como Los Rayos Del Sol LOMG

13 Riverita Y Si Orquesta Noche Caliente Versos Del Amor Jibaro Prod.

14 Domenic Marte Dame De Tu Amor Direct Balance

15

Most Added Tracks

1 Bad Gyal Y Myke Towers Mi Lova Universal

2 Deorro & Gente De Zona Se Vuelve Loca Ultra

3 Tromboranga Kumbele Kutimba Tromboranga

4 Ilegales Roto Dotel Prod.

5 Shakira & Manuel Turizo Copa Vacia (Tropical Remix) Sony

Reporting Latin Pools

■ Latinos Unidos Record Pool

■ Salsamania Latin Record Pool

■ Lobo/Bass Record Pool

■ North East Record Pool

■ Mixx Hitts Record Pool

■ Ritmo Camacho Record Pool

Most Added Tracks

■ Ritmo Internacional Record pool

■ DJ Latinos Record Pool

■ MassPool

■ Record Pool Latino

■ Latin Beat Chicago Record Pool

■ All In Music Pool

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

REPORTERS

■ Gary Canavo masspooldjs

Saugus,MA

■ DJ Sticky Boots The HyperMiXx Syndicated

■ The Dance Environment What’s In-Store Music Los Angeles, CA

■ Manny Esparza Nexus Radio Chicago,IL

■ Howard HK Kessler In The Mix With HK Syndicated

■ Brian Stephens Mixxmasters Lithonia,GA

■ Randy Schlager KNHC 89.5FM Seattle, WA

■ DJ Ilan Fong Multiple Pod Casts Columbus, OH

■ Michael Cerchiai House Of Pride Radio San Francisco, CA

■ DJ Spawn Mix 93 FM Los Angeles, CA

■ Chris Egner Victors Milwaukee, WI

■ Rafy Nieves Clubs / Radio San Juan, PR

■ Mike Rizzo Clubs / Radio Tri State Areas

■ Steve Tsepelis Pacific Coast Long Beach, CA

■ Peter K. Productions Peter K Syndicated

■ Dan Mathews Rhythm 105.9FM + Syndicated

■ Alan Chasen OMAP Washington, D.C.