DJ Times 2021, Vol 34 No1 "BELIEVE IN MUSIC 2021 ISSUE"

The Latest DJ Debuts

AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988 VOLUME 34 NUMBER 1

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T E C H N O M A S T E R ’ S PA N D E M I C P I V O T

BELIEVE IN MUSIC 2021 ISSUE

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6 Marketing Tactics for ’21 Leadership Tips for Multi-Ops Plus: DJ Godfather * DJ Spen * The Magician Bose L1 Pro * IK Multimedia ARC System 3 RANE TWELVE & SEVENTY-TWO

D JM-S7 S CR ATCH S T Y L E 2 - CH A N N E L D J M I X E R

MAGVEL FADER PRO Scratch confidently with enhanced crossfader feeling and durability

LARGE EFFECTS LEVERS Quick access to trigger FX’s in creative performances

LARGE PERFORMANCE PADS Tactile performance pads designed to remain touch-sensitive night after night

BLUETOOTH INPUT Drop sounds from your phone onto either channel or the master output

ALL-NEW LOOP MIDI Use the effect levers to control DJ software features via a set beat cycle

PIONEERDJ.COM

NOTABLES…MILESTONES NEWS

BELIEVE IN MUSIC WEEK: GEAR DEBUTS FOR DJS

By Jim Tremayne Anaheim, Calif. – Although the 2021 Winter NAMM show – originally scheduled for Jan. 21-24 at the Anaheim Convention Center – became another live-tradeshow casualty of the COVID-19 pandemic, the week would not be wasted for the industry.

Instead, the National Association of Music Merchants presented Believe in Music Week, which the show organizer described as “a mix of comprehensive programming and professional education at BelieveinMusic.tv, as well as an interactive marketplace to connect buyers and sellers.” Accordingly, manufacturers stepped up with a slew of product debuts, including many targeted for the DJ, pro-audio, lighting, and studio markets.

Pioneer DJ released the DJM-S7, a 2-channel, DVS mixer. The plug-andplay unit works with Serato DJ Pro or rekordbox software and includes a variety of featuring, including Loop MIDI, Scratch Bank, Sample Scratch Mode and Combo Pad Mode.

In other mixer news, PLAYdifferently released the Model 1.4, a compact, 4-channel, analog unit perfect for home studio, streaming or touring. Key features include two stereo send-andreturn channels, two mix outputs and two high-performance phono preamps.

On the accessories tip, Decksaver, distributed Stateside by Mixware, introduced 14 new covers for products like Pioneer’s DJM-S11 battle mixer, Hercules’ Impulse 500 controller and Numark’s Mixtrack Pro FX/Platinum FX. From the pro-audio sector, JBL Professional released a pair of proaudio units. The IRX115S, a 15-inch, powered subwoofer for portable applications delivers 128 dB of bass. Meanwhile, the VTX B28, a dual 18-inch sub, serves both touring and fixed-installation purposes.

Mackie introduced the SRT Series of powered loudspeakers, which include three 1,600-watt units and a subwoofer option. The series includes SRT210, SRT212 and the SRT215, plus the SR18S, an 18-inch sub. All models of the new line include wireless control via Mackie’s SRT Connect app.

E l e c t r o - Vo i c e r e l e a s e d t h e EVOLVE 50M, a 1,000-watt, column loudspeaker system, which features EV’s QuickSmart Link digital audio-andcontrol technology, an onboard mixer, DSP and effects.

DVS Mixer: Pioneer DJ’s DJM-S7.

Wash: Chauvet DJ’s SlimPAR Pro Pix.

Active Sub: JBL Pro’s IRX115S.

Chauvet DJ introduced a trio of lighting products. They include: the Cast Panel Pack, a complete lighting solution for vlogging or any other on-camera project; FLEXstand, a multipurpose, telescoping stand that supports both lighting and audio gear; and SlimPAR Pro Pix, a hex-color (RGBAW +UV) wash light protected by a road-ready die-cast aluminum housing – it also has an RGB outer ring which can be independently controlled.

Blizzard Lighting released four new LED lighting effects – MAX L strobe/blinder/wash, mikrokassette wash/blinder, SPOTMAN 30-watt white light, and minisystem party light.

For small/home studios, Nugen Audio introduced “Elements” versions of its Focus Bundle plug-ins. They include first entry, Stereoier Elements, a stereo width plug-in that adds depth to stereo and mono mixes.

Roland/BOSS released a variety of new products for music makers. They include the Roland VERSELAB MV-1 Song Production Studio composition tool, which includes a 16-step TRREC rhythm sequencer, and the BOSS WL-30XLR wireless microphone sys-

VERSELAB MV-1: Roland’s studio tool.

tem. Related company, the recently top controller, ISA 828 MKII mic prerebranded V-MODA, released the amp, ISA ADN2 2-channel AD card and M-200 ANC, the company’s first BlueISA ADN8 2-channel AD card. tooth active noise cancelling headIn microphone-land, Shure released phones. the SLX-D digital wireless system and KRK introduced a new series of stuthe MV7 dynamic microphone with dio subwoofers, available in 8-, 10- and both USB and XLR outputs for use 12-inch versions – the S8.4, S10.4 and with computers and professional inS12.4. Yamaha released the NSP3A terfaces alike. VocoPro released the powered monitor speaker, which is Germinator UV Microphone Sanitizer, an updated version of the company’s a two-minute mic sterilizer that uses MSP3 model.

UV rays to eliminate germs and smells Korg introduced three synthesizfrom wireless and wired microphone ers – the ARP 2600 M modular synth, capsules. miniKORG 700FS analog synth and Sensaphonics introduced 3DME modwave. ZenDAW, distributed by Custom Tour IEM system with Active Plugivery, introduced CLOUDKEYS, Ambient and Bluetooth Mike Walter: DJ vettechnology helmed multi-op panel. a Touch Workspace software for the control. Sensaphonics and ASI Audio Reason DAW. announced the imminent release of the Also for studio apps, beyerdynamupgraded version of its flagship 3DME ic released several new products. They Music Enhancement system, which ininclude Creator Pro and Creator 24 corporates Bluetooth connectivity for bundles, and three headphone sets the included ASI Audio app, enabling – DT 990 Pro, DT 1990 Pro and DT set-up and control via any current iOS 1770 Pro. Antelope Audio released or Android device.

Zen Go Synergy Core, a bus-powered, TASCAM released an upgraded verportable audio interface. sion of the DR-10L Micro Linear PCM Focusrite introduced five new stuRecorder that includes a backlit display dio products. They include the Red that provides clear, real-time info about 8Line audio interface, RedNet R1 deskrecording levels.

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FEATURES

12 Pandemic Pivot

With a Variety of Unique Projects, Techno Master UMEK Avoided Some of 2020’s Ravages & Maintained His Profile

BY JIM TREMAYNE

VOLUME 34 NUMBER 1

16 Leading the Way, Pt. 1

Why Leadership Remains Vital for Mobile Multi-Op Owners

BY TRAVIS WACKERLY

18 Beat Freak

After Surviving COVID, Detroit’s DJ Godfather Unleashes a Ghettotech Monster

BY JIM TREMAYNE

Samplings 8 The Magician

Hitting the Century Mark

10 In the Studio With…

DJ Spen

Departments 7 Feedback

Update on DJ Expo 2021 in Atlantic City, N.J.

20 Making Tracks

IK Multimedia ARC System 3

22 Sounding Off

Bose LI Pro & RANE’s Duo

24 Mobile Profile

Chicagoland DJ Balances Livelihoods

25 Business Line

Six Vital Marketing Tactics for ’21

26 Gear

Cover Image by Luka Kase

New Products from Pioneer DJ, ADJ & More

30 Grooves

Phat Tracks from DJ Minx, Conor Ross & More

33 Club Play Chart

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

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FROM THE EDITOR

editor-in-chief Jim Tremayne jtremayne@testa.com

The Pandemic Pivot

editor-at-large Brian O’Connor boconnor@testa.com

Truly, no DJ has been spared altogether by the pandemic. In addition to the tragic human toll, a multitude of gigs – for DJs of all stripes – have been lost and the music game has changed. Some jocks, however, have managed to pivot through the situation by creating and releasing new music or embracing new platforms, like live-streaming or teaching.

Techno titan Umek has done all that and more. He’s hunkered down in the studio and cranked out a slew of new productions and remixes. He’s been able to pay extra attention to his label, 1605. He’s performed more than a few live-streams, he’s begun to do some online teaching/ mentoring, and he’s managed to create sample packs for the Loopmasters brand. Of course, given his vast experience and deep history – the Slovenian DJ/producer has been at it since the early ‘90s – he’s built quite a brand. And we were lucky to connect with him and discuss it all just as 2020 ended.

Other DJs in this issue have followed a somewhat similar path. For our In The Studio section of Samplings, Baltimore-based, deep-house talent DJ Spen explains what went into creating his excellent full-length, Soulful Storm, in addition to discussing his new attraction to live-streaming. Additionally, in Samplings, our Brian Bonavoglia connected with The Magician (aka Stephen Fasano), as the Belgian DJ/producer prepared to hit the century mark on “The Magic Tapes,” his monthly digital mixtape. And then, DJ Godfather (aka Brian Jeffries) just went over the top. As he managed to recover from a case of COVID himself, the Detroit ghettotech pioneer dropped a 44-track monster of album, Electro Beats for Freaks, which will get your feet moving and your booty shaking.

On the mobile front, new contributor Travis Wackerly offers the initial entry to his three-part series on leadership, and why it’s so important for multi-op mobiles. In Mobile Profile, we visit with Chicagoland DJ Steve Owen, a part-time jock balancing livelihoods. In Business Line, Joshua Volpe offers six vital marketing tactics for 2021.

Lotsa products in this issue. Twin Cities-based DJ Deets handles this month’s Sounding Off column with reviews of Bose’s L1 Pro loudspeaker system and RANE’s TWELVE controller and SEVENTY-TWO mixer. In Making Tracks, Denver’s Wesley Bryant-King takes on IK Multimedia’s ARC System 3 – that’s Advanced Room Correction for studio environments. Additionally, we roll out the bundle of new DJ-related gear as NAMM presented Believe In Music Week this past Jan. 18-25. Although we very much missed our trip to Anaheim, Calif., for this year’s cancelled Winter NAMM show, we remain encouraged by the impressive amount of new products – playback, proaudio, lighting and studio – that expect to impact the DJ market.

And don’t sleep on DJ Expo. Newly re-branded as DJX, the show is set to run Aug. 9-12 at the Hard Rock Hotel & Casino Atlantic City and, as always, it will showcase the latest DJ-related gear, offer the most topical seminar sessions and keynotes, and present the hottest sponsored events.

For the very latest, please visit thedjexpo.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 Ryan Hayes Greg Hollmann Josh Kerman Michelle Loeb Erik Miller Lily Moayeri Jordan St Jacques Jeff Stiles Ashley Teffer Danny Turner Phil Turnipseed Travis Wackerly 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 jgra@ziano@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 © 2021 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 Believe In Music Issue 2021

visit our website: www.djtimes.com 6

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FEEDBACK AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988

White

W R A P - U P

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

SP TA E NV ED BE UM GI ’ SC R

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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.

nologies, seminar sessions offering inspirational ideas, and sponsored events brimming with networking op‑ portunities – but the 2021 Expo will mark the start of a new era. This year will begin the pivot with new floor plans, imagery, ideas, energy, product drops and collabs that will bring us forward into the future.

“As the DJ industry evolves, we have to evolve with it,” says DJ Times Edi‑ tor Jim Tremayne. “That’s true for all our platforms and especially so with our new moves with the show. So, a re-branding was in order for us to move forward.”

Testa Communications’ General Man‑ ager Robin Hazan concurs: “Since its inception more than 30 years ago, DJ Times and DJ Expo have always maintained a deep connection to the DJ world and we’ve always looked to broaden its reach. We believe the re-branding, which coincides with the show’s exciting move to the Hard Rock, will help in that endeavor. So, to borrow our New York motto… Excel‑ sior – ever upward!

“To that end, the show has brought on Shawn Hazan, an industry veteran with over 25 years of experience in large-scale trade shows and events.”

Says Hazan, the CEO of HAZCOMM: “In nearly 30 years of event-manage‑ ment experience, it is rare to find an event producer with such passion, depth and relationships within the market they serve. Their enviable mar‑ ket reach, content creation and data capabilities are the perfect mix to lead a re-imagined DJX into the next 30 years. I am humbled to work with such talent and provide guidance on execut‑ ing their future-thinking strategy.”

Repping a new, optimistic spirit with fresh opportunities for a DJ industry looking to experience a renewal…

DJX.

DJX – Back to The Boardwalk For many, 2021 is about fresh, new starts… and such is certainly the case with DJ Times and its long-running trade show/exhibition, DJ Expo.

As DJ Times and its publisher, Testa Communications, prepare to take the 2021 version of the show to an excit‑ ing, new venue, the show will be rebranded with a new logo – DJX. Set for Aug. 9-12 at the Hard Rock Hotel & Casino Atlantic City in Atlantic City, N.J., the 2021 Expo will forge a new, long-term alliance with the popular Boardwalk property and it promises to offer the DJX community unique synergies that will increase business for all future attendees and exhibitors.

“We are excited to host and partner with the long-standing DJX event here,” says Shelley Williams, Vice President of Sales, Hard Rock Hotel & Casino Atlantic City. “While the syner‑ gies in the music and talent space are obvious, DJX’s management team’s progressive, forward-thinking ap‑ proach is very much aligned with our views regarding the event industry’s future in Atlantic City. The opportunity to leverage both the energy and com‑ mercial initiatives that DJX brings to this market are limitless. We look for‑ ward to a long-standing, collaborative and mutually beneficial relationship.”

Now in its 32 nd year, the show will retain its vital mission of presenting an exhibit hall full of the latest tech‑ BELIEVE IN MUSIC ISSUE

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SAMPLING As The Magician, Stephen Fasano has been an electronic-music tastemaker for a decade now. With his “Magic Tapes” – a monthly digital mixtape that includes exclusive tracks and original productions – the Belgian DJ/producer has maintained a high profile since its 2010 debut.

And now, after a pandemic-related halt, The Magician has hit the century mark with his influential series. Accordingly, he’s released The Magic Tape 100, a full-length comp (available in a variety of formats) that includes 15 exclusive cuts. Upbeat, funky and fun with tracks like The Magician’s thumping “One Vibration” (feat. CALYPSO), The Magic Tape 100 (Potion Records) offers a variety of house-leaning genres and it will get the party started right. We recently connected with The Magician from his home in Brussels.

DJ Times: How did you spend most of your pandemic time?

Magician: During the first lockdown in March-April-May, I spent most of my time classifying my record collection and listening again to some old music from the ’80s and ’90s, doing streaming DJ set with vinyls, composing, producing music, and cooking two or three times a day. June, July and August were months of great reflection – and then September and October were months of freedom. I became also very creative. The second lockdown in Belgium started late October. I’ve been making a lot of music since then – I have never been as productive.

DJ Times: Like ever yone, I’m sure you lost some income-produc-

Magic Tapes: The Magician (aka Stephen Fasano).

THE MAGICIAN HITS CENTURY MARK ing work, right?

Magician: Yes, some tours and festivals have been cancelled, but nothing very important, though. This past year was supposed to be a transition year, more focused on production and playing less shows – and that happened. This year also marked the 10 years of The Magician project, 10 years of “The Magic Tapes,” and the 100th was supposed to be released in May/June, followed by a world tour. We delayed as much as we could – you can’t cheat with numbers [laughs].

DJ Times: Did you learn anything in the downtime?

Magician: What I learned and what will be ultimately constructive for my life/career is that work and organization always pays.

DJ Times: So what’s your main project in early 2021?

Magician: For now, The Magic 8

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Tape 100. It’s an album compilation released in digital and double-vinyl plus a cassette, with 15 exclusive tracks created by 15 artists, including me. Also, I make a new track or remix per week – 2021 is planned and full of releases. A recent one is “One Vibration” featuring CLYPSO. DJ Times: What’s in your studio?

Magician: I work on Logic Pro with a UAD soundcard and plug-ins.

I like the API 2500 compressor on my drum bus, the EMI Chandler limiter on my master bus. I use also the Soundtoys, as well as Valhalla plate reverb. At the moment, I use a lot the Juno 106, Moog One and Korg Monopoly. I love the LinnDrum and Roland TR-707 drum machines. As hardware, I have a Moog One, ARP 2600, Korg DW-6000 and Roland MC 707.

DJ Times: What’s your creation process in the studio?

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Magician: I usually try to find a melody/chords progression on a kick drum, then add a bassline. Then I work on a structure and add drums, pad and effects. I always leave some space for a vocal unless I’m with a vocalist when I compose – then, we work on a topline on chords before adding any drums.

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

Magician: I made my skills on Technics SL-1200 turntables… then CDs and now USB sticks. I still have a vinyl-only set-up in my studio, and I’ve done some live-stream sets that I call Supervision. It was just a way for me to play and re-discover some vinyl records of my collection. But it’s true – I like the ease of Pioneer CDJs and also because you can test demos, promos, etc.

DJ Times: Have you seen any oth-

er live-streams that impressed you?

Magician: Yes, I watched Disclosure producing music on Twitch. I also enjoyed A-Trak and Armand Van Helden’s interviews, Chromeo’s live music, and Moscoman A&R Sessions.

DJ Times: Any theme tunes recommended for this very strange moment in history?

Magician: Yeah, Fleetwood Mac’s “That’s All for Everyone,” O.M.D.’s “Extended Souvenir” and Ph.D’s “I Won’t Let You Down.”

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

Magician: That I’m a crazy maniac of cleanness.

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

Magician: Enjoy the mornings in the kitchen, cooking, making coffee and listening to music loudly.

– Brian Bonavoglia

MAINSTAGE

CONTINUING TO SET THE STANDARD FOR DJ TURNTABLES Building off of the legacy of the Technics SL-1200 from the 1970’s, the Technics SL-1200MK7 is made for the new DJ generation. The new model inherits the traditional design of the previous series and maintains the same operating ease, reliability and durability, while adding a coreless direct drive motor and other sound-enhancing technologies. www.technics.com

IRX SERIES POWERED LOUDSPEAKERS WITH BLUETOOTH

Bluetooth available in black, white, and red, or wired in dark silver, there’s a pair to match your style. Accessory packs include ear pads and a detachable cable in either orange, yellow, green, blue or pink.

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.

www.pioneerdj.com/en-us/landing/hdj-cue1-headphones/dark-silver/

www.jblpro.com/en/product_families/irx-series

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 beginner DJs and music enthusiasts. Each model features a professional look and feel, rich sound, and foldable design for a modest price.

IN THE STUDIO WITH...

DJ SPEN’S SOULFUL STORM

Now in his fifth decade of producing music, Sean Spencer (aka DJ Spen) has had quite a journey.

From making ’80s music in an early hip-hop act, Numarx, and cowriting “Girl You Know It’s True,” which became an international hit for Milli Vanilli, to becoming one of deep-house’s great DJ/producers, Spen has grown and evolved into one of the genre’s most respected talents.

Like many, however, the pandemic posed its challenges, which included a halt to money-making gigs. Still, Spen pivoted by cultivating a newfound appreciation for live-streaming, re-focusing on his Quantize Recordings label, and creating a terrific new album, Soulful Storm. Featuring collabs with Crystal Waters and Micfreak (“Party People”) and Monique Bingham (“The End of It All” feat.

Roland Clark) and more, Soulful Storm deftly fuses house, nu-disco, R&B and gospel into one satisfying collection. We recently caught up with the B’more-based DJ Spen.

DJ Times: How have you spent most of the pandemic?

Spen: Mostly, running my label, Quantize Recordings, producing music, and doing some live-streaming. I am at home with my family, so there has been a lot of family time, as well. I live just outside of Baltimore and we’ve had some form of restrictions in place since March.

DJ Times: Rough year for everyone…

Spen: I lost all my gigs. My spring/ summer touring schedule included regular festivals like Southport Weekender, Suncebeat Festival, Defected Croatia, Bolbeats, and Groove Odyssey Ibiza. Then, I had a lot of individual events scheduled in various locations – U.K., Brazil, 10

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Portugal, Bermuda, Guatemala, etc.

Luckily, people still want to buy music, so my label is doing fairly well – all things considered – and I have really had a lot of time to focus on some of the details of running the label that I usually just don’t have time to focus on.

D J T i m e s : W h a t h ave yo u learned during this time?

Spen: I think the biggest thing I learned during the “downtime” is live-streaming. It’s definitely a world I never considered being heavily involved in, but it’s the reality at the moment. I have been doing regular live-streams since the beginning of the pandemic.

DJ Times: Tell us about it.

Spen: At the moment, I am streaming a gospel-house session every Sunday on Twitch, Mixcloud and YouTube. I started doing First Fridays in November and that

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has been fun, as it’s kind of an unplugged-type thing, taking requests, etc. There are a lot of really good streamers right now and we have seen streams getting better and better. I really like DJ Spinna – you never know what he’s going to play and he has some really dope visuals. David Morales is one of my favorites to listen to – his music selection is really good.

DJ Times: Tell us about your studio work during this time.

Spen: Early in the pandemic, I released a project with Crystal Waters and Micfreak, who is an associate producer at my label. The song, “Party People,” was pretty successful. I have just finished a full album, Soulful Storm, which is set to release soon. I have released a couple singles from it already, like “The End of It All” [with Monique Bingham featuring Roland Clark]. I actually have a lot more material, so I am looking at the possibility of releasing a second album in 2021.

DJ Times: What’s in your studio?

Spen: My set-up these days is very portable, and it has been that way for quite some time due to my travel. Yes, I have a DAW set-up. My favorite programs are [Steinberg] Cubase and Ableton Live. I also use Millennia HV-3D pre-amp, which is my favorite tool for recording vocals, live instrumentation, etc.

Unlike a lot of my peers who love using Mac products, I am a PC guy all the way.

DJ Times: What’s your creation process?

Spen: I always start with beats first, with drums as a foundation.

I usually then get into where a song is going musically. That usually involves a regular roster of musicians I use, including Gary Hudgins from Baltimore, Reelsoul in L.A., or Michele Chiavarini in Italy. From that, we go to the songwriting process, which is usually the hardest part – coming up with memorable hooks and good lyrics.

DJ Times: Your typical DJ set-up?

Spen: When touring, it includes a minimum of three Pioneer CDJ2000NXS2 players and a DJM900NXS2 mixer. I prefer four CDJs to allow me to think ahead and get creative with loops, layers, etc.

That is my basic no-nonsense setup. For festivals and large events with a budget for superior sound system, I will request a UREI, Rane or Bozak rotary mixer because the sound quality is second to none.

With those mixers, an engineer really has to know what they are doing to get the set-up right. At home, I am using four CDJs and, of course, I have access to my vinyl collection – so that has been fun during live streams.

DJ Times: Any advice on getting thru this time?

Spen: We know things won’t be like this forever. It’s actually a good time to re-set, break a bad habit, or pick up a new, good habit – like exercise or healthier eating.

Also, I think staying positive is really dependent on your outlook.

I believe everyone has something to be grateful for – even if it’s just breathing, which we know a lot of people are struggling with. So we definitely have to keep things in perspective. Yes, this situation can be annoying and frustrating, but people are really sick and we can’t become de-sensitized because we want to go out and party or socialize. We get one life and everyone has to figure out what they can do to make the most of it during these times.

– Jim Tremayne

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 mon‑ etize 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

Luka Kase

Umek: Europe’s techno titan.

With a Variety of Unique Projects, Techno Master Umek Avoided Some of 2020’s Ravages & Maintained His Profile

By Jim Tremayne No matter the circumstances, Uroš Umek is not a man who ever fully slows down. It’s true that the COVID situation has made the popular Slovenian DJ/ producer ease up on his global travels, but, unlike many, he’s managed to pivot gracefully toward several other career-enhancing endeavors.

As one of the world’s top techno talents, Umek (as he’s known professionally) has built a brand most DJs would envy. Deeply involved in music since the early ‘90s, Umek learned DJing and production the old-school way – with vinyl and hardware, respectively. Over time, he unleashed his talents to Europe’s technoloving masses, ultimately cultivating a dark, driving, peak-hour techno sound. In addition to achieving his dream as an in-demand DJ at major clubs and festivals, Umek became a top label owner with his 1605 imprint, and one of the scene’s most-downloaded techno artists.

The discography is daunting, but its highlights remain thrilling. They include techno bombs like 2002’s cinematic spine-tingler “Gatex,” 2011’s warped banger “Beograd,” and 2018’s dark monster “Amnesiac.” More recent winners from 2020, like “Predator” and “Evolution” (a menacing collab with France’s Cosmic Boys), are joined by worthy remixes of a pair of 1995 rave classics – Union Jack’s acid-trance “Red Herring” and Yves DeRuyter’s anthemic “Calling Earth.”

Apart from his 2020 studio work and label A&R duties, Umek worked BELIEVE IN MUSIC ISSUE

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through the lockdown by live-streaming, creating sample packs and helping up-and-coming DJ/producers with one-on-one online production classes. We recently caught up with Umek from his home in Central Europe – Ljubljana, Slovenia, in the former Yugoslavia, to be exact – to get some of his unique history and find out how he pivoted through the pandemic.

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

Umek: As a young teenager, I noticed there are guys who play music at school dances, and over the years I’ve started noticing them more and more. I watched what they did and how they did it, and became more and more intrigued in doing the same myself.

DJ Times: Beyond the school-party scene, what else were you experiencing? How did you get into DJing?

Umek: I became a high-school freshman when the rave wave hit Slovenia in the early ’90s. I got instantly hooked on this new electronic music and wanted to present it to others.

It took some time for me to learn how to mix music on turntables and get a chance to perform in a proper club. But once I did it, I decided I was in it for real. Shortly after this, I went to a big indoor rave in Munich, where Carl Cox was playing, and that is when I got inspired to try and become an international DJ. DJ Times: So how did you go about it?

Umek: I grew up in a one-parent household and made a deal with my mother to take a year off school to try DJing professionally. I dropped out of school and ditched a promising career as a basketball player in order to dedicate all efforts into achieving my goal of becoming a DJ. I had just been called up for Slovenia’s national team – a couple of guys from that team actually became NBA and Euro League champions. Anyway, after one year, I had made it to the point where I earned enough, as a DJ, to cover all my living expenses.

DJ Times: And then you transitioned into actually making music?

Umek: Yes, shortly after that I started producing. I wanted to know how music was made, and I wanted to play some of my own music in my DJ sets. I guess that’s something most DJs try at some point in their careers. I got in touch with a guy who had the equipment and he taught me the basics of music production. From that point on, I started accumulating knowledge and focused more on producing. It took me quite some time to get signed on Slovenian labels, but not long after that [in 199697], I got picked up by a couple of very influential techno labels that really liked my sound.

DJ Times: What made the difference?

Umek: I guess I had quite an original style, because I learnt everything from scratch, with scarce knowledge and very basic equipment. But making all the mistakes along the way made me stand out and apparently DJs wanted to play my music.

DJ Times: What reflections do you have of that time?

Umek: Looking back, it was a slow progress, as Slovenia was a post-communist country. There was no internet, no music infrastructure and all resources for information were very limited. But I would never trade that in for the current situation, when everything is available to anyone.

DJ Times: Back then, the rave scene almost felt like you were in a secret community. Plus, DJs had to learn the basics of spinning vinyl and, in the studio, working with hardware. DJs had to be hands-on in very different ways.

Umek: It was fun doing something new on our own and helping build the scene as we went along. Looking at instantly famous young artists of today and their lives, I am not sure it’s healthy to break through overnight. Progressing step-by-step might be frustrating sometimes, but that makes you a stronger, better, and tougher artist/person. When I look back over my personal journey, I’m happy I did it my way, as I have a lot to show, and I can see how I’ve influenced the audience, including new generations of artists, especially in my home region.

DJ Times: In Slovenia, what’s the DJ/club scene like during normal times?

Umek: Let’s say it is very boutique. Slovenia used to be a trend-setter in the region, but that got lost over the last couple of years. With the closing of our iconic Ambasada Gavioli [in 14

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Izola], we have completely lost the super-club scene. The legendary Klub K4 and a couple of promoters are still trying to keep pace with international underground electronic movements, though.

DJ Times: And festivals?

Umek: We also have two major electronic music festivals called Smile and StellarBeat that host top international DJs for crowds of up to 20,000. We also have a strong series of major indoor pop-up events called Kurzschluss that often host up to 4,000 people – they’re now running for half of a decade. But, to be honest, other areas such as Zagreb and Belgrade have completely outrun Ljubljana in the last couple of years, and the Croatian seaside is one of the hottest international festival playgrounds during the summer. A lot of Slovenian companies, artists, and other professionals are now involved in putting together major festivals in Croatia.

DJ Times: What’s your DJ set-up?

Umek: After performing on a laptop set-up for almost a decade, I’ve turned back to Pioneer CDJs at the end of last year. Now I play on Pioneer CDJ-2000NXS2 units and a DJM mixer setup. Mostly, it’s because it’s way easier to travel around the world with less equipment. At the same time, the progress in CDJs and mixer technology in the last couple of years means they now cater sufficiently to my creative needs.

DJ Times: And in the studio, what’s the main set-up?

Umek: I’ve actually sold most of my hardware a while ago, and only kept a couple of pieces because of their sentimental value. My studio set-up is based on a laptop, RME sound card and a quality Quested monitoring system in a soundproofed room located at the basement of my home. My current sound was developed in Logic with heaps of soft synths, other plug-ins and samples.

DJ Times: Anything special that helps you get unique sounds?

Umek: My weapons of choice are FabFilter’s Saturn and Soundtoys‘ Decapitator, as they are great for distortion and saturation, and I used them to add the final touch to all my tracks released in least last two years, including about a dozen of Beatport top-sellers and chart-toppers. I use saturation on almost all my sounds, everything from synths and samples to hi-hats. That‘s what I do to help get a thick and chunky sound.

DJ Times: What’s the past year it been like in Ljubljana?

Umek: Like in most countries, public life stopped in Slovenia in early March.

Since then, the clubs here have been closed. During the summer months, there was only some heavily regulated concerts with no more than 500 capacity allowed. At the peak of the first wave, we were limited to only stay in our local area, which meant, in my case, I could not move outside of Ljubljana city limits.

Slovenia is a very green country, so at least there are plenty of parks, woods

and fields to walk in and get fresh air. To be honest, apart from gigs and traveling, my life did not actually change that much. A lot of DJs are quite introverted, and happily spent a lot of time locked in our studios… often it is somewhat of a self-imposed quarantine.

DJ Times: How did you cope?

Umek: By the fall, things were getting better, but then we stopped public life again. Traveling around the country was limited and all the restaurants, bars, fitness studios, etc., began closing again. But it wasn’t all bad, because for the first time in my life I got to spend three months off, and spent that time on the beautiful isle of Hvar in Croatia, as my wife, Senka, runs a popular beach bar there.

DJ Times: How did the pandemic affect your gig schedule and other work?

Umek: We had a nice summer tour planned with lots of big festival appearances, but due to the pandemic I have not performed live since early March. I have been busy in the studio, but the income from selling music has fallen also – clubs not being open means DJs are buying less music.

DJ Times: Nonetheless, it seems like you were very busy in the studio.

Umek: Yes, with lots of releases. I recently released my remix of Union Jack’s “Red Herring.” In the last few months, I put out my remix of Yves DeRuyter’s classic anthem “Calling Earth” and that finally came out. That is one of the tracks from my DJ sets that people have been going wild for and many have been asking me when it’s coming out for almost a year now. That finally arrived! I’ve also released my own EP on 1605, plus two new EPs from Cosmic Boys and Space 92 together with the fourth instalment of “1605 Desiderati” VA series, this time with contributions by Loco & Jam, rising Australian artist Mha Iri, Teenage Mutants and Space 92.

DJ Times: Given the constraints of the pandemic, were you happy with your musical output in 2020?

Umek: I’m actually quite satisfied with my own music, and the tracks signed to my label, 1605. I’ve worked really hard to get the label noticed by the industry, and it’s had quite an output of releases during 2020. It looks like gigs are not happening in the near future, so there certainly won’t be any shortage of releases, as I’m filling my time listening to demos and making my own tracks.

DJ Times: How else have you constructively filled your time?

Umek: I’ve started doing one-on-one online courses [for SonicAcademy.com] with young producers, where I’m sharing my knowledge and production skills. I quickly realized this is something I really like doing, so I’ll continue even when life gets back on track. When I am playing gigs again, I probably won’t have the time to tutor as many artists as I am now, but I’ll keep doing it to some extent.

It’s rewarding to see how talented artists are advancing through this process of coaching. As their sound becomes better, it’s great to see them become satisfied with their newly obtained skills and confidence. I’m linked to helping others with their music.

DJ Times: What’s the main hurdle for younger DJs who want to make music?

Umek: I tutor producers with very different levels of knowledge, experience, and skills. With newbies, we have to start at the basics, which nowadays everybody should be able to conquer. Students start working at very different levels and I try to guide them on their path. We talk a lot about their career goals and how to create their own sound. Even when a young artist knows what he wants, and he can deliver an interesting sound, it’s hard to get noticed by the scene. However, that’s a different struggle, I’m here to teach them mostly about production and how to create quality music. On the other hand, I also work with artists who’ve already made their name in the scene and would like to fine-tune some elements in their sound. Working with them is a different experience, as they are much more skilful. Thus, we work on the tiniest details in their production, which gets much more technical.

DJ Times: You’ve also gotten back into making sample packs…

Umek: I have finally had time to put together my new sample pack – “Techno Foundations” for Loopmasters.

It has got a load of parts that I use as the foundation of tracks, and it’s great for beginners or experienced producers who are looking for some new inspiration. There are other things I’m working on that I can’t share in detail yet, but I was recently approached by somebody from the automotive industry for a very innovative project. This could be a very original and creative challenge for me.

DJ Times: You’ve also embraced live-streaming this past year, right? What have you seen that’s impressed you?

Umek: I’ve done a couple of streams myself, mostly for Slovenian event promoters, but also for Beatport Live, plus some others, including Burning Man’s Playground Project (continued on page 35)

“Looking at instantly famous young artists of today and their lives, I am not sure it’s healthy to break through overnight.”

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How do you keep good people working for your company?

You know that scene in “Jerry McGuire,” where Tom Cruise’s Jerry enthusiastically asks, “Who’s coming with me?” as he leaves the company that he has been so successful with? If you know the scene, you’ll also know that Renee Zellweger’s character is the only person who leaves with him. Jerry is super-cool and very successful, so why didn’t more than just one person follow him?

As an owner of a multi-op DJ company, I often felt like Jerry McGuire in the beginning of my journey. I was successful, I thought I was pretty cool, and I had the brains that kept the

“I was successful, I thought I was pretty cool and I had the brains that kept the business going, but people didn’t follow me.”

business going, but people didn’t follow me. I learned this the hard way, as I walked away from one company to start another. I found myself alone. No one came with me, even though the opportunity was open for them to do so.

Leadership expert, John Maxwell, says, “People buy into the leader before they buy into the vision.” That one quote has made such a difference in my career, especially when I first read it at that moment in time. How do you develop your leadership in a way that people will want to follow you as DJ multi-op company any owner? How do you avoid being a Jerry McGuire?

In this series on leadership, I’m going to share three of the most vital leadership qualities that followers (your DJs) look for in their leader.

I could state the obvious – vision, passion, influence and positivity – but I want to address a few qualities that aren’t so evident at first glance.

The first leadership quality is connection.

My wife worked a job where the assistant CEO would come into the store and chide his employees if they greeted him. Ironically, he wanted you to greet customers while pretending that he hadn’t even walked into the store when he, in fact, had. Morale at the store was low, employees were frustrated and hard-working people quit under this assistant CEO. There was no connection.

So how do you intentionally create a connection between your DJs and yourself?

Listen to what they aren’t saying. When you ask how someone is doing and they answer with, “Pretty good,” follow up with, “What does ‘pretty good’ mean?” And then listen. If they hesitate on their initial answer, tell them you heard their hesitation and ask if there’s something else going on. This shows you truly want to know how they are doing, instead of it just being a greeting. Know what’s close to their heart.

I had a DJ create coloring books for children as his personal passion project. He put so much time, effort and heart into these. I sent him a check from the business and included a note telling him the money was for him to buy a box of these to distribute to whatever school he wanted. I missed his phone call when he reached out to thank the business, but I’ll never forget his words on that voicemail. You could just tell by his voice that this simple action by the business was super impactful to him. He knew we cared about what was close to his heart.

Visit memories often. I was MCing a wedding one time and I accidentally said “toastes” (add a hard ES) instead of “toasts.” It sounded outrageously stupid in front of wedding guests (over 200), and my DJ couldn’t stop laughing that day. Almost every time we’re around each other, that MC blunder gets brought up and it still creates laughs and stories long after that wedding ended. Visiting memories helps build a bond.

“You can’t coast your way into connecting with people. It has to be intentional. It requires energy. It is work.”

Check in. If a DJ goes a couple weeks without having a gig with me, I will often send a message and simply ask, “How’s life?” I want them to know that I’m thinking about them. If you go too long without connecting with someone on your team, the wheels in their brains start spinning and they may wonder what it might be like if they worked someplace else.

You can’t coast your way into connecting with people. It has to be intentional. It requires energy. It is work. A quality of a great leader is his or her ability to connect with people on a personal level.

In Part 2, I’ll reveal the next leadership quality that will cause your DJs to not look at you as the boss, but look at you as a leader they want to follow.

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Travis Wackerly is a speaker and coach for the John Maxwell Team and is the owner/operator of FCM Entertainment, a multi-op fusion-based wedding company in Norman, Okla.

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WHY REAL LEADERSHIP R E M A I N S V I T A L F O R M O B I L E M U LT I - O P O W N E R S

BY TRAVIS WACKERLY

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By Jim Tremayne The nation might’ve shut down for the much of the pandemic, but Detroit’s DJ Godfather has kept the beats coming.

After surviving a bout with COVID himself, the ghettotech pioneer dropped Electro Beats for Freaks on his Databass label – and it’s a 44-track monster full of all the high-BPM nastiness that’s made the Motor City genre so infamous. Booty-shaking trash talk from MCs like Parkhouse and Goodmoney G100 color a variety of saucy cuts more suited for strip joints than, say, terrestrial radio. But if you’re looking for a frenetic instrumental, look no further than sledgehammer single, “Godzilla 2020.” Available as a continuousmix album or via separate EP releases as separate tracks, Electro Beats for Freaks offers quite a ride.

And it must be said that if you’ve never see DJ Godfather throw down on the ones and twos, you’re really missing something. Each year, his set at the Movement festival in Detroit’s Hart Plaza is a must-see event – not just for the stage show, but for the manic footwork in the audience. It’s Detroit through and through, and it’s one helluva party. We recently caught up with DJ Godfather (aka Brian Jeffries) to talk album, pandemic and ghettotech.

DJ Times: How would you describe ghettotech to someone who’s never heard it?

Godfather: To me, it’s not just a genre, it’s a culture. It’s the only type of dance music I know that requires a DJ to have some kind of beat-juggling and scratch skills while keeping the dancefloor. It’s also one of the only genres that has a dedicated dance to it called The Jit. The ghettotech sound itself is a blend of a few genres such as Detroit techno, Miami bass, electro, funk and more.

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

Godfather: At first, I just wanted to be a hip-hop DJ in a group so bad. Anytime I would watch MTV in the late ’80s, I was always focused on the DJ such as Jam Master Jay, Jazzy Jeff, and others. Then I saw some DMC battles and I got hooked immediately. At the same time, I always loved early electro and Detroit techno. I wanted to take what a battle DJ can do and apply it to dance music to do something that no one else was doing that I knew of at the time.

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

Godfather: The album is a continuous mix. You can skip through the tracks, but the beginning and end of the tracks are blended into each other. I wanted to create an album that will put all attention on me. I don’t want other DJs playing the tracks yet, until the album is out there and the masses that like this music know I made these tracks. That’s why I made it continuous. I’ll be releasing seven EPs from the album with the full-length tracks, instrumentals, a cappellas, dub versions, etc., after the album is already out – for the DJs. It’s crazy, but you can’t expect people to know and follow every single project you do, especially with so much easy access to tons of new tracks daily. This is my way to stand out from everyone… to release an almost two-hour-long album with nothing but my production. I think if anyone did that it’s impressive and it would stand out.

DJ Times: What’s your typical DJ set-up?

Godfather: I’m always on two Technics 1210 turntables and a Pioneer DJM-S9 battle mixer. I will always be a turntable DJ. You can only use tables to rock a proper ghettotech set anyway!

DJ Times: What’s your studio set-up?

Godfather: Oh man, I’m a gear junkie. I use Ableton Live for my DAW. I just got a couple new plug-ins to try out that I really love. One is a reverb/delay plug-in called Drip by Kyle Beats. It has some effects on there I really like and they sound a little different than a normal reverb. The other is OVox [Vocal Resynthesis] by Waves. You can come up with endless vocal effects on it.

DJ Times: Hardware? Anything vintage?

Godfather: For vintage and outboard gear, I just got six semi-modules from Behringer – I got the CAT, WASP, MODEL D, PRO-1, NEUTRON and the K-2. These semi-modules are so cheap and sound identical to the original synths, in my opinion. Plus, they are all USB, which is great because they pop right up on a MIDI track in Ableton. I used to have 18 vintage synths including a [Sequential Circuits] Pro One and a

After Surviving COVID, Detroit’s DJ Godfather Unleashes a Ghettotech Monster

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Genre Pioneer: DJ Godfather aka Brian Jeffries.

Minimoog. I got rid of all of them and bought all new stuff, just to come up with different ideas.

I started to miss them a little, so I bought these semi-modules to twist some knobs again.

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

Godfather: Hmm, I like to sample some drum sounds off vinyl and stack them with sounds from my Maschine by Native Instruments. It makes the drums sound dirtier and warmer. I’ll run the samples though my Avalon VT-737 tube compressor to make it sound even warmer – don’t tell anyone [laughs]. A recent production I did this on would be my “Godzilla 2020” remix. It’s off the new album and already released as a single.

DJ Times: What’s next for you?

Godfather: Well, I’m already almost done with another album of 45 tracks to follow up this one. I’m also doing some projects with Gettoblaster and an electro series called “Street Beatz” with Keith Tucker – aka DJ K1. I have a few other projects as well, but I can’t let the cat out of the bag yet. Sorry!

DJ Times: What’s it been like where you’re living?

Godfather: Detroit is staying strong. Yeah, we

were locked down for a few months. During that time, I got COVID, and had to quarantine as well – but I’m good now. All I did was work in the studio, hung out at my pool and learned how to play “Call of Duty” with my boys. [laughs] DJ Times: Did you lose important gigs, or income-producing work?

Godfather: Oh yeah, lost out on a lot. I own a couple of nightclubs in downtown Detroit and we had to shut one down temporarily and the other was left with a strict-and-limited capacity. It pretty much wasn’t worth being open, but we got through it. I also lost out on a bunch of international gigs in Italy, Belgium, Ireland, the Lente Kabinet festival in Holland, and a few more.

Nightmare!

DJ Times: Seems like you managed to stay busy, right?

Godfather: Since March, I’ve produced, mixed and mastered almost 100 tracks that I will be releasing on Databass Records, Casa Voyager and Lapsus Music.

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

Godfather: That I actually like the downtime.

I’m 10-times more productive in the studio with

nothing else on my mind. I love it!

DJ Times: What have you done anything online during this period?

Godfather: I’ve done multiple online streams from my Facebook page... every Wednesday night.

I called it: “We Had to Sterilize the Population Series.” It did great – every video did over 100,000 impressions with zero promo. I also did a livestream for Movement Festival/Beatport that did really well, along with some other streams for the City of Detroit and more. But I got sick of doing them after a while. Everybody was doing one and, to me, they didn’t seem special anymore because it was flooded.

DJ Times: Any theme tunes recommended for the moment?

Godfather: Puff Daddy & The Family’s “Victory” – we will beat this!

DJ Times: Any advice on getting through this situation?

Godfather: Engulf yourself in something you love. You won’t think about all the crap going on in the world if you truly do. It really worked for me and, in a strange way, I’ve never been happier! I’m beyond excited to unleash all of these tracks I have.

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MAKING TRACKS STUDIO…HARDWARE…SOFTWARE…

IK MULTIMEDIA’S ARC SYSTEM 3

By Wesley Bryant-King

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The music products universe seems to be dominated primarily by companies that get their reputation by doing one or two things really well. Of course, there are exceptions, and one interesting company I’ve been keeping an eye on for years now is Italy’s IK Multimedia. I first became familiar with the company as it made its mark by creating innovative music-related products for the mobile market. Among the first to do so for smartphones, and later tablets, the company still seems to have that market pretty much to itself, at least when it comes to breadth and depth of mobile-centric music-product offerings — most of which are offered under its iRig brand umbrella. But, from my perspective, it also feels like the company will try just about any idea it thinks has merit.

It was on that basis that I was surprised (but not really at all surprised) when I got the opportunity to review the company’s new ARC System 3 (often referred to simply as ARC 3), the latest iteration of IK’s Advanced Room Correction (ARC) system. Despite its earlier iterations, it was nevertheless one of IK’s products with which I was not familiar — but one in which I was keenly interested. Why? Well, if you produce music at home, one of the biggest single challenges to doing so is getting an accurate, well-balanced, professional-sounding master.

And the reason is that, unless you have an audio engineering degree and a hefty budget, it’s highly unlikely that you’re going to have a home-studio environment that’s acoustically perfect (or particularly close to it).

Even if you deploy common room treatments like sound baffles, absorption panels, bass traps, etc. — and you should — the room and its furnishings will almost certainly still cause sound reflections that are uneven across the frequency spectrum, and which will in turn fool your ears into making inappropriate mixing and mastering decisions. If you’ve ever taken your freshly mastered recording to your living room or car and wondered why it sounds nothing like what you intended, that’s the reason. (Personally? Been there, done that.)

That’s where ARC System 3 comes in. In much the same way that many home-theater receivers are set up at the time of installation, ARC 3 uses a

The software portion of ARC 3 is a two-part system: room analysis and DAW plug-in. The first step to installing and using ARC 3 then is that first part of the system: conducting the room analysis itself. For that, ARC 3 provides a simple, easy-to-follow, wizard-based approach that’s wrapped in a very attractive user interface.

The mic comes with mic clip for mounting the microphone on a stand, and based on previous experience with these types of systems, it’s my preference to use a stand during the analysis process. Once mounted, I wired the mic to my studio audio interface. Which brings up a requirement: you do need to have microphone input available, one with phantom power both available and enabled. For most home-studio users with even a relatively basic dedicated audio interface, that shouldn’t be an issue. Before analysis, I adjusted the mic stand so the microphone was at ear level, and positioned it on the floor such that it would be in the same position as my head while seated in my desk chair in working position during my studio production sessions.

The wizard guided me through all the steps, including an option to choose (contnued on page 32)

Accuracy in Monitoring: ARC 3 sharpens your studio.

Advanced Room Correction: Better mixes & mastering.

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specialized microphone coupled with software that produces a signal through your studio monitors. The microphone can “hear” the frequency reproduction of your monitors and reflections in the room — from the same position as you sit at your mixing desk — and know where things are coming across too strongly, or not strongly enough.

ARC 3 is available in three versions: software only, microphone only, and bundle. While ARC 3 can use other specific types of mics, to be candid, I see no real value in the product unless you choose the bundle, which at around $150, is an excellent value for the benefits that ARC 3 provides – and it’s the bundle that I evaluated for this review.

Hands-On With ARC 3

Read us on issuu

SOUNDING OFF PLAYBACK…PRO AUDIO…PROCESSING

Bose L1 Pro Series

There are many ways to numerically measure a mobile DJ’s set-up. One could start with the number of songs in their collection. Or focus on the number of channels and decks they mix from. Or glance at how many light fixtures they have.

However, one universal number that nearly every mobile DJ understands during each gig is the weight of their set-up. Let’s face it: mobile DJ gear can be heavy.

Most turntables can give a gym membership a run for its money, but speakers and PA systems are the king of the weight mountain. I bet dozens of DJs probably contemplate a cubicle-based career when they load and unload their speakers every weekend.

Fortunately, many equipment manufacturers have taken notice of the need to produce speakers that meet the main core requirements for mobile DJs – be lightweight, offer room-filling sound, and be durable enough to survive the rigors of frequent gigging.

Aiming to do just that, Bose introduced the L1 Series of powered, portable speakers 17 years ago. These looked almost unlike anything that had been released before. Instead of a rectangular speaker on a pole, this setup was entirely self-contained: they featured a base section housing a subwoofer and a thin column of drivers rising above from the center of the subwoofer. Although they were undeniably different, the L1 Series attracted a devoted following, and other pro-audio brands began to experiment with this architecture.

Now, perhaps in an effort to reestablish its dominance in the portableloudspeaker world, Bose has released three new models to the L1 family: L1 Pro8, L1 Pro16, and L1 Pro32.

Each new L1 Pro model offers a Bose L1 Pro Family: Performance & multi-app portability.

BOSE’S PORTABLE PA & RANE’S EVOLUTIONARY MIX RANE TWELVE & SEVENTY-TWO

SEVENTY-TWO: RANE’s battle mixer with more.

TWELVE Controller: Digital heart, analog soul.

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By DJ Deets

Two years ago, RANE’s SEVENTY-TWO and TWELVE took the Serato DJ market by storm.

The SEVENTY-TWO 2-channel battle mixer promised to offer the technical wizardry found on the latest generation of DJ controllers and DVS support for Serato DJ. Meanwhile, the TWELVE offered DJs the ability to control a 12-inch motorized platter and various software parameters in one device. Put together, they made a formidable setup.

Releasing a second generation for both products, RANE has bestowed them with a few tweaks designed to elevate their usability to a wider range of DJs, who use a variety of DJ software. These updates are more evolutionary than revolutionary, but they breathe new life into an already-phenomenal product.

Given all their capabilities, I could easily write a novel explaining the features of these two devices. I think RANE already did and called it a “user manual.” So, instead, I want to describe what’s new in this second generation and, more importantly, talk a little about how they feel to use.

At first glance, both devices share a lot in common with their predecessors: the SEVENTY-TWO MKII is still a 2-channel battle mixer with a full-color touchscreen in the middle, and the TWELVE MKII is still a motorized singleplatter controller.

Both are absolute full-metal beasts: the TWELVE MKII weighs 20 pounds, and the SEVENTY-TWO MKII weighs just over 12 pounds. As with other RANE equipment, they’re built like tanks, and I have confidence in their ability to survive years of heavy and frequent use.

TWELVE MKII: Intuitively, the design of the original RANE TWELVE and this second generation make a lot of sense: you get the feel of playing on real, moving vinyl without many of the hassles that come with traditional turntables.

RANE’s parent company, inMusic Brands, is no stranger to motorized DJ equipment. Its brands were responsible for the Numark NS7 series, the Numark V7, and several motorized media players from Denon. It’s clear inMusic involved the right expertise when making this controller.

slightly different take on the portable PA speaker, but the entire lineup promises world-class sound quality and features wrapped in an impressively portable package. Shared among all three models is a series of technological innovations designed to make them attractive alternatives to more traditional speaker set-ups.

All speakers feature a number of 2-inch neodymium drivers that are distinctively angled to provide 180-degrees of sound coverage. Instead of having a few larger drivers – such as those found on more traditional loudspeakers – Bose opted to put together a veritable orchestra composed of multiple smaller drivers. This, Bose says, leads to better coverage and sound quality. Accordingly, the numbers in each model’s name refers to the number of drivers contained in the line array section: the L1 Pro8 has eight, the L1 Pro16 has 16, and the L1 Pro32 has 32.

The L1 Pro range also benefits from “RaceTrack” subwoofer technology. Named because of its similarity to oval-shaped race tracks, RaceTrack subwoofers allowed designers to engineer larger, more-powerful subwoofers within smaller dimensions.

I had the opportunity to get my hands on an L1 Pro16, considered to be the sweet-spot of the lineup.This middle child is larger and more powerful than the L1 Pro8, yet is more portable than the L1 Pro32. Both the Pro8 and the Pro16 feature a similar architecture: there is a ground-level subwoofer with a vertical column of drivers rising above.

The Pro32, on the other hand, is a standalone tower consisting entirely of 32 2-inch drivers and it’s sold with a subwoofer. Users of the Pro32 have a choice between buying a system with Bose’s new Sub1 (low end down to 40 Hz) or Sub2 (37 Hz).

These bass modules feature the same RaceTrack design and can receive both power and signal directly from the L1 Pro32 via the proprietary SubMatch cable.

These subwoofers can also work with other PA systems by receiving signal through XLR or TRS cables and feature an included pole mount to support a more-traditional speaker. You can even stack multiple Sub1s or Sub2s for additional low-end power.

Portability was a big consideration for the design team at Bose, and I’m pleased to report I was not disappointed. The L1 Pro8 weighs a mere 38.9 pounds, the L1 Pro16 weighs just under 55 pounds, and the L1 Pro32 weighs 28 pounds (it’s just a line array and can work with a separate subwoofer).

The Sub1 weighs 35.5 pounds, and the Sub2 weighs nearly 52 pounds.

Carrying the L1 Pro16 was easily a one-person job, either with the line-array section attached or detached. When detached, the line-array section can be stored or easily carried in the included softshell case. Setting up the L1 Pro was a breeze, and the best part was that I didn’t need any speaker stands or tripods. All I had to do was secure the line array into the subwoofer and plug the unit in.

Having said that, I would have liked to see some form of locking mechanism for the line array. While it didn’t seem particularly vulnerable to being knocked from the subwoofer, I couldn’t easily tell if I had secured it tight enough or how much force I needed to disconnect it. Some type of release – like a clasp or a switch – might solve this, and I also wonder if they could have placed a small feedback light on the line array to let users know when it was fully connected and receiving power.

Connections-wise, the L1 Pro series contains

everything you would expect from an all-in-one PA solution. All L1 Pro models feature a built-in 3-channel mixer. Channels 1 and 2 can receive signal from combo XLR/TRS jacks, while Channel 3 can receive signal from either a 1/8-inch headphone jack, a ¼-inch TRS jack, or via Bluetooth streaming. Each channel features a dedicated mute button that is backlit when the channel is muted, and Channels 1 and 2 both support phantom power.

Each channel features a rotary knob that can control channel volume, channel treble, and channel bass. On Channels 1 and 2, the knob also controls reverb. Users can switch which parameter the knob is controlling by pressing it like a button. Lights around the knob provide feedback as to what parameter the knob is controlling and what the current level of that parameter is. In my opinion, the knobs could use a bit more resistance – I could see channel levels being dramatically changed if the knobs were accidentally bumped.

Channels 1 and 2 also benefit from Bose’s ToneMatch technology: on the mixer, users can specify if the channel is receiving signal from a microphone or a live instrument, and the speaker will adjust accordingly. The speaker’s output can also be tuned to various equalizer presets, including “Live,” “Music,” and “Speech.” The differences between each of the presets are subtle, but definitely noticeable.

My sense is DJs will mainly stick to the “Music” preset, which delivers a punchy bass. The mixer can send signal out via an XLR line out port, and there is a proprietary ToneMatch port that can talk to other Bose audio equipment, such as the T4S or T8S mixers. There is also a USB C port that can be used to update the speaker’s firmware. Interestingly, (continued on page 32)

The biggest update to this second generation is the addition of RCA outputs. These allow the TWELVE MKII to send control tone to a DVScapable mixer, acting like a turntable with a control record. In this mode, the TWELVE MKII loses some MIDI functionality, but users gain the flexibility of being able to easily integrate the device into DVS setups. (In addition to Serato DJ, it controls VirtualDJ, Traktor and other DJ software). When connected as a MIDI controller, the TWELVE MKII can control up to four different software decks. This feature means that, with some practice, it is very possible to DJ with just a single RANE TWELVE MKII and a mixer for Serato DJ. I should mention there is a knob for scrolling through libraries and tracklists in Serato DJ and a button to trigger instant doubles. The touchsensitive strip at the top of the unit also allows DJs to control up to eight hot cues and scrub through a track. Next to the touch-sensitive strip is the pitch fader, which has a long throw and clicks when centered. Below the touch strip, there is a small OLED screen that can display track BPM and whether the

unit is functioning as a controller or sending DVS signal. In controller mode, this screen can also display track BPM. The inputs and connections are somewhat hard to reach. Instead of having the inputs and outputs on the side, they are located in a cutout underneath the TWELVE MKII. This took some getting used to and meant that I could not quickly plug or unplug any cables or change the motor torque setting on the fly without picking up the unit. However, I can see why RANE did this. Having the connections on the bottom prevents them from being easily damaged and decreases the likelihood of something coming unplugged during a performance. In this panel, there is an RCA connection for sending control tone to a DVS mixer, a connection for an IEC power cable, a two-position switch to change the torque of the motorized platter, and a USB type B port to connect the TWELVE MKII to a computer running Serato DJ. Playing with the TWELVE MKII is, above all else, fun. It does a good job faithfully recreating the feel of using a turntable, while peppering in the bits of

modern software DJs want from their hardware.

I’m a fan of playing on motorized platters, but I want the features found on controllers and in DJ software to add complexity to my performances, and I felt that the RANE TWELVE MKII gave me the best of both worlds. The TWELVE MKII has a digital heart, but an analog soul.

SEVENTY-TWO MKII: If there was ever a cross between a flight deck and a piece of DJ gear, this might be it. Although not a lot has changed since its first generation, RANE’s SEVENTY-TWO MKII is one of the most feature-packed and thorough DJ mixers I’ve ever used. Despite having so many features, it doesn’t feel intimidating or overly complex.

It’s as complicated as you want it to be: the first few times I used it, I was able to use it like any other 2-channel battle mixer. However, as I played with it more, I began to discover new features and ways to interact with my music. I probably would not recommend this for someone’s first DJ mixer, but I also don’t think intermediate or experienced DJs should be scared of the SEVENTY-TWO MKII. (continued on page 32)

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MOBILE PROFILE CAREERS…INNOVATIONS…SUCCESS STORIES

CHICAGOLAND DJ BALANCES LIVELIHOODS

By Miles Burke

Carol Stream, Ill. — Up to now, Steve Owen’s gigs have come 100-percent from word-of-mouth.

But this year he plans on changing that.

“I plan to run Search Engine Marketing and Facebook ads next year to see if that generates leads,” says the part-time DJ. “As a small, growing business, I think it could be beneficial.”

We asked Owen to back up and tell us how his Chicagoland business, Some Guys Entertainment, got started.

DJ Times: The DJ bug – when did you get it and who was responsible?

Steve Owen: Music has always been impactful for my mood—a great song can turn around a bad day in an instant. So, I wanted to use music to improve other people’s moods, and decided to become a radio DJ. I earned my Bachelor’s Degree in Radio Talent and Production from Columbia College Chicago, and also met my wife in school. Eventually, I started working on the Radio Disney Road Crew promotions team as a DJ and MC, entertaining families at events around Chicago. I had a blast celebrating with kids and their parents, but wanted to do even more partying. A wedding DJ company recruited me in 2012, and I trained with them to learn the particulars of weddings. Since then, I’ve started my own company in 2015 to work closer with couples and book the clients directly. Some Guys Entertainment parties with couples, families, schools, and private events throughout Chicago and the suburbs.

When did you realize that DJing could be a money-making opportunity?

Radio Disney events heavily featured interaction with guests including dancing, games, prize giveaways, and working with the crowd. I first realized DJing could be a money-making opportunity when a Christian high school reached out to me about DJing their first dance ever. They needed a host who could lead and interact with the students, so the students weren’t tempted to “interact” with each other! When someone booked me – because of my unique abilities – rather than booking the equipment or availability, I realized this could be a great opportunity to continue using my skills.

When did you first start your business and what were the challenges you faced?

I formally started the company in 2015. My biggest challenges were jumping into a crowded market – there are approximately 72,000 other DJs in Chicago – and having free time to dedicate to growing the business and my skills.

What two things did you immediately do to solve those challenges?

Frankly, I haven’t solved them. But I keep working despite the continued challenges. I don’t worry much about the other DJs in my area; There are plenty of events in Chicago, and not every event 24

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Big Day: Steve Owen (right) meets with clients.

will be the right fit for me. DJing is a side-gig for me, so I don’t need to fill every available day or weekend to keep the business successful. The pandemic has given me some downtime to learn better business practices, and organize my music library. In 2021, I aim to put money into growing the business and getting new, non-referral clients.

Describe your market – who is your competition?

I’m in Chicago’s western suburbs, the third largest media market in the U.S. There is no shortage of professional and talented DJs who are capable of running a successful reception. The Knot lists more than 150 DJ companies, with a wide range of pricing, specialties, experience levels, and capabilities. Fortunately, there’s an equally diverse group of clients looking to book us and party with us.

How do you differentiate?

Working with Radio Disney taught me the importance of an amazing customer experience, which could mean stellar customer service or creating unique moments. Each event is a oncein-a-lifetime moment—we’ll never again have a party of this size, with this group of people, in this beautiful space—so I let the crowd guide me as we write the complete story. The couple and I may try to plan every detail, but we have to embrace the unpredictable moments in their event that make it truly unique.

When meeting with the couples before our event, I look for aspects of their personality that I can incorporate into the event. One couple loved “The Office” and used the show’s theme song in their grand entrance, so my dinner music included a few other songs that were featured on the show.

At another event, the couple loved heavy-metal music, but struggled to find songs appropriate for the reception. During the cocktail hour, I mixed in string quartet covers of metal classics, and created 2021

a mix of hard-rock ballads for dinner.

Of course, we should provide impeccable service to our couples, but I also take care of the other vendors to make their night easier. Giving them an extra power strip and spot to drop their gear bags, checking in before the key timeline events, and calling their attention to special moments. In fact, most of my referrals now come from photographers because I help make the night easier for them.

What gear do you use?

I have a Pioneer DDJ-SX2 controller. I use Serato DJ now, but back in the day, I used PCDJ and then VirtualDJ. I also use a Yamaha MG10 mixer, a pair of Mackie Thump15A speakers, an Alto TS215S subwoofer. I also have innopow UHF Wireless mics, an Electro-Voice RE3-BPOL lavalier mic, a JBL EON ONE system and a Chauvet DJ GigBAR 2.

DJing for you is a side-hustle – what are your thoughts about it as a full-time endeavor, pre- and post-COVID? Right, I’m a Marketing Manager for Blackhawk Network – our customers use gift cards to reward and motivate their staff and customers. PostCOVID, I’m hesitant to transition to a full-time DJ business. I saw how difficult it was for some of our colleagues to lose all income, and I don’t think I have the risk tolerance to go full-time. While I hope we don’t see any other widespread shutdowns of events, the biggest lesson I’m taking from COVID is to diversify my sources of income.

What’s the most rewarding aspect of DJing for you?

Creating memories with the crowd is absolutely the highlight of any event. Last summer while dining out with my wife, I was recognized by a restaurant manager who had been a guest at one of my weddings. He stopped by the table to tell me how much fun the wedding had been. My wife teased me that (continued on page 33)

BUSINESS LINE

SALES… MARKETING…SOLUTIONS…

SIX VITAL MARKETING TACTICS FOR 2021

By Joshua Volpe

What a wild year it has been for many of us. There have been so many changes in the way we do business because of the pandemic. This past year has introduced an entirely new world of thinking when it comes to working remotely, attracting new business, and engaging with clients. A lot of us have had to do more and with less in order to merely maintain the way we do things.

It’s true – 2020 was a year where the role of marketing was extremely crucial. Why? Because it allows us to have a more successful 2021, especially if you jumped into action right away when events slowed down or came to a halt. DJs have learned this year that marketing is not just about creating Facebook or Instagram posts regularly or creating promotions for new clients to book their services.

Marketing in the new year is all about building relationships with your audience, while meeting your promises to them as a company. In other words, it is about convincing strangers why they need your services above and beyond what a competitor tries to offer. Here are six important 2021 tactics everyone should be focusing on to help jump-start events in the new year.

1. STANDING OUT IS MORE IMPORTANT THAN EVER In our digital-first world, boosted by COVID-19, your business needs to stand out and be a reference in a crowded environment where there is more competition for a client’s attention. Standing out is not necessarily always about offering a different service or product. Standing out is about what goes into day-to-day business development with relevant content, relevant promotions, relevant channels (where you promote yourself), and relevant ways to activate your client’s decisionmaking process. Look at what your strongest competitors are doing online, put a spin or twist on it, and do it better.

2. STRONG MARKETING STRATEGIES CAN PUT YOU MULTIPLE STEPS AHEAD For many of us this year, 2020 was all about reacting. Being reactive puts you not one but three to five steps behind your competitors. Your need to strategize, plan and deliver, while at the same time take advantage of current trends and opportunities that you strongly believe your clients will want in 2021. The more efficiently you plan for the events you have booked in 2021, the more time you will have left to identify your easy or quick wins. Building up a brand is not about constantly reacting to the market or competitors, but about getting an edge that puts you above the rest.

3. CONTINUE TO EVOLVE YOUR BUSINESS VALUES & MESSAGING We have all been aware of how our online messaging and promoting has changed during COVID. Empathy is being utilized like never before – and let us be honest, sometimes in a rather excessive way. But we have also seen businesses and DJs become genuinely helpful and caring during this time.

The human touch that we give to our clients will matter most in 2021. Our clients are all human beings; the DJs and businesses that understand this, and adapt client communications appropriately, will not just make it through this current crisis with better client relationships, but will establish lasting and long-term connections with those clients all throughout 2021.

4. CONVERSATIONAL MARKETING WILL BE IMPORTANT Modern marketing in 2021 will become more conversational. People want it that way, and so your business needs to pivot that way. When a client has a question or inquiry, most will want an immediate response. Conversational marketing

facilitates a one-to-one, real-time connection between you and your clients. Unlike traditional strategies, this form of marketing is now available across multiple channels, allowing your business to meet clients on their terms; on the devices, platforms and time schedules that suit them best. Today’s client will expect to find what they are looking for now, not later. As we prepare for the future, it will be more important than ever for businesses to be available across a broad spectrum of channels, and to make sure you are communicating the way people prefer to communicate.

5. GET ON-BOARD WITH VOICE SEARCH The increasing use of voice search – “Hey, Siri!” – has made it important for companies to rethink their marketing strategies in 2021. Numbers show that 60-percent of all searches will be via voice by 2021, 79-percent of all American homes will own a smart speaker by 2022, and voice shopping is set to jump to $40 Billion in 2022, up from $2 Billion that it is today. Voice search plays an important role in providing all the relevant information that people are searching for through audio content.

Soon, your clients will start asking voice assistants about great DJs near them and how to contact them. AI is getting smarter and the number of errors made by voice assistants like Alexa, Siri and Google has reduced greatly.

6. NEUROMARKETING WILL BECOME A STRONG STRATEGY Finally, let us dip our toes into one of the most wowinspiring digital marketing trends that is taking off now and will continue to emerge throughout 2021: Neuromarketing. While this may sound like something from a sci-fi movie, the reality is that this technology is advancing quickly and will become a viable tool for business owners in the new year. Neuromarketing is a strategy that analyzes measurements of a person’s brain activity and nervous system to determine which types of content they love and find engaging, which then leads to more sales and revenue for a business.

It is essentially designing your marketing materials (including your website, ads, presentations, brochures, email campaigns and social-media content) to evoke specific neurological reactions that trigger positive emotions or responses that are linked to a client signing you for their event. You can use this information to optimize your content accordingly and adjust your strategies and improve the effectiveness of your marketing. Neuromarketing, in some ways, could make every other marketing strategy you do become a success, if done correctly.

So, there you have it – six important tips for you to embrace in 2021 as events and things pick back up or get back to normal. As John F. Kennedy once said, “Change is the law of life, and those who look only to the past or present are certain to miss the future.”

For anyone who is trying to come up with new marketing strategies and tactics in the new year, remember that change is an integral part of the job. You must keep looking ahead and strive to embrace new ways of doing things in order to gain an edge over your competitors. Happy New Year to all of my friends and colleagues and may your 2021 be your best year yet!

Joshua Volpe owns Kalifornia Entertainment in Rochester, N.Y. BELIEVE IN MUSIC ISSUE

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GEAR AUDIO…LIGHTING…STUFF

ONE & ONLY RANE 200 Scenic View Drive Cumberland, RI 02864 (401) 658-3131 www.rane.com The ONE from RANE is a motorized DJ controller that features motorized 7-inch turntable platters, as well as a MAG FOUR crossfader that has front panel controls for fast/slow contour adjustment, internal tension-adjust and reverse switch. The unit sports six radio-style FX buttons and multi-function, independent performance pads for accessing Hot Cues, Saved Loops, Roll, Sampler, Slicer and Serato’s Scratch Bank feature. Each deck is switchable between two USB laptop connections and features three-band dynamic EQs and high/low pass filters.

LED THE WAY ADJ Products 6122 S. Eastern Avenue Los Angeles, CA 90040 (323) 582-2650 www.adj.com The VS3IP panel is the latest addition to ADJ’s Vision Series of LED video panels. The VS3IP panel features a 150-x-150 matrix of 3-in1 SMD1921 LEDs that delivers a pixel pitch of 3.84mm for a pixel density of 67,816 per square meter. Features include a viewing angle of 160-degrees horizontal and 140-degrees vertical and a 0-100-percent brightness adjustment. Thanks to a maximum brightness of 4500 NITS with a contrast ratio of 5000:1, the panel can be used outdoors, even during daylight hours.

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

TO ERIS HUMAN PreSonus Audio Electronics 18011 Grand Bay Court Baton Rouge, LA 70809 (225) 216-7887 www.presonus.com PreSonus’ new Eris Sub8 subwoofer is designed to add sub-lows to any set of small monitor speakers, gaming rig, or home-theater setup. The unit, which acts as a complement to the voicing and frequency response of Eris-series media reference monitors, comes equipped with an onboard 100-watt Class A/B amplifier and a low end that goes down to 30 Hz. Additional features include high-pass filter switch and variable low-pass filter/crossover control, as well as an input level control and a polarity invert switch.

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The DJM-V10-LF DJ mixer from Pioneer is Serato DVSready, TRAKTOR DVS-ready and a Hardware Unlock device for rekordbox. The unit features 96-kHz/64-bit mixing, as well as 32-bit high-quality A/D and D/A converters, four-band EQ, three-band master isolator and a low-jitter clock circuit. It also sports longer channel faders with optimized curves and a new custom-designed curve preset. Four built-in send/return effects are included – Short Delay, Long Delay, Dub Echo and Reverb – as well as 14 built-in Beat FX, including Shimmer, a reverb with a harmonic twist.

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POLY WANT A CRACKER Korg 316 South Service Road Melville, N 11747 (631) 390-6500 www.korg.com Korg’s SQ-64 Poly Sequencer is a 4 x 64 polyphonic sequencer. It offers dedicated Pitch, Mod and Gate CV output on three melody tracks, or up to eight voices of polyphony when connected via MIDI. A fourth DrumSub track is also included, offering a total of 16 trigger outputs – eight CV gates and eight over MIDI – for 16 monophonic voices. The USB Bus powered unit comes with 64 Project memories for easily saving and restoring projects.

FRUIT OF THE VINYL iZotope 1 Kendall Sq Cambridge, MA, 02139 (617) 577-7799 www.izotope.com iZotope updated Vinyl, its free vinyl simulation plug-in, giving the plug-in new features and a new look for its 20th anniversary. The latest version of Vinyl features a modernized UI to contain the classic, vintage tones of the original, as well as a new a lo-fi effect that “allows creators to instantly apply the saturated, worn timbre of late-’80s hip-hop and reproduce the character of second-hand records,” according to the company. Vinyl is compatible with macOS 10.13.6 – macOS 10.15, as well as Windows 8 – Windows 10.

AS FAR AS THE AI CAN SEE algoriddim GmbH Königinstr. 33 80539 Munich, Germany www.algoriddim.com

LEND ME YOUR EAR Audix 9400 SW Barber St Wilsonville OR, 97070 (800) 966-8261 www.audixusa.com

Algoriddim has released djay Pro AI for Mac, which runs natively on Apple’s M1 chip, allowing Mac users to separate vocals and instrumentals in real time. djay Pro AI includes Neural Mix technology, which lets users isolate beats, instruments, and vocals of any track in real time. It also offers AI-based multi-crossfading, allowing users to swap drums, bass lines and vocals of any two tracks, or to perform a transition component by component. djay Pro AI integrates with over 100 DJ hardware controllers and accommodates streams directly through TIDAL, SoundCloud, Beatport and Beatsource.

The TM2 from Audix is an integrated acoustic coupler for in-ear monitors (IEM). The unit is designed for live sound, house of worship and studio engineers to be able to easily test IEM functionality and performance. The TM2 is built for the road, according to the company, as it sports precision-machined brass and aluminum components.

It also includes adapters to fit a wide range of IEMs, including custom molds.

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THESE GO TO 11 Yamaha Corporation of America 6600 Orangethorpe Ave Buena Park, CA 90620 (714) 522-9011 www.yamahaproaudio.com Steinberg released Cubase 11 in Pro, Artist and Elements editions.

Designed for music producers, songwriter, engineers and composers, the new version adds VariAudio 3, ARA 2 support and unlimited audio, MIDI and instrument tracks in Artist, while Elements now comes with side-chain support. The Pro edition offers an updated Frequency EQ plug-in and an enhanced Score Editor. Additions available in all three versions include a new slicing mode for loop-based samples, two global LFOs for more complex filtering sounds and the new mono legato glide for basslines.

NEXT OF KINTA Chauvet DJ 5200 NW 108th Ave. Sunrise, FL 33351 (800) 762-1084 www.chauvetlighting.com Chauvet’s Kinta HP is a high-powered LED effect light that projects multicolored light beams, including new color combinations achieved by an innovative grouping of two quad-color LEDs (RGBW & CMYO). The unit offers continuous motor rotation for dynamic effects, with users able to control the motor speed.

Built-in automated and sound-activated programs can be accessed in master/ slave or DMX mode, while a digital display is included for setting color and rotation speeds without the need of DMX.

CLEANING CREW Accusonus 17 Carley Rd Lexington, MA 02421 (617) 982-1241 www.accusonus.com Accusonus released ERA 5, a fast audio clean-up solution for video and audio creators. It comes in a standard bundle that includes three new plugins – Voice AutoEQ, Voice Deepener and Audio Cleanup Assistant – as well as a Pro bundle that adds the new Noise Remover Pro, Reverb Remover Pro and Room Tone Match.

In addition, all existing ERA plug-ins have been improved and the new engines can now handle even more complex audio repair cases, according to the company.

BLUETOOTH FAIRY American Music & Sound 925 Broadbeck Dr. #220 Newbury Park, CA 91320 (800) 431-2609 www.AmericanMusicAndSound.com The Reloop RMX-44 BT, distributed by American Music & Sound, is a 4-channel Bluetooth DJ club mixer that connects easily to smartphones, laptops, iPads and other devices.

The unit features an intuitive club mixer layout, a two-band EQ microphone section with talk-over function, nine inputs and four outputs, as well as a 3-band EQ and bipolar filter unit per channel. It comes in a sturdy metal construction and sports a scratch-resistant surface with a deep black metallic finish.

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PLAY DRESS UP Roland Corporation 5100 S. Eastern Avenue Los Angeles, CA 90040 (323) 890-3700 www.rolandlifestyle.shop Roland released its first lifestyle apparel line with two streetwear collections called EST. 1972 and 808 Classic.

The five-piece, limited edition collections include hoodies, sweatshirts, t-shirts, sweatpants and more. The EST. 1972 clothing collection is representative of the year Roland was founded in Osaka, Japan, while the 808 Classic collection is inspired by the design of the TR-808 drum machine. Both were designed in a collaboration between Roland and lifestyle creative agency Shines Creative.

HANG 10 Elektron Music Machines 1340 E 6th St #632 Los Angeles, CA 90021 (213) 935-8521 www.elektronmusicmachines.com Elektron celebrated the 10th anniversary of Octatrack with a limited 350-unit release of the Octatrack MKII Anniversary Edition. The unit comes with a custom-designed 32 GB CF card that the company says is “loaded with a bunch of exclusive artist content,” including more than 700MB of additional samples supplied by Andreas Tilliander, Skinnerbox, Jogging House, Headless Horseman, Inhalt, and Arc Rae. The Octatrack MKII Anniversary Edition box features custom artwork by Tokyo-based graphic artist m7kenji and sports a celebratory interpretation of the classic OT logo.

ISLANDS IN THE STREAMS FreqMusic www.freqmusic.com FreqMusic is a streaming platform for DJs, festivals and events looking to monetize from live streams. The app has over 130 partners and 200 channels, as well as sets from venues such as Amnesia, Ushuaia, Hi Ibiza and Pacha. FreqMusic offers integrated features for merch, ticketing sponsorship and more. There is a Live Event feature where partners can hold private parties and stream both video and audio. FreqMusic has rights and clearance processes in place so that content that content is cleared for use.

FLEXIN’ IT Pioneer DJ Americas 2050 W. 190th Street Suite 109 Torrance, CA 90504 (424) 488-0480 www.pioneerdj.com Pioneer DJ has released the DDJ-FLX6, a 4-channel, DJ controller that unlocks DJ performance modes in rekordbox and Serato DJ Pro. New features include: Merge FX, which allows DJs to switch from one track to the next (transitioning thru any number of genres) with a single shift of a knob; Jog Cutter, which allows the DJ to create a variety of slick scratch sounds by moving the jog wheel without ever touching the crossfader; and Sample Scratch, which allows DJs to load samples onto the decks for use with Jog Cutter.

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TRACKS…MIXES…COMPILATIONS

“FRIDAY”

u Riton x Nightcrawlers feat. Mufasa & Hyperman u Ministry of Sound/RCA

“THE WORD HOUSE”

Flexing a phat sample of the Nightcrawlers’ 1992 classic “Push the Feeling On,” this one’s a fun, party-style jam that should find a broad audience. Pop-leaning with electro-house flavors, it’s a peak-hour, dancefloor killer – no doubt. Check the “Dopamine Re-Edit – Extended.”

This Aussie duo, Yogi and Husky, never seems to disappoint as they always bring their best to the dancefloor – and here’s another winner. With a preacher vocal throwing down atop sexy keys and bouncing house rhythms, this one will wake up the floor. Check the “Extended Club Mix” for full flavor.

u Random Soul u Random Soul Recordings

– Tommy D Funk

– Jennifer Harmon ’90S ANXIETY

“LIVE FOR TOMORROW”

u Jus Jam u Broken District

u Stranger Souma u PinkStar Black

A deep journey through an influential decade of rhythm-based music – replete with cultural signposts like video-game snippets, New Jack Swing grooves and cinematic dreamscapes – this six-tracker offers some genuine nuggets. “Neopolis Sound” flaunts a sleek and easy groove with jazzy flourishes, while “Higher Sense” pushes an airy, mildly psychedelic vibe with congas, tasty horns and a snappy breakbeat – a lovely groove.

The title track offers a soulful R&B vocal over a skittering beat and an earworm sample and “Wide” drops some splendid 2-step flourishes.

Deep jam delights.

Straight outta Casablanca comes Stranger Souma and her delicious melodic vibe that is so evident on this gorgeous new cut. This one’s trippy and soulful and it delivers some cool world-beat grooves. Adventurous and very hot!

– Jim Tremayne

– Phil Turnipseed

“YOUR LULLABY” (EXTENDED MIX)

u Giolì & Assia u Ultra

The Italian DJ/production duo starts this moody track with a driving beat and trance-laden accents, while maintaining a strong dancefloor vibe. With a beautiful, breathy vocal, highlighted by whimsical harp plucking, the cut offers just enough on the low end to keep a delicate, yet danceable groove going. Tasty.

– Jennifer Harmon

“IT’S A FINE DAY” (REMIX)

u Nicola Fasano & Carmine Sorrentino feat. Miss Jane u One Seven

While the original is sweet and ethereal, an excellent new “Jaydan Wolf Remix” brings a rugged bassline on top of some very cool angelic vocals.

Lots of attitude on this little gem and the groove is a definite floor-banger.

– Phil Turnipseed

Stranger Souma

Eats Everything

Conor Ross

Giolì & Assia

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Bryan Mitchell

Random Soul

Jus Jam

Dale Howard DJ Minx

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TRACKS…MIXES…COMPILATIONS

“DON’T WANNA GO”

u Affective Sound u Sirup Music Sirup continues to pump out the sounds with another deep, dramatic, club killer. The latest from Romania’s Affective Sound delivers smooth vocals over a hypnotic bassline and perky little keys to form a sexy house piece.

Catchy and cool.

– Phil Turnipseed

“LIFT”

u Conor Ross u Casablanca/Republic At the ripe age of 17, this U.K.-based talent has really nailed it with this night-bass gem. Initially bringing a classic, happy-house sound, the track then adopts a menacing tone. Dark, rolling bass morphs back and forth to the piano-driven sweetness for one delicious track. A midnight grinder with clever vocal accents, it’s irresistible.

– Jennifer Harmon Nicole Moudaber

“LOST IN HOUSE”

u Sam Lynch u Groove Soul Dropping an old-school diva vocal sample, this thumping house track delivers the goods. It’s a deep roller that features piano chords, rubbery bass and a deft 4/4 beat. If you’re a deep-house lover, check the “Classic Club Mix.” – Tommy D Funk “MISSING FEELINGS”

u Third Attempt u Beatservice A deep, slinky bassline-driven groove adds some tasteful sax, woodblocks and chimes, and becomes something quite sweet. Ethereal, soulful, jazzy, this one sets a chill tone and creates an ultra-comfy mood.

– Jim Tremayne “LAND OF LOVE”

GUEST REVIEWER: BRANDON MORALES “GUNNY”

u Dale Howard u Techne Records

This groover has been a real favorite for me lately. I love a baseline that dances, and so do the people who come to party. There’s nothing like a slamming track to draw the crowd to the dancefloor and let them know the party has officially begun. This thumper is one that really delivers.

Brandon Morales

full-bodied house vibe complete with lively piano and tough bassline. The vocals are strong and sure, and the overall groove delivers club energy.

This could cross over in a big way.

– Phil Turnipseed

u Glass Slipper u Harmonious Discord The Texas-based duo of Brad Eller and Lisa Cork-Twiss deliver a sexy, vocal-house joint. Flaunting jazzy elements and murky vocal moments, this haunting number should win over soulful house lovers. And don’t sleep on the ultra-deep “Dub Mix.”

– Tommy D Funk “BE SEE SEEK”

u Jordan Strong & Tony H feat. Ramiro u Uniting Souls Music

“DEEP LOVE”

u Lucky Sun feat. Alison David u Lucky Sun Recordings Lucky Sun (aka Tom Lown) and vocalist David deliver a jazzy, deep-house jam that will captivate. With the lush vocals out front, this one oozes blissed-out vibes. For a more bumpin’ ride, check out the “Alvaro Hylander Remix.”

– Tommy D Funk

Jordan Strong & Tony H return with a sublime house track. With its tasty conga beats, dubby effects, pulsing bassline and minimal synth melody, this one will definitely sink in. Out of several mixes, go right to “Sean Dimitrie’s Rub.”

– Tommy D Funk “BIG DIPPER”

u Nicole Moudaber & Eats Everything u MOOD For this relentless and driving house track, this somewhat unlikely duo drops a rugged groove sporting some sassy vocal snippets.

Add in some squelchy synth stabs, disorienting sirens and the inevitable, yet satisfying drop and you’ve got some wonderfully chaotic dancefloor fury.

– Jim Tremayne “OOALH”

u Redondo & Ruben Golde u Future House Music Essentially, a dance remake of Yes’ “Owner of a Lonely Heart,” this one brings a

“MOONRAKER” EP

u Kimse u Brook Gee Kimse drops a bomb on us with this four-track EP, a deep-house journal that delivers lots of flavor. We love the deep, haunting groove from the title cut, as well as the minimal, yet intense soulful vibe of “Destination.”

We’re also digging the quirky, liquid sound of “Sacrifice.” It’s a can’t-miss EP that should definitely be in your crate.

– Phil Turnipseed “BLIND AMERIKKKA”

u DJ Minx feat. E-Man u Women on Wax “We are in the midst of very strange times,” intones E-Man, and indeed we are. Over Minx’s deep, warped, house groove, longtime NYC DJ/spoken-word artist E-Man surveys a divided national landscape and asks the question of the moment: “Just how blind will America be?”

I n d i c t i n g , b u t ultimately hopeful, E-Man offers necessary food for thought. The moment is here – take a stand.

– Jim Tremayne Nicola Fasano

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Making Tracks

(continued from page 20) your typical listening area; the product provides a number of options beyond simply a single user sitting in a working position at the mixing desk, but that’s actually the option most people would need. After that, the analysis begins, and the software takes you through the multiple steps involved. You’ll move the microphone position as the software guides you on your computer screen, and with each new position, the software generates analysis signals that it uses to understand frequency reproduction characteristics in your room. It takes a bit of time, but there’s nothing particularly difficult about the process.

On completion, the analysis settings are saved for use by the plugin, which is the second part of the software system, and is what brings everything together. The plug-in, provided in VST2, VST3, AAX and (on Macs) AU is simply dropped into the master track in your DAW (digital audio workstation) of choice — or whatever output bus is feeding its signal to your studio monitors.

The plug-in then applies the various corrections to the signal before it’s routed to your monitors.

One of the things I rather liked about the plug-in is that you can select different target curves. For mixing, generally, you’ll want to set it to a flat response, but the software will emulate other response curves so you can get a simulated idea of what the mix might sound like in other

select environments.

There are a couple of things worth pointing out about ARC 3, and they apply equally to other similar systems. First, you do need to remember to disable the plug-in before rendering out final audio. If you neglect to do so, the room corrections are applied to your recorded master, and you’ll be in for a real surprise when you go to listen to the mix in another environment. (I can’t tell you how many times I’ve made exactly this mistake.)

Second, it’s worth noting that no technology solution alone can perfectly tame every shortcoming of every studio environment, nor can it correct for a disastrously poor room (acoustically speaking) that lacks any soft surfaces of any kind. Think of ARC 3 as a complement to at least a basic collection of glass fiber or acoustic foam sound damping panels, or other similar solutions, properly installed.

In Summary

While IK Multimedia’s ARC System 3 is not the only solution of its type on the market, it’s an affordable, easyto-use way to help ensure that your mixes are accurate, despite whatever deficiencies you might have in your studio environment. In my view, it’s truly cheap insurance to be certain you’re getting the best results that you can out of your home-studio mixing and mastering sessions.

Sounding Off Bose

(continued from page 23) I should also mention the on button of the speaker is recessed, which reduces the likelihood of it being accidentally pressed. There is an IEC power port at the bottom of the mixer, which powers the whole unit via the included cable.

All functions on the mixer can also be controlled wirelessly through the free-to-download L1 Mix smartphone app. I had the ability to change channel levels and manipulate the equalizer on all channels with very low latency – I could see the speaker is registering my inputs because the lights on the mixer changed rapidly after I executed a command on the app.

The L1 Mix app also greatly enhances the Tonematch technology.

On it, I could specify if a channel is receiving signal from a microphone or live instrument, but I could also specify what particular model of microphone or instrument the speaker is connected to. The engineers at Bose spent a great deal of time tailoring the speaker’s performance to specific products from Neumann, Sennheiser, Shure, Gibson, Martin,

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and many other brands.

Future updates will likely add more dedicated profiles for various audio products. Users can save specific speaker settings that can be recalled later on. For instance, if a DJ often plays at a specific venue, they can store their speaker settings and recall them every time they play at that venue.

As you would expect, the fit-andfinish of these speakers is flawless, and the sound quality is similarly impressive. The subwoofer in the L1 Pro8 is said to rival a 12-inch subwoofer, while the subwoofer in the L1 Pro16 rivals a 15-inch subwoofer.

In my testing, I found my L1 Pro16 was able to achieve high volumes without sacrificing sound quality or introducing distortion. Even within mellower decibel ranges, I found the sound quality to be crystal-clear, if not approaching audiophile territories.

A testament to the angled driver design, my listening experience was equally good when facing the speaker straight on or when listening at an angle. This wide coverage lets the L1

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Pro make its presence known within a room.

The Bose L1 Pro series is a different sort of speaker, one that comes from a brand that’s been known to push the envelope when it comes to pro-audio equipment. These speakers would be good choices for bars, lounges, live venues, or mobile DJs, as they could show off a differentlooking speaker design from a name that has long been associated with

upscale audio equipment. The design of these speakers is also very appealing: it’s a self-contained, sleek, and futuristic departure from the tradition.

Well-done, Bose.

The L1 Pro8 will retail for $1,199, the L1 Pro16 will retail for $1,799, the L1 Pro32 with Sub1 will retail for $2,699, and the L1 Pro32 with Sub2 will retail for $3,099. Sub1 ($799) and Sub2 ($1,199) can also be purchased separately.

Sounding Off Rane

(continued from page 23) Arguably the most important part of any battle mixer are the faders, and the SEVENTY-TWO MKII does not disappoint in this arena. Both line faders and the crossfader use RANE’s contactless Mag Four fader, and there are almost an unlimited number of options for fader customization on the front of the unit. DJs can control contour and reverse the directionality of all three faders. Additionally, the crossfader has a hardware tension knob, and I was able to dial in my desired level of resistance. Straight out of the box, the line faders seemed well-balanced, and I didn’t miss having tension adjustment knobs for the line faders. Just above the fader section are eight MPC-style RGB-backlit performance pads. When the mixer is connected to Serato DJ, these pads control a number of different software features, including cues, loops, slicer, sampler, and pitch play. Even when the mixer is not connected to DJ software, the pads can still trigger several different types of hardware effects. Both software and hardware effects can also be triggered by the two aluminum paddles: pulling them down temporarily activates an effect, while pushing them up locks in an effect. As with other mixers in this class, each channel features a 3-band EQ and a high/low pass filter on each channel.

The centerpiece of the SEVENTYTWO MKII has to be the 4.3-inch, full-color touchscreen between the two channels. When the mixer is connected to Serato DJ, users can browse and load tracks, view track waveforms, and control various features within Serato DJ. (Like the TWELVE MKII, this unit also works with VirtualDJ and Traktor, although the screen functionality is limited with the latter software.) My favorite feature is touch effects, which turns the screen into an X-Y pad that controls effect time and a high/low pass filter. Interestingly, even when the mixer is not connected to software, the mixer and the screens still proved useful: I could still control the onboard effects with the paddles or with the touchscreen, and the mixer certainly didn’t feel underwhelming without DJ software.

The SEVENTY-TWO MKII packs just about every possible input and output under the sun. There are two mic inputs on combo jacks, and both mic inputs can run line-level sources and have dedicated volume and tone controls. Each main channel has a switchable phono/line level input on RCA jacks and an auxiliary input on RCA jacks – using a knob at the top of each channel, DJs can select whether the channel is controlling a software deck from USB A or USB B, an analog line phono or line-level source, or the auxiliary source.

Above the channel inputs, there are two grounding pins for turntables. There is a session in and out on RCA jacks, a booth monitor output on TRS jacks, and a master output for XLR cables. Each of these outputs has a dedicated volume knob, which is a blessing for DJs who perform on large stages or nightclubs.

The SEVENTY-TWO MKII also has two USB type B ports for connecting the device to a maximum of two computers running DJ software and two USB type A ports to connect other devices. I thought the extra USB type A ports were a really nice touch. Plugging in the SEVENTYTWO MKII mixer and two TWELVE MKII controllers occupies three USB ports on a computer; however, with these two built-in ports, I can connect the mixer and two controllers to my laptop with just a single connection. Like the TWELVE MKII, the mixer is powered by an IEC cable.

There are two headphone connections – one 1/8-inch jack and one ¼-inch jack – that can be sent signal from any individual channel or the master output.

Using the SEVENTY-TWO MKII was a real treat. There’s a lot of advanced features in this mixer that push the user to new levels of mixing. This mixer hits all the basics – the faders are butter-smooth, and all the inputs and outputs I could want are present – but it also brings in a lot of advanced features that I enjoyed using.

The killer feature is the screen.

Being able to browse my library and load tracks directly from the mixer means I can be more engaged

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

Compiled As January 27, 2021

C LU B P L AY C H A R T

NATIONAL CROSSOVER POOL CHART

NATIONAL LATIN DANCE POOL CHART

1 Muzik Box Karma Cal 69 1 Dua Lipa F/Madonna Levitating Warner 2 Chacal Mi Corazon Es Tuyo La Corporacion 2 24Goldn F/Iann Dior Mood Columbia 3 Carlos Vives Tres Perlas J&N Records 3 Ariana Grande Positions Republic 4 Daddy Yankee & Marc Anthony De Vuelta Pa’ La Vuelta Sony 4 Justin Bieber F/Chance The Rapper Holy Def Jam 5 Kazzanova x LexEdit ft Doserock Party Por Todo Lao Cutting 5 Allegra Do What I Want Radikal 6 Flex Me Tienes De Cabeza PC 6 Billie Eilish Therfore I Am Interscope 7 Zion y Lennox ft Myke Towers No Me Llama Warner 7 Sam Smith Diamonds Capitol 8 Fulano ft Dj Mad La Novela J&N 8 AJR Bang!

S-Curve 9 Gilberto S. Rosa ft Pirulo Que Se Sepa B2B Music 9 Ava Max Kings & Queens Max Cut/ Atlantic 10 AFM (The Sky) Regalame Una Noche Mas G89 Music 10 Megan Thee Stallion Body 300 11 Yandel ft Jhay Cortes Ponme Al Dia La Leyenda LLc 11 The Kid Laroi So Done Columbia 12 Wito Colon Culpame WJ 12 Machine Gun Kelly F/Blackbear My Ex’s Best Friend Interscope 13 Alsikiatra Baila Pegadita de los Hombres Alsikiatra 13 Tate Mcrae You Broke Me First RCA 14 Manny Cruz y Anthony Santos Las Puertas Del Cielo LOMG 14 Miley Cyrus F/Dua Lipa Prisoner RCA 15 Maelo y su Klan Abrele Camino Al Son Cafe 15 Harry Styles Golden Columbia 16 Pedro Jesus Prestame Tu Boca Salsaneo 16 Tiesto The Business Atlantic 17 Manny Cruz y Miriam Cruz Yo Quisiera Ser OMG 17 Drake F/Lil Durk Laugh Now Cry Later Republic 18 Marlow Rosado y Frankie Negron Boricuas En Nueva York J&N Records 18 Ariana Grande 34+35 Republic 19 Domenic Marte ft. Stevie B In My Eyes Direct Balance 19 Saweetie F/ Doja Cat Best Friend Warner Bros.

20 Ozuna Caramelo Aura Music 20 Marshmello & Imanbek F/Usher Too Much RCA 21 Ava Max My Head & My Heart Atlantic 22 Chris Brown & Young Thug Go Crazy RCA Most Added Tracks 23 The Weeknd Save Your Tears Republic 1 Giuseppe D Vs. Tito Puente Jr. El Cayuco Indie 24 Notd & Catello Nobody Island / Republic 2 Artik Chica Bonita (Remix) Warner 25 David Guetta & Sia Let’s Love Warner 3 Nemessio Baila Conmigo Cafe 26 Kylie Minogue Magic Darenote / BMG 4 David Kada Amiga Con Derechos Park East 27 Bad Bunny & Jhay Cortez Dakiti Orchard 5 Ovy y Danny Ocean ft Karol G Miedito O Que Warner 28 Earth, Wind & Fire September - 2020 Sony Legacy 29 Ritt Momney Put Your Records On Columbia REPORTING LATIN POOLS 30 Kygo & Donna Summer Hot Stuff RCA 31 Gabby Barrett / Charlie Puth I Hope Warner n Latinos Unidos Record Pool n Ritmo Internacional Record pool 32 Sigala & James Arthur Lasting Lover Arista n Salsamania Latin Record Pool n DJ Latinos Record Pool 33 Lady Gaga 911 Interscope n Lobo/Bass Record Pool n MassPool 34 Bebe Rexha F/Doja Cat Baby I’m Jealous Warner Bros. n North East Record Pool n Record Pool Latino 35 Ani Living For Today Ahm Music 36 Justin Bieber & Benny Blanco Lonely Def Jam n Mixx Hitts Record Pool n Latin Beat Chicago Record Pool 37 Topic & A7s Breaking Me Capitol n Ritmo Camacho Record Pool n All In Music Pool 38 Jennifer Lopez & Maluma Pa Ti Arista Records 39 Meduza & Dermot Kennedy Paradise Republic ATTENTION DJ TIMES READERS: DJ Times is currently looking for DJs that are 40 Diplo + Sonny Fodera Turn Back Time Higher Ground 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

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

Kaskade HVME F/Travis Scott Alesso & Liam Payne Black Eyed Peas F/ Shakira Saweetie F/ Doja Cat Bad Bunny & Jhay Cortez Ani Icona Pop Steve Aoki & Frank Walker Imanbek & Goodboys

Solid Ground Goosebumps - 2021 Midnight Girl Like Me Best Friend Dakiti Living For Today Feels In My Body Imagine Goodbye

Monstercat Epic Capitol Epic Warner Bros.

Orchard AHM Music Ultra Ultra Astralwerks

REPORTERS 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 Miss Joy

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

Saugus,MA Syndicated Los Angeles, CA Chicago,IL Minneapolis,MN Lithonia,GA Syndicated Tampa, FL Seattle, WA Washington, DC Las Vegas, NV BELIEVE IN MUSIC ISSUE

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with my dancefloor and spend less time staring into a laptop. For many years, RANE has led the pack when it comes to battle and scratch mixers and, judging by the SEVENTY-TWO MKII, the future looks bright.

Conclusions: Taken separately, I could see current DVS users replacing their turntables with TWELVE MKIIs or current controller DJs adding a TWELVE MKII or two to their setups. Similarly, I could see DVS users swapping out their existing mixer for a SEVENTY-TWO MKII. Regard-

less of how they might fit into your specific set up, RANE’s TWELVE MKII and SEVENTY-TWO MKII are phenomenal additions to the Serato DJ ecosystem as standalone gear.

The 2-channel DVS-capable battle mixer market has become very competitive in recent years.

Pioneer DJ’s recent entry, DJMS11, is very similar. It contains a touch screen, DVS capabilities, paddle-triggered effects, and equally controllable faders. DJs who could live without the screen but still want

Mobile

Umek

(continued from page 24)

it was like a celebrity-spotting, but I was honored that he had enjoyed the reception and was still thinking about it weeks later. I’ve had couples contact me on their anniversary or when they are attending another wedding, to share memories from their reception.

Where do you see yourself and your business in five years?

As my kids – currently 7 and 2 – continue to age, I hope to spend more practice time at home with them, showing them how to mix, blend and program. In a few more years, I’d love to see them behind the decks at their school events or a wedding.

My goals are relatively modest: I’ll be managing three or four DJs and booking 50-75 events per year. We’ll have a variety of event-types and opportunities to celebrate with people: weddings, corporate events, town festivals, local store celebrations, and private parties.

I’m also in the early stages of rebranding my company to focus more on weddings, so I’m excited to see where this new chapter leads.

(continued from page 15) – a virtual desert festival – and Insomniac’s EDC. It is interesting to see how this segment is developing. Some artists and companies spend a lot of money showcasing amazing outdoor sceneries. Cercle was the pioneer of this, but other event producers have accepted the challenge, and are pushing the concept even further. I recently watched Roman Weber’s performance at the Kölnbreinsperre, which is a colossal dam in the Austrian Alps, and a combination of impressive music selection and video production. I’m not really into Twitch, but I see that some artists are creating interesting projects on there, plus other platforms as well.

DJ Times: Professionally speaking, how are you approaching 2021? Are you optimistic?

Umek: We’re all wondering how fast the vaccination will help getting the epidemic under control, how many of us will be hit by the financial crisis, and about the behavior of the people. How fast will they return to clubs and parties, in what numbers, and will they still like to get wild on the dancefloor as before? I expect

a very-capable 2-channel battle mixer could be interested in the RANE SEVENTY, Pioneer DJ DJM S9, or Reloop Elite. Many premium controllers for Serato DJ now ship with DVS capabilities, and using a controller as the centerpiece of a DVS system presents a few advantages. For instance, DJs can always DJ off just the controller without additional hardware.

Together, the TWELVE MKII ($899 street price) and the SEVENTYTWO MKII ($1,899 street price)

form one of the most advanced turntablism set-ups currently on the market. There’s almost nothing else like them – both units are compatible with most DJ software. Mobile DJs who want a professional and attractive-looking setup and openformat DJs, who incorporate aspects of turntablism and controllerism, would be well-served by this setup. In fact, any DJ who uses Serato DJ and likes the two-turntables-and-a-mixer setup style should definitely shortlist these devices as a package deal.

the summer season to evolve around limited-capacity, open-air events and, hopefully, clubs will start opening gradually in the autumn when majority of the people should already be vaccinated. I’m in great shape as a producer, so I’ll be busy in the studio and I’ll keep releasing fresh music over the year. As I really enjoy passing skills and knowledge to younger generation, I’ll also continue with my one-on-one courses and, as I’ve said, I’ll keep doing that to some extent, even when I’m fully booked again.

And do follow my socials for streams, I’ll throw the next DJ set for my friends in the States on February 15.

DJ Times: Any themed tunes recommended for the moment?

Umek: Well, thank you for this question [laughs]. I believe the title of my remix of Yves Deruyter’s “Calling Earth,” perfectly suits these crazy times. In all this media hysteria, fear and stress, that’s causing a lot of people to lose touch with reality.

DJ Times: What’s the most surprising thing you’ve realized during this strange time?

Umek: I’ve discovered normal

life, and have started going to sleep at 10 p.m., then waking up early in the morning, which is a routine unknown to me since I was a teenager. I like this slower pace and enjoy being active in the bright part of the day.

When I have slept properly and feel relaxed, I get so much more out of everyday life.

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

Umek: Don’t abandon social media completely, as there’s still lots of interesting things to do and see. But try to stay away from false information and mass hysteria. Patience and self-discipline are the ways forward, but often these things are easier said than done. So take small steps towards your goals, and try to enjoy the simple things in life. Right now, we live in crazy times, so let’s all try to stay humane, safe and healthy – to get through this we need to take care of each other. Techno is not just noise, it’s also a lifestyle, and a positive attitude towards life. Everyone in the world might not be so like-minded as us, but we can set an example of how n to love and respect each other.

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But at least I’m working…

Playing a drive-in can be odd.

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It sure beats the alternative.

Kaskade, Next Issue of DJ Times

Find out why Banking Heir Ivan Wilzig aka Recording Artist Sir Ivan became a Cape-Wearing Super Hero helping those with ptsd, known as PeacemanÂŽ ...

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