AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988
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PLUS: BOB MOSES n SOUL CLAP n ADMN n MOBILE MARKETING n DENON DJ PRIME GO n PRESONUS STUDIO COMBO
SUMMER 2020 ISSUE
VOLUME 33 NUMBER 5
HERE FOR NOW
BATTLE TIPS PANDEMIC-ERA BOOKINGS FROM 3 CHAMPS THE STORIES, SO FAR
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NOTABLES…MILESTONES NEWS
DJ EXPO ’20: SET TO REVITALIZE THE INDUSTRY
By Jim Tremayne Atlantic City, N.J. – Mark your calendars, DJs – because DJ Expo 2020 has reset. With its new dates, the DJ industry’s longest-running show remains poised to help revitalize an industry that’s taken it on the chin this year. Accordingly, the seminars at this year’s the show will focus special attention on some of the unique issues that the pandemic has wreaked on DJs. Produced by DJ Times magazine and set for Nov. 16-19 at Harrah’s Resort Atlantic City, N.J., DJ Expo ’20 will present the industry’s largest exhibit hall and its finest sponsored events. And with the year’s unprecedented challenges in mind, DJ Expo will offer a diverse schedule of educational seminars, panels and keynotes that will provide plenty of new, money-making ideas for DJs of all stripes. While health and safety will remain priorities at DJ Expo, the show remains steadfast in its commitment to providing the very best for the DJ community. This year’s show stands poised to be the start of the DJ industry’s return to strength. Seminars at DJ Expo ’20 will include: Search Marketing in the COVID-19 Era: As we all know, COVID-19 has completely changed the world of search – so how do mobile DJs react? If you want to jump right back into the DJ game and hit the ground running, here’s your blueprint. Presented by Digitera’s Jordan St. Jacques, this SEO session for doit-yourselfers will put you on the right path from the jump. Join in and get the very latest in the new era’s Search Engine Optimization efforts. Listen, learn and, ultimately, thrive. How to Improve Your Crappy Website in Just One Week: Now that lockdown has ended and the market is re-opening, is your DJ business’ website still underperforming? Are you ready for a re-boot? For example, are you including COVID-19 keywords for SEO? For those DJs who prefer the do-it-yourself route, here is a great, seven-day program to fix up your currently broken website. If you don’t have the budget allocated to hire a developer to put together a brand-new website, fixing the one you have can go a long way towards getting new business. Also, presented by Digitera’s Jordan St. Jacques. Making It Count: The Importance of Client Experience: Mobiles, are you maximizing every
opportunity from every event? Presented by Tom Gambuzza, Michael Carleo and Michael Saulpaugh from New Jersey’s Elegant Music Group, this seminar will show you how. This detailed session will demonstrate to DJs how to improve client experience from prospect to contract, and then through a completed event to increase brand awareness and referShowcases: DJs of all stripes at Expo.
Panorama: The exhibit hall all lit up.
Tricks: Battle jocks flex their muscles. The Floor: DJ Expo has the latest gear.
ral leads. Topics will include: designing interactive bridal-show booths, prospect and client experiential events; and utilizing brand partnerships to build value with your clientele. Gear : New DJ Tech & What It Means to You: As anyone who attended the Winter NAMM show
this past January knows, the industry was awash with new technologies set to roll out during the year. While things certainly went sideways for a variety of industry-related outfits, the new innovations remain and they’re ready to be implemented. Whether it’s discussing software, control op-
tions, audio, lighting, video or studio products, this seminar will give you the straight dope and the latest tips – and it’ll explain how you benefit from these new technologies. Moderated by DJ Times Editor Jim Tremayne, this session will include top retailers and industry insiders. Don’t miss out on this vital tech-talk. More seminars to be announced – stay tuned for updates. For the very latest on the show and to register for DJ Expo 2020, please visit thedjexpo.com.
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FEATURES
VOLUME 33 NUMBER 4
DJ Expo Update: Nov. 16-19 in Atlantic City, N.J.
28 Making Tracks
PreSonus Eris E8 XT & ioStation 24c
29 Sounding Off Denon DJ’s PRIME GO
30 Mobile Profile
Cali DJ Mixes Mobiles & Radio
31 Business Line
How Marketing Collateral Impacts Sales
32 Gear
New Products from Pioneer DJ, Rane & More
38 Grooves
Phat Tracks from MK, Boys Noize & More
41 Club Play Chart
The Hottest Records, As Reported by Our Top U.S. Record Pools
SAMPLINGS 8 Soul Clap Rave the Vote
10 In the Studio With… ADMN
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18 It Takes 2
26 Beating COVID
Electronic Duo Bob Moses Makes Music for the Afterparty & Much More BY JIM TREMAYNE
7 Feedback
4
22 Preparing for Battle
Louis The Child’s Chart-Topping Debut Adds Spice of Life to a Period of Tedium & Tragedy BY BRIAN BONAVOGLIA
DEPARTMENTS
12 Here For Now
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Three Recent DJ-Battle Champs Offer Their Winning Formulas BY JOSH KERMAN
DJs Are Finding Ways to Navigate Their Bookings Through the Pandemic BY JEFF STILES
WHEN YOU’RE IN THE MOMENT
SS710B
SPEAKER STAND
DG400
LAPTOP STAND
FROM THE EDITOR
Making the Best of a Bad Year Like a lot of EDM artists, Chicago’s Louis the Child had big plans for 2020. A new album, Here For Now, and a supporting American tour that included festivals and big venues offered a prime opportunity to gain more fans and extend an already blossoming career. But LTC’s Robby Hauldren and Freddy Kennett had to settle for the album release, which remains a notable milestone for the youthful DJ/producers. Our Brian Bonavoglia connected with the pair and they revisit the making of their outrageously catchy, chart-topping album and explain how they’ve made the best of a very bad year. In another feature, I connect with the fellows of Bob Moses. That’s right, Bob Moses is a duo (comprised of DJ/producers Tom Howie and Jimmy Vallance) and a very talented one at that. They discuss their terrific new EP, “Desire,” and offer plenty of stage and studio insights. Additionally, Josh Kerman visits with three battle champs – DJ Throdown, J.Espinosa and Buck Rodgers – and they reveal their approaches to winning DJ competitions like the DMCs, Red Bull 3Style and the Goldie Awards. In our Sampling section, Detroit scribe Ashley Teffer goes “In the Studio” to visit with homeboy ADMN (aka Alexander Drazin), who details his approach to house and techno tunes. Additionally, the section finds me connecting with Soul Clap’s Charlie Levine, who (with SC partner Eli Goldstein) have gotten with the spirit of democracy in this election year. They’ve co-founded Rave The Vote, a movement dedicated to boost voter registration for the Nov. 3 presidential election by delivering four, 12-hour, live-streams featuring some of America’s biggest DJs. Democracy, let’s give it another chance. On the tech side, our Wesley Bryant-King handles both columns – as he often does – and checks out products we first saw at this past Winter NAMM show. In Sounding Off, he sits down with Denon DJ’s game-changing controller, the PRIME GO. Meanwhile, in the Making Tracks studio column, he reviews a pair of PreSonus products – the Eris E8 XT studio monitor and the ioStation 24c interface. On the mobile-entertainer front, we welcome back longtime contributor Jeff Stiles, who connects with a handful of intrepid jocks who offer anecdotes on how they’re handling bookings in the pandemic era. In Mobile Profile, we visit with Visalia, Calif.-based DJ vet Randy Hendrix, who successfully mixes mobile and radio work. In Business Line, Joshua Volpe explains how and why great marketing collateral impacts sales. Of course, we also offer the latest on DJ Expo, which is set to run November 16-19 at Harrah’s Resort in Atlantic City, N.J., where we’ll present plenty of sessions on how DJ companies can bounce back from an odd and tragic year. And on a side note: I wanted to acknowledge some of the good people our industry has lost to this pandemic – from entertainment manager Gary Salzman of NYC’s Big Management who was taken from us back in April to longtime Arizona mobile jock Ray Martinez who passed near presstime. This virus is no hoax and it doesn’t discriminate. Be careful out there, folks. It should go without saying, but please don’t underestimate this thing. Mask up, wash, keep your distance, and let’s take care of each other best we can. We’ll get through this, but we have to be smart if we’re gonna be safe.
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 Jennifer Harmon Josh Harris Ryan Hayes Greg Hollmann Josh Kerman Michelle Loeb Erik Miller Lily Moayeri Jordan St Jaques Jeff Stiles Ashley Teffer 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
Best,
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
Jim Tremayne Editor, DJ Times
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 © 2020 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 Summer 2020 Issue
visit our website: www.djtimes.com 6
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FEEDBACK #
BL
M
REBOOTED
AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988 STREAMING 2020 ISSUE VOLUME 33 NUMBER 4
how to do a superior wedding party intro, etc. Some More Specific Examples: 1. Tip to help prevent controller/lap‑ top freeze when using Serato. 2. Tip for helping newer DJs learn music and read the crowd. 3. How to create a Google My Busi‑ ness (GMB) listing. The winner will be chosen by DJ Times
D-NICE THE DREAM
STREAM djtimes.com
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and will receive two Full Expo Passes and four nights of a double-occupancy room. A Full Expo Pass confers full ac‑ cess to all DJ Expo activities – exhib‑ its, seminars and sponsored events. For the “Be Our Guest” contest, entries will be judged on the following criteria: 1) the more specific, the better, 2) the more clarity, the better 3) simply, the best tip. As for subject matter, the sky is the
limit… in 150 words or less. Go! The contest runs until Oct. 1. For more information and to enter the contest please visit: https://www.djtimes.com/2020/07/ dj-expo-20-contest-win-passes-ho‑ tel-stay/
Mobile Marketing Advice | Jody Wisternoff | Golf Clap | DVRKO | Denon DJ PRIME 2 | Bettermaker | ASI Audio IEMs
7/1/2020 10:48:54 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.
BE OUR GUEST
DJ Expo’20: Enter Contest, Win Passes & Hotel Stay
Attention DJs… How would you like to win a pair of passes to the 2020 DJ Expo, including four free hotel nights? Yes? Well, read on for the exciting details of Expo’s new “Be Our Guest” contest. Set for Nov. 16-19 at Harrah’s Resort in Atlantic City, N.J., DJ Expo will present the DJ industry’s largest ex‑ hibit hall, its top slate of educational seminars, and some of the industry’s most exciting sponsored events. Pro‑ duced since 1990 by DJ Times, DJ Expo is America’s longest-running trade show/exhibition for professional DJs. Whether you’re an upstart spin‑ ner or a seasoned pro, DJ Expo is always the place to be. So how do you win? Just submit to us the most useful DJ idea. It can be a tip for anything that relates to DJing, equipment or business – for bedroom, club, or mobile DJs – anything that’ll help the DJ craft. Some Examples: Tips on marketing more effectively; getting better online reviews; reading a crowd; differentiat‑ ing your business from the competi‑ tion; getting more venue referrals; finding and training DJs; personalizing a wedding; optimizing your laptop for DJing; getting more leads at a bridal show; how to best spec a room for speaker placement; equipment hacks;
How would you like to score a pair of passes to the 2020 DJ Expo, plus 4 free hotel nights?
JUST ENTER THE CONTEST & YOU CAN WIN! Here’s How: Submit to us the most useful DJ idea. It can be a tip for anything that relates to DJing, equipment or business – for bedroom, club, or mobile DJs – anything that’ll help the DJ craft. The best response, as determined by DJ Times editors, will win the prize. For further details & to enter the contest, please visit: www.djtimes.com/dj-expo-20-contest-win-passes-hotel-stay/ Set for Nov. 16-19 at Harrah’s Resort in Atlantic City, N.J., DJ Expo will present the DJ industry’s largest exhibit hall, its top slate of educational seminars, and some of the industry’s most exciting sponsored events. Produced since 1990 by DJ Times, DJ Expo is America’s longest-running trade show/exhibition for professional DJs. Whether you’re an upstart spinner or a seasoned pro, DJ Expo is always the place to be.
REGISTER AT: DJEXPO.EVENTBRITE.COM /thedjexpo
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SEE HEAR CONNECT
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SAMPLING
SOUL CLAP: RAVE THE VOTE When Soul Clap’s Eli Goldstein and Charlie Levine prepped for Miami Music Week this past March, the longtime DJ/production pair had big ideas about 2020. For one, it was to be the funky duo’s 20th visit to Winter Music Conference and they looked forward to a week of special gigs. Of course, things came to a halt and the pair had to reevaluate the year’s activities. So what did they do? For one, they committed themselves to stream more content, both musical and conversational. Perhaps more notably, however, they co-founded Rave The Vote, a movement dedicated to boost voter registration for the Nov. 3 presidential election. With some of America’s best-loved DJs in tow, Rave The Vote will present an event series that’s split into four,
Soul Clap: (from left) Eli Goldstein & Charlie Levine.
monthly 12-hour broadcasts on Twitch’s Lost Resort channel. With one event under its belt (this past July 24), Rave The Vote will stream Aug. 14, Sept. 11 and Oct. 2. Those events will include musical sets from The Black Madonna, A-Trak, Carl Craig, DJ Jazzy Jeff, DJ Pierre, Inner City, Justin Martin, Osunlade, Sofi Tukker, and TOKiMONSTA, among others. The events will offer topical discussions, facilitated mid-event by Soul Clap, and they’ll provide an online page for voter registration and for donations to The Movement for Black Lives. DJ Times caught up with Soul Clap’s Charlie Levine to discuss Rave The Vote’s upcoming series of events. DJ Times: How have you two spent the lockdown? Charlie Levine: Well, I’m in Miami and Eli’s in upstate New York. Still, we’ve been collaborating on a new album that should be out in 2021. But really, I feel like this quarantine has been a chance to sort of reconnect and replant the roots. We’ve been touring together on the road nonstop for well over 15 years. And it’s just been really incredible to sort of reconnect with ourselves as humans. DJ Times: You also got more into live-streaming… Levine: Yes, of course, we have a unique handicap in that we’re a tag-team DJ group living in two different places. So we live-stream from remote locations simultaneously and we do that with a platform called StreamYard. Working on Twitch’s Lost Resort channel, we started a weekly talk show called “Schmooze with Soul Clap.” This is an opportunity to have in-depth conversations with some of our favorite artists, talk music history, talk some technical or lifestyle. DJ Times: Originally, Rave the Vote was going to be a very different endeavor, right? Levine: Yes, it was going to be a bus tour of colleges in Midwest swing states with high-profile DJs like Seth Troxler, Justin Martin and The Black Madonna. We were going to rock the universities and sign up as many kids as possible to vote. But, of course, things took a bad turn.
DJ Times: Well, despite 2020’s weirdness and tragedy, you’re back at it with great intentions. Levine: We really want to drive home the message that your participation does matter, and the way you take action is by registering to vote and insisting your voice is heard. Go out and participate in the bigger elections, but also the local elections. DJ Times: What should viewers expect to see in these streams that you’ll be doing? Levine: It’ll sort of be like an old-school telethon, like from the ’70s or ’80s. Our team out in Los Angeles – Infamous PR and 2+2 Mgmt – has really put in some effort. Of course, there’s going to be hosted events, live streams where DJs from many different genres are going to be coming together for the cause. We’ll have public service announcements and some really interesting people involved, like Dr. Cornel West, who kicked off our first event. DJ Times: So I’d imagine that these Rave The Vote events must have a different level of satisfaction, compared to your regular job – traveling around, playing the biggest, most wonderful parties in the world. Levine: I think it’s really important to have some purpose. Sometimes, I think to myself: What are we celebrating here? You know, we’re playing a party every night, but what are we celebrating? There’s so much going on, and are we tapping into that? DJ Times: At the end of the day, Soul Clap are DJs and it’s still your job to bring the party… Levine: Yes, Soul Clap is about uplifting music. We are trying to put a smile on people’s faces.We’re trying to make people fall in love. We’re trying to bring the magic and give something to walk away with. It’s important to release and to feel recharged and renewed. But really, what are we doing? Are we actually connecting? And with Rave The Vote, the answer is a resounding “yes.” This is necessary! We are using our talent and our influence to make a positive change. So yeah, this is very rewarding. – Jim Tremayne
IN THE STUDIO WITH...
ADMN: NON-STOP HUSTLE Earning respect as a DJ in Detroit is no easy feat. In the land of techno snobs where everyone’s an expert and posers never prosper, DJs must stay true to their roots and never sell out. ADMN (aka Alexander Drazin) – network engineer by day, DJ/producer by night – has spent years earning his stripes in the techno mecca. He’s been on the grind since 2009, making techno-leaning tunes, like his latest scorcher, “Machine 8,” or the occasional deep-house joint, like the recent genre hit, “Sanctuary,” a collab with Oliver Dollar featuring Mr. V. In early 2019, ADMN raised his game by formally becoming a resident DJ at legendary local haunt, TV Lounge. Then, in December 2019, he earned a new level of recognition – Paxahau booked him for mainstage at Movement Electronic Music Festival in Hart Plaza for that upcoming May. Of course, three months later, the pandemic hit and, by Memorial Day weekend, Movement ’20 had become an online, live-streaming event (#MovementAtHome). But it’s been that kind of year – anyone who expected a big 2020 was in for an even bigger surprise. Undeterred by the downturn in developments, ADMN has maintained his studio and streaming hustles, so DJ Times caught up with him to get the scoop on his progress and his process. DJ Times: How have you been spending the pandemic? ADMN: A lot like everybody else, concerned and unsure about what’s going to happen. Trying to stay in shape. Keeping a positive outlook and burying myself in music. DJ Times: Have you had any gains during the pandemic? ADMN: Biggest gains, being a part of Movement Detroit Music Festival At Home live-stream. Even though I was really bummed not to be in Hart Plaza with my music family, I still got to open the mainstage playing in front of a virtual crowd over the Internet. On Twitch alone, during my set, there was 23,000 viewers. It really ended up being a blessing in disguise – the outreach was unbelievable. I’m thankful for Paxahau including me in the stream. They took the entire festival, executed it beautifully on a platform that is new to everyone. It was really cool to be able to go back and watch the video and see the chat and how people reacted during my set. In realtime, of course, you gauge it by the dancefloor. DJ Times: Have you had any setbacks during the pandemic? ADMN: Not being able to continue playing music and continue my residency at TV Lounge. And not being able to do Movement. Another setback was the launch of our new label, Infolines [along with Remote Viewing Party’s Aran Daniels and Mike Petrack]. We had planned the launch to correspond with Movement – we still launched it – but not the way we had planned. Not being able to hand people records… I was really looking forward to doing that. DJ Times: Speaking of records, why do you choose to release on vinyl? ADMN: I release in digital and vinyl. There’s something visceral about holding a piece of music in your hand, that digital doesn’t really give you. There’s pros and cons of both – not everybody plays vinyl. I really like the prospect of being able to have tangible art. DJ Times: What’s your favorite studio gear right now? ADMN: I like all of my electronics, of course. I use Elektron Analog RYTM [drum machine/sampler], Elektron Octarack [sampler] and Elektron Digitone [synth]. I really like the Dave Smith Instruments Pro 2 [synth] – that thing is a beast. I use the [DSI] Prophet 8 [synth] quite a bit – that’s a piece that I don’t think I’ll ever part with. I really like the Behringer gear… they have been putting out some really awesome pieces that are hard to ignore. I have the Behringer RD-8 Rhythm Designer [drum machine] and I’m waiting on the Poly D polyphonic analog synth – it’s taking forever to get to me. I’m sure that’s largely to do with the pandemic. DJ Times: What’s your software, interface, plug-ins, etc.? ADMN: I use Ableton Live in the studio. For my interface, it’s either the (continued on page 40) 10
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Making Motown Moves: ADMN aka Alexander Drazin.
By Brian Bonavoglia Over the past decade, it almost has become old hat to see upstart DJ/producers circulate music online to build their initial audiences. Streaming platforms like SoundCloud, matched with the sharing capabilities of social media, have allowed music-makers to get a popular digital foothold, even before they ever play out and personally connect with the public. For acts like Louis The Child, which began as a high-school tandem, that was certainly its blueprint for success, but one that was based on necessity. Truth is, due to their age and inexperience, the duo really didn’t have any other choice. Nonetheless, LTC’s Robby Hauldren and Freddy Kennett parlayed that template to a legit career that has seen them score radio hits, tour the biggest clubs and play the most prestigious festivals. The two met at a Madeon show in Chicago while they were students at New Trier High School in suburban Winnetka, Ill. Already EDM enthusiasts, both guys were getting involved in the music before they officially joined forces as LTC – Hauldren (as Haul Pass) was making mash-ups, while Kennett (as Fatboy) was creating remixes and producing tracks. As they honed their skills as both DJs and producers, they spent their free time reaching out to blogs to share their constant barrage of remixes, slowly building their name. Playing the blog game while uploading their remixes to SoundCloud, Louis The Child eventually began playing spots around the Chicago area before the duo unveiled its breakout single, “It’s Strange” featuring K.Flay, which catapulted them into the spotlight in 2015. In addition to being featured in a TV commercial for the 2019 Nissan Kicks SUV and appearing on the FIFA 16 soundtrack, “It’s Strange” was namechecked by Taylor Swift in her online list of “Songs that Will Make Life Awesome.” Quite a start. As they were becoming noticed as one of EDM’s rising talents, Louis The Child began opening gigs for the likes of Madeon and The Chainsmokers. Then, they embarked on their own tour in October 2015, which kicked off in their hometown of Chicago. Before long, Louis The Child began to follow up their smash with a few more ultra-poppy releases. After dropping “Weekend” with Icona Pop, LTC returned in 2017 with the “Love Is Alive” EP featuring the catchy title track featuring Elohim. As the group’s 12
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productions began to walk the line between pop and indie-electronic, Louis The Child quickly turned into festival fan favorites throughout that summer of 2017. The next year would prove to be bigger, as the duo unveiled another steady flow of singles, including the certifiedgold hit “Better Not” featuring Wafia. This light-hearted gem would serve as the standout cut from “Kids at Play,” a nine-song EP featuring collabs with top vocalists like MAX and Quinn XCII. While 2020 has been the year that will be remembered for all the wrong reasons, one of the electronic-music highlights has been Here For Now, Louis The Child’s debut on Interscope. Serving up tasty singles “Free” (with Drew Love), “Every Color” (with Foster The People) and “Little Things” (with Quinn XCII and Chelsea Cutler), the chart-topping album delivers 14 irresistible pop-EDM nuggets that’ll stick in your ear for quite a while. Though the album’s rollout – includ-
HERE FOR NOW LOUIS THE CHILD’S CHART-TOPPING DEBUT ADDS SPICE OF LIFE TO A PERIOD OF TEDIUM & TRAGEDY
ing a now-postponed tour – certainly didn’t go as planned, Hauldren and Kennett believe that Here For Now can serve as a worthy soundtrack of the period. Though it’s been a time of tedium and tragedy, to them, the album’s theme is to appreciate life and celebrate the people around you. So with all that in mind, we hopped on a call with Louis the Child’s youthful duo – Robby Hauldren, 23, and Freddy Kennett, 22 – to discuss their thoroughly modern career, the state of the industry and, of course, their new album. DJ Times: Let’s take a quick trip down memory lane. Louis The Child started after you two became friends in high school, correct? Freddy Kennett: I had been a part of a Facebook group with a bunch of older kids who were really into electronic music. They were seniors, and I was in eighth grade. I was just obsessed with dubstep at the time. From sixth grade on, I was just obsessed. I loved Rusko and Skrillex and a lot of the dubstep coming out of London, the original kind of dubby dubstep that made me develop a deep love for electronic music. I really got into starting to produce my own music and, once I saw Robby trying out to play Spring Awakening in Chicago at Soldier Field, it was really exciting to know that someone else my age, or at least a year older than me, was so interested in electronic music, so I reached out to him. Robby Hauldren: Yeah, this after we first met in person briefly at a Madeon show in Chicago. He didn’t even remember it was me at first until it clicked that I was the tall dude from the show [laughs]. We went back and forth about showing each other things regarding production and DJing, then finally hung out and started making a song together. After SUMMER ISSUE
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on SoundCloud or charting on hypem.com. “It’s Strange” was really like the “whoa moment” where things really began to pick up. DJ Times: So after all those remixes and the success of “It’s Strange,” things really started to change and you started pumping out more originals. Kennett: After “It’s Strange,” we released two more projects, our “Love Is Alive” EP and our “Kids In Play” EP. Right before “Kids In Play,” we signed with Interscope, which was a huge moment for us. Because of the success of our original single, we got to tour with some of our favorite artists, like Madeon, which was like a full-circle moment for us because he was one of our idols in high school. We also got to tour with Big Gigantic and The Chainsmokers, which led to a lot of cool moments. Drew [Taggart of The Chainsmokers] and I were working
“THIS IS THE PERFECT TIME TO MAKE A LOT OF CONTENT AND NEW SONGS, THEN PACKAGE THEM ALL UP.” —FREDDY KENNETT
working together, we decided we should start a little project and make more songs and release them on SoundCloud. DJ Times: And how did you start doing shows? Hauldren: We planned to do a show at the local community youth center in the basement as our solo projects – which was Haul Pass for me, and that’s because of my last name, and Freddy had Fatboy – but we were working together as Louis The Child, so we decided to make it a Louis The Child show. Kennett: It turned out to be a huge show, we played in front of about eight people! [laughs] We had to show up about a week in advance to go over everything, and we were telling them to move around the chairs because the room would be overflowing with people... which ended up being seven or eight people until our friends showed up. Humble beginnings, you know! [laughs] DJ Times: Getting back to SoundCloud, you guys really got busy on that platform, right? Kennett: We worked hard on SoundCloud. We would send our remixes all around. Before we put out our first original, I think we had over 30 remixes... that was a lot of fun. Then we put out “It’s Strange” with K.Flay, who we connected with because she went to the same high school as us. That was the first song that allowed us to tour and begin to play festivals, which was the first time we really got to see people sing along to “It’s Strange” and our remixes. Hauldren: Taylor Swift posted about it and it was featured on the FIFA 16 soundtrack. Also, Lorde posted the lyrics, which was all so crazy. We were doing all this in high school, sending emails to blogs during my free period on release days, just hustling hard to get ourselves in the best position to blow up on the internet. We were around 15-years old, so we knew we wouldn’t be able to play clubs and bars, but we had the internet to get our music out there. Our manager Joey [Papoutsis] really nailed it down into our head that local gigs were not going to be as beneficial as having people from all over the world listening to our songs
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on tunes in the back of the bus one day, and one of them turned into “Closer” with Halsey. For me, coming out of high school, having a No. 1 song, touring, and having people singing our lyrics was so cool – and I knew we could do it. Like, “Let’s just keep pushing that we can do this.” I decided not to go to college, and I moved out to L.A. since Rob had already been there for a year going to USC. It›s been only music since then, and it›s been amazing every step of the way. DJ Times: You guys touched on it early, but what came first for Louis The Child, DJing or production? Hauldren: I started off DJing, then began to produce more later and Freddy started off producing then began to learn to DJ after. The way we operate is me leaning more on the live side, taking more of a role of putting on the shows, with Freddy leaning more on the production side, finishing off productions in ways that I can’t. We started off as “Freddy produces and I DJ,” then over the years it crossed over to us each doing a little bit a both. DJ Times: Are you guys using the same studio gear as when you started? Or have you upgraded now that you’re in the big leagues? Kennett: [Laughs] Same DAW – Ableton Live – but lots of new equipment. Faster and better equipment allows us to do a lot more. Definitely having more CPU as a producer, the more you can make things sound good, and the more complex you can make your whole project. We had computers with 16 GB of RAM and now we have 64, and we’re able to do more, easily. [Laughs] Hauldren: We started producing stuff in a small little office room in Freddy’s house on a laptop using Ableton Live with a MIDI keyboard, and now we have a bunch of dif-
ferent synths, drums, a piano with a microphone hooked up to it. Being able to work with computers has always been what makes us special… like understanding the way that Ableton and computers work, synthesizer design, and working with rhythms inside of Ableton. I just feel so lucky that we have so much technology like this because I wouldn’t have been able to do so much at such a young age if I didn’t have laptops that allowed me to do that. Thank you, Apple! [laughs] DJ Times: When it came to cooking up your debut album, what studio equipment was most vital? Kennett: The Akai MPC is something we used on pretty much every song. Hauldren: The MPC is definitely our go-to. We also used a lot of straight grand piano on this project. We used a bunch of Arturia synth plug-ins… we used a bunch of those. DJ Times: Speaking of your new album, Here For Now, was it a bit of a buzzkill to have the release during all this coronavirus craziness? Kennett: We actually think it kind of played out perfectly for us. We believe that these songs are the type of songs that should take a moment to sink in. A lot of them we’ll revisit and remix for live, so it’ll be fun and new then. It also gives just a bunch of time to stay at home and make a bunch of music. This is the perfect time to make a lot of content and new songs, then package them all up. This album is perfect for listeners to take a moment and let sink in. The more time we have to make more, the better we feel. Hauldren: As much as you want to put out music then immediately tour and get the crowd reaction, I feel like the music and the message of the music really fits the times right now. The coronavirus lockdown really has gotten a lot of people to realize what’s actually important and what isn’t. Everyone has had time to sit with themselves and realize what’s important and what they really value. I feel the album is about appreciating being alive and the experiences we’re all having together. I feel like the message of the music feels like it’s coming at a really great time… in a time where people want happy music and they want something that makes them feel good, happy to be alive. So as much as it sucks that it comes out at the time, it’s a great moment for this type of music to be hitting people here. DJ Times: As an artist, what’s it like working your way from remixes, singles, dropping two EP and now unveiling your debut album to the world?
Louis The Child: (from left) Freddy Kennett & Robby Hauldren
“THE CORONAVIRUS LOCKDOWN REALLY HAS GOTTEN A LOT OF PEOPLE TO REALIZE WHAT’S ACTUALLY IMPORTANT AND WHAT ISN’T.” – ROBBY HAULDREN
Hauldren: It’s definitely a big step. Our last EP was a nine-track offering and we could have called it an album, but we were very conscious of the fact that you only get one debut album. We wanted our first album to be a well-thought-out, conceptual project and really take our time with it. We’re really happy we took our time with it and got it to be what we wanted it to be. Kennett: We felt a decent amount of anxiety of the fact that this needs to be something that matters to us. At the end of the day, this has to be something that we’re proud to show our grandkids and proud to have in the world as the Louis The Child debut album. With this album, we really wanted the messages and songwriting to mean something to us and to be something that motivates us to keep doing more. We’re happy with it when it comes to the production. DJ Times: What’s the creative process when it comes to producing an album that is so vocal-driven and packed with collaborations? Are you making these tracks with a vocalist in mind, working around vocals provided or working together from the start? Kennett: Going back to how we wanted to have this album mean a lot to us, it definitely made sense to try to write a lot of songs and to work with artists that may mean a lot to us. Hauldren: A majority of the songs on the project are songs that we wrote with the artist featured on it, going into each session with a whole understanding for the kind of concept for the album, while communicating throughout the whole process. Going into every session, we talk with all the artists about what their honest feelings are about being alive and how they view the world. A lot of the music really came from those conversations. Kennett: Yeah, we’d start the session with, like, a 30- to 45-minute kind of discussion about just… life. It would touch on how everyone’s doing, touching on sad things and happy things, while letting that seep into our writing. After that, we start with chords or we begin working with drums, then melodies start coming to us. Then, with the discussion having just happened, a lot of the lyrics with those kind of ideas kind of flow naturally. The music happens after the discussion, and then the discussion seeps into the music, bringing it to life. Hauldren: That wasn’t the case for all of them, though. “Free” was something that Drew Love had written and sent to us, and we produced around it. DJ Times: A very transparent process the whole SUMMER ISSUE
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way. Kennett: I was trying to get everyone to just feel comfortable or feel like talking about something real. We had a few sessions where people would start talking about their relationships with their parents, their friends, growing up, and then things like that. It was really fun to get to know the people we’re working with, these deeper discussions, and that was a really cool part of it. DJ Times: Alright, the million-dollar question: What are your favorite tracks of the album? Hauldren: [Laughs] It’s always changing. I could be obsessed with one song today, and the next day I’m on to another one. The one, “We All Have Dreams” with K.Flay, consistently stays a favorite. We really, really love that one. The one with Duckwrth, “Get Together,” the big reason why we love it so much is that it’s so different and unexpected. I feel like when you’re listening to the project, that one comes out and you’re like, “Whoa, I was not expecting it at all,” you know? It really plays into Freddy’s jazz influence throughout his whole life and
leans more into it. It’s like a modern-jazz song with electronic production. Kennett: Oh yeah, I’ve got to throw in “Big Love” with EarthGang, “What a World” with Bob Moses, and “Fade Away” [laughs]. It’s hard to pick, but every week it’s a different favorite from the whole list. DJ Times: Now that the debut album’s out, are you guys taking a breather? Or is there more music immediately on tap? Hauldren: We’ve got another project that we’re working on right now, but I can’t really get into too much detail. [laughs] The album is the start of Louis The Child dropping a boatload of music this year. I feel like we can say we’re going to be more production-focused on this project and it’s going to be very fun.... we can say that, too [laughs]. DJ Times: While there certainly won’t be any live shows anytime soon, you have done some live-stream sets. What else do you have in store for your fans? Hauldren: We’ve been working a lot lately on different kinds of cool video projects and getting a lot more creative visually lately, trying to hone our craft in other ways. We put together a really cool video together for Lollapalooza’s online festival. Plus, a bunch of new music. 16
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DJ Times: How do you see festivals and club venues adapting or evolving? Hauldren: There are definitely going to be a lot more masks when it comes to clubs and festivals when we’re finally back on the road. Kennett: When it comes to live shows, we’re not going to be playing any shows until things are very safe. We’ll put our foot down on anything before a vaccine is available – we’re not taking any risks. Hauldren: I don’t know how it’ll change. We really just have to be patient and see how this all plays out, but I’m definitely excited for when things are somewhat back to normal. The energy of that first show is going to be unlike anything we’ve seen before, and I can’t even imagine what that first festival back is going to be like [laughs]. I think people will have a greater appreciation for live music, as well. I think having it stripped from people for so long, it’s going to come back, and everyone is going to appreciate it, even more, you know? You don’t know what you got until it’s gone. n
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STILL SHUT OUT FROM GROOVY GATHERINGS AND THE GENUINE HUMAN CONNECTIONS THEY CAN AFFORD? SEEKING SOME PRIMO LOCKDOWN MUSIC TO SOOTHE THINGS? THEN, LOOK NO FURTHER THAN DESIRE, THE LATEST FROM ELECTRONIC DUO BOB MOSES.
DJ Times: Who brought what to the track? Howie: The idea really started coming together around those chord stabs that he suggested. We both went in and sung some stuff, each inspiring the other and ending in what we eventually came up with. His vocals add a really nice lift in the chorus – he sings the high part. It was a great collaboration because it really was all of us contributing equally and riffing off each other to find our final destination.
Oh Dag Yo
DJ Times: Which instruments do you two play and what are you most proficient on? Vallance: We both play the guitar, drums, piano and bass. I’m more proficient on drums and piano and Tom is that way on guitar and bass.
After conceiving the project as a soundtrack to a club afterparty, the Canadian tandem – Jimmy Vallance and Tom Howie – delivered a six-song beauty of an EP. Loaded with lush, melodic, house-leaning nuggets like the ethereal title track – an earworm collab with ZHU – Desire offers an occasionally melancholy, yet timeless quality that creates a distinctly deep mood, rewarding repeated listens. We caught up with DJ/musician/producers Vallance and Howie to discuss their approach to the EP, their creation process and, of course, some tech. DJ Times: How have you guys spent the lockdown time? It’s turned out to be a very strange time to be releasing an album. Tom Howie: It is a strange time indeed! We’ve been using the downtime to make more music in the studio. It’s the longest stretch in seven or eight years that we haven’t been on a plane or traveled somewhere for a show, which definitely feels a little weird. We miss the connection with audiences, but we’re trying to make the best of it and get lots of work done in the studio. It’s nice to be able to really sink into a rhythm uninterrupted and explore creatively. DJ Times: What was your approach to this new release, Desire? Jimmy Vallance: It happened naturally and sort of coalesced around the concept as we were making it. We made most of it while we were on tour with our band in support of our last album, Battle Lines, and we were playing lots of after-parties and DJ sets, just the two of us, and wanted to make some dancefloor-focused tracks to play during those sets. Once the track with Zhu came together, and as we started writing the lyrics to the other songs, it seemed as though we were writing about “desire” and its many faces… Howie: How it can set you free or lead you to ruin, how we project our desires onto others, where these desires come from and what chasing after them really means, etc., etc. And we had always wanted to make the EP flow together like a DJ set, because we were making the tracks for that purpose. So the concept kind of formed as a process of making the music. It was a really fun way to have a bunch of tunes come together and we are proud of the cohesiveness of it. DJ Times: On the title track, how did your collaboration with Zhu work? Howie: We met Zhu on Holy Ship! a few years ago when we were both playing, and we hit it off backstage. He’s a really great guy. We kept in touch after that and we had booked a studio in L.A. for the few days off we had between shows. He was in town and we just linked up to see what would happen. Things really flowed well and we got most of the track together in that one session. 18
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DJ Times: What’s the DJ background of the two of you? Howie: Jimmy has been DJing since he was 15. He got into trance first and then found his way to other styles. I didn’t learn to DJ until I started going to warehouse raves in Brooklyn – so, around age 21, 22. We both had fake IDs in high school and were playing clubs downtown during the week. I was in rock clubs and Jimmy was at more typical nightclubs.We’d both show up to high-school art class – the only class we shared – tired and hungover during the week. We always respected each other as the other music guy really “doing it,” or so we thought back then. DJ Times: At what point did you become comfortable DJing in front of a crowd? Howie: Jimmy learned his chops doing those opening sets and so was always comfortable in front of crowds from then on. I was already a seasoned performer by the time I started performing as a DJ, so I was more comfortable with being in front of people once I had gotten my basic mixing chops up. Also, I got to learn all of Jimmy’s tricks from years of doing it! But we started DJing together at after-parties in Brooklyn where everything was a little sloppy and everyone quite forgiving, and everyone was just focused on having a really great time. DJ Times: How does Bob Moses prepare for its club or festival DJ sets? Vallance: We’re both always listening to tons of music and saving things in playlists. Now with the way that Spotify, Apple Music and Beatport are organized, listening and saving tracks for
Lucas.Mk
Bob Moses: (from left) Jimmy Vallance & Tom Howie. Oh Dag Yo
Electronic Duo Bob Moses Makes Music for the Afterparty & Much More By
Jim
Tre m a y n e
later is super-easy and seamless. We also love to check out vinyl shops whenever we can – and if we hear stuff we love, we will buy it and record it, so we can play it digitally later. We’ll usually play each other tunes and come up with a basic vibe we want to go for beforehand, depending on the venue and the lineup or where we are. But generally, we just wing it. Howie: A lot of choosing tracks is what we feel in the moment based on our interaction with the crowd. We know that most of the time we will play a few of our original tunes, and generally we want to keep our sets within the range of what will fit with those tunes. But a lot of the fun of DJ sets is being able to go where you feel like going and not be stuck to a set list. DJ Times: When you play a live show, as opposed to a DJ gig, what gear are you using onstage? Vallance: When we play a live set now, it’s with our band, so that is a big operation. We have a crew of a few people doing monitors, in-ears, running playback, front-of-house, etc. Beyond the instruments and amps for bass and guitar, and the live vocal mics, we have a live drum set mic’d up, as well as triggers on several drums and auxiliary pads triggering various samples and loops from each song. My keyboards are linked through to the two laptops running Ableton we have off-stage – one main one and one backup – which cues all the different keyboard sounds and drum triggers for each song. Howie: Each duplicate system is linked through a device that will immediately and seamlessly – in theory – switch to the other one that is mirroring it, in case that the first one fails. It’s also cueing a lot of the lights and visuals. We have one of our crew running that during the show to make sure it all goes well. Basically, it’s a big operation that would take a lot more time to explain the inner SUMMER ISSUE
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DJ Times: Which producers are exciting you now? Howie: Durante is really great. Tibi Dabo is awesome. Romare makes super great stuff – also Rival Consoles. We just love all of them and the music they make. There are many more, of course, but those are some that come to mind. DJ Times: Which producers influenced you in the beginning? Vallance: As far as who influenced us, tons of people, but when we were starting out, Francis Harris did a lot. Also, Nicolas Jaar, Weval, Black Light Smoke, Maya Jane Coles, Jamie XX – the list could go on forever... DJ Times: Which DJs impress you? To you, what makes a great DJ? Vallance: Daniel Bell, Ricardo Villalobos, Sasha, Four Tet, Marcel Dettmann, Seth Troxler, Lee Burridge. The list goes on, but those are some that immediately come to mind. A great DJ is someone who has their own style, but that takes you on a great journey that is filled with moments expected and unexpected. All of these DJs do that really well every time we’ve seen them. DJ Times: What’s in your studio? Howie: We use Ableton to write and record, and we mix in Logic or Pro Tools. We sometimes track vocals in Pro Tools as the playlisting functionality is great. We use a [Universal Audio] Apollo 8 interface. We have our synths routed through an Allen & Heath ZED-10FX. We use a Sonic Summarizer by Vintage Tools for summing. We 20
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Oh Dag Yo
DJ Times: For a DJ gig, what do you require in the booth? Vallance: We’ve had various setups through the years. We started running Ableton Live with clips of all our own music and then having live vocals and guitar running through an Allen & Heath ZED-10FX mixer, playing our sets that way. We also used [Native Instruments] Traktor Kontrol vinyls at one point. Now we use two Pioneer CDJs with USB and a Pioneer DJM-850 mixer. We also have a laptop with an Ableton project open with vocal and guitar processing on two channels and a [Universal Audio] Apollo Twin interface. We put guitar and vocals in channels 1 and 2 on the mixer, and then the CDJs in 3 and 4. We have made instrumentals of our songs without the vocals and guitar in them, so that we can play them on the CDJ and Tom can play the vocals and guitar parts live. Then we can also just DJ back-to-back and we can choose to play our own songs whenever we feel like it. Howie: We use a pair of headphones to mix and then I have in-ears that I can put in for when I’m singing, and I use the cue/ mix blend function on the mixer to get the blend of my vocal and the track right to make sure I can hear himself and sing well. There was a bit of a learning curve, in terms of making this new system work, but now that we are in the flow we absolutely love the flexibility it provides.
“ W E S TA RT E D D J I N G TO G E T H E R AT AFTER-PARTIES IN BROOKLYN WHERE EVERYTHING WAS A LITTLE SLOPPY AND EVERYONE QUITE FORGIVING.” —TOM HOWIE
Lucas.Mk
workings of, but it’s a lot of fun once it’s all running smoothly!
have a Brent Averill Neve 1073 clone for a pre-amp, which we love. Vallance: For synths, we believe in “less is more” and really getting the most out of each one. But we use, amongst others, a Moog Subsequent 37, Korg Minilogue, microKORG, OP-1, Nord Lead, [DSI] Prophet 08, MFB 522, Bolsa Bass by Critter & Guitari, and a whole bunch of guitar pedals that we love to run things through to give them a unique sound. For plug-ins, we use a lot of the Waves bundle, Native Instruments, Soundtoys, XLN Audio RC-20 Retro Color, Valhalla DSP Reverbs, FabFilter and some others. For monitors, we use KRK V8s with a sub. That’s a good snapshot of most of what we use. DJ Times: Is there a studio product that you’re especially loving now, one that helps you get unique sounds? Howie: The Sub 37 and Minilogue for synths and Valhalla Reverbs and Soundtoys plug-ins are all fantastic, and we use them on almost everything we do. DJ Times: What’s the creation process for Bob Moses? How do you two work together? Vallance: Sometimes we’ll start an idea from scratch, but more often than not, we’ll bring an idea in to the other person in some form. Whether that is a loop of drums with a basic chordal/melodic idea, or sometimes a song on guitar or piano, or a melody idea on its own. Or sometimes it’s just an idea like, “Hey, I like this track – we should make something sorta like it.” And then we’ll basically just collaborate on it back and forth until we either get stuck or finish it, or at least get
it to a place that we know what needs to be done to finish it. Howie: Like if it has a scratch vocal and we know we have to re-cut real vocals. We’ll take turns at the computer editing, or recording the other person. Basically, we’ll let one person take the lead for a bit and guide them and then switch off, or if one of us is onto something just make suggestions. We sort of mind-meld and often end up finishing each other’s musical sentences, so to speak. DJ Times: What do you think it’ll be like for DJs and electronic musicians when we can begin to gather again? Will fans still tune into the live-streaming mixes? What future do you see? Vallance: We think that once the world opens back up, people are going to be so starved for connection and interaction that it’s going to be one of the best years ever for live music and events. We can’t wait! DJ Times: How do you see festivals and club venues adapting/evolving? Howie: Well, hopefully the government can offer them some support and help them get through until we can gather with them again. Sadly, some won’t survive, which sucks. We really don’t know what the right solution is or how it’s all going to work, but all we can say is we hope for the best and we hope that as a community of musicians, producers and music lovers we can all come together to support each other and carry us through this horrible mess we’re in. DJ Times: What’s next for Bob Moses? Vallance: We are working on new music and patiently waiting for the day that we can travel the world to play for our fans again. n
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J.Espinosa: Red Bull 3Style World Champ, 2019
Three Recent DJ-Battle Champs Offer Their Winning Formulas
PREPARING FOR BATTLE By Josh Kerman
DJ Throdown: DMC U.S. Champion, 2018-19
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Well before the current pandemic prevented DJs from performing before live crowds, the DJbattle scene had begun to dramatically evolve from its 1980s origins – from community centers and parks to packed clubs and, eventually, streaming platforms. Beginning with straight-up tricks and general turntable wizardry, the earliest competitions – at New York’s New Music Seminar, for example – resembled street battles, complete with pointed challenges and dis-filled routines. Over time, we’ve seen technologies improve, competition rules mutate, and even platforms change – online battles have become more prevalent. So for jack-flash turntablist/battle jocks looking for a competition, get your practice in… because, in the short-term, at least, it seems like the streaming world is where the battles will be taking place. If you wanna be crowned a champion, you’ll have to tighten up your set and get your stream on. As it stands, we have three main DJ competitions: the DMC/Technics World DJ Championship; the Red Bull 3Style World DJ Championship; and the Goldie Awards. And, given the current circumstances, what’s the status of each? This year’s Red Bull 3Style world-final event, set for this past April in Moscow, was postponed to a yet-unannounced later date. For the venerable DMC title, this year’s entire competition (national championships and beyond) will be hosted online with the world titlist announced on Nov. 30. At presstime, there was no word yet about if or when a 2020 Goldie Awards event will happen. Some History: In 1985, the concept of DJ battling as a seasonal tournament was established. A standard for quality was officially set: From U.K.’s Disco Mix Club, the DMC World DJ Championship was born and it became a DJ league to aspire to. A litany of legendary champs – from Cash Money, QBert, and Mix Master Mike to A-Trak, Craze, and the late Roc Raida – made their names at that celebrated event. Originally a vinyl-only battle, the event in 2011 began to allow DVS like Serato and TRAKTOR.
Three Recent DJ-Battle Champs Offer Their Winning Formulas
Buck Rodgers: Goldie Awards Beat Battle Champ, 2018
Over time, DMC added a few more DJ competitions: DMC World Team Championship, in 1999; DMC World Supremacy Championship (a head-tohead knockout battle), in 2000; and the DMC Online Championship, in 2011. Of course, before too long, other outfits got into the game. In 2010, Austrian energy-drink maker Red Bull introduced its version – the 3Style World DJ Championship, which required combatants to play three genres of music within a 15-minute set. As a global brand, Red Bull also produced finals events in some very diverse locales – from Vancouver and Paris to Baku, Azerbaijan and Santiago, Chile. Then, in 2017, DJ A-Trak (the 1997 DMC World Champion) founded a new battle, The Goldie Awards. Based in Brooklyn and split into two categories, this competition features both a beat battle and DJ battle. Unlike the other DJ competitions, there are no restrictions on equipment that the participants can use. The Participants: As these are some of the most sought-out DJ battles in the world today, we spoke with a champion from each competition for some battle tips and to compare the events’ similarities and differences. The champs include: Washington, D.C.’s DJ Throdown (aka Ross Volpe), the two-time DMC U.S. Champion in 2018 and 2019; the Austin, Texas-based Buck Rodgers (aka Jordan Rodgers), the Goldie Awards Beat Battle Champion in 2018; and San Francisco’s J.Espinosa (aka Joseph Espinosa), the Red Bull 3Style World Champion in 2019. Advice: The first piece of advice that they’ll each tell you can be summed up in three words: work, confidence, and patience. Says Buck Rodgers: “In order to succeed, you’ll have to put in the work and commit the time to really hone in on the craft.” Throdown advises DJs to develop plenty of patience because it takes time, dedication, study, and an endless amount of practice. Equally as important is being calm and collected. “Sometimes the nerves can get to you,” says J. Espinosa, “and all the practice and confidence you had right before you walk on that stage can disappear instantly.” Of course, for DJs looking to enter any of the battles, it must be noted that there are some key differences between DMCs, Goldie Awards, and 3Style that you’ll want to consider right away. “They each share many similarities,” says Throdown. “They each tend to concentrate on different aspects of DJing and have adopted separate formats that are very distinctive from one another.” The DMC competition prizes technical skills. That means scratching, beat-juggling, pitch control, tone play, etc. However, Red Bull’s 3Style is very different from DMC. It’s less about the technical aspects and more about selection, party-rocking, and, of course, incorporating at least three different styles of music. Says J. Espinosa: “It’s a well-rounded competition where you gotta bring the total
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THE PROCESS: DJ THRODOWN’S SECRETS TO VICTORY For starters, I don’t rush anything unless it is absolutely necessary. I’ll usually dedicate six to eight weeks on a single set. These are my steps: Step 1: Brainstorm various musical ideas and overall theme. Lots of notetaking is involved in this step. Step 2: Hunt for all the necessary sounds, tracks, loops, and samples throughout your music collection and the internet… also creating some of your own material from scratch, if necessary. Step 3: Assemble it all in a production software. I prefer Ableton Live. This is the alternative to simply moving your pre-existing tracks to a new Serato crate. I see more and more guys like me go the extra mile to produce and export routines… sort of like creating your own custom battle records. Step 4: Experiment with your newly cooked-up material to explore the many different possible patterns and ideas. Find what works and what doesn’t.You’ll end up with way more material than you need, so boil it down to the best of the best. Step 5: Make any necessary edits or adjustments to the material, and mix down all the audio. This portion of the process takes as much if not more time than any other. The bass has to knock, and the scratch samples need to come out loud and clear, and the overall volume of the set has to sound consistent throughout. It makes a huge difference to both the crowd and the judges – believe me! Step 6: Once your material is set in stone, you gotta practice it hundreds of times – this is not an exaggeration. You might know your routine pretty well, but once you get up on that stage, whether it be a physical or virtual audience, the following will happen: You really start to feel the pressure The lights are blinding on a physical stage For online battles, real-time viewer counts fluctuate and are easily distracting The monitoring might be weird Something might happen that distracts you for a split second, and all of a sudden you don’t know how to recover in the middle of your set So, you have to know your routine so well, inside and out, that you just know how to run on autopilot, regardless of what unexpected circumstances may arise. You basically have to experience every single mistake that you can possibly make throughout the course of your set, and find a solution for recovery in each one of those situations, and practice all of those, too. It helps to practice on different equipment, and in different settings. You definitely want to plan your set to end about 15-20 seconds short of the allotted time, in case you end up having to backpedal in the middle of your routine to recover and still not run overtime… because they’ll cut you short if you go over the time limit. Step 7: Try not to overthink anything during your performance. Live in the moment and have fun.
package to the battle.” However, the Goldie Awards, the most recent of the competitions, is positioned to sit right in the middle, hence the two battle categories, which bring additional artists and versatility to the competition. In the end of both the DJ and beat battles, the finalists go head-to-head. Judging the Judges: Now that you know which competition calls for what style, as a participant, you should focus on impressing the (physical or virtual) judges and audience members. With more experience, it’ll get easier to handle the pressure when stepping on the stage, or in front of the live-streaming camera. Most battles have criteria on which the contestants are judged. “You’ll want to do your homework,” says Rodgers. “Also, it never hurts to do a background check on the judges, so you can find a way to relate to them.” There are plenty of important elements to the set outside of technical abilities, such as your stage presence and crowd response (whether it’s a physical audience or comments in the chat box). It is also critical to focus on originality, musicality, composition, humor, track selection, and much more. Recalls Throdown: “My homie Trayze told me years ago, ‘You know when you’re watching a battle and the DJ pulls something off that makes you go, ‘Oh, shit…?’ Well, you wanna cram as many of those moments into your set as possible.’ I look at it as serving a Thanksgiving dinner with all the fixings.”
Q&A for the 3 Champs WHAT GEAR DO YOU USE FOR A BATTLE? Buck Rodgers: Two SL-1200 Technics turntables, a Pioneer DJ S9 or Rane Seventy-Two mixer, Native Instruments Maschine Mk3, plus Serato DJ and Maschine software. DJ Throdown: Two Technics SL-1200 turntables, Rane SeventyTwo mixer, Serato DJ software J.Espinosa: Two Pioneer PLX1000 Turntables, Pioneer DJ S9 mixer and Serato DJ software. For shows, I currently use the same gear plus Phase controllers.
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HOW MUCH TIME DOES IT TAKE TO BUILD A ROUTINE? Buck Rodgers: Now that I have my formula, I can build routines rather quickly. The two videos I did for Serato were literally made the night before we shot the routine. Depending on how in-depth I’m trying to get, I can generally make a two- to fiveminute routine in a day or two. DJ Throdown: In my experience, it takes six to eight weeks minimum to build a winning battle routine. Some people might think it sounds crazy to dedicate that much time to a set, but there are so many stages involved in the process. (See sidebar for a breakdown of Throdown’s process.) J.Espinosa: Creativity comes when it wants to. For my winning qualifier set at world finals, I put half of that together in a single day. Some parts I would be stuck on for weeks. I’ve spent months working on routines.
WHAT ARE THE MOST DIFFICULT ASPECTS THAT YOU GENERALLY EXPERIENCE IN EACH BATTLE? Buck Rodgers: Not to overthink things… do what feels right. Don’t let others get in your head and make you second-guess. DJ Throdown: Getting prepared in time. I put tons of work into my sets, and it can be really hard to get everything worked out by the deadline. Is it better to put less work on yourself in order to be ready, but risk presenting a less action-packed set than the next guy? Or is it better to strive for the greatest set you can possibly conjure, but risk being overly ambitious and coming up short when it’s time to battle? The more experience you have competing, the more familiar you’ll get with your own individual needs and workflow. J.Espinosa: Staying calm and not letting the anticipation get to you. When the nerves get to me, I just tell myself, “J, you know what you’re doing, and you know what you came here to do…now do it.”
WHAT ARE THE MOST IMPORTANT THINGS FOR AN UPSTART TURNTABLIST TO LEARN? Buck Rodgers: Always start with the basics… the basics being baby scratch, transform, stab, chirp, and flares. Start slow and build up your speed. Once you lose control of the scratch, stop… reset… and repeat. DJ Throdown: Learn the basic turntable/crossfader techniques, and practice having patience. Utilize YouTube tutorials and DJ-battle videos. There are DJ schools, both brick-and-mortar and online. You can even holler at your boy – I’ve been molding upand-coming DJs into champions since 2015! J.Espinosa: Be yourself! Find the equipment you feel most comfortable on, and go crazy. There n are no rules – just be dope!
MAINSTAGE HERCULES DG400BB LAPTOP STAND The Laptop is the hub of the modern DJ rig. You’ve spent considerable time and money finding the right one for you, so now the question is: What do you put it on? The Hercules DG400BB laptop stand is a heavy duty steel stand that goes beyond the usual “U” shaped stand and can hold up to 22 pounds. The DG400BB provides a level of safety, stability and adjustability far beyond most others. www.youtube.com/watch?v=kwRtpVLThAY
SIR IVAN MEGAMIX COMPETITION - WINNERS ANNOUNCED! From all over the globe, the winners of Sir Ivan's MegaMix competition have been chosen. Esteemed judges Paul Oakenfold, Bassjackers, DJs From Mars, Tenishia, and Exodus picked five very talented DJs and each have received $1,000 cash for their work. Sir Ivan is also donating an additional $5,000 to Insomniac’s Rave Recovery fund. PROFESSIONAL PERFORMANCE IN A SMALL PACKAGE The JBL EON ONE Compact packs a professional-grade speaker, a full-featured 4-channel mixer and Bluetooth control into our most compact battery-powered PA, weighing in at just 17.6 pounds. Sound your best with premium effects and presets that you can customize using the JBL EON ONE Compact Control app. www.jbl.com/portable-pa-systems/JBL+EON+ONE+Compact.html
www.sirivan.com/megamix-contest
Despite the downturn in business due to the pandemic, some fortunate DJs are out there doing select gigs. Fully aware that the industry has quite a way to go before we’re approaching “normal” again, we connected with a few mobile entertainers to catch a general, anecdotal vibe about how things are progressing. Joe Kalamaras of Sacramento Wedding DJs, a veteran of over 2,000 wedding events, is one jock who has continued performing throughout the state of California. As you might imagine, his approach to gigs have changed, by necessity. “We do lots of sanitizing of microphones and our other gear,” says the longtime entertainer. “We also perform new guest interactions with a program of our own, called PlaysYourSong [a DJ text request app], for distanced requests. It allows DJs to print their own QR code, place them near guests, and then easily receive requests from guests from a distance.”
Indiana-based jock Blake Eckelbarger (aka DJ Sticky Boots) says he’s fairly lucky there in his home state regarding restrictions, although his company will pay for it in the long run. “Our local counties also have mask orders, but they’re not really enforceable,” the South Bend-based jock says. “A total of 250 guests cover all but the largest weddings I’ve got, so I’m back in business for the clients who are comfortable with still having their events.” Sticky Boots had his first actual wedding of the year 2020 back on June 6, which included only 80 people. “At that time, we were limited to 100 maximum guests, but with more weddings since,” he says. “We’re now doing our part to be safe with wearing masks, taking digital requests, and keeping separate mics on stands for speeches—with sanitization between uses and a sanitizer for anyone that wants it at our DJ booth. “We’ve also had a lot of weddings postpone as far as 18 more months out. Luckily, most of our guests are in fact postponing, and not cancelling altogether, although a few did that as well. They’ve also re-hired us for a small backyard celebration, with just 25 people on their actual wedding date in a couple weeks. Our main reception, meanwhile, will be next July with 300-plus people.” Sticky Boots believes that it is the DJ’s job to enforce any COVID regulations. “But I’m happy to make announcements as an MC,” he says, “to remind people to be responsible and respect social distancing… at the client’s request.”
But for Cody Reinheimer, a DJ in Durango, Col., it’s all about change of venue. “Outdoor gatherings on private land,” he says, “is how we do events this year.” As a mobile DJ, how are you dealing with current state/ national mandates for parties and gatherings? Do you have any social-distancing game ideas? Are brides cancelling venues and doing backyard parties/ weddings instead? Is it actually a DJ’s job to enforce mask protocols? According to Kalamaras, who’s been working weddings for over three decades, his business has evolved into an interactive brand, combining a storytelling style with a soundtrack. “With COVID in our lives, the emphasis actually continues to shift towards interaction,” he explains. “Since COVID entered our lives, 90-percent of our work has postponed into late 2020 and beyond. The remaining weddings have both scaled back and transitioned to private estates.” Kalamaras says his role has encouraged distance and safety, without sacrificing the personal nature of what his company is doing. “We sanitize label mics before applying them to the groom and even an officiant,” he explains. “We only use a microphone on a stand for toasts, and use a sanitizing wipe before inviting up each 26
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presenter. “Prior to speeches, I ask those speaking to refrain from touching the microphone or stand and, if they do, then I wipe it down before introducing the following person.” Kalamaras says game ideas he now integrates include “Kissing Couples,” “Centerpiece Giveaway,” “Newlywed Trivia,” “Newlywed Mad Libs,” a drinking game named “Never Have I Ever,” and a tableside elimination contest to determine the longest married couple, which transitions into the shoe game for that couple and the newlyweds… side-by-side. “We have plenty more, but those are a few,” he adds. “During COVID weddings, I’ve noticed very few wearing masks and I don’t believe that it’s our job to enforce masks, but it’s our job to lead by example.”
Pennsylvania’s Scott J. Goldoor of Signature DJs says the pandemic has been especially difficult for those, like him, who work gigs in the Philadelphia area. “The three stages of re-opening are red, yellow and green, much like a traffic light,” explains the East Norritonbased jock. “The southeastern part of the state, which is where we’re located, just went to the green and final phase—basically allowing all businesses to re-open. “The exception here is in Center City Philadelphia, where they retracted the opening of this green phase because of the recent spike and the increase in cases. They’re now targeting August 1 for this phase.” In regard to performing, Goldoor says they’ve seen some signs of life. “No pun intended,” he said with a chuckle. “We’ve recently booked a few pool parties, plus a couple smaller outdoor patio events for a couple dozen people here. We’ve also had a few more weddings scheduled for the end of this month. Most of these are at bed-andbreakfast locations, with outdoor pavilions, tents and the like, which lend themselves toward spreading people out. “But most of the weddings that had scheduled are postponing until later this year, with a few in 2021, plus at least a few other events into 2022.” Goldoor claims Signature DJs has had over 100 weddings reschedule so far, and fortunately had only those four or five weddings cancel altogether. “As for the mask protocols—having
us enforce or make these untimely announcements—I don’t feel it’s solely our responsibility,” he says. “But it’s important to work together with our venues, country clubs, hotels, etc., to ensure safety is of paramount importance and comes first.” Over in Citrus Heights, Calif., Steve Schon of Function 45 Event Entertainment proudly says they’ve been in business for over 25 years. And as the owner and lead MC/DJ admits, he’s never seen changes in the industry like he’s seeing now. “In order to stay on the move and stay in business, we have to be chameleon-like,” explains Schon. “We’re dealing with all the changes – like a no-dancing rule – by engaging guests in more interactivities, a bit more story-telling, plus taking musical requests from afar with a request app. “But here in California, we also encourage couples to consider private estate and backyards, where the rules are more relaxed. The venues are the ones doing the cancellations, as they’re now being threatened with fines if they don’t comply – yikes.” So far, he’s performed five wedding receptions since March, all without incident or disagreement over masks. “Do I think it’s up to a DJ to enforce that rule? I don’t, but I’m also a team player,” Schon says. “But if my client feels it’s absolutely important, I’ll do what I can to encourage it. This could stressful enough for each of our couples. “I encourage everyone to do their best to tuck your pride, and leave everyone feeling a little bit better than when you n found them.”
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MAKING TRACKS STUDIO…HARDWARE…SOFTWARE…
PRESONUS: 1-2 STUDIO PUNCH By Wesley Bryant-King
Over the years, I’ve had the pleasure of sampling some of the gear from Baton Rouge, La.-based PreSonus Audio Electronics. The company has carved out its spot in the market with a specific array of gear that ranges from the basics, like audio interfaces and both live and studio speakers, to some niche products like the FaderPort studio control surfaces that I reviewed for this magazine not long after their introduction. Back at Winter NAMM 2020 this past January, I got a peek at some new gear, and recently had a chance to run some of it through its paces: the newly upgraded Eris E8 XT active studio monitors, and the very unique ioStation 24c that doubles as an audio interface and a studio controller. Let’s take a look.
Eris E8 XT
If you’re serious about music production, there’s at least one item in your audio arsenal that’s a must-have, and that’s a decent pair of studio monitors. If you can’t hear your mix and hear it accurately, the rest of your work is for nothing. And as I’ve written many times, I believe that monitors with 8-inch main drivers are about as small as you generally want to go without a dedicated studio subwoofer (and you might still want one even then). As it happens, 8-inches is the biggest in the Eris line, PreSonus’ mainstream monitor series, and yet they still run right about $260 each on the street – not bad. The company recently upgraded the Eris E8 — hence the “XT” designation on the end of the name. PreSonus claims that the units now have a lower lowend (to 35 Hz), and a wider sweet spot that makes two-people-in-the-room monitoring less of a concern. What I can say subjectively is that they sound pretty awesome; the sound is super-crisp and compares quite favorably to the various studio monitors I regularly use in my home studio. As always, I use a room-tuning system to evaluate monitors and correct for my sound-treated (but still acoustically imperfect) room, which also lets me see how the monitors perform. Reasonably flat across the range, on the low-end, I start to see some drop-off at 50 Hz, and they cross the usual -10 dB threshold right about the promised 35 Hz. We could debate whether that’s low enough for critical low-end work, so if that 35 Hz floor leaves you wanting, then you could always opt for one of PreSonus’ Temblor T10 studio subs. That’ll get you down all the way to 20 Hz, according to the company’s spec sheet, but it’ll run you another $430 or so, street price. In any case, the Eris E8 XT units offer triple inputs (RCA, 1/4-inch TRS, and XLR), and the back panel sports a low cut-off switch, continuous mid- and high-frequency trim to plus/minus 6 dB, and an “acoustic space” switch for compensating for wall or corner placement. To top it all off, the Eris E8 XT is certainly a handsome devil sitting on my speaker stands — great looks, great sound and a great price seems like a winning combination. 28
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Eris E8 XT: Great-sounding, affordable.
ioStation 24c
Every studio needs some way of getting sound in and out of the computer, so a decent quality audio interface is a must-have for DAW-based music production work. But if you’ve spent any time working with a DAW (digital audio workstation), then you know that reaching for the mouse for every Ace Interface: PreSonus’ single operation can get exceptionally tedious. ioStation 24c. It was with all this in-mind that PreSonus created the ioStation 24c. The “c” at the end of the name is your clue that this unit is one for today’s newer computers with its USB-C interface — perfect for late-model Mac and MacBook users like me. It’s a basic, 2-channel-in/2-channel-out interface, which is adequate for many (and perhaps most) home-studio use cases. (You won’t get enough inputs for things like mics and hardware synthesizers, or enough outputs to handle dual studio monitors by itself for A/B comparisons — but you may have no need for such things.) Speaking of mics, while arguably more of interest for genres other than EDM, the ioStation 24c uses PreSonus’ XMAX mic preamps, while the company claims that its high-quality ADCs provide solid dynamic range to make the most of what you record. But it’s not the audio interface that makes the ioStation 24c unique; it’s the fact that it also puts all your transport controls right at your fingertips, along with an array of command buttons that are designed to make using your DAW much easier. Of particular note is the cool, motorized fader on the unit; because it’s motorized, it’ll adjust itself to match what the software is doing as you navigate tracks, and tactile control sure beats using a mouse. The “Session Navigator” provides access to controls designed to make it easier and faster to navigate the ubiquitous timeline that’s at the core of any DAW. As with any control surface, the ioStation 24c can take some getting used to, and initially anyway, will likely slow down your workflow more than it speeds it up. But the more I used it, the more I liked it, and the more efficiency I realized from using it. Even better, I have to say, the unit looks pretty sexy sitting on my studio desktop. The ioStation 24c supports both Mackie Control and HUI protocols, which translates into the unit working well with the leading DAWs, including Pro Tools, Logic Pro X, and my own go-to DAW, Ableton Live. Even deeper integration is provided with PreSonus’ own Studio One DAW software, a version of which is included. PreSonus is also bundling what they call its “Studio Magic” collection, which includes a number of virtual instruments and effects from major brands, and now even includes a copy of Ableton Live Light — a plus, in my view, for wouldbe EDM producers who might be looking to the ioStation 24c as a convenient, all-in-one way to get started. You can pick yours up for right around $300 on the street.
SOUNDING OFF PLAYBACK…PRO AUDIO…PROCESSING
PRIME GO: DENON DJ’S GAME-CHANGER By Wesley Bryant-King
If you think you’re experiencing a bit of déjà vu right about now, well, perhaps you are. In the last issue, I reviewed a Denon DJ PRIME standalone controller, and here I am again — reviewing a Denon DJ PRIME standalone controller. But this one — the PRIME GO — is just a little different, a little envelope-pushing, and whole heck of a lot of fun. So, why so much from Denon DJ? It was apparent back at the Winter NAMM show this past January that inMusic — parent company of Denon DJ, as well as DJ brands Numark, Rane, and (as recently announced) Stanton DJ as well — was investing in the DJ market in a very big way. But then, that’s been apparent since they started collecting DJ brands like some people collect sports cars. At NAMM, however, the company focused on Denon DJ for its splashiest announcements, namely how it was extending its successful PRIME family into two new market segments, first
with the previously reviewed PRIME 2 (which the company prefers to call a “smart console”), and second, with the subject of this review, the PRIME GO. While the PRIME 2 was Denon DJ’s attempt to bring the PRIME experience to DJs at a slightly lower price tier, the PRIME GO (I would argue, anyway) is less about establishing a foothold at a lower price point, and more about carving out an interesting niche — and claiming it for themselves.
First Impressions
To be honest, when I opened the box of the PRIME GO, I was expecting a PRIME controller that was “yet even smaller” and little else. Judging by the size of the box and its light weight, I was also expecting a lot of compromises, a lot of features to be stripped out, and to be sort of yawning by the time I plopped it on my review desk. I was in for a surprise on many levels.
Yes, the Denon DJ PRIME GO is small; it’s just over 16-inches wide, under 11-inches deep, and stands just 2-inches or so off the desktop. It’s slightly chunkier than I expected; right about 8 pounds, in fact, which is neither that heavy, nor that light. But I would soon learn why that is: a battery. It didn’t really click until I plugged the unit in to AC power, and noticed that there was a battery-charging light illuminated, that the PRIME GO has the word “go” in its name for a very good reason: there’s a rechargeable lithium-ion battery is lurking inside, ready to support a brand-new set of use cases — use cases that at the moment, only the PRIME GO can support. Imagine jumping into an Uber or Lyft for a ride to your next gig and organizing your crates for the evening’s set while in the back seat on the way there. Or perhaps kicking back poolside, umbrella-adorned cocktail nearby, setting up cue points for some new tracks, or practicing some mixing techniques, with nothing more than the PRIME GO, a pair of headphones, and your tracks on a USB key. These are the sorts of situations for which
the PRIME GO is made. And sure, if you want to set up your DJ booth at a party with no power nearby, that might be a possibility, too – although the four-hour battery life may limit you. But it’s not just the battery. Denon DJ has equipped the PRIME GO with its latest Engine OS software, which you access through the unit’s gorgeous 7-inch touch screen. It has the same multi-touch support that the others in the PRIME series provide. You even get internet connectivity (wired or WiFi) right on the unit, which at press time gives you the ability to use the Tidal streaming service, with other services promised for the near future. While the jog wheels are, as you would expect, downsized considerably, that’s one of the few compromises on the PRIME GO. You do have dual mic inputs, making it particularly useful for the mobile-DJ market; you get full XLR master outs (and RCA as well) and separate booth outs (in ¼-inch), which means it’s designed for pros. There’s an aux input available. You also get a nice set of effects to use, along with both high/low filter and a “wash-out” effect, what Denon DJ refers to as “sweep effects,” which can be individually applied to each (contnued on page 40)
PRIME GO: Great functionality for its size.
Battery-Powered: Portability & performance.
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MOBILE PROFILE CAREERS…INNOVATIONS…SUCCESS STORIES
CALI DJ MIXES MOBILES & RADIO By Stu Kearns Visalia, Calif. – When the pandemic hit, Cali DJ Randy Hendrix didn’t diddle way his newly found free time watching Netflix. No, he made an effort to improve his business, Hendrix DJ Company, by working on his website and SEO tactics. “When this is over and brides start to book again,” he says, “I want to be the one they see when they Google my area.” Since then, the Central Valleybased DJ has been updating his promotional materials, adding T-shirts, pens, and pop sockets to the mix. He’s updated his logo, and is going through his equipment and cleaning it, while practicing his mixing, “and looking at more current clothes for events.” He’s also been updating his materials for schools for the fall, and looking into providing trivia events for more weekday cash. “I want to be the one that excels when we are out of this emergency,” he says. “A little work behind the scenes now will create big benefits later.” Hendrix does have the luxury of a full-time gig — and one that provides him unique advantages to make sure he comes out of the gate in good shape when the pandemic begins to wane. He’s a program director at a radio station, and has been at the same gig for 20 years — KCRZ/HITZ 104.9 and KVMI/My97.5. That, in itself, is a rarity. “The secret is to work for independent companies,” says Hendrix. “I’ve worked for the big corporations and lasted about as long as anyone else, which is usually three to five years.” He came to HITZ 104.9 in 2000 to do mornings, then did mornings and program-director duties for middays. Hendrix says it’s been a great help to his mobile DJing. “I program a Top 40 station and that helps with new music,” he says, adding that he’s aided by his Promo Only subscription, too. “But programming music on the air is different than a gig — at the gig, the crowd is in front of you and you can read the crowd.” On the air is different, indeed. For starters, he must contend with Nielsen ratings, just like TV stations. Says Hendrix: “You have to pull in 30
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Seasoned Vet: Randy Hendrix spun his first gig in 1982.
Shazam, Spotify mediabase numbers, plus streaming numbers, and listen to it and listen to it and use your gut, and hope you made the right pick.” One aspect of the radio business that Hendrix does love is promotions. “We dream things up and I make them happen,” he says. “We give away cash, gas cards, trips to Vegas, shows to Katy Perry, Jonas Brothers, Justin Bieber, Shawn Mendes. I have taken listeners on a limo bus to see the Raiders play in Oakland the last five years, and we take 40 listeners to a beach resort about two hours away for a weekend and put on a luau. It’s always something different in radio. The listeners become your friends, and the couples become friends, too.” A program director is one job that’s historically been less than secure. That’s why Hendrix’s 20-year tenure is so unusual. To drive this point home, iHeartRadio recently laid off thousands of employees. “I knew people who got let go at iHeart, and try and help them when I can if I hear of anything open,” he says. “It always makes my heart sink, but I learned early on working for a company like that, they use you until they don’t need you – and that’s it. I wasn’t surprised by the layoff. It happens every year usually about November. It’s all about keeping the company on the profitable side. If they need to keep the revenue up, they let a lot of people go and then – |
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boom – revenue is up.” Hendrix is a realist — in radio, you need to be. “I know it will happen sooner or later,” he says about his tenure ending. “I’m not looking over my shoulder, because I believe if you keep being creative and relative you will keep your gig.” And there’s always the mobile business to fall back on. “I know I always have the DJ service to fall back on full-time if I am out of a radio job,” he says. But there are challenges. He’s usually at the station for 10 to 12 hours a day, and then has to run off to meet with a bride and groom. As a singleop, he does it all. He’s been doing gigs by himself for decades. In 1982, he spun his first gig. It was his sister’s wedding and he used turntables, cassettes and Bose 802s – he was 12. “I like the weddings because everyone is happy, for the most part, and I get joy out of having a small part of making their day fun,” he says. “Whereas radio stations can be a drama pit most of the time… but fun, too.” For Hendrix, like many others, the pandemic essentially stopped his mobile business in its tracks. He’s done a small handful of gigs this year, with everything postponed until the fall. The current crisis, says Hendrix, recalls those post-9/11 and the 2008 financial meltdown. “This is about scared brides,” he says, “who realize down the road a
few months the world will not end, and reschedule within the next 10 months as not to lose the venue.” Getting back to his gear, Hendrix has, despite the economic downturn, begun to invest in some new items, as he recently picked up a pair of QSC K12 powered speakers. But he still has plenty of older gear, which, he insists, works just fine. “If you take care of it all,” he says, “it can last forever. I’m a firm believer that, if sounds good to you and your guests, then it doesn’t matter what it is.” His other PA gear includes Mackie Thump Series 15A active tops and a Thump18 active sub, Yamaha BR15 passive tops, Peavey PV118 subs, and QSC GX5 power amps. Though transitioning to Serato DJ software, he’s mainly uses Virtual DJ. He also uses a Behringer VMX1000 USB mixer, a Numark DJ2Go2 controller and a Shure BLX24/SM58 wireless microphone system. For lighting, he uses a variety of Chauvet DJ units, including a pair of Mini Kinta IRC LED lights, a CH-06 T-Bar Stand and a pair of Scorpion Storm FX lasers. Generally, his bookings rely on three components. He generates a good amount of business through Facebook (“you show a video and pics of you having fun with a client, and they want that”), word-of-mouth from old clients, and radio listeners who know he’s a mobile DJ. “That’s my tribe,” says Hendrix, “people who listen to and like music.”
SALES… MARKETING…SOLUTIONS…
BUSINESS LINE
GREAT MARKETING COLLATERAL IMPACTS SALES By Josh Volpe For mobile entertainers, properly designed business cards and banners are important to gaining new clients. They quickly communicate the key benefits of your business and services to potential clients in a visually compelling manner. That’s the value of marketing collateral. With many DJ companies, developing marketing collateral is imperative and plays an important role in the sales process. Besides business cards and banners, here are some other materials you can provide a customer: • Printed product or service information (i.e., brochures, flyers, postcards, etc.) • Educational whitepapers and event tips • Sales presentation visual aids (i.e., PowerPoints, videos, image galleries, portfolios, etc.) • Case studies and press releases • Infographics • Company awards • List of preferred partners and vendors • List of references, testimonials and previous clients • Press mentions and clip files • Price and package lists • Company and service fact sheets Marketing collateral should not be confused with advertising. How are they different? Marketing collateral is normally used later in the sales process, even though it can serve as a first impression. In most cases, companies will utilize their marketing collateral once their company has identified a potential client and they are being contacted for more information or it is being used during a consultation. Why High-End Materials Matter When consumers see high-end materials, it automatically conveys high-value services. If you are going to sell top-notch services, then
you need to deliver convincing evidence of your value to the potential end-user. In almost any business, the quality of your marketing strategies will determine the value of your services in the eyes of the buyer. In fact, if there is a large gap between the values of services between competitors, the difference will be made apparent to the consumer in the presentation, even if the end-product is the same. You will also want to make sure you provide value in your marketing collateral. In this case, useful information or infographics will tend to catch the most attention from potential clients. It makes an impact, as many people are visual learners by nature. If your company introduces knowledge to the client that they remember, they will also remember your company, and see you as an authoritative source of knowledge in your specific field. If a client sees nothing they can gain from reading your collateral, they will discard it mentally and physically. Hire a Professional Many DJs will take it upon themselves to create and design their own collateral. If you have a good understanding of using development tools, like Photoshop or InDesign, then you can probably get by perfectly fine with developing your own materials. This saves money, but it also can take up a lot of your time, which many business owners do not have. Some DJ’s can also have a difficult time conveying the proper message of their business, value, and services to clients. The challenge with the DIY route, when you do not have the knowledge of using professional tools or writing/ designing good content, is that any materials prepped with them look cheap and unpolished, which will reflect poorly on your brand trust-
worthiness that is so essential. Your logos, letterhead, business cards, and brochures can better represent you when they all look sharp and streamlined. In fact, your overall brand-marketing strategy looks much better when you choose to have professionally designed and prepared materials. To skimp on how you present your business only hurts your business over the long run. Branding-design professionals can also assist you in making all your marketing collateral consistent across all the different channels and mediums. They may even have some imaginative ideas about how to use your logo and collateral to increase ROI and profitability by transforming it into a branded product. When that happens, you can then use your collateral to sell or advertise your business much more effectively. If you are planning for any sort of growth, you absolutely need to have a variety of marketing collateral. Whether you are planning for a trade show, a B2C marketing campaign, mailing campaign, or just something to give away to potential clients – leave a lasting impression. Traditional print marketing collateral just provides the next level of reassurance to your potential audience. In conclusion, when you invest in your company with pride and intelligence, it will reflect in your market’s mind. Something simple, such as quality marketing collateral with an investment in design strategy, will go a long way so long as you don’t try for the cheapest option. Invest in something you yourself want to stand behind! Until next time, stay safe friends and remember that a Day Without Dancing Is a Day Wasted! Joshua Volpe is the owner of Rochester, N.Y.-based Kalifornia Entertainment. SUMMER ISSUE
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TRUE COLORS Roland Corporation 5100 S. Eastern Avenue Los Angeles, CA 90040 (323) 890-3700 www.roland.com
Users of the V-MODA M-200 headphones can now access new ways to customize their gear with the M-200 Custom Shield Kit. The shields can be customized with laser-engraved or color-printed designs, and they are available in six different color options: Atlas Blue, Rust Orange, Moss Green, Laser Red, Titan Gray and Brushed Black. Each M-200 Custom Shield Kit contains two customizable aluminum shields in one of those colors, along with 12 screws and a tailored screwdriver to easily attach the shields to the headphone.
SOUNDS OF SILVER Pioneer DJ Americas 2050 W. 190th Street Suite 109 Torrance, CA 90504 (424) 488-0480 www.pioneerdj.com Pioneer DJ has released the DDJ-SB3-S, a limited-edition, pure-silver version of the DDJSB3 2-channel controller. Like the original unit, the DDJ-SB3-S unlocks Serato DJ Lite (you don’t need a license key or subscription) and the controller’s intuitive interface is ideal for learning basics and moving onto more advanced techniques. The USB bus-powered unit includes the following features: Pad Scratch for easy, professional scratch performances; FX Fade for smooth mixing; built-in soundcard for plug-and-play by connecting to laptop using a single USB cable; mic input circuit for clear audio; and grab handles on both sides for easy carry.
READY SET GO ADJ Products 6122 S. Eastern Avenue Los Angeles, CA 90040 (323) 582-2650 www.adj.com
COLORS EVERYWHERE
American Audio’s APX12 GO BT is a portable audio system that is fitted with a pair of wheels, a retractable handle, two side handles and a tripod mount. It features a 12-inch, 2-way battery powered 200-watt active loudspeaker, as well as a 12-inch woofer with a 1.5-inch voice coil paired with a one-inch high frequency driver. The unit also includes an internal Class D module that provides 65 watts RMS of amplification for a peak power output of 200 watts. The APX12 GO BT is powered by an internal 700mA 12V battery that can run up to eight hours on a single charge.
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Chauvet DJ 5200 NW 108th Ave Sunrise, FL 3351 (954) 577-4455 www.chauvetdj.com Chauvet DJ has released the COLORband Q3BT, a full-size, linear quadcolor (RBBA) wash light that’s fitted with three zones of control. The unit features DMX, plus Bluetooth wireless technology, and users can control the COLORband Q3BT with a free BTAir app from any smartphone or tablet – no additional hardware needed. Quad-color LEDs allow for vibrant and warm color mixing. Users can access built-in automated programs via Master/Slave, DMX or optional IRC-6 remote. Multiple units can be power linked to save time running extension cords.
AUDIO…LIGHTING…STUFF
GEAR
SENDING OUT AN SMS RequestNow www.requestnow.io RequestNow allows DJs to interact with their audience via SMS, facilitating social distancing. RequestNow’s messaging system gives the DJ a dedicated local phone number through which guests can text their requests directly to the user’s account. RequestNow’s algorithm then finds the song, adds it to a list the DJ can read at their convenience, and automatically replies with a customizable text to let the guest know their request was received. DJs can send a thank-you message back that includes their booking info as well.
MEET YOUR HITMAKER IK Multimedia 590 Sawgrass Corporate Pkwy. Sunrise, FL 33325 (954) 846-9101 www.ikmultimedia.com Hitmaker: EDM is a new collection in IK Multimedia’s Hitmaker series of sound libraries. The collection is designed for all versions of the SampleTank 4 music creation workstation, which is available for Mac, PC, iPad and iPhone. The collection includes more than 100 new instruments, 1.6 GB of samples and 50 MIDI loops, featuring bassdrums, leads, synths and pads, as well as more than 400 original vocal samples that can be used in the production of dance music. According to the company, “all samples were created and processed with high-end studio gear to add warmth and punch.”
PEAS IN A PODCAST American Music & Sound 925 Broadbeck Dr. #220 Newbury Park, CA 91320 (800) 431-2609 www.AmericanMusicAndSound.com
THE KING AND AI algoriddim GmbH Königinstr. 33 80539 Munich, Germany www.algoriddim.com Algoriddim’s djay Pro AI is an update to djay for iOS that allow users to mix individual components of music live using artificial intelligencebased real-time music separation. The update includes the company’s Neural Mix technology, which is able to leverage the Apple Bionic chip for real-time playback by providing ultra-low latency sound quality. A new full-screen view allows users to interact with individual waveforms for drums, harmonic and vocal components per track, side by side. Additional features include Intelligent Automatic Mixing and on-screen intuitive sliders and controls.
The Reloop Spodcaster Go is a professional USB podcast microphone that comes with a matching USB cable and a functional carrying bag. The microphone sports a cardioid polar pattern that cancels out much of the ambient noise and feedback. Compatible with both PC and Mac, the unit features a 3.5 mm jack connector, 48 kHz A/D converter, volume buttons and a large mic mute button. There is also a tabletop stand that is pre-mounted on the underside of the microphone. It can be removed or folded for easy transport.
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DRONE STRIKE UVI www.uvi.net UVI released Drone, a dual-layer sample synth with two fullyfeatured sample engines loaded with custom and exclusive sounds. Drone comes with hundreds of purposefully designed long-format samples that can be accessed via standard sample playback and the IRCAM Granular engine. A full range of controls is located on dedicated Edit, FX, Modulation and Settings pages. Additional features include a large X/Y pad, a dedicated feedback loop of effects, dual LFOs, a chaos modulator and a per-harmonic modulator. Drone is compatible with current versions of all major DAWs on both Mac and Windows platforms.
VIRTUAL INSANITY VirtualDJ www.virtualdj.com VirtualDJ announced a new updated version of its popular DJ mixing software. The latest version, VirtualDJ 2021, is available now for download on both PC and Mac. Among the key features of the upgrade is real-time stem separation, allowing DJs to work on-the-fly with the various components of their tracks, such as vocals, instruments, kicks and hi hats, to create live mash-ups, remixes and transitions. VirtualDJ is free to use for non-commercial use.
MEGASEG MAN
EVERYTHING ZEN-CORE
Fidelity Media, Inc. PO Box 6478 Champaign, IL 61826 (877) 634-2734 www.megaseg.com A new update is available for the MegaSeg Pro DJ and radio automation system for Mac. MegaSeg 6.1.2 offers 80 new features and improvements, including new MIDI controller presets for the Roland DJ-707M, Traktor Kontrol S8, and Pioneer DDJ-SB3. It also offers 64-bit native support for macOS Catalina, video playback optimizations, streamlined drag-and-drop importing and a flashing play button alert when tracks are ending. The update is also compatible with the new Music.app that replaced iTunes.
Roland Corporation 5100 S. Eastern Avenue Los Angeles, CA 90040 (323) 890-3700 www.roland.com Roland release a variety of new ZEN-Core Sound Packs for the company’s ZENOLOGY Software Synthesizer and ZEN-Core hardware. These genre-specific collections come in two different types: Production Packs and Instrument Packs. The five Production Packs each offer 15 tones and one drum kit that were designed for musical styles such as R&B, deep house, acid house, techno, hip hop and electronica. Five Instrument Packs were also released, including Electro Bass, Analog Plucks, Synth Strings and Pads, Metallic Plucks and Transitions and Risers.
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DID I STUTTER? iZotope 1 Kendall Square Cambridge, MA, 02139 (617) 577-7799 www.izotope.com The Stutter Edit 2 plugin from iZotope is a collaboration with GRAMMY-nominated composer and electronic musician Brian Transeau (aka BT). Stutter Edit 2 creates the famous “stutter” editing effect with one button, slicing audio into small fragments and sequencing the pieces into razor-sharp rhythmic effects, according to the company. The new version includes an upgraded Distort module, as well as new Comb, Chorus and Limiter modules, a new Reverb module from BT’s personal collection and a suite of 11 effects. There is also a new AUTO mode that lets users add sounds to mixes without routing.
LIMITED EDITIONS Audio-Technica 1221 Commerce Dr. Stow, OH 44224 (303) 686-2600 www.audio-technica.com Audio-Technica has released the ATH-M50xPB professional monitor headphones and ATH-M50XBTPB wireless over-ear headphones, limited-edition purple/black versions of A-T’s popular ATH-M50x and ATH-M50XBT models. The headphones feature metallic purple earcups and black accents including distinctive trimming, earpads and headband. From the 45 mm large-aperture drivers to its sound-isolating earcups and robust construction, the ATH-M50xPB serves several audio applications, including recording, live sound, broadcast, DJ and personal listening. Utilizing Bluetooth wireless technology and 45 mm large-aperture drivers with rareearth magnets and copper-clad aluminum wire voice coils, the ATH-M50xBTPB brings the sonic signature of the M50x to a wireless, on-the-go design.
GEAR AUDIO…LIGHTING…STUFF
KEEP IT GLASSY Eplex7 www.eplex7.com Eplex7 DSP has released Glassy hi-tech darkpsy psycore FX 1, a VSTi and AU Plug-in instrument with 20 multi-octave banks for Mac and PC. The instrument includes “organic-sounding FX sounds, glassy effects, pseudopads and atmospheric alien soundscapes,” featuring a sound quality that is retained in a wide range of tones and octaves ranging from C3 to C7 and more. The sounds can be played in a variety of modes, including polyphonic, Monophonic or Legato with Glide function, and they can be modified by internal parameters like LFO rate/depth (Triangle, Sinus, Saw, Square, Exponent) with Pitch, Expression and Pan modulation.
GOLD STANDARD Pioneer DJ Americas 2050 W. 190th Street Suite 109 Torrance, CA 90504 (424) 488-0480 www.pioneerdj.com
RE-START YOUR ENGINE
Pioneer DJ has released the DDJ400-N, a limited-edition, gold-colored version of the DDJ-400 controller. Perfect for upstart DJs, the unit’s compatible with Pioneer DJ’s pro-DJ application, rekordbox, and users can stream and mix music from Beatport LINK, Beatsource LINK and SoundCloud Go+ with it. These musicstreaming services are also available if you connect to Algoriddim’s free app, djay for iOS, or if you upgrade to djay Pro for PC/Mac. The unit’s layout includes dedicated play/pause and cue buttons, Beat FX, and CDJ-style looping controls.
In Music Brands 200 Scenic View Drive Cumberland, RI 02864 (401) 658-3131 www.inmusicbrands.com
SPACE ECHO IK Multimedia 590 Sawgrass Corporate Pkwy. Sunrise, FL 33325 (954) 846-9101 www.ikmultimedia.com IK Multimedia has released T-RackS Space Delay for its T-RackS mixing and mastering software workstation. This new vinage tape delay/spring reverb plug-in recreates the detailed character and sound of an iconic tape echo unit heard on countless records and can be used both as a stand-alone plug-in or inside T-RackS 5. IK’s T-RackS Space Delay offers users a chance to enjoy the flexible controls and instantly recognizable organiz sound of the classic Roland RE-201 Space Echo delay unit, modeled with a deep level of detail. Just as on the original, users can enjoy experimenting with three playback heads, the variable speed motor and engage the spring reverb to create everything from subtle space to rich, swelling echoes.
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Engine DJ, a leading developer of cross-platform DJ software solutions, has released Engine PRIME v1.5, marking the software’s largest feature release to date. The update greatly simplifies the process of transferring music to media devices with an all-new Sync Manager. The update also introduces a significantly improved BPM detection algorithm, track preview, batch editing for track metadata, local collection backup and restore functionality, as well as a number of additional usability improvements and stability enhancements. Engine PRIME v1.5.0 is available for all users as a free and recommended update.
AUDIO…LIGHTING…STUFF
GEAR
PIXIE CUT ADJ Products 6122 S. Eastern Avenue Los Angeles, CA 90040 (323) 582-2650 www.adj.com ADJ has released its Pixie Strip Series, a versatile collection of pixel battens that combine vibrant LEDs with intelligently designs housings to create a powerful and versatile system. It can be used to design dazzling pixel-mapped displays for touring and one-off events as well as a variety of permanent installations controlled by the Pixie Driver 2000. Units in the series include: Pixie Strip 120, a 2-meter linear fixture featuring 120 tri-color RGB SMD LEDs; Pixie Strip 60, a 1-meter linear fixture featuring 60 tri-color RGB SMD LEDs; Pixie Strip 30, a half-meter linear fixture featuring 30 tri-color RGB SMD LEDs; and Pixie Driver 2000, a controller for the series.
ATOM HEART MOTHER PreSonus Audio Electronics 18011 Grand Bay Court Baton Rouge, LA 70809 (225) 216-7887 www.presonus.com PreSonus has released the ATOM SQ, a MIDI keyboard/pad controller for production and performance apps. With its staggered 32-pad layout that’s familiar to both keyboardists and drum programmers, the unit’s pressure-sensitive pads feature poly aftertouch, enabling expressive performances, and their RGB LEDs make for customizable color-coordination for samples and loops. A built-in arpeggiator and user-configurable touch strip provide even more expressive control. Deep integration with Studio One’s Pattern Editor lets the unit function as a TR-style 16-step sequencer, in addition to playing your favorite virtual instruments.
MAU5 IN THE HAU5 OSC/PILOT www.oscpilot.com Launched by top electronic musician deadmau5, OSC/PILOT is a bidirectional control surface application built as a performance tool for digital artists and musicians. Interoperability between the applications at the artist’s disposal (Ableton Live, TouchDesigner, MaxMSP, Processing, Bitwig, etc.) allows digital audio and visual artists to control the content of any space with data from any other space. OSC/PILOT aims to provide an easy way to build User Interfaces (UIs) for this control. A large amount of display options gives artists both their choice of canvas and choice of how to drive the content to that canvas.
RANE OR SHINE inMusic Brands 200 Scenic View Drive Cumberland, RI 02864 (401) 658-3131 www.inmusicbrands.com In its latest entry to the DJ-battle tools market, Rane has released the Seventy-Two MKII mixer. The unit adds a highly requested external crossfader tension adjust to personalize each DJ’s feel, while the mixer expands DJ-software platform controls to include Traktor and Virtual DJ, as well as Serato DJ Pro, adding independent controls and a redesigned plunger-style start/stop button. Other new features include three MAG FOUR faders, Toggle Instant Double/Silent Cue/ Sync Controls and dual DVS inputs (aux or Phono/CD).
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TRACKS…MIXES…COMPILATIONS Swiss maestros Martinez and Berto team up with Bryan Chambers for a pumping disco workout perfect for the Glitterbox stable. Faithful to the original, but with all the ingredients needed for today’s clubs.
– Curtis Zack “UNCHAINED”
u Right Mood u Good For You Brazilian producer Right Mood delivers a full-on, deep, dense, spacedout house groover. Pushing an ’80s rave vibe, this one includes moody, male vocals and crisp percussion – a must track for your afterhours parties. – Tommy D Funk
MR. DAVIS
u Thommy Davis u Quantize The legendary Basement Boys member delivers a long-player with 16 soulful dance tracks, all of the highest quality. Original cuts and covers of classics by Karen Young (“Hot Shot”), Jomanda (“Make My Body Rock”) and René & Angela (“I Love You More”) make this a terrific album. – Curtis Zack “WHAT U WANNA”
u Jaded Soul u Traded Music Dropping classic house sounds, London’s Jaded Soul pushes this vocal-driven, but very bottom-heavy track to good effect. Big grooves, complete with piano flavors, make for a hip-swinging vibe – good stuff. – Tommy D Funk
“COME AND GO” (DOMBRESKY REMIX) Boys Noize
“2AM”
dation. Dreamy, drummy, lightly sprinkled with vocals and even an old-school jungle “wub,” this track drops a little house vibe near the end, topped off with a piano arpeggio. Wonderful.
u MK u Ultra Music/Area10 Fronted by Carla Monroe, this hands-in-the-air, pop-house track certainly achieves liftoff. Soulful vocals, soaring piano keys, proper rhythmic builds and a sticky-sweet refrain all add up for another MK winner.
– Jennifer Harmon “TAKE ME BACK” (REMIXES)
u Michael Gray u Sultra One of the hottest nu-disco tracks of 2019 gets a couple of next-level remixes from 84-Bit and Ian Ossia. Pumping, funky and with a little sprinkle of Chic – “I wanna be at Studio 54” – these remixes hit the mark.
– Jim Tremayne “BLACK LION”
u Ferry Corsten & Trance Wax u Armada This killer collab brought together the best of both worlds, combining a sublime progressive-breakbeat track with a solid trance foun-
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– Curtis Zack |
2020
“PARKERS JOINT” EP
u Blaqwell u Simma Black On this massive two-tracker, Blaqwell delivers a jackin’ jazzy house title track with a funky lead horn – this one really moves. Meanwhile, on the flip, “Tribesmen (to the Rhythm)” puts forth a stomping groove that’s perfect for late-night action. Proper good! – Tommy D Funk
“HOLDIN’ ON”
u Aston Martinez & Marco Berto feat. Bryan Chambers
u Glitterbox
A cover of the Tony Rallo & The Midnite Band track from 1979,
u TOKiMONSTA Feat. VanJess u TOKiMONSTA Music A hip-shaking remix of an eerily sexy R&B-flavored gem, this rework is a classic house banger – equipped with melodic cowbell, no less. The vocal is to die for, but the beat will keep things grooving for hours. Start the night with the original, but work up to this remix, leaving everyone wanting more, for sure.
– Jennifer Harmon “SWEETER”
u Sonny Beau u Tropical Disco Yet more classy disco-sampling goodness (via Barry White) from the TD imprint. Two mixes to pick from, both following a similar vibe, with the “Club Cut” just edging it for me.
– Curtis Zack
Sonny Beau
Thommy Davis
Blaqwell MK
“COME AWAY” (BLOND:ISH REMIX)
u Sad Money x Kaskade feat. Sabrina Claudio u Ultra This perfectly club-ready track combines an undeniably seductive vocal with subtle, twinkling accents for a winning result. This upbeat remix pushes the vibe into icy-cool party mode. Rollicking, yet slightly melancholy, this nicely designed cut offers a catchy and unique soundscape.
Alex Preston
– Jennifer Harmon “ON THAT DAY” EP u Nenor u Razor-N-Tape Nenor and Razor-N-Tape come correct once again with a deephouse four-tracker filled with groove, funk, and plenty of style. “And Others” and “Fire & Water” are great early-night choices, whereas “Gonna Do” and “On That Day” are primed for 2 a.m. and later.
Nenor
– Chris K. Davis “SAY MAMA” u Alex Preston u Another Rhythm Preston returns with an uplifting disco-house track that’ll drag you to the dancefloor. Flexing a ’90s style, this one’s jumpin’ and pumpin’. – Tommy D Funk “VOCÊ É LINDA”
u Wheeler del Torro feat. Sidney Washington u Dog Day Featuring Doug Gomez on the remix, “Você é Linda” has that classic Latin vibe, with outstanding percussive elements, acoustic guitar and sultry vocal all thrown in the melting pot. This could easily be one of the underground hits of the summer. – Curtis Zack “SOULMAGIC” (REMIXES) u Soulmagic u Soulfuric Recordings The 2003 house hit gets the remix treatment here from a trio of studio talents. Saison’s effort gets dense and funky, while Marco Lys ramps up the energy with a build-up-mad mix. Finally, “Morten & Mikkel’s Extended Jam” mixes up the funky bass with jazzy flourishes and melodic moments. Terrific remix package here. – Tommy D Funk
TOKiMONSTA
Trance Wax
Rob Jones
Guest Reviewer: Rob Jones “MVINLINE” u Boys Noize u Defected On this rousing effort, the celebrated German DJ/producer delivers a bangin’ discohouse stomper on his Defected debut. The track, which samples the vocal hook from the 1979 disco single “Mainline” by Black Ivory, culminates into a ’90s Daft Punk-esque style crescendo, which completely rocks the Angel Johnson dancefloor. SUMMER ISSUE
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Sounding Off
(continued from page 29) of the unit’s two channels and controlled with a single knob. And for media, you get a single USB slot on the back, and an SD slot on the front.
Hands-On
Just a moment ago, I did say that the Denon DJ Prime Go has “few” compromises, but that’s not the same as no compromises – and, of course, on a unit this size, that’s not surprising. One of the first compromises takes a tiny bit of getting used to: the track gain and EQ controls have been placed horizontally and moved more toward the back of the unit. (Thankfully, they’re all still there, just arranged differently.) The performance pads are also more limited in scope, and have been moved above the jog wheels, and instead of eight of them, you have four buttons which are “banked” into two groups. The fact that Denon DJ equipped the PRIME GO with just a single USB port for media is a bit concerning; it means having a USB key or drive with all your content for your set, and a single point of failure given that USB mass-storage devices are sometimes fussy and prone to de-
ADMN
(continued from page 10) Antelope Orion 32+ or the Apollo Twin Duo, depending on the project. For plug-ins, I use Slate Digital, FabFilter, Waves Bundle, various Universal Audio plug-ins, Native Instruments Suite, and Rob Papen plug-ins. Other hardware includes a Midas Venice 320 analog mixing board, ADAM Audio A77X monitors with an ADAM Audio Sub8 active subwoofer, Elektron Analog Four synth, and Eventide H9 MAX multi-effects unit.
veloping media errors. Of course, you can use the SD media slot, or Tidal streaming, I suppose, but I would have preferred dual USB media inputs. In any case, the stuff you need at your fingertips is all there, it’s all in reach, it’s all intuitive to use — and most importantly, it’s fun to use. About my only complaint? Denon DJ didn’t see fit to include a way to disable the crossfader. Frequent readers of my reviews will know that this is a pet peeve of mine; I don’t use a crossfader to mix, I never have, and being forced to contend with one invariably means having to use gaffer’s tape to secure the thing in the middle position — or otherwise risk bumping it during a set and cutting my audio out. But as it happens, just before press time, I learned from Denon DJ that a future update of the firmware will address this very issue, perhaps by the time you read this. Because I’ve covered the capabilities of the Engine OS firmware in so much detail in previous Denon DJ reviews, I’ll glaze over the specifics a bit. Suffice it to say that Denon DJ hasn’t left anything out. You still get the same beautiful interface with its fresh, modern design, with its read-
able and aesthetically pleasing fonts, colors and layout. It’s simple, natural and intuitive to use, and it still incorporates the same safety features, like not letting you power the unit off unless you mean it (and confirm it), and not letting you accidentally touch a waveform display and end-up jumping ahead two or three minutes in the track in error. Despite the PRIME GO’s small size, the controls feel just as solid, just as professional, as any other member of the PRIME series. Due, in part, to my familiarity with the Engine OS software at the heart of the unit and, in part, to really topnotch user-experience design, getting going with the Denon DJ PRIME GO took only a minute or two — once I could figure out how to turn it on, anyway. (In my defense, it’s hard to see the power icon on the all-silver button, which is hidden on the back panel of the unit on the left side.) Of course, plugging in a pair of headphones, the XLR cables to my testing monitors, and my test USB media was all required as well. What I particularly like about the Engine OS software is that it makes it easy to find, organize and access
Denon DJ is preemptively capturing an interesting market for the PRIME GO. Between its battery-powered use cases, few functional compromises, excellent software, and features that include internet access with Tidal streaming, all in all, the unit makes a compelling case for itself. With a street price of right around $1,000, I wouldn’t describe it as inexpensive; but for that price, it provides a pretty incredible amount of functionality, and hence value, within its diminutive footprint. And with that, I think I’ll take the PRIME GO upstairs with me, and revisit some of my favorite EDM tracks from years past in true DJ fashion — all in the comfort of my easy chair.
DJ Times: What’s your DJ set-up? ADMN: My home DJ set-up includes an Allen & Heath Xone:92 mixer, two Pioneer DJ XDJ-1000mk2 multi-players, and two Technics SL1200 M3D turntables. For gigs, I use an Allen & Heath Xone:96 mixer, two Pioneer DJ CDJ-2000NXS2 players, two Technics SL-1200 turntables. DJ Times: Any tips, tricks or tools for success in the studio? ADMN: Learn how to mix your
own tracks. Understand frequency ranges and how frequencies interact with the speaker. Understand frequencies from different parts – you have your bass and lead and your drums. It’s important to understand how each element of a track interacts with each other. DJ Times: You’re working on an album, right? What’s the vibe? ADMN: I’d say, given the climate, listening is hugely important. I mean,
there’s going to be club bangers in there – stuff that’s meant for the dancefloor – but I also want to expand and include some things for sitting in your living room and relaxing. DJ Times: What is most important for a DJ to be successful? ADMN: It’s one-part work, onepart consistency, one-part building a team. You can’t be an island in this industry. – Ashley Teffer
content on the USB media. I use Camelot keys when mixing EDM, and it’s a simple matter to sort my library by key and browse good candidates to mix into a set. But sorting by BPM, artist, title, year, genre, rating or other criteria is simple, and you can always browse or search using the pop-up keyboard directly on the touch screen. As I’ve noted in the past, this is a controller interface for the smartphone generation.
Conclusions
Rebooted: DJ Expo 2020 At Harrah’s Resort Atlantic City…
DJ Expo will run Nov. 16-19…
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DJ Expo Preview, Next Issue of DJ Times
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Compiled As July 28, 2020
C LU B P L AY C H A R T
NATIONAL CROSSOVER POOL CHART 1 Lady Gaga & Ariana Grande Rain On Me 2 Saint Jhn Roses 3 Surf Mesa F/ Emilee Ily 4 Dua Lipa Break My Heart 5 Doja Cat / Nicki Minaj Say So 6 Katy Perry Daisies 7 Megan Thee Stallion / Beyonce’ Savage 8 Marshmello And Halsey Be Kind 9 Benee Supalonely 10 Powfu Coffee For Your Head 11 Harry Styles Watermelon Sugar 12 Sophi Tucker & Gorgon City House Arrest 13 Anabel Englund So Hot 14 Martin Garrix F/ John Martin Higher Ground 15 The Weeknd Blinding Lights 16 Luciana & Dave Aude’ Watching You Watching Me 17 Topic & A7s Breaking Me 18 Sir Ivan Happy Together 19 Molella F/ K.T. Tunstall Starlight & Gold 20 Chris Malinchak When The World Stops Turning 21 Sam Feldt F/ Ella Henderson Hold Me Close 22 Trevor Daniel Falling 23 Loud Luxury f/ Morgan St. Jean Aftertaste 24 Cash Cash F/ Laura White Gasoline 25 Regard & Raye Secrets 26 Alan Walker & Ava Max Alone, Pt. II 27 Robin Schulz F/ Alida In Your Eyes 28 Raquela Feels Like Love 29 Betty Reed Drunk On You 30 Alex Newell Boy, You Can Keep It 31 Tiesto F/ Ilira Lose You 32 Harry Styles Adore You 33 Afrojack F/ Ally Brooke All Night 34 Jonas Blue & Paloma Faith Mistakes 35 Britney Spears Mood Ring 36 Shab Spell On Me 37 Shirry D & Terri B! Say You Want Me 38 Alesso & Dubvision One Last Time 39 220 Kid & Gracey Don’t Need Love 40 Justin Beiber F/ Quavo Intentions
Most Added Tracks 1 2 3 4 5 6 7 8 9 10
Kygo & Sasha Sloan Zara Larsson Tiesto F/ Ilira Topic & A7S Sofi Tucker & Gorgon City Zedd F/ J. Thompson StaySolidRocky Jackson Wong Brando Robin Schulz F/. Alida
I’ll Wait Love Me Land Lose You Breaking Me House Arrest Funny Party Girl 100 Ways Look Into My Eyes In Your Eyes
Interscope Hitco Astralwerks Warner RCA Capitol 1501 certified Capitol Casablanca Columbia Columbia Ultra Ultra RCA Republic Audacious Capitol Peaceman Radikal Ultra Warner Warner bros. Armada Atlantic Epic RCA Atlantic House of pride 4 Chord Atlantic Republic Columbia Wall/ Spinnin’ Astralwerks RCA Dauman Carrillo Astralwerks / Capitol CAPITOL Def Jam
NATIONAL LATIN DANCE POOL CHART 1. Crocro y su Tumbaka 2. Black Eye Pea feat Ozuna, J. ReySoul 3. Bad Bunny 4. Gilberto Santa Rosa 5. Bragi 6. Farruko 7. Josie Esteban 8. Karol G 9. Tono Rosario feat Various Artist 10. Lusito Rosario 11. Charlie Cruz 12. Zion Y Lennox feat Natti Natasha 13. Prince Royce 14. Romeo Santos feat Alex Bueno 15. Pedro Arroyo 16. Ozuna 17. Chino & Nacho 18. Anthony Santos 19. Tony Succar feat Angel Lopez 20. Norbert feat. Elvis Crespo, J Rivera
Pa’ San Agustin Mamacita Yo Perreo Sola Canta Mundo Tu Cuerpo La Tóxica La Maleta Ay Dios Mio Resistire Belen La Vida Da Vueltas Te Mueves Carita de Inocente Nuestro Amor Ahora Que Soy Libre Caramelo Raro Se Acabo el Abuso Mas De Mi Yo No Se (Remix)
CO Epic Rimas InnerCat Sky Urbano Sony JE Universal Mayimba Music LR Get Crazy Note, LLC Warner Sony Sony CoDiscos Aura Music Universal Sunflower Ent. Unity Ent. Norbert
Most Added Tracks 1. Alsikiatra Baila Pegadita de los Hombres Alsikiatra 2. J Balvin, Dua Lipa, Bad Bunny Un Dia (One Day) Universal Latin Music 3. DoseRock Friky Friky Soundcheck 4. Chiquis Rivera & Becky G Jolene Fonovisa 5. Viti Ruiz Sabanas Mojadas Promo
REPORTING LATIN POOLS n n n n n n
Latinos Unidos Record Pool Salsamania Latin Record Pool Lobo/Bass Record Pool North East Record Pool Mixx Hitts Record Pool Ritmo Camacho Record Pool
n n n n n n
Ritmo Internacional Record pool DJ Latinos Record Pool MassPool Record Pool Latino Latin Beat Chicago Record Pool All In Music Pool
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
RCA Epic Republic Capitol Ultra Atlantic Columbia 12Tone Armada Atlantic
REPORTERS n
Gary Canavo
Masspool
Saugus,MA
n
Blake Eckelbarger
Dj Stickyboots
Syndicated
n
The Dance Environment
Powered By Spectrio
Los Angeles, CA
n
Manny Esparza
Nexus Radio
Chicago,IL
n
Howard HK Kessler
In The Mix With HK
Minneapolis,MN
n
Brian Stephens
Mixxmasters
Lithonia,GA
n
Peter K. Productions
Peter K
Syndicated
n
Kidd Leow
Vindictive Vendetta
Tampa, FL
n
Randy Schlager
Soundtrack Your Band
Seattle, WA
n
Dan Mathews
KRYC
Sacramento, CA SUMMER ISSUE
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2020
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DJTIMES.COM
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