DJ Times August 2017, Vol 30 No 8

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WHAT MOBILES CAN LEARN FROM SERVICE INDUSTRIES

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SUMMER FESTS: CHICAGO & VEGAS

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MOSAIC MUSIC

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NOTABLES…MILESTONES

AMERICA’S BEST DJ TOUR: CHICAGO’S SPRING AWAKENING

By Jim Tremayne

Fireworks: SAMF blasts off.

ABDJ Booth: Fans cast their votes.

Mainstage: Diplo drops the hits.

Upcoming: Stay tuned for more reports from the road on America’s Best DJ Summer Tour Presented by Weedmaps & DJ Times. Events include club dates in New York City (Webster Hall) and Philadelphia (Coda), plus festival stops in Denver (Global Dance Festival) and Baltimore (Moonrise Festival.)

Talib Kweli @ DJ Expo!

Atlantic City, N.J. – At DJ Expo, top hip-hop MC, DJ and entrepreneur Talib Kweli will co-present Mackie’s sponsored seminar, “Perfecting Your Performance – Loudspeaker Selection & Technology.” For the Aug. 16 session, he’ll be joined by Miami party jock DJ Irie. DJ Expo runs Aug. 14-17 at the AC Convention Center. For more on DJ Expo, please visit www.thedjexpo.com.

AUGUST 2017

tween laptop and saxophone—played more sweetly with smooth interludes, R&B grooves and loveydovey vibes, an ethos exemplified on “Wicked,” a summery, downtempo tune that delivered stuttering drops, piercing effects and lilting guitar lines.

Among Non-ABDJ Noms, Highlights Included: Felix Da Housecat’s Friday set in the Body Language tent delivered some of the fest’s best sounds – an irresistible mix of tech-house, electro, and ecstatic gospel-soul moments. Jody Wisternoff’s gorgeous Saturday-afternoon set in the Anjunadeep tent rewarded blissed-out fans with deep, supple grooves – smiles all-around. Also, U.K. DJ/ producer Eats Everything followed up Calderone’s Sunday School stage set with his brand of occasionally quirky, but undeniably satisfying house flavors.

On Saturday, Andrew Rayel jolted the Trance Arena with choice cuts from his recently released Moments album, including “Heavy Love,” the anthemic collab with Max Vangeli. Gorgon City’s closing set in the Sunday School tent offered great house grooves (like “Real Life,” its recent collab with Duke Dumont) and dark spot to dance – a very welcome development after a weekend of pumped fists and thrown elbows.

Vote & Win: Both the online voting (americasbestdj.us) and the tour will run until Labor Day, with the America’s Best DJ Award Show/Closing Party to be announced. Fans who vote (in person and online) and fans who keep up with America’s Best DJ on Facebook and Twitter can win prizes from Weedmaps and DJ Times – including the grand prize, as one lucky voter (chosen randomly) will win a trip for two to the ABDJ closing event.

DJ TIMES

Chicago – Addams/Medill Park was the place to be this past June 9-11, as the Spring Awakening Music Festival strafed the Windy City with a heavy mix of bass, trance, trap, techno and house. Produced by React Presents, SAMF drew nearly 75,000 fans and also served as a vital stop on the America’s Best DJ Summer Tour Presented by Weedmaps & DJ Times.

As usual, DJ Times was there with a dedicated exhibition booth repping the title sponsor Weedmaps, handing out the latest issues and taking votes for the 12 America’s Best DJ nominees playing the festival. They included Audien, Diplo, DJ Godfather, Ghastly, GRiZ, Jauz, J.Phlip, Kill the Noise, Krewella, Marshmello, Mija, and Victor Calderone. (Editor’s Note: For more scenes from Chicago’s Spring Awakening Music Festival, please visit Page 20.)

SAMF Highlights from ABDJ Nominees: Audien got plenty of hands in the air during his Friday afternoon set, as he dropped snippets of old-school cuts (Darude’s “Sandstorm”) and more recent faves (Above & Beyond’s “A.I.”), plus his own remixes (of Coldplay’s “Adventure of a Lifetime”) and originals (“Leaving You”).

Also on Friday, on the Equinox Stage, Ghastly mixed head-snapping bass joints with melodic EDM cuts like “We Might Fall,” his recent single featuring Matthew Koma. On the mainstage, Marshmello drew droves of festival-goers and he didn’t disappoint with his own deft mix of shimmery, singalong originals like “Alone,” tickly trap tunes like “Blocks,” and manic drops on scorchers like Excision & Space Laces’ “Throwing Elbows.”

Closing Saturday’s mainstage, Diplo served up a fusillade of hits – from the Spice Girls, Skrillex, Daft Punk, Whitney Houston and more – that had fans singing along and kicking up plenty of dust.

On the Sunday School stage, Victor Calderone dropped a set of rumbling techno grooves, which ramped up the intensity on an otherwise steamy day – closing with Carlo Lio’s chugging, hypnotic “Like This” was a nice touch.

Back on the mainstage, Jauz rocked a set full of familiar sounds (grunge, dubstep, metal, electrohouse, R&B) – Nirvana one moment, Montell Jordan the next, plus festival faves like his own wobbler, “Feel the Volume.”

At the Bass Kitchen stage, Kill the Noise commanded a bro-fest sporting more testosterone than a high-school-football summer camp. Amid the aggro vibes, KTN did indeed kill it with furiously wound-up salvos like “Feel Your Love” by Flux Pavilion x NGHTMRE feat. Jamie Lewis.

On the Equinox stage, GRiZ—alternating be-

3

VOLUME 30

NUMBER 8

12 Mosaic Music

With an Experimental-Leaning Album & a Decidedly Different Ibiza Party, Maceo Plex Embraces Electronic Music’s Riskier Side

BY BRUCE TANTUM

20 Nationwide

America’s Best DJ Summer Tour Lands in Chicago

BY DJ TIMES PHOTOGRAPHERS

22 Lessons Learned

Can Mobile DJs Make More Money by Learning from Other Service Industries? Let Us Count the Ways…

BY JEFF STILES

24 Vegas Vibes

Las Vegas Mega-Fest Electric Daisy Carnival Blows Minds Once Again

BY DJ TIMES PHOTOGRAPHERS

DEPARTMENTS 7 Feedback

As Always, the Answers to All Your DJRelated Questions

26 Making Tracks

34 Gear

New Products from ADJ, PreSonus & More

38 Grooves

Accusonus Regroover

Phat Tracks from TOKiMONSTA, Sin Morera & More

28 Sounding Off

41 Club Play Chart

Bassboss SV8

30 Mobile Profile

Upstate DJ Spins Upbeat Occasions

32 Business Line

Advice from the Cruise Line Industry

SAMPLINGS 8 Alison Wonderland Down the Rabbit-Hole

10 In the Studio With…

Ferry Corsten

DJ TIMES

AUGUST 2017

Cover & Contents Images

by Pablo Bustos

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FROM THE EDITOR

After the Afterparties…

Over the last several years, I’ve ended up at more than one afterparty featuring Maceo Plex on the decks. Now that’s not to say that I didn’t enjoy his festival appearances at urban megaevents like Movement in Detroit or his recent spot at HYTE fest on Governors Island here in New York, but watching him stretch out in an early-morning club environment certainly affords a much deeper experience.

Dark and disorienting, buzzy and bright, warped and wobbly… Maceo Plex’s DJ sets offer a full-on tech-house journey for those all-in for the long-haul, or they serve as a worthy stop-by for those who prefer to feel like human beings later that day. Either way, with Maceo Plex in the booth, the event is going off. And now that his Mosaic party is in full-swing in Ibiza this summer and he’s released Solar, his latest-full length, our NYC-based DJ-scribe Bruce Tantum caught up with him to discuss how taking risks remains much more interesting to him than making obvious career moves. From discussing his studio and DJ approaches to reminiscing about his early rave days in Dallas, the Barcelona-based American DJ/artist had a lot to say. Enjoy.

In our Sampling section, new Assistant Editor/Digital Content Editor Brian Bonavoglia connects with rising star Alison Wonderland. Between playing some of North America’s biggest festivals and launching her “Wonderland Radio” show on SiriusXM’s Electric Area, it’s been a big summer for her – and now she has a full-length on the way. Additionally, fellow New Yorker Michelle Fetky sat with trance titan Ferry Corsten for some studio talk – they discussed Blueprint, the Dutch DJ/producer’s new sci-fi, concept album.

This month also took us to a pair of America’s top electronic-music events – Electric Daisy Carnival in Las Vegas and Spring Awakening Music Festival in Chicago. Inside, we bring you highlights from the spectacular production that was EDC Vegas – beats, fireworks, madness and 400,000 attendees. Meanwhile, in a photo-spread feature and in our Page 3 News, we bring you Chi-Town’s SAMF, which served as a major stop on America’s Best DJ Summer Tour Presented

by Weedmaps & DJ Times. Three days with six different genre-specific stages provided a little bit of everything for electronic-music fans. Stay tuned for more ABDJ Tour reports – from New York City, Philadelphia, Denver and Baltimore.

On the mobile-entertainer front, longtime scribe Jeff Stiles asks the question: “What moneymaking ideas can DJs take from other service industries?” Mobile vets answer with lessons learned on performance, sales and marketing. In a related story, Business Line connects with Philadelphia-area mobile Adam Weitz of A Sharper Production, as he explains what mobiles can learn from the cruise line industry, specifically. (It’s a seminar topic that he’ll explore further at DJ Expo.) And in Mobile Profile, we meet with Clifton Park, N.Y.-based Caroline Kurkowski, a special-education teacher by day, a mobile jock on the weekends, and woman with the ability to bring joy to many all week long.

From the world of gear, our Denver-based reviewer Wesley Bryant-King tests out the SV8 loudspeaker from Austin, Texas-based manufacturer Bassboss. Also, new contributor Mike Gwertzman handles the Accusonus Regroover Pro, a studio plug-in that offers unique control over audio loops.

The Latest on DJ Expo: We’re excited to roll out a few more seminars (see opposite page), including one sponsored session from Expo exhibitor Mackie, which will present top hip-hop MC, DJ and entrepreneur Talib Kweli and Miami party jock DJ Irie on Aug. 16. We hope to see you in Atlantic City, N.J., this Aug. 14-17 as the 2017 DJ Expo will present more than 100 DJ-related exhibitors, nearly 30 educational seminar sessions and keynotes, and three nights of sponsored parties. For the very latest, please visit thedjexpo.com. We’ll see you on The Boardwalk…

DJ TIMES

AUGUST 2017

Cheers,

6

Jim Tremayne Editor, DJ Times

editor-in-chief Jim Tremayne jtremayne@testa.com editor-at-large Brian O’Connor boconnor@testa.com assistant editor Brian Bonavoglia bbonavoglia@testa.com chart coordinator Dan Miller dmiller@testa.com contributors Kat Bein Joe Bermudez Wesley Bryant-King Shawn Christopher Matt Clark Paul Dailey Reed Dailey Chris Davis Tony Fernandez Tommy D Funk Michelle Fetky Mike Gwertzman Jennifer Harmon Josh Harris Greg Hollmann Mike Klasco Michelle Loeb Lily Moayeri Phil Moffa Deanna Rilling Jeff Stiles Emily Tan Bruce Tantum Phil Turnipseed Curtis Zack President/Publisher Vincent P. Testa FOR CUSTOMER SERVICE AND TO ORDER SUBSCRIPTIONS, CALL 800-937-7678 VISIT OUR WEBSITE www.djtimes.com

DJ Times Sound & Communications The Music & Sound Retailer Sound & Communications ClubWorld Blue Book America’s Best DJ The DJ Expo IT/AV Report Convention TV News VTTV Studios

director of integrated advertising Paul Bozikis pbozikis@testa.com art director Janice Pupelis jpupelis@testa.com production manager Steve Thorakos sthorakos@testa.com digital art director Fred Gumm fgumm@testa.com social media coordinator Matt Van Dyke mvandyke@testa.com marketplace advertising sales manager Ricky Pimentel rpimentel@testa.com art/production assistant Ricky Pimentel rpimentel@testa.com Circulation circulation@testa.com Classifieds classifiedsales@testa.com operations manager Robin Hazan rhazan@testa.com Editorial and Sales Office: DJ Times, 25 Willowdale Avenue, Port Washington, New York, USA 11050-3779. (516) 767-2500 • FAX (Editorial): (516) 944-8372 • FAX (Sales/all other business): (516) 767-9335 • DJTIMES@TESTA. COM Editorial contributions should be addressed to The Editor, DJ Times, 25 Willowdale Avenue, Port Washington, NY, USA, 110503779. Unsolicited manuscripts will be treated with care an d should be accompanied by return postage.

DJ Times (ISSN 1045-9693) (USPS 0004-153) is published monthly for $19.40 (US), $39.99 (Canada), and $59.99 (all other countries), by DJ Publishing, Inc., 25 Willowdale Ave., Port Washington, NY 110503779. Periodicals postage paid at Port Washington, NY, and additional mailing offices. POSTMASTER: Send address changes to DJ Times, PO BOX 1767, LOWELL MA 01853-1767 Design and contents are copyright © 2017 by DJ Publishing, Inc., and must not be reproduced in any manner except by permission of the publisher. Websites: www.

AUGUST 2017

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FEEDBACK AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988 $4.95 US $6.95 CANADA

JULY 2017

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THE MOBILE BUSINESS DO’S & DON’TS PLUS: n DETROIT’S MOVEMENT FESTIVAL n RELOOP MIXON 4 n AKAI MPC LIVE n DC BREAKS n JUS JACK

TOUR LAUNCHES

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BEYOND THE BOUNCE

048JL17_p001-044.indd 1

6/20/2017 4:03:57 PM

This is Feedback, a monthly feature that fields questions from you, our readers, and funnels them out to in‑ dustry professionals. If you have any questions about DJing – marketing, mixing, equipment or insurance, any at all – drop us a letter at DJ Times, 25 Willowdale Ave, Port Washington, NY 11050, fax us at (516) 944‑8372 or e‑mail us at djtimes@testa.com.

If we do use your question, you’ll receive a free DJ Times T‑shirt. And remember, the only dumb question is the question that is not asked.

DJ Expo Update DJ Expo will run Aug. 14-17 at the Atlantic City Convention Center in Atlantic City, N.J. Produced since 1990 by DJ Times and its publisher Testa Com‑ munications, DJ Expo will present an exhibit hall full of the latest DJ-related technologies, nearly 30 seminars cover‑ ing the most pressing industry topics, and three evenings of sponsored parties and events featuring top talents.

While the Atlantic City Convention Cen‑ ter will house DJ Expo seminars and exhibits, The Tropicana on Atlantic City’s famed Boardwalk will serve as the host hotel for attendees – free shuttles will run back and forth all day. Additionally, The Trop’s nightclub venues will host sponsored Expo evening events, like “The Entertainer of the Year” competition, which will take place Aug. 16 at Boogie Nights – “The Ultimate ’70s and ’80s Dance Club.” Co-Sponsored

by Expo exhibitors Electro-Voice and Chauvet DJ, the event will see the grandprize winner take home a Chauvet DJ FXpar 9 light and a new loudspeaker system (unnamed at press time) that Electro-Voice will debut at the show.

Stay tuned for details.

Additionally, at the Mobile Kick-Off Party at Boogie Nights on Monday, Aug. 14, all attending DJs will get the chance to win a terrific door prize – a pair of RCF’s HD12A MK 4 active 2-way loudspeakers.

DJ Expo Seminars: Just announced for Aug. 16, “Perfecting Your Performance – Loudspeaker Selection & Technology: Presented by Mackie w/ guests

Talib Kweli and DJ Irie.” You spend time honing your craft and practicing to perfection so that each performance is better than the last. But if you don’t own the right loudspeakers, your perfect performance can’t be appreciated. Join Mackie as they walk you through the process of selecting the right loudspeak‑ ers for your needs. Plus, Mackie reps will explain why selecting the right speakers is important and they’ll fully explain the benefits of new loudspeaker technology.

Guest speakers Talib Kweli and DJ Irie will also share their experience to help you perfect your skills.

Also, from Philadelphia-based mobile Adam Weitz from A Sharp Production, “Lessons from the Cruise Ship Industry” will explain what mobile entertain‑ ers can learn from an industry that s hares more with the DJ world than one might imagine. For more on the sub‑ ject, please see Business Line on Page 32.

Keynoter: Superstar DJ/producer Laidback Luke will present a special “Keynote Q&A” on Monday, Aug. 14.

The Dutch artist/Denon DJ brand am‑ bassador will discuss his notable ca‑ reer—which includes hits and remixes for the likes of Mariah Carey, Robin Thicke, Madonna and Nicki Minaj, and three full artist albums. Additionally, he’ll discuss his approach to music, talent-scouting, DJing and life. Bring your questions for Laidback Luke.

SAMPLINGS

DJ TIMES

AUGUST 2017

ALISON WONDERLAND: DOWN THE RABBIT-HOLE

8

New on SiriusXM: “Wonderland Radio” hits Electric Area.

Yes, “Revenge of the Nerds” may be a cult-film classic from the ’80s, but it’s a title that’s also quite fitting when telling the tale of Alison Wonderland, one of Australia’s up-and-coming DJ/producers.

Before entering the world of electronic dance music, the Sydney native (aka Alex Sholler) trained as a classical musician, with cello as her main instrument. Combining her classical roots with her open love for “Star Wars” and Harry Potter, Alison radiates an unabashed geekdom that stands in contrast to much of the rock-star attitude we see from so many in today’s scene. Obviously, her career has been conducted on her terms.

Her early years saw her DJing at any venue that would book her (including strip clubs). But she masterfully used that time to hone her skills with a pair of Pioneer CDJs before the 2013 release of her crunky, debut single, “Get Ready.” Then, in 2014, the blossoming talent released the Calm Down EP, which featured her hit single, “I Want U,” and the game changed.

While these were all tremendous strides for her career, it was the following year when we saw Alison Wonderland flip the electronic community upside down with her breakthrough debut album, Run, where she fully showcased her prowess as a writer, vocalist, and producer. Big club tours and festival dates ensued with fans eating up her brand of melodic trap and bass.

Fast-forward to late 2016, she released “Messiah,” a buzzy collaboration with Grammy-winning producer M-Phazes, and now she’s begun hosting her own radio show (“Radio Wonderland”) on SiriusXM’s Electric Area. These days, as one might expect, she’s has been spending most of her time working follow-up to Run, So, as she did that and prepped for some U.S. and Australian dates, we went down the rabbithole with Alison Wonderland.

DJ Times: First off, congrats on Radio Wonderland. How does it feel to be hosting your own radio show?

Alison Wonderland: Thank you! Honestly, it’s insane. When I was really young, instead of doing my homework, I’d sit and curate my own little radio station in my room. [laughs] It’s something I’ve wanted to do forever. Being able to choose music that I love and curate something weekly featuring all my friends is just so cool. It’s a great opportunity to show people what I’m digging at the moment and expose some really great music to the world.

DJ Times: Do you feel like there is more of a responsibility to be more of a tastemaker now that you have your own radio show compared to your traditional DJ sets?

Alison: No, they each have their own role equally. Playing a show is another way of curating the music you love while showcasing it on more of a personal avenue. DJing is my instrument; it’s my love and passion, so I feel like this show is just another branch off of that.

DJ Times: You’ve recently had some time off to work on your follow-up to Run. Would you say there is pressure to deliver after your debut album being so successful?

Alison: Oh yes! Wow, I was literally just thinking about tweeting, “The second album is way more difficult than the first” right before I spoke with you. [laughs] DJ Times: Would you say you’re overthinking things the second time around?

Alison: Not really, I think I just stress myself out a lot because I’m somewhat of a perfectionist. I feel like a lot more people have their eye are on me compared to last time.

DJ Times: Speaking of album number two, what would you say is your inspiration behind this one?

Alison: This album serves as a time capsule for a certain period of time in my life. I feel like when you think too much about the music, the genuine side of it doesn’t really come out. Everything you hear, the vocals, the melody and everything was how I was feeling on that day at that moment in time, no preconceived ideas.

DJ Times: What can we expect?

Alison: I’m definitely including more of my classical background in this album. I’m still singing on the songs that I’ve written and still collaborating with a few friends of mine. I’ve written this album with Joel Little, who did Lorde’s album, and one of my best friends, Lido. It’s just been a collaboration of people I love, and that’s really important to me. When it is released, I want people to feel something, so I want the (continued on page 40)

IN THE STUDIO

For years, Dutch DJ/producer Ferry Corsten has been one of the trance genre’s greatest ambassadors.

With hits and remixes presented under a variety of pseudonyms (Moonman, System F, Gouryella), a long-running worldwide radio show (“Corsten’s Countdown”), and spots on the biggest festival stages, Corsten’s resume would seem complete.

Yet, the Rotterdam-based artist continues to challenge himself and this year he accomplished something new – a sci-fi concept album called Blueprint. Working with screenwriter David H. Miller (“House of Cards” and “Rosewood”) and actor/voiceover artist Campbell Scott (“The Amazing Spider-Man”), Corsten was able to realize his vision of uniting emotional, melodic music with a compelling storyline. We recently caught up with Corsten to discuss the process of Blueprint and a few other things.

DJ Times: How did you begin DJing?

Corsten: DJing always been a hobby of mine since I was a kid.

No background – I think a good ear is enough. I was around eightyears old when I started playing with music.

DJ Times: Which DJs and producers are you into right now?

Corsten: I have to be honest, a bit of self-promotion here, but there is a guy on my label [Flashover] from Spain called Dimension, and he’s got that old-school, turn-of-the-century trance vibe to his sound, which I really like. I’m a big fan of all the Anjunabeats guys – Above & Beyond, Andrew Bayer, Ilan Bluestone – they are good mates of mine, so I have to give full support to those guys. Of course, Markus Schulz, who is a big buddy of mine.

DJ Times: What kind of equipment do you use in the studio and the DJ booth?

Corsten: I still love the old-school way of DJing, so in the DJ booth, I stick to the CD players and my USB stick. I use the CD players pretty much as I did before with record players, so that’s very easy. In the studio I’m on [Steinberg] Cubase. Everyone, especially in this country, seems to be very surprised by that, but I think Cubase is by far the best. With all the DAWs – Logic, Studio One, Cubase – it’s just whatever you are used to. But, along with Cubase, I use Ableton and then I have a million plus plug-ins.

DJ Times: Your new album, Blueprint, was written with screenwriter David H. Miller and was narrated by actor Campbell Scott. What was the process?

Corsten: When I sat down with David, we quickly realized that we both had a love for sci-fi – an instant connection. Having the story first, it was time to write all the songs. While doing this, I was already listening to tons of voice actors for the narra-

DJ TIMES

AUGUST 2017

FERRY CORSTEN’S “BLUEPRINT”

10

tive and I didn’t really know what type of voice I wanted to go with. Did I want to have been an English-sounding gentleman to give the story a reality feel or did I want to go Maxi Jazz/Faithless – half-spoken, half-rapping kind of thing? Going through all these voices, without looking at the names, I stumbled across this one voice, this deep voice – it turned out to be Campbell and the rest just worked out perfectly.

DJ Times: Where did album’s inspiration come from?

Corsten: I’ve always wanted to do something more than just a standard music album or a single, whether it would be a 30- to 45-minute long track that has all these storytelling moments in it or something else. For this, I brought back Gouryella, a side project from two years ago.

DJ Times: Favorite track from the album?

Corsten: You got 17 children – shoot all of them but one! [laughs] It’s hard, but I really have this soft spot for “Reanimate” with Clairity. She did a wonderful job on the vocals and the whole track is just… whoa.

DJ Times: Why do you think the album works?

Corsten: I think it is a combination of the story and the way Campbell tells the story – you hear part of the story and then the music starts. In the meantime, you can’t wait for him to continue that story, like… what’s happening? It’s the story plus the way he tells it and narrates it that keeps you intrigued.

– Michelle Fetky

Sci-Fi: Corsten’s concept collabs with Hollywood.

With an Experimental-Leaning Album & a Decidedly Different Ibiza Party, Maceo Plex Embraces Electronic Music’s Riskier Side

DJ TIMES

AUGUST 2017

B y

12

B r u c e

T a n t u m

You’d think that Eric Estornel would be just a teeny bit tense. After all, the Miami-born, Dallas-bred and Barcelona-based artist best known as Maceo Plex is clearly a very busy man.

For starters, he’s just put out the highly anticipated Solar, a years-in-theworks album named for his young son (yes, his son is called Solar—that’s him on LP’s cover). But dealing with the hoopla of an album release is far from the only item on Estornel’s to-do list. His Ellum Audio label, founded in 2011, has been firing on all cylinders lately, releasing a steady output of clever, clubworthy house and techno; he’s an in-demand remixer; and he’s constantly on the road, traveling the world to play at the world’s top clubs and festivals.

And there’s more: This summer, Estornel’s back at Pacha Ibiza to helm a second season of Mosaic, his weekly Tuesday-night throwdown devoted to the kind of underground, creative dance music that’s something of an anomaly on Spain’s party-hearty White Island. This year’s wide-ranging lineup boasts Detroit’s Moodymann, Norway’s Röyskopp, aural explorer Jon Hopkins and acidhouse freak-out combo Paranoid London, along with techno heavyweights like Ben Klock, Adam Beyer, Rødhåd and Anthony Parasole.

But when, right on schedule, Estornel rings up DJ Times—“Hey, what’s up?

You’re in New York?”—he exudes an air of good-natured calm. He’s quick to point out that, despite outside appearances, he leads a fairly ordinary life with his family: Besides Solar, there’s his wife Christine Maars (who, with Brian Oswald, serves as one half of the Odd Parents DJ-production duo) and her teenage daughter from a previous marriage. He’s on the road most weekends, of course. “But during the week,” Estornel claims, “it’s really normal. A little bit of work in the studio, some family stuff, taking them to school every day, making sandwiches… things like that.”

It’s doubtful that his life is quite as traditional as he claims—not every dad pops down to Ibiza once a week to headline at a superclub, for instance—but then again, Estornel’s had over two decades to acclimate to the clubbing lifestyle. Starting in the early ’90s as an underage DJ in the then-burgeoning Dallas rave scene, he quickly turned his head to production. Some of his earliest electro-tinged, IDM-esque tracks, confident in sound but only hinting at his more streamlined later work, came out under the Eric Entity handle. Later, the Maetrik persona came into being for his techier work, while Mariel Ito was the name used for his more electro-centered material.

Around the turn of the decade, Estornel adopted Maceo Plex as his nom de guerre for the deeper, more house-oriented tracks he was beginning to focus on. Since the 2011 release of the hugely successful Life Index, an album that pulled off the trick of appealing to both serious-minded purists and ready-foraction club bunnies, that’s the alias that’s been the main thrust of the prolific producer’s career, with a string of well-received records coming out on such respected labels as Kompakt, Minus, Drumcode and, of course, Ellum Audio.

And now comes Solar, released on Estornel’s newly launched Lone Romantic label. First announced in 2015, the collection of tunes is a departure from the typical druggy, yet hard-charging Maceo Plex sound; instead, it’s an emotive, rich and rhythmically varied album, produced with machine-tooled precision yet bathed in Mediterranean warmth. Most of it isn’t really club music at all; it’s a subdued record that, to a large degree, is geared toward the inner pleasures of one’s headspace, rather than toward the overt joys of the dancefloor.

Over the phone, Estornel opened up about the album, playing in Ibiza, and

DJ TIMES

Pablo Bustos

13

AUGUST 2017

Pablo Bustos

AUGUST 2017

DJ TIMES 14

his ambivalence on finding success as a dance-music artist.

DJ Times: We first started hearing about Solar a couple of years ago, but it’s been released just recently. Why the delay?

Eric Estornel: I was actually originally planning on putting out different music on this album. But when it was almost ready, I started thinking that it didn’t really sound like a proper album. I took a lot of the dance stuff out and kept working on some of the slower stuff, and that really started to snowball.

Finally, I thought I had enough of an array of electronica tunes, tunes that weren’t for the club, that it really felt like an album.

DJ Times: What happened to the dance music that you took out?

Estornel: They ended up on the Journey to Solar EP, which came earlier this year. They’re a bit more tracky than what’s on the album.

DJ Times: But you did include few dance tracks on the new album, right?

Estornel: Just a couple, but I wouldn’t consider even them to be “throw-your-hands-up-in-the-air” music. The rest of the album is more like a mix of electro, dubstep and breaks.

DJ Times: Still, despite that rhythmic variety, there’s a very unified sound to the album.

Estornel: Yeah, it’s weird. I always think my tracks sound really different from each other, but other people seem to be able to tell what’s me and what isn’t. As soon as I’ll play something that I made, even if it’s something that’s maybe a little slower or more electro than my normal stuff, they’ll say, “That’s yours, right?” I’m like, how could you know that? I can’t hear it, but there must be something about the sound or the way that the song is put together that gives it away. And specifically on this release, everybody told me that it really was cohesive enough to call it an album.

DJ Times: One of the LP’s unifying factors might be that it feels like there’s a comforting touch of warm distortion that blankets the tunes. Or is that the sound of my crappy headphones?

Estornel: It could be! [laughs] But no—it’s probably because I use a Fat Bustard, a summing mixer with a pretty cool saturation knob on it that can give everything a bit of crunch. Most of the tracks are run through that. Also, I engineered the album, but it was mastered by Mandy Parnell in London, so maybe some of what you’re hearing comes from her as well.

DJ Times: She’s worked with Björk a lot, right?

Estornel: Yeah, she’s pretty famous, and her studio has done a lot of other electronica kind of stuff. She personally is pretty picky about what she masters—besides Björk, she’s done the last couple of Aphex Twin albums, the Jamie xx album, stuff like that—so I was pretty honored when she agreed to take on my album. And she really takes her time.

Sometimes, when you send something in to be mastered, you’ll get it back in two or three days, but with this, it took her a few weeks.

DJ Times: Besides the Fat Bustard, are there any favorite pieces of hardware that you rely upon?

Estornel: To tell you the truth, I don’t have an amazing amount of gear compared to some people I know. I don’t have a humongous modular wall or anything like that. I just have some synths and a mixer—and some tracks are more computer than others. But there are a couple of pieces that I use a lot, like my Alesis Andromeda [synthesizer]. That’s definitely one of my favorites, along with the Pioneer TORAIZ [SP-16], which is like an MPC with a touch screen that’s fun to sample with. I have a few older synths that I use sometimes, but right now

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DJ TIMES 16

it’s mainly the Andromeda.

DJ Times: You’re mainly known for your instrumental tracks, but you feature vocals on many of Solar’s cuts. What was the reason for that?

Estornel: Well, I think there are only two or three tracks with what I would call proper vocals, and then there’s another two or three with vocodered, tripped-out vocals. The idea was basically to add some kind of human element to most of the tracks.

DJ Times: Who were your vocalists?

Estornel: One of them is a guy from London, Jono McCleary from the Ninja Tune label – that’s him on “Indigo.” Three of the tracks are my friend from Manchester, Duncan Jones, who just got signed to the Skint label. I’ve known him since 2001 or 2002, and we’ve always wanted to work together.

DJ Times: Did you name this album for your son in order to leave something for posterity for him?

Estornel: Kind of. It would be cool if 10 or 15 or 20 years from now, when he’s starting to care about this kind of music, that he’s proud that this album with his picture on the front came out.

DJ Times: Not many kids have that.

Estornel: Exactly!

DJ Times: Not that Solar is a dance-music album, per se— but it seems like many of your dance-music peers don’t believe it’s as important to release albums as it once was, at least career-wise. What are your thoughts on that?

Estornel: It probably isn’t as important as it used to be, to be honest. Someone, I think maybe Renaat [Vandepapeliere, from the seminal electronic-music label R&S], recently came out and said the album was dead… which is a little weird, because they still put out albums [laughs]. He’s right, though—for the most part in the dance world, the album is dead. It’s all about the latest hyped-up single, and people forget about whatever else you’ve done. But as an artist, I don’t think of myself as someone who just makes tracks to dance to; I have other ideas and other things that I’m into. I want a little more than just being able to play a record in Ibiza and have people throw their hands into the air—so artistically, it was important for

“There are so many things expected of you [in Ibiza] that have nothing to do with music… that wear you down.”

me to do this. But I’m not sure that it’s necessarily going to be a huge commercial success.

DJ Times: And you’re OK with that?

Estornel: Yeah, that’s fine. I don’t even worry about it.

DJ Times: What’s your songwriting methodology? Do you go into your studio with a pretty good idea of what you want to do, or are your songs more the result of experimentation?

Estornel: For this album, specifically, nothing was really planned ahead of time, but there were some general rules that I tried to follow.

DJ Times: Such as?

Estornel: Just to avoid 4/4 beats, and try to experiment as much as possible with sounds and rhythm and vocals. It all kind of flowed out from that.

DJ Times: How about when you’re working in full dancemusic mode?

Estornel: In general, I’ll have more of a vision of what I want to do before I start, and I’ll just work towards that vision.

That’s another reason why it was cool to work on this album; it was nice to be able to just let go, and not be concerned with whether it was going to work in a club or not.

DJ Times: And judging by the fact that you scrapped a lot of the original tracks and largely started over, I’m guessing there wasn’t a real deadline to worry about, either.

Estornel: There actually was for a moment. When I first took out the dance tracks to concentrate more on the brokenbeat music that I was writing, I had showed some of it to Monkeytown.

DJ Times: Modeselektor’s label?

Estornel: Yeah, they were really into it, and they wanted to release it. And they have a release schedule, so it was kind of a rush. But I got slowed down a bit by various things, and Monkeytown ended up having a slightly different vision for the album than I had.

DJ Times: How so?

Estornel: I had thought that they would want it to be a little more out-there, but it seemed like maybe they actually wanted it to include a little more dance music. I’m not sure, really—but (continued on page 40)

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N AT I N SAMF ’17: Mainstage goes off.

Sunday Set: Victor Calderone.

Chicago – Spring Awakening Music Festival drew nearly 75,000 fans to Addams/Medill park this past June 9-11 and it served as a vital stop on America’s Best DJ Summer Tour Presented

by Weedmaps & DJ Times.

A dozen ABDJ nominees played SAMF, which was produced by React Presents.

They included Audien, Diplo, DJ Godfather, Ghastly, GRiZ, Jauz, J.Phlip, Kill the Noise, Krewella, Marshmello, Mija, and Victor Calderone. It all looked like this:

Jumpin’: GRiZ gets grooving.

Local Hero: Felix Da Housecat.

Alone: Marshmello on mainstage.

WIDE!

America’s Best DJ Tour Lands in Chicago Photos Courtesy of React Presents

Equinox Stage: Mija in the mix.

Headliner: Diplo tears it up.

Weedmaps Fan: Flying the flag.

ABDJ Booth: DJ Godfather checks in.

Bass Kitchen: Kill the Noise kills it.

Explosions: SAMF signs off.

Vote & Win: Fans cast their ballots.

AUGUST 2017

DJ TIMES 22

By being aware of the needs and perspectives of wedding photographers, Missouribased mobile Cole Coleman no longer uses high-end lighting effects.

“As a DJ, I understand the desire to show your brawn in lasers, moving head lights, etc.,” explains Cole, the owner of House DJ + Entertainment in De Soto, Mo. “However, as a business owner, I also understand that my desire should not outweigh the quality of my clients’ end product.

“With a photographer, it’s incredibly difficult to get great-looking pictures with spots, shapes and blotches on the couple as they dance, and this is exactly why I’ve entirely eliminated them from my setup.”

So, he’s adapted and since gone with alternative lighting solutions. “Nowadays, I simply use a set of color-wash lights to give the dancefloor an even-colored hue,” he says. “It works tremendously for myself, and my clients always have great pictures and great videos because of this practice – not to mention the great photographers we work beside.

“I’m not against moving heads, spots, lasers, etc. I think they’re very cool lights and I think they all have a time and a place; however, I personally don’t believe that a wedding is either.”

What lessons have mobile DJs learned from others who likewise work within the service industry? What have you learned from other wedding vendors, such as caterers and photographers and venues, that might have inspired us to adjust how our business operates?

David Mires (aka DJ Spynn) of Flash and Dance Photography & DJ Service in Berkley, Mass., says the most important thing he’s learned from watching other vendors is to be patient.

“My wife does wedding photography, and you need to have patience with drunk people,” he says. “I’ve learned by watching her.”

Over in Anaheim Hills, Calif., Ken Heath of DJ Ken’s Mobile Music says that by watching other DJs he’s learned not to nickel and dime his own clients.

“After seeing people try to extend into overtime for added dollars, I decided I didn’t like that,” he says. “I quote a fair price for the entire event.”

Minnesota-based mobile Eric Christensen agrees and says that he’s learned the hard way. “With caterers and hotels, it’s always imperative to coordinate beforehand with them,” says Christensen of Eclectic Entertainment in St. Paul, Minn. “Though, at the risk of sounding snarky, I’ve learned to place all my gear behind or next to the other vendors’ stations… like some DJs complain the photographers do to us.”

More seriously, Kenneth Bajdek of All Pro DJs in Plymouth, Ind., says that in order to set ourselves apart from other vendors, mobile DJs would do best simply to show up on time and look professional.

“Too many vendors show up late and don’t look professional,” says Bajdek. “Cargo shorts or yoga pants and flip-flops to a black-tie formal event doesn’t look professional.”

That thought is echoed by DJ Paul Carline, Jr., of Austin, Texas: “With other vendors I would say being punctual is imperative,” he says. “To be early is on time; to be on time is to be late.”

Neal Smith of Dandy DJ & Photo Booth in Murpheesboro, Tenn., goes one step further and says that mobiles should be present for the success of the entire event in any way they can—not just their own portion of the events.

“I worked with a bartender once, long ago, who pitched in hanging decor and setting up some various other things not related to his service, that not many—myself included, at the time—would have considered doing,” recalls Smith. “I noticed how he was there in complete service and going above and beyond in every way. It inspired me to take another look at myself and my approach, and to make some real changes for the better.

“I’ve learned to be there for the success of the entire event in every way I can— not just my portion of it.”

Flexibility is the key for Bill Smith of Bill Smith’s Magic of Music in Durham, N.C. “I found out a long time ago,” he says, “that working with a vendor, like the hotel, and using their timeline for food service, works much better than trying to force my agenda on something I don’t control anyway.

“I would actually review with them and adjust my schedule and they always liked that, and I learned this by watching other DJs get stressed out trying to control something out of their realm.”

There are many takeaways that non-DJ related industries and professionals have to offer, if we look closely enough, according to Artem Lomaz, founder and principal event host for New Jersey-based NinetyThree Entertainment.

“I often like to turn to non-DJ/entertainer professionals for an ‘outsider’s’ perspective,” says the Roxbury, N.J.-based Lomaz. “Personally, I’ve become good friends with a cinematographer, a private caterer and a photo-booth supplier—all of which are what I like to call ‘DJ-industry adjacent.’ They see various events as we do and often witness various performers in action, but see them from a different angle so to speak.

This perspective allows for them to garner an understanding of audience feedback, from the sidelines.”

Lomaz says he’s also been fortunate to have become good friends with an awardwinning comedy writer and performer he’s known since they were in their early teens.

“We constantly trade notes in regards to performance, preparation, audience read-

AUGUST 2017

DJ TIMES

ing, emotional expectations, social media and marketing,” he says. “Although perhaps unaware of it when he first began, as a writer and performer he now operates a self-branded business that he must maintain—like all of us—in order to compete in a highly competitive environment.

“Through the course of the friendship, we’ve witnessed and encouraged one another’s thriving pursuits, and continue to compare notes on seemingly unrelated industries.

However, we’re both performers, in saturated industries, with increasingly lowered barriers to entry, with one simple task for each performance—make our audience/guests feel special.”

Lomaz says that he and his fellow entertainer both look to create an environment that allows for an inclusive and celebratory experience.

“Although my friend’s focus is on the uncomfortable, absurd and comical, the outcome desired is to make the participants in the process feel better than they did when they first walked in. Our techniques and approaches understandably vary, but our goal, at its core, is the same: Good vibes for all.

“Aside from performance, comes promotion and awareness. Much like the private entertainer role, the position of ‘comedy writer/comedian’ is also very desirable, and the

attention to detail and constant creation necessity is often overlooked.”

Much like a business owner, Lomaz says that a writer or performer needs to make themselves known enough that others will want to share their work with their friends.

“We all want to find those influencers,” he says. “This requires consistent and share-worthy content. For content to be shared, it needs an elicited emotion from the viewer/consumer.

“Humor often triggers an emotion that people want to share. It is, however, like all art forms, a subjective art. Thus, finding the proper audience/target to cater to is essential, as it will help you create your best work. These are all takeaways that I’ve honed in on to help build my personal brand.”

Over the years, Mike Mahoney of M&M Entertainment in South Portland, Maine, says he’s attempted to develop a network of professionals who are in any way involved with events.

“I’ve learned from caterers, photographers, riggers, videographers, officiants, event planners, banquet captains, performers, lighting designers, bartenders and then some,” says Mahoney. “I’ve learned terms like BEO, F-Stop, Double Cheese and ISO. I’ve learned about lighting things up properly, about how video panels work, what color temperature is and even what diffusion is all about.

“I’ve baked cakes with bakers, cooked with friends who are chefs, and I’ve even learned how to make ice sculptures.”

Through networking, Mahoney says he’s been able to bring in nearly 50-percent of his business via word-of-mouth.

“I’ve even learned from other DJs and MCs of all types, from club to mobile to touring DJs to turntablists and others,” he says. “By taking a genuine interest in what they all do to prepare and plan for events from their angles, it’s helped me be a better professional when interacting with them at events we do for our clients.

“In terms of customer service, it’s allowed me to recommend amazing people, companies and services that are valued and appreciated as much as I am.”

Mahoney says his relationships with fellow vendors have been primarily formed and maintained mainly through his contributions to local chapters of event-based associations such as NACE, Wedding Network USA, ILEA, his local Chamber of Commerce, and Convention & Visitors Bureaus.

“By not only attending regularly, but even getting involved with the boards or committees,” he says, “I’ve been able to continue to grow and maintain my relationships with other professional members—mostly others who are upstream from us DJs. “Networking is key to achieving this in business. It’s not all about your skillset and how well you do at your events—what you know—it’s also about capturing your ideal n audience and clients with a tighter net—who you know.”

23

Aussie Alert: Alison Wonderland. aLive Coverage One Dance: Drake onstage. The Holy Mountain

Just Be: TiĂŤsto goes big. aLive Coverage

Guest MC: Lil Jon & Flosstradamus. aLive Cover-

Fly the Flag: Galantis onstage. Blaise Joseph

Surprise Gig: Kaskade at EDC. Da Black Swan

We 3: Alison, Diplo & Jauz. aLive Coverage

Clarity: Zedd in the groove. aLive Coverage

E

Big Boom: EDC’s mega-production. aLive Coverage

Huge: EDC drew over 400,000. FreedomFilmLLC

Las Vegas – Over 400,000 fans flooded the Las Vegas Motor Speedway this past June 16-18 for Electric Daisy Carnival. Presented by Insomniac, this 21st-anniversary edition of EDC ran from dusk-to-dawn, hosted performances from more than 200 DJs and electronic artists, and provided mind-blowing production on nine different stages and its neon-lit surroundings.

At EDC, 17 America’s Best DJ nominees performed. They included Audie, 3lau, Dillon Francis, Diplo, Ghastly, Green Velvet, GRiZ, Jauz, Kaskade, Lee Foss, Mija, NGHTMRE, Porter Robinson, Marshmello, Reid Speed, RL Grime and Seven Lions. It all looked like this:

Jump Steady: GRiZ with sax. Jake West

EGAS VIBES! Electric Daisy Carnival Blew Minds Once Again

MAKING TRACKS STUDIO…HARDWARE…SOFTWARE…

REGROOVER PRO: GET IN THE LOOP

By Mike Gwertzman

DJ TIMES

AUGUST 2017

Regroover: A.I. technology brings new creativity.

26

Loops are the foundation of most styles of dance music. House, techno, and all the various offshoots and subgenres of these 4/4 styles, rely primarily on loop-based structures and sonics.

You can hear loops at work in most techno tracks, for example. A looped kickdrum and hihat starts off a track, followed by a percussion loop that drops in, and onto the snare and clap loops, effects, and so on. Adding and subtracting loops throughout an arrangement comprises a majority of the production involved in building tracks.

But producers who work with loop packs and sample packs can sometimes feel a bit stifled creatively. They are, after all, starting off with sounds created by someone else. What can be done to take a pre-made loop, and truly make it your own?

The engineers at the software startup Accusonus have come up with an ingenious solution to this problem: Regroover Pro. It’s a dynamic, straightforward plug-in that gives producers dramatic new creative control over their audio loops, and in the process opens up countless new creative pathways for making music. It’s a novel piece of software that you can integrate immediately into your productions very effectively.

What It Is: Simply put, Regroover Pro is a sound extractor that uses Artificial Intelligence technology to analyze a WAV, AIFF or CAF audio file – a loop or sample up to 30 seconds long – and divide them into separate sonic layers. Think of it as unmixing, or sound separation.

What It Does: Here are the basics… Take,

for example, a loop of some sampled drums (featuring a kick, hi-hat, shaker and a snare), drop it into the Regroover interface, and in just a few seconds, you’re presented with four layers of individual audio. These layers, added together, comprise the original sample. But after they’ve been “Regrooved,” each layer can be played separately, tweaked separately, routed individually, and exported as a brand-new audio file. Once you’ve spent just a few minutes playing with Regroover, you’ll quickly become aware of how many new audio options you have at your production disposal. Even sample packs you’ve picked through and used already in your productions are given new life through the remarkable extraction capabilities of Regroover.

The Interface: The Regroover interface is very clean and functional. No flashy logos garish colors here; its gray, white, and dark blue color palette is very similar to Logic Pro X’s Alchemy instrument.

Regroover tells you what to do right from the start: an arrow at the center of the launch screen instructs you to drag in a clip (or select one).You can use any WAV, CAF or AIFF file. But to quickly understand how Regroover works best, I’d recommend using some sort of drums, ideally a “full loop” with a kick and top elements included.The cleaner the loop, the easier it is for the Regroover AI to separate the layers. Drop it in, and the Regroover engine works its magic, quickly displaying several new waveform layers (typically four).

Each layer is automatically assigned to a key on your MIDI keyboard. Press one of the keys

to trigger the layer, and you’ll hear how your loop has been magically separated into its component sounds. And once you’ve processed your first loop, you’re ready to start exploring the fascinating production options now available to you.

Press the “preview” button to hear all the layers playing at once. Regroover automatically detects the audio of your loop and syncs it to the BPM of your DAW session. Right off the bat, the main Regroover interface gives you plenty of options for modifying and transforming your layers. There’s individual volume sliders and pan knobs for each layer, along with a quick sum button that transforms a layer’s audio from stereo to mono. You can solo each layer to hear it isolated, and you can activate and de-activate layers to hear the whole loop with certain sounds subtracted; this is a good way to start to re-imagine how this new, de-constructed loop might work as part of a track.

FX & More: There’s an effects box to the side of the layer browser. Each layer has its own rudimentary Gate, EQ, and compressor effect – tools you can use to enhance certain frequencies and shape the sounds in your layers. And below that box is Regroover Pro’s Expansion Kit: a bank of 16 pads where you can load in external samples, or select and drag audio from your regrooved layers.

Clicking the “editor” tab on the main interface (or using the right arrow) toggles the screen to this layout. Selecting each pad displays the assigned audio sample’s waveform. The start and end playheads of the sample can be adjusted

and the whole file can be easily reversed. You can also edit the ADSR envelope for each pad’s sample, adjust the pan and output, and use the EQ and compression effects. However, it seems like there’s no way to delete a pad if you want to clear it of audio, which was somewhat annoying. (Editor’s Note: According to Accusonus, this function has been implemented in the upcoming Version 1.6 update.)

Once you’ve gotten accustomed to the straightforward layout and interface, it doesn’t take long until you’ve got Regroover humming along in your studio workflow. I quickly opened a few different instances of Regroover in Logic, and had loaded a variety of different samples to see how they would sound split into layers. As you can load any kind of audio sample – a pad stab, a synth loop, a vocal, percussion, whatever you like – your creative potential is limitless.

The layers and pads are triggered by MIDI, and they can all be routed to their own aux channels in your DAW. It’s fun to load up the pads and layers and start playing MIDI patterns in your DAW. Since you can control the MIDI playback modes for both the pads and layers (choose between trigger, toggle and hold), you can get really inventive with your sample playback.

Playback Markers: Another excellent creative tool are the playback markers that are above each layer. You can adjust the start and end points of these markers to create new patterns and loops within each layer, including some complex polyrhythms. If you want to isolate and playback only an individual sound, instead of the entire layer, you can do that very quickly. Unfortunately, at the time of my review, there were no zoom options, or grids to snap to, so it did take some playing around to get a useable loop. (Editor’s Note: Again, Accusonus says it has addressed this with its latest update – Version 1.6 will also feature a “Follow DAW Transport” playback, available in late July.)

Once you’ve adjusted everything to your liking, if you’d like to render the layers or pads to their own audio files, all it takes is a very quick press of the

“export” button and you’ve got WAVs of each separate layer and pad. Then you can bring those files into your DAW or load them into your sampler software.

Each Regroover project –layers and pads – can be saved. The whole process is intuitive and sensible – drop in a full sample or loop, extract the layers you want to use, and then add them to your productions as you see fit.

On the Wish List: There’s a few things you’ll quickly start wishing you had the ability to do. For starters, it would be great to be able to combine layers from one loop with another. Also, there’s no MIDI automation available within Regroover itself. And it would be ideal to have more on-board filters and delays available. (Editor’s Note: Again, Accusonus says, “They’re on the way.”) The BPM syncing engine did create some audio artifacts on the layers (it’s ideal to try and find loops that are close to the project temp you’re working on). But these are minor wish-list items, compared with the tremendous creative potential and ease-ofuse that Regroover Pro brings to the table.

Availability & Prices: Regroover comes in two versions: Regroover Pro ($219), and Regroover Essential ($99). The major difference between the two is the ability to create and edit expansion kits. As a Logic user, I enjoyed having access to the quick, drag-and-drop pad sample player that the Expansion Kit offers.

If you’re more interested in the main Regroover engine, and its ability to unmix audio loops, then the Essential version might be enough. You can try the full versions of each by downloading trial software from the Accusonus site.

Conclusions: Regroover is a great software addition to any producer who works with samples and loops. As a relatively new product, it does feel as if there’s a lot of room for more options to be added. But it’s a lot of fun, and creatively inspiring, to work with a plug-in that offers an entirely different approach to loop-based production.

If you have any questions for Making Tracks, please send them to djtimes@testa.com.

SOUNDING OFF PLAYBACK…PRO AUDIO…PROCESSING

BASSBOSS SV8: PACKING A PUNCH

DJ TIMES

AUGUST 2017

By Wesley Bryant-King

28

When I first received the press release for the Bassboss SV8 active loudspeakers, I was immediately intrigued: Here’s a speaker that purports to be equally at home at a mobile-DJ gig, installed in a nightclub, or sitting on a stand in a recording studio.

Those words are easy to say, but could they be true? I was anxious to find out.

Quite frankly, I’d never heard of Bassboss before, but I was curious to find out more about this little Austin, Texas-based company that was hand-crafting premium loudspeakers right here in the USA. Bassboss is the trade name of True Lee Loudspeakers — named after company founder and engineer David Lee. Along with his team, Lee produces a pretty wide range of speakers, including some impressive subwoofers for which Lee is purportedly best-known.

When the pair of SV8s arrived on my doorstep, and after getting them unboxed, I could immediately see the build quality clearly on display. The rugged, solid cabinets, made from Baltic birch, were coated with a thick, textured polyurethane finish, with the main driver protected by a heavy-gauge metalmesh front, and the high-frequency horn well-recessed. On the back side, the speaker’s amplifier and controls were protected by a pair of top- and bottommounted handles that protrude back from the cabinet. From all appearances, the 26-pound SV8 seems built for the rigors of mobile work. For permanent installation applications, there are integrated fly points to support safe installation.

Set-up & Use: For this review, I evaluated the Bassboss SV8 units primarily in my studio, while simulating a small live gig in a 750-square-foot carpeted space I had available to me.

First, my studio... Setting-up the pair of SV8s was a straightforward affair.

Power is provided through a standard, NEMA 5-15 power cable — the same type used with most monitors and speakers — with signal inputs via XLR, so it was a direct replacement for the studio monitors I customarily use.

The on-board amplifier provides a simple, easy-to-use digital processor with four presets that cover a typical range of operating applications. Preset 1 is for using the speakers without a separate sub, and opens the low-end to 50 Hz. Presets 2, 3 and 4 set up the high-pass filter at different points, with positions 3 and 4 specifically intended for use when pairing the SV8 with a separate sub.

The presets change not just the frequency cutover point, but also vary limiting to prevent overdriving. Preset 4, with the highest cutover point (100 Hz), also provides the highest SPL of the four. There’s also an on-board gain knob; for my tests, I just left it at the center (0 dB) position.

Once I had the pair in place, connected, and set with Preset 1, I cranked up some known material. In a word, the SV8s sound absolutely phenomenal. Honestly, given the available horsepower (700-watt amp with 112-dB max SPL), even at comparatively low volume levels, these speakers pack a punch. But it was the exceptional purity that really struck me the most. While Lee says that the SV8 is designed to provide an exceptionally flat, neutral character (thus making it suitable for studio use), the crisp, clear rendering of the material — some of my own, and some of my personal favorites from my music collection — was striking.

SV8: Big sound from an 8-inch main driver.

Bassboss’ promotional material claims that the SV8, with its 8-inch main driver, compares favorably to typical 12-inch loudspeakers, and I have to say I’d agree with that claim.

(Editor’s Note: According to Bassboss, the SV8 is now shipping with a new, 1200-watt Powersoft amplifier that features a new DSP with a lower noise floor and higher sampling rate.)

I spoke to Lee about why and how the speakers sound so good. “We use the same core components,” he says, “as loudspeakers costing much more.” Presumably, it’s the omission of extra bells and whistles that allows Lee’s Bassboss line to be so competitive, but that’s not to say that the SV8 is inexpensive – priced at just under $1,500 per unit, it’s not. But for many

mobile operators, that’s a sweet price point for this much power, in this size package.

My one issue with the SV8 for studio use is its relatively high noise floor. This baseline hiss from the speakers without any active signal is pretty distracting in my particular situation; of course, your mileage may vary, and I’m guessing that most purchasers of the SV8 will be using them for live sound — not the studio. It’s worth noting that that noise floor is roughly on par with live sound loudspeakers that I own and with speakers that I’ve used in the past, so this concern is limited solely to studio applications.

For my simulated live-sound application, I set up the speakers on stands in a relatively small space — again, just 750-square feet, indoors and carpeted. I hooked up a pair of media players and a DJ mixer, and set about cranking up some music.

As expected, the SV8 pair performed quite well. Sound quality was excellent; obviously there was a considerable amount of power to spare in such a small space, and it was intuitively obvious that to really give these loudspeakers a test, I’d have to have a much larger space that wasn’t in the cards for this particular review.

Regardless, for many (if not most) live applications, I’d consider a subwoofer to be pretty much a requirement depending on the specific application and the types of material being played back through the SV8s. With claimed frequency response down to 50 Hz, there is, of course, no real capacity here to reproduce thunderous low-end content. But where a sub leaves-off, the SV8s rise to the occasion with solid, strong performance and beautiful sound reproduction.

Conclusions: So does the SV8 live-up to its claim to work equally well in both studio and live-sound applications? I’d have to answer with a qualified “yes.” While the high noise floor is a bit off-putting for daily studio use, their performance and neutral character may well have applications in many studio environments.

But where the SV8 really shines is live sound. With its combination of power, incredible performance, compact size, and portability, the Bassboss SV8 would be a welcome addition to the equipment line-up for any serious mobile DJ.

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MOBILE PROFILE CAREERS…INNOVATIONS…SUCCESS STORIES

Good Causes: Caroline Kurkowski DJs & teaches special ed.

UPSTATE DJ SPINS FOR UPBEAT OCCASIONS

DJ TIMES

AUGUST 2017

By Stu Kearns

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Clifton Park, N.Y. — Like most DJs, Caroline Kurkowski grew up with music; it was a huge part of her childhood. Her first concert at the age of 10? Kool and the Gang. The list goes on, including Joe Cocker and many more.

Turns out she always wanted to be a DJ — she was the person who brought tapes, CDs, and speakers to parties — but she thought of it as some sort of pipe dream. Then, suddenly, five years ago she was given the opportunity to start working for a multi-op DJ company.

“My dream came true,” she says.

Now, the pipe dream has evolved into Upbeat Occasions, a company in the Albany, N.Y., suburbs that she started at the end of August 2015. Her first challenge was a universal one: getting her name out there. The second challenge was finding locations where she could meet with clients and potential customers.

She handled these challenges the way she’s handled all issues that have presented themselves: with hard work and endless hustle. Finding mentors has helped.

“My great friend Mark Brenneisen, and many others,” she says, “have helped promote, support and guide me into becoming successful in the area.”

As for a location to meet with potential clients, she spent the first year at coffee shops, but by December, 2016, she decided “It is great to talk to other people to start looking for a small office. “My brother’s place of work had an additional office space that is in a prime location to meet in the industry, but you have to people within the Capital District,” she says, referring to Albany’s metro area. “It has been wonderful meeting people in a small have your own vision and go intimate setting where clients feel comfortable discussing their vision of their wedding day, anniversary or other event. It has with it.” helped my business tremendously.”

As for generating bookings, her first yearNationwide: of business she spentBuonassissi operates in three states.

Brian – Caroline Kurkowski a great deal of time and money on wedding shows, and websites like Thumbtack and WeddingWire. In her second year, she’s seen a natural outgrowth of doing solid work – generating more events by word-of-mouth.

“I still attend wedding shows and am an active member of WeddingWire,” she says. “I also volunteer my time DJing for fundraisers for worthy causes.”

Worthy causes, one could say, is what makes Kurkowski stand out. She’s been a special education teacher for 11 years, and has DJed at venues like the Center for Disabilities.

“They are a blast,” she says. “People with or without special needs enjoy a good time, upbeat music, and party favors. I will

ask potential customers and clients if they have anyone on their guest list who may have a special need that I should be aware of. For example, some people who have autism are sensitive to sound.”

It’s one area of the business that has differentiated her, but not the only one. “My No. l focus is making an event unique,” she says. “My goal is to personalize an event and I spend hours planning with each couple, sharing ideas and suggestions. I am very in tune to what they want for their wedding day or event. I am constantly attending professional development workshops and seminars — like the DJ Expo! I also have a wide range of music knowledge, and have done a Nigerian wedding, Jewish/Armenian wedding, Latin wedding and a Brazilian wedding. I love learning about my couple’s different cultures and their musical tastes.”

On the equipment side, Kurkowski uses Virtual DJ software, a Numark NS6 controller/mixer, Pioneer DJ headphones and Shure microphones. For PA purposes, she rocks Bose’s L1 Compact System and/or units from QSC Audio’s K Series – depending on the job. For lighting applications, particularly uplighting, she’s partial to Chauvet DJ’s wireless EZpar 56 units.

The Capital District market is highly competitive, with plenty of talented wedding entertainers. “I believe healthy competition is what makes you continue to work hard,” she says. “I also believe that there is plenty of work for everyone. I constantly share potential leads with my competitors. The end result is to have happy customers and, if I am unavailable, I know other strong entertainers that can do a great job as well.”

For now, she’s perfectly content working both worlds — DJing and specialneeds education. “But the sky’s the limit in terms of where I’d like to take the business,” she says. “I see myself growing as one of the top DJ companies in the area.”

And how does she plan to do that? “Be true to yourself,” she says when asked what business advice she would offer to someone starting out – but it can easily apply to her own ambitions. “It is great to talk to other people in the industry, but you have to have your own vision and go with it. Believe in yourself and set daily goals on what to get accomplished.”

We asked Kurkowski, as a special education teacher who DJs, which job she prefers. Her response? “Both jobs are incredible!”

BUSINESS LINE SALES…MARKETING…SOLUTIONS…

WHAT DJS CAN LEARN FROM THE CRUISE LINE INDUSTRY The cruise line industry and the DJ business are cousins — if not siblings. Both have two key components: selling and entertaining.

Therefore, they’re both in business to sell entertainment.

Mobile vet Adam Weitz will take this idea and expand on it when he moderates “Lessons from the Cruise Ship Industry” at the DJ Expo, which runs Aug. 14-17 in Atlantic City, N.J. “This seminar is really all about sales,” says Weitz, who operates A Sharp Production in Huntingdon Valley, Pa. “What is your bottom line and what can you do to increase that bottom line by what you offer and when you offer it?”

We asked Weitz to expand on a couple points that he’ll be covering in his seminar.

WHAT CAN A DJ LEARN FROM A SALES SPECIALIST IN THE CRUISE LINE INDUSTRY? This side of the industry teaches your team to be prepared, have everything in a certain order and procedure for each client, and can help with selling on needs — then there’s the spiral upward of other options and offers to go with those ideas over time.

DJ TIMES

AUGUST 2017

HOW DOES THE CRUISE LINE INDUSTRY COMPARE TO THE DJ INDUSTRY? Sales and enter tainment are the two branches we will focus on for the DJ Expo, and that’s what cruise lines are in business to do — to sell entertainment. From the moment you set foot off the marina and into the place where they sign an agreement and bring you on board, there are items that are for sale to the left and right of you. As clients walk into your office (or the marina) and you reserve their talents with the basics, the big question is what now? What is the next step and when is it coming?

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THEY USE TEAM PLANNERS. HOW? The cruise director is the head of sales for that client, he/she sends the client to different goods and services that the client needs.

What they need and when they need it is all part of the proper formula for increased sales.

Picture your sales team, and each is selling a different division.

WHAT INSIGHTS CAN WE GET FROM A HEADLINER ENTERTAINER IN THE CRUISE LINE INDUSTRY? We’ll talk about that, too. It’s a benefit that they also work on long-term agreements, and for which time talent is expected to perform according to their agreement, which usually includes promoting the brand label. We’ll talk about how the clothes they wear helps deliver the message…

HOW DOES THE “MINIMUM TO BOOK” IDEA CORRELATE TO THE DJ BUSINESS? For any cruise, some guests pay top dollar. Most get deals through packages or agents and some, of course, wait until last minutes and get the gold! No matter what they get, you want to try and get them anything small to start or minimum money out of pocket to entice them to commit to a signed agreement, which revolves around ideas I have heard from different companies that we’ll talk about that I think really work well.

HOW DOES “CONTINUAL MARKETING” WORK? Sales is supposed to be sending out blasts. Forget the call, no millennial wants to hear from you in-person when it comes to all the upgrades. Just make certain that your client gets the right message so you can target their upgrades, instead of overwhelming them with constant services you provide that have nothing to do with them.

That’s when they start to tune you out.

WHEN YOU WALK INTO A CRUISE LINE SALES OFFICE, WHAT HAPPENS? Upon coming into the office, it’s strategy — how it’s set up and what you see. Utilizing multimedia playing on the wall while they wait a few minutes is great, and if you visit their home, then showing them a brief tutorial movie before you begin is good.

But playing multimedia near your peripheral eye site is great — they can see you and see the boob tube at the same time.

YOU SAY, “DO THE PYRAMID TO SET UP YOUR SALES TOOLS.” WHAT DOES THAT MEAN? The room is a pyramid. MC, DJ, floor lighting, ceremony cocktails reception is our starting point. Sales in charge of the music pyramid see and hear live music for ceremony with DJs/musicians. Introduce client to an MC host, which is more out on the floor. Introduce additional lighting effects (uplighting). Then, it’s sales in the peripherals — photo, video photo booths (but only basic packages to start—if they show interest in the booths, you can show them the options). Then there is sales in design — table decor, centerpieces, candles, color theme, branding. This is the natural pyramid. But you’re not showing them items you offer that are not in their interests. If one person can do this because they are a small operation, then so be it, but if you are a company that gets 12 million gross a year, you’re gonna need divisions!

DOES BULLY MARKETING REALLY WORK? This what a cruise ship knows best: “This night only…” or “this week’s special” or “this month is dedicated to cancer research…” or “book now and get…?” or “enter and win,” and on and on. We have always thrown out to our clients a chance to enter, with proceeds going to a charity, to win a free TV is great. But asking them when giving you a $1,000 deposit, “Would you like to make it $1,050 and put $50 in with your chance to win $1,500, drawn each quarter, the other half is given to a charity in your name...” To build a relationship with organizations in need that way is just incredible and giving back 4 to the 4th power, as I taught in my unconditional responsibility seminar.

Produced by DJ Times and Testa Communications, DJ Expo will run Aug. 14-17 at the Atlantic City Convention Center in Atlantic City, N.J.

GEAR AUDIO…LIGHTING…STUFF

Talking Smack Shrimp & Grit Native Instruments 6725 Sunset Boulevard, 5th Floor Los Angeles, CA 90028 (866) 556-6487 www.native-instruments.com London Grit is a new MASCHINE Expansion from Native Instruments that uses eight-bit one shots, bass and glitch and distortion effects to capture the sound of U.K. grime. Artists such as JD Reid, Compa, Flowdan and Rupperman all created projects in the expansion, in some cases using sounds and presets from their libraries. London Grit runs in the latest version of MASCHINE software, while the compact version is also available as an iMASCHINE 2 Expansion from which tracks can be exported to MSACHINE STUDIO, MASCHINE JAM and MASCHINE MIKRO.

Roli Poli

DJ TIMES

AUGUST 2017

ROLI 2 Glebe Road Dalston London E8 4BD +44 (0) 207 254 2155 www.roli.com

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Roli teamed up with hip-hop legend RZA and EDM superstar Steve Aoki to create new soundpacks for the company’s BLOCKS and NOISE music creation systems. The Neon Future by Steve Aoki soundpack and Spoonful of Grit by RZA soundpack join the 5D EDM, World Colours, Giant Dubstep,Video Games, Hybrid Acoustic, Expressive Electronic, and Synthetic Leads soundpacks for a total of nine soundpacks now available.

Soundpacks are available to purchase in-app in the Soundpack Store of NOISE, a free music creation app for iPhones and iPads.

Waves 2800 Merchant Drive Knoxville, TN 37912 (865) 909-9200 www.waves.com Waves released the Smack Attack plug-in for both Mac and PC users.

The plug-in is a “secret weapon for mixing drums and all other percussive instruments,” allowing users to design the level, shape and duration of their transients’ attack and sustain, according to the company.

It features a user-friendly GUI, plus zero latency in the studio and live.

Features include wet/dry mix control for parallel processing, sensitivity control for selective transient shaping, assignable MIDI control, realtime graphic wave display and a limiter/clipper.

Who’s The BASSBOSS? BASSBOSS 9501 Cargo Ave, Ste. 600 Austin TX 78719 (855) 822-7770 www.bassboss.com The DJ21S from BASSBOSS is a single 21-inch powered subwoofer with a frequency response down to 24Hz. Housed in 18mm Baltic Birch plywood, the unit is designed with a split-wound, 4.5 inch, four-layer, copper-clad aluminum voice coil that is capable of peak-to-peak excursion of up to 60 mm. It features a built-in amplifier that supplies 2400 Watts of continuous RMS Class D power. Additional features include 132 dB SPL of sustained output and built-in, comprehensive DSP processing, including high-pass and low-pass filters.

AUDIO…LIGHTING…STUFF

GEAR

Leader of the Pack Audio-Technica 1221 Commerce Drive Stow, OH 44224 (330) 686-2600 www.audio-technica.com Audio-Technica’s M-Series Headphones are now available in two costsaving bundles. The ATH-PACK4 Studio Headphone Pack includes one set of ATH-M40x Professional Monitor Headphones—which feature swiveling earcups, two detachable cables and a collapsible design—and three sets of ATH-M20x Professional Monitor Headphones—featuring enhanced audio and effective isolation and a permanently attached 3m cable. The ATH-PACK5 Studio Headphone Pack includes one set of ATHM50x Professional Monitor Headphones—which feature sound isolating earcups, large aperture drivers and three detachable cables—and four sets of ATH-M20x headphones.

Wash & Wear Chauvet DJ 5200 NW 108th Ave. Sunrise, FL 33351 (800) 762-1084 www.chauvetlighting.com The Maverick MK3 Wash from Chauvet is an RGBW LED moving wash powered by 27 40W OSRAM OSTAR LEDs. The unit features Split Control, which allows basic functions like pan and tilt to be run from one controller, while the LEDs are run from a second unit, such as an external pixel generator or media server. It comes with more than 200 built-in effects that can be accessed via a virtual gobo wheel with background color control. Additional features include a zoom angle of seven to 45 degrees and a beam angle of five to 29 degrees.

Groove 3 Kind of Love

DJ TIMES

World-renowned DJ Shortee launched a video course aimed at beginners, intermediate DJs, and seasoned veterans. Now available on the Groove 3 website, the courses break down the entire beat-matching and mixing process step by step and in multiple ways, while also providing specific practice exercises. The courses touch on a variety of skills— which DJ Shortee applies to a variety of musical genres—including manual adjustments, manual beat-matching, auto beat-matching using sync, beginner mixing techniques, and various EQ and filter mixing techniques.

AUGUST 2017

Groove 3 Inc. 4412 Spicewood Springs Rd. #104 Austin, TX 78759 (800) 460-7509 www.groove3.com

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GEAR AUDIO…LIGHTING…STUFF

Twist of Fade PreSonus Audio Electronics 18011 Grand Bay Court Baton Rouge, LA 70809 USA (225) 216-7887 www.presonus.com The PreSonus FaderPort 8 Mix Production Controller offers tactile control of the mix and automation functions in the user’s DAW of choice via USB 2.0 connection, thereby eliminating the need for driver installation. The unit features eight touch-sensitive, motorized, 100mm faders and 57 illuminated buttons covering 78 different functions. It comes with a Session Navigator that the company says “provides easy access to eight mission-critical functions for maximum flexibility.” There is also a Control Link feature that lets the Pan/Param encoder follow the mouse, providing instant hands-on control of any parameter.

Flash in the Panel ADJ Products 6122 S. Eastern Avenue Los Angeles, CA 90040 (323) 582-2650 www.americandj.com ADJ announced the new AV3 Video Panel, which sports a pixel pitch of 3.91mm (0.25 inches), as well as bright output and high color contrast. Powered by 3-in-1 SMD2121 LEDs, each panel has a pixel density of 128 x 128, which allows for a minimum viewing distance of 13 feet. Each panel features locking EtherCon input and output sockets, as well as mounting points at each corner for permanent installation. A retractable handle is also included for easy transport.

Songs in the Key of 8

DJ TIMES

AUGUST 2017

Mixed In Key 3250 NE 1st Ave #305 Miami, FL 33137 www.mixedinkey.com

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Mixed In Key 8 software is available for both Windows and Mac OS X. The newest version of the software comes with an algorithm for more accurate Key Detection function, as well as one that analyzes music to detect the exact Energy Level of each track. A Cue Curve is included at the bottom of the audio player so as to show users where to drop the “perfect cue point,” while the Tags interface lets users copy and paste values between different tracks and clean up their meta-data.

AUDIO…LIGHTING…STUFF

GEAR

In On The Digitakt On The Road Again UDG Gear Industrieweg 18-21 3846 BD HARDERWIJK The Netherlands www.udggear.com The UDG Creator CDJ/ DJM/ Battle Mixer Hardcase is designed for transporting the Pioneer CDJ-2000NXS2, DJM-900NX2, DJM-250MK2, XDJ-1000MK2, Allen & Heath Xone PX5, Xone 43 C or similar size mixers and CD players. Available in black, the case is constructed from durable lightweight compression-molded EVA material with a laminated nylon exterior that protects against drops, scratches and liquids. Additional features include a heavy-duty handle, shoulder strap and easy-grip zipper pull.

Elektron Music Machines 1340 E 6th St #632 Los Angeles, CA 90021 (213) 935-8521 www.elektronmusicmachines.com Digitakt from Elektron is a compact, digital drum machine and sampler that comes with eight dedicated MIDI tracks and eight internal audio tracks. The unit is designed with back-lit buttons, an OLED screen, a highspeed USB 2.0 port, two ¼-inch inputs and two ¼-inch balanced outputs.

Digitakt offers more than 1 GB of drive storage and a 64 MB sample memory. Additional features include assignable LFO on each track, delay, reverb, sampling capability and MIDI in, out and thru ports.

Give Off Good MixVibes

Future Loops has released Mumble 21 – Trap & Hip Hop Kits, a collection of royalty-free samples and loops for Hip Hop producers. Mumble 21 consists of 2.11 GB of content, including 15 construction kits and 491 unique sounds. The kit includes drum loop elements such as kick, hat, clap, snare and percussion, as well as full drum loops and drum one shots.

It also comes with a variety of instrumental loops, including bass and 808, synth, strings, bells, piano, pads, FX and vocals. The content is available in both WAV and REX formats.

Mixvibes released Remixlive for Mac and PC. The program has been designed to take advantage of any MIDI pad controller and it allows for recording in a variety of formats, including AIFF, FLAC, OOG and WAV. Remixlive comes with 15 sample packs ranging from Hip-Hop to Dubstep and each of the packs has 48 royalty-free samples, including beats, basslines, melodies, vocals and FX samples. Features include brand new desktop-class extra audio effects, three bands of EQ on each channel and an expanded mixer view that includes buttons for mute and solo.

AUGUST 2017

Future Loops www.futureloops.com

DJ TIMES

Feeling Loopy

MixVibes 4 rue de la sablière 92230 Gennevilliers France +33 (0)1 58 37 33 61 www.nixvibes.com

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TRACKS…MIXES…COMPILATIONS

GUEST REVIEWER: SIMON SHELDON “CRAZY”

u Groove Assassin u Things May Change!

I judge a track by the people I share it with – sometimes because it’s nostalgic or just worth a listen. But sometimes it’s just because you have to hear it. In this case, it’s just damn-right fabulous, great sample of a great track (Prince’s “Uptown”). So many times you hear a great track paid no respect. But in this case, you have to love what Nick Moss (aka Groove Assassin) did with it – hooky, soulful, funky, just right. Go for the “Club Mix.”

Marc Cotterell

Mike City

“THE PIANO”

u Sin Morera u Phonetic Recordings This one carries that old-school Chicago house sound to the new generation. With its massive piano and percussion build-ups, “The Piano” has all the ingredients to be a huge floor-filler. And check the deeper groove offered on the David Agrella Remix.

– Tommy D Funk “DON’T CALL ME”

DJ TIMES

AUGUST 2017

u TOKiMONSTA feat.Yuna u Young Art

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Generally, I’m not a fan of the “chipmunk vocals,” but the technique works here as a hook on this irresistible electronic slow jam. Yuna’s vocals are delicate, but strong in her delivery of the title’s message. The double-kicks are tight and the overall sound very clean – and check the vacillating sustained stutter in the chorus. Girl power.

– Jennifer Harmon PRODUCED WITH LOVE

u Joey Negro u Z Records It’s been 20 years since the last Joey Negro album, and this one’s definitely been worth the wait.

Packed full of future classics, this is vintage Dave Lee—groovy, uplifting, soulful house music, a must

Nora En Pure

L’Tric

DJ Romain

for garage-leaning DJs. Highlights include: “Must Be the Music” (Original Disco Version),” “Won’t Let Go” (feat. Linda Clifford), “Prove That You’re Feeling Me” (feat. Diane Charlemagne).

Joey Negro

more modern tweakage, Skapes reshapes the 1986 house-music classic for new dancefloors.

Percussive and sharp.

– Tommy D Funk

– Curtis Zack “WHEN I LUV”

u Mike City feat. Faith Evans u BBE

“TEARS IN YOUR EYES”

u Nora En Pure u Sirup Music Bringing a soothing house groove and a silky soulful male vocal, En Pure’s latest is smooth and gorgeous. We love the hook and the brilliant violin arrangement—a beautifully orchestrated deep-house gem.

A collaboration of the highest caliber on this funky, R&B-leaning house cut. Kenny Dope provides the remixes with an uncompromising interpretation that works on tough and soulful floors in equal measures.

– Curtis Zack

– Phil Turnipseed “BLINDED BY THE SUN” (REMIXES #2) “THE OTHER MAN”

u Phil Kieran u Hot Creations

With more than a passing nod to the classic, timeless style of Frankie Knuckles—and featuring The Godfather’s long-time collaborator Robert Owens—this one’s a truly great track. Breezy and bumpin’.

On this three-track EP, each cut brings a robust tech-house flavor while venturing into light, tribal rhythms, as found on “Realities Forgotten” (Matthew Herbert’s Remembering Dub). Also, check Mano Le Tough’s deep, dirty groove on “Solar Storm.” A definite floor burner.

– Curtis Zack

– Phil Turnipseed

u Janne Tavi feat. Robert Owens u Ibadan

“MOVE YOUR BODY” (SKAPES 2017 REMIX)

“LIVE LIFE FREE” u Rhemi u Rhemi Music

By incorporating some U.K. garage sounds and

The Rhemi boys keep on delivering the goods, and yet again they produce a devastating groove

u Marshall Jefferson u Freakin 909

to back up a classy disco-house song. In addition to the strong vocal version (with Anna-Marie Johnson), there is a killer dub to boot.

from Cooke. Soulful and on-point. Nu-Disco lovers, check it out.

– Curtis Zack

– Curtis Zack “THE WAY YOU ARE” (TOM STAAR REMIX)

u L’Tric u Neon Records

Sprinkled with vocal swag and a throbbing bassline, this one has all the makings of a classic house track. Subtle, yet punchy, the track delivers alternately breathy vocals and a falsetto, lending a softer layer to an otherwise serious jam. Undeniably catchy.

– Jennifer Harmon

u Marc Cotterell u D-Vine Sounds Another fierce underground house track from Cotterell, the master of U.K. garage. This one’s a powerful ’90s-style club monster, with a tight 4/4 beat and superb male vocals dropping and looping nicely over some sexy keys.

– Tommy D Funk THAT’S HOW WE DO IT

The Italian stallions are back with another discoinfused cut using snippets of Loleatta Holloway’s classic vocal and an uplifting piano. One for the summer for sure.

There is no stopping the Quantize train as it rolls on this time courtesy of NYC’s DJ Romain.

Of the 16 soulful house tracks here, check the bumpin’ “Walk With Me” (feat. Emory), the sassy “Doin’ My Own Thing” (feat. Miss Patty) and the funky “Deeper into You” (feat. Jay D).

– Curtis Zack

– Curtis Zack

u Micky More & Andy Tee u Groove Culture

“FEELS LIKE LOVE”

u Newman feat. Stephanie Cooke u Soundstate Anthemic and funky with an insistent beat, this catchy disco-house number offers soaring vocals

“DANCE WITH US”

u Jamie Lewis & Michael Watford u Purple

This lively rhythmic instrumental delivers really cool breaks and chord changes, all answering to a sweet hook. An uplifting summer dance cut to be sure…

– Phil Turnipseed “LITTLE LOVE 2017”

u Leisuregroove u Klein Aber Fein This cracking house groove really delivers, with three different mixes to pick from – the best coming courtesy of Luscious Lowe.

– Curtis Zack “HOUSE MUSIC”

u DJ Pierre & Marshall Jefferson u Get Physical The Chicago legends collaborate to bring you a masterful piece of underground house music.

Simple, but urgent, this track thumps, pulses and takes us back to the origins of the genre. Full support.

– Tommy D Funk

Lewis and Watford hook up again for a huge track on the Swiss label. Full-on disco vibes are

Marshall Jefferson

Groove Assassin

Rhemi

TOKiMONSTA

DJ TIMES

AUGUST 2017

Sin Morera

– Curtis Zack “EIVISSA” u Fort Arkansas u Enormous Tunes

“WHAT YOU SAY”

u DJ Romain u Quantize

“MOODY”

the order of the day on a track that gets you from the start.

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Alison Wonderland

(continued from page 8) message I’m trying to convey in each song to be communicated the right way. That’s where I’m headed with it.

DJ Times: Your vocal work has always been your strong suit; will there ever be a time where we see Alison Wonderland featured on more records?

Alison: To be honest, I’ve been buried working on this album that I haven’t spoken to anyone about it, but I’m always down as long as I’m digging the track.

DJ Times: So you’re always open to it?

Alison: Yeah! I’ll always be open to collaborating with anyone I have good chemistry with. When I started out producing alone in my bedroom, I began to realize that it’s never a bad thing to work with others and collaborate. I mean, this album is a collaboration, I’m working with Joel Little and Lido on it.

I don’t understand why people tend to hide that fact because a collaboration

DJ TIMES

AUGUST 2017

Maceo Plex

40

(continued from page 16) for whatever reason, it ended up not working out. So once I knew I wasn’t going to release it on Monkeytown, I decided to start a small electronica label for it. And then I could take my time.

DJ Times: Why launch Lone Romantic, rather than simply release it on Ellum Audio? Is it going to be a more album-oriented label?

Estornel: Lone Romantic won’t only release albums; I’m thinking of it as more of a place for developing albums. For instance, if I come across a new artist who I think has a lot of potential, we could release a few singles from that artist, with the idea of eventually working towards an album. Or if there are artists that I’ve known for a long time who want to start a new project, then we could put out a few tracks from them with the same goal.

DJ Times: Will there be any stylistic theme for the new label?

Estornel: It’s not going to be dance music, basically. It will be more for electro, IDM… just general broken-beat stuff. And Ellum will still be for all the dance music.

DJ Times: Given the new label’s name, do you picture yourself as a lone romantic?

Estornel: I definitely used to, all through high school and college. [laughs] I actually had used the name many years ago, for an electro track made under my Mariel Ito moniker, but I had always had wanted to use it as a label name. And it’s kind of perfect for this kind of music.

DJ Times: How so?

Estornel: Because even if people are in relationships, people that like it are kind of lone romantics on the inside.

pushes you as an artist to be better than you were before.

DJ Times: How so?

Alison: When working on music together, whether full collaboration or a simple feature, you’re in the studio – and I don’t want to use the term “flexing” – but you want to be the best representation of yourself as an artist during the process.

DJ Times: You mentioned that when you started producing that you were doing it on your own, is that why you are always so open to producers remixing your tracks and making stems available to anyone?

Alison: Yeah! When I started out, I would have died receiving stems from someone. I remember asking around and never receiving a reply. The internet is a great place for producers to commute with artists that they like, and it gives me a format to communicate with everyone. I think it’s important to respect all up-and-coming

producers making music from their bedroom because you don’t know what they can come up with so why not give them the proper resources they need and see.

DJ Times: Speaking of producing, do you prefer working on music on the road or would you rather be secluded?

Alison: When I’m out touring, it’s a whole different side of my personality; I’m more open, compared to when I want to work on music. I rather be locked away focusing on what’s going on in my head and not worrying about anything else. It takes me a few days to warm up to writing, so I prefer to be stationary then trying to juggle the two.

DJ Times: What program are you using to produce these days?

Alison: I’ve always used Ableton Live. I think it is very straight-forward and is the most user-friendly program, in my opinion. It’s also colorful, making it very easy to look at visually.

That’s kind of important when you’re staring that the same screen for hours on end. [laughs] DJ Times: One of the most talked about sets of EDC Las Vegas was your back-to-back with Diplo and Jauz.

How did that come about?

Alison: I literally have no idea.

Pasquale [Rotella, founder of EDC promoter Insomniac Events,] is a genius and came up with it! He asked if I had any interest and I jumped all over it. I was so excited because we all play different genres. Luckily, being a DJ for so long, I can mix pretty much any genre. I’m open to incorporate almost anything.

DJ Times: Besides your second album, what else can we expect from Alison Wonderland in the near future?

Alison: More tour dates, a bunch of crazy tweets and, of course, an album. [laughs] – Brian Bonavoglia

DJ Times: You’ve sometimes come across as having a somewhat ambivalent attitude towards clubland, and towards your success as a DJ and producer in that world. Is that actually the case?

Estornel: Yeah, I’m a torn soul.

DJ Times: “Torn Soul” could be the name of your next label.

Estornel: It could be! I mean, there are plus sides, of course; there’s definitely a fun and even glamorous side to it. But there are downsides to it as well. You can get a bit trapped.

DJ Times: I was thinking of that infamous incident Amnesia’s closing party in Ibiza two years ago, when you played Four Tet’s remix of Eric Prydz’s “Opus”—which is essentially one extremely long breakdown—at the climax of your set. It flummoxed the crowd, and you got some “what-thefuck-was-that?” online commentary afterwards.

Estornel: Really, I don’t even know why that incident got so big.

DJ Times: Was that you rebelling a bit against what was expected of you?

Estornel: Well, here’s the thing: Specifically talking about Ibiza, there are so many things that are expected of you there that have nothing to do with music, things that wear you down pretty quickly. The island is more for what I would call performers than DJs. DJ Times: How’s that?

Estornel: I mean, there are plenty of DJs who come in and play good stuff, and can help to fill the clubs. But the guys who can really last forever, the guys that can sell a lot of tickets, are the ones who get the most wasted and are… I don’t want to say clowns, but they’re the ones who will perform for the crowd more. Like,

“What do you want to see me do now? Stand up on top of the decks?”

DJ Times: That doesn’t sound like your style.

Estornel: No, and when you are experiencing the cheesier side of the island on a regular basis, it gets a bit tiring. There are great people who go to the island with really good taste in music, of course—but there’s that other side that can wear you down over the course of a whole summer.

So I end up having this kind of anti-DJ attitude at times. And some of the ambivalence also comes from the fact that I’m a dedicated producer in addition to being a DJ—while, honestly, a lot of the guys out there are not making their own music.

DJ Times: Does that frustrate you a bit?

Estornel: I wouldn’t say that, but those people have a whole different outlook from what I have. They love stardom, they love to get wasted and all that. And to me, none of that is really so important. But I think that sort of “DJ/anti-DJ” attitude has kind of worked for me, and helped me get to the point where I am.

DJ Times: And you obviously return to Ibiza each summer.

Estornel: I do, and I’m not trying to talk bad about the island. Going back to that Amnesia thing, I played it even though I really know what people are expecting at a party like that: a big track with a breakdown where they sit down, and then jump back up when it’s over. But they probably weren’t expecting a breakdown that’s as long as that track’s [laughs]. They didn’t know when to stand up. And I knew what was going to happen; if you watch the video of it, you can kind of see me laughing. It was kind of a joke.

DJ Times: As a bonus, you got a bit of publicity out of it.

Estornel: In hindsight, yeah, it was pretty cool.

DJ Times: And you’re back at Ibiza this season, hosting your weekly Mosaic party at Pacha for the second year. Is Mosaic your attempt to play Ibiza on your own terms?

Estornel: Yes—which is both a good thing and a bad thing. Pacha is great, because they are really into pushing DJs who are different than the usual Ibiza DJs, at least one or two nights each week. It’s a great club, and they’ve been great to work with.

But at the same time, I play differently than a lot of the other people on the island. I don’t really perform in the same way that they do.

DJ Times: Does that present difficulties?

Estornel: Honestly, I don’t know if Mosaic is ever going to be a tremendous runaway success, with huge lines trying to get in. But I’ve accepted that.

I know I don’t have the kind of hype for something like that to happen.

On the other hand, a lot of DJs who normally would never want to play in Ibiza at all do want to come and play at this party. Nobody puts any pressure on them; nobody is asking them to play these huge epic sets.

DJ Times: With the result being a really interesting lineup of DJs… Estornel: And we don’t put any limitations on of them. I don’t know if it’s on purpose, but a lot of the other parties on the island seem like they’re designed to just be another techhouse party. They might book some really good artists who aren’t among standard Ibiza DJs—but then they’ll put them on early in the night. Then the rest of the night will be loopy

MP3s in 6

Compiled As July 13, 2017

NATIONAL CROSSOVER POOL CHART

NATIONAL URBAN POOL CHART

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

Louis Fonsi & Daddy Yankee F/Justin Bieber Despacito Universal Katy Perry F/ Migos Swish Swish Capitol Ed Sheeran Castle On The Hill Atlantic Clean Bandit F/ Zara Larsson Symphony Atlantic Zedd F/ Alessia Cara Stay Interscope Bruno Mars That’s What I Like Atlantic Kygo & Selena Gomez It Ain’t Me Interscope Rasmus Faber We Laugh We Dance We Cry Radikal Calvin Harris F/ Frank Ocean & Migo Slide Columbia The Chainsmokers & Coldplay Something Just Like This Columbia Miley Cyrus Malibu RCA Katy Perry F/ Drake & Lil Wayne Bon Appetit Capitol Gia 7 Live And Shine Stiletto 7 Rita Ora Your Song Atlantic Sir Ivan I Am Peaceman Peaceman Rihanna Pose Def Jam Jonas Blue F/ William Singe Mama Capitol Joe Bermudez F/ Megn Ghosting 617 Records Lady Gaga The Cure Interscope Peter K Every Day VMG Leann Rimes Love Is Love Is Love Sony Stargate F/ Sia, Pink Waterfall RCA Bruno Mars Versace On The Floor Atlantic Dan Slater & JimJam F/ Nalaya Brown Minute Of You Swishcraft Stonebridge F/ Seri Turn It Down For What Stoney Boy Fenix F/ Chris Casino All Around The World Carrillo Lorde Green Light Republic Taryn Manning Gltchlfe Dreamworks Selena Gomez Bad Liar Interscope Alesso Falling Def Jam Dj Pebbles Heart Away From You Friendship Dave Aude F/ JVME Back 2 Love Audacious Camila Cabello Crying In The Club Epic Kim Cameron Dancing In The Dark Side FX Lisa Cole Lost Love Rose Audien F/ Max One More Weekend Astralwerks Post Malone F/ Quavo Congratulations Republic Eric Redd Don’t You Know Carrillo Charlie Puth Attention Atlantic Erasure Love You To The Sky Mute

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

Deborah Cox Charlie Puth Peter K Joe Bermudez F/ Megn Jonas Blue F/ William Singe Kim Cameron Clint Holmes Rihanna Rita Ora Carley Rae Jepsen

Let The World Be Ours Attention Every Day Ghosting Mama Dancing In The Dark The Perfect Trance Pose Your Song Cut To The Feeling

Radikal Atlantic VMG 617 Records Capitol Side FX L&L Def Jam Atlantic Interscope

REPORTING POOLS Peter K. Productions n Masspool - Saugus, MA; Gary Canavo n Dj Stickyboots - Goshen, NJ; Blake Eckelbarger n Nexus Radio - Chicago, IL; Manny Esparza n Kahoots - Columbus, OH; Ilan Fong n Soundworks - San Francisco, CA; Sam Labelle n New York Music Pool - New York, NY; Jackie McCloy n Dixie Dance Kings - Alpharetta, GA; Dan Miller n DJ Rafy Nieves - San Juan, PR; Rafy Nieves n In The Mix - Charlotte, NC; Alfredo Pareja n Mixxmasters - Lithonia, GA; Brian Stephens n Pacific Coast - Long Beach, CA; Steve Tsepelis n Internet / Residencies - Nashville, TN; Carlos Cabrera n RHYTHM 105.9 FM KRYC - Yuba City, CA; Dan Mathews

Bruno Mars Future Kendrick Lamar Chris Brown J. Cole Ayo & Teo Bryson Tiller 2 Chains F/ Quavo & Gucci Mane Dj Khaled F/ Rihanna & B. Tiller Migos Travis Scott F/ Kendrick Lamar Meekk Mill F/ Chris Brown & Ty Dolla $ign Rick Ross F/Young Thug & Wale Wizkid F/ Drake Trey Songz Yo Gotti & Mike Will Made-it Tee Grizzley Post Malone F/ Quavo Dj Khaled F/Beyonce & Jay-Z Dj Loaf

That’s What I Like Mask Off Humble Privacy Neighbors Rolex Somethin Tells Me Good Drink Wild Thoughts T-Shirt Goosebumps Whatever You Need Trap Trap Trap Come Closer Nobody Else But You Rake It Up F Nicki Minaj First Day Out Congratulations Shining No Fear

Atlantic Epic Interscope RCA Interscope Columbia RCA Def Jam Epic Quality Control Epic Atlantic Epic RCA Atlantic Roc Nation Quality Control Republic Epic Columbia

Most Added Tracks 1 2 3 4 5

Gucci Mane F/ Chris Brown Dj Khaled F/ Rihanna Yo Gotti & Mike Will Made-it Post Malone F/ Quavo Dj Loaf

Tone It Down Wild Thoughts Rake It Up F/ Nicki Minaj Congratulations No Fear

Atlantic Epic Roc Nation Republic Columbia

NATIONAL LATIN DANCE POOL CHART 1. V.I.P feat Tazz, Areli,LProfeta, J miguelo 2. Luis Fonsi feat Daddy Yankee 3. El Gran Combo 4. Nacho 5. La Banda 6. Ilegales 7. Vakero 8. Grupomania 9. Prince Royce feat Shakira 10. Limi T21 ft Elvis Crespo 11. Puertorican Power 12. Piso 21 13. Kevin Roldan 14. Karol G 15 Hector Acosta 16. Lefty Peres & Nino Segarra 17. Hector Acosta 18. Don Omar feat Sharlene Taute 19. Gente de Zona 20. Farruko

Toketeo V.I.P Music Despacito Universal Besar tu Boca EGC Bailame Universal Pegadita de Los Hombres Merenhits Tamos Happy Dotel Prod.

Mi Sepelio Mayimba Si Me Quieres No Me Quieres Mania Music Deja Vu Sony Like Renew Music Corp.

Ella Tiene Mambiche Besandote Warner Me Gustas Latin Hit A Ella Universal La Maleta Venemusic Goza La Vida Indie Amorcito Enfermito Dam Music Encanto Latin hits Ent. Si No Vuelves Sony Don’t Let Go Latin hits

Most Added Tracks 1.

2.

3.

4.

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Fito Blanco Fherramy Conjunto Impacto Orq. La Solucion Pedro Alonso

Shape Of You El Diablo Pensando En Ti Eso Es Asi Ya No Vale

Crown loyalty ET Music AJ Music Ritmo Music Lopera Music

REPORTING LATIN POOLS n Latinos Unidos Record Pool n Salsamania Latin Record Pool n Lobo/Bass Record

Pool n Urban Tropics Music Pool n North East Record Pool n Mixx Hitts Record Pool n Ritmo Camacho Record Pool n Ritmo Internacional Record Pool n DJ Latinos Record Pool n Mass Pool n Record Pool Latino n V.I.P. Chicago Record Pool.

LOOKING FOR THESE TITLES? YOU CAN HEAR THEM AND BUY THEM AT WWW.DANCEKINGS. COM. JUST CLICK ON THE LINKS IN THE CHART. DDK HAS LIMITED MEMBERSHIPS AVAILABLE

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Reporterships are open to Record Pools and individual DJs. For more information contact: Dan Miller, dmiller@testa.com

tech-house, which all kind of sounds the same.

DJ Times: But with Mosaic, those early-night artists are the stars.

Estornel: That’s what separates us from the rest of the parties. Like, I did a back-to back set with Joy Orbison at Mosaic’s opening party, and I realized that we went 30 minutes without playing a 4/4 beat. And as the night went on, we started just not to care anymore and we’re playing really weird stuff.

DJ Times: The crowd accepted it?

Estornel: I think after having done Mosaic for a full year last summer, the people who come to our night are OK with it. They expect it. They’re really supportive—even the VIPs who come and buy a table.

DJ Times: I’m guessing that’s not always the case—bottle-service types aren’t always known for their musical open-mindedness.

Estornel: Just because somebody has a lot of money doesn’t always mean they have bad taste. At Mosaic, they want to hear something different. Just like anyone else, they know what they’re going to get at Mosaic.

They want to have a night that’s a little bit different than the rest.

DJ Times: What’s your DJing methodology nowadays?

Estornel: Mostly USB. I’ll occasionally play with vinyl, but that’s mainly for certain parties. There are some clubs where you’ll know they have a really good vinyl set-up, so I’ll bring some with me. I do bring vinyl with me to Pacha; I helped design their set-up, so it’s obviously good for me. And if I know a guest DJ is going to bring vinyl and I’ll be doing a back-to-back set with them, then I’ll definitely bring records so the audio is consistent.

DJ Times: Are you still buying

records?

Estornel: Every week! I’ll just walk in and ask what they’ve gotten in that’s vinyl-only. Then I’ll just rip as much of them as I have time to.

DJ Times: Is that how you mainly find out about new music?

Estornel: I also get sent a lot of cool stuff from friends, both big DJs and smaller DJs who I’ve met along the way. And my friend Brian, who’s a DJ as well, has a key role. He organizes all the promos I get in, filtering out the overly commercial ones and sticking the rest in a zip file.

DJ Times: That sounds like a dream job.

Estornel: He loves it, and he’s really good at it. He knows what I like, but he’ll also push stuff on me that he thinks I should be open to.

DJ Times: Do you plan your sets ahead of time at all?

Estornel: Not really. I’ll just get together some of the styles that I like—some techno, some electro, some house, some whatever. But by the end of the set, I’m always getting weird and playing a bit riskier music. Especially if I’ve been drinking through the entire set [laughs]. The idea is not just to please the crowd, but to have them join you. You want them to go on a trip with you.

DJ Times: What kind of music did you grow up with?

Estornel: When I was growing up, my older brother was really into breakdancing I used to hear music like Soul Sonic Force, Newcleus, all kinds of electro-bass and 808-bass stuff. That led to Miami bass, 2 Live Crew and all that stuff. That music really stuck with me. Then when we moved to Dallas, I was listening to a lot of late-night radio there, and began to gravitate toward the music I was hearing them play—they’d play

a lot of electronic artists who were doing breaky or electro kind of stuff.

DJ Times: Once you were old enough, were you going out to clubs in Dallas?

Estornel: Not much. Once I turned 18, I would go here and there, but I was still pretty scared of everything. Also, I also came from a very strict house…. like, Latino strict.

DJ Times: That can make things a bit difficult for a young clubber.

Estornel: Yeah. There was no experimentation allowed, and definitely no drugs. So what I became was kind of a music nerd. When I did go to a rave or a club, I’d just be in the corner listening to the DJ, while everyone else was getting wasted and dancing around. I just wasn’t that much into nightlife. What I really was into was going to the record store every two days and annoying the people working there until they gave me the records I wanted. It was pretty much the opposite of what I am now.

DJ Times: Except for the recordstore part.

Estornel: Yeah, I’m definitely still into music—but it’s different when you’re young and everything is new.

Ever ything is so exciting. Now I feel like I’ve heard everything, and there’s not much that can surprise me anymore, even in the experimental world.

DJ Times: Do you think of what you do as a job, or is it more than that?

Estornel: I think of dance music as a career, but back then it was really thrilling.

DJ Times: When did it first start to become a career? What were your first DJ gigs?

Estornel: Soon after I moved to Dallas, there was a kid at school who helped me to learn how to DJ, and

Laidback Luke: Fists of Fury

like I said, I was buying lots of records. When I was around 17, around ’94, there were these people who were throwing parties who wanted to promote young Dallas DJs. There was this one guy who used to go by the name Kidd-E—who later became known as JT Donaldson, the house producer—who had been the youngest Dallas DJ, so everybody was booking him. But then I came along, and they were like, “OK now, you are the youngest DJ!” So I was playing a lot of raves and clubs the early ’90s. But I still had to be home by midnight—so I would open up a lot of parties, or maybe I’d be the second DJ if I was lucky.

DJ Times: When did you start producing music?

Estornel: That happened pretty soon, maybe two years after playing my first party. Back then, before you could find the value of everything on the Internet, there was this book that pawnshops all had—kind of like the Beckett price guide for baseball cards—that had prices for all kinds of stuff, like lamps or whatever. But gear?

Nobody knew what that was worth, and you could get an 808, for instance, for $50 or $100. Nobody knew what that stuff was worth. So I got myself a beat machine and one keyboard, and I was already making tracks. Then I bought more equipment and some software, and by ’97 or ’98, I was already putting out records.

DJ Times: What keeps you going?

Estornel: I just don’t know how to do anything else! I mean, I quit school for this. But more than that, I really love it. But sometimes you have to step away from it a bit. Sometimes you take time out to write something that’s not pure dance music.

DJ Times: Like Solar, for instance?

Estornel: Exactly. n

Photos by Ruud Baan

DJ TIMES

AUGUST 2017

So, if you don’t like my music…

42

I’m a world-class DJ & kung-fu champ.

I might just kick your ass.

Laidback Luke, Next Month in DJ Times