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-

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 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

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 1st . 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!

1788-L: Latest tunes fuse hardware & VSTs.

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.

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 LONG TIME COMING 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.

DJ Times: What is your ideal DJ set up? rewarding when you see the crowd enjoys what you many of which are for very highSolomun: It’s been the same for 10 years: four Pioneer have created and then you know that you’ve made the profile artists?

CDJ-2000NXS2 players and a DJM2000NXS mixer, with two right choices for the night. As owner of the club Ego in Solomun: I used to be very

RMX-1000 effect units. Having four CDJs is very important Hamburg, I remember well how important it is for the radical when it came to remixes. for me to adjust my set on the fly. One of them, I mainly use bigger artists to waive a big portion of their usual fee The only thing I kept was the to pick tracks and saving them in the tech folder. I see where in order to allow these small beautiful and very special vocal. I would strip it completely the direction is going and I can plan ahead, focus more on the clubs to exist. This is why I do that as an artist, because I and listen to the vocal over and moment and the crowd, and not panic in case I suddenly get appreciate what these smaller clubs or festivals are try- over again, until I forgot the an idea that might work better than what I have currently se- ing to create. original song altogether. That’s lected. It’s very important to me to interact with the crowd DJ Times: Did the idea of doing an album come dur- the moment you start paintduring my set. ing the pandemic? ing a new track around those DJ Times: How is your music organized? Solomun: The idea for an album, plus the greater vocals, maybe shift the measure, Solomun: I’m using a USB stick and recordbox. The concept of it, started much earlier than the pandemic. A drop some parts or chop them structure is pretty straightforward, three folders: warm-up, few years back in London I saw this graffiti which really up. Every now and then that still peak time, afterparty. I have a pretty good memory for track stuck with me: “Nobody is not loved” – no name or tag. I happens, but I leave myself some titles. Small note to producers who send demos: please thought if I make an album again, that should be the title. more wiggle room and try to always name your tracks correctly and include your artist Later, when I was deeper in the whole album process, the incorporate the original artist’s name in the file. If it’s titled “new demo” or something, I can’t meaning started to transform. Only music itself would elements if I feel they fit. Somefind it in my USB stick. The demo tracks are sorted by the dare make a statement like that. Music loves everyone, times I hear a track and I already weeks I downloaded them, same for new music. Then there no matter who you are, what like it a lot, then I just give it a are artist folders, folders for your own tracks, recent tracks you look like or what you bit of a dancefloor treatment and tweak a few things, so it that I have bought, folders for genres. No matter how orga- believe. The first track that would function better in a club. nized you are, it is impossible to find the perfect structure, got me thinking about making DJ Times: Do you feel like you have more freedom which is why you are forced to use your brain more, finding an album again was “Home.” with your singular edits than you have with your remixes? where that special track is that you just remembered. It’s like When I first made it I called The edits are, in a way, un-commissioned remixes. a maze, but that also makes it exciting. DJing is not AI. A bit the file “Album Track 1.” It Solomun: Sometimes there are tracks I really love, of chaos never hurt anybody and sometimes produces some feels timeless and represents but they are not traditional dancefloor tracks or they interesting results. a lot of what I like to listen to just don’t fit my set because maybe it lacks a break or a DJ Times: You’ve also been a club owner. How has your in a club. I was able to test it proper kick drum, but I want to play them so much that I experience as a DJ informed your approach to running a club? many times and at some point create my own edit of it. That is freedom, in a way, because Solomun: As a DJ, it’s never wrong to understand what I thought this could really be I could basically adapt any track into a dancefloor format. it means to be a promoter or club owner and all the hassle the beginning of something. It But oftentimes there are no stems or single parts of the that comes with it. Promoters are often under a lot of pres- was always important to me track available, so it’s much harder to, for example, isolate sure. You’re in a state of constant negotiation with agencies, to tell a story with an album, a vocal part, which then, in turn, is a limitation. It has its with staff, with drink companies. It’s tough, but it’s also very not just release 10 dancefloor pros and cons, but I really enjoy it. tracks. DJ Times: So much has changed since the release of DJ Times: This album has the feel of a DJ set. How was your first album. How was your attitude and approach “ The longer I play, your approach to making an album different to producing singles and doing remixes? Solomun: When I am producing a single or doing a redifferent to over a decade ago in comparison to your first album? Solomun: It was a completely different time back the bigger my chance mix, I am fully focused on the track itself. I’m thinking of all of its elements and how their arrangement will impact on when I was making the first album. I was in the studio every day. I toured much less, too. On this album, I collected the dancefloor, because the majority of these productions ideas over a much wider timespan, plus, I had a much to create something are aimed at that.With the album, I’m doing the same for the tracks, additionally trying to keep the whole record in more mixed exchange with other producer friends and the creative process had more entities than on the first extraordinary. ” mind during track production, as if the album was a single track and the individual tracks are its elements. It’s a similar process with a DJ set. album, where I worked everything out on my own. DJ Times: What is your studio set-up? Solomun: It’s pretty straightforward. Logic Pro is DJ Times: What is your signature approach to remixes, where the main part of the production takes place. Moni-

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.

DJ Times: What are the side an engineer or co-producer? key pieces of outboard or Solomun: I usually work on my own, but for this software/plug-ins that you album it had to be a little different. The working find yourself returning to process with a real band like Isolation Berlin is much again and again? more elaborate. For such a creative process, you

Solomun: I’m a big fan need someone who connects the people and holds of the Output plug-ins, but I it all together. One person, whom I have to give the also use the Komplete Bun- most credit to is Jakob Grunert. Jakob is a highly dle from Native Instruments. creative person whose opinion I value a lot. He has For the sound processing, I been very inspiring and supportive during the whole mainly use UAD plug-ins. I journey of the album. Jakob brought Moritz Frieduse Roland Juno-60 for warm rich aka Siriusmo on board to support me in this pads and fat bass… Prophet project. Moritz is one of the best electronic-music 5, polysynth and arpeggios producers I know whom I have admired for years. like I used on “Night Travel.” DJ Times: You have a wide range of collaboraAll in all, I am not a big tech- tors on the album. Did you create tracks with them nerd. I talk to my colleagues in mind? about stuff and I have experi- Solomun: I generally start making instrumenmented with some gear, but tals with someone specific in mind. There were to me, hardware is in the first some people I have dreamed about working with instance a craft, while creative for such a long time. For some tracks, there were processes are something else: general text ideas floating around, for others we a spark, momentum. Even had finished lyrics, and for a few we let the artists many of my geekier tech roam freely. Planningtorock is an example of that. friends or colleagues who “Tuk” was initially inspired by a Rosalía vibe and have collected much more aesthetic. We got in touch with her management, gear over time are going back but it didn’t work out because she was in the middle to smaller set-ups, which is of her album. Also, in a very short period of time much more effective. It’s nice she had gotten extremely famous and that didn’t to have a lot of stuff, but you fit very well anymore. I want tracks with crossover can also get lost in too much potential, but without very huge names from the equipment. This is why I try mainstream world drowning out the track. ÄTNA, to keep my studio set up as whom we were recording a different track with, minimalistic as possible and did a freestyle on the “Tuk” instrumental that blew focus on a few essentials. us away, so we chose to go in that direction. Jamie

DJ Times: Were there Foxx on “Ocean” is an exception as he is a worldparticular sounds and sound renowned actor first and foremost, not a singer. I 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 alongwould 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?

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

“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.

“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

“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

“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. “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

“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

“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

Maria Esteves

“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