DJ Times February 2018, Vol 31 No 2

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NOTABLES…MILESTONES NEWS Battle-Ready: Rane DJ’s latest.

Studio Monitors: JBL’s 3 Series Mk2.

KS112: QSC Audio’s new sub.

multi-beam unit.

Floyd Rose will debut its FR-52 3D wired headphones, available in black or grey. Gig Gear will show its three models of unique, protective Gig Gloves for gear-moving mobile DJs and musicians. PMC will debut its result6 active reference studio monitor. Stealth Sonics will launch its first range of precisiontuned, custom in-ear monitors. CEntrance will show its MixerFace R4 mobile recording interface.

Verity Audio will show its Suitcase Series of portable power amps, the Monster Tower club PA system, and the IWAC220P line-array speaker system.

VocoPro will show its SingTools-Pro, a professional 100-watt karaoke PA system. BandLab will launch its Looper music-creation tool. Synesthesia will show its Pipes compact sound module which sports up to 20,000 samples.

DJ Expo ’18 Set

Atlantic City, N.J. – DJ Expo 2018 will run Aug. 13-16 at Harrah’s Resort in Atlantic City’s Marina District. The annual trade show and conference, which DJ Times and Testa Communications have produced since 1990, will include exhibits and demo rooms, educational seminars/keynotes and sponsored evening events. For the latest on DJ Expo ’18, please visit www.thedjexpo.com.

FEBRUARY 2018

By Jim Tremayne Anaheim, Calif. – Once again, members of the international M.I. market – manufacturers, distributors and retailers—will travel to the Anaheim Convention Center for the Winter NAMM show this Jan. 25-28. According to organizers, more than 90,000 industry professionals are expected to attend, and the annual exhibition/trade show will see hundreds of product and technology debuts. Of course, the DJ segment of the market—playback, studio, PA, lighting and accessories—will see its share as well.

Testa Communications—publisher of DJ Times—will be there with a dedicated exhibition booth. It will also produce Convention TV @ NAMM, which will provide on-the-spot show coverage.

Onto the Exhibit Floor: Pioneer DJ will showcase the DJS-1000 standalone sampler, the HDJ-X10 professional DJ headphones and the DM-40BT monitor speakers. Related company Pioneer Pro Audio will feature three speaker systems – XY-3B, XPRS Series and the XY Series.

From inMusic’s stable of brands, Rane DJ will show the SEVENTY-TWO 2-channel mixer for club/scratch DJs with color touchscreen, a pair of USB connections and two internal FLEX FX engines and stacked Serato effects.

Rane will also show its TWELVE DJ control system, which allows DJs to scratch and play like a turntablist, while maintaining digital durability. Roland will show its range of DJ controllers, including the DJ-808 and the newer DJ505 and DJ-202 units.

QSC Audio will debut a new entry to its KS Subwoofer Series, the KS112, an ultra-compact, active, 12-inch sub. Bose Professional will debut the portable S1 pro multi-position PA system, which can work for a variety of applications – monitor, practice amp and music system.

Electro-Voice will show its EVOLVE 50 portable, powered, column speaker series. From HARMAN Professional Solutions, JBL will unveil the 3 Series MkII powered studio monitors. They include three models – 305P MkII (5-inch woofer), 306P MkII (6.5-inch woofer) and the 308P MKII (8-inch woofer) units.

Peavey Electronics will introduce the Versarray Pro line-array loudspeaker system, which includes the company’s FlyQWIK hardware. D.A.S. Audio will show its Vantec-20A active curved-source line array system, which includes DAScontrol DSP LCD interface and DASlink mobile app control.

Yamaha will debut a pair of portable subwoofers (the DXS12mkII and DXS15mkII), plus two new portable PA, integrated systems (STAGEPAS 400BT and 600BT systems). Related company Steinberg will show Cubase 9.5 music production system, WaveLab 9.5 editing and mastering workstation, and Cubasis 2.3 update for the iOS sequencer app.

Among several new products, Korg will debut three for DJs and studio applications. They include the Konnect portable PA system, the Prologue multi-engine analog synth and the ARP ODYSSEY FS limited-edition synth.

G e r m a n L i g h t i n g P ro d u c t s will show its JDC1 Hybrid Strobe, the Force 120 fan effect fixture, and the Snap flexible cable-management tool. ADJ Lighting will show its Vizi CMY300, an LED hybrid moving head fixture.

Chauvet DJ will debut the Freedom H1 LED wash light, the GigBAR Flex system and the Wash FX2 multipurpose unit. The company will also introduce three effect lights – the Line Dancer LED fixture, Duo Moon moonflower/strobe unit and the Mushroom

Wash Light: Chauvet DJ’s Freedom H1.

DJ TIMES

WINTER NAMM ’18: DJ-GEAR DEBUTS ABOUND

3

VOLUME 31 NUMBER 2

12 Shell Game

With His Signature Sound Still Splashing Bass-Music Fans, Snails Looks to Top a Monstrous 2017

BY BRIAN BONAVOGLIA

16 Gearing Up

What’s the One Piece of Gear You Couldn’t Live Without?

We Asked… and Mobile DJs Answered

BY JEFF STILES

DJ TIMES

FEBRUARY 2018

18 Happy New Year!

4

A Look at DJs Ringing in 2018 at Big Gatherings Nationwide

BY DJ TIMES PHOTOGRAPHERS

20 Too Much, Too Soon?

After Going Viral Via Music & Memes, Multi-Genre Talent Getter Looks for a Break in the Action

BY BRIAN BONAVOGLIA

DEPARTMENTS 7 Feedback

As Always, the Answers to All Your DJ-Related Questions

24 Mainstage*DEBUT*

New-Technology Showcase

26 Making Tracks

Native Instruments Keyboards

28 Sounding Off

Roland DJ-202 & DJ-505 Controllers

30 Mobile Profile

Teacher Uses DJ Biz as Case Study

32 Business Line

Keys to Being a “Difference Maker”

34 Gear

New Products from ADJ, Pioneer DJ & More

38 Grooves

Phat Tracks from Wankelmut, Eli Escobar & More

41 Club Play Chart

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

SAMPLINGS 8 Nicole Moudaber

New Heights in Techno

10 In the Studio With…

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FEBRUARY 2018

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DJ TIMES

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FROM THE EDITOR

Bass Blasters & More Here at DJ Times, we’re always doing our best to expose the hit-making DJ/producers who bring new sounds to the club and festival scenes. This month, we have a relatively odd one, a practitioner of a unique bass-blasting sound that sports a fairly memorable name. But trust us… it’s legit.

Meet Frédérik Durand, the 29-year-old DJ/producer from Montreal better known as Snails. To America’s festival youth, he’s best recognized as the bass maestro responsible for “vomitstep,” a slippery sub-genre of the U.S. dubstep scene that gets the kids raging. Durand’s signature sound of low-end gurgles, marauding kick drums and synths tweaked to manic proportions can turn a festival tent or large club venue like New York’s Terminal 5 into a frenzy. In fact, our Brian Bonavoglia was there at T5 for all the mayhem, and he caught up with Snails to discuss his big 2017.

This issue also finds Brian connecting with another bass-music biggie – Getter. The Cali-based DJ/producer/comic (aka Tanner Petulla) rose up the ladder relatively quickly releasing big tracks, playing clubs and festivals, but now it appears that he wants to cool his jets – we’ll let him tell you why. We also check in with three New Year’s weekend festivals from way out west – SnowGlobe in South Lake Tahoe, Calif., Decadence in Chandler, Ariz., and Lights All Night in Dallas, Texas – and we bring you exciting DJ images from each.

In Samplings, our longtime L.A. scribe Lily Moayeri gets with Nicole Moudaber to discuss the techno diva’s latest milestones in and out of the studio. And in the other department entry, Long Island-based writer Michelle Fetky interviews U.K. drum-n-bass DJ/producer Kove, who details his splendid “In from the Cold” EP. In our gear-review departments, Denver’s Wesley Bryant-King handles both columns this month. In Making Tracks, he checks out Native Instruments’ Mk2 versions of the Komplete Kontrol S-Series smart keyboards. In the Sounding Off pro-audio entry, he tests out Roland’s latest controller entries – the DJ-505 and DJ-202. Also, in this issue, we introduce a new advertorial department, Mainstage, which will give readers a quick look at some new DJ-related technologies.

From the mobile-entertainer world, our Iowa-based writer Jeff Stiles asks DJs, “What’s the gear that you just can’t live without, technology that essentially changed your life?” Mobiles weigh in with their testimonies. In Mobile Profile, we meet Mark Eisert, a high-school teacher from Erie, Pa., who teaches business classes and holds up his entertainment company, Millennium Sound, as a case study for his students. In Business Line, we connect with New Jersey mobile Mike Wieder, who offers useful mobile-DJ tips from his new book, “Be the Difference Maker.”

As always in this issue, we give DJ/readers a quick rundown on new industry-related products at the Winter NAMM show. Set for Jan. 25-28 at the Anaheim Convention Center, NAMM will debut a slew of new technologies that’ll impact the audio, lighting, playback and accessories sectors of our market.

And let’s not forget: DJ Expo dates and venue have been announced. This year’s show – produced by DJ Times and its publisher Testa Communications – will happen Aug. 13-16 at Harrah’s Resort Atlantic City. We hope to see you there!

editor-in-chief Jim Tremayne jtremayne@testa.com editor-at-large Brian O’Connor boconnor@testa.com assistant editor Brian Bonavoglia bbonavoglia@testa.com chart coordinator Dan Miller dmiller@testa.com contributors Kat Bein Wesley Bryant-King Chris Caruso Shawn Christopher Matt Clark Paul Dailey Reed Dailey Chris Davis DJ Deets Tony Fernandez Tommy D Funk Michelle Fetky Mike Gwertzman Jennifer Harmon Josh Harris Greg Hollmann Mike Klasco Michelle Loeb Lily Moayeri John Ochoa Jeff Stiles Bruce Tantum Phil Turnipseed Curtis Zack President/Publisher Vincent P. Testa FOR CUSTOMER SERVICE AND TO ORDER SUBSCRIPTIONS, CALL 800-937-7678 VISIT OUR WEBSITE www.djtimes.com

DJ TIMES

FEBRUARY 2018

Cheers,

6

Jim Tremayne Editor, DJ Times

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

director of integrated advertising Paul Bozikis pbozikis@testa.com art director Janice Pupelis jpupelis@testa.com production manager Steve Thorakos sthorakos@testa.com digital art director Fred Gumm fgumm@testa.com social media coordinator Matt Van Dyke mvandyke@testa.com marketplace advertising sales manager Ricky Pimentel rpimentel@testa.com art/production assistant Ricky Pimentel rpimentel@testa.com Circulation circulation@testa.com Classifieds classifiedsales@testa.com operations manager Robin Hazan rhazan@testa.com Editorial and Sales Office: DJ Times, 25 Willowdale Avenue, Port Washington, New York, USA 11050-3779. (516) 767-2500 • FAX (Editorial): (516) 944-8372 • FAX (Sales/all other business): (516) 767-9335 • DJTIMES@TESTA. COM Editorial contributions should be addressed to The Editor, DJ Times, 25 Willowdale Avenue, Port Washington, NY, USA, 110503779. Unsolicited manuscripts will be treated with care an d should be accompanied by return postage.

DJ Times (ISSN 1045-9693) (USPS 0004-153) is published monthly for $19.40 (US), $39.99 (Canada), and $59.99 (all other countries), by DJ Publishing, Inc., 25 Willowdale Ave., Port Washington, NY 110503779. Periodicals postage paid at Port Washington, NY, and additional mailing offices. POSTMASTER: Send address changes to DJ Times, PO BOX 1767, LOWELL MA 01853-1767 Design and contents are copyright © 2018 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 February 2018

visit our website: www.djtimes.com

FEEDBACK Studio Collaboration DAW Pros & Cons

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Groove Is in the Heart

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

DJ Expo ’18 Set for Harrah’s Resort Atlantic City, N.J. – You spoke, and we listened – DJ Expo is moving to AC’s Marina District this summer.

The 2018 DJ Expo will run August 13-16 at Harrah’s Resort Atlantic City.

As always, DJ Expo – produced by DJ Times magazine and its publisher, Testa Communications – will present DJ-related exhibitions, educational seminars/personality-driven keynotes, and lively, sponsored evening events.

And for the ’18 show, expect a few fresh, new twists.

After tabulating the results of a postExpo ’17 survey, it was determined that DJ Expo’s exhibitors and attend‑ ees would welcome a move to Atlantic City’s spiffy Marina District, and all the advantages it affords. With its ultramodern exhibition hall, meeting rooms and entertainment facilities, Harrah’s Resort Atlantic City will offer the most for your Expo dollar.

From first-class services to fine din‑ ing, ample recreation and top-notch leisure venues, Harrah’s Resort has it all. Also, it’s home to The Pool – a year-round tropical entertainment complex perfect for unique DJ Expo events. Look for announcements on Expo evening entertainment.

In previous years, DJ Expo attendees have enjoyed performances and ap‑ pearances from a variety of top DJs

and artists. They include Lady Gaga, Lil Jon, Laidback Luke, Paul van Dyk, Jazzy Jeff, Grandmaster Flash, Markus Schulz, Biz Markie, Enferno, Salt N Pepa, QBert, Shortkut, Morgan Page, Cash Cash, RedOne, Cyndi Lauper, and more.

Now in its 29th year, DJ Expo remains America’s largest gathering of profes‑ sional DJs. Its seminars offer solutions to the biggest issues in an everchanging industry, be they mobile-,

club- or studio-related. The DJ Expo showfloor and demo rooms debut and showcase the products that impact DJs of all stripes. Sponsored DJ Expo events give attendees and exhibitors special networking and branding opportunities, plus they deliver memorable musical experi‑ ences featuring trend-setting DJs and hitmaking artists.

Each year, more than 5,000 profes‑ sional DJs – club and mobile, veteran

and upstart – participate at DJ Expo.

A schedule that includes nearly 30 seminars, panels, workshops and keynote sessions will fill the show’s four days. Also, more than 100 manu‑ facturers, distributors and retailers fill the Expo exhibit hall with their wares – audio, lighting, playback, video, accessories and more. As always, DJ Expo is the place to be.

For the very latest updates on DJ Expo 2018, please visit www.thedjexpo.com.

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SAMPLINGS

NICOLE MOUDABER: NEW HEIGHTS

DJ TIMES

FEBRUARY 2018

Nicole Moudaber: Her MOOD label hits 50 releases.

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Wherever Nicole Moudaber is, she changes the atmosphere, quite literally overtaking the mood.

So, it is apt that “mood” is the catchword upon which her brand is based. The polymath DJ/producer/label owner/event presenter is a global entity, coming from African birth, Middle Eastern parents, and a U.K. base. Her distinctive dark, emotive and deep techno style puts the focus on the vibe she’s creating with her bottomless selections.

This is best experienced at her own MoodZONE and MoodRAW parties, the former at festival stages and established club nights, the latter at bare-bones spots, such as untamed warehouses. For an even more farreaching side of Moudaber, there is her weekly “In The MOOD” radio show.

Five years ago, Moudaber started her own MOOD imprint. This is after establishing herself as a producer, boasting tracks and EPs on many labels, including Carl Cox’s Intec and Adam Beyer’s Drumcode, where her 2013 artist album, Believe, was released.

Fifty MOOD releases down the line, Moudaber commemorates the occasion with MOOD50: The Best of MOOD, Mixed & Compiled by Nicole Moudaber. A strong representation of MOOD, the 17 tracks on MOOD50 shift like a kaleidoscope, subtle yet vivid. Highlights include Moudaber’s own intense and hypnotic numbers: “Her Dub Material,” “Organic Love” and “Love Someone Else.” Plus, there’s Moudaber’s perennial favorite with Carl Cox, “See You Next Tuesday,” which gets a fresh remix, as well as flawless selections from Joel Mull (the robust “Terraplane”) and Sly Faux (the spooky “Incandescence”).

Much like Moudaber’s DJ sets, MOOD50 is put together using Ableton Live software. “I’m really happy with my set-up,” she says. “I use Ableton Push2 [controller] and the [PLAYdifferently] Model 1 mixer. I’ve got an amazing Antelope Orion 32+ soundcard. I have Native Instruments Xone K2 and Traktor controllers.

The knowledge and practice on that (continued onpage 42)

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KOVE: IN FROM THE COLD

DJ TIMES

FEBRUARY 2018

After a string of singles and remixes that caught the collective ear of Britain’s drum-n-bass community, plus a bona fide radio hit – 2014’s “Way We Are” (featuring Melissa Steel) – Kove decided to cool it for a while.

In February 2017, the U.K.-based electronic producer took a step back from performing, focusing more on sharpening his studio artistry and giving more attention to his health and personal relationships. The personal time paid off because he returned later in the year with the splendid “In From the Cold” EP. Featuring frenetic, yet hypnotic single “Ain’t No Love,” the four-song release delivers heavily textured, but raw sounds, covering the vast expanses of d-n-b’s ever-sprawling aural landscape.

We recently caught up with the U.K.-based Kove – aka 27-year-old James Rockhill – who explained his artistic upbringing and his approach to music.

DJ Times: How did you start DJing?

Kove: I grew to be a DJ through necessity rather than a hobby or anything like that. It’s a given these days that, generally, if you’re a producer you’re going to end up a DJ. I borrowed a pair of belt-drive decks and a collection of old drum-nbass on vinyl and begun that long journey of learning how to mix. I got fairly good on vinyl, which then made the inevitable transition onto CDJs far easier.

DJ Times: Any musical background?

Kove: As soon as I was big enough to hold one, I had a guitar in my lap. From there, I had a fairly regimented classical education and then moved onto university to study electronic music. However, the course was so archaic…. it wasn’t long after that I wasn’t showing up and had to leave!

DJ Times: What attracted you to drum-nbass?

Kove: The energy hooks you. I didn't know much about it before I moved to London and started hitting the clubs. I went to a RAM Night at Fabric nightclub, and once you hear d-n-b in a club setting, it all makes sense.

DJ Times: Which producers influenced you?

Kove: I began getting into d-n-b around ’08 and just around that time acts like Sub Focus and Chase & Status were releasing their first albums, so I ended up being influenced a lot by their style of music.

They killed it on the dancefloor, but always had a catchy melodic edge to them, which is something I like to think I achieve with my tunes. I’ve found the older I get the further back I go in what influences me. For instance, now I’m finding myself listening to a lot of stuff like Ram Trilogy and Moving Fusion, and dipping further into the Virus Recordings catalog. I love the raw simplicity of that late-’90s era.

DJ Times: The EP’s lead single is “Ain’t No Love” – tell us about that tune.

Kove: It had a bit of a strange beginning. I was recording some voiceovers for a comedian friend of mine. As we were wrapping up, he started ad-libbing vocal lines, totally unprompted. I got him to record the phrase he had just sung – one take later and we had the whole vocal for the tune. From there, it was a case of working out where on earth it should go. I added the Mellotron string line and left it at that for a while. I also had a separate, old-school-flavored tune I

10

Back in the Saddle: Kove aka James Rockhill.

had been working on that just happened to be in the same key, so I stuck them together and the tune was born. I’m really happy how it switches up on the drop into something dark and dirty, as the intro is so cinematic.

DJ Times: What’s in your studio?

Kove: I’m nearly entirely in the box at the moment. I’ve been a longtime Logic user, nearly 11 years now, so I know it like the back of my hand. I’ve tried my hand at other DAWs, but I can’t seem to wrap my head around them. Synths-wise, the majority of my sound comes from MASSIVE and MONARK from Native Instruments and [Spectrasonics] Omnisphere.

I’ve recently started exploring Alchemy [in Logic] a lot more.

It's such a powerful synth despite the majority of the presets being garbage. I do have an old tape delay from the ’60s rigged up, it’s a lovely bit of kit, but the fuses blow constantly, so I tend to just end up using the plug-in equivalent.

DJ Times: And DJ gear?

Kove: Pioneer DJ’s CDJ2000nexus player and a DJM900nexus mixer. I'm a big fan of the sync functionality. If I can, I like to use at least three decks, so I can get creative when I’m playing.

DJ Times: Favorite thing about performing?

Kove: The most rewarding part is that connection you get with the people on the floor.

It’s a great feeling to know that you’re the reason someone is losing their shit – ha-ha!

– Michelle Fetky

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Shell Game

With His Signature Sound Still Splashing Bass-Music Fans, Snails Looks to Top a Monstrous 2017

By Brian Bonavoglia New York City – In the current landscape of electronic music, many believe that, when it comes to creating new sounds, bass-leaning producers have settled for blending in rather than standing out.

But that has never been the case for the Montreal-based DJ/producer Frédérik Durand, known to the festival masses as Snails.

Emerging in 2012 with his debut release, “Bubble Gun,” a buzzy and bewildering collaboration with Apashe on Canadian label Kannibalen Records, Snails sent immediate ripples throughout the bass community and brought a serious buzz in its blogosphere. No one had heard anything quite like it. His forward-thinking brand of bass music would later evolve into its very own genre, a strain of dubstep endearingly coined “vomitstep.”

Fueled by gut-wrenching bass gurgles and pulverizing 808 kicks, Snails’ releases would soon garner support from genre elites like Datsik, Flux Pavilion, Kill The Noise, and Skrillex. Eventually, Snails would begin releasing music on OWSLA, Skrillex’s famous imprint.

Building an impeccable discography which included smashing solo singles, 2014’s “SLUGZ” and 2015’s “Frogbass,” Durand also dropped some big collaborations. For a variety of tracks on various labels, he’s joined forces with the likes of Herobust (2014 party-starter “Pump This”), Botnek (several, including 2017 thumper “Waffle House”), Protohype (2016’s robotic “Take It Off”), and Pegboard Nerds (2016’s oddly melodic “Deep in the Night”).

Plus, there’s the festival anthem, “Cannonball,” from 2016 with U.K. bass legend Flux Pavilion.

Durand’s eccentric sound design would continue to cultivate his fanatical fanbase – charmingly known as the “vomitsquad.” And this growing group of bass lovers would witness the Canadian producer swiftly become a festival mainstay, making appearances at Electric Daisy Carnival in glitzy Las Vegas, Ultra Music Festival in downtown Miami, and Electric Forest in rural Michigan.

After receiving immense success practically out of the gate, Durand's career reached a whole new level in 2017. This past year, Snails unleashed his mind-numbing debut album, The Shell (SLUGZ Music), and followed up with a successful North American tour. Additionally, he kicked it off this past October by throwing his own frenzied festival, Sluggtopia, at Denver’s famed Red Rocks Amphitheatre.

At Sluggtopia, his largest headlining show to date, Snails unveiled an impressive custom stage design, plus a new light show, powerful sound and arresting visuals. He also unleashed Gary, his blow-up mascot snail, on the

willing, excitable crowd.

During the 2017 holiday season, Durand would make his way to New York City's revered venue Terminal 5, where DJ Times had the opportunity witness further bass mayhem.

We also took the 29-year-old Frédérik Durand aside for a chat to discuss Snails’ monumental 2017. It all went like this: DJ Times: After playing some of the biggest venues and festivals across the globe, how did it feel to put together a show like Sluggtopia at Red Rocks?

Frédérik Durand: Sluggtopia was unlike anything I’ve experienced before. Like you said, I’ve been lucky to play some insane shows and festivals in a lot of interesting, cool places, but Sluggtopia at Red Rocks was just such a unique personal experience. Putting it all together with my friends and family was surreal and seeing all the fans come out and have the time that they did meant a lot to me. Best party ever!

And Gary [the mascot snail] was introduced to the world, which was so awesome.

DJ Times: How did the monstrous custom Snails stage design come together?

Durand: We knew from the start that we wanted to do something unique that no one has ever done before, and a giant snail was the obvious thing to do – ha-ha! Gary

DJ TIMES

FEBRUARY 2018

is the centerpiece to the whole production. My show is more than just the stage – lights, animations, etc. – but Gary really is what takes it to the next level. Designing it took awhile with my managers and the engineers, but we finally settled on a great design.

DJ Times: Is there a story behind that?

Durand: The idea to have Gary be inflatable came to us because we wanted something that had some movement, but wasn’t like the typical go-to, like just doing pyro, C02, etc. When the bass is slamming through the sound system, Gary starts to headbang with the crowd!

That’s what really made it the perfect stage design and I’m glad we settled on what we did.

DJ Times: You've have had one of the most active tour schedules amongst DJs throughout the electronic scene. Do nerves ever play a factor when you step behind the CDJs? Durand: I always get anxious before I go on. Sometimes it gets closer to feeling nervous, but it’s also a feeling of excitement, too. I always want to give fans the best show possible, no matter where I’m at, so before… that’s what I’m thinking about. After I start, and I see everyone going wild, the anxiousness goes away, and I get in the zone.

DJ Times: Are you more of a festival guy or do you prefer playing for the club crowds?

Durand: I love both. They offer a different experience in my opinion.

Festival shows are bigger and it’s nice to see so many people going crazy to “vomitstep.” In clubs, it’s nice to settle in and be more intimate and closer with the crowd. We still can party hard, like at a festival, in a club setting, though. Since I’m from a rave/warehouse background, I always love to do those kinds of shows and sometimes they beat the intensity of big festivals.

DJ Times: It seems like you're always on the road. How do you like to spend your days off or your time back at home?

Durand: When I’m home, I like to get together with friends and family in Montreal or play some video games when I have enough time.

Working on music is always nice when I’m home, too, because I’m in my space. Of course, I work on things on the road, but being settled in my home studio is the best. At home, though, I try to keep it chill; relax as much as I can so I’m ready to get back on the road when needed to give the best shows possible!

DJ Times: When it comes to production, where do you find inspiration?

Durand: I get inspiration from all over, whether it’s movies, games, or experiences I have. A lot of my friends are producers who are doing crazy things, too, so that motivates me to work even harder and take my productions to the next level each time I open my DAW. I al-

14

ways try to reproduce the weirdest sounds ever, so if I’m able to do that, well, then my goal is achieved.

DJ Times: Speaking of producing, what gear and programs do you use?

Durand: I mainly use [Propellerhead] Reason, which is not something you hear a lot from producers.

I love Reason because it’s so different and it’s a bit more in-your-face technical than the others. I think because Reason is different, it helps me to continue to be distinct with my sound. I also work with Ableton Live, so mixing the two lets me use the best tools of both.

DJ Times: You seem to collaborate with artists more often than

not. Why do you choose to go that route as a producer?

Durand: Working with people is motivating to me and I like to bring someone else’s style in and mix it with “vomitstep.” For me, creating in itself is fun, but I really just love working and creating new music with my friends. It also gives me more experience because I get to see how they work and I can learn more about production from them and we can share ideas.

DJ Times: There are many innovators in the world of electronic music, but “vomitstep” is simply in a league of its own, as signature sounds go. Why do you think your

SNAILS: TOP 3 TRACKS

“King Is Back” feat. Big Ali, Kannibalen Records, 2015: The moment "vomitstep" was born. If you're looking for a prime example of the Canadian producer's signature sound, here it is – a high-octane, bass behemoth, driven by Snails’ discernible, grimy, synth work.

“FUK UR MGMT” by Kill The Noise (Snails Remix), OWSLA, 2016: An immediate favorite among festival-circuit DJs and fans, this bouncy rework swiftly gets covered in filth thanks to Snails’ abrasive touch. Better than the original? That's for you to decide.

“Only Want U” with NGHTMRE feat.

Akylla, SLUGZ Music, 2017: One of the most anticipated collabs of the year, courtesy of two of the hottest names in the game. With each bringing their unique sound design to the table, their brainchild is a devastating trip through the darkest realm of bass music.

– B.B.

style has become a staple throughout the bass scene?

Durand: I think people are attracted to it because it’s so distinct and weird. When you first hear it, it’s not something that you’ve really heard before and people respect that. It was hard for me to take that first step with it because I was unsure if people would enjoy something different. I’m glad I did because the reception over the years has grown and I’m humbled to be someone that people look up to.

DJ Times: How would you describe “vomitstep” to someone who has never heard it before?

Durand: Slimy, gut-wrenching bass! Something organic and less robotic-sounding.

DJ Times: Who or what introduced you to the world of bass music?

Durand: I’ve always been interested in harder styles of music. I came from loving metal, so the jump to bass music wasn’t that difficult for me. Electronic music was something I was into, too, but it wasn’t really until guys like Skrillex, 12th Planet, Excision, Datsik and Flux Pavilion came along that I knew this was what I wanted to do.

DJ Times: What is it that made you fall in love with the genre?

Durand: Bass music is just so intense and fun. It makes for a great party and people can rage to it easily because it just has so much energy!

Like I said, dubstep and bass touch my roots in metal.

DJ Times: Some of the biggest names in bass music are Canadian like yourself – why do you think that is?

Durand: Canada, especially Mon-

treal, is a big hub for being creative.

They really push art in general here, especially music. Electronic music has always had its space there, but over the years, bass has really taken hold and incredible producers have come up. I’m not sure why it’s specific to Canada, I think there was just a lot of us motivating each other to take it to the next level to honor some of the Canadian bass acts we were looking up to.

DJ Times: How would you say your sound has evolved since the release of “Shawty” four years ago?

Durand: “Vomitstep” has definitely grown since “Shawty,” and I’ve refined it over the years. “Shawty” was a bit deeper than what I do now which usually focuses more on bringing a lot of energy and groove.

I’d have to say “vomitstep” has become a bit heavier since then, too – ha-ha. Metal is slowly infusing itself into bass music and I’m moving more in that direction myself.

DJ Times: You've released plenty of tracks over the years, but The Shell was your debut album.What was the process like putting a 12-track album together?

Durand: Putting together an album is a totally different process than making singles or an EP. For an album, you really have to try and tell a story and make sure all the tracks connect well with each other. With an EP, you can do the same, but it’s on a much smaller scale and you can get away with just slapping two to four records together that aren’t really cohesive. The Shell took a lot of time, but it was worth it. I think the main thing for me was keeping the concept in mind, while I was working on tracks and making sure to keep

with the vision I had from the start in building out my Snails universe.

DJ Times: What would you say is your favorite track of the album?

Durand: That’s too tough – ha-ha. That’s like picking a favorite child! Each song has a special meaning to me and was included for specific purposes.

Collaborating with everyone was special for different reasons, so I don’t think I could pick a single one. For me, this album was more about my own journey and giving people an immersive experience all in one project. We had to release some singles beforehand and that was hard because The Shell really is about the whole, rather than its individual parts.

DJ Times: OK, gun to your head… gotta pick one!

Durand: If it was life or death and I absolutely had to pick one, I’d have to choose “The Anthem” because I dedicate that one to all of my fans. We all chant together to that one.

DJ Times: After the release of your debut album, Sluggtopia at Red Rocks and The Shell global tour, what can Snails fans expect from you in 2018?

Durand: In 2018, we’re going to try and continue to build upon what we did in 2017. We’re going to go bigger and expand the Snails universe. I think 2017 was the launching point for what I really want to do. All I can say is more music and more special show experiences. You’ll just have to wait and see for 2018! n

GEARING UP What’s the One Piece of Gear You Couldn’t Live Without? We Asked… and Mobile DJs Answered

DJ TIMES

FEBRUARY 2018

BY JEFF STILES

16

Just this year, DJ Mark Haggerty upgraded to only playing digital music.

“I just retired my Pioneer CDJ-1000s, basically because I grew tired of lugging around all those CDs,” says Haggerty, director of operations for San Francisco-based Denon & Doyle Entertainment. “Fortunately, there was only a small learning curve.

“I had been very comfortable with my 1000s and was very good at mixing, but with my switch to the Pioneer DDJ–SX2 [controller] I feel I'm now able to do the same mixes as before. Because, at least here in the Bay Area, people do notice how you blend/mix your music.”

What's the one piece of gear mobile DJs can't live without? The one piece that forever—or at least for now—changed our business for the better?

We asked that question of DJs throughout the country, along with inquiring what gear was replaced when their new equipment came along.

After often experiencing cell-phone interference with his cordless microphones, DJ Mick Uranko in Pottsville, Pa., says he now uses an RF Venue Diversity Fin Antenna that he couldn't imagine living without.

“Early in 2017,” recalls Uranko, “I was noticing that my wireless microphone system would work great during soundcheck, but when people were in the room – and even after scanning for a new frequency – it was not working to its full potential.

“I researched the problem and was helped by Ben Stowe from NLFX Pro. He explained to me that the reason I was having problems was cell-phone interference.

The D-Fin Antenna System allows mobile users to overpower the interference created by their guests.

“This concept works both indoors and outdoors. The system's not that big and is extremely portable. As many of your readers know, the range of frequencies that we can operate wireless microphones on is decreasing. Adding a D-Fin system to your setup will ensure that you never have a problem with dropouts at your wedding gigs.

“If you chose not to, you're really rolling the dice, because you never know whose cell-phone provider is interfering with your signal.”

One of many mobiles with a love affair for his microphone is Mike Walter of Elite Entertainment in Tinton

“I recommend making the purchase of a high-quality DSLR camera, a low-light lens, and a slider. For me, this has changed my career and business forever.”

on time.

“And I’m out of each venue faster,” he adds. “It's absolutely a clutch piece of equipment.”

Over in Harrisburg, Pa., Jason Klock says the piece of gear that's changed his business forever is his camera.

“Recording and capturing all of the highlight moments during events and throughout my career has changed how my future is paved,” Klock explains. “The one real way to express the energy is to capture it and show it – unless, of course, you invite everyone you know to every one of your events.

“I recommend making the purchase of a high-quality DSLR camera, a low-light lens, and a slider. For me, this has changed my career and business forever.”

DJ Mike Melice up in Ithaca, N.Y., describes himself as a gear junkie.The one piece of equipment he could not do his job without? His laptop and his Pioneer DJM-S9 mixer.

“My laptop contains all my music, programs and videos,” Melice says. “And my DJM-S9, even though I can still play on vinyl and CDs, has changed the industry for the better, due to the fact we no longer have to worry about damaged discs or having a limited amount of music.

“Another piece of gear that's changed my business forever is probably SoundSwitch, which I only recently started using,” he adds, referring to Chauvet DJ’s digital lighting workstation and USB hardware interface for connecting DJ software and DMX lighting. “Now I can offer custom dramatic introductions, custom choreographed dances and such.

Before it came along, I was using [Chauvet DJ’s] ShowXpress. Combining SoundSwitch with the Donner

Wireless DMX has been one of the best moves I've made in years.”

Although he claims he could probably write an entire article himself dedicated to gear in the DJ industry, Seattle’s Adam Tiegs says he could absolutely not live without his new Denon DJ Prime setup—SC5000 media players and X1800 mixer.

Yet the tool that has saved Tiegs the most, and that he suggests every mobile DJ own, is a balanced line isolator and hum eliminator called the Ice Cube from Radial Engineering.

“So many times I'll plug my gear into power at a new venue, and sometimes have to put speakers on different circuits and ground loops come into play,” he says. “Lifting the ground on the line with noise is simple with this $60 piece of gear.

“Get one of each of these and eliminate hum and ground loop noise whenever present. This thing even helps eliminate a video ground loop – lines on screen – when used in conjunction with multiple projectors displaying the video with the audio playing from the laptop. It's so important to have tools like this to keep us sounding and looking professional.”

While some of us say a computer or hard drive is imperative for a DJ, K.C. KoKoruz of Chicago's Keith Christopher Entertainment Group says the most important item for him is his Customer Service Management (CRM) tool.

“Currently, I use DJ Event Planner; however, I created my own CRM back in 1993 and it's changed my business forever,” says KoKoruz “I used an ancient database program called Lotus Approach. It allows me to not only organize my events, but to also organize all of my leads. And I even have a sub-database for all my schools, my corporate gigs and my

industry contacts, as well as from all of my bridal leads.”

Using his CRM, this DJ can sort all his bridal leads by date, zip code, etc. It also allows him to proactively market his company to brides.

“I was also able to track all of the competitors that I had lost business to, which allowed me to truly organize my business,” he says.

While he firmly believes in selling talent over gear, certified wedding planner and DJ Mark Brenneisen says there are three items that he couldn't do without—due to them having the greatest impact on referrals.

The first two include a confetti cannon, which he says he uses at 99-percent of his events, and a bubble machine – but the third is his camera.

“About four or five years ago at the DJ Expo,” he recalls, “Mike Walter presented a seminar and mentioned having a decent camera to get better marketing shots. I bought a used 35mm from a local photo-booth operator and we began getting better pics.

“Then, one day my tech had it at a wedding and realized it also shoots video. We started shooting video, and now it's an entire new brand of our company, www.adirondackinstantmemories.com. Here's a semi-pro, ‘instant’ service where we turn out pics at the event and display them on a flat screen, or make same-day video edits.”

Meanwhile, what's the item that Scott Faver, owner of The Party Favers in Hemet, Calif., couldn't do business without, one that has changed his business forever?

“Me,” he says. “Because I continue to upgrade me with continuing education — sales, dance, speech, diction, improv and the like.”

As they say… simple, but effective. n

DJ TIMES

Falls, N.J. “My precious cordless microphone is what separates me from any other DJs, with my voice and MCing ability,” says Walter. “I love my Shure SM58 for its incredible sound quality, and the BLX24R wireless system gives me the confidence to work the room without fear of dropout.”

At the end of any event, his original Rock N Roller multi-cart is something Blake Eckelbarger (aka DJ Sticky Boots) couldn't live without.

“My dad bought it back in probably 1999 or 2000, so it’s one of the original red/gray powder-coated units with the big pneumatic wheels,” says Sticky Boots, who operates out of South Bend, Ind. “Over the years, I’ve replaced the front caster wheels on it once and put new tubes in the tires, but that thing is unstoppable. No matter whether the load-in is over gravel, snow, grass, or concrete, that cart makes life so much easier.”

As his business has grown over the past couple of decades, Eckelbarger has progressed to using more and more rolling road cases—with gear ranging from CDJs to studio monitors. But, he says his Rock N Roller still helps him get every gig set up

FEBRUARY 2018

— Jason Klock, Harrisburg, Pa.

17

Mesmerizing: Lights All Night lasers.

aLIVE Coverage

Jump: Fly boy at SnowGlobe.

Brian Walker

HAPPY NEW

A LOOK AT DJS RINGING IN 2018 AT BIG GATHERINGS WAY OUT WEST DJ TIMES PHOTOGRAPHERS This past New Year’s weekend, top jocks from all genres celebrated the incoming 2018 in a big way. Three unique Western festivals drew the masses and the DJs helped out with the year-end countdown and carried fans into the night – and the new year.

In Dallas, Texas, we had Lights All Night; in Chandler, Ariz., it was Decadence; and South Lake Tahoe, Calif., bundled up fans enjoyed SnowGlobe Music Festival. It all looked like this:

ASOT: Armin van Buuren in Arizona.

Outdoor Set: LP Giobbi at SnowGlobe.

Awake: Illenium at Lights All Night.

Tony Cottrell

Brian Walker

aLIVE Coverage

Ka-Boom: Countdown at SnowGlobe.

Brian Walker

YEAR! Decadence Duo: Happiness in Arizona.

Hair-Raising: Seven Lions in Dallas.

aLIVE Coverage

Hello There: Dillon Francis at SnowGlobe.

Brian Walker

Stay the Night: Zedd in Arizona.

Tony Cottrell

Crank It Up: Oliver Heldens at Decadence.

Tony Cottrell

Tony Cottrell

Joytime: Marshmello in Dallas.

aLIVE Coverage

T o o M u c h T o o Soon After Going Viral Via Music & Memes, Multi-Genre Talent GETTER Looks for a Break in the Action

By Brian Bonavoglia

DJ TIMES

FEBRUARY 2018

Photos By @jauwsh

20

In the DJ world and beyond, it’s become easier than ever to become a viral celebrity. Thanks to the nature of social media, that can be a gift or a curse, depending on whom you ask.

And that’s essentially the story of dubstep darling Getter, who broke out quickly on the music scene, then rode a meme-wave to epic notoriety. While he may be known for comedic antics and a trademark phrase (“Suh Dude”) from his time on the viral app, Vine, Tanner Petulla's journey into the spotlight started at the age of 16.

Growing up in San Jose, Calif., Petulla was musically inclined, playing drums and guitar in a few teen bands. Later, after falling in love with rap music, Petulla began producing tracks while in high school, and the bass community quickly began to take notice.

Viewed as somewhat of a prodigy, Getter soon became known as “the unsung hero of underground bass culture.” Getter's profound production prowess on monstrous, early tracks like “Vile Orchestra” and “Berzerker” (circa 2011) caught the attention of genre pioneer Datsik, which led to releases on bass juggernaut Firepower Records and his first run of tour dates around the United States.

Continuing to evolve his sound around his signature use of guttural synths, the blossoming talent would befriend Skrillex following a demo exchange that would lead to Getter's 2015 breakout single, “Head Splitter,” and being signed to OWSLA, Skrillex's forward-thing label.

Getter's sound would continue to mature, and he would showcase his versatility by unveiling an alias, Planet Neutral, which allowed the electronic community to hear him from a whole new angle, more relaxed and mellow.

But slowly stepping away from his relentless, dubstep roots, Getter’s next OWSLA release, 2016’s seven-track EP “Wat The Frick,” was a significant departure from what fans had come to expect from him. And he would receive some backlash from those claiming that he’d ditched his popular, signature sound. It’s a conundrum many successful producers deal with at some point in their careers.

Nonetheless, Getter remained a prominent force in the electronic scene this past year, dominating the festival circuit and headlining his own North American tour. Additionally, he launched Shred Collective – his own record label, clothing brand, and artist collective. Along with fellow meme-hustler Nick Colletti, Getter also sells plenty of “Suh Dude” merch via their Trippy Burger label.

Recently, Getter announced that, following the release of an EP, album and whatever else he chooses to share from the boatload of music he is sitting on at the moment, he plans to take a hiatus from the rigorous realm of electronic music. After nearly 30 artist releases (albums, EPs, singles, collabs) and 28 remixes in the space of seven years, he’s certainly earned a break from the action. DJ Times had the opportunity to chat with Getter to discuss his most recent releases, the current state of the scene and much more.

DJ Times: Growing up, you were in a few bands and played the guitar, but who was it that introduced you to

“Inhalant Abuse,” Shred Collective [2017]: With his newly launched collective on the map, this piercing production stands out as quite a debut for his own imprint. Showcasing his electric production prowess once again, the blistering original hushed any doubters who claimed he might have “lost this edge.”

“Solo” feat. Party Nails, Shred Collective, 2017: A happy medium for fans both new and old. Returning to familiar bass territory, “Solo” is a blissful, future-esque tune that draws listeners in with its beauty before Getter goes beast-mode, hitting us with his trademark guttural growls.

– B.B.

FEBRUARY 2018

“Something New,” OWSLA [2017]: The standout from his “Wat The Frick” EP, this was the track that introduced fans to Getter’s previously unseen side. Serving as the EP’s outro, “Something New” is an airy, playful instrumental – a significant departure from his traditional aggressive nature.

Getter: Probably when I made a few remixes, early on, and people from my hometown would stop me on the street for a high five. That and when I could afford to buy my own stuff… I was like, “OK, yeah, I’m down.”

DJ Times: DJing or production – which came first?

Getter: Production. What would you DJ if no production? [laughs] DJ Times: Do you remember what DAW program you were using to produce back then?

Getter: Hell, yeah! [Propellerhead] Reason 4 or 5. I can’t remember exactly which one. I highly recommend it for beginners! There are synths in Reason that are exclusive to Reason only, and it’s sort of an all-inone-style program.

DJ Times: But now, you’re using Ableton Live, right? Is it your go-to production software?

Getter: Yes! I’ve been on Reason, Logic 9, Logic X, and now Ableton Live. It’s fluid for me – it feels good.

DJ Times: When it comes to production, walk us through a studio session with Getter.

Getter: Oh boy, that’s a hard one.

I only really go to my studio to mix stuff or record final vocals. Other than that, if you see me on my laptop,

DJ TIMES

GETTER: TOP 3 TRACKS

the world of electronic music?

Getter : Well, me and all my friends loved metal – not just the sound of it, but the vibe. It was angry and scary, but also catchy and technical. One of my friends stumbled upon some old Caspa and Rusko that had a similar vibe – instant stank face!

DJ Times: What is your opinion of all these metal/dubstep hybrid tracks popping up recently? A long time coming?

Getter: Ehhh, I mean they are definitely worth a try. I think the only really cool one is Excision and Space Laces’ “Throwin’ Elbows.” It’s got just a touch of heavy metal in it that makes it work. I’ve heard a lot of botched attempts, but I appreciate the effort.

DJ Times: What was so appealing about the dubstep sound that you wanted to produce it yourself?

Getter: At first, it was just the cool sounds, and the cadence of it all.

But the more I got into it, I got fascinated with the engineering side of things. I've always said that it doesn't matter how complicated the song is, it just matters how well it’s made.

DJ Times: When would you say that it clicked and you knew you wanted to pursue being a DJ/producer full-time?

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FEBRUARY 2018

DJ TIMES 22

anywhere, I’m working on music.

DJ Times: Speaking of production, how did you first start working with Splice [the cloud-based music creation/collab platform]?

Getter: I wish I remembered the exact time I did. I just remember hearing about their “drop box” feature, or whatever, and then they did Splice Sounds [Sample Library], which I think is the best thing to happen to music since Spotify.

DJ Times: For any producers who may be unfamiliar with the platform, how useful is Splice Sounds?

Getter: Oh, my God – it’s the best! Usually, you buy sample packs from $20 to $500, and only use a handful or samples. But with Splice, you pay for credits, and you can buy one single sample from any sample pack – and preview it first. If you need someone screaming, pull up Splice Sounds and type in “scream” and hundreds of samples come up.

Not to mention, it saves on a cloud which is very, very helpful.

DJ Times: What does Getter look for when it comes to samples?

Getter: I usually only use samples for percussion, drum hits, and effects. But anything else, I like to look for memorable sounds from the past… or just fart noises to be honest. [laughs] DJ Times: Where do you find inspiration?

Getter : Recently, I’ve been finding inspiration in myself. I dig through whatever it is that I’m feeling and pinpoint the true meaning of it. It helps with music and just everyday life.

DJ Times: You've been a part of this music-making scene since 2010, what are some changes you've noticed over the years?

Getter: Oh boy, I promised myself to stay positive as much as I can, so let’s start with that. I see a lot more young artists killing it and moving the genre forward with experimentation and risks. The bad side… there are a lot more “gimmicks” and shit. Don’t get me wrong, I had mine, but I stayed true to myself throughout. If I’m a dick, I’m a dick; if I’m funny, I’m funny.

But too many people in the scene nowadays are just cookie-cutter shapes at this point. They all post the same shit. It feels so automated.

I feel like there needs to be a personal connection with your audience, rather than just… “HEY UR A DJ DUR HUR.” DJ Times: How has the bass music scene, specifically, changed since you first emerged onto the scene?

Getter: Recently, I’ve noticed a sort of “halt” on originality. Not necessarily a bad thing, the cur-

rent styles are basically being updated like your phone. Sometimes it sucks, other times it’s amazing. But I miss the days when you would hear a completely new, crazy song and be like “What?”

DJ Times: When would you say was the first time you ventured outside the realm of bass music and started experimenting with new sounds?

Getter: Probably doing some hiphop stuff with some friends from Florida. It’s a whole new book, man, a whole new feeling. It’s fun to bounce back and forth.

DJ Times: Would you say you became bored with dubstep? If so, why?

Getter: Yeah, definitely. I got like 40 unreleased tracks right now, maybe two or three are dubstep – no particular reason. I just enjoy making everything. If you corner yourself into a specific type of music, writer’s block haunts you. I can’t remember the last time I had writer’s block.

DJ Times: You recently connected with Party Nails for “Solo.” How did that track come together?

Getter: “Solo” started out as an “Ocho Cinco” remix for DJ Snake.

I started it last year on the “Wat The Frick” tour. I slowly fell in love with it and was lucky enough to have DJ Snake tell me to do whatever I wanted with it. He’s such a cool dude, but it was an instrumental for a while, and my day-to-day manager [Christina Boemio of SLVYVLL] sent me Party Nails’ SoundCloud. The rest is history.

DJ Times: You dropped “Big Mouth” not too long ago, and have been sprinkling some new tunes into your most recent sets. The question everyone wants to know: Will these be featured on your forthcoming album?

Getter: It’s hard to say, really. I have enough music to put out three albums right now. [laughs] I really don’t want to mix my album’s styles anymore. I find if I put four heavy songs and two mellow songs on an EP, the mellow ones get slept on. So, if “Big Mouth” were to come out in anything, it’d probably be an EP soon.

DJ Times: What can we expect from this album?

Getter: Ohhh boy, this album is my baby, and my baby’s baby. It’s almost two years in the works, working with some of my favorite vocalists.

Don’t expect any heavy hitters – this is more of a “debut-type” thing. I want people to see my softer side, the side that means most to me.

DJ Times: When your album finally drops, what is Getter’s plans in the realm of electronic dance music going forward?

Getter: Low-key, probably… gonna take a break for a while. Pump the brakes a little bit, but who knows? n

BPM Supreme, The Only Music Source Professional DJs & Producers Need

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D.A.S. Audio Expands the Event Series

The successful line-up now offers a double 12-inch line array & a single 21-inch subwoofer with onboard DSP controls.

Visit NAMM booth #18616. www.dasaudio.com

Pioneer DJ’s DJS-1000 Standalone DJ Sampler

Pioneer DJ’s new DJS-1000 enables you to create unique sounds & phrases using an intuitive DJ-friendly interface.

Test it out at NAMM Booth 11120, along with other new Pioneer DJ gear.

DJ TIMES

FEBRUARY 2018

www.pioneerdj.com

24

Denon DJ Prime Series: The Future of Professional DJ

Denon DJ’s Prime Series delivers unprecedented performance, ease of use, music organization & system synergy for professional DJs. Receiving unexcelled acclaim, the Prime Series represents the future of the professional DJ experience. www.denondj.com/prime-series

Shop Full Compass: Triumph in Battle with the Rane TWELVE

The Rane TWELVE tonearm-less turntable/MIDI controller lets you scratch and play like a turntablist while enjoying the precision and repeatability of a digitally-based solution. This simple, powerful DJ control system is available at Full Compass. www.fullcompass.com/dj

QSC Audio’s First-Class KS212C subwoofer

Electro-Voice’s EVOLVE 50 Portable Powered Column System

A new performance standard for column speaker systems – combining light weight, low-profile design & superior Electro-Voice sound quality. www.electrovoice.com/evolve50

FEBRUARY 2018

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DJ TIMES

n

QSC Audio’s KS212C 3,600-watt subwoofer represents the world’s first-in-class single-box powered cardioid subwoofer solution for highly portable entertainment & installation applications.

25

MAKING TRACKS STUDIO…HARDWARE…SOFTWARE…

MK2 KEYBOARDS: KOMPLETE KONTROL S-SERIES

S61 Mk2: Native Instruments’ 61-key unit with MASCHINE.

DJ TIMES

FEBRUARY 2018

By Wesley Bryant-King

26

Not long ago, I reviewed Native Instruments’ Komplete 11, the Berlin-based company’s preeminent collection of software synths and effects. But software is only one part of Native’s Komplete offering; the Komplete Kontrol S-Series keyboards are the hardware side of the equation.

Designed to dovetail perfectly with any edition of the Komplete library, the Komplete Kontrol SSeries keyboards (which I’ll refer to as “KKS” for the remainder of this review) also provide support for third-party plug-ins compatible with NKS — the Native Kontrol Standard. More on all that later.

Creating this two-sided ecosystem for music making has a number of clear advantages; no other MIDI keyboard can provide the broad, deep, functional integration with the software — and the software is considerably easier to use with the matching hardware in place. Can you use one without the other? Absolutely. Is the whole better than the sum of the parts, however? Absolutely.

While the KKS keyboards, spanning 25-, 49-, 61and 88-key models, has been out for a few years now, Native recently introduced the next iteration of the KKS hardware, dubbed “Mk2,” consistent with Native’s usual hardware naming practices.

However, the new Mk2 offering is currently available only for the 49- and 61-key models; the 25and 88-key versions remain at the now so-called Mk1 iteration.

For this review, I’m looking primarily at the brand new 49-key KKS Mk2 keyboard, while commenting as well on the older 88-key KKS Mk1 model for comparison.

First Impressions: After viewing the promo videos Native Instruments had already released, I was pretty excited when I started unboxing the KKS Mk2. Perhaps the biggest immediate difference between the Mk2 and the Mk1 consists of a pair a small color LCD displays right on the top of the unit. Along with the displays are considerably more controls than were present on the earlier versions.

Once I had the KKS Mk2 set up (more on that below), those displays immediately came to life, and revealed that they’re there for a much bigger reason than just looking good (although they succeed in that, too). Native seems to have understood that one of the biggest challenges in using soft-synths

— let alone a huge library of them like one finds in the various Komplete collections — is just understanding and finding sounds to use, either as is, or as starting points for further refinement. And that, it would appear, is a central focus of the KKS Mk2, one they’ve succeeded quite well at, representing a huge improvement over the workflow of the Mk1 series.

To make that work, part of the Komplete Kontrol software — the software (both standalone and plug-in) that makes the KKS units tick — is now an accessory sound library called Previews, installed separately from, but as part of, that software. In it, Native has prepared sound previews for the thousands of patches provided with Komplete, along with previews of key, third-party NKS synths. Those include synths that are based on Kontakt, like those from Output that I’ve reviewed previously for the magazine, as well as select, NKS-compatible, conventional plug-ins from companies like AAS. [According to the company, the Native Browser Preview Library includes previews for all NKS Instruments released prior to September 2017. All NKS Instruments released after that date ship with their own previews, meaning that every preset that appears in the Komplete Kontrol Factory tab has a preview.]

The net result is that you can preview sounds with incredible ease across all the plug-ins, and more importantly, do it with incredible speed. Using knobs on the KKS, you can filter content based on Native’s usual content tags, narrowing down the field as needed. Once you find something you like, a single press loads the corresponding synth and patch. Gone is the painful, manual process of loading a patch, playing a note; loading a patch, playing a note; loading… You get the idea. Finally, tapping all that rich content in Komplete 11 Ultimate (for instance) is no longer akin to an extended stay in a dentist’s chair.

It’s worth noting you can insert standard, nonNKS plug-ins (such as VSTs) into Komplete Kontrol as well, enabling enhanced control of plug-ins. The mapping uses automation, so any parameter that can be automated in a host can be mapped to a KKS Mk2 knob. I tried the popular Sylenth analog modeler this way, and got direct, hardware control

of most of its tweakable settings, documented on the displays of the KKS Mk2, and mapped to the eight knobs underneath, across fully 16 pages which can be navigated with buttons. The auto-mapping can also be customized and saved as a KK User preset.

Also new in the KKS Mk2 is much tighter, much deeper DAW integration. The unit shipped with both Ableton Live and Logic Pro X support; broader support, including Steinberg Cubase, is expected later this year. [According to Native Instruments, Cubase support is now available in KK 1.9.3.]

Set-up & Use: Like the rest of Native’s offerings, the KKS Mk2 leverages Native Access, an application that combines registration, authorization, installation and update-management in a single place. Getting started is easy, and it’s little more than installing Native Access if you don’t already have it, then entering your serial number. That registers the product, and unlocks the downloads you need. The keyboards come with Komplete 11 Select (2,500 sounds across 11 products; 25+ Gig of content total), as well as Komplete Kontrol, and the sound-preview library I mentioned above.

That part’s easy and quick, but DAW integration, however, is a slightly different story. As an Ableton Live user, I’ve been through this before with the 88key KKS Mk1, and doing it with the newer software for the Mk2 involved the same process — one that’s a bit cumbersome. It should be noted that this is specific to Ableton – Logic Pro X and Cubase don’t require files to be manually copied.

Once Komplete Kontrol is in place, you have to manually copy a few items from the Komplete Kontrol installation itself, into two separate locations.

For Mac users like me, some files have to be copied into the Ableton Live package file itself, while others go to a specific file system location. There are similar steps for Windows users. While Native’s directions are quite clear and complete, I have to believe that many less technically inclined users might well be challenged by these required steps. If you don’t want or need the DAW integration, you can certainly skip them — but you’d be missing out on part of the KKS’ value and utility. My advice is simply to read the instructions carefully, and take your time.

while the new wheels have a smooth, rubberized enjoyable feel and action — probably the nicest pitch/mod implementation I’ve seen on a MIDI keyboard.

Finally, while I’m not a user of the software, it is worth mentioning that the KKS keyboards also provide support for Maschine, Native’s beatmaking platform. Maschine has its own dedicated hardware series, and the KKS Mk2 is designed to pair up nicely with Maschine hardware, although I was not able to evaluate this angle for this review.

Conclusions: Native Instruments has proven the value of tightly integrating software and hardware, both with their Traktor DJ solutions, and in the studio with Komplete and Komplete Kontrol.

As I said at the outset, you can use each alone; but while any of the versions of the Komplete collection has great value without a Komplete Kontrol S-Series keyboard, I’m not sure the reverse is quite so true. Regardless, I can attest that tapping into the Komplete software is a ton easier with the KKS, especially the newer Mk2 versions. And the hardware itself? It’s a joy to use. A great keyboard, coupled with appropriate buttons and knobs, sexy color displays, and a top-notch user experience make the KKS Mk2 a virtual must-have accessory for Komplete library users. Meanwhile, the KKS Mk1, in the 88-key version, provides an unparalleled platform for those looking for the feel of a hammer-action keyboard — albeit with a simplified version of the KKS interface compared to the new, expanded version in the Mk2 series. But regardless, all are, simply put, a delight to use.

FEBRUARY 2018

the Mk1.

Perhaps my favorite feature of the KKS keyboards, and what created some serious gear lust, is what Native calls a light guide. Each key on the keyboard has a multicolor LED behind it, whose primary value is to indicate color-coded key zones that are so commonly used in the popular Kontakt-based instruments that make-up a lot of the various Komplete collections (and in thirdparty plug-ins as well). The clear indications of these key zones is critical to using them properly, so not having to guess how it lays out or where the boundaries are offers a massive usability boost. (I should note that the light guides can also display scales and more, arguably making them the most useful single feature of the KKS series.)

The KKS’ DAW integration provides basic capabilities like transport controls, but with the Mk2, those capabilities have been expanded to include more control over things like project navigation within the DAW. As is the case with pretty much every DAW controller I’ve used, the KKS isn’t going to eliminate the need to touch your computer mouse, but it does add some efficiency to studio work. Admittedly, I’m personally a creature of habit, and tend not to take full advantage of this aspect of the KKS. Beyond the displays, one of the nicer hardware additions to the Mk2 series over the Mk1 is a new multifunction knob, along with physical pitch and mod wheels. The knob makes navigating the menus of the screen interface as intuitive as possible (without going to touch screens, I suppose),

DJ TIMES

Using the KKS keyboards is, simply put, a delight. The entire family uses keybeds manufactured

by Italy-based Fatar; the 88-key version (again, available only as Mk1, without the new color displays) is a particular joy to play due to its smooth hammer action. It may sound over-the-top, but I’ve honestly never played a better-feeling, more responsive, more accurate MIDI keyboard. Ever.

Paired with one of the fantastic pianos from the Komplete 11 Ultimate collection, it comes as close to a real piano-playing experience as I’ve ever had — without a real piano, anyway.

For the smaller keyboards, including the 49-key Mk2 I evaluated, the keyboards omit the bulky hammer-action keybed, replacing it with a more conventional feel and action, but no less enjoyable to play. The touch is silky, and the responsiveness accurate.

While I’ve already covered browsing content on the Mk2, what I’ve not mentioned is the ability to customize sounds you’ve loaded. Each synth has its own tweaking options; some (e.g., Absynth) more than others (e.g., Output’s Exhale). [According to Native Instruments, it’s also possible to make custom mappings and save these as User presets. Any parameter that’s automatable can be mapped to a KKS mk2 knob.] What are deemed the “most useful” or “most important” tweakable options are pre-mapped to knobs on the KKS, whether Mk1 or Mk2. The new Mk2 places the user interface into the sexy color displays, making them easier (and clearer) to see and use than the small, fixed-character, monotone LCD displays on

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SOUNDING OFF PLAYBACK…PRO AUDIO…PROCESSING

ROLAND CONTROLLERS: CREATIVE & AFFORDABLE

DJ TIMES

FEBRUARY 2018

By Wesley Bryant-King

28

It was roughly a year ago that I kicked the tires on the then-new DJ-808 controller, Roland’s first foray into the DJ market. Then, late in 2017, Roland rolled out a pair of new controllers that expand its DJ-market footprint: the DJ-505 and the DJ-202.

As I recall writing in another review recently, it does appear that the DJ-gear market splits nicely into three predictable tiers: 1. The highend, for globetrotting DJ stars (or those who aspire to be), or for standard equipment in clubs; 2.

The low-end, for bedroom DJs and others who are just starting out; and, 3. The middle — where many working DJs (and those on the rise) can find a good balance between cost and capability.

To be sure, those are blurry distinctions at best, but the point is that things do tend to stratify into three levels, wherever and however you draw the boundaries, and Roland has acknowledged as much with these two new additions.

The Basics: To refresh on last year’s DJ-808 review, I was pretty impressed with the unit.

(You can, of course, find the full review, which ran in the December 2016 issue, on djtimes. com.) It’s a sweet, Serato-centric controller with an onboard drum machine and voice processor, joined up with excellent interoperability to sync DJ performances in various ways with other gear or co-performers. But at roughly $1,300 street price, it’s not exactly the sort of controller whereupon the average, aspiring teen DJ is likely cut his or her teeth.

Price-wise, the new DJ-505 gets a little closer.

For about $700 street price, the DJ-505 offers (as we’ll see) a lot of capability for a substantially lower barrier to entry. And now, at the low end, Roland offers the DJ-202 at roughly $300 on the street.

As one would logically expect, Roland has stripped out some of the capabilities of the DJ808 to make the 505, and stripped some stuff from the 505 to make the 202. The importance of what’s stripped out is probably dependent on your use case, but Roland has managed to keep a lot of value in the DJ-505, while offering it for about half the price of the 808.

Set-up & Use: Getting up and running with either of the two Roland controllers that are the subject of this review involves first downloading and installing the appropriate drivers —

DJ-505: Offers powerful, artistic tools.

DJ-202: Basic, but portable & effective.

a simple thing, but one that escaped me initially. Without the drivers installed, Serato DJ was able to detect the controllers, but couldn’t actually activate them for use. Once I figured out that drivers were needed, it was a simple matter to install them, and Serato DJ immediately recognized and functioned with the controllers afterward.

In any case, once past that little hiccup, the DJ-505 and -202 worked like any other Serato-based controllers; just plug them in, turn them on, fire up Serato DJ, and you’re off to the races. As always, existing users may need to update their copy of Serato DJ to ensure that the software recognizes the controllers.

Aesthetically, Roland has extended its general design ethos to the DJ-505 and DJ-202. From the choice of typeface screened onto the top surface of the controllers, to the predominantly green backlighting, both units are distinctly Roland.

As I began to evaluate both of the controllers, however, I was a little surprised to discover potential issues with build quality. On both the DJ-505 and the -202, all the rotary knobs had considerable frontto-back play to the extent that I wondered if these were actual defects, or design shortcomings. Sideto-side movement is not as extreme, but I don’t recall experiencing any movement of knobs on the DJ-808, and found its presence across all the knobs on both units a bit disconcerting. Unfortunately, the story with the channel- and cross-faders is much the same.

On a more positive note, the platters and buttons on both units were satisfying to use, and had the expected feel. Additionally, both controllers provide dedicated filter knobs, offering both low- and high-pass on a single knob — a frequently omitted feature, especially at the price point of the DJ-202.

The Details: On a unit-by-unit basis, the DJ-505 seems at first to be a lot like the DJ-808. What’s gone is the VT capability, the 4-channel mixer, Roland’s proprietary AIRA Link capability, and the prolevel sample rate in the audio subsystem. Does it matter much? For my money, not really; the VT (or Voice Transformation) function of the DJ-808 was, in my view, one of its least-desirable features, although Roland reps say that it’s actually had a pretty solid uptake among users; clearly its value depends on the type of performance you do with the DJ-808. AIRA Link is another function I could easily (continued on page 42)

SEE BEYOND READ OUR DIGITAL EDITION THE AVERAGE READER SPENDS 4 MINUTES READING DJ TIMES DIGITALLY Answers through a synthesis of Icons, Brands & Ideas:

First we allow you to “See”, the most influential DJ icons and how they’ve launched some of the most successful careers in the DJ business.

Going “Beyond”, we show you how to make your own brand grow and thrive by exposing you to the latest creative ideas in the professional DJ world.

SEE SEESFGHL;PWR BEYOND BEYONDWMP YOURSELF BEYONDET

Shifting the focus to “Yourself”, we then relate those ideas back to the world at large so you too can become one of the leading DJs of your industry.

MOBILE PROFILE CAREERS…INNOVATIONS…SUCCESS STORIES

TEACHER USES HIS DJ BIZ AS CASE STUDY

DJ TIMES

FEBRUARY 2018

By Miles Hearn

30

Erie, Pa. – Mark Eisert gives all the credit to his older brother.

Otherwise, he never would have performed that first DJ gig in 1998.

“My brother Mike,” he says, “was a huge help getting started.”

Indeed, his brother owned a mobile company, All Around Sound, and offered Eisert a few overflow gigs after his ’50s/’60s band, Black Diamond, had broken up.

“I asked a friend to join me and we went together and purchased CD players, a mixer, and a wireless mic,” Eisert recalls. “Our first gig was an outdoor wedding under a tent. My partner and I worked together for the first 18 months, and he decided to move out of town and sold his half to me. I guess the main reason I kept DJing is that I really liked helping people out. It felt good to provide a service to someone that really enjoyed their time at the event.”

Back then, says Eisert, obtaining music was probably the hardest part of the job. “You had to purchase full CDs for one, maybe two songs,” he says.

But brother Mike, a musician himself, had spent years researching CDs, how to categorize them, curating playlists to pull off a full event. “We didn’t have Google or Spotify,” says Eisert, “to show us what the hottest songs were. We had to listen to the radio and take notes.”

Eisert, with the support of his brother, soon went on his own and started Millennium Sound. A part-time pursuit — Eisert teaches accounting, marketing, business law, intro to business, and computer applications at a high school — it wasn’t until 2008 when the business began to scale. “Two of my colleagues joined me as requests for events started pouring in,” he says. “That was the year that I began to really focus on what Millennium Sound was and was becoming.”

Each year after 2009, he’s added another DJ to the team to keep up with the contracts that came in. In 2014, he added a photo-booth service and, in 2016, he added videography.

“I feel responsible for my team,” he says, “so I do spend many hours each week either working on marketing strategies, tweaking the website, revisiting the contract structure, researching equipment, and working on the brand.”

On the gear front, Millennium Sound essentials include Virtual DJ software, a Numark NS6 4-channel digital controller/mixer, Electro-Voice ETX-35P active, 3-way loudspeakers, an Electro-Voice ETX-18SP active, 18-inch subwoofer, and a Sennheiser EW 135 G3 handheld wireless microphone system. For lighting, Eisert’s fave is Chauvet DJ’s Intimidator Hybrid 140SR LED, moving head, effect light.

Eisert says he could probably leave his teaching career at this point as the business is thriving. “But I would miss the students,” he says, “and the daily interactions with the staff.”

Owning Millennium Sound helps him connect his students to real-life situations. “I reference many situations that I have been in and explain how I tackled those situations,” he says. “It is funny how

Mark Eisert started Millennium Sound in 1998.

my accounting students always ask me, ‘Mr. Eisert, is this how you do your ledgers with Millennium Sound?’ I answer, ‘I use Quickbooks Online. It does the work for me, but you have to learn the basics and have an understanding of accounting practices before you can just let the computer do the work.’ I share a lot of my marketing strategies with them and it keeps them engaged. Many of them want to go into marketing when they graduate high school.”

We asked Eisert to put on his teacher’s cap, and queried him with the following:What if one of your students came up to you and said they wanted to be a DJ? What advice would you give them?

“Make sure you have a Plan A and a Plan B,” he says. “I have told my students and the young DJs that I met over the years that education cannot be replaced. Learn something else besides art of DJing. Go to college or learn a trade.

I have never met a successful first-year, full-time disc jockey. It takes time to build your skills, your brand, your clients, and your confidence.”

Wait, there’s more. “My second piece of advice is to be energetic. To start any business, you have to be on your toes at all times. You have to move, shake, and network as much as possible, and make sure you are sincere and genuine during that process. People don’t like fakes.

DJing is a service, not just a skill. Make people feel good, listen to their wants and needs, be patient, be in the moment,

and care. Genuinely care. As a DJ, you get the honor of providing entertainment on some people’s most memorable days. Treat it as the honor that it is. This is not just for owners of a DJ service, it is for owners of all businesses.”

Good advice, and it seems to be working for Eisert. Now his company has four photo booths with 10 attendants, three teams of videographers, 10 DJs on staff. This past year, Millennium Sound changed branding to Millennium Sound Productions, LLC, and he acquired two acres of land on a busy highway with a building to house all the equipment.

“We just had our sign installed and uplighted our building,” Eisert says proudly. “Our five-year plan is to build a storefront for my team to have space to meet with clients, work on projects, design light setups, and just to have a place to call home for Millennium Sound.

“My daughter is a very talented photographer, so maybe someday that building will house her photography studio, too. I am also working with a few other companies to share my space with them to help each other out. As your brand begins to grow, networking with other growing brands can result in strong, supportive alliances. Small business owners need to support each other.”

Class dismissed.

HARRAH’S RESORT ATLANTIC CITY FEBRUARY 2018

AUGUST 13-16, 2018

DJ TIMES

ATLANTIC CITY, N.J.

THE NEXUS OF ALL THINGS DJ /djexpo

/thedjexpo

@djexpo_ #djx18

thedjexpo.CoM

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BUSINESS LINE SALES… MARKETING…SOLUTIONS…

KEYS TO BEING A “DIFFERENCE MAKER”

DJ TIMES

FEBRUARY 2018

By Stu Kearns

32

Mike Wieder is a familiar face to anyone who attends the DJ Expo. With more than 35 years in the industry, the Hightstown, N.J.-based owner of Ultimate Sounds Entertainment decided to mine his experiences and write a book, “Be the Difference Maker.”

We recently spoke to Wieder and asked him for some nuggets, and he graciously complied.

DJ Times: What inspired the book?

Mike Wieder: Over my 35 plus years in the DJ industry, I have performed at thousands of events, created a lot of moments, and made tons of memories. Along with all the successes, I have also made just about every mistake possible. The one constant across both the successes and the mistakes was that I have learned from each and every one of them.

The book is for those looking to get into the mobile-DJ industry and for those in the industry who may be looking for some different ideas, couples looking for ideas and really anyone that deals with people.The ideas I speak of throughout the book are ideas that have worked for me.

Can you encapsulate all your learning into one sentence?

One thing I have learned is that there are no rules… just what works for you. I also learned that things differ regionally, but you can’t be afraid to try something new.There is no reason why you can’t start a new trend in your area. The excuse that it is not done that way in “our” area is unacceptable. The more options you can provide your clients, the more appealing you become.

In the book, you talk about “their perception is your reality” – so what are a couple of things a DJ can do to make sure a client’s perception of the DJ is top-notch?

Gaining an understanding of the wedding couple’s mindset will help you create a positive image for the couple, for example. The first impression is paramount. If it’s on the phone, answer with a smile – they can hear it in your voice. Be personable and knowledgeable, knowing the answers to their questions and, most importantly, listening to them will give them confidence in you and your abilities.

If meeting in-person, dress the part. If you’re charging a premium rate and you show up in anything other than your best, that will give them pause. Let them know that you have the right experience – and what is the right experience? It’s knowing what to do, when to do it and how to do it. Find out what your couple’s priorities are. As entertainers, we share a simple goal: We want a packed dancefloor full of sweaty, smiling people having fun. We’ve all dealt with couples who have varying priorities when it comes to spending for their wedding.

Regarding budget – is it wise to ask up-front what their budget is, or what your fees are?

Let’s talk about that unpopular word – budget. Is it really such a bad word or just a word that makes us cringe because of the images it conjures? I try to avoid talking price until it’s absolutely necessary. As a matter of fact, I try to avoid the word “price,” by using the word “investment.” I let them know that they’re not buying a product, they’re investing in the success of their event.

If you ask the right questions, you’ll get an idea of the couple’s wants and needs.

Those answers will help you formulate the right options to speak about and finding the right investment option for them.

I once had a bride call up to talk about her wedding and, in the course of the conversation, she mentioned that she had a budget. Instead of thinking, “Oh boy, here we go again! Another bride looking for the bare minimum or worse, looking for everything and wanting to pay nothing for it – something my mother would call “champagne taste with a beer pocket…,” instead, I replied, “Me, too! What’s yours?”

That lighthearted response made her laugh, and then said her budget for the entertainment was $3,500. And, of course, I said, “I think we can work with that.”

So, the next time you hear the word “budget,” realize that it is not necessarily a negative term. And all it took was a simple question to put a positive spin on it!

The Reception: What's the secret to a great intro?

Listening. While speaking with a couple, I found out that they were avid skiers and

the groom-to-be showed me a GoPro video from his helmet. A light bulb went off for me and I suggested, “Hey, what if we strapped a GoPro on you for your entrance?" They looked at each other and their expressions were priceless, and they said, “This is why we had to have you – you think outside of the box!” Asking questions about the bridal party allows you to help personalize the introductions with specific music and maybe a line or two about those being introduced.

When lining up the bridal party, once again, say their names out loud. Explain to them that they are employees of the couple and that their job is to eat, drink, and party, and that they are the catalysts.

The banquet manager will usually explain to the bridal party where they are to go once they enter the room (pay attention).

Back in the room, you are now on the spot. Notify the photographer and videographer so that they are ready. It’s now time to introduce yourself and your company to the room.

Be aware of your positioning – all eyes

“One thing I have learned is that there are no rules… just what works for you.” will be on you. Get the attention of the guests. Ladies and gentlemen are usually family and friends (change it up). Turn the focus of the room to the entrance way and, using your incredible vocal skills, introduce the bridal party. Add some excitement, but do not yell! After introducing the VIPs, the maid/matron of honor and best man, instruct the guests to rise. Build up the energy in the room using your voice. It’s not what you say, it’s how you say it. And again, do not yell!

Stay tuned next month when Mike Wieder dishes some more DJ science from his book, “Be the Difference Maker.”

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DJ TIMES

FEBRUARY 2018

GEAR AUDIO…LIGHTING…STUFF

Two-Way Street ADJ Products 6122 S. Eastern Avenue Los Angeles, CA 90040 (323) 582-2650 www.americandj.com The STK-106W from American Audio is a two-way PA system that’s powered by internal Class D 500 + 250-watt power amplifiers and combines a 10-inch woofer base with an adjustable poled-mounted 6 x two-inch driver satellite array. A fullyfeatured 6-channel mixer, which is integrated into the STK-106W’s sub enclosure, features two mono input channels with independent bass, treble and reverb controls and two stereo input channels. The unit comes in solid plywood housing with a textured black finish and two carrying handles.

Batting 1000 Pioneer DJ Americas 2050 W. 190th Street Suite 109 Torrance, CA 90504 (424) 488-0480 www.pioneerdj.com The DJS-1000 from Pioneer is a standalone DJ sampler that features 16 multicolored step input keys, more than 2,500 on-board Loopmasters samples and a 7-inch full-color LCD touch screen that allows users to assign instrument icons to the 16 multicolored Performance Pads. The DJS-1000 includes the Beat Sync function, which uses Pro DJ Link to synchronize a performance by beat/bar with a track playing on a CDJ-2000NXS2 or XDJ-1000MK2 set-up, as well as Live Sampling, which lets users sample input sounds and immediately use them as independent tracks or as FX added to a mix.

Stop, Reloop & Listen American Music & Sound 925 Broadbeck Dr. #220 Newbury Park, CA 91320 (800) 431-2609 www.AmericanMusicAndSound.com The Reloop RMP-1700 RX is a 19-inch rack-mount CD- and USB-media player that includes a remote control to access all relevant functions such as transport, loop, cue, pitch and volume.

The unit comes equipped with a front-loading CD input, two USB ports for recording and playing MP3s, an RCA input, and both balanced XLR and unbalanced RCA outputs. Additional features include a large jog wheel for searching and scanning, fader start support and 10-second anti-shock memory.

DJ TIMES

FEBRUARY 2018

Go Big Knob or Go Home

34

Mackie 16220 Wood-Red Road NE Woodinville, WA 98072 (425) 892-6500 www.loudtechinc.com Big Knob Passive, Big Knob Studio and Big Knob Studio+ are part of Mackie’s Big Knob series. The Big Knob Passive features a no-power-required passive design and a switchable selection for two sources and two monitors. Big Knob Studio comes with USB recording/playback and expands the I/O routing to three sources and two monitor pairs. Big Knob Studio+ offers three selectable monitor outputs and four input sources, including a USB playback from a DAW with 192kHz/24-bit audio conversion.

AUDIO…LIGHTING…STUFF

GEAR

On Your Numark, Get Set, Go Numark Industries 200 Scenic View Drive Cumberland, RI 02864 (401) 658-3131 www.numark.com The NTX1000 Professional Direct-Drive Turntable from Numark comes with a full-size, 12-inch 2.5-pound platter, a 4.0 KGF/CM high-torque motor and an S-shaped tonearm with height adjustment. The unit is designed for playback in two speeds—33-1/3 and 45 RPM. Features include damped cueing and anti-skate controls, as well as a variable pitch range of plus/minus 8-, 16- and 50-percent.

According to the company, the NTX1000’s special isolation design “easily resists feedback and external vibrations.” A dust cover is also included.

Gimme MOOR K-Devices www.k-devices.com K-Devices released MOOR and Twistor, two new Max for Live devices in the company’s Out Of Grid (OOG) series. MOOR is a mono sequencer that can generate MIDI note sequences with variable step and bar length. It features step-length randomization with bar-length locking, variable step-value scrambling, advanced pitch randomize and step note triggering. Twistor is a phase-driven stepsequencer for modulating any parameter in any device or plug-in within Ableton Live. Twistor can randomize the length of each step while maintaining the overall length of a sequence and “bend” playback from linear to logarithmic to exponential format.

Rytm is a Dancer Elektron Music Machines 1340 E 6th St #632 Los Angeles, CA 90021 (213) 935-8521 www.elektronmusicmachines.com Analog Rytm MKII is an analog drum machine and sampler from Elektron that features eight drum voices, each with a selectable analog percussion sound generator, sample playback engine, analog multi-mode filter, analog overdrive circuit, filter envelope, amp envelope and assignable LFO. The unit sports a cast aluminum enclosure, as well as back-lit buttons, hi-res encoders and a large OLED screen. Additional features include high-bandwidth Overbridge, sampling capability, two expression/CV inputs for external control and 1GB internal sample storage on +Drive.

UDG released its Ultimate Flight Case Scratch Plus, which comes equipped with an integrated trolley system, heavy-duty, spring-loaded handles and built-in corner wheels for easy transport. Featuring a black and silver color combination, this heavy-duty road case is designed to fit a single turntable “in battle mode” and a single 10- or 12-inch mixer. The mixer compartment features removable front and rear panels, allowing users to position the mixer on either the left or right side in order to scratch with their dominant hand.

DJ TIMES

UDG Gear Industrieweg 18-21 3846 BD HARDERWIJK The Netherlands www.udggear.com

FEBRUARY 2018

Start From Scratch

35

GEAR AUDIO…LIGHTING…STUFF

Things That Make You Go Boom

Pipes Dream

Time+Space Distribution Ltd Unit 7A-B, Cranmere Road Exeter Road Industrial Estate Okehampton Devon EX20 1UE +44(0)1837 55200 www.timespace.com

Synesthesia 1985 Sunset Plaza Dr. Los Angeles, CA 90069 (323) 382-1673 www.synesthesiacorp.com

SubBoomBass II builds upon the original plug-in, adding a redesigned interface with improved workflow. The plug-in features more than 1,900 presets by sound designer Rob Papen and guest artists, as well as 80 samples including Acoustic Bass, Taiko Drum, Conga, Djembe, Timpani, Toms and more. SubBoomBass II uses up to two oscillators per voice, each with 128 waveform types, sampled bass and percussion samples, and physical modelling. Additional features include a 16-step Sequencer and a physical string model that creates string-based sounds ranging from plucky guitar timbres to metallic hits.

DJ TIMES

FEBRUARY 2018

Regroover & Over Again

36

Accusonus 17 Carley Road Lexington, MA 02421-4352 (617) 982-1241 www.accusonus.com Accusonus updated its Regroover beat production plug-in with a new version 1.7 that features instant drag and drop of audio samples and beat patterns to the DAW, along with a set of new drum shaping effects. In addition, the company released two new loop and one-shot sample expansion packs for Regroover. The FRACTALS pack offers EDM sounds and loops, while the SPASM Pack is a techno collection. Both feature 10 kits and 100 drum loops that are packed in self-contained Regroover projects that can be instantly exported to high-quality wav files.

Synesthesia’s Pipes is a compact, complete software module. Offering 48KHz 24bit stereo sample playback, the unit is compatible with WAV, AIF and MDA with up to 20,000 samples always loaded. It sports a 5-inch fullcolor touchscreen, a USB memory port, multiple USB MIDI inputs and a stereo headphone output. Pipes comes with onboard Pure Data patches for MIDI manipulation called Tweakers and there are multiple assignable internal stereo channels, each featuring a variety of effects such as Slicer, Panner, Pitch, Compressor, Four-Band Equalizer, Reverse, Delay, Flanger, Reverb, Filters and Distortions.

Making Waves Roland Corporation 5100 S. Eastern Avenue Los Angeles, CA 90040 (323) 890-3700 www.roland.com Roland has introduced the SP-404A Linear Wave Sampler, a performance sampler designed for live use. The SP-404A functions as a portable standalone sampler with a built-in mic and battery-powered operation, as well as in combination with the Roland AIRA TR-8 Rhythm Performer.

The unit features 16-bit linear sampling, 29 onboard DSP effects, smooth FX switching, 12 professional performance pads and an onboard pattern sequencer. It also comes with an SD card loaded with a library of new

37

DJ TIMES

FEBRUARY 2018

TRACKS…MIXES…COMPILATIONS

KH aka Four Tet

Ben Men

“METRO” EP u Ben Men u BTRAX The French producer hands us three beautiful, well-crafted tracks that deliver fat rhythms, atmospheric synths, and solid 4/4 house beats. With its allaround Detroit-underground flavor—check the delicious title tune – this EP is a must for warm-up DJs out there.

– Tommy D Funk SHOUT u Eli Escobar u Classic Music Company New York DJ/producer Escobar returns with album No. 2, and it certainly lives up to standards – there’s love, soul, vibe and passion in each of its 13 tracks. Bringing elements of house, downtempo, Nu-Disco and more, Escobar delivers plenty for dancefloor and listening pleasure. Check the sweeping, ’90s-house-style “City Song” with its sexy vocals, and the funky “City Song (Pt. 2, Peace, Love & Harmony)” with its sassy keyboard lines. Terrific album.

– Tommy D Funk “SOUND PUMP” EP u Carloh u Hot Creations Ecuadorian DJ/producer Carloh delivers a heavy-hitting two tracker, and both cuts are pure quality underground house. “It’s Like Before” is the standout with its ’89-style synths and a pounding bassline that was used on Doug Lazy’s “Let It Roll.” Check the thudding drums, jackin’ beat and cool Snap sample (“The Power”) – don’t sleep on this one!

– Tommy D Funk

GUEST REVIEWER: PIERGIORGIO D'ARPINO

DJ TIMES

FEBRUARY 2018

“QUESTION”

38

KH TEXT KH (aka Kieran Hebden aka Four Tet) releases this bomb, good for all occasions when the desire to party is high. The loopedup/sped-up sample of an obscure tune – Bobby Powell’s ultra-funky, 1971 B-side – works perfectly.

It’s fat, dirty groove makes it one of the coolest tracks of the last few months. Irresistible.

Arturo Garces

WANKELMOODS, VOL. 3 u Various Artists u Poesie Musik Another Poesie compilation of gorgeous, emotive house music, this one starts with ethereal, warm grooves (Wayward’s “Orissa”), then kicks some soulful flavors (Worthy’s “Keep Me Up” and Wankelmut & Bjorn Dixgard’s “I Keep Calling”). It plateaus with some delightfully techy moments (Hot Since 82’s hip-grinding remix of Joe Goddard’s “Music Is the Answer”), then lands easily (Sasha feat. Poliça’s dark and ominous “Out of Time” and Hammer’s sweet, minimal “Manaka”). Twenty-four tracks of goodness here.

– Jim Tremayne “SKIN” EP u Royal Flush u Downplay U.K. garageheads, take notice. On this new three-track EP, the title cut delivers a skittering 2-step groove, chopping bars and flowing against melodic keys, funky percussion and bubbling basslines. And don’t sleep on “Hold Me Down” – stylin’.

– Tommy D Funk SYNTHETIC DISCO u

FieldFunk u FieldFunk Records Russia’s FieldFunk delivers a superb album of NuDisco flavors that includes a myriad of influences – lo-fi soul, downtempo, Acid Jazz, broken beat, funk and jazz – all rolled into one unique, leftfield whole. Highlights include the Bristolian flavored “Vapor Soul,” the warped funk of “Connection” and smoked-out groove “Setting Sun.”

Anabel Englund

– Tommy D Funk “RISING” EP u Anabel Englund, Matt Ossentjuk & Human Life feat. Mont

Piergiorgio D'arpino

Blvck u Gari Recs The L.A.-based party crew takes a full leap into proper dance collective with the debut single of its just-launched label. The track distills the slick, dancing-’til-dark vibes of the party into a simmering tech-house groover, with Englund’s vocals vamping over embering synths and a pulsing rhythm.

On the remix front, wAFF takes things to the peak-hour with a furious bass-bombing rework, Shaded goes full-throttle with a teched-out take, and Amtrac turns up the dancefloor drama with a nocturnal Italo-disco flip that could make Giorgio Moroder blush.

– Chris Caruso

A LOOK BACK AT SOMETHING DIFFERENT, VOL. 5.2 u Various Artists

Sasha

u Something Different After celebrating six years and 100 releases in 2017, Something Different offers this superb collection of old, new and future hits. It’s a blend of underground, Nu Disco, deep-tech and tech-house flavors – quality throughout. Highlights include Skeleton Army’s deep-soul “Albie Back,” Matt Masters’ luscious “Piano Lullaby,” and Junior Gee’s tech-house “This Society.” And we’re loving the trippy and smoldering David Duriez Briquerouge remix of Justin Harris’ “Got Time to Move.”

Jazz-N-Groove

– Tommy D Funk “FINE DINING” EP u Arturo Garces

u Jump Recordings

NoCal DJ/producer Garces returns with another uplifting effort. With this fierce three-tracker, Garces delivers that bouncy ’90s house sound with some snappy grooves and lush basslines. The title cut’s the fave, but “Boogie Down” and “It’s Alright” rate as well.

– Tommy D Funk

Eli Escobar

“NO EDE” B/W “SOMETHING” u Dario Rosa u Yoruba Records Afro-house lovers will dig this. “No Ede” takes the dancefloor on a hypnotic journey with smooth beats, tribal sounds, and an infectious, echoey bassline. Then, “Something” features more house flavor, but with funky keys that make this one really move. Splendid.

– Tommy D Funk 4 TO THE FLOOR PRES. SOULFURIC u Various Artists u 4 To the Floor A fantastic selection of classic house cuts from Jazz-N-Groove’s Soulfuric imprint. If you love house, dig in. Highlights include: Soulsearcher’s “Can’t Get Enough!” (Jazz-N-Groove’s Dub Mix); 95 North’s “Let Me Tell Ya”; CeCe Peniston & DJ Fudge’s “I’m Feelin’ U (Subsonic Fudge Dub); and Urban Blues Project pres. Michael Procter’s “Testify” (Mousse T.'s Test-ADub). Wonderful.

– Tommy D Funk

DJ TIMES

FEBRUARY 2018

Wankelmut

Royal Flush

39

40

DJ TIMES

FEBRUARY 2018

MP3s in 6

Compiled As January 9, 2018

NATIONAL CROSSOVER POOL CHART

NATIONAL URBAN POOL CHART

1 Halsey 2 Diana Ross 3 Sam Smith 4 Charlie Puth 5 Post Malone F/ 21 Savage 6 Camila Cabello F/ Young Thug 7 Kelly Clarkson 8 Lee Dagger F/ Sian 9 Kesha 10 Selena Gomez F/ Marshmello 11 Pink 12 Jax Jones 13 D. Vegas F/ Kiara 14 Rihanna 15 Niall Horan 16 Tove Lo 17 J. Balvin F/ Willy William & Beyonce' 18 Emily Perry 19 Dua Lipa 20 LeAnn Rimes 21 Maroon 5 F/ Sza 22 Tom Budin & Luciana 23 Camila Cabello 24 David Guetta And Afrojack 25 Ed Sheeran 26 Avicii F/ Rita Ora 27 Scotty Boy & Lizzie Curious 28 Demi Lovato 29 The Trash Mermaids 30 Portugal The Man 31 Dirty Disco F/ Celeda 32 Raquela 33 N.E.R.D. F/ Rihanna 34 Taylor Swift 35 Stonebridge F/ Hayle Joelle 36 Calvin Harris F/ Kehlani & Lil Yachty 37 Clean Bandit F/ Julia Michaels 38 Mono Mind 39 Kim Cameron 40 Marshmello F/ Khalid

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

Most Added Tracks 1 N.E.R.D. F/ Rihanna 2 Emily Perry 3 MK 4 Camila Cabello 5 Joe Bermudez F/ Louise Carver 6 Axwell & Ingrosso F/ Trevor Guthrie 7 JES 8 Clean Bandit F/ Julia Michaels 9 Diana Ross 10 Taylor Swift

Bad At Love Ain't No Mountain 2017 Too Good At Goodbyes How Long Rockstar Havana Love So Soft Shelter From The Storm Woman Wolves What About Us Breathe Complicated Consideration Too Much To Ask Disco Tits Mi Gente Boom New Rules Love Line What Lovers Do X With U Havana Dirty Sexy Money Perfect Lonely Together Shine Your Love Sorry Not Sorry Cryptic Love Feel It Still To The Dance Floor These Tears Lemon Ready For It Meet In The Middle Faking It I Miss You Save Me A Place Beautiful Silence

Capitol Motown Capitol Atlantic Republic Epic RCA Tazmania RCA Interscope RCA Interscope Smash Roc Nation Capitol Island Universal Dauman Warner Brothers Curb Interscope One Love Enterprise Epic Parlophone Atlantic Interscope 418 Music Hollywood Tre-Star Atlantic Dirty Disco RE Columbia Big Machine 418 Music Columbia Atlantic BMG Side FX RCA

Lemon Boom 17 Never The Same Crazy Enough Dreamer Get Me Through The Night I Miss You Ain't No Mountain 2017 End Game

Columbia Dauman Ultra Epic 617 Records Def Jam Intonenation Atlantic Motown Big Machine

G-Eazy F/A$AP Rocky & Cardi B Cardi B Gucci Mane F/ Migos Chris Brown F/Yo Gotti/A Boogie Wit'Da Hoody Goldlink F/ Brent Faiyaz & Shy Glizzy Kendrick Lamar F/ Zacari Miggos F/Nicki Minaj & Cardi B. Lil Pump Lil Uzi Vert Game F/Jeremih, Young Thug & Sevyn Tk Kravitz F/ Sexton Quality Control F/ Quavo Takeoff & Offset Meek Mill Stefflon Don F/ French Montana Kodak Black F/ XXXtentacion N.E.R.D. F/ Rihanna Yo Gotti Farruko, Bad Bunny & Ryssian Calvin Harris F/ Kehlani & Lil Yachty Cardi B F/ 21 Savage

No Limit Bodak Yellow I Get The Bag Pills And Automobiles Crew Love Motorsport Gucci Gang The Way Life Goes Oh I Space Too Hotty 1942 Flows Hurtin' Me Roll In Peace Lemon Juice Krippy Kush Faking It Bartier Cardi

Most Added Tracks 1 Cardi B F/ 21 Savage 2 Ncredible Gang F/ ft. Nick Cannon Jeremih Ty Money 3 Migos 4 H.E.R. 5 Stefflon Don F/ French Montana

Bartier Cardi Dream Girl Stir Fry Focus Hurtin' Me

1. Zawezo 2. Nacho 3. Pabanor ft Lu-K 4. Karol G 5. Prince Royce ft Farruko 6. L’Angel & J’Moreno 7. Aliya 8. Romeo Santos 9. Becky G & Bad Bunny 10. Pedro Alonso 11. Ala Jaza 12. La Banda Gorda 13. Aliez & MDA 14. Don Perignon 15 Renzo 16. Romeo Santos 17. Nate 18. Alexandra ft Eddy Herrera 19. Magia Caribeña 20. Domenic Marte

Frikiao (Trapbow Remix) Bailame Tu Me Pones Mal Ahora Me Llamas (RMX) Ganas Locas Ando Suelto Bling Bling Imitadora Mayores Ya No Vale Banda Cero Coro Pasan Los Dias Yo Bailo De Todo Baby Dile Imitadora Booty A Dormir Juntitos Botaste La Botella Yo Queria

Radio - Chicago, IL; Manny Esparza n Kahoots - Columbus, OH; Ilan Fong n MetroMix

REPORTING LATIN POOLS

boots - Goshen, NJ; Blake Eckelbarger n Victors - Milwaukee, WI; Chris Egner n Nexus

n Dixie Dance Kings R - Atlanta, GA; Dan Miller n DJ Rafy Nieves - San Juan, PR; Rafy

Nieves n Mixxmasters - Lithonia, GA; Brian Stephens n DJ Laszlo - Las Vegas, NV; Laszlo Szenasi n Pacific Coast - Long Beach, CA; Steve Tsepelis

LOOKING FOR THESE TITLES? YOU CAN HEAR THEM AND BUY THEM AT WWW.DANCEKINGS. COM. JUST CLICK ON THE LINKS IN THE CHART. DDK HAS LIMITED MEMBERSHIPS AVAILABLE

AMD Universal 3 Knots Latin Hits Sony On Top Latin Hots Sony Sony Lopera Music Mayimba More Music Crossover Don Mayimba Sony 226 J&N MC Direct Balance

Most Added Tracks

- Pittsburgh, PA; John Hohman n New York Music Pool - New York, NY; Jackie McCloy

Carlo Cabrera - Nashville, TN n Masspool - Saugus, MA; Gary Canavo n DJ Sticky-

Atlantic Republic Capitol RCA Capitol

NATIONAL LATIN DANCE POOL CHART

1.

2.

3.

4.

5.

REPORTING POOLS

RCA Roc Nation Atlantic RCA RCA Interscope Capitol Warner Brothers Atlantic EOne Republic Capitol Atlantic Capitol Atlantic Columbia Epic Sony Columbia Atlantic

Johnny Ray Ozuna Ilegales Limi T21 ft Elvis Crespo Charlie Aponte

Dejame Salir Se Preparo Llenate De Fe Like Pa’ Mi Gente

JZ Prod.

Universal La Oreja Media Renew Music Corp.

CA

n Latinos Unidos Record Pool n Salsamania Latin Record Pool n Lobo/Bass

Record Pool n Urban Tropics Music Pool n North East Record Pool n Mixx Hitts Record Pool n Ritmo Camacho Record Pool n Ritmo Internacional Record Pool n DJ Latinos Record Pool n Mass Pool n Record Pool Latino n V.I.P. Chicago Record 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

Moudaber

(continued from page 8) is endless. I fire samples and loops and loads of effects and use plug-ins to create big builds in my DJ sets. It makes the experience much more fun. Every time, I create something improvisational and artistic on the fly.

You can never recreate that moment.

Even if I put it exactly the same way, it won’t be the same.”

Having promoted club nights at London’s long-running venue Turnmills—500 DJs for six years running—Moudaber understands how to program a party from dual sides, promoter and DJ. She hosted wildly successful MoodZONE stages at EDC New York in 2016 and at EDC Vegas and at Escape: Psycho Circus

in 2017. Of course, there are also her MoodRAW events, with their stripped-back environment and frillfree production, put the attention on the music.

“It’s nice to musically construct what is before you and after you,” she says. “I’m not the type of person that comes in and does whatever I’m supposed to do without taking into consideration the people around and their musical vibe. I try to adapt and make sense of the transitional period between the one before me and one that’s coming after me. A lot of people don’t do that, and I don’t understand it. It throws people off and it cuts the party.”

In contrast, after three and a half years, “In The MOOD” has become a sanctuary of sorts for Moudaber.

“When I started doing the show, the commitment of delivering a weekly radio show was a very daunting idea,” she recalls. “Now, it’s a ritualistic time when I get to be more creative. The radio platform gives me an opportunity to really dig through my library and play stuff I wouldn’t normally.

When you’re too busy, sometimes things can get out of hand and you lose track of your creative input and that’s what’s driving me more than anything.”

To this end, Moudaber is working on an artist album, which now she

solid array of pro capabilities in terms of interface. For example, you still get XLR master outs, the ability to mix from external phono or linelevel sources, and a MIDI-out connection that provides MIDI-clock capabilities for syncing to external gear.

(And don’t forget Serato’s support for Ableton Link, allowing it to sync to Ableon Live, Reason and others.)

Bear in mind that the DJ-505 requires external power; the DJ-202 is USB bus-powered.

The DJ-505 unlocks the full Serato DJ experience, and even includes a Serato Toolkit license that includes Pitch ‘n Time DJ, Flip, and other goodies as well.

The DJ-202 is where things start getting more basic. For a start, the DJ-202 unlocks only Serato DJ Intro (Serato’s stripped-down version), thus requiring the user to upgrade to the full Serato DJ version to enable

certain advanced features for which Roland has nevertheless provided controls (such as the slicer, and slip mode).

Additionally, the DJ-202’s master outs are limited to RCA connectors — a not-so-subtle commentary on where Roland seems to think this controller fits in the market. Roland also streamlined the effects controls, providing a single knob to control levels across the various effects.

Despite the price and affordability, however, Roland has retained the drum-machine capabilities of the DJ505 and DJ-808 — albeit moving the control from a dedicated TR section like the DJ-505 and DJ-808, and instead folding the capabilities into the multi-function pads under the platters. Not as easy to use, perhaps, but their presence on a controller at this price point is pretty impressive. Otherwise, the DJ-202 provides pretty

feels would be more of an expression of herself than what she put forth with her debut. “Believe was at the beginning of my career,” says Moudaber. “Having something completely off-the-wall out in the market and people recognizing you from it could have been tricky. Now, I want to do something you can listen to in your lounge or bedroom or on a boat and play over and over without becoming bored.

“I feel inspired to do an album when I’m in a little bit of pain, which I am now. I was in a lot of pain when I did my first album, so I created wonders. How ironic is that?”

– Lily Moayeri

Sounding Off

(continued from page 28)

live without. There’s no question it adds value if you have a lot of Roland gear in your line-up that’s compatible with it, but in my opinion, the Ableton Link support in Serato itself provides a broader range of creative options when it comes to syncing a DJ set with another performer, or other sound-producing gear.

The DJ-505 brings forward the DJ808’s on-board drum machine, which was one of my favorite features of that latter controller. The ability to program beats using sounds from Roland’s renowned drum machines and/or samples enables use-case scenarios that simply aren’t easily possible with other controllers. It is essentially a powerful tool to create more seamless and more unique DJ performances across a range of material, and it’s easy and fun to use.

The DJ-505, despite its mid-tier market position, provides a pretty

much the full range of capabilities you might expect of a Serato controller in its price range.

Conclusions: It seems clear that Roland is continuing to carve out an interesting niche in the DJ-controller space by blurring the lines between traditional DJing and artistic performance, empowering DJs to explore new creative territory. While that’s truest of the DJ-808, both the DJ-505 and DJ-202 might narrow the capabilities down the product line, but they don’t dispense with them, and in my view, that’s Roland’s unique competitive advantage.

Given the cost of the DJ-808, it’s nice to see Roland pushing into the broader DJ market, making affordable solutions available to DJs of all stripes.

With the price points of these two units, it’s a pretty sure bet that the Roland logo is going to start appearing in a lot more DJ booths.

Helluva business model, huh?

Miami Music Week, Next Month in DJ Times

Rukes.com

Before you even announce its talent lineup.

pikzelz

42

Imagine selling out a 3-day fest...

EDMkevin

DJ TIMES

FEBRUARY 2018

Ultra Music Festival: The Season Begins

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