DJ LIFE MAG, Vol.3 No.5 ZHU

ATLANTIC CITY HIGHLIGHTS

Vol.3 No.5

PLUS: n JOHN TEJADA n HARBER n WAVES STUDIOVERSE n HERCULES DJCONTROL INPULSE T7 n MEASURING MARKETING EFFICIENCY

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NEWS

DJX’23: TOP DJ SHOW SAYS, ‘WELCOME TO THE FUTURE’

After Dark: Sugarhill Gang at DAER. Showfloor: DJ Phlipz in the mix.

DJ Legends: Red Alert & Jazzy Jay.

Ronald Mungo

By Jim Tremayne Atlantic City, N.J. – Focusing on the evolving DJ market and its devoted community, but also stretching out into new territories, DJX ’23 lit up Atlantic City and welcomed the DJ world to the future.

Held this past Aug. 7-10 at the Hard Rock Hotel & Casino on AC’s famed Boardwalk, DJX – a trade show/exhibition now in its 34th year – once again delivered its successful combo of technology exhibits, educational seminars, and sponsored After Dark parties.

Produced by DJ LIFE mag and its publisher Hazan Media Group, DJX filled the Hard Rock’s Etess Arena with its impressive rollout of brands, packed the hotel’s seminar rooms, and livened up the area’s nightlife venues with legendary talent.

The Numbers: DJX’23 saw a 14-percent increase in attendance from the previous show – also, it included attendees from 43 states and 15 countries. On the exhibitor side, the show featured 77 brands and saw a 23-percent increase in exhibition square footage from the previous year’s event. Also, of the DJX’23 exhibitors, 26-percent were new to the show.

The Show: DJX delivered an engaging schedule of exhibits, seminars, and parties. The event saw participation from exhibitor/sponsors like Pioneer DJ, DAS Audio, Chauvet DJ, RCF USA, QSC, Bose, Technics, Electro-Voice, SMPL, Mixware, Odyssey, BASSBOSS, American Music & Sound, Jetpack, AudioTechnica, Glowtronics, JMAZ Lighting, DMC USA, Carnival Cruise Lines, Yorkville Sound, Adam Hall, V-MODA, Ultimate Ears, ROCAVACA Vodka, and Thud Rumble (with the amazing DJ QBert spinning in its booth), among many others.

Education: Included in a schedule of 37 topical seminars benefiting mobile, club, streaming, studio, and beginner jocks, DJX presented special keynotes from industry notables.

On Aug. 7, Tag Team’s Cecil Glenn (aka DC the Brain Supreme) discussed his ascension through the DJ ranks and, of course, the group’s monster hit “Whoomp! There It Is.” The following day, DJ/producer/remix maestro Dave Audé revisited his legendary career and offered tips and tricks from his studio. And to a packed house, DJX celebrated “50 Years of Hip Hop” with a star-studded panel of genre OGs and pioneers, who regaled the room with precious bits of history. The panel included: Kool DJ Red Alert, Jazzy Jay, Skribble, Grand Wizzard Theodore, Whodini’s Grandmaster Dee and Mell Starr.

After Dark: On Aug. 7, DJX’s After Dark series began at HQ2 at Ocean Casino Resort with a full house enjoying an evening with Dave Audé spinning his chart-topping remixes. The next night saw DAS Audio reprise its “Twisted Tuesday” party, which featured top turntablist Skratch Bastid, among other skilled decknicians. Wednesday night at the Hard Rock’s DAER nightclub brought a double dose of DJ-led madness – with audio provided by RCF and DJ gear from Pioneer DJ. First up, the “Mobile Mash-Up Party” delivered a diverse range of entertainers, including HB Monte, who recently appeared on “America’s Got Talent.” Afterward, DJX’23 extended its “50 Years of Hip Hop” theme with a “Friends of Mell

Starr” party that included Grand Wizzard Theodore, Skribble, Buck Rogers, Jazzy Jay, and Grandmaster Dee on the decks.

And on the mics, the Sugarhill Gang and Scorpio and Melle Mel (presented by ROCAVACA Vodka) tore it up with classics like “Rapper’s Delight” and “The Message.”

What’s New: The nXt DJ Summer Camp, with instructors like Coach HAPA, gave area youngsters a bright, new start in the DJ world. On Aug. 10, DMC and Technics presented the DMC US Scratch Finals competition. Also, the DJX’23 exhibit floor offered an increased lifestyle presence with a Vinyl Lounge and a Portable Pop-Up. The Prizes: On Aug. 10, Donovan Yaukey of Phantom Shadow in Mont Alto, Pa., won the Ultimate DJ Giveaway.

The winning system included products from the following exhibitor/sponsors: RCF (AYRA Pro 6 studio monitors); JetPack (Slim backpack); Mixware (ColorKey AirPar HEX 4 light and Headliner Indio DJ booth); Pioneer DJ (a pair of PLX-CRSS12 hybrid turntables, a DJM-S7 mixer, XPRS122 speakers, and HDJ-X7 headphones); JMAZ (Aero Spot 60 light); Vibo (Touring DJ Camo backpack); and SMPL System (free six-month subscription). Additionally, daily prizes were bestowed by sponsors RCF, Jetpack, VIBO and DJX. Next Year’s Show: DJX will return to Atlantic City’s Hard Rock Hotel & Casino, Aug. 5-8, 2024. For the very latest on the show, please visit www.djxshow.com.

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IN THIS ISSUE

VOLUME 3 NUMBER 5

Sound Bites

Hollywood Swingin’

HARBER

1O

Welcome to the Future Scenes from DJX’23 in Atlantic City, N.J.

By DJX Photographers

In the Studio With…

John Tejada

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SKAM Summer Music Summit Rocked the Roof

By Jim Tremayne & SKAM Photographers

26

John Patrick

State of Grace

For His Upcoming Album, EDM Sensation ZHU Turned to a Hometown Landmark for a Dose of Unique Inspiration

Make a Choice

By Mark Mancino

What Kind of DJ Do I Want to Be? Whether You’re an Upstart or a Jock Considering a Change, There’s Plenty to Consider

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By DJ HAPA

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8 Feedback

DJX ’23 Exhibitors & Attendees Respond

34 Festival Spotlight

Chicago’s North Coast Music Fest

38 Playback

Hercules DJControl Inpulse T7

40 Studio Session Waves Audio StudioVerse

42 Mobile DJ Profile

Keyword Strategies

Baltimore’s Chris Bartosik

How Targeting Non-Google Platforms Can Benefit Your DJ Company’s Marketing

44 DJ Business

How Efficient Is Your DJ Company’s Marketing?

By Jordan St. Jacques

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46 Gear

New Products from Native Instruments, Mackie & More

54 Tracks

Phat Tracks from Barbara Tucker, Mannix & More

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56 Club Play Chart

The Hottest Records, As Reported by Our Top U.S. Record Pools VOL.3 NO.5

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FROM THE EDITOR JIM TREMAYNE

GRACE NOTES & MORE Steven Zhu began his career as a man of mystery, a DJ/musician/producer who preferred to let his music do the talking, someone who was initially unfettered by an audience’s demand for personality and showmanship. But as he began to reveal himself and play high-profile gigs, his star rose.

Starting with 2014’s worldwide hit “Faded,” ZHU (as he became known professionally) has become a regular on the festival and club circuits and an artist with steady output of quality material. DJ LIFE’s Mark Mancino caught up with the talented San Francisco native recently to discuss GRACE, his new full-length album that was inspired by a hometown landmark.

In our Sound Bites section, I connect with two very different DJ/producers. We start out with HARBER (aka NYC’s Harry Berman), whose uplifting, pop-leaning productions, like his recent “Falling For You,” has helped raise his profile and get some attention on the airwaves. From the other coast, I interview L.A.’s John Tejada, the longtime DJ/ producer whose output is remarkably varied and consistently splendid. We discussed Resound, his 15th solo album.

In this issue, we also get an up-close view to Hollywood’s SKAM Summer Music Summit, for which DJ LIFE served as media sponsor this past Aug. 20-22. Given that Los Angeles experienced both the effects of Hurricane Hilary and a magnitude 5.1 earthquake on the show’s opening day, it was a wet, shaky, but beat-filled experience. Additionally, our Festival Spotlight brings us to the Windy City for a look at the North Coast Music Festival, which ran this past Labor Day weekend and brought the big names to ChicagoLand.

From the world of the mobile jock, we offer several bits of useful content. For Mobile Profile, we meet up with the colorful Chris Bartosik of Baltimore’s Raptor Productions.

In the DJ Business column, Joshua Volpe shows us a way to measure the efficiency of your DJ company’s marketing efforts. Along those lines, our digital-marketing maven Jordan St. Jacques offers some effective keyword strategies for your company that you may not have considered. And in his latest column, DJ HAPA breaks down all the components to consider for entering each segment of the DJ world. Whether you’re an upstart or a jock looking for a change, it’s a useful set of ideas.

On the gear front, our Denver-based scribe Wesley King handles both review columns. For Playback, he tests out the DJControl Inpulse T7 controller from Hercules, a unit which helps re-define the company’s status in the market. For Studio Session, he reports on Waves Audio’s StudioVerse, a new product created to make mixing much easier.

No doubt you’ve noticed that a good portion of this issue is dedicated to DJX’23, which ran this past Aug. 7-10 at the Hard Rock Hotel & Casino in Atlantic City, N.J. Presented by DJ LIFE and Hazan Media Group, DJX brought the industry together for the 37th time since its 1990 inception with exhibits, seminars/keynotes and sponsored After Dark events for DJs of all stripes. (Note: DJX’24 is set for Aug. 5-8 in the very same spot.)

As always, we are grateful for the industry’s continued commitment to the show, and that includes exhibitors, attendees, presenters, and performers. We hope you’re making plans to participate next year.

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

Cheers,

Jim Tremayne Editor, DJ LIFE

visit our website: www.djlifemag.com 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.

Editorial contributions should be addressed to The Editor, DJ Life Mag, Oyster Bay, NY 11771 or sent to JTremayne@hazanmediagroup.com.

DJ Life Mag is published bi-monthly starting with the second month annually.

Design and Contents: copyright © 2023 by DJ Life Mag and must not be reproduced in any manner except by permission of the publisher.

Web: DJLifeMag.com, DJXShow.com and HazanMediaGroup.com Subscriptions: Complimentary Digital Edition. Email: djlifemag@hazanmediagroup.com Phone: 516-767-2505 ext. 502 Web: djlifemag.com/subscribe

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FEEDBACK

DJX’23: RESPONSES FROM EXHIBITORS & ATTENDEES Atlantic City, N.J. – Produced by DJ LIFE mag and Hazan Media Group, DJX ran this past Aug. 8-11 at AC’s Hard Rock Hotel & Casino. Here are some of the responses: “We look forward to DJX every year because everyone who walks through the door is a DJ and represents 100-percent of our target audience, and we’re always excited to reconnect with the community and share our latest innovations.”

– John Powell, AlphaTheta Corp., Torrance, Calif.

“An absolutely incredible experience.

What I loved most was its unique concept of bringing together turntablists, mixshow/ radio DJs, club DJs, mobile DJs, music producers, and other entertainers all in one show. This diverse mix of talent created an atmosphere of creativity, collaboration, and inspiration like no other.”

– HB Monte, Steam Music Group, Albany, N.Y.

“DJX’23 gave us an excellent in-person opportunity to showcase our brand and our dedication to our DJ customers. Beyond the business angle, the Expo fosters a strong sense of community that truly supports DJs at every stage of their careers. The event was filled with incredible performances and great energy!”

– Michael Doucot, Electro-Voice, Burnsville, Minn.

“Although there are other trade shows and conventions, DJX is the only conference that has the right combination of new, showcased gear, education, and events.”

– Cova, Tweak Music Tips, Kissimmee, Fla.

“The energy of DJX ’23 was simply different. The exhibit hall, demo rooms, seminars and parties all had a positivity we haven’t felt in years. No matter what kind of DJ you are, no matter the age, there was something for everyone.”

– Justin Schwarz, The DJs Guru, Nesconset, N.Y.

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August 5-6-7-8, 2024, Atlantic City, New Jersey @DJXSHOWOFFICIAL #DJX24 #callingallDJs #nXtDJX #DJXshow Contact djx@hazanmediagroup.com nxt@hazanmediagroup.com (516) 767-2505 www.hazanmediagroup.com

SOUND BITES

HARBER: HOOKS, MELODY & MORE Since his 2018 debut, HARBER’s been a talent on the rise. And 2023 has seen the 26-year-old DJ/producer break out in a bigger way with a trio of radio-friendly releases on the Lowly label and high-profile gigs around the country.

After he made waves earlier in the year with “Remedy” (feat. Alex Jones), HARBER hit the charts with the uplifting earworm “Medicine” (feat. Sydtherockerkid). Now he’s back with the emotive “Falling For You,” a collab with the Disco Fries that should surely spark the dancefloor.

Before this big year, HARBER had already collaborated with a slew of top talents – Morgan Page, Michael Calfan & NISHA, Lexy Panterra and more. He’d also been called upon for remixes on tracks from Afrojack & David Guetta (the Grammy-nominated “Hero”), Dan + Shay (the Grammy-winning “Tequila”), NERVO (“World’s Collide”) and more. Additionally, his music has been supported by a lineup of heavy hitters – including Tiësto, Martin Garrix and Marshmello.

Now in demand more than ever, HARBER’s performed at some of the top venues and festivals in the country, including Electric Zoo, Echostage D.C., Marquee New York, Brooklyn Mirage and Spinnin’ Sessions at Miami Music Week. So, after his high-energy performance opening for NOTD at NYC’s largest open-air party, The Rooftop at Pier 17, DJ LIFE caught up with the New York-based HARBER (aka Harry Berman).

DJ LIFE: Creatively, how did you approach “Falling For You,” your latest single project.

HARBER: On “Falling For You,” I was in a creative headspace trying to make a record that would fit sonically with another one of my favorite songs of mine so far, “Medicine.” I really wanted to stay in the pianohouse world, while also trying to bring in fresh new sounds. I wanted to make a song like that with a similar sound that was different at the same time.

DJ LIFE: What qualities do the Disco Fries bring to a project?

HARBER: Disco Fries are super-talented guys.

The way they listen to a record and immediately hear what might need to be added or removed is amazing. People always talk about how hard it is to get that last 10-percent of a song, but Nick [Ditri] and Danny [Boselovic] seem to know exactly what it takes to put out the best record possible.

DJ LIFE: What’s in your studio? What are your most important pieces?

HARBER: My studio set-up is fairly simple, to be honest. I’ve used Ableton Live my whole career. As far as gear goes, I have APS monitors with a UAD Apollo interface. My favorite plugins right now are the M1 from Korg, Nexus from reFX for piano, and Serum from Xfer Records is my go-to for bass at the moment.

DJ LIFE: In the studio, where and how does a project start?

HARBER: My process for creating music is always changing. Right now, I’ve really enjoyed writing lyrics and melodies first over a piano or guitar and then taking that raw, stripped demo into the studio to create a “HARBER” record. For me, I’ve discovered that I prefer

HARBER: A trio of catchy singles in ’23.

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Images by Cam Gilson

to create music around a topline or vocals, rather than trying to fit a vocal over a finished production.

DJ LIFE: Your tracks are really strong with musical hooks – where does that come from?

HARBER: I’m just a huge fan of melodies. I love to create songs where both the lyrics and the instrumentation have melodies that are easily singable or that will get stuck in your head.

DJ LIFE: What’s the best way to approach a collab?

How do you balance strengths and weaknesses of the participants?

HARBER: That’s a really great question. I think when you choose to collaborate with someone, there’s something of theirs that you admire from the start. So, I think it’s important to let them really take the wheel on those specific elements and then you fill in the gaps with the things that you’re most comfortable with.

DJ LIFE: Which producer/remixers catch your ear? Any major influences?

HARBER: To this day, I’m still the biggest Avicii fan. Like I said before, I’m a huge fan of melodies and no one did it better than Avicii. Every element of his records has such purpose, and I think that’s what’s so important – and what really draws you in.

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

HARBER: Depending on the gig, I’ll use between two and four Pioneer DJ CDJs and a Pioneer DJM mixer. I’m comfortable playing on just about any Pioneer mixer, so, whatever model the venue I’m playing provides usually works just fine for me. As for headphones, I switch between V-Moda and the Sennheiser HD-25s.

DJ LIFE: How do you approach DJing?

HARBER: I love to mix in and out of songs quickly. I think it’s a blast to try and fit as many songs as possible into a one- or two-hour set. I also think it’s crucial to be able to read the room. This allows you to either stay with a song longer, if people are really liking it, or get out sooner, if it might not be hitting as hard.

DJ LIFE: Do you have a preference about the types of

venues you play?

HARBER: When it comes to shows, I really enjoy playing different types of gigs because it allows a variation in styles of sets. I like to play big venues, stages, and festivals, but then it’s also nice to play in an intimate setting because the crowd response varies so much depending on the space I’m playing. That’s one of parts I like most about being a DJ – it’s such a different experience every time.

DJ LIFE: Musically, what were your first influences? Which DJs impressed you and why?

HARBER: My first musical influence was definitely the Red Hot Chili Peppers. I’ve always been such a fan of their lyrics and how they tell such a real and beautiful story every time. I’d say my two favorite DJs from a live perspective are Tiësto and Skrillex. I always love watching their sets because they always have smooth transitions and tend to incorporate a nice combination of their originals and remixes, edits, throwbacks and old-school tracks, and new music.

DJ LIFE: What led you to electronic music? Was there a song or an experience that took you there?

HARBER: I first fell in love with electronic music watching videos of Ultra Miami on YouTube. I had never seen such an epic relationship between artist and crowd before. I was determined to be a part of that world ever since.

DJ LIFE: What are a few tracks that you like to play out these days?

HARBER: I gotta represent myself here first. I always have my song “Feelings After Dark” [with Michael Calfan & NISHA] and now my song “Medicine” [featuring Sydtherockerkid]. Apart from my own music, the Alesso remix of “Pressure” by Nadia Ali, Starkillers and Alex Kenji is always a crowd pleaser.

DJ LIFE: What’s next on the agenda for you?

HARBER: I’m really excited for “Falling For You” to finally be out there in the world! I have more singles to look forward to coming out on Lowly to be announced soon. I just released my remix of Disco Fries & Ferry Corsten “Love You Loud” featuring Leon Stanford, and also have another remix dropping soon. I can’t share too much about that one just yet, but it’s a big one and I’m excited to share it!

– Jim Tremayne

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IN THE STUDIO

There’s nothing formulaic about John Tejada or his music. In creating his engaging soundscapes, surprising rhythms, and tasty melodies, Tejada’s approach is wondrously varied. And if you listen to Resound, his new, seven-track full-length, it’s all there for you.

Opening track/initial single, “Simulacrum,” immediately commands attention. A mix of rugged rhythms, analog bassline, and detuned feedback sets you up before a gorgeous melody carries you away. On “Fight or Flight,” Tejada matches ethereal vocals from March Adstrum – his bandmate in the duo, Optometry – with headbobbing breakbeats for sublimely moody effect. And the gorgeous “Trace Remnant” is a real journey of a tune.

While shimmery and cinematic, its tough rhythms and strong dynamics make for something that can work in a dark club, as well.

But regulation EDM this is not. Fact is, Tejada has been making splendid, yet diverse electronic music for years, mixing genres and inspirations, seemingly unmoved by the flavors of the day. Pursuing his muse, he’s been running his imprint Palette Recordings since 1996, and Resound is solo album No. 15.

Sufficiently inspired as well, DJ LIFE connected with the Los Angeles-based DJ/producer to discuss his superb new album and more.

DJ LIFE: Creatively, how did you approach Resound?

John Tejada: During the last year or so, I was trying some new ideas and wanted to land on something that had a personal sonic signature and worked together as a theme. I wanted to do something more personal and unique to me, but also not reinvent the wheel completely. After trying quite a few things that didn’t work, I eventually landed on this sonic recipe of drums and basslines as a foundation, while imperfect layers of synth – and sometimes guitar – feedback layers filled out the rest.

There were a few stories I wanted to try to tell without words, or at least try to convey those emotions. The layers of feedback had a nice feeling to me, without trying to make the elements sound old or worn, or layering synths.

They create a tone as a whole that tells a story and expresses how I feel.

DJ LIFE: The opener, “Simulacrum,” is a really impactful track. What went into it?

Tejada: Overall, all the songs share the same limited choice of instruments. The core of all the songs is sort of divided into the rhythm, the bassline synth – the same one is used throughout – and then the melodic feedback layers that work on top of that. In a way, the drums and bass and melodies could almost be separated into two different versions. There was a lot of experimentation of what worked and what didn’t, with many songs not making the album. When elements did click together, it 12

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worked in this kind of formula that “Simulacrum” has. The layers of feedback gave the songs a level of emotion that reminded me of albums I really enjoy that reveal layers over time and require repeated listens. Also, in the case of this song, the bassline is the driving hook. If the bassline felt memorable, the extra layers were there to complement nicely in a dreamy sort of way and the drums drive the track in an unexpected way.

DJ LIFE: “Fight or Flight” is also notable, especially for what you did with March Adstrum’s vocals…

Tejada: March had quite a lot of great input regarding these tracks, helping with arrangement ideas and other suggestions. There was a certain recipe that would resonate with both of us and that helped guide the direction of how the songs fit together. Even though we were working regularly on our own new material, this song was different. It would be my song featuring her, but not totally work as an Optometry song. I’m such a big fan of what she does lyrically. Sometimes it takes a while before I learn the stories behind what she sings, but for this, it was sort of exactly what I needed at that time: “Fight or flight, pick your battles.”

DJ LIFE: And “Trace Remnant” is quite cinematic.

Tejada: This is one of the two songs that features a guitar loop, as I’ve been getting into playing again this year.

The loop isn’t even synced to tempo, which keeps it more interesting to my ears. I wanted to have a variety of drum feels on some of the tracks and wanted to have the energy of a live drummer driving the song. Inspiration-wise, this one is on the hopeful side, but all the songs have a story to tell.

DJ LIFE: By the way, it’s nice hearing breakbeats again.

Tejada: Yeah, thanks! I feel I’m hearing more usage of breaks again these days with the resurgence of some ’90s sounds. I grew up on hip-hop and am a big fan of late ’90s drum-n-bass productions. I feel there’s such an art to making the drums sound right. In this case, there are a bit of break textures, but a lot of it are Karplus-Strong synthesized

Jon Del Real

JOHN TEJADA: SPLENDID MUSICAL DIVERSITY

Resounding: Tejada’s latest is solo album No. 15.

Jon Del Real

sounds to complement the acoustic sounds.

DJ LIFE: I’ve always appreciated the fact that your music is never formulaic and that genres don’t ever seem to constrain you. How have you managed to define and keep your space in this world?

Tejada: I feel this is something I have to do in order to truly feel creative and happy.

I have to let go and realize it doesn’t matter if no one likes this record – but most importantly, I have to love it. When I started in the early ’90s, it seemed really discouraged to copy someone else’s sound, whereas nowadays it’s more encouraged to copy a template and for everyone to do the same thing to make the charts or to make a huge festival tune. Where’s the fun in that?

DJ LIFE: You’ve run Palette Records for years now. How do you balance the demands of both art and commerce?

Tejada: Initially, it was only vinyl and then some CD on album projects. Once digital came into the picture, that changed things – and then, when streaming happened, it felt like it was all getting away from me a bit. But especially lately, I decided to embrace and learn how to adapt – and I’m really happy I have. It’s really exciting again to release my projects on my own label.

Sometimes there are a slew of new things to learn, but I find most of it to be interesting and there’s still a way to do it my way. In regards to balance, I have to keep a to-do list and then ignore all of that when I’m in a creative zone. But I find it manageable and exciting to create and plan my own releases.

DJ LIFE: What advice would you give a DJ/producer on running a label?

Tejada: One thing I notice a lot with younger artists is they will spend months or maybe years working on their music, but then when it comes to releasing the work, there is

no plan. I realize so many of the things that go alone with releasing music, distribution and promotion can be quite daunting, but it’s important to learn the landscape and how it all works. Just like anything, it’s something you get better at by doing, and it’s important to learn to grow as an artist.

DJ LIFE: What’s your DAW? Monitors?

Tejada: I use five different DAWs to keep things interesting: Logic Pro, Ableton Live, Bitwig, Reaper, and Renoise. They all give a different perspective on working, even though they essentially all do the same thing. I find it inspiring to change up my way of working. Monitor wise, I do a lot in headphones these days, Campfire Audio for on-the-go and Rosson Rad-0 for studio use.

Main monitors are ATC SCM25, but I find my Auratone to be more effective, usually, for balancing. I’m not a fan of needing fancy things, so I like the idea of something affordable being so valuable to my work.

DJ LIFE: Vital hardware? Fave plug-ins?

Tejada: Vital hardware would be the Roland SH-101 and Prophet 5. That would be most all the synths on this album. Plug-ins? Gosh, they seem so disposable – don’t they? But I love trying lots of them all the time. I like what Minimal Audio are doing and their new synth is bonkers. Then, there’s my trusted FabFilter, which covers so much ground. I like what Goodhertz and Leapwing Audio are doing as well.

DJ LIFE: Do you have a process for creating music?

Tejada: I don’t have a repeatable process for making music. But I sort of have a sense of the recipe I want to try, and if a sound starts to get exciting, the rest of the track will quickly build around it. But if the initial sketch doesn’t come together fairly quickly, then I’ll most likely move on. In the case of these songs, there were experiences and emotions I wanted to express. So that adds a sense of vulnerability, but that can also be of great use.

DJ LIFE: Which producers do you most appreciate?

Tejada: I’m so lucky to have gotten to know and work with some of my favorite artists. I’m a longtime Plaid fan and have gotten to collaborate with them multiple times now, trading remixes or just being able to talk music and inspiration with them. Other good friends would include Juan Mendez aka Silent Servant, Jimmy Tamborello aka Dntel, Robag Wruhme, Stefan Betke aka Pole, and so many others.

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

Tejada: I’m never that picky. I need a couple of CDJs and a good mixer. A lot of times I’ll get asked, “Hey, we have the new x2300” or whatever model numbers, and I usually don’t know what they’re talking about. I’m quite oldschool where I just needed a couple of working 1200s and a decent mixer. I don’t know all the features on CDJs when it comes to cues and looping, etc. so I generally play them in vinyl mode, un-synced. I like the feel of playing on vinyl, as that’s what I did for hours and hours growing up.

DJ LIFE: Your style of DJing?

Tejada: Style-wise, I have a lot of influence in me from my hip-hop days. Less tricks these days for sure, but I do like to move through music a bit faster than most DJs, and I generally end up playing more titles that way. I still pride myself on long blends where two songs end of sounding like a new remix of each other.

Those are still great feels to have.

DJ LIFE: What’s next for you?

Tejada: We’re working on new Optometry material for early 2024 and there’s a collaboration with Nosaj Thing due before end of the year as well.

– Jim Tremayne

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State of Grace Steven Zhu has spent the last decade working his way to the top of his musical craft and, by most measures, he’s certainly succeeded. What first began as a mysterious project from an upstart artist has, in a few short years, become an electronicmusic mainstay.

Known simply to EDM fans as ZHU, San Franciscobased DJ/producer/vocalist/instrumentalist first exploded onto the scene in 2014 with his massive single “Faded.” Since then, he’s evolved into a mature, in-demand name on the club and festival circuits. Over the years, he’s garnered chart success, a Grammy nomination, and in addition to his standalone singles, EPs, and mixtapes, has released three studio albums: Generationwhy (2016), Ringos Desert (2018), and Dreamland (2021). And now, it’s time for ZHU to enter his GRACE period.

Slated for official release on Astralwerks in late January, ZHU’s upcoming studio album, GRACE, will be a collection of tunes inspired by San Francisco’s Grace Cathedral, a historic, art-rich Episcopal church in the city’s Nob Hill district. This past September, ZHU released four LP tracks – “Take My Soul,” “Blind Believer,” “Devil’s Prescription,” and “Days Before Grace” – ahead of the official album drop. He also began a supporting tour that will run through mid-November.

As an experience creator, ZHU’s extensive discography spans the course of a decade, and with each of his EPs, mixtapes, and albums, ZHU’s coinciding live shows always find a way to reflect the themes found within each body of work. And this time, for the GRACE period, while quite conceptually different from the others, the gigs will once again deliver a different aesthetic and overall atmosphere, he says.

With ZHU, it’s so much more than just your typical DJ set. There are live vocals from the performer, and it’s usually an interactive experience that goes beyond expectations. In November of 2022, at ZHU’s tenth sold-out show at Denver’s fabled Red Rocks Amphitheatre, he dazzled the crowd with sound, lighting, video and more. During the set, fittingly following the release of his Musical Chairs Mixtape (Vol. 1), ZHU’s vision included a set-up of a large-scale game of musical chairs. Consisting of illuminating gold-lit chairs, the effect required hundreds of Martin Rush PAR 2 Zoom fixtures stationed under 260 clear, plexiglass chairs onstage.

This followed ZHU’s set at Electric Daisy Carnival in Las Vegas that May when he put on a full-blown fashion and runway show at the circuitGROUNDS stage. Considering a set that included two of his thematic tunes, “Mannequins & Egos” and “Cocaine Model,” it was rather fitting. The event, of course, was also a great opportunity for ZHU to 14

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DJ LIFE: How and when did you first begin exploring music? Was this something you always knew you wanted to do?

ZHU: For me, when I was young, I was a kid who needed stimulation. So, my mom sat me down and she said, “You’ve gotta go try to play piano.”

I was playing piano when I was young and I think when playing other people’s stuff, I realized I didn’t like copying everybody else. I found that I was wanting to change notes here and there.

From there, I started to play more instruments and that led me to eventually, with technology, be able to compose, make tracks, write songs, and produce. That’s the point when I was able to put together a vision from my mind.

DJ LIFE: Aside from playing instruments, what came first for you? DJing or producing?

ZHU: Production was the first thing. I grew up listening to bands and hip hop, and then rave culture came to me a little bit later. Writing and putting together beats was the first thing that I’d ever done. I used to make beats for other people and make tapes. That was actually the first way I was able to get my music heard.

DJ LIFE: Did you always perform or produce under the name ZHU, or were there other stage names you’d considered or went by?

ZHU: I never really had any other stage names.

I may have had a couple of different bands that I would dabble in, but none of them were superserious. People called me Zhu – you know, there’s a lot of Stevens. People just tend to call me by my last name and that just kind of stuck.

DJ LIFE: What did your early DJ setup consist of?

What’s your current DJ setup?

ZHU: When I’m DJing, I’m on the Pioneer DJ CDJ-3000s. When I’m DJing, specifically, it’s quite different from when I do a live show. So, when I DJ, I pretty much only spin on [Pioneer DJ] CDJs. DJ LIFE: Do you have any memorable or standout moments from when you first started playing DJ sets?

ZHU: Yeah! Really, really early on, there was a festival [in Dallas] called Lights All Night. They ran a contest, and you could submit a track and basically the winner of the contest [for best track] got to play a set there. I’ve actually never told this story before because it was super-early [in my career]. I submitted a track, and I won. I went to go play a set and there were maybe 10 people there. This is way back, before I had even put out any music of my own under ZHU. I remember walking around in what was pretty much an industrial shed. I [also] remember just looking around, thinking to myself, “I’m gonna be back!” So, that’s actually a really early, inspiring moment, that I’ve never really told anybody because winning a contest wasn’t something that comes up in a

For His Upcoming Album, EDM Sensation ZHU Turned to a Hometown Landmark for a Dose of Unique Inspiration

By Mark Mancino

Henry Ammann

showcase his fashion line, NIGHTDAY. DJ LIFE sat down with Steven Zhu just after the start of his GRACE tour, and here’s what the talented artist had to say…

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Marlowe Teichman

casual conversation [laughs]. Looking back, I think that was a memorable moment for me. I don’t even know if any of those people [there] actually remember anybody that they saw at that time.

DJ LIFE: What does your production set-up consist of? Do you have a studio or tend to make most of your music on the road?

ZHU: I do all of it! I have a studio, but I also travel and like to make ideas. I feel like I’m a Logic person. I do use Avid Pro Tools and Ableton Live, but I’m a Logic person and I do most of my work in Logic. I’m kind of a sound designer, and I think that as I’m making music, instrumentals, club tracks, and stuff like that, for me, I’m primarily a drums and drum-and-bass-first guy. That’s when I’m doing something like that, but obviously as I’m expanding the way I’m writing music. Especially on this particular project [GRACE], a lot of stuff is done on keys and guitar first, and then going backwards and producing.

DJ LIFE: That said, let us dive into the GRACE period. The album was recorded at the Grace Cathedral in your hometown?

ZHU: Yes, a majority of the album was done at the Grace Cathedral [in San Francisco], especially in terms of the sound and all of the sound capturing.

DJ LIFE: Is that the reason behind the GRACE album title?

ZHU: There’s actually a couple of different reasons why GRACE, but that is one of them. San Francisco, for me, is a place where a lot of inspirations came from early on, musically…. historically, and also for me being in this sort of “gothic” cathedral with so much history. I think, sonically, I very much wanted to capture that. I don’t think that that sound has really been done in that way.

DJ LIFE: Did working at the Grace Cathedral inspire the music on the album itself?

ZHU: Yeah, absolutely! From the architecture to the marble concrete columns, the reverb, etc. I mean I could really go deep, but the way that I hear it there and the way that even the drums sounded there. It really does have its own essence that I don’t think you can sit in a bedroom and imagine it, never mind replicate it.

DJ LIFE: How long were you working on GRACE? What’s the typical track-selection process like for you when constructing an album, as opposed to your EPs and mixtapes?

ZHU: I think a ZHU album is tedious. I think a ZHU album is also something that, in real-time, gets changed all the time. I’m still working on the album now as I’m having all these different ideas, trying to perfect things, understanding how it’s going to translate live, and what will work here and there. If we were living in the ’60s and ’70s, [the album] gets pressed and it’s put out, so you don’t really get to change much. But today, which to be honest might not be such a good thing, is that you can change things so much. Part of me wants to set it in stone, and that’s why going into the cathedral gave us a limited amount of time. I think it’s kind of important to let the clock run down and be able to be at peace. However, for this particular project, the clock is still ticking.

DJ LIFE: Some artists look back and wish they could change things, while others feel what’s done is done. Would you say you’re more like one type over the other?

ZHU: I think, as a producer and as a person who’s obsessed with sound engineering, yeah, there are a bunch of records that I feel could be updated. But, as an artist, I think my job is to capture the moment and capture the energy of that time, my generation and my surroundings, the message, and the

John Patrick

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culture around me. So, I don’t feel like that should be tampered with because that’s what makes great records great, too. It’s because they were very much intentional in that moment.

DJ LIFE: You’ve recently embarked on your GRACE tour, which coincides with the new album. What can you tell us about the tour itself and how it differs from some of your past shows?

ZHU: Recording in the cathedral and having been there, I tried to take a chunk of that energy and bring it around [into the show]. I wanted to give a sneak peek into what this world – sonically and aesthetically – was going to be. For this tour, I have a band with me, and I feel like it sits in an electronic world, but it’s very much human. There are human beings playing instruments.

I’m performing. For me, this is kind of taking control of being personal with all of the different technologies that we’re capable of using. Day in and day out, I like the raw stuff and I like that there are mistakes; I like that things are different night in and night out.

DJ LIFE: While on the live-show aspect… your sets are often an experience that showcase your creativity as an artist… from a runway and fashion show at EDC Las Vegas to the biggest game of musical chairs. How do these out-of-the-box ideas come to fruition and how are they executed?

ZHU: So, for EDC Las Vegas, I’m working on the fashion line NIGHTDAY. All throughout the pandemic, we were kind of forced to do these remote live streams and stuff like that. We even did one in a warehouse where we had these models with no audience. For me, fashion has always been a big influence, in terms of the aesthetic and presentation of my music. I feel like, even going on the early tours, I was always investing, trying to upgrade merch, and just give a better product to my fans. At that time, even in 2016, it’s not even close to what electronic artists and DJs are trying to curate on that level, and I feel like I was one of the early few people to really kind of try to bring fashion into our scene. I wanted people to take a look and realize that these kids and these artists have influence and they have a style. I didn’t really like the way that the general public was perceiving dance culture. Now, I think a lot of artists are kind of intentional about their designs, the quality, and all of those things. Those are the things early on that I did care about, so for EDC, I wanted to put a runway into my festival show and really show that it is possible.

DJ LIFE: You developed a signature sound that’s been distinct from the very beginning. Which artists first inspired you?

ZHU: I think very early on, a couple of artists that I looked at as super-unique and inspiring were deadmau5 and Justice. Then, there were bands like Massive Attack and Portishead. In terms of electronic music, those acts, to me, sounded like nobody else.

Obviously, people have copied and emulated, but they were the first to really do things in a way that really felt original.

DJ LIFE: You first exploded onto scene with “Faded” nearly a decade ago. It went on to receive a Grammy nomination and catapulted your career. Did you expect that or know before releasing the song that it was going to be the one to jump-start your career?

ZHU: I mean, I do think that we knew people loved the sound, but we didn’t know how far it would go or that it was going to travel around the world. We also didn’t know how quickly it was going to take off. I remember one week we had sent the record over to Triple J [Australian Broadcasting Company] – this was very early on, and it was also self-funded, you know? At that time, there was no label; it was the SoundCloud and Hype Machine era. I think me and my team were sort of like: “Well, we have one shot, so let’s test this at radio.” Basically, a week went by, and nothing happened [laughs]. We had just spent all this money, so we were like, “Is this a thing?” And then immediately onto that, I think it was the fol-

Jason Renaud

lowing week, it was added. It went No. 1 on Triple J and then crossed over to Nova. It felt like within 24 hours it went from absolutely nothing to… this is a hit – in Australia! From there, it went around the world – and that journey around the world probably took me about a year and a half to get back to America. People in the scene knew [about the song], but the average person probably hadn’t heard “Faded” until about a year or so later.

DJ LIFE: When that song became such a big hit like that out of the gate, did you feel any added pressures at all when it came time for a follow-up?

ZHU: Definitely! I feel like at that time I had experienced raves, and I was very much in tune with how I wanted people to move to music. But at the same time, I was also inspired by Pink Floyd and Zeppelin, so there were a lot of things that I knew I had to offer. I didn’t want to purely make another club track, and that’s it. But at the end of the day, dance fans were the first ones to embrace me, and I have a lot of appreciation for them. At the end of the day, I think making people move is a core of what I do.

Was there pressure? Yeah… but I think I like that, and I liked kind of being in the moment in terms of being able to have the pulse on kind of making what’s next.

DJ LIFE: As an artist who also tends to also sing on their own tracks, would you say it’s easier to write and record your own vocals than it is to rely on other writers and vocalists for toplines?

ZHU: In the beginning, nobody wanted any of them. I had made all these tracks; I had made all these demos – and nobody really wanted to cut anything. So, with SoundCloud and blogs at that time, it was easy to upload stuff. A lot of the early songs were songs that I wrote and was imagining other people cutting it, you know? But I just put them out, and people liked it; they really fucked with it. It came out of necessity, but it also came out of the fact that I had no other choice. Because of that, I started perfecting my voice, trying to produce around it, trying to replicate it, and get better at using my voice. Obviously, I still like other people’s voices on my tracks because I do 20

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think there are some things I sound good but, there’s some things that I don’t. I like a variety of different textures on my projects, but I’m usually the person who comes up with the idea and executes those visions.

Then, maybe I’ll find somebody who can either do it better than me, give a better take or even just a different take.

DJ LIFE: If you could play a backto-back DJ set with any other DJ who would it be, and why? How about a collaboration?

ZHU: Honestly, I think it would have to be with deadmau5. We’re doing some shows together, but we’re not doing any back-to-backs. I just think that he inspired that early progressive sound that has been a big influence on a lot of producers. In terms of collaborations, I would have to say Sade because she’s one of my favorite artists, so it would be dope to have her vocals on something.

DJ LIFE: Is there something you can share with fans that might surprise them or that they don’t already know about you? Any hobbies you can share outside of the music space when you aren’t consumed by music?

ZHU: I grew up being a huge basketball fan, and I feel like there’s a lot of similarities when you’re playing, in the flow of the game and that stream of consciousness when you’re DJing, too. It’s very fluid because you’re reacting and proactive at the same time… if that makes sense.

DJ LIFE: What advice would you give to aspiring or upand-coming DJs that you wish you would have gotten early on in your career?

ZHU: Even to this day, I still try very much to give feedback.

I think don’t really care too much about what other people think earlier on. Stick to the stuff that makes you want to do this… not just as a career, but as a life choice. Because at the end of the day, if you end up not liking it, loving it, or burning it, then you’re just never going to get to that point where you put in enough hours where you’re great at it.

I think that’s the thing where, early on, I had people pulling me this way and pulling me that way, telling me: “You should do this, you should do that.” I think I kind of fought a lot of people and I still continue to fight people all the time about what things should be. So that’s definitely something I would tell a new artist because they have a vision and everybody else is just there to help mold it or put it into place, but the vision has to come from them.

DJ LIFE: Where do you see yourself five years from now?

ZHU: I feel that this project is a project that gives a story of me in a club atmosphere, me in a performance atmosphere, and me as a storyteller. I think this is kind of, to me, a comprehensive phase for me. A lot of my fans up until recently didn’t know that I did the vocals or sang on my songs until they saw me do it. I think because of the nature of how my career started and with people not knowing, it was very mysterious. They don’t know that I’m involved in so many aspects of the project to the degree that I am, and I think I want to just be able to tell more stories as I venture into this part of my career.

Scan QR Code to grab your Limited Collectors Edition of DJX: Sonic Odysseys

Welcome to the Future Scenes from DJX’23 in Atlantic City, N.J.

Atlantic City, N.J. – DJX’23 ran this past Aug. 5-8 at AC’s Hard Rock Hotel & Casino. Produced by DJ LIFE and Hazan Media Group, the show presented technology exhibits, educational seminars/keynotes, and sponsored After Dark events. It all looked like this:

The Message: Hip Hop’s 50th party.

DAS Audio

Thud Rumble: QBert & crew.

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Whoomp: Tag Team’s DC poses.

Ronald Mungo

In the mix: DJ at the RCF booth.

DAS Audio

Legend: Grand Wizzard Theodore.

Ronald Mungo

Lights & Beats: A showfloor scene.

Electro-Voice

Pioneer Booth: DJ Creme demos.

Ronald Mungo

After Dark: Dave Audé at HQ2.

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Welcome to th Hip-Hop Panel: Skribble expounds.

Ronald Mungo

At DAER: Mell Starr & Grandmaster Dee. DAS Audio

Mixware: Laurent Cohen & customer.

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Daytime DJ: Mike Walter spins.

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ROKAVACA: DJX beverage sponsor.

Ronald Mungo

he Future O Canada: Skratch Bastid on the mic.

Ronald Mungo

E-V Booth: DJ Fun Size gets wild.

Electro-Voice

DJ Precisa: Calling All DJs!

All Smiles: nXt grads & instructors.

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SKAM Summer Music Summit Rocked the Roof

By Jim Tremayne Hollywood, Calif. – The SKAM Summer Music Summit returned to Hollywood’s Vinyl District this past August 20-22 with a variety of sponsored activations, gear/tech demonstrations, and DJ-led parties.

Presented by SKAM Artist talent agency, the annual conference for DJs, music-industry pros, technology purveyors, and related influencers congregated at The Dream Hollywood Hotel and at a variety of area venues.

Alongside tech- and gear-related sponsors like Tidal and D.A.S. Audio, respectively, DJ LIFE served as the event’s media sponsor.

Despite the near-Biblical combo of Hurricane Hilary and a magnitude 5.1 earthquake that both hit the area on the event’s opening day, the show went on – and it all looked like this:

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1 The Logo: SKAM Summer Summit. Salar Abduaziz 2 In B&W: DJ Five on the decks. Philip Talleyrand 3 Spinnin’: Brooke Evers in the Dream Lobby. Salar Abduaziz 4 The Founder: SKAM Artist’s Sujit Kundu. Salar Abduaziz 5 Rooftop Party: Sponsored day drinking. Salar Abduaziz

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6 Encircled: DJ Puffy, daytime spinner. Salar Abduaziz 7 In the Mix: Justin Credible drops a beat. Salar Abduaziz 8 It’s Getting Hot: NLE Choppa on the mic.Salar Abduaziz

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9 Ink Man: Artist creates a tee. Philip Talleyrand 10 A-OK: DJ Nick Ferrer all smiles. Salar Abduaziz 11 Activation: Star Q gets groovin’. Salar Abduaziz 12 LA Scene: Sign man says it all. Salar Abduaziz 13 Closing Party: Ross One rocks the rooftop. Salar Abduaziz

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MAKE A CHOICE What Kind of DJ Do I Want to Be? Whether You’re an Upstart or a Jock Considering a Change, There’s Plenty to Consider

By DJ HAPA As you know, there are many different types of gigs that a DJ can take on. And for many of you who are upstarts or someone considering a change of career direction, there are several important aspects to consider.

So, I felt like it would be helpful to break down some of the most popular categories of DJs to help you identify where you may want to focus your efforts. Within each of these categories, there are challenges, barriers, and opportunities to learn and grow… and my suggestion to you is that you explore these different types of gigs and potentially broaden your horizons.

Before I break down the categories, I’d first like to reiterate that there are more similarities than differences between them and that, no matter which path you decide to take or focus in on, you will need to address the following:

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Building A Brand. Your brand should be unique to you and, without getting too far deep into a branding class, just keep in mind that your brand is more than a typeface, logo, or color. Your brand is literally an extension of you and should distinctively represent and separate you from others in the market.

Networking & Building Relationships. You may have heard that “your network is your net worth,” and I am here to tell you that is true! I can trace back almost every single opportunity in my career to an important person that I met, who then introduced me to another, important person. People want to work with other people, and particularly people that they feel like they get along with and share values with. Take it for what it’s worth, but the most-booked DJs aren’t necessarily the mosttalented DJs. By the way, this isn’t true of just the DJ industry.

Be Professional. It does matter if you show up on time and if you are a good communicator. Whether you are a club, mobile, festival or radio DJ, your professionalism should translate. Be someone who has integrity and honor – and let that show in your work. I also think it’s important to treat every person with respect and every gig like it’s the most important one, whether you’re playing for a room of four or 40,000.

Be Open To Pivot. If COVID-19 taught us anything, it’s that anything could happen, including an industry-wide shutdown for months on end. While you might have your heart set on being on that festival stage at Tomorrowland, saying yes to the bar mitzvah on Saturday could potentially help you get to that stage. How? The skills you learn at the bar mitzvah and the people you meet may be what opens the door to get you connected to, say, a producer-collaborator that leads to an unofficial remix that leads to a small festival that leads to a booking agency that leads to – you guessed it – a major event like Tomorrowland. None of us know exactly how it will all work out!

Now, to get back to our main topic, let me break down the four common categories of DJs: Club DJ. To be the man or woman in charge of setting the dancefloor off at the hottest club in your city is something that a lot of DJs covet. The over-the-shoulder photo of good-looking people losing their minds with their hands raised in unison as the CO2 fills the colorful room is the gold standard of press photos for a DJ. To approach club-DJ life, there are a few things to consider outside of the initial skills I mentioned at the beginning of this article.

• You have to be in the local scene. You will have much more success landing a club gig if you are actually a patron and a part of the club scene that you desire to be DJing for.

• Start building a guest list. Clubs make money from ticket and liquor sales. You will be more likely to land a club gig if you can invite out more people than the next DJ. • Learn the club-standard equipment. You can’t bring your entry-level controller into the club. Play off the Pioneer DJ gear – CDJ-3000s and DJM-A9 mixer, say – that the club has invested in. How do you learn that gear? Rent it for 24 hours from a rental house or find a rehearsal room near you. Another option is to get a VR headset and download TRIBE XR, which will give you full access to a fully functioning CDJ-3000 kit where you can get acclimated. You’ll also meet my avatar there and he can help walk you through a crash course.

Mobile/Wedding DJ. As a whole, the average mobile and wedding DJ gets paid more than the average bar and club DJ. There can be a lot of things to consider to earn that extra cash.

• You need to have your own gear, including speakers, microphones, and possibly lights.

• You need to be able to sell yourself and your company and make it a point to operate with a high level of professionalism.

Radio DJ. There are more opportunities today for online and satellite radio stations than there used to be and this could be a good way to broaden your audience and your overall brand.

Producer/Artist. There is something incredible about being able to create your own music and share it with the world; however, there are some additional challenges that you should be aware of.

• You need to be able to understand various aspects of the music industry, including publishing, distribution, marketing, and monetization on top of understanding performance.

• You will likely invest a lot of time and money into your craft to build songs that you believe are worthy enough to share with others and the world.

I think it’s important to consider these different types of gigs as an “and,” not an “or.” Throughout my career, I have been blessed to have spent a lot of time in each of these categories, and many times simultaneously. Primarily, I was a club DJ in the early 2000s, but was open to getting on the mic – and that led to stints on TV, radio, and even film. I would get the occasional ask to do a wedding or private event, and then I started to produce remixes and original tracks under the name Phil N Good. The combination of all of these different gigs and the skills that I’ve acquired from each of them have brought joy and fulfillment to being a DJ – and I hope it does for you, too. Follow your muse!

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.

“I can trace back almost every single opportunity in my career to an important person that I met, who then introduced me to another, important person.”

How Targeting Non-Google Platforms Can Benefit Your DJ Company’s Marketing

KEYWORD STRATEGIES 40

NEW YORK CITY, NY, USA

By Jordan St. Jacques When crafting your DJ company’s keyword strategy for SEO, the first stop is always a Keyword Volume Research Tool (normally the Keyword Planner within Google Ads, but there are others).

After all, if a keyword isn’t actually being searched for on Google, then why bother investing time and money into trying to make that keyword rank for your site? Clearly, keywords that have low search volume should not be considered, as they won’t bring you any benefit at all.

Or will they?

Ignoring low-volume search keywords can actually bring some benefits here and there. Two cases come to mind: Satisfying keyword relevance when it comes to the Topic Modeling nature of how the Google algorithm works (i.e. – “corporate dj” is usually a low-volume keyword, but is highly relevant to “wedding dj”).

Most importantly, in the case of other platforms!

There are other platforms out there where ranking for a low-volume keyword on Google is sometimes viable.

As part of my own marketing mix for my soon-to-belaunched Prom Planner and its associated marketing vehicle brand called Prom Marketing, I have added many low-volume keywords into my SEO targets, and the results have borne fruit after only five or six months.

Now, simply doing a search from wherever you happen to live or work won’t help you assess the current state of your rankings. You have to search “as if” you’re in a different location, and there’s a handy tool that’s free that will help you assess how you rank in other markets. Here it is: http://isearchfrom.com/ Let’s take a quick look across the USA and U.K. to see how my low-keyword strategy is working.

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LOS ANGELES, CA, USA

MIAMI, FL, USA

LONDON, ENGLAND

As you can see, we’ve obtained a solid No. 2 organic ranking on Google across the world for the primary keyword “prom planner.” The only company ahead of us is Prom Nite, who’ve been around for decades. We’ll deal with them soon enough though… lol.

How did we obtain this ranking? Well, as I preach at DJX during my tech-dedicated seminars, there are many different aspects to SEO. As mentioned above, though, a strong and powerful method is going after relevant keywords on non-Google platforms, even if they’re low-volume.

There are many such platforms out there, but one that’s prominent is Quora.

Using Quora can be advantageous for SEO (Search Engine Optimization) because it offers a

unique platform to engage with a diverse community of users while simultaneously building backlinks to your website. When you provide informative and valuable answers to questions related to your industry or niche, you not only establish yourself as an authority in that field but also have the opportunity to include relevant links to your website within your responses. These backlinks can enhance your website’s domain authority and increase its visibility in search engine results, ultimately driving organic traffic to your site. Furthermore, Quora’s content often ranks well on search engines (indeed, Quora answers are often included in the Q&A section of the Google SERPs), and your well-crafted answers can appear in search results, further boosting your online presence and SEO efforts.

To leverage Quora effectively for SEO and marketing, follow these best practices: Profile Optimization: Create a comprehensive and professional Quora profile. Include your full name, a high-quality profile picture, and a brief, but compelling bio that highlights your expertise and industry.

Topic Selection: Focus on topics relevant to your business or niche.

Follow and engage with these topics to stay updated and participate in discussions that matter to your target audience.

Quality Content Creation: Write informative, well-researched answers that provide real value to users. Avoid spammy or promotional content; instead, aim to genuinely help people with their questions and problems.

Keyword Integration: Include relevant keywords naturally within your answers, but don’t overdo it. This can improve the chances of your answers showing up in search engine results.

Link Strategically: Insert links to your website, blog posts, or other valuable resources when they genuinely enhance the user’s understanding or provide additional information. Avoid excessive self-promotion.

Consistency: Regularly engage on Quora by answering questions and participating in discussions. Consistency can help you build a strong presence on the platform.

Engage Authentically: Engage with other users’ answers by upvoting, commenting, and sharing valuable insights. Building genuine relationships and a positive reputation on Quora can benefit your SEO indirectly.

Track Analytics: Use Quora’s analytics to monitor the performance of your answers and profile. Pay attention to views, upvotes, and click-through rates to gauge the effectiveness of your efforts.

Follow Guidelines: Adhere to Quora’s guidelines and policies to maintain a positive reputation and avoid potential penalties or account suspension.

Promote Outside Quora: Share your Quora answers on your socialmedia channels and website to drive traffic back to your Quora profile and website.

Monitor for Brand Mentions: Keep an eye on mentions of your brand or products on Quora and respond promptly and professionally.

Collaborate & Network: Connect with other experts and influencers in your industry. Collaborate on answers or ask them to answer questions related to your field.

Advertise (Optional): Consider Quora Ads if you have a budget for paid advertising. It can help you reach a broader audience and further enhance your SEO efforts.

Remember that Quora is not solely a marketing platform; it’s a community where knowledge sharing is paramount. Your primary goal should be to provide value and help others genuinely. Over time, these efforts can contribute to improved SEO and brand visibility, as well as the growth of your online presence and authority in your field.

Jordan St. Jacques is the President/Lead Digital Marketer at Digitera.Interactive in Ottawa, Ont., Canada.

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Windy City Bash

Chicago’s North Coast Fest Brought the Big Beats

Bridgeview, Ill. – Nearly 70,000 fans showed up at Chicagoland’s SeatGeek Stadium this past September 1-3 for the 13th annual North Coast Music Festival. Over seven area stages, more than 150 DJs and live electronic acts performed Labor Day weekend.

They included: Marshmello, Duke Dumont, Liquid Stranger, Alesso, Jauz, Gordo, Blond:ish, Zeds Dead, Lane 8, DJ Snake, MK, Elderbrook, Surf Mesa, Flume, Alison Wonderland, Chris Lake, Nghtmre, and Big Gigantic.

It all looked like this: Fired Up: North Coast fest blasts off.

Aaron Bradley

Future Classic: Flume on the stadium stage.

Don Idio

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Colors: Marshmello on the main stage.

Aaron Bradley

Get Ready: Headliner Alison Wonderland.

Josh Skolnik

Warm Inside: Fans crowd The Fire Pit. Marcus McDonald

The Shipyard: Fans get loose at new stage.

Aaron Bradley

Fans & Mascots: We are the robots.

Aaron Bradley

The Vega Stage: Wreckno wrecks it.

Josh Skolnik

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On Fire: Marshmello burns bright.

Don Idio

Down the Aisle: Lab Group at The Vega.

Aaron Bradley

B2B: Big Gigantic X Nghtmre.

Aaron Bradley

G’night: Zeds Dead closes out main stage.

Josh Skolnik

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One System.

Limitless Possibilities.

ILS Command is the new, powerful controller for the Integrated Lighting System! Enjoy unlimited creativity as you create synchronized light shows fast and easy.

ILS Command

Powerhouse Features: • Customized, save, and recall up to 6 presets • Backlit, soft touch buttons that stand out in the dark • Manually control effects like follow spot mode

Discover ILS Command

PLAYBACK

A STEP UP:

Hercules DJControl Inpulse T7

Joy to Use: Motorized platters & an authentic feel.

Buttons & Knobs: Smooth with clean, decisive action.

By Wesley King Over the many years that I’ve been reviewing DJ and studio gear, there have always been certain, predictable constant; those things that just don’t change. And just like a DJ controller or mixer always has a crossfader, Hercules — the DJ brand name of France-based Guillemot — has always played in the entry-level segment of the market, having carved out a unique and apparently successful niche for itself.

So, when I first heard about the DJ Control Inpulse T7, I was a bit taken aback; did I read the specs right? Was Hercules branching out from targeting newbie DJs? While perhaps not as shocking as a DJ mixer shipping without a crossfader, I wasn’t wrong; the T7 is indeed Hercules branching out from its roots. It’s not that the company hasn’t made perfectly serviceable controllers in the past; indeed, they have, and entry-level or not, I’ve tried and liked a fair number of them. But they’ve also had some offerings that seem to cross the line between novel, and just plain kitsch — products it’s been a little tough to take very seriously. And while I respect that they likely know their market better than I do, the T7 took a certain amount of courage to create; just a different type of courage than, say, a set of speakers with LED party lights built in.

The result, however, is as surprising in practice as it was in concept: a DJ controller with motorized jog wheels and full support in Serato DJ, targeted to the middle of the market.

It’s a product I never expected from Hercules, targeting customers I never expected Hercules to go after. And spoiler 38

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alert: they’ve done a decent job of it.

The Basics The DJControl Inpulse T7 is a straightforward two-deck DJ controller with a conventional layout. Larger than any previous Hercules controller I’ve seen — nearly 26-inches wide, and 14-inches deep — it’s also heavier, at roughly 11 pounds. In addition to its motorized jog wheels (more on that later), it sports everything I’d expect of a mid-tier controller, including pitch faders, gain faders, a crossfader (with a selectable curve, and that thankfully can also be disabled), the usual transport controls, eight multicolor backlit performance pads per deck, knobs for 3-band EQ on each side, and effects controls that include both a momentary and lock-in effects paddle switch for each deck.

The T7 also sports LED segment-style level meters for each deck, and for the master.

Reflective of its market niche, the T7 offers dual-sized headphone jacks up front, a mic jack on the back, and dual master outs back there, too — not just RCAs, as I’m accustomed to seeing on Hercules controllers, but XLR connectors as well. With all the bits on top that you’d look for in serious DJ performance control, plus support for the microphone and XLR outputs, Hercules checks all the right boxes for a much broader audience than their typical offerings.

In terms of DJ software, the T7 supports both Hercules’ own DJUCED software, as well as Serato DJ Lite, echoing some of the company’s more recent controller offerings.

“THE T7 IS INDEED HERCULES BRANCHING OUT FROM ITS ROOTS.”

While DJUCED started out a bit clunky in its very early years, Hercules has really honed and improved it over time, turning it into an appealing offering in its own right.

But I think where the T7 really shines is when it’s used with the full version of Serato DJ Pro. The combination of all the software’s advanced features (including real-time stems separation and use), and access to everything you need on the T7 itself, it’s all the tools — both hardware, and software — that the majority of DJs will ever want or need.

All About the Jog Wheels What the DJControl Inpulse T7 is really all about, however, are the motorized jog wheels… or, if you prefer, motorized platters. And while that distinction may be a bit academic, I can see why Hercules itself refers to them as platters; but more on that in a moment.

Call them what you will, the T7’s pair of rotating control surfaces are designed to produce the authentic and unique control feel of turntables in a compact form. Hercules took particular care to engineer them just so, not just motorizing them, but putting speed strobe markings on the edges (which are purely cosmetic in the absence of a light to create the effect), a standard spindle in the middle, and supplying both felt slip mats and vinyl records to install atop both of them. They even turn at the standard 33-1/3 RPM (changeable to 45 RPM when using Serato DJ).

But are they jog wheels or platters?

At first, I favored jog wheels since this is an integrated, all-in-one controller. But pop the small cover off the upperleft corner of one of them, and you’ll see the truth: a drive wheel and the very corner of a drive belt. Unbelievably, Hercules appears to have implemented a completely authentic belt drive system for what I now must fairly refer to as platters.

I suppose that I could make a case that motorized platters are more novelty than practicality, but I think it would be disingenuous. The truth is that motorized platters provide a very unique type of haptic feedback in use; and for specific styles of DJing (notably hip-hop and scratch), they’re practically essential, especially if a DJ cut his or her teeth on actual, old-school turntables. While that’s not my personal DJ background or style, I nevertheless found myself really enjoying the feel of the T7’s platters even for my particular DJ approach (one I learned being a digital DJ from the start).

In creating the T7, and based on the motorized platters alone, it seems Hercules has taken a page from the playbook of a couple of the biggest players in the DJ gear industry, which suggests to me that there are some big shoes

to fill. So how does the T7 stand up to the big names?

Well, without spending weeks or months with the T7, it’s hard to predict how well the hardware is going to stand the test of time, or what it would be like to use the controller day-in, and day-out, in real-world performance environments. But in the many hours I’ve spent with my evaluation unit in my home studio, I’ve come away optimistic about its potential, and impressed with what Hercules has come up with as its entrée into a more-elevated area of the market.

The buttons on the T7 have clean, decisive action; knobs (such as for the EQ) are smooth; rotary encoders (as for the navigation controls) have perfect haptic feedback.

My only quibble is that the sliders (faders, crossfaders, pitch) all have a bit more lateral “play” than I would ideally like; some additional rigidity there would add some confidence in the build. But beyond that minor nit, the T7 has a lot going for it, with all the essentials present and accounted for, along with some notable extras that make using it all the more enjoyable.

“HERCULES CHECKS ALL THE RIGHT BOXES FOR A MUCH BROADER AUDIENCE THAN THEIR TYPICAL OFFERINGS.”

Conclusions The Hercules DJControl Inpulse T7 comes in at a street price that’s just a penny under the $700 mark, making it the company’s boldest play yet to seize a bigger share of the DJ gear market. With authentic, motorized platters and offering the unique feel that comes from having them, the T7 is a joy to use. If someone had taped over the brand names on the T7 and introduced me to it “blind” in a controlled environment, then asked me to speculate on who made it, I don’t think that “Hercules” would have been the answer I’d have come up with.

And perhaps that’s what the company’s R&D team is going for with the T7: to redefine the very meaning of the brand, and to reset expectations in the market. If that is, in fact, what they’re trying to do, then with the DJControl Inpulse T7, it appears they’re off to a good start.

STUDIO SESSIONS

Waves Audio’s

STUDIOVERSE: Mixing Made Easy

By Wesley King Among producers and audio engineers, some of the most critical ingredients for mixing and mastering are audio signal processors. These are generally implemented as plug-ins – small software modules that operate within a DAW (digital audio workstation) or other audio software to provide functionality that models the hardware that was once traditionally used in music production prior to computerization. These include reverbs, compressors, limiters, EQs, delays, filters, as well as myriad other effects, processors, and hybrids.

Because of the importance of these components (due to their direct impact on the final sound of a track), a rather vibrant market for signal-processing plug-ins has emerged over the decades. And while DAWs (like Ableton Live, Pro Tools, Logic Pro, etc.) all come with a wide array of their own signal processors, there are subtle differences in sound shaping between every solution on the market; not every reverb is going to give you the same result, no matter how you set it up.

And just like in the old days when you might have specific brands and models of hardware racked up to get the desired result, these days, most producers and engineers have their tools of choice. This is precisely where companies like the Israel-based Waves Audio comes onto the scene.

For over 30 years now, Waves has been providing one of the most comprehensive and popular collections of signal-processing plug-ins, while regularly coming up with new ways to mangle, twist, shape, and form audio. With so many possibilities, anyone regularly mixing or mastering music obviously comes up with a sound that works for them, and that they tend to re-use and tweak on new projects.

And in short, that’s the idea behind Waves’ new StudioVerse. While it’s discussed almost as if it’s a separate piece of software… in reality, it’s a new concept that builds upon and is an integral feature of the company’s StudioRack product.

Separation & More

What Is It? For those who don’t know, StudioRack is a chain-building tool that allows you to create signal-processing chains using two or more Waves (or other VST3) plug-ins. (A “chain” is merely a series of multiple plug-ins that progressively shape the audio 40

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StudioVerse: Offers multitude of mixing chains.

on a track into a final result.)

Today’s DAWs allow you to create chains within the software, but the advantage of StudioRack is that for people invested in the Waves platform, it arguably makes for better reusability between projects, and even between DAWs. What Waves has done with StudioVerse is to create something genuinely useful for less-experienced producers, while rather smartly increasing the value of the Waves plug-in ecosystem for their entire user base: Creating an AI-powered community for plug-in chains, allowing you tap into proven, pre-made chains for a range of specific sound-shaping tasks, giving newbies something to work with, while allowing even seasoned producers a way to learn from other audio engineers.

What makes StudioVerse powerful is that you can easily find chains based on a wide range of criteria. Looking for a way to give a female pop vocal the feel and crispness it’s currently lacking? There’s a chain for that. Want to give your beats a specific type of punch? There’s a chain for that, too. Looking for the right type of grungy treatment for a specific genre? Easy.

You start by searching StudioVerse. You can do simple text searches, or search and filter by using tags (which includes instruments, genres, processors, and character).

But what Waves is most proud of is its musical AI search.

StudioVerse will listen to the track you’re looking to improve and, using musically trained AI, will suggest plug-in chains that it believes would work well with the material you have.

No matter how you get your results, you can easily audition the chain to see how it sounds, and whether it achieves the creative vision you’re looking for. You can also combine the AI search with tags or text as a way of refining the range of choices at your disposal.

If you find a chain that’s close, but not quite right, you

“WITH STUDIOVERSE, WAVES HAS CREATED AN AI-POWERED COMMUNITY FOR PLUG-IN CHAINS, ALLOWING YOU TAP INTO PROVEN, PREMADE CHAINS FOR A RANGE OF SPECIFIC SOUND-SHAPING TASKS.” StudioRack: Waves’ AI-powered plug-in chainer.

can perform basic tweaks with the pre-configured macros, or dig much more deeply into the chain configuration, and make whatever changes you may want or need, including adding or removing elements — then saving your results for later reuse in your projects. You can also easily share your own chains with the broader community.

How Do You Get It? Of course, the chains in StudioVerse require Waves plugins, which in turn provides a strong incentive for people to sign-up for Waves’ software subscription service, Waves Creative Access, in order to easily have access to them all.

Earlier in 2023, Waves made waves (pun intended) by introducing Waves Creative Access, while removing the traditional “buy once, use indefinitely” perpetual software licensing option for their products. (Waves quickly backpedaled on the controversial change, and again offers perpetual licensing of their products.) I’m personally very much on the record as being strongly opposed to subscription software for music production; I don’t want the ability to edit or work on my creative projects held hostage by the need to pay a fee, basically in perpetuity.

Thankfully, StudioVerse functionality doesn’t depend on a subscription; you can use the functionality with perpetual licensing, but you then need to own a license to the plug-ins used in any of the StudioVerse chains in order to fully use the chain in your project. (They operate in a demo mode otherwise, inserting short audio mutes into your audio until licensed.)

If you’ve embraced the subscription model and have Waves Creative Access, then StudioRack with StudioVerse makes a tremendous amount of sense; it’s a terrific way to get even more value out of the spend, as you can easily apply chains that use Waves components you might not

have otherwise thought to apply in your project, without having to pull out a credit card each time you encounter a plug-in you don’t own in a chain that otherwise works nicely in your project.

In Conclusion I know from my own experience that it can be extremely difficult to get effects and processing chains right; it can be a bit like playing Whac-A-Mole. Having a way to explore other options, investigate ideas, and borrow proven techniques from established producers and engineers makes a lot of sense — especially if you jump between radically different genres or types of projects, as I often have, forcing me to constantly rethink and relearn to get the result I’m after. StudioRack with StudioVerse is an innovative, smart, and fast way to apply proven processing techniques in your projects, and to learn how others put the pieces together.

For those invested in the Waves ecosystem, or those considering it, look at it as a great way to get the most out of your tools.

MOBILE DJ PROFILE

DJ RAPTOR Tackles TikTok & More

By Stu Kearns Baltimore, Md. — Chris Bartosik is the owner of Raptor Productions in Baltimore, and he’s been doing school dances for more than 25 years. A few years ago, he was an early adapter to TikTok, using the video app as a programming device for his job.

But things have changed, as they always do with the school dances and online platforms, and DJ Raptor gave us an earful to get us up to date.

DJ LIFE: A few years ago, kids were going wild for TikTok dances. How did that change the way you programmed events?

Chris Bartosik: Yes, they were, and that was right before COVID took over and kids only had social media and online to communicate. Since then, TikTok videos have gotten longer, and more adults and businesses are using the platform.

I’ve actually gone back to reading chats, getting requests ahead of time, reading the crowd and making sure I have some party favorites.

It’s really how I program when I’m doing a club or pub, I play more for the women. Now they love singing along to songs they know, like “Party Rock Anthem,” “Boy’s A Liar, Pt. 2,” “Love Story,” “Party in the USA,” “Titanium,” “Stay,” “Take On Me,” “Empire State of Mind,” “Baby,” “Last Resort,” “Break Free,” “Starships,” “Mo Bamba,” “Deli,” “I Wanna Rock,” and many more.

DJ LIFE: How did that Covid period impact things?

Bartosik: There was a brief time when kids didn’t know how to act in public because they spent some of their years at home and not in school. I do believe some of that has passed. The only obstacle now will be some lower enrollment in schools for a few years, but that will bounce back, and we’ll have a boom in a few years. They still like some of the linedances, too, which are great in keeping it more fun for all.

When looking at TikTok U.S. Hot 50, there really aren’t that many songs on there I would play at a dance, same with the TikTok Viral. It’s just not like it used to be. Most of what I program is from requests and my experience playing open format locally.

DJ LIFE: Recently, you’ve seen a change. Kids are no longer asking for TikTok-related material?

Bartosik: That really depends on how you look at it. I consider the TikTok-related ones as the ones everyone is using to make a video to. Now it’s more popular songs, which may include some TikTok songs, but I don’t lean on it for the new stuff, like I did before. When I send out a QR code prior to a dance, I might get up to 500 requests. I go through it and play the ones I feel will get the best reaction. I also have weekly club/bar gigs that keep me up to date on today’s music. The girls are all about Sexxy Redd right now and her 42

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B’More DJ: Chris Bartosik (aka DJ Raptor).

song “SkeeYee.” That one goes over really well the last hour of a school dance – of course, I play the clean version.

The way I look at it every child has a phone and access to the music. If we can’t play what they want, then they will go somewhere they can hear it, leaving the dance and probably doing things they shouldn’t. Many of our schools have an attendance of around 90-percent of the total student population. I do put a lot of work into what I’m going to play at schools.

DJ LIFE: When did you notice this, and why do you think it’s happening?

Bartosik: I noticed it a little last year, but wasn’t sure what direction it was going to go, so I didn’t react to it. This year, I definitely tried to stay clear of the short TikTok dances, as that really shows your age. Now keep in mind that my experience is mostly with high-school dances — middle school and younger are completely different in how I program my music. The high-school kids just want fun and popular music they can sing along to. Now that TikTok is getting oversaturated with pretty much everyone and businesses, it’s not as easy to find songs.

DJ LIFE: What’s the best way nowadays to program kids’ events?

Bartosik: I can’t stress this enough: Talk to them and ask them what they want! Of course, all the guys will ask for some of the underground rap or songs that just won’t go over well with dances. But like I stated prior, you play for the females. I also have a good network in my area, and we talked about our sets the next day. Having a network of peers is essential, you can never rely on a magic crate these days. Sometimes we forget about older songs the kids still love, like “Gangnam Style,” “Y.M.C.A.” – a tech-house remix, of course – or many other party favorites. I also like to use some remixes in my sets to keep it fresh and different than the same old songs. I always like to throw out bangers for the last 45 minutes and give the last few some great singalongs.

In Action: Bartosik (R) & Justin Icenroad.

DJ LIFE: What’s your gear set-up?

Bartosik: My set-up includes loudspeakers and subs from RCF and Bassboss – I also have a JTR Captivator 218PRO sub. I use a Pioneer DJ DDJ-1000SRT controller and a Shure ULXD4D wireless system with an SM58 mic. My lighting is a range of Chauvet DJ fixtures – Intimidator Beam 140SR, Intimidator Spot 375Z IRC, Wash FX2, Freedom Par Hex-4. Plus, I have the Avolites Titan control interface. I use Behringer’s X32 Rack Mixer, cases from Gator and ProX. I also use a VMB TE-71 truss lifter, Wegner StageTek staging, and Da-Lite projector screens.

DJ LIFE: You’ve been in the DJ business for a while and have seen many changes. Is the kids’ market more developed now than ever? Tell us why it’s such a big part of your business.

Bartosik: I don’t think it’s more developed as people think. It’s all about educating those who hire you and explaining what you can do and why you do it. I’ve always told the schools the kids may sing some of the bad words, but what I’m playing is clean. We can let them have some fun or we can censor them. I also keep an eye out for crowd surfing and other behavior where the kids could get hurt – that’s something we never want to happen. Many of our school dances we are bringing a stage, CO2, a much beefier sound system, moving-head lighting, and more. I also bring glow items, beach ball, inflatables, and other fun stuff the younger classes can hold on to. I would much rather them hold on to these items than each other.

My goal is to give the kids an experience they will remember, while keeping the school from spending money on decorations that are only going to get thrown away afterwards, like balloons. Balloons are so 1990 and most of the time the kids are going to get them and start popping them any chance they can. Kids today have access to social media and can see concerts, DJs, and other events with tap of a screen. There isn’t any reason we can bring something like this to them. They know DJs like Diplo, Marshmello, Steve Aoki, Sickmix, Dillon Francis, Skrillex, ATrak, David Guetta and more. They don’t expect a DJ to show up with a table with two little speakers on the floor... it’s about providing them with what they can see and hear every day.

DJ LIFE: Are kids smarter now than they were 20 years ago?

Bartosik: That’s really a matter of opinion. I think kids today just have more options and ways to interact. Kids will always be fast learners because they haven’t become set in their ways. They are always learning and, in some ways, learn more about technology. In other ways, they may not know how to change the oil in a car, drive a stick shift or write in cursive.

DJ LIFE: Is the pace of change in kids taste more rapid now than ever?

Bartosik: It does change a little faster when it comes to newer music. But like with anyone, they always like the songs that are associated with happy memories. When I was DJing in the ’90s, we could play some ’50s and ’60s songs and they would know them. Now, it’s some ’90s and 2000s. Social media and movies help to keep some of the classics popular. There are just more outlets for kids to be exposed to music. They are also aware of remixes, and which opens doors as a DJ – we aren’t tied to playing the original of every song.

DJ LIFE: As you get older, do you relate to kids less? Are they more skeptical of you?

Bartosik: I’m definitely not as young as I used to be. I do wonder what these kids listen to these days, but I do remember what I was listening to as a kid and some of the rap back then, like N.W.A, Ice-T, and Too Short, which weren’t exactly family-friendly. I try to give them the opportunity to have input by taking requests ahead of time. I also do some word plays and ticks in my set to keep them on their toes. I also understand that my taste in music isn’t theirs. In the end, it’s all about communication and staying connected with today’s music.

I also make an effort to keep up with my health, so I’m able to bounce around on stage or lead them in a linedance. Several years ago, I started putting on a lot of weight, which prompted me to get that inline. Since I do a lot of schools, I have to look and act the part of a fun DJ. I can’t say I’ve seen any of the big-name festival DJs overweight and unable to get around. Plus, I’m the type of person that isn’t going to ask anyone on my team to do anything I’m not willing to do myself.

DJ BUSINESS

DJ-Company Marketing:

How Efficient Is Yours?

“THE MARKETING EFFICIENCY RATIO IS A METRIC THAT QUANTIFIES THE EFFECTIVENESS OF YOUR MARKETING CAMPAIGNS IN RELATION TO THE RESOURCES

By Joshua Volpe

INVESTED.” In the dynamic world of business, every decision is guided by the pursuit of efficiency and effectiveness. In the realm of marketing, this pursuit is no different.

Enter the Marketing Efficiency Ratio (MER), a powerful tool that has the ability to help DJs and their entertainment companies to streamline their marketing efforts, allocate resources wisely, and achieve sustainable growth.

In this article, I’ll talk a little about what the Marketing Efficiency Ratio entails and how it can revolutionize the way service-based businesses and DJs approach their marketing strategies.

Understanding the Marketing Efficiency Ratio: A Primer The Marketing Efficiency Ratio (or sometimes called blended ROAS – Return On Ad Spend), in essence, is a metric that quantifies the effectiveness of your marketing campaigns in relation to the resources invested. It provides insights into how efficiently your marketing efforts are generating revenue and how well you’re utilizing your marketing budget. Calculated by dividing the revenue generated by your marketing efforts by the total cost of those efforts, MER offers a clear picture of your Return On Investment (ROI).

The Power of MER for Service-Based Companies While MER holds relevance for all types of businesses, it finds its stride particularly well in the realm of servicebased companies and DJs who put together marketing plans throughout the year. Unlike product-based businesses, service-oriented companies often grapple with the intangibility of their offerings. Here’s how MER can work wonders for them: 44

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Tangible ROI Measurement. Services can be challenging to quantify in terms of value generated. MER allows DJs to attribute revenue more directly to marketing campaigns, providing a tangible measure of ROI that can guide decision-making.

Resource Allocation Optimization.

With limited resources at hand, DJs need to ensure every marketing dollar is spent wisely. MER aids in identifying which campaigns are yielding the best results, enabling better allocation of resources to high-performing strategies.

Refined Campaign Strategy. Through MER, DJs can very easily pinpoint which marketing channels, strategies, or campaigns are resonating with their target audience and potential clients.

This insight can empower DJs to refine their approach and focus on tactics that deliver the most impact.

Budget Accountability. MER promotes accountability in marketing spending. By calculating the efficiency of each campaign, DJs will be accountable for their budget utilization and make data-driven adjustments as needed.

Calculating MER: The Process Calculating the Marketing Efficiency Ratio involves a straightforward formula: MER equals Revenue Generated from Marketing Efforts divided by Total Cost of Marketing Efforts.

For instance, if a DJ invests $5,000 in a marketing campaign and generates $25,000 in revenue from that campaign, the MER would be 5 ($25,000/$5,000).

Embracing MER: Steps Forward Integrating MER into the marketing

strategy of an entertainment company requires a thoughtful approach: Data Collection. Accurate data collection is fundamental. Ensure you have a clear understanding of the revenue generated directly from your marketing efforts and the total cost incurred.

Segmentation. Categorize your marketing campaigns to analyze the efficiency of each campaign type. This segmentation can provide deeper insights into what works best for your audience.

Benchmarking. Establish benchmarks for what constitutes a successful MER within the DJ and entertainment industry. This allows you to gauge your performance against industry standards.

Iterative Optimization. As you gather MER data over time, use it to refine your marketing strategies.

Focus on enhancing the efficiency of campaigns that exhibit a higher MER and adjust or discontinue those with lower efficiency.

Conclusions So, what does all that really mean?

In the fast-paced world of DJ entertainment and DJ services, making every marketing effort count is paramount so that clients find you and inquire about your services.

Marketing Efficiency Ratio empowers your business to navigate the complexities of measuring intangible offerings, will allow you to optimize resource allocation, and refines your marketing strategies to be better and stronger.

In short, by embracing MER and the data it provides, DJs can unlock the potential for growth, innovation, and lasting success in a very competitive landscape.

THESE WERE THE TIMES

Congratulations!

HIP HOP 50 YEARS

GEAR NATIVE INSTRUMENTS NORTH AMERICA Germany’s Native Instruments has introduced the Traktor X1 MK3, its next-generation controller for DJs seeking portability and powerful control in a compact footprint. Now with user-definable button color coding, an additional button row, the return of four encoders, and easy customization, the latest version of the unit is new-and-improved with even better accessibility. Features include: five OLED displays which provide information like remaining time, track name, selected FX and FX parameters on the unit; a warning system through indirect lighting which notifies the DJ when a track is about to run out or if it is stuck in a loop; and a powered 3-port USB hub to simplify daisy-chaining of X1s and to better integrate them into a club-standard Pioneer CDJ set-up. Also, each button color can be customized by the user to be able to better identify specific functions in the heat of the moment and, to further reduce the need to use the SHIFT button for performance critical functions, the unit drops the MK2 touchstrip and uses the space to provide an additional row of performance buttons.

6725 Sunset Boulevard 5th Floor Los Angeles, CA 90028 (866) 556-6487 www.native-instruments.com

THIRD STAGE BASSBOSS has released the MK3 series of powered loudspeakers. MK3 brings performance improvements and an enhanced user experience – with an upgraded 96kHz DSP, weatherproof inputs, waterproof power connectors, global power compatibility, and improved amplifier power allocation. Additionally, the new ControlBASS software for easy remote management has been introduced. The upgraded DSP in the MK3 series boasts significantly more processing power. The 96kHz sampling rate is double that of previous generations. Users will immediately notice higher resolution, a lower noise floor, and even greater fidelity. The number of directly accessible preset curves has doubled from 4 to 8, and presets can be easily cycled at the touch of a button with no signal drop-outs. Up to 100 additional on-board presets are available via the intuitive ControlBASS software. A new integrated 2-port networking switch allows for cascaded network configurations for control of multiple cabinets at once. The easy-to-use ControlBASS application, available for both Mac and Windows, enables users to monitor system status, control levels, and update processing options remotely.

BASSBOSS 2620 S. Hill St. Los Angeles, CA 90007 (213) 275-1593 www.bassboss.com

REV IT UP AlphaTheta Corporation’s Pioneer DJ brand has released the DDJ-REV5 scratch-style controller. The 2-channel, Serato DJ Pro- and rekordbox-compatible unit offers authentic scratch experience and features that enable more creative openformat DJ performances. The unit is equipped with large jog wheels for intricate and precise scratching when used with the MAGVEL FADER. Also, the unit’s long tempo sliders run horizontally above the deck sections, while the controller places the Performance Pads and Lever FX in the mixer section to emulate the set-ups preferred by open-format DJs around the world. It also includes unique Stems control buttons for live mashups and remixes to allow DJ to individually play or mute different parts of any track, such as drums or vocals.

The DDJ-REV5 features the first-ever Auto BPM Transition for seamless track mixing over a shift in BPM. This feature smoothly adjusts the tempo of a track over a specified number of beats so you’re totally free when choosing songs and never bound by BPM ranges. And the new Piano Play offers an immersive musical experience where you can trigger a cue point in different semitones, with the changes in pitch arranged on the 16 Performance Pads to recreate the layout of a piano’s keyboard.

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

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MACKIE Mackie has released the latest development from its Thrash loudspeaker series, the Thrash212GO, a 300-watt, battery-powered, 12-inch unit. Designed as a solution for countless set-up challenges (remote outdoor gigs, non-traditional venues with questionable power options, late-running beach parties, etc.), the new speaker has a swappable, rechargeable battery with 10 hours of playtime. At 35.9 pounds, the unit’s portable to carry with four built-in handles and it packs a 300-watt Class D amplifier. The speaker features Bluetooth connectivity for music streaming and stereo linking, so it’s easy to connect two units to a laptop or smart device for a totally wireless, playback set-up that’s ready in seconds.

16220 Wood-Red Road NE Woodinville, WA 98072 (425) 892-6500 www.mackie.com

UPDATED DAW Image-Line Software has released FL Studio 21.1, which includes a number of new features in the DAW. They include faster and more creative note editing with scale snapping and custom note tools in the Piano roll, colored waveforms for better sample management, an extreme chorus plug-in (Hyper Chorus), and AI Declipper in Edison. Also, SliceX is now resizable by dragging the lower-right corner for better visibility and editing of slices and the new External sync mode allows the platform to sync to an external MIDI clock, so that it plays in time to an external MIDI clock source. FL Studio updates are free for existing customers.

Image-Line Software NV Franklin Rooseveltlaan 348 D B-9000 Gent Belgium www.image-line.com

GOT YOU COVERED Decksaver, distributed Stateside by Mixware, has released 13 new gear covers for DJs and producers. These precision-molded covers are designed to shield gear from dust, spills, and scratches, ensuring they stay in pristine condition. For the DJ community, Decksaver has unveiled protective covers for the Denon DJ SC Live 2 standalone system and the Headliner R2 2-channel rotary mixer. For enthusiasts of Ableton’s Push 3 controller, there are covers tailored to enhance the ownership experience. Additionally, for those who embrace the innovative, Roli Seaboard 2 and Rise 49 keyboards are covered, too. For synth aficionados, Decksaver now has custom protective covers tailored specifically for the Roland SH-4D, Roland AIRA Compact E-4, Roland AIRA Compact S-1, T-8, and J-6 models. Additionally, covers are available for the Dreadbox Hades, Erebus, and Numphes synths, plus a range of Erica Synths, including the LXR-02 and Bassline DB-01. With the 13 new products, that brings Decksaver’s range to more than 400 covers.

Decksaver/Mixware 11070 Fleetwood St., Unit F Sun Valley, CA 91352 (818) 578-4030 www.mixware.net

GEAR

SKETCH, PLEASE… Avid has released Pro Tools Sketch, a new non-linear, clip-based creation tool in Pro Tools software that is also available as a free iPad app.

Pro Tools Sketch enables creators to quickly capture new ideas and freely experiment with concepts and songs, and find inspiration with a massive library of free loops, virtual instruments and effects. Users can start with clip-based sketches in which loops, MIDI and recordings can be freely organized and played, and then exported to be shared. Sketches can also be moved to the Pro Tools timeline for further production using its world-class editing and mixing tools. And since sketches can be moved between computer and iPad at will, users can capture and play with ideas anywhere inspiration strikes. While the Pro Tools Sketch iPad app is available for free to anyone via the Apple App Store, the Pro Tools 2023.9 update is now available to all Pro Tools customers on an active subscription or perpetual license with a current Software Updates + Support Plan, as well as all users of the free Pro Tools Intro application.

Avid 75 Network Dr. Burlington, MA 01803 (978) 640-3000 www.avid.com

PRESONUS AUDIO ELECTRONICS Fender brand PreSonus has released a new line of Eris Studio Monitors that are available in three distinct tiers – Essential, Studio, and Pro. This tier system ensures that any creator – from casual bedroom songwriters to passionate audiophiles to professional audio engineers working in topof-the-line studios – will be able to utilize this new product evolution to further their craft. Although not considered a tactile instrument, reference monitors are a crucial part of any studio set up and signal chain. With that being the case, the Eris Studio Monitors have been thoughtfully crafted with enough finesse and functionality to ensure that whether recording, producing, or mixing, they will provide a premium monitoring solution for creators at every level.

18011 Grand Bay Court Baton Rouge, LA 70809 (800) 856-9801 www.presonus.com

GET FOCUSED England’s Focusrite, distributed Stateside by American Music & Sound, has introduced Scarlett 4th Gen, a new range that features the Solo, 2i2, 4i4, Solo Studio, and 2i2 Studio, offering greater audio specifications, enhanced creative capabilities, and unprecedented ease-of-use. The new Scarlett range boasts better specs than any previous generation of Scarlett. Key features include Auto Gain, Clip Safe and a re-engineered Air mode, cementing its status as a giant leap for the acclaimed range. New features include: 120dB dynamic range, using converters from our flagship RedNet range; remote-controlled preamps with 69dB of gain for great sound from any mic; re-engineered Air mode with Presence, and all-new Harmonic Drive; Auto Gain automatically sets the perfect recording level; and Clip Safe monitors recording levels and automatically adjusts the gain to prevent clipping.

Focusrite/American Music & Sound 310 Newberry Rd. Bloomfield, CT 06002 (800) 431-2609 www.focusrite.com 48

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BUNDLE UP Native Instruments has released the Music Production Suite 6 software bundle featuring Ozone 11 and Nectar 4. This comprehensive plug-in bundle, which includes more than 30 plug-ins across NI, iZotope, and Brainworx product lines, speeds up and simplifies modern audio workflows, from first take to final mix. Music Production Suite 6 leverages AI-powered processing to provide a customized starting point for every step of the creative journey, from balancing levels and effects to the final mastering polish. Additional plugins include: Guitar Rig 7 Pro; Neutron 4; RX 10 Standard; Neoverb; Tonal Balance Control 2; Insight 2; VocalSynth 2; Audiolens; Exponential Audio Immersive Reverbs; Brainworx Creative Mixing Set; and Native Instruments effects.

Native Instruments North America 6725 Sunset Boulevard 5th Floor Los Angeles, CA 90028 (866) 556-6487 www.native-instruments.com

PAR FOR THE COURSE ADJ has released the Encore LP12Z IP LED par can, a versatile luminaire that’s ideal for rental, production, and events applications. The unit offers brightness with lime-infused LEDs, motorized zoom for easy beam angle changes, a robust IP65-rated casing that can be used anywhere, an inbuilt wireless DMX transceiver for ultimate flexibly, and a heavy-duty scissor yoke that can be used either as a hanging bracket or floor stand. The unit is powered by 12 potent 20-Watt quad color RGBL LEDs, which deliver a combined output of up to 4400 lumens. 16-bit precision dimming control of the red, green, blue and lime LED chips allow for the creation of a huge gamut of output colors, while easy selection of popular options is facilitated via 64 preset macros.

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

UNIVERSAL INTERFACE Universal Audio has released the Apollo Twin X USB audio interface. The unit gives Windows-based producers audio conversion with the tone, feel, and flow of analog recording and lets you record through preamps from Neve, API, Manley, and more. Features include: Desktop 10 x 6 USB 3 audio interface for Windows with 24-bit/192 kHz audio conversion; UAD-2 DUO Core Processing for tracking through vintage compressors, EQs, tape machines, mic preamps, and instrument amp plug-ins with nearzero latency, regardless of audio buffer size; Unison technology offers models of classic tube and transformer-based preamps, instrument amps, and stompboxes; built-in talkback mic for communication with studio talent and recording slate cues; Improved monitor functionality including Mono, Mute, DIM, and ALT monitor controls; and more.

Universal Audio 4584 Scotts Valley Dr. Scotts Valley, CA 95066 (831) 440-1176 www.uaudio.com

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GEAR

GET YOUR PSY KICKS G-Sonique has released PsyKick AK1 (64bit native version and VST3), a kick-drum generator/synthesizer that can used for production in all electronic music styles, including psytrance, Goa trance, and dark psy genres. Features include: two generators/oscillators with 21 types of kick drums; two fully customizable exponential (analog style) envelope followers to set any type of pitch deformation of kick oscillator; special analog-style bass boost, as well as transient/ treble exciter to get sharp kick-drum sound; nine filters; treble/transients enhancer to get right click and high frequency energy; graphical multi-stage amplitude envelope; and preset manager with more than 40 psy kick- drum presets.

G-Sonique Digital Instruments Holubyho Street 921 01 Piestany Slovakia www.g-sonique.com

COMPACT SYNTH Germany’s Waldorf Music, distributed Stateside by Korg USA, has released the Iridium Core. The high-class synthesizer in a compact desktop form factor features the full Iridium synth engine, providing 12-voice polyphony (including two-layer set-ups) while retaining patch compatibility with other Iridium variants, as well as Quantum and Quantum MK2. Weighing 4.85 pounds, Iridium Core’s attractive all-metal enclosure merely measures 13.6- x-7.9-x-2.5-inches, making for a rugged, road-ready creative companion that fits into laptopsized bags and carry-on baggage while leaving enough space to also accommodate other devices for performance purposes.

Waldorf Music/Korg USA 316 S. Service Rd. Melville, NY 11747 (631) 390-6800 www.waldorfmusic.com

START YOUR ENGINE Engine DJ, an inMusic Brand, has released Engine DJ 3.2 performance software for hardware, which includes new features, improvements, and fixes. New features include: Day Mode, a new daylight-optimized UI theme; Fuzzy Key Mixing, a matching option that allows key syncing to the closest compatible key instead of the same key, minimizing potential large jumps in pitch; FX Select, a new effect select menu for both Main and Touch FX allows for fast and easy effect selection by touching the effect name on the touchscreen; and Flex Gate FX, a new and improved gate effect with various gate types that synchronizes to the track’s phase. Also, Numark Engine DJ devices can now switch between Isolate and Normal mixer EQ types.

Engine DJ 200 Scenic View Dr. Cumberland, R.I., 02864 (401) 658-3131 www.enginedj.com

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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

L igiveabeat F giveabeat

Give a Beat’s mission is to use the power of music as a pathway to healing and opportunity for those impacted by the criminal justice system.

I GIVE A BEAT PATREON MEMBERSHIP Be a champion for the transformative power of music while promoting social justice become 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

Mousse T

“I’m Ready” (Mousse T Remix) Kano Full Time Production Originally released in 1980, this oftsampled Italo-disco hit gets a new rerub from Germany’s finest, Mousse T. Dropping most of the vocals, and refining the best elements of the music, this is without doubt one hot remix to hunt down.

– Curtis Zack

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John Course

“Keep On Tryn” Barbara Tucker pres. The BCrew B Star Music Group Sassy, soulful and plenty pumpin’, this Neil Pierce-produced vocal-house cut delivers plenty of harmonious gospel affirmation. For more rollicking rhythms, check “The Booker T Extended Remix” and “The Deep Soul Syndicate Extended Vocal Mix.” Righteous.

– Jim Tremayne

“What Am I Gonna Do?” John Course feat. Emily Williams Vicious Label co-owner John Course delivers a chunky, yet funky release that warrants attention. A big bassline and killer vocal from Emily Williams combine for a bigroom number that delivers the goods.

– Curtis Zack

54

“Delicious One” Sammy Deuce Tropical Disco Full-on disco is the order of the day on this latest release from the Tropical Disco stable. String-heavy with old-school vocals, this bompin’ track offers a combination to get any dancefloor rocking.

– Curtis Zack

The BCrew

“The Calling” Sister Pearl Dafia DJs get a whole heap of mixes to select from here on the latest release from Dafia. Label head honcho Mannix supplies a driving house groove, while Opopolo does what he does best and turns the funk level up to 10.

– Curtis Zack

Sammy Deuce

TRACKS

“Wanting You” (Richard Earnshaw Remix) Mannix feat. Pete Simpson Duffnote You know what you are getting with each Duffnote release, and this is no different – it’s quality. Richard Earnshaw delivers a classy remix built around a boogie bass, synth chords and a classic soul vocal.

– Curtis Zack

Random Soul

“Musical Freedom” Soul Avengerz & Adeva Fool’s Paradise Continuing the awesome start for Mark Knight’s fledging label, Soul Avengerz (aka Paul Gardner) gives his take on the Paul Simpson/Adeva classic from 1989. It still contains the fine piano hook of the original, but has a 2023 vibe for modern-day dancefloors.

– Curtis Zack Loulou Players

Mannix

“Human Wave” (DJ Fudge Remix) Afromento Soulfuric Originally released nearly two decades ago and one of the lesser well-known Soulfuric tracks, “Human Wave” gets a welcome re-rub courtesy of DJ Fudge. Funky, deep and dirty, this is a genre-spanning track that should see support from across the board.

– Curtis Zack

Soul Avengerz

TRACKS

“Don’t Tell Me” Loulou Players Loulou Records Belgium’s LouLou Records celebrates its 300th release with principal artist LouLou Players. With releases on labels such as Flashmob, South Of Saturn, Too Many Rules, Nervous, Kittball and Warung Rec, this guy really delivers the business on his own label with a deep and funky vocal house track. Superb.

– Joe Berinato

“Hypnotize Me” (2023 Rework) Random Soul Random Soul Recordings Aussie production duo Random Soul revives a tune from 2011 and it sounds just as fresh as if it were a soulful house tune released today.

Throw in a couple of modern takes from fellow Aussies Knight Horse and James Alexandr and you get a NuDisco/Boogie twist with an added uptempo version for clubland.

– Joe Berinato VOL.3 NO.5

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Compiled As Nov 15, 2023

CLUB PLAY CHART

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

National Latin Dance Pool Chart

National Crossover Pool Chart 1 Dua Lipa Dance The Night 2 Kylie Minogue Padam Padam 3 Allegra Round & Round 4 Jain Makeba 5 Peggy Gou (It Goes Like) Nanana 6 Calvin Harris & Sam Smith Desire 7 Troye Sivan Rush 8 Taylor Swift Cruel Summer 9 Olivia Rodrigo Vampire 10 Luke Combs Fast Car 11 Doja Cat Paint The Town Red 12 Switch Disco & E Henderson React 13 Selena Gomez Single Soon 14 The Weeknd, Madonna, Playboi Carti Popular 15 Jung Kook F/ Latto Seven 16 Kristine W

By My Side 17 David Guetta & La Bouche Be My Lover 2023 18 Alok & Ava Max Car Keys (Ayla) 19 Morgan Wallen Last Night 20 Nicki Minaj F/ Ice Spice Barbie World 21 Supreme Beings Of Leisure My Ibiza 22 Rema & Selena Gomez Calm Down 23 Meduza F/ Sam Tompkins & Em Belhold Phone 24 Rita Ora You Only Love Me 25 Sam Smith & Madonna Vulgar 26 Joel Corry, MK & Rita Ora Drinkin’ 27 Tate McRae Greedy 28 Fisher F/ Aatig Take It Off 29 Lil’ Durk f. J. Cole All My Life 30 Aluna, Tchami & Kareen Lomax Running Blind 31 Kim Cameron Home 32 Pretty Poison, Jade Starling F/ Lee Dagger Place In The Sun 33 Felix Cartel & Daya Love You More 34 Kylie Minogue Tension 35 Loud Luxury, Two Friends, Bebe If Only I 36 Tiesto F/ BIA, 21 Savage Both 37 Sir Ivan Love Is All Around 38 Bebe Rexha & David Guetta One In A Million 39 Olivia Rodrigo Bad Idea, Right?

40 Fifty Fifty Cupid

Atlantic BMG Radikal Columbia Beggars Group Columbia EMI Republic Interscope Columbia RCA Ultra Interscope Republic Interscope Fly Again Nitron Sony Republic Atlantic Leisurephonic Interscope Republic BMG Capitol Warner RCA Atlantic Alamo Mad Decent Side Fx Tazmania Physical Presents BMG Armada Atlantic Peaceman Warner Interscope Warner

1 Gary Vera Y Bomplenea Salsa Y Sazon GV 2 Riverita Y Si Orquesta Noche Caliente Versos Del Amor Jibaro Prod.

3 Jessi Campo Get Into Your Heart (DJ Cubanito Mix) Javi Prod Group 4 Lios Choko El Negro Sabroso On Top 5 Albert Mendez Pensando En Ti AMRD 6 Tony Fuego Chicolin Chicolon TF Media 7 Adriel Gonzalez Y Herman Olivera Hecho Y Derecho Mojica Music 8 Orq. Yare feat Julio Cesar Ruiz Los Gustos Cnn Media 9 Yolanda Duke Ya No Vives En Mi Amigos Music 10 Juan Luis Guerra Mambo 23 Rimas 11 Anuel AA x Quevedo x Maluma x Mambo Kingz OI HTM 12 Prince Royce Me Enrd Sony 13 Nino Segarra y Luisito Carrion Que Me Toquen Salsa Opus Music 14 DJ Masquerade Christmas Latin Dance Party Vol. 2 J&N 15 Shakira Acrostico Sony 16 Beto Collado Mi Funeral MP 17 Karol G Qlona Bichota/Interscope 18 La Banda Gorda x Juan El Talento Cuidao Con El Romo LOMG 19 Pequeno Johnny & Anthony Almonte Lady Casanova LJR 20 David Cedeño Have I told You Evelyna

Most Added Tracks 1 2 3 4 5 5

Farina, Nacho & Rafa Pabon Venesti x Maffio x Nacho Sofia Reyes Y Beele Oscarito Omega Son De Isla Verde feat Luigi T.

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

Tamos Claro No Es Normal Cobarde Atrevete Son Pinocho Mi Salsa

Saban Music AP Global\SDS Warner Flame/LOMG Alegro/Planet SDIV

■ 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

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

Kylie Minogue Tension Jung Kook f/ Jack Harlow 3D Timbaland / N. Furtado / J. Timberlake Just Keep Goin’ Up Tate McRae Greedy Zara Larsson & David Guetta On My Love Olivia Rodrigo Bad Idea, Right?

Tiesto F/ BIA, 21 Savage Both Bebe Rexha & David Guetta One In A Million Miley Cyrus Used To Be Young Vassy Krazy

REPORTERS ■ Gary Canavo ■ DJ Sticky Boots ■ The Dance Environment ■ Manny Esparza ■ Howard HK Kessler ■ Randy Schlager ■ DJ Ilan Fong ■ Michael Cerchiai ■ DJ Spawn ■ Chris Egner ■ Peter K. Productions ■ Alan Chasen

masspooldjs The HyperMiXx What’s In-Store Music Nexus Radio In The Mix With HK KNHC 89.5FM Multiple Pod Casts House Of Pride Radio Mix 93 FM Victors Peter K OMAP

BMG Interscpoe Def Jam RCA Epic Interscope Atlantic Warner Columbia Spinnin’ Saugus,MA Syndicated Los Angeles, CA Chicago,IL Syndicated Seattle, WA Columbus, OH San Francisco, CA Los Angeles, CA Milwaukee, WI Syndicated Washington, D.C.

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