DJ Times 2019, DJ EXPO ISSUE Vol 32 No 6

1988 2018

AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988 DJ EXPO 2019 ISSUE

VOLUME 32 NUMBER 6

HOW TO MAX OUT AT D J E X P O T I P S O N S AV I N G YOUR HEARING PLUS: N I I K O X S WA E AT L I E N S N U M A R K S C R AT C H I K M U LT I M E D I A U N O D R U M A M E R I C A’ S B E S T D J T O U R

T H E S TAT E O F T H E S C E N E

ALL THE GEAR FOR AN EPIC DJ TRIP

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NOTABLES…MILESTONES NEWS

DJ TIMES

By Jim Tremayne Atlantic City, N.J. – Once again, it’s DJ Expo time!

So, as it does each August, the professional DJ world – mobile entertainers, club jocks, music-makers and upstarts – will descend on AC to experience the industry’s latest technologies, share unique ideas, and party late into the evening.

The show will run Aug. 12-15 at Harrah’s Resort, in Atlantic City’s popular Marina District.

Produced since 1990 by DJ Times and its publisher Testa Communications, DJ Expo 2019 will present its winning formula: an exhibit hall full of the latest DJ-related products from top manufacturers, distributors and retailers; 30 seminars, panels and keynotes, offering Z-Trip: Turntablist set to speak at Expo.

DJ Throdown: DMC champ at Peavey party. money-making tips, technology insights, and career inspiration; and sponsored industry events, presenting top talent and bringing unmatched networking opportunities.

Inspiration Department: Two DJlegends will participate in this year’s acclaimed “Keynote Q&A” series. On Aug. 13, super-talented turntablist Z-Trip – this issue’s cover subject – will discuss his unique career, which includes performing and recording with some of the music industry’s biggest acts (LL Cool J, Tom Morello, Chuck D). Additionally, he was one of the first DJs to popularize the mash-up.

On Aug. 14, disco pioneer Nicky Siano will take part in the “Keynote Q&A” Nicky Siano: Disco legend to keynote.

Chitown Shani: Will rock Bose’s Club B. series. The longtime New York spinner will cover his trailblazing career, which includes playing at the original Studio 54 and opening The Gallery, one of Manhattan’s seminal clubs in terms of music and technology. He’ll also explain his mentorships to late, great DJ legends Larry Levan and Frankie Knuckles, plus his current collaboration with Jellybean Benitez – the pair have connected with U.K. brand MN2S for “A Night of Studio 54,” a new global event series, inspired by the great NYC discotheque. Both speakers will be interviewed by DJ Times, then the audience will be allowed to ask questions.

Seminar Sessions: The Expo’s seminar lineup is filled with mobile-oriented tips on marketing and performance, clubleaning info on music and technology, and studio-specific advice on remixing and production. Additionally, DJ Expo exhibitors will present a series of sponsored seminars, explaining their latest technologies or industry solutions. They include ADJ, BPM Supreme, Chauvet DJ, ABDJ Tour in NYC Peavey Electronics, and Pioneer DJ. Brooklyn, N.Y. – Longtime NYC DJ-fave Boris gets the crowd at Schimanski Evening Events: At night, DJ Expo going during his America’s Best DJ Tour event this past June 8. DJ Times was attendees let loose, and it’ll be no differthere to take votes, while the clubgoers got loose for an evening of techent at this year’s show. On Monday, Aug. house. To vote for your favorite U.S.-based DJ, please visit americasbestdj.us. (continued on page 42)

DJ EXPO 2019 ISSUE

DJ EXPO ’19: LEGENDS, TECHNOLOGY & IDEAS

5

FEATURES 14 Rollin’ & Scratchin’

1988 2018

VOLUME 32 NUMBER 6

Z-Trip, One of the World’s Most Accomplished DJs, Glimpses the Scene’s Past, Gazes into Its Future

BY JIM TREMAYNE

20 Get Your Expo Here!

First-Timers & Veteran Attendees Alike Find Plenty of Inspiration at DJ Expo.

But Don’t Take Our Word for It – Listen to the DJs Who’ve Been There

BY STU KEARNS

22 Now Hear This!

For DJs Young & Old, Protecting One’s Precious Hearing Should Be a Priority.

Here Are a Few Solutions

BY WESLEY BRYANT-KING

DEPARTMENTS 9 Feedback

The Latest on DJ Expo – Aug. 12-15 in Atlantic City, N.J.

26 Making Tracks

IK Multimedia UNO Drum Machine

28 Sounding Off Numark Scratch Mixer

30 Mobile Profile

Expo Champ Thrives on Versatility

32 Mainstage

New Technology Showcase

34 Business Line

DJ TIMES

DJ EXPO 2019 ISSUE

Marketing to Millennials

6

35 Gear

New Products from Reloop, V-Moda & More

38 Grooves

Phat Tracks from David Morales, Gorgon City & More

41 Club Play Chart

The Hottest Records, As Reported by Our Top U.S. Record Pools

SAMPLINGS 10 Niiko x SWAE Vegas & Beyond

12 In the Studio With…

ATLiens

Cover Image By Steve Dykes

FROM THE EDITOR

Welcome to the DJ Expo Issue

If you’re holding this magazine in your hands and you’re in Atlantic City, N.J., chances are good that you’re at DJ Expo. Welcome – we hope our event (Aug. 12-15 at Harrah’s Resort) affords you great professional benefits and you have a helluva great time, as well.

One big part of the 2019 DJ Expo is this issue’s cover subject – the one and only DJ Z-Trip.

Known on his birth certificate as Zach Sciacca, the Queens-born/Phoenix-raised/L.A.-residing turntable talent has done about everything a DJ can do in a career – from opening for The Rolling Stones to touring with LL Cool J, and so much more. And, just as he did in our cover story, he’ll be discussing his numerous exploits and particular views on the industry at a special DJ Expo “Keynote Q&A.” We hope you enjoy the story and can join us at Harrah’s Resort for the Aug. 13 session.

Of course, this DJ Expo ’19 issue offers several preview-related stories on the show. In the News section, we offer a quick rundown on what to expect at the show – seminars, parties, exhibits, etc. In our features, we bring you some tips from Expo vets on how to maximize your experience at the show – comfy shoes and breath mints, folks! In Business Line, we visit with Nick Spinelli and Rachel Lynch, co-hosts to the New Jersey DJ Network’s seminar, “The Art of the Personal Brand,” as they offer ways to market to millennials through social media. Also, for our Mobile Profile, we visit with Artem Lomaz, who won the 2018 DJ Expo’s “Entertainer of the Year” competition. Can the Jersey jock win the title two years in a row? Be at the Golden Nugget on Aug. 14 to find out.

For Samplings, our Brian Bonavoglia handles both entries. For the “In The Studio” Sampling, he connects with the mysterious, masked duo ATLiens, whose ominous, sub-stretching bass sounds are as formidable as they are unsettling. He also went to Vegas to catch versatile duo Niiko X SWAE at their new Hakkasan Group residency. At Omnia, they opened for Zedd – not bad for a couple of guys right out of college.

In our tech-review departments, Twin Cities resident DJ Deets takes on Scratch, Numark’s latest mixer entry, to which a thumbs-up was delivered. Also, we’d like to welcome new contributor, Detroit’s Erik Miller, to DJ Times – and in this issue, he tackles Making Tracks by reviewing IK Multimedia’s UNO Drum machine. Also, somewhat on the tech tip (but more about wellness, really), our longtime, Denver-based contributor Wesley Bryant-King offers some solutions for preventing hearing loss – unfortunately, a common problem for pro DJs. So, we encourage you to take in as much DJ Expo as you can handle. Like no other event, this show’s for you, the professional DJ, to learn, network and party. DJ Times has been producing the show since 1990, and we sincerely appreciate your participation – attendees, exhibitors, performers. It’s your continued support that allows this show to endure. A big thanks goes out to you all – have a great show.

Cheers,

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 Wesley Bryant-King Chris Caruso Amanda Chavez Shawn Christopher Paul Dailey Reed Dailey Chris Davis DJ Deets Tony Fernandez Tommy D Funk Michelle Fetky Mike Gwertzman Jennifer Harmon Josh Harris Ryan Hayes Greg Hollmann Mike Klasco Michelle Loeb Erik Miller Lily Moayeri Jeff Stiles 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

DJ EXPO 2019 ISSUE

Jim Tremayne Editor, DJ Times

8

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 Amanda Mullen amullen@testa.com traffic manager art production assistant Jeannemarie Graziano jgraziano@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) is published monthly except for February, July, September and December for $19.40 (US), $39.99 (Canada), and $59.99 (all other countries), by DJ Publishing, Inc., 25 Willowdale Ave., Port Washington, NY 11050-3779. 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 © 2019 by DJ Publishing, Inc., and must not be reproduced in any manner except by permission of the publisher.

Websites: www.djtimes.com and www.testa.com DJ Expo 2019 Issue

visit our website: www.djtimes.com

p & Roland Y Tracks able

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FEEDBACK LAUNCHES

1988 2018

AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988 SUMMER 2019 ISSUE

VOLUME 32 NUMBER 5

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be no different. Come early and enter to win the newest piece of gear from Pioneer DJ. DJ Jay will go through all the features, then give one away at the end of the seminar. Get there early!

Peavey Presents… Pay It Forward: Teaching Kids & Beginners How to DJ: Are you looking to increase income by adding DJ-education services to your business? Do want to “pay it forward” by teaching your DJ skills to begin‑

ners? No matter your motivation, DJ Expo has the seminar for you. Peavey, longtime Philly jocks Neeek Nyce and DJ Greggie C, plus DMC champ DJ Throdown will demonstrate how to ed‑ ucate kids and other young beginners who want to become successful DJs. Because learning basic DJ skills is different for attention-challenged younger people than it is for adults, Peavey’s trio of experienced DJs will

show you the techniques that are easy to grasp for everyone. This seminar will compare and contrast the differ‑ ences of private vs. group instructions and demonstrate some hands-on tips to incorporate into your DJ-educa‑ tional program. From vital tech tips to ultimately marketing your services, this seminar will show you how to effectively teach DJing to the next generation.

THE LATEST 6/28/2019 10:50:45 AM

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 ques‑ tion that is not asked.

DJ Expo: Sponsored Seminars At DJ Expo 2019, which runs Aug. 12-15 at Harrah’s Resort in Atlantic City, N.J., the show will present 30 seminars, panels and keynotes.

Included in that slate is nearly a halfdozen sponsored seminars from show exhibitors like ADJ, BPM Su‑ preme, Chauvet DJ, Peavey Electron‑ ics and Pioneer DJ. Session descrip‑ tions are as follows: BPM Supreme presents “The Art of Efficiency” with Joe Bunn. The popular and successful North Carolina-based mobile enter‑ tainer will demonstrate how to set up and take down in minimal time and how to be more efficient running your business.

Chauvet DJ Presents “Lighting the Way to Profit” with Jeremy Brech. This alwayspopular DJ Expo discussion will show DJs how to make more money and create more impact at events with lighting. Sharing tips and tricks on using your current gear and the newest technology, Brech will inspire event pros to design easy-toproduce lighting effects that create event exhilaration and transform powerful elegance into profit.

Pioneer DJ x Serato: Come See What’s New! The Monday 4 p.m. seminar has been a Pioneer DJ staple for an‑ nouncing new gear and showing of its capabilities – DJ Expo ’19 will

music, timeline & planning.

MADE EASY.

vibodj.com

SAMPLINGS

Hakkasan DJs: (from left) Niiko & SWAE.

As childhood friends, Nikolaus Becker and Mark Manchester were pre-school classmates, played baseball together, then became a successful DJ duo in college.

As Niiko x SWAE, they’ve evolved into something bigger – a charttopping, genre-bending team playing festivals and recently landing a Vegas residency.

Working a style that’s a mixture of future-house, trap and bass elements, the L.A.-based pair racked up chart action and a boatload of streams with original productions like “Let Them Go,” “Hold Tight” and, most recently, “Keep On Calling.” Before long, Las Vegas’ Hakkasan Group came calling and now Niiko x SWAE are regulars at hotspots like Omnia.

Before they opened for Zedd at that very venue, we caught up with the duo in Sin City.

DJ Times: How did you two connect?

SWAE: We’ve actually known each other since we were 4. We were in the same pre-school and we grew up in the same neighborhood. We always had mutual friends, and we played on the same Little League baseball team. We both ended up going to school at SMU without knowing it until our manager Kevin had a business class with Niiko, which led us to getting close again. We shared a love for music, and it was time to put our heads together.

DJ Times: When did you two realize you wanted to pursue this as a full-time career?

Niiko: From the moment we played our first show together. That was in Mexico, where we actually shared the stage with other big-name artists. It showed us that we had a lot of potential.

SWAE: I’d say after when we released our first major single, “Run This Town,” and seeing it start to get good traction, we realized that we could be more than just DJs playing college parties. That’s when we both realized we can take it to the next level and start playing in other cities across the world.

DJ Times: What came first – DJing or production?

SWAE: We started more as DJs because, when we were in school at the parties, they wanted live music and always needed DJs. We were producing music together at the time, but we just weren’t releasing it too much. After about six months, we put out our first song on Soundcloud.

DJ Times: When were you introduced to electronic dance music?

SWAE: Right around the time Swedish House Mafia were getting (continued on page 40)

NIIKO X SWAE: VEGAS & BEYOND

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IN THE STUDIO WITH...

By thrilling trap fans with 2015’s “Chief,” a bone-rattling collab with THIEVES, the masked duo ATLiens quickly made its mark with a relentless style of production.

Named after Outkast’s 1996 album, the mysterious pair began to evolve over time with a sound that morphed into darker, heavier and more sub-bursting territory. Haunting tracks like “Kingston,” “Alchemy” and “Interstellar” began to resonate with the bassmusic community and a genuine fanbase began to emerge, despite the group’s unwillingness to reveal itself in any way beyond its chilling music.

And now, with its new Ghost Planet EP, featuring the harrowing single, “Shelter,” ATLiens are bringing a sound that explores the darkest corners of experimental bass. We caught up with the chrome-face twosome in a recent email interview.

DJ Times: Why are scary sounds so appealing to you two?

ATLiens: Growing up, we’ve always been into the realm of the occult and other dark and mysterious things, so making heavy and creepy music only felt right. There’s something special about the feeling you get when you hear a sound that’s so unsettling or weird.

DJ Times: You guys have quite a long way since your track, “Chief.” How would you say your sound has evolved since then?

ATLiens: We always try to evolve our sound while still staying true to ourselves and keeping familiar elements in each track. But it’s always fun to experiment with other genres and trying to combine different elements.

DJ Times: “Chief” was even featured in a recent Samsung commercial. Would you have ever guessed to hear a track you guys produced on a TV ad?

ATLiens: Finding out that “Chief ” was going to be in a commercial definitely caught us off guard. We will never forget the feeling we experienced sitting in our living rooms watching TV, and out of nowhere hearing our song play. It was pretty amazing.

DJ Times: You recently released a very haunting, splatter-filled music video for the single, “Closer.” How did that come together?

ATLiens: The second we started working on “Closer” with [collaborator] EDDIE, we knew that the song was so dark and eerie that it had to be paired up with an equally appealing video. The visuals truly bring the song to life and make the listener feel like they’re immersed in a full nightmare experience.

DJ Times: Can we expect more of these type of projects in the future?

ATLiens: If we told you, we’d have to kill you... just kidding! You can 100-percent expect more of this in the future.

We are currently working with a team of visual designers to give listeners and viewers an out-of-this-world experience.

DJ Times: In the studio and onstage, what gear and programs do you use?

ATLiens: Onstage, we run [Native Instruments] Traktor through a Komplete Audio 6 box. In the studio, we produce in Ableton Live.

DJ Times: What role has sound design taken in your music?

ATLiens: Finding ways to have interesting sound design in our music is very important to us. We spend hours a day just experimenting and coming up with ATLiens: ideas and sounds that really make you Sub-bursting bottom, (continued on page 42) scary soundscapes.

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Moses Alexander

DJ TIMES

DJ EXPO 2019 ISSUE

ATLiens: SINISTER BASS

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st o M the s ’ d rl ses ture o u W limp F e h s f t Js, G to It o ne d D es in O p, lishe Gaz i r T Z- omp ast, Acc ne’s P e Sc

DJ TIMES

DJ EXPO 2019 ISSUE

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What does one say about a DJ who’s just about done it all?

With Zach Sciacca, the turntable wizard better known as Z-Trip, that’s certainly the challenge. So, with such a voluminous résumé available for all to peruse online and elsewhere, let’s try to cut to the chase: Born in the New York City borough of Queens, but spending his adolescence in Phoenix, Ariz., Z-Trip came up spinning with The Bombshelter DJs. The desert turntablist crew staked its claim among the diverse PHX DJ scene, which also included talent that entertained ravey underground clubs and spiffy model-and-bottle venues.

But perhaps most notable to his DJ legend, there’s Uneasy Listening, Vol. 1, Z-Trip’s seminal 2001 collaboration with DJ P, which became the template for the mash-up movement.

As his career began to flourish, he released a series of long-players, like his well-received 2005 effort, Shifting Gears. In 2009, he was voted “America’s Best DJ,” the fan vote run by DJ Times since 2006. He’s been performing with rap legend LL Cool J for the past decade and recently he had a hand in launching “Rock The Bells Radio” on Sirius XM. He’s collaborated with top acts like Public Enemy, Bassnectar, Beck, Travis Barker and Tom Morello of Rage Against The Machine. In 2012, he collaborated with Rane and Serato in launching his signature 62-Z mixer.

He’s maintained a Las Vegas residency – Rain nightclub at The Palms. He’s entertained American troops abroad and has opened

’ in

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DJ TIMES

for The Rolling Stones. He was namechecked in the Frank Ocean song “Novacane.” He’s composed original score music for EA Games, is an avatar in the DJ Hero series and was featured prominently in the 2001 documentary, Scratch. He’s remixed songs for acts as diverse as Nirvana, Bob Marley, Beastie Boys, Daft Punk, Linkin Park, Butthole Surfers, and Rush. Whew.

He’s easily the most musically versatile DJ you’ll ever experience. So, as we prepped for his keynote presentation at DJ Expo – set for Aug. 12-15 at Harrah’s Resort in Atlantic City, N.J. – DJ Times connected with Z-Trip to discuss what’s past and future – both in his career and within the DJ realm.

DJ Times: Do you remember the first record or song that you loved?

Z-Trip: The Ohio Players album, Honey, stands out.

As a young kid, the cover art spoke to me, but the music inside spoke to me even more. Picture a 5-yearold me hearing “Fopp” for the first time. That record changed me inside.

DJ Times: Do you remember the first record you bought?

Z-Trip: With my own money? I was 7, and it was The Story of Star Wars. Basically, it was all the movie dialogue and sound effects on a record. I still have it.

DJ Times: What made you want to DJ? Was there a guy that inspired you out of the box? Or was it just a need to play music?

Z-Trip: If you go to the root of it all for me, it’s drums. I started playing them as a kid and I’ve always been drawn to drum beats. When I first heard sampling in hip-hop music, I bought whatever I could find that was sample-based – I was hooked. My collection and my curiosity started to grow, so I eventually bought two turntables and a mixer and dove in. I listened to and studied all the DJs I could find. I practiced and made tapes for myself to listen to and study for years before I ever played in front of a crowd.

DJ Times: What was your first DJ system?

Z-Trip: It was scraps… one belt-drive turntable, one direct-drive turntable, a Pyramid mixer, two different needles and head shells. It was tough learning on that stuff, but it taught me how to really work with gear and how to handle the records. I’m actually glad it was that way, though, because once I got on real gear, I was instantly slick with it.

DJ Times: What were your first gigs like?

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Peter Speyer

DJ TIMES

DJ EXPO 2019 ISSUE

“I needed to just devote everything to music and not look back. It was scary, but I knew music made me the happiest, so I had to just trust it was going to work.”

Z-Trip: They were high-school house parties and teen nightclubs at first, a few occasional weddings, too. I ran in my local 21-and-over nightclub scene when I was around 17 or 18. I’d play wherever I could. I’d do a mainstream club for the first half of the night, then go DJ a rave or an underground hip-hop thing right after that. I used to carry so many record crates with me all the time, it was crazy.

I had my “work” crates and my “not work” crates. Most times they all traveled together. Any chance I had, I was digging for new records to add to those crates, too. It was a ton of work to stay on top of it all, but I loved it… still do.

DJ Times: When did you become confident in Faves: Z-Trip’s Top 3 DJs your abilities? At what point did you think: “I got QBert. “That guy is superhuman. Every time we link up, it’s like the perfect balance of right this”? and left brain working in harmony. When he’s scratching over me, cutting up beats, we get into Z-Trip: I was always pretty confident in my technical ability. I’d practice a lot, so I was cona groove that is undeniable. He’s also super-inspiring as a human being. I appreciate his take on stantly learning new things. Confidence in the most things.” performance came over time, though. The more DJ Jazzy Jeff. “I’m honored to call Jeff a friend and mentor. He was a huge influence on my people I’d perform in front of, the more confident sound when I started over 20 years ago, and still is influential to this day. The examples he conI got. Using the mic was something that helped me in that department. The “I-got-this” moment tinues to set in the DJ community are profound. He’s also a testament to evolution and longevity was when I quit studying graphic design in college. in the game. He continues to push the culture and his place within it all while having the best Things were starting to bubble for me at that time, attitude and outlook. I always look forward to catching up with him. Always inspiring.” so I decided I needed to just devote everything to music and not look back. It was scary, but I knew Kid Koala. “He’s in his own lane, and it’s so dope! He keeps pushing boundaries and breaking music made me the happiest, so I had to just trust new ground. The past seven years have been some of the best performances I’ve ever seen. It’s it was going to work. funny how, when I bring his name up, some DJs don’t realize he’s been steadily making moves. His DJ Times: How would you describe your DJ evolution is crazy. I’m always inspired when I see or hear his new endeavors. If you haven’t seen evolution from then to now?

Z-Trip: Man, it’s crazy to think of that because him rocking with puppets, you are late and need to catch up! It’s amazing.” there are so many crucial moments where things changed my direction and perspective. It’s still evolving, actually. The overall arc is what I’d say I’m most proud of, though. My journey has been an organic one and I’ve been able to stay true to what I care about the most, while doing it all. That’s huge for me. The other great thing is that there are people out there who like what I do and have been extremely supportive of the journey. I’m super-grateful for that. I care deeply about the connection I have with, not only the music, but with the people I touch with it.

DJ Times: You got noticed with your original mash-ups that you did on vinyl, plus the Uneasy Listening, Vol. 1 release in 2001. Why do you think that drummed up so much attention?

Z-Trip: I think it was just time. I mean, there was always this weird underlying segregation amongst music scenes. For some reason, for most people, it wasn’t socially acceptable to be a fan of two things

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DJ EXPO 2019 ISSUE

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that appeared to have nothing to do with each other musically. You couldn’t possibly like house music if you liked hip hop, or you couldn’t possible like heavy metal if you were into country music, or whatever. You almost had to keep it under wraps from each scene so you wouldn’t get shit from the other.

DJ Times: That kind of thinking really doesn’t give the audience much credit…

Z-Trip: It was all bullshit, but that was also the kindling for the fire that started. Being a DJ that loves to mix all styles, that was always the trick for me… like how can I open their minds over there, to this flavor over here and vice versa? I love showing people the common threads and how it can all work together and sound dope.

When DJ P and I did Uneasy Listening, we basically decided to do a mix of the most intense musical juxtapositions we could do. It exploded. The climate was perfect for that mix to really thrive at the time. Mash-ups were the spark and file-sharing continued to be the gas on that fire.

DJ Times: With the ensuing digital revolution – post-2001, I mean – what do you think has become of the mash-up culture? Do people appreciate how difficult it was to make that record?

Z-Trip: Yeah, there are some who totally understand and get the level of difficulty. I mean, it’s harder manipulating and mixing music that’s on vinyl, right? It takes skills. The only way to truly manipulate it is with your hands. Hopefully, the record has the a cappella/vocal version and the instrumental on it, too, so you have the parts, but not all do. And to do it correctly, you really need two copies to go back and forth. It’s actually primitive as fuck if you think about it, but that was the norm back then. There are those who don’t understand the levels I still go through to connect those dots live, but it’s fun for me.

DJ Times: There’s a whole generation now of fans and DJs who were never a part of the all-vinylDJing scene.

Z-Trip: It’s always cool catching people in the crowd who are putting it together as they see and hear me mix live. It’s like a lightbulb turns on and they can understand it all a bit better. As far as the current state of the mash-up, I think it’s just become part of the norm now.

All styles are co-opted, nothing is taboo or sacred. All things have the potential to blend. I saw those possibilities from the beginning and always championed all music styles connecting. I feel like things are finally at a place now where there

are no lines, though, and that’s great.

DJ Times: How do you view the scratch-battle scene anymore?

How has the digital revolution impacted it, for good or ill?

Z-Trip: The scratch scene is thriving and evolving – I love that.

The portable scratch movement is wild lately, if you haven’t noticed.

The battle scene is a little different, though. On one hand, there’s infinite access to music and sounds. Technology has caught up, so there’s really nothing you can’t do, depending on your skill set. There are those who are fully making that work for them and pushing it forward. I love seeing that. However, because everything is easier to do now with the gear, the programs to manipulate the music, and how it’s all laid out, I keep seeing these routines that look and feel like they’re too pre-set.

DJ Times: How’s that? (continued on page 40)

Always in the Box: Z-Trip’s Top Tracks “In the Hall of the Mountain King” by Apollo 100/“Alphabet Aerobics (Instrumental)” by Blackalicious.

“This is a routine that I did back in the day that was in the documentary movie, Scratch. There are basically two songs that are both speeding up at different paces. I ride the pitches and mix them together so they speed up at the same time. Then I end it with some scratches that mimic the melody and finale. It’s supertechnical and fun to do live. It’s one of those signature moves that I still get requests for.”

“Mystery Tune” by Mystery Artist. “There’s a track I’ve been playing for a few years that’s a monster! It’s something I came across while digging online and thought, for sure, that once other DJs heard it, they’d all rinse it out – but it never really made the rounds. It’s something I still play a lot and it always gets a ‘What-song-is-that?’ reaction.

The lyric says, ‘A little bit of this and a little bit of that.’ That’s all I’m gonna say. Those that know, know. Those that don’t, I like to keep it that way. Keeps people digging.”

“JB Suite” by Tall Black Guy. “This is one of those tunes you just throw on and let it do all the work. My homie Tall Black Guy brilliantly chopped up James Brown and The JBs and made the most-funky, laid-back track.

It’s 10-minutes long and grooves the whole way through.This joint works at the beginning of the night as well as the end, and most

DJ TIMES

Laura Austin

DJ EXPO 2019 ISSUE

definitely in the middle, too.”

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THE ULTIMATE DJ GIVEAWAY ENTER TO WIN AT DJ EXPO Be sure to drop your completed entry blank at the Expo registration desk.

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First-Timers & Veteran Attendees Alike Find Plenty of Inspiration at DJ Expo. But Don’t Take Our Word for It – Listen to the DJs Who’ve Been There.

Rich Kaufman has been attending the DJ Expo since 1998, and he says that every year he takes something home with him.

“The seminars, in particular, have helped elevate my business,” says the Howell, N.J.-based owner of Rich Kaufman Productions. “One is the games seminar. I take at least two to three games, either as a whole or part, and use them for my corporate events and mitzvahs, and have created excitement from my clients because they know every year I will be bringing something new and fun.

“Also, the mobile parties on Monday and Wednesday nights make me look at what other people are doing, and I take it as a challenge to be better and bring the energy and passion others are showing.”

This year’s DJ Expo – set for Aug. 12-15 at Harrah’s Resort in Atlantic City, N.J. – promises all that and more.

It’s an event, says Kaufman, where all attendees can learn.

“The educational aspect

DJ TIMES

DJ EXPO 2019 ISSUE

By Stu Kearns

22

of a conference can expose us to new ways of conducting our businesses and help us discover how to be more productive,” he says. “Competitors, as well as people from other regions of the country, can become valuable resources for referrals and best-practices. Collaboration is the way to approach networking. Most people can help each other uncover ideas and spark inspiration when they get to know each other on a personal level.

“Being in business should be rewarding and fun. All work and no play can get old fast. The DJ Expo adds to growing my business by mixing a social aspect into your learning and industry branding efforts.”

M i ke D e m by ( a k a D J Demby) of Jersey City, N.J., concurs with Kaufman on the relationship-building aspect of the Expo.

“The biggest impact the show had on my business was my enhanced relationships with my industry peers,” he says. “Our industry is so segmented, with such a low barrier of entry, that anyone can become a DJ. While I feel that there is enough room for everyone, professional DJs need to set a standard which, I feel, the DJ Expo facilitates nicely.”

Kris Szanto, owner of

By Design Entertainment in Atco, N.J., has attended the Expo many times since 2003.

For him, like others, it’s a learning experience.

“I always take away something from the seminars,” he says. “Simple games that work amazingly at kids’ parties, like scavenger hunts and most recently Heads & Tails, has been a nice ice-breaker for me at holiday events.”

As far as gear goes, Szanto does not always buy anything at the show, but has found useful information that led him to purchases. One, in particular, was a seminar on using video projectors for monograms and motion monograms.

“Since then,” he says, “I have purchased a good projector and equipment from one of your vendors and it has earned me more money and allowed me to offer more than just monograms. I can now do slide shows, video presentations and more.”

Gregg Hollmann at Ambient DJs in East Windsor, N. J., can point to one Expo seminar that changed the way he does business.

“The ‘Wedding MC Secrets Revealed’ panel presentations have both inspired and provided practical performance tips that have helped me to become a better wedding DJ and MC,” says Hollmann. “The continuing education offered in the seminars is an investment that can benefit your career

for many years to come.”

Hollmann also advises to not overlook the abundant networking opportunities in the hallways during the show. “Don’t be afraid,” he says, “to invite a colleague or aspirational mobile-DJ figure out for coffee or lunch and then pick their brain.”

He also encourages Expo attendees to check out the evening-event DJs. Take the inspiration for performance, he says, where you find it.

“My most memorable Expo experience,” he says, “was hearing DJ Skribble spin in the Ego Lounge at the Taj Mahal in 2010. His set was the true meaning of taking guests on a journey.”

One of the more enthusiastic DJs – and one of the most obsessive – who has benefited from the Expo is Mark Brenneisen. In 2018, the owner of Total Enter tainment Music in Glens Falls, N.Y., delivered a seminar that summed up his highlights from a decade of DJ Expo attendance, like this: 2007: “I didn’t attend any seminars – big mistake. Talent beats gear all day every day!”

2008: “Mike Wieder’s circle ceremony.”

2009: “Game: Johnny Roz – Simon Says”

Get Your Expo Here!

2010: “I learned about social-media tool Hootsuite during the midweek gold seminar. Bonus: Potato-head game.”

2011: “Shani Barnett – We are family group photo op! BONUS: Quest game from Adam Weitz.”

2012: “Tara Feeley – when the shizzle hits the fan! BONUS: Bead necklace star”

2013: “Randy Bartlett – Welcome to Mark and Bonnie’s wedding reception.

BONUS: Introducing parents with years of marriage.”

2 0 1 4 : “ K C Ko Ko r u z ’s seminar on the science of marketing. He said a big mistake we all make starting off is… ‘We sell how we buy.’”

2015: “Adam Weitz did a seminar and said, ‘You won’t change your destination overnight, but you can change your direction now.’

That was when I focused more in the future and not

today, and began crushing my other business, honeymoons.”

2 0 1 6 : “ K C Ko Ko r u z ’s ‘Social Media Madness’ was epic. Know your stats, be consistent, develop a plan.”

2017: “Brian B’s ‘Next Level Customer Service’…

Include a nice gift to all clients – we do the flash-drive gift afterwards with pics and video of their wedding.”

Brenneisen, who won Best New Game three times and was a runner-up for the “Entertainer of the Year” title in the Expo’s annual competition, says, “Attend the seminars, especially the performance or sales/marketing ones.You must attend seminars to learn!”

When we asked Jake Jacobsen from Affair 2 Remember – based both in New Jersey and Georgia – about his Expo highlights, he said it was a tough question to answer.

“I’ve learned so much from the seminar speakers, the night events, the Expo floor, and just general networking, it’s hard to get it down to one thing,” he says.

But when pressed, he offered a nugget.

“Steve Moody did a semi-

nar in 2009 that has always stuck with me,” he recalls.

“He spoke about how you base your selling on the personality traits of the person with whom you’re speaking. It has molded a lot of how I approach the sales aspect of my business because I never thought of it like that before.”

Jacobsen encourages n ew a t t e n d e e s t o i m merse themselves in the Expo experience as much as possible. “Stay at the host hotel,” he says. “Get to as many seminars as you can, and get to them early. Bring tons of cards and meet as many people as you can. Networking is probably the single-most important thing you’ll do.

Take lots of notes. Shop the Expo floor and meet t h e ve n d o r s . P u t yo u r hands on different pieces of equipment and ask lots of questions. Experience the really cool night events the show has to offer.”

At Expo, Chicago-based Shani Barnett is usually DJing on the show’s exhibit floor for one of her sponsors, so she doesn’t get to the seminars like she once did. For her, the showroom floor is “what the future holds for DJ equipment to make our shows easier.”

And, of course, there’s a l w ay s t h e “ wo w f a c tor” on the exhibit floor.

“There have been so many great products,” she says, “that have come out – from newer and better lighting for the dancefloor, to DJ controllers that are smaller with all the bells and whistles, to the new Bose S1 Pro speaker that can be used in so many different ways.”

To first-time attendees, she says, “Don’t get ove r w h e l m e d b e c a u s e there is so much to do and see! Also, if you are coming with friends and colleagues, make sure you also network with others not in your circle. Those hallway, lunch, and dinner conversations are the best.

“Bring your business cards, stay hydrated, wear comfortable shoes, take

a couple laps around the showroom floor and put your hands on all the equipment before you buy. That’s what it is there for. Have a game plan with the schedule of the seminars, so you don’t miss one you wanted to go to – and bring mints.”

Stephen Cosgriff of Steve Cie Entertainment in Melbourne, Fla., no longer attends DJ Expo. He’d been attending every one since 1994, and learned so much that he was able to retire from DJing two years ago.

“I particularly enjoyed the seminars and gained much valuable information and ideas from them,” he says. “It enhanced my business significantly.”

Cie, a former radio DJ who began his mobile career in 1975, does recall a few specific ideas from the Expo that changed the way he did business. One was website SEO, and the planning end of the business, harnessing the various tools afforded him via the WE DJ planning and management program, which he initially learned about on the Expo showfloor.

“The most specific idea that I took home that made a positive impact on my business was the aspect of professionalism and image projected by the various presenters,” he says.

“It completely changed my company image, marketing, and execution of events, and the way I think of myself as an entertainer and businessperson.” n

DJ TIMES

1. Stay at the host hotel.

2. Get to as many seminars as you can, and get to them early.

3. Bring tons of cards and meet as many people as you can – networking is probably the single-most important thing you’ll do.

4. Take lots of notes.

5. Shop the exhibit floor and meet the vendors.

6. Put your hands on different pieces of equipment and ask lots of questions.

7. Experience the really cool evening events the show has to offer.

8. Stay hydrated.

9. Wear comfortable shoes.

10. Bring mints!

DJ EXPO 2019 ISSUE

10 Tips: How to Exploit DJ Expo

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NOW HEAR THIS! For DJs Young & Old, Protecting One’s P re c i o u s H e a r i n g S h o u l d B e a P r i o r i t y .

Here Are a Few Solutions.

By Wesley Bryant-King I’m going to make a confession here right from the start: As a longtime DJ, I’ve become fanatical about hearing protection.

Part of the reason? As the years have ticked by, evidence of my years of partying, DJing, concert attendance and general enjoyment of music at high volumes has begun to stack-up irrefutably. I’m now saddled with permanent and noticeable tinnitus — ringing in the ears for those new to the term. Just last year, when the ringing got a bit worse, I visited an otolaryngologist — also known as an ENT (ear/nose/throat) doctor — to see what’s going on.

Thankfully, a hearing test revealed that my tinnitus isn’t as bad in practice as it seems from the perspective of the person experiencing that annoying, low-volume ringing (which always seems worse when I’m trying to get to sleep at night). But the message to me was quite clear: Do whatever it takes to reduce further hearing loss and do it now.

And that, my friends, is my overriding message to you as a working DJ: You’re playing with fire, and a little bit of figurative Kevlar would be a really good idea.

What Causes Tinnitus & Hearing Loss?

DJ TIMES

DJ EXPO 2019 ISSUE

Experts say that prolonged exposure to sound over the 85 dB mark can cause hearing loss, and considering that concerts, nightclubs and other venues can pump sound well in excess of 100 dB or as much as 115 dB, according to some sources, lack of hearing protection is a recipe for the very thing I’m experiencing now.

These high sound pressures can damage the fine, hair-like cells of your inner ear that are the very “sensors” that give us our hearing ability. And it may go without saying, but once damaged, these cells are not going to be magically restored in the same way a cut on your finger eventually heals. The result, over time, is tinnitus and/ or a diminished sensitivity to sound.

It’s these facts that make this such a

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serious subject, because prevention is the only real answer, and it’s hard to convince younger people to take steps to protect hearing when they’ve not experienced it and have no idea how serious it can be.

So, my message to you? Whether you have suffered any evidence of hearing loss or not, take steps now to prevent the problem. Let’s take a look at some approaches.

Ear Plugs

Another option is to use a monitoring device that includes passive hearing protection as part of the design. IEMs can be generic — basically, they’re just fancy earbuds — or they can be custom-fitted. These custom IEMs (or CIEMs) have a key advantage: They’re made specifically for your ear, and assuming they have a proper fit, they can offer north of 20 dB of ambient noise isolation. Ultimate Ears’ offerings are rated at 26 dB of isolation, in fact — again, assuming proper, snug fit.

Speaking of Ultimate Ears, I’ve had the pleasure of reviewing the company’s CIEMs in the past, and to say I’m a fan would be an understatement. Back at Winter NAMM earlier this year, the company rolled out their top-of-the-line offering, dubbed Ultimate Ears LIVE. My pair arrived in late spring, and I’ve been using them regularly since.

As I’ve said in previous reviews, I travel regularly, and the CIEMs go in my ears right after security, and don’t come out — except to speak to a flight attendant — until I’m at the car rental counter on the other end.

They provide a peaceful and enjoyable flight, thanks to the same passive isolation they’re providing in a club or concert setting.

The UE LIVE model is designed for professional, working stage musicians, and will set you back a whopping $2,200 a pair. But for that investment, you get sound that’s simply stunning. Each one has six balanced armature drivers, one of UE’s True Tone Plus drivers, plus a tiny dynamic speaker. With the carefully engineered cutovers, you get incredible detail and musicality whether you’re in the DJ booth, or just trying to watch some television on a flight.

Fear not, however; if the price of entry is a bit high, UE Pro CIEM models start at $500 a pair, and there are various price points in between with varying technical specs. I’ve sampled a few models, and have to say they all sound great, so it’s an issue of choosing between great, really great, or phenomenally great — and what sort of budget you have available.

The best part, however, is it doesn’t matter which one you choose: All have the same 26 dB of isolation. An audiologist visit for ear molds is the most accurate method, in my view, of getting a proper fit to ensure that isolation level is delivered, but UE Pro can suggest alternatives.

The last several DJ gigs I’ve done have all featured the use of my UE LIVE CIEMs. Getting them in and out of one’s ears takes practice, but once you get the hang of it, removing one to speak to a guest at a set, handling requests, etc., is easy enough. Once I’m done, back in they go.

I can stay in the zone of what I’m doing, enjoy the music myself, and have a level of confidence that I’m not making my tinnitus problem worse.

That benefit is, however, contingent on keeping your own audio monitoring levels in check. Turn up the volume too high, and you’ll end up defeating the entire purpose of using them. My rule of thumb is to set the level a couple of notches lower than the threshold where my brain says, “Turn that up!” I admit it’s completely unscientific, but I’ll leave more accurate advice to otolaryngologists and audiologists.

Finally, one way to justify that investment is getting more mileage out of it.

Beyond the use of CIEMs in the booth or on the stage, you can — as I do — use them instead of regular earbuds. UE has made that easier with a recently-released Bluetooth cable that uses the company’s latest connector system, dubbed IPX. It’s simple unsnap/snap exercise to swap between the standard “SuperBax” cable, and the Bluetooth cable, which wraps around the back of your neck. The Bluetooth cable offers battery life of up to four hours of continuous playback; I wish that were a bit longer, perhaps. The cable includes a mic and phone controls as well, however, further extending the utility of your CIEMs.

Conclusion

Short of removing yourself entirely from high-volume environments and hanging up your DJ headphones, hearing loss — and hearing protection — are serious enough issues, ones worthy of more conversation in the DJ community, that taking reasonable steps to prevent it is something we all need to consider. And if you’re concerned about your hearing acuity, or want professional advice on steps you can take, as I already suggested, start with an ENT visit. But however you go about it, now’s the time to reduce the volume — with a knob, through a physical sound barrier, or ideally, both.

ETY-Plugs: Lessens sound levels by 20 dB.

UE PRO CIEMs: High-end monitoring & protection.

Loop Earplugs: Unique design, reduced pressure.

n

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DJ EXPO 2019 ISSUE

When I was spinning in clubs more regularly, I was already aware of the importance of hearing protection, and I nearly always used earplugs under my conventional “can-style” DJ headphones.

My logic was that, with the cans off, I had protection against the club’s incredible sound system and high dB levels. Initially, I used simple foam earplugs — the type made by 3M, offered in fluorescent colors and sold at home-improvement stores everywhere. Designed for construction workers primarily, they work, lowering sound pressure levels by some 33 dB — but they muffle sound in unrealistic ways.

I quickly discovered ETY-Plugs from Etymotic Research. These long-wearing, reusable plugs were designed to reduce sound levels by 20 dB, but evenly across the spectrum. Etymotic calls them “high-fidelity” earplugs, and they were my go-to choice for years of both DJing and partying. I generally even wear them on the NAMM show floor each January, since three days of loud sound can be fatiguing.

Speaking of NAMM, this year I was introduced to Loop Earplugs for Music.

Loop is a Belgian company that offers an innovative, unique design to their reusable plugs, but one that, like Etymotic’s offering, is designed to reduce pressure 20 dB across the spectrum. Their market is the same, and the benefits are the same, but the design is completely different.

While ETY-Plugs have a stem that comes outward from the ear canal, the Loop offering is a simple circle that serves both as a handle, and as the filtering mechanism.

Without the protrusion, the Loop product works better under can headphones, and makes a fashion statement of sorts otherwise.

In-Ear Monitors (IEMs)

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MAKING TRACKS STUDIO…HARDWARE…SOFTWARE…

UNO DRUM MACHINE: PORTABLE & POWERFUL

By Erik Miller

DJ TIMES

DJ EXPO 2019 ISSUE

Going back to the early 1980s and the inventions of the Linn LM-1 Drum Computer and Roland’s TR-808 and TR-909 Rhythm Composers, it’s clear that the drum machine’s evolution has been dramatic and its impact on dancefloorrelated music undeniable. From just those three machines, DJs have been given timeless hits (from Prince, for example, using the Linn drum) and entire genres (the 808 brought us early hip-hop, while the 909 was more responsible for house and techno) for their spinning pleasures.

The approaches in the studio have mutated over the years, to be sure. However, no matter your studio preferences, no matter your genre choice, if you’re making music for the dancefloor, you need a solid, steady and unique bottom.

Enter the newest entry from Italy’s IK Multimedia…

UNO Drum: Now, IK Multimedia – maker of various music-related solutions – has brought us the UNO Drum machine. Made in cooperation with Italian analog specialist Soundmachines, UNO Drum is something standalone for the beginner drum-machine-user all the way up to the expert. With a great pairing of effects, touch controls, a 16-step sequencer, and a ton more – you can build your own loops, store them, and develop an entire drum section with only this tiny unit in your hands. IK Multimedia has surely made something special with this one.

Features: OK, let’s dive into all the bells and whistles this little thing has to offer. To start with, you need power, and this is powered either by 4 AA batteries (included) or by a short USB cable that can be plugged into a com-

26

UNO Drum: Analog sound, digital flexibility.

puter or into a wall with the correct attachment.

Moving up from there, the backside of the unit has a power switch to toggle for USB or battery power, a port for the USB cable, a MIDI in and MIDI out, and also an audio in and audio out. Now, for the MIDI in and out, there are two cables included so that you can connect your UNO Drum machine together with another product, like IK Multimedia’s UNO Synth. You can experiment and connect it to vintage synths and other drum machines for cool tracks and fun jam sessions, so this particular feature can add a lot depending on your workflow when creating music.

Moving on to the audio in and out, this can be useful for exporting only the audio from your drum machine and putting it into your DAW (Digital Audio Workstation) to develop a track that way. However, the output is only a 3.5mm and input as well, so you’re lacking for a higher quality cable.

Now, the front of this little beast is packed with seven knobs you can twist, four effects, and a sequence section to change the values of some of your sounds. It should be noted that this is an analog and PCM drum machine, which makes a big differ-

ence in the sound that you are getting. There are up to 100 different drum kits that you can store on this device, and when you listen to the deep, punchy, kicks, the crisp snares, the bright hats, and the nicely crafted claps you get in the analog section, I promise you will be impressed.

Above those, you get 100 kits of toms, rims, cowbells, rides, and cymbals all added to the analog sounds to make one kit per set. There is a stutter-and-roll function with buttons representing that and they’re a lot of fun to mess with when playing live on the UNO Drum machine. You can easily edit anything on the fly, change instrument placement in the sequencer, and change effects while playing live to get a very organic and flowy experience with this machine.

Conclusions: Overall, IK Multimedia’s UNO Drum is a wonderful machine for any person starting new on a drum machine or any person who has already put in their time.

This unit is perfect as an addition to a live set-up consisting of synthesizers, drum machines, pedals, and more – and you can add this extra analog goodness for a great price.

At a price tag of $299, UNO Drum won’t break the bank too badly when compared to other units with similar features. Great work IK Multimedia!

The company sure went above and beyond with this one and the UNO Synth, so we can’t wait to see what you come out with next.

Live or Studio: UNO offers easy versatility.

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SOUNDING OFF PLAYBACK…PRO AUDIO…PROCESSING

NUMARK’S SCRATCH: DVS & MORE

By DJ Deets

DJ TIMES

DJ EXPO 2019 ISSUE

Scratch: Numark’s solid, DVS-capable mixer.

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In the last couple of years, digital vinyl system (DVS) setups have experienced a meteoric rise. With software reliability and ease-ofuse increasing and entry price dropping considerably since storming onto the market, more and more DJs have added DVS functionality to existing setups or replaced controllers, pure-vinyl setups, or CD players entirely.

Obviously, the appeal of DVS is easy to see – no more lugging around crates of records to get the feel of vinyl.With DVS, you can get the feel of working with a moving record paired with the flexibility of using a digital-music library.You can even scratch samples, bootlegs, or mash-ups you produced the same day.

If you didn’t know, the basic anatomy of a DVS system is fairly straightforward. You plug in the outputs of a media player – usually a turntable or CD player – playing a control tone into a DVS box or a controller or mixer with a built-in DVS box.The box reads the control tone and any manipulations, like scratching, made to that tone. It then transmits this information to the DJ software as control inputs, turning an analog set-up basically into a DJ controller.

A New Unit: Numark’s Scratch mixer is the latest entrant into the DVS ecosystem. It promises to offer all the features found on pricier DVS mixers in a familiar form factor that will be instantly recognizable to scratch DJs, turntablists, and anyone looking for a 24-bit, 2-channel mixer with DVS capabilities. Out of the box, it comes ready to plug-and-play with Serato DJ Pro and Serato DVS. All you need to do is download the software from Serato’s website and plug in the unit to unlock the software. (Scratch is class-compliant on Mac, but does require a driver when using a Windows machine.) Without a laptop connected, it’s a solid 2-channel scratch mixer.

In the box, there’s a USB cable to connect the mixer to a computer, a user manual, and an IEC power cable. The mixer comes wrapped to prevent scratching the metal body. Initially, I was surprised by how light it felt, considering similarly featured mixers. While I was expecting it to be much heavier, it feels very well-built and sturdy enough to survive frequent performances. Certainly, I don’t expect reliability issues anytime soon.

Layout: The unit follows other Numark gear with a red-on-black color scheme. The layout is straightforward with no real surprises. On each of the two channels, there is a 3-band equalizer with controls for bass, mids, and treble. There is also a gain control at the top of the equalizer section. I was glad to see that the gain knob is colored differently from the equalizer controls, reducing the likelihood that someone accidently adjusts the gain instead of the highs or vice versa.

Next to the equalizer, there is a knob to control the channel filters.

They sound good and have a good amount of resonance to them.

Above the filter knobs, there are controls for the headphone mix and output volume (right) and the microphone level and tone (left).

On the Scratch mixer, the Mini Innofader makes an appearance. It feels great to use, and I’m certain scratch DJs will enjoy cutting on it. There is a hatch on the bottom of the unit, which allows users to easily change out the fader, should they prefer something different.

Just above the crossfader, there is a curve switch that changes the crossfader curve from an aggressive cut to a more gradual fade. While both positions felt intuitive to use, I wonder if some DJs would have preferred greater curve control, such as a knob instead of a switch.

The channel upfaders also felt great to use and they have a recognizable curve to them.

Like many other DVS mixers, the Scratch promises to blend analog and digital. There are eight red performance pads – four per channel – which can trigger hot cues, samples, and rolls. While they are on the smaller side, they still felt really good to use, and I didn’t really feel the need for more room on the pads. When cue-juggling, they were re-

sponsive and felt good to use. When activated, they give a satisfying click.

FX: Paddle-activated effects, which were made popular with the likes of Pioneer DJ’s DJM-707 and DJM-S9, make an appearance just below the channel equalizer controls. They control the inbuilt effects in the Serato software. The paddles are bi-directional – pulling the paddles down requires you to hold it to maintain the effect, while pushing the paddles up locks the effect. In the middle, there are several effects that can be selected from the software, including echo, delay, flanger, reverb, v. echo, and phaser.

Scratch’s Instant Loop Encoder allows DJs to keep the beat by pressing the Encoder down. It will lop to the default parameters set in the software. Turn the knob right and you extend the beat, turn it left to shorten the loop. Also, the two

encoders act as Browse/Load functions when Shift is held.

On the back, there is a port for an IEC power cable, a USB Type-B port to connect to a computer running DJ software, and the various inputs and outputs. There are two RCA connections that can be switched between line level and phono level for both turntables and media players. There is also a single grounding pin for grounding turntables.

I/O: The unit features a master RCA connection, a balanced master XLR output, and a booth-monitor RCA output. I was happy to see a booth monitor output so that DJs in larger venues, like clubs or large festivals, can have a dedicated monitor output with its own level control. There is also a combo XLR/ TRS mic input. One thing I would’ve liked to have seen is a third auxiliary input. If the music stops playing or

the laptop crashes, I know a lot of DJs who like to have a backup controller, phone, or MP3 player plugged into an auxiliary channel as a safety net. At the front, there are two headphone outputs, one is a ¼-inch jack, while the other is the familiar 1/8-inch headphone jack.

In Practice: Playing with the Scratch felt great. It offered a straightforward experience that was fun to use. In an era where DJ gear can seem almost overwhelming, the Scratch was a breath of fresh air.

As far as sound quality was concerned, the Scratch sounded good both when connected to Serato and when playing analog sources.

Conclusions: The Numark Scratch is an exciting addition to the current DVS market. With a street price of $499, this mixer offers an exciting blend of hardware features and software integration

at a remarkable price point. DJs looking for a DVS mixer around the $500 mark might also consider the Mixars Duo MKII mixer, Native Instruments Traktor Kontrol Z2, and Pioneer DJ’s DJM-S3. If a DJ already has a preferred mixer, they might also consider purchasing a DVS box, such as Denon’s DS1. Finally, DJs who might also want the ability to play without external turntables or media players might consider a DVS-enabled controller for the best of both worlds.

However, as far as DVS-supported mixers come, the Numark Scratch certainly lives up to its name and will satisfy the needs of DJs who are committed to the DVS ecosystem and need a solid, well-built 2-channel mixer that sounds great.

If you have any questions for Sounding Off or DJ Deets, please send them to djtimes@testa.com.

MOBILE PROFILE CAREERS…INNOVATIONS…SUCCESS STORIES

DJ EXPO TITLIST THRIVES ON VERSATILITY

Reigning Champ: Artem Lomaz took the ’18 EOTY title.

DJ TIMES

DJ EXPO 2019 ISSUE

By Stu Kearns

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Roxbury, N.J. – At the 2018 DJ Expo in Atlantic City, Artem Lomaz won the “Entertainer of the Year” prize after performing “Retro Paparazzi Bingo.”

Lomaz, owner of the Roxbury, N.J.-based NinetyThree Entertainment, describes the game as a scavenger hunt mixed with bingo.

“I called the numbers off of the board,” he recalls, “and once uncovered, there was a photo assignment for each team to capture with their instant cameras. Once they shoot the photo, they print it and stick it to the corresponding box on the bingo board. The second part of the game, which allowed everyone to participate, was to then share the images that the teams captured to social media – from our company’s social-media pages.

“The person whose re-share received the most likes wins a prize. So essentially, we combined classic party games with the social-media element, which I believe is so important now, as all guests want that social-media content to showcase how great the event is that they’re attending.”

Lomaz believes the game resonated with the Expo judges because of its versatility and simplicity – it’s a game that people already know combined with socials. Voila!

“It can be incorporated into corporate events, mitzvahs, and even weddings,” he says. “There’s also a variety of ways to personalize the game to cater to everyone’s event or guest of honor.”

When we asked Lomaz how it felt to win, he replied, unsurprisingly: “Great!” He wasn’t sure how else to express it. “As a competitor, any time you’re in a competition, you want to win, and I was fortunate enough to do so. There was certainly a part of me that wished everyone could win something, as everyone that I was competing with is a colleague and many are friends.

“But ultimately, and I don’t want to patronize my competitors with platitudes, I felt that everyone that performed that evening was part of something very special, and only our small group knows what it was like to compete for the title in 2018.”

Lomaz says the victory has impacted his business – mainly on the marketing and public-relations end. “It’s certainly a portfolio-builder and very nice to have on the résumé,” he says. “It’s also extremely humbling and, in terms of performance, you certainly have an added pressure for each event to live up to the title. It’s a good pressure, it forces you to be continually better, and I love any excuse to look for improvement.”

More broadly speaking, when we asked Lomaz what his key business challenges were, he replied as many DJs would: “Our sales cycle is different than that of someone who offers a monthly service or a transactional good,” he says. “Most of our business at the moment is wedding-based entertainment and, as much as I love repeat clients, I do always root for a happy marriage, so that often means our couples are only getting married once. Also, corporate clients are great for repeat business, but there are such things as corporate acquisitions and mergers that could complicate processes at times. So we rely heavily on new clients coming in.”

As a result, referrals are key and working with event planners has become imperative, he says, “especially for our business model, so we’re constantly looking to bring in new social clients.”

And how does he bring in the new clients? “Continue to do great work and network with the right people,” says Lomaz. “I believe that ultimately nothing beats keeping your clients and event partners happy, and exceeding expectations. Networking is very important to me professionally and personally. Even if I meet someone that I’ll never do business with, but they’re a great person and we vibe well, I think that’s a huge win. Surrounding yourself with the right people is also a form of non-monetary currency that many underestimate or don’t appreciate enough.”

On the audio front, for most gigs Lomaz uses Native Instruments Traktor Pro 3 software, a Native Instruments Traktor Kontrol S4 controller, a pair of RCF ART735A active loudspeakers, a Shure SM58 microphone, and a Mackie 802 VLZ4 mixer. For lighting operation, he uses Luminair 3 and Vibrio apps and various units from Eternal Lighting and Chauvet DJ. Lomaz, a single-op who’s the MC at every event his company books, represents the “next generation” of DJs. As such, he has advice for younger DJ looking to get into the business. “It’s pretty simple: Take care of your clients properly and appreciate your event partners. Always provide stellar service – that’s something that you can control, no matter the external factors. We also can’t operate in a vacuum of entertainment – event planners, (continued on page 42)

Pioneer DJ XPRS10

Compact and portable, the high-powered XPRS10 combines a 10-inch ferrite LF driver, a 1.75-inch titanium diaphragm compression driver delivering crystal-clear audio with a deep bass range. Featuring 4 EQ presets (Flat, Bass+, Speech and Wedge) the XPRS10 is broadly adaptable. Receive a 7 year warranty by registering your XPRS10 online. www.pioneerdj.com

RCF HDM 45-A Active Two-way Speaker

One of the most powerful speakers in its category, the HDM 45-A provides a clear, accurate sound.

Made of lightweight composite material, it boasts a supercharged two-channel amplifier and RCF Precision Transducers. Easy to deploy, it’s designed to provide years of audio and performance.

2,200W Peak Power 133 dB Max SPL 1.5” Titanium Compression Driver, 4.0” Voice Coil 15” Neo Woofers, 3.5” Voice Coil RDNet Networked Management FiRPHASE Technology www.rcf.it/en_US/products/product-detail/hdm_45a/1013924 DJ EXPO BOOTH: 701 – Demo Room 10/11

Synergy Array – Revolutionary Point-Source System by Yorkville Sound

Yorkville Sound is proud to introduce the Synergy Array Series.

A truly revolutionary active point-source system, with unmatched flexibility, power and directivity control. The Synergy System offers users unrivaled simplicity, without sacrificing sonic performance. This is the industry’s most powerful, and flexible, point-source PA system. The Perfect sound reinforcement solution for any coverage pattern. www.yorkville.com/synergy/ Yorkville Sound Booth #408, Demo Room 5-6

30 YEARS STRONG

GET THE DJ EXPO APP

For all the latest news, updates and show information.

Get all the details and be in the know with this FREE App. www.thedjexpo.com/app/

Bose S1 Pro Multi-Position PA Sound great anywhere with the ultra-portable Bose S1 Pro Multiposition PA. Designed for musicians, DJs and general PA use, the S1 Pro is the ultimate all-in-one PA, floor monitor and practice amplifier that’s ready to be your go-anywhere Bluetooth® music system. www.professional.bose.com

DNP's DS620A DNP's flagship DS620A dye-sublimation printer is the world’s most compact professional digital photo printer. With its wide range of print size options, quick output, and innovative print technology, the DS620A is an extremely valuable revenue-generating asset for professional photographers and retail store operators offering photo-printing services. www.dnpphoto.com/en-us/Products/Printers/DS620A

DAS Audio's Action 500

The NEW Action 500 is an evolution of the Action series, delivering the same active or passive sound with enhanced design and performance. Integrated DAScontrol™ DSP interface with presets and LCD screen for easy setup and adjustment. Perfect for any event that needs a powerful portable sound system that is easy to adjust. www.dasaudio.com/en/products/systems/action-500-series/

Denon DJ PRIME 4 Denon DJ’s ground-breaking PRIME 4 is a 4-Deck standalone DJ system with 10-inch multi-touch/gesture display, dual-zone output, 4 USB inputs, SD input, dual mic channels and 2.5” SATA drive bay.

PRIME 4 operates totally independently of the laptop, freeing the DJ to be their creative and spontaneous best. www.denondj.com

BUSINESS LINE

SALES… MARKETING…SOLUTIONS…

HOW TO GET MILLENNIALS TO CREEP YOUR INSTAGRAM

By Stu Kearns

At DJ Expo, Nick Spinelli from SCE Event Group and Rachel Lynch of DJ Rachel Entertainment will cohost “The Art of the Personal Brand” seminar.

At the show, which will run Aug. 12-15 at Harrah’s Resort in Atlantic City, N.J., they’ll talk about how social media informs their branding and marketing strategies. We spoke to them and asked for a teaser of their program.

DJ TIMES

DJ EXPO 2019 ISSUE

How can a DJ use Instagram?

Nick Spinelli: Instagram is your online résumé. Generation Z and millennial couples will almost always creep your Instagram and make decisions based on what they see.

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How can older DJs reach millennials and appear contemporary?

Spinelli: So many older guys put all their time and energy into Facebook, and they’re losing business to younger DJs with established Instagrams.

Rachel Lynch: Now more than ever, younger clients are looking for “real” and authentic brands. I can’t stress enough how important it is to show the personality behind a business. Being relatable has little to do with a polished website or ditching the formal wear for skinny jeans and a trendy haircut. The truth is, the “who” matters as much as the “what.”

Relatability translates to trust;

people like and buy from those they connect with. Gone are the days of traditional advertising that feels disruptive and pushy. We have to remember that younger clients grew up with the internet with fast-paced information is thrown their way 24/7.

In result, these younger clients have to filter through tons of “marketing noise” and are trained to have laserprecise BS filters. Ultimately, with this hypersensitive mindset, “selling” is much more difficult for the modern DJ. If you want to be relatable, you have to show you are in touch with their world.

Here is a personal example. My most viewed video on YouTube (currently with 92,000 views) is of me doing the “Git Up Challenge” by Blanco Brown. This song/dance is now going viral. I am not directly selling DJ services in this video; however, potential clients see a DJ who is fun, approachable, and in-tune with current trends.

The video has a great response and lots of support. Younger clients want to hire DJs and entertainers who exhibit these qualities. I’m not talking the talk on a website; I’m walking the walk on YouTube. It boils down to creating ways for them to see themselves in the scenarios you place before them. Your content should capture what’s important to them.

That’s how to be relatable.

What are some other marketing things a DJ can do?

Spinelli: vLogging is huge. Maybe

how-to videos like my “Wedding DJ Tips.” I think putting out content that has entertainment value and/or education value can really help bring your name to the forefront of the industry.

What are some things that older DJs do that tell younger clients they just don’t “get it”?

Spinelli: Some tend to do the same exact show every weekend. Play the same songs. Say the same things on the mic. When they get requests for newer music, they decide that “it won’t work” and stick to what they’re comfortable with.

What branding appeals to younger clients?

Lynch: The first significant thing I did was to stop being a company and start being a real person. Social media was created to socialize, not for business to sell. I make a solid effort to create visual campaigns across my social platforms. It’s a full-time job trying to keep up with it all, but I try and find a delicate balance of humor and fun mixed with intelligent, original, and informative content. I think variety is essential to this younger client base.

Behind-the-scenes video has helped create compelling content.

Showing these unfiltered moments have allowed potential clients to see my efforts, professionalism, and dedication to what I do. They appreciate the transparency. It’s important to

take some risks at times.

Another big thing I did was ditch the logo on my profile and other media. I know DJs are very prideful of their logo and slogans. After all, logos are a representation of who we are. However, I have noticed a 25- to 40-percent increase in engagement where I ditched to the logo and found ways to put myself or real people in its place.

Tell us about the social-media channels you use and how you use them.

Lynch: I use Facebook, Instagram, and YouTube. My social-media footprint is value-added-focused. It is not about me; it’s about them. I am also much more than a “DJ.” I think a significant differentiator is the educational content I offer. I make an effort to give as much as I can to the DJ community.

I am out there helping, blogging, troubleshooting, spreading kindness and knowledge. This translates into a community that supports me. In fact, this is the basis of my YouTube channel. I provide anyone who wants to know the “how” and “why” behind my business to take a closer look. My clients love seeing me saturated in the DJ culture. It makes them feel confident that I know what I’m doing and am respected by other professionals.

Reputation is huge, and I make sure all my social-media footprint supports this mission. I am community-based and try to reflect that.

AUDIO…LIGHTING…STUFF

GEAR

American Music & Sound

V-Moda

AVANTE Audio USA

Taken for a SPIN

Ma and PA

Master & Commander

inMusic Brands 200 Scenic View Drive Cumberland, RI 02864 (401) 658-3131 www.inmusicbrands.com

American Music & Sound 925 Broadbeck Dr. #220 Newbury Park, CA 91320 (800) 431-2609 www.AmericanMusicAndSound.com

AVANTE Audio USA 6122 S. Eastern Avenue Los Angeles, CA 90040 (800) 322-6337 www.avanteaudio.com

V-Moda 5100 S. Eastern Ave Los Angeles, CA 90040 (323) 798-1000 www.v-moda.com

AVANTE Audio released the Achromic AS8 portable column PA, which is comprised of three separate components—a sub unit, a mid/top array and an array spacer. The Polypropylene-constructed AS8 is designed with an 800W Class-D amplifier module, which features a built-in limiter and is capable of delivering a maximum SPL of 116dB and a dynamic frequency response of 55Hz-20kHz. The unit features six precision-aligned 2.75-inch neodymium drivers, as well as an eight-inch neodymium subwoofer with a 1.5-inch voice coil and a 28 oz. magnet. A three-channel mixer with two-band EQ is built into the sub unit.

V-Moda has released the Crossfade M-1000 Master headphones. A successor to the Crossfade M-1000, these headphones offer 50mm dual-diaphragm with Japanese CCAW coil, capable of delivering improved tone balance a n d a c c u r a c y, a c c o rd i n g to the company. The headphones offer 5-40,000Hz frequency response, 105dB @1kHz 1mW headphone sensitivity, -42dB @1kHz microphone sensitivity, 32ohm impedance.

S o u n d S w i t c h 2 . 0 s o f t w a re includes support for the new SoundSwitch Micro DMX Interface, in addition to support for third-party USB to DMX hardware including Enttec DMX Pro 2 interface. The latest software upgrade is capable of advanced automated light show creation and it features a DMX fixture map, as well as the Engine Prime music library. SoundSwitch 2.0 also supports a new subscription service through which “DJs can choose how they want to access the software by selecting the supported hardware and subscription option that suits their DJ needs,” according to the company.

Reloop SPIN is a portable turntable that features Bluetooth Audio Streaming technology, as well as a USB recording function that records scratches and cuts in MP3 format directly to a USB stick. SPIN comes with a 7-inch slipmat and an exclusive 7-inch scratch vinyl containing specially-mastered scratch samples and beats designed for players of all levels of ability. Additional features include a 45-mm crossfader, a straight tone arm with transportation lock and an integrated speaker. Playback is available at three speeds— 33-1/3, 45 and 78 RPM—and a seven-inch adapter is included for records with a large center hole.

DJ TIMES

Take 2.0

DJ EXPO 2019 ISSUE

inMusic

35

GEAR AUDIO…LIGHTING…STUFF

SoundCloud Limited

MAGIX Software GmbH

Pioneer DJ

DJ TIMES

DJ EXPO 2019 ISSUE

Propellerhead Software

36

Smart Cookie

On SoundCloud Nine

MAGIX Trick

An App-le a Day

Pioneer DJ Americas 2050 W. 190th Street Suite 109 Torrance, CA 90504 (424) 488-0480 www.pioneerdj.com

SoundCloud Limited Rheinsberger Str. 76/77 10115 Berlin +49 30 467 247 600 www.soundcloud.com

MAGIX Software GmbH Quedlinburger Strasse 1 10589 Berlin Germany +49 30 293 92 -200 www.magix.net

Propellerhead Software Hornsbruksgatan 23 SE-117 34 Stockholm Sweden www.propellerheads.se

The DDJ-200 from Pioneer is a smart DJ controller that is compatible with smartphones, iPhones, tablets, PCs and Macs.

When connected to the DDJ200, users can use of all the features in rekordbox dj and WeDJ for iPhone free of charge.

The controller, which can be powered via a power bank, also works with WeDJ, MWM SAS’s edjing Mix and Algoriddim’s djay, as well as some streaming services. The controller fits in the DJC-200 BAG, a customdesigned protective bag that features an EVA Durashock molded body, impact-resistant egg-foam, black ballistic polyester and a fleeced lining.

SoundCloud announced new DJ software integration between a user’s SoundCloud Go+ subscription and Native Instruments’ TRAKTOR DJ 2 iPad and desktop app. This allows users of all skill levels to instantly stream and mix SoundCloud’s catalog of more than 200 million tracks from around the world. To celebrate the launch, a series of playlists were made available exclusively on Native Instruments’ SoundCloud profile. These playlists reproduce real setlists by top DJs including Joe Kay, Tommy Four Seven, Objekt, Felix Da Housecat, Kornel Kovacs and more, according to the company.

ACID Pro Next from MAGIX Software is a DAW that comes with zynaptiq Stem Maker source separation technology, which splits audio into vocals, drums and music tracks for remixing. ACID Pro Next comes with exclusive instruments and gigabytes of ACIDized loops for composition across many genres. It also includes such features as the new MIDI Playable Chopper, which splits a file into beats and samples and then plays it “just like a classic MPC-style sampler;” and Melodyne Essential, which corrects pitch and tone errors on audio recordings.

Reason Compact 2.0 from Propellerhead Software is a free mobile app for iOS that the company says “goes from a pocket synth to offering an advanced pocket music studio.”

The latest version adds the Rytmik Drum Machine, which includes 18 free drum kits, and the Monotone Bass Synthesizer.

The app features a variety of built-in effects, including reverb, delay and Unison effects. It connects to other music apps using Audiobus or Inter-app Audio and lets users collaborate with others using Ableton Link.

AUDIO…LIGHTING…STUFF

Bass Hit

MicroFreak on a Leash

TASCAM 1834 Gage Road Montebello, CA 90640 (323) 726-0303 www.tascam.com

Arturia www.arturia.com

TASCAM released its TH-06 Bass XL Monitoring Headphones, which are designed with a custom 45mm neodymium-magnet driver and a lightweight manganese headband. The model features internal connections that use OFO oxygen-free copper wire core and its 9.8-foot cable comes with both a 1/8-inch connector and a ¼-inch adapter. The ear cups not only rotate 180 degrees but they are also made with a special sewing process that tightly stitches them around a stainless steel frame for extra cushion, according to the company.

GEAR

The MicroFreak is a four-part paraphonic synthesizer that features 12 digital oscillators with variable modes, five bespoke Arturia engines and seven modes from Mutable Instruments. The unit comes with 256 preset slots and 160 factory presets, as well as a 25-key capacitive keybed with polyphonic aftertouch, a 12-dB SEM filter and a 64-step sequencer with two patterns and four automation tracks per preset.

The unit also comes equipped with USB, MIDI, and CV outputs to control instruments in the user’s DAW and modular synths.

ADJ’s 4 Stream DMX Bridge is a four-universe device that bridges Wi-Fi, Art-Net/sACN and ADJ’s wireless DMX solution, WiFLY. Capable of creating a private standalone 2.4GHz DSSS WiFi network, the 4 Stream DMX Bridge can control one universe of WiFLY DMX, alongside three additional standard universes of DMX connected using the five-pin DMX sockets located on the sides of the unit. The device features two separate wireless antennas and also comes with ADJ’s WiFLY EXR technology for controlling devices up to 1,500 feet away.

DJ TIMES

ADJ Products 6122 S. Eastern Avenue Los Angeles, CA 90040 (323) 582-2650 www.americandj.com

DJ EXPO 2019 ISSUE

Gently Down the 4 Stream

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TRACKS…MIXES…COMPILATIONS

Saliva Commandos

Gorgon City

Scott Diaz

“FREEDOM” (RED ZONE MIX)

u David Morales & Janice Robinson u Diridim On this monster mix, Morales and Robinson deliver a hair-raising track of empowerment with uplifting vocals, hand claps, and tasty piano chords. A real summer hit with plenty of pride.

– Tommy D Funk

gem. The spoken-word vocals (a la Jamie Jones) and the dramatic chorus vocals add just the right soulful flavor.

– Phil Turnipseed “DUSTY” EP

u Phaze Dee u Cyanide “I BELONG WITH YOU” (UNDERGROUND MIX)

u Dada feat. LIV u Armada Deep

The deep-house mix of this highly hip-shaking track starts out at a dependable pace, then surprises with a “wubby” breakdown to keep things interesting. LIV’s uplifting vocal lends a brightening tone to this otherwise dark mix.

Two amazing tunes here – the title track and “What Deep Of” – and both have all the elements of a great deep-house track. You get a beautiful string-andsynth combo with a percussive wallop on the title track, while the vocal track veers into heavy garage territory.

– Jennifer Harmon “TIME OUT” u Me & My Toothbrush

u Enormous Tunes

M&MT deliver a bouncy rhythm along with some cool chord stabs and a groovy guitar hook. The vocals are minimal, but they’re working – a snaky, funky cut.

– Phil Turnipseed

– Tommy D Funk “HEART BEATING” (CLUB MIX) u Nora En

Pure u Enormous Chills On this gorgeous house track, sprinkles of bright synths and piano lift things up, while the echo-y reverb of the husky male vocals elicits a somewhat edgier vibe. A highlight of the summer season – fun on all fronts.

– Jennifer Harmon

DJ TIMES

DJ EXPO 2019 ISSUE

“TALES FROM BAZONA” EP

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Nora En Pure

rhythms, supple bass and ultra-sexy vocal snippets. Check the Rubb Sound System remix of the title track – smooth and slinky.

– Tommy D Funk “FUNKY” u Sunstarheads u SunDesire Here’s something you don’t hear every day – a tribal, progressive, psy-trance-acid-breakbeat track. Oh, did I mention the house-piano element? Any crowd will be stirred up with this seamless combination of genres. Believe it or not, it really works.

– Jennifer Harmon “ELIZABETH STREET” (EXTENDED MIX)

u Saliva Commandos u Soulfuric

“COOL WHIP” EP u Scott Diaz u Freakin 909

u Gorgon City u Realm

Bronx-based George Aponte (aka Saliva Commandos) delivers a hot three-tracker here. “Bazona” kicks a mid-‘70s funky vibe – urgent and frantic. “Tried to Make You Mine” swoops big and rocks a mega-uptempo pace, while “Bottomless Pit” kicks a pleasing Latin flavor.

U.K. garage maven Diaz offers three monster tracks here – all feature irresistible elements like scatty beats and 909 keys. And don’t sleep on the Brown Sneakers’ hot remix of “Recognize” – pumpin’ and jumpin’ for the dancefloor.

A sweet tech-house groover with a sneaky melody, celestial effects, and a gradual build – of course, there’s a great payoff on this one. Recommended.

– Tommy D Funk

– Jim Tremayne “LOVING YOU” u DJ Pope feat: Unqle Chriz u Soulfuric Recordings

“GET RIGHT” u LEFTI u Love & Other

“COME ON OVER HERE” EP

u Soledrifter u Moiss Music

Bringing a deep, chunky bass groove and some quirky vocals, LEFTI drops a deep-house

Another massive underground-house EP from Soledrifter. This one offers a fusion of thick, 4/4

Chicago’s DJ Pope drops a superb soulful-house stomper full of mid-tempo goodness. With the “Sound of Baltimore Extended Vocal,” you get a

– Tommy D Funk

that brings a catchy hook and a simple, but intoxicating beat. The chord work and vocal-led breaks really carry this one. Minimal and effective, it’s sure to find a place on many dancefloors.

– Phil Turnipseed “CANTANDO COLUMBIA”

u Nicola Fasano & Dual Beat u Tactical This rollicking cut brings a Latin-house vibe and a carnival-like feel with its big horns and hip-shaking beats. The vocal chants add just enough energy to get the party going.

Phaze Dee

David Morales

stripped-back underground vibe, while the “Jazz N Groove Extended Re-Work” works a heavier bottom.

– Tommy D Funk “NEVER RUN AWAY”

u Juonne u Sirup

This cool future-house track drops a sick synth-driven hook that immediately pulls you in. The vocals layers are soulful and play perfectly with the deep, bouncy groove.

– Phil Turnipseed “TILL THE WORLD BLOW UP”

u Dave + Sam feat. Mike Dunn u Classic Music Company

The Brooklyn-based duo drops a Chicago-flavored deep-house cut with a uniquely skippy beat and a great spoken-word vocal.

– Tommy D Funk “SHADOW IN THE DARK” u

Stage Rockers u Sirup Here’s a smooth, vocal-house cut

Jason Merced

GUEST REVIEWER: Jason Merced

“SO THANKFUL” (JOEY YOUNGMAN REMIX) Bobby D’Ambrosio Guesthouse Music On this fiery remix, we find Joey Youngman returning to his classic house roots. Perhaps bestknown by his electro-house alter ego – Wolfgang Gartner – Youngman takes D’Ambrosio’s deep, urban original from 2002 and injects it with jumpin’ beats, beautiful chords and joyous grooves.

Romain Gowe

– Phil Turnipseed

Z-Trip

(continued from page 19) Z-Trip: All the moves feel calculated and predictable almost like you are watching someone lip-sync the main parts and improvise here and there with a “how ya’ll doing out there” or a “this next one is off the new album,” then back to the lip-synching. When that happens, I feel like I’m watching people go through dance-step patterns vs. actually dancing. I’m a fan of soul – hearing it, seeing it, feeling it.

But 75-percent of the stuff I see in that scene is lacking that kind of soul.

I’m hoping that changes. The other 25-percent, however, are on fire and killing it! Like it couldn’t be more of a polar opposite. The stuff they are doing is mega-next level. But to take it a step further, I also think music choices are a huge factor. You could be rocking it with your routine, but if the music is tired or predictable, it just makes it less exciting for me.

A well-executed routine is dope to see, but well-executed skills on the fly, with music in the moment, is almost always more exciting because it’s raw and unpredictable.

DJ Times: What impact do the battles, like the DMCs or Red Bull 3Style, have these days? In your mind, do they still help the DJs get attention and build a career?

Z-Trip: I think winning a battle definitely helps get attention. If the battle is dope, it also helps inspire the DJ community, which is always good.

The question is: What do you do after that accomplishment? If I won a battle today, going into it, I would’ve already had a plan to drop a new recorded routine a week after. Then, I’d have a new song a month after that, a tutorial after that, etc. Keeping that momentum is key. Awards in battling and sparring are great tools when used correctly – they push you. The thing is, though, every day we face a majority of people outside of our community who have zero idea what we’re doing up there, nor do they care. So to the masses, awards don’t necessarily translate. Now, I’m not saying abandon the skills at all – in fact, just the opposite. If you are dope and you have those skills, it’s about trying to weave them into the conversation

and expose the people to what we do and get them interested.

DJ Times: On that topic… in terms of scratching and manipulating vinyl, do you think fans care about what the DJ’s doing anymore? Should they?

Z-Trip: They should, sure. Most real fans of this culture already do.

For those who don’t, I try and expose it to them on a level they can digest and appreciate. Sometimes a little goes a long way. If it’s too complex, it can tend to go over their heads. I also try and get cameras to focus on my hands when doing bigger shows where there have big screens. While crowds may not know what’s happening exactly, when they can see it more closely, it definitely registers that something is happening and they tend to respond in a positive way. But ultimately, as long as it sounds good and they’re connecting with the music or experience, that’s what matters most to them. So seeing someone do extra stuff only adds to the excitement.

DJ Times: To what extent do you try to show off your skills when you play out? Have you altered your sets over time? And if so, how?

Z-Trip: I always try and show off my skills when I can. If the circumstances are right, I’ll always take the opportunity to stand apart from other DJs. I come from a place where being unique is the goal, where the perfect balance is to stand out, while blending in. It all depends on the moment, though. If there is space to flex, then I’ll go in.

If the environment doesn’t want that, then I dial it back. There’s a time and place to do it. There’s also a time and place to not do it. Knowing when and how much is key to having it resonate.

DJ Times: Your DJ platform now and why?

Z-Trip: Right now, my current set up is Serato DJ Pro, MWM Phase DJ Ultimate, Rane Seventy-Two mixer with foot switches, Pioneer DJ PLX1000 turntables, Novation Dicers and Ortofon needles. That’s the main rig. The Pioneer DJ DJM-S-9, DJM900NXS2, and Rane Sixty-Two are my alternate mixers. I use all variations of the Technics SL-1200-style turntables, the Reloop RP-8000Mk2s, Pioneer DJ

CDJ-2000NXS2s and Shure M44-7s.

DJ Times: And in the studio?

Z-Trip: I produce using Pro Tools, Ableton Live, Native Instruments’ Traktor and Maschine. I also have a bunch of outboard gear, drum machines and keyboards I still use as well. All of this stuff allows me the most versatility in the studio and on the road. They all have different uses for different reasons and I often swap out pieces of gear with each other depending on the task at hand. Sometimes it’s multiple different set-ups for different shows or studio work in the same day. It’s basically a lot of patching cables over the years, but I love having the freedom to know I have the right tool for the job at any given moment.

DJ Times: I notice you mentioned Phase, a relatively new wireless controller for DVS… Z-Trip: It’s dope! I’m a fan of technology and pushing boundaries within the artform and I love when something comes along that changes the game. Phase did that. To me, it still retains the subtle feel of what using records on turntables feels like, but it’s way better to perform with.

Like any new cutting-edge technology, there are always bugs to work out, but I think they nailed the concept and feel. Now it’s more about staying on top of the updates and seeing it evolve, what’s in store for version 2.0, etc. I have some ideas on where else it could go. I have a ton of ideas for a bunch of DJ products, actually. It’s wild to finally be able to dream up these ideas and have people and companies excited to push those boundaries together vs. back in the day, where we took what they made and had to modify it to do what we needed it to do. Now were all speaking and collaborating, it’s amazing. I’m always excited to be a part of building those things and can’t wait to see and try out the new next gadget or program.

DJ Times: How did the LL Cool J tour come about?

Z-Trip: We linked up about nine years ago. I was headlining a show at SXSW and reached out to see if he’d be my surprise guest – he agreed and came out at the end of my set. We did

DJ TIMES

DJ EXPO 2019 ISSUE

Niiko x SWAE

40

(continued from page 10) bigger. That’s when I started to really get into it.

Niiko: I remember Dillon Francis’ “Masta Blasta” and all those classic tracks like that.There are just so many niche subgenres that have always fun to explore. We always seem to go through phases listening to house.

Then we’re listening to wonky trap or filthy dubstep, which has led us to be pretty versatile as producers.

DJ Times: What are you using in the studio?

three songs together and the place went off! The dynamic onstage was so powerful we decided to do a few more shows. The shows kept growing and we kept pushing the envelope.

The whole thing happened very organically.

DJ Times: How did you prep for the shows?

Z-Trip: To be honest, it was a lot of hard work early on. I had to get a handle on his catalog, which is huge.

There was some remaking of instrumentals, etc., but there was also a level of effortlessness through the whole process. We communicate really well and we’re both masters of what we do, so we know exactly how to maneuver on any stage, in any scenario.

It’s dope. I think it’s exactly how hip hop should be presented – a proper MC and DJ performing live together, but each in their zone. Some of my favorite moments are when we do shows together and get to freestyling.

DJ Times: In your view, what is the state of the DJ scene now? With digital technology, it’s easier to get into the game – is that a good thing?

Z-Trip: It’s definitely easier to access everything now, the music, the gear, tutorials, different music scenes and communities. It’s all out there.

However, since it’s so accessible, it’s also kind of flooded the pool with a bunch of beginner DJs and producers trying to get up the ladder. So there’s a lot of infancy to navigate around.

While the cream will always rise to the top, the pool is oversaturated, so it takes longer to find real talent. It’s easy to become numb watching people learn and emulate in real-time, as they simultaneously try and promote themselves.

DJ Times: Mmm, I think I know what you mean…

Z-Trip: It’s funny, I see more and more DJs concerned with marketing themselves and less interested in perfecting their craft or finding their sound or individuality. There are exceptions to that rule, though. In fact, I actually love hearing those DJs who have an amazing ear for music and have that natural talent inside of them n from the start. That’s inspiring.

Niiko: There’s [Xfer Records] Serum, [Native Instruments] Massive, [Spectrasonics] Omnisphere and all those contact libraries. But we’ve found a lot of value in making those sounds in those programs, but reassembling all that to audio and manipulating audio because it gives us such different results.

SWAE: We don’t really like to use too many externals – I think that’s a big misconception – because you can honestly do so much with so little

in music these days. Getting creative with what you have and really learning what you’re working with is the biggest thing. It’s better than just going out and trying to use a program just because Jauz or Marshmello uses it.

DJ Times: Your latest single, “Keep On Calling” featuring Olaf Blackwood, just dropped. How did this one come together?

SWAE: Niiko actually started that one up in between Coachella weekends this year. We started to really

run with it and even wrote the lyrics for it with plans on just releasing it with him singing on it. But we later ran into Olaf during a studio session and he was super-interested in the track. He laid down the vocals in two or three minutes, and we loved how it came out.

Niiko: To put the track in a genre category, it’s more of a big-room, poppy production with a future-house drop that’s going to just catch people off guard because it’s not teased at all

Que Te Lo Crea Tu Madre LMM

1. Ely Holguin

Desilusion

Cookie Empire

2. Hector Acosta

Antes Del Lunes

El Torito Ent.

3. L. Fonsi, S. Yatra & N. Jam

Date La Vuelta

Universal

4. Daddy Yakee feat Snow

Con Calma

El Cartel

5. Wisin feat Jon Z, & Don Chezina 3G

Sony

6. Amarfis & La Banda Atakke

Calma

Amarfika

7. Domenic Marte

Todo Tiene Su Fin Direct Balance

8. Grupomania

Tocaito

MM

9. Charlie Cruz

Tu Con El

CC

10. Luis Fonsi y Ozuna

Imposible

Universal

11. Ozuna

Te Sone De Nuevo Sony

12. Mario Ortiz

Fuego

Planetary Music

13. Alsikiatra

Polola

Swing Factory

14. Prince Royce & Marc Anthony Adicto

Sony

15. Tito Peluca

Wacateezeey

On Top

16. Andy Andy

La Manzana

Wepa Music

17. Jehu El Rey

Despues Te Perdi Unlick Music

18. Marc Anthony

Un Amor Eterno

Sony

19. Juan L. Guerra

Kitipun

Universal

20. Mambo Lebron

Las Piedras Cantan Mambiche

Most Added Tracks 1. Mike Towers feat Farruko

Si Se Da

Casablanca

2. Tito Peluca

Wacateezeey

On Top

3. Elvis Crespo

Abracadabra

Sony

4. Ala Jaza

Nadie Se Meta

Park East Music

5. Thomaz

Al Natural

Latina

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.

NATIONAL CROSSOVER POOL 1 Klaas & Londonbeat I’ve Been Thinking About Radikal 2 Khalid Talk RCA 3 Ed Sheeran & Justin Bieber I Don’t Care Atlantic 4 Avicii F/ Aloe Blacc SOS Interscope 5 Martin Garrix Summer Days RCA 6 Billie Eilish Bad Guy Interscope 7 David Guetta F/ Raye Stay (Don’t Go Away) Warner Brothers 8 Shawn Mendes If I Can’t Have You Island 9 Jennifer Lopez F/ French Montana Medicine Hitco 10 Panic At The Disco Look Ma I Made It Big Beat 11 Madonna & Maluma Medellin Interscope 12 Lil Nas X F/ Billy Ray Cyrus Old Town Road Columbia 13 Fisher You Little Beauty Catch & Release 14 Shawn Mendes & Camila Cabello Senorita Island 15 Katy Perry Never Really Over Capitol 16 Ed Sheeran F/ Chance & PnB Cross Me Atlantic 17 Taylor Swift You Need To Calm Down Republic 18 Avicii F/ Chris Martin Heaven Interscope 19 Ed Sheeran F/ Khalid Beautiful People Atlantic 20 Eddie Chacon Rumors Or Lies?

Radikal 21 Mark Ronson F/ Lykke Li Late Night Feelings RCA 22 Taylor Swift F/ Brendon Urie ME! Republic 23 Jimmy Cypher F/ Michael Keith A Horse With No Name Dauman 24 Dion Todd F/ Maya Be Alright Shyre 25 Lizzo Truth Hurts Atlantic 26 Alan Walker F/ S. Carpenter & Farruko On My Way RCA 27 Jax Jones / M. Solveig & Madison Beer All Day And Night Interscope 28 Van Halen Jump 2019 Atlantic 29 Meduza Piece Of Your Heart Astralwerks 30 Bryce Vine La La Land Warner Brothers 31 Gorgon City, Kaskade & Roméo Go Slow Astralwerks 32 Chainsmokers F/ Bebe Rexha Call You Mine Columbia 33 Dimitri Vegas & Like Mike Selfish Arista 34 5 Seconds Of Summer Easier Capitol 35 Camelphat X Jake Bugg Be Someone Columbia 36 Jaguar Grace After All Jaguar 37 Mahalo X DLMT F/ Lily Denning So Cold Armada 38 Kim Cameron Didn’t Know I Was Fallin’ Side FX 39 Zack Martino F/ Dyson Mood Armada 40 Sugar Hill Gang / Furious 5 Someone Like You Montomic

Most Added Tracks 1 Mark Ronson 2 Jonas Brothers 3 Illenium F/ Joe Bellion 4 Halsey 5 Jimmy Cypher 6 Van Halen 7 Meduza 8 Sting 9 Dionne Warwick 10 Sugar Hill Gang / Furious 5

REPORTING POOLS

Gary Canavo Masspool Saugus,MA Blake Eckelbarger Dj Stickyboots Goshen,NJ n The Dance Environment Powered By Spectrio n Manny Esparza Nexus Radio Chicago,IL n Howard HK Kessler In The Mix With HK Minneapolis,MN n Dan Mathews Klubjumpers / RHYTHM 105.9

FM KRYC Sacramento, CA n Brian Stephens Mixxmasters Lithonia,GA n Peter K. Productions - Peter K n Steve Tsepelis Pacific Coast DJs Long Beach,CA n Ilan Fong Kahoots Columbus,OH n Kidd Leow Vindictive Vendetta Tampa, FL n n

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

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 FOR for these titles?

QUALIFIED DJS IN THE US. WE SERVICE CDS AND uy them atMP3S www.dancekings.com.

IN DANCE AND URBAN FORMATS. FEEDBACK the links AND in MEMBERSHIP the chart.

DUES REQUIRED. 770-740-0356

Find U Again RCA Cool Republic Good Things Fall Apart Astralwerks Nightmare Capitol A Horse With No Name Dauman Jump 2019 Atlantic Piece Of Your Heart F/ Goodboys Astralwerks If You Love Somebody Interscope You Really Started Something Dauman Someone Like You Monatomic

qualified DJs in the US. We service CDs and MP3s in and membership dues required. 770-740-0356

Compiled As July 15, 2019

NATIONAL LATIN DANCE POOL

1. Edwin

throughout the track.

DJ Times: What’s it like opening for Zedd in Vegas at Omnia, one of America’s biggest clubs?

SWAE: It’s crazy! We’ve always looked up to him as a producer, following his music from the very beginning, and he’s always been big influence for us

ATLiens

(continued from page 12) feel like… WTF? DJ Times: What went into your sophomore EP? ATLiens: Our new Ghost Planet EP has sort of an apocalyptic theme running throughout it – all dark vibes. It’s really just a representation of how we were feeling at the time. We put a lot of time into finalizing this and

News

(continued from page 5) 12 at Harrah’s Pool, Jake Jacobsen will host “Pre-2K Kick-Off Party, Vol. 2,” a retro-flavored bash, sponsored by RCF, that will feature the best music of the MTV Era – old-school hiphop, pop-dance smashes, glitzy disco and more. Later that night, for those who want to keep the action going, the Borgata’s Premier nightclub will welcome Expo badgeholders for DJ Skribble’s open-format set.

Tuesday offers a pair of parties at Eden Lounge at Harrah’s. From 6:30 to 8:30, Peavey Electronics will present a slate of top turntable talent, spinning hip-hop party faves. Talent for that party includes Public Enemy’s Keith Shocklee, scratch-technique inventor Grand Wizzard Theodore, 2018 DMC USA champion DJ Throdown and ace turntablist DJ Groove.

Later at Eden Lounge, Bose Corporation will present a deep slate of

– so it’s honestly pretty surreal. We’ve been very fortunate to play alongside a bunch of big names throughout this residency, but this one is going to be something special for sure.

DJ Times: What else can the world expect from Niiko x SWAE the rest of 2019?

SWAE: A lot of music! We’ve been grinding in the past couple of months in the studio with some of the most talented artists we’ve ever worked with, and I feel like we can confidently say we’ve been making some of our best music.

Niiko: We want to create spe-

cial music. We also have a bunch of sweets remixes of some really popular tracks that we’re excited to start rolling out, in addition to some new collaborations. Making music, kicking it with the boys while listening to good-ass music!

– Brian Bonavoglia

it’s definitely our favorite project yet.

Hope you guys dig it as well.

DJ Times: Will there ever be a time where we see ATLiens without your chrome faces and red, illuminated eyes?

ATLiens: Never.

DJ Times: Being incognito all the time, what’s the dynamic with the fans like?

ATLiens: We have the best fans

in the world. They show us so much love and we show it right back.

There’s never a dull moment when interacting with fans. We find ways to communicate and hang out without speaking a single word. That in itself is special. We never take any moments with fans for granted.

DJ Times: What do you to have planned for the rest of 2019?

ATLiens: We have some super-

secretive projects that we are working on. We are actively working to try and bring a new experience for our fans. We want people to engage all their senses when experiencing our music or shows. More will be announced throughout the year.

Outside of that, tons of new music, shows, and festivals that we are beyond excited for.

– Brian Bonavoglia

talent for its Club B Party – and free pizza! That’s right, beginning at 9:30 pm, Bose will break out the pizza and deliver a stout DJ lineup, which includes: Sussie4 (Mexico’s top electronic act); Oscar Troya; REVO DJ; Chitown Shani; DJ Funsize; DJ Precisa; Edison Arias; and DJ Kharisma. Expect plenty of crisp beats to go along with tasty pizza!

On Wednesday, Aug. 14, at Golden Nugget, DJ Expo will present its “Entertainer of the Year” competition. Sponsored by Chauvet DJ and hosted by Jake Jacobsen of Affair 2 Remember, the annual Expo event will bestow awards to the Best of the Best of America’s Mobile Nation.

Expect plenty of excitement with an evening full of new routines, games and dances.

Later that night, back at Eden Lounge inside Harrah’s, DJ Skribble will play the Official DJ Expo Afterparty – always a wild time. Expect a

diverse set of pumpin’ music played late into the evening.

Giveaway: Also, as always, one lucky DJ Expo attendee will win “The Ultimate DJ Giveaway.” Outfitted by show exhibitors, the annual promotion’s lineup of gear includes the following: From ADJ, two Focus Spot One moving heads and a myDMX Amigo DMX software controller ; from Global Truss America, one Glo Totem tube truss; from Bose, one

S1 Bluetooth speaker/PA system; from Mackie Designs, a DRM212 and a DRM18S active loudspeaker system; from Pioneer DJ, a DJM-S9 battle mixer, a PLX-1000 turntable, a HDJ-X10-K over-ear headphones and a pair of XPRS10 active speakers; and from Photobooth Supply, a Salsa iPad-based photo booth. The winner will be announced on the showfloor at 2:45 pm on Aug. 15. You must be present to win.

Mobile

(continued from page 30)

event designers, photographers, cinematographers, and all other event partners all have the same goal in mind: Providing an amazing, expectation-exceeding event. So work together to make the clients’ dreams happen!

“Also, personally, just be nice and don’t compare yourself to others.

Everyone has a different journey, and everyone has challenges.”

When we asked Lomaz if he was a DJ first, or a business owner first, he replied: “I’m sure you’re looking for a properly prepared ‘both-areequally-as-important’ answer, but in all honesty, I’m an entertainer first… because without quality performances, the business wouldn’t be there.”

Summer Festivals ’19: Too Much?

HELL, NO...

42

aLIVE Coverage

DJ TIMES

DJ EXPO 2019 ISSUE

But, do we ever get sick of them?

These festivals keep topping themselves.

Summer Festival Wrap in the next DJ Times

VISIT DJ EXPO BOOTH 411