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DJ EXPO ’16: STAR-STUDDED KEYNOTES & PARTIES By Jim Tremayne
Atlantic City, N.J. – DJ Expo 2016 is just around the corner and, at presstime, it appears that it will be another star-studded affair. Set for August 15-18 at the Trump Taj Mahal in Atlantic City, N.J., DJ Expo—as always—will offer: three days of exhibits and demo rooms featuring the very latest DJ-related gear and accessories; three days of seminars, panels and tutorials tackling the most-pressing topics for mobile, club and studio DJs; and three evenings of sponsored events and parties, bringing the best entertainment to DJ Expo attendees.
Opening-Party MC: Sean “Hollywood” Hamilton
And on the party front, DJ Expo will kick it off strong from the outset. On Monday, August 15, The Remix Top30 Countdown/Digital Music Pool will present international hitmaker Alesso at Robert’s Rooftop Oceanfront Bar & Lounge at the Taj. Hosted by Sean “Hollywood” Hamilton of the Remix Top30 Countdown, the party will unleash the Swedish superstar DJ who will spin his chart-toppers like “Heroes (We Could Alesso: Hitmaker will headline opening party. Be)” featuring Tove Lo, “Years” featuring MatBlue Velvet Theater in Scores Atthew Koma, “Cool” featuring Roy Englantic City inside the Taj. lish, and “Under Control” with Calvin Earlier that afternoon, RedOne Harris featuring Hurts. will deliver a special DJ Expo “KeyEarlier Monday evening, the “Mobile note Q&A,” where the three-time Kick-Off” party at the Black Box CabaGrammy Award winner will discuss ret at Scores Atlantic City—hosted by career milestones like his producMike Walter of Elite Entertainment— tion of Lady Gaga’s “Poker Face,” will feature special guest Lil Nate Dogg, plus other hits for mega-stars Jenwho will perform a medley of hip-hop nifer Lopez, Enrique Iglesias, Pitbull hits. and more. Plus, he’ll take questions On Tuesday night, August 16, Peavey from Expo attendees. Electronics will present “Ladies Night On Wednesday afternoon, Aug. at DJ Expo,” featuring an evening of 17, DJ/producer trio Cash Cash will performances by female artists and present its own “Keynote Q&A.” DJs. Co-hosted by Grammy-winning Supporting its recent album Blood, producer RedOne and Public EneSweat & 3 Years, the Big Beat/Atlanmy’s Keith tic act (brothers Alex and Jean Paul Shocklee, Makhlouf, plus Samuel Frisch) will the event discuss the creation of hit singles will present like “Take Me Home” featuring Bebe RedOne Rexha and “Live for the Night,” Records which they wrote for Krewella. ar tists SaLater on Tuesday night, August mantha J (continued on page 42) and Sophia D e l C a rmen, plus DJ PonFetti. The party runs from 6:30 to 8:30 pm at the
CRY BABY
RedOne: Grammy winner will keynote/co-host party.
NEW RELEA SES
CashCash: Hot trio will keynote at Expo.
aLive Coverage
EDC Spectacular
Las Vegas – Electric Daisy Carnival lit up the Vegas sky this past June 17-19. Over 130,000 fans swarmed the mega-festival, which featured sets from 16 America’s Best DJ candidates. As always, DJ Times was there taking ABDJ votes at the Pioneer DJ booth. For more on the EDC and ABDJ Summer Tour, please visit Page. 22.
www.newhousegrooves.com
VOLUME 29
NUMBER 8
12 Still Bedrock
A Legend Then, A Legend Now, John Digweed Transcends Eras by Delivering the Underground’s Best BY CHRIS CARUSO
20 Nothing, but Net…Work In the Age of Social Media, Traditional Networking Can Be More Important Than Ever BY JEFF STILES
22 Going Nationwide
America’s Best DJ Summer Tour Goes Cross-Country BY DJ TIMES PHOTOGRAPHERS
DEPARTMENTS 7 Feedback
As Always, the Answers to All Your DJ-Related Questions
26 Making Tracks
UE’s IEMs & iZotope’s Plug-In
28 Sounding Off
Hercules P32 DJ Controller
30 Mobile Profile
Phoenix DJ Brings Boutique Vibe
32 Business Line
Mastering the Art of Connecting
34 Gear
DJ TIMES
AUGUST 2016
4
New Products from Pioneer DJ, Mixware & More
38 Grooves
Phat Tracks from Todd Terry, Honey Dijon & More
41 Club Play Chart
The Hottest Records, As Reported by Our Top U.S. Record Pools
SAMPLINGS 8 Denney
Rocks the Low Frequency
10 In the Studio With… Netsky
V I S IT TH E E V D E M O R O O M AT DJ EXPO! BOOTH #304
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This is a consumer (end-user) promotion. Offer may not be available with other rewards, rebates, offers or promotions. Reward applies to models purchased new from an Authorized U.S. or Canadian Dealer on or between August 1, 2016 – September 30, 2016. Claim forms must be received no later than October 31, 2016. Submissions received incomplete or without proper documentation (as determined by Electro-Voice in its sole discretion) will not be honored. Offer valid on purchases made in the U.S. and Canada and open to U.S. and Canadian residents only. Electro-Voice reserves its right to confirm participant’s identifications before honoring reward request. Not responsible for lost, late, incorrect, incomplete, damaged, misdirected, illegible or postage-due requests that are not properly submitted for any other reason. Maintain copies of all materials submitted for you records. Employees of Electro-Voice or their families, its resellers or distributors are not eligible nor may Electro-Voice resellers or distributors claim rewards on behalf of their customers. Void where taxed or prohibited by law. Please allow sixty (60) days for mailing of your reward item. All reward eligibility as determined by Electro-Voice is final.
FROM THE EDITOR
The Bedrock Way You don’t have to be a part of the electronic-music scene for decades to know that John Digweed is a legend in that world. Sure, those who spent any time at New York’s Twilo club near the turn of the millennium will recall many transcendent nights with Sasha and Digweed on the decks. Also, with Renaissance, Northern Exposure and others, Diggers helped define the very notion of the branded DJ-mix compilation. His legacy is secure. But from my end—the veteran’s view, let’s say—what’s become even more inspiring is Digweed’s second act, which seems to be partially defined by his ability to win over new fans, especially the festival-first contingent that never sweat it out in the clubs. I’ve seen it myself at major crossover festivals like Ultra in Miami: Face-painted-and-sparkle-spackled EDM fans stumble into the “Carl Cox & Friends” tent, for example, seemingly to dip a toe into the techno scene, only to be grooving still an hour later to Digweed’s deep, multi-layered and downright trippy brand of progressive house. Like few DJs with a similar resume, he can still win over the kids. So how does Digweed do it? How does he stay relevant, even to the younger fans? Simply, by sticking to his guns and playing the music he believes in – no histrionics, minimal stage production, little hype. With that in mind, our Chris Caruso caught up with the British Bedrock principal in Detroit at the Movement festival this past May and Digweed delivers a few jewels, including a sweet look back at his Twilo days with Sasha. For our Samplings entries, Mr. Caruso talks “Low Frequency” with Denney, while our Los Angeles correspondent Lily Moayeri heads into the studio with Netsky. In our review section, we check out a few products. In Sounding Off, Chicago-based jock Reed Dailey takes on Hercules’ performance-friendly P32 DJ controller. Meanwhile, in our Making Tracks column, Denver’s Wesley Bryant-King tackles a pair of studio-friendly products – Ultimate Ears’ Pro Remastered In-Ear Monitors and iZotope’s VocalSynth plug-in. From the world of the mobile entertainer, our Iowa-based scribe Jeff Stiles explains how, in the age of social media, old-fashioned networking can still pay dividends for DJs. In Business Line, Maine-based mobile Jerry Bazata explains how, when making lasting connections with potential clients, sometimes less is more. And in Mobile Profile, we meet with Phoenix-based Rani Gharfeh, whose boutique approach to DJing and event planning has earned success in The Valley of the Sun. We also give you a quick peek at our most recent stops on America’s Best DJ Summer Tour. In our photo spread, we visit events in New York, San Francisco and Las Vegas, including Sin City’s massive Electric Daisy Carnival, where we set up an ABDJ voting stand inside Pioneer DJ’s impressive booth. Stay tuned for the final stretch of the tour, which will include our ABDJ Closing Party/Award Ceremony at Omnia San Diego on September 30. Of course, one lucky voter will win a trip for two to the festivities – yup, we’ll fly them to San Diego, put them up in a nice hotel, and give them VIP treatment at the event. Remember, fans can vote at the events or online at americasbestdj.net. Vote and you are registered to win – buy you gotta be in it to win it. Additionally, we preview DJ Expo, which is set to run Aug. 15-18 at the Trump Taj Mahal in Atlantic City, N.J. As always, DJ Times and Testa Communications will present three days of exhibits featuring the latest DJ gear, three days of seminars and tutorials covering the most vital industry topics, and three nights of sponsored events and parties. Also, on the show’s last day, we’ll have the Ultimate DJ Giveaway, where one lucky Expo attendee will win quite a haul of gear. As you’ll see on Page 3, this year’s event will be particularly star-studded with hitmakers aplenty speaking and/or performing. Hope to see you all next month on the Boardwalk.
DJ TIMES
AUGUST 2016
Cheers,
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Jim Tremayne Editor, DJ Times
editor-in-chief Jim Tremayne jtremayne@testa.com
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assistant editor Chris Caruso ccaruso@testa.com chart coordinator Dan Miller dmiller@testa.com contributors Joe Bermudez Wesley Bryant-King Shawn Christopher Paul Dailey Reed Dailey Chris Davis Tony Fernandez Tommy D Funk Michelle Fetky Greg Hollmann Kelly Kasulis Mike Klasco Michelle Loeb Evan Maag Duanny Medrano Lily Moayeri Phil Moffa Natalie Raben Deanna Rilling Jeff Stiles Reisa Shanaman 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
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advertising manager Tom McCarty tmccarty@testa.com marketplace advertising sales manager Ricky Pimentel rpimentel@testa.com art/production assistant Ricky Pimentel rpimentel@testa.com Circulation circulation@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 © 2016 by DJ Publishing, Inc., and must not be reproduced in any manner except by permission of the publisher. Websites: www. djtimes.com and www.testa.com August 2016
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SUMMER TOUR LAUNCHES
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EVOLUTION & ITS NEXT DJ EXPO UPDATE SUMMERTIME: HOW MOBILES THRIVE WHY COPYRIGHT LAWS SHOULD CHANGE
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Power of Your Powered Speakers.” Join industry expert Jeremy “DJ Jer” Brech and Electro-Voice Marketing Manager Michael Doucot for an indepth, but simple seminar on how to “wow” your clients by getting the most out of your active loudspeakers. Complete with hands-on demos, this session will show you how to properly set gain structure, crossovers, EQ, delay and cardioid subwoofers.
“Country Music & Dance Seminar.” An Expo favorite, this seminar will explain how the country-music market can be a new profit center for DJs. Moderated by DJ Alan Kohn, the ses‑ sion will include vital market and genre info, plus an energetic dance lesson. “Chauvet DJ Seminar: Becoming a DJ-Lighting Designer—The Power, Profit & Potential.” Discover the powerful impact that DJ fixtures can
have on your mobile gigs. Go beyond sound-activated dancefloor effects, in‑ crease your lighting creativity and in‑ crease your profits. DJ Jeremy Brech will share insights, tips and tricks us‑ ing real Chauvet DJ fixtures in a typical ballroom setting. See how easy it is to transform an otherwise run-of-themill gig into a true lighting experience, one with a wow-factor that guests will remember for years to come.
PLUS: DETROIT MOVEMENT FEST y NEW PIONEER DJ GEAR WILL CLARKE y CALYX & TEEBEE y EDUCATIONAL TOOLS FOR DJS 04JL16_p001-044.indd 1
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DJ TIMES
Update: DJ Expo ’16 DJ Expo will run Aug. 15-18 at the Trump Taj Mahal in Atlantic City, N.J. Produced by DJ Times and Testa Communications since 1990, DJ Expo remains America’s longest-running and most-successful DJ conference/ exhibition. As always, DJ Expo will feature: 30 educational seminars, panels and tu‑ torials; a showfloor full of the latest DJ-related technologies and acces‑ sories; and sponsored evening events, including the annual “DJ of the Year” competition which will bestow awards to the America’s top mobile talent. (For a rundown of evening entertain‑ ment, please see Page. 3.) At presstime, the DJ Expo seminar schedule added the following sessions: “D.I.Y.: How to Network, Book Gigs & Launch a DJ Career.” Moderated by Philly DJ Linda Leigh and including a panel of veteran jocks of all stripes, this vital seminar will offer valuable information on getting your DJ career going from the ground floor – do it yourself! “Video DJ Summit: Talking Tech, Seeing the Future.” What’s the next level for professional video DJs? What’s the hot new tech for playback and content-creation? What’s the market climate now? What will the future look like? Hosted by Boston-based video vet Joshua Carl, this panel of top video DJs will let loose and offer the inside scoop. “Electro-Voice Seminar: Unleash the
AUGUST 2016
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.
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SAMPLINGS
DJ TIMES
AUGUST 2016
DENNEY: LOW FREQUENCY, HIGH IMPACT
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If you’ve been at any underground club or festival in the past two years, there’s little doubt you’ve heard Denney’s bouncing tech-slammer “Low Frequency.” Eventually released on Hot Creations, the sample-based track enjoyed crossover success, propelling James Denney to electronic-music stardom, seemingly overnight. But that success truly came on the back of nearly 20 years of active DJing, production, and grinding throughout Northern England’s thriving club scene. Now, with more doors opened than ever, the Middlesbrough-born/London-based Denney has the tech-house world at his feet. With his latest EP— the four-tracker Visualise for Damian Lazarus’ Crosstown Rebels imprint— having dropped earlier this summer, he’s in the midst of a busy summer of touring that includes gigs at Ibiza party stalwarts like Jamie Jones’ Paradise and Steve Lawler’s VIVa Warriors. We recently caught up with Mr. Denney. DJ Times: How old were you when you started DJing? James Denney: Got my first decks when I was 13, and I used to DJ school discos. I played rave music, as well, which was quite bizarre for a school disco. When I was 16, I always was sneaking into nightclubs to see Carl Cox and Roger Sanchez, people like that. I met someone through some friends who actually ran nights in Sheffield. He saw me just when I was turning 16 or 17,
Denney: Promoting parties earned valuable contacts.
and he gave me my first break, got me my first club gigs. It went from there, really! I did DJ competitions like the Technics DMC competition when I was 17. I was on vinyl then, and it was at the time with CDs [when] it was harder to break through as a DJ because producers started coming through. DJ Times: Did production come into the mix for you after DJing? Denney: Yes, all I loved doing was going out and DJing, really. That was all I lived for. I ended up taking a music technology course at 19. I did two years there and did pretty well in that, learning the basics of production and got myself a computer to start producing. I started going to a club called Back to Basics in Leeds, which is pretty famous. DJ Times: What’s that scene like? Denney: Leeds is the best club scene outside of London. It’s got Back to Basics—which I’m a resident at now—which has been going for
25 years. They were one of the first clubs to bring Daft Punk, Danny Tenaglia, Derrick Carter, DJ Sneak. They were the first club to bring these people through. It’s a massive student city, so there’s continually new blood coming through the city, and there’s three universities there. DJ Times: “Low Frequency” was such massive track for you. What was the road to its release on Hot Creations? Denney: I made the other side [of the EP] “Pimp Out” and sent it to Jamie [Jones], and he had signed that. Originally, that was going to come out on the Summer Jams compilation, and then—I don’t know! I started going through my vinyl—I have loads of old records—and I found these Todd Terry Sound Design records. I was listening, and they used to those rave stubs and sirens and things, so I thought, “Alright, let’s try and do that.” DJ Times: And it just came to (continued on page 40)
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AUGUST 2016
IN THE STUDIO
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HIGHER NETSKY AIMS
Netsky’s collab-filled CD crosses genres.
When a 16-year-old Boris Daenen (aka Netsky) was first making drum-n-bass music, the only thing he wanted was to be accepted into that notoriously insular scene. Instead, the Belgian DJ/producer was informed by a “proper drum-n-bass head” that his d-n-b music was “for girls.” “I got rejected badly,” says Daenen, 11 years later. “If the drum-n-bass scene didn’t like my music, I was going to try and reach a broader group. That made me much more confident. I want to make energetic, melodic electronic music that doesn’t necessarily rely on drumn-bass traditions where it’s about lots of MCs shouting, lots of double drops, and the most amount of noise people can make. I made peace with that comment. It was really a blessing in disguise.” All these years later, Daenen is doing alright. Three albums in, the most recent being the varied and immaculately produced 3 (Ultra Records), he’s got a standardsetting live show with DJ tours that generally exceed the scope of most d-n-b acts. He has created a space for himself that fits just as easily into a Mad Decent Block Party as it does into snowboarder Shaun White’s Air + Style festival. His “Netsky and Chill” tour, which completed a solid month of back-to-back gigs across North America this past February, had some dates at drum-n-bass nights, others not. “The only way forward for my career, or anybody’s career for that matter,” says Daenen, “is to push your music to a crowd that isn’t used to it yet. I loved playing the Mad Decent Block Parties, but you can sense you have to change your selection to not upset the crowd. But it’s such a good opportunity to expose music, stuff they’re not used to, to a crowd that won’t have it heard before. I love those opportunities. I never want to be stuck in one scene. That’s almost a fear.” For DJ gigs, Daenen uses Pioneer CDJ digital players in HID mode connected to his laptop with two USB cables so he can use the CDJs as MIDI controllers. This way, he can map the CDJs to Traktor’s internal functions. Daenen explains, “I like to be able to skip to a breakdown of a track when I feel I need to switch the music,” he says. “The ‘cue/loop call’ buttons are mapped to Traktor’s beat-skip function. So when I press the right ‘cue/loop call’ button, it will skip 16 bars in the song while it’s playing. If the track has a correct BPM/grid, you almost don’t notice the skip. I also have the ‘touch/break’ and ‘release/start’ knobs mapped to Traktor’s Beatmasher effect. I use the ‘memory’ button to activate the effect and when I release it, the effect is off.” This attachment to his laptop extends to Daenen’s productions, as well. His home studio computer in Antwerp, armed with more power for heavier plug-ins, is mirrored on his laptop. With a simple MIDI keyboard, he uses Ableton for production and Logic for recording vocals. In Logic, takes can be comped, and, in Ableton, the workflow is quick. At home, Daenen uses a CharterOak SA538B microphone. He doesn’t have a set vocal chain, instead choosing to rely on his ears to determine what the vocal needs within the track. For this, he starts with a dry vocal, constantly changing it until the production is finished. “I used to be addicted to [LennarDigital’s] Sylenth and (continue on page 40)
A Legend Then, A Legend Now, John Digweed Transcends Eras by Delivering the Underground’s Best
DJ TIMES
AUGUST 2016
By Chris Caruso
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AUGUST 2016
DJ TIMES
Given John Digweed’s considerable impact on electronic-music culture, there really is no better fitting name for his label than Bedrock. Talk to any artist who spent their formative years clubbing in New York City around the turn of the millennium, and chances are they’ll cite Digweed’s monthly residency with Sasha at Twilo as a major influence on their careers. Coupled with the pair’s seminal Northern Exposure mix compilations, it’s no exaggeration to classify their work together as legendary. Simply put: it laid a foundation upon which much of the electronic music world built itself. However, it’s 2016, and Digweed’s solo career in the 15 years since Twilo’s shuttering has been just as groundbreaking as the era leading up to it. Continuing to explore and expand upon that deep, dark, progressive house sound he helped pioneer, the Hastings, Englandborn jock remains a staple on both the club and festival circuit. Vogue Editor-in-Chief Anna Wintour once expressed her disdain for the fashion industry’s overuse of the word “journey,” a sentiment that’s certainly relatable for anyone who’s heard seemingly every DJ set described as such over the past few years. However, if there’s anyone in the dance-music realm still doing that word justice, it’s John Digweed. Well-known for his marathon-length extended sets that dip, dive, rise, and trip for hours and hours and hours, Digweed is more than just a master behind the decks: he’s both a musical Svengali and precise technician. He simply must be heard to be believed. Need a primer? Look no further than the recently released Live In Montreal mix compilation (on Bedrock), which chronicles his epic, 11-hour performance at Stereo nightclub over a whopping six CDs. Beyond the decks, he’s proven an astute curator and tastemaker as co-founder of the aforementioned Bedrock Records label with Nick Muir. Since its inception, the imprint has become a de facto institution of the club world’s deeper end, routinely churning out top-notch tune after top-notch tune for years on end. We caught up with the club stalwart this past May, right before he took to the main stage of Detroit’s Movement festival to discuss his storied career, his views on DJing today, and the true, unabridged tale of his Twilo residency. DJ Times: You’re about to play at Movement Electronic Music Festival. There’s a story of you playing here in a torrential downpour—when did that happen and what exactly happened? John Digweed: It was 2013. I turned up really excited about playing, and they brought me from the hotel and was thinking, “Well, at least the stage is going to be covered, so I’m not going to get wet.” They weren’t expecting the rain, so the stage wasn’t covered and the rain was coming in sideways. Maceo Plex was on before me absolutely soaking wet, and I’m thinking, “Fucking hell! I’m going to get absolutely soaked. I might as well be out there with the people.” Literally, everyone on the stage was soaked. They were holding tarps over the decks to stop them from getting wet. I started playing, and it was nuts! It was a great experience. DJ Times: Sounds dangerous… Digweed: How I didn’t get electrocuted when the water was like that on stage—I’m surprised I didn’t blow up! It was just magical. Even though it was cold and wet, the crowd stayed. No one left; they really stuck it out to the end. If I’d been using a laptop, it would’ve been game
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AUGUST 2016
DJ TIMES 14
over. It was a testament to this festival: their perseverance, their passion. DJ Times: What is so unique about the festival and Detroit that separate them from any other festival and location? Digweed: Firstly, it’s the birthplace of techno, so there’s a lot of history. The city is super-welcoming; they embrace this festival and are really supportive of it, which is a big plus. Sometimes cities don’t want festivals in their town; they try and think of everything not to have them. To have a festival like this really supported by the city, the people come here are super-friendly. It’s just a pleasure to play. It’s a pleasure to walk around. It’s a nice vibe, and I think they get it right. DJ Times: How’s that? Digweed: They book all the best electronic/techno acts from around the world and showcase it here. And when you say, “How do you compare it to other festivals in America?”… you can’t really because it’s the only one like it. There are lots of other festivals that incorporate techno, but they’ve got EDM and this and that. DJ Times: Your residency at Twilo with Sasha is cited as an influence by seemingly everyone and anyone who went to it or even heard of it. I’d love to hear the oral history of it from your own lips. Digweed: At the time, we’d come out to support our Northern Exposure album in 1996, and we’d done a series of gigs across America. One of them was at Twilo. Later on that year, I was talking to the owner Phil Smith, who said, “We had such a great reaction to you and Sasha playing, you should come do it again.” I said, “Yeah, every month!” And he said, “That’s a good idea!” We started talking about it, and we ended up signing this deal to go there once a month. DJ Times: What was the musical atmosphere like then?
Digweed: At the time, we were massive in the U.K.—three gigs a night sometimes. We were busy, so there was no need for us to go off to America during that time. New York didn’t really have international guests then—Junior [Vasquez] was there, Danny [Tenaglia] was there, Jonathan Peters was there. It had more of a New York sound to it. I think we came in on a Friday—when they weren’t doing anything at Twilo—and we started up the night. It didn’t start off packed, but month after month it got busier and busier. I think when we left, a lot of the U.K. publications were like, “They’ll be back in a few months with their tails between their legs.” No one before had gone out and made a success of it, but after a while everyone was seeing this amazing buzz and reaction coming this night. It was organic. It was before social media and websites. It was just word-of-mouth. People just talked about it: “There’s this night on a Friday with these European DJs playing music you’re not really hearing in New York right now.” DJ Times: It was something new. Digweed: We attracted a different crowd. It just got bigger and bigger and bigger. I can’t really put my finger on it; I think it was right time, right place. The club was amazing. We’d play from 12 a.m. to 10-11 the next day, and it just became one of those go-to clubs that, if you were a fan and you wanted to hear Sasha and me play, that’s where you would go. It almost became this sort of magical place that you could hear us play for 12 hours on the best sound system in the world in New York! It just ticked all these boxes. It was a vibe, and it was incredible. DJ Times: It remains mythic. Digweed: I think because it was before social media and camera phones—you can’t find videos of Twilo if you try. People were just
there dancing! They weren’t texting people. For the first few years, the DJ booth was in the corner, and no one even looked at the DJ—they looked at each other. To this day, it was the best club experience I’ve ever had. They just got everything right. DJ Times: From your view, how has New York nightlife changed and what sort of state is it in now? Digweed: After Twilo and then Tunnel got shut down, there was a clear out there. Everyone kind of went, and then they opened Crobar, which—at the time—was sort of like the wind had been taken out of the clubbing sails of New York of the time. No one really wanted a big club; it just really didn’t seem to work. Whereas, I think if Crobar was open now, you’d be filling it with all the DJs. At the time, it kind of came and didn’t really click. DJ Times: And now? Digweed: I play Output regularly. I love their policy: no VIP, no bottle service, no cameras. They try and make it about the experience of just going there to dance and have a good time! That’s got to be applauded, really, because it would be an easy decision to start doing tables upstairs. They just want people to go there to enjoy the music and the DJs, and I think they’ve stayed around is because they’re doing something other clubs aren’t. It’s a tough business running a nightclub: getting your music policy right especially when you’ve got so many choices in New York. DJ Times: It feels like the New York clubber is a very different beast than those of other places. What characterizes the crowds there? Digweed: I think they’ve got a lot of choices over the last few years in terms of clubs. You’ve had Space [Ibiza NY] open, Flash Factory—it’s one of those things where they’re spoiled for choice. Going back to when Twilo was around, there was a
lot of choice then, but it was promoted all through word-of-mouth. Now it’s all hyped. Quick, get a ticket, it’s selling out! Everything’s social media; everything’s Facebook. It’s pushed in a different way, so sometimes now, it’s like, Who’s going? We’re all going! There’s a hype machine. With Twilo, I don’t think they even did advanced tickets. You wanted to go, you had to stay in line! You had to get there at 9 or 10 at night and queue up. DJ Times: It feels like a business model has come to New York and that’s what everyone’s focused on. Digweed: Now you’ll always get people asking, “What time do you play?” Don’t just show up when I’m playing and leave when I’m done. There’s other DJs playing; go and hear them! Go to the club to experience the night, don’t just go to a concert to turn up, see the main act, and leave. That’s the thing – you’ve got to make the club. Clubs need to have that friends-and-family [vibe]. You should see the same people every month because they’re fans. It’s about supporting it, and maybe there isn’t as much of that now because they’ve got so many choices. DJ Times: You and Sasha are reuniting for a gig together at The Social in the U.K. later this year. How did that idea hatch? Digweed: Basically, we met in Japan last year and spoke about doing a possible date. Nic Fanciulli runs The Social, and said, “Look, I’d really like you guys to play.” We thought about it. We hadn’t played together in six years, so it would be a nice time to do it. We snuck in a gig at Ministry of Sound for my Bedrock anniversary party on Easter back in April, and kind of set the Internet a bit crazy. It was nice because it was an organic way of doing something, rather than announcing it. We just played, and people were like, “Wow, I’m in the club and now Sasha is playing.” DJ Times: It was recreating the magic of the clubbing experience of the past. Digweed: It would’ve been easy for us to announce what was happening the day before, but the club would’ve been fuller than we wanted it. What we did was make something really creatively feel special for the people that were there. The night was great and, suddenly at 4 a.m., it happened. It was a brilliant way to play social media. We didn’t put anything out; we just let the fans do it. It was nice! Normally, you get a PR person, let’s get this planned, etc. We didn’t do any of that. It was an organic thing, the crowd did their thing, and that was it. DJ Times: What led to the original formation of your label Bedrock?
Digweed: I kept getting tracks given to me while I was on the road travelling by DJs and producers, saying, “Here is my unsigned track. Can you think of a label to release it on for me?” I was also disillusioned with the labels out there for my own releases, so it made total sense to start my own label up and act as a platform for new and exciting artists. That was back in 1998, and we have not looked back since. DJ Times: How has it evolved over the past 17 years? Digweed: We have seen a lot of changes, with the biggest impact being when the vinyl sales completely bottomed out and the digital side of things had not really established itself properly, with the likes of Beatport. There was a moment when we wondered where this was going, as illegal downloads were killing us and vinyl sales had dropped by an incredible amount. Luckily, we held our nerve and slowly and surely figured out how to make it work. DJ Times: What do you think has been the secret to keeping it fresh and relevant over time? Digweed: It’s all to do with the passion I have for music and the people involved. From the label managers to designers, we have all been working on the label for a long time, so we feel very closely attached to it. We are always moving with the times, yet staying true to ourselves. We have true fans that support the label with each release, as well as the merchandise. When I travel the world now, it’s great to turn up and see half the crowd wearing one of my shirts. It almost becomes a badge of honor and travelling fans have an instant connection if they see someone wearing one of the shirts—conversations are started and friendships are born on the dancefloor. If you have that unity on the dancefloor, it really does make the party pop so much more. DJ Times: The quality of the label has never dipped. What’s the A&R process like? Digweed: The same as it has been from day one: DJs and producers handing me or emailing me links of their tracks for inclusion on the label. We only do about 12 to 14 single releases each year now, so the tracks have to be really special. I get so many tracks sent to me on a daily basis, so you really have to test the good ones out in a club a few times before making the decision. It’s about finding those tracks that have that extra element of detail that makes them stand out from the crowd. DJ Times: Where does Bedrock go from here? How has the change in
music formats affected it? Digweed: I am happy with the way the label is going at the moment. The Live in… albums have done incredibly well in a market of free streams and downloads—it shows if you put something out that is quality and well-designed, people will want to own it as a physical product. Of course, the shelf life of CDs is getting shorter, as most products are designed now without a CD player in them. They’re trying to force you away from that format. If I’m being really honest, streaming brings in such poor revenue. It’s a shame that labels opted for the “It’s-Better-ThanNothing” approach, rather than, “This product has a value and is worth something more than just a few cents after all the hard work that’s gone into it.” DJ Times: How do you view something like Native Instruments’ Stems? Are technology advancements like this going to radically change DJing? Digweed: [DJing] technology has come forward so much in the last 10 years. It’s mind-blowing. All of these new developments—if used properly and creatively—can really enhance a DJ’s set, but overuse can sometimes take away from the beauty of the original track. Years ago, if two records did not sound right when mixed together, the end result would sound awful. With the technology now, you can bang a square peg in a round hole with enough looping, filters and effects. Is this a good thing? It might get you out of a fix on the odd occasion, but the beauty of going to see a DJ is that he should know his music inside out and will choose tracks that work well together. DJ Times: What sort of DJ gear setup do you prefer? Digweed: I love the Allen & Heath’s Xone:DB4 mixer, plus the new Pioneer CDJ-2000s. It’s a set-up that I feel really comfortable with that still allows me to beatmatch and have the effects from the DB4 to do some slight FX. I try and play records that can stand up by themselves without having to add loads of stuff on top of them—they are great tracks, and I want people to hear them in full if they are that good. DJ Times: Since mix compilations like Northern Exposure, the methods of release for mixes have expanded with SoundCloud, podcasts, etc. How do mix-compilation releases like Live In… remain significant events? Digweed: It’s so strange to me how the Live in… series has become so successful, as it was never my intention to have a series like this. We
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just did a one-off as a showcase for the gig in Argentina, and the reaction was crazy. I am very lucky that I have such a loyal fanbase that supports the label and the artists. It’s the fans that really decide where the next release is from, as nothing is ever planned. It’s all based on the party and how well the gig went, so the better the crowd, the better I play. DJ Times: Do you record all your sets? Digweed: Yes, so there is never pressure that this gig is going to be the next release. It’s all about the party and the final mix. We hadn’t even planned to release Live in Montreal, as we had just released a Re:Structured CD in December and had no plans for another release until the summer. After going back and listening to the Montreal set, I knew we had to go for it—even though it was a February release. Something just felt right about it. DJ Times: People connected to it. Digweed: We sold out before the actual release date and had to re-press. Then people were asking about the last three hours from the party, so we went ahead and cleared the final part of the set. Even that sold out before the release date. It’s crazy how we had no plans for any albums before the summer, and we have already done two before the end of May. It’s also nice that it’s the fans that are asking for releases like this.
DJ Times: You’ve seen a lot of trends and patterns over the years when it comes to the dance music. Does the techno scene feel larger than it has in the past? Digweed: The techno scene has always been big and had a strong following. It’s just now there is a lot more focus on it and main stages are being filled by techno guys, which is great. The quality of the techno tracks is fantastic as well at the moment, which is also attracting more people to it, as the dancefloor seems way more interesting musically. DJ Times: With so many methods of music consumption available now, what’s the duty or job that a DJ has? Exposing unheard sounds? Creating a vibe? Digweed: When everything went digital and anyone could upload their tracks onto the net, it removed the filter that was in place when vinyl was around. Yes, there were still a load of crap records that got pressed onto vinyl, but it was an expensive process, so it did restrict the amount of releases out there. Nowadays, there are so many records released every week that it’s hard to keep up with everything. My fans know when they hear me play in a club or on my radio show that I have spent days going through hundreds of tracks to bring them the best music I can find. If the crowd doesn’t like your music, they will stop coming to hear you play, so you have to be on it every gig. (continue on page 40)
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Global Truss America DT-DJPRO All-In-One DJ Booth and Lighting Stand - Mobile DJs need two things to setup their equipment: a tall table that puts their playback controls at the right height for use while standing up, and something from which they can hang their lighting effects to point down on to the dancefloor. The new Global Truss America DTDJPRO DJ table with lifter system has both of these bases covered, providing DJs with an elegant solution for setting up their audio and lighting equipment.
ADJ Mega Go Par64 Plus The ADJ Mega Go Par 64 Plus is a rechargeable lithium battery powered low profile LED Par Can that offers the creativity of RGB + UV color mixing for stage or wall washing, plus the freedom to set up your fixture where ever you wish without the restrictions of power. The built-in battery will keep a charge for up to 4.5 hours (full on) from a full, single charge.
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DJ TIMES
AUGUST 2016
IN THE AGE OF SOCIAL MEDIA, TRADITIONAL NETWORKING CAN BE MORE IMPORTANT THAN EVER K.C. Kokoruz says his entire career has been based on networking. In fact, he's become so well-connected in his Chicago market that his nickname is “Mayor.” And Kokoruz says one of the easiest and simplest ways to network is to be active on social media. “The first thing I do every morning on Facebook is wish everyone having a birthday, a happy birthday,” says the owner of The Keith Christopher Entertainment Group. “Having been a speaker at trade shows for years, I don’t even personally know some of these people, but I know how I feel on my birthday when I get hundreds of birthday posts. “After that, I jump on Facebook chat and say hello to industry friends that are online and see how life is, as well as business.” What are the different forms of networking that DJs are using nowadays? How and why? Beyond Facebook, Kokoruz says that networking should be a full-time job. “You can’t be part-time at it,” he says. “You need to religiously spend a dedicated portion of your day interacting with people who you believe can help grow your business, as well as helping others grow their business in the process. “Networking can’t be fake. You
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Networking can't be fake. You need to genuinely want to have a relationship with another company.
need to genuinely want to have a relationship with another company. If you make it all about what someone can do for you, the other person will see right through you.” According to Kokoruz, a DJ interested in networking needs to actually want to give, rather than merely get. “In order to get, you need to give,” he explains. “It doesn’t need to even be you yourself doing business with someone—it could be you connecting two people together for the purposes of them doing business together, yet you get the credit. If you have the ability to refer business, you need to do it.” Kokoruz also suggests having our own preferred vendor list. “If you're going to network with people to get on their list, you certainly need to be practicing the same thing,” he says. “As a DJ, you may not be able to refer a banquet hall too often, but you sure can refer photographers, florists, invitation companies, local tuxedo companies and other services the bride may need. “Being a member of NACE, ADJA, ILEA and the Schaumburg Business and the like on a regular basis helps, too.” Jerry Bazata of Jaz Music & Entertainment in Ogunquit, Maine, will be speaking on this very topic later this August at the DJ Expo in Atlantic City. “Any B2B or B2C event is an opportunity to network and develop new business along with COIs [Centers of Influence] that can direct or drive new revenue for you,” reports Bazata. “There are five major common mistakes that an enthusiastic and energetic business owner makes when attending a networking event. First, do not measure your success by the number of business cards you collect. This is similar to completing cold calls on other business owners—any
contact you make after the event will be viewed as non-productive or spamming for business. “Secondly, never look over the shoulder of someone you're engaged in conversation, in the hopes that someone more interesting or important will show up. “Thirdly, appear to be smarter and more competent than others, so that people will be drawn to you. Don't be the person talking louder than everyone else in the room. “Fourth, you shouldn't assume that anyone standing alone is a loser and should be avoided. Often these are actually hidden connections that you want to develop. They may just be assessing the groups and determining who they want to meet. “And finally, demonstrate power and influence by talking less and listening more. Business is often lost in translation because we fail to listen for the hints of a prospective opportunity.” Bazata says that those of us who try to impress strangers with reciting our resumes are actually missing the mark. “Potential clients are more attracted initially to a person's warmth, as conveyed by eye contact, a warm expression and a smile—rather than their competence.” Over on the West Coast, Adam Tiegs in Seattle, says he's very involved with associations, and that he believes networking is key to completing our long-term relationships and marketing efforts. “Right now as a solo operator, I still participate in NACE [National Association For Catering and Events, Wedding Network USA and the USDJA [United States Disc Jockey Association],” says the owner of Adam's DJ Service. “When I was a multi-op, in order (continue on page 42)
DJ TIMES
NOTHING, BUT NET…WORK
AUGUST 2016
By Jeff Stiles
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GOING NATIONWIDE AMERICA’S BEST DJ SUMMER TOUR TREKS CROSS-COUNTRY
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1 The Master: Danny Tenaglia in The D. Jacob Mulka
2 San Fran: DJ Dan at Temple. Boris Berenberg
3 Jump: The EDC masses in Vegas. aLIVE Coverage
4 Cielo Scene: ABDJ voters in NYC. DJ Times
5 Movement: A steady hand in the mix. Steven Pham
6 Big Scene: Carnage at EDC Vegas. aLIVE Coverage
7 Blast-off: EDC Vegas goes boom. aLIVE Coverage
8 Detroit: Honey Soundsystem’s Jackie House. Katie Laskowska
9 NYC Party: Sleepy & Boo at Cielo. DJ Times
AUGUST 2016
10 Showtime: Skrillex & Marshmellow at EDC. Freedom Film
11 Motown: MK at Movement. Steven Pham
12 EDC Scene: ABDJ voters get busy. Amanda Rose
DJ TIMES
13 Temple Bot in San Francisco. Boris Berenberg
14 USA EDM: ABDJ voters at EDC. Amanda Rose
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MAKING TRACKS STUDIO…HARDWARE…SOFTWARE…
UNIQUE: IEMS & VOCAL PLUG-IN By Wesley Bryant-King
This month in Making Tracks, we take a look at a couple of different tools for the studio: in-ear monitors and an innovative new vocal plug-in.
iZotope VocalSynth Plug-In
Since the 1970s, artists and producers have been looking to create interesting vocal treatments using various technology solutions, broadly known generically as vocoders (though the term applies to one specific technology). Through the ’80s, ’90s, and through to today, manipulation of vocals (or indeed other audio sources) with various distortion or coloring tools has become a feature of numerous tracks across numerous genres, either as a central element, or occasional audio seasoning. Indeed, most DAWs incorporate various tools to produce some of these effects. But the engineers at iZotope—famous for their audio plug-ins, including the Ozone mastering tool suite—recently decided to see if they could bring a new spin to this type of manipulation, and broaden the toolset of producers constantly on the lookout for new sounds and new techniques. The result is the recently released VocalSynth.
VocalSynth: Machine-like effects.
DJ TIMES
AUGUST 2016
Ultimate Ears Pro Remastered IEMs
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VocalSynth goes beyond the vocoder alone to include a voice generator, Compuvox, and Talkbox effects as well, packaging them in an easy-to-use format with an approachable interface that pros and amateurs alike will find fun and effective. One of the key benefits of VocalSynth is its auto mode. My own DAW’s internal vocoder workflow involves taking an audio track (usually a vocal), creating a synth track with MIDI programming (usually with the notes matching the melody, unless you’re going for different effects), and then side-chaining those through the vocoder plug-in. With VocalSynth, you can simply drop the plug-in on a vocal track (or any audio track), and immediately get results thanks to the product’s real-time analysis and internal synths capabilities. Its MIDI mode lets you override the automation and dictate the pitches that VocalSynth’s internal synthesizers are to play, while the side-chaining
the show floor for ear scanning was developed by another company, but UE Pro has an exclusive license to use it in the music market. The company hopes to interest retailers in adopting the technology, having personnel trained and certified by UE Pro to use it, and provide retailers with the ability to sell custom IEMs—while at the same time removing the need to have those potentially expensive ear molds taken. In addition to the scanning solution, UE Pro’s retail strategy includes the ability to demo their products for the first time before buying. The company now has available demo versions that dispense with the custom fit in favor of disposable ear tips. This allows potential buyers to try the various IEM models in-store, and choose one based on something a bit more objective than comparing specs on a web page—which was pretty much the only option previously. At NAMM, I had my ears scanned using UE’s new technology. It begins by donning an alignment device that resembles nothing so much as a pair of headphones from which the actual cans have been removed. It provides a fixed reference point for the scanning device itself, which a UE Pro employee wielded, with its display screen, trigger, and probe-like business end. As he moved the scanner in and around my ear, I could see the 3D scan painting on the computer screen in front of me in real-time. It was… weird, but cool! I quickly received the results of the scanning: a pair of the company’s new, updated UE Pro Remastered IEMs. (Typical
A couple of years back, I first reviewed a set of custom IEMs from Ultimate Ears Pro (UE Pro), its so-called “In-Ear Reference Monitors.” Quite simply, I loved them, and in the two years since, they’ve gone with me everywhere I go: on airplanes when I travel, in my studio, and even during some DJ sets. If you’re not familiar, custom IEMs have for the past decade or more pretty much replaced floor wedges and other monitoring solutions for touring stage performers. Resembling old-school hearing aids in some ways, they’re not only for singers, guitarists and drummers on-stage, but also audio engineers, producers, and even DJs. Custom IEMs have not had an easy buying experience, however; you don’t just walk into a store and buy them off the shelf. You have to know (well, guess) what you want; visit an audiologist for ear molds; then send-off the order and wait—and hope you made the right choice. That’s still largely the case, but UE Pro is trying to change that. At this past January’s Winter NAMM in Anaheim, Calif., UE Pro had a very visible presence, and to some degree, this was at first a bit of a surprise to me. After all, at the end of the day, NAMM is a retailers’ show, and last I knew, UE Pro wasn’t a retail product. But that is, however, what the company is trying to change. On the show floor, UE Pro was trying to get anyone and everyone to take a seat and have their ears scanned.Yes, scanned—and therein lies the center of the company’s retail strategy. More on that in a moment. The 3D imaging system that the company was using on IE Pro Remastered: Hi-res monitors.
mode works more like a conventional approach, bringing (typically) a vocal track and separate synth track (instead of VocalSynth’s own internal synths) together through the plug-in. As mentioned, VocalSynth goes beyond the vocoder alone (although it does that, too, and quite well). The voice generator, called Polyvox, can be used to create vocal harmonies, but with a number of interesting tricks up its sleeve. For serious harmony generation, I found Polyvox to be a bit wanting; the effects are not particularly natural sounding, and seemingly not on-par with iZotope’s own Nectar vocal plug-in. But given the overall purpose of VocalSynth— creative manipulation—it does the job it needs to do here, and then some. The Compubox effect uses linear predictive coding (LPC) to recreate vocal output that has that unique “speak-and-spell” toy quality. Various adjustments give you a wide range of creative control. And the Talkbox effect—something with which I was previously unfamiliar—emulates a Talkbox apparatus, which routes audio through a plastic tube placed in a
performer’s mouth. Their lips control the audio, which when mixed with the performer’s own voice can create some interesting results. The plug-in simulates that, and here, too, a range of controls vary the effect in virtually limitless ways. But perhaps what’s most responsible for the cool results you can achieve with VocalSynth is the fact that all four of its primary effects can be combined in any amount you wish, allowing for previously impossible results. The product’s presets give you plenty of professionally created starting points that offer up some incredible results right out of the box. VocalSynth also offers five additional standard effects that can be layered on top—distortion, filtering, transformation, shredding, and delay—providing even more ways to tinker and tweak (and which are also applied in various ways in the presets). For $199, VocalSynth packs a lot of processing power in one place for the price, and if your production workflow calls for machine-like vocal effects, whether regularly or from time to time, this new offering from iZotope definitely won’t disappoint.
order turnaround is approximately one week; not bad for a custom manufactured product.) These replace the previous version I had before, and the price point is the same: $999. As before, they’re a collaboration with the famed Capitol Studios, and they even carry the Capitol logo on one of the two monitors. Compared to my earlier UE Pro custom IEMs (made from audiologist molds), the fit was nearly identical: snug, but comfortable, proving the efficacy of the scanning approach vs. mold-taking. The “Remastered” version of the IEMs has a number of changes over the original Reference Monitor IEMs; while still using a trio of balanced armature drivers, the updated model incorporates a silicone waveguide to ensure proper phase alignment. Frequency response has been expanded some on the highend, while input sensitivity is slightly reduced, requiring a tad more gain. As before, I find that the IEMs are amazingly good at revealing defects. Poor mixing, poor mastering, the negative effects of audio compression, and many other flaws suddenly stand out like a sore thumb, as they say. But
that’s really the point: when used in a studio setting, you want to be able to hear what’s wrong in your mix, and trust me—if you’re anything like me, hear it you will with these custom IEMs. As I said in my original review, I was able to isolate and fix problems in my own tracks that I simply didn’t (or couldn’t) hear before. After using custom IEMs for over two years now, I can say flatly that I wouldn’t be without them, and the newly updated UE Pro Remastered model only reinforces that feeling. Given the price point, it’s most definitely an investment, but a worthwhile one in my view. While I have a perfectly suitable studio, a pair of nice monitor speakers, and no worries about waking my neighbors with the sound cranked up, I still use my UE Pro IEMs to check my work in-studio. I also find huge value in being able to take my laptop (complete with all my studio software) wherever I go, knowing I have a solid monitoring solution along for the ride—even if it’s in a hotel room at 2 a.m. As for the ability to listen to music on-the-go from my iPhone with optimal accuracy and fidelity? Well, that’s just a bonus.
WHAT’S @ DJ EXPO AUGUST 15-18, 2016
Over 100 exhibition booths with the industry’s most-vital hardware & software
T R U M P TA J M A H A L Nearly 30 seminars & tech sessions, AUGUST 15-18, 2016presented | TRUMP TAJ MAHAL | ATLANTIC CITY, N.J. by the industry’s leaders AT L A N T I C C I T Y, N J Valuable networking opportunities with industry pros & fellow DJs Giveaways galore, including an opportunity to win The Ultimate DJ System Sponsored events each evening, showcasing top talent Buying opportunities for DJ gear at “special Expo rates”
WHO ATTENDS? Mobile DJs Club DJs
SEMINARS PANELS & WORKSHOPS MOBILE OPERATOR TRACK Whether you’re a multi-op or solo jock, these sessions will offer solutions on marketing, performance, organization & more. GEAR & TECH TRACK Surpass your competition by attending workshops that’ll keep you up-to-date on the latest DJ technologies & techniques. DJ CULTURE & MUSIC TRACK Maintain your connection to the tunes that rock the party & gain valuable industry contacts as well.
Bedroom DJs Remixers /THEDJEXPO
@DJExpo_ #DJX16
Producers EDM Artists
REGISTER TODAY WWW.THEDJEXPO.COM
SOUNDING OFF PLAYBACK…PRO AUDIO…PROCESSING
P32 DJ: HERCULES’ PERFORMING CONTROLLER By Reed Dailey
DJ TIMES
AUGUST 2016
P32 DJ: Takes performance to new levels.
28
Hercules has been making efficient and affordable DJ gear for nearly two decades now. And the French brand, owned by Guillemot and now distributed Stateside by Mixware, has delivered another winner – the P32 DJ controller. The pad-heavy Hercules P32 DJ is quite a unit. Designed equally for DJing, live remixing, and on-the-fly sample-triggering, this portable, lightweight controller packs a mean punch. And I must say this to those DJs who don’t believe jog wheels matter anymore: You will love this little monster. For the record, I am using a MacBook Pro 13-inch and the unit is just slightly wider and thicker than my laptop. Why is this important, you ask? Well, controllers were designed for a few primary reasons. In most cases, they were made to give users an all-in-one piece that, when paired with a laptop, gives the DJ total control to manipulate and play. It certainly does that. Secondly, they were meant to be portable, so they should be light. And if you are like me, you’re often on the go—airplanes, trains, and Ubers—all day every day, so having a controller that can easily go from bedroom to booth without breaking my back is a major key for me. Thumbs up in that category as well. OK, let’s talk about the unit itself. Some purist out there surely will say #RealDJing is with two turntables and a mixer. But, to that comment, I say: It’s 2016—get off your high horse. For me, if you can move the masses on the dancefloor, you’re a DJ and this controller allows you to accomplish that goal and then some. At its purest form, the P32 is a two-channel player. I say “player” because it is more than just a DJ controller; it is a live remix tool comprised of the following elements: two channels (channel A and channel B), or for you old people (turntable A and turntable B); dedicated soundcard (RCA master and one stereo headphone output); 3-band EQ (high, mid, and low); four dedicated FX controllers with on and off kill buttons; Infinity Track navigation knob with load A and B buttons; Infinity Filter Knob; and Infinity Loop knob and corresponding loop size display. The unit offers 32 RGB backlight performance pads (16 per channel) and you’re able to toggle back and forth between Hot Cues, Loops, Slicer, and Samplers. There is, of course, also a sync button. In addition to the controller, the Hercules P32 also includes a free copy of DJUCED 40° 3.0 software, which feels like a hybrid of Serato/Traktor and Ableton. At its core, it will allow you to DJ and layer in FX, vocals, and samples over the top, essentially everything that the modern DJ needs—and where I
personally think DJing is heading. So… here’s how I played with the unit: Style-A (Traditional DJing): While each DJ will have their own style, I really found there were a couple of styles/ways to play on this unit. The first is the most common, with track-A playing on the left and loading and cueing track-B on the right, and fading from A-to-B and then again back to B-to-A. In order to accomplish this activity, a DJ can utilize headphones—or the world-famous sync button, which some will say is cheating. But, once again, it is 2016—stop worrying about beat-matching and start getting excited that you can do so much more. Style-B (Modern-Day DJing): At the core, Style-B, which I’ll call “peppering,” is foundationally Style-A with some added flair—but it’s that flair that takes you from a DJ to a mover of masses. So just like in Style-A, you are playing track-A into track-B; however, in this case you are adding layers on top of a single track, both tracks, or the mix itself. On each A and B side of the controller there are four assignable FX knobs, which can be used individually or layered together. Personally, I love the Reverb and Delays, which just add that warmth to the track and some fun, playful sounds. A second method of “peppering” is to add vocal samples and loops over top of a track.While this is slightly more difficult to get right (vs. just playing track-A into track-B), it can really make your set that much more special when it’s done right, because it’s all happening live and in-the-moment. In my time as a DJ, I have only used FX with my sets, but with these performance pads, it made it so easy and user-friendly to add those additional layers and elements that it made me rethink how I want to play moving forward. Lastly, when it comes to peppering, the fan favorite is the Loop Roll and, with the unit’s display of the loop size, executing loop rolls that sound right was easier than I have ever experienced on any controller. While this sounds like a small detail, I love loop rolls; but if you mess them up, they end up being out of sync, so having that display made mixing two tracks (while one is in loop roll) super-straightforward, easy and fun. Style-C (Performance Mode): The third way I played took a bit more prep, in terms of finding the right samples and loops, but it was more rewarding. Essentially, I turned the controller into equal parts controller and liveperformance piece. So while track-A was playing, I would mix in just the kick-drum of track-B, (continue on page 40)
WHY WOULD YOU BUY ANYTHING ELSE? RELOOP RP-8000
FEATURES > On board midi buttons ( 8 – Cues, Latching loop, Loop rolls, Sample mode, and User/Slice mode ) > Adjustable torque > Adjustable start and brake > On board digital display for BPM and pitch control > On board trax’s encoder and USB link for linking turntables > Two start and stop buttons with removable light > Reverse button “With the RP-8000 Reloop hit a home run!” — DJ Times
“This is the turntable I would purchase in a second.“
“We fell in love with the streamlined design and ease of use.“
— Mobile Beat
— DJ City
PIONEER PLX-1000
Yes
No
Yes Yes Yes Yes Yes Yes
No No No No No No
“The RP-8000 is the postcontroller revolution deck that people have been waiting for.”
“The best of both analog vinyl and digital worlds in one powerful package.” — DJ Booth
— DJ Worx
A division of Jam Industries Ltd.
For more information visit: www.americanmusicandsound.com
Pioneer and PLX-1000 are registered trademarks of Pioneer Electronics (USA) Inc.
Come see us at the DJ Expo Booth #322
XONE+SERATO DJ=PERFECTION
Xone 43
Xone 43C
Created for DJs and electronic music purists, Xone:43 is a 4+1 channel DJ mixer offering the very best of analogue audio quality, including the legendary Xone filter with resonance control, 3 band EQ, crossfader with three curve settings and X:FX for send/return to your favourite FX unit.
Xone:43C is the perfect gateway to the full spectrum of digital DJing. The mixer is supported by leading DJ Software, Serato DJ, by purchasing the Serato DJ Club Kit - eliminating the need for any external interface. Whatever your workflow, Xone:43C delivers a uniquely fluid mixing experience.
A division of Jam Industries Ltd.
For more information visit: www.americanmusicandsound.com
www.allen-heath.com
MOBILE PROFILE CAREERS…INNOVATIONS…SUCCESS STORIES
DJ TIMES
AUGUST 2016
By Stu Kearns
30
Phoenix, Ariz. – Rani Gharfeh says he was 10-years old when it first happened. He wouldn’t call it “actual” DJing—but he jumped at the chance to spin a middle-school dance with one of his best friends. “At the time, we had to use a dual-cassette tape deck that the school had for such functions,” says Gharfeh (aka DJ Rani “g”), owner of World:Life:Music, a Phoenix-based boutique entertainment agency. “It was definitely a bit tedious, but we tried to line up as many of the songs our classmates liked beforehand on various tapes—and the rest, we played it by ear. It was splendid fun and we got many compliments.” This was at a British primary school, while living on Cyprus, the Mediterranean island nation where he was born and, later, where his musical development occurred. When he was 16, he befriended Dinos Ashiotis, one of Cyprus’ best DJs, and started hanging at the club where he spun. Later, he gravitated to Ashiotis’ private studio. There, before him, in all its grandeur, was a professional DJ set-up of its day: two Technics SL-1200 turntables, a Denon mixer, a Denon [DN-2000F] dual-CD player, plus a pair of Pioneer CDJ-500 players. “I jumped head-in, and he started to mentor me and let me practice on the gear,” says Rani. “It got to a point when he would let me play the early set with him at the club and a portion of the private parties that were booked before the doors opened for customers.” The passion and excitement for blending music kept growing from there—and then things changed. When Rani was about 20, his dad got sick. The family decided to move to Phoenix. “It was a tough and hectic time,” he recalls, “but the decision was made to come for treatment at Mayo Clinic. If things had gone differently, my plans were to study in Switzerland.” So, when he first arrived in The Valley of the Sun, Rani explored the music scene and became dedicated to meeting more people. His dad bought him his first proper DJ setup (Pioneer DJM-600 mixer and CMX-5000 dual-CD player), and then Rani sprung for some speakers (Mackie SRM-450s). He would play for himself mostly, at some small events and for friends, too. “Initially, I wasn't planning on DJing full-time,” he says. “I wanted to find the right job after graduating [from Arizona State] and do it on the side, which is what I did. But after some time at my corporate job, I decided it wasn't for me. I took a break and, with the help of some friends and DJs, started getting a few bar/lounge gigs. A DJ-friend, Doc Maji, helped me land this new high-end sushi restaurant that also had a lounge, and I kept building from there.” Rani was playing deep-house music, but incorporating live musicians and performers. He’d also mix in Global Soul, African and jazz-centric tunes. But, like most DJs starting out, Rani struggled to make enough money to get by—and it wasn’t easy to find venues where he could play more house music and less commercial/pop. “At that point, I wasn't thinking about things in the mobile-DJ capacity,” he says. “I just wanted to bring house and diverse music to more venues. It helped greatly at the time that I was able to live at home and slowly build from there.
DJ BRINGS BOUTIQUE VIBE TO PHOENIX Music First: Rani’s unique approach has won favor.
Through friends I made and networking, I was able to get more gigs from restaurants and bars and lounges and friends' weddings, as well as places like The Desert Botanical Garden and The Phoenix Art Museum.” People started noticing that his style was different—a variety of world music, house music, special remixes of familiar songs (from R&B, ’80s, etc.). Eventually, corporate bookers began to take notice of his live musicians and performers. “Clients liked my approach and what I was offering,” says Rani, who has performed with flamenco, Burlesque, and circus acts, plus bellydancers and samba dancers. “And also by taking inspiration from house music, ethnic rhythms, and jazz, and bringing that energy of playing ‘underground’ to the corporate world really made a difference. I also naturally assumed a can-do approach in terms of providing entertainment and event consulting. Clients always like to hear ideas about making their event stand out.” Essentially, Rani is bringing curated, quality music to the private event/corporate, lounge/restaurant and cultural/community event world. “I’ve worked really hard to explain to clients that I don't like to play a lot of commercial/radio music and, over the years, it began to be part of my selling point. Clients now book me and want to work with me because of that attribute.” For DJ gear, Rani uses a variety of approaches. For example, he’s used all manner of DJ software—Traktor, Serato DJ, rekordbox, etc. But usually, he spins on a Pioneer CDJ player’s USB drive with custom
folders he’s created. He has several different Pioneer mixers and controllers (DJM-800, XDJ-R1, XDJ-RX, etc.)—and he still has his Technics SL1210 M5G turntables. For PA use, he often goes with the QSC Audio K Series with K-Sub or the JBL VRX Line array for certain gigs. For announcements, he uses a Sennheiser EW D1-845S wireless system. Though his gigs usually don’t require too much lighting, he has used uplighting in the form of ADJ Mega Tri Pars. As he often works with traditional musicians, Rani’s set-up can vary. “When I’m contracting one to three musicians—like a sax, trumpet, congas and/or guitar—units like the DJM-800 or the XDJ-RX can handle two inputs. But I’ve played with and set up sound for more than eight musicians. In that situation, I’ll use my Alesis MultiMix 8 mixing board or rent one that accommodates more channels when needed—and run everything through it. Also, I use another great hack/gadget, the Mini XLR mixer from AV Lifesavers, which turns one mic input into three. It’s custom-made and very compact.” When we ask Rani about the future, he says he thinks about it all the time. “I’m always asking myself how to stay current, diverse and engaging for my clients, their events and brands,” he says. “My aim is to keep raising the bar as far as entertainment, DJ style and collaborations. I have never been happy with just showing up to DJ and just play music. Of course, some gigs require that, but I always try to add more value.” When asked about his five-year plan, Rani says he hopes to be working with more clients, bigger brands and resorts. Plus, he intends to continue doing events for Mo’Vida Arts for Awareness, a childhood-cancer-awareness organization that collaborates with various artists on fundraising and awareness campaigns. And in 10 years? “One of my dreams,” he says, “is to collaborate with other partners and industry friends to open a unique supper club/lounge concept that is different from the norm. But my main goal is to keep spreading quality music to as many clients and settings as possible.”
BUSINESS LINE SALES…MARKETING…SOLUTIONS…
LESS IS MORE: MASTERING THE ART OF CONNECTING
DJ TIMES
AUGUST 2016
By Jerry Bazata
32
Small business owners, like mobile entertainers, are faced with a new and complex challenge in targeting and communicating with new clients. The increased mobility of written communication has dramatically changed the way we present our value proposition, engage clients in conversation and attract new business. The art of communicating in our increasingly mobile society has set the stage for all new rules of written dialog, meaning shorter and more effective delivery of messages It’s been determined through research, surveys and wedding-industry statistics that, on average, a person gets over 50 emails a day, with nearly half of those being irrelevant to the recipient. A majority of those irrelevant emails are deleted even before being read. The split-second determination to delete an irrelevant email is made just from the subject line or the sender themselves. If a recipient doesn’t recognize the sender or feels the email is a general solicitation, they’ll delete it without reading it. Even more surprising is that if an email appears to be “long-winded” and full of unnecessary images or content, it, too, will quickly be deleted. So how do you get a prospective client to communicate with you? One answer: You don’t want to change the mode in which you are communicating via email or mobile messaging, but rather how the context is drafted and presented. Be mindful of these points: 1. E verything should be written for mobile screens. A s k y o u r s e l f : How much scrolling do you need to do to read and clearly comprehend what the message is telling you? 2. Messages should be shor t, concise and shouldn’t include unnecessary images. Keep the logos, badges and awards to a minimum.
You only need to display the curre n t ye a r ’s we dd i n g aw a rd , fo r example — that’s all your potential client is concerned about. 3. M o r e t h a n h a l f o f m i l l e n nials prefer a text message from a business as a way of introduction, compared to emails that take longer to read. A robust website, marketing page via search-engine sites like WeddingWire or The Knot, and printed materials will clearly provide the prospective client information about your company. Emails and texting is to engage the client in conversation, creating a personal connection to develop trust and inspire the need to do business with you. Simply put: “More is less and less is more” Sales are not solely driven by inquiries through the Internet, but, rather, by what we develop within our network, via direct and indirect referrals. For any business owner, walking into a crowded room of wedding vendors and feeling lost or out of place can be challenging. The majority of DJs that I’ve encountered at networking events feel compelled to do the fol-
lowing when introduced to another business person: “Impress strangers by reciting their resume.” The initial acceptance of new introduction is because of a person’s warmth, as conveyed by eye contact, a warm expression and a smile — not because of perceived competence. Three types of groups often emerge at networking events: • Loud and Laughing, sharing private jokes and memories of the past. • Tight Group, talking intently and trying to solve pressing problems. These are the toughest groups to break into. • Loose Group, often muddling along in conversation, and is mostly likely to welcome a newcomer and your best opportunity to gain new connections. Once you, as the newcomer, are welcomed, you need to be prepared to think about things you want to learn and those you are looking to meet. Get in a mindset so you’re prepared to listen to others to make sure you don’t miss the opportunity
to connect, to learn and bond with those that can help your business. Quickly identify opportunities to “give business” rather than “get business.” To do this, be willing to offer knowledge — even to competitors, as this will develop a level of trust and professionalism to those you connect with. You are at a networking event to help others with resources or introductions as well. A successful networking event is when you can provide more introductions than the number of business cards you can collect. Reconnecting after a networking event should not be a sales event. Rather, it’s an opportunity to develop further a relationship with those that will continue to help build your business. Just as you are changing your strategies for communicating with new clients, the same now holds true for communication with other business professionals, as they, too, are now reading on mobile devices. To learn more and gain a deeper understanding of the new art of communication and networking, join me, the “DJ Times Money Answerman” for my seminar at the DJ Expo in August. Jerry Bazata has over 25 years of experience as a professional mobile entertainer. He’s the owner of DJ Jaz Music & Entertainment and J&J Marketing & Entertainment, and is a leading consultant to the event-planning and music industries.
GEAR AUDIO…LIGHTING…STUFF
Double Vizi-on
Kings & Queensbridge
ADJ Products 6122 S. Eastern Avenue Los Angeles, CA 90040 (323) 582-2650 www.americandj.com The Vizi Beam RXONE is the newest addition to ADJ’s Vizi range of professional moving head lighting fixtures. It features an Osram Sirius HRI 1R discharge lamp, with a 6,000-hour life rating, as well as a wheel loaded with 14 colors + white and a 16-facet prism that the company says will split the beam into a ring of 16 separate beams. Features include 0-100% electronic dimming function, variable-speed strobe feature, and a separate GOBO wheel offering a choice of 15 static GOBO patterns + open (spot) as well as a GOBO shake effect.
Native Instruments 6725 Sunset Boulevard, 5th Floor Los Angeles, CA 90028 (866) 556-6487 www.native-instruments.com Queensbridge Story is Native Instrument’s latest MASCHINE Expansion. Created by hip-hop producer Havoc, it features samples from his personal sample library, as well as kits and instruments chosen to “deliver a gritty blend of hip hop’s second golden age and a new-classic style heard on the records of some of hip hop’s most prominent artists,” according to the company. Queensbridge Story runs in the latest MASCHINE software on MASCHINE STUDIO, MASCHINE, or MASCHINE MIKRO. A compact version for iMASCHINE is also available via the iMASCHINE in-app store.
Cover Up Mixware, LLC 11070 Fleetwood St, Unit F Sun Valley, CA 91352 (818) 578-4030 www.mixware.net Decksaver now offers covers for the Ableton Push 2, Pioneer XDJ-700, Novation Circuit, Arturia Beatstep Pro, and Yamaha Reface series. These covers are made from an impact resistant polycarbonate shell that is precision molded to fit each unique piece of gear, including cables, knobs, faders, and power supplies. Decksaver covers are designed to protect gear from smoke, dust, liquid and accidental impacts while in the studio, in transit and on stage.
DJ TIMES
AUGUST 2016
Slice of Pioneer
34
Pioneer DJ Americas 2050 W. 190th Street Suite 109 Torrance CA 90504 (424) 488-0480 www.pioneerdj.com The DDJ-RB and DDJ-RR are new additions to Pioneer’s range of rekordbox DJ controllers. The DDJ-RB is an entry-level, USB-powered unit that comes with performance pads that trigger Hot Cues, Beat Jump, Pad FX and Slicer. Additional features include play/cue buttons, jog wheels, and a VU level meter. The DDJ-RR can be used with rekordbox dj software or as a stand-alone twochannel mixer using multiplayers or turntables. It features large jog wheels, customizable multi-colored performance pads, Slip Mode and Release FX.
AUDIO…LIGHTING…STUFF GEAR
Dressed to the Nines Propellerhead Software Hornsbruksgatan 23 SE-117 34 Stockholm Sweden www.propellerheads.se Propellerhead has released Reason 9, featuring 1,000 new sounds, enhanced workflow improvements and darker theme options. The program has three new Player devices— Note Echo, which creates rhythmic, pitched MIDI delays for melodies and drum rolls; Scales & Chords, which turns simple melodies into harmonies and chords; and Dual Arpeggio, which transforms chords into intricate rhythms. Additional features include Audio to MIDI and a Pitch Edit mode.
Party Time Numark Industries 200 Scenic View Drive Cumberland, RI 02864 (401) 658-3131 www.numark.com The Party Mix DJ controller from Numark is a full-featured controller that includes Virtual DJ LE software and allows DJs to seamlessly use their iTunes collection. The plug-and-play controller is built with a full-size chassis, dual scratch platters, slider controllers and sync buttons. There are eight color-coded pads with multiple modes, including looping and sampling. Additional features include a ¼-inch headphone jack, master and cueing audio outputs, and a built-in light show.
Secret AGNT Man
Chauvet 5200 NW 108th Ave. Sunrise, FL 33351 (800) 762-1084 www.chauvetlighting.com The Eve E-100Z ellipsoidal is the first product in Chauvet’s Eve Series. The Eve E-100Z is a warm white LED fixture with a 100W light source that produces a hard edge spot. The unit, which operates in either standalone mode or 1 or 3 DMX channels, comes with gen frames and holders for glass and steel gobos. Additional features include a manual zoom angle of 14-30 degrees and adjustable framing shutters, as well as three-pin XLR DMX connectors and power linking of up to nine units.
DJ TIMES
Adam & Eve Series
AGNT is a new platform that connects DJs and event organizers. DJs can utilize the built-in music player to share their mixes, as well as use the platform for self-promotion. AGNT offers them intuitive gig management tools, instant fee negotiations and guaranteed payments. For organizers, AGNT features advanced event management tools, an automated payment system and integrated chat. There are fully customizable search features for finding DJs, all of whom have verified reviews and ratings. Currently available as an app for iPhone, AGNT can be used on all devices, including Android, via the web portal.
AUGUST 2016
AGNT (888) 538-AGNT www.agnt.com
35
GEAR AUDIO…LIGHTING…STUFF
Laser Sunday Laserworld USA 41 Skyline Drive, Suite 1017 Lake Mary, FL 32746 (407) 915-5577 www.laserworld.us The Laserworld EL-500RGB KeyTEX is an all-in-one laser solution for DJs and nightclubs. The unit can run in stand-alone and sound-to-light mode, as well as using DMX control. It comes with a remote control and a keyboard for entering and animating text, as well as initiating color changes. Users can slide a diffraction grating into the beam path to multiply the projection, or utilize a normal scanner mode for single output projection.
ThunderStik Road Blizzard Lighting N16 W23390 Stoneridge Dr. Suite E Waukesha, WI 53188 (414) 395-8365 www.blizzardlighting.com ThunderStik is a linear wash light from Blizzard Lighting that comes equipped with five 15-watt RGBW Quad-Color OSRAM LEDs that feature pixel control and a 5-degree beam angle.The unit operates in either
Class is in Session FaderPRO www.faderpro.com Online dance-music production learning platform FaderPro partnered with Beatport, allowing users to purchase their courses through the Beatport Sounds download store. FaderPro offers individual, artist-driven courses based around specific tracks by Roger Sanchez, Sander Kleinenberg, Harry Romero, Funkagenda, Dale Howard and Brian Matrix, among others. New and upcoming courses include a techno masterclass with UMEK, and courses for house, techno and EDM producers featuring Hauswerks, Tritonal, James Egbert, Flava D, Just Her and Third Son.
KRK Studio Subs
DJ TIMES
AUGUST 2016
KRK/Gibson 309 Plus Park Blvd Nashville, TN, 37217 (615) 871-4500 www.krksys.com
36
KRK, a division of Gibson Pro Audio, has released the S-Series of studio subwoofers. Now available in 8-, 10- and 12inch models, the S-Series provides lowfrequency detail and accuracy that helps support a rich, vivid professional mix, whether mixing in a 2.1 or 5.1 Surround environment. The 8s powered studio sub—KRK’s first 8-inch model—includes a custom-voiced, glass-aramid woofer, a Class-D powered amp and a four-position selectable crossover.
a 12-channel Reduced Mode or a 32-channel Standard Mode. ThunderStik is designed with a 250-degree motorized tiltable head that rotates on a y axis and utilizes three-phase motors. Additional features include 0-100% linear dimming, multiple strobe effects, macro effects, RGBW color mixing, built-in patterns, speed controllable scanner effects and lens filters that increase the beam angle up to 30 or 60 degrees.
TRACKS…MIXES…COMPILATIONS
“HOUZE” u Honey Dijon feat. Seven Davis, Jr. u Classic Music Company Ms. Honey Dijon returns with this super-hot house stomper, which sports some serious Chicago flavor. And don’t sleep on the amazing remixes from Deetron, Mark Farina and Eli Escobar, each of whom bring a different element to the track, making it a super-funky package. A must-have for all house heads.
– Tommy D Funk Ryos
“HOUSE MASTERS: TODD TERRY” u Todd Terry u Defected Defected has done it again with another classic “House Masters” package. This triple-CD set contains 35 of Terry’s most defining productions and remixes from past to present, including The Todd Terry Project’s “Weekend,” The Jungle Brothers’ “I’ll House You,” Black Riot’s “A Day in the Life,” CLS’ “Can You Feel It?” and Royal House’s “Can You Party.” And don’t sleep on the Gypsymen’s “Babarabatiri” (Tee’s Latin Mix). A terrific collection for oldschool jocks and up-and-comers alike.
Honey Dijon
H.O.S.H.
– Tommy D Funk “SOLAR INCEPTION” u Mark Quail u Frequenza Rugged techno track with piston-like kicks and ominous effects. Percussive and forceful, the original track delivers enough dark vibes to frighten children. But check the trippy, tingly “7th Star Remix,” which offers greater dynamics and a more colorful palette. Tight.
– Jim Tremayne
Mirco Caruso
“LUNCHTIME” u H.O.S.H. u Bedrock The Diynamic favorite makes a rare appearance on John Digweed’s seminal label for a top-notch single that pulls as hard on heartstrings as it does dancing feet. Stunning melodic arrangements twirl over loaded drum pads and melancholy airs, priming this one for those long-form DJ sets that give you a chance to take revelers on a sonic trip. – Chris Caruso “CHAKA KHAN” EP u Eli Escobar u Defected Escobar delivers another fine and excellently produced EP. This one takes us on a journey through New York's concrete jungle with tracks like “Happiness, Pt. 2” and “Up All Night, Pt. 2.” Street-smart disco-diva vibes, solid 4/4 beats, sharp percussion and vocal samples drip with underground goodness.
– Tommy D Funk
Todd Terry
“SALE EL SOL” EP u Mirco Caruso u Hive Audio Zurich’s Hive welcomes Caruso back to the fold for a mellow lounge-tech offering perfect for early hours of the night. The enigmatic female vocal on the original mix is absolutely enchanting, but Vincenzo D’Amico turns the focus to tribal percussion for stellar results. Reto Ardour’s remix is the absolute standout, however, delivering peak-hour tech-house with rolling bass, glittering melodies, and set-weapon aesthetics.
– Chris Caruso “WHERE WE ARE” u Ryos feat. KARRA u Enhanced Recordings Tick all the boxes here – emotive female vocal over plaintive piano chords, sugary pop hook driving toward whopping/whirring drop, and don’t forget the intermittent breakbeats. Formulaic EDM maybe, but earworm-quality nonetheless.
Eli Escobar
DJ TIMES
AUGUST 2016
– Jim Tremayne
38
“HIGH OVER YOU” u Hannah Holland feat. IMMA/MESS u Classic Music Company Huxley takes us down to the warehouse route with his remix, a twisting and turning effort featuring an infectious baseline and thumping kick drum. Also, check out Luke Solomon’s sassy “Body Edit.” – Tommy D Funk
Hannah Wants
TRACKS…MIXES…COMPILATIONS
GUEST REVIEWER: Andy Grant “CONTRASTS” FEAT. MYKLE ANTHONY Owen Jay & Melchior Sultana Batti Records
Mark Quail
Owen Jay’s Malta-based Batti has long been a go-to label for artisanal house music, and its 11th vinyl release is another solid addition to the catalog, with remixes here by Madrid-based brothers Dubbyman and Above Smoke. On Side A, Above Smoke delivers a 120-BPM slice of organic, piano-based house music that would get any dancefloor grooving. On the flip, Dubbyman brings moody, low-slung 110-BPM grooves, perfect for getting those feet tapping at the start of the night.
“NO VICTIM SONG” u ATFC feat. Hannah Williams u Defected U.K. DJ/producer ATFC delivers a fine and proper underground club track here. Sporting a sexy, classic house sound and vibe, this one delivers a melodic bass and funky percussion layered to perfection, plus Williams’ haunting vocals.
– Tommy D Funk “TAKE BACK THE NIGHT” u Ugo Strong feat. LaTrice Verrett u Influence Recordings Anthemic house with a sassy/strong vocal performance from Verrett, who throws down her own “I Will Survive” testimony. This one’ll put hands in the air and move feet on the dancefloor.
– Jim Tremayne “PAROXETINE” u Rennie Foster u RF On this wildly trippy tech-house track, Foster’s original dips, dives and channels Kraftwerk’s most robotic moments. Noah Pred’s “Re-Uptake Dub” kicks up the percussion, while the “Body Mechanic Remix” infuses an even more unsettling sci-fi robo vibe.
– Jim Tremayne “LET NOTHING” u Rachel Mcfarlane & Nick Hussey u DFTD The Manchester-based duo drops a truly celebratory, gospel-inspired, underground house record. On this pure-emotion floor-filler, go with the original mix—it feels like a classic.
–Tommy D Funk “HIDDEN LOVE” u Hannah Wants feat. Detour City u CR2 Records Angelic vocals soar over a pulsing track that gets dark and techy, then nervy and caffeinated. The sound of 5 a.m. somewhere.
–Jim Tremayne “THE ART OF 90S HOUSE” EP u Smoothe Grooves u TEQ & SOL Here we have three outstanding house cuts. With that classic four-onthe-floor sound and ’90s vibe, these will make you move and groove. Make sure you check out the bumpin’ “Maurice’s Vibe.”
–Tommy D Funk “SO GOOD” u Worthy & Made By Pete u DFTD With its thundering, top-heavy bassline, this track just builds and builds. Plenty of dancefloor energy here—this feels like a monster underground hit. Full support.
–Tommy D Funk
Rennie Foster
Denney
(continued from page 8)
you? Denney: I made the track really quickly, and the sample in it [1998’s “I’ll Bass You” by Love Mocha Love] I actually found about a year before. I sample a lot of vinyl on my computer, and when I find something I just put it in this folder where I’ll occasionally look in and find something. So I did that, and I made it in about two days and sent it to Jamie. I think he came back the same afternoon, and I think a week later they signed it. DJ Times: Did you think there was something special about that track? Denney: Not a clue. I just made it like any other track. Originally, it was the B-side—the EP’s actually “Pimp
Out.” The first time I thought I might be on to something was when I saw a video of Jamie playing it in Croatia and like everyone was going mental. It’s just crazy, the power of a video these days. The hype it can build is amazing, and I think that’s what happened with the track. DJ Times: Seems like booking DJs helped you to get where you are now. Denney: I was just booking them as a place to play, really! It totally was just for that. It’s weird, though. When you get into promoting, you sort of forget about everything else. It’s hard to enjoy DJing when you’re looking at the door and thinking, “Am I going to lose money here?” Promoting is the
most expensive hobby I’ve ever had, but the contacts and experience I gained are priceless. DJ Times: Are you mostly in-thebox, production-wise? Denney: I’d say mostly, but I’ve got bits. I’ve got a Juno 106. For my acid, I’ve got the [Roland AIRA] TB-3. I am going to get a 303 at some point. I’m getting a TR-8, and I use loads of software synths. DJ Times: What about your DJ set-up? Denney: I DJ off USBs [with Pioneer CDJs]. I’ve really been enjoying using four decks the last few times, using loops and stuff like that. That’s for ease of traveling. I love vinyl, still.
I’ve just moved to London, and it’s really good to get back into the record shops. Phonica, Love Vinyl—that’s a new one. You get the hidden gems. I miss the era of going into a record shop and finding that one record. But a lot of the music I play out I find on vinyl and then record it. DJ Times: Any new projects? Denney: I’m doing an EP for Heidi’s Jackathon and I’m working on a collaboration EP, which I’m really excited about. It’s probably the biggest project I’ve done so far. I’m doing a three-track EP: one with Groove Armada, one with Steve Lawler, and one with Skream. – Chris Caruso
make an album using just that. It’s half my work station.” Daenen’s latest album, 3, is easily his most accomplished work to date. Besides collaborations with Digital Farm Animals, Chromeo, Jauz, Emeli Sandé, to name a few, he incorporates a wide range of styles into a loose drum-n-bass structure—which doesn’t necessarily encompass the whole album. Strings usher in 3, led by Sandé’s powerhouse voice on
“Thunder.” A piano opens other collabs like “Work It Out” (with Digital Farm Animals), “High Alert” (with Sara Hartman) and “Higher” (with Jauz). Elsewhere, “Rio” and “Who Knows” are charged with strings, horns, and anthemic vocals.The album has a healthy dose of funk on “Leave It Alone,” soul on “Go 2,” and a bit of both plus R&B on the Chromeo collaboration, “TNT.” “It’s really important to step away
from anonymous internet working,” says Daenen who was in the same room with all his collaborators while they were songwriting. “You can hear it in songs when it’s the product of two people really collaborating on something or it’s a product of 22 emailed versions where you’re not on the same page all the time. I like to be straightforward in the studio and have the person’s feedback straightaway.” – Lily Moayeri
the last few years—giving a crowd that have gone to listen to EDM a choice to hear something completely different is a very smart move. The crowd won’t always be into EDM, and as they get older they will search out for different styles. By doing this, you stand a good chance of keeping those festival goers from 18 to 30 if you appeal to their changing musical tastes as well as pushing the boundaries on different stages. DJ Times: From a technical perspective, festivals are becoming larg-
er dates in terms of significance. Festival sets are usually shorter than club ones—what sort of effect does that have on DJs coming up today? Digweed: It’s really important that DJs play a wide range of gigs and not just a 60-minute festival set of bangers. Being able to play a sunset set, boat party, and 4-to-7 a.m. underground club set will all widen your approach to how you play each gig and make you think about your music so much more and make you play so much better. I understand
why most festival sets are shorter. People have so many choices spread over different arenas and they want to try and see as many acts as possible, so you are not going to give a DJ the same amount of attention if he is playing four hours. Instead, they’ll go 90 minutes, which allows them to go and see someone else. I am always gutted to play such a short set—especially when the crowd is going bonkers—but I am lucky I get to balance the shorter sets out with extended club ones. n
ity Knob were made to last. Having a small screen to provide real-time feedback on loop size is something I personally love and it allowed me to do loop roll without having to look at the laptop. Four FX knobs per channel with kill switches is something we are seeing more of from all manufacturers, but it’s still always welcomed. Where I thought the unit felt slightly short was with the volume and crossfade sliders. While I understand plastic components keep costs down and provide a lighter unit, I thought that aspect of the controller could have been improved. Call it a quibble. For me, the shining light of this
controller—and where it really separates itself from the pack—are the 32 performance pads, which are all extremely responsive, big enough for anyone with sizeable hands, and backlight RGB, which is an absolute must. For in/outs, there is an RCA output and a USB input to connect from your laptop to the controller. The headphone jack was located on the side of the unit, which I thought was a little strange because my headphone cord from time to time got in the way when I was playing with the performance pads. But, as long as you have a headphone cord that is over three meters, you shouldn’t have an issue.
Conclusions: For the bedroom DJ or someone who is just starting out with DJ and or live performance, this unit is perfect. The compact size makes bringing this piece from the bedroom to the party an easy task and the addition of performance pads will allow you to take a standard DJ set to the next level. Expect additional mappings for Traktor DJ and Virtual DJ to be available soon and that will only further the flexibility and usability to DJs who are already deeply ingrained in those digital DJ solution. At an affordable $249 retail price, the P32 DJ should make some noise.
Netsky
(continued from page 10) [Native Instruments’] Massive, not so much anymore,” says Daenen. “I like Serum a lot for super-simple stuff like sub-bass, electronic-sounding leads, typical soul pads. It’s got a nice engine for that. For sound design, it’s really easy and visual for creating ideas. I like to have organic-sounding leads and keys. For that, I use the sample libraries in [Native Instruments’] Kontakt and [Spectrasonics’] Omnisphere—I love Omnisphere. If I had to, I could
John Digweed
(continued from page 16)
DJ Times: What was it like playing on the Resistance stage at Ultra Miami this year? What’s your take on seeing such a big-room EDMfocused U.S. fest devote such a massive production to “underground” sounds? Digweed: The Resistance stage was great this year. It was packed and they put in a lot of effort with the structure, which gave that arena its own different vibe. Ultra has slowly been pushing the more underground sounds across several stages over
DJ TIMES
AUGUST 2016
Sounding Off
40
(continued from page 28) then the bassline, then the melody. Basically, it was live remixing and mixing all at the same time. While I will never be the next AraabMuzik, I have to say playing around with drum kits, loops and samples certainly got me thinking differently about how I play and also how I produce. Anyone who is an expert finger-drummer will find these pads extremely responsive. The fact that they are RGB backlight means you can assign colors to different sample types. The Build: Already, we mentioning that the size and weight of the controller was a real plus. The build quality of the regular knobs and Infin-
MP3s in 6
Compiled As July 13, 2016
NATIONAL CROSSOVER POOL CHART
NATIONAL URBAN POOL CHART
1 Calvin Harris F/ Rihanna This Is What You Came For Roc Nation 2 Justin Timberlake Can't Stop This Feeling RCA 3 Chainsmokers F/ Daya Don't Let Me Down Columbia 4 Alex Newell,Jess Glynne & DJ Cassidy Kill The Lights Atlantic 5 Justin Bieber Company Island 6 Fifth Harmony F/ Ty Dolla $ign Work From Home Epic 7 Sia F/ Sean Paul Cheap Thrills RCA 8 Dirtyfreqs And Vassy T.U.T.P.(Turn Up The Party) Radikal 9 Meghan Trainor No Epic 10 Jes/Austin Leeds And Redhead Roman Happy Intonenation 11 Sir Ivan Imagine Peaceman 12 Billy Rae Martin The Glittering Gutter Sire 13 Various Artists This Is For My Girls Motown 14 Alan Walker Faded RCA 15 Gwen Stefani Make Me Like You Interscope 16 Meghan Trainor Me Too Epic 17 Coldplay F/ Beyonce Hymn For The Weekend Atlantic 18 Win Marcinak Look Up To The Sky Burning Tyger 19 Rihanna Needed Me Roc Nation 20 Drake F/ Wizkid & Kyla One Dance Republic 21 Zayn Like I Would RCA 22 Lukas Graham 7 Years Warner Brothers 23 Janice Grace Save The Planet Jaguar 24 Rihanna Kiss It Better Roc Nation 25 Jennifer Lopez Ain't Your Mama Epic 26 DNCE Cake By The Ocean Republic 27 Alessia Cara Wild Things Def Jam 28 Selina Gomez Kill'em With Kindness Interscope 29 Gorgon City All Four Walls Virgin 30 Kim Cameron But You Side FX 31 Glovibes W/ Luciana One By One Nextstep 32 Jane Badler & Tracy Young Black Silk Stockings Me Jane 33 Martin Eriksson Stranger Southside Recordings 34 Beyonce Sorry Columbia 35 Halsey Colors Capitol 36 Arianna Grande Dangerous Woman Republic 37 Janet Jackson Damn Baby Island 38 Salt Ashes Save It Radikal 39 Mike Posner I Took A Pill In Ibiza Republic 40 Adele Send My Love Columbia
1 O. T. Genasis F/ Young Dolph Cut It Atlantic 2 Bryson Tiller Exchange Trippinout 3 Designer Panda Def Jam 4 Drake F/ Wizkid & Kyla One Dance Republic 5 Rihanna Needed Me Roc Nation 6 Future F/ Weekend Low Life Epic 7 Beyonce Formation Columbia 8 Fetty Wap Wake Up RFG 9 Beyonce Sorry Columbia 10 Kevin Gates 2 Phones Atlantic 11 Future Wicked Epic 12 Kevin Gates Really Really Atlantic 13 Alicia Keys In Common RCA 14 Plies Ran Off On Da Plug Twice Atlantic 15 Kayla Brianna F/ Rich Homie Quan Do You Remember Smitty 16 T.I. Money Talk Raunchy 17 Fat Joe / Remy Ma / Jay Z F/ French Montana All The Way Up Empire 18 Dj Khaled F/ Drake For Free Epic 19 Drake F/ Popcaan Controlla Republic 20 Usher F/ Young Thug No Limit RCA
Most Added Tracks
1 Rob Thomas Pieces 2 Zayn Like I Would 3 Meghan Trainor Me Too 4 Arianna Grande Step On Up 5 Jes/Austin Leeds And Redhead Roman 6 Martin Eriksson Stranger 7 Selina Gomez Kill'em With Kindness 8 Jane Badler & Tracy Young Silk Stockings 9 Nick Fiorucci & Block and Crown Trust In Me 10 Gorgon City All Four Walls
Atlantic RCA Epic Universal Happy Intonenation Southside Recordings Interscope Me Jane Hi Bias Virgin
REPORTING POOLS Peter K. Productions - , ; n Masspool - Saugus, MA; Gary Canavo n OMAP - Washington, DC; Al Chasen n Dj Stickyboots - Goshen, NJ; Blake Eckelbarger n Nexus Radio Chicago, IL; Manny Esparza n MetroMix - Pittsburgh, PA; John Hohman n Next Music Pool - Los Angeles, CA; Bob Ketcher n Soundworks - San Francisco, CA; Sam Labelle n Klubjumpers - San Antonio, TX; Dan Mathews n New York Music Pool - New York, NY; Jackie McCloy n Dixie Dance Kings - Alpharetta, GA; Dan Miller n DJ Rafy Nieves - San Juan, PR; Rafy Nieves n Northeast Record Pool - Revere, MA; Justin Testa n Pacific Coast - Long Beach, CA; Steve Tsepelis
Looking for these titles? You can hear them and buy them at www.dancekings.com. Just click on the links in the chart. DDK has limited memberships available for qualified DJs in the US. We service CDs and MP3s in dance and urban formats. Feedback and membership dues required. 770-740-0356
Most Added Tracks 1 2 3 4 5
Drake F/ Wizkid & Kyla Dj Khaled F/ Drake Dj Khaled F/ Jay Z & Future Bryson Tiller Usher F/ Young Thug
One Dance For Free I Got The Keys Sorry Not Sorry No Limit
Republic Epic We The Best Trippinout RCA
NATIONAL LATIN DANCE POOL CHART 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20
Alfredito Linares Juan Magan ft Luciana J Balvin Rey Chavez Jay Cool Charly Black Ben James feat. Fuego Prince Royce Jau D Gente De Zona ft M. Anthony Don Omar Grupo Niche Tito Nieves Alx Veliz Adassa Jorge Celedon Johnny Rivera Farruko Ivan Montero Los San Luis ft. Chino & Nacho
Ain't No Sunsunshine Baila Conmigo Bobo Lo Aprendi Contigo Señorita (RMX) Gyal You A Party Animal Que Sera La Carreta Lady Love Algo Contigo Te Recordare Bailando Niche Como Yo Yo Se Que Es Mentira Dancing Kizomba Caballero (Extended Club Mix) Me Antojo Nadie Se Muere Por Amor Obsecionado Nos Entendemos Se Acabo
DJ Gonzo Prod. Universal Universal J&N JayCool Charisma Aftercluv Cha-Del Sony Cutting Sony Universal 360 Group TN Creations Universal DCP Sony Luvia Music Group Latin Hits Montero Music San Luis Music
Most Added Tracks 1 2 3 4 5
Pedro Arroyo Puerto Rican Power Obie Bermudez Domenic Marte Jandres
Perdoname Mi Error Vida De Colores Como Quisiera Te Voy a Amar
Promo Mambiche Zhar Ent. Direct Balance South Star
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.
Networking
(continued from page 21) to better fill the calendars for my other DJs, I took part in the local chambers, CVBs, MPI [Meeting Planners International] and ILEA [formerly ISES, but now International Live Events Association] in addition to others like BNI and LeTip.” Tiegs says he found that the more event-specific a group is, the better the association. “That's because these are the partners and friends who touch our potential clients before we do,” he explains. “I don’t do trade shows, but all of these folks do—so partner up with them and support them at their open houses. “But I will say this: You only get out of them what you put in, so don’t just sign up and expect the phone to ring off the hook. Get involved, try to show up to every meeting, and even volunteer on committees or become a board member. “Show that you actually care and have a genuine interest in what others are doing with their businesses. Make an effort to meet these other members outside of the meeting/ event environment. Develop and maintain relationships with people you like working with and places you’d like to do more events at. “I assure you, it'll pay off in the long run.”
Back over in the Midwest, Corey Rusch in Detroit, says that his area of the country is pretty unique. “I don’t know the exact numbers but we would have to have a decent share of the market, so we don’t get asked to network much with other entertainment companies in the area,” says the founder and owner of Rusch Entertainment. “We network a little bit at chamber events, community events, wedding expos and with vendors at weddings and other events. We basically just hope that if we do a good job and that the vendors enjoy working with us, they'll refer us in the future and we'll do the same thing. “There are a lot of companies that are trying to do it all now— like DJing, photography, videography, lighting, catering, limo, cake-baking etc. “We could get into all that, but we could also potentially hurt all the other companies around that currently refer us, so we've decided to stick with one element, and do that to the best of our ability. “Referrals from other professionals are also extremely valuable. I think each DJ would be different with the percentages of gigs based on referrals, but it would depend on
how strong your referrals are.” Meanwhile, back up in the northeast, Artem Lomez in Roxbury, N.J., says networking is imperative for anyone in the DJ business, just as it is in any industry. “One-hundred percent of my business is word-of-mouth, so I highly rely on referrals from past and present clients, as well as marketing,” says the founder and principal event host for NinetyThree Entertainment. “Internal networking within our industry is important, as it not only builds relationships with your colleagues and helps you understand which are the best ways to learn from—networking also provides learning opportunities, which I believe is an ever-evolving process— plus it also opens the door to collaboration. “In addition to event entertainers, I also network with videographers, photographers, event planners, etc., as we can all potentially assist in the referral process for one another.” Lomez says that when clients feel comfortable with our services and opinions, they're also likely to feel comfortable with our referrals for other professionals. “This is a great way to also ensure that your events are being handled
by the event professionals that we also trust and enjoy working with,” he says. “I utilize industry specific organizations [NJDJN, ILEA, MPI, etc.], as well as local networking organizations, such as my county Chamber of Commerce. “Networking outside of the industry not only allows for broadening brand awareness, but also plays a part in business and personal growth. Being exposed to businesses and industries that are outside of our typical areas of focus is often a wonderful learning experience.” Networking, explains Lomez, is as an opportunity to meet new people overall—even if we don't do business with someone from an organization. “Networking, much like most things in life, is dictated by effort,” he says. “The more effort we put in, the likely we increase the effectiveness of the results. It should also be noted that we're in a specialty industry— there's only so many times someone can get married, have a bar/bat mitzvah, etc.—so, we're always looking to expand our networks to continue our business growth. “Based upon the target market you have, adjust your expectation and timelines whenever measuring networking effectiveness.” n
Codes, and Bright Lights, plus a pair of yet-unannounced acts. As always, all DJ Expo badgeholders will be admitted to the event free. On Wednesday night, August 17, at Scores’ Black Box Lounge, Mike Walter will host the annual “DJ of the Year” competition. The annual party
and competition will bestow a variety of awards to the best of the best from America’s Mobile Nation.Who will win this year? And, in what’s become a DJ Expo tradition, DJ Skribble will play the show’s closing afterparty. Set for late-night at the Taj’s Ego Lounge on
Wednesday, August 17, the “DJ Skribble & Friends” party will find the ever-versatile DJ spinning all dancefloor flavors. Up-and-coming Boston-based DJ Josh Bernstein will open. For a rundown of recently added DJ Expo seminars, please see Feedback on Page 7.
DJ Expo
(continued from page 3)
16, Promo Only Summer Sessions will present another top evening of DJdriven entertainment. Set for late night at the new Premier Nightclub in the Borgata, Promo Only’s event will feature performances by two-time America’s Best DJ winner Markus Schulz, plus Morgan Page, Cazzette, Cheat
42
At DJ Expo, gear lust is real.
DJs rush to see the latest toys.
But only one will leave with the big prize.
DJ Expo, Next Month in DJ Times
Photos By MetroMix Media
DJ TIMES
AUGUST 2016
DJ Expo’s Ultimate DJ Giveaway
SET TO REMEMBER
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