DJ Times June 2017, Vol 30 No 6

U P D AT E S

AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988

JUNE 2017

$4.95 US $6.95

CANADA

MIXING & SET-BUILDING 12 TIPS & TRICKS

WHY MOBILE DJS LOVE OUTDOOR GIGS

PLUS: n SAYMYNAME n MAD VILLAINS n APPLE’S MUSIC ECOSYSTEM n SENNHEISER EVOLUTION WIRELESS n VENUE REFERRALS FOR DJs

NOTABLES…MILESTONES

Remix Awards: Joe Duveen, E-Funk: Soul Clap set to & Steve Aoki spin fest & afterparty.

Lodato.

Legend: Kevin Saunderson leads a big local bill.

Steven Pham

Fans who vote (in person and online) and fans who keep up with America’s Best DJ on Facebook and Twitter can win a slew of prizes. Additionally, one lucky voter (chosen randomly) will win a trip for two to the ABDJ closing event.

Out of the 100 U.S.-based jocks nominated for the America’s Best DJ title, eight will perform at Movement.

In addition to last year’s ABDJ winner (Barclay Crenshaw aka Claude VonStroke), they include Cajmere (aka Green Velvet), Carl Craig, Honey Dijon, Josh Wink, Kevin Saunderson, Matrixxman, Soul Clap, and Stacey Pullen.

At Chicago’s Addams-Medill Park on June 9-11, Spring Awakening Music Festival will present a dozen ABDJ nominees. They include Marshmello, Ghastly, Audien, Diplo, Krewella, Mija, Jauz, GRiZ, Kill the Noise, Victor Calderone, J.Phlip and DJ Godfather.

SAMF is produced by React Presents.

On July 21-22 at Sports Authority Field at Mile High, Global Dance Festival will present a weekend of music, including performances from seven ABDJ nominees – Green Velvet Porter Robinson, 3lau, Deorro, HeRobust, Z-Trip and two-time ABDJ winner Kaskade. Global Dance Festival is produced by Triad Dragons.

On August 12-13 at Baltimore’s Pimlico Race Course, Moonrise Festival will present at least five ABDJ nominees. At presstime, they include Carnage, Seven Lions, Porter Robinson, Morgan Page and two-time ABDJ winner Markus Schulz. Moonrise is produced by Steez Promo and Glow.

Stay with America’s Best DJ all summer long and maybe you, too can be a winner.

Paxahau

By Jim Tremayne Detroit – If it’s Memorial Day weekend, we must be headed back to the Motor City.

Indeed, Movement festival—set for May 27-29—will bring many of the electronic scene’s biggest talents to Detroit’s Hart Plaza for three days of music on five lively stages. Once again, Movement will serve as the launch event for the America’s Best DJ promotion and its Summer Tour. Sponsored by Weedmaps and DJ Times, the 15-event tour will support an online vote that will answer the annual question: Who’s America’s Best DJ? (To vote and see the latest tour details, please visit AmericasBestDJ.net.)

With more than 100,000 fans expected to pack Hart Plaza, Movement festival will present plenty of hometown heroes (like The Belleville Three), plus top international acts like Carl Cox, Richie Hawtin and Testpilot (aka deadmau5). Additionally, plenty of afterparties at city venues like the TV Lounge, Masonic Temple and The Fillmore will keep Motown hopping into the early morning all weekend long. Movement festival is produced

by Paxahau Productions.

At Movement and other tour-related events—like Chicago’s Spring Awakening Music Festival, Las Vegas’ Daisy Carnival, Denver’s Global Dance Festival and Baltimore’s Moonrise Festival—DJ Times will maintain a dedicated America’s Best DJ exhibition booth and collect paper-ballot votes from fans supporting their favorite U.S.-based DJs. Both the voting and the tour will run from Memorial Day to Labor Day, and the America’s Best DJ Award Show/Closing Party will take place Columbus Day Weekend in October.

Tasya Menaker

MOVEMENT: AMERICA’S BEST DJ LAUNCHES IN DETROIT

Hands Up: Movement will draw 100,000 fans.

JUNE 2017

DJ TIMES

Carl Craig ready to rock Hart Plaza.

Douglas Wojciechowski

Atlantic City, N.J. – Superstar DJ/producer Laidback Luke will present a special “Keynote Q&A” at DJ Expo. On Aug. 14, the Dutch hitmaker/Denon DJ brand embassador will discuss his unique path to success before taking questions from Expo attendees. DJ Expo is set for Aug. 14-17 at the Atlantic City Convention Center—it will feature exhibits, seminars and evening events. For the latest info, please visit www.thedjexpo.com.

Ruud Baan

Laidback Luke @ DJ Expo

3

VOLUME 30

NUMBER 6

12 Underground Original

After More Than Three Decades of DJing, Producing & Gigging, Josh Wink Keeps Making Profound Sounds

BY BRUCE TANTUM

20 The Great Outdoors

DJs Are Booking More Open-Air Gigs Than Ever – Here’s Why

BY JEFF STILES

22 The Right Flow

Looking to Improve Your Mixing & Set-Building? Here Are a Dozen Tips & Tricks for DJs of All Stripes

BY TONY FERNANDEZ

DEPARTMENTS 7 Feedback

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

26 Making Tracks Apple’s Music Ecosystem

28 Sounding Off

Sennheiser’s Evolution Wireless D1 System

30 Mobile Profile D.C. Firefighter Rocks Pa.

32 Business Line

New Products from Denon DJ, ADJ & More

38 Grooves

Phat Tracks from Sasha, Soul Clap & More

41 Club Play Chart

DJ TIMES

JUNE 2017

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

4

SAMPLINGS 8 SAYMYNAME Hard Trappist

10 In the Studio With…

Mad Villains

Cover Image by Jos Kottmann

34 Gear

Contents Image by Joshua Hanford

How DJs Amp Up Referrals From Venues

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FROM THE EDITOR

On Vast Perspectives As long as I’ve been at DJ Times—nearly 27 years—Josh Wink has always been in the picture. In fact, the Philadelphia-based DJ/producer has been making records and touring nearly as long as DJ Times has existed. His first release—E-Culture’s “Tribal Confusion,” a 1990 collab with King Britt— dropped on the Strictly Rhythm label a little more than a year after this magazine debuted in late 1988.

We can both celebrate our vast perspectives or, as Wink does in this month’s cover story by Bruce Tantum, we can simply say, “Damn, I’m old!” And we’ll sheepishly cop to that as well, though we’d like to still believe that with age comes wisdom. With a career that any professional DJ/producer would admire, it’s obvious that Wink certainly has plenty of that. Truly, he’s one of the very few talents whose music fits in a variety of genre-slots – house, techno, acid and more – and, as it happens, much of that music really does stand the test of time. (Check Bruce’s sidebar on Wink’s top dancefloor moments on Page 14.)

Wink’s latest single is a rousing, but taut acid-house track called “Resist” on his Ovum Recordings.

Though he’s a little coy about it in his interview, the implication is fairly obvious – it speaks to the moment, as few dancefloor tracks do. So, once again, DJ Times is proud to present one of dancemusic’s most enduring talents, Josh Wink.

In Samplings, new contributor Amanda Ross discusses the rise of hardtrap with Dayvid Sherman (aka SAYMYNAME), the subgenre’s main practitioner. Also, Detroit-based writer/artist Rachel Skotarczyk connects with American ex-pat Adriane Jackson (aka Mad Villains), who explains how his move across the pond to Leeds, England, sharpened his approach to house music.

In our review columns, Boston-based DJ Paul Dailey tests out Sennheiser’s Evolution Wireless D1 system. Meanwhile, in Making Tracks, Denver’s Wesley Bryant-King finishes off Part 2 of his look at Apple’s unique music ecosystem – this month, it’s about “lock-in,” and updates to Logic Pro X 10.3 and GarageBand for iOS 2.2.

In a feature aimed at DJs of all stripes, veteran jock Tony Fernandez offers a dozen tips on mixing music and effectively building sets. Look for Fernandez to helm his “Next Phase: Advanced Mixing Seminar” at DJ Expo ’17.

From the world of the mobile entertainer, our Iowa-based scribe Jeff Stiles asks a panel of jocks, “Why are outdoor events becoming so popular?” In Business Line, we examine how mobile jocks can maintain a hold on getting referrals from event venues. And in Mobile Profile, we meet with Mick Uranko, a D.C. firefighter/Pennsylvania DJ – he’ll also be moderating his first seminar at our upcoming DJ Expo, Aug. 14-17 at the Atlantic City Convention Center in Atlantic City, N.J. Of course, we encourage all DJs – professional, part-time and aspiring – to check out DJ Expo, which will present over 100 exhibitors, nearly 30 seminars and three nights of evening events. In the coming weeks and months, we’ll be announcing lots of exciting new developments, so stay tuned and please visit www. thedjexpo.com for the very latest.

And, in closing, we offer a welcome to Weedmaps, our new title sponsor for America’s Best DJ Summer Tour. Yes, it’s a different America in many respects and the success of Weedmaps.com is proof of that. And for those who require the most herbal of essences, Weedmaps will help find the way for you. As always, the America’s Best DJ Summer Tour will kick off at the Movement festival in downtown Detroit. Of course, DJ Times will maintain a dedicated activation booth where we’ll hand out the magazine and take votes for fans who want to vote for America’s Best DJ. See you in Hart Plaza!

DJ TIMES

JUNE 2017

Cheers,

6

Jim Tremayne Editor, DJ Times

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

art director Janice Pupelis jpupelis@testa.com

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

production manager Steve Thorakos sthorakos@testa.com

assistant editor Brian Bonavoglia bbonavoglia@testa.com chart coordinator Dan Miller dmiller@testa.com contributors Wesley Bryant-King Chris Caruso Shawn Christopher Paul Dailey Reed Dailey Chris Davis Tony Fernandez Tommy D Funk Michelle Fetky Jennifer Harmon Josh Harris Greg Hollmann Mike Klasco Michelle Loeb Evan Maag Duanny Medrano Lily Moayeri Phil Moffa Amanda Ross Rachel Skotarczyk Jeff Stiles Emily Tan 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 Sound & Communications The Music & Sound Retailer ClubWorld Blue Book America’s Best DJ The DJ Expo IT/AV Report Convention TV News VTTV Studios

digital art director Fred Gumm fgumm@testa.com social media coordinator Matt Van Dyke mvandyke@testa.com

advertising manager Jennifer Diel jdiel@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 © 2017 by DJ Publishing, Inc., and must not be reproduced in any manner except by permission of the publisher. Websites: www.

June 2017

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FEEDBACK U P D A T E S

AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988 MAY 2017

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table career—which includes hits and remixes for the likes of Mariah Carey, Robin Thicke, Madonna and Nicki Minaj, and three full artist albums. Additionally, he’ll talk about his approach to music, talent-scouting, DJing and life.

His talent-scouting skills have served up an impressive array of big hitters on their way up – they include Avicii, A-Trak, Bingo Players, Knife Party, Afrojack and Steve Angello, among others. He has emulated that role in his capacity as founder and A&R of his own Mixmash Records, renowned for presenting music

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 question that is not asked.

DJ Expo Update DJ Expo is set to run Aug. 14-17 at the Atlantic City Convention Center in At‑ lantic City, N.J. Produced since its 1990 inception by DJ Times and its publisher Testa Communications, DJ Expo will present an exhibit hall full of the lat‑ est DJ-related technologies, nearly 30 seminars covering the most pressing industry topics, and three evenings of sponsored parties and events featuring top talents.

While the Atlantic City Convention Cen‑ ter will house DJ Expo seminars and ex‑ hibits, The Tropicana on Atlantic City’s famed Boardwalk will serve as the host hotel for attendees – free shuttles will run back and forth all day. Additionally, The Trop’s nightclub venues will host sponsored Expo evening events, like “The Entertainer of the Year” competi‑ tion, which will take place Aug. 16 at Boogie Nights – “The Ultimate ’70s and ’80s Dance Club.”

Hosted by new MC Darryl “Jake” Jacobsen of Affair 2 Remember in Hazlet, N.J., the newly branded event will be‑ stow awards in a variety of categories to the best of the best from America’s Mo‑ bile Nation. In addition to its new name, new host and new venue, this year’s competition will feature a new perfor‑ mance format, a new judging panel and new prizes for the winners.

Onto the Daytime Schedule: Superstar DJ/producer Laidback Luke will present a special “Keynote Q&A” on Monday, Aug. 14. The Dutch artist/Denon DJ brand ambassador will discuss his no‑

trends of the past, present and future.

A medal-winning kung fu artist, Luke remains a huge proponent of a mentally and physically healthy lifestyle. Bring your questions for Laidback Luke and prepare to be inspired.

Other DJ Expo Seminars include: Brian Buonassissi’s “Do Like Disney: NextLevel Customer Service” will help pol‑ ish your DJ company’s professionalism – and earn more business.

Adam Dutch’s “Mashups: Playing & Producing” will explain the benefits of mashups for DJs of all stripes.

Claudia Godi’s “DJ Wellness: Posture & Prevention” will demonstrate tech‑ niques that promote long-term well‑ ness—bring your yoga mats!

Tony Fernandez’s “Next Phase: Advanced Mixing Seminar” will reveal the most modern techniques of set-building and mixing for DJs of all stripes.

Jerry Bazata’s “Successful Small-Business Owners Do These 5 Things” will reveal proven steps that’ll secure DJs a bright future. Fox Feltman’s “Get ’Em to the Dancefloor” will reveal tactics that’ll fill the floor and keep it lively.

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SAMPLINGS

SAYMYNAME: HARD TRAPPIST

DJ TIMES

JUNE 2017

Dayvid Sherman aka SAYMYNAME.

8

Dayvid Sherman doesn’t seem phased by his title – “The Godfather of Hardtrap.” If anything, the L.A.-based DJ/producer (known professionally as SAYMYNAME) seems to embrace it. But that’s what happens when you’ve essentially invented a sub-genre that’s quickly drawing fans.

Since bursting onto the scene a couple of years back, his trailblazing trap productions have turned heads, seeing his work crash-land on prestigious labels like Mad Decent, Armada and Spinnin’. SMN’s most popular track, “Wanted,” an uptempo collab with Mercer, received support from Martin Garrix and took off. But he’s mostly known for his remixes.

On Mad Decent, it’s his ominous take of Slander’s “Dead.” SMN took the original lead and twisted it up with his trademark super saw waves for destructive results. Last Summer’s anthem on Armada, “Follow” by Mike Hawkins featuring Disfunk and Oisin, received a naughty SMN hardtrap rework that maintains the magic of the original vocals. And earlier this year, his rattling remix of Breathe Carolina & IZII’s otherwise poppy “Echo” came out on Spinnin’. His latest Spinnin’ release, “Swerve,” goes in with a savage vocal flex from Crichy Crich, while arena-filling synths and crystal-clear hi-hats create the vibe – just in time for festival season.

Accelerating through 2017, SMN continues to captivate with his over-the-top stage presence, searing Dutch-influenced synths and a flair for the dramatic. With a busy release schedule coupled with an even busier gig itinerary, we sat down with Dayvid Sherman to discover his preferences behind the glass and at the controls.

DJ Times: When did hardtrap come about?

Sherman: At the beginning of SAYMYNAME, I had first started experimenting with what some

call trapstyle. I had called it hardtrap, but a lot of fans prefer trapstyle, literal for taking a hardstyle kick and switching into the 808 trap beat – and it just worked. It picked up with artists like Yellow Claw, Flosstradamus and others, but I think the winning combination that brought hard music into the scene was taking that hardstyle lead and really utilizing it over the 808 kick in a trap beat.

DJ Times: How were audiences reacting to the blend of styles?

Sherman: Since trap is more familiarized in our scene out here in Los Angeles, even if the fans weren’t into hardstyle, they were able to connect with the trap aspect of it. The harsh screech leads and the detuned saw waves were camouflaged into the trap culture, and that’s how hardtrap really kinda just took off.

DJ Times: DJing or production – which came first?

Sherman: I started DJing in the 5th grade when my father gave me his Numark mixer and two Technics 1200 turntables. He taught me how to mix and scratch, and I would come home and practice every day in middle school.

DJ Times: What’s your ideal DJ set-up these days?

Sherman: Three Pioneer CDJ-2000NXS [digital DJ turntables] and a Pioneer DJM-900NXS2 mixer. I’ll have two CDJs left of the mixer and the third on the right—channels 1-2-4.

DJ Times: When did the beat-making come into play? What were you using, originally?

Sherman: I started when I was 14, on a Mac, just arranging samples on GarageBand to make beats. I still produce on a laptop, but now I have [Propellerhead] Reason, my M-Audio keyboard

and monitors.

DJ Times: What was your last a-ha moment in the studio?

Sherman: I forgot to quantize one of the synths in my melody. It was slightly offbeat, which created this cool delay effect.

DJ Times: Do you have a favorite key to write in?

Sherman: D minor!

DJ Times: How do you like to organize your workflow?

Sherman: I start with a melody and the break, which is the foundation of the whole track for me.

Then I create the build and drops. I’ve always saved the intro and outro for last, but my process can change sometimes.

DJ Times: When do you normally get to the studio for work?

Sherman: I’d say, 1 p.m. I really prefer to write music between 9 p.m. and 5 a.m.

DJ Times: Are there any genres outside of trap or hardstyle that you feel have influenced your sound recently?

Sherman: Yes! I’ve been listening to a lot of trance lately, mainly on the Who’s Afraid of 138?! label. A State of Trance releases and dubstep is also influencing my sound at the moment. I just wrapped up a hybrid dub/hardtrap original tune.

DJ Times: Where is your dream DJ destination?

Sherman: Defqon.1 [festival] in Australia.

DJ Times: Who are some DJs that you look up to?

Sherman: I look up to DJ Snake, Skrillex, Carnage, The Chainsmokers, and Martin Garrix. They’ve shown so much love and support for my music in the last year.

– Amanda Ross

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IN THE STUDIO

School Daze: Mad Villains uses his “uni” studio.

Mad Villains:

DJ TIMES

JUNE 2017

SOMETHING ABOUT HOUSE

10

“There was a conspiracy going around that I stole the name from MF Doom,” laughs Mad Villains. “The reality of it is that one day I was sitting in my pal’s house and the name just come to my head randomly. I had only just heard about Doom and didn’t have a clue that he and Madlib had a side project with a similar name until like two, three years in. Luckily, we are two completely different scenes. Google does a reasonable job of splitting us up.”

Optimized searches conclude that there’s no mistaking identities – Mad Villains is house music and his is a brand that uniquely melds two deep dance-music cultures – U.S.A. and the U.K. Mad Villians (aka 22-year-old Adriane Jackson) grew up in San Bernardino, Calif., and became aware of the genre there – “The disco-house scene was poppin’,” he recalls. But five years ago, he moved to Leeds, England, to re-connect with his father and attend university.

“English people think I’m mad when I say this,” he says, “but moving out here is probably the best thing that’s happened to me—not just in the sense that it has benefited my music career, but also in the sense that it allowed me to come and live with my dad, whom I hadn’t seen for years. I’ve learned so much valuable life skills from him these last five years.”

Being exposed to an entirely different scene has helped Jackson’s sound develop.

It’s a musical direction that continues to mature, the brunt of which is weighted with bottomless U.K. bass.

Quick turns and clever samples give a modern twist to techniques rooted in classic deep house and techhouse. As with any natural evolution, the seamless suddenly becomes its own thing – a winning amalgamation of the “tried-and-true” with a particular breed of the new. For a kicking example, check his 2016 release “Something About House.”

With an already estimable amount of releases—on Love & Other, Toolroom, and Madhouse, to name a few labels—he recently dropped his Hit the Club EP on the Regression Sessions imprint, and there’s much more on the way in 2017. So, as he juggled school, gigs and studio time, we recently caught up with Mad Villains.

DJ Times: What’s it like being a DJ in Leeds?

Jackson: I’m so glad I chose to go to [university] in Leeds. It’s like the London of the north, really. Music taste here is really diverse and has a lot to offer.

I’ve seen so many sick, low-key artists booked here, as well as high-profile artists. It’s one of the most student-oriented cities in the U.K., so there are a lot of creative and like-minded people here. I play at Canal Mills a lot with the Regression Sessions crew and I’ve enjoyed the crowds thoroughly every time!

All positive vibes.

DJ Times: What is house music to you? How do you feel about the classics vs. the current trends?

Jackson: I just see it as a powerful genre of music.

I respect every different style, from every era that I have heard. It’s funny ’cause the current trend is the classics, really. Things have come full-circle, just more refined and modern – unless your making lo-fi house or something like that.

DJ Times: Major inspirations?

Jackson: In no relevant order, Broke One, Dale Howard, Lone, Kaytranada, Q-Tip, Todd Edwards, A1B—formerly A1 Bassline—and so many others.

DJ Times: What’s your studio process?

Jackson: I usually start by writing an idea for the drop or main section of the track, writing different drum ideas within a, like, eight- to 16-bar loop, then adding in more musical elements like chords, pads, arps, vocals, etc., then a bassline idea. Then, I go from there and start arranging. Sometimes I might think of a bassline or melody first, but that’s only if I heard a specific track that’s inspired me.

DJ Times: Your studio set-up?

Jackson: I am lucky enough to have access to the studios at my uni [Leeds Beckett University], which have all sorts of cool outboard gear. I’m producing solely on Ableton Live these days. I do a fair bit of (continued on page 40)

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DJ TIMES

JUNE 2017

UNDERGROUND

ORIGINAL

AFTER MORE THAN THREE D E C A D E S OF DJING, PRODUCING & GIGGING, JOSH WINK K E E P S M A K I N G P R O F O U N D S O U N D S

BY BRUCE TANTUM “I had to make my son breakfast, and then I noticed that his brand-new bike had a flat tire, and so then I had to walk him to school, and then.…” Josh Wink, mellow-toned as ever despite a hectic morning, is laying out the reasons why he’s ever-so-slightly late for our phone interview. But really, there were no explanations necessary—if anyone’s earned the right to be a bit behind schedule, it’s this beloved clubland vet.

Wink’s been at this game for decades—ever since helping to nurture his native Philadelphia’s rave scene in the late ’80s, his life has been a whirlwind of electronic-dancemusic activity. For instance, there’s his label, Ovum Recordings, founded in 1994 with good friend King Britt—over the years, it’s built an unparalleled discography, nearly 300 releases strong, that covers a wider range of house, acid and techno than most any other U.S. imprint you could name. There’s his own, equally varied productions, which includes such beloved ’90s-era mind-blowers as “Higher State of Consciousness” and, working as Size 9, “I’m Ready,” along with more recent groovers like 2013’s tough-as-nails “Balls” and the just-released, acid-jacking “Resist.” Then there’s Profound Sounds, his longtime Sirius XM show that’s been serving up live mixes culled from his live sets since 2010.

Which, of course, leads us to what might be the most important facet of Wink’s career: his years of service as a globe-trotting, party-starting DJ. From sun-kissed festivals to throbbing warehouses, from the sandy shores of Ibiza to the gritty streets of Detroit—he’ll be there in Hart Plaza on May 29 to ply his trade at the Movement festival—he’s been purveying his 303–laced rhythms for longer that many of his peers have been alive. “2017 marks 30 years that I’ve been working in clubs,” he says midway through our conversation. “Damn, I’m old!” But even though he’s just recovering from a busy weekend that saw him zooming from San Francisco’s Halcyon to Arizona’s Phoenix Lights festival to Denver’s Beta Nightclub and back home to family life in Philly, the 47-year-old DJ/producer still exudes a youthful enthusiasm—tempered with the wisdom that a lifetime in dance music can bring.

DJ Times: As someone who’s a member in good standing of America’s house and techno underground, yet who regularly plays on EDM-heavy festival lineups, what’s your take on the current scene? Have you noticed a shift from the mainstream back towards the underground in recent years?

Josh Wink: Well, EDM is still what’s there. It’s in movies, it’s in commercials, it’s on the Grammys, it’s everywhere—that just the way it is. I’m not one to say that’s a good thing or a bad thing, and people can make their own choices. All I know is that since I’ve been doing Profound Sounds, people—young people in their early 20s—have been coming to me, telling that they were into EDM, but then they heard my show, saying, “Wow, I never knew about you before, but I was really inspired.” So through my experience, yes, but I don’t really know. I’m not really sure if EDM is a gateway drug.

DJ Times: It sounds as if you’re a bit hopeful, though.

Wink: Sure, but there are a lot of people who are into one thing, and one thing only. They’ll be at a festival and just stay at the main stage, and they don’t really care about what else is going on. And there’s certainly nothing wrong with the partying, and jumping up and down, and singing along with the lyrics to songs that takes place at the main stage. I was raised as a mobile DJ, so I do know the importance of entertainment.

DJ Times: You were quite young when you started in the mobileDJ business, right?

Wink: I was 13. I was basically an apprentice, not really DJing—except when my boss had to go to the bathroom or something. There were weddings, bar mitzvahs, bas mitzvahs, Sweet-16 parties, school parties, things like that. I learned the ins and outs, and it was fun. I found out that I wanted to be a part of it.

DJ Times: How did you transition from that world to clubland?

Wink: I eventually bought his equipment, and since the early- and mid-’80s, I had also been buying music that wasn’t necessarily the Top40 records that we had been getting for the bar mitzvahs. I was into all kinds of music—reggae, punk rock, alternative, new wave and hip hop.

DJ Times: You had pretty wide-ranging taste as a kid!

Wink: Yeah, but it was the new wave and hip hop that really hit me.

There were lyrics and drum machines together, which was new at the time. To hear an 808 and a 909 in hip hop was just amazing to me, and all those electronic bands from Europe were, too.

DJ Times: Do you remember which bands you were listening to?

Wink: Oh, there were a lot. Depeche Mode, Section 25, New Order, OMD, Heaven 17—all those bands that were mixing synthesizers and drum machines with guitars and vocals. Then there was house music, which then was coming in from Chicago and New York. I started going to house parties once they started happening, and at the same time I was going to block parties where hip-hop people like Cash Money and Jazzy Jeff would be battling it out. There was a constant progression and development of music at that time.

DJ Times: When did the DJing begin?

Wink: I started doing school parties, and by around ’87 or ’88 I started doing warehouse parties with my friend Blake, who I was a bicycle messenger with. I was playing house, funk, hip hop, soul—we

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E-Culture – “Tribal Confusion” [Inhalation Mix] (Strictly Rhythm, 1990): This is the track, along with its equally gorgeous flipside, “Unification,” that started it all. Produced with his fellow Philly polymath King Britt, it’s a subdued Afro-tinged head-nodder imbued with the dreamiest of dream-house vibes.

Size 9 – “I’m Ready” [Remix Version] (Ovum Recordings, 1995): Borrowing a pair of now-familiar vocal snippets from B Beat Girls’ 1983 drum-machine classic, •”For The Same Man,” this one’s graced with a propulsive drive that borrows equally from Lil Louis and DJ Pierre. But what really makes this track rock is one of the biggest breakdowns of the Wink discography.

Winx – “Don’t Laugh” [Live Raw Mix) (Sorted, 1995): Released on the Nervous Records’ techno-friendly Sorted label, “Don’t Laugh” boasts the barest of ingredients—a stripped-down beat, a onenote 303 bassline, and an evil-to-its-core cackle, and not much more.

Mix those elements together, though, and the effect is devastating.

Wink – “Higher State of Consciousness” [Version 3 Tweekin Acid Funk] (Strictly Rhythm, 1995): He’s since regretted the track’s success—how do you follow up what’s perhaps the ultimate breakbeat-acid rave track ever committed to vinyl?—but “Higher State of Consciousness,” the anthem that elevated Wink to superstar status, might be his masterpiece.

Wink – “Stay Out All Night” (Ovum Recordings, 2008): A straightforward deep-house bump sprinkled with flecks of jazzified organ licks and just a hint of Wink’s ever-present 303, this floor-filler ebbs and flows and twists and turns over its 10-minute run—it kind of makes you want to fulfill the promise of its title.

Josh Wink – “Balls” [Big Mix] (Ovum Recordings, 2013): After a period of relative studio silence, Wink came back strong with this growling monster of a festival-rocker, a rough and raw tribal-techno freight train loaded with his arsenal of brain-melting trickery. “Big” ain’t the half of it.

– B.T.

Photo by Joshua Hanford

DJ TIMES

JUNE 2017

Fresh Half-Dozen: A Generation of Wink Classics

Make Mashups!

On our exclusive Expo tutorial “Play & Produce Mashups,” DJ Adam Dutch will deliver vital production techniques & advanced DJ mixing tips.

3

SEMINARS

new venue Atlantic City Convention Center

2

Embrace Wellness!

On “DJ Wellness: Posture & Prevention,” exercise physiologist Claudia Godi will demonstrate pre-

new

vention techniques for DJ-related health issues.

same mission

AUGUST 14-17, 2017

Sharpen Your Sets!

Tony Fernandez’s “Next Phase: Advanced Mixing Seminar” will reveal the most modern techniques of set-building & mixing for DJs of all stripes.

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th e d j e x p o. co m Other seminars include sponsored sessions from DJ Expo exhibitors. Stay tuned for more DJ Expo announcements. For the latest on DJ Expo ’17, please visit www.thedjexpo.com.

JUNE 2017

DJ TIMES 16

would really mix it up. By later in the ’80s, we were doing more acidhouse things; we were getting more involved with the kind of music that was coming out of Chicago and England. But I always wanted to play in a nightclub. I really wanted my name to be on a club flier in Philly. I got a job at a club as a barback when I was 18, washing glasses and stocking beer—but I was always giving tapes to the manager.

DJ Times: What club was this?

Wink: It was a club called Memphis, which isn’t around anymore.

It was the alternative club—a place that played an industrial, kind of Wax Trax! sound, along with house music. It had a very mixed clientele. Anyway, I had already taught myself how to beatmix on a pair of belt-driven turntables, and one night the DJ got sick and couldn’t come in, and they let me fill in for him.

DJ Times: Do you remember what you played that night?

Wink: Well, at the time, records would be at the club—the owner would buy music for the DJs, and the records would just be left there.

I was so nervous and excited, I don’t really remember exactly what I played, but it was all house and alternative music. I started doing more fill-in gigs, and then Blake heard that there was a DJ named Gigi Meoli who was leaving one of the three after-hour clubs we had in Philadelphia, a really unique place called the Black Banana. It was another mixed place—socially, sexually, every way. It was kind of like Philly’s Studio 54, only in the ’80s. Blake knew the manager, I gave the manager a tape and I got a job there playing Thursday nights. Then they gave me Fridays as well, and then another club opened up and I got a night… that’s when the ball started rolling, around 1989.

DJ Times: And you were still technically underage.

Wink: Yeah, you had to be 21 to go to the clubs, but you could work in places that served liquor starting when you were 18. I didn’t drink anyway.

DJ Times: It wasn’t long after this period that you started producing, right?

Wink: Well, I figured that I’m playing all this music by other people—why not make my own? I had all these ideas that I wanted to get out. But I was going to college at Temple University at the time, and I was a bike messenger, and I was working in nightclubs.

DJ Times: You had a packed schedule.

Wink: I was certainly busy. And around this same time, I also wanted to get my name on some New York fliers as well. My first gig in New York was at Limelight, at the Future Shock party with Lord G, RePete and Damon Wild. I wasn’t really known yet, so the only way I could I could get these gigs was to hire a bus, get 40 people from Philly and bring them up. It was hard.

DJ Times: And expensive, too, I would guess.

Wink: Yes, I would. I charged people something like $25 for the trip and entry into the club. I would just make enough money to cover the bus—but because I was bringing people in, I would get a guest spot at the club. That’s when I realized that if I really wanted to play outside of Philly, I had to make music. That was the only way for people to know your name, by people all over the world buying your records.

DJ Times: What was your very first production?

Wink: That was the E-Culture EP that I did with King Britt, produced in 1989 and released on 1990.

DJ Times: How did you know King?

Wink: We had been friends for just around two years at that point. I met him through Blake as well. Blake was like, “You gotta meet my friend King—he’s the 12-inch buyer for Tower Records, and you guys would really get along.” We just clicked.

DJ Times: That E-Culture record came out on Strictly Rhythm, which was already pretty prestigious by that time. How did you manage to land your very first release on a label like that?

Wink: King had a relationship with [Strictly A&R exec] Gladys Pizarro through his job at Tower. We made the song, he sent it to Gladys, and that was it. It was quite different than the New York house that Strictly was known for, but they always had a good ear for all kinds of music. After that, things started happening—we were able to travel, to DJ other places, to make our own music and to start Ovum Recordings.

DJ Times: You were obviously playing vinyl in those early days, but what DJing methodology do you use now?

Wink: I use Traktor as my digital record box, and I still use CD players, using their pitch control to adjust the tempo—so it’s a bit old-school. I need to be hands-on—I’m not a push-the-button kind of (continued on page 40)

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OUTDOORS

THE GREAT

By Jeff Stiles

DJS ARE

DJ TIMES

JUNE 2017

BOOKING

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It’s graduation time again… meaning plenty of ceremonies and parties on tap for mobile entertainers to play. So we decided to ask DJs from around the country about the status of outdoor parties in the 21st Century.

Have they changed in recent years? What’s the best way to book them? Are discounts offered?

And does this market compare to regular indoor gigs?

We were able to reach DJs from both coasts, plus a couple inland jocks about their outdoor bookings.

Down in Fairhope, Ala., Jason Bishop of Code 3 Entertainment says that summers along the Gulf of Mexico tend to be hot and humid. While this may tend to result in fewer inside events such as wedding receptions (due to the need for formal attire), it does open up his calendar for each gigs.

“Our summer events have actually stayed consistent here in our market,” says Bishop. “Our outdoor events in the summer tend to involve water, such as a pool party or beach parties on the beautiful Gulf. Meanwhile, we don’t see many summertime weddings due to the heat.

“Instead, it’s… no shoes… no shirt… no problem.”

In order to help book more of these summertime beach parties, Bishop says it’s important to both develop relationships with venues and to also target the possibilities of beach parties on a website.

“Having a good website with clear, detailed pictures of people actually having fun is essential,” he says. “We get a lot of referrals just from our website. Sure, weddings are our bread and butter, so we tend to show a great number of wedding photos, but you have to be sure to post photos of other types of events you do as well, just so your potential clients can see your wide range of flexibility as an entertainer.

“You might be the best party MC in town, but if the potential client only thinks you do weddings, you might not get the call. “ As for developing profitable relationships and networking with facility managers, Bishop says his company was able to get a gig for his city’s annual July 4th fireworks show simply by showing up for an impromptu vendor meet-and-greet with facility managers.

“At this venue we’ll have a captive audience of thousands,” he says, “so it will be a great chance to

MORE OPEN-AIR GIGS THAN EVER — HERE’S WHY.

clear, detailed pictures of people actually having fun is important to generating gigs online.”

— Jason Bishop, Code 3 Entertainment

chosen. Based on the rules of the venue, size of event and the amount of coverage they would like, that determines what route to go with sound.

“I typically include dance lighting with all events unless it’s unnecessary [daytime]. I do require a covered area or tent for myself and my gear [on my contract], so my clients understand what they need to provide me [inside or out].”

As far as upselling his music for a party outdoors, he says he never really has had to consider that.

“I provide the same service no matter where the event takes place,” says Tiegs. “These events pay the same in this market, and I don’t know why anyone would charge more or less for an outdoor event unless they needed extra reinforcement or were providing something significantly less than they would indoors.

“I would think they already cost the clients more overall because they have to pay for tents and other extra things an indoor facility might already provide.

“Although I think we are a little different here in the Northwest—we actually have four seasons and the summer is the nicest, but still have a Plan B in case of bad weather on any outdoor events.”

Over on the East Coast, Scott Goldoor of Signature DJs in Plymouth Meeting, Pa., says the number of their outdoor events has remained essentially the same over the past few years.

“However, this year, one of our accounts has provided us with about seven or eight additional parties,” he says. “This particular one is a private country club that books us for member pool events. We provide entertainment for adults and children alike—games, activities, contests, trivia— and often will coordinate with the pool director to do pool games and contests.

“Most of these specific events are four hours in length. Of course they’re weather-dependent; however, they can always move things indoors

since they plan on having an elaborate spread of food, BBQ and grill specials and such for their members.”

Goldoor says his company also does about a dozen outdoor parties with a local public swim and golf club. “This club books us and pays us directly,” he says, “and most of their events are corporate parties, swim events and schools that bring a certain grade or entire school for an endof-year party. We entertain at these events from two to five hours, and sometimes six hours. This is mostly just music and dancing, with lots of announcements, but not as many games.”

Back in the center of the country, K.C. KoKoruz of Chicago’s Keith Christopher Entertainment Group says that outdoor events haven’t changed so much in recent years other than the fact that technology has enabled DJs to provide more services outdoors.

“I remember once watching a 45 record curl up like a shrinky dink at a summer picnic, and being terrified that all of my records would do the same thing,” he recalls. “Also, the problem with today’s technology is that a lot of summer events have gone the way of the iPod. Summer picnics that used to have a fun soundtrack supplied by a DJ have gone that way—and the change in the economy also hasn’t help that market either.

“On the other hand, however, with pop culture beginning to once again embrace DJs, that’s made having DJs very popular at outdoor social events for country clubs, pools and hotels with outdoor dining and lounge areas.”

As for booking outdoor gigs, KoKoruz Says there’s no specific way to book them different than any other event. “Ask your corporate clients if they’re having any summer events,” he says, “and if you live in an area that has outdoor cruise ships you can approach them on a wholesale basis as well. You simply need to keep grinding.” n

JUNE 2017

“Having a good website with

DJ TIMES

pull out all the stops and hand out tons of business cards.”

As far as pricing for outdoor parties and community events, Bishop says he does give a bit of a discount, since they require less time setting up and tearing down equipment.

“I always qualify the client about their event,” he says, “because sometimes they will need lighting and might not realize it. Over half of our clients come here for vacation and really aren’t familiar with sunset times here or available lighting at rental houses.

“If I feel they need some lighting, I’ll suggest it.

It makes for a better time when we ‘bring the club to them’ anyway. I just want smiling bodies on my dancefloor.

“We simply price our outdoor parties lower than indoor events, such as weddings, due to them being far less complex from an equipment and client management perspective.”

Over on the West Coast, the production manager for Denon & Doyle Entertainment in the San Francisco Bay Area says that probably 75-percent of the 65 gigs he performs at each year are either outdoor or at least partly outdoors. With that amount of outdoor gigs, Mark Haggerty is able to warn us about the negatives of playing outside and in the elements.

“I was just thinking about how many times we play outdoors and my gear suffers a bit from things like dust and the sun,” says the Pacheco, Calif.-based Haggerty “Also, keep in mind sound ordinances and surrounding neighbors.

“If your clients haven’t gone and done their homework—or just choose to ignore those things—their party could be shut down. Most places have an absolute end time of 10 p.m., or maybe 11.

“I just did a wedding in Yosemite last weekend, and no worries there because I could crank it until 10 p.m. as loud as I want. Tonight, I’m doing an outside ceremony and inside reception. The negative there is the extra sound system I need to lug – although the clients will pay extra for that.”

Up in the Seattle, Wash., market, Adam Tiegs of Adam’s DJ Service says he absolutely loves summer outdoor events—except when it’s too hot or raining.

“They can be challenging, yet rewarding,” he says.

“I do have some facilities that refer me, but typically the clients who book me already have a location

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DJ TIMES

JUNE 2017

How do you rotate the dancefloor?

There are so many ways to accomplish this.

The “simple” way is to change the BPM from low to high or vice versa. There are transition edits that can help you accomplish this. You can do cold stops/cold starts. You can cut/scratch records in or out. You can use the multitude of effects that are part of your DJ software or hardware.

Personally, I tend to play in the dance realm of music (124-130 BPM). As such, I can still turn over a floor and stay within a given BPM range.

It just comes down to knowing your music and programming accordingly.

If you have your music programming down, you can use songs that may have the same BPM (range), but create a range of energy to rotate the floor. Just because you play five songs that live in the 127 BPM range doesn’t

JUNE 2017

How do you read a crowd?

This is one of the most important skills a DJ can obtain. It is a skill that takes years to acquire and you never really, completely master it. It’s ever-changing and ever-evolving because each event you do is unique. So, sure, you base your decisions on past experiences, but you must have the wisdom to adapt.

I joke with my friends and family that I have reached a point in my tenure as a DJ that I’m not just a guy who plays records – I’m a sociologist with a

wicked music library, and I know how to use it.

So, what works for me? I literally observe the entire room, at least what I can see of it. From front to back, side to side, and all in between. I cue in on people’s body language.

Are their toes tapping? Are the heads bobbing?

When people move in their space, are they walking in cadence with the song I’m playing?

Are people singing along to the song I’m playing?

I take all of that into account, and re-assess every 60 to 90 seconds. You always have to pay attention.

DJ TIMES

First off, I want to thank all those that attended my “Advanced Mixing Seminar” at the 2016 DJ Expo in Atlantic City, N.J. And just so you know, I am working on new ideas and revealing more aspects so that I can make the 2017 mixing seminar at DJ Expo even better.

But getting back to the 2016 session… fortunately, it was a well-attended seminar that featured plenty of engagement. Lots of questions were asked and plenty of ideas exchanged. However, we didn’t get to cover all of the material that I wanted to share.

Since Spring has arrived, I thought we could go “back to the seminar” and go over some of the other questions that have been submitted to me. There were some great ones that I gathered from the internet and from DJ groups. Since we have a little more “time” in this medium to go over the questions, I’m going to answer them – here we go:

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mean they are through-the-roof bangers.

I try to program mini sets. I don’t stay in one “area” too long. I try not to stick to two or three instrumental tracks, three to five female tracks, and three to five male tracks—something along those lines. You can’t keep the energy high or low all night. It’s like a rollercoaster. You want to have the experience of the big climb, big drop, some turns, some curves, and some loops throughout the course of the event. You can accomplish that within a BPM range or with radical BPM changes.

How do you choose the track with the correct energy level?

I look at my crowd, and I ask myself: Where am I now? Where do I want to go? Where they want to go?

Do I have a request that will fit in? Is the floor ready for a new direction? Are we still in build-up mode? Are we at a plateau?

Are they ready for a “peak-hour” record?

I take all of those factors into account, and choose a record to mix.

How do you determine what songs would be a good choice to mix into (i.e. BPM, key, similar song structure)?

I take into account BPM and key. I don’t concern myself with song structure only because, with the remixes and edits I use, I know what structure the track is, so I’m good there. As previously mentioned, I look at my crowd, and I ask myself: Where am I now? Where do I want to go? Where they want to go?

Do I have a request that will fit in? Is the floor ready for a new direction? Are we still in buildup mode? Are we at a plateau? Are they ready for a “peak-hour” record?

I’m also aware of what point of the night I’m in, so I try and choose accordingly.

Is mixing in key important?

I think it’s a personal decision. And that decision is predicated on the how you want to

sound as a mixer. The short of it… mixing in key is important if you want your set to flow.

I feel it’s a safe assumption to make that, if you’re a mixing DJ, you want your mix and your transitions to sound on-point. It should be a smooth flow from start to end.

Allow me to say… while there are great software programs out there (like Mixed in Key 8.0) that do assist DJs in determining keys and which keys work together, DJs were mixing “in key” or harmoniously before any programs like these existed. Learning to choose the right record that harmoniously transitions from one to the next is a skill within itself.

If you want a smooth, continuous, melodic, and harmonious mix, you’re going to find yourself mixing in key in some form or another.

Should you mix longer than 32 bars? Is it necessary?

In my view, that depends on: What songs you’re mixing.

What crowd you’re mixing to.

Is the event going to allow for those types of transitions?

If you’re a dance-music DJ (like myself), your proclivities will lean towards the long-form mix.

This music lends itself towards mixing 32 – 64 bars, if you’d like. If you play a lot of Top-40 mainstream tracks or even urban music, the 32 – 64 bar transition isn’t really called for.

For me, I like long transitions. It’s how I grew up listening to the DJs in New York City. I really don’t know how to mix otherwise. I thrive in trying to ride that groove for 45, 60, 90, 120 seconds, if the tracks allow for it. Mind you, that’s not all the time. But 32 bars is pretty “standard,” and there’s nothing wrong with 16- or 8-bar transition, but I try and ride it.

Should you feel bad when you can’t mix requests back to back because of BPM? I think this is a judgement call. If you’re being professional and doing your best to fulfill requests… no, I don’t think you should feel bad.

Let’s be real—we all have horror stories about requests. I will say that, by and large, 96-percent of working DJs should be in the mindset of taking requests. It’s part of the job. On the other hand, a request is just that… a request. A request isn’t a mandate or an ultimatum.

What’s the most we can cheat the BPM system? Old-school thinking was to try not to go more than plus/minus 5-percent, but in the digital world, what can we really get away with?

If you attended the DJ Expo, you’d know the answer to this question… [grin] Generally speaking, there are two rules: the 3-percent rule and the 6-percent rule.

With the 3-percent rule: if you keep your tempo plus/minus 3-percent, you will remain in the same key.

W i t h t h e 6 - p e rc e n t r u l e : i f you keep your tempo plus/minus 6-percent, you will change the key of the song you’re playing.

However, with DJ software and hardware in today’s high-tech world, you can radically change the tempo of a song, but not change the pitch.

Generally, with Master Tempo, you can go as high as plus/minus 15-percent in tempo range and not significantly change the pitch.

What does your ear hear that says, “That will make a good mix...”?

For me it depends on the song(s) I’m working with. I trigger off the vocal, the piano line, the synth line, whatever strikes my fancy. Once I key in on that aspect, I try and find another record that will complement the first record. This is where remixes come in, because remixes give you extended parts that allow you to segue seamlessly from track to track.

In setting a cue point for a mix, what do you listen for?

For me, it’s song structure. I want to know how much of an intro I have before the hook of the first verse comes in. I want to know when the breakdown happens. I want to know when the buildup happens.

The important parts of the song/ remix get a cue point. And if the mix allows for it, I’ll choose a loop point as well.

Is your next song based on current song and audience response?

As “in-the-moment” as I try to be with my set-programing, I do try and plan two or three songs ahead.

Those songs that are on-deck may

get played or not. It does depend on what direction the room turns.

So I’m a bit more focused on how the crowd is reacting than just having Songs A, B, and C in order – and sticking to that order. I can’t tell you how many times I’ll be in the middle of Song B and realize, “Oh yeah, Song C isn’t going to fit – I gotta go dig for a better song.”

How do you “look ahead” for the next song to mix?

As previously mentioned, I look

at my crowd, and I ask myself: Where am I now? Where do I want to go?

Where do they want to go?

Do I have a request that will fit in?

Is the floor ready for a new direction? Are we still in build-up mode?

Are we at a plateau? Are they ready for a “peak-hour” record?

The way I program, I’m very fluid.

I don’t pre-plan any of my sets, never have. I play in the moment. Sure, I’ll do my homework before a gig. And if I find a track (or three) that I think is

a banger, I’ll make a note that I want to slip that into the set. But, I remain open-minded and mercurial with my programing. It keeps me fresh, relevant, topical and open to instantaneous inspiration.

Not to be confused with the longtime MLB shortstop, Tony Fernandez is a longtime club/mobile DJ. Based in Richmond, Va., Fernandez grew up in NYC listening to DJs like Shep Pettibone, Jellybean Benitez and Tony Humphries.

He’s been spinning since 1980. n

MAKING TRACKS STUDIO…HARDWARE…SOFTWARE…

LOCK-IN: APPLE’S MUSIC ECOSYSTEM

By Wesley Bryant-King This is the second of a two-part review where DJ Times takes a look at new additions to the Apple’s music ecosystem. In this entry, Wesley Bryant-King examines the software parts of that ecosystem, including updates to Logic Pro X, GarageBand for iOS, and more.

DJ TIMES

JUNE 2017

Last month, I reviewed Apple’s new MacBook Pro, and gave some perspectives on whether laptops or desktops are a better choice for music-making.

But hardware is obviously only part of the musicmaking equation, so it seems right to see what the folks at Apple are bringing to the table in the software arena as well.

To start with, I have to give props to Apple as

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a company who understands the concept of lock-in. The tech press these days is abuzz with references to the network effect, where companies like Facebook prosper and gain users simply because so many other people are already users, and much of the value comes from connecting those people to one another. Somewhat similarly, with lock-in, companies hope that by making their products work so well together, you want to buy more, and once invested, have little incentive to change. Apple does that with things like iMessage, iCloud, and other services that work across Macs, iPads and iPhones. And it appears that Apple is working to do the same with their music ecosystem; not that that’s necessarily a bad thing.

What’s New: The Touch Bar on the new MacBook Pro, which I discussed last month, is one example of this lock-in concept. Logic Pro X 10.3 adds support for the Touch Bar, enabling some innovative interface capabilities in music workflows — and tying Apple’s software to specific Apple hardware in the process. But I think the most exciting news with Logic Pro X 10.3 is the addition of some mobile workflow capabilities via GarageBand for iOS 2.2. And while that, too, is lock-in, it’s lock-in that provides some tangible value.

The way it works is straightforward; in Logic, you can share a project to iCloud in a GarageBand compatible format. Then, from GarageBand for iOS, you can open the project and work on new tracks and musical ideas. Once saved, you can open the project again from Logic on the Mac, and further tweak the work done while mobile.

The method works great, but the limitations become rather quickly apparent. To get those Logic tracks to GarageBand on a mobile device, the project is bounced to audio, and cannot be modified on the mobile device, limiting the work solely to additions of new material. You can reportedly add up to 30 new tracks during an iOS device session, and those new tracks (whether audio or instrument) will be imported back to Logic as new additions to the existing, still fully editable project. Of course, that has value, albeit perhaps somewhat limited value, and it rather hints at broader capabilities that Apple might choose to bring out incrementally in the future.

One plus of this new workflow option is the addition, in GarageBand for iOS 2.2, of the Alchemy synth. Included with Logic Pro X, and a great little soft-synth in its own right, Alchemy’s iOS implementation comes with a selection of great patches that cover multiple genres. As is the case with Logic on the Mac, it sounds great, and new Alchemy tracks come back to Logic in perfect form, using that new workflow I just outlined, too.

GarageBand has also received the ability to use Audio Unit (AU) effects plug-in apps, enhancing its utility for amateur music-makers with more serious needs. At the moment, it appears that the selection of AU plug-in apps for iOS is fairly limited, however. According to Apple, the actual code of AU

Logic Pro X 10.3: Improved mobile workflow.

plug-ins is virtually identical between macOS and iOS, which leaves me wondering why more desktop plug-in makers haven’t made their offerings available on iOS. The plug-in makers I spoke with wouldn’t comment on the record, but one must assume it has something to do with the financial model of apps vs. desktop software.

Whatever the case, here’s hoping for better desktop/mobile device workflows in the future.

vides more flexibility to capture performance and compare takes. Audio recording has also been improved to more easily add common effects.

For Logic Pro X 10.3, I’ve already mentioned the Touch Bar interface available on the new MacBook Pro. The ability to use the Touch Bar as a mini-MIDI keyboard is quite useful on the road, and Logic also supports the ability to assign key commands to Touch Bar buttons so your favorite

GarageBand for iOS 2.2: Increased flexibility.

Moving beyond their interoperability, both Logic Pro X and GarageBand for iOS have received a range of other spit-and-polish type enhancements.

For GarageBand for iOS 2.2, a redesigned sound browser helps users find what they’re looking for more easily, while multi-take recording pro-

functions are a touch away.

The new Track Alternatives feature makes it easier to tinker with variations on a track, and compare different versions of track, as you continue to arrange and produce your music — something that’s perennially challenging in most DAW environments.

And Selection-Based Processing al-

lows Logic users to apply effects to specific selections, for much greater creative control and flexibility.

This review was one of the first reasons I’ve had to truly dig into Logic Pro X, and I found a lot to like about it.

Chief among them was the ability to — get ready for more lock-in — use my iPad Pro (or other iOS device) as a remote control interface for Logic using an app Apple offers (understandably named Logic Remote) at no charge. It’s implemented exceptionally well, frankly, and it provides a range of capabilities.

On my iPad Pro, it offered a great way to essentially extend the screen of the computer to control the mixer, as well as track-specific things like adjusting instruments, while being able to use a virtual keyboard, drum pad controller, or so-called “chord strips” — all of which is reminiscent of what Apple offers users of GarageBand for iOS in terms of input and control. The app also works with Apple’s MainStage and GarageBand for macOS applications. With its highly

responsive, low-latency interface, it’s nearly a must-have for Logic Pro X users in my view.

One of the things that didn’t impress me quite so much was the default interface for Logic Pro X. The software starts initially in a mode that’s designed to be familiar and comfortable for users of GarageBand, and indeed, the family resemblance with GarageBand is unmistakable.

That’s certainly a plus for GarageBand users wanting an upgrade path; the fact that Logic Pro X can read GarageBand projects directly also makes it a good choice for GarageBand users. But the almost quaint interface in this mode hid much of the power of the application from view, and it wasn’t even apparent to me early on that this can be disabled in favor of a much more expanded view with more powerful options.

In either mode, however, I didn’t find the user interface to be particularly intuitive. Granted, every DAW has its own way of doing things, but I seemed to spend more time than I would have liked trying to figure out

how to do even fairly basic activities like looping playback, or splitting tracks. Of course, the more you use the software, the more natural that doing so will become.

On the plus side, however, Logic Pro X proved itself to be exceptionally stable and a good performer, both on the MacBook Pro I tested last month, and on my older MacBook Pro hardware. It comes with a lot of content, as well as a number of must-have plug-ins and instruments, and between that and its $200 price point, it makes the software a good value. The ease of acquisition and installation (you can get it from the Apple App Store on your Mac, or order a Mac with the software pre-installed) certainly also lowers the barriers to entry.

Conclusions: We can debate the merits of technology lock-in and single-vendor “ecosystems,” but they wouldn’t exist, and users wouldn’t adopt them, if they didn’t provide real, tangible value. And that, in my view, is what Apple is doing. Both with hardware, and with software, they’ve created components for making music that work, work well, and work with each other. While, of course, Apple hopes that means they sell you more goodies; if they do, with the investment comes utility. And with the new versions of Logic Pro X, GarageBand for iOS, and other offerings like the MacBook Pro, iPad Pro, and the Logic Remote app, it seems clear that the company understands how to create a compelling, end-to-end user experience that delivers on its promises.

If you have any questions for Wesley Bryant-King or Making Tracks, please send them to djtimes@testa.com.

SOUNDING OFF PLAYBACK…PRO AUDIO…PROCESSING

EVOLUTION WIRELESS: SENNHEISER’S D1 SYSTEM

D1-835-S: Digital wireless, top performance.

DJ TIMES

JUNE 2017

By Paul Dailey

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I have a long, checkered past with wireless microphones.

After unboxing brand after brand and running an initial sound-check in my living room, my expectations are always high. I have tested models with dual receivers, Ethernet boxes that mount close to a loudspeaker in order to reduce interference, rechargeable batteries, smartphone apps – and in those early moments of inspection, it is clear how far most brands have come in the last five to 10 years.

Modern wireless systems look good, sound good and are full of features that make set-up and operation easier than ever. In small rooms or in suburban country clubs, most modern wireless systems perform without issue.

But what about under pressure, in that moment in the ballroom of a downtown hotel as you hand the mic to the best man for the first time? This is where the rubber really meets the road and the true test commences. It is in this moment where many brands fall down, and I’ve found that Sennheiser shines brightest.

My experience with the Sennheiser ew D1-835-S ($499 MAP) is no exception.

The Sennheiser evolution wireless D1 system takes advantage of the universally unlicensed 2.4 GHz frequency spectrum – in a range where the FCC still treads lightly. My test unit was a wireless

system with half-rack receiver and a handheld mic with a replaceable e835 capsule.The microphone has a battery box that slides in and firmly clicks into the bottom of the unit. The unit uses standard AA batteries, but an optional lithium-ion battery module that can be recharged via a USB cable is also available.

Figuring out how to use the on/off switch takes a few moments. But once you get it, you realize that the slight challenge it presents is perfect for deterring speakers from switching the mic off after use. For this purpose, there is a large mute switch, which also triggers a flashing message on the receiver, a great feature for easily seeing the mic state.

The dual antenna-equipped receiver itself has a number of valuable features, including automatic frequency management, which selects the best frequency no matter the location, and seamlessly changes frequencies if interference is detected. The system also features useradjustable equalization, compression, de-esser and the aforementioned mute switch – making this an extremely user-friendly system.

Like all Sennheiser models, the ew D1-835 looks great, with beautiful German craftsmanship like their signature “square” mic head, and strong, sturdy construction. I was able to quickly get up and running and had no issues whatsoever with drop-outs until more than 200 feet from the receiver, which is likely further than you will ever need to be.

Sound quality was outstanding with strong bass reproduction and clear, crisp mids and highs.

In my judgement, Sennheiser makes the best-sounding wireless mics in the business and the D1-835 does not disappoint.

The other issue I frequently have with wireless systems is handling noise, which was ver y minimal here . At the end of the day, this was one of the best syst e m s I h ave t e s t e d a n d w i l l b e my g o - t o u n i t f o r m a ny s e a s o n s t o c o m e .

System Features: 2.4 GHz digital transmission with license-free operation Automatic Frequency Management continuously scans for interference AFM Automatically changes frequencies, if needed Adaptive high-power transmission continuously checks wireless signal strength Adjusts transmission power for consistent, reliable performance D1 systems deliver up to 100 mW, which delivers generous usable working range If you have any questions for Sounding Off, please send them to djtimes@testa.com.

MOBILE PROFILE CAREERS…INNOVATIONS…SUCCESS STORIES

FIREFIGHTING DJ HEATS UP PA. MARKET

DJ TIMES

JUNE 2017

By Stu Kearns

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Pottsville, Pa. – Mick Uranko’s DJing experience is unlike many.

When he’s not spinning—and he spins Serato DJ control vinyl exclusively—he’s fighting fires in Washington, D.C. Since 2010, he’s been working at Engine 21, protecting the Adams Morgan neighborhood. “I work in D.C. for 24 hours,” he says, “and then I am off and live in Pennsylvania for three days, and then my schedule repeats. I absolutely love my job as a firefighter because I truly love helping people.”

At work, Uranko says he deals with situations where someone is having the worst day of their life. “And you and only your crew are responsible for making their day better,” he says.

“You learn how to deal with people from multiple demographics, which helps when it comes time to communicating with new clients and dealing with any issue that may come up.”

Thing is, he was a firefighter before he was a DJ. He first became interested in learning how to DJ in 2011 when he was bartending for extra money. “I noticed a common occurrence in the local DJ market,” he says.

“All of the DJs that were hired were not like DJs that I’d typically hear when I visited larger cities. The local DJ’s style was simply pushing play and letting the song play out and then repeating the process with a different song. This was consistent in, not only the bar I worked at, but other local bars as well. I saw a big opportunity in my local market to be different than the rest.”

Uranko had done his homework.

He’d travel to larger cities just outside of his market and listen to how the resident DJ transitioned. He looked for the crowd reaction. One night at a club in Reading, he met Seth “DJ Backdraft” Gantz. “Seth offered to share his guidance and knowledge by inviting me to assist him at a few upcoming wedding receptions,” says Uranko. “Up until this point, I never really considered DJing weddings, but thanks to Seth’s opportunity, after

Double Life: DJ Mick Uranko, D.C. firefighter.

the second wedding I assisted, I was hooked.”

A few weeks later, DJ Backdraft helped Uranko land his first wedding headlining gig. It helped that DJ Backdraft was a guest at the wedding.

“He could provide any help if something went wrong,” Uranko recalled.

“I successfully made it through, and I still keep the critique notes that Seth shared with me after it was over. After the wedding, I realized that I can do this and most importantly I can create future opportunities to make more money.”

By Monday morning, Uranko Productions was officially created and open for business. To this day Gantz and Uranko remain good friends.

“He’ll be one of my groomsmen at my upcoming July 2017 wedding reception,” says Uranko.

When he decided to get into DJing, Uranko felt like his market was stuck in a 15-year time capsule. “I realized that I could capitalize on my stagnant market by being different,” he says. However, after attending his first local bridal show, and pricing his services above the competition, a realization dawned upon him. “Almost every bride that I met with that day said my prices were way higher than my competition,” he recalls. “I needed more opportunities to back up my work. So, in order to over-

come being different, I went outside of my local market to, not only gain more experience, but to build my brand stronger.”

So Uranko attended a bridal show in Harrisburg, Pa., where he met the second-most influential person in his DJ career—Jason Klock from Klock Entertainment. “Just like Seth, Jason offered to meet with me after the bridal show to share his knowledge and offered great advice on how to improve my new business. Not only was he a tremendous help but he offered for me to join his team in Atlantic City at the DJ Expo. I’ll never forget this amount of support coming from someone who I’ve only met for a few days. Attending my first DJ Expo was one of the most helpful business decisions that I have ever made. To date, I have never missed an Expo since my first one.”

He has since surrounded himself with positive people. The same year he attended his first DJ Expo, he also met his fiancée, Amber. “From the moment I met Amber, she always reassured that I will one day be successful and that I should not give up mobile DJing. Not only has she been there for me, but to date has never missed helping me set up for a wedding reception in five years!”

This year marks the first time Uranko will be leading a seminar at a DJ

Expo, which is set for Aug. 14-17 at the Atlantic City Convention Center.

“I’d like to continue sharing knowledge and tips, just like Seth and Jason did for me five years ago,” he says.

“Not only do I love helping people in Washington, D.C., as a firefighter, I also love helping fellow DJs build their brand stronger.”

On the gear tip, Uranko uses a wide range of products. For lighting, he uses mostly Chauvet products, including four Chauvet Spot LED 250 moving head units for animation and up to 30 EZpar 64 RGBA units for uplighting. For visuals, he uses an Optoma EH515 HD projector, which does video mapping, wall mapping and cake mapping for weddings.

For audio, he uses two QSC Audio K12 active speakers, two ElectroVoice ETX-18SP active subs, and a dbx Driverack PA2 loudspeaker management system. For playback, he uses Serato DJ DVS with control vinyl, two Pioneer DJ PLX-1000 turntables, and a Pioneer DJ DJM-S9 mixer.

“When guests see my set-up, even before I play, they’ll often tell me that they’re impressed,” he says. “I believe when they see the vinyl and the turntables, it gives me some legitimacy – plus it just looks cool. Spinning the vinyl gives me another point of difference from the competition, and that always helps.”

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BUSINESS LINE SALES…MARKETING…SOLUTIONS…

HOW DJS AMP UP REFERRALS FROM VENUES

By Moses Taylor

DJ TIMES

JUNE 2017

It’s really simple: Get on a preferred-vendor list at a venue and you’ll see an increase in bookings.

A mobile DJ recently told me of an experience he had where he was booking more than 10 weddings a year at a premier local venue.

He was friendly with the venue manager. He had cultivated the relationship and worked on it. He’d stop by in the off-season with some donuts or coffee, say hello; they became Facebook friends.

Donuts won’t always secure the relationship, of course. The only thing that’ll really work is doing a great job, being flexible, and making sure that you make the venue look great by your professionalism and courtesy. But maintaining key relationships certainly can help.

Eventually, however, this venue coordinator left her job, left the state, and was replaced. Suddenly, this DJ noticed a dip in the number of bookings he was getting. Though he’d had a great rapport with the owner of the venue, all of the weddings that he produced there were five-star reviews, and he even decided to have his own wedding there, the business there took a downturn. It was an oddity, for sure.

32

Soon after, a bride contacted this DJ—she reached out on The Knot. She told him that she was booking her wedding at this venue, and had looked through the preferred-vendor list. This DJ’s company was not on it.

It’s easy to guess what happened. The venue began to notice that their bookings were down considerably. They called this DJ into their office to see what was going on. He shared what he had learned about the changes to the preferred-vendor list. After some more investigation, it became clear that this DJ was not the only awardwinning vendor no longer on the list. The venue was surprised that he had only one wedding booked there that year. Turns out that the new venue coordinator had changed the list; she had replaced the old list with a vast network of her own friends.

The new venue coordinator was soon replaced. This DJ started booking more weddings there with the new venue manager. Back to normal.

Still, lessons were learned all around: For the DJ, he had failed to re-establish during the off-season the type of relationship he had with the previous manager. He’ll never make that mistake again. New manager? New day. Start from square one, and help them to see how valuable you are to their establishment.

The venue learned a hard lesson, too: really good vendors—especially DJs—make the venue look great and help bring in business. They should have been more vigilant about maintaining the venue’s reputation, curating their preferred vendor list, as it relies so heavily on the vendors that perform there. They’ll never make that mistake again.

So, never underestimate the power of that one person at the venue.

They can be the difference in the number of weddings you book—and your bottom line.

So, how can you build relationships with venue managers? You want to get on the preferred vendor list, sure, but what you really want to aim for is more than that: you want to be so good that the venue manager would choose you for their own wedding. The value of a testimonial like that is incalculable.

Here are a few ideas: New venue in town? Call them and set up a meeting. Do it with a phone call, but if the manager is an email-only type, be sure to conclude your email with a question, like, “Do you think it makes sense to set up a meeting (or call) to discuss how my company can help you?” That question is designed to get a response.

When you do set up a meeting at the venue, bring a handful of batteryoperated uplights; set them up in the room and capture photos. Share these photos on your business page and tag them. Any time you receive an inquiry for that venue, attach the uplighting photo to the first email.

You might be able to get on a preferred vendor list using other services. Plenty of DJs are on preferred lists for different things: live band; photography, videography, whatever services your company offers. We heard from a DJ recently who got his drone pilot license. Sounds odd,

but venues are looking for new ways to promote their offerings. So, this DJ was paid for his drone services and also got in the door with the venue manager to discuss his DJ services.

The outside-the-box ideas can be numerous: establish a great relationship with a venue by asking if you could interview them about their venue. This simple interview— which will be posted on your business Facebook page and ultimately shared on the venue’s page—will not only drive traffic to your own page but will help out the venue, which in turn will get you more work.

It can be a quick Q&A with the person. Ask them, “What are the biggest misconceptions the brides have about booking their wedding?”

Or ask them, “What are two specific things that make a wedding great?”

Ask them to be specific, because it will put a mental image in a bride’s head.

Once you’ve established a rapport with the venue manager, recommend an open house for next year’s brides. It’s like a bridal show, but at this open house the only vendors invited are those that are on the venue’s preferred list. Ask the venue to invite all of the booked brides for the upcoming year and those for the following year. If the venue manager says it’s too expensive, consider sharing in the cost—and ask the other vendors to contribute, too. It beats paying for a bridal show that can typically be a free-for-all.

At the upcoming DJ Expo, Aug. 1417 at the Atlantic City Convention Center in Atlantic City, N.J., Mick Uranko will present “Increase Your Current Rates—And Get Paid More for the Services You Offer,” a seminar which will feature ideas like these—and many more. For the latest on DJ Expo, please visit www.thedjexpo.com.

DJ TIMES

JUNE 2017

GEAR AUDIO…LIGHTING…STUFF

34

Lion’s Denon

40th Winks

Denon DJ 200 Scenic View Drive Cumberland, RI 02864 (401) 658-5766 www.denondj.com

Auralex Acoustics 9955 Westpoint Drive, Suite 101 Indianapolis, IN 46256 (800) 959-3343 www.auralex.com

The X1800 from Denon is a 4-channel DJ club mixer designed to connect with the company’s SC5000 Prime media via the Engine Connect protocol. The mixer offers a 24bit, 96kHz audio output and features both a 4­port LAN hub and dual USB audio connections. There are dedicated Sweep and BPM FX controls that deliver dub, echo, noise builds and reverb effects for each channel. The unit features an EQ with switchable Classic and Isolation modes, as well as a BPM FX section with 12 effects, frequency-controlled Band Isolation, and an Effects Quantization touch strip.

Auralex’s ProKit-1 and ProKit-2 all-in-one acoustical room treatment systems are now available in 40th anniversary editions. The former is designed for use in small and medium-sized project studios, while the latter is designed for “the most demanding professional mix/mastering environments,” according to the company. Both come in SonoSuede configurations, consisting of beveled-edge 2- by-4-foot-by-2-inch ProPanel SonoSuede fabric-wrapped Class A absorptive fiberglass panels.

They come in a choice of red or black fabric and include all mounting hardware, as well as ProPanels that are two-inches thick.

Take Your Pix

MODA Operandi

ADJ Products 6122 S. Eastern Avenue Los Angeles, CA 90040 (323) 582-2650 www.americandj.com

Roland Corporation 5100 S. Eastern Avenue Los Angeles, CA 90040 (323) 890-3700 www.v-moda.com

ADJ’s Penta Pix features five 15-watt 4-IN-1 RGBW LEDs mounted behind Advanced Collimator Lenses, using them to create six-degree beams. The five individual lenses, which can be angled on their X axis, are attached to the front of the Penta Pix’s slim central unit in a fixed fan pattern, which ensures that the lenses are positioned in an equally-spaced arc. Housed in a metal case, the Penta Pix features a four-button LCD function display, three-pin XLR input and output sockets and a flexible scissor yoke for hanging from a truss or lighting stand.

V-MODA’s Crossfade 2 Wireless Over-Ear headphones feature an extended frequency range from 5Hz to 40kHz, as well as dual-diaphragm 50mm drivers that use a CCAW coil. The headphones are designed with memory foam cushions, an adjustable Steelflex headband, a rechargeable lithium-ion battery that runs for 14 hours, and the Qualcomm aptX audio codec for “near-CD-quality sound over Bluetooth,” at a distance of up to 33 feet, according to the company. Utilizing CliqFold design, the headphones fold into a small travel case that also includes room to store charging and audio cables along with other extras like USB drives.

AUDIO…LIGHTING…STUFF

Numark My Words

Chapter & Looperverse

Numark Industries 200 Scenic View Drive Cumberland, RI 02864 (401) 658-3131 www.numark.com

Retronyms 483 Broadway San Francisco, CA 94133 www.retronyms.com

Take 6.0.2

Magic Trick

Fidelity Media, Inc. PO Box 6478 Champaign, IL 61826 (877) 634-2734 www.megaseg.com

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

A new update has been released for the MegaSeg 6 DJ and Pro Radio Automation Software for Mac. Now in Version 6.0.2, the software features a new MIDI preset for the Pioneer DDJ-SX2 controller. There have been improvements made to Segue responsiveness—including a Segue button that prevents accidental double clicks—and to the Refresh Play Count command. Other improvements include the auto-save Library option, which now also saves once a day, and the Print command, which now displays the total duration and track count.

Presonus announced its Studio Magic Plug-in Suite, which is designed for use with the company’s Studio One 3 DAW for Mac and Windows.

The software bundle includes seven popular plug-ins in Studio One Native Effects format and is free to registered owners of any currently available PreSonus audio interface or mixer. Among the new plug-ins

JUNE 2017

Looperverse, a loop recording/performance system for iOS, is the result of a collaboration between Retronyms and Cycling ’74.

Looperverse merges the classic, pedal-based, live-looping workflow with multi-touch editing features. It features a 16-track loop recorder, advanced waveform editing, pitch shifting, time stretching, live reverse, extensive undo/redo and time signature support. The Looperverse app is integrated into the pedal, offering six premium quality switches premapped to undo, redo, clear, tap tempo, record and playback.

DJ TIMES

Numark’s NTX1000 Professional Direct-Drive Turntable is made with a full-size 12-inch, 2.5-pound platter that the company says is designed to improve speed accuracy, as well as damped cueing and antiskate controls that, according to the company, “ensure accurate tracking and precise song selection.” The unit features an S-shaped tone arm with height adjustment and a 4.0 KGF/CM high-torque motor. It sports a two-speed design capable of both 33-1/3 and 45 RPM, and features a variable pitch range of plus/minus 8-, 16- and 50-percent.

GEAR

35

DJ TIMES

JUNE 2017

GEAR AUDIO…LIGHTING…STUFF

36

Pull Some Analog Strings

Polyverse Want a Cracker?

Output 1418 N. Spring Street Los Angeles, CA 90012 www.output.com

Along Came Polyverse 10757 Wellworth Ave. Los Angeles, CA 90024 www.polyversemusic.com

Analog Strings is a virtual instrument with 500 presets and a 39GB sound library created by “blending two deeply sampled orchestras, vintage synths and unconventional sound design,” according to the company.

Features include advanced modulation routing, dual-tape loopers, dual arpeggiators, Layer FX and global FX, flux and macro control. There are four central macro sliders unique to each preset, plus a built-in help menu and a preset menu with smart tagging.

Polyverse and electronic duo Infected Mushroom have released version 1.0 of Manipulator, a real-time vocal processor that offers 10 pitchshifting and timbre-bending effects. Manipulator’s algorithms are based around five main effects—pitch, formant and harmonics shifting, FM and grain alternation—with additional effects such as glide, smear, stereo and detune also included. Manipulator is available in VST, AU, and AAX formats and it can be used in 32- or 64-bit instances with Windows XP and later and with Mac OS X 10.6 and later.

Bit By Bitwig

Twist of Fade

Bitwig GmbH Schwedter Straße 13, Berlin, Germany Berlin 10119 Germany +49 30 60 93 9430 www.bitwig.com

Mixware, LLC 11070 Fleetwood St, Unit F Sun Valley, CA 91352 (818) 578-4030 www.mixware.net

Bitwig Studio 2 is the latest version of Bitwig’s music production software. The latest version comes with 25 new modulators—ranging from standard modulators like envelopes and LFOs to more unique modulator types like Random, Select-4 and Math. The software comes with a variety of new Modulator devices, each of which has individual modulation slots where an unlimited number of modulators can be added and assigned to any number of parameters. Bitwig Studio 2 supports the VST3 plug-in standard and features an expanded Polysinth feature set that adds several oscillator mix and filter waveshaping modes.

Mixfader is a wireless portable fader that is compatible with both Timecode and standard audio vinyl. It features a double-side cut so users can scratch with either hand, and also comes with a MIDI mode that can be used with DJ and production software including Serato, Traktor or GarageBand. The MIDI functionality allows users to assign parameters such as pitch and filter effects to different faders across their rig. Up to seven units can be connected at the same time to any IOS, Android, Windows Mobile and OSX device.

AUDIO…LIGHTING…STUFF

Easy to Be Hardcases

Support Group

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

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

The UDG Controller Hardcases are available in four sizes—medium, large, extra-large and 2XL. Each one is constructed from lightweight, compression-molded EVA material with a water repellent laminated nylon exterior. All four models come with high-density egg crate interior padding that protects jog wheels, faders and buttons of various sized equipment. All four models are available in black and feature both a carry handle and easy-grip zipper pulls. The 2XL also comes with a padded shoulder strap.

GEAR

The CDJ-2000NXS2 and DJM-900NXS2 from Pioneer DJ now offer support for Serato DJ with the most up-to-date firmware. When connected to a PC or Mac, the DJM-900NXS2 can use Serato DJ’s hands-on NoiseMap feature to control digital audio files using either turntables (with the Serato DJ control vinyl) or via the jog wheels on multiplayers (using Serato control CDs). The CDJ-2000NXS2 can be used to intuitively control Serato DJ, including scratching and tempo adjustment, without needing a control CD. The deck also displays track titles, artwork, waveform and other information from the software.

C’est La V-Series

DJ TIMES

The V-Series from KRK Systems is comprised of 4-, 6- and 8-inch active studio monitors that come equipped with the company’s customdesigned Kevlar tweeter and Woven Kevlar woofer. Housed in a frontported bass-reflex enclosure, these models feature bi-amped Class-D amplification, a precise input level attenuation switch and a Neutrik combo (XLR and TRS) connector. They offer acoustic and desk loading condition correction low frequency EQs, and also come with LED indicators for standby, ground lift and input sensitivity.

JUNE 2017

KRK Systems/Gibson Pro Audio 309 Plus Park Boulevard Nashville, TN 37217 (800) 444-2766 www.gibson.com

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TRACKS…MIXES…COMPILATIONS “ENYA” (REMIXES) u One51 & Peter Mawanga u One51 Richard Earnshaw’s One51 imprint returns with a re-emergence of his 2005 track. The new versions maintain the quality Afro-house vibe, with the “Retouch” version standing out in a big way.

– Curtis Zack “SHINE (THIS IS IT)”

u Soul Clap feat. Nona Hendryx u Classic Music Company With the legendary diva out front, Soul Clap returns with another future classic. Delivering an exotic plushness, sexy rhythms, and a melodic bassline, this track brings a perfect foundation for Ms. Hendryx’s gritty vocal. And don’t sleep on worthy remixes from Scott Grooves and Hot Toddy, especially the bumpin’ “Hot Toddy Marimba Message Dub.”

– Tommy D. Funk “KEYS TO MY HOUSE”

u Full Intention feat. Cevin Fisher u Full Intention Osunlade

Anything written about this will simply not do it justice. The production here is next level and, paired with Fisher’s vocal cut, this strong house cut will destroy dancefloors in a second.

– Curtis Zack

“OUT OF TIME” EP u Sasha feat. Poliça u Kompakt Starting with a sweet breakbeat and a slinky groove, this gets funky from the jump. This minimal, somewhat mystical, yet irresistible dance track gets further enhancement by Poliça’s subtle, velvety vocals. Check Patrice Bäumel’s remix for darker dancefloor damage.

– Jennifer Harmon “DEDICATION” EP u Osunlade u Yorbuba The High Priest of House is back with this six-song EP of deep grooves. Incorporating soul, jazz and house music in his signature mid-tempo sound, Osunlade delivers the sweetest of vibes. While “Unspoken” features a spoken-word version and a groovy, piano-driven instrumental, make sure you check the bumpin’ “Cosmic Signs” and the hypnotic “People First.”

– Tommy D. Funk “LOVE ON HOLD” u Aeroplane u Glitterbox The label rising out of Defected’s Glitterbox event sees Aeroplane donning the boogie boots for a nu-disco number that just oozes funk. With a great vocal from Tawatha Agee that mirrors Cheryl Lynn’s finest hour, this is a cut we may hear all summer long.

“EVERLAST” EP u Dorsi Plantar u Better Listen Records On this four-track EP from the new vinyl-only label, “Everlast” features a chunky piano groove dancing atop a solid Latin-house foundation. “You’re Solid as Fuck” brings the EP’s deepest house, with a groovy bassline, airy piano, and playful guitar. “Fool’s Gold” is the most upbeat, peak-hour track here and it’s closed out by “Babesonite,” a relaxing, groovy warm-up.

– Chris K. Davis “BRIGHTER DAYS” u Prefix One feat. Vanity Jay u Coffey Cuts My tip for the top in 2017, Prefix One returns with another devastating vocal-house cut, this time featuring the vocals of Vanity Jay. A killer piano hook, superb vocal and driving beats all merge to make this an instant anthem.

– Curtis Zack “OCEANS” u Way Out West feat. Liu Bei u Anjunadeep This delicate, atmospheric track offers a soft breakbeat in the background, but its gorgeous groove maintains its hold throughout. Emotive and angelic, this one’s another stunner from Nick Warren and Jody Wisternoff.

– Jennifer Harmon

– Curtis Zack “UP & DOWN” u RetroVision u Mixmash Records This super-catchy Future House cut overflows with bounce and flair. Lighthearted and accented with soulful diva vocals, this one bursts with playful energy.

– Jennifer Harmon

IN THE HOUSE u Franky Rizardo u Defected

One of the most recognizable house tracks of all time (on one of the genre’s most influential labels), this one now gets a revision courtesy of Italy’s Carmelo Carone. The dub is the standout version with its acid groove complementing that classic synth hook.

On this superb underground-house mix comp, Rizardo drops some excellent old-school New York vibes, especially with his own garage cut, “Work It to the Bone.” Also, check his remix on The New Sins’ “Lights Down” and his collab with Mike City on “Crazy Day” – both offer a pacey house rhythm and gorgeous R&B-style vocals.

JUNE 2017

– Curtis Zack

DJ TIMES

– Curtis Zack

“YOUR LOVE” (REMIX)

u Frankie Knuckles feat. Screamin’ Rachael u TRAX Records

38

“CINNAMON” u Jax Jaimeson feat. Aimee Penman u Klein Aber Fein The third release on the fledgling Klein Aber Fein label stands as its strongest so far. Of the three bright house mixes, the Rhodes-led Lucius Lowe interpretation is the pick here.

– Tommy D. Funk

“ONYX” u Jason Ross u Anjunabeats

“TURN IT UP” u Knox feat. Dawn Souluvn Williams u KHM

Ross drops a gritty, thumping bassline that’s made to stand out with punctuated silences, which creates additional drama. Of course, a euphoric breakdown rebuilds into a half-time drop to keep things exciting. Another bomb from Ross.

Graham “Knox” Frazier seems to be getting stronger and stronger with each release, and this is his best effort to date, without question. Teaming up with vocalist Williams and keyboardist Scott Wozniak here, this is a terrific soulful-house production.

– Jennifer Harmon

– Curtis Zack

“HANABI” u Florian Picasso & Raiden u Protocol A calm intro gets broken up by choppy vocal samples, then the track moves to an exciting, snare-heavy build. After the drop, a booming beat gets a thick synth accompaniment, with the bass perfectly complementing the snappy melody. A festival-ready EDM track certain to get people moving.

– Matt Clark

“WHY WASTE YOUR TIME” u Chaka Kenn u Midnight Riot Midnight Riot maintains its roll, and this take on the 1992 Bizarre Inc. hit only continues the fine run. Not that dissimilar to the original (“I’m Gonna Get You”), this version offers maximum impact nonetheless.

– Curtis Zack

Aeroplane

Frankie Knuckles

Way Out West

Jason Ross

Tube & Berger

Franky Rizardo Sasha

Guest Reviewer: Mark White

Mark White

“FREE TRIBE”

DJ TIMES

My real love is for old-school house classics, so here’s one that I’m still hammering. Originally released in 2011, “Free Tribe” has been made available since then in a variety of remixes (by Laserkraft 3D, The Gooniez and others), but I keep going back to the original. A nicely produced, but very driving track, it drops a bassline to die for, and it always rocks the floor.

JUNE 2017

u Tube & Berger u Zouk Recordings

RetroVision

Tube & BergerSoul Clap

Mad Villains

(continued from page 10) sampling, and I’ve found Ableton to be very ideal for that. Some other faves include the Arturia Minimoog soft synth, Waves Aphex Vintage Exciter processor, and TAL-Dub delay effects.

I’ve got a pair of Yamaha HS7 studio monitors, Akai MPK25 keyboard, Korg volca sample [sequencer], Korg volca fm synth and a Korg microKORG XL synth.

DJ Times: Any signature studio

DJ TIMES

JUNE 2017

Josh Wink

40

(continued from page 16) guy. I try not to look at my computer too much; I look at the mixer, the CD players and the crowd. I do have a controller, but I just use that to go through my collection and my loops, and to play with my effects. And I have a USB stick as a back-up, a 128-gigabyte thumb drive, just in case.

DJ Times: You’re about to play at Detroit’s Movement festival. Is it safe to assume that the sounds of Detroit played some role in your development?

Wink: Well, I mainly wanted to start making dance music because of the acid-house sound coming out of Chicago—DJ Pierre, Phuture 303, Spanky, Armando, all those guys. But at the same time, I was very much into the Detroit sound, particularly the deeper, more soulful side of Detroit techno. I love early Carl Craig stuff, Eddie Fowlkes, Blake Baxter, Mike Banks.

There’s Jeff Mills, of course, and Robert Hood. And the Belleville Three—my music never sounded much like theirs did, but I certainly dug it. Juan [Atkins], Kevin [Saunderson] and Derrick [May] are the guys who really blew it open.

DJ Times: But some of your early tracks—1994’s “Liquid Summer,” for instance—do have at least a hint of Detroit flavor to them.

Wink: Yeah, that kind of soulful feel with strings—that paddy, soulful side of the music that people like Carl and Mike were putting out was an influence, for sure. It was for lots of other people as well, like Laurent Garnier.

But there was also an artist named Dominic Woosey, who was in Neutron 9000. Neutron 9000 had an amazing album called The Green House Effect, which King was able to get on green vinyl because he worked at Tower. That was a hugely influential album for us— electronic music with strings and pads.

DJ Times: What else were you into?

Wink: At the same time, I was very influenced by the electro-bass sound from the early ’80s—the kind of music that started with Afrika Bambaataa, but also with Juan Atkins and Rik Davis of Cybotron. And I was also getting tapes of [Chicago’s] Hot Mix 5 mixes—I don’t remember how I got them, but they were big. I still have them in

techniques?

Jackson: Some go-to techniques for me are saturation on my kick and bass, hard compression on my pads, transient envelope shaping on my drums and sidechain on everything.

DJ Times: How does that differ from your live set-up?

Jackson: Most of the time my live set-up is just two Pioneer CDJs and mixer, so it differs massively! I have

always thought about incorporating Ableton into a set one time, though.

I do little live jams at home with the volcas sometimes, so I’m sure I could incorporate them into a set one day.

DJ Times: Your views on performing vs. the studio?

Jackson: I feel equally about both. I love jamming out in the studio for 12 hours straight, getting all sorts of cool ideas down and then seeing how the

crowds react to it when I’m playing out. The feelings you get when playing to a sick crowd are amazing. That said, I’m currently working on ideas for another secret alias, making more chilled out, vibey kind of stuff.

DJ Times: Any goals for the future?

Jackson: Stop going to bed at 5 a.m.

– Rachel Skotarczyk

storage somewhere DJ Times: You were picking up on electronic music from all over, it seems.

Wink: For me, music is universal. I was grabbing whatever I could.

DJ Times: When you play in an iconic electronic-music city like Detroit, do you feel any additional pressure?

Wink: You know, every gig is important to me, and it’s important to give the best performance that I can.

Of course, I do look forward to playing in certain cities or in certain clubs because of their importance to me, and I do keep where I’m playing in mind. For instance, I just played Chicago and I played some old-school Chicago stuff—not just the big tracks, but some weird, obscure tracks as well—and people were just bugging out. Or if I play somewhere like Tresor in Berlin—so many artists who are important to me, like Blake Baxter and Rob Hood, have released on their label, and I’ll keep that in mind when I’m there.

DJ Times: You’ll tailor your sets to the gig to some degree?

Wink: I think that comes from my mobile-DJ days. I learned that you need to be someone who not only educates, but also someone who entertains. A lot of DJs forget that: Some will just concentrate on the entertainment access, where it’s all about hype and getting people to pogo, and others will say, “I don’t care if I’m playing only obscure tracks that the crowd doesn’t know.”

DJ Times: Is it easy for you to find that balance?

Wink: Sometimes, but it can be difficult. With some crowds nowadays, all they really want to do is pump their first and jump around, and when you DJ to that kind of crowd, there can be pressure. And it’s hard at a festival, where you might only have an hour, to educate and take people on a journey.

DJ Times: But you still get the opportunity play a lot of long sets as well, right?

Wink: Yes, and I love doing that, and people expect me to keep doing that. But they don’t know exactly what to expect when I do them. I may

play a new track from Ben Klock and Marcel Dettmann, and then mix it into a Bohannan track. That’s the beauty of a long set, and that the beauty of DJing—not just playing the top Beatport tracks off a flash drive. I look at what I do as being a musical therapist.

I like it when I can take people on journey. I don’t want them looking at their phones—I want them with their eyes closed, getting lost in the fog and not thinking about anything.

DJ Times: Do you have any favorite places to play?

Wink: I do have favorite countries and favorite cities. I like going to Ibiza; I live there two months in the summer. It’s such a unique place.

DJ Times: You bring your family there with you, right?

Wink: That’s correct. I’ll play some gigs while I’m there, but I make sure to take time off to spend with my family, and just be with them by the sea in the mountains—with no clothes on.

It’s awesome. I like Portugal, I like Japan, I like Israel, I like Germany, I like Holland, I like New York, I like Miami, I like Chicago.…

DJ Times: You like everywhere!

Wink: Well, I haven’t been to Antarctica.

DJ Times: It’s probably all a bit of a blur to you at this point.

Wink: Yeah. People often ask me questions that I can’t really give the answer that I want. For example, someone might ask, “What was your worst gig?” Or “Do you remember the first time you did this or that?”

And I’d blank out, and I’d get a bit concerned, wondering why I couldn’t come up with something witty. But I’ve been traveling internationally for 26 years now, an average of 43 weekends a year. So I’d say, “I really wish I could give you an answer, and I really wish I could say that I did drugs and that’s why I can’t remember things— but it’s really just because I’ve been doing this for so long, that my cup is just too full of life experience to recall all the specifics.” And as I get older, my memory is probably going bad anyway [laughs].

DJ Times: You’ve never had a narrowly defined sound. Obviously, that’s a good thing, but have you ever felt that in this era of hyper-specialization,

the fact that you can’t be pigeonholed has been a hindrance at all?

Wink: Maybe. I was talking to Chris Liebing about my frustrations in fitting fully into one scene, as opposed to be accepted by a bunch of scenes—almost like the “jack of all trades, master of none” thing. And he said, “Dude, that’s the best position to be in!” I feel like I’ve always been able to blur the lines between different sounds. I could put out a record, and people like Louie Vega or Tony Humphries would play it, and Laurent Garnier or Sven Väth would also play it.

DJ Times: A great thing…

Wink: Where it became a little frustrating was when I’d be cool with all the New York house guys, and I’d be cool with all the Detroit techno guys, but I never was quite one of them.

Maybe it was because I didn’t party or whatever. But I like being the guy that blurs the lines, and I think my longevity speaks for itself.

DJ Times: You may not fit into a specific scene, but do you feel there’s a thread that runs through all the music you make?

Wink: Well, I was playing the opening of the new Space in Brazil in a few years ago, and I had just started to play a track. Yousef was also playing that night, and was hanging with me during my set. During my whole set, he hadn’t asked about a single song, except one.

He said, “Josh, I don’t know this track, but I know it’s yours.” This was the “Balls” track. He said, “You do have something distinct that’s your own.”

That made me feel really happy, that people can tell when a record is a Josh Wink record.

DJ Times: What do you think that distinct something is, exactly?

Wink: A lot of my music is defined by tension. It’s there whether it’s a slower or a faster track. It can happen when you don’t know if or when buildup is going to happen—it’s like that uncomfortable feeling of climaxing without climaxing. I’ll try to do that in my productions, and also in my DJ sets by doing something like creating extralong breaks. The tension and intensity are usually there.

DJ Times: “Tension” and “intensity” are two words that could describe your latest record, “Resist.” Given cur-

MP3s in 6

Compiled As May 15, 2017

NATIONAL CROSSOVER POOL CHART

NATIONAL URBAN POOL CHART

1 Clean Bandit F/Sean Paul & Anne-Marie Rockabye RRP 2 Katy Perry Chained To The Rhythm Capitol 3 The Weeknd F/ Daft Punk Feel It Coming Republic 4 Zayn F/ Taylor Swift I Don't Wanna Live Forever RCA 5 Zedd F/ Alessia Cara Stay Interscope 6 Bebe Rexha I Got You Warner Brothers 7 Brian Justin Crum F/ Toy Armada & DJ Grind Show Me Love Prop D 8 Bruno Mars That's What I Like Atlantic 9 The Chainsmokers F/ XYLO Paris Columbia 10 Ed Sheeran Shape Of You Atlantic 11 Sander Kleinenberg F/ Dyson Feel Like Home Armada 12 Tony Moran & Dani Toro F/ Zhana Roy Lick Me Up Swishcraft 13 Pavlova Burn Bright Republic 14 The Chainsmokers & Coldplay Something Just Like This Columbia 15 Gia 7 Live And Shine Stiletto 7 16 Vali Ain't No Friend Of Mine Rostrum 17 Rihanna Sex With Me Roc Nation 18 Dan Slater & JimJam F/ Nalaya Brown Minute Of You Swishcraft 19 Axwell & Ingrosso / Kid Ink I Love You Def Jam 20 Alesso Falling Def Jam 21 Calvin Harris F/ Frank Ocean & Migo Slide Columbia 22 Robin Schulz & David Guetta F/ Cheat Codes Shed A Light Warner Brothers 23 Sia Move You Body RCA 24 Tony Valor Up & Away TVI 25 Marian Hill Down Republic 26 Lorde Green Light Republic 27 Maroon 5 F/ Future Cold Interscope 28 Allen Walker Alone RCA 29 Rasmus Faber We Laugh We Dance We Cry Radikal 30 Jonas Blue

By Your Side Capitol 31 Brooke Candy Living Out Loud RCA 32 Blondie Fun BMG 33 Dave Aude F/ JVMIE Back 2 Love Audacious 34 Bright Light Bright Light Running Back To You Selfrising 35 Two Friends F/ Max Pacific Coast Highway Spinnin' 36 Ed Sheeran Castle On The Hill Atlantic 37 Alma Chasing Highs Virgin 38 Calum Scott Dancing On My Own Capitol 39 Dirty Disco F/ David Bowie Let's Dance Dirty Disco 40 Martin Garrix Byte Sony

1 Khalid 2 Drake 3 J. Cole 4 Dj Khaled F/Beyonce & Jay-Z 5 Gucci Mane F/ Drake 6 Chris Brown F/ Usher & Gucci Mane 7 Future 8 Fat Joe & Remy Ma F/ Ty Dolla $ign 9 Migos F/ Lil Uzi Vert 10 Big Sean 11 Travis Scott F/ Kendrick Lamar 12 6lack 13 Kehlani 14 2 Chains F/ Quavo & Gucci Mane 15 Bruno Mars 16 Rae Sremmurd 17 Bibi Bourelly 18 Kendrick Lamar 19 Jeremih F/ Chris Brown & Big Sean 20 Rick Ross F/ Ty Dolla $ign

Most Added Tracks

1 Calvin Harris F/ Frank Ocean & Migos 2 Lorde 3 Rasmus Faber 4 Gia 7 5 Zayn F/ PartyNextDoor 6 Alma 7 Drake 8 Goldfrapp 9 Austin Mahone F/ Pitbull 10 Martin Garrix

Slide Columbia Green Light Republic We Laugh We Dance We Cry Radikal Live And Shine Stiletto 7 Still Got Time RCA Chasing Highs Virgin Passionfruit Republic Anymore Mute Lady Indy Byte Sony

REPORTING POOLS Peter K. Productions n Masspool - Saugus, MA; Gary Canavo n Dirty Pop Productions - San Diego, CA; DJ Drew n Dj Stickyboots - Goshen, NJ; Blake Eckelbarger n Nexus Radio - Chicago, IL; Manny Esparza n Kahoots - Columbus, OH; Ilan Fong n MetroMix - Pittsburgh, PA; John Hohman n DeeJay Creativity R - Los Angeles, CA; KSXY KPAT n Next Music Pool - Los Angeles, CA; Bob Ketcher n Soundworks - San Francisco, CA; Sam Labelle n New York Music Pool - New York, NY; Jackie McCloy n Dixie Dance Kings - Alpharetta, GA; Dan Miller n In The Mix - Charlotte, NC; Alfredo Pareja n Mixxmasters - Lithonia, GA; Brian Stephens n DJ Laszlo - Las Vegas, NV; Laszlo Szenasi n Pacific Coast - Long Beach, CA; Steve Tsepelis n Franchise Record Pool - New York, NY; Evelyn Szachniewicz

Location Fake Love Deja Vu Shining Both Party Mask Off Money Showers Bad And Boujee Moves Goosebumps Prblms Distraction Good Drink That's What I Like Swag Ballin Humble I Think Of You I Think She Like Me

RCA Republic Interscope Epic Atlantic RCA Epic Empire Quality Control Def Jam Epic Interscope Atlantic Def Jam Atlantic Interscope Def Jam Interscope Def Jam Epic

Most Added Tracks 1 Ayo & Teo 2 Mary J Blige & Kanye West 3 Rick Ross F/Young Thug 4 J. Cole 5 Jidenna

Rolex Love Yourself Trap Trap Trap Neighbors Bambi

Columbia Capitol Epic Interscope Epic

NATIONAL LATIN DANCE POOL CHART 1. Luis Fonsi feat Daddy Yankee Despacito Universal 2. Grupomania Si Me Quieres No Me Quieres Mania Music 3. V.I.P feat Tazz, Areli,LProfeta, J miguelo Toketeo V.I.P Music 4. La Banda Pegadita de Los Hombres Merenhits 5. Brenda K Starr Amor Mio Starr Ent. 6. Don Omar feat Sharlene Taute Encanto Latin hits Ent. 7. Farruko Don't Let Go Latin hits 8. Prince Royce feat Shakira Deja Vu Sony 9. Gente de Zona Si No Vuelves Sony 10. Prince Royce feat G Ortiz Moneda Sony 11. Jose Alberto "El Canario" Ese Tipo Soy Yo Los Canarios Music 12. Aymee Nuviola Rumba De La Buena Top Stop music 13. Hector "Pichie" Perez Cada Dia Te Quiero Mas SBD Prod.

14. Florangel Ay Amor Latin Best Music 15 Don & Peter Perignon Ahi Na' Ma' Andujar Music 16. Hector Acosta Amorcito Enfermito Dam Music 17. Nacho Besandote Universal 18. Juanes Fuego Latin Hits 19. Rolf Sanchez Paso a Paso Sony 20. Edgar joel Hacha y machete Promo.

Most Added Tracks 1. Xuco 2. Ilegales 3. Jacob Duque 4. Puertorican Power 5. Becky G feat Cnco

Gracias Tamos Happy Mal De Amores Ella Tiene Todo Cambio

226 Dotel Prod.

Prime Time Music Mambiche Summa Ent.

REPORTING LATIN POOLS 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.

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

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

rent politics, can we take that title as a call to arms?

Wink: There’s a lot going on in the world, but I don’t really like to get too political. I prefer to let the music speak for itself. With “Resist,” the idea was to kind of say something without saying something, if that makes sense. I’ve been playing it out to great response, which is always a good thing.

DJ Times: It’s pretty much a fullon acid track.

Wink: Yeah, it’s very old-school Chicago, but with contemporary production.

DJ Times: What do you think accounts for the enduring appeal of that bleepy sound?

Wink: I just think it’s sexy. That’s it. People are always like, “Hey, acid house is coming back!” I’m like, “Fuck, it never went anywhere!” It’s maybe getting a little more accessible because there’s now software synths based on the Roland TB-303’s algorithms; there are three or four good emulators out there right now. I use some of them, but I also still use the 303.

DJ Times: It’s an enduring piece…

Wink: Another thing I love about the 303 is that it’s very versatile. It’s not just a lead synth. It can also be in the background as a bassline, for instance. Heaven 17 used the 303 as the bassline on songs like “Let Me Go”; even bands like Orange Juice, which was sort of a punk band from the U.K., used it.

DJ Times: It’s really hard to miss that 303 bassline on an Orange Juice song like “Rip It Up.” Wink: And those songs are from way before acid house, from back in the early ’80s. The ways that you can morph and tweak that sound…

I love it.

DJ Times: Beside the 303, what

does your studio consist of nowadays?

Wink: I have a very simple set-up.

After my last studio move, a lot of my stuff is still in storage, and I’ve actually been working in the box a lot lately. But I do have two 303s, and I use a [Roland] SH-101. I had some problems with my [Roland] TR-808 and my TR-909, so I haven’t been using them—but I sampled everything from them, and I’ve been using that a lot. If I want to use actual hardware for those sounds, I’ll use the Roland Boutique stuff.

DJ Times: You’re a real Roland acolyte.

Wink: Well, I do mix it up a little bit. And I’ve thought about getting into modular synthesis, but being both a touring artist and a family guy, I don’t think I really have the time to invest in that. It’s hard enough just to come home and make music with what I already know.

DJ Times: Are you still on the road most weekends?

Wink: That’s what DJs do. It’s very different from what a band does.They usually tour with the idea of promoting albums, but DJs just constantly tour without necessarily having anything to promote. It’s a weird position to be in—cool, but weird. But I’m thinking about releasing an album later this year, of stuff that I’ve producing over the past couple of years.

It’ll be a mix of acid and house, as it always is [laughs]. Right now, I’m basically just in the process of coming up with names.

DJ Times: What’s the schedule like?

Wink: I really haven’t been touring quite as much lately. I want to continue to enjoy what I do, but I get a little frustrated with every festival having the same lineup, and you

just go there and play your set and that’s it. Fans still show up for my sets, so that’s good—but I’d rather be at home with my family, working in my studio.

DJ Times: Are you ever tempted to just give up on the traveling, and concentrate on your home life and your production work?

Wink: Well, the only reason that pretty much all artists make music is to be able to tour. The sales side isn’t a way to make a living; you have to sell tickets. But traveling itself isn’t as glamorous as it used to be. After doing it for 26 years, I can tell you it takes a toll on you. It’s an artificial atmosphere, breathing pressurized air full of people’s farts and burps; there’s jetlag and lack of sleep; and the frustration of dealing with immigration, delays and missed planes. I mean, I love my job—but I dislike my work.

DJ Times: Still, when you’re in the booth and everything is going right, it still must be fun.

Wink: Oh, yeah. When I’m in the middle of playing a long set, I’m a pig in shit. It’s my zone; it’s my meditation; it’s my Zen. I don’t think about anything else except for creating in the present moment. That’s what I live for. What I get paid for is the coming and going – I DJ for free. The time away from home takes its toll, though.

DJ Times: How do you go about balancing work and family life?

Wink: FaceTime and Skype make it easier; I talk with my kid two times a day when I’m on the road. And I made an agreement with my partner that I will only be away for five days, maximum.

DJ Times: No more months-long tours?

Wink: You know, in 26 years of doing this, I’ve never been away from home for more than two weeks. I’m

a real weekend warrior. And nowadays, being a dad is very important to me, and I don’t want to be gone for very long.

DJ Times: Does your son understand what you do for a living?

Wink: When he was very young, he wanted to know why I was traveling all the time. My partner and I realized we had to come up with something that he’d understand. So she told him, “Daddy has to leave because he has to go make people happy.” Then when I was leaving to the airport around a month later, he said, “Daddy, can you do me a favor? Can you stay home this weekend and make people sad?”

DJ Times: Aw.…

Wink: Yeah, it definitely gave me a perspective on things.

DJ Times: You said earlier that you carry a thumb drive as back-up. Have you ever had to use it?

Wink: Well, at Phoenix Lights [festival this past April], I managed to forget to bring my hard drive—which has all my music on it—to the site.

I’m going on in 20 minutes, and the hotel is 25 minutes away. Felix Da Housecat is on, and I’m rushing to load music onto my USB, and he’s like “Dude, I’m gonna pass out—you gotta take over!” And he just leaves, while I’m still loading stuff up. To win more time, I just start talking on the mic, and I told them what the situation was, finishing with… “But I’m a professional, and though it might not be a 100-percent performance, I’m gonna give you 100-percent effort.”

Everybody cheered. Tiga was on after me, but before he went on, I got back on the mic and thanked everyone for understanding, finishing with, “Alright, give it up for Tiga!” I put down the mic, and Tiga says to me, “What is this—a fucking bar mitzvah?” I said, “Well, I did start out doing mobile-DJ work.…” n

Jus Jack: My Double Life

DJ TIMES

JUNE 2017

But don’t hold that against us.

42

I’m a DJ & a club owner…

A man of 2 minds…

Maybe a lil’ schizo even…

Jus Jack, Next Month in DJ Times

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