DJ LIFE MAG, Vol.2 No.2 Featuring Slushii

Vol.2 No.2

’22

THE LATEST

Miami Music Week

AT THE TOP OF HIS GAME

Ultra Music Fest & More

Louie Vega

El Maestro Returns

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Gryffin GG Magree Pioneer DJ DM-50D JBL PRX ONE Service Marketing for Mobiles

Miko Franconi

SoundSex from Paradise

How to Optimize Online Marketing

Redefining the audio experience.

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MUSIC MADE PHYSICAL Designed by audiophiles for audiophiles.

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NEWS

MIAMI MUSIC WEEK: ULTRA FEST, GET LOST & MORE

By Jim Tremayne Miami, Fla. – For the first time since 2019, Miami Music Week brought the party people, the globe’s top DJs, and the dancemusic industry back to South Florida.

Though the annual Winter Music Conference will have to wait another year before it returns, the whole area – Miami Beach, downtown, Wynwood Art District – was awash in beatinfused events this past March 22-27 with clubs, hotels, and special-event spaces hosting a variety of parties. Among the bacchanalia, the MMW’s range of tastes was exemplified by two annual events – the mega-mainstream, three-day Ultra Music Festival and the devoutly underground Get Lost Miami round-the-clock circus party.

Ultra Music Fest, which ran March 25-27 at Bayfront Park in downtown Miami, drew a massive audience of 165,000, according to organizers. With seven themed stages, Ultra presented 28 hours of music that featured more than 175 DJs and live performers. Mainstage headliners included Kygo and Martin Garrix on March 25, Illenium and DJ Snake on March 26, and David Guetta and Armin van Buuren on March 27.

The big news at Ultra was its mainstage-headliner surprise on the closing night – Hardwell, the hitmaking Dutch DJ/producer, who made his comeback after a three-and-a-half-year hiatus from touring. With a 60-minute set that showcased rousing new material like “Broken Mirror” and “Into the Unknown,” Hardwell also dropped favorites like “Spaceman” and “Apollo.”

Other UMF highlights included: Anfisa Letyago at the Carl Cox Megastructure with a tough, late-afternoon techno set that included genre chestnuts like Devilfish’s “Manalive”; Fisher on the Mainstage with a typically manic performance that woke up the throngs with ripping tech-house tracks like “Palm Beach Banga”; and Andrew Rayel on the Worldwide stage, whose energetic set closed with the soaring trance track “River” (feat. AIDYL) and his remix of ACRAZE’s “Do It To It” that had even the nearby Ultra vendors throwing shapes.

Meanwhile on March 26-27, over in Hialeah’s Factory Town complex, the 15th annual Get Lost Miami party – presented by Crosstown Rebels and Space Invaders – delivered 24 straight hours of house and techno from 70 DJs on five themed stages.

Underground favorites like organizer Damian Lazarus, Felix da Housecat, Art Department, Carl Craig and Seth Troxler kept the party going from 5 a.m. to 5 a.m.

Other Get Lost highlights included: MK, who hammered a harder-than-usual set that scorched as much as it grooved with simmering tracks like Anyma’s “Running” and hip-shakers like his dub of Martin Ikin’s “How I Feel”; Gorgon City’s pumping set that lit up the afternoon dancefloor with winners like their sublime remix of Dom Dolla and Sonny Fodera’s “Moving Blind”; and Lum’s chill outdoor set that included sweet groovers like Kentphonic’s “Sunday Showers.”

Other sets/events worth mentioning: LODATO’s R&B-flavored house set at the Spinnin’ Sessions at the Nautilus Hotel on March 23; the typically energetic trance sets from Cosmic Gate and Markus Schulz at Dreamstate Miami on March 26 at Ekolodge Warehouse; and Andrew Bayer’s trippy, yet relentlessly groovy set at the Anjunabeats Pool Party at the Nautilus Hotel on March 27.

Laser Treatment: David Guetta at Ultra.

Rukes.com

Get Lost: Felix da Housecat in the mix. @adiadinayev

Techno Titan: Carl Cox Megastructure.

Alex G. Perez

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IN THIS ISSUE

VOLUME 2, NUMBER 2

Scenes from Miami Music Week

After Three-Year Hiatus, Industry Parties Returned to South Florida

Expansions in the NYC

“Little” Louie Vega’s Latest Explores the Diversity of Sounds in Modern Clubland

FEATURES

By Jim Tremayne

By DJ LIFE Photographers

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Island Beats

With His Centered Brand, Hawaiian DJ Miko Franconi Keeps the Underground Scene Going in Paradise

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By Jim Tremayne

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Clean It Up

How to Check Your DJ Website for SEO Errors & Optimize Your Online Marketing Efforts

By Jordan St. Jacques

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ON THE COVER Top of His Game

Slushii’s Rocket-Like Rise Showcases the Confluence of EDM & Gaming Cultures

By Brian Bonavoglia

In the Studio With…

Gryffin

Sound Bites GG Magree

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14 8 Feedback

The Very Latest on DJX, Set for Aug. 8-11 in Atlantic City, N.J.

34 Festival Spotlight Miami’s Ultra Music Festival

38 Studio Session

Pioneer DJ DM-50D Monitors

40 Playback

JBL PRX ONE PA System

42 Mobile DJ Profile DJ Taso: A Single-Op Success

44 DJ Business

Service Marketing: Why You Need It in Your Toolbox

46 Gear

New Products from V-MODA, Yorkville Sound & More

50 Tracks

Phat Tracks from Josh Wink, Louie Vega & More

52 Club Play Chart

The Hottest Records, As Reported

by Our Top U.S. Record Pools

Cover Image by Jennica Mae Abrams

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FROM THE EDITOR JIM TREMAYNE

ALL IN THE GAME If you’ve been paying attention to the evolution of electronic music, it’s impossible to ignore its confluence in recent years with the video-game industry. Not only has electronic music become the soundtrack for gamers, but the gaming industry has become a top promotional platform for the music industry. And one of the great examples of that phenomenon is Julian Scanlan aka Slushii.

In addition to making much-loved tracks (like 2019’s “Never Let You Go”) for popleaning, bass fanatics and becoming a draw at major American festivals, the 24-yearold DJ/producer has had his music featured on the soundtracks of two of the world’s most-popular games, Fortnite and Rocket League. In fact, Slushii’s “All I Need” (aka the intro song to Rocket League) has scored over 34 million streams on Spotify and over 15 million on YouTube – that’s no coincidence. So, in his recent conversation with Slushii, our Brian Bonavoglia examined the connection and discussed E.L.E (Extinction Level Event), the New Jersey native’s latest album.

Between this issue and our last, we did a bit of traveling – to Las Vegas, Honolulu and Miami, to be specific. The most recent trip brought us down to South Florida for Miami Music Week, which we report on here. In addition to catching plenty of music in a variety of venues, MMW gave us another up-close view of one of America’s best-known DJ events – Ultra Music Festival, which ran again in Miami’s Bayfront Park and featured EDM’s biggest stars. Accordingly, UMF serves as this issue’s Festival Spotlight.

On our trip to Honolulu, we were fortunate to hear some great house music from and make an acquaintance with Miko Franconi, who played two splendid nights at a stylish rooftop venue. Afterward, we caught up with the local talent and he explained how his Centered club brand flies the flag for underground music on the island of Oahu.

Returning back in New York, we attended “Little” Louie Vega’s album-release party for his superb Expansions in the NYC, a 22-song full-length on Nervous Records that’s loaded with terrific collabs from the likes of Joe Claussell, Robyn, Moodymann, Kerri Chandler, Honey Dijon and more. And, of course, we scored an interview with the legendary DJ/ producer for this issue.

On our visit to Sin City, we caught Gryffin’s energetic set at the XS nightclub at the Wynn and followed up with the Vegas-based DJ/producer for a studio-oriented story for our Sound Bites section. In the other SB entry, our Brian Bonavoglia used his time in Miami to interview DJ/singer GG Magree, whose artistic output tends to live on the dark side.

In our tech review columns, we offer looks at a pair of solid products for performing jocks and music-making DJs. For Studio Session, our Denver-based DJ/scribe Wesley Bryant-King tests out Pioneer DJ’s versatile DM-50D monitor speakers. For the Playback column, our Detroit-based DJ/writer Erik Miller handled JBL’s solid PRX ONE PA system.

For the mobile side of the DJ scene, Canadian digital-marketing specialist Jordan St. Jacques offers advice on how to maximize your online efforts by cleaning up SEO errors on your DJ website. In the DJ Business column, Joshua Volpe explains why mobiles should add service marketing to their strategic toolboxes. And for Mobile DJ Spotlight, we visit with New Jersey’s DJ Taso, a single-op success story.

In the Feedback section, we also bring you the latest info on DJX, the DJ industry’s longest-running and most-successful convention/exhibition.

Set to run Aug. 8-11 at the Hard Rock Hotel & Casino in Atlantic City, N.J., the show – produced by DJ LIFE mag and Hazan Media Group – will feature an exhibit hall full of the latest DJ products, sponsored After Dark parties, and 30 educational seminars, panels and keynotes. For the very latest info, please visit www.djxshow.com, and we hope to see you there on The Boardwalk.

Cheers, Jim Tremayne Editor, DJ LIFE

editor-in-chief Jim Tremayne jtremayne@hazanmediagroup.com editor-at-large Brian O’Connor boconnor@@hazanmediagroup.com web editor and social media manager Brian Bonavoglia bbonavoglia@@hazanmediagroup.com contributors Wesley Bryant-King, Chris Caruso, Amanda Chavez, Shawn Christopher, Paul Dailey, Reed Dailey, Chris Davis, DJ Deets, Tony Fernandez, Tommy D Funk, Ryan Hayes, Greg Hollmann, Emily Makarewicz, Erik Miller, Lily Moayeri, Jordan St Jacques, Jeff Stiles, Ashley Teffer, Danny Turner, Phil Turnipseed, Joshua Volpe, Travis Wackerly, Curtis Zack chart coordinator Dan Miller dmiller@hazanmediagroup.com national sales manager Josh Kerman jkerman@hazanmediagroup.com creative director Janice Pupelis jpupelis@hazanmediagroup.com director of technologies and project management Steve Thorakos sthorakos@hazanmediagroup.com graphic artist Andre D'Esterno adesterno@hazanmediagroup.com integrated media manager Cheyenne Chao cchao@hazanmediagroup.com Chairperson & COO/Co-Publisher Robin Hazan rhazan@hazanmediagroup.com President & CEO/Co-Publisher Shawn Hazan shazan@hazanmediagroup.com

visit our website: www.djlifemag.com 516.767.2505

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Editorial contributions should be addressed to The Editor, DJ Life Mag, Oyster Bay, NY 11771 or sent to JTremayne@hazanmediagroup.com.

DJ Life Mag is published bi-monthly starting with the second month annually.

Design and Contents: copyright © 2022 by DJ Life Mag and must not be reproduced in any manner except by permission of the publisher.

Web: DJLifeMag.com, DJXShow.com and HazanMediaGroup.com Subscriptions: Complimentary Digital Edition. Email: djlifemag@hazanmediagroup.com Phone: 516-767-2505 ext. 502 Web: djlifemag.com/subscribe

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INTRODUCING

VENTURA

PORTABLE DJ BOOTH & LIGHTING BAR SYSTEM

headliner-la.com

FEEDBACK

DJX ’22: NEW DIGITAL-MARKETING SESSIONS Atlantic City, N.J. – Make your plans, DJs… because DJX ’22 is set for August 8-11 at the Hard Rock Hotel & Casino in Atlantic City, N.J. Produced by DJ LIFE magazine and Hazan Media Group, DJX is the longest-running trade show/exhibition for the professional DJ. With the industry’s largest exhibit hall, sponsored After Dark Events, and 30 educational seminar sessions, DJX is the place to be for anyone looking to move up in the DJ world.

For the last several years at DJX, digital-marketing maven Jordan St. Jacques of Canada’s Digitera has shared some of his very valuable secrets to DJs looking to up their game – and, since then, seminar

attendees have reached new levels for their businesses. This year, he’s back with four new sessions. Here they are: Mitzvah Marketing: Digital Solutions & More. As one of the most profitable, yet elusive sectors of the mobileentertainment world, bar/ bat mitzvahs are highly desirable gigs for DJs all over the continent. However, booking these events can be a challenge – so how’s it done? DJX presenters Jordan St. Jacques and Ross Akselrad (Philly’s Pulse Entertainment) have the answers. (Aug. 8) The Holy Grail: How to Land on Preferred-Vendor Lists. If there’s a Holy Grail of the mobile-entertainment industry, it’s being put on a venue’s Preferred-

Vendor List. The problem is… every other mobile jock knows this and the competition to get on these lists is intense. So, how do you gain an edge to compete for these spots? How do you win? DJX presents a panel with trio of pros – tech evangelist/moderator Jordan St. Jacques, plus mobile entrepreneurs Ross Akselrad and Ken Cosco (Boston’s A Touch of Class DJs) – who’ll show you the way. (Aug. 9) School Daze: Prom Marketing & Beyond. Marketing to schools is perhaps the hardest sales challenge within the mobileentertainment industry.

Even in 2022, reaching the cloistered decision-makers in the “walled gardens” at schools can be incredibly

difficult, especially in an age where digital privacy is so important. So, how to get in? Join us, as Jordan St. Jacques, along with Ross Akselrad and Derek Panell (Rhode Island’s New England Proms), present you the keys to the schoolhouse door. (Aug. 10) Teen-Night Promotions for Club & Mobile DJs. In 2004, Jordan St. Jacques launched FX, a teen-clubnight brand that eventually became the largest such company in the world. After promoting and producing teen-night events in over 25 cities in the U.S. and Canada, St. Jacques became an expert on the market, and now he’s ready to share his secrets with you. (Aug. 11) For the latest on DJX, please visit www.djxshow.com.

DISCOVER EMPOWER NETWORK EDUCATE ENTERTAIN INSPIRE

REIMAGINED & REBRANDED #CALLINGALLDJS

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www.DJXSHOW.com

To exhibit contact Josh Kerman

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SOUND BITES

GG MAGREE: OUT OF THE DARKNESS

GG Magree: Making Monstercat moves.

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For many EDM fans, GG Magree popped onto the scene in 2016 as the featured vocalist on “Frontlines,” a massive collab single from Zeds Dead and NGHTMRE. But that was only the beginning.

After hitting the festival circuit in support of the hit tune, the Australian DJ/singer/producer maintained a steady pace of diverse releases on a variety of labels (Deadbeats, Armada, Dim Mak), including notable collaborations with Blanke (2019’s “Incinerate”) and Sullivan King (2020’s “Flatline”).

Even through the lockdown, she kept cranking out electro, pop and dubstep tracks.

But, for GG Magree, 2022 has already hit another level. In addition to joining forces with Mija to form a powerhouse duo, So Tuff So Cute, she’s delivered a pair of irresistible singles on Monstercat – the hook-filled “My Wicked” and the scorching “Deja Reve.” Set for inclusion on her upcoming Dichotomy EP, the tunes unravel her twisted love stories and haunting nightmares.

At Miami’s Ultra Music Festival this past March, we discussed all of the above with the 33-year-old, L.A.-based Georgia Magree.

DJ LIFE: After releasing a barrage of singles, you’re now releasing your Dichotomy EP on Monstercat. What’s that experience been like?

GG Magree: It’s a dream come true. Releasing music has always been so scary for me.

But with this project, I’ve been the most impatient for the world to hear it – my team can confirm that – and I’ve finally found my sound and how I want to be represented as an artist. Working alongside Monstercat has been incredible.

They’re so passionate and such a boss team.

DJ LIFE: Where are you making your music these days?

GG Magree: I have an athome back-house studio, so I basically wake up, work out, drink coffee, open the back door, and jump straight in.

Fender has been kind enough to send me some guitars to play around with, so I get stuck in vortexes and will be like, “Oops, it’s 3 a.m., I gotta go to bed!” I’m also in such a great place in my life that the writing component has been on a really nice flow.

DJ LIFE: What gear and software do you use?

GG Magree: I use Ableton Live, Dynaudio studio monitors, Behringer X32 digital mixer, and Korg SV1 digital piano/ keyboard. For plug-ins, it’s Antares Auto-Tune, Soundtoys Little AlterBoy, Soundtoys DevilLoc, ValhallaDSP reverbs, and oeksound soothe2. I mostly use vocal plug-ins when I track myself. I also love manipulating my voice through effects.

DJ LIFE: What is your creative process in the studio?

GG Magree: I start most songs acoustically, and words and melodies will flow after. I’m a pretty-fast writer, so if I don’t have the song written in, like, two hours, I’ll usually leave that one to rot. Writing has to come from the heart and experiences for me, so the more life I live, the more I feel and the more I write.

DJ LIFE: When you have a rough week or hit a wall cre-

atively, how do you get yourself back on track?

GG Magree: I surround myself with my friends and love hard on my body. Touring is superaggressive physically and mentally, so when I’m back from a week of shows, I’ll always try take a couple mornings to work out, hike, hang out with my friends and get some early night rest. I’m pretty good at pulling myself out of dark places fast and I can thank my parents for that. They taught me a lot about mental health growing up.

DJ LIFE: Tell us a little about your

“WRITING HAS TO COME FROM THE HEART AND EXPERIENCES FOR ME, SO THE MORE LIFE I LIVE, THE MORE I FEEL AND THE MORE I WRITE.” recent single, “Deja Reve,” and how it came together.

GG Magree: As a kid, I would have night terrors and sleep paralysis, so I went to a doctor who taught me how to lucid dream and to always keep a dream journal. “Deja Reve” explains a dream I’ve had, in which I’ve then had déjà vu with knowing I’ve been somewhere before – but it’s been in my dreams. I was watching the movie “Hostel,” which is written and directed by Eli Roth, who’s one of my all-time favorites, and I took a lot of inspiration from the instrumental in there.

DJ LIFE: What was the inspiration behind your Dichotomy EP? Is the “Already Dead” music video reflective of those themes at play?

GG Magree: People always say to me, “You’re such a happy person, but your writing,

music and overall aesthetic is so dark.” Well, that’s my dichotomy. I’m more attracted to darkness. My “Already Dead” music video is 100-percent a representation of “Dichotomy.”

I love to play with the idea that when we can’t see or we’re vulnerable, that’s when the real us comes out.

DJ LIFE: You also started a supergroup with Mija as So Tuff So Cute. When did you two decide to join forces and what can the world expect from you two going forward?

GG Magree: Music, merch, and basically worldwide domination. Me and Amber have been best friends for a while now and we also live together, so it was a natural situation. We have the same taste in music and same workflow – aka get shit done! It’s so much fun creating, traveling and starting a business with your best friend.

DJ LIFE: You two played Ultra Music Festival recently. How does it feel to have an opportunity like that playing alongside one of your best friends?

GG Magree: We were actually both talking about this today, how lucky and blessed we feel to be able to share these memories together.

DJ LIFE: How would you say you and your sound have evolved since you first popped onto the scene?

GG Magree: I’m a poppunk-rock baby! Always have been, always will be. I feel like it just took me a minute to find my place in the EDM scene, and also having a team that 100-percent supports my vision and is not trying to make me an artist I don’t want to be. My manager Joey [McCarthy] is the best thing that ever happened to me!

DJ LIFE: What do you have planned for 2022 and beyond?

GG Magree: Coachella, Tomorrowland, Electric Forest, EDC and a solo tour. Oh, and you might see me on your TV and also in theaters by the end of the year.

– Brian Bonavoglia VOL.2 NO.1

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IN THE STUDIO WITH…

GRYFFIN: THE HITS KEEP COMIN’

For the past six-plus years, Gryffin has been one of EDM’s more consistent hitmakers.

With a slew of club and radio smashes like “Tie Me Down” with Elley Duhé, “OMG” with Carly Rae Jepsen, and “Safe With Me” with Illenium featuring Daya, the Las Vegasbased DJ/producer/multi-instrumentalist has become a favorite headlining clubs and festivals.

And now he’s back with another irresistible single, “You Were Loved,” a soaring, carefully crafted collab with platinum pop-rock band OneRepublic. After catching his DJ set at Las Vegas’ XS Nightclub, where he’s a resident, we connected with the 34-year-old Gryffin (aka Dan Griffith) to discuss his career, his motivations and his future.

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DJ LIFE: Creatively, how did you approach “You Were Loved,” with One Republic? What was the process?

Gryffin: “You Were Loved” came about when one of my managers sent me the demo, and I immediately connected to it, as I’m a big fan of OneRepublic. When producing around Ryan Tedder’s vocals, I really wanted to channel euphoric and summer-feeling vibes. Once I had a rough version, Ryan, Brent from OneRepublic, and I passed the song back and forth to polish the production. It was a really fun record to work on and incredibly collaborative with the OneRepublic guys.

DJ LIFE: What can fans expect with the new album? How will it differ from the Gravity album?

Gryffin: The new album will be a bit dancier than Gravity; however, it will sound like Gryffin through and through. I always try to channel uplifting and emotional tones in my music, and this album will be rooted in that. Outside of the sonics, there will be a number of more well-known features and artists that I’ve been fans of for a long time, so I’m excited to share those collaborations.

DJ LIFE: Musically, what were your first influences? What made you want to pursue music?

Gryffin: I grew up on classic rock, and then in college, I really became passionate about dance music after hearing artists like Calvin Harris, Avicii, Swedish House Mafia, Skrillex, and deadmau5. I started making my own productions as a creative outlet from school, and once I graduated, I decided to take the chance on myself to pursue music full-time.

DJ LIFE: What’s your main studio gear?

Gryffin: My DAW is Ableton Live, monitor is Genelec, and the vital hardware I use is [Dave Smith Instruments] Prophet Rev2 and Universal Audio 1176 limiter. My favorite plug-ins are u-he Diva, [Xfer Records] Serum, and [Spectrasonics] Omnisphere.

DJ LIFE: Which producer/remixers are you most into?

Gryffin: In terms of producers/artists, I admire Calvin Harris probably the most. The way he revolutionized how dance and pop music could be fused to create catchy hits with ingenious production is second to none.

He still continues to innovate today with his projects like Funk Wav Bounces and his Love Regenerator project.

DJ LIFE: How did you survive the lockdown?

Gryffin: I survived lockdown by taking a step back and just trying to enjoy life a bit more. I picked up the game of golf, which was a great outlet for me to get outside while maintaining social distancing. Creatively, I really tried to push myself in terms of what type of music I was making.

There are a lot of records I worked on that didn’t fit the Gryffin mold that will never see the light of day, but they allowed me to try new things as a producer.

DJ LIFE: Were you streaming during lockdown? How has it been like returning to the clubs?

Gryffin: I did a few live-streams, which I actually really enjoyed and it seemed like a lot of fans did as well. However, getting back into shows just reinforces the fact that nothing can replace the connection and energy of real shows. It feels amazing to be out playing in front of fans again.

DJ LIFE: I caught your gig at XS in Las Vegas a couple of months ago…

What’s the difference between playing a Vegas club show and other clubs around the country?

Gryffin: The main difference between playing a Vegas club and other clubs is that Vegas is such a transient town that the crowd is always different. There are obviously the locals who will come to a number of shows, but I really have to be ready for anything because of the eclectic-ness of the city.

DJ LIFE: Does your approach to your sets differ?

Gryffin: My approach to my set does differ, as I do play a good amount of music that is not mine. In most cities, I try to sprinkle in other artists’

songs and edits, but I mainly play my own music. In Vegas, the crowd leans a bit more commercial, so I try to update my set almost every time I play because I want to try new songs, and it’s a great testing ground to see what’s popular amongst different groups of people.

DJ LIFE: In the DJ booth, what gear do you use? How would you describe your style of DJing?

Gryffin: I use a standard arrangement of four Pioneer DJ CDJ-3000 players and a DJM-900NXS2 mixer because it’s consistent across all of the clubs I play and is what I’m most comfortable playing on. My style of DJing is a combination of quickmixing and innovative mash-ups. I try to find a balance between my own music, new edits of my songs, and a cappellas that people know mashed up with current dance tracks. I try to throw shows where people have a good time and walk away with an uplifting feeling.

DJ LIFE: Give me three tracks that are always in your “DJ box,” and why?

Gryffin: Three tracks that are always on my sticks would be the Crunkz Mashup of Daft Punk’s “One More Time” and Tiësto’s “My Frequency,” Dom Dolla’s “San Frandisco,” and my song “Tie Me Down.” The first mashup is just so fun to play out since “One More Time” is a classic and everyone gets into it before they’re taking for a turn. “San Frandisco” is a fun, but slick record that works in any environment.

Finally, “Tie Me Down” is my most wellknown song, so it just never fails me when I play it.

DJ LIFE: Which DJs are you digging?

Gryffin: First name that comes to mind is Diplo. I think he is always ahead of trends and on the cuttingedge of what is hot in dance music.

Vintage Culture is a DJ I admire because of his abilities to play all kinds of house music for hours on hours.

DJ LIFE: What’s next for you?

Gryffin: Right now, I’m working on finishing my next album and preparing my live show. We’ll be bringing back my live show to the U.S. this year with some massive shows in tow, so I’m excited to get back on the road with that show.

– Jim Tremayne

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Top

of His

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Jennica Mae Abrams

Slushii’s Rocket-Like Rise Showcases the Confluence of EDM & Gaming Cultures

Game

By Brian Bonavoglia

“I actually played guitar in a classic-rock-type band.

I quit the band when I was 16 because I wanted full control of the music I was creating.”

When you look at the current landscape of electronicdance music, a majority of artists lighting up the festival and club circuits began honing their craft at a relatively early age.

While most teenagers were taking in traditional high-school experiences, attending sporting events, and partying, others were engulfed in music production and gaming. Looking around now, it’s safe to say the latter group did not peak in high school – but they’re certainly benefitting now.

One artist who has come quite a long way since his days at Lenape High School in Medford, N.J., is Julian Scanlan. Known professionally as Slushii, the 24-year-old DJ/producer’s career has come full circle in 2022 with his name popping up on the biggest festival lineups, in addition to having his music featured in the most-played video games across the globe.

Being musically inclined as a teenager, Scanlan’s musical journey began as the bassist of Deuteronomy, a proggy rock act. He also became one-half of the music duo Monsters With Tiny Mustaches before venturing into the EDM solo space as DJ Swoon.

Quickly picking up momentum as a producer and DJ, Swoon’s Soundcloud account would later fall victim to its automatic copyright system, as it was permanently deleted.

However, many would consider that a blessing in disguise because this would lead to the launch of his Slushii project.

Flexing his undeniable production prowess, his new alias offered a more light-hearted and future-bass-tinged sound.

The forward-thinking and vibrant style immediately began to make waves throughout the blogosphere, while also receiving support from some of the scene’s biggest DJ/producers, like Ookay, Dotcom, and Marshmello. And with the release of his “Brain Freeze” EP in 2016, Slushii would soon take the electronic-dance community by storm.

Right away, his output was impressive. Singles like 2016’s “So Long” featuring Madi, 2017’s “I Still Recall,” and 2019’s “Never Let You Go” featuring Sofia Reyes made their marks. EPs like “Find Your Wings” and “Watch Yo Back” and full-lengths like Out of Light, Dream, Dream II, and Dream III found an ever-expanding audience. Additionally, he did remixes for a huge variety of hitmakers from the worlds of EDM (Kaskade, Zedd, Skrillex) and pop (Ariana Grande, Drake, ChainsmokVOL.2 NO.2

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ers) that raised his profile further.

This year, he’s returned to the Monstercat label – which signed his very first single, “Emptiness” – to release his fifth studio album, E.L.E (Extinction Level Event). It’s a cohesive, 14-track offering, fueled by trap-inspired beats and melodic bass, with a futuristic pop edge.

Outside of being a globetrotting DJ and producer, Slushii has always made time for gaming. So, it’s a big bonus that his music has been featured on the soundtracks of Fortnite and Rocket League, which happens to be two the most-popular video games in the world. Move over radio – gaming is the best alternative in getting your music in front of an audience of millions.

In fact, Slushii’s most-streamed single to date, “All I Need” – over 34 million on Spotify, over 15 million on YouTube – climbed the Billboard Hot Dance/Electronic Chart after debuting in his Fortnite virtual concert back in September 2021.

With his new album E.L.E (Extinction Level Event) still in heavy rotation and still riding the high of playing Miami’s Ultra Music Festival this past March, we took the time to chat with Slushii to discuss his meteoric rise into the electronic-music spotlight, music’s relationship with gaming and much more.

DJ LIFE: You’ve always been passionate about gaming, anime, and Japanese culture. How does it feel to have it all come full circle at this point of your career opening 2022 with the release of E.L.E (Extinction Level Event)?

Slushii: It feels like I’ve been snapped away by Thanos for five years, and now I’ve finally woken up. A lot of things in the scene, music-wise, have shifted, and it feels like my peers are all gearing up to blast off with new music very soon. Simply put, it feels good to be back.

Tons of anime binge-watching sessions and comic-book movie-watching nights fueled the visual language for the album, for sure.

DJ LIFE: You have music syncs in some of the biggest video games in the world. As a big gamer, what’s that 16

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experience been like for you?

Slushii: It was a very surreal experience when I booted up Rocket League for the first time and heard “All I Need” booming out of my TV speakers. I’ll never forget that moment! Or the time after the Fortnite concert where Dvncer and I played while watching the concert I had just performed… pretty meta.

DJ LIFE: There has been a lot of crossover in the world of electronic-dance music and gaming over these last few years – how big of a role do you think the music in games plays in terms of molding the next generation of dance fans and music producers?

Slushii: I think music is really one of the defining features that can make or break a project. When I play some of my favorite remastered video games, I tend to play with the classic soundtrack vs. the remaster, because so much nostalgia and emotion still carries, even though the project may have aged.

DJ LIFE: What was the inspiration behind E.L.E (Extinction Level Event) and how did it come together?

Slushii: It truly is a tour diary from the past three years of my life. I had a lot of pent-up emotions and frustrations

Triple Play: Slushii’s Top Tracks “All I Need.” Blissful and bubbly, “All I Need” is Slushii’s most-streamed single to date. It peaked at No. 33 on the Billboard Hot Dance/Electronic Chart after debuting in his epic Fortnite virtual concert and being featured in Rocket League.

“Valhalla.” Returning to his roots with this one, “Valhalla” is a blistering behemoth, which teleports listeners to the darkest corner of dubstep, coming equipped with rolling metallic synths and bone-rattling bass.

“Carousel” feat. Kiesza. Showcasing Slushii’s versatility throughout his new full-length, E.L.E (Extinction Level Event), this fiery, vocal-driven production delivers synthladen heat and switches gears to the glory days of early 2010s U.S. dubstep.

– B.B.

with my position at the time, and I had felt a lot of momentum was being wasted. So, we decided to just put the project out.

DJ LIFE: This isn’t your traditional album – it’s more of an audiovisual experience with the anime, correct?

Slushii: It really is the beginning of what we’re calling “Slushii 2.0.” I feel like the world has only seen about 3-percent of what I’m truly capable of as an artist. I can’t wait to start putting this stuff out, and to create something that can be remembered for generations.

DJ LIFE: Tell us a little bit about how “ICE” the collaboration with Rickyxsan came together…

Slushii: Rickyxsan is such a dope producer. I was a big fan of his sound design, and we had met a few times at festivals and decided to make the track. We actually still play Fortnite together to this day!

DJ LIFE: If you had to pick one, what would you say is your favorite track of the album, and why?

Slushii: I think “Wait For Me” is truly the standout song on the album. Sonically and through the deeper meaning of the lyrics, it feels like a very N.E.R.D./Seeing Sounds-charged, electronic, ear-candy anthem!

DJ LIFE: What does your studio setup look like these days?

Slushii: Mainly just a MacBook and Ableton Live, and a lot of third-party plug-ins. I usually record sounds into my laptop mic and finish songs that way. I really like the [Warm Audio] WA-47 mic for recording vocals because it has a really clean, but warm sound that captures a bunch of crisp tones. And I primarily mix using my Audeze LCD-4 [headphones] – truly unmatched.

DJ LIFE: You’re one of the most versatile producers in the game. Where do you find your inspiration when it comes to music creation?

Slushii: Honestly, it comes from a mixture of my love for anime, hip hop, and early 2000s nostalgia – everything from cartoons to old PlayStation games like Dance Dance Revolution and Guitar Hero. Also, a lot of fashion designers and Hypebeast culture have had a large effect on my inspiration. I love the Rick Owens aesthetic – so, it’s really influenced my visual art.

DJ LIFE: When you have a rough week or hit a wall creatively, how do you get yourself back on track?

Slushii: Generally, when I hit a creative wall, I find it’s best to stop whatever I’m doing at the time and just do something else. Read, write, play Fortnite, anything to just get my mind off of the pressing issue… so that when I revisit it later, I can approach it with new ears and a more open mind.

DJ LIFE: When were you first introduced to the world of electronic-dance music?

Slushii: When I was in elementary school, I would always be dragged to relatives’ holiday gatherings. One time, I saw a cousin of mine playing Dance Dance Revolution and the music and aesthetic really helped shape a lot of my interest in dance music. The intro for the “Spider-Man New Animated Series” on MTV is also a total guilty pleasure for how trancey and cool it is.

DJ LIFE: DJing or production – which came first?

Slushii: Initially, when I started making music, I actually played guitar in a classic-rock-type band. I quit the band when I was 16 because I wanted full control of the music VOL.2 NO.2

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I was creating. I had learned to play four instruments by that time so when I was 17-years old. I had already recorded over six full albums’ worth of content.

DJing hadn’t been a real thought in my mind until I saw Daft Punk’s pyramid on YouTube.

DJ LIFE: What DAW program were you using to produce back then?

Slushii: I started producing music on GarageBand in my fifth-grade computer class. We had a project where we had to make a song using GarageBand loops, and burn the song to a CD. I ended up making a full, 21-song album using the GarageBand loops, figured out how to use MIDI, and submitted that as my project – I still have the CD. My teacher at the time would let me produce music if I completed all of my work during the class. So, every day I was the first person who completed their work, just to produce music for 30 to 40 minutes.

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

Slushii: I knew I wanted to pursue music full-time in my second semester of

college. I was in a math midterm and had just gotten my first legit show offer for HARD Summer. I asked to use the bathroom, put my jacket on, and left the school forever. I thought it was pretty badass.

DJ LIFE: How would you say Slushii has evolved since first hitting the scene back in 2016?

Slushii: I think the world around me has become much wider and diverse, and it truly inspires me. For the longest time, I was afraid to make myself heard, or to even try to make a splash.

I really took a chance with this project and I feel way more fulfilled and motivated to create again.

DJ LIFE: How has the bass-music scene, specifically, changed since you first emerged onto the scene?

Slushii: It’s definitely been shaken up, as everything the past two years has taken a considerable hit. But I feel like the one thing it has always had going for it is the community. When I was at my lowest, there was always someone there to lend an ear, and as an electronic-music family – that was really nice.

DJ LIFE: For all the bedroom producers out there looking to stand out from the crowd, what words of wisdom do you

have for them?

Slushii: Just be yourself. There is only one you, and that’s what people will be magnetized to, not how many cars you have, what your story is to tell the world.

DJ LIFE: For the first time since 2019, Ultra Music Festival happened this past March, and you were on the Worldwide Stage…

Slushii: It felt like a homecoming, in a way… like the first time back to school since summer vacation. Before the gig, nerves were setting in, but it’s a double-edged sword.

It’s the fear of failure, and also the thrill of taking the leap into the unknown. And the gray area in between is where I operate.

DJ LIFE: Ultra Miami is a bucket-list festival for most dance-music fans across the world. As an artist, what makes Miami Music Week and Ultra fest so special?

Slushii: It was actually a big bucket-list item for me as well. When I was in high school, my friends Alex and Andy really pushed me to chase my dreams, and I urge anyone reading this to do the same.

DJ LIFE: Last, but certainly not least, what does Slushii have in store for 2022 and beyond?

Slushii: In 2022, I’m back and more ambitious than ever. I feel like I’m finally ready to start releasing again and showing the world what I’ve been up to. Literally, three albums’ worth of stuff is about to hit the airwaves and I truly cannot wait for everyone to hear it.

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“Love Will Save The Day” (Louie Vega Tribute to Whitney Remix) by Whitney Houston. “This is a special version I created when Whitney left to the higher plane. I produced the remix, Axel Tosca played keyboards, and Toni C., my good friend, wrote this original song. Whitney’s stunning vocals are timeless!”

“Fable” (Director’s Cut Remix) by Lil Louis feat. ChinahBlac. “This is one of the handful of final remixes Frankie Knuckles worked on with Eric Kupper years ago. I’ll never forget, when this song came out, I called Frankie Knuckles and asked him if he can do a version for me with the piano solo running all the way down with some dope mutes. He then reached out to Eric Kupper and made it happen. This ‘Director’s Cut Dub’ that Frankie handed me has been on my drives that I play off of, for many years and to this day it gets over on any dancefloor anytime – it’s a masterpiece!”

“Can’t Fake the Feeling” by Geraldine Hunt. “This is a classic I never leave home without. This was in between disco and boogie music – it came out post-disco 1980 – and was a pivotal record for dance music. It’s sophisticated, but raw. Geraldine has a unique voice. There’s been no other sound like hers. It’s funk, it’s disco, it’s boogie, it’s dope!”

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New York City – Certain terms gets tossed around all too loosely in dance-music circles – but legend is one that genuinely fits “Little” Louie Vega.

A DJ’s DJ and a producer of diverse sounds, Vega, 56, has been a staple of New York City’s rich club-music scene and an in-demand, global jock for four-plus decades now.

The Bronx native’s list of accomplishments is long, but a short version includes: his influential collabs with Kenny “Dope” Gonzalez as Masters At Work and Nuyorican Soul; his 2006 Grammy Award for his remix of Curtis Mayfield’s “Superfly”; his performance with Cirque du Soleil and his Elements of Life Orchestra (featuring his wife singer/DJ Anané) at Miami’s Super Bowl XLI in 2007; remixes and productions on a slew of club hits from a range of artists that include Barbara Tucker, Mr. V and Gloria Estefan; and memorable DJ residencies at NYC’s Sound Factory Bar and Cielo venues.

Since its 2019 inception, his “Expansions NYC” parties, where Vega spins six-hour sets of house, funk, disco, Afro and R&B sounds, then engages in jam sessions with a band of traditional musicians, have been all the rage. And most recently, Vega has carried that approach into his latest album, Expansions in the NYC (Nervous Records). With an all-star cast of collaborators – from Joe Claussell to Kerry Chandler, from Moodymann to Honey Dijon – the 22-track full-length celebrates the diversity of sounds in modern clubland.

DJ LIFE caught up with Louie Vega to discuss his latest project, how he spent the lockdown, his gear choices and how streaming has become, happily, part of his professional life.

DJ LIFE: You’ve been part of a variety of memorable parties over the years, but what made the “Expansions NYC” parties so special that it inspired an entire album project?

Louie Vega: Expansions NYC is party I curated and created at home in New York City specifically for dancers. It was special because I played six-hour/all-night sets, and at 3 a.m. on Wednesday nights I’d have keyboardists, guitarists, poets, percussionists, and singers jam out with me at wee hours of the a.m. – and I recorded all the sets. Hearing them after, there were so many amazing grooves, hooks, and ideas made my mind turn, and I started recording the days leading up to the party and I’d test out the recordings. I, then, added more tracks as I met artists on the road that I wanted to work with – and the album was born. It all started with the New York City party inspirations.

DJ LIFE: And you’ve worked on some diverse full-lengths as well. Doing an album is such a huge undertaking and albums are more of a rarity these days... why an entire album now?

Vega: I’ve always loved making albums. It allows me to tell a story and express myself in any way I want musically, lyrically, and artistically. Albums are stories that will be around forever for all your fans and music lovers. I believe I’m on my eighth album where I’m involved as the artist that I’ve produced. I also get to help others tell their story when I produce an album for them. I love what I do and love to collaborate.

DJ LIFE: Talking studio/artistic process here, how long did it take to make the album and how did you work with so many collaborators, especially during some uncertain times?

How much was in-person and how much was sharing folders, etc.?

Vega: The album took about three years, but the pandemic was in there. So, really, about one-and-a-half years of work and the rest was waiting times, and I added a few tracks since time lapsed. I was playing it on my streaming live shows during the last two years – a track here and there – and I would talk about it, so it’s been an anticipation VOL.2 NO.2

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with the fans. I did many sessions with singers and musicians in the studio or myself creating on a keyboard or laying down drums, etc. My engineer Yas Inoue spent the most time with me on this album.

We even had live string sessions in NYC and had Patrick Adams and Leroy Burgess there in the studio who wrote amazing arrangements.

DJ LIFE: Sounds like quite an operation…

Vega: Robyn and Kindness came to my studio, and we wrote the track and song in one day on the spot. Honey Dijon was in New York for half a day, and we spent some hours in the studio and came up with the track and song during that time. The inspiration was there when it came to being in the studio one-on-one – for me, that’s the best way.

DJ LIFE: But you obviously had some success working remote, right?

Vega: When I asked Moodymann to get down on the album, he said, “Let’s go!” I looked on my archive of tracks I had in the studio on the shelf and found the perfect one for him. He felt it, and in Detroit he laid down his vocals and wrote two songs on one track. I combined them and arranged them so they morphed into one song, and it became “Seven Mile,” and there is still extra vocals for an unreleased one if we wanted to have it. So, in this case being remote, it still worked out perfectly. During the uncertain time, we got in some masterpieces – for one, “Joy Universal” by Two Soul Fusion. Josh Milan and I in the studio came up with that one and it was one of the last choons on the album recorded. For me, it completes the circle on this album project! We are 22

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talking 22 tracks on the album, so I have many more stories.

DJ LIFE: I’d like to go over a couple more of the tracks, if you don’t mind.

Track one, “Igobolo,” is quite a statement, right out of the box. Such a lush, gorgeous track – what went into that one with Mr. Claussell?

Vega: Oh wow, I had a great session with Joe Claussell. He is such a spiritual, good dude! That’s my brother from another mother. He came to the studio, and I had an idea to start, a groove. He came in and laid down percussion, and hummed some basslines, which I played in. So, we had the bass of the track. My favorite was when he said, “Let’s get the vocal mic on and some effects on [his] voice.” He then closed his eyes and made all those amazing sounds with his voice in the intro of the record. It was so ethereal and heavenly – he was so into it.

DJ LIFE: It’s a helluva way to start an album…

Vega: I loved that he took this so seriously and gave his heart and soul.

I then sent him the tracks we did that night and he wanted to get his musicians on it and came through with amazing piano and synth solos and comping.

I mean, it came back a beautiful piece of work! I then mixed it later on with my engineer Yas Inoue at Daddy’s Workshop – that’s my studio – then mixed it again with Josh Milan at Honeycomb Studios, since I wanted to tweak it some more. You can hear our styles in that tune. It’s a true collaboration.

DJ LIFE: I really love the Karen Harding song, “Free to Love,” because it just has that anthemic, classic feel and it has a never-ending theme for dance music.

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My Favorite DJs by Louie Vega

“There is lots of talent out there in the world,” says Louie Vega, “but it’s about who moves you emotionally, and all these DJs have done so.”

Joe Claussell. “He uses the isolator as his instrument – he’s a musician, and speaks with the isolator. When you create your own lane then that’s who I admire, he is one of them.”

Kenny “Dope” Gonzalez. “You can feel his beat when he plays. There are certain frequencies he hears – and when he plays, you feel it.”

The Martinez Brothers. “They have created a special lane for themselves and are versatile within their sets.

They can techno you out or they can get soulful if they want. They can read a crowd.”

Honey Dijon. “She will have you jackin’ with her in no time. She is a NYC pioneer DJ for the new generation.

Love her energy and choice of tracks when she plays music.”

Anané. “In her 13 years of DJing, she’s a queen of reading a dancefloor and can play from Afro-house sounds to electronic tracks, house and disco. She can synthesize!”

Seth Troxler. “He always surprises me when he plays.

He will pull out a jam that you’ve not heard in years and work it in his modern-style techno/house sets. One time at Dalt Villa in Ibiza, he played the Maurice Joshua classic ‘This Is Acid.’ It was all about the way he brought the track in the mix. It was surprising, spot-on, but with a flow.

He had me jumpin’ like a 16-year old!”

David Morales. “Stays true to his NYC roots, but can adapt anywhere worldwide. He’s creative with his sets and plays with a style you could have only learned in NYC.” Jihad Muhammad. “One of my favorite back-home DJs. Has kept that New Jersey new Afrohouse sound combined with the Timmy Regisford style of mixing. Tribal and soulful at once.”

Timmy Regisford. “One of our godfathers of the soulful sound whether it’s house or Afro or disco or original disco records. He has taken us on all-night journeys pushing nine hours in a set. You leave in the morning ready for that bagel and coffee. I have done that many of times in NYC with Timmy!”

That one’s a real keeper.

How did that happen?

Vega: Ah, nice – I’m happy you like that one.

My publisher, Ultra Music International Publishing CEO Patrick Moxey, wanted to put me together with artists in the U.K. at his studios.

I was mid-album by this time and I had just finished performing with my band Elements of Life at London’s Southbank Centre. Since we had our musicians there, one of them, Silvano Monasterios, was staying in

London a few days. Patrick and the Ultra Pub team showed me links of these U.K. artists and their works.

I picked Karen Harding – I liked her voice and vibe on her songs.

DJ LIFE: What was the process on that tune?

Vega: When she came into the studio, she was laid-back and very cool, and she knew what she was doing – a true pro! I had laid down the track a few hours before she came – remember, I had Silvano,

the keyboardist from our Elements of Life band there.

Once she heard the track, she started singing melodies and lyrics. We then collaborated on the melodies once she sang them down and the song started formation.

We then arranged it and I had the vocals I needed for when I’d get back to Daddy’s Workshop. I also had engineer/musician Ross Hillard at the studio in London and asked him to play live bass on the record. So, I had that, too, to take back to my studio. When back home, I added more keyboards to it with Axel Tosca and I then arranged and mixed it. I love that song and I really enjoyed working with Karen Harding.

DJ LIFE: “How He Works” has a very tribal-house rhythm and it feels like a very New York kinda tune – tell me how that one came about?

Vega: My son Nico is a piano and guitar player these days. I’ve always wanted him to come down to the studio and see what comes out of his head. I asked him to come to the studio with my engineer Yas Inoue there; he then laid down all the keyboards on “How He Works” and he picked all those samples you hear on the track and played them in where he heard them. I was in awe watching him do his thing. I’d go up to leave him alone with Yas and I’d come down once in a while… next thing you know, a full track was made. The “How He Works” sample comes from the Elements of Life version of “Stand On The Word.” He wanted to use the phrase “How He Works.” I then called my lawyer to clear the sample and now he has publishing on his track, “How He Works.”

DJ LIFE: Well, it came out great…

Vega: He didn’t want to

be featured. He’s downto-earth and has no cares about fame or having his name upfront. I got lucky – he let me get on with that one, so he is featured. I was in shock to see him play all these keyboard parts. It shows he has some Masters At Work in the veins! Proud moment for me!

DJ LIFE: A little tech talk... how do you record your tracks? What’s your main studio gear?

Vega: I recorded most of the album at Daddy’s Workshop – Nico named it many years ago, as a small child. Our DAW is [Avid] Pro Tools. I have lots of vintage, original pieces – like Wurlitzer, Fender Rhodes, Juno 106, Nico’s guitars – he has three to choose from, if we need guitar, he plays and we record – [Roland] JP-8000, Korg PA900, to name a few, but we also have lots of plug-ins. Two of my favorites plugs-ins are [Rob Papen] Predator and for bass sounds [Spectrasonics] Trilian – check out the [Rob Papen] SubBoomBass, too. My monitors are Dynaudio – I live by them and have had them over 20 years.

DJ LIFE: Moving to the DJ booth, what’s your gear and why?

Vega: In the DJ booth I use: four Pioneer DJ CDJ3000 players, a Pioneer DJ DJM-V10 DJ mixer, [Alpha Recording System] ARS Model3500 crossover with custom volume knob. If I want to use knob mixers, I have a choice of the ARS 9000, ARS 9100B, ARS 9900, or the ARS 6700.

DJ LIFE: Big question: Your favorite producers and remixers?

Vega: Producers: Quincy Jones, Willie Colon, Gamble & Huff, Trent Reznor, Trevor Horn, Inflo, Sly & Robbie, The Mizelle Brothers, Stevie Wonder, Giorgio Moroder, Brian Eno, Render & Lewis,

Arthur Russell, Jay Dilla, DJ Premier, Missy Elliot & Timberland, Mark Ronson, Norman Harris, Vince Montana Jr., and Josh Milan.

Remixers: Yvonne Turner, Larry Levan, Tom Moulton, Kenny Dope, Walter Gibbons, Dave Lee, DJ Kemit, David Morales, Spen, and Mike Dunn.

DJ LIFE: You were an active streamer during the lockdown – what was that experience like for you?

What did it reveal to you?

Vega: April 6, 2022, marks two years since I’ve been streaming live during the pandemic and now post.

We have had our “Twitcha-versary.” It’s a wonderful experience in these Twitch streets. I’ve met many new fans and people who were not in clubs or the nightlife, as well the ones in the nightlife. The chat room became my dancefloor and it’s become a big family online. It revealed to me a new way to connect with people worldwide, who have the same thing in common musically. The twitch.tv/louievega family is truly loyal and come on every moment I’m on live.

DJ LIFE: Right, it kept your profile alive during a tough time…

Vega: The cool thing about Twitch is you can just pop up and, if you checked the bell emblem on my channel, you would receive a message saying I’m on live. So, I don’t even have to promote on social, if I don’t want to, to let everyone know to get on. The chat room fills up instantly with minutes and people are listening, as well, that are not on the chatroom.

I wanted to gain the audience naturally on Twitch, so I only posted on my pages and had a few of my loyalists spread the word. I now have 25,000 core followers and growing. I started my stream live on Twitch on April

6, 2020, during lockdown, as another outlet to my show on Worldwide FM for people to see and hear me at the same time. I’ve been on Worldwide FM for five years now and I’ve already been streaming there since then once a month on their channels. Adding twitch.tv/ louievega gave it another dimension and intimate party setting with the fans.

They really feel like they are with you and you with them.

DJ LIFE: Now that the lockdown is over, what does streaming do for you?

Vega: I’m thinking new ideas of streaming when I visit, let’s say, a city around the world. I can do special things. We don’t even need a crowd, so it’s all easy – the crowd is online live. Or I can have a small party of friends and have fun playing tunes with a beautiful setting at a castle or beach or cafe or unique spot, and I can pop up when I want!

DJ LIFE: When you play out, how do you approach your sets?

Vega: I approach my sets by reading the crowd.

I would go there at least 45 minutes before I DJ, and I can tell what’s in the room.

I see what drives them. But it’s really within my first 30 to 40 minutes while I’m playing music… I can feel what they like. Once I get them, then it’s a clean sweep!

Most of the time, the people are there to hear and see you – so, that’s a good thing.

DJ LIFE: For you, what has it been like returning to playing events with human beings finally in front of you?

Vega: It’s been beautiful.

People are very happy to come out again and there is a vibe like the Roaring Twenties [laughs]. I think everyone misses it, and all the events, clubs, festivals are well attended. Give them the fun they want!

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Island With His Centered Brand, Hawaiian DJ Miko Franconi Keeps the Underground Scene Going in Paradise

By Jim Tremayne Honolulu, Hawaii – Living in a Pacific-island paradise can be a curious proposition. Surrounded by natural beauty, you can enjoy an idyllic lifestyle; but the distance from the North American continent can lead to a few issues not experienced on the mainland.

For promoters and fans of underground electronic music in Hawaii, limited access to the globe’s top DJ talent is one such situation. Some of the big jocks do make their way to Honolulu, but not nearly at the same rate as you see in other big cities.

The remedy?

A true believer who’s willing to go the DIY route and throw events on a regular basis. In Oahu, one such scene stalwart is Miko Franconi.

As a promoter, Franconi’s Centered brand has kept the underground beats pumping since 2018, bringing in a unique range of talents like DJ Dan, Robag Wruhme, and DJ Hell – not to mention his legendary, older brother, DJ Keoki. As a DJ/producer (also known as SoundSex), he’s released a variety of tasty tracks, like the menacing 2021 techno bomb, “Tension 3.0.” As a performer, along with other Centered jocks like Jon Con24

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scious and Giuli G, he regularly spins at several different Honolulu venues, including the swank rooftop of Alohilani Waikiki Hotel, the ShoreFyre, and Hawaiian Brian’s. Additionally, he hits the mainland for gigs, including a pair of coming shows in Los Angeles and Tulum, Mexico.

After catching a pair of his rooftop sets, which saw him spin groovy house flavors for a fashionable Friday-night crowd, we connected with Miko Franconi.

DJ LIFE: Those rooftop events you play at the Alohilani Waikiki Hotel draw a great and appreciative crowd for some very underground house music. Also, The Republik does a good job bringing in some of the bigger global-DJ talents – we just saw Nero there the other night. As a native, how would you describe the scene – DJs, venues, events – in Oahu?

Miko Franconi: Oahu has a beautiful scene. It’s had its ebbs and flows like any scene in any city, I’m sure. When I was a teen, we would have 2,000- to 3,000-attendee raves in the warehouse district of Honolulu. In the 2000s thru to the 2010s, a local promotion group OOSPOT would host 15,000-person concerts with artists like Christopher Lawrence, MSTRKRFT, Kaskade, and Z-Trip, to name a few. Right now, I can say our scene is in a perfect “calm-before-thestorm” place where our clubs are full and our pop-up parties... well... pop.

DJ LIFE: Tell me about Centered Hawaii and how you’re bringing underground DJs to the islands. How long have you been doing these promotions?

Franconi: Centered was founded in October of 2018. I just returned home to Hawaii after spending about four-and-a-half years in Los Angeles absorbing and participating in what I regard as one of the most influential and forward-thinking dance communities in the game.

When I returned, I felt it was best to put some of what I’d learned on the road to use for our local community of dance-music lovers.

DJ LIFE: Where are your events?

Franconi: We started as a Wednesday weekly in Chinatown – in downtown Honolulu – at a venue called NextDoor. We’ve relocated the Wednesday weekly to a larger venue near Waikiki named Hawaiian Brian’s – aka HB Social Club. We also now produce afterhours events on Fridays, Tuesdays at ShoreFyre in Waikiki, special events on Saturdays, and occasional popup events throughout the isle.

DJ LIFE: Who are some of the better-known DJs you’ve brought?

Franconi: I’m thrilled to say we’ve had an incredible roster of DJs we’ve hosted for Honolulu

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True Believer: DJ/producer/promoter Miko Franconi (aka SoundSex).

Beats

– DJ Hell, Joeski, Keoki, Julian Jeweil, Alberto Ruiz, Harvard Bass, DJ Dan, Zombies in Miami, Death on the Balcony, to name a few. We have Robag Wruhme appearing soon, and we’re really excited about that.

DJ LIFE: What kind of crowd do you get?

Franconi: Our crowd is extremely receptive and open to surprises. I love that we could have an amazing house DJ one week, followed by techno or melodic the next – and our crowd is grateful to dance to either. I noticed it a lot more post-pandemic. I feel people have lost that “expectation” part of the nightlife a bit, and are more open to the feeling of just being out and dancing being enough. It’s a nice place to be as a promoter.

DJ LIFE: On the music side, where did you find your influences? What made you want to follow a path in music?

Franconi: Being a kid and watching my brother, Keoki, do what he loves and live comfortably was probably a huge reason I wanted to pursue this. Watching him change people’s lives for the better just a few times... and I knew that’s all I wanted to do.

DJ LIFE: Did Keoki teach you anything valuable about DJing or production?

Franconi: Absolutely. When I was 15-years-old and visiting him in Los Angeles in 1997, I remember he was sleeping in the middle of the day – shocker – and I was playing around with his turntables and records, pretty sure I was mixing Sesame Street Live over an acid-techno banger, and he woke up and asked me to stop so he could rest. I pretty much said, “Look, I’m going to do this eventually – why not give me some pointers, so I don’t fuck it up?” And his response was: “OK, if you’re going to do this, just play the music you love. If other people love it, you’ll be successful; if they don’t, fuck it – at least you’re still doing what you love. The second you play a record for someone else to love, that you don’t, is the second this becomes a job.” He stayed up with me and we played records together for hours. I never forgot that, and it still doesn’t feel like work – so, I guess it stuck.

DJ LIFE: Creatively, how did you approach your studio projects? Do you have a regular process? Or does the muse have to strike you to get you into the studio?

Franconi: Both. I find I’m most inspired when I sit my ass down and get to it.

DJ LIFE: With no events to push, how did you survive the lockdown?

Franconi: I wasn’t letting anything stop the music in my world. The downtime for me didn’t last even a week. As soon as things shut down, I organized a weekly Centered Wednesday live-stream and broadcasted local DJs from various places – beaches, jungles, rooftops, parks – around the island. I was lucky enough to stumble across some hardware that allowed me to venture outside of Wi-Fi range and broadcast on LTE networks. It kept me busy and my heart full to be delivering to those stuck in their homes.

DJ LIFE: What was it like when the clubs reopened?

Franconi: Our events coming out of lockdown were sold-out at announcement. I really attribute that to the reach and love we got from the live-streams. Also, our capacity was restricted to 50-percent…

DJ LIFE: What’s your main studio gear?

Franconi: I’m an Abelton Live user. My first three singles were made on FL Studio – shhh! – but I wanted to jump into something a little more professional and versatile should I ever go the live route. I have Focal Alpha 80s for studio monitors, a Moog Sub Phatty analog synth, Roland TR-8S Rhythm Performer, Elektron Cycles groovebox, Behringer TD-3 analog synth, Korg Volca Keys synth, Sterling Audio condenser mic, and my MIDI keyboard is a Nektar Panorama P4 – which I love! Focusrite Scarlett is my sound card.

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DJ LIFE: Who are your favorite producer/remixers, and why?

Franconi: That’s always a tough one. I have so much great music from artists I admire. I’ve been on a trip lately with music by artists like Echonomist, Damon Jee, AFFKT, Rafael Cerato, TouchTalk, Curses, Zombies in Miami… see, the list could go on and on, so I’ll stop there. I’m really feeling the synth overlays on heavy techno lately.

DJ LIFE: In the DJ booth, what gear do you use, and why?

Franconi: I recently purchased Pioneer DJ CDJ-3000 player and am in love with them. So, my preference is three CDJs and a Pioneer DJM-900NXS2 mixer. My style of DJing is pretty aggressive. If the crowd is with me, we’re moving.

DJ LIFE: Give me three tracks that are always at the ready for you.

Franconi: Robag Wruhme’s “Wuzzelbud FF.” It never fails to turn heads and light up a floor. Underworld’s “Crocodile” (Oliver Huntemann Remix). It has a relentless bassline meant for melting.

Indie Elephant’s “Answer.”

This track is just so different and full of surprises. I love unleashing it.

DJ LIFE: Which DJs do you admire, and why?

Franconi: I love observing mixing styles from the greats.

Derrick Carter B2B Seth Troxler at ARC Chicago last September blew my mind.

Derrick was relentless. But, honestly, I most admire live acts now. Seeing a producer mold a night with hardware blows my mind.

DJ LIFE: What’s next for you?

Franconi: Working on a live set, finishing a full-length album and getting back on the road again. For Centered, a festival is definitely on the horizon.

WHAT’S @ DJX A bustling exhibit floor with the industry’s latest and most-vital hardware, software and services Nearly 30 seminars & tech sessions, presented by the industry’s leaders Valuable networking opportunities Giveaways galore After Dark events each evening Buying opportunities for DJ gear at “special Expo rates”

SEMINARS PANELS & WORKSHOPS MOBILE OPERATOR TRACK Whether you’re a multi-op or solo jock, these sessions will offer solutions on marketing, performance, organization & more.

GEAR & TECH TRACK Attend workshops that’ll keep you up-to-date on the latest DJ technologies & techniques.

DJ CULTURE & MUSIC TRACK Maintain your connection to the tunes that rock the party & gain valuable industry contacts as.

WHO ATTENDS Mobile DJs Club DJs Studio DJs Bedroom DJs

REGISTER TODAY

Remixers Producers EDM Artists

djxshow.com

Not all websites are created equal.

Your website might look nice, but under the hood, most DJ websites are NOT coded properly for the most important viewer of all…. Google.

Since I’ve been speaking at various mobile-entertainment shows and expos since 2016 (including DJX, the longest running such show in the industry), there’s always an important aspect I like to point out to mobile-DJ companies with respect to their websites. That is, there’s a huge difference between a website designer and a website developer (here at Digitera, we’re both, by the way).

You might hire a website designer and get a fine-looking website that humans will respond to. However, unless you have a proper website developer taking a look at your site before you publish your new site (or at least before you adjust your site to be viewable by Google through the meta value doindex), the under-thehood aspect of your website will get you penalized by Google, and result in lower rankings.

And in this day and age where a Page 1 Google rank can result in tens of thousands of dollars of extra business per year, that’s no small thing.

After two years of COVID, your DJ businesses cannot afford to have a piece of that extra business.

Let’s go over two aspects of how to spot these errors. First, let’s discuss some basics that you should watch out for, and then second, let’s go over a few tools to use to spot these errors.

ONSITE SEO ASPECTS TO WATCH FOR: Title Tag – This is a huge weight for Google when it’s doing your SERP (Search Engine Results Pages) calculation, and seems pretty obvious.

You’d be surprised, though; we’ve seen more than a few DJ sites without a Title Tag defined (usually from sites done in one of the so-called builders out there).

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Meta Description – Again, an important weight in Google SERP calculations; not only must this be defined, but the length of the description has to be of a Goldilocks Effect (not too short, not too long, but just right).

Meta Keywords – Yet again, an important weight in Google SERP calculations; most DJ website designers forget to even define this value.

Heading Tags – Each page can only have ONE tag of the H1 variety, and no more than three H2 tags.

Putting too many of these tags in your pages will result in big penalties, because Google thinks you’re doing Keyword Spam.

ALT Tags – The code for every image on your website has a space to type in a short description of what the image is all about. In the DJ industry, I’ve observed empirically that approximately 90-percent of DJ websites don’t take care of defining these ALT Tags, which is a lost SEO opportunity.

SEO-Friendly URLs – Remember, your choice of page URLs is very important to how a page ranks in Google. Get rid of your own preconceptions… put yourself into the mind of the user who’s doing the actual search. Try to focus on location combined with service name.

Robots.txt file – Google likes it when you tell it how to crawl your site, and a well-written Robots.txt file tells it how to do exactly that.

Load Speed – The faster, the better.

Page Size – This is not commonly known, but Google will simply stop crawling your site if a page goes over a certain size. It’s called the “crawler budget,” and you’ll take big penalties if a page goes over this budget limit.

Image Format – PNGs are too big, and now JPGs are also a thing of the past. The new format you should all be using is WEBP – smaller image sizes, loads faster, etc.

SSL-Enabled – Believe it or not, we still see a lot of DJ websites that are HTTP. Your site should be HTTPS, or you’ll accrue a Google penalty.

Sitemap.xml – Not only should this be defined, but you should also have your site connected to Google Search console, and have uploaded your sitemap.xml file to there.

There’s a lot more, but these are the basic ones. Watch for my future article where I outline the 199 Point SEO Onsite Inspection.

Now, let’s go over some tools that you can use to help you identify if your site has some of these problems, so that you can either fix them yourself or at least have enough knowledge on what to tell your current web person. https://seositecheckup.com/ An industry standard, you can do one inspection for free per day… after that, they will try and charge you. https://seo.digitalmarketingplus. com/ Free to use, forever. This tool was written by us here at Digitera, so it’s very reliable. No limits, no costs… and an active roadmap for future features to be added. https://hexomatic.com/ A more comprehensive set of tools, of which some are SEO-specific. We use the Backlink and the Meta tag tools here. https://seranking.com/ Again, a comprehensive robust tool, of which the Website Auditor serves to identify the above problems. https://serpstat.com/ Very similar to what SE Ranking above does; check out the Site Audit Tool to source out code problems.

There are many such tools online that will help you identify problems on your own site, these are just five of the ones we use here at Digitera. Use any of these five, or search for others. The big three tools in the SEO world also do site audits – look for names such as Moz, SEMrush and Kissmetrics… but keep in mind that those are at the top of the industry and will cost you at least $200 a month just to get started.

DJs, remember this always: Your site has to not only look good to your visitors, but most importantly it has to look good for Google itself. Whoever you hire to make a new website or manage your current one should be both a designer AND a developer. Without paying attention to your under-thehood code, you’re losing out on new opportunities.

Clean It Up

By Jordan St. Jacques

How to Check Your DJ Website for SEO Errors & Optimize Your Online Marketing Efforts

Jordan St. Jacques is the President/Lead Digital Marketer at Digitera.Interactive in Ottawa, Ont., Canada.

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SCENES M I A M I FROM MUSIC WEEK

After a Three-Year Hiatus, Industry Parties Returned to South Florida

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Miami, Fla. – Miami Music Week parties revisited South Florida this past March 22-27.

After a three-year hiatus, events lit up area clubs, hotels, yachts and performance spaces in South Beach, Downtown and Wyndam. It all looked like this:

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8 1 Madness: CircoLoco party going off.

Michael Poselski 2 Crosstown Rebel: Damian Lazarus at Get Lost.

Albert Lalamaiev 3 Love Boat: (L-R) DJ Three & Felix da Housecat.

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4 Outta Hand: Steve Aoki at Dim Mak party.

5 Yacht Party: Hot Since 82 at Knee Deep.

Ian Beckley 6 Outdoor Scene: Get Lost at Factory Town.

Albert Lalamaiev 7 Hands Up: Fan living large at Echoes party.

Michael Poselski

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8 Echoes: Dixon at Mana Wynwood.

Michael Poselski 9 Get Lost: Ida Engberg in the mix.

Albert Lalamaiev

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10 CircoLoco: Seth Troxler gets busy.

Michael Poselski

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12 11 Get Lost: TOKiMONSTA drops a beat.

Albert Lalamaiev 12 Spinning in Darkness: Innellea at Echoes.

Michael Poselski

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13 Dirtybird Party: (L-R) Nikki Nair & DJ Craze. @sosasupreme

15 Crew Love: Soul Clap gets funky at Get Lost.

Albert Lalamaiev

14 Groovin’: MK mixing it up at Get Lost.

Albert Lalamaiev

16 Sunset: View from Love Boat/Ukraine benefit.

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SEE HEAR CONNECT WITH US ON

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Ultra Music F Top Names & a

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Festival ’22: a Big Surprise

By Jim Tremayne Miami, Fla. – This past March during Miami Music Week, Ultra Music Festival returned to South Florida for the first time in three years.

Running March 25-27 in downtown Miami’s Bayfront Park, the major electronic-music event presented seven themed stages with more than 28 hours of music. As always, UMF featured some of the biggest names in the genre – David Guetta, Armin van Buuren, Illenium, etc. – and this year’s show delivered a surprise to Sunday night’s mainstage: The return of Dutch star, Hardwell.

Of course, DJ LIFE was there, and it all looked like this: 1 Ultra Fest ’22: Yes, we have lift-off.

ALIVE Coverage

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2 On Fire: (R-L) David Guetta & MORTEN. Rukes.com 3 I’m Back: Hardwell returns to the Mainstage.

Rukes.com 4 Resistance: Amelie Lens at the Megastructure.

ALIVE Coverage 5 Blazing: The evening masses at Mainstage.

ALIVE Coverage 6 Silhouette: Madeon at the Live Stage.

ALIVE Coverage 7 So Tuff So Cute: (L-R) GG Magree & Mija.

Rukes.com 8 Megastructure Scene: Carl Cox & all his toys.

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Ultra Music F Top Names & a

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Mesmerizing: Lasers from the Live Stage.

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10 Stars: (L-R) David Guetta & Armin van Buuren.

Rukes.com 11 Explosive: KSHMR at the Live Stage.

ALIVE Coverage 12 Mainstage Scene: Fireworks close out the night.

ALIVE Coverage 13 Helmeted: Black Tiger Sex Machine mid-show.

Rukes.com 14 Bonjour: (L-R) Frenchmen Tchami & Malaa.

Rukes.com 15 Mainstage Joy: Illenium in front of his fans.

Rukes.com

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16 Au Revoir: Ultra Fest ’22 wraps up.

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STUDIO SESSION

Versatile Monitor:

PIONEER DJ’S DM-50D

DM-50D: A cost-effective monitoring solution.

By Wesley Bryant-King I recently had the opportunity to review Pioneer DJ’s new XDJ-XZ controller (read about that here).

When the trusty guy in the brown uniform dropped off the loaner unit of the controller, there was an extra box in tow with “DM-50D” printed in large black letters on the outside of the container. And indeed, inside was a pair of the company’s new 5-inch audio monitors of the same name. Well, how ’bout that?

Unwrapping them and setting them up at my review workstation, I was impressed with the visual design of the units. With cabinets of roughly 7-inches wide, a bit over 10-inches tall, and around 10-inches deep, they’re a good size for the typical DJ’s workspace.

The promise of the DM-50Ds is that they’re dual purpose; that they’re equally at home for production use and for DJ use. The company says that a switch on the back of the left monitor (more on that in a moment) changes the EQ profile of the DSP (digital signal processor) that’s built into the integrated amplifier. I was anxious to give the feature a try.

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Getting Started First things first – the approach with the DM-50Ds. Unlike most professional audio monitors, which are supplied individually as identical units for left and right, Pioneer DJ chose to configure the system with what I’d call a “desktop-computer-speakers” approach. The left monitor of the pair contains the audio and power connections, and obviously, then, the amplifier circuits as well. The left unit is ever so slightly deeper in measurement on the spec sheet, and a bit heavier as well. Common speaker wire (supplied in the box) connects the left main unit to the right remote unit.

I get why the company chose this route; it’s certainly less costly to produce than putting a full amplifier and power supply into both the left and right units, in turn no doubt making it possible to offer the DM-50D set at a price point that’s a bit more appealing. In fact, with a suggested price of $199, it is indeed fairly economical. That said, it’s not my personal preference as monitors go, although I can certainly see that for use in a DJ environment, it would have its advantages in terms of connection convenience.

The company did provide a generous array of connection options. You can pick between ¼-inch TRS connections, the usual RCA, and even a stereo mini-connector. Apart from those, the speaker-wire connections for the right remote unit and a power connection (and switch), the only other thing on the left side is that aforementioned EQ profile switch, which Pioneer DJ labels “Sound Mode.” Simply pick “DJ” or “production” to suit your use case – and off you go.

As I set up the units, about the only issue I came up with is that the bottom surface of the units is the same textured covering as the rest of the monitor cabinet. You will need some sort of isolation for the speakers (speaker stands or something similar), otherwise, you may end up with vibrations and noise against the work surface — or perhaps even some “creep” of the speakers as the thumpity-thump of the bass might well make them walk a bit. A minor point, but a small patch of isolation foam would have been a nice (and not very costly) addition on the factory floor.

In Use Another desktop-computer-speakerlike feature of the DM-50D is the volume control on the front panel of the left unit.

I didn’t actually see it at first, leading me to wonder why my audio wasn’t working. (The control was turned all the way down, as it arguably should be when brand new.) The volume control is a nice touch, but perhaps a little gratuitous in most cases.

Once I got the audio playing through the system, however, I was immediately impressed. Given the small 5-inch main driver, I truly wasn’t expecting the speakers to deliver so much punch at the low end. But, they do have a rather nice, full sound when the sound-mode switch was in the DJ position.

Switched over to the production position, I couldn’t honestly discern a huge difference. First, the selection seems to take a couple of seconds to take effect, and it’s a somewhat slow crossover, making a direct A/B comparison a little difficult. As near as I’m able to tell, and as one might expect, the DJ position delivers more low end, while the production position is ostensibly more flat.

I saw “ostensibly” because Pioneer DJ doesn’t appear to publish audio specifications for the DM-50D. There are no response curve graphs, and nothing related to the range reproduced by the speakers, or precisely how it all changes as the sound mode switch is moved. As a result, it’s a little difficult to tell without the appropriate diagnostic equipment just exactly what these speakers are doing in the two sound modes, or indeed how well they’re performing.

A big part of audio monitoring is shaped by the room design. So, these monitors (or any other, typical homestudio applications) will usually benefit from the use of room sound correction solutions (like Sonarworks) if one intends to do any serious production mastering with the DM-50Ds. For general DJ use, however? As I disconnected the monitors from my system to be packed up and returned to the company, I was left with the lingering sense that they’d make a terrific and cost-effective monitoring solution for nearly any DJ booth. And at around $200? The price of admission is pretty appealing indeed.

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PLAYBACK

By Erik V. Miller Working well with a variety of users – from DJs and bands to public speakers and event MCs – the JBL PRX ONE stands out as an all-in-one PA solution that can bring the bass, while effectively filling the room with treble.

With it being so incredibly easy to assemble – there are only three pieces and the system doesn’t weigh as much as its market competitors – this unit impresses, for sure. The PRX ONE stands up with its features, abilities, and build quality, while delivering brand-new effects and cool ways to explore them on the unit. So, let’s dig down a little deeper and find out what really makes this system tick and sound the way it does.

First Impressions: Pulling the unit out of the box, I was taken by how lightweight and sleek the system feels and looks. It’s smooth to the touch, while still feeling like it would take a strong hit and not show much damage – so that is a big positive for me. For someone who carries a lot of gear to events, it’s nice to pick up an all-in-one system and not feel like the subwoofer part weighs more than it really should, which happens often to me.

The carrying case for the 12-speaker vertical array is a

much better design than comparable models by other companies because, in my opinion, it seems to fit and hold the two columns in a way that better supports and protects them.

The mixer on the back end looks familiar – it’s similar to mixers from other products and functions in a similar way.

The knob is quite intuitive and flows around easily, but it does move really fast, and I found that it can land on other options that you didn’t intend for – so, be careful. It’s very straightforward and seems to function just the way it is described, which is always a plus, while also having professional quality that you would expect from a JBL product.

The Bluetooth connects effortlessly, but it took me a moment to realize that you needed to use Channel 7 for the Bluetooth audio and to push the volume up for it to function. For me, that was a moment of adventure, but once you know, you know. Now, let’s move on to the specs and see what this is really packing inside.

Features: Coming out screaming with its 2,000-watt amplifier and 130 dB SPL (Sound Pressure Level), JBL’s PRX ONE really takes a stand and immerses you into a room of

JBL PRX ONE: All-in-One Solution

sound. Priced at $1,599, the system brings depth without being overly large and in-your-face. It’s a really well-balanced speaker system and something that serious mobile DJs should consider. While standing next to the 12-speaker vertical array, you don’t feel like it’s a lot; but when you step away, the sound just fills the room and you are just impressed by its performance.

Now, the bass seems to get more and more depth the louder you turn up the volume, probably because it goes down to 35hz. And while that is not inherently a bad thing, it does seem to overpower the treble eventually and can be a bit too much (to my ears). Hear for yourself, of course.

With effects at your fingertips – like reverb, delay, compression, and much more – you can add these to any channel and have full control over how you add them and how much you use. They are great features if you are going to have a vocalist sing while a band plays and everyone is connected to one or more of these units – lots of options and creativity, at the end of the day.

On the back of the unit, you’ll find four XLR inputs for four different channels, two ¼-inch inputs for two different channels, one auxiliary input for a channel, and an XLR pass-thru as well. That is a nice lineup of inputs for the system, and I feel that they could be used well by a wide array of people for many different types of events.

Directly comparing this unit to similar one that I own from another manufacturer, the JBL system clearly outshines

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that unit. The PRX ONE wins in overall audio quality, build quality and bass quality. And I must say that it’s been my experience that JBL products always extend a gleam of professionalism and quality before you even plug them in. But once you do, you see that they live up to the solid reputation that comes with the brand.

Another cool feature is the JBL Pro Connect App, which lets you control all the options within your mixer on the PRX ONE from whatever device you choose. It can be Android or Apple, which is nice to have options in that department, and phone or tablet. With the app, you can decide how you want everything to connect, which effects that you want to use on whatever channel, and all essentially without even looking at the unit. It would be great for controlling the sound for an event and changing levels from the other side of the room.

The one-touch ducking is a great feature for DJs who use the microphone often and play music in the background. This way, you can always know that whenever you speak during your event that you won’t have any disruptions or clashing of audio signals once it is set up.

Another awesome feature is that two of the channels offer phantom power – and that is not seen outside of studio audio very often, so don’t take that one for granted. One thing that JBL seems to push is that you can use these units for installation in venues, and I will say that I think that this system would be a great fit for such an application. The system’s bass response and its balanced sound (if you don’t push the audio too far) really stand out – definitely two impressive aspects and things you want in a venue sound system.

Another impressive point is the system’s build quality.

You want something that can withstand people and whatever an event can throw at it night after night, and I believe these would be a candidate for something like that. The next reason I feel the PRX ONE would fit well in any smaller venue is the system is quite striking and tall when you first see it – the speakers stand out and make you keep your eyes on them. On a stage, or with the available mounting bracket for sale by JBL, you can put these bad boys anywhere and make a statement.

This speaker system is full of features, packed with quality, and something that shouldn’t go unnoticed when considering an all-in-one for whatever purposes you may have.

Conclusion: All in all, the JBL PRX ONE is one of the most solid all-in-ones that I have used and I would personally consider using it for events in the future (running as a pair) because of its fantastic ability to fill a room with its sound. I don’t have uses for all its features, but I appreciate having these features when the right occasion presents itself.

Also, perusing the system’s app, I’m quite impressed with all the things you can tweak and the ability to really tailor the sound to your liking. It’s easy to use and effective.

In closing, the JBL PRX ONE would make a great addition to any sound arsenal that a DJ may have. It can be your go-to system for a variety of applications.

So, if you’re in the market for something like this, I offer a serious endorsement.

“THE JBL PRX ONE WOULD MAKE A GREAT ADDITION TO ANY SOUND ARSENAL THAT A DJ MAY HAVE. IT CAN BE YOUR GO-TO SYSTEM FOR A VARIETY OF APPLICATIONS.”

PRX ONE: Sleek, lightweight, solid sound.

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MOBILE DJ PROFILE

New Jersey DJ Finds the

SWEET SPOT

Taso Dakas: A hobby became a career.

By Stu Kearns Marlboro, N.J. – DJ Taso Dakas is a successful luxurywedding and event DJ based in New Jersey’s Raritan Valley area, about 25 miles outside New York City.

From his Monmouth County base where he runs Luxe Event DJ & Production, Dakas has been a full-time, single-op mobile entertainer since 2012. In the previous issue of DJ LIFE, you might’ve seen a feature that contrasted Dakas’ method of marketing (word-of-mouth) with that of another Jersey-based jock (online). Whatever works… and to each his own, right?

Well, Dakas has staked a formidable claim in his ultracompetitive New Jersey market, so we asked him for some more insights that can benefit other DJs.

What’s most important to keep in mind?

As business owners, we must know how to operate our business from top to bottom. This includes understanding the numbers and knowing how to price yourself and your services appropriately, knowledge of marketing and creating a great brand image/identity, providing excellent customer service and being responsive – a common complaint about many in this industry – handling staff, and so much more. I realized early on that some of the best DJs skill-wise, unfortunately, can often be the worst business owners. I’m thankful that I was exposed to many great industry leaders early in my career, as well as educating myself through books, forums, and other materials.

When did you start DJing – and why?

I started DJing in my senior year of high school in 2004 with my best friend. Honestly, we started it because we would attend Sweet 16s and teen dances, and often complain with our friends about how the DJs just didn’t play a lot of the music we, as teens, wanted to hear. After months of talking about how felt we could connect better, we finally bought some equipment and went at it from there. While my best friend is no longer involved, due to having moved a few years into the journey, what I once took as a hobby has now been my full-time career since 2012.

You work in real estate – has that helped your DJ business?

I’ve been involved in real estate primarily as an investor since 2016. In my early twenties, I was taught the power of investing and thinking long-term, especially since being a DJ is a career that doesn’t provide retirement or other benefits, like typical W2 jobs do. After buying my first few properties, I finally decided to get my license as well, but primarily to benefit my investing in real estate. It wasn’t until the pandemic, when private events slowed drastically, that I used my free time to provide my services as an agent to others.

Do you consider yourself a DJ first, or a business owner?

I do consider myself a DJ first and entered the industry because of my passion for it; but realistically, I am equally as much a business owner. I love DJing and everything about the private event industry, but without having that business mindset and operating successfully, I wouldn’t be able to do what I love for so many of my awesome couples and clients. The two identities essentially go hand in hand.

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What are the similarities and differences between the two paths?

While I view the two as very independent and different businesses, there are similarities. In both cases, you’re helping people with very important life moments – one being the biggest celebration and one being the biggest financial purchase. Both require dedication, understanding your clients’ goals and needs, and making sure you provide excellent customer service along the way. In a way, I feel my DJ career prepared me more as a real estate agent, than the other way around. Now that the pandemic restrictions have faded, I’ve scaled back my services as a real-estate agent, but do con-

tinue to actively pursue investment opportunities.

My career as a DJ will always be my main priority.

Pioneer DJ DDJ-SZ controllers, Shure QLX-D mics, and Apple MacBook Pro laptops.

When you first opened the business, did you struggle finding clients? What did you do?

I suppose I’m fortunate that I started this in my late teens as a hobby and needing clients was not as much a necessity financially. It wasn’t until a few years later when I graduated college and the recession hit that I really pursued more DJ opportunities and more gigs. I had a challenging time finding a “real” job during the early days of the recession, so in addition to my part-time job, I also joined a known multi-op in my area to add to the small number of events I was getting on my own. This was a life-changing opportunity, as I now became exposed to a more professional approach in DJing private events, was able to learn from those better than me – I shadowed as many events as possible – and was also offered the opportunity to take on more events. With the additional events provided, the skills I learned, and doing my best to crush every event, I grew my personal clientele rapidly, and within a few years DJing became my full-time career and sole source of income.

Lighting, effects and accessories?

For lighting, I use Elation Platinum Spot 5R Pro moving heads, various sizes of trussing from Global Truss and 9x18W RGBW uplights – I provide up to 40 at my events. Additionally, I use Astera AX1 PixelTubes, Blizzard Eclipse DMX software. My effects include Sparktacular Sparkler Fountains, Chauvet Nimbus dry ice machine for that “dancing-on-clouds” effect, and a Club Cannon CO2 gun. My podium DJ booth is custom-made by Cases Center in Passaic, N.J., and I also have a Salsa Photo Booth by Photobooth Supply Co.

Where do you see the business in five years?

From a wedding perspective, trends come and go, but the one constant I’ve seen is the appreciation for couples seeking to create the most personalized experience for their celebration with their loved ones. I don’t think this will ever change, but rather continue to become even more expected over the years. For the DJ industry, that means getting away from “packages” or cookie-cutter approaches and allowing clients to create a unique experience tailored to them. It also means couples will expect more from their DJ personally and not someone who will just “show up,” but actually invest time in them.

Anything else?

The other trend I’m noticing is that couples are looking to focus more on the party and dancing than ever. They’re cutting out formalities, such as bouquet/garter and even the cake-cutting, their keeping speeches to a minimum, and adjusting timelines to focus more on the dancing. Dance sets are getting longer as a result, and having a DJ who can read a crowd and maintain the energy and attention in the room is vital.

Let’s talk about your gear. What’s your main audio set-up?

For sound, my main PA system includes RCF NXL 24 tops and RCF SUB-8004 AS subwoofers, plus a Yamaha MG10XU audio mixer. I use

How will you adapt to the industry’s changes?

For me, personally, my business will continue to be about providing the highest level of service I possibly can for my clients. This means investing in the best technologies and equipment, being on top of the trends, continuously improving my skills, and ensuring that no matter what the future of the industry brings, I’m prepared to provide meet my clients’ expectations.

My personal goal, though, is for my business to be 100-percent wedding-based in five years.

While it is currently around 80-percent, I hope to improve that with each passing year.

SINGLE-OP SUCCESS: DJ TASO HAS BEEN FULL-TIME SINCE 2012.

What’s the most fulfilling part of being a DJ? This is a two-part answer. First, I’m fortunate to be able to do what I love and be a part of so many incredible weddings and celebrations.

Knowing I played a small role in creating the best celebration ever for my couples and clients is an incredible feeling. The entire journey from the first call with my couples and clients, to the planning and discussions, the packed dancefloors leading to the last song, and everything else in between is such an exciting experience.

Secondly… not only do I get to do what I love, but I’m blessed that I have been able to create an amazing living doing it. While I admit it was a lot of work with little to no time off at first, I’ve now brought my business to a level that I never could’ve imagined. The benefits of now being able to control my schedule and provide for my family in ways I don’t think most other jobs can, has been something I’ve been very thankful for, especially since my son was born two years ago. And while many often complain of the lost weekends that DJs endure, I’m fortunate to have my business at a level where I need to only perform between 50 and 60 events a year, providing plenty of available weekend dates to spend with family and friends. All of this motivates me to continue doing what I love in the best way that I can, for as long as I can!

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DJ BUSINESS something they will never own. So, then what are you actually selling?

You Are Selling An Experience.

DJs are everywhere in every market, so their services differ from each other much like as products do with their own features and qualities. DJs need to differentiate themselves from the competition and attract clients,

By Joshua Volpe because many of us are in a highly competitive and saturated services market.

The factors that differentiate your service from a competitor can be extremely impactful on a client’s decision to book you, and those are the ones to keep in mind when planning your Service Marketing strategy. Here are the five Service Marketing factors that influence buying decisions: Affordability. Finding the right price range that your clients will consider acceptable for your services (and you consider profitable for your efforts).

Functionality. Your services and value promise the best fit for your customer’s needs.

Credibility. Service is intangible. A large part of your Is Service Marketing part of your toolbox of strategies in clients’ buying decisions will depend on how much they 2022? trust you.

DJs and entertainment companies, for the Convenience. How acmost part, offer B2C services – that’s busicessible and easy it is for ness-to-consumer. your customers to use your Affordability Credibility Accordingly, as a working, professional service.

DJ, there are many different types of marVariety. Believe it or not, keting strategies and tactics you can use to your clients will love the Functionality your benefit. ability to choose different I’ve written a lot about many of these strategies over services you offer – but be the past couple of years. Service Marketing is one that I Convenience mindful to define the right haven’t discussed much, but it should be one of the top balance between too little strategies on DJs’ radar when they are developing their and too much.

Variety business plans and an execution method.

Service Marketing Strategy What Is Service Marketing?

Service Marketing strategies, like Service Marketing is a strategy which promotes and any other digital-marketing strategy, must showcases the intangible benefits and offerings delivbegin with a deep understanding of your ered by a company to drive end-customer value. This clients, your service’s strengths, and defining what your can apply to standalone services or complementary sercompetitive advantages are. You have to understand vices that you offer as a DJ. These are things which are your clients even before they are your clients. Build driven mostly by people and process, which cannot be customer personas and map out what might influence kept by a customer. Other than DJs, hospitality, tourism, their purchase decision. Your service’s strengths and how financial services, professional services, etc., use Service you position yourself to clients is a crucial part of your Marketing to drive their businesses. strategy and should include the end results your services Why Is Service Marketing Important? promise to deliver.

Marketers promote different types of things, such as Conclusion goods, services, events, other people, etc. Because Service Marketing is very different from product maroffering a service is essentially intangible and does not keting. You need to really define your value, target your result in the ownership of anything, it requires excellence customer persona, clarify expectations, and build a lot in three broad levels: External, Internal, and Interactive of trust with clients, even before they book you to be Marketing. their DJ, in order to succeed.

External Marketing covers the pricing, distribution, and Perhaps the most important tip I can give when it promotion of services to consumers. Internal Marketing comes to Service Marketing is to document your sucinvolves training and motivating employees to serve cuscesses often and present them on your website, on your tomers well. Interactive Marketing describes the employsocial channels and in your relevant customer touchees’ skill in serving the client. points along a client’s journey to find the perfect DJ for Service Marketing is different than general their event. marketing because when you sell a service, Joshua Volpe own Kalifornia Entertainment in you are basically telling your audience to buy Rochester, N.Y.

Service Marketing: Why You

NEED IT In Your Tool box

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SEE YOU AT THE

REGISTER

NOW! djxshow.com

GEAR

REV-OLUTION UNO Pioneer DJ has introduced the DDJ-REV1 controller, a 2-channel unit that comes equipped with Serato DJ Lite software and has a battle-style layout for jocks looking to start scratch and openformat DJing. The unit features scratch-ready jog wheels, which are noticeably larger than jog wheels on Pioneer DJ’s previous beginner-level controllers. DJs can dynamically add texture to their music with Lever FX in the mixer section, by pulling down the levers and holding them to apply effects from Serato DJ Lite in short bursts.

Alternatively, DJs can also push the levers up, to lock on effects and free their hands for scratching or track browsing. The controller is an ideal starter piece for DJs who wish to stream their sets.

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

SPIN ME ROUND Germany’s Glorious, distributed Stateside

by American Music & Sound, has released the VNL-500 USB turntable. Made for DJ, studio and home use, the direct-drive turntable features an integrated phono preamplifier and a USB audio output for digitizing a vinyl collection. Other features include: anti-resonant, die-cast aluminum platter with stable rotation; removable hinged dust cover; 2-speed operation – 33-1/3 and 45 RPM; plus/minus 10-percent pitch adjustment; static balanced S tonearm; scratch-resistant surface; damping cabinet construction; and OM Black pick-up system made by Ortofon with matching headshell.

Glorious/American Music & Sound 925 Broadbeck Dr. #220 Newbury Park, CA 91320 (800) 431-2609 www.americanmusicandsound.com

STONED AGAIN V-MODA, Roland and Bravado (Universal Music Group’s merchandise and brand management company) have released the officially licensed, limited-edition Crossfade 2 Wireless Rolling Stones Edition over-ear headphones. Available in three collaborations – “Classic Licks,” “No Filter,” and “Tattoo You” – Crossfade 2 Wireless, Rolling Stones Edition offers virtually identical sound in Bluetooth mode and pure analog wired mode for DJs, audiophiles, gamers, musicians, and all music listeners. With its wireless range, multi-device paring ability and 12-plus hours of playback time, users can bring their music anywhere, anytime.

V-MODA/Roland Corp. U.S. 5100 S. Eastern Ave. Los Angeles, CA 90040-2938 (323) 890-3700 www.v-moda.com

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GEAR

MAUI WOWIE LD Systems, an Adam Hall Group brand, has released the MAUI 5 GO 100 ultra-portable, battery-powered column PA system. Using a plug-and-play lithium-ion battery for up the 12 hours of continuous operation (six hours in “DJ mode”), the system uses Quick-Swap Technology for a practically unlimited power supply.

Available in black or white, the system’s four-piece design weighs 27.3 pounds and includes an integrated 4-channel mixer, Bluetooth stereo audio streaming.

The line array features 3-inch mid/hi speakers and the 8-inch subwoofer delivers bass down to 50Hz. Adam Hall Group 1 S. Corporate Dr. Riverdale, NJ 07457 (973) 335-7888 www.adamhall.com

ALL-IN-ONE Headliner Los Angeles, distributed by Mixware, has released the Ventura Portable DJ Booth and Lighting Bar System – a complete solution for DJs on the go. This all-in-one package includes a scrim-covered facade with built-in countertop and lighting bar, and a set of zippered carrying bags.

The system assembles in a few minutes and requires no tools. The facade can be folded and stowed in its carrying bag with scrims attached. A separate bag is provided for all hardware and poles to keep your facade and scrims free from dents and scratches. The entire, 64-pound system easily fits in most SUVs and cargo vans.

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

ACCESSORIZE IT Gator Frameworks has released a set of complementary accessories to its popular Utility Cart. Perfect for mobile DJs and traveling musicians, these versatile accessories include the utility cart accessory bag and the lower deck flat surface, which help users keep everything organized and safe on the cart. The unique design of the accessory bag (GFW UTL-CART ACCBAG) slips onto the Utility Cart with ease creating endless possibilities to hold all accessories in one place. And the lower-deck flat surface (GFW UTL-LD) provides a safe and sturdy, carpeted surface for stacking equipment, protecting all sizes of gear.

Gator Cases 5112 W. Linebaugh Ave Tampa, FL 33624 (813) 221-4191 www.gatorcases.com

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GEAR

FX FIESTA BOSS, a division of Roland Corporation, has introduced the RE-202 and RE-2 Space Echo Space Echo pedals – two products based on the legendary Roland RE-201 Space Echo from the 1970s and 1980s. The RE-202 is an advanced pedal with three footswitches and extended features, while the RE-2 offers core Space Echo features in a classic BOSS compact pedal. Known for its distinctive rhythmic echo sounds, warm character, and

SUB SOUNDS With its latest addition to its YXL Series, Yorkville Sound has released the YXL15SP powered subwoofer for DJs and musicians.

According to the company, the YXL15SP offers Yorkville Sound’s best ratio of power, performance and value for an active subwoofer enclosure.

highly playable sonic quirks, the tape-based RE201 continues to inspire musicians, producers, and audio mixers over four decades on. Backed by intensive R&D and the latest BOSS innovations, the RE-202 and RE-2 capture the original Space Echo sound and behavior in flawless detail.

BOSS/Roland Corp. U.S. 5100 S. Eastern Ave. Los Angeles, CA 90040 (323) 890-3700 www.boss.info

IN THIS COLUMN

The 60-pound unit provides 1,000 watts peak (500 watts program) and features: DSP processing for component protection; 15-inch woofer with 3-inch voice coil; recessed control panel; Master Level control with Activity Indicator; and three performance modes – Punch, Smooth and Deep.

Yorkville Sound USA 4625 Witmer Industrial Estates Niagara Falls, NY 14305 (716) 297-2920 www.yorkville.com 48

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Carvin Audio has released the S500 StageMate battery-powered 5-channel column array system.

The Bluetooth-enabled PA delivers 400 watts of CLASS D bi-amped power and the entire system fits into the included CBS500 Carry Bag. The average battery run time is five hours at full power, while the average charge time is three hours with LED indicator. The system also features USB charge port and dual AC voltage (115 V and 230 V) for charge or use. When fully assembled, the column stands 59-inches high.

Carvin Audio 16262 W Bernardo Dr. San Diego, CA 92127 (800) 864-2235 www.carvinaudio.com

GEAR STREAMING SOLUTION Roland has released the V-02HD MKII streaming video mixer, a simple live-streaming solution. Features include: two HDMI camera inputs, 10-channel audio mixing, and video effects. The unit connects to the streaming computer you already own and the audience you already have. It’s instantly recognized as a camera source when you plug in via USB, so it’s ready to go for Facebook, YouTube, Twitch and Zoom. It also integrates seamlessly with OBS Studio, StreamYard and Restream for advanced workflows. High-quality streaming up to 1080p/60 FPS is supported and it’s possible to send two additional feeds to external HDMI devices via the Program Out and Preview Out, if needed. A V-02HD MK II purchase provides free access to Roland’s AeroCaster Switcher for iPad. Roland Corp. U.S. • 5100 S. Eastern Ave. • Los Angeles, CA 90040-2938 (323) 890-3700 • www.roland.com

STUDIO IN HAND With mayk.it, users have a fast, fun, and simple way to create DIY song right from their phone with just a few taps and swipes. The free app has a virtual music studio that comes with trendy beats from Grammy producers, pro-level voice filters to help elevate the sound, and easy-touse editing tools. Features include: Voice Filters/ FX via tap of a button; Studio, which allows users to record voice over a catalog of royalty-free beats; Beats, which allow users to pick mood based on mood, genre or what’s trending on TikTok; Vibecheck, which allows users to play music exec and decide what’s is and what isn’t a hit; and Share for easily sharing on platforms like TikTok, Snapchat, Instagram and more. Only available on the App Store for iPhone. mayk.it www.mayk.it

ANALOG SYNTH VST Eplex7 DSP has released the Klerphonik polyphonic VST analog-emulated synthesizer, a brand-new, plug-in instruments with the world’s first time-capsule technology.

Features include: two analog-type, voltage-controlled oscillators; analog temperature control; pink/white noise generator plus on/off switch; analog exponential amp envelope; analog exponential filter envelope; voltage-controlled low-pass analog emulated filter; 2x LFO; present manager with 75 presets and much more.

Eplex7 DSP www.eplex7.com

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EXPANSIONS IN THE NYC Louie Vega Nervous Records El Maestro returns with a juggernaut of an album that mixes all the elements of New York’s clubland – jazz, Afro-house, disco, funk, gospel, R&B and more. And, on this 22-track full-length, the collabs are righteous – Vega works with Joe Claussell, Moodymann, Kerri Chandler, DJ Spinna and plenty more. Faves include the lush, epic “Igobolo” with Claussell, the anthemic “Free to Love” with Karen Harding, and the tribal “How He Works” with Nico Vega. Something for everyone here and another career milestone for Vega.

– Tommy D Funk

“855” Sara Simms Simmetry Sounds A rumbling techno rouser with more than a few melodic flourishes, “855” kicks hard and flexes warped acid lines for maximum appeal. Hypnotic, yet punchy, this nervy number should please genre junkies.

– Jim Tremayne

“SPEED TRIALS ON ACID” Carl Cox & Fatboy Slim feat. Dan Diamond BMG “Let’s get back to this music and let’s get back to this love…” intones the speaker on this sweet taste of yesteryear. The ecstatic, spoken-word spiel dropped over a floaty, piano-fueled intro morphs into a wicked, acid-laced techno whopper – and the rave is on. Manic and lovely.

– Jim Tremayne 50

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Fatboy Slim & Carl Cox

Josh Wink

Sara Simms

“LOVE YOU” DJ Matt Reid & John Kano feat.

Andrea Benham Taste the Jam Over a tribal-tinged rhythm that mixes in catchy piano chords and stirring strings, Benham drops a tasty vocal hook on this house number. Of the two mixes, check the bumpin’ Club Mix. – Jim Tremayne

Louie Vega

TRACKS

“BALLS BACK” Josh Wink Ovum On this tweaky, acid-flavored techno stormer, Wink lays down a nervy rhythm and lets the pace build until he drops the stinging, filtered vocal sample – then he carries it even further into la-la land. And if you’re looking for a tougher, kick-drum workout, check Marco Faraone’s rugged remix. This release also includes a wicked dub mix and a tools track for DJs looking to stretch out.

– Jim Tremayne

“33T.E.P.S.V. EP01” Laurent Garnier Cod3 QR With both tracks clocking nearly 10 minutes each, DJs get a pair of epic, techhousey cuts – one slightly darker than the other – from the legendary French DJ/ producer. Side A’s “Saké Stars Fever” is a moody groover that rises, dips, and ultimately launches into a blast of aural sparkles – formidable. Side B’s beautifully constructed “Let the People Faire La Fête” unwinds more slowly, but it’s no less rewarding. Effects careen over an insistent kick drum before it touches down for a trippy resolution.

– Jim Tremayne

“BLAST LIKE” Kleøpatra Space Yacht From Space Yacht’s full-length compilation, Big Bass Ting Vol. 3, this slowburning dubstep track creeps forward, winds up fully and then rages all-out.

Bang your head.

– Jim Tremayne

“EMERGENCE” EP Eric Sharp Create Music Group On this five-track EP – three originals with two remixes – the gorgeous opener “Like Water” stands out. Featuring Doe Paoro on smooth, slinky vocals, this sweet groover hits home. Don’t sleep on the sublime remix either. Also, check “The Gift” (featuring Zhao), which deftly mixes melody, effects and an introspective, spoken-word spiel.

– Jim Tremayne

Eric Sharp

Boku

Kleøpatra

“BURN THIS HOUSE” J.Worra feat. Little Boots Insomniac Records This snappy tech-house track drops mad-hooky effects somewhat reminiscent of the Basement Jaxx classic “Fly Life” and benefits from an affecting, breathy vocal by Little Boots. Catchy, dancefloor-friendly, memorable.

– Jim Tremayne

Laurent Garnier

TRACKS

“SLEEP” EP Boku Feel Good Lost If you wanna create some atmosphere, here’s a solid, four-track EP of ambient chill tunes with shimmering melodies and sunny vibes. Heady cuts like “Lacuna,” “4X4” and “Daydreaming” sparkle and tinkle in Eno-esque style. This is sun-rising-on-the-beach music.

– Jim Tremayne

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Compiled As June 1, 2022

CLUB PLAY CHART

Listen the DJ Life National Dance/Crossover Chart on SPOTIFY! LISTEN NOW!

NATIONAL CROSSOVER POOL CHART

NATIONAL LATIN DANCE POOL CHART

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

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

Dua Lipa & Megan Thee Stallion Lizzo Latto & Mariah Carey Harry Styles Diplo & Miguel Doja Cat Jack Harlow Joel Corry David Guetta & Bryson Tiller Dove Cameron Camila Cabello F/ Ed Sheeran Becky Hill & Galantis Imagine Dragons & Jid Jax Jones F/Mnek Allegra Kah-Lo Kx5 F/Hayla Post Malone & The Weeknd The Walters Tate Mcrae Doja Cat Elia & Vassy Em Beihold Tyga & Doja Cat Kim Cameron & Side FX Alesso & Zara Larsson Shawn Mendes The Weeknd John Newman Armin Van Buuren & Sam Gray Lady Gaga Jnr Choi & Sam Tompkins Ava Max Regard & Years & Years Kygo F/Dnce The Chainsmokers Nicky Youre & Dazy Lauren Spencer-Smith Seamus D Reba McEntire Sasha Anne

Most Added Tracks 1 2 3 4 5 6 7 8 9 10

Kah-Lo Nicky Youre & Dazy Jack Harlow Sofi Tukker Oliver Heldens / Nile Rogers Kim Cameron Gryffin & OneRepublic Jonas Blue & Why Don’t We Lady Gaga Reba McEntire

Sweetest Pie 300 About Damn Time Atlantic Big Energy RCA As It Was Erskine Don’t Forget My Love Higher Ground Woman RCA First Class Generation Now What Would You Do? Atlantic Boyfriend Disruptor Bam Bam Epic Run Polydor Enemy Interscope Where Did You Go Future House If You Wanna Love Me Radikal Drag Me Out Epic Escape Toolroom One Right Now Republic I Love You So Warner Bros She’s All I Wanna Be RCA Get Into It RCA Without You Edmusic Numb Little Bug Republic Freaky Deaky Higher Ground Love Story Side FX Partners Words Future House When You’re Gone Island Out Of Time Republic Waiting For A Lifetime Warner Bros Human Touch Armada Hold My Hand Interscope To The Moon Epic Maybe You’re The Problem Atlantic Hallucination Epic Dancing Feet RCA IPad Disruptor Sunroof Columbia Fingers Crossed In2une Like That Seamus D The Heart Is A Lonely Hun Universal Nashville Catch Me I’m Falling Tazmania

Drag Me Out Sunroof First Class Summer In NY I Was Made For Lovin’ You Love Story You Were Loved Don’t Wake Me Up Hold My Hand Does He Love You

Epic Columbia Generation Now Ultra RCA Side FX Interscope Positiva Interscope Universal Nashville

masspooldjs The HyperMiXx What’s In-Store Music Nexus Radio In The Mix With HK Peter K TAO Group Mixxmasters Victors OMAP KNHC 89.5FM Multiple Pod Casts

Saugus,MA Syndicated Los Angeles, CA Chicago,IL Syndicated Syndicated Las Vegas, NV Lithonia,GA Milwaukee, WI Washington, DC Seattle, WA Columbus, OH

REPORTERS Gary Canavo DJ Sticky Boots The Dance Environment Manny Esparza Howard HK Kessler Peter K. Productions Miss Joy Brian Stephens Chris Egner Alan Chasen Randy Schlager DJ Ilan Fong

n n n n n n n n n n n n

Van Lester Daddy Yankee feat Pitbull Elvis Martinez Y Prince Royce Zion Y Lennox ft Danny Ocean Rubby Perez La Fuga Molella & Biagio D’Anelli feat Peralta Hector Acosta El Torito DJ Oggy Don Omar Becky G feat Karol G Bad Bunny Xantos & Magic Juan & Mark Yoskar Sarante Luisito Ayala y la Puerto Rican Power Henry Jimenez feat Various Artists Ozuna & Anuel Romeo Santos Pepper Mashay Choco Orta

Ya No Queda Nada Hot Veterana La Brisa Un Compromiso Te Digo Adios (Bye Bye Ciao) Loco Por Ti Pecador Baila Libremente Sincero Mamii Moscow Mule BLa Blusa Me Voy A Quitar De En Medio Y Te Lo Dice Domicano Alza La Mano Munciones Sus Huellas Dancin Lights La Voz del Pueblo

Cuquita El Cartel Joch Ent Warner Music R.P. Slammin’ Radikal OMG Cutting Unisono/Saban Kemosabe/RCA Rimas J&N J&N J&N JMG Real Hasta La Sony Freckle Bandit Prod. CO

Most Added Tracks 1 2 3 4 5

Alex Rose ft Wisin Y Yandel Tito Puente Jr. Karol G Vic The Kid Miosotis

Sentido El Bribon del Aguacero Provenza Me Cole Vaiven

WK Doral Music Universal VTK Music MPro Muzic

REPORTING LATIN POOLS n n n n n n

Latinos Unidos Record Pool Salsamania Latin Record Pool Lobo/Bass Record Pool North East Record Pool Mixx Hitts Record Pool Ritmo Camacho Record Pool

n n n n n n

Ritmo Internacional Record pool DJ Latinos Record Pool MassPool Record Pool Latino Latin Beat Chicago Record Pool All In Music Pool

ATTENTION DJ LIFE READERS: DJ Life is currently looking for DJs that are interested in reporting to the DJ National Dance/Crossover chart and the DJ Times National Urban Dance chart. Reporterships are open to Record Pools and individual DJs. For more information contact: Dan Miller, dmiller@hazanmediagroup.com