DJ Times 2021, Vol 34 No3 “Tribute Issue”

Vinny Testa, 1944-2021: A Tribute to DJ Times/ DJ Expo Founder

AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988 2021 TRIBUTE ISSUE

VOLUME 34 NUMBER 3

+1 With Love

T H E L AT E ST

Multi-Op Leadership Tips, Pt. 3 PLUS: ZEDS DEAD n L-1788 n ABLETON LIVE 11 MACKIE SRT SERIES n HOW DJs FLEX CONTENT

NOTABLES…MILESTONES NEWS

DJX ’21: REBRANDED EXPO SET TO REBOOT INDUSTRY

By Jim Tremayne Atlantic City, N.J. – What’s new at this summer’s DJ Expo? There’s plenty – so, get ready!

In addition to relocating to an exciting, new venue and re-branding in name and logo, the industry’s longest-running trade show/exhibition will also offer one up-and-coming DJ a chance to win a performing-DJ slot at the show with its first open-format DJ competition. Add to that some info-rich seminar sessions and keynotes, and this year’s show looks like something special.

Presented by DJ Times and set for August 9-12 at the Hard Rock Hotel & Casino Atlantic City, DJX ’21 will bring the latest technologies to its exhibit floor, discuss the industry’s hottest topics in its seminar session and present exciting evening events at its “After Dark” series.

As the DJ industry is in the middle of a massive re-boot, DJX ’21 will present a seminar and keynote series that’s ready to educate and inspire DJs of all stripes.

On the inspiration tip, DJX is proud to present Howard “HK” Kessler for a “Keynote Q&A” session. In the world of DJs, there are few accomplishments that “HK” hasn’t achieved. Clubs, studio work, radio shows, hit records at labels – he’s done it all. Before his current, syndicated, Top-40 mix show, “In the Mix with HK,” went to No. 1 in a variety of radio markets, Kessler served as Director of A&R and Staff Producer at the legendary Tommy Boy label, where he created MTV Party to Go, the biggest-selling dance-compilation series in music history.

Additionally, at Tommy Boy, “HK” oversaw the recording careers of such hitmaking acts as Queen Latifah, Naughty By Nature, De La Soul, House of Pain, Coolio, Digital Underground, RuPaul, and Information Society. “HK” has worked on five Grammy-award nominated projects, over 50 Gold and Platinum Records and is a Grammy nominee himself. And lucky for DJ Expo attendees, he loves nothing more than to share his stories and lessons.

On the mobile-DJ front, New Jersey-based veteran Mike Walter of Elite Entertainment will helm a pair of info-filled sessions. Walter has made a successful career of booking and working a variety of events and, in doing so, has emerged as one of the DJ industry’s most respected voices.

On “Get With the Programming,” Walter will offer tons of tips and suggestions to help DJs with their music programming and, ultimately, raise their events to new levels. And with the session, “Forever Young: Aging Gracefully & Staying Relevant in a Youthful Industry,” he’ll be joined by Connecticut DJ Todd Powers, as the duo explains how older jocks can take advantage of the wisdom that age brings – and keep the DJ game sharp.

Looking to sharpen your marketing skills? Check out the two sessions from DJ Staci “The Track Star” Nichols, who has booked and played events for big brands like Lamborghini and Reebok, at events like Comic Con and movie premieres – plus, she’s worked over 500 weddings. So how does she do it? By keeping an active online presence. Through blogging and social media, she keeps the plum gigs coming.

During the tip-filled “The Mobile DJ’s Blogging Bible: How I Get 400 Visitors a Day to My Website” session, Nichols will explain how DJs can better create genuine engagement with an audience. And with “E-Mail Lead-Reply Strategy: What to Say & When to Say It,” she will detail her better-business practices that allow her to thrive in an ultra-competitive environment.

During the pandemic, what did DJs learn that will help them moving forward?

Popular Philadelphia jock Vernique Fields (aka DJ Neeek Nyce) will bring her lessons to the table with her info-filled session, “How to Book Virtual Parties Using Zoom.”

As the world re-opens, DJs – especially those in the Northeast – must remain versatile to events of all shapes, sizes and restrictions. In her hour-long session, Fields (with the help of fellow Philly jock Shannell B) will deliver the goods on how to best book and play a virtual event and deeper establish your brand in your market. She’ll also offer vital virtual-performance tips that will make your event a smashing success.

With the inaugural DJX DJ Competition, one skilled DJ will win an opportunity to spin at the Expo. Contest finalists will be chosen by DJ Times editors for their selection, boldness and precision of the mixes, and finalist mixes will be broadcast on DJ Times’ Twitch channel as part of its “Road to DJX” mix series. For details on competition entry/prizes, and for the latest on DJX, please visit www.djtimes.com.

For more on DJ Expo sessions in this issue, please visit Page 7.

HK: Keynoter Howard Kessler.

Industry Stalwart: Mike Walter.

Newcomer: DJ Neeek Nyce.

Marketing Tips: Staci Nichols.

TRIBUTE ISSUE

|

2021

•

DJTIMES.COM

3

NUMBER 3 ORIGINAL DJ TIMES LOGO

VOLUME 34

12 Long Time Coming

Cultish Favorite Solomun Returns from the Lockdown with a New Label & His First Artist Album in 12 Years

BY LILY MOAYERI

16 Vinny Testa, 1944-2021 An Industry Tribute to DJ Times/DJ Expo Founder Vincent P. Testa

22 A Champion’s Leadership Skills

Why the Toughest Person to Lead Might Be You

BY TRAVIS WACKERLY

DEPARTMENTS 7 Feedback

More Updates on DJ Expo 2021 in Atlantic City, N.J.

24 Sounding Off Mackie SRT Series

25 Making Tracks Ableton Live 11

26 Mobile Profile

Charleston DJ Keeps Grinding, 27 Years On

28 Gear

New Products from Mixed In Key, Numark & More

32 Grooves

Phat Tracks from Claptone, Wankelmut & More

33 Club Play Chart

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

SAMPLINGS 8 Zeds Dead

27 Business Line

How Great Content Helps Fill Your Calendar

Altered States

10 In the Studio With…

L-1788

4

DJTIMES.COM

• TRIBUTE ISSUE

|

2021

Cover Image Vinny Testa by Maria Esteves Contents Image by Chino Moro Cover Image Solomun by Jonatan Ferrer

FEATURES

FROM THE EDITOR

Vinny Testa, 1944-2021

In August of 1990 when I was hired at DJ Times by editor Chuck Arnold, little did I know what awaited me.

For starters, in order to officially be given the magazine’s Assistant Editor position, I had to meet with the publisher, Vinny Testa. So right off the jump, I knew this place was going to be a bit of an adventure… because the guy who ran the joint was unlike anyone I’d ever met.

Leaving the meeting, it was hard not to be a little dizzy. After all, he did most of the talking – and most of the talk involved his big dreams for DJ Times, which he had launched nearly two years prior, and DJ Expo, which was three months away from its first Atlantic City show.

At the time, I was just a few months removed from Athens, Ga., a sleepy, Southern college town, so when I met Vinny, a classic, fast-talking, quick-witted, Italian-American-New Yorker, he seemed to chew all the scenery and burst right through the screen. I thought: “Gee, this guy’s right out of central casting.” But over time, I realized that was him, through and through. The enthusiasm never stopped and the dreams never ceased becoming realities.

When it came to the DJ industry – from its products to its personalities – Vinny had a singular vision: to define the market with a publication and its sidecar trade show/exhibition. People forget that, before Vinny Testa founded this magazine and that trade show, the DJ market was viewed by manufacturers and retailers with a certain degree of derision. Many of the folks who held prominent positions at those companies not-so-secretly hated DJs for their very existence.

In fact, once during an early meeting with a world-class pro-audio manufacturer, the company’s marketing manager started the conference with this gem: “I just want you to know that I’m a real musician and I do not like or respect DJs. All they do is steal jobs from real musicians.”

Of course, with Vinny’s full encouragement, we at DJ Times were all too happy to take the bait, to push back against such bone-headed notions, and fly the flag for the nascent DJ industry. We felt like we were working for a cause both cultural and economic, literally pioneering for the industry with a pub and a show.

And I gotta be honest: When the magazine and the Expo began to take off, it was oddly thrilling to see those companies come around to the DJ sector and begin to make products specifically for the market. It had become a force impossible to ignore. Believe it or not, kids, you can thank Vinny Testa for a lot of that – because he was the one who inspired his troops to wage that battle. He was the one who imagined DJ Expo with its hall full of technologies for club, mobile and studio jocks – the very first show of its kind in America.

When it came to DJ Times, he saw a hybrid publication. It would be similar to magazines devoted to particular musical instruments in that it would feature big personalities and new technologies.

But he wanted more than that. He wanted to sell inspiration and, yes, dreams. He wanted to inspire with stories about business tips and reports from other DJ-related events. As he said many times, he wanted to “sell the sizzle” and keep people excited about the DJ world, whether they were jocks, retailers, manufacturer/distributors – everyone.

And all these years later, he was right. Somehow, the DJ rose to the top of the entertainment ladder. The magazine’s still publishing and DJ Expo remains the industry’s longest-running and mostsuccessful trade show/exhibition, thanks to his vision.

His passing this past April at the age of 76 was felt resoundingly. As you’ll see in this issue’s industry tribute to him, he touched many, many people – and their stories about him are both touching and hilarious. Friends, clients and colleagues all agree that he was one of a kind. There was literally nobody like him.

As for me, when I left Georgia for New York nearly 31 years ago, I had a clear idea about my dream job: I wanted to write; specifically, I wanted to write about music; and I wanted to travel, to see the world. While I never figured that I’d be in the convention business or help create an industry-defining show in DJ Expo, I have gotten to achieve those dreams. Essentially, Vinny allowed me to accomplish everything I ever wanted professionally… and for that, I will always be grateful, both to him and the people he assembled to run his company.

So, if this story is about anything, it’s about big dreams – his and mine. Somehow, we managed to help each other fulfill them. Thanks forever, Vinny.

DJTIMES.COM

• TRIBUTE ISSUE

art director Janice Pupelis jpupelis@testa.com

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

production manager Steve Thorakos sthorakos@testa.com

assistant editor Brian Bonavoglia bbonavoglia@testa.com

digital art director Fred Gumm fgumm@testa.com

chart coordinator Dan Miller dmiller@testa.com

social media coordinator Amanda Mullen amullen@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

traffic manager art production assistant Jeannemarie Graziano jgraziano@testa.com

President/Publisher Vincent P. Testa

DJ Times (ISSN 1045-9693) is published monthly except for January, March, May, September and November 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.

FOR CUSTOMER SERVICE AND TO ORDER SUBSCRIPTIONS, CALL 800-937-7678 VISIT OUR WEBSITE www.djtimes.com

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

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.

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 Tribute Issue 2021

visit our website: www.djtimes.com

Jim Tremayne Editor, DJ Times 6

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

|

2021

FEEDBACK T H E L AT E ST

AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988 2021 GAMING ISSUE

VOLUME 34 NUMBER 2

DJs & Ga m i n g : THE NEW NEXUS

’21?

WILL DJ BUSINESS RETURN IN

MULTI-OP LEADERSHIP TIPS, PT. 2 PLUS: AC Slater * BLOND:ISH * Prospa Pioneer DJ DJM-S11 * KRK S12.4

ALL IN THE GAME

This is Feedback, a monthly feature that fields questions from you, our readers, and funnels them out to industry professionals. If you have any questions about DJing – marketing, mixing, equipment or insurance, any at all – drop us a letter at DJ Times, 25 Willowdale Ave, Port Washington, NY 11050, fax us at (516) 944‑8372 or e‑mail us at djtimes@testa.com. If we do use your question, you’ll receive a free DJ Times T‑shirt. And remember, the only dumb question is the question that is not asked.

More DJX Sessions Announced Set for Aug. 9-12 at the Hard Rock Hotel & Casino Atlantic City, the 2021 DJ Expo (rebranded as DJX) is ready to go.

In addition to a stocked exhibit hall featuring the latest DJ-related technologies and its evening parties (DJX’s After Dark events), the show’s education-rich slate of seminars will discuss the most vital issues to DJs of all stripes. New sessions include: “Meal Plan Your Instagram: The Healthy Way of Using Social Media to Nourish Your Business.”

Are you missing out on business because you’re sleeping on Instagram? In her info-filled session, Pittsburgh’s Jessica “DJ Jess” McKelvey will show you the tricks of the IG trade, including: what to focus on when posting; developing your schedule; getting content; working the algorithm; showing up where you clients are; and creating a beautiful feed that makes followers want to dive deeper.

“Selling Your Services Virtually: Key Strategies to Increase Sales in a Socially Distant Marketplace.”

Philly’s Ross Akselrad of Pulse Entertainment will teach you the key strategies, ideas, and templates he uses to sell his DJ services to potential clients using virtual platforms like Zoom. In this revealing session, he will share with you the presentation he uses to close over 80-percent

of his virtual meetings.

“Professionalism: How Mobiles Stay Ahead by Minding their P’s & Q’s.”

From your attire to your conduct, from your social media to your office space – how you present yourself matters.

Philly’s Ross Akselrad will offer crucial tips on putting your best foot forward, so that you maintain a great reputation and earn more business.

“How to Get Couples to Book Their Wedding Based on Your Availability.”

How does a DJ get to this point? It really takes the complete package to reach this level and to have clients realize how valuable you are. In this presentation, Chris Washburn of Washburn Entertainment of Dryden, N.Y., will share easy-to-implement tips for each stage of the wedding process that will help elevate your business.

“Gear: New DJ Tech & What It Means to You.”

While the DJ-products industry has taken its pandemic-related hits over the past year, we’ve nonetheless seen some useful innovations to the market. This seminar will give you the straight dope and the latest tips – and it’ll explain how you benefit from these new technologies. Moderated by DJ Times Editor Jim Tremayne, this session will include top retailers and industry insiders. Don’t miss out on this vital tech-talk.

SAMPLING

Back in 2016, when Zeds Dead began its own Deadbeats label, the bass-music blogosphere was buzzing aplenty. Now, five years later, the Toronto-based duo’s imprint has fit firmly into the fabric of the scene and ZD’s Dylan Mamid (aka DC) and Zachary Rapp-Rovan (aka Hooks) are launching yet another endeavor – Altered States.

With this new label, DC and Hooks will focus more on downtempo and experimental tracks. So, following the release of Altered States’ initial release, coming in the form of their tranquil Catching Z’s mixtape, we caught up with Zeds Dead to discuss the duo’s Deadbeats journey, their favorite label releases over the years and much more.

DJ Times: From your earliest vision of Deadbeats, did you ever imagine it would blossom into the brand and community it has become today?

Hooks: We’re extremely happy and surprised with how it’s gone. We wanted to create a world of its own that’s separate from Zeds Dead, and it’s so cool to see how it’s grown into that.

DJ Times: What would you say is the key to success and longevity?

DC: I wish I had a good answer for this! I think for us being consistent with putting out music and doing shows has helped. We’ve never had a big hit, but we’ve grown little by little. I’d say, “slow and steady wins the race” is a good motto, but also there is no race.

DJ Times: How would you say bass music has continued to evolve over these past five years?

Hooks: There’s been a lot of waves that have come and gone, but I think 8

DJTIMES.COM

• TRIBUTE ISSUE

|

2021

it’s stronger than it’s ever been. From being around it for a while now, I’m starting to notice some patterns.

For example, it seems like things get harder and harder for a while until they hit an extreme, and then, in reaction to that, more minimal, deep styles start to get popular and then the process starts over.

DJ Times: How does it feel to have created a brand and launch labels that producers now strive to be a part of?

DC: It’s really a dream come true.

We’ve always looked up to what Diplo did with Mad Decent, so it’s amazing to be able to do that now for new artists.

DJ Times: If there is a producer out there looking to have their music signed to Deadbeats, what do you guys look for when it comes to production?

Hooks: We listen to so much music, so it has to have something to stand out – but it’s so hard to say what that is. It can be any style – it’s just gotta be dope.

DJ Times: Deadbeats celebrated its fifth anniversary with the launch of your new Altered States label, which will showcase downtempo sounds.

Did COVID craziness affect the decision at all, or did you two feel the timing was right?

DC: I think we would have done this with or without the pandemic, but it definitely seemed very appropriate now more than ever. Without shows, a lot of the more hard-hitting stuff seems a bit out of context

Chanelle Nicholas

ZEDS DEAD: ALTERED STATES

Deadbeats: (from left) DC & Hooks of Zeds Dead.

sometimes at home – so, I think this did fit well. The first thing we did when this started was make a new Catching Z’s mix because it just seemed like the perfect time for it.

We had been working on this for a while, basically just putting songs aside for it. But this time off gave us the chance to finish it.

DJ Times: There were Deadbeats-curated events, so can fans expect the same for Altered States now that we’re slowly getting back

to normal? Maybe a few Zeds Dead Catching Z’s sets?

Hooks: We’re working on some things for what Altered States events will be – we have a lot of ideas. We’d definitely like to do some specifically Catching Z’s-style sets, as well with a cool visual aspect so it’s more of a spectacle and a vibe than a dance party.

DJ Times: What should the Zeds Dead faithful keep an eye out for, aside from catching you live again this fall?

Hooks: We’ve been working on our

second album, so we’ve just been in the studio working on that non-stop. I’ve also been doing some painting recently, which is something the time off has allowed me to get back into.

DJ Times: So, explain your Deadbeats Top 10 list…

DC: There’s so much music we love that we’ve put out on Deadbeats and so many amazing artists it’s hard to make a short list like this but here’s a few that come to mind. Being able to release our own music was one of

Deadbeats Picks

Zeds Dead: Northern Lights [2016] Shades: “In Praise of Darkness” [2018] Rusko: “Megarad” [2019] Moody Good: “Kush” [2019] Protohype x Dirt Monkey: “Bop Bop” [2019] Chee: “Quarter Inch” EP [2020] GRiZ: “Bangers, Vol. 2” EP [2019] Halogenix: “Halogenix Presents: Lordel” EP [2019] DNMO & Sub Urban: “Broken” [2016] Zeds Dead x 1000volts (Redman x Jayceeoh): “Kill ’Em” [2018]

the reasons we wanted to start the label, so that’s why we put our first album Northern Lights on the list.

Hooks: A couple of these like “Kush” and “Bop Bop” were big, heavy tunes in our sets, both of which we played out every night on the road for a long time. Rusko is an artist that was very influential to us and he’s put out some awesome stuff on Deadbeats. We love GRiZ and he’s a big artist, so it was cool that he came to us to release music and his “Bangers Vol. 2” included the song with Subtronics called “Griztronics,” which blew up and was the No. 1 song on TikTok, as well as being a festival anthem that year and in everyone’s sets. So that was pretty dope.

DC: Shades is always one of our favorite acts to release. We’re big fans of Eprom and Alix Perez and their albums are so awesome it’s an honor to work with them. “Halogenix presents: Lordel” is a really cool one that I listen to a lot and kind of on the vibe of where we’re going with Altered States now.

— Brian Bonavoglia

Vinny was a driving force in the music instrument industry, and a legendary character whose passion was a bright light for us all.

Rest in peace Vinny.

IN THE STUDIO WITH...

1788-L: MID-TEMPO MYSTERY Beginning in 2018, the mystery man known as 1788-L set the festival circuit ablaze with a menacing mid-tempo sound. Original productions like “HEX” (a collab with Rezz), “Momentary Lapse” (with The Glitch Mob), and “Sound of Where’d U Go” (with Illenium and Said the Sky), plus remixes like his take on RL Grime’s “Era” made the electronic-

story is simply that everything and everyone within is one. One side is only there to mirror the other from a different perspective. It is for this reason that the release only needed two parts. “Human Machine” represents the disarray of darkness, and “Automaton,” the blindness of light.The different beings shown throughout the visual content

1788-L: Latest tunes fuse hardware & VSTs.

music world take notice.

And now, after a brief hiatus, 1788-L has returned with “Parallel: S,” a compelling twotrack EP on Zeds Dead’s Deadbeats imprint.

Additionally, the talented DJ/producer is prepping to take his live show to the Hard Summer Music Festival, set for San Bernardino, Calif., this August 1.

We recently caught up with 1788-L (aka David Lunson) to discuss his latest music, his studio and his immediate artistic plans.

DJ Times: You recently returned in a big way with the release of your “Parallel: S” EP. What can you tell us about the concept behind it?

1788-L: Thank you for saying so – I appreciate that greatly. Also, thank you for having me on your publication. Although I am not one to typically give art an explanation, I’d be happy to talk a little bit about “Parallel: S.” I like to think of it as a dimensional satellite episode in the 1788-L universe… a glimpse of a different reality in which 1788L exists. The fundamental tenet behind the 10

DJTIMES.COM

• TRIBUTE ISSUE

|

2021

all represent the same character, 1788-L, in different forms.

DJ Times: The name 1788-L had become synonymous with the mid-tempo genre, but you showcased your versatility with this new EP. Is that what we can expect from you going forward?

1788-L: You can always expect that I will create new art from different perspectives, draw from different influences, search for new experiences. On the other hand, though, I do strive to leave a unique calling card, one you can observe within anything I’ve made in the past. In other words, yes. I try my best to bring fresh ideas to the table every time.

But at the end of the day, I still want the listener to instantly say to themselves, “This is 1788-L.” DJ Times: “Automaton” is one funky tune. Is it fair to say there was inspiration from Daft Punk in its production?

1788-L: I can undoubtedly say there is no question that Daft Punk greatly inspires the music that I make. In regards to electronic

dance, their albums sit at the foundation of my creative construct. I was cataloging the albums of Aphex Twin, Squarepusher, The Prodigy, and other artists of unprecedented talent before my introduction to Daft Punk.

It would be upon their discovery that my objectives became clear. Although my purpose was now forever embedded, it would not be until the entrance of another French duo, Justice, would my source code be complete and operational as you see today.

DJ Times: Speaking of production, what gear and/or programs did you use for the new EP? 1788-L: For “Parallel: S,” and most apparently “Human Machine,” I introduced tabletop synthesizers into my workflow. The main lead during the second half of “Human Machine” was all done with a Roland TB-03, for example. A lot of sounds in the first half of the song were created with a modular synthesizer. I also have a Moog Mother-32, which I’ve since recorded a lot of material from. There are sounds from the Moog mixed in throughout both songs on “Parallel: S.” Today, my studio set up is as follows: I run all of the above into a Universal Audio Apollo Twin interface. My monitors are an older pair of Yamaha HS80M units. I make and record all of my music in Ableton Live, which I use on an Apple computer. I don’t use a lot of VSTs. However, I do use Xfer Records Serum.

DJ Times: For your brand, why did you choose to go the mysterious route?

1788-L: The “mystery,” as you say, was created purely by the listener. There was never any definitive choice made to set down that path. I did, however, allow the audience to organically unfold everything and interpret it as they saw fit. The question, “Who is 1788-L?” began circulating on online media outlets, such as Reddit.

As speculation quickly escalated, so did the concept of the mystery. The audience took it upon themselves to fill in the blanks with their best-laid context clues, however true or false those may have been. With the exception of the new pieces of information I’ve provided in this interview, this concept remains true to this day. You, the listener, created the mystery. I simply withhold the answers to any questions that I am asked.

DJ Times: Now that your EP is out, we hear you’ve got a brand-new live show in the works. Can you tell us what else 1788-L has planned for 2021?

1788-L: “Parallel: S Live” is my top priority right now, so I’ll be hard at work pushing this to completion by August 1 st.

However, I can absolutely say that I have a large catalog of music to release this year, and I am excited to do so – varying styles that I think any 1788-L listener, old and new alike, will enjoy!

– Brian Bonavoglia

HARD ROCK HOTEL & CASINO ATLANTIC CITY

AUG.9-12, 2021

As always, it is our promise to keep our community engaged and updated on the reimagined DJ Expo.

Team DJX has just returned from Atlantic City and along with the change of season, we are excited about our move back to The Boardwalk.

Some highlights of our time there: Attendee Focused: We are working closely with the city itself to promote and market DJX • We are working with restaurants and local retailers to offer discounts during DJX • We are expanding our educational offering to be more inclusive • We are working with local social influencers to develop features around DJX, exhibitors and attendees • We are creating plans to engage the future DJ and increase attendance • We are developing an “Attendee Ambassador” program to promote the show

Some highlights of our time there: DJX Onsite: An exciting, massive upgrade in the look and feel of the DJX • Established a “Safe & Sound” health and safety protocol • Developing our DJX “After Dark” experiences and evening events • Looking at opportunities to feature both brands at the property • In discussions with the city to develop a future “festivalization” or DJ WEEK in Atlantic City • We look forward to seeing you at DJX, and as always we encourage you to share your thoughts and open to work with you to customize and evolve the DJX experience.

We look forward to seeing you at DJX, Register at thedjexpo.com. /thedjexpo

thedjexpo.CoM

@djexpo_

LONG TIME Cultish Favorite Solomun Returns from the Lockdown with a New Label & His First Artist Album in 12 Years 12 Photo DJTIMES.COM • TRIBUTE ISSUE

by Niels Freidel

|

2021

By Lily Moayeri There haven’t been many sightings of Solomun since the globe went into lockdown. No gigs, no live-streams, even. Turns out the Bosnia-born, Germany-based DJ/producer/label owner was working on his second artist album, Nobody Is Not Loved.

Released on Solomun’s newly-minted NINL label, the album comes over a decade after his 2009 debut, Dance, Baby. The new album, however, is not a project informed by the pandemic – rather, it has been in the works for three years. Created across Solomun’s three studios in Ibiza, Luxemburg and his hometown of Hamburg, the album features an array of collaborators from Jamie Foxx to Zoot Woman, Planningtorock and Isolation Berlin, among others. It explores a variety of styles across Solomun’s musical experiences from his formative years to the present.

A multiple award-winning artist who regularly tops DJ-ranking lists, Solomun has long been a cultish favorite for the late-night crowd with wildly popular branded parties like Solomun+1. Of course, he’s also recognized for his production skills and business acumen – the self-taught producer has had over 40 well-received releases since Dance, Baby as well as over 50 notable remixes.

His Diynamic Music label, which he began in 2006 with Adriano Trolio, remains one of the industry’s more eclectic imprints.

Nobody Is Not Loved, however, showcases him as an artist. The album is loosely based around the concept of connectivity and communication through the inclusivity of music. The album brings together Solomun’s German side from which he gets his “structure, organizational thinking and rational behavior” with the “emotional Yugo-soul” in him for a balanced combination.

We recently caught up with Mladen Solomun to discuss his recent artistic endeavors.

DJ Times: How’d you get introduced to dance music?

Solomun: My cousin introduced me to it when I was 12 – he was 21 and already going to clubs.

He brought me a recorded mixtape from the club where he knew the DJ. It was a revelation for me.

The only music I knew was commercial music on the radio. This feeling was resurrected at my first club visit with electronic music at 21 with DJ Antonelli Electric in Hamburg.

DJ Times: When and how did you get started with DJing?

Solomun: When I was 14 or 15, there was a youth center, a German concept so you wouldn’t hang out on the street or get into illegal activities. There was a discotheque at the center every Wednesday from 6 to 10 p.m. For my generation, it was the place to be. I would use their vinyl and practice on their turntables. They saw I was interested in it, and one of the adults who worked there asked me if I would like to buy music for the club. Every weekend, I had 100 Euros to buy new music for the youth center. My own music collection was growing more and more as well. Whenever I had cash from small jobs or for birthdays or Christmas, I would spend it all on vinyl. I started DJing at 16 or 17. And then I took a long big break from it. My passion returned when I was at a party with melodic techno, a sound I had never heard before, which was just mind-blowing to me. I started buying vinyl again – CDs, too. I spent all my time in record stores, but only because of my interest in the music. I never planned on becoming a DJ. Somebody invited me to play at a birthday and that was my comeback after 10 years.

DJ Times: How is your approach to DJing different in a club setting to a festival setting to a residency?

Solomun: Inside or outside, day or night, huge crowd or intimate setting, summer or winter – all have an influence on the mood of the people and myself. Also, there is a different dynamic between a 90-minute festival set or an event where I play all night long. The shorter a set is, the denser it becomes.

DJ Times: Your Solomun+1, which started as a Pacha residency in Ibiza is an unusual one, especially considering its iconic venue. How did the idea behind it come about? How has it translated to other locations?

Solomun: The concept is explained in the name: Solomun +1. Only two artists, taking care of the night, together. We saw many events packed with amazing names, but each DJ gets to play for 60 or 90 minutes. I know from personal experience that is not enough time. The longer I play, the bigger my chance to create something extraordinary. We want to give this opportunity to the guests.

My guest plays first, then I play, and then we come together in a back-to-back. Over eight seasons in Ibiza, this has given me so many precious moments and memories. Pacha is a great home for Solomun +1, but the concept is universal and can be transported anywhere in the world, as it is not about the place, but about this musical journey. We’ve had Solomun +1 events in Berlin, New York, Tulum, Athens, Buenos Aires, LA, Lebanon, just to name a few.

COMING

Photos by Jonatan Ferrer

DJ Times: What is your ideal DJ set up?

Solomun: It’s been the same for 10 years: four Pioneer CDJ-2000NXS2 players and a DJM2000NXS mixer, with two RMX-1000 effect units. Having four CDJs is very important for me to adjust my set on the fly. One of them, I mainly use to pick tracks and saving them in the tech folder. I see where the direction is going and I can plan ahead, focus more on the moment and the crowd, and not panic in case I suddenly get an idea that might work better than what I have currently selected. It’s very important to me to interact with the crowd during my set.

DJ Times: How is your music organized?

Solomun: I’m using a USB stick and recordbox. The structure is pretty straightforward, three folders: warm-up, peak time, afterparty. I have a pretty good memory for track titles. Small note to producers who send demos: please always name your tracks correctly and include your artist name in the file. If it’s titled “new demo” or something, I can’t find it in my USB stick. The demo tracks are sorted by the weeks I downloaded them, same for new music. Then there are artist folders, folders for your own tracks, recent tracks that I have bought, folders for genres. No matter how organized you are, it is impossible to find the perfect structure, which is why you are forced to use your brain more, finding where that special track is that you just remembered. It’s like a maze, but that also makes it exciting. DJing is not AI. A bit of chaos never hurt anybody and sometimes produces some interesting results.

DJ Times: You’ve also been a club owner. How has your experience as a DJ informed your approach to running a club?

Solomun: As a DJ, it’s never wrong to understand what it means to be a promoter or club owner and all the hassle that comes with it. Promoters are often under a lot of pressure. You’re in a state of constant negotiation with agencies, with staff, with drink companies. It’s tough, but it’s also very

many of which are for very highrewarding when you see the crowd enjoys what you profile artists? have created and then you know that you’ve made the Solomun: I used to be very right choices for the night. As owner of the club Ego in radical when it came to remixes.

Hamburg, I remember well how important it is for the The only thing I kept was the bigger artists to waive a big portion of their usual fee vocal. I would strip it completely in order to allow these small beautiful and very special and listen to the vocal over and clubs to exist. This is why I do that as an artist, because I over again, until I forgot the appreciate what these smaller clubs or festivals are tryoriginal song altogether. That’s ing to create. the moment you start paintDJ Times: Did the idea of doing an album come during a new track around those ing the pandemic? vocals, maybe shift the measure, Solomun: The idea for an album, plus the greater drop some parts or chop them concept of it, started much earlier than the pandemic. A up. Every now and then that still few years back in London I saw this graffiti which really happens, but I leave myself some stuck with me: “Nobody is not loved” – no name or tag. I more wiggle room and try to thought if I make an album again, that should be the title. incorporate the original artist’s Later, when I was deeper in the whole album process, the elements if I feel they fit. Somemeaning started to transform. Only music itself would times I hear a track and I already dare make a statement like that. Music loves everyone, like it a lot, then I just give it a no matter who you are, what bit of a dancefloor treatment and tweak a few things, so it you look like or what you would function better in a club. believe. The first track that DJ Times: Do you feel like you have more freedom got me thinking about making with your singular edits than you have with your remixes? an album again was “Home.”

The edits are, in a way, un-commissioned remixes.

When I first made it I called Solomun: Sometimes there are tracks I really love, the file “Album Track 1.” It but they are not traditional dancefloor tracks or they feels timeless and represents just don’t fit my set because maybe it lacks a break or a a lot of what I like to listen to proper kick drum, but I want to play them so much that I in a club. I was able to test it create my own edit of it. That is freedom, in a way, because many times and at some point I could basically adapt any track into a dancefloor format.

I thought this could really be But oftentimes there are no stems or single parts of the the beginning of something. It track available, so it’s much harder to, for example, isolate was always important to me a vocal part, which then, in turn, is a limitation. It has its to tell a story with an album, pros and cons, but I really enjoy it. not just release 10 dancefloor DJ Times: So much has changed since the release of tracks. your first album. How was your attitude and approach DJ Times: This album has the feel of a DJ set. How was different to over a decade ago in comparison to your first your approach to making an album different to producing album? singles and doing remixes?

Solomun: It was a completely different time back Solomun: When I am producing a single or doing a rewhen I was making the first album. I was in the studio evmix, I am fully focused on the track itself. I’m thinking of all ery day. I toured much less, too. On this album, I collected of its elements and how their arrangement will impact on ideas over a much wider timespan, plus, I had a much the dancefloor, because the majority of these productions more mixed exchange with other producer friends and are aimed at that. With the album, I’m doing the same for the creative process had more entities than on the first the tracks, additionally trying to keep the whole record in album, where I worked everything out on my own. mind during track production, as if the album was a single DJ Times: What is your studio set-up? track and the individual tracks are its elements. It’s a simiSolomun: It’s pretty straightforward. Logic Pro is lar process with a DJ set. where the main part of the production takes place. MoniDJ Times: What is your signature approach to remixes,

“The longer I play, the bigger my chance to create something extraordinary.”

14

DJTIMES.COM

• TRIBUTE ISSUE

|

2021

toring is super-important to me. For the last 10 years, I have been very happy with my Barefoot MicroMain 27. My sound interface comes from RME. I also occasionally use hardware, such as the API 2500 compressor or EQs from A-Designs. side an engineer or co-producer?

DJ Times: What are the Solomun: I usually work on my own, but for this key pieces of outboard or album it had to be a little different. The working software/plug-ins that you process with a real band like Isolation Berlin is much find yourself returning to more elaborate. For such a creative process, you again and again? need someone who connects the people and holds Solomun: I’m a big fan it all together. One person, whom I have to give the of the Output plug-ins, but I most credit to is Jakob Grunert. Jakob is a highly also use the Komplete Buncreative person whose opinion I value a lot. He has dle from Native Instruments. been very inspiring and supportive during the whole For the sound processing, I journey of the album. Jakob brought Moritz Friedmainly use UAD plug-ins. I rich aka Siriusmo on board to support me in this use Roland Juno-60 for warm project. Moritz is one of the best electronic-music pads and fat bass… Prophet producers I know whom I have admired for years.

5, polysynth and arpeggios DJ Times: You have a wide range of collaboralike I used on “Night Travel.” tors on the album. Did you create tracks with them All in all, I am not a big techin mind? nerd. I talk to my colleagues Solomun: I generally start making instrumenabout stuff and I have experitals with someone specific in mind. There were mented with some gear, but some people I have dreamed about working with to me, hardware is in the first for such a long time. For some tracks, there were instance a craft, while creative general text ideas floating around, for others we processes are something else: had finished lyrics, and for a few we let the artists a spark, momentum. Even roam freely. Planningtorock is an example of that. many of my geekier tech “Tuk” was initially inspired by a Rosalía vibe and friends or colleagues who aesthetic. We got in touch with her management, have collected much more but it didn’t work out because she was in the middle gear over time are going back of her album. Also, in a very short period of time to smaller set-ups, which is she had gotten extremely famous and that didn’t much more effective. It’s nice fit very well anymore. I want tracks with crossover to have a lot of stuff, but you potential, but without very huge names from the can also get lost in too much mainstream world drowning out the track. ÄTNA, equipment. This is why I try whom we were recording a different track with, to keep my studio set up as did a freestyle on the “Tuk” instrumental that blew minimalistic as possible and us away, so we chose to go in that direction. Jamie focus on a few essentials.

Foxx on “Ocean” is an exception as he is a worldDJ Times: Were there renowned actor first and foremost, not a singer. I particular sounds and sound sources that you found yourself returning to for the album?

Solomun: Most of the sound sources were software. The bundle from Arturia, but also the plug-ins from u-he, especially Diva. A couple of percussion sounds also came from Teenage Engineering OP-Z. DJ Times: Do you work on your own or along-

would haven’t worked with a big-name R&B star on “Ocean.”

DJ Times: What was your thought process in having nonEnglish vocals?

Solomun: Coming from Bosnia and growing up in Hamburg in the ’80s and ’90s, we were listening to lots of different stuff including new wave and post punk. It was a long-time wish for me to make a song that incorporated this sound. I wanted it to sound authentic and the only way to do that was for the vocals to be in German. English vocals sound amazing, but German ones do have a slightly different charm and character to them. Tobias [Bamborschke] from Isolation Berlin wrote these beautiful picturesque lyrics for the track that are incredible: “I bite as hard as I can/Into the cool flesh of the night/Drink her air/And breathe her power.”

That’s the English translation, and it doesn’t even come close to the German original.

DJ Times: You might be one of the only artists who decided to launch a label during a pandemic. What went into this decision?

Solomun: We were talking to a few labels to see where we wanted to release the album. The process took a long time and there were lots of great proposals, but none of them felt quite right. We decided to create a new label for this project to strip off from the expectations and connotations that album might have. I have my own core team on it whom I have been working with for years and who have the same vision as I do. It was the most liberating step we could have taken for this.

DJ Times: How is NINL different from the Diynamic label, which is still going strong?

Solomun: Diynamic has always been focused on the dancefloor. NINL will focus on bigger, album projects. The idea is to be open to a broader set of genres. We are looking for are projects that tell a story.

DJ Times: Tapping into your audience has become a cornerstone of survival for artists during pandemic. Have you done that during this time?

Solomun: To be honest, I don’t know if I’ve retained such a good connection with my audience. It was a very confusing time for everyone, myself included. I didn’t really know how to check in for a very long time. I thought about doing a live-stream over and over again, to give me and the people out there some joy and hope, but I decided against it because I don’t believe that digital can replace analog. I like digital possibilities if they complement or amplify the analog world. But if they are supposed to replace the analog world, I can’t go along with that. I can’t imagine playing music without feeling the people, their reactions, their needs, their vibes, without the fusion.

DJ Times: What technology changes have you embraced during the pandemic? (continued on page 34)

VI N N Y VINNY TESTA

DJ Times/DJ Expo Founder Vinny Testa, 1944-2021 – An Industry Tribute

Vincent P. Testa, the founder of multiple influential trade publications (including DJ Times) and president of Testa Communications, passed away this past April 19. The cause was complications from Alzheimer’s disease. He was 76.

Known to everyone in the industry as Vinny, Testa began his long career in the music world as a musician, songwriter and producer. From peddling his original songs to Manhattan’s legendary Brill Building to producing and engineering for seminal 1960s rock acts like Vanilla Fudge and Iron Butterfly, Testa made his mark in New York’s studiorecording scene. Then, after starting a series of recording-studio schools, he turned his attention to the trade-publishing game.

In 1984, Testa started the Long Island-based media company Testa Communications and kicked off a new career buying, selling and founding a variety of industry publications. They include ProSound News, Sound Arts Magazine, Music & Sound Output, Modern Recording, Home Entertainment, Post Magazine, Producer Magazine and Band & Orchestra Product News. Current titles include Sound & Communications, The Music & Sound Retailer and DJ Times. Testa was also a pioneer in video news coverage for trade shows and conventions, having launched the ConventionTV brand decades ago.

In 1990, along with DJ Times, Testa founded DJ Expo, a market-defining exhibition and trade show. Thirty-one years later, it remains the DJ industry’s longest-running and most-successful event.

Vinny Testa is survived by his wife of 54 years, Maria, three daughters, seven grandchildren, a sister and a brother.

Vinny is also survived by the many past and present employees of Testa Communications, who were influenced by his passion, integrity and energy. Contributions would be greatly appreciated in Vinny’s memory to https://act.alz.org.

Here is an industry tribute to Vinny Testa:

“Vinny was a dreamer, as I think all entrepreneurs have to be. If you just look at all that he created in his career—schools, magazines, trade shows, TV coverage—it’s remarkable. Very early in my career, I was lucky enough to be having lunch with Vinny at an AES show. We were discussing advertising—particularly ad design—and Vinny launched into a full tutorial on the importance of selling the ‘sizzle,’ not the steak. Sounds simple enough, but I can tell you that has become a guiding principle for me and the businesses I’ve been involved with.

People don’t just buy products—they buy dreams and aspirations.

Vinny imparted countless other bits of wisdom over the years, and, for me, they were all worth serious consideration. I am fortunate to have had Vinny as a mentor, and even more fortunate to have had him as a friend.”

—Jack Kelly, CEO, Group One Ltd.

“I’m smiling in a way in my grief because that’s how it is in our industry. You celebrate, you mourn and then you remember. Vinny was almost like a surrogate father for us. Vinny was someone who was always there. I always knew Vinny, whether I was at Skip’s Music or NAMM. When I was at Skip’s, Vinny was always very kind to write about our events, and we did something with the ‘Weekend Warriors’ program together. I really remember coffee-shop meetings we had with Vinny at the NAMM Show. Vinny would come in with all this energy and we all said, ‘Quick, we need some more coffee [to keep up].’ He always had great ideas.

“At NAMM, we always did business together. We had ConventionTV, and we did a lot of advertising. We didn’t always agree on everything, but that’s business, and you need to find common ground. I had such respect for him as my elder that we always found common ground. If I felt we messed up, I would say, ‘Vinny, we messed up. How can we make it right?’ And there were times he would drop the ball and he would say the same thing. That spirit made our relationship special.

“We were all shocked by the passing. When I heard of the passing, the first thing I thought of was that he would always end our calls by saying, ‘I love you.’ Vinny always had that spirit of absolute transparency.

So, in some ways, I was comforted that the last words we said to each other were that we loved each other. It encapsulates the spirit of how I felt about Vinny. There are people in our industry who are larger than life. People who are iconic. There are not many of them. Vinny will be remembered. His legacy will be secure. He has great people [at Testa Communications] to make sure the legacy stays strong.

“The industry will not be quite as colorful without him. It won’t be the same. Through the years, his energy never diminished. It never dropped to 90 or 95 percent. It was always 100 percent. We are going to miss him. We are going to miss him a lot.”

—Joe Lamond, President and CEO, NAMM

“Vinny Testa was special. Anyone who knew or worked with him knows that. I worked with him for 17 years...a relative ‘short-term’ employee at Testa Communications. Most of his employees have been there more than 20 years—some for 30 or more! I have to say all of this because, as uneducated in the field of publishing as he was when he started the company, Vinny set up an environment for his employees that was quite different. Yet, it offered us the opportunity to innovate, grow and create quality products that we could all be proud of. That’s why he had a stable staff.

“This is all to say thank you to a man who gave me, at the age of 54, an opportunity to further my career that few would have done. He hired

an ‘old guy’ (second in age only to him the whole time I was there). I stuck with him until the time was right for me to leave. I regret that I only saw Vinny twice after the retirement party that he threw for me at InfoComm 2017: at the third retirement party that Testa Communications hosted for me and at one other company event.

“An anecdote to show the kind of man he was: About three months after I retired, I told Vinny that I was going to have major surgery and his first words were, “Let me know if I can do anything.” That’s how I feel about any member of the Testa Family (work or home): If there is anything I can do to help, I’ll be there.”

—David Silverman, former Editor, Sound & Communications “We are sad to hear that our industry has lost a pioneer in pro-audio trade-magazine publishing. Vinny Testa co-founded Pro Sound News only a year before John and I co-founded Meyer Sound, and then he went on to develop Sound & Communications. From the outset, we worked with many of the publications and platforms he helped create, shaping the growth of our industry and Meyer Sound. Our thoughts are with Vinny’s family and colleagues.”

—Helen Meyer, Executive VP, Meyer Sound “My favorite story with Vinny: ‘State Department,’ AES, 1987.

“Back in the 80s when I was just starting out my career, my dear friend and mentor Wayne Freeman was close friends with Vinny. We would hang out in NY and LA whenever we were in the same city and at trade shows. Crazy times, I have this picture in my mind of Vinny and Paul Gallo jumping through Wayne’s car windows after we were leaving a bar late one night in Dallas, NAB in ’86 “At AES in LA—1987, I think—I was leaving the show at the LA Convention Center and I had my full-size Ford Crown Victoria rental. (Vinny always rented sub-compacts, which I never understood. Me to Vinny: ‘What are you doin’ with that car?’ Vinny to me: ‘That’s all I need!’).

“Back to the AES story. Vinny and I are popping over to the Biltmore Hotel for a quick drop-in at a cocktail party before dinner. We pull up to the Biltmore Hotel. He says to me, ‘Let me handle this.’ Then he says to the doorman, ‘Leave the car out front. We’ll be back in 30 minutes. Oh, and I’d love to take care of you, but we're with the State Department and we can’t tip. See ya!’ Classic Vinny!

“So, I related this story to Group One’s CEO, Jack Kelly, shortly after I learned that Vinny sadly passed away. He said to me a couple of days later, “I just remembered: I was in the car with you and Vinny." It hit him after I’d told him that unforgettable story. You can’t make this stuff up!

“Vinny had moxie for 10 men! He took in all secrets and spread none.

We miss him dearly.”

—Phil Wagner, Senior VP, Solid State Logic, Inc. “You cannot use the word ‘iconic’ to describe anything or anyone casually, but Vinny Testa was a true icon of the music industry for more than a half century. I know of no one in the music business who had more passion, energy and enthusiasm for what he was doing, and I found that energy contagious. Our industry suffered a big loss with Vinny’s passing. Janet and I had the pleasure of knowing Vinny and his wife, Maria, on many levels—personally and professionally. I can tell you I miss him already.”

—Jim D’Addario, CEO, D’Addario & Co. “All of TMP was saddened to hear about the passing of Vincent Testa.

It has been amazing to witness what Vincent had built, and we are honored to have established a great relationship with his company.

Though this loss has to weigh heavy on everyone in the Testa Communications family, Vincent established a great company with great people who will definitely carry on his legacy.”

—John Hennessey, Sharon Hennessey and team, The Music People (TMP)

“Vinny Testa was a larger-than-life personality with a heart that matched. If he liked you, you were invited in to see just how warm and amazing this man could be. And I had that pleasure. He gave me my start in this industry, when I was still essentially a kid. He offered me responsibility and trust not typically afforded to people at the start of their 20s. He also offered many life lessons, including one I still use today: If you don’t know how to do something, admit it and ask for

help. If you did that instead of pretending you knew everything, you earned his respect.

“He also instilled in me a confidence I didn't know I had. Five months into my first real job as Assistant Editor of Post Magazine, he sent me to NAB in Las Vegas. It was exhausting and amazing and an entirely new world that I was just getting to know. On the last day of the show, he saw me in the lobby of the Central Hall at the Las Vegas Convention Center. He told me he was catching a plane, then ticked off about 10 things he expected me to accomplish at the booth breakdown. He started to walk away when he said over his shoulder, ‘I don't have to worry about this, do I?’ I said, ‘Not at all’ as confidently as I could. He turned, opened the door and walked into the sunshine. When the door closed, it was dark and I was terrified, but he gave me an opportunity to prove myself and I didn't want to let him down. I found my colleagues and we made it work. I spent the rest of my time at Testa Communications trying not to let Vinny down.

“When I started my own company, postPerspective, he made himself available, offering up his constant support and vast experience. He was a boss, a mentor and, at times, a father figure. I loved him.”

—Randi Altman, Editor-in-Chief, postPerspective

“While I join the many who mourn Vinny’s passing, I’m humbled to have had the pleasure of benefiting from his wisdom for nearly three decades. I make no mistake in knowing where I stood with Vinny initially—he was either schooling or selling. It was after one fateful visit to our office, and an incredible meal, that our relationship was forever changed. I’m privileged to have known Vinny, and I send my deepest condolences to his family and employees. Vinny Testa is a professional-audio legend who will be sorely missed. RIP, my friend.”

—Greg Beebe, Director, Professional Audio, Sennheiser

“I first met Vinny and Paul Gallo [Editor’s Note: Vinny’s first cousin] years ago in New York. The genuine passion for the industry, understanding of it and commitment to make it better for all of us really impressed me. I also got to hang with him socially. A wonderful guy and a tremendous loss for the audio community.”

—Larry Italia, President/CEO Americas, d&b audiotechnik Corp.

“If working for Vinny Testa did not change you in some way, you weren’t trying very hard.

“I was lucky. I worked for Testa Communications and Vinny’s beloved Post Magazine for 10 years. My odyssey started on a Friday in April 1988. I got a call at my desk as I was cleaning it out. Our magazine had been defunded. The call was from Vinny, who’d interviewed me, along with VP of Editorial Judy Morrison. Did I want the Associate Editor job?

Did I?! I’d just emptied my bank account of any vestigial cash. All I had to do was figure out what exactly ‘post production’ was.

“Well, from there, we—the Post team and, I guess, everyone at Testa— launched into careers where we met unbelievable characters we’d never otherwise have encountered. Over the years, we—Randi Altman, Marc Loftus and our sitcom-ready sales team—took Post, healthy but slim, to a 250-page, eye-grabbing glossy behemoth that we brought to the NAB show in Las Vegas. There, in Sin City itself, we put on an annual black-tie technology awards show, typically at the Venetian, that was actually fun and would attract up to 700 NAB attendees.

“Needless to say, the most incredible character we worked with was Vinny Testa himself. Vinny would challenge you. If you rose to the challenge, you could hold your head high anywhere you went. And I wound up traveling the world for Post.

“Post moved to New York City in 1998, purchased by a large, faceless corporation. I recently saw a photo of us all—Vinny and I with cigars— from our last days at the Testa office.

“How did I change? I was married (still am) with two sons, two cars and a new house. That was possible, I realized, because I’d learned to hold my head up.”

—Ken McGorry, former Editor, Post Magazine

“Vinny Testa was an innovator. From his concept of placing productinformation kiosks in retail stores, to embracing the DJ market, to ConventionTV and more, Vinny was always looking ahead in an imaginative and insightful way. Of course, he was also quite a character, as anyone who knew him would attest to!”

—Larry DeMarco, Electro-Harmonix “A great man left this world, and we will not see the likes of him again in our lifetime. Nor should we. Vinny Testa was a force of nature who animated everything and everyone he ever met. He was a musician, songwriter, educator, publisher, event producer, serial entrepreneur— and the world’s greatest salesman. He gave as much as he got and, as a result, everyone left a negotiation with Vinny happy.

“Family was everything to Vinny: his family, his publishing family and his industry family. His immediate smile, warm embrace and slap on the cheek always let you know that you were more than business to him. You were part of his family.

“When he called, he never had to use his last name. You picked up the phone and heard that unmistakable voice, “Hey, pal, it’s Vinny.”

And you knew exactly who it was. I got my first phone call from Vinny in 1979, when I just started out in this crazy wonderful industry, and I looked forward to every call ever since. I will miss them.

“Rest in peace, Vinny, and thank you for all the laughter, life and opportunity you created for all of us.

—Bob Griffin, President, Griffin360

“Vinny was a driving force in the music-instrument industry and a legendary character whose passion was a bright light for us all.”

—Stephen Schmidt, VP, Casio’s Electronic Musical Instruments Division.

“Vinny was one of the industry’s great personalities. I absolutely loved bumping into him at various shows, and he will be greatly missed.”

—Chris Meikle, Senior VP, St. Louis Music

“My singular impression is that any encounter—that I had with him, anyway!—left me feeling better, more positive and uplifted. Vinny had a great energy. Also, a supernatural tan!”

—Rob Robinson, CEO, Stardraw.com

“No matter when, where or whom you were with, Vinny always made you feel part of his ‘inner circle.’ We obviously spoke at length about our industry; however, my favorite memories were conversations about family and friends. He was such a proud family man. One of my favorite chats on rotation included the main reason he always looked so good. ‘Abstinence from bread,’ he would say.

“Above all, Vinny epitomized relationship management. By the end of many of our exchanges, I felt a strong appreciation for the lesson I was just taught, whether I wanted it or not. Vinny was one of a kind. He spoke with purpose, listened intently and was a wonderful conversationalist.

Maria Esteves

“I have to admit that, when I heard of Vinny's passing, I was stunned.

There wasn't anyone in our industry who didn't know and like Vinny.

He really was an icon.”

—Fred Poole, General Manager, North American Sales, Product Development, Peavey Electronics

“When I think of Vinny, I remember how good he was to me always. He was a true gentleman who went out of his way to help me. I can still see that smile and that cigar.”

—Cory Schaeffer, Director, Alliances & Market Development, QSC “I first met Vinny when I was only 17 years old and was washing boats to make extra money over the summer at Capri Marina in Port Washington, on Long Island NY. One boat I washed was owned by Sandy Cowan, who at the time published CQ and S9 magazines for the CB and ham radio markets. The other book Sandy published was Modern Recording. And when I was at his office one day, he introduced me to a guy name Vinny Testa.

“Little did I know that, 10 years later, when I was 27 years old, I would be working in Port Washington for a marketing communications firm that handled brands like MXR, SoundWorkshop recording consoles, Whirlwind, the CAMEO organization, pro audio retailer Martin Audio, etc. I would see Vinny many times a week, as his office was across the

street from where I worked and we all ate at the Clubhouse Bar/Restaurant on Port Washington Blvd. Vinny was just around the corner at 14 Vanderventer Ave., Port Washington NY. “Later, when Vinny moved his offices to 220 Westbury Ave. in Carle Place NY—the old Nakamichi office/studio, where he produced magazines like Music & Sound Output, Sound Arts, Pro Sound News and Home Entertainment, as well as Testa’s ConventionTV—he gave me keys to the building and let me and my bandmates move all our musical instruments and recording gear into the studio he had there. And every Thursday night, we held jam sessions. No rent, no hidden agenda, no strings attached. Just ‘Hey Robbie, I have this extra space. You have a bunch of musical instruments. You need a place to play, you use it.’

That was the kind of guy Vinny was.

“Throughout my career, Vinny was a close friend and mentor who guided me through this industry. No matter what the situation, he always had my back. Yes, of course we had our run-ins over the course of our careers (who didn’t? HA!), but, at the end of the day, Vinny was as solid as the day is long. He was one of a kind, always ahead of the curve and someone who lit up the room when he walked in. I miss him so.

“Peace, my friend.”

—Robbie Clyne, President/CEO, Clyne Media, Inc.

“Vinny was a force of nature. Grateful to have had the honor of writing for one of his publications for over 20 years. Vinny gave my column a thumbs up when no one else ‘in the trenches’ was writing about the industry.”

—Dan Vedda, Owner of Skyline Music and columnist for The Music & Sound Retailer “I first met Vinny Testa in 2005, when I joined the InfoComm staff.

Though I was new to the audiovisual industry, he put me immediately at ease. As a native New Yorker, he reminded me of home. Vinny always generously offered space in his magazines to promote our efforts, and he had a real love for the industry and the innovative people who make it vibrant. His publications reflected his passions, and he treated his team like an extended family. He had an eye for talent and inspired loyalty among his employees, many of whom

stayed with him for decades.

“Vinny had a contagious laugh, wore his heart on his sleeve and shared many great stories about the music industry over the years. He was always quick with a note of congratulations or a call of concern, and he was a stalwart champion of the AV industry. He loomed larger than life and was a true original. Vinny loved life with his whole heart, and you always knew where you stood with him.

“The world seems emptier without Vinny Testa, but I know his legacy will never be forgotten by his family and large circle of friends. Someday soon, I hope to toast his memory at Patsy’s Italian in Manhattan.

“Until we meet again, Vinny!”

—Betsy Jaffe, formerly of AVIXA “The amazing thing about our industry is that it is filled with a cast of characters who would make a three-ring circus seem dull. Vinny was one of those big characters who made you smile. His energy and enthusiasm were contagious and will be greatly missed.”

—Ron Manus, Chief Business Development Officer, Alfred Music “I first met Vinny back in the early ’90s, and I had the pleasure of working with him and the Testa Communications team on the ConventionTV@InfoComm programming over many years. Vinny was so charismatic; he reminded me of a movie star straight off a Hollywood set.

His suits, leather loafers, George Hamilton-style tan, sunglasses.... He would enter a room with a flourish, and he had a positive energy about him. Vinny had a great smile, was full of laughs, and had an earnestness to do business and make things happen. He had a zest for life.

“I saw Vinny as a great salesman who worked hard and hustled. He cared about his customers. That’s why, in my opinion, he was so successful in publishing. He knew everyone in the AV industry. I often spoke with Vinny to get the pulse of what was happening with various brands and industry trends. He was a trendsetter, doing ConventionTV programs and capturing video content at trade shows long before the rise of the Internet.

“I remember doing on-camera interviews at InfoComm with Vinny behind the cameraman like a director. He wanted to capture the story, and his team worked all night at the show to deliver a broadcast-quality program each morning to the hotels and shuttle buses so attendees could get the show news. In later years, the programming lived on the web and helped to promote the show to a broader audience. Vinny was always thinking of new ways to engage his viewers/readers. He was so passionate about his business and the industry. I will miss his advice, knowledge and inspiration. He was truly one of a kind!”

—Jason McGraw, CAE, CTS, Group VP, Emerald Expositions “I always enjoyed Vinny and loved when he came around at NAMM. He was funny, intelligent and kind—a truly unique talent and personality. Vinny had a way of making you feel special, and he was generous with his knowledge and time. A pioneer in digital marketing in the MI industry, he provided an innovative approach to media and marketing, and he always seemed to have fun doing it.”

—Chris DeMaria, VP of Marketing and Artist Relations, Fishman “It's always sad when someone you have known and worked with for such a long time passes. The next DJ Expo won’t be the same without Vinny.”

—Helen Viva, Professional Entertainment Group “Vinny was both my friend and mentor for well over 40 years. Having first met Vinny during my association with Audiotechniques and Allen & Heath in the ’70s, our friendship grew throughout the ’80s, when he became a valued mentor. He influenced me in the various decisions and directions I would take throughout my career in the pro-audio industry. I remember spending many hours in his office on Long Island, where he passed on so many words of wisdom and opinions (including those that I didn’t necessarily want to hear) that I so much valued.

“It was Vinny who encouraged me to go out on my own to start APBDynaSonics, rather than just accepting job offers I received after I had left Crest Audio (which he also influenced). And he reviewed with me the various investor options that were received that led to our final

choice in a business partner for the formation of APB-DynaSonics.

Vinny played the part of cheerleader for me and for so many others during the good times, and he helped us get through the rougher spots, helping us all find direction. I know that Vinny played a similar role for so many in our industry, and we owe him as an industry so much for who we are.

“I will miss him, and I look forward to meeting him again in a future life.”

—Chuck Augustowski, Consultant - Product Development, APB-DynaSonics International “It was fairly early in my time in the industry when I received my first call from Vinny, selling me on ConventionTV@InfoComm. His energy, drive and utter self-assurance came through so clearly on the phone—no video call required to make his point! And he didn’t ever stop calling until he had a commitment. I was meeting with Vinny at an NSCA show when a pipe burst in the ceiling and water started pouring down from above. Vinny kept talking to me about ConventionTV as we were walking off the show floor, not letting anything stop him from delivering his sales pitch! Vinny is a true character of the industry, and he will be missed.”

—Rachel Archibald, Director of Marketing, Clear-Com “Man, Vinny was a great guy. I want to share one Vinny story. Once, he came to NAMM headquarters for some meetings—we were talking about NAMM’s ads or something—and we decided to go out to lunch.

I drove and, at that time, I had my old Infiniti G20. Vinny got in and we had lunch, shared stories, etc. Good times. As we got back to NAMM, Vinny was saying goodbye to me and shook my hand. He said with a sly smile and a wink, ‘Hey, Scott...nice Datsun you got there.’ And that was him: Smart enough to know that and clever enough to use it as a parting shot to remember him by. LOL. “Vinny really made things easier on me my first NAMM show, and he was always there with some wisdom, a bad joke or a clever comment. RIP to an industry icon.”

—Scott Robertson, APR, CEO/Certified StoryBrand Guide, RobertsonComm “We used to talk kids when our kids were little, and then, when he had his first grandchildren, he was over the moon!

“When I first started in this business over 30 years ago, he was aggressively persuading me to advertise for Neve in Post when I worked for Neve. Because of his persistence and personality, I agreed. And that was my first relationship with him. Needless to say, all the companies I have worked for have been major supporters of Testa publications— many because of Vinny.

“After many phone calls, trade shows, dinners, etc., he will always have a special place in my heart.”

—Lisa Young, PR/Communications Professional “When I first met Vinny Testa some 22-plus years ago, I was a young, impressionable kid starting out in the business of professional-audio manufacturing. Vinny’s legend seemed larger than life, but, when I finally met him and got to know him, I soon discovered that Vinny was much more than my initial perceptions. Vinny was a very downto-earth, straightforward man looking to help people make connections. Always on the move at a show and always brainstorming ways in which his team and he could be of service, Vinny was a man full of boundless energy and ideas, and he was an icon of our business. Rest in peace. Until we meet again.”

“I’m just heartbroken. Vinny was such a fabulous guy. I have nothing but great respect for him. Especially during my time with Rane Corp., I felt more of a partnership with Vinny and his company than with any other publisher. With me, he was always a gentleman. And what I also found unique with Vinny was that the people he hired stayed with him. To have that kind of longevity with a staff must mean that he was a special boss. He was truly a one-of-a-kind guy, and he’ll truly be missed.”

—Dean Standing, International Sales Manager, AtlasIED “I was saddened to hear about Vinny Testa’s passing. I haven’t seen him in years, but, back in the day, when I was editing magazines, I

had some great conversations with him. He contributed a vast amount to the industry in so many ways, and he will be sorely missed.”

—Steve Oppenheimer, Public Relations Manager, PreSonus Audio Electronics “Vinny was a dynamo. He talked the talk—often very colorfully!—and he certainly walked the walk, having paid his dues coming up through the New York City recording industry in the ’60s. Vinny successfully leveraged all that insight into his vision for Testa Communications, journaling the business culture of pro audio and MI. He had many stories of his own, and he was excellent company at a trade show dinner. He was a look-you-in-the-eye, my-word-is-my-bond kind of guy, and I always respected that. The industry won’t be the same without him—such a big personality. Rest in peace, Vinny. You’ll be missed!”

—Guy Low, Senior Creative Manager, Robert Bosch LLC “Vinny was one of a kind—someone who embraced life fully. He always had time and a big smile for me whenever I saw him. I’ll never forget his riotous bowling parties at NSCA. ‘Cold pizza! Warm beer!’ RIP, Vinny. We’ll miss you.”

—Elaine Jones, Elaine Jones Associates Marketing and Public Relations “Vinny was larger than life and an icon in the MI and DJ industry. He will be missed.”

—Brian Dowdle, Marketing Director, ADJ Group of Companies “I had just spoken to my assistant a week or two ago about the fact that I had not yet received my annual—if not biannual—call from Vinny. Vinny would always call to say hello, check in on my father, and chat for a bit to see if there was anything he could do for us. Of course, he was pushing advertising, but he never did it in a way that ever in the slightest felt pushy. I rather enjoyed speaking to Vinny and looked forward to his calls. Even when we decided to step away from the print for a while, he wanted to be sure Galaxy Audio still sent any news his way because he wanted to cover it. One of Vinny’s best business practices was you didn’t need to spend money with him to get coverage for your brand. Not something you get in many publications these days. Vinny will truly be missed.”

—Bacheus Jabara, Marketing Director, Galaxy Audio “I am devastated. Sending you and the whole Testa bunch all of my love.”

—Josh Vittek, Vittek PR “It is true: Vinny was a very unique individual who lit up the room when he walked in. His charisma and smile were always infectious. I remember for the years of the DJ show he was always walking up to me and telling me to ‘turn it down.’ Then, he would lean over to me, kiss me and tell me, ‘I love’a bubbie.’ His leadership and his forward thinking will be missed in so many parts of our industry. Vinny was the symbol of passion, and it was all around him in everything he did. RIP, my friend.”

—Sam Helms, Sigmet Corp.

“Throughout our 25 years of business, Vinny and Testa Communications have played an integral role in our company. Odyssey is extremely appreciative of all that Vinny did for us here at Odyssey and for our industry. We look forward to brighter days ahead, and to our continued longstanding relationship with all at Testa Communications.”

—John Hsiao, Dave Lopez and Mario Montano, Odyssey Innovative Designs

In the previous two issues, I’ve discussed how to lead your team, how to connect with them, and how to create an environment where they can grow. These principles will help you keep great people in your DJ company.

For this article, however, I’m going to make a bit of a turn and share another leadership quality that will bring you the results you’re hoping for when it comes to being a leader people want to follow. But this one doesn’t focus on your followers as much as it focuses on you.

This might be the toughest leadership quality to master. It requires discipline, learning, introspection and being intentional daily!

Leadership Quality #3. The toughest person to lead is yourself Successful businessman Thomas J. Watson says, “Nothing so conclusively proves a man’s ability to lead others, as what he does from day to day to lead himself.”

You don’t have to be much of a sports fan to know who John Wooden was. Wooden has been considered the greatest NCAA basketball head coach of all time. He won 10 NCAA championships with the UCLA Bruins in a 12year span, often without the superstars or starters he had the year before. (How would your company do if you lost 80-percent of your best performers from the year before?) That’s the magic of John Wooden’s style of leadership.

There’s a story about Coach Wooden that is a perfect example of how to lead yourself, so that you can lead others.

With basketball being such an emotionally driven sport, it somewhat surprised me to read that John Wooden (or more commonly known as just “Coach”) revealed that he never used profanity. Coach Wooden was confident that not a single player who ever played for him could ever recall him using profanity. In return, he also required his players to refrain from profanity.

We’re talking about a highly emotional and competitive sport, and they weren’t allowed to use profanity? What could possibly be the reasoning for this? Coach described his position on profanity as one of practicing self-control.

If his players practiced self-control, then emotions wouldn’t cause them to come unraveled on the court, especially when things were tense or the game was getting away from them. Many times members of the opposing team would let their emotions get the best of them and that would often lead to their defeat; meanwhile, the UCLA Bruins practiced self-control with something as basic as refraining from using profanity.

If John Wooden didn’t lead himself first in this “practice,” he wouldn’t have been as influential to his players in doing the same. Coach Wooden set the bar first – by leading himself into an action, that (I’m certain) wasn’t easy at times. He then required his players to do the same and the result was historic record-breaking basketball. Of course, there was more to their victories than just this, but it did play a big part and is a great example of leading a team by first leading yourself.

Am I telling DJs to not use profanity? No, that’s not where I’m going with this. But I think you need to ask yourself as the leader of your company: “What must I do to lead myself so I can be looked up to as the leader I want my team to want to follow?” Here are three ways.

1. Practice what you preach (especially when it isn’t easy).

As a leader, integrity is essential. If you preach one thing and do another, your integrity is shot.

If John Wooden required his players to refrain from profanity, but if he himself lost control of his emotions when games got close or referees’ calls got botched, he would have lost the respect of his players and this rule would have never stuck.

2. Reading That’s a simple one. What are you reading that makes you grow as a person, a business owner and a leader? People like to follow people who are following someone bigger than themselves.

Reading is a good way to be led by influential people you may never meet. If you know me, you’d know I am one of John Maxwell’s biggest fans (and interestingly enough, Maxwell was a student of Coach Wooden’s leadership). I have read and re-read so many of John Maxwell’s books that, when I’m bored, I’ll flip through the pages of the “21 Irrefutable Laws of Leadership” just to constantly refresh my memory.

In my view, John Maxwell’s leadership style and influence is nearly unparalleled, and even though I’ve only (briefly) met him twice, I consider him one of my mentors. Practicing self-leadership by reading and studying people like John Maxwell, John Wooden and others has been a powerful way for me to grow and be challenged.

3. Never get too comfortable.

I’ve seen a lot of DJ companies fail. They thought they could coast their way into success because they were “skilled” and had a decent reputation. You can be skilled, but if you don’t lead yourself by reading, following the right people, practicing what you preach, and getting out of your comfort zone daily, then you won’t be as strong of a leader as you could be. Those who follow you will eventually migrate to a stronger leader, if you lack the self-control to lead yourself.

Keep growing no matter what, keep learning, keep reading, and don’t allow yourself to get comfortable thinking that you’ve got it made. Leading yourself involves practicing self-control and managing what you do with your time to make sure you get the best results. If you can’t lead yourself well, then why would good people allow you to lead them?

Travis Wackerly is a speaker and coach for the John Maxwell Team and is the owner/operator of FCM Entertainment, a multiop fusion-based wedding company, out of Norman, Okla. He’s been a musician and entertainer for the past 20 years. You can reach him directly at traviswackerly@gmail.com n

22

DJTIMES.COM

• TRIBUTE ISSUE

|

2021

Why the Toughest Person to Lead Might Be You

BY TRAVIS WACKERLY

A Champion’s Leadership

SKILLS

You need to ask yourself as the leader of your company: “What must I do to lead myself, so I can be looked up to as the leader I want my team to want to follow?”

TRIBUTE ISSUE

|

2021

•

DJTIMES.COM

23

SOUNDING OFF PLAYBACK…PRO AUDIO…PROCESSING

MACKIE SRT SERIES: FORMIDABLE

By DJ Deets

DJs, we are in the midst of something of a portable speaker renaissance. It seems like there has never been a more competitive landscape with so many good offerings from great brands.

Previously, speaker companies might have been able to get away with basic components and limited connection options. Now, it seems that, in order to stand out, speakers have to push the envelope for what is possible. In other words, the bar is set really high, and that’s a great thing for DJs. For one, there’s no shortage of choice across the market. Second, the performance-to-price ratio for powered speakers has never been better – and one of the brands leading this charge is Mackie.

Founded by former aerospace engineer Greg Mackie, Bothell, Wash.-based Mackie has spent decades making a name for itself as a manufacturer of highperformance professional audio equipment. Its current product lineup includes everything from microphones to mixers. However, most DJs probably recognize the name Mackie as an innovator in portable powered loudspeakers. Its latest generation of active speakers, the SRT Series, promises to continue the brand’s storied history and bring impressive features to DJs, bands, and venues.

Last year, I checked out Mackie’s SRM V-Class PA speakers for the magazine, and I was very impressed with them. Consider the SRT Series the little brother of the high-performance SRM V-Class. Testing the SRTs almost immediately after the SRM V-Class’s, I honestly felt a bit of deja vu. Both models look very similar and offer equally similar usability, but the SRM V-Class will likely go that little bit farther.

Of course, the range-topping SRT215 has an equivalent MSRP ($699) to the smallest SRM V-Class unit (SRM210 V-Class). Last year, I wrote that I was astounded by the price and features of the SRM V-Class, so it’s all the more remarkable to see many of the same features included here.

There are four flavors of speaker within Mackie’s SRT range: the SRT210 10-inch; the SRT212 12-inch; the SRT215 15-inch; and the SR18S 18-inch subwoofer. All three tops feature a 1,600-watt Class D amplifier, custom highefficiency transducers, an “Advanced Impulse” DSP module, a custom SYM-X horn system, and a built-in 4-channel digital mixer with built-in Bluetooth controlled by a full-color display.

The sound coverage on the 10-, 12- and 15-inch units is identical: 90-degrees horizontal and 60-degrees vertical. Built inside every SRT speaker is Mackie’s Transparent System Protection suite. This system can institute automatic limiting to protect the amplifier and speaker hardware when volumes get too high or signals get too hot. Unlike other speakers, however, the system tries hard to

24

DJTIMES.COM

• TRIBUTE ISSUE

|

2021

ensure limiting does not compromise sound quality. The speakers also have Power Factor Correction, which allows the speaker to run smoothly even when plugged into an unstable power source.

Each model in the SRT family differs from each other in max SPL (loudness), frequency response, and weight. The SRT210 has a max SPL of 128 dB, the SRT212 achieves 132 dB, and the SRT215 pumps out 133 dB. The SRT210 weighs just 28.2 pounds, the SRT212 comes in at 32.5 pounds, and the SRT215 tips the scales at 37.1 pounds. The SR18S sub, suitably, weighs 74.5 pounds.

The Test: I spent some time with a pair of SRT215s, and I thoroughly enjoyed using them. Each speaker shipped with an instruction manual and an IEC power cable. Pulling the unit out of the box, I was surprised by how light it was. I’d like to think I have a good idea of how much a 15-inch speaker weighs, but picking this one up threw all my preconceived notions out the window.

However, its svelte weight doesn’t come across as fragility. The speakers feel durable and well-made, much like Mackie’s other recent speaker releases. The front grille and back panel are both metal, and the rest of the speaker feels solid. There are three grab handles – one is at the top and two are on the sides. On the bottom, there are four feet and two pole mounts: one allows for angled mounting, while the other is used for traditional straight mounting.

The back is where things get interesting. There’s an IEC port, an on/off switch, and the built-in digital mixer. Sound is inputted into channels 1 and 2 of the mixer by XLR/TRS combo jacks, and channels 3 and 4 accept a 1/8th inch headphone jack or a Bluetooth signal. There are channel-gain knobs, channel outputs for channel 1 and channel 2 on XLRs, and a mix out on XLRs. The channel outs work great when multiple speakers need to be fed signal unadjusted by the speaker, while the mix out is perfect for an external subwoofer, a recording device, or anything that needs to receive the signal that has been mixed by the speaker. (I should also mention that two SRT speakers can be linked wirelessly.)

One of my favorite features found in Mackie’s latest speakers is the fullcolor screen, and I’m thrilled to see it return here. I could write a whole article just about the functionality the screen unlocks, but here are the highlights. The screen is the main way of interacting with the built-in mixer.

Users can control channel levels, individual channel EQs, the EQ of the master output, and a range of speaker parameters directly from the screen.

The speaker’s five built-in “voices” – flat, live, speech, club, and mon – can be accessed by the screen. Users can set a crossover point for when an external subwoofer is in use. Mackie has helpfully included presets for Mackie’s SR18S and DRM18S subwoofers. Of course, if you’re using a different model subwoofer, you can always set the crossover point manually.

The screen also lets users program a distance-based delay; helpfully, (continued on page 34)

SRT Series: Each unit delivers 1,600 watts.

MAKING TRACKS STUDIO…HARDWARE…SOFTWARE…

ABLETON LIVE 11: SIGNIFICANT UPGRADE

By Wesley Bryant-King

It’s said that time flies when you’re having fun, and boy, how it flies. It just doesn’t seem that long ago that after unsuccessfully trying for years to make electronic music, I decided to try a new piece of software out of Germany that held promise for a different approach.

The year was 2004, and the software was Ableton Live, which had just had its fourth version released.

Indeed, Live’s so-called Session View was the “different approach” that finally unlocked my brain and enabled me to successfully make my first forays into music production.

Fast forward to the last time I reviewed Ableton Live: 2018. Could it possibly have been three years since Live 10 was released? It had been five years at that point since Live 9 was kicked out of the nest.

I credit the good folks at Ableton for a couple of things. First, that they seem to take a very slow, deliberate approach to releasing software. Second, in the face of so-called “agile” software development practices that have in turn spawned app stores and the regular update cycles we’re all accustomed to on our phones and tablets these days, and in the face of increasingly popular (but consumer-hostile) subscription-based business models, the company steadfastly sticks to a traditional model, what software people call a “perpetuallicense” model. That means you buy the software once and can use it perpetually without paying again. Of course, that means that companies like Ableton have to tempt you every year or two to spend more money on major upgrade releases to keep money coming in the door.

Call me old-school, but I’d rather pay in three-digit chunks every few years than two-digit chunks every single month — with the latter presenting the risk that when I stop paying, I stop being able to work on my own music anymore. That Ableton isn’t holding my music hostage is a plus, but then, so is the array of new functionality that they’ve introduced in the long-awaited Live 11.

Broadening the Range: Perhaps it’s just me, but for the first time I can remember, Ableton seems to be positioning Live as a DAW (digital audio workstation) that’s designed for more than just electronic and

EDM musicians. I’ve personally used Live to create electronica, but also to produce beds, bumpers, stingers and other cues for sync; trade-showpresentation background music; and even country music. But Ableton’s positioning always made me feel like it wasn’t really made for what I was doing — even if it was perfectly capable of it.

With Live 11, Ableton has taken a slightly different tack by providing new functionality for capturing the perfect take, something that it seems would be of interest primarily to conventional musicians, such as singer/ songwriters. The new take recording and comping feature lets you capture multiple takes of either an audio performance (such as vocals) or a MIDI performance (such as live keyboard playing), then easily choose and commit the best parts of recorded takes.

I’ve always found it a bit cumbersome to record vocals in Live, in particular, so this is an especially welcome new capability. Even better? It works beautifully.

Further evidence of the broadened focus might be seen in three new instruments: upright piano, brass quartet, and string quartet — the latter two of which are rarely used in EDM production — but more about those later.

The new linked track editing is a nod to traditional musicians as well, although virtually anyone can benefit; you can link multiple tracks together for performing certain types of edits across them at the same time — a real time-saver for many common DAW workflows.

Finally, the new tempo-following capabilities provide some interesting new possibilities for stage performance scenarios. There are multiple possibilities, but among the more interesting is simply having Live match the tempo of a live drum performance.

D o M o re , M o re E a s i l y : O f course, a DAW upgrade wouldn’t be a DAW upgrade without some workflow enhancements, new capabilities, and more power — and Live 11 delivers.

One of the features Ableton seems to be focusing on is support for MPE — MIDI Polyphonic Expression. With supported devices and plug-ins, MPE provides the ability to control ex-

Latest version includes comping, MPE & new instruments.

pression on a note-by-note basis. This means you can, for example, apply a pitch bend to a specific note in a chord, rather than the entirety of the track. This allows you to get the very most out of MPE controllers, like the popular keyboards from Roli.

To go along for the ride, Ableton has updated several of the internal synths in Live to support MPE, as well. While I acknowledge the creative potential of MPE, it nevertheless strikes me as having rather niche appeal, but time may well prove me wrong.

Of greater and broader interest will be some of Live 11’s new devices.

I’m particularly stoked by the new Hybrid Reverb. Given that reverb is one of the most commonly used and most important tools in a producer’s toolset, focusing some attention here was justified, and the results are superb. Combining both convolution and algorithmic reverbs into a single device, it’s useful not just for the usual workflows, but also for extending the palette of sound-design capabilities (continued on page 34)

Friend, Mentor, Visionary, Confidant, Jokester, Family, Legend.

Vinny was and will always remain all of those to me and to the folks at Group One. A Company he helped too many times to mention, and a Company he helped to start.

Gotta go. Say hello to our friends.. See ya!

TRIBUTE ISSUE

|

2021

•

DJTIMES.COM

25

MOBILE PROFILE CAREERS…INNOVATIONS…SUCCESS STORIES

By Stu Kearns

CHARLESTON DJ KEEPS GRINDING Scott Sain: Loves the efficiency of modern DJing.

“My love of music and seeing people react to it has kept me in the industry. I truly love what I do.”

– Scott Sain 26

DJTIMES.COM

• TRIBUTE ISSUE

|

2021

In the greater Charleston, S.C., DJ/music market, Scott Sain has been a regular presence since 1994 — and that gives him plenty of perspective. We had a conversation with Sain, owner of the Blacktree Music Group, and it went like this: You’ve been in the DJ industry for 27 years – what are two of the biggest changes you’ve seen?

Scott Sain: I’d say I’ve been in the music industry for 27 years. I had a band to start my musical career and, as the band leader, I quickly realized that when we were setting up or taking a break or breaking down, many venues didn’t have music — or if they did, it was barely audible. I started with portable CD players and eventually graduated to iPods and then controllers. Being able to set the vibe with music has always been important to me, either with the band or recorded music.

One of the two biggest changes I have seen over the last few decades is the swing back to DJs. In the early ’90s, I felt like the swing was to bands. Then, in the last 10 years or so, I saw the swing coming back to DJs. We retired our big party band at the end of 2018. We did thousands of weddings and thousands of private/corporate events over our 22-year career. I built a lot of relationships with wedding planners and venues. I didn’t want to stop doing weddings/ corporate events and, since I had been doing both the band and DJ work for years, I was ready to transition and pretty much keep doing the same thing, just as a DJ. Since we chose an end date for the band and had 18 months to prepare for it, I slowly backed off on the bookings, so we didn’t go from six gigs a week to zero. So I was playing more DJ gigs at the end and, when the new year of 2019 started, I was ready with weddings that first weekend.

The other big change is equipment. I love that speakers have gotten smaller and bettersounding. And my Ape Labs lighting is ridiculously small and all battery-powered! No more trusses and DMX cables and stands and power problems. My entire light show fits in a small cooler-size bag!

Tell us about why you’ve been in the DJ industry 27 years?

I accidentally fell into the music industry in college. I found a guitar at my grandmother’s house in my sophomore year of college, learned maybe two chords and next thing you know, I’m in a band. My love of music and seeing people react to it has kept me in the industry. I truly love what I do.

When you first started, what were your ambitions?

My ambitions were probably to just see if I could do it. It certainly was a challenge.

Are you part-time, full-time?

I’m 100-percent full time. I had 29 gigs in April. I probably booked 20 gigs for other DJs, as well, in April alone. My calendar looks the same for the rest of the summer and beyond. I have a hard time stopping when a gig is over. I usually run from one gig to the next, so I have designed all of my rigs to be plug-and-play in minutes. DJ MikeTech was at my gig last night and he told me that he thinks that I am the most efficient DJ he has ever seen. I was honored to hear that from him since he is one of the best in town, if not the state.

What’s your gig gear?

It includes a Pioneer DJ DDJ-WeGO4 controller on a Gator guitar-pedal board with a dbx goRack processor and a wireless mic system all mounted and pre-wired. I use a Turbosound iNSPIRE iP2000 active speaker system, a CedarsLink Beast-7 DJ façade and 12 Ape Labs LightCans.

How have you dealt with the pandemic?

Honestly, at first, I was like: “Well, what am I going to do?” Then, I quickly realized that I was going to rest like I had not rested in 27 years. I thoroughly enjoyed the three-plus months of time off. There is no way I would ever schedule a three-month break – but I was so glad to have it. I finished projects around the house and painted a car and installed a headliner in another and so on. I loved it.

How do you differentiate your service from the competition?

I think I can offer years of picking the right song at the right time and being able to read a crowd. Coming from the band scene over to the DJ side has been beneficial. A band has such a limited number of songs compared to a DJ, who can have almost an unlimited song selection. I have played thousands of weddings and understand the flow, so that is beneficial for my clients. A lot of the time I end up being the coordinator at my events. I also provide high-end equipment with very clean setups. I try to be the consummate professional.

What’s your market like?

In the Charleston market, our wedding scene is probably one of the busiest in the country, as we are one of the top destination areas in the country. I’d say that it is competitive; however, there is more than enough work to go around. We have a great group of DJs that work together and promote each other and pass on gigs to each other when we can’t do them.

Where do you see the business in five years?

I hope it continues to grow and prosper. After such a tough 2020, I think we will be on the rebound for years. I hope to play for 20 more years!

BUSINESS LINE

SALES… MARKETING…SOLUTIONS…

HOW GREAT CONTENT HELPS FILL YOUR CALENDAR

By Dawson High You spend months working on each event, prepping your crates, creating new mixes, practicing your craft, all to have a killer night and make the crowd go wild. But how can you harness all of that hard work, that dedication, that feeling of being unstoppable, and use it to bring in new clients?

Creating these moments and then capturing the content go hand-in-hand with filling your books with future gigs. Getting specific photo shots and videos of your clients and their guests for promotional content is crucial.

If you haven’t already been doing this, it’s never too early to start gathering content, even if you don’t use it right away. I get asked for images all the time of packed dancefloors, certain styles of weddings, or what makes my company stand out. Having a hard drive full of different venues, setups, and floor plans makes visualizing your team as a part of their day that much easier for clients.

Here are my top three shots to capture, so you can also begin to create the content that will fill your calendar.

Showcase your setup and enhancements, everything from uplighting, specialty lighting, media, Co2, sparks, photo booths, etc. If you sell it, get pictures of it immediately! Giving your potential clients the ability to picture you and everything you offer at their event or wedding is what could close the sale. And if you’ve got those same shots at different venues, even better. Clients need to be able to see what they are getting, and if you can show it to them in a way they haven’t thought of yet, you could be changing their minds from “maybe” to “hell, yes!”

Capture the formalities. First dance, parent dances, speeches in front of your video booth while it slides through pictures of the happy couple — clients want to be able to see themselves in your photos. People are constantly bombarded with images on social media showing how they could look, but most people know those are staged. How many brides have shown you something that they saved on Pinterest, hoping to recreate it for themselves? Couples want to see what their most valued moments will look like in real life, and having images from your own events might be just what they need to book. This is also an excellent opportunity to tie into the first type of image and upsell your enhancements. Who doesn’t love a first dance on a cloud, breaking out into surprise sparks for the ultimate wow-factor?

Show off what you do! You’re still in business for a reason, so show these prospective clients why that is. This is where video footage is key. We are DJs, we throw amazing parties, and we need to capture those fantastic celebrations. Everyone’s greatest fear is that no one will dance and their event will be boring. Grabbing the content of a packed dancefloor, a picture of the couple shouting at the top of their lungs to their favorite track is the king of marketing material. Nothing else beats these – they’re the most marketable images of this entire article. And it’ll prove that you’re not only skilled at what you do, but you’ll be able to alleviate that fear. If you don’t implement anything else, at least do this! You’ll thank me later.

So, I’ve talked up all the content you need to capture at every event, but how do you do that exactly? Honestly, there are a lot of ways you can go about it, but the easiest place to start is with your phone. Every time a new phone model is released, they harp on how awesome the cameras are. Use that to your advantage!

Another trick I use is to build relationships with my other vendors. I ask my couples who else they’ve got on their vendor team, and I contact the photographer and videographer ahead of time to let them know I’m interested in receiving a vendor album after the event, or if we’ve already got an established relationship, if they’re willing to also capture a couple photos or videos of me and my team in action. Nine times out of ten, I get an “Absolutely!”

It’s important to emphasize “a couple” because their focus should always be on the client, but who better than to give them those amazing dancefloor shots than the DJ? And whatever they send you, make sure to always tag that photographer when you use their im-

“Couples want to see what their most-valued moments will look like in real life, and having images from your own events might be just what they need to book.” ages. Not only will they be grateful for the credit and exposure to your clients, but you will also get exposure to their clients as well.

When executed correctly, capturing content can be a fantastic way to help build and strengthen your marketing. Between letting your potential clients envision themselves using your services, or establishing partnerships with other vendors to get those awesome professional images, capturing the right content is always key to keeping your calendar filled.

If you have any questions, connect with me on Instagram – check me out at @dawson.high

Remembering

Vinny Testa AV industry icon and publishing pioneer

TRIBUTE ISSUE

|

2021

•

DJTIMES.COM

27

GEAR AUDIO…LIGHTING…STUFF

PRIME TIME Denon DJ/inMusic Brands 200 Scenic View Drive Cumberland, RI 02864 (401) 658-3131 www.denondj.com Denon DJ, an inMusic Brand, has released the LC6000 PRIME Performance Expansion Controller. With the same look, design, and feel, as the flagship SC6000 media player, the LC6000 PRIME gives DJs a professional hardware control for the second dual-layer audio output, unlocking Engine OS powered Media Players full potential when controlling the secondary layer. Highlights include: Controls Engine OS media players; plug-and-play with DJ apps; 8.5-inch jog wheel with RGB color ring and tension adjust; HD color wheel display; smooth 100-mm pitch fader; eight multi-function performance pads; auto looping; and USB powered.

BRAND NEW KEY Mixed in Key 3250 NE 1st Ave #305 Miami, FL 33137 www.mixedinkey.com Mixed in Key 10, the latest version of the popular keydetection software, has been released. The latest version is designed to accurately detect the true key of any track, sample or loop and it works in tandem with pitch-correction software like AutoTune. It also writes meta-data to Serato, Traktor, rekordbox and other DJ software. By providing the most accurate key for mixing, Mixed In Key enables DJs to put together mashups and complex mixes that sound harmonically flawless. The latest version includes a new key detection algorithm, the ability to export cue points to rekordbox, and a fresh, new interface look for 2021. Other features include: energy-level detection; automatic cue-points generation and tag-editing for the ID3 tags.

GET TO WORK Glorious Schuckertstr. 28 48153 Münster Germany www.glorious.de The Glorious Workbench Driftwood, the latest working console for DJ/producers from the German company, comes with a clearly arranged design and is available in three color variants. No matter the equipment, everything can be stored ergonomically and everything remains within reach. The pullout drawer allows for a comfortable workflow for PC, keyboard and equipment. With elaborate cavities for cables, the unit also has enough space for DVDs, books or other accessories. The elevated level features revolvable trays for studio monitors, facilitating perfect positioning.

28

DJTIMES.COM

• TRIBUTE ISSUE

|

2021

ASK ME XY Pioneer Pro Audio 2050 W. 190th Street Suite 109 Torrance, CA 90504 (424) 488-0480 www.pioneerdj.com The Pioneer Professional Audio XY Series has been expanded to include two new loudspeakers—the XY-1 and XY-2E. The XY-1 consists of two 12-inch custom drivers in a hybrid dual-chamber configuration, while the XY-2E builds upon the existing XY-2 by offering individual control of the 8-inch cone driver and one-inch compression driver. Both models are available in black and feature wooden enclosures with coating for weather resistance and extra protection against impact.

AUDIO…LIGHTING…STUFF

GEAR

PARTY TIME Numark/inMusic Brands 200 Scenic View Drive Cumberland, RI 02864 (401) 658-3131 www.numark.com Numark DJ, an inMusic Brand, has released two new DJ controllers, the Party Mix II and the Party Mix Live. The new plug-and-play compatible range offers: music streaming, integrated light show, touch-sensitive jog wheels for scratching, large filter knobs and performance pads for easy access to effects, cue points, loops and samples. The Party Mix Live includes integrated speakers for a fully party-ready package.

RIDERS ON THE STORMCHASER Blizzard Lighting N16 W23390 Stoneridge Dr. Suite E Waukesha, WI 53188 (414) 395-8365 www.blizzardlighting.com Blizzard Lighting’s StormChaser Supercell is a one-meter-long LED batten/ strip fixture. The unit is fitted with 16 individually controllable 7x2 cells that deliver fast-paced visual effects via DMX, auto, or sound/active modes. It offers color mixing via 224 SMD5050 RGB LEDs and comes with three interchangeable lens options—frosted, opaque and clear—as well as 59 built-in macros. It also uses 10KHz PWM dimming for flicker-free output on video.

NEEDLES AND EZPINS

Chauvet DJ 5200 NW 108th Ave. Sunrise, FL 33351 (800) 762-1084 www.chauvetlighting.com The EZPin Zoom Pack system from Chauvet DJ includes four EZPin Zoom fixtures, as well as an IRC-6 remote for wireless on/off operation, four USB cables and a carry bag. The EZPin Zoom is equipped with a rechargeable battery and features a manually adjustable head, as well as a manual zoom adjustment with a wide range to accommodate fixture placement at any distance. The unit can be attached to most mic stands, and a magnetic base attaches the unit to most metal surfaces without the need for a clamp.

TRIBUTE ISSUE

|

2021

•

DJTIMES.COM

29

GEAR AUDIO…LIGHTING…STUFF

STRIKE GOLD MIXO DJ www.mixo.dj Music-tech Startup MIXO DJ has launched MIXO:GOLD, a premium subscription service, which uploads a user’s DJ library, complete with artwork, track data and cue points, to their phone. The desktop app includes bridge tools to import and export the user’s DJ library between Serato, Traktor, rekordbox, Virtual DJ and every other DJ software. MIXO connects to Google Drive or Dropbox, and syncs to all devices across iOS, Android, Mac, Windows and Linux.

READY WHEN YOU ARE American Music & Sound 925 Broadbeck Dr. #220 Newbury Park, CA 91320 (800) 431-2609 www.AmericanMusicAndSound.com The Reloop Ready controller is fully USB bus powered and features a full headphones cue section, an RCA out port for direct connection to active speakers and sound systems and 16 large RGB pads that give access to nine different pad modes—Hot Cue, Auto Loop, Manual Loop, Sampler, Pitch Play, Scratch Bank, Loop Roll and Beat Grid. Reloop Ready is compatible with Algoriddim’s djay Pro apps on iOS and iPadOS and can control smartphones, tablets or computers.

STUDIO-READY Pioneer DJ Americas 2050 W. 190th Street Suite 109 Torrance, CA 90504 (424) 488-0480 www.pioneerdj.com Pioneer DJ has introduced a new addition to its nearfield monitor speaker line, the VM Series. Complete with three active models—the VM-50, VM-70 and VM-80— the new series couples slick, professional design with flexible DSP settings to deliver artists a clear, low-distortion listening experience, suitable for any setting. Featuring a 4 mm-thick aluminum front baffle, flat voicing, Class D amplifier, Aramid fiber cones and Vortex Bass Accelerator, the VM Series accurately reproduces sounds, including deep low-end frequencies while cutting out unwanted vibrations. The new series also features DSP control and 16 EQ settings allowing artists to easily tune their speakers to their preferred setting, from compact home spaces to large, professional studios.

30

DJTIMES.COM

• TRIBUTE ISSUE

|

2021

AUDIO…LIGHTING…STUFF

GEAR

KISS FROM A BOSE Bose Professional The Mountain Framingham, MA 01701 (508) 766-4590 www.pro.bose.com The AMM multipurpose loudspeaker line from Bose Professional consists of two full-range loudspeakers—the AMM108 and AMM112—and a companion subwoofer—the AMS115.

Both the AMM108 and AMM112 sport a coaxial two-way design.

The former features a 1.7-inch compression driver and eightinch woofer, while the latter features a three-inch compression driver and 12-inch woofer. The AMS115 comes with a 15-inch transducer with low-frequency extension down to 35 Hz and 130 dB peak output.

CARDS ON THE TABLE ADJ Products 6122 S. Eastern Avenue Los Angeles, CA 90040 (323) 582-2650 www.americandj.com ADJ’s Pro Event Table MB is what the company calls “a professional alternative to banquet tables.” Made with an aluminum truss-style construction, the table is 34 inches high and weighs 40 pounds for easy transport. It sports a clean matte-black finish, as well as a central poster board that can be customized with a company logo or other event-specific branding. Additional features include a shelf with protective non-slip carpeting and a central access slot for running cables from the shelf down under the table.

JUMP IN THE POOL Pitch The Tempo www.pitchthetempo.com Pitch The Tempo is a brand-new music pool that’s also a community for DJs and producers. Focusing exclusively on electronic music, Pitch The Tempo is your one-stop shop for the DJ’s electronic-music needs.

DJs can discover new promos and exclusive tracks through Pitch The Tempo’s diverse selection of electronic music genres, curated sets, and Top 10s from world-known DJ/artists. All tracks are cue-point and keyready for redkordbox, Serato and Traktor. Created by DJs and producers for you, the music is uploaded weekly and only available for our subscribers. All music files are 320 Kbps. Subscriptions are available in standard monthly plans, three-month plans or annual plans.

TRIBUTE ISSUE

|

2021

•

DJTIMES.COM

31

TRACKS…MIXES…COMPILATIONS

“ROUGE” u Wankelmut u Universal On this almost criminally catchy, deep-house tune sung completely in French, German producer Wankelmut offers up some serious earworm material. Just try to get that hook out of your head.

– Jim Tremayne “FOUND YOU” u Lee Freeman feat. Vernon Lewis u Find Yourself Lee Freeman

Wankelmut

Sheffield lad Freeman brings us a fabulous vocal-house stomper. With its funky bassline that just builds and builds and a superb, uplifting vocal by Lewis, this track also flexes a classy piano hook and a brilliant brass section. This one’s definitely staying in my box.

– Tommy D Funk “EVERYBODY’S FREE (TO FEEL GOOD)”

u Piero Pirupa u Spinnin’ Deep

Dispensing with its original, pumping groove, the Italian DJ/producer adds breakbeats to Rozalla’s soaring, early ’90s rave anthem – simple, but effective. As you might expect, it’s hummable as ever.

– Jim Tremayne “COME TO ME” u Luis Machuca feat. Michelle Ross u Frisky Beat Piero Pirupa

Luis Machuca

With its melodic keys, jazzy saxophone and bass-heavy groove, this deephouse cut really delivers. If you’re seeking for an underground-afterhours feel, look no further – lovely! And don’t sleep on the “Deep Mix.”

– Tommy D Funk “SEVEN NATION ARMY” (THE GLITCH MOB REMIX)

u The White Stripes u Third Man Stop me, if you’ve heard this one before – it’s a decade-old remix. But Jack White’s label has made it official for proper release, so have at it. The iconic riff is remade with squelchy electronic flavor and the tune never completely muddies its crowd-pleasing power.

– Jim Tremayne “OPEN SENSES” u Mr. Bootsauce u Viva This deep-house winner brings a smooth vibe, but with percolating bass and massive breakdowns. Turn off the dancefloor lights, this one’s a proper mover-and-groover. Very nice.

– Tommy D Funk

The Glitch Mob

“GOLDEN” u Claptone feat. Two Another u Different Recordings A slight departure for the masked man, let’s say. A well-sung, catchy tune – very R&B/pop with requisite electronic undulation. It could well probably be a hit, but… let’s hear the remixes.

– Jim Tremayne

u KTGeorge u MoodyHouse Boasting blasting basslines and garage-inspired vocals, “Foolish” rocks deep-and-dirty beats – and check those skittering hi-hats and the rolling Rhodes keys. On the flip, “Come Close” is a more uplifting affair with a scintillating build/drop combo. Tight.

– Tommy D Funk

“FOOLISH” EP

KTGeorge

“TIME FOR LOVE” u Omson u All Night Long If you like chunky and deep-filtered disco-house, check out this monster.

With its uplifting female vocal, this one will set your dancefloor afire.

– Tommy D Funk

Claptone

Omson

32

DJTIMES.COM

• TRIBUTE ISSUE

|

2021

“DEEP IN LOVE” u The Strange Content u Nylon Trax The original mix slinks along with a hip-shaking house groove and a husky female vocal. But if you’re an Afro-house fan, check “Jaymz Nylon AfroTech ReShape Part 1” for a much deeper experience – sleek and soulful.

– Tommy D Funk

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

Compiled As May 21, 2021

TRACKS…MIXES…COMPILATIONS

C LU B P L AY C H A R T

NATIONAL CROSSOVER POOL CHART

1 Atb & Topic & A7s Your Love (9 PM) Capitol 2 Regard & Troye Sivan & Tate Mcrae You Epic 3 Bebe Rexha Sacrifice Warner 4 Joel Corry & Raye &David Guetta Bed Big Beat/Emg 5 The Weeknd & Ariana Grande Save Your Tears Republic 6 Glass Animals Heat Waves Republic 7 The Kid Laroi Without You Columbia 8 Tate Mcrae You Broke Me First RCA 9 Silk City F/ Ellie Goulding New Love Columbia 10 AJR Way Less Sad S-Curve Astronaut In The Ocean Elektra/Emg 11 Masked Wolf 12 Loud Luxury & Ship Wrek Feat Gashi Amnesia Big Beat/Emg 13 Cardi B Up Atlantic 14 Tiesto The Business Atlantic 15 Travis Scott & HVME Goosebumps Epic 16 Dua Lipa We’re Good Warner 17 Arty Take Your Time Armada 18 Nervo & Carla Monroe Gotta Be You Thrive 19 Justin Bieber Peaches Def Jam 20 Afrojack & David Guetta Hero Spinnin’ 21 Alesso & Armin Van Buuren Leave A Little Love Armada 22 Olivia Rodrigo Drivers License Interscope 23 Kali Uchis Telepatia EMI/Interscope 24 Saweetie & Doja Cat Best Friend Warner 25 Miley Cyrus F/ Dua Lipa Prisoner Rca 26 Machine Gun Kelly & Blackbear My Ex’s Best Friend Stranger 27 Anabel Englund & MK Underwater Ultra 28 Vicetone No Rest Monstercat 29 Maroon 5 F/ M.T.S. Beautiful Mistakes Interscope 30 Ariana Grande Pov Republic 31 Nelly & Florida Georgia Line Lil’ Bit Columbia 32 Robin Schulz & Felix Jaehn F/ Alida One More Time Big Beat/Emg Dancing With The Devil Island 33 Demi Lovato 34 24Goldn F/ Iann Dior Mood Columbia 35 Silk Sonic Leave The Door Open Atlantic 36 3Lau & Funkin Matt F/ Frawley Everything Blume 37 Jax Jones & Au/Ra I Miss U Interscope 38 Dom Dolla Pump The Brakes Arista 39 MK Lies Ultra 40 Lil’ Nas X Montero Columbia

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

Riton & Nightcrawlers Olivia Rodrigo Lost Frequencies Harry Styles Demi Lovato Majestic x Boney M Maddox Jones Kim Cameron and Side FX Afrojack & David Guetta Icona Pop

Friday Déjà Vu Rise Golden Dancing With The Devil Rasputin Can’t Wait for the Summer Don’t Give Me No Hero Feels In My Body

NATIONAL LATIN DANCE POOL CHART

1 Chrissy I-eece 2 Karol G ft Mariah Angeliq 3 Jencarlos Canela feat Pitbull 4 Alsikiatra 5 Marlow Rosado y Frankie Negron 6 La Banda Gorda 7 Alexandra Y Monchy Capricho 8 Toño Rosario 9 Don Perignon 10 J Alberto “El Canario” 11 Manny Cruz y Miriam Cruz 12 Luisito Rosario 13 Maelo Ruiz 14 Ozuna 15 Johnny Ray Salsa Co Clase 16 Karol G 17 Lunay 18 Richie Ray 19 Daddy Yankee 20 DoseRock

Se Acabo El Makinon Cosita Linda Hablador Depende de Ti No Toy En Eso En Cada Aniversario Vuelve A Mi El Cantante Por Ti No Morire Yo Quisiera Ser Quien Dijo Miedo Y Me Dolio Caramelo Pandemia Bichota Le Gusta Que La Vean La Reyna Abeja El Pony Friky Friky

Chu-bano Ent. Universal Mr 305 Alsikiatra J&N LOMG J&N Mayimba Music Andujar Music Babel Discos OMG Sunflower Ent MR Aura Music JZ Prod.

Universal La Familia RR Music El Cartel Soundcheck

Most Added Tracks 1 2 3 4 5

La Fuga Charlie Maldonado Antony Nova Jessi Campos Raulin Rosendo

Te Digo Adios (Bye Bye Ciao) Slammin’ Se Vive Una Vez CM Savage Love CE Lagrimas Negras (DJ Cubanito Extended Mix) Javi Prod.

No Saben Nada Oye Mi Musica

REPORTING LATIN POOLS n n n n n n

Latinos Unidos Record Pool Salsamania Latin Record Pool Lobo/Bass Record Pool North East Record Pool Mixx Hitts Record Pool Ritmo Camacho Record Pool

n n n n n n

Ritmo Internacional Record pool DJ Latinos Record Pool MassPool Record Pool Latino Latin Beat Chicago Record Pool All In Music Pool

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

RCA Interscope RCA Columbia Island Arista Radikal Side FX Spinnin’ Ultra

REPORTERS n n n n n n n n n n n n n

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

Masspool Dj Stickyboots Powered By Spectrio Nexus Radio In The Mix With HK Mixxmasters Peter K Vindictive Vendetta KNHC 89.5FM/Powermix OMAP TAO Group KRYC-FM Victors

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

TRIBUTE ISSUE

|

2021

•

DJTIMES.COM

33

Making Tracks

There’s More “More”: Beyond all the cool new things you can do in Live 11, there are, of course, many cool new things you can play – and once again, Ableton has added a lot of content to the platform.

The aforementioned upright piano, brass quartet and string quartet lead the pack — well, let me stop there, because “pack” means something else in Live, and there are some new packs as well: Voice Box, Mood Reel and Drone Lab. Of those, I really fell in love with Voice Box, which takes the usual oohs and ahhs that have been familiar for decades and reimagines them as an extremely fun collection of vocal snippets that I can find endless uses for.

Mood Reel, as the name suggests, provides an array of layered sounds that can be used to add texture and space to a song. Drone Lab didn’t ap-

(continued from page 25) on specific instruments or tracks.

I was impressed by the depth and range of Hybrid Reverb, but also by Live’s easy-to-grasp controls.

Equally exciting are the creative possibilities provided by Live’s new “Spectral” devices: Spectral Resonator and Spectral Time. It’s challenging to really describe these two tools succinctly. Suffice it to say that both are audio-manipulation tools that deliver a wide range of effects from vocoder-like results to strange reverbs to converting vocal signals into synthlike output. With applications across vocals, percussion, as well as synths and conventional instruments, I can already envision myriad uses not just in electronic music, but also in scoring, sound-effects creation, and when used sparingly, they can add dimension to even the most-staid of musical styles.

peal as much to me personally, but is nevertheless an interesting collection of sounds.

Conclusions: Of course , I’ve barely scratched the surface. Ableton has also included some new updates for their Push controller hardware, the firmware of which will be automatically updated when you run Live 11. Ableton’s also added more capability to Max for Live, made myriad spit-and-polish improvements (better clip editing, improved CPU metering, etc.), as well as refreshing their core library, giving some packs some updates, and rolling out a wide range of UI enhancements, as well that make the software more pleasant to use while still keeping Live, Live.

After using the beta version of Live 11 for weeks now, I can also report that Ableton has done its usual excellent job on the stability front. I’ve

very rarely had crashing issues in Live in the many years I’ve used it, and when there have been issues, it’s generally been the fault of a third-party plug-in. That’s a track record that I continue to highly value.

New purchases of Ableton Live 11 range from $99 to $749, depending on edition, while upgrade pricing depends on the version of the software you’re currently running and can be obtained by logging into your Ableton account. It goes without saying, too, that the functionality I’ve described may vary depending on the edition you’re running.

Regardless, Ableton has once again delivered a significant upgrade that, for me, anyway, more than justifies the cost. And a side benefit? It’s already prompted me to spend a whole lot more time in my studio, and that’s always a good thing.

Solomun

Sounding Off

(continued from page 24)

Connecting the speaker to the free-to-download SRT Connect smartphone application takes the configurability of the speaker one step further. From the app, you can control all functions on the screen without being physically at the speaker. I’m sure many mobile DJs will really appreciate this feature. With the app, users can also save and recall presets.

Let’s say you’re at a venue you play regularly and you’ve dialed the acoustics just right. With this feature, you can save your settings and recall them instantly the next time you need them.

Furthermore, let’s say you installed these speakers at a venue that hosts multiple events. Venue staff could easily save presets for specific events and have the speaker sound different for

the speaker automatically calculates the delay based on distance in both meters and feet. The screen is also how a user can connect their speaker to a Bluetooth-capable device. Pairing took just seconds, and you can easily interrupt pairing or disconnect an existing connection from the screen, instead of having to figure out which guest has accidentally (or deliberately) paired their phone to your speaker.

On that subject, the entire screen can be locked with a passcode that can be set up in the config menu to prevent someone from toying with your settings. You’ll have no more nosy guests thinking they have a doctorate in audio engineering adjusting your levels.

the 11:00-a.m. business meeting and the 11:00-p.m. guest DJ set.

The portable speaker game has gotten competitive in recent years, and they’re being purchased by everyone from mobile DJs to venues to popular individuals throwing parties.

As you will find with any level of research, there are a lot of really good options from established brands. But, ultimately, I think it comes down to price and desired features. Few speakers on the market can match these in terms of features, and I genuinely think some might find themselves deciding between Mackie’s SRT and SRM V-Class speaker lines.

The SRT210 retails for $499, the SRT212 for $599, the SRT215 for $699 and the SR18S sub for $799.

Good choices all.

(continued from page 15) Solomun: Besides the obvious advancements in music and DJing technology and the perks it brings, the personal, human connection is something I could not live without, which is why I have been hesitant with things like live-streams and VR. There is a difference between making a mix at home and for doing a live-streamed DJ set. For the mix, I would thoroughly prepare, dig through my tracks and then mix, and maybe do another version if the one I thought of initially didn’t fit, and work it out on my own. A DJ set for me is an immediate interaction with the crowd. To experience this energy together with the crowd, that’s something no VR can give you. n

DJX ’21: Expo Set to Run Aug. 9-12 in AC

34

DJTIMES.COM

• TRIBUTE ISSUE

|

2021

DJX is going to be a blast!

Ronald Mungo

And get registered, because…

MetroMix Media

MetroMix Media

This year, beat the rush…

DJX ’21 in Next Issue of DJ Times

Sign up to experience the best of DJTimesMag Chat with other fans Capture your favorite moments Follow to get notified when they go live! twitch.tv/djtimesmag

HARD ROCK HOTEL & CASINO ATLANTIC CITY

AUG.9-12, 2021

Now is the Time for Our Community to Band Together and Mix at the Largest DJ Market Event in the Country

THE REBRANDED AND REIMAGINED DJX ON OUR NEW STAGE…THE ETESS ARENA @ Hard Rock Hotel & Casino Atlantic City

AUGUST 9-12, 2021 thedjexpo.com

/thedjexpo

thedjexpo.CoM

@djexpo_