DJ Times 2020, Vol 33 No8 "Winter Issue"

AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988 WINTER 2020 ISSUE

VOLUME 33 NUMBER 8

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AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988

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WINTER 2020 ISSUE VOLUME 33 NUMBER 8

MOBILES ON READING THE CROWD

Plus: Omid 16B Robert Babicz The Vision Pioneer DJ CDJ-3000 Numark Mixtrack Controllers AKG K371-BT Headphones 5 Live-Streaming Tips

HOLIDAY EVENT REPORT

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NOTABLES…MILESTONES NEWS

DIGITAL DJ EXPO WRAPS A YEAR GONE SIDEWAYS things will never quite be the same. Again, check out the video to get well-considered opinions.

Tony Fernandez of Soundwave Productions in Richmond, Va., helmed a pair of sessions as well.

In addition to co-presenting (with David Spoorn) “Live-Streaming: The Basics & More on the DJ’s New Platform,” he took us into the studio with “Remixes: The State of the Art.” Music-making jocks should take note, as Fernandez explored eight different types of song versions – radio edits, re-edits, remixes, extended mixes, dubs, bootlegs, mash-ups and white labels. Crucially, he explained the importance of differentiating your sound with on-point remixes and explained how they can help you truly create a “signature sound.”

And of all the seminars, my favorite was “How I Pivoted During the Pandemic with Bubble Parties”

by New Jersey’s Mike Wieder of Ultimate Sounds Entertainment. In discussing his COVID experience very transparently, he explained how mobile bubble parties, targeted at pre-schools and senior centers, have filled up his weekday/daytime calendar – and

Seminar: Recloose demoed Roland’s DJ-707M.

MetroMix Media

By Jim Tremayne & Staci Nichols Port Washington, N.Y. – As they say, when life gives you lemons, make lemonade. In a very sideways 2020, for DJs (and publishing companies), that was an oft-used and oft-tested proverb.

To wit… the 2020 DJ Expo was originally scheduled for mid-August. As it has since its 1990 inception, the Expo had lined up a showroom full of exhibitors, ready to display their latest products, some of them industry debuts. Nearly 30 seminars, panels and keynotes had been arranged – all touching on subjects that impact mobile, club and music-making DJs. Sponsors and hosts were prepping for evening events, like the annual Entertainer of the Year competition.

But, due to pandemic uncertainties, the DJ Timesproduced trade show and exhibition got pushed back to November 16-19. Of course, with those uncertainties remaining and restrictions on travel expanding, DJ Expo 2020, the live/in-person event, became Digital DJ Expo 2020, with all activities happening online – free for all to enjoy.

Running the same dates, the show offered: a variety of content from digital exhibitors, including new product info, tech specs and instructional videos, including a pair of in-depth sessions – one from Roland’s Matthew “Recloose” Chicoine on the DJ-707M controller and another from DAS Audio’s Darrin “B-Side” Young on DASlink Group Manager app for the VANTEC and ALTEA 700 speaker systems; online performances from DJ/artists recently featured in DJ Times, like Tchami and Louis The Child; and plenty of giveaways in daily prize packages from show sponsors like DAS Audio, Hercules (laptop stands), Odyssey (mixer cases), Pioneer DJ (DDJ-FLX6 controller) and Playtime Engineering (Blipblox synth).

Speaker Control: Seminar detailed DASlink GM app.

Giveaway Prize: Pioneer DJ’s DDJ-FLX6.

Daily prize winners included: Tanner Cornell of Chalfont, Pa.; Michael Joseph of Pittsburgh, Pa.; Juan Cazares of Long Island City, N.Y.; and Heidi Velez of Philadelphia, Pa. Digital DJ Expo also presented 13 video seminars, panels and keynotes tackling the hottest DJ-related topics of the day. (The sessions, including a rousing “Keynote Q&A” from the Disco Fries, remain available to watch for free on DJ Times’ YouTube page.)

So, now for the seminar highlights (aka the lemonade), we hand it over to San Diego’s DJ Staci “The Track Star” Nichols…

Jordan St. Jacques of Canada’s Digitera presented two seminars and I found his “Search Marketing in the COVID-19 Era” the most helpful for my DJ business.

Go to YouTube and check it yourself to learn how to adjust your content strategy for COVID. He also covered anchor links, site load time, the new Core Web Vitals Chrome Extension, backlink relevancy, and

some of the 200-300 site ranking signals from Google.

Additionally, his “Social Listening: How to Identify Potential Clients on Social Media” tutorial was super-useful for reasons all mobile DJs will easily understand. Ultimately, the question must be asked: Have you refreshed your “digital footprint” during quarantine?

On “What to Be Thankful For: Moving Beyond 2020,” a host of mobile entertainers weighed in with their takes on the matter. In a panel discussion led by mobile vet Sean “Big Daddy” McKee (Connecticut’s James Daniel Entertainment), other entertainers like Jordan Marshall (New Jersey’s Xplosive Entertainment), Jeffrey Scott Gould (New Jersey’s SCE Event Group) and Michael Langsner (Xplosive Entertainment) discussed the state of the industry as we move onto a new year. Will DJs continue to offer virtual services post-COVID? Is live-streaming here to stay?

Opinions varied, but everyone agreed that, post-2020,

every mobile knows that’s like printing your own money. In the last seven months, Wieder has blown up his Instagram following and, even in charging $250-an-hour for a bubble party, says he has had almost zero price-haggling from his client base. Best of all, these are for frontmulti-op yards, driveways Mikeparties Walter: DJgreat vet helmed panel. and social distancing.

DJ Expo 2021: So looking onto next year, the 2021 DJ Expo will take place Aug. 9-12 at the Hard Rock Hotel & Casino in Atlantic City, N.J. Presenting its unique combo of tech-driven exhibits, educational seminars and sponsored events, the ’21 DJ Expo is excited to commit long-term to a property that aligns with our mission at every level – plus, it provides the most modern amenities that any Atlantic City hotel/casino has to offer. All of this, of course, is set right on AC’s legendary Boardwalk.

For the very latest on DJ Expo 2021, please visit www.thedjexpo.com.

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FEATURES

14 Pandemic Response

VOLUME 33 NUMBER 8

With No Dancefloors to Rock, Techno Vet Steve Bug Made His Most Emotional Album to Date, An Electronic Soundtrack That Bids Goodbye to 2020

BY JIM TREMAYNE

18 Reading the Crowd

Mobile DJs Reveal How & Where They Get Their Best Programming Ideas

BY MILES BURKE

20 Past Is Present

Inspired by the Ancient Philosopher, Omid 16B’s “Sun Tzu” Mixes Melody & Underground Sounds to Great Effect

BY JIM TREMAYNE

SAMPLINGS 10 Robert Babicz Project Mastermind

12 In the Studio With…

The Vision

DEPARTMENTS 9 Feedback

5 Live Streaming Tips from Clubbing TV

22 Sounding Off

Pioneer DJ CDJ-3000 & Numark Mixtracks

24 Making Tracks AKG K371-BT Headphones

26 Mobile Profile

27 Business Line

Holiday Events: Setbacks & Silver Linings

28 Gear

New Products from Mackie, Chauvet DJ & More

31 Grooves

Phat Tracks from South Central, Demarkus Lewis & More

33 Club Play Chart

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

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Cover & Contents Images By Robert Schlesinger

DJ Survives Pandemic, Optimism Intact

Find out why Banking Heir Ivan Wilzig aka Recording Artist Sir Ivan became a Cape-Wearing Super Hero known as Peaceman ® ...

Pre-Order His Father's Biography Now! UnstoppableSiggi.com

FROM THE EDITOR

A Bug, A Feature & More Over the years, I’ve been privileged to see some of the globe’s top DJs in a variety of settings and, of course, there’s a handful of jocks who always seem to deliver the goods. Steve Bug is one of them.

Born Stefan Brügesch, the Berlin-based DJ/producer, perhaps best known as maker of minimaltechno sounds and founder of a variety of celebrated underground labels (Poker Flat, Raw Elements, Dessous, Audiomatique and, most recently, Sublease Music), remains as adept in the studio as he is the DJ booth. His latest full-length, Never Ending Winding Roads, as he tells us in a recent interview, afforded him a chance to approach his music in a new way. Less a grouping of dancefloor tracks, the album serves as more of a pandemic-era soundtrack, as it delivers a collection of emotional tracks, ranging from anxious to optimistic. He also explains how the recent global developments have affected his overall career.

We also interview London-based DJ/producer Omid “16B” Nourizadeh, whose latest full-length, SunTzu, provides a wide variety of electronic delights, mixing melody and underground sounds to great effect. In the Sampling sections, our British correspondents take over. Leeds-based Curtis Zack gets the studio story from Ben Westbeech and KON (aka The Vision), whose eponymous debut on Defected – full of big grooves and stellar songs – is one of dance-music’s best full-lengths in 2020. Then, London’s Danny Turner connects with Polish DJ/producer Robert Babicz, who explains how his neurological condition of synaesthesia has benefitted his musical career.

From the mobile segment of the industry, we collect our annual Holiday Party Report for the Business Line column. As you might expect, numbers were down dramatically from 2019; nonetheless, some jocks managed to find some silver linings. In Mobile Profile, we connect with Tony Lackie of Northern Beat Entertainment in Traverse City, Mich. A relative newcomer to the DJ game, the part-time mobile explains how he’s maintained his optimism thru these pandemic times and held onto his piece of the northern Michigan wedding market. And for our monthly mobile-oriented feature, we ask entertainers how and where they get some of their best music-programming ideas.

On the tech side, we review four products. In Making Tracks, Detroit-based DJ Erik Miller takes on AKG’s K371-BT studio headphones with Bluetooth capability. For the Sounding Off column, Minneapolis’ DJ Deets reviews Numark’s pair of controllers – the Mixtrack Platinum FX and Mixtrack Pro FX – while Denver’s Wesley Bryant-King handles Pioneer DJ’s long-awaited media player, the CDJ-3000.

With the help of San Diego’s DJ Staci Nichols, we also take a look back at our Digital DJ Expo, which ran online this past Nov. 16-19. Operated in place of our annual in-person DJ Expo (originally set for August), the digital show presented a 13 online seminars, tutorials and keynotes, including a pair of sponsored sessions (from Roland and DAS Audio), plus information on the latest products from longtime show exhibitors – DJ, pro-audio, lighting, studio, and accessories companies. While we greatly appreciate all the contributions from all involved in the digital version of the show, we very much anticipate presenting the “real show.” So, stay tuned, DJs: The 2021 DJ Expo will happen Aug. 9-12 at the Hard Rock Hotel & Casino in Atlantic City, N.J. For the very latest, please visit thedjexpo.com – we look forward to gathering with you again.

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 Jennifer Harmon Josh Harris Ryan Hayes Greg Hollmann Josh Kerman Michelle Loeb Erik Miller Lily Moayeri Jordan St Jacques Jeff Stiles Ashley Teffer Danny Turner 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

Cheers, 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 DJ Winter 2020 Issue

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FEEDBACK

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AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988 DJ EXPO WEEK 2020 ISSUE

VOLUME 33 NUMBER 7

CUSTOMIZE YOUR VEHICLE POST PANDEMIC TIPS

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LOOKING AHEAD TO A BIG

2021

Rebel Raver Re-Emerges DISCO FRIES s SHOGUN s NÖEL JACKSON PRESONUS ATOM SQ s ELECTRO-VOICE EVOLVE 30M

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.

are now producing their own livestreams from their homes or studios – so you need to try to stand out.You don’t necessarily need to spend a lot of money to create a special experience. Some artists managed to catch the eye of the audience by just playing in their kitchen or even in their bathroom. Make sure you have nice lights, a clean background and, most importantly, be creative!

Interaction: People do not expect you to chat like a YouTuber – no, they are here for the music. But you need to interact a minimum with

them by just introducing yourself in the video or saying hello in the comments section. Take some time to answer to the « Track ID » requests or technical questions about your set-up.

Video Quality: While the audio quality should be at the top of your list, people can get really annoyed if the video quality is mediocre. Even if you don’t have professional cameras, phones nowadays can do the trick and capture a good quality of image. Do some tests before streaming, record your image for one to five

minutes, and watch it afterwards.

This will avoid any focus or bad-angle problems, for example.

Smooth Streaming Experience: There is nothing more annoying than a stream being cut or buffering when you are watching it and enjoying it. Your internet connection needs to be stable and good enough to start streaming. You can do a speed test before to make sure the upload speed is OK. Then, you’ll have the confidence to cut loose and rock your live-stream like a pro. Get busy, DJs!

Live-Streaming: 5 Tips for DJs With live gigging brought to a minimum due to pandemic concerns, many DJs have turned to livestreaming as a method to maintain their brand and push new music.

In fact, some streaming DJs – like D-Nice, for example – have broken even bigger and found new audiences.

Clubbing TV is one of the world’s top live-streaming platforms, so we asked its CEO/founder Stéphane Schweitzer for some basic tips that DJs can use when they want to create an impactful streaming experience.

Music & Sound: Very simply, at Clubbing TV, we wouldn’t be doing so many live-streaming and livebroadcasting from the major festivals and with so many DJs if it weren’t for the music. Music has to be at the top of your list when you decide to live stream. Which means… first of all, a great playlist, handpicked and nicely curated, but also a great sound quality. On the tech side, make sure the gains of your mixer won’t be too high, don’t overload, but don’t “undermix” either. A safe bet is to stay around -3 dB. In other words, green is fine, orange is OK, red can blink, but should never stay red steady.

Ambiance: For us, live-streaming and live-broadcasting are made to entertain those who can’t go out.

Whether you decide to live-stream an ambient set or an industrial-techno live act, you need to create a special ambiance for your viewers. Because of the pandemic, many artists WINTER ISSUE

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SAMPLING

Pandemic Priorities: Babicz’s online studio lessons.

The career of Polish DJ/producer and mastering engineer Robert Babicz spans three decades, genre-hopping from techno to acid house and minimal under an umbrella of successful pseudonyms including Rob Acid, Acid Warrior and Sontec.

After emerging at the peak of the early ’90s acid-house scene, Babicz, by the end of the decade, demonstrated his versatility with the ambient album,

Desert, on the renowned label, Milles Plateaux. Fast forward decades later and he has an astonishing 1,000 releases to his name for a multitude of highprofile labels, including his own Babiczstyle and, more recently, DIRTCUTS. An improviser with no musical schooling, Babicz utilizes the gift of synaesthesia to create his geometrically crafted studio productions – like Utopia, his wonderfully eclectic new album. And during the pandemic lockdown, he began live-streaming from his studio “spaceship” in typically improvisational fashion, while his Mastermind online mentoring platform kept him plenty busy. We recently caught up with the Malta-based DJ/producer.

ROBERT BABICZ: PROJECT MASTERMIND DJ TIMES: HOW DID YOU REACT TO THE PANDEMIC? Babicz: When everything closed, our income stream was gone. For a few weeks, I was in a state of depression; then I decided to face the situation and work out what I could do. There are artists who have given up because it’s all been too difficult for them. But others will see it as an opportunity. I see it as a chance – as if somebody had pushed the reset button and we can start again.

DJ TIMES:YOU WERE ONE OF THE FIRST DJ/ARTISTS TO DO LIVE-STREAMING FROM HOME, RIGHT? Babicz: I saw a few DJs playing from home and quite a lot of my fans asked me if I could give them a little bit of Babicz flavor. Putting up a camera and having fun alone was a bit strange at first, but then the music took me away, and I forgot it was there. For the first couple of streams, I set up a table and danced around the room, but by the third, I was sitting in my spaceship and just playing to see what happens. Then I had a moment when I started to cry. I thought to myself, “What is going on in this world? I’m sitting here, the music is taking me away and I’m sharing it.” That was very emotional.

DJ TIMES: WHAT’S YOUR LIVE-STREAM SET-UP? Babicz: It’s super-simple. I bought a GoPro camera from Amazon and a webcam – although I recently upgraded to a Sony ZV-1 camera to give me a little more quality. That’s going into my soundcard and I’m using free OBS streaming software.

Otherwise, I’m basically using what’s around me in the studio. In terms of musicmaking, I’ve found this situation liberating because this crisis is forcing artists to rely on their own feelings. Because I no longer have this feedback from the outside world, I’ve started to experiment more. I don’t have to be bound to the dancefloor because there is no dancefloor.

DJ TIMES: DURING LOCKDOWN YOU CONCLUDED YOUR “DIRTCUTS” EP. HAVE YOU BEEN ABLE TO PRODUCE TRACKS QUICKER THROUGHOUT THIS PERIOD? 10

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Babicz: I’ve been making music for 30 years and 90-percent of what I do is made in one day. I start in the morning and, by 6 to 8 p.m., a track will be fully produced and mastered. I love to work fast because you can really tap into the emotion that’s driving the music. A track is never really ready – you can always try to change elements to make it better. But at some point, you have to accept it for what it is, with or without errors. With the “Dirtcuts” series, I’m always provoking happy accidents by trying things out.

DJ TIMES: DO YOU FEEL THAT A SONG IS LIKE A SNAPSHOT IN TIME, IMPERFECTIONS INCLUDED? Babicz: Yes, and I love those imperfections. For me, music in general has got so perfect that it’s become unbelievably boring. The feedback I’m getting from people who like my music is that they love the raw emotion behind it. So, I think this crisis has given me even more self-confidence to be imperfect because that’s how you learn and grow. Before, I had my bass and guitar in my room, but didn’t touch them.

Now I don’t care because nobody can tell me this is right or wrong – only me.

DJ TIMES: THE TRACK “HERZ” WAS RELEASED THIS SUMMER, AND THAT’S MUCH MORE UPLIFTING… Babicz: Yes, it’s a very different emotion. I’ve played “Herz” for many years in my DJ sets and the reaction was always so overwhelming that I got afraid to release it. As an artist, when you make a track that really stands out, people will always connect it to your name, and that takes away your freedom. But during the crisis I thought, “OK, even though it’s still touching me, let’s make it properly now.”

DJ TIMES:YOU HAVE THE NEUROLOGICAL CONDITION SYNAESTHESIA. HOW DOES IT HELP YOU TO MAKE MUSIC? Babicz: Having synaesthesia is so beneficial because a well-balanced mix is always a beautiful geometrical structure. A track is like a sculpture or dimension in time, and I can see it. When something is wrong, the beauty of that geometric structure is (continued on page 32)

IN THE STUDIO WITH...

THE VISION: CREATING CLASSIC SOUNDS

Since first catching notice with limitedcirculation white labels in 2019, the musical partnership between Ben Westbeech and KON – known as The Vision – has been making waves ever since. Andreya Triana-fronted singles like “Heaven” and “Mountains” won over Nu Disco fans and DJs alike, and now the duo has released its terrific debut album on Defected.

Flaunting house, disco, soul and funk stylings, the eponymous full-length rides the line between classic and contemporary, as it features collabs with Triana, Roy Ayers, Dames Brown and Honey Dijon.

We caught up with The Vision’s Amsterdam-dwelling singer/songwriter Westbeech and its Boston-based beatmaker KON (aka Christian Taylor) to discuss the album.

DJ TIMES: YOU TWO HAD SEPARATE CAREERS BEFORE THE VISION. HOW DID THIS PROJECT HAPPEN? KON: We’ve known each other a long time, and wanted to do something for a while. Finally, the timing was right, so I sent Ben a beat and a few days later he sent me back the vocals. Although it was a great track, it didn’t actually make the album.

Then, from there, I’d fly back and forth to Amsterdam and, over the span of about five years, we made the album.

Ben Westbeech: I played a gig in Bali, which Simon Dunmore [owner of Defected] was at, and I kinda asked for his opinion. He’d put my second solo album out, so there was a lot of history there.

At the time, it wasn’t really a Defectedsounding record, but it took so long to make the album that, over that time, they started putting out different records. The whole Glitterbox thing happened and I guess it suited what we were doing when it came to fruition. As a label, they are really behind the record emotionally, as well as financially, which is incredibly important. There are a few collaborations and different vocalists on the album, including Andreya Triana, Dames Brown, even Roy Ayers.

The Vision: (from left) KON & Ben Westbeech.

Photo: Adam Maggs

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DJ TIMES: ON THE ALBUM,THE VOCAL HOOKS REALLY STAND OUT. TELL US ABOUT THAT PROCESS. Westbeech: A lot of the hooks come instantly when I hear an instrumental. Nine times out of 10, it will be the first thing that comes into my head. On “Heaven,” it was a combined effort with Andreya, and that track has had a great reaction everywhere and still continues to. I even got sent a video of a mass demonstration in New York and they were all singing the lyrics, which is nice to see people uniting over that sound.

KON: For “Missing,” we had the demo pretty quickly and kept working it. I remember being sat at the desk and giving Ben the concept, and we developed the hook and the melody, but we could not get the verses. We knew that the track was a banger, so we didn’t want to let it go. So we asked Andreya to come in and (continued on page 32)

MAINSTAGE

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IRX SERIES POWERED LOUDSPEAKERS WITH BLUETOOTH

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The JBL IRX Series portable powered PA loudspeakers deliver class‑leading output and clarity, total ease of use and an unrivaled feature set at our most affordable price point. Sound amazing with a custom, pro‑grade system engineered to outperform larger competing systems.

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MY STYLE, MY CUE: INTRODUCING THE HDJ-CUE1 HEADPHONES STYLED DJ HEADPHONES WITH DNA FROM PIONEER DJ’S PRO LINE THAT LET YOU ADD AN EXTRA PERSONALIZED TOUCH The HDJ‑CUE1 wired and Bluetooth headphones are optimal for be‑ ginner DJs and music enthusiasts. Each model features a professional look and feel, rich sound, and foldable design for a modest price.

“NOT HAVING THE DANCEFLOOR IN MIND, IN THE FIRST PLACE, HELPED ME TO WRITE SOMETHING MORE PERSONAL.”

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PANDEMIC RESPONSE

Robert Schlesinger

WITH NO DANCEFLOORS TO ROCK, TECHNO VET STEVE BUG MADE HIS MOST EMOTIONAL ALBUM TO DATE, AN ELECTRONIC SOUNDTRACK THAT BIDS GOODBYE TO 2020

BY JIM TREMAYNE

Over the quarter-century that he’s been making music as an artist and curating it as a label owner, Germany’s Steve Bug has been adept at riding the waves of evolving dancefloor tastes while still maintaining his artistic vision.

The Berlin-based DJ/producer (born Stefan Brügesch) has founded labels like Poker Flat, Raw Elements, Dessous, Audiomatique and, most recently, Sublease Music. In addition to introducing unique talents like Trentemøller to the world, his Poker Flat label brought us seminal tracks like Argy’s 2005 acid fave, “Love Dose,” among many others.

His artistic output has deftly pushed elements of house, acid and techno. Bug tracks like 1999’s much-remixed, minimal classic “Loverboy” and mix-comp series like Da Minimal Funk (Raw Elements) and Bugnology (Poker Flat) pushed the minimal movement to new audiences.

The latest comp, Best of Poker Flat 2020, delivers highlights from the label’s deep stable, which includes Bug, Tim Engelhardt, Langenberg, Martin Landsky and more.

Bug celebrated Poker Flat’s 20th anniversary in 2019, but, as we all know, 2020 has been another matter. Nonetheless, with Bug being such a pro-active sort, he turned this period of dramatic isolation into a time where he could stretch out creatively. Never Ending Winding Roads, a full-length artist album on Poker Flat, is the result.

In a way, the album serves as a bit of an electronic soundtrack for the whole pandemic experience. The emotional ebb and flow certainly reflects what many people have gone thru these past few months – torrents of anxiety and dread, followed by glimmers of hope and, ultimately, rays of optimism.

Initially, the album takes a somewhat foreboding posture. Trippy opener, “Ludic Loops” bristles with anxiety, then gives way to the hypnotic “A Conscious Machine,” whose breakbeat underpins an irresistible, yet edgy synth line. “Electro Harmonix” maintains a nervy vibe and, as the title suggests, “The Clock Is Ticking” spouts full-on existential dread in seven-plus minutes of tension-filled, minimal techno.

But then the full-length takes a turn. Sci-fi-flavored “The Awakening” bubbles with promise, while “Yellow Snake” hints at resolution. “Confidence Dub” bursts into a moody dancefloor mover, then “Raindance 101” and closer “Upon Mountains” provide welcome and optimistic relief. It’s quite a ride.

As this brutal year drew to a close, we caught up with the Berlin-based DJ/producer to discuss the album, his process, his outlook on the DJ/music scene and more.

DJ Times: When you began your musical journey, what were your principal inspirations?

Bug: I was infected with the house and techno virus after my first visit at The Front club in Hamburg in 1987-88. I immediately fell in love with the music, the vibe, and the fact that the music never stopped. Before, there were mostly breaks between every other record in most clubs. After my first visit, I started buying records. Later that year, I bought a second turntable and a mixer. For three or four years, I’d been mixing at home, making tapes for my friends, until I finally started my own parties at the club that I was bartending at the time.

That was – besides a very first gig in a small afterhours bar in Ibiza – where it all started.

DJ Times: How have your personal tastes and approach to music evolved in recent years?

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Bug: In the first weeks, it felt like a big holiday. Not having to tour, and not having anything to take care of that comes with ahead of a touring schedule, I had won some extra time that I used to be in the studio. I wrote so many new tracks, that I decided to come up with an album.

DJ Times: Why an artist album now? What was your approach, in terms of theme or inspiration?

Bug: Is there ever a good time for an artist album nowadays? I think, if you’re writing a ton of tracks that go very well together, it definitely makes sense to release them as an album, instead as a bunch of single releases. To me all these tracks on Never Ending Winding Roads kinda belong together.

It’s a musical journey that, for me, works great in a listening environment, as well as in a club. Due to the won time, I had the change to dig even deeper into my personal likings. Not having the dancefloor in mind, in the first place, helped me to write something more personal.

DJ Times: How so?

Bug: My mindset was just completely different from any other project I have embarked on. I didn’t have to tour, and instead could focus 100-percent on writing music without having the dancefloor as a constant influence. This allowed me creative freedom to explore a range of styles and emotions, and as a result, it is the album I feel most satisfied with to date.

DJ Times: It certainly feels like a fully realized project – lots of distinct emotions, ranging from anxiety to optimism.

Bug: [The pandemic] definitely had an influence on me, and the music I was writing. These tracks definitely carry many of my emotions during these days. I’ve been in different places, but I enjoyed the

STEVE BUG

Bug: I think I might have learned to appreciate the original roots of house and techno even more than ever. They have been in my blood from the beginning; but at the moment, I feel a stronger connection to these roots again. I’m not saying that there is no good music from the recent months, but even the stuff that I personally really like has these strong roots from the early days. When I’m in the studio and when I turn on the gear, I never know where I want to go musically.

Things just happen naturally. So I end up with what’s coming out of me, and/or the machines.

DJ Times: What were your day-to-day activities during the initial lockdown?

Bug: I’m living in Berlin, and like in most places, pretty much everything was on lockdown – but still allowed to go to work, to the supermarket, to the doctor, or to the pharmacy. Also, taking a walk with the family or one other person, keeping the distance of two meters was allowed. As well as going for a jog, or something similar by yourself, was allowed. I was staying home most of the time, only going out for the necessary. I was spending much time in the studio, working on new music, or just jamming around. But that’s something I’d usually do as well.

DJ Times: Were you feeling cooped up, with lack of exercise, maybe?

Bug: I tr y to stay fit, which wasn’t easy, because I usually go bouldering three times a week, and there is nothing similar that you can do at home. But I found a good training app. I definitely played more video games. And home cooking, obviously, became necessary as well – but I enjoy it.

DJ Times: Was your reaction to the pandemic, in any way, useful for your music and productions?

ride. Anxiety wasn’t really something I was feeling, but I can see what you mean. I’ve always been a fan of darker, melancholic music.

Maybe that shows more on this album than on any other album that I wrote. But maybe I just got better at expressing emotions through music, and that's what led to the result. I didn’t have a general vision of what I wanted the album to be. The tracks just shaped up one by one. Only when compiling the album, I made sure it ended with a rather optimistic tune, since I knew that some tunes can get you into darker places.

DJ Times: How has running the labels been impacted during all this craziness?

Bug: It’s hard to say at this point how much it affected sales, but I can definitely say it’s been strange to release dance music knowing the clubs are closed. But we decided to keep on releasing music, because we believe that new music is important, especially in times like these. And there had been plenty of live-streams and podcasts. We won’t stop releasing music that we love.

DJ Times: In the studio, what’s your set-up?

Bug: I have an Allen & Heath GL4800 mixing desk and I work with [Apple] Logic Pro X [DAW]. I was about to switch because Logic was so behind, but they finally made some big moves, and now I truly love it again. I use pretty much all of the synths of the Arturia V collection, as well as some stuff from Native Instruments. For the drums, I often use the Logic Sampler – it finally has some great features that were missing before. On top of that, I have a lot of hardware. I’ve been collecting all sorts over the years, but since I’m moving into a smaller studio, (continued on page 32)

Steve Bug’s Pandemic Playlist The Cure – “Let’s Go to Bed” (1982, Fiction) Hall & Oates – “Out of Touch” (1984, RCA) Charles Bradley – “Good to Be Back Home” (2016, Daptone) Michael Franks – “When the Cookie Jar Is Empty” (1978, Warner Bros.)

Massive Attack – “Protection” (1994, Virgin) Marvin Gaye – “Soon I’ll Be Loving You Again” (1976, Tamla) Alicia Keys – “No One” (2007, J Records) Heaven 17 – “Let Me Go” (1982, Virgin) Grace Jones – “I’ve Seen That Face Before” (1981, Island) Depeche Mode – “Enjoy the Silence” (1990, Mute)

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By Miles Burke We recently posed a question to DJs from around the country: When you’re not DJing, do you read crowds? Where do you do it, and how does it influence your programming?

The replies, we believe, were instructive, so we decided to share them:

Steve Owen, Some Guys Entertainment, Chicago: “Absolutely. I’m always listening and considering the songs I hear in public, whether that’s from a DJ or background music in a store/restaurant or from another car on the road. What song is this?

How does it fit? What’s the vibe? Could I ever play this? What other songs would go well with it?

“I’m also paying attention when I hear an MC or even a flight attendant making announcements. How do they get everyone’s attention? How do they refine their statement? How economical is their word choice? All of this drives my wife nuts ...

“She’ll say, ‘Are you listening?’

“Yes, baby, of course.

“To me?”

David A. Thatcher, D.A.T Events, Surrey, U.K.: “I will always watch crowd movement before playing a track. Pop music is what is popular, so everything I hear in bars, clubs, adverts and more guides me. It really depends where you are, but I just listen to what the ‘average’ person does. It gives an idea. If you are a club DJ, ignore this, and do what you think. But for ‘average’ crowds, it works because no one really takes offense. Middleof-the-road won’t get you known, but done well, it will get you bookings.”

Dennis Bosse, Steps & Sounds, Windsor, Conn.: “Yes, reading crowds, reading performers – live musicians and DJs – checking out staging, checking out lighting, you name it. There is no end to learning. Also, when people are giving speeches, etc. It may be sad. I spend more time critiquing and trying to pick up tips and tricks, I miss the message.”

Michael Cataldi, Ellagant Entertainment, Queen Creek, Ariz.: “I love the music played in Target stores. I see people often bopping along when a cool song comes on. I probably Shazam at least one track every time I go there.”

David Trigg, Revive Events, Medford, Ore.: “Target, yes. Always know a fresh track when I hear it and – bam! – out comes the phone. At least I know now I’m not the only one where the wife is like, ‘Why the hell are you holding your phone to the ceiling?’”

Michael Alevras, LB Entertainment, Newburgh, N.Y.: “One of my favorite places to read a crowd, see reactions, and to consider other songs for my own events is at sporting events. Music plays such a big role in setting the tone for the home team, to get the crowd motivated as well as the athletes.

“A recent example is the song ‘Blow’ from Ed Sheeran, Chris Stapleton and Bruno Mars. I heard the song being used by the minor-league baseball team I do consulting work for. They used it as a hype track right before the game began. I liked the song so much... I chose it as the song for the big video I edit I made for the DJ Expo Entertainer of the Year competition in 2019.”

Tony Fernandez, Soundwave Productions, Richmond, Va.: “I read crowds at restaurants, wherever there is background music playing. And it influences my song selection all the time. I’m always in ‘seek-music’ mode, whether I’m at the mall, a store, the gas station, a restaurant, watching a movie, TV show, commercial. I always have my ear and brain on scan. So when I do hear something that I like, I either Google it or Shazam it. Once I get it, I figure out if I can work it into the set. I’m always on the prowl.

“I remember a few years back, the NFL used ‘Rose Rouge’ [by St Germain] in a commercial. I lost my mind. I knew that song, didn’t ever expect to hear it in that forum.

Google used a gospel-influenced house record a few years back from DJ Spen. Coca-Cola used Basement Jaxx for a campaign.

“Whoever does the marketing for Target is on-point. They always use very cool, catchy tracks — Sofi Tukker, Meghan Trainor, Sam Smith. Idris Elba had a series on Netflix called ‘Turn Up Charlie.’ It was about a DJ. I was constantly Shazaming songs from that show.”

Gregg Hollmann, Ambient DJs, E. Windsor, N.J.: “I enjoy checking out DJs at restaurants, bars and lounges in the late-night hours after my own gigs. I like to observe if the DJ is mixing and trying to tell a musical story – and if so, how is the crowd reacting. I’ve found that track selection trumps mixing

CRO

Reading the

MOBILE DJS REVEAL HOW &

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ability in winning over most audiences – and, in fact, that virtually no transitions are required so long as the DJ picks good songs and maintains a general vibe. These observations have influenced my own performances in that I eliminate marginal filler songs, and also utilize a tight mixing style that trims or eliminates low-energy sections.”

Darryl Jacobsen, A2R DJs & Entertainment, Cumming, Ga.: “As I’m also a musician, I go out to see live music quite often. It is amazing to me how many bands have no clue what they should be playing at what particular times.

It’s not that they don’t know the songs. It’s that they don’t know what goes together. When I see a band that actually reads what the crowd is into and adjusts what they’re playing, I start to think someone in the band might have a DJ in them.”

Gerry Siracusa, Golden Note Entertainment, Wayne, N.J.: “Yes, sports venues — most of the times pro and college venues hit the same playlist. Sometimes you get the creative programmer that gets a crowd to react by ignoring the playbook. Most of that stuff can be brought to our dancefloors. And I check out bars, not clubs. At clubs, people come to dance; at a bar, they have to be motivated to dance where they are.

“Also, movies. I always look for ‘dog-whistle’ moments. When a dog hears the dog whistle, their head goes up and they can’t help, but react. People respond the same way to a great song. Those songs are sparks to a dancefloor. I heard ‘Can’t Stop the Feeling’ by Justin Timberlake the day it dropped at a local bar. I knew it was coming, but heard it there first. ‘Guardians of the Galaxy’ — holy upbeat background!

“I heard a re-drum of ‘Your Love’ by The Outfield at a college basketball game. Researched a bunch of sites until I found it. Now I play it all the time.”

Keith Alan, Keith Alan Productions, Prospect, Conn.: “I’m always looking and listening at every event I attend. But I’m not just looking at the dancefloor, I’m watching the tables. What I’m looking for are the finger taps, the toe taps and the ‘chair dancers.’ My phone is always out for taking notes and, in some cases, to Shazam the song as a note taker. I will also admit I don’t know every song.

“One of the other things I observe is the way people are talking to each other at different stages of the event. During the dinner hour, if people are leaning into the person next to them, that tells me the music is too loud for that stage of the event.

“I also watch the way new songs are introduced.When they get played, what’s in front and what backs it.

I pay attention to their intro – slammed in or beat-mixed. Breaking in new songs is just as important as knowing when the ‘bangers,’ as the new crop of DJs call them, have run their course.” n

OWD

WHERE THEY GET THEIR BEST MUSIC-PROGRAMMING IDEAS

“One of my favorite places to read a crowd, see reactions, and to consider other songs for my own events is at sporting events.”

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PAST IS PRESENT

By Jim Tremayne Omid “16B” Nourizadeh has been a favorite of the underground scene for more than two decades now. And though he was locked down for a time like much of the rest of us, the London-based DJ/ producer never lost any of his prolific, music-making drive.

His latest album, SunTzu – named after the Chinese philosopher – picks up where 2019’s Silenciety left off. It’s a wild mix of electronic delights – cinematic, clubby, moody, trippy, melodious. While initial single, “Yellow,” pushes a wonderfully warped ’80s vibe, tech-house track “Vanished” and breakbeat cut “Rise” drop a down-anddirty flavor that you’d expect to hear on a 3 a.m. dancefloor. Terrific stuff.

We recently caught up with the British-Iranian talent to talk tech and more.

DJ Times: When you were younger, what was your initial musical goal?

16B: To make the best music possible and listen to as many artists and bands that I could find. I always get inspired by music and style. I never know it, but sometimes it feels like I’ve heard something before, even though it’s my first time hearing it. Those records used to inspire me the most. In some cases, it felt

SunTzu: 16B’s latest offers a mix of electronic delights.

like I was part of something I had no idea even existed, felt a connection deeply and that inspired me to write the most.

DJ Times: How have you spent most of the pandemic time? What’s it been like for you?

16B: My studio is in central London,

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Inspired by the Ancient Philosopher, Omid 16B’s “SunTzu” Mixes Melody & Underground Sounds to Great Effect

which isn’t far off from looking like a ghost town with most things shut or

DJ Times: What did you lose workwise?

making sure the style fits the general vibe of what’s going on. I’m not going

closed for good! Where I live in Putney is

16B: Of course, any producer or DJ

to release banging techno records right

how it always is, quiet and green in most

would have lost a fair amount of income

now. But I may release music that you

parts, and people are just getting on with

from gigs, etc., but that’s not the only way

can lay back and lose yourself to mentally

their lives the best they can. I finished

to survive and it’s certainly not going to

and visualize positivity and inspire your

my new album, SunTzu, during lockdown

stop us from trying even harder to find

urges. Of course, I’m not saying forget

and also scored some music for a new

new ways or developing existing ways to

about the dancefloor, but I am sensitive

short film that’s coming out very soon.

continue spreading the music to as many

enough to know what’s going on and

It’s my first time composing for a film

people as possible. Money is a universal

how we have to find new angles to keep

and let’s just say it wasn’t an easy task. I

concern when everyone has bills to pay

it genuine and interesting all ’round.

also moved my entire music catalog from

and less work all ’round, but our spirit

one distributor to another. It has been

mustn’t be effected by that. Otherwise,

a long process which has taken almost

we have no hope whatsoever. Times like

a year, but I’m happier where I am. I do

these require more strength than usual.

appreciate the fact we all have to spend more time at home – but boy, do I miss socializing like we used to.

DJ Times: Any revelations during this strange time?

16B: I’m just releasing good music and

DJ Times: You haven’t stopped releasing music during this time…

16B: We released the “Retro Retired” EP on aLOLa Records, which was a very laid-back affair and the single, “Yellow,” from my album SunTzu. The album has 18 tracks on it – it’s fair to say it’s got something on there for almost everyone’s taste.

DJ Times: What was your approach

“If [SunTzu]

to this album?

becomes the last

to keep the flow of energy and keep my

album I’m ever

The messages are all there on SunTzu.

going to make, I’d

all make sense.

die happy knowing

happy with it…

there’s something

ever going to make, I’d die happy knowing

here for everyone.”

not into designing anything to please a

16B: To not give in to what’s going on, heart sending out love through my music.

When you listen to it a few times, it will DJ Times: Sounds like you’re pretty 16B: If it becomes the last album I’m there’s something here for everyone. I’m certain group or style; however, this, for (continued on page 34)

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SOUNDING OFF PLAYBACK…PRO AUDIO…PROCESSING

PIONEER DJ CDJ-3000 & NUMARK CONTROLLERS

CDJ-3000: New features advance the DJ game.

By Wesley Bryant-King & DJ Deets Editor’s Note: In this edition of Sounding Off, we deliver three reviews from two different writers. Denver’s Wesley Bryant-King takes on Pioneer DJ’s CDJ-3000 media player, while Minneapolis’ DJ Deets runs Numark’s Mixtrack Pro FX and Mixtrack Platinum FX through their paces.

PIONEER DJ CDJ-3000 By the time you read this review, it will have been almost a year since DJ Times editor Jim Tremayne and I were camped out in Southern California, walking the enormity of the Anaheim Convention Center at Winter NAMM 2020.

For several grueling days – it’s quite a large venue – we checked out all the latest DJ, PA and home-studio gear. (Unfortunately, both Jim and I will have to miss the fun this year; NAMM has gone virtual for 2021 due to the pandemic.)

Among our favorite annual NAMM stops is the Pioneer DJ booth, and at the start of 2020, the L.A.-based company showed a number of interesting new products. In addition to the DJM-V10, a 6-channel tank of a mixer, we also saw the XDJ-XZ all-in-one, standalone DJ system, which we recently reviewed in the magazine. But we had to wait until the late summer for one of the company’s bigger releases in recent memory: the CDJ-3000 professional DJ multi-player.

Building on Pioneer DJ’s 22-year history with the CDJ line-up, the CDJ3000 takes its place as the company’s flagship media player. It pushes aside the still-available CDJ-2000NXS2, while (thankfully) dispensing with the tonguetwisting NXS/NXS2 suffix that has been a fixture of the naming conventions of Pioneer DJ’s flagships for a few years now.

While Pioneer DJ does still make several media players that have disc drives on-board for digital disc-based content playback — including the aforementioned CDJ-2000NXS2 — the CDJ-3000 follows the current trend of looking very much like the CDJs of old, but playing back only content from various types of solid-state media. With the CDJ-3000, that includes content on USB22

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and SD card-based media.

Though I’m puzzled why a DJ might want to do this, it’s apparently also possible to connect a CDJ-3000 to your iPhone. I wasn’t able to personally test this, but using an Apple Lightning to USB3 Camera Adapter — a common way of connecting generic USB devices to an iOS device — you can control and playback media from the rekordbox iOS app. Pioneer DJ isn’t clear on how this might be integrated with a broader DJ set, and the owner’s manual is completely mute on the entire topic.

In the CDJ-3000, Pioneer DJ clearly didn’t just drop the disc player deck from the CDJ-2000NXS2 and call it done, of course. The 3000’s improved touch screen is bigger and clearer than the earlier flagship, and the company has improved the user interface as well.

Unfortunately, the CDJ-3000 suffers from some of the same drawbacks as the XDJ-XZ. First, the user interface design doesn’t seem as contemporary as it feels like it should; it is a touch screen, but it has no multi-touch support (e.g., things like pinch to zoom) to which we’ve all become accustomed in the smartphone era.

But beyond aesthetics, the CDJ-3000, also like the XDJ-XZ, has a pretty strong dependency on the rekordbox computer software. While the 3000 will playback unprepared audio from solid-state media, it’s a big compromise to do so. If you want full music analysis and full playback functionality, all the analysis and prep must to be done offboard with your computer first, saved to the replaceable media, and then used on the CDJ-3000. (Or, you can connect the unit to a laptop, too, as I’ll mention in a moment.)

While the CDJ-3000 has some compromises in those areas, they start to fade away as you begin to use the units. There’s a lot of really great gear on the market these days, no question about it. I’ve said before, and will again… it’s truly a great time to be a DJ with the options we have available to use.

But Pioneer DJ has always had a certain cachet as a brand, and a lot of that is supported by the ruggedness and feel of their gear — and the CDJ-3000 is no exception.

In particular, I’ve always loved the jog wheels on Pioneer gear – and on the CDJ-3000, the company has further improved them. But it’s not just the jog wheels I like about Pioneer DJ’s stuff, it’s everything else about the gear that simply feels solid; it feels “right” under your fingertips.

In any case, playing content from solid-state devices is not the CDJ-3000’s only trick; the players are a Hardware Unlock Device for rekordbox, meaning that when connected to a laptop, the full functionality of the software is available at no additional cost, and with no subscription required. This is also Pioneer DJ’s method of bringing streaming services to the table – via the laptop and the rekordbox software. With everything set up and the necessary subscriptions in-place, you can play back music from Beatport Link, Tidal, SoundCloud and others as part of your set.

With a street price of around $2,300 a pop, the CDJ-3000 is likely to find use in a very specific niche of the DJ market, a niche that I’d argue has some elevated performance expectations. The units deliver with eight hot cue buttons, dedicated beat jump buttons, and loop controls that allow the performing DJ to slice, dice and perhaps even julienne their music in countless creative ways.

Other new features on the CDJ-3000 include: Key Shift function, which allows DJs to manually shift key of track up or down; Touch Cue, which allows DJs to listen to another part of a track that’s currently playing; Touch Preview, which enables quick track selection; Stacked Waveforms, which help the DJ spot perfect mix points of a track; and support for 3Band Waveform, a color-coded system which allows DJs to understand how a track sounds without listening to it.

It’s worth mentioning too that the CDJ-3000 supports Pioneer DJ’s proprietary Pro DJ Link, which allows you to network multiple Pioneer DJ units of various types together via standard Ethernet cabling. With multiple players networked in this way, you can share media sources across decks, and it’s also the vehicle to support Pioneer DJ’s own RB-DMX1 lighting interface, which in turn allows you to sync your light shows to the music (continued on page 32)

NUMARK MIXTRACK PRO FX & MIXTRACK PLATINUM FX After several iterations, Numark’s Mixtrack range of controllers have enshrined themselves as impressive DJ controllers for beginner, advancing, and skilled DJs. Now, a decade since the release of the original Mixtrack, Numark has added two new flavors of Mixtrack to their range: The Mixtrack Pro FX and the Mixtrack Platinum FX. By today’s standards, the first-generation Mixtrack controllers – which had two channels and touch-activated jog wheels – might seem relatively basic. But, make no mistake, they were instrumental in introducing legions of DJs to the world of MIDI controllers and made it possible for many individuals to experience DJing for the first time.

The second-generation Mixtrack added performance pads and a sleeker, more modern look. Along with the secondgeneration Mixtrack, the tablet-sized Mixtrack Edge was one of the slimmest DJ controllers ever offered, and the Mixtrack Quad offered a 4-channel mixer. The current third-generation Mixtrack adopted a long and slender profile, while retaining performance pads, decently sized jog wheels, and a spacious 2-channel mixer with 3-band equalizer controls and a dedicated channel-specific high/low-pass filter knob. The Mixtrack Pro 3 added a built-in soundcard, and the Mixtrack Platinum featured small screens in the centers of the two jog wheels.

Midway through 2020, Numark introduced the Mixtrack Pro FX and the Mixtrack Platinum FX. As the FX in the names suggests, these two new controllers add exciting new features, especially in the effects department. Form-factor-wise, the two controllers share a lot in common and continue the long and wide stance found on current versions of the Mixtrack range, and both controllers have dramatically expanded effects sections. On previous Mixtrack models, effects are controlled by buttons on each individual deck section. However, on the Mixtrack FX models, effects are controlled by a single effects section located in the center of the mixer, which is similar to the layout on the Numark Scratch battle mixer.

The centerpieces of this new effects section are two springy paddles that trigger effects – pulling them down activates effects temporarily while the paddle is pressed, and pushing them up locks in the effects. Above the paddles are buttons to activate six different software-based effects – highpass filter, low-pass filter, flanger, echo, reverb, and phaser. Above the buttons for activating the individual effects is a wet/dry knob, a rotary knob to change the number of beats an effect repeats for, and a button for manually tapping in the tempo. I especially appreciated that the effects were post-line fader and post-crossfader, which opens the door for various effect-laden transitions.

The only main differences between the Mixtrack Pro FX and the Mixtrack Platinum FX are the central jog wheel displays and the ability to control four decks, which are both found on the Mixtrack Platinum FX only. The center jog wheel displays are very similar to those found on the Mixtrack Platinum and Numark’s NS6II. The outside of the display shows the playhead, and the inside of the display shows the track’s BPM, the deck selected (1 or 3 on the left deck section and 2 or 4 on the right deck section), the time elapsed in the track, the key of the track, and the pitch-change percentage.

In my testing, the screens are sufficiently well-lit, even in low-light environments. They did take some getting used to, but after a few minutes of practice, I was able to quickly read them. On the Platinum FX, 4-channel functionality can be activated by holding shift and a button on the bottom right of the jog wheels – this triggers the additional decks. In my opinion, the screens are definitely a worthwhile feature to have, but I could easily live without 4-deck control, especially when I don’t have four dedicated channels on my mixer.

On both controllers, each deck section is identically laid out: in the center, there are large 6-inch jog wheels (on both models, the jog wheels are equally sized) and, at the bottom, there are eight rubber performance pads, transport controls, and looping controls. The pads control cues, auto loops, and

Mixtrack Platinum FX: Four decks, plenty of effects.

Mixtrack Pro FX: Serato DJ controller & more.

the sampler. They also control a new mode called “Fader Cuts” – this feature acts like a gate and cuts the track in and out, much like how a scratch DJ would manipulate the crossfader. It was an interesting feature and allowed me to layer effects on top of my scratching since my normal crossfader hand was now free.

At the right of each deck section, there are wide pitch sliders. Unfortunately, there is no center-click or light to indicate when the pitch sliders are centered – I needed to consult the center jog wheel display when using the Mixtrack Platinum FX and the software on my laptop when using the Mixtrack Pro FX. At the top of the left deck, there is a knob to control the mic level and, at the top of the right deck, there is a knob to control the master volume.

The center mixer is logically laid out and has two fully-featured channels: each channel has a 3-band equalizer (treble, mid, and bass), high/low-pass filter knobs below the 3-band EQ, and trim controls at the top of each channel. The line faders have a fair amount of resistance, and the crossfader feels really good to use; that being said, I would’ve liked to see a dedicated hardware switch to change the crossfader curve. (Nonetheless, it can be controlled in the software, if needed.) Headphone cueing controls and VU meters are located just above the crossfader and between the line faders. The top of the mixer has a thick browse knob and dedicated loading controls for each deck. Double-tapping the load buttons triggers instant doubles.

Located on the front of both controllers are a 1/8-inch and a ¼-inch headphone jack and, on the back, there is a master output on RCA, a USB Type-B port to connect the controller to a laptop, and a ¼- inch microphone input.

Both controllers are built with solid and durable-feeling plastic cases, which make them both strong and lightweight. Chunky rubber feet at all four corners hold the controller in place.

In use, both the Mixtrack Pro FX and the Platinum FX feel great. The jog wheels on both controllers shine. At 6-inches, they offer ample room and are superbly weighted. These jog wheels wouldn’t feel out of place on DJ controllers costing much more, and it’s really impressive that they were able to be (continued on page 32) WINTER ISSUE

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MAKING TRACKS STUDIO…HARDWARE…SOFTWARE…

“YOU CAN PRESS PLAY, PAUSE, FAST-FORWARD, REWIND, AND MORE THROUGH TAPPING OR SWIPING ON THE OUTSIDE OF THE EAR CUPS.”

AKG’S K371-BT: CLEVER CANS

By Erik V. Miller

K371-BT: Studio headphones with Bluetooth.

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If you are seeking a full-featured, sonically detailed, and comfortable pair of headphones – a set that’s versatile for different applications – then AKG’s K371-BT may be the cans you’re looking for.

First Impressions: Out of the box, they come with three high quality ¼-inch cables that have an adapter on the end that plugs and locks into the headphones. It also comes with a charging cable to power the headphones when running on Bluetooth, along with a very nice drawstring bag to hold accessories when traveling or for storage purposes.

Features: Outside of the Bluetooth and regular studio applications, the headphones also include a feature that I found out about by accident – the motion gestures on the side of the ears. You can press play, pause, fast-forward, rewind, and more through tapping or swiping on the outside of the ear cups. I think it’s a really great addition to the headphones, but it can also be an issue if you are the kind of person, like me, who fidgets a lot with things and you may trigger these commands by accident.

So… careful with that feature.

The built-in microphone sounds good in different applications and it was certainly well-designed. But, the one feature that really stands out to me is the ability to fold the headphones and store them in the included bag. They are very poseable and can be adjusted to fit pretty much any size head comfortably in this way, which is wonderful in comparison to many other wireless headphones like these.

In Use: The K371-BT is an over-the-ear headphone system that sits very nicely. Also, it’s not too loud while covering your ears completely and comfortably with the quality leather that is used on the cups.

These headphones are labeled as “Professional Studio Headphones with Bluetooth,” and I think that is a major distinction in describing how these work in the best way. Very simply, it’s a set of professional studio headphones that delivers crisp, clear, and balanced sound to the person wearing them for music production, tracking, or any other studio application with ease. Secondly, it’s a pair of Bluetooth headphones.

Personally, I would not use Bluetooth for studio applications because it is widely unpredictable and the sound quality tends to vary with connection issues and other variables in the equation. However, I did try them to record vocals and do some mixing of a current track, and I will say that for the most part they were stable and sounded fine. Unfortunately, my audio interface does not support Bluetooth, so that’s where I ran into issues at first. Once I connected them to my computer and ran through the motions of using them in a studio setting, I wasn’t displeased.

But I believe I have some bias because I am still wary of using Bluetooth in that way. I am a very big fan of the versatility that comes with being able to plug in these headphones or go wireless. That feature gives them more value in my mind and makes them more than just studio headphones, but gives you the option of making them your go-to headphone for all around different applications.

On-the-go, these would be fantastic for delivering studio-quality replication through their 50mm Titanium coated drivers that range anywhere from 5hz to 40khz. One thing I did notice was that their low end drops off at a point and delivers less-than-accurate replication when going too low past the 40khz point. It’s something I only noticed in a few songs, so it may not be something that comes up for you – as they say, your mileage may vary.

Conclusions: Overall, the AKG K371-BT is a fantastic headphone set with great versatility, comfort and fullness of sound without being too much for your ears. This system has much of what is needed in a studio headphone, while also being great in other applications, like using them for daily music listening on your computer/phone, gaming with the builtin microphone, or many other things.

Thus, out of the box, AKG’s offering is a great product at the price point of $179 and delivers many features that others in that area do not.

These would be a great addition to your studio arsenal and would be a great tracking headphone, on-the-go monitors, and many other applications like podcasting. If you’re looking to buy a new pair, then these just may be the headphones for you.

MAINSTAGE

WE WANT TO HELP YOU GET HEARD, GET BOOKED & GET PAID. The new Skrachy platform offers DJs an all-in-one management platform to monetize their business, with tools geared just for them. Skrachy invites DJs to join & sign up for the Skrachy Featured DJ Contest for a chance to win up to $3K and become the first featured DJ. www.skrachy.com

HERCULES DG400BB LAPTOP STAND

SIR IVAN'S AWARD-WINNING MUSIC VIDEO - OUT NOW! Sir Ivan's "Get Together" finds new life in video form and the message could not be more relevant, given current times. His award-winning depiction, which groups together the most renowned peace leaders in history, is one of Sir Ivan's best works yet. Watch and share with everyone you know! www.vimeo.com/437678918

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

MOBILE PROFILE CAREERS…INNOVATIONS…SUCCESS STORIES

DJ SURVIVES PANDEMIC, OPTIMISM INTACT

By Stu Kearns

Masked in Michigan: Northern Beat’s Tony Lackie

Traverse City, Mich. — At one time or another we’ve all wanted to start a DJ business – or be part of one. Many of us pursued the dream on the side, while still working our “real job.”

Tony Lackie works at a marketing agency during the day, so DJing isn’t his full-time job – yet. “There are bills to pay, but the beat keeps calling,” he says. “I never had even thought about DJing as a possible career path. I wanted to be a producer, so I did a lot of beat-making – but once I started DJing weddings I fell in love with it.”

Let’s start from the beginning. In 2015, Lackie learned about an opening for a wedding DJ at an event space. Could be a good way to make some money, he thought. “I just had a daughter, and was broke as a joke,” he says. “Making $400 in a single night seemed like a win, when it would take me a little less than a week to make that at my day job at that time.”

So he started shadowing some of the venue’s DJs for a few months before he was able to do it on his own. “In those few months, I learned a lot,” he recalls. “I already had a lot of microphone skills from my time as a producer – I used to do a lot of shows around town. I was a rapper for over 10 years and even opened up for Three 6 Mafia, Ying Yang Twins, and Young Buck when they performed in our town.

So I knew microphone etiquette and I knew how to speak to groups because I taught martial arts for six years.”

But what he didn’t know was how to play to the crowd to keep them dancing – or how to speak with the brides.

“As far as programming, I ultimately got pretty good at figuring out a process to realize which kind of music guests would react to,” he says. “I learned that every wedding is different, so the trick is to not assume, based on age how they will react to a certain type of music. But instead experiment with different songs during an event, to the point they don’t realize I am experimenting – it allows me to zero in on the kind of music they like and the kind of music they will most likely dance to.”

Over time, Lackie began developing his own style, hitting them right out of the gate with something strong like Bruno Mars favorites “Uptown Funk” or “24K Magic.” Says Lackie: “I don’t believe in starting slow to build the energy. The first song is the first impression, so I’ll play a song that I know everybody 26

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likes as my first song of the night and build from there. If you can win them with the first song, it makes dialing in the music they really like pretty easy. ” As for dealing with brides: “In the beginning, when I encountered brides who were a little bit controlling, I would get annoyed. I would never show it, but it would irritate me because I would have the mentality of ‘DJs do this all of the time, they’re professionals and this is your first wedding.’

“But the more I was exposed to it, I realized that they are not controlling because they want to be, but rather, they are scared or freaked out, and the only way they know how to cope is to be in control.”

So, through watching these DJs and then doing more gigs on his own, he learned to be more understanding and comforting and reassuring in those moments, instead of feeling annoyed.

He started his own business, Northern Beat Entertainment.

“I feel like I ‘get’ brides more and that has helped,” he says. “Connecting with brides is a feeling I never really got when I was active in production. It’s that connection that I fell in love with, and that’s why this is something I know I will be great at.”

Of course, that changed when the pandemic hit. “The impact was pretty drastic,” he says, “I began getting reschedules, and clients reaching out. I made sure to keep the communication open, and reassure them in any way that I could.

I’m in Michigan, so they have been pretty strict regarding gatherings and social events – so it’s been pretty tough. Luckily, I have been able to reschedule a good majority of them. and only had two cancel outright.”

On the gear side, Lackie’s set-up includes: a pair of Electro-Voice ZLX-15P powered loudspeakers; a QSC KSub; a Denon MC7000 Serato controller; a Shure ULX wireless system; and a Shure Beta 58A microphone.

Through it all, Lackie remains optimistic. “I know that we will bounce back, just a matter of when,” he says. “I think especially right now, couples are going to be looking at planning events, or doing smaller events more from their devices, and ease of access. We already see that with how people shop, and research products, and I think this is going to change the way people plan weddings. I think they are going to feel safer, planning from their phones, or computers, as opposed to meeting in person.

But people celebrate. People gather. I don’t see this stopping them from it. It’s human nature to be with people you care about, and that’s good for our industry.”

BUSINESS LINE

SALES… MARKETING…SOLUTIONS…

We asked DJs how the holiday-party season has been going. It’s no surprise that revenue for every DJ is down — some drastically so. But there are silver linings, so we share with you DJs’ reasons to be thankful.

Eric E. Wilson, Good Guy Productions, Bloomingdale, N.Y. “We’re using our lighting, speakers and projectors for outdoor enhancements – but not really anything in the way of ‘live’ DJing. New York is shut down pretty tight for gatherings. Am I thankful? Damn right! My kids are in high school and will be gone soon. I’ve had a whole year to be with them; they leave the nest shortly. Not really the plan, but I’ll take it. I haven’t missed one Saturday game or meet all year. We went on a three-week summer vacation, for the first time ever I had the time. So as long as the house is warm and we have food, I’m OK – for now.”

Larry Lesniewski, Left Stage Productions, Paducah, Ky. “No events, just wedding proponents until next year.

Glad I’m working a part-time job or there would be no revenue.”

Ric Kahuna Nesbitt, Shindig Media, Eunice, La. “I have had two private office Christmas parties so far, with one being for the local police department. I’m thankful to have just these two, with the pandemic going on.

Normally, I would have one every weekend this month.”

Shaun Wittemore, Event Team Entertainment, Portland, Ore., & Event Synergy in Phoenix, Ariz.

“All in-person corporate is gone, just virtual-only options and not all corporate want to participate in virtual events.

They are all saying that after vaccine they will consider a return.”

Claude Dickerson, Captain’s Entertainment, Richmond Va. “Last year, I worked every day from October 27 through Christmas Day. This year I have nothing on the books until February. We’re currently limited to 25 people for any gatherings. No alcohol sales after 10 p.m. Open-mic and karaoke are also barred statewide. More restrictions are expected soon. It’s bleak here.”

Eric James Cunningham, Debonaire Entertainment, Richmond, Va. “With our current state restrictions, events can have no more than 25 people. My usual 15 to 20 events in December has been reduced to two.”

Vanessa Hundley, Audioprism Entertainment, Atlanta, Ga. “We’re in Georgia, so event restrictions are all over the place. We’ve had a few different types of parties, though, most are looking ahead to the spring. We’re hoping that there is enough of a handle on COVID that we can get back to our larger events – but, safety first.

“I’m incredibly thankful to have made it through the year without losing any immediate family members – and that we’ve been able to help keep the elders in our family safer.

And for the first time in years, I’ve been able to dedicate time to developing my other media and online efforts. So, I’m making lemonade with all these 2020 lemons.”

Erin Crowley, Musical Memories, Madison, Wis. “No holiday parties this year. All my weddings since

mid-March have cancelled and rescheduled for 2021. All my school-kids functions have disappeared. I was fortunate enough to have a small handful of private kid functions, with reduced guests and pool parties over the summer. But now, everything has dried up, forcing me to get a part-time job myself. I hear of colleagues giving up, quitting the mobile DJ business. I’m hoping things get to normal soon. Hoping in six months? Eight months? A year? But what’s going to be the ‘new normal’ for our industry? I’m also not sure of my future DJing capacity. If this job works out, maybe I’ll give DJing up.

I’m lucky that I’ve had an opportunity to do something that I love and get paid for it for many years. A difficult decision may have to be made soon.”

Jeremy Carpenter, DJ PopRoXxX, Orlando, Fla. “First off, I’m super thankful to be back working this holiday season, even if it’s half the shows/gigs from last year. Parties are going full-swing here in Florida – different budgets all around, public, private and corporate. At least there is some traction happening again in our industry.”

David A. Thatcher, D.A.T Events, Surrey, U.K. “DJing is all off and has been since March. Any private work that comes in gets cancelled a few days later.”

David Petry, DJ Dave Productions, Houston, Texas “This year we have ‘zero’ corporate events. We normally average 25 corporate events every December; many of these companies are lifetime clients that have used our company for the last 10 years. To sum up this year, we’ll end up doing 120 weddings, which is about 40-percent of our normal year.”

Todd Thomas, Porta Party DJs, St. Louis, Mo. “We have a senior, junior and freshman in high school, and although the lack of work has been rough, the extra time with my family is something I cherish and we’d never have been able to have done in normal times. That’s the silver lining.”

HOLIDAY EVENT REPORT: SETBACKS & SILVER LININGS

DJ Ron Reiner, Rockford, Ill. “Private partying on private property with low social-media presence – it’s like high school all over again. Way less paid gigs this year, like 80-percent less for the year.”

Mark Williams, Select Sound DJ Services, St. Catharine’s, Ont. “Never ashamed of the work I do DJing, nor have I ever taken any refuge from the haters of weekend-only events DJs. The trick is to stay diversified outside of the game; the security is in the weekly paycheck, because it’s a here-today-gone-tomorrow thing that far too many are into nowadays. Best to you and your success!”

By Tom Osborne

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GEAR AUDIO…LIGHTING…STUFF

IT’S GOOD TO BE THE KING Reloop/American Music & Sound 925 Broadbeck Dr. #220 Newbury Park, CA 91320 (800) 431-2609 www.AmericanMusicAndSound.com Reloop’s Cartridge King is a professional storage case that holds four cartridges, along with spare needles. An additional mesh pocket with zipper holds USB sticks, brushes, cleaning cloths and other accessories.

The case sports an ABS chassis with a scratch-resistant finish, as well as a textile carrying handle and high-density foam padding on the interior.

Thanks to its adjustable foam inlays, the case offers a modular design that accommodates common Concorde and headshell systems like those by Reloop, Ortofon and Shure.

4BAR LETTER WORD Chauvet DJ 5200 NW 108th Ave. Sunrise, FL 33351 (800) 762-1084 www.chauvetlighting.com The 4Bar LT QuadBT is a pack-n-go wash lighting system from Chauvet. This complete wash lighting solution has four individually adjustable heads for total room coverage, as well as built-in Bluetooth wireless technology that allows users to control the unit directly from their smartphone or tablet without any additional hardware. There are also sound-activated programs that “dance to the beat of the music,” according to the company. The unit ships with a tripod, carry bag and footswitch.

MACKIE 16220 Wood-Red Road NE Woodinville, WA 98072 (425) 892-6500 www.loudtechinc.com Mackie’s CR Series of creative reference multimedia monitors includes 3-, 4-, 5- and 8-inch models, both in standard and Bluetoothenabled versions. They sport all wood cabinets with brushed metal grille and outlined design. Features include 1/4-inch and RCA inputs, 1/8-inch Aux in, a front-panel knob that functions as a power switch and volume control, and a headphone output that automatically turns off the speaker output when headphones are plugged in. The series also includes an 8-inch subwoofer with a new 200-watt amplifier and highinput 8-inch woofer.

SHAKE, BATTLE & ROLL Pioneer DJ Americas 2050 W. 190th Street Suite 109 Torrance, CA 90504 (424) 488-0480 www.pioneerdj.com Pioneer’s DJM-S11 is a professional 2-channel, 4-deck battle mixer with eight performance pads and a 4.3-inch customizable touch display that can control two effects simultaneously. The unit features Deck 3/4 Control, which offers two extra decks, accessible via the touch display, that allow DJs to play up to four tracks simultaneously. These additional decks include a range of controls such as EQs, Hot Cues, pitch bend and more. The DJMS11 includes 15 Beat FX from the DJM-S9, plus seven new ones, including Channel Fader Pitch and Helix.

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AUDIO…LIGHTING…STUFF

GEAR

GHOST IN THE DRUM MACHINE Roland Corporation 5100 S. Eastern Avenue Los Angeles, CA 90040 (323) 890-3700 www.roland.com

Roland’s TR drum machine series has expanded to include three new models. The TR-6S Rhythm Performer includes authentic recreations of Roland drum machines like the 808, 909, 707 and 606, which can all be mixed and matched with preset and custom samples. The TR-06 Drumatix is a replica of the Roland TR-606 Drumatix, featuring sub-steps for ratcheted parts and step-loop for instant pattern slicing, plus five trigger outputs and a trigger input for integrating with modular setups. The TR-606 Software Rhythm Composer offers tuning, decay and pan on each instrument, as well as eight variations plus adjustable flams, sub-steps and soft hits on each pattern.

IRX MARKS THE SPOT

BEAM ME UP

LET’S GET LOUDSPEAKER

Harman International 400 Atlantic Street Stamford, CT 06901 (203) 328-3500 www.harman.com

Eliminator Lighting 6122 S. Eastern Ave. Los Angeles, CA 90040 (323) 213-4592 www.eliminatorlighting.com

PreSonus Audio Electronics 18011 Grand Bay Court Baton Rouge, LA 70809 (225) 216-7887 www.presonus.com

The Stealth Beam Moving Head from Eliminator Lighting features a 60-watt RGBW 4in1 LED and eight built-in light shows. The unit, which weighs only 10 pounds and consumes 75 watts of power, is designed for weddings and club and stage shows. It operates in auto, masterslave and sound active modes, as well as in DMX-512. Features include a beam angle of 11 degrees, a pan of 540 degrees and a tilt of 270 degrees.

The CDL12P from PreSonus is a full-range, constant-directivity, powered sound-reinforcement loudspeaker. The CDL12P is portable and can be used alone, in tandem with a subwoofer, or in an array. It consists of eight two-inch drivers aligned in a segmented circular-arc high-frequency array centered in front of a 12inch woofer. Each CDL12P delivers 120-degree horizontal by 15-degree vertical dispersion.

The unit also features an integrated 500x500W Class D power amplifier with onboard DSP presets, a high-pass filter and a limiter. A dualangle pole mount is also provided.

JBL Professional has expanded its IRX family of portable PA systems with the IRX115S 15-inch powered subwoofer with a 3-inch voicecoil. The unit comes in a lightweight, road-tested MDF cabinet with a reinforced grille and a ported enclosure that the company says enhances output and reduces woofer noise. Features include a built-in pole mount and selectable 80 Hz, 100 Hz and 120 Hz crossover points. It offers a frequency response of 35 Hz – 147 Hz and dB of deep, powerful bass, all the way down to 35 Hz.

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GEAR AUDIO…LIGHTING…STUFF

DO YOU READ ME? Moog Music 160 Broadway St Asheville, NC 28801 (828) 251-0090 www.moogmusic.com

patch ideas, sound design tips, professional artist interviews, in-depth discussions with Moog engineer, a foreword from film score composer and sound designer Hans Zimmer, and a company history, including an inside look into the Moog factory in Asheville, N.C.

Patch & Tweak with Moog is a new book that serves as “the ultimate resource for Moog synthesizer enthusiasts and musicians of all skill levels interested in an immersive modular synthesis experience,” according to the company.

Over the course of 200 pages, the book offers synthesizer techniques, creative

FLYBY ON THE WALL Mixware, LLC 11070 Fleetwood St, Unit F Sun Valley, CA 91352 (818) 578-4030 www.mixware.net The MONO FlyBy Ultra is a two-in-one backpack that sports a waterproof 1680D Ballistic Nylon shell, shockproof shell structure, luggage pass-through and reflective trim for visibility during late-night gigs. It features a break-away laptop bag design with storage space available for MIDI controllers, vinyl records and a 17-inch laptop. Additional features include contoured backpack straps, a padded strap pad and an embossed Go Play brushed metal tag.

KEYSTATION TO STATION

BE MY BB

M-Audio/inMusic 200 Scenic View Drive Cumberland, RI 02864 (401) 658-5765 www.m-audio.com M-Audio’s Keystation 88 MK3 USB/ MIDI keyboard controller features 88 full-size velocity-sensitive keys and a wide variety of recording/production/performance software, virtual instruments and online performance/skill-building lessons.

The latest addition to the company’s Keystation Series, the USB-powered unit supports USB-MIDI and iOS connectivity. Keystation 88 MK3 includes octave range buttons, pitch-bend and modulation controls, and a volume control that allows users to play, perform and record with music software without requiring a mouse or trackpad.

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BASSBOSS 9501 Cargo Ave, Ste. 600 Austin TX 78719 (855) 822-7770 www.bassboss.com The BB15 from BASSBOSS is a powered 15-inch subwoofer that features a 15-inch neodymium motor woofer with a 4-inch split-wound, multi-layer aluminum voice coil. The plug-and-play unit is powered by a 2,400-watt RMS amplifier with integrated, comprehensive DSP. The built-in processing includes a high-pass filter, a low-pass filter and a proprietary limiter system that the company says “protects the woofer from thermal and over-excursion damage.” The subwoofer comes in a crossbraced cabinet constructed from 15mm multi-ply Birch. It sports a black polyurethane coating and a black powder-coated, perforated steel grill.

TRACKS…MIXES…COMPILATIONS Guest Reviewer: Crispin J. Glover “All This Love” u Soul Central u Tropical Disco A glorious slab of feel-good disco and a brilliant rework of “Give It to You,” a forgotten disco gem by RCR, has shades of Spiller’s “Groovejet.” My wife loves it, my 8-yearold son loves it, and I’d love to hear it in a nightclub very soon... here’s hoping!

Wankelmut

Mike Dunn

Soul Central

Demarkus Lewis

Tom Junior

“FREE AT LAST”

u Wankelmut & Anna Leyne u Toolroom A big-room whopper, this Leyne-fronted house track delivers a great combo of rhythmic grit and vocal soul. The Martin Ikin remixes takes the track in a trippier, more tech-house direction, while Mousse T’s piano-driven remix pushes a deeper flavor.

Duwayne Motley

“WHAT YOU FEEL”

u Demarkus Lewis u Large Music Lewis is back – and he never, ever disappoints.

Loaded with soulful vocals and a sassy, swinging rhythm, this track should light up garage-favoring jocks. And don’t sleep on the dub mix, which punches plenty deep.

– Tommy D Funk

Shapeshifters & Billy Porter

Mo’Funk bringing it to a new clubbing audience, this should be a smash yet again.

– Curtis Zack

– Jim Tremayne “IT’S GONNA BE ALRIGHT”

“FINALLY READY” (REMIXES)

The Shapeshifters feat. Billy Porter u Glitterbox One of the standout tracks of 2020, this soulful slammer gets an overhaul for 2021. Remixes come courtesy of Dimitri from Paris, Catz n Dogz and David Penn that all carry a slightly different vibe, but all deliver big time.

u Skydoll feat. Jearlyn Steele u Skydoll Out of Minneapolis, Skydoll delivers a message of positivity, not to mention a first-rate discohouse song. The original is perfect, but remixes from Chuck Love (sweeping and piano-driven) and Richard Earnshaw (ultra-funky) deliver the goods as well.

– Curtis Zack “LEAVE ME”

u Tom Junior u Groove Soul Records Flexing a filtered sample of “Ain’t Too Proud to Beg,” the London-based Tom Junior scores with a dancefloor winner here. Proper loose drums and funky bass create a swinging groove that’ll get things going. Add in the old-school vocal tidbit and you get an essential slice of house music.

– Curtis Zack

With gospel piano loops and searing vocals leading the way, this soulful deep-house track really gets pumping with the rolling rhythm kicks in.

Big bass and hefty thump lift this one to classy house status. Hair-raising stuff right here.

– Tommy D Funk

u Leroy Burgess u Z Records Lost in the Salsoul vaults for 35 years, this bright and sweeping disco groover was discovered by Dave Lee (aka Joey Negro) who has dutifully taken the masters, given it a sprinkle of boogie magic and given it the release a track of this caliber deserves.

– Curtis Zack

“LOW N DIRTY”

u Bobby Breezy & Col Lawton u Viva Recordings Sporting deep, jazzy house vibes, this is another ultra-silky production from Lawton. With the spoken-word vocal drops, organ riffs, funky bassline and thumping rhythm, this one really comes alive for the dancefloor.

– Tommy D Funk “RHYTHM” u Duwayne Motley u Simma Black

“ONE PLUS ONE”

– Tommy D Funk “BACK AND FORTH” 2021

u Supakings u Peppermint Jam This sassy Peppermint Jam classic gets refreshed 22 years after its original release with a whole host of new remixes. The Main Ingredient sample still (rightly) dominates this disco-house release and with updates from Michael Gray and

DEFECTED PRESENTS HOUSE MASTERS: MIKE DUNN

u Mike Dunn u Defected

Forty cuts of classic-house goodness – jacking acid, deep-house, vocal-driven garage, prototechno, it’s all here. Chicago legend Dunn drops some old-school favorites and newer tracks.

Picks include: “It’s Anotha Groove” by MD XSpress; “Who Turned You Out” by Byron Stingily; “Jass Yo Azz Off” (Tribal X Mixx) by Dunn presents The Jass Mann; “Natural High” (Mike Dunn Black Glitter Extended MixX); and “Huggin’ & A Luvin’” (Mike Dunn Luvz Huggin’ U ReMixX) by Gershon Jackson.

– Tommy D Funk WINTER ISSUE

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BABICZ

an empty screen, but already have this emotional sculpture inside of me and just use Logic as a tool. I don’t care whether the matrix is DJ-friendly – I just put the elements where I think they make sense. I play everything by hand, too, so I don’t work with step sequencers anymore.

It’s more fun to just play things.

DJ Times: Tell us about your online Mastermind sessions that teach

production.

Babicz: I had a plan to start a teaching/mentorship platform a long time ago and it never took form – so now was the right time to do it. I started a project called Mastermind, and it’s really saved my ass. I was giving master classes before because I always like to share what I know with people, but Mastermind has helped me to put a structure to that. I do online group

calls and one-on-one meetings with students every week, and I’m finding that I’m explaining things that I never had to explain before. When you produce alone, you don’t have to explain why you did something, so teaching has also helped me to understand how everything is connected. Even after 30 years, I still see myself as an advanced beginner!

– Danny Turner

(continued from page 12) she smashed it. Two years ago, we performed “Missing” at Defected in Croatia and, if you watch the video, the power cut out, the whole festival was down. The crowd then started singing the hook, which they had just heard for the very first time, and instantly we knew, seeing that reaction, that “Missing” was a single.

changed the sound of the record.

KON: I came from the [Akai] MPC60 era, but I haven’t used hardware for a long time. Everything is [Native Instruments] Maschine into Ableton Live. I also use Serato Studio where I can whip things up super-quick, then import them into Ableton. We also used some of the synths at Ben’s studio like the Oberheim and Juno.

Westbeech: As soon the situation open ups, we will try to do as many gigs as possible. We have festivals such as Parklife and Love Saves the Day lined up, which may or may not happen, and then obviously Glitterbox in Ibiza. Also, we recently released a remix of an old Jakkata and

Seal tune [“My Vision”] from back in the day for Dave Lee’s Z Records. I’m also doing some solo projects.

KON: I think it would be difficult to predict that we will be back next summer, but I cannot wait to get back to playing and even social gatherings and smiling and feeling good.

– Curtis Zack

DJ TIMES: WHAT GEAR DID YOU USE TO GET THAT CLASSIC SOUND? Westbeech: There was a lot of use of an ARP Quartet, which is like a string machine. I grew up in Bristol and Portishead used that synth a lot.

In my Amsterdam studio, where most of the record was made, I’ve got a lot of vintage gear – a lot of the tracks went through an UnFairchild, which is a remake of the classic Fairchild compressor. It gave a lot of the record that tape saturation sound that it has. I bought that compressor about halfway through the recording, and it

D J T I M E S : H OW H A S L I F E DURING LOCKDOWN BEEN? Westbeech: It’s been difficult not being able to gig when you have a record out. It’s a really odd thing not being able to do any shows. The last show we did was in Printworks [a London club] to 6,000 people, then the next week we were in lockdown.

To go from that high to nothing was tough as an artist. I do feel incredibly lucky, though, considering that a lot of people can’t pay the rent.

Sounding Off Pioneer

Sounding Off Numark

(continued from page 10) somehow broken. That’s why I make music so quickly, because I only need seconds to see what I need to change.

DJ Times: So rather than using a DAW and drawing music to a grid, you’re using internal visualisation to shape the sound?

Babicz: That’s totally right. I work with Logic and always open

The Vision

(continued from page 22) you’re playing.

One thing that was conspicuously absent from the CDJ-3000 at the time I had the review units is support for Serato DJ Pro. That support has been promised for a future software update to the units, which should make a lot of the Pioneer DJ faithful much happier with these new decks.

Conclusions: As I mentioned earlier, the new Pioneer CDJ-3000 will set you back roughly $2,300 each. For that investment, you get a really solid, reliable media player — a product born from an extensive legacy, and an unwavering commitment to the DJ market. With a solid feature set designed to support those at the top of the DJ game, no doubt the CDJ-3000 is destined to become a fixture in high-end venues and in the riders of big-name DJs. Of course, part of that depends on us emerging intact from a global pandemic, and to a degree, on Pioneer completing the Serato DJ support.

But as we swing into 2021, it would appear that — thank goodness — both are simply a matter of time.

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(continued from page 23) included on controllers at this price.

Both units come with Serato DJ Lite and are compatible with Serato DJ Pro. To me, these seem like really good controllers for DJs wanting to make the transition from DJ software alone or smaller DJ controllers to a moreadvanced, intermediate DJ controller.

Additionally, I could also see these – especially the Mixtrack Platinum FX – being purchased by experienced DJs as a secondary set-up for smaller gigs or as a bedroom/portable practice tool.

One question that is likely to come up is whether to choose the Mixtrack Pro FX ($229 street price) or the Mixtrack Platinum FX ($279 street price). Personally, I’d opt for the Platinum FX: no DJ controller at this price has such thorough screens, and they give the controller a very professional look.

However, both are fine choices for DJs wanting a controller that offers advanced features – such as paddledriven effects – while elevating the essentials. Well-done, Numark.

2020

Bug

(continued from page 17)

I’m shrinking down the collection to what I really think I need.

DJ Times: Are there “secret studio weapons” that help create your favorite sounds?

Bug: One of my favorite synths is the Studio Electronics Omega 8. We used it on pretty much every track on the album I did with Langenberg [2018’s Paradise Sold on Poker Flat].

It is such a great-sounding, versatile synth, I wouldn’t want to miss it. But I just bought the Sequential Prophet-5 Rev4, an updated version of the original Prophet-5 with the original chips, and the option to switch between the chips of the Rev1 and 2 or the Rev3. It is a beast, very simply, but a very effective weapon for what I am into. I had one in ’94, but it was in a really bad shape, so I had to give up on it at some point. So damn happy it’s back now. And I can’t forget the Minimoog Model D. I bought it when they re-issued it, and it simply suites me very well.

DJ Times: What’s your DJ set-up and why do you choose that route?

Bug: I play on [Native Instruments] Traktor with Control Vinyl, simply because I still like to touch the vinyl, put the needle on, etc. But I don’t want to carry all those records around anymore. Also I like the extra opportunities that come with playing digitally – having various effects at hand, for example. So, for me, this is still the perfect pairing of the two worlds.

DJ Times: What kind of livestreaming have you done during this time?

Bug: I did a live-stream for a good cause for a promoter in Chile. I recorded it at Noisy Rooms [rehearsal space] in Berlin. It was actually fun playing records out loud. I had

a friend helping me with the videotaping – he was there dancing with me, which made it even more fun. But I don’t think it’s something I am keen on doing on a regular basis. It is missing the crowd factor, though. Also, it was a bit inflationary at the beginning of the first lockdown. I personally prefer audio mixes, as I don’t need to look at a DJ to enjoy myself listening/ dancing to music. I mean, seriously, how many people watch a whole live-streaming from the beginning to the end? Most of all the clicks that you’re seeing have probably joined in for a few minutes and then turned it off again.

DJ Times: How do you see the DJ/electronic-music scene changing in 2021? How will DJs and events adapt?

Bug: To be honest, I’m not sure if clubs/festivals will be able to re-open next year after all what’s going on in the world right now. Politicians all over the world are somehow blaming the nightlife for the infection process, even though in most countries the nightlife hasn’t been happening since March. It seems like we are the ulcer one would like to get rid of. So many people from the nightlife and everything that comes with it are struggling. So little is done to help people get through these times. And thinking of the clubs, whose financial support has been cancelled… Only time will show how many will survive this period. We will have to wait to find out how big the damage on the entertainment industry really is in the end. I truly hope for the best.

DJ Times: What income-producing work did you lose during this time?

Bug: I lost all gigs going back to March so far, including a nice tour in

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

Compiled As December 14, 2020

C LU B P L AY C H A R T

NATIONAL CROSSOVER POOL CHART 1 Dua Lipa F/ Madonna 2 24Goldn F/ Iann Dior 3 Sam Smith 4 Ava Max 5 Topic & A7s F/ Lil’ Baby 6 Tate McRae 7 Surf Mesa F/ Emilee 8 Gabby Barrett 9 Justin Bieber F/ Chance 10 BTS 11 Drake F/ Lil Durk 12 Ariana Grande 13 Joel Corry X Mnek 14 Miley Cyrus F/ Dua Lipa 15 Ariana Grande 16 Tiesto 17 Miley Cyrus 18 Jason Derulo 19 Zoe Wees 20 Meduza 21 NOTD & Catello 22 Topic & A7s 23 Jax Jones & Aura 24 Billie Eilish 25 Kygo X Tina Turner 26 Internet Money F/ Don Toliver 27 Allegra 28 Kastra 29 Flowliner & Brislona 30 Gloria Estefan 31 Karen Harding + Digital Farm 32 Deadmau5 & Kiesza 33 David Guetta & Sia 34 Tanya Nolan 35 San Holo F/ Broods 36 Phantoms 37 Aluna 38 Kylie Minogue 39 Lady Gaga 40 Rozalla

Levitating Warner Mood Columbia Diamonds Capitol Kings & Queens Max Cut/ Atlantic Why Do You Lie To Me Capitol You Broke Me First RCA Ily Astralwerks I Hope Warner Holy Def Jam Dynamite Columbia Laugh Now Cry Later Republic Positions Republic Head & Heart Big Beta/ Emg Prisoner RCA 34+35 Republic The Business Atlantic Midnight Sky RCA Take You Dancing Atlantic Control Caroline Paradise F/ Dermot Kennedy Republic Nobody Island Breaking Me Capitol I Miss You Interscope Therefore I Am Interscope What’s Love Got To Do With It RCA Lemonade Capitol Do What I Want Radikal Glamrous Total Smash Love Makes The World Made 2 Dance Rhythm Is Gonna Get You Not Listed Undo My Heart Ultra Bridged By A Lightwave Awal-Kobalt Let’s Love Warner No Pressure Artsessionz Honest Astralwerks / Want To Know Republic Envious Mad Decent Magic Darenote / BMG 911 Interscope I Feel It Slipping Energise Records

Most Added Tracks

NATIONAL LATIN DANCE POOL CHART 1 AFM (The Sky) 2 Muzik Box 3 Domenic Marte ft. Stevie B 4 Ozuna 5 Farruko 6 Manny Cruz y Miriam Cruz 7 Zion y Lennox ft Myke Towers 8 Carlos Vives 9 Alsikiatra 10 Pedro Jesus 11 DoseRock 12 Prince Royce 13 Oro Solido 14 Chesca ft Pitbull ft Frankie Valli 15 Maelo y su Klan 16 Yandel ft Jhay Cortes 17 Darkiel ft Pedro Capo, Afro B 18 Marlow Rosado y Frankie Negron 19 Tono Rosario 20 Chacal

Regalame Una Noche Mas Karma (Cubanito Klubjumpers Mix) In My Eyes Caramelo La Tóxica Yo Quisiera Ser No Me Llama Tres Perlas Baila Pegadita de los Hombres Prestame Tu Boca Friky Friky Loteria Ponmelo Ahi Te Quiero Baby Abrele Camino Al Son Ponme Al Dia Me Siento Bien (RMX) Boricuas En Nueva York Vuelve Mami Mi Corazon Es Tuyo

G89 Music Cal 69 Direct Balance Aura Music Sony OMG Warner Music J&N Records Alsikiatra Salsaneo Soundcheck Sony 24K Universal Cafe La Leyenda LLc Chosen Few J&N Records Mayimba Music La Corporacion

Most Added Tracks 1 2 3 4 5

David Kada Giuseppe D Vs. Tito Puente Jr. Daddy Yankee & Marc Anthony Gilberto S. Rosa ft Pirulo Wito Colon

Amiga Con Derechos El Cayuco De Vuelta Pa’ La Vuelta Que Se Sepa Culpame

Park East Indie Sony B2B Music WJ

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

1 Deadmau5 & Kiesza Bridged By A Lightwave Awal-Kobalt 2 Sigala & James Arthur Lasting Lover Arista 3 Notd & Catello Nobody Island / Republic 4 Ariana Grande Positions Republic 5 Allegra Do What I Want Radikal 6 Justin Bieber F/ Chance Holy Def Jam 7 Megan Thee Stallion Body 300 8 Tiesto The Business Atlantic 9 Flowliner & Brislona Love Makes The World Made 2 Dance 10 The Weeknd Save Your Tears Republic

REPORTERS

n n n n n n n n n n n n n

Gary Canavo Blake Eckelbarger The Dance Environment Manny Esparza Howard HK Kessler Brian Stephens Peter K. Productions Kidd Leow Randy Schlager Alan Chasen Chris Egner Ilan Fong Miss Joy

Masspool Dj Stickyboots Powered By Spectrio Nexus Radio In The Mix With HK Mixxmasters Peter K Vindictive Vendetta Soundtrack Your Band OMAP Victor’s Kahoots TAO Group

Saugus,MA Syndicated Los Angeles, CA Chicago,IL Minneapolis,MN Lithonia,GA Syndicated Tampa, FL Seattle, WA Washington, DC Milwaukee, WI Columbus,OH Las Vegas, NV

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North and South America, a beautiful festival in the Swiss mountains, and many other gigs. Besides that, I had a “Steve Bug Presents Play” party lined up here in Berlin at Ipse. So, basically, like many other DJs, I have no gig income since March. Producing your own music and releasing it became more of a business card to get booked, since there is almost no money to make anymore.

DJ Times: One problem ends up creating another…

Bug: Like many others, I do have a proper studio that needs maintenance, and I have to pay the rent for it. This comes mostly out of the touring money. I really think that this crisis will affect our business for a rather long time – no one knows for how long we won’t be able to party together again. Many countries have closed their borders for several

16B

(continued from page 21) me, is the closest thing to covering all the styles I’ve loved to make and still enjoy listening to it now, as much as in my naïve and younger days. There’s such a fine line between the love to create new things when you’re young and still loving the art in it as much when you think you’ve wisened up and become far more experienced.

DJ Times: What’s your studio set-up?

16B: I’m a UAD man – I use an Apollo 16 [interface] going into a [Soundcraft] LX7II console. My favorite outboards are two [Empirical Labs EL8] Distressors and my dbx 172 [Super Gate]. My favorite plugs are the Sonnox Oxford Inflator and Avid’s Loom for textured sounds.

My fave synths are Roland’s Juno-60

months. Festivals may not happen this summer. Many clubs may not survive the shutdown. So there is going to be even more DJs fighting over less club gigs in the future. It will take time to grow into something new.

DJ Times: During this weird period, are you doing anything new or different that’s ultimately constructive to your music life/career?

Bug: I’ve been DJing, writing my own music, and running a label for almost 30 years – and that’s what I am good at, and what I love the most.

Of course, there are alternative jobs/ options in the music biz, but I prefer to leave these to those who are better at it. So apart from not touring, I am basically doing the same as before.

I’m in the studio as much as possible, writing new music, actually a few more collaborations – obviously by sending parts to each other via the

web – are planned, since everybody has more time in the studio these days. I’m also working on the two labels, Poker Flat and Sublease Music, and I’m checking out the new releases every week. With the extra time given, I’m checking out more downtempo, chill-out stuff. That may influence the upcoming productions.

DJ Times: What’s the most surprising thing you’ve realized during this period of social distancing?

Bug: How little problem I have with it, and how big of an issue it is for others. I mean, I love connecting with the crowds when I play, and I truly miss that right now. But when I am touring, I feel sometimes more alone, being close to strangers – on flights, or at airports, for example – than I feel right now. Being alone is a part of the job, if you’re not traveling with a tour manager. You’re also

alone in the studio, sometimes for days – we’re used to it.

DJ Times: What’s next for you, creatively?

Bug: Now that the album’s out, there’s another collaboration [“Flying Keys” b/w “Silver Star Stallone”] with my mate Clé on Rejected. By end of the year, I will be moving the studio, and hopefully the new one will be up and running after a short time, so that I can go back to work on more music.

DJ Times: Any advice on staying sane and relatively positive through this situation?

Bug: Keep your sense of humor, learn something new, do some sports, stay in touch with your friends and family, catch some fresh air and sun, if you can. Basically, keep yourself entertained – this includes learning n about yourself.

and Jupiter-6, which is the pinnacle of sound design, in my opinion. You can pretty much create anything from deep drum sounds to the most sophisticated pads and bass sounds.

It’s the backbone of almost all my sounds.

DJ Times: What’s your typical DJ set-up and why do you choose that route?

16B: Two turntables, two Pioneer DJ CDJ-2000 players, a DJM-900 mixer, a DJS-1000 sampler. Most of it’s obvious, but I use the DJS-1000 to sample a few bars of a mix or loop to free up the channels, then mix in the next tune. It’s very creative and you end up almost remixing tracks and doing edits on the fly.

DJ Times: Have you done livestreaming online?

16B: I’m not saying it’s a good or bad thing, but standing in a room on your own without an audience?

I guess it’s great for doing a live set of your own material, but I’m not so into doing a DJ set on my own. I feed off the crowd and it’s an exchange of energy which makes the set so fun and unpredictable! I’d feel robotic playing to a camera and constantly checking who’s watching or commenting. Maybe I’m old-school, but the whole point of performance is knowing your audience is in front of you giving you that extra bit for inspiration.

DJ Times: Any theme tunes recommended for the moment?

16B: The Cure’s “Faith” and Simple Minds’ “Don’t You Forget About Me.” DJ Times: Any advice on keeping

it together through this situation?

16B: Find a few new hobbies and meditate every day, keep physically active and have a goal. Strategy for sanity normally lays in positive understanding of anything negative, accepting the situation and dealing with it accordingly. Not trying to escape the reality, but getting stuck right into it, being an example of what you expect, visualizing and using imagination to bring about a better world and staying strong and supportive for your family and friends.

DJ Times: What’s next for you?

16B: More music for films, possibly another album to make Silenciety and SunTzu part of a trilogy, and my book, “The Energy Investor,” which I’ve been writing for almost five years n now. It’s nearly ready.

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But we can agree on one thing:

The sun has finally set on 2020.

Here’s to a Great 2021!

Joe Berinato

Who knows if we’ll party in ’21?

Chris Lazarro

aLIVE Coverage

A New Year: Let’s Turn the Page

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