Just as the legendary K Series quickly became the New Standard for powered loudspeakers, the K Column is destined to forever elevate customer expectations from a column loudspeaker. It’s the perfect combination of sleek and stylish design, coupled with the acoustic performance of a high output, high fidelity loudspeaker system.
· 3000-watt Power Amplifier
· QSC LEAF™ Waveguide (first introduced in the L Class line array)
Miami, Fla. – Build up your stamina, club kids and industry peeps, because Miami Music Week is right around the corner.
Running March 25-30 at various venues all over the Miami metro area, the week will include a slew of sponsored, DJ-led parties and events, the annual Ultra Music Festival, the EDM Awards, and the return of Winter Music Conference.
As always, DJ LIFE will be there to take it all in – the schmoozing, the clubs, and now the WMC industry sessions.
Winter Music Conference: Ready to run for the first time since 2019, the venerable WMC returns March 26-28 at the Eden Roc Hotel in Miami Beach with a schedule that includes seminars, awards, and plenty of schmoozing, if not an exhibition hall for this particular edition.
Panel topics are unknown at presstime, but the sessions will include plenty of dance-music-industry types, plus participation from top DJs like LP Giobbi, Laidback Luke, Aluna, Sydney Blu and more. Sessions will run March 26-27, then WMC will present its International Dance Music Awards on March 28, in conjunction with the EDM Awards.
EDMAs: Beginning at noon on March 28 at the Eden Roc pool, the EDMAs will be presented by event founder, Sean “Hollywood” Hamilton of IHeartRadio. The awards for a wide variety of categories – DJs, songs, remixes, artists, clubs, etc. – will be bestowed to some of the industry’s top names, with each trophy in the form of a distinctive Pioneer DJ CDJ-3000 player. In addition, yet-to-be-named winners will play surprise sets for a day-long pool party.
“We have the most insane surprise lineup we’ve ever put together,” says Hamilton. “I can’t reveal who’s performing, but let me tell you, when the first surprise artist hits the stage, you’re going to lose your mind.”
For this industry-invitation event, WMC 3-day badgeholders and Eden Roc guests will be admitted. For others interested in free admission to the EDMAs, please visit here.
Ultra Music Festival: Set for March 28-30 at Bayfront Park in Downtown Miami, UMF will blast off with some of the EDM’s biggest talents. With more than 130 DJ/artists playing on 13 stages, UMF – celebrating its 25th anniversary – is expected to
draw over 165,000 fans for the event’s three days.
Artists booked for Ultra fest include: Above & Beyond, Alesso, Martin Garrix, Axwell, Armin van Buuren, Gesaffelstein, Skrillex, Subtronics, Gryffin, Tiësto, Dom Dolla, John Summit, Pendulum and deadmau5.
On Ultra’s decidedly more underground Resistance Stage, artists include: Adam Bayer, Joris Voorn, Josh Wink, Richie Hawtin, Four Tet, Miss Monique, Boris Brejcha, Carl Cox, Dubfire, Mau P, Nic Fanciulli, Patrick Topping and Charlotte de Witte.
Club & Pool Parties: At presstime, there were numerous announced events spread all over the Miami area. Some top picks:
Danny Tenaglia’s Hard & Soul Miami party at Kimpton Epic Hotel on March 28 will include sets from Tenaglia himself, plus Tony Humphries, Cassy, Harry Romero B2B Cevin Fisher, George Vidal, and Alain Lopez. On March 29 at The Sagamore South Beach, Tenaglia will celebrate 50 years on the decks with Nicole Moudaber and Jonathan Cowan.
Trance titan Markus Schulz’s open-to-close set on March 29 at MAD Club in Miami’s Wynwood section should see plenty of late-night action.
The Toolroom Pool Party at The Surfcomber on March 30 will go for 11 hours and present a lineup that includes label chief Mark Knight plus Sidepiece, Matroda, Darius Syrossian, Gene Farris, Cassimm, Danny Rhys and more.
For the latest MMW events, please visit www.miamimusicweek.com
Ultra Music Fest: DJ-driven madness. Alive Coverage
The EDMAs: A star-studded event.
Party People: DJ fans set to go off.
IN THIS ISSUE
In the Studio With…
Sound Bites
10
Anchors Aweigh
For Groove Cruise ’25, EDM’s Top Jocks Soundtracked a Caribbean Voyage By
Groove Cruise Photographers
Desert Beats
28
Trayze
Gabry Ponte
For Goldrush Festival, Relentless Beats Fills the Phoenix Raceway with Top Talent Images by Luis Colato
Jim Tremayne
Jim Tremayne
TOP ROCK JOCK REVISITED
Believe it or not, our connection to Joe Hahn, Linkin Park’s DJ, goes way back. In 2000, when the dynamic rock act released its debut, Hybrid Theory, we ran a lengthy interview with Mr. Hahn, who offered useful tips and unique perspectives on being a successful band DJ. Lotsa turntable talk, lotsa Vestax, very Y2K-era stuff.
Little did we know that, on the strength of singles like “One Step Closer” and “Papercut,” Hybrid Theory would become one of the best-selling debut albums of all time, eventually moving over 32 million copies worldwide. (Of course, that was back at a time when people actually bought physical copies of music… but that’s another story.) We caught up with Hahn again in 2010 while the band was touring behind A Thousand Suns, and we updated his moonshot career.
Since then, Linkin Park has endured an unspeakable tragedy with the 2017 death of its powerful singer Chester Bennington. Nonetheless, after a long hiatus, Linkin Park has soldiered on with a new singer, Emily Armstrong, a new drummer, Colin Brittain, and an impressive new album, From Zero. And once again, we connected with Hahn to discuss his place in the band, the challenges it has faced and, of course, his technological evolution onstage and in the studio.
This being the first issue of the new year, we bring our annual report from the Winter NAMM show in Anaheim, Calif. Not only did we get first looks at new products expected to impact the DJ world – playback, PA, lights, accessories, studio, etc. – we got to network and schmooze with the industry’s movers and shakers. Plus, we got to catch several impressive DJ sets from the likes of Laidback Luke, The Beat Junkies, and DJ Shortee’s “Scratch Like a Girl” crew. And, as always seems to happen, we had at least one booth appointment delayed due to a visit from the legendary Stevie Wonder and his imposing security detail. Higher ground, indeed.
January was also the time for Groove Cruise, which set sea from Miami to Haiti and back and presented 96 hours of non-stop music on 13 stages featuring talents like Eric Prydz, James Hype Markus Schulz and Nicole Moudaber. Our photo spread takes you there. Also, in this issue, we look back at Arizona’s Goldrush Festival. Presented at the Phoenix Raceway this past October by Relentless Beats, the event featured Alesso, The Chainsmokers, SLANDER, and many more.
In our Sound Bites section, we re-connect with Trayze (aka Matt Alexander), the D.C.based turntablist who has pivoted from the battle scene to the studio world. Also, we visit with hitmaking DJ/producer Gabry Ponte, who has become Italy’s top-streaming DJ, and is looking forward to rocking his own stadiums in Europe.
On the tech front, our Wesley King handles a trio of reviews. For Playback, he takes on AlphaTheta’s XDJ-AZ all-in-one unit and OWC’s Envoy Series of solid-state storage devices. For Studio Session, he reviews Native Instruments’ Komplete 15 music-production bundles. Also, for Club Spotlight, we took advantage of our week at Amsterdam Dance Event to visit The Other Side, a unique nightclub with spatial-sound from L-Acoustics.
On the mobile front, Jordan St. Jacques discusses new methods of prom marketing. And in Mobile DJ Profile, we visit with Orlando’s Charles Miles, who has taken mobile music to a new level with his fleet of tricked-out, DJ-rigged vehicles.
Of course, this issue also presents new info on DJX ’25. Set for Aug. 11-14 at the Hard Rock Hotel & Casino in Atlantic City, N.J., DJX will bring the DJ industry together with its unique combo of exhibits, education, and events. For the latest info, please visit www.djxshow.com. We hope to see you in August on AC’s Boardwalk!
Cheers,
Jim Tremayne
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. Greg Hollmann, Danielle Johnson, 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
director of sales 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
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.
Atlantic City, N.J. – The dates are in place and the announcements are starting to filter out.
The 2025 edition of DJX – the largest, longest-running, and most-impactful gathering of DJs in the Americas, the premier event that has shaped the industry since 1990 – is set for August 11-14, returning to Atlantic City’s Hard Rock Hotel & Casino . Presented by DJ LIFE magazine and Hazan Media Group (HMG), it promises to be the most exciting DJX experience to date.
This year, DJX celebrates its 35th Anniversary , an occasion that will reflect on the groundbreaking legacy that has brought the DJ community together, while also embracing the future. Accordingly, the theme for DJX ‘25, aptly titled “COME TOGETHER,” embodies this spirit, blending the past, present, and future into a single, visionary event
showcases, and immersive activations that set the stage for the future.
What’s New: DJX is reinforcing its commitment to wellness and safety, highlighting that DJs are not merely entertainers, but also vital leaders within their communities – even lifesavers in critical situations. So, at DJX on Aug. 14, attendees can take a vital step towards becoming CPRcertified, empowering themselves to respond effectively to cardiac and choking emergencies when every second counts.
At DJX ’25 , attendees can expect a robust vendor lineup on the showfloor, 30-plus seminars and keynotes, sponsored After Dark events, Session Two of THE EDIT, Sunset Sessions, new Master Classes , Season 3 of the nXt Summer Camp, gear
Join us for “CPR for DJs,” an engaging four-hour course led by DJ Rachel Lynch, a certified American Red Cross instructor and Connecticut State EMT. This comprehensive American Red Cross training will cover essential CPR techniques for adults and children, the proper use of Automated External Defibrillators (AEDs), and effective strategies for managing choking emergencies. To ensure personalized attention, class size is limited to 20 participants. For the latest information, please visit www.djshow.com.
TOOLS TO DJ
TOOLS FOR LIFE
More than a DJ camp—this is where the next generation of talent finds its voice.
nXt Summer Camp @ DJX is an immersive, hands-on experience designed for aspiring DJs ages 7-20, offering three days of expert-led training, mentorship, and inspiration at the industry’s most influential gathering.
Rachel Lynch: American Red Cross instructor.
A curated expansion to the DJX floor, exclusive to the studio and music production category. It builds the bridge and creates opportunity between DJs and Producers.
THE EDIT covers everything from DAWs to desks, mics to monitors, software to storage, plug-ins to preamps, and computers to cables. From bedroom setups to dedicated home and semi-pro studios, THE EDIT has you covered.
GABRY PONTE: EDM
Gabry Ponte has a music career now spanning over 25 years.
As a Grammy-nominated, multi-platinum DJ/producer, over the last decade Gabry Ponte has become an electronic-music mainstay. The Italian talent has since garnered over 5.5 billion streams and nearly 18 million monthly listeners on Spotify. Such a feat has placed him as the No. 1 streamed DJ in Italy, and one of Italy’s most-streamed Italian artists (alongside Måneskin and Meduza).
As one of the founding members of Eiffel 65, Ponte produced the 1998 smash-hit “Blue (Da Be Dee),” which earned a Diamond certification and sold over 8 million copies, gaining a Grammy nom for Best Dance Recording. Fast forward to 2022, and David Guetta & Bebe Rexha went on to earn their Grammy in the very same field with their modern-day reworked rendition, “I’m Good (Blue).”
Following the days of Eiffel 65, Ponte began a solo career, achieving success with early collaborations and remixes by 2013. Since then, he’s made 30 Platinum and 18 Gold records, including top-tier collaborations with the likes of LUM!X (“Thunder” and “Monster ”), Aloe Blacc (“Can’t Get Over You”), Timmy Trumpet & R3HAB (“Call Me ”), Georgia Ku (“The Finger”), as well as Steve Aoki, Blasterjaxx, Vini Vici, and many more.
To start the year off strong, he joined forces with DJs From Mars on the track “Deep Fear,” which was released on Ponte’s very own Pentaphonia Records. And there’s much to anticipate in 2025, including providing the official event anthem, “ Tutta L’Italia” (Sanremo 2025)” for the 75th Sanremo Festival, so DJ LIFE caught up with Ponte, 51, to discuss it all.
DJ LIFE: How did you get your start in music?
Gabry Ponte: I was around 16 when it all started in Turin,
Italy. I began by recording mixtapes and I brought dozens of those cassettes to all of the clubs in my hometown until one of them believed in me and gave me the chance to play every now and then. Then I started hanging out at a new recording studio, where I learned how to make music. There, I met and started working with those who would eventually become the other members of Eiffel 65.
DJ LIFE: Was there a moment when you realized that music was your future?
Ponte: From the very beginning, my passion for music was overwhelming and all-encompassing. I knew right away what I wanted to do in life, but I didn’t know if I would succeed. Back then, there was no such thing as “superstar DJs.” We were the first generation of DJ/producers. I remember the first time I entered a club, I was fascinated by the role of the DJ. To me, the DJ was like the puppeteer with the people tied to his chords like the marionettes, moving and dancing according to his rhythm.
DJ LIFE: Did your upbringing contribute to your pursuit of music?
Ponte: Not really, I never studied music in the first place, or anything related to art or entertainment. But at the end of high school, when I still had no certainty that I would be able to make a living as a DJ, I had to choose a university and eventually enrolled in physics. The passion for physics is somehow connected to music which, although the result of inspiration and creativity, is still mathematics – just ask Bach! Studying physics has provided me with many tools to deeply understand production, sound, and how to manage and control the waveforms of music, as well as sound modulation with synthesizers.
transitions for hours, and I remember it would take me days to record one single 60-minute mixtape. I didn’t care – I just wanted to be perfect.
DJ LIFE: How has your DJ set-up changed since you started?
Ponte: My set-up has evolved significantly. The first console I played with consisted of the two Technics 1210 turntables and one Outline mixer, a very popular unit back then. Then I went through all models and generations of CDJs, starting from the iconic Pioneer DJ CDJ-500. But that one was a nightmare to use live, I remember, because of the vibrations the CD was often skipping. The turning point was the Pioneer CDJ-100S. Currently, I perform using three Pioneer CDJ-3000s and a Pioneer DJS-1000 sampler. However, I like to experiment by incorporating new gear and testing different combinations. It’s a great way to stay creative.
DJ LIFE: And your evolution with studio gear?
Ponte: When I started producing, I was making music with a software called Notator running on an Atari and an Akai S1000 sampler, but everything has evolved in ways I couldn’t have imagined. Today, I use mainly Ableton Live because it fits my workflow and creativity. I also love working with analog Roland gear like the TB-303, the 909, and I recently bought the
DJ LIFE: As a founder of Eiffel 65 and producer of “Blue (Da Ba Dee),” what was your initial reaction to hearing David Guetta and Bebe Rexha’s take, “I’m Good (Blue)”?
Ponte: He told me in-person that he had recorded that bootleg together with Bebe Rexha many years before he eventually decided to release it. Many have attempted remixes or reworks of “Blue,” but not all of them managed to capture its essence. And I know that is not easy at all! However, when I heard Guetta’s version, I immediately realized he had nailed it. I immediately thought it was a masterpiece.
DJ LIFE: Tell us about your label Pentaphonia Records and the vision behind it.
Ponte: Pentaphonia was created to establish a space of pure creativity and freedom for releasing tracks designed for clubs and live performances. Soon, in addition to my own releases, we will have releases from top artists who are expressing the sound we currently love the most.
DJ LIFE: You’ve just released your single “Deep Fear” alongside DJs From Mars on the label. How did this collab come together?
Ponte: “Deep Fear” [by Sidekick in 2008] is an iconic club classic, and I had wanted to pay homage to it for a long time. Needless to say, when my friends DJs From Mars came to me with the same idea, I started working on it right away with them.
DJ LIFE: What can you tell us about your early days as a DJ?
Ponte: I started recording mixtapes in my bedroom, but the professional equipment – my technics 1210 turntables – was very expensive, and I couldn’t afford it so and only one of my two turntables had the pitch control, so I was working on the
JUNO-X, the modern version of the iconic JUNO-106 I used to use. One of my favorite plug-ins is [Xfer Records] Serum.
DJ LIFE: Do you have any pre-show rituals?
Ponte: Well, before a show I like to stay alone, in silence to concentrate and to organize my playlist in the backseat of the car or inside the dressing room backstage. I still feel a bit anxious before every set, no matter how big the venue is.
DJ LIFE: Tell us about your recent single, “Tutta L’Italia,” that was released as the official anthem for the Sanremo Music Festival.
Ponte: Throughout my career, one of the things I have cared about most is trying to bring people together, to bring them closer, this has translated into making them dance together. “Tutta L’Italia” is this. Having it chosen as the official anthem for Sanremo, a festival that has united Italians for 75 years, is deeply moving for me.
DJ LIFE: And how does it feel to be the first-ever DJ to headline Milan’s famous San Siro football stadium this coming June?
Ponte: It’s an incredible honor! I’m beyond excited and can’t wait. The energy is building up, and I’m sure the fans who have already secured their tickets feel the same way. It’s going to be a night that will be hard to forget!
DJ LIFE: What can do you have in store for San Siro Dance?
Ponte: Honestly, I did not start working on the show yet, but I can’t believe that it’s almost sold out and I try to imagine how 55,000 people in front of me will make me feel. I’ll put 110-percent into it to make it something unique for my fans and for myself.
– Mark Mancino
TRAYZE: BATTLE CHAMP TO STUDIO HOUND
We met Trayze in Phoenix, Ariz., while covering the Red Bull 3Style USA National Final back in 2015. As the Washington, D.C., champ, Trayze qualified to compete with America’s other regional titlists and, after an impressive opening-night heat performance, he qualified for the final on the DJ competition’s last evening.
As 3Style battles insisted on their DJs playing at least a trio of musical genres to go with their turntable tricks, Trayze was all over it. His two routines included a LeBron-like chalk clap to begin, then an array of hip-hop beats, TV theme songs, driving hard rock, a touch of reggae, country, disco, and (in a nod to the locals) a bit of Glen Campbell’s “By the Time I Get to Phoenix.” Certainly got my attention.
Trayze didn’t take the U.S. title that night – NoCal’s J. Espinosa did – but he’d win it the following year and, when it was all done, he’d be a two-time World Championship finalist. Since then, he’s continued to perform in nightclubs, festivals, and (the newfound craze) listening bars.
But his biggest moves have been in the studio. As a member of DJcity ’s “official remixer/editor team,” Trayze has been cranking out regular work for the popular digital record pool since 2018. Additionally, he’s been working on a new artist project with a collaborator he’s never met inperson – even after four years of making tracks.
So, with all that in mind, we caught up with DJ Trayze (aka Matt Alexander) to fill in the blanks since our frenzied week in Phoenix a decade ago.
DJ LIFE: What was the first DJ moment that caught your attention? Which DJs influenced you out of the gate?
Remixes/Edits: Trayze’s Top DJcity Tracks
Major Lazer feat. MØ & DJ Snake: “Lean On” (Trayze Remix). “I remixed this in an Afrobeats/Amapiano style to give the song new life with current popular trends of Afrobeats being played heavily in nightclubs around the world.”
Cardi B: “Like What” (Trayze Remix). “I made an original instrumental for this one that sampled Missy Elliott’s ‘She’s A,’ which again flipped the beat to an Afrobeats style.”
Charli XCX feat. Billie Eilish: “Guess” (Trayze “What They Say” Edit). “This one is more of a straight-up blend, I put the vocals from ‘Guess’ over Maya Jane Cole’s ‘What They Say,’ and it was a perfect fit.”
Trayze: I had a real love for radio – it was my favorite source of entertainment as a kid and as a teen. I would hear live mixshows and live broadcasts from the nightclubs on D.C. radio stations like WKYS and WPGC as a kid, and those mixes inspired me to learn how to DJ. My earliest DJ influences were definitely the crew of local DJ heroes in D.C. that I grew up listening to on radio: the late Supafunk Regulata Celo, DJ Iran, DJ Quicksilver – THE QIC, DJ Xclusive. They were impressive to me because of their impeccable timing. Timing was everything – still is.
DJ LIFE: What was in your first DJ system? Where did you buy it and how long did it take you to become reasonably proficient?
Trayze: I bought a Numark DJ in a Box system from a local shop in Rockville, Md., suburban D.C. – Veneman Music. Pretty sure they are closed now – I think it turned into a Guitar Center. That was about 1996-97. I was playing records on my parents’ home set-up before that, making mixes with one record and one tape or CD, with a recording tape deck. It took me about six months to burn through the cheap fader on that beginner Numark mixer, and I eventually upgraded to a Stanton mixer and Technics 1200 turntables by 1998. I worked a job after school and on weekends to pay for records and gear myself.
DJ LIFE: What was your first gigs like?
Trayze: They were high-school house parties in my teens. They went great! Being a peer to your audience is an easy fit because you know what music all your friends and classmates like. You can also drop in some of your
– J.T.
own personal favorites, too. There was very little judgement or requests happening. I played a lot of popular and current – for the time – hip hop, R&B, and D.C. go-go.
DJ LIFE: Tell me about your ascendancy in the battle scene… what put you on the map?
Trayze: I got involved with Red Bull 3Style battles in 2012. I was invited to compete in a D.C. regional – I placed second. I decided to post the video-recording of that set on YouTube, and it went viral, which was a big deal in 2012. That definitely put me on the map internationally, even for a local DJ battle. I went on to become a two-time World Championship finalist in Red Bull 3Style, and I won the U.S. title in 2016. I was a World Championship wild-card in 2014.
DJ LIFE: What are a few tracks you’re always ready to play at clubs or festivals?
Trayze: “ Bustin’ Loose” by Chuck Brown & The Soul Searchers is a classic D.C. anthem, and it reminds me of home. “Pick ’Em Up” by Griff & Booman is a classic Baltimore Club staple. So many nights of my childhood were spent listening to B’more Club music, so I try to play some in every set, if I can. Also that track gets the party superhype! “Like I Love You” by Justin Timberlake feat. The Clipse. I’m a huge Neptunes production fan, and this one is great for any dancefloor. Great verse from The Clipse on
there too!
DJ LIFE: What’s your DJ set-up now?
onstage and in the studio. I have to have some kind of keyboard to knock out melodic parts, so I really love my Novation LaunchKey Mini MK3 – that thing hasn’t left my bag in over a year. My favorite plug-in lately is KNOCK by DECAP – gets your drums sounding crazy!
DJ LIFE: Tell me about your artist project…
Trayze: I’m always in the studio these days, whether at home or at friends’ places or on the road. I have some original solo music I’m hoping to get out this year. I have a collaborative project with a producer from Toronto named Lincoln Baio –together we call ourselves FaceTyme. We have actually never met in person, and we’ve been producing music together now for going on four years. We actually met through Mark at DJcity, and we just clicked.
DJ LIFE: What’s the sound and what’s your collab process?
Trayze: FaceTyme style is a mix of U.K. Garage/2Step, underground club and house music. We both use Ableton Live, and we share sessions back and forth. We both start ideas or demos and send them to each other, and then we just build from there. He’s really great at picking out samples, adding those key sounds and pieces that make the song pop. He also has a great ear for melodies. I usually handle most of the engineering, drums, bass. We collaborate on literally every minute detail. We have a single that we just signed to a label that’s
coming out this year, and we are also putting out our first solo EP in a few months.
Trayze: I’m comfortable playing on pretty much any type of Pioneer DJ club standard, but I prefer the Pioneer DJM-S11 mixer and Technics SL-1200 MK7 turntables. I also love playing on CDJ-3000s. My favorite software is Serato DJ – it’s what I use the most. I also play some DJ sets using USB drives and rekordbox.
DJ LIFE: : What are a few tracks you’re always ready to play at clubs or festivals?
Trayze: I like giving myself alternate versions of popular songs to play in my sets, especially when I can reimagine the song into a different style or genre.
DJ LIFE: What are you using in the studio?
Trayze: I’ve been using Ableton Live since Version 8 came out… that’s 2009, I think? Before that, I bounced around between Sony, Sound Forge, and Pro Tools, but I’ve been team Ableton for life for a while now. I don’t really rely on any particular set of monitors anymore, since I’m on the go a lot. I tend to just use some good headphones to get a mix close to what I like, then I’ll play it in the car, on cheap ear buds, and on my phone until it’s right. I love V-Moda headphones right now. I also have an amazing pair of Ultimate Ears Pro in-ear monitors that I use
DJ LIFE: You’ve told me that it’s the best time to be an independent DJ/artist… why do you believe that?
Trayze: I think music is in a great place right now. There is so much good music being made, and the barriers to entry are so low. As a DJ, if you are building your own niche fan-base, and you can keep your core audience consistent and coming back for more, you don’t really need big streaming numbers or a big label deal to be successful. Indie is definitely the way to go. DJs are positioned to be at the forefront of this because they have such easy access to gigs and audiences. You can start your own live stream so easily on platforms like Twitch, or upload recorded sets to YouTube. A thousand or so “core fans” can sustain you better than a million streams ever will.
DJ LIFE: What advice would you give to DJs just coming up now?
Trayze: Put yourself out there, at the highest quality you can, with the most consistency you can manage. Set yourself apart with something unique, whether that be your own music, remixes, or edits, or a particular style. The most important thing is just get out there and start sharing. Upload mixes, get yourself heard.
BIG ROOM DJ
BY JIM TREMAYNE
AFTER A TRAGEDY-INDUCED,
7-YEAR HIATUS,
LINKIN PARK’S MR. HAHN
RETURNS TO THE DECKS & ROCKS THE ARENAS
Nearly a quarter of a century ago – yikes – we first interviewed Linkin Park’s Joe Hahn. It was the high time of turntablism and an era that saw DJs working onstage and in the studio with nu-metal rock bands. Think Limp Bizkit. Think The Deftones. Incubus. Slipknot. Remember?
By 2000, when Linkin Park came along, there was something a little different to its mix. Like many of the other bands, Linkin Park had a DJ and an MC (Mike Shinoda) deeply involved in creating the raging music and delivering it all onstage. But unlike the others, they had supremely hooky tunes and a special singer (Chester Bennington) who could emote in a way that cut through all the genre’s formulas.
Indeed, when we talked with Linkin Park’s Mr. Hahn at the end of 2000, we had no idea that the group’s debut album, Hybrid Theory , would blow up the way it did.
In fact, on the strength of singles like “One Step Closer ,” “ Crawling ,” “ Papercut ,” and “ In the End ,” it became one of the industry’s top-selling debut albums of all time, eventually moving over 32 million units worldwide.
Luckily, we got a great interview with Hahn,
who was well-versed in the DJ talk of the day – Vestax turntables and mixers, Ortofon cartridges and needles, battle videos, the Invisibl Skratch Piklz, The X-Ecutioners, etc. But, before long, Linkin Park would became one of the biggest bands in the world and Hahn was onstage rocking arenas and stadiums.
Three albums and a decade later, we caught up with Hahn and Linkin Park again – this time as the group played a one-off gig in Manhattan’s Best Buy Theatre. Of course, our conversation revolved around the band’s amazing ascent and sustained success, plus his own technological evolution.
This time around, our conversation wasn’t nearly as giddy, as the group has since been touched by tragedy: In 2017, Bennington took his own life and Linkin Part went on indefinite hiatus. After much hurt and healing, the band re-grouped and returned to the scene with a powerful new singer, Emily Armstrong, a multi-talented new drummer, Colin Brittain, and a fiery new album, From Zero
Buoyed by a series of singles, including banger “The Emptiness Machine,” Linkin Park hit out on the road at the end of 2024 and will continue through 2025 with a 56-date tour that will take the group to basketball arenas and soccer stadiums in North America, South America and Europe. As with earlier tours, Hahn has something special whipped up for this one – expect to see a mad DJ/drummer solo with Hahn and Brittain collaborating for some big, block-rockin’ beats. Our conversation with DJ Joe Hahn went like this:
DJ LIFE: Going back to the beginnings of the group, how did you initially see a DJ working within the framework of Linkin Park? What spice did you see yourself adding to the mix?
Joe Hahn: At the beginning, it was really Mike [Shinoda] and I. We were just
“The DJs today are incredible, especially the ones that incorporate the traditional elements of turntablism and use the digital tools.”
Linkin Park 2025: World tour starts in the spring.
into hip hop and talking about music all the time.
AFTER A TRAGEDY-INDUCED,
Sampling was a big thing. DJ culture, especially turntablism, was a big part of what was popular and interesting. I think a lot of it was just exploring sound through bytes of information via sampling, or to manipulate like juggling and scratching, that kind of stuff. So, it was really just exploring and thinking, “What can we do with the tools?” A lot of it was just us trying to learn it, trying to figure it out. Back then, there was no playbook on how to do it. We were just kind of copying, I guess.
DJ LIFE: Why did you think the band worked out so well?
Hahn: I think the fundamental of it is just the relationship – just friends finding alignment and love for music, and being able to share in that joy. We were trying to reverseengineer, like, what makes this song like this? And how can we incorporate it in what we’re doing? What would be our version of those types of things? And I think, especially at the beginning, we’re trying to infuse hip hop into metal and whatever else, everything in-between. I think if you go solely to those genres, at those times, you typically had certain attitudes that were expressed in different ways. So, for us to be able to merge all that together… that was just really fun to just try to figure out, just trying to be as hip hop as possible, be as punk or metal as possible. We figured it out, in our own unique way, amongst everything else.
you want. Now you can take shortcuts and all that, but to have the experience in going through those steps, I think, is really important. You can create the same things easily, but you have to instinctively know what that means on a base level.
DJ LIFE: Can you get caught up in the speed of the process, instead of emphasizing the quality of the result?
7-YEAR
HIATUS,
Hahn: Even in the digital age, it still has to have certain quality of sound, right? I think today, because you’re able to work very quickly, have great sounds, and everyone’s using the subscription-based sample services like Splice and whatnot – it’s awesome, I use it – there’s something in the quick-serve mentality where that sometimes that extra time isn’t put into really making things sound unique to the person creating it.
DJ LIFE: What’s your stage set-up for the Linkin Park shows these days?
LINKIN PARK’S MR. HAHN
Hahn: Along with the Pioneer DJ DJM-S11 mixer, I’m still using turntables… now I’m using the Pioneer DJ PLX-CRSS12s, but no needle on the actual record. The platters are moving with a real motor and I’m able to manipulate with that because it’s going directly to Serato and I don’t have to deal with noise entering the needle for skipping.
DJ LIFE: It wasn’t always like that…
DJ LIFE: What motivated you to DJ and what were your first DJ set-ups?
Hahn: I would see stuff on film or at a party, and see what people are doing, and then just go into record shops and, being nosy, and ask whoever worked there a million questions. The first turntables I had were just belt-driven turntables – that was before I even knew what the motor drive was…
DJ LIFE: Do you remember the brand?
RETURNS TO THE
Hahn: In the beginning, I was using vinyl and just hoping someone doesn’t shake the stage. Or at a festival, the bass would just rumble, so I missed the cue points. So now, the technology has advanced so much that you can work just fine. For me, it’s more of a performance tool, but you can really just create music onstage or recreate music with stems and all that kind of stuff.
DJ LIFE: How deep do you get into it?
Hahn: I don’t remember the brand, but the first mixer I had was a Gemini. It had a built-in sampler – either 6- or 8-second sampler. It had a little button – like a start, stop and play. You just capture a loop. So, the idea was, “OK, I gotta catch it on the one and end on the four, or whatever, then loop it.” That was the start of me understanding how drums are working on the record and how I need to capture that, and how I need to eventually beat-match it on the other deck. In the case of that mixer, those were all just oneshots.
DECKS & ROCKS THE ARENAS
Hahn: I just stick to a little bit more traditional with the new tools. On occasion, I’ll use the cue points to do button mashing, and combine that with effects. And I’ll have a guitar-effects pedal board, and I have everything running through Ableton, so I can go from song to song. It works well with our stage setup, and it also keeps our effects in time, or my effects in time. Also, the guitar effects I’m using on stage are just Native Instruments’ Guitar Rig – they sound great.
DJ LIFE: What else?
DJ LIFE: Things got better, I’m sure…
Hahn: Right, it was like, OK, if I get a sampler, I’ll have multiples, multiple one-shots, more banks. It’s still limited at that time, but I appreciate the fact that the limitations caused me to learn in a certain way to take those microsteps. And now technology is crazy. If you can think it, you can do it.
DJ LIFE: And now, the plug-in world has taken you way beyond all that. Life got even easier.
Hahn: I love outboard gear… but, yeah, you don’t need it because you can just pay $20 for a plug-in, for whatever
Hahn: I also have some MIDI Fighters to trigger sounds and have some additional effects, if need be. And then, in addition to that, I am triggering via Ableton. I have samples that are being triggered by the Embodme Erae Touch, which is a touch pad that illuminates. It’s got a perforated rubber skin on top. The inventors are from Paris – they got started on Kickstarter a few years ago – and they’re actually about to launch their next version.
DJ LIFE: What’s generally been the recording process? What sounds are you using and manipulating? Who runs the show?
Hahn: I would say, definitely Mike [Shinoda]. He’s playing more of a lead role in the producer seat. He’s doing
“Now technology is crazy. If you can think it, you can do it.”
the most on the vocals – I don’t rap. He’s super-talented, so we’re usually working at his house, and then we just sit around the studio and we just pull up tracks. Some of them are just maybe a riff idea, a beat idea. Some of them are more developed, and then we just comment on the songs and what we want to hear and when. For me, when I’m doing that, I’m not really wearing the hat of a DJ. It’s just us as a band. Nobody’s really thinking of their instrument, in particular. In fact, anyone can pick up a guitar at any point and play or pick up any instrument, and that happens a lot.
DJ LIFE: A pretty loose environment…
Hahn: Yeah, and now we have Colin [Brittain], our new drummer – he’s a great producer. He plays every instrument. So, we sit around and we’re like, “OK, we like this chord idea, but what if we did it this way instead?” It’s more about just finding the right feeling of things and then, once we get the right feeling, it starts to become a song, because we establish what the parts are. Usually, we try to see if there’s a decent energy for a chorus. Then, we decide if we should just keep chasing this one down, or maybe just put it to the side for later. We end up having a lot of songs that we have fun making, but they don’t always make it to the finish line.
DJ LIFE: After that sonic journey, of sorts, how do you fit in the lyrics?
Hahn: Once it starts to have a vibe, as far as the sonic journey happens, we try to get words on it as soon as possible… because sometimes we’ll develop the sound so far, and then when the vocals aren’t really driving… then it’s been a massive waste of time to do that. We’ve done records where we’ve had more than 100 song ideas… but you know pretty quickly if something has potential. Then, this also being the digital age, it’s all in the hard drives, too. So, sometimes we’ll go back to a song just for one part that we like. We’ll dissect it and start a new one with parts that we do like and give some fresh air to it.
DJ LIFE: On this tour, your scratch solo working with the drummer, Colin, is a real showstopper. The two of your create a different kind of energy, a real arena-rock approach. What went into that and how do you determine how to fit it into a two-hour show?
Hahn: From our first album, we had “Cure for the Itch,” and that was a DJ-solo moment, and we figured, instead of just having multiple encores to give the vocalist breaks, that would be a good opportunity to keep the show going. So, with this one, Colin and I just got together, and made this in a day. We made three different beats that could have potential for that section. And then we just picked the one that we like. It’s fun. It’s just jamming, but a different kind of jamming. It’s kind of cool, too, because it’s almost like you don’t see
that kind of thing too much anymore.
DJ LIFE: How do you view the turntablist scene these days?
Hahn: I’m less hyper-focused on what other DJs are doing because I found a lane where I can be creative. But I would say that the DJs today are incredible, especially the ones that incorporate the traditional elements of turntablism and use the digital tools, the cue points and being able to move a lot quicker. Instead of fumbling with records and trying to find the right spot, it’s pretty wild what some of these guys are doing.
AFTER A TRAGEDY-INDUCED, 7-YEAR HIATUS,
DJ LIFE: Can you give me a few DJs who have most impressed you?
Hahn: I would say first… Mix Master Mike. He’s just on. He has every level skill, showmanship, versatility. He’s all about the energy. He’s got a big persona, which I really love. He might be one of the all-time greats. And QBert – you can’t really have a conversation about DJing without QBert.
DJ LIFE: Might as well include all the Invisibl Skratch Piklz…
Hahn: [Laughs] Yeah, true. But if you’re talking about turntablism, there are so many, like The X-Ecutioners. It’s everything they contributed, but it’s also their attitude about passing the information onto the next generation. I appreciate things like Dirtstyle Records and all those scratch records because people are still using them. All of them were complete pioneers.
DJ LIFE: Anyone else?
Hahn: If you advance forward to stuff that’s more relevant in a pop culture, you have guys like Skrillex. A lot of the DJing today, which you would go to a big festival for and see, is these guys that make music and they perform as DJs. Some of them have become actual DJs that like the art form, and then some of them are just using it as a performance tool. But I like the way Skrillex has done it just because of the energy he puts in and all the influences that he brings to the table and he has an evolution to what he’s doing.
DJ LIFE: Right, he was a singer in a screamo band…
Hahn: And Zedd was in a metal band with his brother [laughs].
DJ LIFE: Look how that all ended up…
Park thing, cool. Or if not…
DJ LIFE: This is what you do – you make music, no matter what it’s called.
Hahn: Right, so once we put that into practice, the things that we created also created reasons for having conversations. We had to get to that place where we asked, “What if this? What if that?”
DJ LIFE: Eventually, the group took on two really talented musicians…
Hahn: They’re incredible, and we all adore each other and love being around each other. The friendship is genuine and us creating music together is the big catalyst for that. It’s not just, “OK, this guy will fill this gap.” It’s more than the math of putting a band together. Like, there are incredible musicians and singers out there, but who can you stand being around? Who would you invite to dinner with your family, you know?
DJ LIFE: Sounds like you’re in a good place now…
Hahn: We’re really enjoying what we’re doing. The band is very loved. People love the band in different ways that are very personal to them. So when we announced that we were doing this again, there was a big celebration. But along with that came a lot of expectations. For us, it’s never been about “OK, let’s please everyone.” It’s been more about “let’s please ourselves and make good music.”
LINKIN PARK’S MR. HAHN RETURNS TO THE
DJ LIFE: You’re also a video director of the group, which entails telling stories in a different way. How satisfying is that role?
DECKS & ROCKS THE ARENAS
Hahn: I know, they’re all so talented in their own ways.
DJ LIFE: So… tough one here: After Chester passed, how difficult was it to continue the band? Was there a turning point where you decided to carry on?
Hahn: Depending on what time you asked me after that time, I probably would’ve said that it was impossible to do this again. I’m really grateful, but it was a series of events. It was wishful thinking, but also just us healing, and eventually having appreciation for each other and knowing that we’re in it together. We wanted to get back to the point where it’s like, “OK, let’s make music.” We like to make music and we like to make music with each other. When we realized that it didn’t have to be a Linkin Park thing… it was just me, Mike and Dave [Farrell] realizing that this is what we like doing, so let’s get back to that. If it becomes a Linkin
Hahn: It depends on when you ask me [laughs]. It can be very stressful. I take it really seriously. I owe it to my brothers and sister to do the right thing and try to find something that has meaning. When we did “The Emptiness Machine,” for example, I had a hard time trying to figure it out. Part of it was that I wanted to represent some flavors of what makes it a bit nostalgic, but wanted to present it in a whole new way. I wanted to do something visually captivating, but I also wanted to capture the essence of who we are. Talking to Mike, we were riffing on the idea of a multiverse concept, which everyone is familiar with the movies now. I really wanted to show the joy of us doing it altogether.
DJ LIFE: I was at the Amsterdam Dance Event recently and I heard Markus Schulz, a trance DJ/producer, play his tribute remix of “In the End” and the crowd went nuts. Why do you think, after all these years, Linkin Park’s music has resonated so deeply with so many people?
Hahn: Oh, cool! So… I think you get a different answer from different people. I think it was the time it came out. It was a radical concept, but once you take out the novelty of it, it was just a good song. People’s emotions are attached. In the way a solider can have PTSD from a negative experience, with music… it can be a positive thing. Or it can be like people think, “Oh, this song represents a relationship, or it represents good time in my life, or it represents a tough time that I had to get through.” Or they just like the song because they like to sing it at karaoke [laughs].
By Jim Tremayne
Anaheim, Calif. – According to organizers, more than 63,000 musicindustry professionals filled the Anaheim Convention Center this past Jan. 23-25 for the 2025 NAMM Show. With 1,850 exhibitors representing over 4,400 brands, the show saw plenty of product debuts in a variety of DJrelated categories (playback, studio, pro audio, lighting, content creation, and accessories)
Of course, DJ LIFE was there to take it all in and report on the latest DJ-related developments. While there wasn’t a slew of DJ-specific product debuts, plenty of market-related products were unveiled. Amid talk of impending (and potentially damaging) tariffs, the following products were showcased by NAMM exhibitors:
Music Industry’s Winter Trade Show Delivers DJ-Related Product Debuts & More
NAMM ’25 Report
DJ Sector: Phase DJ , an American Music and Sound brand, debuted Phase Pro, a next-generation turntable controller that features built-in OLED touchscreens for on-the-go personalization, MIDI integration, and 15 hours of battery life. Using the new Phase Pro Manager application, DJs can fully customize what’s displayed on their screens, selecting from more than 50 fully customizable components to create thousands of different combinations.
Rane , an inMusic brand, debuted the ONE MK2 controller. The yet-to-be-released model features 29 internal effects, dedicated controls for stem volume, eight performance pads per deck, and newly designed channel faders.
AlphaTheta showcased its recently released DDJ-FLX2 intro-model controller and the DDJ-
GRV6 controller, plus the XDJ-AZ all-in-one system, the euphonia 4-channel rotary mixer, the OMNISDUO controller, and WAVE-EIGHT active loudspeaker system.
German brand Reloop , distributed by American Music & Sound , debuted the RMX-30 BT 3-channel Bluetooth mixer that features eight inputs and four outputs, plus channel strips with 3-band EQ. It also showcased the Reloop Stand Hub Pro laptop/ equipment stand with a 10-in-1 multimedia hub and the Reloop Keypad Pro, a compact USB-MIDI DAW workstation.
Longtime DJ-gear supplier Hercules , also distributed by American Music & Sound , debuted the DJ Control Mix Ultra all-in-one controller which allows DJs to mix on an Android or iOS smartphone with included Algoriddim djay software. The two-
Images by NAMM & DJ LIFE
Club D.A.S.: DJs Mike Sincere & Jezzy B.
Spinnin’: DJs were ubiquitous at NAMM ’25.
deck unit has up to 10 hours of battery life and features eight pads, EQ, two tempo faders and two touch-sensitive jog wheels. Hercules also showed the White Edition of the DJControl Inpulse T7 all-in-one controller, which runs with included Serato DJ Lite and DJUCED software.
For portablists and vinyl junkies, Korg debuted a variety of products. They included: handytraxx play portable turntable, which features digital effects and a built-in looper; handytraxx tube record player; the handytraxx 1bit turntable, which offers playback and recording capabilities for those looking to digitize their vinyl; and the limited-edition handytraxx tube J portable record player.
Content Creation: For podcasters, Apogee Electronics unveiled its new Podcast Kit Collection, which includes the HypeMiC Podcast Kit professional set-up and the MiC
Plus Podcast Kit starter set-up. While the former includes four Apogee HypeMiCs for high performance, the latter includes four Apogee MiC Plus USB mics. Both feature Apogee’s First Take Software, four 10-foot USB cables, a USB Hub, and a travel case.
the KC12 column active 3-way column loudspeaker system. Equipped with a 3,000-watt amp, the system has apps for mobile use and installations and features QSC’s patented LEAF waveguide combined with a true 1-inch compression driver, two 4-inch midrange drivers, and a 12-inch sub.
Electro-Voice debuted the EVOLVE 70 and EVOLVE 90 portable, powered, column loudspeaker systems. The 70 unit features a 15-inch subwoofer, while the 90 unit features an 18-inch sub. Available in black and white finishes, both systems are integrated into the QuickSmart Mobile App ecosystem.
RCF showed the NXL 14-A column speaker and the SUB 15-AX active 15-inch sub. RCF also debuted the SUB 9000 Series of subwoofers, which includes the single 16-inch SUB 9016-AS, the single 19-inch SUB 9019-AS, the double
19-inch SUB 9029-AS.
For podcasters and streamers, Shure showcased the new MV7i Smart Microphone and Interface, which eliminates the need for a separate audio interface by enabling creators to connect an additional XLR mic or instrument directly to the MV7i for two-channel recording.
Blackmagic Design showed several products for streamers and social-media marketers, including the ATEM Mini live-production switchers, the Pocket Cinema Camera line, the Blackmagic Camera app, and the DaVinci Resolve post-production software.
LD Systems , an Adam Hall brand, debuted the ICOA Pro loudspeaker system with 12- and 15-inch tops, plus a 21-inch sub. The company also showed the MAUI G3 MIX PA range, which includes MAUI 11 G3 MIX and MAUI 28 G3 MIX models.
BASSBOSS showed off its seismic KRAKATOA quintuple 18-inch point-source full-range system.
Mackie unveiled the ProFX10 GO, a professional analog mixer and USB-C audio interface that can run on a rechargeable, swappable battery for up to eight hours –perfect for remote gigs or outdoor events.
JBL Professional showed two new PRX900 Series portable loudspeakers – the PRX925 two-way, dual 15-inch and the PRX935 three-way single 15-inch units. Both systems feature a DSP package, accessible via an onboard color LCD or the JBL Pro Connect app.
New Tech Demo: DJ Isiah Sab at Phase booth.
Speaker Spiel: Sales talk at the E-V booth.
D.A.S. Audio showed the new MARA line of its ARA Series of line-array speakers and subwoofers, plus the ARA-P28 dual-8-inch and the ARA-P12 12-inch point-source systems.
Oaktone debuted three new MIDI controllers for musicmakers, performers, and techs using computers. They include: Oakboard Floor Vista with USB-C, a rugged unit allows the user to see a visual readout of their Ableton Live and Oaktone Taz CueList without the need to look at a computer; Oakboard Mini 2, which launches music cues in a compact form factor; and the Oakboard Slide Duo with USB-C, which offers dual output MIDI operation for failover/redundancy rigs.
Lighting: Mixware’s lighting brand ColorKey debuted several products. From the Creator Series of moving-head fixtures, new products included: the Creator BSW 1200; the Creator Sport 250; the Creator Beam 150; and the Creator BX7 Wash. ColorKey will also debut: the Halo Spot 100 moving head mini-spot effect fixture; the Mobile Spot 50 battery-powered 30-watt moving head spot; the GrooveBar FX moving-head effects fixture; and the Mystique Scalelike LED Matrix modular lighting solution designed for dynamic and customizable visual effects.
LA-based ADJ Lighting showed the new Vizi Pix Z19 moving head wash light, which offers an array of dynamic effects and the Vizi Beam CMY, a high-performance moving head fixture. On the lighting control side, ADJ showcased myDMX 5 lighting software/hardware, myDMX 5 Express, a streamlined version of the software, and the WMX1 MK2 stand-alone hardware controller – powered by Wolfmix, it’s a tactile performance-based control solution for DJs and club settings.
ADJ-related brand Eliminator Lighting debuted five new products. They included: the Fantasy FX effect light: the Elecktron Bar FX LED fixture; the Vortex 150 barrel mirror scanner; the Furious Three RG UV compact effects light; and the SC8 II Pad System controller.
Studio: Recording-products brand PreSonus showcased its all-new DAW, Studio One Pro 7, which features new features like Splice Integration, a very-first in-DAW experience, and AI-powered Stem Separation, which allows users to un-mix audio into separate tracks to use for sampling, remixing, and rearranging sounds.
Genelec demonstrated its UNIO Personal Reference Monitoring Solution, which includes the 9320A SAM Reference Controller, Reference Measurement Microphone, the new 8550A Professional Reference Headphones, and GLM software, which offers headphone calibration features.
Studio-monitor maker Telegrapher showcased a limitededition line of deadmau5-branded active speakers. Blending visual design with analog-sound technology, these specially made units include the ELEPHANT subwoofer, the FOX nearfield monitor, and the GORILLA midfield monitor. Telegrapher also debuted its flagship Rhino four-way main reference monitor.
Yamaha showcased SEQTRAK Mobile Music Ideastation, an all-in-one production system featuring drums, synths, sound design and sequencing loaded into a compact unit. Yamaha also showed its HPH-MT8 studio-monitor headphones. Avid featured its new VENUE E6LX-256 engine and VENUE 8.0 software for large live events. Avid also previewed Pro Tools speech-to-text AI technology, which speeds navigation and finding specific vocal takes.
Roland debuted its VMH-S100 studio headphones and GALAXIAS 1.5 Super Instrument, which combines over 23,000 iconic sounds and dozens of legendary instruments and effects into a single creative environment. Roland also showcased the AIRA P-6 Creative Sampler and the JUNO-D series of synth keyboards, which includes the JUNO-D6, JUNO-D7 and JUNO-D8 models.
Waves Audio showed its Immersive Wrapper utility tool that transforms any Waves mono-compatible plug-in into an im-
Showfloor: Packed aisles & many meetings. Technics Booth: Shortee & Salenie cut it up.
mersive processor for multi-channel and object-based mixing in Dolby Atmos or other immersive formats. Waves also showed the Sync Vx plug-in, which allows users to match the time and pitch of multiple vocal tracks.
Germany’s Bitwig released its first hardware product – the Bitwig Connect 4/12, a three-in-one audio/MIDI interface, monitor and DAW controller. KRK , a Gibson brand, showed its ROKIT Generation Five active, 2-way, studio reference monitors, available in 5-, 7-, and 8-inch models.
Longtime brand beyerdynamic debuted a new line of in-ear monitors, plus the new DT 1990 PRO MKII and DT 1770 PRO MKII studio headphones. The new IEM range includes the DT 70 IE, for mixing and critical listening, plus the DT 71 IE, DT 72 IE, and DT 73 IE units, all for traditional musicians.
England’s Solid State Logic , distributed Stateside by Group 1 Ltd. , displayed new MKII versions of the company’s SSL’s 2 and SSL 2+ audio interfaces. SSL also showed the SSL 18 high-performance USB audio interface and the ORIGIN analog studio console, as well as the full range of Audio Creation Products, including the U Series range of controllers, interfaces, BiG SiX mixer, and full suite of 500 series modules.
MQA Labs revealed new mixing and mastering plug-ins that will enable engineers to employ previously unavailable methods for improved impulse response and noise shaping.
Accessories: Headliner, a Mixware brand, introduced the Downtown line of cases, which includes cases for Ableton Push 3, Akai Pro MPC Live II, Akai Pro MPC One+, and the Roland SP404 MKII. Headliner also showed three models of Desktop Production Stands, which accommodate synths, samplers, and drum machines, with steel construction and non-slip rubber pads. Headliner also displayed four new models in the Pro-Fit series of cases, including units for Pioneer DJ DDJ-FLX4, AlphaTheta DDJ-GRV6, Headliner R4, and Ableton Move.
Decksaver, another Mixware brand , showed a new set of protective covers for a wide range of DJ gear and electronic instruments. They include covers for products from: AlphaTheta (DDJ-FLX2, DDJ-GRV6 and XDJ-AZ); Ableton (Move); Denon DJ (Prime Go+); Korg (Microkorg 2); Native Instruments (X1 MK3 and Z1 MK2); Oberheim (TEO-5); Sequential (Take 5); and Union Audio (orbit.2 LE/LE FX, orbit.4 LE/LX and elara.4).
New Mixware brand, Germany’s Black Panther , showcased its range of fully customizable keyboard and studio stands. They included: PARA, a robust 3-tier stand; CEDRO, a stable 2-tier stand; and BABACU, a single-tier stand.
ACT Entertainment brand Lava Cable showed its range of newly packaged cables for live and studio apps. They included Vintage, Retro Coil, Blue Demon, Tightrope Line Kits and Tightrope DC Kits. Gignite showed its new app that helps planning and executing music tours, with a mission to improve the touring economy, support emerging artists, and reduce the touring carbon footprint.
New custom-IEM brand Dark Matter Audio Labs launched four models: DM2H Hybrid dual-driver; DMA3 triple-driver; DMA6 six-driver; and DMA8 eight-driver.
For the latest on NAMM 2026, please visit www.namm. org.
Headliner: Eric Prydz gets going. @PhotosByBrendaBrooks
Lit Up: DJ duo Kream in action. @PhotosByBrendaBrooks
Double Trouble: James Hype & Meduza.
@PhotosByBrendaBrooks
Shiny Happy People: GC Fam in sunlight.
For Goldrush Festival, Relentless Beats Fills the Phoenix Raceway with Top Talent
Desert Beats
By Jim Tremayne Images by Luis Colato
Phoenix, Ariz. – This past Oct. 4-5, top Arizona promoter Relentless Beats brought many of EDM’s most-popular talents to the Phoenix Raceway for the Goldrush: Wildcard festival. The DJ/artists at the desert event included: Alesso, The Chainsmokers, SLANDER, Sullivan King, Andruss, Acraze, AC Slater, HVDES and many more. It all looked like this:
3
1 Welcome: The Goldrush entrance point.
2 Going Off: The festival gets rolling.
3 Deathpact: Anonymous act bangs beats.
4 Eye See You: Thrilling big-stage projections.
4
5 Overwhelming: Lasers fan out over the crowd.
Old Glory: Aussie Timmy Trumpet flies the flag.
Cowboy Up: Goldrush fans enjoy desert beats.
8 Latin Tech House: Mexico’s Andruss fires it up. 9 Metallic: Sullivan King rocks the room.
Good Times: Party people at Goldrush.
Flamin’: SLANDER wrecks the room.
Blowing: Timmy Trumpet with instrument.
Wilding: Goldrush crowd gets whipped up.
Sinister Vibes: HVDES brings the darkness.
Mesmerising: Laser lights stun Goldrush crowd.
Goodnight: Goldrush fans near the end.
AMSTERDAM’S GOES 360
By Jim Tremayne
Amsterdam, NL – This past October during the annual Amsterdam Dance Event, we were afforded the unique opportunity to fully experience a spatial-audio installation in a proper nightclub setting. No, this definitely wasn’t a trade-show demo room or manufacturer’s isolation booth; it was a full-on Euro techno party in an environment that accommodated 900 dancers – and the results, as you might imagine, were fully absorbing.
Thanks to forward-thinking loudspeaker maker L-Acoustics, spatial-audio pioneers Polygon Live, and local club The Other Side, we were treated to Full Cycle, a spatialaudio concert series curated especially for ADE.
Moving around the room, it was a genuinely immersive experience that truly felt as if we were completely enveloped inside the music – in this case, the melodic house and techno tunes spun by German DJs Stimming and Christian Löffler . Using L-Acoustics’ LISA 14.1.5 immersive sound technology, The Other Side provides a 360-degree auditory experience that’s like no other.
Afterward, we caught up with the club’s two principals, Doeshka Vrede and Jasper Löwik, to get the story on The Other Side.
Techs: Running L-Acoustics’ L-ISA system.
Photos by Charlotte van der Gaag
Spatial Audio: A unique sound experience.
DJ LIFE: How long has the venue been running in its current location?
Doeshka Vrede: Three years ago, during the brief respite between the first and second COVID lockdowns, we opened our doors for the very first time. Initially, we operated with just one event per year under event permits. Over time, we were able to increase this to 12 events annually, allowing us to demonstrate to the municipality and our neighborhood that we are a trustworthy organization that adheres to all rules, laws, and limits.
Jasper Löwik: However, the challenges and extra costs of operating this way proved unsustainable in the long term. Determined to continue our journey, we applied for a full club license and a 24-hour permit. After years of persistence, we were finally granted the permit in November 2023, marking a major milestone in our evolution.
DJ LIFE: Aside from the nightclub, what other businesses does The Other Side run? What’s the overall vision for The Other Side brand?
Löwik: We are an artist agency and a music label. We believe in living according to the natural rhythms and cycles of nature when it comes to people’s ability to feel happy, strong and powerful.
DJ LIFE: How would you describe the Amsterdam club market?
Löwik: Amsterdam is renowned for its vibrant and diverse club scene, offering a wide range of venues catering to various musical tastes and atmospheres. From intimate underground spaces to expansive warehouses, the city provides nightlife experiences that appeal to both locals and international visitors.
Vrede: The competition in Amsterdam’s club market is intense. This competitive environment fosters a culture of continuous innovation, pushing clubs to distinguish themselves to remain relevant and attractive. In this competitive landscape, The Other Side stands out by focusing on artistic evolution, creativity, and self-expression.
Löwik: Obtaining the necessary permits for a 24-hour club in Amsterdam is a complex and challenging process. The city enforces strict criteria and procedures to ensure clubs meet safety standards, noise regulations, and other legal requirements. Despite these hurdles, The Other Side successfully navigated the licensing process, showcasing its dedication to providing a high-quali ty and safe experience for its visitors.
Vrede: By focusing on cutting-edge sound technology and fostering a community centered on artistic expression, The Other Side has carved out a unique position in Amsterdam’s bustling club scene, appealing to those seeking innovative and immersive nightlife experiences.
DJ LIFE: What types of DJs are you bringing to the venue?
Vrede: Our booking policy focuses on curating a diverse lineup of DJs and artists who align with our mission of fostering self-expression and artistic growth. We feature both international and local talent, offering a range of genres to cater to a broad audience. We are always in search of the musical essence in the work of artists and the passion within external event promoters.
DJ LIFE: How did the sound installation with the L-Acoustics spatial audio come about?
Löwik: We used to work with End of Time [an Amsterdambased quartet of artists, composers and sound designers] as our artist-in-residence. They have been exploring spatial audio for years in collaboration with their sound engineer. As their agent, we witnessed the challenges of performing with spatial audio firsthand. Their dedication and innovation inspired us to invest in this technology, making it more accessible and easier for artists to use. Their sound engineer, Stefan Liem, has since become the lead engineer of the club.
DJ LIFE: This sound system really gives The Other Side a
Techno Jock: Stimming keeps the
The Other Side: Filled to the max.
Action:
point of difference…
Vrede: We distinguish ourselves in Amsterdam’s club scene through the integration of the L-ISA immersive sound technology by L-Acoustics – it’s the first club in the world equipped with this groundbreaking system. This advanced audio system envelops listeners in a 360-degree auditory experience, delivering unparalleled clarity and depth. Unlike traditional stereo setups, L-ISA allows precise placement of sound sources, creating a natural and immersive environment that enhances the connection between the artist and the audience.
Löwik: For club-goers, this translates to a transformative experience where music moves around, above, and through them, making each performance uniquely engaging. The immersive soundscape ensures that every detail of the music is perceptible, regardless of one’s position in the venue, fostering a deeper emotional connection to the performance. This innovative approach not only sets The Other Side apart from other clubs, but also elevates the standard for live music experiences in Amsterdam. Up until now the audience loves it!
DJ LIFE: In practice, how does the system work with the DJ/artist?
Vrede: We place significant emphasis on building strong connections with our artists. Typically, the artist prepares their set at home using the L-ISA Studio software. Once on-site, we dedicate approximately three hours – depending on the complexity of the set – to collaborate with the artist and fine-tune their performance, ensuring everything is ready for the show.
Löwik: Of course, as a producer, you can push the boundaries and get as creative as you like. The approach depends on whether you’re creating a composition specifically designed for spatial audio or adapting an existing live set for spatial performance. For DJs, our main engineer will map the spatial audio in realtime on-site, ensuring the sound fully immerses the audience.
DJ LIFE: What other gear is in the club?
Vrede: In addition to the L-ISA 14.1.5 system, we have for the DJ booth six Pioneer DJ CDJ-2000NXS2 players, plus a Pioneer DJM-900NXS2 or an Allen & Heath Xone:92 mixer at the ready. For lighting and animation, we have 14 Alkalite Octo Strip LED tubes, 14 Martin Mac 101 fixtures, eight Astera Octo Tubes, and 340 LED tubes.
DJ LIFE: What’s next for the venue?
Vrede: Since ADE, we’ve introduced a new light system designed and created by VisualSystems. This 340-LED tube art installation was crafted specifically for our space, adding a dynamic visual element to the experience. The next step in our innovation journey is to synchronize the light system with the L-ISA processor output, allowing it to visualize spatial audio. This integration will bring a new dimension to performances, where sound and light work together to immerse club-goers in an unparalleled sensory experience.
Late-Night
DJ kicks out the jams.
Full Cycle: Club lights up for ADE Event.
PLAYBACK
All-in-One:
ALPHATHETA’S XDJ-AZ
By Wesley King
Pioneer DJ is one brand that has traded hands; roughly a decade ago, Pioneer – the long-established Japanese electronics firm –spun off its DJ division, which was then acquired in 2020 by another Japanese firm, Noritsu, best known for its photography-related products. It was this transaction that was the genesis of the AlphaTheta name. (Importantly, Pioneer DJ’s management, engineers and staff moved to the new company, as well.) Then, earlier this year, the company announced that, while the two brands would co-exist, it would begin migrating away from the Pioneer DJ brand. Pure speculation on my part, but perhaps AlphaTheta had grown tired of paying a licensing fee to use the Pioneer DJ name? Who knows?
In any event, I was given a peek at one of the first core DJ offerings to come from the company that carries the AlphaTheta brand affixed to it: the new XDJ-AZ. It’s been a few years since the company released (under the Pioneer DJ name) the XDJ-XZ, and the common thread is that both products are “all-inone” (or “standalone,” if you prefer) units with a powerful range of capabilities.
First Impressions
While I liked the predecessor XDJ-XZ, I found it to be a little dated right out of the box. Where I’ve found Pioneer DJ… um, AlphaTheta, historically to be a bit lacking is in the design of its embed-
ded software (or “firmware” if you like) – from both a visual, user-interface standpoint, as well as from a performance standpoint. Frankly, everything else about the XDJ-XZ was as it should be, and reflected the functional design heritage of the Pioneer DJ name. I’d say the same about the XDJ-AZ, except that I applaud AlphaTheta for giving the firmware a good, hard look.
The visuals on the beautiful 10-inch touchscreen of the XDJ-AZ are a vast improvement over the XDJ-XZ model. Better font choices and general aesthetic enhancements, and just more attention paid to the details, has made a real difference. Some aspects still need improvement, and just as I said about the earlier XZ model, the company could learn a thing or two from looking at Apple software products, or even getting intimate with something like Google’s Material Design system. Bottom line: Vastly improved, but
there’s work remaining in my view to look and feel like the top-notch product it’s positioned to be.
What it does provide, however, is a truly remarkable amount of configurability. If there’s something about this controller that might benefit from a configuration option, there probably is one in the settings menus. If anything, AlphaTheta might have gone overboard here with the ability to tailor audio, mixer behavior, networking, and so much more. Thankfully, they seem to have chosen appropriate defaults for everything – at least based on the pre-release review unit I had to tinker with.
Beyond that lovely screen and all its configuration options, you get an all-in-one unit that’s about as good as it gets. As with the XDJ-XZ, the XDJ-AZ has a design that builds on the classic Pioneer DJ “two-CDJs-plus-a-mixer” design approach (ostensibly modeled in this case on the CDJ-3000 player and DJMA9 mixer), and it makes it a very easy transition for DJs
accustomed to using Pioneer DJ gear. It has the line’s outstanding classic effects on-board, and everything else about the unit is pure pro-grade.
Take, for instance, the microphone inputs. There are two of them, and neither is short-changed; you get two-in-one connectors (XLR and ¼- inch TRS) for both, and both inputs have mini-mixers that include three-band EQ. (I’m not sure that club DJs would fully appreciate this, but mobile jocks absolutely would embrace the utility of this capability, as I would.)
The massive platters that dominate the top of the XDJAZ have the feel of the CDJ3000. The controls across the unit are smooth and solid, the buttons tactilely just right. In fact, everything about it reads “quality,” just as I’d expect.
It is, however, a beast. It weighs nearly 30 pounds, consumes 3 feet of space side-to-side, almost 2 feet front-to-back, and peaks at nearly 6 inches in height off the desktop. (In fairness,
AlphaTheta’s Latest: A terrific all-in-one unit.
the XDJ-AZ and the previous XDJ-XZ are roughly the same weight and size.) This is not the sort of unit that’s going to get carted around in a ballistic nylon backpack from gig to gig. But then, at its price point and with its capabilities, that’s not the sort of DJ it’s designed for, to begin with.
In Use
These days, I keep my core DJ-music collection on a single, high-speed, highcapacity USB thumb drive. The XDJ-AZ provides a pair of USB ports on the top surface, each one supplying a full 1 amp of power to plugged-in devices. My first step was to stick the drive into the unit without any preparation. As expected, the unit really wants you to use rekordbox to pre-process your music collection. Offboard pre-processing is the same expectation that the company’s primary competition in this space has, but it’s not strictly a requirement here; I could load tracks and use them without the pre-processing. However, where AlphaTheta has made some different choices from its competition is that the onboard music processing will analyze the BPM, but it’s also noticeably sluggish to get the job done, and when it finally finishes, it will not identify the song key for harmonic mixing. I’m of the belief that all the capabilities of the unit should be available directly on the de-
vice; we’re well beyond the point where either the power or availability of microprocessors, DSPs, and other discrete components can be used as an excuse to depend on pre-processing being done off-device ahead of time. I noted this shortcoming in my review of the XDJ-XZ, and four years down the road, I’m surprised that AlphaTheta has chosen to force users to resort to rekordbox to get the most out of the unit.
[According to AlphaTheta: “The AZ integrates with rekordbox wirelessly, either with Link Export Mode within a network, or with CloudDirectPlay. The unit is designed to help users get the most out of using the rekordbox ecosystem, which a user can take to multiple devices, not just a single one.”]
Like other offerings on the market, the XDJ-AZ has integrated connectivity, including WiFi. This enables playback of material from a rekordbox CloudDirectPlay collection, as well as Beatport Streaming – subscription required, of course. (For firmware updates, the device must be powered into “firmware update mode.”)
The XDJ-AZ also allows for playback of material from a computer if you’d like, and if you are a Serato DJ user, the XDJ-AZ can be used as a controller for that as well (admittedly, not something I tested).
Bottom line? No matter how you need to access your
music, the unit very likely has a way to let you use it during a performance. It may be worth mentioning that some competitors have enabled Tidal streaming support in their gear; this or the equivalent would be a welcome addition to the XDJ-AZ, especially for mobile jocks where EDM is not a primary genre.
One cool feature is that the XDJ-AZ provides support for wireless monitoring via the company’s proprietary SonicLink technology. Designed to be an improvement over Bluetooth, it’s supposedly as much as 20-times faster, providing a much lower latency listening experience. (It’s worth noting that the unit does not provide SonicLink connectivity for AlphaTheta’s SonicLink-enabled wireless DJ speakers.)
To test the headphone SonicLink functionality, the company loaned a pair of their also-new HDJ-F10-TX wireless DJ headphones. Bottom line? I was impressed by the both the audio quality and the performance, and I loved not fighting a curly cord at every turn – so I see the benefit. The HDJ-F10-TX headphones themselves, on the other hand? Not sure I’m a fan; the clamping pressure is outrageously strong, and I found them uncomfortable to use for very long.
Finally, I think it’s worth pointing out the incred -
ible effects capabilities of the XDJ-AZ. The unit’s “color” effects are tied to a knob, one per channel; while it offers a handful of options, perhaps the most useful is the filter, allowing easy access to high- or lowpass filters, which can be extremely useful in certain mixing situations. The “beat” effects correlate to a more typical effects engine that one might expect. In short, they’re amazing; the Mobius effect, in particular, makes it incredibly easy to add energy to a performance, or to cover for mixes that might be harmonically compatible, but have other characteristics that make them challenging. But there are many other useful effects to choose from here.
Conclusions
Without question, the AlphaTheta XDJ-AZ ($3,199 list) is nice improvement to its Pioneer DJ XDJ-XZ predecessor. The company has upgraded the screen, improved the firmware, and introduced numerous other useful enhancements that I’d say reinforce the company’s position as one of the most important, most interesting, and most relevant brands in the DJ space. It’s a greatsounding all-in-one, it has a layout that’ll be immediately familiar to virtually any working DJ, and it’s ready for action for nearly any DJ. Just don’t expect to stuff one in your backpack.
XDJ-AZ: An improvement to its predecessor.
Next Level:
OWC SOLID-STATE DRIVES
By Wesley King
For those who don’t know the company, OWC (Other World Computing) has been around for years, and storage solutions have long been its specialty. My first introduction to OWC was in the form of upgrade kits for Apple Macs — back in the days before Apple decided to start soldering everything to their motherboards and allowing you to field-upgrade precisely… nothing.
In any event, the company recently loaned two solidstate storage solutions that I feel are of particular interest to the DJs: the Envoy Pro mini ultra-portable SSD stick and the incredibly compact Envoy ultra-portable SSD drive. For evaluation, both drives tested offer a whopping 2 Terabytes of solid-state storage, and both offer strong performance.
Of the two, I think the Envoy Pro mini is a great choice for DJs, since it has a classic USB stick form factor, making it a simple, one-piece solution; the regular Envoy is quite small, but requires a cable to interface the drive to either your computer, or to a media player or DJ controller.
The regular Envoy offers a slight edge in performance, perhaps given its NVMe M.2 roots, but make no mistake: both are, as USB-based drives go, incredibly fast. Some basic software-based testing on my MacBook Pro shows that both drives perform to their rated specs in terms of speed.
Both drives are available in multiple storage capacities, but I have to say, it’s really nice to have a full 2TB of storage space to tinker with. That’s enough space to hold my entire digital-music collection… all my club-centric EDM, all my multi-genre material for mobile gigs — everything… and still have an enormous amount of drive space leftover. If you consider one of the Envoys, of course, you can save some money by going a bit smaller.
In Practice
For testing purposes, I chose a pair of Denon DJ SC5000 media-player decks, running Denon’s latest 4.0.0 version of the Engine OS. Because of the file system types that Denon supports, I formatted the Envoy units to use the exFAT file system. I then copied a large chunk of music to the drive, then used Denon’s Engine DJ application on my Mac to pre-process the music, and store the catalog information on the drive itself.
I’ll point out that I’ve not had too much trouble using pretty run-of-the-mill USB stick media with the Denon drives (or other controllers) over the years, but both slow read performance and USB stick reliability have been periodic pain points — not to mention low storage capacities. In my testing, the OWC Envoy drives unsurprisingly left
standard, consumer-grade USB sticks in the dust. The specific numbers varied by manufacturer and model, but the Envoys outperformed various mass market sticks I’ve often used in the past by a margin of roughly 4x. That results in a really strong performance margin. While I can’t evaluate the long-term durability and reliability of the OWC products, I quickly became a convert just for performance reasons alone. Plugging either of the two Envoy products into a USB-C port on my newest Mac mini, which uses USB 3.1 Gen 2, both performed as advertised. Were they as fast as the on-board SSD storage? The answer is no; I wouldn’t expect that from a USB-connected device. But that’s sort of splitting hairs; they were damned fast.
My preferred Envoy, the stick-form-factor Pro mini, easily and reliably achieved right in the neighborhood of its stated 946MB/s sequential read/write maximum performance. That speed made it far less painful to load media onto the stick using my computer, and the
performance of the Engine DJ software in its analysis phase was impressive, too.
Conclusions
Capacity and performance don’t, however, run cheap. OWC Envoy Pro mini with 2TB (as tested) runs $300, while dropping to 1TB runs $170. (500GB and 250GB versions are also available.) The regular OWC Envoy is slightly less expensive, and is offered only in 1TB and 2TB configurations, for $150 and $280, respectively.
I still think I prefer the Envoy Pro mini; not only does its stick form factor provide cable-free interface to both your computer and your DJ controllers or media players, but the device has a unique, integrated, switchable connection to either USB-A or USB-C ports — a nice bonus. But whichever you might choose, if you’ve got a collection of digital music you need to cart from set to set? You’d be hard-pressed to do it more easily or more effectively than with the OWC Envoy family.
Ultra-Portable: OWC’s Envoy SSD drive.
Envoy Pro mini: A whopping 2TB of storage.
Big Bundles:
Komplete 15 NATIVE INSTRUMENTS
By Wesley King
Even as makers of digital audio workstation (DAW) software add new features to their flagship products (like Ableton Live, Bitwig Studio, Avid Pro Tools, Apple Logic Pro, etc.) to keep the money flowing in, buying a DAW continues to be just the first step in building out the suite of tools you need to truly be effective at creating, recording, mixing, and mastering music, no matter what genre you might be working within. Those investments can add up, too, by the time you choose and acquire synth plug-ins, effects plug-ins, sample libraries, and more.
It’s now been more than two decades since Germany’s Native Instruments (NI) collected some of their best offerings into a single bundle, dubbing the result “Komplete.” And it’s been well over a decade since I first got my hands on then-current Komplete 8. Fast forward to today, and NI recently took the wraps off its latest in the series, Komplete 15.
A Bundle for Everyone?
For Komplete 15, NI stuck with the same basic bundle configurations that it’s used for years now: Standard, Ultimate, and Collector’s Edition. The company still offers some entry-level configurations under the Komplete name, but I’m not including those in the scope of this review.
The three core bundle sizes and prices break out as follows: Standard ($599; 144 products included), Ultimate ($1,199; 223 products included), and Collector’s Edi-
tion ($1,799; 278 products included). Update pricing is available for previous versions, as well as between the tiers.
It’s worth noting that, while the product counts are impressive, these numbers include everything that’s individually identifiable, including expansions. It can be somewhat challenging to identify what’s what when looking at the “what’s included” lists from NI. Does something stand alone? Does something work within Kontakt? And the depth and breadth of any individual product can vary considerably as well.
What’s New?
Each new update to Komplete delivers more tools and content — that part’s a given. (Some content is actually removed from Komplete from time to time, but it doesn’t happen often; in Komplete 15, most of the Scarbee-branded bass content has been shown the door.) But what NI has itself highlighted in terms of new additions is three-fold: Kontakt 8; iZotope Ozone 11
Standard; and Guitar Rig 7 Pro.
I’d argue that for most producers, Kontakt 8 is the headliner here. If you’re unfamiliar, NI aptly describes Kontakt as a “virtual instrument platform.” Perhaps it might be slightly more accurate to describe it as a wavetable synth engine, as it provides a nicely optimized system to trigger, control, and play samples from premade libraries, with onboard tools to shape the resulting sounds. Over the years, it’s gained support as the foundation for countless virtual instruments, both from NI itself as well as a wide range of third parties, and NI has evolved and enhanced the offering in various ways.
Kontakt’s upgrade to Version 8 is not the only notable aspect here. In fact, as in years past, a lot of the “products” included in Komplete are expansions or other types of content specifically for Kontakt, continuing to highlight its importance, it seems, to the company’s lineup. With Kontakt 8, NI has introduced
several improvements to the product’s core functionality, including browser enhancements. But perhaps the most interesting enhancements are Tools and Leap.
The Tools currently number two: phrases, and chords. The former provides functionality to find and tweak melodic phrases, while the latter is designed to do the same for chord progressions. I say “currently” because the material that NI has produced to talk about Tools hints at the possibility that there may be more in the future. Both are worthy of exploration, as they can provide some critical foundational material for new projects when you just need some inspiration.
Leap is an interesting new addition that’s designed to make it extremely simple to get from a standing start to a nearly complete track — at least with a set of prepackaged content. As an Ableton Live guy, Leap feels a bit akin to Live’s Session View, but one that’s prepopulated with a pile of clips that are designed and proven to work well with one another. Each Leap Expansion comes with a range of kits, and each kit has 16 clips of various song parts that you can trigger with a keyboard (or programmed MIDI notes in your DAW). If the notes are held down, they loop. Layered on top are effects and various other ways to control and shape the sound, as well as customize things to your liking.
Could you make an entire song out of one of these kits? Well, yes, of course. But I see
Wise Investment: NI’s Komplete 15.
Leap as a way to… well, leap a project forward by generating ideas that you can build on, replacing or adding sounds as the project matures. In my tinkering with Leap for this review, I could quickly build some foundational material that made it easy to see light at the end of a compositional tunnel — even if I ended up replacing every single song part with something from outside of the Leap kit itself. But whether you replace its pieces in whole or in part, I think NI accomplished what they set out to with this nifty new capability.
Moving on, NI first included iZotope’s amazing Ozone mastering tool as Version 10 with Komplete 14. What’s new is the next increment: Ozone 11, which expands the Ozone feature set with some powerful new capabilities. I’m a long-time Ozone user, and I couldn’t work without it. Bundling it with Komplete is a smart move, potentially exposing more users to its usefulness, but also increasing the overall value of Komplete as a sort of end-to-end music creation powerhouse.
Lastly, we have Guitar Rig 7 Pro. While the name suggests that the product is intended only for guitar players, the truth is that its myriad effects can also be remarkably useful for non-guitar sound enhancement. NI have added some effects to the product that deserve some exploration for non-guitarists, namely Tape Wobble, Kolor, and Noise Machine. I tend to stick to the ample effects capabilities of my DAW of choice (Ableton Live), but that’s more a function of familiarity than anything else. When I have dipped into patching in some Guitar Rig effects, I’ve often really enjoyed what they’ve
brought to the table. Perhaps this updated version of Guitar Rig and its new effects will prompt me to do some further exploration; so far, I’m really liking what I’m hearing.
The challenge in writing a review of Komplete, and in fact the main challenge in using it and getting the most value out of it, is the sheer volume of content. I’ve not tinkered with an upgraded Komplete since 2018’s Komplete 12. In the six intervening years, according to information available from various sources online, Komplete Ultimate and Komplete Collector’s Edition have each grown by roughly 85-percent in size (in terms of product count), while Komplete Standard has grown by a whopping 130-percent. Pricing, however, has only increased somewhat, and solely for the Collector’s Edition. The average price per product included, however, has therefore obviously gone
down, providing increasing value.
I could easily take a few thousand more words to go on and on about other highlights of Komplete 15, but I’ll opt instead to highlight a few of my favorites:
Conflux . This Kontakt instrument produces some incredibly powerful sounds that NI describes, appropriately, as “sci-fi.” I can easily see so many of its library choices dropped into my projects, and it’ll be a focus of my studio playtime.
Vocal Colors . Another Kontakt instrument, this one provides vocal-rooted sounds that can be ethereal, emotional, and take many other forms that will lend themselves nicely to a range of genres.
iZotope Vocal Synth 2
To be clear, this is not a new product — it’s newly bundled with Komplete, but I think it’s worth mentioning
specifically. If you’ve never used it, you should; it lends a range of manipulations to vocal tracks that range from period classic to edgy and wacked-out.
Leap Expansions . There are a wide range of these included, and they’re essential to exploring Leap within Kontakt as I outlined above. Out of the initial offerings included, ’80s New Wave, Acoustic Drums, Progressive Trance, and Platinum Pop are some that stand out to me.
Conclusions
Komplete 15, like the Komplete bundles before it, provides a wide array of sound generation and manipulation capabilities that have always struck me as a wise investment for anyone serious about production. Kontakt seems to have gotten most of the attention this round; whether that and the content provided for it in Komplete 15 (plus the other miscellaneous additions) justifies diving in likely depends on whether you’ve bought into the Komplete series in the past, and how long ago you did so. Upgraders will want to take a very hard look at what’s actually changed since their last Komplete purchase or upgrade. As I mentioned above, Komplete 12 was my last dip of the toe into the waters of Komplete, and certainly for Komplete 12 users like me, I think the upgrade makes financial sense. Of course, your mileage may vary, as they say.
Kontakt 8: Improvements & new Tools.
Ozone 11: iZotope’s amazing mastering tool.
Florida Jock
BRINGS MUSIC IN MOTION
By Jim Tremayne
Orlando, Fla. – After years of spinning clubs and mobile events, Charles Miles founded Mix on Wheels in 2008. Rolling with a fleet of trickedout/DJ-equipped vehicles – including the new EV DJ – the company has thrived in a market rich with corporate and theme-park gigs. We recently caught up with Miles, 57, to further understand his unique approach to his mobile market.
DJ LIFE: Where did you grow up, and what got you interested in music?
Miles: I grew up in Alabama and moved to Orlando when I was 30. In my early teens, I was deeply involved in breakdancing. I vividly remember visiting my grandparents in Chicago during middle school, where I first saw the breakdancing scene take off. It was electric, and that’s when I knew I had to be a part of it. The song that sparked it for me was “Let the Music Play” by Shannon. That track really gave me a sense of how big breakdancing was in the mid-’80s, and I’ve been hooked on music and dancing ever since.
DJ LIFE: How did you get the DJ bug?
Miles: During my junior year of high school, a local teen club opened in my hometown. Since I was a dancer and always involved in music, I was a perfect for fit for [DJing at] the teen club. I worked for two years through my junior and senior years. After high school, I moved to Tuscaloosa to attend the University of Alabama, where I majored in business, while I was DJing at clubs and doing mobile-DJ work.
DJ LIFE: How did things progress on the DJ side?
Miles: In 1996, I moved to Orlando to pursue a degree in audio engineering at Full Sail University. After graduation, I landed what I thought would be my dream job as a proaudio manufacturer rep. I was also a part-time DJ for Walt Disney World, specializing in corporate events and Fairytale Weddings. Eventually, I transitioned into full-time DJing, mainly performing at Disney World’s main stages, corporate theme park buy-outs, and sports-hosting for Disney’s ESPN.
DJ LIFE: At what point did you get the idea for these vehicles with DJ/pro-audio systems?
On Mic: Zerambo has become a frequent public speaker.
Miles: So… during that time, I had the privilege to go on tour with Disney and Coca-Cola as the DJ for their Grad Night events, held for high-school seniors at the Magic Kingdom. While on tour, I DJed out of Coca-Cola’s tricked-out entertainment trailer as part of the Grad Night promotion. At this point, the idea was born to create Mix on Wheels, a mobile-DJ service offering an innovative spin on traditional
DJ entertainment.
DJ LIFE: How did you go about it?
Miles: I founded Mix on Wheels in 2008 by investing in my first vehicle, a Hummer H3. The concept took off, and I soon expanded to add six more vehicles: a Hummer H3, Mini Cooper Clubman, Jeep Wrangler, International Terra Star, VW Vintage Bus, Honda Element, and even an ecofriendly DJ trike bike. Our newest addition is a 2024 Tesla Model X, which has transformed into the world’s first electric DJ vehicle – the EV DJ. Today, Mix on Wheels is a multiop company, serving all types of events for clients like Walt Disney World, Universal Orlando, SeaWorld, sporting events, and destination-management companies from all over the country.
DJ LIFE: Sounds like your company is rather different from those in your market…
Miles: Our focus is highly centered around the theme parks. We provide entertainment for private-corporate events inside the parks, as well as in convention centers, hotels, and at sports events. What sets us apart, of course, is our fleet of exotic DJ vehicles. I was the first to introduce this concept in Central Florida, taking mobile DJing to a whole new level with custom-designed vehicles. We’re always looking for ways to wow our clients, and the addition of the Tesla Model X electric DJ vehicle is just one of the many ways we’ve stayed ahead of the curve.
Rolling: EV DJ vehicle at SpaceX event.
DJ LIFE: How many DJs work for you now?
Miles: We have approximately 15 DJs on our staff and access to additional DJs when needed. As the company has grown, I’ve personally stepped back from spinning at events to focus on the company’s demanding growth. Now, my primary role is to provide excellent communication with my clients and continue bringing in and training the new generation of DJ talent.
DJ LIFE: How many events does the company do each year? What’s the breakdown?
Miles: In 2024, I’m proud to say we performed over 1,600 events. It’s incredible to see how much we’ve grown over the years. About 15-percent of our events are weddings, 60-percent are themepark events, and 25-percent are private corporate events, including sports events. We’re fortunate to have a wide range of events that keep things exciting.
DJ LIFE: Tell us more about the latest tricked-out car…
Miles: Our newest concept DJ car, 2024 Tesla Model X, is a game-changer. My business partner, who is also my wife Mayra, played a huge role in bringing this concept to life. She wanted to maintain the classic Tesla look, while transforming it into a cutting-edge, mobile-DJ vehicle.
DJ LIFE: What’s in it?
Miles: The vehicle features a built-in Pioneer MIDI DJ controller in a custom, futuristic pull-out case, with a 40-inch, curved TV monitor that projects logo or video playback, a built-in Shure wireless microphone and fiberoptic lighting throughout the interior and exterior, which can play over 300 light patterns. To make the Tesla EV DJ Car more interactive, we added an SMS photo booth, which can double as a roaming photo booth. This vehicle is entirely battery-powered with separate power modules, so we don’t tap into the car’s main battery. Everything is self-contained within the vehicle in an electrifying package.
DJ LIFE: What’s an event like with this vehicle?
Miles: As the DJ arrives, the car itself comes alive. A low hum, a surge of energy, and then… the vibe explodes. Every beat drop is a sonic boom, amplified by a state-ofthe-art sound system that pushes the boundaries of bass. One of the most eye-catching features of the Tesla is its gull-wing doors. When they open, it instantly grabs attention, adding a dramatic effect that makes the car even more of a showstopper at events. We’ve used the Tesla for all kinds of events – theme parks, SpaceX, Kennedy Space Center, golfing events, parades, grand openings, and private celebrations. It’s a unique experience that truly takes our clients events to a whole new level. And this is the first electric DJ vehicle offering sustainability and the environmentally friendly future of partying, a testament to the fact that high-energy entertainment and eco-consciousness can go hand-in-hand.
DJ LIFE: Who did the pro-audio installation in the car?
Miles: We handle all fabrication inhouse, working with the same fabricators we’ve been collaborating with since the start of the company. We’ve got a great team that ensures every detail is taken care of, and the set-up is quick – less than 20 minutes to get the vehicle ready to rock for indoor or outdoor events.
DJ LIFE: Aside from the cars, what DJ gear set-up do your DJs usually use?
Miles: I’ve been in the industry long enough to know what works. My go-to DJ controller is Pioneer. For microphones, I love the Shure wireless mics. When it comes to sound, I trust RCF speakers –they’ve been a great longtime partner from the start of my company, and I recommend them to all our DJs. We also use lighting from Chauvet, Ape Labs, and ADJ, depending on the event. As for transport, we use Gator cases to keep everything organized and protected.
DJ LIFE: How does your company market itself these days?
Miles: The relationships we’ve built over the years have been crucial to our growth. My wife and I have worked hard to establish a reputation for excellent service, particularly with the Central Florida theme parks and destination management companies. Thanks to these long-standing partnerships, we’ve been able to generate repeat business, which makes up about 80-percent of our revenue. We’re known for delivering top-notch service, and that word-of-mouth marketing has been invaluable.
DJ LIFE: How has the business changed in the past few years?
Miles: Over the past five years, our business has doubled. A huge part of that growth comes from introducing the DJ vehicle concept to the industry. In today’s world, it’s essential to stand out, and by doing so, we’ve seen greater success. The Tesla Model X has been a major part of that. As the world becomes more eco-conscious, we’re proud to be at the forefront of this trend, creating an innovative and sustainable model that speaks to clients who want something unique and forward-thinking. We’re also forming new partnerships, like the one we’ve recently established with SpaceX, which will take our events to new heights. The evolution of the DJ industry is not only about music, but also about providing new visual entertainment concepts.
DJ LIFE: Where do you see yourself/your company in five years?
Miles: I want to continue expanding by adding more electric vehicles to our fleet and staying innovative with new ideas. I’m always thinking about the next big thing, and I believe that if you do what you love, people will notice. That mindset has been key to our success. I’m also grateful to have my wife as my business partner – her insights and ideas have been invaluable in growing the company. As times change, we’ll keep adapting, but the core of our business will always be about delivering the best entertainment possible.
Mix on Wheels: Charles Miles’ outfit since ’08.
Timelines & Tech:
PROM MARKETING FOR MOBILES
By Jordan St. Jacques
School prom season is just around the corner, and mobile DJs will be all over social media showcasing their prom gigs for all to see.
Behind the scenes, though, a new prom committee has been elected/ appointed – and, before you know it, these eager-beaver students will be starting work, preparing for Prom 2026. DJs cannot afford to rest on their laurels after their prom performances are over, as a significant portion of schools are going to make purchase decisions soon.
BOOKING TIMELINES
Prom Committees break down into three categories:
Eager-Beavers. The Prom Committees that will go hard all summer long, and make purchase decisions in September/October at the latest.
Normal. Prom committees that start their work slowly over the summer, but then pick things up fast when school gets back in season, and make purchase decisions by the Christmas break or in early January.
Procrastination. These are prom committees that don’t even start work until school gets back in September, and make their decisions by February/ March.
As you can see, the sales cycle is different for lots of schools, but you can generally count on these three categories with respect to where a school fits into the sales cycle. No matter where a school fits into the above categories, you should have a plan in place for all schools. Here’s one that we used:
SUMMER – INFORMATION GATHERING
Targets
Prom Committee Members
Find on Instagram & Tik Tok
Find through Facebook school-specific prom groups
Prom Committee Teacher-In-Charge
Find on the school website
Find through LinkedIn
Find through referrals
Parents Committee (for the very lucrative After-Proms)
Find through the PTA
Seriously, the more prepared you are over the summer, the more ahead of the game you will be when school gets back in session. And, do not underestimate the After-Prom opportunities. Some of those contracts can be in the tens of thousands of dollars for those more-robust entertainment companies.
FALL – QUOTES, VIDEOCALLS & WEBINARS
Be ready with all your sales materials before Labor Day, including the following;
Dedicated digital-sales room (to work alongside your website, we use https://stageset.io/).
Videocall link right in your main menu (see my seminar on Aug. 14 at DJX for details on this).
Prepared monthly prom-focused webinars (we use both https://sessions. us/ and https://webinarninja.com/ for these) so that you can invite prom committees to whatever webinar date works for them with respect to whatever sales cycle they happen to be in. Make sure your email newsletter plat-
form has a prom-centric drip campaign configured.
Make sure you have a good website. These are teenagers you’re dealing with here. A bad website is an even greater turn-off for this crowd than for weddings and corporates. The best way to portray yourself is a prom-centric separate website for your brand.
Do not be passive here. Schools will no doubt receive quite a lot of inquiries for their prom business, and so you have to adopt a slightly more aggressive stance here. Best advice is… get potential clients onto your drip campaign as a priority.
WINTER/SPRING – FOLLOW-UPS, STRAGGLERS & BAD GIGS
Don’t be lazy, and follow up with quotes from the fall if you never heard back from a particular school. Be prepared to talk to those lastminute schools who aren’t prepared properly.
Pay attention to anything you hear about a bad DJ ruining a prom with a bad performance. Hop on that immediately, so that the school in question remembers you when it’s time for them to book again.
THE “CONVERSATION”
Schools are by far the worst when it comes to price expectations. For some reason, these teachers still expect 1995 pricing, and it’s a chore during some sales processes to justify your quotes. So, some notes to counteract this proper price resistance: Compare your packages to what it would cost the school to rent and set up the gear on their own at the nearest AV rental shop.
Offer testimonials of how the entertainment is far more important than the meal, as well as focus groups from students who had a bad prom in their past. Good luck!
GEAR
CURTAIN OF LIGHT
ADJ has released the Ultra Beam Bar 12CW, a compact linear entertainment lighting fixture that features 12 cool white LEDs. Each LED generates a narrow beam of bright white light and when all 12 are lit simultaneously the fixture creates a “curtainof-light” effect. The LEDs can also be controlled independently, allowing animated chase patterns running across one or more fixtures to be programmed. The fixture features 12 20-Watt 6200K (cool white) LEDs, which each output a distinct beam of light with a concise 5-degree beam angle. Smooth dimming control allows each LED pixel to be controlled separately, either via DMX or utilizing the fixture’s 13 built-in chase programs. A “pixel flip” mode is also included, which inverts chase patterns to run in the same direction regardless of the orientation of the unit. ADJ 6122 S. Eastern Ave Los Angeles, CA 90040 (323) 316-9722 www.adj.com
EVOLVING SPEAKERS
Electro-Voice has released the EVOLVE 70 and EVOLVE 90 active, column loudspeaker systems. The EVOLVE 70 delivers a max SPL of 133 dB and the EVOLVE 90 offers 134 dB. The 70 features a 15-inch subwoofer, which takes low-frequency extension down to 35 Hz, while the 90 offers an 18-inch subwoofer, taking its low-frequency extension down to 28 Hz. Neodymium column drivers, aluminum distance pole, and lightweight materials throughout, combined with its design, means portability and fast assembly. New additions include ample connections for microphones, line level, Bluetooth and digital signals increasing flexibility for accommodating nearly every professional app. Available in black and white finishes, both systems are integrated into the QuickSmart Mobile App ecosystem.
France’s Phase, distributed Stateside by American Music & Sound, has released Phase Pro, a turntable controller that offers built-in screens for on-the-go personalization, MIDI integration, and touchscreen experience. Phase Pro is powered by advanced sensors, machine learning, and a custom-designed Phase OS, all while keeping a 15-hour battery life. DJs can personalize their equipment to reflect their style and needs. Using the new Phase Pro Manager app, DJs can fully customize what’s displayed on their screens, selecting from 50-plus customizable components to create thousands of different combos. Action Modules transform the screen into MIDI buttons, giving DJs control over their software. Status Modules display information on the user’s Remote, which is updated in real-time. Brand Modules showcase the DJ’s personality directly on the Remote screen by adding logo, text icons, or name for a personalized touch.
AlphaTheta has released the DDJ-GRV6, a 4-channel DJ controller compatible with rekordbox and Serato DJ Pro. DJs can remix drum parts and perform remixes on the fly with the unit, thanks to its new Groove Circuit feature, which is available in rekordbox, and enables DJs to manipulate the music. DJs can press one of the dedicated buttons to swap the drum part of any track with a beat or break in a completely different genre while it’s playing and add effects to create unique sounds. Paired with Serato DJ Pro, the DDJ-GRV6 can manipulate and separate Stems using the Stems FX feature. With a layout inherited from the Pioneer DJ CDJ and DJM setups, the DDJ-GRV6 gives users a feel for playing on club-standard equipment to prepare them for the booth. The controller also includes the Smart Rotary Selector and Discover function, to help make browsing and selecting tracks more intuitive and faster.
AlphaTheta Corporation 2050 W 190th St #109 Torrance, CA 90504 (424) 488-0480 www.alphatheta.com
IN THE K COLUMN
QSC has released the KC12 active column loudspeaker system. The 3-way, 3,000-watt system is ideal for DJs and mobile entertainers, AV productions and static installations. The highly portable systems consists of a ported subwoofer, housing a 12-inch driver extending down to 40 Hz. The design of the mid/high enclosure features a 1-inch compression driver combined with the QSC LEAF (Length-Equalized Acoustic Flare) waveguide, as well as two high-excursion 4-inch midrange drivers. Due to its 3-way design, the system provides full-range horizontal coverage of 145-degrees and 35-degrees of audience-directed vertical coverage. Configured with or without its column pole, the system is suited for deployment on a floor, stage or riser. Available in white and black, the KC12 is backed by a 6-year extended warranty.
QSC 1675 MacArthur Blvd. Costa Mesa, CA 92626 (714) 754-6175 www.qsc.com
DOCKING STATION
Germany’s Reloop, distributed Stateside by American Music & Sound, has released the Stand Hub Pro docking stand. The 10-in-1 multimedia hub with power delivery offers DJs, producers, artists and content creators new connectivity options. The thin, lightweight aluminum design with a rotating base allows for flexible positioning in even the tightest of spaces. The 360-degree rotating base allows for individual, ergonomic positioning in both C and Z positions. Three USB-C and two USB-A ports provide DJs, producers, and multimedia creators with versatile connectivity. With transfer speeds of up to 5 Gbps, the unit is ideal for the real-time transfer of large amounts of data, complex live setups, and club nights where multiple DJs share a setup. Adjustable to suit almost any work environment, it is held securely in place by recessed mounting screws.
Reloop/American Music & Sound 310 W. Newberry Road Bloomfield, CT 06002 (800) 431-2609 www.reloop.com
GEAR
MOVING HEADS
Mixware’s lighting brand ColorKey has released the Creator Series of moving head fixtures. The range combines sharp beams, rich spot lighting, and wide washes with synchronized halo effects to deliver precision and dynamic visual effects for stages, events, and performances. The range includes: the Creator BSW 1200; the Creator Sport 250; the Creator Beam 150; and the Creator BX7 Wash. The BSW 1200 is a 200-watt 3-in-1 LED moving head beam, spot and wash fixture with RGB effects. The Spot 250 is a compact, 200-watt LED moving head spot fixture with rotating and static gobos. The Beam 150 is a 100-watt LED moving head beam unit with over 100K Lux @ 5M, 18 gobos and a 1.8-degree beam angle for effects. The BX7 Wash is a 280-watt Bee-Eye Wash with focus, individual pixel control, infinite effect rotation and a wide 5-60-degree zoom range.
ColorKey/Mixware 11070 Fleetwood St., Unit F Sun Valley, CA 91352 (818) 578-4030 www.colorkeyled.com
American Music & Sound, has released the DJ Control Mix Ultra, a controller perfect for upstart DJs. The all-in-one unit allows DJs to mix on an Android or iOS smartphone with included Algoriddim djay software. The two-deck unit features eight pads, EQ, two tempo faders and two touchsensitive jog wheels. The unit’s optimized for the smartphone, harnessing Bluetooth Low Energy (LE) for hours-long sets and fully wireless connectivity. All audio connections in and out happen without any power cords or wires required – and with a 10-hour battery life. Measuring just 31.5- by-17.3 cm, the unit is built for portability, fitting easily into any backpack. Its protective cover doubles as a smartphone mount, ensuring stability during performances while keeping the device secure when not in use.
Hercules/American Music & Sound
310 W. Newberry Road Bloomfield, CT 06002 (800) 431-2609 www.hercules.com
WOODY WORKSTATION
On-Stage, a brand of The Music People, has released the WS7500W Wood WorkStation. Perfect for audio production, mixing, video editing, and streaming, the Workstation features two tiers with ample space for a computer, mixing monitors, and additional equipment, all in a compact footprint. The spacious main desktop surface accommodates a keyboard instrument, MIDI controller, mixer, and outboard gear while the upper tier holds computer monitors and studio speakers. A tray slides in and out under the desktop to keep a keyboard, mouse, or other computer peripheral out of the way yet conveniently within reach. To hold all this equipment safely and securely, the Workstation’s heavy-duty steel Z-style frame delivers reliable support for 175 pounds. Newly available in white, the Workstation also comes in black and rosewood finishes.
On-Stage/The Music People 154 Woodlawn Rd Berlin, CT (800) 289-8889 www.on-stage.com
IN FOCUS
Focusrite, distributed by American Music & Sound, has released three Scarlett interfaces for project studios, completing the fourth-generation range. The three new additions, Scarlett 16i16, 18i16, and 18i20, complement the existing range with greater connectivity to meet the demands of the modern project studio. The three new interfaces add more analog inputs and outputs, front-panel monitor switching and mute control, S/PDIF and ADAT connectivity, additional headphone outputs, and a built-in talkback mic on Scarlett 18i20. The three new units all feature: 122dB dynamic range, using the flagship RedNet range converters; remote-controlled preamps with 69dB of gain for studio sound from any mic; Pair Focusrite Control 2 for desktop with Focusrite’s new mobile app; and full wireless control over in-
puts and monitoring mixes, allowing the adjustment of settings without being tethered by cables.
AlphaTheta has released the DDJ-FLX2 DJ, an easy-to-use controller for upstart DJs. Connect the unit to one of several compatible DJ applications from a smartphone, tablet or computer, and users can seamlessly mix tracks and apply effects with ease. For new users without their own music files, they can use compatible streaming services such as Apple Music through Algoriddim’s djay app. The unit’s Smart CFX feature enables DJs to recreate complex and dynamic effect techniques with a simple turn of a knob. Use Smart CFX to connect tracks together and to make performances more dynamic by adding emphasis to the music. The Smart Fader feature automatically optimizes control of the volume, BPM, and bass, which is all needed when transitioning between tracks, and all users have to do is slide the crossfader in one direction. DJs can easily mix tracks from different genres, even if they have vastly different BPM.
AlphaTheta Corporation 2050 W 190th St #109 Torrance, CA 90504 (424) 488-0480 www.alphatheta.com
BOOMIN’ SUB
RCF has released the SUB 15-AX, a portable, 15-inch high-power active subwoofer that combines the latest-generation transducer with a powerful 2,200-watt Class-D amplifier that delivers max SPLs up to 133 dB. It delivers fully-featured processing, a large 2.4-inch color touch panel, rotary push controller while the RCF LiveRemote App for iOS and Android delivers remote control via Bluetooth. The sub is designed specifically for small- to mid-sized venues and are ideal for portable applications. Speaker management is centralized inside the subwoofer, providing dual crossovers, 8-band EQs, routing, delays, cardioid configurations, and recallable crossover presets. The polyurea-coated all-wood cabinet features a sealed Powercon True1 Top connector. I/O also includes a dual XLR/TRS combo input + link and dual XLR crossover outputs.
RCF USA 101 Circle Drive N Piscataway, NJ 08854 (732) 902-6100 www.rcf-usa.com
OUR MARKET-LEADING BRANDS OFFER TRUSTED ACCESS TO THE EXPLOSIVE BUYING POWER AND INFLUENCE OF DJ INDUSTRY, LIFESTYLE, AND CULTURE
Mixware brand Headliner has released its all-new Downtown Series of stylish and protective cases. Meticulously crafted, these cases are tailored to custom-fit individual pieces of music-production equipment, providing protection and portability. Tailored for specific devices, the cases’ space-grey aluminum profiles and ABS-laminated MDF panels provide a sleek, yet robust exterior. The cases feature enhanced security with lockable latches with two included keys for peace of mind. Other features include: high-density custom foam interiors; dedicated compartments for cables and power supplies; egg-crate foam lining for an extra layer of cushioning; and padded handle and removable shoulder strap with metal hooks and
latches. Models include cases for the Ableton Push 3, Akai Pro MPC Live II, Akai Pro MPC One+, and the Roland SP-404 MKII. Headliner/Mixware 11070 Fleetwood St., Unit F Sun Valley, CA 91352 (818) 578-4030 www.mixware.net
GET PORTABLE
Korg has released handytraxx, a new range of portable turntables. The four models include: the handytraxx play; the handytraxx tube; the handytraxx 1bit; and the limited-edition handytraxx tube J. The handytraxx play recalls Vestax’s Handy Trax portable turntable and features digital effects and a built-in looper. The handytraxx tube has a balanced tone arm featuring an MM cartridge, and a phono amp powered by Korg’s Nutube vacuum tube. The flagship model of the series, the handytraxx 1bit, offers playback and allows vinyl-digitizing capabilities. Made for hi-fi enthusiasts, the handytraxx tube J features JICO’s groundbreaking Clipper MM Cartridge.
KORG U.S.A. Inc. 316 South Service Road Melville, N.Y. 11747 (631) 390-6500 www.korg.com
MAUI WOWEE
LD Systems, an Adam Hall brand, has released the MAUI G3 MIX column PA series. The MAUI 11 G3 MIX and MAUI 28 G3 MIX models have an integrated digital 6-channel mixer, effects, and wireless remote control via smartphone or tablet. With the new systems, the MAUI family is finally complete. The portfolio is complemented by the MAUI 44 G2 professional PA system for full-blown band sound. The MAUI G3 MIX series combines all components for flexible live use in one PA system: mixer, effects, dynamics processing, controller, power amplifiers, and speakers. The mixer enables the connection of microphones, line devices, and high-impedance instruments, as well as the wireless connection of external devices via Bluetooth stereo.
LD Systems/Adam Hall Group 1 S. Corporate Dr. Riverdale, NJ 07457 (973) 335-7888 www.adamhall.com
[Mobile Monday Spotlight]
DJ Juan Castro
DJ Tessa Kristin Hubbard
DJ Keelez
Justin Stringfellow
Dylan Weisman
DJ Hope Flows
DJ SK
The unstoppable force that is Ben Westbeech returns to the Defected stable, this time on the superb sub-label Glitterbox. This soulful groover is quality throughout from the first strike of the piano. If you like strong musicality, top-notch vocals and a bumpin’ groove, this is
– Curtis Zack
Attn: Nu-disco lovers… On this sharp cover of France Joli’s 1981 hit, producers DJ Spen and Thommy Davis, plus vocalist Michele Chiavarini, stay pretty faithful to the disco original here, but bump up the BPM from a comfy 110 to a poppin’ 122.
– Curtis Zack
“All Day Vibes”
Eddie Fowlkes
Detroit Wax Digital
On this deep, but jumpy track, the Detroit legend flashes an Afrohouse vibe that percolates an unrelenting groove from start to finish. Hips will shake.
– Jim Tremayne
“Heard It All Before”
Amy Wiles, Leena Punks & flowanastasia
Anjunabeats
On this poppy trance banger, the gals collab for a boyfriend blowoff with the help of a shattering dancefloor breakdown. A break-up tune for 3 a.m. – Jim Tremayne
DJ Spen & Thommy Davis pres. Angelica de No
Amy Wiles Leena Punks flowanastasia
DJ Spen
Eddie Fowlkes
“Let
Me Be Your Fantasy” (Remixes)
Anane Nervous
Originally recorded in 1978 by The Love Symphony Orchestra, this track’s remix package of the Anane version is the real deal. With dancefloor-friendly remixes from house heavyweights like Dimitri From Paris, Moplen, Mousse T and others, you really can’t go wrong. Check the Blackchild Remix – it’s a banger.
– Curtis Zack
“Hallelujah”
Yass feat. Michelle Weeks
Big Love
Parisian producer Yass hooks up with powerhouse vocalist Michelle Weeks for this latest Big Love offering. Built around a “Ride Like The Wind” hook, this cut features Weeks at her strongest. With great production to match the sublime vocal, this upbeat cut should do well.
– Curtis Zack
Dave Lee
“You Decide”
Dave & Maurissa Z Records
This super-soulful number, the second single from the forthcoming LP by Dave & Maurissa, ticks all the right boxes. With a great vocal performance matched with a terrific production from Dave Lee showing, this whets the appetite perfectly for the full-album release.
– Curtis Zack
“Only You”
Oden & Fatzo X THEOS feat. Noa Milee Defected
Here with this earworm house collab between the French studio team and the London-based THEOS, Milee’s distinctive vocals slink over the snappy, effect-filled production making for a feelgood experience.
– Jim Tremayne
“About to Lose It” Matroda Insomniac
With this rubbery tech-house track sporting soulful vocals, Matroda bombards you with a monstrous groove, sneaky breakbeats, and massive effects until you surrender. Go for it.
