DJ Times November 2016, Vol 29 No 11

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FALL FESTIVAL WRAP: NYC, EL PASO & SAN DIEGO Blast-Off: Electric Zoo in NYC. aLIVE Coverage

San Diego – As America’s 2016 festival season wound down, DJ Times made its way across the continent to take in a trio of major EDM fiestas.

In New York City this past Sept. 2-4, we caught Electric Zoo: Wild Island; in El Paso, Texas, this past Sept. 3-4, we attended Sun City Music Festival; and then in San Diego this past Oct. 1-2, we made it to CRSSD Festival.

At NYC’s Randall’s Island, Electric Zoo:Wild Island—produced by SFX/ID&T/ Made Event—drew over 83,000 fans, according to organizers. EZoo performers included Bassnectar, Tiësto, Porter Robinson, The Chainsmokers, Hardwell, Andrew Rayal, Flux Pavillion, Carnage, NGHTMRE and Cedric Gervais.

At Ascarate Park in El Paso, Texas, this past Sept. 3-4, more than 50,000 revelers attended Sun City Music Festival, according to organizers. Produced by SFX/Disco Operation, SCMF presented a slew of major DJ/producers, including Kaskade, Skrillex, Galantis, Marshmello,The Chainsmokers, Cash Cash, Fedde Le Grande, Sam Feldt, JAUZ, Joris Voorn and Loco Dice.

As San Diego’s Waterfront Park this past Oct. 1-2, nearly 15,000 dance-music enthusiasts made it to CRSSD Festival. Produced by FNGRS CRSSD, the twoday event included performances from Dubfire, Maya Jane Coles, Lee Foss, Justin Martin, Felix Da Housecat, MK, Claptone, Matrixxman, Bonobo and M.A.N.D.Y. For a bigger look at the Festival Season’s end, including more images from Electric Zoo: Wild Island, Sun City Music Festival and CRSSD Festival, please visit Page 22.

Jumpin’: Galantis in El Paso. Rukes.com

CRSSD Fest: Felix Da Housecat in SD. Miranda McDonald

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12 Double Identity

With Its Seemingly Endless String of Hits, U.K. Duo Gorgon City Maintains a Tight Balance Between Clubland & the Pop World

BY LILY MOAYERI

VOLUME 29

NUMBER 11

20 Streaming Success

One Mobile Explains How Spotify Can Save the Day – for DJs & Clients

BY JEFFREY DURAND

22 Fall Festivals

Festival Season Wrapped Up in NYC, El Paso & San Diego

BY DJ TIMES PHOTOGRAPHERS

24 Memories…

We Asked DJs About Their Most Memorable Gigs Ever.

Some Answers Might Surprise You.

BY JEFF STILES

SAMPLINGS

DEPARTMENTS

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

26 Making Tracks

Zero-G’s Formation

28 Sounding Off

Numark’s NVII & WS100

30 Mobile Profile

DJ TIMES

NOVEMBER 2016

4

Pa.’s Party Percussionist

32 Business Line

8 Lady Waks

34 Gear

10 In the Studio With…

DJ Expo Takeaways, Pt. 2

New Products from ADJ, Numark & More

Breaks & Much More

MSTRKRFT

38 Grooves

Phat Tracks from Will Rees, Eats Everything & More

41 Club Play Chart

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

Cover Image by Fiona Garden

7 Feedback

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FROM THE EDITOR

Get It Right the 2nd Time

Gorgon City is one of those acts that we missed the first time around – not the music so much, but the opportunity to feature them.

Back in 2014, we were loving the Brit duo’s first round of catchy, deep-house-leaning singles (like “Real” feat. Yasmin and “Ready for Your Love” feat. MNEK), but when it came time for Kye Gibbon and Matt Robson-Scott to do their rounds of press interviews in New York—a last-minute PR project, it seemed—we were knee-deep in DJ Expo duties that August. Hands full, couldn’t get away – c’est la vie. Happens.

Since then, the group’s hit-laden Sirens album took off with DJs and fans alike, and now Gorgon City has returned with its adventurous Kingdom series of releases. We won’t miss them this go-round, right? Of course not, even if, somewhat ironically, our L.A.-based correspondent, Lily Moayeri, is the one doing the interviewing. As you’ll see, she manages to get plenty of useful info from the Gorgon boys – thanks for saving our bacon, Lily.

In our Sampling section, new contributor Lori Denman-Underhill connects with Lady Waks, a Russian DJ/producer who does much more than just drop breakbeats—tune in and see what we mean. Also, our NYC-based pal Bruce Tantum offers some studio talk with MSTRKRFT, as the Canadian duo hit The Big Apple in support of Operator, their new fulllength. And as summer turned to fall, we also take a look back at America’s festival season with photo spreads featuring Electric Zoo: Wild Island in NYC, Sun City Music Festival in El Paso, Texas, and CRSSD Festival in San Diego.

From the tech-land, our St. Louis-based producer/scribe Josh Harris handles Formation, Zero-G’s new instrument that uses Native Instruments’ Kontakt as its playback vehicle.

Also, in Sounding Off, Denver-based DJ/scribe Wesley Bryant-King again does a bit of double duty, as he reviews a pair of Numark products – the NVII controller and the WS100 wireless microphone system.

From the world of the mobile entertainer, Iowa-based scribe Jeff Stiles asks a handful of mobile vets: “What’s your most memorable gig and why?” Some of the answers might surprise you. Additionally, new contributor Jeffrey Durand explains how Spotify (or other streaming services) can help save the day for DJs and their clients. For Mobile Profile, we meet up with John Donovan—a mobile drummer, not a mobile DJ, but someone who began working with mobile entertainers and recently has begun playing with larger EDM DJs like Bl3nd. Also, in Business Line, New Jersey jock Gregg Hollmann offers another round of seminar takeaways from DJ Expo, which ran this past August in Atlantic City, N.J. Stay tuned next month for our reports from Amsterdam Dance Event in Holland and LDI in Las Vegas. And, one more time: Congratulations to Claude VonStroke, who was voted America’s Best DJ 2016!

Cheers,

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

art director Janice Pupelis jpupelis@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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Jim Tremayne Editor, DJ Times

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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 November 2016

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FEEDBACK DOWN THE STRETCH

AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988

OCTOBER 2016 $4.95 US $6.95 CANADA

DJ EXPO ’16 WRAP-UP

y SIGHTS & SOUNDS y NEW IDEAS & TIPS

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Hello DJ Times, Is it possible to use a Crown XLS 1502 power amplifier in a hi-fi set-up?

Considering that Crown is one of the leaders for Class-D amplifiers, I asked myself, “Why not?”

What do you think?

– Luc St-Onge, Montreal, Que. Hi Luc: From Crown’s XLS DriveCore 2 Series, the XLS 1502’s audio quality is better

have benefited from creating ongoing internet personas. Some fans love that part it, some find it annoying. Different strokes…

If you notice, old-school legends of the hip-hop or house genres, say, don’t seem to be as engaged, but that’s probably a generational thing or a revenue thing – perhaps they simply don’t wish to hire a social-media manager.

But, to answer your question… I’d guess that it’s a matter of priority for some, cost for others.

– Jim Tremayne, DJ Times

% 31, 2 10mber ve Dece Sa r 1 –

DJ Expo Redux The following are more reactions to DJ Expo, which ran this past Aug. 15-18 at the Trump Taj Mahal in Atlantic City, N.J. Nashville-based Musical duo TRYON— first-time attendees Stephen and Justin Kirk— participated in Expo’s “Remixer/ Producer” panel and took in the show‑ floor. "Our experience at the DJ Expo was amazing,” said Justin Kirk. “Seeing all the new tech and meeting all the DJs from around the world really was something we'll never forget. We will see you next year for sure!"

Longtime attendee/seminar speaker Jer‑ ry Bazata of DJ Jaz Music in Ogunquit, Maine, had praise for show organizers.

“DJ Times and its staff,” said, “need to be commended on the tremendous ef‑ fort it puts forth to gather the best in the industry—from speakers to manufactur‑ ers—in a week filled with knowledge, fun and memories.”

Dan Pearson of Lakeside Management Group in Katonah, N.Y., concurred. "I've been attending the DJ Expo for years and think this was the best one yet,” he said.

“The Expo staff did a tremendous job of bringing together the most talented DJs, producers, artists, and entrepreneurs in the music business. I look forward to be‑ ing there again next year!"

Dear DJ Times: Why do some top DJs – like Steve Aoki, Nicole Moudaber, EC Twins, Dillon Francis and David Guetta –utilize social media to the max, while others simply take it for granted? These above-named DJs are all over the socials… pumping, pushing, promoting.

– Rich Unger, Sarasota, Fla. Rich, Well, most of the DJs you mention hire people to run their socials. Some of them, like Dillon Francis, seem to be more involved than others and

be m ve No

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.

04OC16_p001-044.indd 1

than any soundbar or, at the very least, the equal to the best receivers. You will need either to use your mixer or a preamp, of course, for input selection and level setting.

The XLS 1502 has a lot of power (300 watts @ 8 ohms or 525 watts @ 4 ohms), so your speakers will need to be able to handle this or you should keep this in mind.

Most decent portable DJ speakers, such as you would use for your gigs, ought to be fine for home use also.

– Mike Klasco, Menlo Scientific, Richmond, Calif.

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NOVEMBER 2016

LADY WAKS: BREAKS & MUCH MORE

8

Lady Waks: DJing, production, events, fashion, etc.

There is one woman on the scene who should make the average DJ feel, well… pretty average.

Introducing the impressive force known as Lady Waks. Appreciated worldwide for her breakbeat sets, the Russian-born DJ/producer has won numerous Breakspoll Awards, but that’s not all. She does a radio show, holds a degree in graphic design, breakdances, conducts her own marketing and runs a clothing company. And she achieves all of this as a mother raising a six-year-old daughter.

Born Alexandra Seregina in St. Petersburg, where she still resides, Waks, 34, began as a breakdancer and announcer at hip-hop events before finding her groove in the breakbeat world. For the past 16 years, she has conducted Radio Club on Russia’s popular Radio Record station, which also streams online, playing a variety of music, including trance, breaks, drum-n-bass and more.

Seregina also created In Beat We Trust LTD, which umbrellas a record label (In Beat We Trust Music), an artist-booking agency, a clothing company, and an eventpromotion company. We recently caught up with Lady Waks to discuss her unending array of activities.

DJ Times: You do your own artwork, marketing, record label, production, etc. How do you do it all? Any tips?

Seregina: In our digital age, you need to be a socialmedia expert or have someone do that for you. I wish I were able to focus on one task and do the best at it. It looks from the outside like everything is complete. If I didn’t have to do marketing, for example, I would release so much more music. If I could just focus on my clothing brand, I would take it to the next level. I am really busy, but I feel like I could do each thing better.

DJ Times: With your music, what kind did you play in the beginning?

Seregina: Hip-hop. I was also into breakdancing and belonged to a group that won top awards. I was dancing with them on the street to make money. I was a B-girl at a young age and was all about hip-hop culture, including the scratching, and I think that’s how I got into graphic design.

DJ Times: And your evolution into breakbeat DJing?

Seregina: My radio show was, at first, based on hip-hop. It wasn’t about DJing at first – I was talking more and telling stories. I would be an announcer at the breakdance battles. Then, I started to organize my own events at nightclubs, where they also played techno. So I started to book DJs who played techno-electro. I remember the first time I heard music I did not recognize that was faster than hip-hop. After I while, I found out it was breakbeat – I loved it.

DJ Times: Do you find that there is more pressure and stress while playing at a large festival?

Seregina: No, the opposite of that. Because at a small club, if you do something wrong or you don’t connect with the people, they can leave. At the big festival, you have the whole concept – the lights, the sound system… it is easier there.

DJ Times: Who are a few of your favorite artists right now?

Seregina: Well, since I have a radio show, I am constantly listening to new artists. I’ll spend about six hours listening to new music. Recently, I am getting more into jungle and drum-n-bass. I really like techno and breaks.

I am mixing a lot of beautiful musical tunes right now, like from Black Butter Records – I love it. Concerning breakbeat, I listen to a lot because I need to know what is going on.

DJ Times: Is Punks by the Stanton Warriors one of the labels you follow? (continued on page 40)

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savant Ian Svenonius. It’s MSTRKRFT’s leanest and meanest release yet, the product of a band distilling its sound to its stripped-down, visceral core.

“With Fist of God, we were thinking, hey, R&B and dance music are going to combine, and we want to be at the forefront of that,” the loquacious, charmingly goofy Keeler explains over a beer at their hotel’s bar.

The pair had another goal in mind when recording began on the new record. “We wanted to work in a completely different way with Operator,” the marginally more businesslike Puodziukas says. “The way that we did this record was kind of like the way that Jesse and I made music in our more rock-ish, prePuodziukas explains. “But accepting the imperfections is MSTRKRFT bands—only instead of having that hard, when you’ve become accustomed to everything rock-ish orientation, we’re using electronics.” being so ‘right.’ It’s hard to think past that.”

For starters, MSTRKRFT purposely chose Adds Keeler: “Beyond that, we each were using a to work with a limited palette of instrumenmodular synth. We’d find a happy place for a while, but tation. “The core of the record is really all then we’ll be, ‘Oh this should be here, and that should be [Roland] 808, 909 and 707—those three drum there.’ There’s always some slightly different thing that machines,” Keeler says. “It’s stuff that we had seems like it has to happen.” already, and while we’ve used them on our reAnd aside from effects, those drum machines and cords before, we never relied on them as much modular synths were all it took to put the album togethas we did on this one. On a lot of the tracks, er. Says Puodziukas: “We wanted to have as few sources the 909 was the master clock. And if someone to record as we could get away with.” wanted to throw those tracks into a computer Mirroring that bare-bones instrumentation, the duo and attempt to put them on a grid, they’ll be opted to keep the layering to a minimum as well, conwatching everything sort of skate around. The tributing to Operator’s rugged, hammer-it-out feel. “The whole thing is really imperfect.” track count is super-low,” Puodziukas explains. “I think That imperfection gives the album a dynaour highest track count was 14, even accounting for mism that electronic music can sometimes lack. “It makes it feel a little bit more alive,” as (continued on page 40)

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It’s not every day that a world-conquering recording artist personally texts you to confirm an interview—but as the appointed time for DJ Times’ face-toface with MSTRKRFT’s Al “Al-P” Puodziukas and Jesse F. Keeler approaches, a message comes in from Puodziukas himself. “Hey, we’re checked, fed, watered and settled. Where do you wanna do this?”

As it turns out, the Toronto-based Puodziukas and Keeler—who were in New York City as part of a short tour to promote the latest MSTRKRFT opus, the analog-synth–driven Operator—were not only serving as their own press wranglers, but also as their own tour managers, and even their own roadies. The pair had just flown into the U.S. that morning, and apparently had a bit of trouble with the border patrol. As Keeler, who doubles as one-half of Death From Above 1979, recalls, “The agent asked, ‘What is this?’ ‘It’s a 909.’ ‘What does it do?’ I could have told her anything, like, ‘It’s nuclear test equipment!’ Finally, after she scanned and swabbed it, she was like, ‘Well, I still don’t know what this is.’ Finally, she called over to her supervisor, and she immediately said, ‘Oh, are you a DJ?’” Herding equipment through customs, setting up interviews—it’s a return to the DIY, punk-tinged roots of MSTRKRFT, and it’s an ethos that flows through Operator, the veteran pair’s third album in a decade-plus of releases, remixes and live dates. Gone are the buffed, pop-tinged tunes of the last MSTRKRFT effort, 2009’s Fist of God; in their place are raw synth-manglings that recall the pared-down joy of early acid house and the grittiness of industrial music.

And while Fist of God featured guest vocal turns from John Legend and Lil’ Mo, among others from the R&B and hip-hop world, Operator boasts contributions from the likes of Jacob Bannon (from metalcore combo Converge) and rock

MSTRKRFT: (from left) Keeler & Al-P.

DJ TIMES

IN THE STUDIO

MSTRKRFT: VINTAGE OPERATORS

BY LILY MOAYERI

MAINTAINS A TIGHT BALANCE BETWEEN CLUBLAND & THE POP WORLD

W I T H I T S S E E M I N G LY E N D L E S S S T R I N G O F H I T S , U. K . D U O G O R G O N C I T Y

Double

Los Angeles – “Sleep is a myth.”

This is a tweet from Kye Gibbon. Posted from his Foamo account, which represents Gibbon’s musical venture before he joined up with Gorgon City partner Matt Robson-Scott (who himself recorded as RackNRuin), this short, digital blip does offer some insight to the group and its exhausting schedule.

Examples? Just this past spring the Gorgon City guys completed a tour of North America with Rudimental. In the course of four days, they had a gig in Los Angeles, another in Las Vegas, and another in San Diego. On the fourth day, they returned to L.A. in the early hours to perform live and get interviewed on the city’s KCRW radio station’s Morning Becomes Eclectic program. They also did a taping for YouTube, put together a podcast, and were interviewed for this DJ Times cover story. Later that evening, they DJed at Monday Social at Sound Nightclub until 3 a.m.

Throughout 2016, Gorgon City had been releasing a song every three weeks from its upcoming album, Kingdom Vol. 1, the follow-up to their 2014 debut, Sirens—the universally

iDentity

BY LILY MOAYERI

MAINTAINS A TIGHT BALANCE BETWEEN CLUBLAND & THE POP WORLD

W I T H I T S S E E M I N G LY E N D L E S S S T R I N G O F H I T S , U. K . D U O G O R G O N C I T Y

NOVEMBER 2016

DJ TIMES 14

appealing album with endless singles (“Real,” “Ready for Your Love,” “Here for You,” etc.) that kept going and going and going. Released this past August, Kingdom Vol. 1 hit a tight balance of crossover singles such as “All Four Walls” featuring Vaults, “Impaired Vision” featuring Tink and Mikky Ekko, “Zoom Zoom” featuring Wyclef Jean, as well as the soulful “Love Me” featuring Lulu James, one of their touring singers. It also has its share of club bangers such as the chugging “Blue Parrot” and the moody “Smoke.” (The initial single from Part 2 of the Kingdom project is “Smile” featuring Elderbrook, which offers a smoky, brooding melody before a modified drop brings it home.)

In between Kingdom Vol. 1 releases, the duo released the Money EP on Damian Lazarus’ critically acclaimed Crosstown Rebels label. At the start of the season, they began their every-other-week Tuesday residency at Amnesia in Ibiza, with the line-ups curated entirely by themselves. And on the first Monday of every month, they have their show on Rinse FM where they showcase and speak about new music they’ve found, sometimes right up until they hit the “on-air” button.

Things are going very well for Gorgon City, to say the least, a formidable beast that, believe it or not, started as a side project for Foamo and RackNRuin. Here’s how our conversation went: DJ Times: How did your previous musical ventures impact the development of Gorgon City?

Robson-Scott: At the beginning, it was really useful because we were doing a lot of shows in the U.K. and Europe individually and had a lot of tunes and remixes out over those few years. We were known by fans and some of the media so when we started working together, it helped because people gave us more of a chance, “Let’s see what it sounds like when they make music together.”

DJ Times: When did you start DJing?

Gibbon: I started when I was 13 with $100 belt-drive Numark turntables and a tiny mixer. The platter was plastic. I learned on vinyl for years and when I converted first to CD then USB, I never had decks. I just used to practice in clubs. We bought a turntable set-up recently, for the studio.

Robson-Scott: I started DJing when I was 14. When I went to university in Bristol I had a couple of years of playing strange gigs in Spain, having to fly there while studying for my exams. I’d come back with no sleep and go straight to an exam. I was also DJing at student nights to be able to buy clothes and food that’s nice and not live like a total student eating baked beans.

DJ Times: You play a very diverse cross-section of gigs, from underground clubs to big festival stages, some of which are not strictly dancemusic festivals. How do your sets differ in various settings?

Gibbon: If we’re playing a smaller club with a great sound system, we’ll play a little deeper and techier. You really feel like you can play whatever you want. At a festival, or on a sound system that isn’t that great, you play more crowd-pleasers or vocal tracks.

Robson-Scott: No matter how much you prepare for a gig, you never know what the crowd’s going to be like until you get there. It’s a mixture of knowing the kind of thing we’ve played in a situation before and having new material to test out in those circumstances. We’re both separately always looking for new stuff. That’s one of the things we enjoy most about playing together is surprising each other with new tunes whether they’re by other people, or by us, like tracks we’ve made on the plane the

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MAINTAINS A TIGHT BALANCE BETWEEN CLUBLAND & THE POP WORLD

W I T H I T S S E E M I N G LY E N D L E S S S T R I N G O F H I T S , U. K . D U O G O R G O N C I T Y

DJ TIMES

NOVEMBER 2016

Gorgon City: (from left) Kye Gibbon & Matt Robson-Scott.

week before, on our own. It’s a nice way of getting each other hyped. It makes every set exciting when you don’t know what the other one is playing and you don’t know what’s going to happen. It’s one of the best things about playing together, testing it out with one of your mates and bouncing off each other’s mixing.

DJ Times: How do you organize the music on your USBs? Robson-Scott: We’ll make playlists, especially for certain gigs, of tracks you’ve found that week. But generally, it’s referencing sets we’ve done before. For example, when we have a show that was really good in a certain situation, we can reference that playlist and take a few tracks out of it, play those, then mix them with fresh ones we haven’t tried before. That’s definitely the way we do it if we’re doing a show that’s a bit more commercial or the crowd’s a lot younger. We did the Mad Decent Block Party in India with a banging crowd where we played more bass-heavy stuff. When we were in Ayia Napa, we went for the India playlist and we were both playing tracks from it knowing they were going to work. That’s a useful way of doing it. I’ve still got sets on my stick from Warehouse Project from last year which I know are going to be really dark and rave-y and I’ll go for them when that’s what’s needed.

Gibbon: We try and get in what we love: house, techhouse, techno. But we like to mix it up with our own production. Even in our live show, we’re starting to get more and more of our own tracks in there. When we first started out with the live show it was just straight up playing the album tracks. Now it’s more like a DJ set with mixers in the set-up and we’ll play our more cluboriented tracks. We’re trying to get the live show a little bit more like a DJ set, to show off what we do.

DJ Times: When did you start producing?

Gibbon: About the same time as DJing. I used to produce music on the PlayStation PS 1. Then it was [Propellerhead’s] Reason—when you couldn’t use audio, everything had to be MIDI. I solely used Reason until about 2006 when I switched to Ableton. I still use Reason for some of the synths, but making music is making music no matter how you do it. I remember producing music on my parents’ computer in the living room on headphones while they were watching TV. Robson-Scott: I used my mum’s Dell piece-of-shit laptop from when I was 15. I got Fruity Loops, which was pretty easy to get your head around. But then I got Logic and I had to really understand and learn how to (continued on page 40)

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It wasn’t long ago that I used to dread my monthly bill from the iTunes store.

The production company I work with has carved quite the niche in the “stripped-down” wedding market. In other words, we mostly steer clear of the bells, whistles, and cliché music selections that so many clients have become accustomed to at other weddings.

And as such, many of the people who book with us are music aficionados in their own respect, and expect us to deliver a sonic experience that appeases their refined palates. My rule of the thumb, with any couple, is to give them the choice of autonomy or defer to my expertise – or something in between.

In many cases, this meant 20 songs for cocktail hour, 40 songs for dinner, and a few B-Sides for the dance floor, which I may never use again. It makes perfect sense to keep a healthy dose of Frank Sinatra, John Legend, Adele, and Stevie Wonder on one’s hard drive.

But, on the other hand, a song like “If She Wants Me”

by Belle & Sebastian will cost me $1.29 to make one couple happy, and collected virtual dust for the rest of my wedding career.

Streaming One Mobile Explains How Spotify Can Save the Day – for DJs & Clients

DJ TIMES

NOVEMBER 2016

The Score: Let’s say I average 50 weddings per year, with half the clients opting to provide an average of 20 obscure and eclectic tracks I may never use again. It’s a rough estimate, but I was spending approximately $500 per year on music that would be useless the minute I finished packing for the night. Adding to this inefficiency was the time needed to curate my library, and delete these songs.

If only there was a way to save the money, time, and virtual space associated with pleasing a very discerning clientele…

As a consumer that happens to DJ, Spotify’s growing popularity (30 million subscribers to date) didn’t make much sense for me personally. After all, I’ve collected terabytes worth of music over the years that I can perform with, or enjoy on my own time. Why spend $120 per year to access a streaming music platform, if I already own most of what they were offering? The operative word, here, is most.

Spotify’s library is immense and, more importantly, chock-full of obscure genres, artists, and songs that fill the gap in my existing collection. I’m all for supporting

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independent labels, underground musicians, and artistry in general – but I also have a business to run. By making the switch from purchasing songs to subscribing to Spotify, I stood to save roughly $400 per year.

In Practice: I pitched this idea to the owner/operator of my production company a few years ago, and it took a great deal of persuasion to convince him that this method was secure, let alone a bonus for clients. With his graces, I began asking couples, during initial consultations, whether they used Spotify. The answer was often an ecstatic “yes!”

Now, I am not lazy or unwilling to curate dinner or cocktail playlists, but I’d leave the option on the table for them to create their own— half-joking that they could pour a glass of wine and make a “date-night” of the experience. As expected, the

limited to ceremony, cocktail, and dinner music. The dancefloor is a different animal. DJs who use a jukebox-style for dancing still exist, and many of them are quite successful without turntablism, beat-juggling, or even simple blending. If you fit this description, you could conceivably employ this same strategy for your entire event.

But, if you’re a DJ who provides a dynamic performance with seamless transitions, wordplay, and fine-tuned mixing, Spotify will not fully satisfy your needs – that is obvious. However, it doesn’t hurt to have dancing requests readily available on your Spotify account. It also doesn’t hurt to have specific playlists of “wedding favorites” saved in case your software or hard drive fails. In fact, algoriddim’s djay applications play tracks from your Spotify collection, meaning that you can still “perform” on an iPad (or iPhone) if your main system fails.

A Failsafe: So many things can go wrong with electronics. Needles can break, control vinyl can warp in the heat, software can crash unexpectedly, digital files can be corrupted… the list goes on. At the least, this program offers a contingency plan for these worst-case scenarios.

It hasn’t happened yet, but the law of averages suggests that someday I will be in a position where my turntables, controller, and mixer all go down. It will be a painful and stressful experience, but I will at least know that my current method will ensure that I have the appropriate music for the occasion – even if I’m using an auxiliary wire connected to my iPhone 6s.

Playlists & Other Options: It is worth noting that Serato’s recent update includes Pulselocker – a service that provides a similar utility. There’s also Apple Music, which has been rising in popularity. However, as of this writing, the overwhelming majority of the clients I serve use Spotify. As long as that is the case, we can share music like we are next-door neighbors.

Success I would not feel comfortable asking a client to spend time downloading an app, let alone pay for one. As noted earlier, I simply ask if they are subscribers during our initial consultation. If the answer is yes, we have a great platform to efficiently manage the music for their wedding.

If the answer is “no,” they’re likely to ask me to take the lead on music selections.The planning document I provide includes a robust list of genres to select from; I’ve curated Spotify playlists for each of these genres that I can send to them for review.

In most cases, they’ll trust my judgment and add a few specific suggestions – time and money are still being saved in spades. I also follow, and make available offline, a collection of playlists that make sense for your average wedding party. Lightning could strike my booth, and I’m still in position to deliver a vibrant party. Isn’t that what we’re paid the big bucks for?

Most venues I work at do have Wi-Fi. My iPhone usually has reliable service. I’ve spoken about streaming music mostly in the absence of internet connectivity. That is simply an abundance of caution. When I have a reliable connection to the internet, I also have the luxury of taking almost any request. I plan for the worst, and hope for the best.

An Example: My most recent event had a bride and groom who loved Pearl Jam. (For what it’s worth, other than “Even Flow” and “Jeremy,” I find their music to be unrecognizable to the common music fan.) They also neglected to include many of Pearl Jam’s classics on their planning document, so I wasn’t inclined to download their discography, just in case. I did, however, use my cellphone to stream “Better Man,” an impromptu request that paid big dividends.

Had my cell been out of service, or a Wi-Fi signal too weak for reliability, I would have been forced to turn down a valid request that lit up the room. Never rely on network access, but when it’s there, it can be a Godsend. If it’s not, make sure your clients understand the reality of the situation and they’ll never complain.

The Bottom Line: Armed with several emergency playlists, couple-provided playlists, and a slew of devices with the Spotify application, I have managed to save major amounts of money and time. This is a quintessential example of working “smarter, not harder.”

Redundancy is so important in our business, where you have only one shot to make a lasting impression. So, even if the dreaded day comes where I’m stuck with an iPhone as my only working device, I’ll at least be able to provide the right songs at the right time. Whether you’re working a wedding, a bar mitzvah, or a club, it is your primary responsibility to keep the music going, and I have yet to see a fail-safe option that is cheaper or more efficient. n

DJ TIMES

more discerning clients were more than happy to micro-manage the soundtrack for their evening. So, with months to add and subtract to their playlists, couples found this process to be quite helpful in narrowing down a wide music spectrum to the songs that truly reflect their vision for their big day.

Even better, Spotify offers an “available offline” feature that essentially allows one to rent songs; storing them temporarily on their hard drive without the need for a Wi-Fi or cellular signal. Even without a premium account of their own, clients could create a playlist, send the link to my email, and I could be 100-percent confident it would be ready to use with the click of a button. The playlists would then be accessible on my laptop, my backup laptop, my iPad, and my cell phone.

We’ve all heard horror stories about gigs-gone-bad due to the failure of a device. Electronics do fail.

Hard drives crash. Drinks are spilled.

However, you do not need a doctorate in mathematics to conclude that four different devices failing on the same day is virtually impossible.

Limits: You may have noted that the scope of this discussion has been

NOVEMBER 2016

By Jeffrey Durand

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FALL FESTIVALS

WITH THE BIG NAMES OUT FRONT, FESTIVAL SEASON WRAPPED UP ACROSS AMERICA As America’s 2016 festival season wound down, DJ Times made its way across the continent for a trio of major EDM fiestas.

In New York City this past Sept. 2-4, we caught Electric Zoo: Wild Island (produced by SFX/ID&T/Made Event); in El Paso, Texas, this past Sept. 3-4, we attended Sun City Music Festival (produced

by SFX/Disco Operation); and then in San Diego this past Oct. 1-2, we made it to CRSSD Festival (produced by FNGRS CRSSD).

It all looked like this:

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1 Sun City: JAUZ looms over El Paso.

Rukes.com 2 NYC Scene: Big stage at Electric Zoo. aLIVE Coverage 3 Headliner: Tiësto blasts off at EZoo. aLIVE Coverage

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4 Waterfront Park: CRSSD fest in SD. Felicia Garcia 5 EZoo: Unicorn power in NYC. aLIVE Coverage 6 CRSSD Fest: Rezz rocks San Diego.

Felicia Garcia

NOVEMBER 2016

7 EZoo: Carnage at Randall’s Island. aLIVE Coverage 8 WTF: Onward-ho at EZoo. aLIVE Coverage 9 Closer: Kaskade onstage in El Paso.

Rukes.com

DJ TIMES

10 Hot Natured: Lee Foss at CRSSD fest.

Skyler Greene 11 T for Texas: Marshmello flies the flag.

Rukes.com 12 Fractals: Seven Lions at Sun City.

Rukes.com

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EMO

M We asked several mobile jocks throughout the country about the best DJ gig for which they ever performed. Not necessarily the biggest money-maker, but an event during which they succeeded in turning a mere “nothing” into something much, much better.

In KoKoruz’s case, the solution to the party-dashing health dilemma at his gig was to first of all simply lower the music and ask if anyone in attendance had any medical training.

WE ASKED DJS ABOUT THEIR MOST MEMORABLE GIGS EVER. SOME ANSWERS MIGHT SURPRISE YOU.

DJ TIMES

NOVEMBER 2016

It was just like any other wedding reception gig KC KoKoruz in Chicago had ever booked. In this case, he had met the Shannon family years ago at a corporate gig, he’d DJed all five of their kids’ weddings, and had come to be considered their “family DJ.” So when KoKoruz, the owner of The Keith Christopher Entertainment Group, was scheduled to book the wedding of one of their cousins, he expected nothing to be out of the ordinary.

“It was a beautiful day and the reception was held at a beautiful resort,” recalls KoKoruz. “The cocktail hour was uptempo and fun. The introductions had everyone laughing and cheering and on their feet. The first dance and parents’ dances went flawlessly, and then I opened up the dancefloor and it was packed from the first song.

“This was going to be another amazing Shannon family wedding.”

But two songs later, a coworker of the bride’s mother had a heart attack – and, somehow unbelievably, that gig ended up being the best-ever that KoKoruz can remember.

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BY JEFF STILES

“A police officer and a nurse in the crowd started CPR and 911 was called,” he recalls. “I asked everyone in attendance to leave the ballroom to allow the paramedics the room needed once they arrived.

“Honestly, I didn’t want anyone to witness a man dying at a wedding reception.”

Sadly, when the paramedics arrived the man had indeed passed away, but KoKoruz decided the best solution would be to pretend that everything was going to be alright.

“The staff at the resort straightened up the room, we reopened the doors and everyone slowly walked back into the room with a look of ‘OMG’ on all of their faces,” he says. “I got on the microphone and said something to the effect, ‘Today, we’ve all come here to celebrate the beginning of this bride and groom’s life together, and what just happened is proof of how precious life is.’ “‘Now we need to embrace life and celebrate life—and that includes tonight.’”

The father of the bride said a prayer, and then the played a slow song and asked everyone to hold their significant other a little tighter.

“I then hoped, prayed and took a chance that I could open up the dancefloor again with something uptempo,” says KC – and amazingly, he reports that it worked.

“Everyone danced all night long, and the hall even extended the bar into overtime because of what happened,” he says.

“And I’ve never ever had so many people truly thank me sincerely for all of my efforts than I did that night.”

the evening’s success.

“I didn’t know how they would react to giveaways and prizes, as the company had accommodated some branded take-home items, but throughout the night they were lining up to try to win our prizes and collect our light-up giveaways.”

To turn this hum-drum party into something spectacular, Lomaz says he and his staff actually brought a bar/bat mitzvah type of atmosphere to the corporate holiday celebration, and did so with great success.

“I’m extremely proud of my team,” he says, “for what we were able to achieve that evening, which ultimately led to us securing that corporate account for their future annual celebrations as well.”

The most unique and over-the-top and memorable event Adam Tiegs in Seattle, Wash., ever had was at a Halloween event back in 2007. It was to be a surprise party for a couple that had been together for a very long time—with a surprise wedding thrown in the mix.

“They didn’t even want their family and close friends knowing what was to happen at the event,” says the owner of Adam’s DJ Service. “It was planned like this: The first hour was cocktail hour, the second hour was the meal, and then the entertainment—a contortionist, comedic jugglers and then a magician.

“And then would come the costume contest everyone was waiting for, for which a big prize was promised.”

But first, a “best man” and “maid of honor” were called up on stage for having the worst costumes. “Then,” says Tiegs, “a ‘groom,’ who had a four-hour make-up job to make him into Frankenstein, was called up on stage—in character, of course—to ‘punish’ these two for their bad costumes.

“The ‘groom’ intentionally seemed to get a little angry, and my MC—a friend who was the ‘officiant’—asked the audience for a ‘mate for this monster.’ That’s when a ‘fiancée’ came up, dressed as the Bride of Frankenstein, and boom… right into a wedding ceremony for real.

“Many guests yelled out, ‘We knew it!’ or ‘It’s about time!’ So, after a quick ceremony and first dance, the party continued for a couple more hours. I played everything from ‘Thriller’ to ‘Ghostbusters,’ as guests danced the night away in a venue with lots of Halloween décor and awesome lighting.

“The energy was amazing and I continue to keep in contact with these clients to this day.”

The favorite memory for John Donovan, The Party Percussionist from Stroudsburg, Pa., was his first-ever Hyperglow concert at the Sherman Theater.

“Our headliner that night, DJ Bl3nd, invited me to perform with him for the last 35 minutes of his set, and I’ll always cherish that,” he says. “His energy level was off the rails, and it impacted mine as well.

“That night, I performed a stage set with resident DJ Blaise Venga, and did a mobile snare set on the dancefloor with Fight Clvb and Bl3nd, and that’s when Bl3nd invited me out to close out the concert with him.”

Donovan says he’d seen Bl3nd’s videos for years and was in fact aware when he’d been nominated for DJ Times Top 100 list for America’s Best DJ. “Performing with such a well-known DJ in my very own hometown at our largest local event venue, which was packed, really inspired me,” he says.

DJ TIMES

RIES “When I’m emotionally inspired, it’s very easy as a performer to exceed my usual performance standards. Bl3nd’s energy level was unlike anything I’ve encountered in the DJ industry, as he brought out a side of my artistry that even I was unaware of. I was emotionally peaking with Bl3nd and it was beautiful.” n

NOVEMBER 2016

Though not nearly as heartbreaking, Artem Lomax in Roxbury, N.J., experienced his favorite gig at a corporate holiday party.

“As we all know, corporate holiday celebrations can vary in expectations, attendance and atmosphere, based on company culture,” says Lomaz, owner of NinetyThree Entertainment. “This was a holiday celebration for a large medical corporation, with a guest list comprised heavily of healthcare professionals.”

This also happened to be the first year Lomaz’s DJ service had been this company’s entertainment provider, so none of the guests (or even the guests’ guests) knew what to expect.

“And that ended up being part of the fun,” he says. “When it first seemed like we’d have a hard time pulling everyone away from the open bar, we gradually had them enjoying the various elements of cocktail hour, encouraging them to play interactive games, get acquainted with our interaction coordinators, and really elevate their expectations for the rest of the evening. Once the initial ‘who’sthe-new-guy’ apprehension wore off, we started testing the waters for the dancefloor.”

Lomaz says many companies experience employees leaving the company party early—they may have to get up early the next day for work, they may have kids and/or parents at home that they need to tend to, etc.—and this company’s planning committee had expressed concerns that very few guests in the past had stayed until the conclusion of the event.

“But I, personally, took that on as a personal challenge,” he says. “Happy to say, we kept them there—and dancing— the entire evening, up until the final song.

It also helped to have the event at one of the top event venues in New Jersey, and the staff at Seasons played a large part in

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MAKING TRACKS STUDIO…HARDWARE…SOFTWARE…

By Josh Harris

Formation: A hybrid synth for the Kontakt engine.

Formation’s ARP: Creates unique patterns.

Over the last few years, sound design has carved out its own little niche within music production, with companies spawning elaborate libraries, some of which take advantage of the Native Instrument Kontakt engine as the playback vehicle.

One such library is Zero-G’s Formation. For those of you who may not have heard of Zero-G, the U.K.-based company has been a major player in the sample library game since the early days of loop libraries. Its libraries are robust, they sound great and they’re extremely useful in taking your tracks to the next level.

What It Is: At its core, Zero-G’s Formation is a combination Synth and ROMpler, which means it allows you play the original sampled sound, or use it as the basis for an entirely new modulated sound. A second voice is added to each instrument, and you have the ability to manipulate the formant data of the second voice to generate additional audio.

This is done in the same way that you would create a new sound, using oscillators, etc., but Formation uses the data from the sampled instrument in lieu of an oscillator.

In addition, with the four effects-sends that are available for the original sound, users have the luxury of four additional effects sends for the formant sound. Each one of the effects slots can contain chorus, flanger, filters, EQs, distortion and convolution reverbs.

What’s In It? Zero-G’s Formation contains 2.5 Gb of 24-bit content, resulting in over 250 nki file for Kontakt. I would like to point out that you have to own the full version of Kontakt 5.5.14 or higher, the Kontakt “free player” will not work and should not be used as a substitute.

Formation is available via download and is segmented into separate .rar files, so make sure that you have a .rar expander to access the compressed folders for installation.

The Interface: Formation’s interface is well designed and

DJ TIMES

NOVEMBER 2016

FORMATION: ZERO-G’S NEW INSTRUMENT

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very easy to navigate. Use the “Mix” knob that lives between the normal sound and the formant, and blend to taste.

I found myself pushing the knob more and more to the formant side as I auditioned patches. There was something about the “edge” that the formant introduced into the layer that I loved. Effect sends are easily accessible and the effects themselves reside at the bottom of the interface. Simply click on the effect and you have access to its parameters.

My favorite tool is the arpeggiator, which can add some rhythm and groove to your sounds. What separates this arpeggiator from others is that you have the ability to generate different patterns for different notes of a chord. In a three-note chord, for example, each note can have its own independent pattern. If you’re not comfortable or experienced using an arpeggiator, do not despair. Formation has a nice assortment of preset patterns, which can get you started.

What Else? Other important features to mention are Unison Mode, Amp & Pitch LFOs and fully automatable MIDI controllers. With an MSRP of $69.99, Formation is a great buy, and runs very smoothly within Kontakt. Well done, Zero-G! (continued on page 40) “WHAT SEPARATES THIS ARPEGGIATOR FROM OTHERS IS THAT YOU HAVE THE ABILITY TO GENERATE DIFFERENT PATTERNS FOR DIFFERENT NOTES OF A CHORD.”

SOUNDING OFF PLAYBACK…PRO AUDIO…PROCESSING

NUMARK’S CONTROLLER & WIRELESS SYSTEM WS100 Wireless: Affordable & efficient.

DJ TIMES

NOVEMBER 2016

By Wesley Bryant-King

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At the moment I’m writing this article, I find myself just weeks away from making January travel arrangements for Anaheim, Calif., to attend the 2017 Winter NAMM show.

Where does the time go? It seems like only yesterday I was taking in everything new at NAMM 2016, including the new WS100 wireless mic from Numark—which recently hit store shelves after the company spent some time finalizing the product and its various regulatory compliance requirements.

Recently, I took a look at that product, along with a new controller from Numark, the NVII. It wasn’t that long ago that I reviewed another new controller from Numark for these pages, the incredible NS7III. And just as that controller was the latest iteration of previous versions of the NS7, the NVII is a refresh of Numark’s NV. So let’s take a peek at both, starting with the controller: First Impressions: I’d never had a chance to play with the previous iteration of the NV series, so I wasn’t entirely certain what to expect when I opened the NVII’s box when it arrived. But as an upper-mid-priced Serato controller (retail price is in the $700 neighborhood), you could say that the NVII is more or less what I might have expected at the price point—a relatively compact, but full-featured, light, portable controller with a robust feature set.

It’s hard not to notice what is perhaps the NVII’s strongest selling point: A pair of 4.3-inch, color-LCD displays, one on each side. As with other members of the Numark family (as well as its fellow inMusic brand, Denon DJ), these displays provide on-controller visual feedback and interfaces to the underlying Serato software, that taken together, reduce the need to focus quite so much on the computer screen. Each of the displays is surround by knobs and buttons that are used to interact with the displays (and in turn, with Serato).

Beyond the displays, however, what you see on the NVII is all the usual stuff; two large rotary encoders (jog wheels), and various buttons, knobs and sliders that put you in command of the capabilities that Serato has to offer.

Numark’s press materials call out a few new changes in the NVII over its predecessor, including updated aesthetics, and improvements to the functions and interactions provided on the integrated displays, making it easier and more intuitive to leverage their capabilities.

Set-Up & Use: Reflective of the market position of the NVII, its connectivity is perhaps what one might expect. The XLR connectors on the back for master outs are particularly appreciated; RCAs are also provided for the master, and a separate pair for booth outputs. Also on the back side are a ¼-inch mic input, and RCA stereo aux inputs.

The mic and aux inputs are perhaps not as flexible as one might expect. You can switch one or the other in line—not both—and they are completely separate from the other tracks. Indeed, through gain knobs, they’re patched straight through to the master out, making the aux input suitable primarily for an emergency audio source (vs. something you would mix into your

DJ set). And while a single mic input is probably sufficient, but it reduces flexibility for mobile DJs. Bottom Line: The focus here is really on your digital, Seratobased source material.

For Serato DJ, however, the NVII provides full, fourdeck support. The toggle for the displays between the 1 and 3 decks (left) and 2 and 4 decks (right) is a single, oversized button, making it easy to juggle the four sources across the two displays. Faders and EQ, of course, are dedicated (i.e., four separate sets of controls).

As a Serato user already, all that was necessary to play with the NVII is to do a quick software update so that the software recognized the hardware. New users can fetch it through a quick and painless Internet download; installation is simple and straightforward.

With the intuitive and expected physical layout, and my familiarity with Serato, I was mixing a competent set within just minutes of the unboxing of the unit.

The way that effects are handled in Serato, plus an approach that has become pretty customary in Serato controllers for manipulating those effects, I was even dropping in some basic seasoning in a way that was easy and natural.

I have to say I liked using the jog wheels on the NVII. Numark claims that these touch-capacitive jog wheels “learn” your style of use and adapt dynamically. I can’t vouch for the veracity of that statement, but I can attest to their responsiveness and ease of use in my own sets performed on the device.

Cue points, loops and the like are also manipulated in a pretty standard way that will likely be familiar to many Serato users who’ve had controllers in the past—the NVII uses a 2x4 matrix of multifunction pads.

While I do love the displays on the NVII, and found them quite useful—as I said earlier, it minimizes the need to keep looking at the computer screen for so many things—perhaps the sole disappointment in the NVII is that they didn’t do more. Numark cleverly mapped some Serato functions to the buttons around the displays, such as keylock. But for the most part, you use the buttons to control sorting of tracks, to toggle the display mode, and if desired, to browse your music collection and load tracks in the decks.

Speaking of, this is one of the new capabilities in the NVII: You can easily toggle the third display column (in library browse mode) to show key, BPM, or track run time. As someone who extensively uses Camelot key notation, this is particularly appreciated, as is that sorting ability when you want to find a compatible track to mix in.

After playing with the NVII for a while, I find that it has a nice feel that’s pleasant to use. Its thin profile and light weight make it amenable to easy, über-portable gigging. Paired with one of today’s lightweight laptops, you certainly wouldn’t strain your shoulder carrying everything you need to perform a competent DJ set in a slightly oversized backpack case.

Wireless on a Budget: For years now, I’ve used wired microphones for my mobile gigs, carting around a pair of pretty industry standard, built-like-a-tank dynamic hand mics. They take abuse, they sound great, and they’re easy to set-up, but dealing with mic cables can indeed be a pain, and I’ve occasionally even gotten the dreaded, “Don’t you have any wireless mics?” question from clients.

NVII: Upgraded layout, Serato DJ control.

What’s kept me from making the investment? I just haven’t gotten myself to bite down on the price tag of conventional wireless systems. Well, that recently changed.

As I said in the intro, Numark was showing the WS100 wireless-mic system back at Winter NAMM 2016. It’s taken time to finish up the product and get it to market, but it’s available now, and I have to say, it was worth the wait.

Let’s get the main “feature” out of the way: It’s priced at about $100—a price point that virtually any mobile jock can justify. For that price, you get a really competent, singlemicrophone wireless system that just plain works.

Make no mistake—this is a no-frills solution to wireless mic needs. You can use a single mic and single receiver at once. There are no frequency setting capabilities. No tuning, no adjustment; plug and play is the way here. The system consists of a single-

receiver unit that’s pretty much just power, gain, and output (both mic and line level are available), and a single handheld mic with an on/off switch.

Connection is quick and simple, and since the mic uses standard AA batteries, it’s easy to keep juiced up.

The mic itself is made primarily of plastic, so this is not something to let your wedding party use for a literal drop-the-mic moment. But the upside here is that you get a solid, clear signal with great sound. Along with it, decent range. I tested it from the farthest two points in my house (with someone walking around talking and holding the mic), with no interference, no static, and no dropouts. And at a recent wedding gig, it covered the entire venue, and even after using it the entire evening, its batteries were still going strong.

As a bonus, the entire set-up comes in a durable plastic carrying case that’ll keep everything protected as you schlep it from gig to gig.

Conclusions: The new NVII Serato controller from Numark provides a strong set of capabilities that cover everything the working DJ needs to perform a competent DJ set, and that take full advantage of virtually everything the Serato software has to offer. Its approximately $700 street price will still represent an investment for most potential users, but for the price, you get four-track support, intuitive access to Serato’s effects, various other performance controls through the unit’s trigger pads, and

猀猀 猀 攀 渀 椀 甀猀 琀栀 琀栀椀 䈀

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of course, a pair of full color displays that help make DJing with the unit easier and more intuitive.

And Numark’s new WS100 wireless mic system is just the thing for mobile DJs and others on a budget, who want the flexibility of wireless without having to make the steep investment in a traditional high-end system, and who don’t need to support multiple wireless mics. In short, there’s now no reason not to have a wireless mic in your mobile DJ toolkit.

唀猀

攀 ㄀ 䐀䨀吀 䌀漀搀 ─ 䤀䴀 攀㨀 漀昀昀 䔀匀 愀

昀漀爀

渀礀

椀琀攀

眀眀眀⸀吀爀攀愀猀甀爀攀䈀漀漀琀栀⸀䈀椀稀

匀氀攀攀欀 ☀ 倀爀漀昀攀猀猀椀漀渀愀氀 䰀椀最栀琀ⴀ眀攀椀最栀琀 倀漀爀琀愀戀氀攀 匀礀猀琀攀洀猀 ㄀⸀ 匀攀琀 唀瀀 ㈀⸀ 倀栀漀琀漀 䈀漀漀琀栀 爀甀渀猀 漀渀 椀琀猀 漀眀渀℀ ㌀⸀ 䐀䨀 琀栀攀 渀椀最栀琀 愀眀愀礀 㐀⸀ 䈀爀攀愀欀 䐀漀眀渀 㔀⸀ 䜀䔀吀 倀䄀䤀䐀 㘀⸀ 䐀伀唀䈀䰀䔀 夀伀唀刀 䤀一 䤀一䌀伀䴀䔀℀

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MOBILE PROFILE CAREERS…INNOVATIONS…SUCCESS STORIES

By Stu Kearns

THE PARTY PERCUSSIONIST

John Donovan brings pro-grade percussion to the DJ gig.

DJ TIMES

NOVEMBER 2016

“There is a huge difference between the private-event industry and the concert-festival level.”

30

Stroudsburg, Pa.—The last time we spoke to John Donovan, nearly five years ago, he was navigating his way through the mobile entertainment world as a percussionist—as a complement to the DJ entertainment.

When we asked him how the business has been going since then, he told us the DJ Expo was a big help in altering the perception of percussionists.

“After being involved with the DJ Expo from 2011 to 2013,” says Donovan, “the concept of having a live percussionist at private events went from mostly being a secret among the upper-tier private event market in Long Island to being a well-known entertainment option nationally in the U.S.A., as well as globally on several continents.”

While that might sound somewhat robotic, the truth is that more traditional, analog sounds have made inroads into EDM. “There has been a drastic increase in the amount of live musicians at EDM concerts and festivals,” he says. “This positive change has delivered additional entertainment value for private-event guests, as well as ticket buyers for EDM concerts.”

And Donovan sees that trend continuing. “Within the next five years, I predict that we’ll continue to see an increased number of opportunities to perform for large crowds, augmenting my schedule with private events. I also predict at some point I will tour the world with a major headlining EDM DJ. I didn’t come this far, and face this much adversity, to not go all the way.”

In February, 2016, Donovan got a taste of that “headlining” action when he began touring with the Hyperglow EDM Tour.

Overnight, he says, his guest count at events went from hundreds to thousands, performing alongside such top DJs as Steve Aoki, Bl3nd, 12th Planet, Loudpvck, Riggi and Piros, Botnek, Fight Clvb, and Andres Fresko.

The differences between playing an EDM gig and working a wedding? Staggering, according to Donovan.

“While I have learned a lot from my years in the private-event industry, there is a huge difference between the private-event industry and the concert-festival class level,” says Donovan. “With private events, no matter how great some events are, it’s a little depressing because I know that show will never be repeated with the same crew. With the last five Hyperglow concerts, I’ve had the opportunity to work with virtually the same crew of savants and it is inspiring.”

Such is the life of a troubadour percussionist. Indeed, for Donovan the last five years haven’t been easy. He says in that time he’s steered away from companies and individuals that treat him like “a piece of meat.”

“The biggest two challenges I have had to face are ‘bait and switching,’ and also down-selling from malicious business operators,” he says. “And I’m not sure if these challenges can be overcome. Even if I had serious philanthropic funding behind me, it’s better to focus ahead as opposed to fighting the past. Even after all the adversity I have faced, I’m proud to have changed elements of the both the DJ industry, as well as the percussion industry.”

A far cry from the saying that proliferated where he grew up in The Poconos: “DJs were the devil and private events are hokey.”

Or is it?

“That opinion couldn’t be further from the truth,” he says. “The DJ industry has done a tremendous amount of sales work to build the value of the entertainment experience since the late 1970s.

In recent years, there have been amazing strides in the musical complexity of EDM, and I love augmenting EDM with my talent.

Corps-level percussion and EDM are the perfect combination for one hell of a show. With the DJ world and live music world starting to come together like it has, the possibilities are endless.”

You don’t believe Donovan is committed to his craft as a percussionist? We asked him for some percussion trade secrets. “While performing cheese verts,” he begins, referring to a hybrid technique (aka inverted cheese flam taps), “it’s vital to keep the speed of the inverted flam taps consistent, and to remain relaxed and not restrict the rebound.”

Um, see what we mean?

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BUSINESS LINE SALES…MARKETING…SOLUTIONS…

LESSONS FROM DJ EXPO ’16

By Gregg Hollman

DJ TIMES

NOVEMBER 2016

At the DJ Expo in Atlantic City this past August, dozens of seminars designed to educate and inspire attendees did just that. Here’s Part 2 of my Expo wrap-up:

32

“How to Win More Business at Bridal Shows.” Angel Vendrell and Christopher Atwood from New Jersey’s Absolute Celebrations spoke about how they built a seven-figure business by properly working the bridal-show process.

Atwood stated that while all companies are created equal, some work harder pre- and post-showcase. Regarding the pre-showcase preparation, the presenters encourage DJ companies to make the investment into professionally created marketing materials, and to also consider the power of the re-brand or cross-trained to work in logo tweak. These costs can be substantial, but other areas of the company should be considered a long-term investment (e.g., Photo Booth attenin success. dant, Social Media ManAt a show, DJs should consider collecting a ager). A common theme of prospect’s data on tablets using the iCapture the seminar was that busiapp, which seamlessly integrates data into an ness owners can benefit by Excel spreadsheet or into your favorite CRM. utilizing their existing pool It can even send out automated emails to prosof human resources more pects who visited your booth. intensively as opposed to One important tip for following up with hiring new employees. prospects is to use the power of the text mesDancers can be great sage. Ninety-eight-percent of text messages lead-generation sources are opened by their end user, as opposed to for bar/bat mitzvah bookonly 20-percent for emails. Response rates are ings. DJ company owners 45-percent for text messages versus just 6-pershould consider financially cent for emails. compensating dancers for A systematic and technology-heavy follow-up providing bookings. is required to move prospects further through the sales funnel, whether that be into a book“Dare to Be Different” ing, in-person consultation or an invitation to a with Randy Bartlett. Calprivate showcase. DJ companies are advised to ifornia’s Bartlett, the develinvite their preferred vendors to private showoper of the “1% Solution” cases to further cement these relationships. instructional series, recom“Mitzvah Massive.” The focus of this annual mends that DJs think way seminar moderated by Sean “Big Daddy” McKee outside the box to achieve was on mitzvah dancers. Tips dispensed by the memorable parties and cepanelists included: ment premium pricing.

Dancers should never turn their backs on Fo r e x a m p l e , w h e n a guests. Instead, dancers should face the guests bride needed an emotionand mirror their movements. ally powerful Father-StepfaDancers are not there to show off for guests, ther song, the existing offbut rather to dance with the guests and motithe-shelf options fell short. vate them to join the fun. To this point, panelist Bartlett arranged for the Shani Barnett described dancers as “MCs withcomposition and recording out microphones.” of an original song with the Dancers must realize that they are always on perfect lyrics. camera, and need to look like they are thrilled Lately, he’s been experito be at the party throughout. Dancers should menting with the addition show the same level of enthusiasm whether of sound bites in his photo performing to a new hip-hop track or to a Mobooth. He continues to rectown throwback. ommend the use of overDancers with great personalities can be

PART 2 dubbing the grand finale song at a reception with audio highlights from the wedding day (e.g., vows, toasts) to create incredible moments for couples.

As Randy says, “Dare to be different!” “ Pa r t y G a m e s w i t h Jake.” New Jersey mobile operator Darryl “Jake” Jacobsen organized another great games seminar this year. As usual, the presenters were extremely creative, inventing new games or putting twists on old favorites.

For example, North Carolina DJ Fox Feltman instructed a new version of musical chairs that is much like the original. However, when the music stops, players must retrieve an item called out by the MC – for example, a belt – and then hurry back to claim their seat.

New York’s Mike Alevras showed a new relay-race game where one team member runs across the room to pick up a soft corn tortilla

and then brings it back to home base. Waiting there is a teammate wearing a swim fin and large sombrero. The tortilla is placed on the swim fin, and must be flipped successfully into the sombrero on their head. The team with the most tortilla baskets wins.

Finally, I instructed a new game called “Pandora’s Box.” In it, two teams have four minutes to hide a key inside a large decorative box that comes stuffed with packaging materials. Then, the teams switch boxes and it’s a race to see who can find the hidden key the fastest.

“How to Network, Book Gigs & Launch a DJ Career.” Philadelphia’s Linda Leigh, a former rave DJ and current nightclub/radio DJ, moderated a panel comprised of mobile and club DJs, and a public relations professional.

On the mobile side, Dre Ovalle stated emphatically the importance of having a professional website . “Prospective clients judge your business in a millisecond when viewing your website,” the New Jersey jock said. “Your homepage needs to have a professional look and properly communicate your brand attributes.”

Another panelist, South Carolina’s Michael Taylor, recommended that DJs ask bartenders and servers during setup, “So what type of music do you like?” Then spin some of these tunes. This expert continued, “Take the time to learn the venue and its musical format, and don’t come on too strong.”

Touring DJ Dani Lehman reminded DJs to stay humble and keep their egos in check, as this problem has been the downfall of many. Ovalle recommended making social media more personal by showing yourself speaking on video. This, he said, makes a DJ more real and trustworthy to customers than simply posting still photos.

NOVEMBER 2016

At Full Compass, being Equipped means getting the very best gear at the very best prices. Let us help you get equipped – visit our website at fullcompass.com/dj or call our experienced team at 844-511-9944.

DJ TIMES

Are you an equipped DJ?

33

GEAR AUDIO…LIGHTING…STUFF

Color My World ADJ Products 6122 S. Eastern Avenue Los Angeles, CA 90040 (323) 582-2650

DJ TIMES

NOVEMBER 2016

www.americandj.com ADJ added two new par fixtures to its Mega Go Series—the Mega Go Par64 Plus and Mega QPLUS Go. Both are equipped with a rechargeable lithium battery and feature an onboard four-digit LED display screen and 16 color change programs. The Mega Go Par64 Plus generates primary color washes and full RGB mixing thanks to 172 10mm, 0.07W LEDs, split across 56 Red, 60 Green and 56 Blue. The Mega QPLUS Go utilizes five four-watt 4-in-1 RGB+UV LEDs to generate RGB color washes, as well as UV-infused washes.

34

Sweet Talking Geyser Chauvet 5200 NW 108th Ave. Sunrise, FL 33351 (800) 762-1084 www.chauvetlighting.com The Chauvet DJ Geyser P6 is the latest version of the company’s Geyser RGB pyrotechnic-like effect. The new version features UV and Amber color capabilities that add new color options to the Geyser’s fog burst effects, which are created without the use of any toxic chemicals, fire or CO2 canisters. The Geyser P6 also comes with six LEDs with new Penta-color LED (RGBA+UV) technology. Additional features include instant on/off technology and a variety of control options, including built-in DMX, the included FC-W, and manual control.

On The Right Mixtrack

Wait Your Turntable

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

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

The Mixtrack Platinum from Numark is a DJ controller that features high-definition LCD displays at the center of each platter, showing BPM, track time, pitch position and deck number. Touch-capacitive platters let users adjust pitch via the side of the platter, and both scratch and stop a track by touching the top of the platter. Features include four-deck capability, gain controls for each channel, independent transport controls, 24bit audio output, 100mm pitch controls, multi-function touch strip and 16 back-lit performance pads. Serato DJ Intro and Prime Loops remix tool kit are also included. ler, on CDJs via USB or on a mobile device.

The PLX-500 from Pioneer is a direct-drive turntable that lets users plug it into their sound system or powered speakers with no need for an external amplifier. Available in black and white, the turntable features a high-torque deck that includes a cartridge, stylus and slipmat. It has a USB out that allows users to record their vinyl collection to high-quality digital WAV files using rekordbox software. Those files can be played back using the PLX-500 and a rekordbox dvs set-up, on a DDJ control

AUDIO…LIGHTING…STUFF

GEAR

Al Fresco

Lighting the Way Serato Private Bag 92015, AMSC Auckland 1142 New Zealand +64 9 379 4944 www.serato.com Serato teamed up with Onesixone Ltd. to offer SoundSwitch, an interface that allows DJs to integrate DMX lighting with live audio. Support is currently available for RGB DMX light fixtures, moving heads and strobes. The SoundSwitch software-hardware bundle includes USB powered hardware with a DMX out to connect to the lighting array.

Features include Serato Beatgrids to script lighting shows, as well as an Autoloops back-up feature that plays when a song is loaded in Serato DJ that doesn’t have a lighting show attached.

Blizzard Lighting N16 W23390 Stoneridge Dr. Suite E Waukesha, WI 53188 (414) 395-8365 www.blizzardlighting.com Blizzard Lighting’s Motif Fresco is an IP65 rated outdoor fixture with 14x 3-Watt TRI-color LEDs and 3-channel DMX. The Motif Fresco comes in cast aluminum housing and features a tempered glass lens, watertight internal gaskets and 3/5 pin DMX in/out jacks. Features include built-in color presets, auto programs, user adjustable speed and fade times, variable electronic strobe effects, and 0-100-percent electronic dimming. The unit has a silent convection cooling system, as well as an IP-rated AC power cord with cable cap.

MixEmergency 3.1 from Inklen is a free update for MixEmergency 3 users and a paid upgrade for those using MixEmergency 1 and 2. The update includes a new NDI Input and NDI Output that let users stream high-quality, low-latency video over their local network to MixEmergency or other software acting as an NDI destination. Users can mix video between computers, as well as send mixes to VJs or professional video production software. Additional features include Syphon input and overlay, and CDG/Karaoke file playback.

DJ TIMES

Inklen 18 Steep St Rotorua 3076 New Zealand +64 22 354 8045 www.inklen.com

NOVEMBER 2016

MixEmergency Contact

35

GEAR AUDIO…LIGHTING…STUFF

Trust Your Instinct Floyd Rose Marketing

DJ TIMES

NOVEMBER 2016

5044 Industrial Rd, Unit D Wall Township, NJ 07727 (732) 919-6200 www.floydrose.com

36

Guillemot Corporation BP 2 56204 La Gacilly Cedex France +33 (0) 2 99 08 08 80 www.hercules.com

Floyd Rose Marketing has released the FR-18 Wood headphones. The hand-crafted units feature a 50mm driver diameter and full 20-20K Hz frequency range, according to the company. Anti-tangle detachable fabric cable with built-in microphone and volume control are included. Cushioned ear cups offer comfort and deliver isolation from outside noise.

Hercules’ newest all-in-one, full-featured, dual-deck DJ controller is the DJControl Instinct P8. The unit works with both PC and Mac, connecting via USB port. It comes with eight multicolored pads and the latest version of DJUCED 40° professional DJ software, which includes built-in sample packs, for remixing capabilities. The DJControl Instinct P8 includes a builtin sound card with a dual stereo RCA output for mixing and a stereo 3.5mm mini-jack output for previewing.

In the Mix

Mercury’s in Retrologue

American Music & Sound 925 Broadbeck Dr. #220 Newbury Park, CA 91320 (800) 431.2609 www.americanmusicandsound.com

Yamaha Corporation of America 6600 Orangethorpe Ave Buena Park, CA 90620 (714) 522-9011 www.yamahaproaudio.com

Germany’s Reloop has released MIXON 4, its latest performance hybrid controller for digital DJs. Distributed Stateside by American Music & Sound, the Reloop unit offers the following features: hybrid design to work plug-and-play with algoriddim’s djay PRO and SeratoDJ software; multiplatform support for iOS, Android, PC and Mac; integrated docking station for iPad PRO; eight color-coded performance modes, including new Pitch Play; and a Unique Macro FX Mode, which allows DJs to combine any effect with the Sound Filter on each channel.

Steinberg has released a new expansion set of presets for its Retrologue 2 VST instrument. Called Analog House, the expansion pack is designed for use in tropical house, deep house and electro music. It includes progressive synthesizer sounds that are tailored to the Retrologue 2 virtual analog synthesizer. There are 150 presets for leads, bass, pads and effects that the company says “lean heavily on the many effects, modulators and arpeggios provided in the second iteration of Retrologue.”

Technical Excellence & Creativity Awards

®

Celebrating the Best in Professional Audio and Sound Production Joe Perry

B.T.

SATURDAY

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Congratulations to Nominees of the New DJ Production Technology Category!

Visit TECAwards.com to see the finalists!

Watch the Award Show Live!

Stay Connected!

Follow the TEC Awards on your favorite social media app

Visit TECAwards.com January 21, 2017

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TEC AWARDS • JANUARY 21, 2017 • HILTON PACIFIC BALLROOM • ANAHEIM, CALIFORNIA JANUARY 19–22, 2017 • ANAHEIM CONVENTION CENTER • NAMM.ORG

TRACKS…MIXES…COMPILATIONS

Ferry Corsten

Alaia & Gallo

Malachi

Lee Walker

Eats Everything

Will Rees

Terry Farley

GUEST REVIEWER: TERRY FARLEY

DJ TIMES

NOVEMBER 2016

“THIS MACHINE (KILLS ME)”

Cosmic Gate

38

Crooked Man DFA Records The third in a quick series of releases by Richard Barratt (aka Crooked Man), this is uniquely hypnotic underground house music. If the great Lil Louis were still making the innovative music he created back in ’87, it could well sound like this… dark basement fare.

Anabel England

TRACKS…MIXES…COMPILATIONS “LONDON HEADACHE” u Anabel Englund u Defected Records Hot Natured & Pleasure State’s vocal seductress returns with her first solo single, bringing late-night, chill-out vibes to an enchanting nu-disco slink. Englund’s narrative-heavy lyrics detail a heated fling, but its infectious chorus is gloriously radio-ready. The aptly-named Purple Disco Machine brings a high-drama string disco makeover with his remix, but Crookers’ bouncy house take is one for the grooviest of nights.

– Chris Caruso “INCIPIENT” u Will Rees u Subculture Rees’ superb debut on John O’Callaghan’s Subculture imprint offers hard-hitting energy, but with a soaring, melancholy vocal arrangement.

This deep, emotive trance tune also delivers a wicked breakbeat breakdown, which lightens the mood with some distinction. A future classic.

– Jennifer Harmon “THE MESSAGE” u Deddori u Deddori Sounds Bringing a dark, atmospheric, downtempo groove, this track recalls Trentmøller or Massive Attack. It delivers a crisp, moody, bass-heavy tone – perfect for a theme to a project or late-night party.

– Phil Turnipseed “EVENT HORIZON” u Ferry Corsten & Cosmic Gate u Flashover This collab of two trance heavyweights begins with a hooky synthline, then drops a heavy electro bassline before building to an anthemic crescendo. Melodic and memorable.

– Jennifer Harmon “BEAUTIFUL PEOPLE”

u Mark Pritchard feat. Thom Yorke u Warp Records Radiohead’s Thom Yorke lays down some exquisite vocals here—full of inspired harmonies through waves of celestial melodies. Combine it with Pritchard’s mix of rich, emotive synths and ethereal strings and you have a magical, timeless electronic piece.

– Shawn Christopher “HOW IT FEELS” (REMIXES) u Malachi u Full Intention Already doing big damage, the Full Intention boys get their hands on Malachi’s biggest track to date and turn out a remix monster. The original piano hook remains, but with additional kick provided by trademark Full Intention drums, this one powers along to great effect.

“HOLDING YOU TIGHT” (REMIXES) u Sure Thing u Glitterbox Remixes from Dr. Packer make for some feel-good, joyful music that will light up your dancefloor. For Nu Disco and classic fans, this one’s club-ready.

– Tommy D Funk “EP1” u TOTWM u TOTWM Music The brainchild of Peter Markham, this EP features a futuristic blend of styles – from old-school hip hop to modern EDM, it’s a journey that’s graceful and funky. Faves: Uptempo banger “Air Travel” and the dirty “24 Hours.”

– Phil Turnipseed “LOCKED IN” EP u Lee Walker u DFTD On this two-tracker, the quirky “Mooblerhythm” gets wobbly, but kicks in with a resounding groove. Meanwhile, the title track drops a catchy vocal hook that adds mystery and delivers a hi-hat that keeps things moving. A must for house heads.

– Tommy D Funk “IN AND OUT OF LOVE” u Alex Millet feat. Soosmooth u HSR Records The highly underrated Millet pops up on Italy’s HSR with a terrific little vocal workout. Great keys backed up by soulful vocals give this the right elements throughout.

– Curtis Zack “SUNSHINE” u Cornell CC Carter u Quantize The unstoppable force of Quantize keeps rolling on with yet another first-class release. Doffing their caps to Chaka Khan, Spen and Gary Hudgins deliver what can only be described as a genuine anthem.

– Curtis Zack “TEMPERATURE RISING” (REMIXES) u Unique2rhythm u Unique2rythym Already attracting a load of attention from the original mixes, this track’s latest remix from Kenny Jaeger and Opolopo takes it up a level. Opolopo’s funk-laden grooves blended with some hands-in-the-air U.K. power to provide a deadly dancefloor combination.

– Curtis Zack

– Curtis Zack “GIRL POWDER” EP u Eats Everything u Edible Music Eats Everything continues his white-hot streak with this stunning showcase, a two-tracker that fires off that twitchy tech-house that defined many of Green Velvet’s classics. “Rita’s E” takes on a psycho-space-disco aesthetic, lobbing out a bouncing bassline with stuttering commands of “Take me higher.” B-Side “Veronica Electronica” takes things to dizzying heights, with throbbing bass slams accompanied by a dueling spoken vocals. Peak-hour madness.

– Chris Caruso “WHO IS HE?” (THE REFLEX REMIX)

– Curtis Zack “I CAN’T WAIT” (REMIXES) u Namy & Barbara Tucker u King Street The unmistakable vocals of Ms. Tucker make this an instant purchase. Add to that an uplifting interpretation from Michele Chiarvarini and a deep excursion from Iban Montoro & Jazzman, and all the bases are covered.

– Curtis Zack

DJ TIMES

One of the tunes of the summer gets a Reflex revision to add more fuel to the fire. With a devastating bassline and those memorable vocals, this one’s simply irresistible.

NOVEMBER 2016

u Alaia & Gallo u Soul Heaven

39

MSTRKRFT

(continued from page 10) effect returns and things like that.

And the least, on ‘Little Red Hen,’ was three.

“We consciously wanted to work with a low track count from the start,” Puodziukas continues. “But it was also a function of the instrumentation. It was like, ‘There are no choices to be made. These are the only pieces that we have to work with.’”

The following evening, DJ Times caught the pair performing live—and much like the album, their current live set is a pared-down, tough, hardcharging affair, the sound of two guys and their machines teaming up for a boisterous bang-a-thon.

“We use basically the same gear live as we do in the studio,” Keeler

Lady Waks

(continued from page 8) Seregina: Yes. I like Mark [Yardley of the Stanton Warriors] – he’s an amazing producer. It’s about the production. I love what he and Dominic [Butler] are doing. They are moving forward, evolving. That’s very important to me.

DJ Times: Any other artists?

Seregina: I also love WestBam – he’s so different and does breaks and lot of different music in general. That is what I love. And Colombo from Spain. He has a special sound that is difficult to mix in. I try to mix it into my track and I’m like, “Whoa! What happened?” He is starting to make some techno/house music now. It’s cool because as a producer, his music moves on.

DJ Times: Let’s get into the gear you use and its evolution.

Seregina: When the record labels stopped releasing vinyl, I had been

DJ TIMES

NOVEMBER 2016

Gorgon City

40

(continued from page 16) use it, plus the older versions were not intuitive. It’s like a blank canvas.

How does it make noise? I’m putting audio clips in it and it’s still not playing. My mates Alfie Granger-Howell and Nick Harriman, who are Dusky now, we’re childhood friends. Alfie was experienced with Logic since he was five-years old and I would go to his house, watch his hands working and remember what he did. I managed to get Logic on that Dell laptop, but it kept crashing and crashing and crashing. I deleted everything and went back to Fruity Loops until I got my school loan and bought a Mac Tower G5. That changed everything. I started using Logic properly, making music properly, and releasing records.

DJ Times: What is your studio set-up now?

Gibbon: The studio is in North London, Finsbury Park. We share it

says “and when you play with the same gear as you record with, it’s exactly the same as being in a band.

A recorded song is something that exists, and when you perform that song, you’re trying to get to a representation of the thing that people are familiar with—but it’s impossible to nail the exact same thing.”

And for MSTRKRFT, that’s the whole point of playing live. “If we wanted to give people the exact same thing, we would just DJ the songs,” Keeler says. “But we are a band, and we play like one. We’ve joked that it’s like covering our own songs—but that’s what a band does every day. Unless you’re lip-syncing, you’re doing a cover version of your creation. What we’ve found is that when we perform

songs from the record, moments of improvisation will just take over.What you get when you see us live is never the same as the record.”

That effort pays off—the live gig’s crowd, an ungainly mix of hipsters, techno purists and people whose main interest was in the event’s free vodka, were won over by the rambunctious set, greeting MSTRKRFT’s twisting buzzsaw workouts with stomping feet and pumping fists.

“When everything is going right, sometimes you’ll hear the sound of the crowd reflecting what your brain feels about the moment,” Keeler says.

“It’s really inspiring, and I think it’s why we keep doing this, and keep going though the extra effort of playing this way.”

In truth, the night’s set was closer to punk than it is to EDM. Keeler and Puodziukas, both in their personalities and through the MSTRKRFT sound, are about as far away from the egoladen excesses and the buildup-andbreakdown–driven music of much of the EDM scene as you can get. They both noticeably cringe when asked what their place is within that scene.

“I feel like we’re a whole separate entity,” Puodziukas says. “We don’t identify with that world or that term at all, really. Especially with this record.” Keeler comes up with an apt analogy: “We’re like that weird kid from school who only has one friend and is always playing by themself. And that’s the way we like it.”

– Bruce Tantum

doing dubplates for a long time. I was living in Berlin and released a track, “Minimal,” with Hardy Hard and Afrika Islam that dissed all the laptop DJs. But after I while, I saw that the equipment was not right at breakbeat events – the needle was always jumping, always trouble. So then I went to CDs and switched my DJ style.

DJ Times: If you can’t beat ’em, join ’em…

Seregina: I had to, because the digital age changed the music so much.

Before, you play tracks five or six minutes long. You can keep going, and pull in some sounds from one, then go back and then do a rewind… and now the tracks are a few minutes and just go bang, bang, bang!

DJ Times: What changed for you?

Seregina: For me, I am now always mixing because I don’t want to just stand behind the decks. But the problem with the digital age and breakbeat is that there are too many

mashup bootleg edits. Music is not really produced by people sometimes. The “producer” just takes someone’s track and speeds it up— then they call it their own.

DJ Times: You use Pioneer’s DJM/CDJ combo for DJing. Why? What else do you use?

Seregina: I do like this digital age because it’s so easy to make and cut up tracks. It is so easy to make an edit, you just drop it on a memory stick and I can cut it up. As far as production, I make music in Ableton.

There was a time when I was working in the studio with Hardy Hard and working with Logic, a much more complicated program. I just pushed buttons and taught myself.

Now I can just go online and look at instructional videos with Ableton.

DJ Times: What’s the gear you cannot live without?

Seregina: I love everything coming from UAD. It has just such a

great character. Then there is obviously Ableton—couldn’t live without it. It helps me to get ideas down when I’m traveling and makes working in different studios super easy. There is also an old modular synth that is amazing if you don’t have any ideas.

You just plug cables in places where they don’t belong and suddenly there is a sound that sparks the idea for a whole track.

DJ Times: Did you have a teacher/ mentor take you to the next level?

Seregina: Yes, there are three.

First one is WestBam. He’s a technoelectro DJ/producer from Berlin. I met him in Germany and that’s how I got into the studio. Then, there’s Hardy Hard, whom I met in Siberia.

We made a lot of tracks. Hardy Hard taught me a lot. After I switched to Ableton, I really was impressed with Marten Hørger. When I am trying to learn something, he gives me answers.

– Lori Denman-Underhill

with Kidnap Kid. It’s the same room.

He gets up ridiculously early and is finished by midday—that’s when we turn up. The studio has more and more outboard gear. We like the sound you get from analog synths, and it’s more fun playing around with them. It makes writing music easier.

Sometimes it’s not even the sound you do it for, it’s having something that you can physically play with rather than just pointing the mouse about.

It’s more creative. Because we’re playing live so much, it’s more natural to be playing rather than drawing it in. A lot of times we start things on then laptop and replay when we get in the studio, make it seem a bit more human.

DJ Times: What are some of the outboard synths you find yourself returning to more often?

Gibbon: Definitely the Prophet.

Love Dave Smith’s synths. We’ve got

Mopho as well. That’s cool for some of the weirder sound. “Money” was written because we’d just bought the Mopho and we were playing around with it, experimenting with all the sounds, randomly making as many stupid noises as we could. It’s more difficult to experiment and play around when it’s purely in the computer. It’s nice to have that physical interaction rather than it just being inside a machine.

DJ Times: Are there soft synths you particularly like?

Gibbon: The Polysix, which is based on the real Korg PolySix— but we never got around to buying the real one. That synth-pad sound, it’s on every song and track on our first album. There are some cool synths from Arturia, remakes of real synths. There’s a synth on Reason called Thor—I love the sound of that.

You can’t get that anywhere else, so I

sometimes use Reason just for that one synth. And some Native Instruments stuff because they’re so solidsounding.

DJ Times: You’ve had sessions in some of the best professional studios in the world. How do you like working in that setting versus your own studio?

Gibbon: Big studios are good for writing songs, but not so good for production. There are so many people around or coming in and out. When it comes to production, it’s best that we’re on our own, in our own space with speakers we know. Even if you’ve got the most amazing speakers in the world, if you don’t know them, then you won’t be able to produce goodsounding tracks. Our speakers at the studio aren’t the best or the most expensive, but because we’ve listened to them every day, we know exactly how they will sound and how our music

MP3s in 6

Compiled As October 12, 2016

NATIONAL CROSSOVER POOL CHART 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40

Calvin Harris F/ Rihanna Chainsmokers F/ Halsey Adele Katy Perry Dj Gozzi & The Extraordomary Gentlemen Britney Spears F/ G Eazy Major Lazer F/ Justin Bieber& MØ Justin Timberlake Alicia Keys Rob Thomas Salt Ashes Joe Bermudez F/ Louise Carver Rosabel F/ Jeanie Tracy Dawn Tallman Christina Aguilera F/ Nile Rodgers Kristine W. Meghan Trainor Axwell & Ingrosso David Lei Brandt Sir Ivan Betty Who Selina Gomez Stonebridge F/ Therese Dj Snake F/ Justin Bieber Coldplay F/ Beyonce Bello Boys And Dan Donica F/ Seri Ariana Grande Kungs Vs Cookin On 3 Burners Lady Gaga Manuel Riva And Eneli Zayn Sia F/ Sean Paul Karine Hannah Bonnie Anderson Charlie Puth F/ Selena Gomez Pitbull F/ Enrique Iglesias Pink Cash Cash F/ Sophia Reyes Alex Newell,Jess Glynne & DJ Cassidy Fifth Harmony

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1 Gia 7 2 Manuel Riva And Eneli 3 Bonnie Anderson 4 Stonebridge F/ Therese 5 Christina Aguilera F/ Nile Rodgers 6 Rinaldo Montezz F/ Caleb Huntsberry 7 Lady Gaga 8 Bello Boys And Dan Donica F/ Seri 9 Nervo F/ The Child Of Lov 10 The Pool Kids

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REPORTING POOLS Peter K. Productions - ;Peter K n Masspool - Saugus, MA; Gary Canavo n OMAP R - Washington, DC; Al Chasen n Dirty Pop Productions - San Diego, CA; DJ Drew n Dj Stickyboots - Goshen, NJ; Blake Eckelbarger n Hype Radio - Hollywood, CA; Rich Fayden n Soundworks - San Francisco, CA; Sam Labelle n New York Music Pool - New York, NY; Jackie McCloy n Dixie Dance Kings - Alpharetta, GA; Dan Miller n KNHC Seattle, WA; Randy Schlager n Pacific Coast - Long Beach, CA; Steve TsepelisVictors - Milwaukee, WI; Chris Egner n Nexus Radio - Chicago, IL; Manny Esparza

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Dj Khaled F/ Drake Drake F/ Popcaan Usher F/ Young Thug Tory Lanez Drake F/ Wizkid & Kyla Beyonce Dae Dae Dj Drama F/ Chris Brown, Skeme and Lyquin Jidenna Fetty Wap Wale 50 Cent F/ Chris Brown Dj Khaled F/ Jay Z & Future T.I. F/ Marsha Ambrosius Sevyn Streeter F/ Gucci Mane Ayo Jay Rae Sremmurd F/ Gucci Mane Yo Gotti F/ Blac Youngsta Drake F/ Rihanna J-Soul

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Republic Roc Nation Atlantic RCA Atlantic

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will translate. That’s really important.

DJ Times: You’ve collaborated with such a wide range of vocalists.

How do you get a good performance out of them?

Gibbon: We find we get better results when it is just us and them in the studio. It doesn’t always work out like that. With “Go All Night,” we wrote that with Kiesza and send it to Jennifer Hudson, but even then, we wrote it with Kiesza in the room.

We have a basic microphone, an [sE Electronics] SE2200A. We did all the vocals on the first album and pretty much this one on that. We’ve recorded on microphones that are worth 10 times more, but we still prefer the cheap one.

DJ Times: What are your roles in the studio?

Robson-Scott: We both do everything. We generally start tracks together in the studio, especially if it’s with a vocalist. Recording and processing the vocals I do in Logic and put them back into Ableton, just to add a different dimension. Ableton is good for throwing down ideas quickly and getting stuff done fast when you’re on the road. It feels like you can do something without caring what the mix sounds like. In Logic, it feels more precise, which makes it more difficult and time-consuming.

DJ Times: Do you ever do things separately?

Robson-Scott: Yeah, on our laptops. We make weird little underground bangers that we will just play twice and never see it again. That kind of thing happens all the time, just a dub for a rave. You’ll make a tune called “Amnesia” on the way to Amnesia, once, and then you’ll forget about it.

DJ Times: What is the thought process behind the release schedule

you have for the tracks on Kingdom?

Gibbon: Since we released the first album, everything’s changed, how music is charted, how people listen to music, especially in the U.K. Releasing like this is aimed more toward people who stream. Also releasing the tracks spread out gives each of them their own spotlight for a few weeks. There’s a wide range of stuff on this album. “Blue Parrot” is a techno-y track, there’s downtempo stuff, and then there are straight-up songs, which would be the singles. Our schedule is so crazy with touring, it’s cool to be putting the music out there as we go along, makes more sense than waiting forever.

DJ Times: How was songwriting approach for Kingdom different to what you did with Sirens?

Gibbon: On Sirens, we wrote each track like it was going to be a single.

For Kingdom, because we know there are tracks that are not going to be singles, we can experiment with song structure and different sounds. A lot of our fans that are more fans of our DJ sets rather than our live show like the instrumental stuff that we make. And it’s fun for us to make that kind of music. Instead of worry purely about songwriting, we can play around with production techniques a bit more.

DJ Times: Did the fact that you knew you were going to have to play these songs live have any bearing on how your created them?

Gibbon: We find it helps when we’re making tracks to think how to play them live. Also, the other way around, we’ll put in tracks into the live show before we’ve finished them.

We improvise and jam it out and if it sounds cool, we’ll make the record more like that. It’s good to have that feedback.

DJ Times: Your live show is very accomplished and always evolving.

What is a new development the latest iteration?

Robson-Scott: We make those variations on the road. We want to keep it fresh and keep it rolling. We developed it with Andy Gangadeen, a music director. For the show now, I play the basslines with drumsticks on drum pads. It’s got nine pads, so enough samples to play the basslines for the whole track. Sometimes I have top-end stuff as well, like mallet hits or marimbas. I’ll map it so there are basslines on four and mallets on four on the same track. On “All Four Walls,” for instance, I’m playing the marimba hits, but not the bass. It’s a little more visually obvious, like hitting a xylophone with a stick.

Basslines have been coming out of synthesizers for years. You’re just playing notes on a keyboard and it looks a bit silly, like you’re cheating or something. We wanted it to look more interesting.

DJ Times: Your live covers are fantastic.

Robson-Scott: All the covers we do in our shows are from performances we’ve done for the BBC Radio 1’s Live Lounge. When you do Live Lounge, you do your new single and a cover. If you do 1Xtra as well, you do a second cover specifically for them. We did “Hey Hey” by Dennis Ferrer for 1Xtra and we did Drake “One Dance” for Radio 1. We had to do Live Lounge on Tuesday and they told us about it on Sunday. We kind of know what we’re doing when it comes to making stuff like that.

When you’re doing a cover, it’s not like it’s your own tune, so you’re not umming and arrring about things. I knew I wanted to do a U.K. funky rhythm with the drums before we

even started it. I got into the studio a bit earlier than Kye and made a pattern, this drumbeat and sampled some old tune from the U.K. years ago and cut it all up. When Kye got there, he added some chords and a bassline and it was done. The main thing is rehearsing it with the singers because we had to work out how they were going to sing it over this new beat to make it faster and different. We get so much good feedback about the covers that we put them in the live show.

DJ Times: You seem to be regulars on the mainstream-pop circuit in the U.K. Robson-Scott: Because we come from the underground, it’s not how we think of ourselves. I’m not saying the pop thing is bad at all. It’s amazing to be thought of like that, but we don’t want people in the scene to be like, “Oh, Gorgon City, they’re just going to play their hits and everyone is going to go crazy and then they’re just going to leave, they’re not part of our scene.” That’s not what we’re about.

DJ Times: So what is Gorgon City about?

Robson-Scott: We like making commercial-sounding stuff, but we also love doing the other side of it.

We’re doing that on Kingdom by putting out “All Four Walls,” then “Blue Parrot,” then “Doubts,” then “Impaired Vision.” They show both sides of our dance-music personality. That’s important to us. We want to be able to play cool events like Crosstown Rebels’ Get Lost in Miami, a crazy acid-house party where everyone’s mental and every DJ is incredible. But we also want to set up with the band.

We are getting this amazing opportunity to do both, which is rare. n

Dusky: Music First

DJ TIMES

NOVEMBER 2016

We let our music do the talking.

42

We Brits are very much substance over style.

Because the style thing can be… problematic.

Dusky, Next Month in DJ Times Photos by Dan Wilton

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