DJ LIFE MAG, Vol.2 No.3 Featuring Hardwell

’22

THE LATEST

Vol.2 No.3

THE RETURN OF

HIS ROAD BACK TO THE BOOTH

+

Eric Sharp DJ Ruckus SOHMI Mister Lady Pioneer DJ HDJ-CX Cans KRK V-Series 4 Monitors

NAMM REPORT: OUR GEAR PICKS DETROIT’S MOVEMENT FEST DESERT HEARTS’ DECADE PARTY

NAMMaheim: Show returns after two years.

NEWS Scratching: DJ Qbert at the Stokyo booth.

NAMM ’22: OUR TOP DJ-GEAR PICKS & MORE

By Staci Nichols Anaheim, Calif. – After a 29-month absence due to COVID, the NAMM show returned to the Anaheim Convention Center this past June 3-5. The tech-filled show, which usually draws over 100,000 attendees for a four-day event, was smaller than usual with some notable vendors to the DJ market absent. Nonetheless, according to organizers, the show drew 46,627 registered attendees, representing 111 countries, to see over 1,000 exhibitors representing 3,500 brands.

As usual, plenty of brand-new products and recently released technologies for mobile, club and studio DJs made their trade-show debuts this past weekend. After careful consideration, here are DJ LIFE’s top picks for the coolest new stuff for our industry from the 2022 NAMM show: #5, The Cable Wrangler: The Cable Wrangler is that piece of gear you never knew you needed – and now won’t be able to live without! It’s a sturdy “keeper” for 12 heavy-duty cables – for mobile DJs, it’s cable-management bliss! #4, Chauvet DJ’s “Integrated Lighting System” Technology: This just-released Integrated Lighting System (ILS) technology could soon make DMX programming a thing of the past. ILS brings DMX-only light-show features, like synchronizing multiple fixtures, to the simplicity of a handheld remote. With the touch of a button, you can turn every fixture in the room pink or black them all out… without ever running a foot of DMX cable. ILS will be available first in Chauvet DJ’s GigBAR Move system, with a dozen more systems to follow. #3, algoriddim’s Neural Mix Control Vinyl: This cuttingedge control vinyl is capable of separating out stems – no muss, no fuss. The Neural Mix record had three distinct tracks on it. If you drop the needle in track one, you’ll hear the regular version of the song. Drop it in track two, and you’ll get just the instrumental. Track three gives you just the a cappella. No need to scan the tracks in advance, load anything special or different, or even wait. The Neural Mix DVS is currently only compatible with the djay Pro A.I. software. #2, Odyssey’s Pedestal-Style DJ Booth Prototype: This item is so new Odyssey did not have a name or price for it yet.

This DJ booth, made of LINE-X-sprayed Baltic Birch plywood, combines everything you love about a pedestal-style DJ booth with the familiar durability and ease of Odyssey products. It comes with three fitted top pieces at no extra cost – use it with Pioneer DJ’s REV7, XDJ-RX3, or XDJ-XZ units. Also, the base folds completely flat, so the entire booth can fit in one case, which does have wheels. Finally, the bottom of the booth is slatted, so your controller gets ventilation.

Showstopper: Pioneer DJ’s DDJ-REV7.

#1, Pioneer DJ’s DDJ-REV7 Controller: For years, DJs from the nightclub to the bedroom have dreamed of having the convenience of a controller with the purity and pleasure of turntables. Many have tried – the Rane One and the Numark NS7 came close – but no company has actually put the removable vinyl and the mini-slipmats on the controller until now. The cherry on top is the built-in Scratch Bank. And playing with the REV7 myself – let me tell you, it was love at first scratch!

And now, some Honorable Mentions from the show: JetPack’s Snap Series Revolution: The first JetPack DJ bag with wheels! This bag/case system fits a full-size DJ controller, while still giving you the familiar features of the world’s favorite DJ backpack, such as having your logo embroidered on it.

Hercules’ “Assistant” Button: Available on the DJuced Inpulse 300 MK2 and Inpulse 500 controllers. When you push this button on the console, a window pops up in the bottom corner of Serato suggesting compatible next songs based on key, BPM, genre, and energy level.

Odyssey’s L-Stand 360: This DJ laptop stand features integrated USB, HDMI, SD card reader, and Apple/Android charging hubs right in the stand.

Pioneer DJ’s DJM-S11 & DJM-S5 mixers: A NAMM TEC Excellence Award finalist, the DJM-S11 now features a digital screen displaying vertical waveforms to help combat “Serato face.”

The DJM-S5 scratch mixer features eight large performance pads to control Serato DJ Pro Pad Modes, including Scratch Bank.

Stokyo’s Record Mate Turntables/Mixer: DJ collectors, these must-have items have been revamped (improved stylus, magnetic cartridge, more amps), while still retaining all their original, vintage charm.

Audio Fusion Systems’ “BYO” Headphones Silent Disco: A soon-to-be released program from Audio Fusion Systems sends the sound from a Mackie or PreSonus mixer to a smartphone.

When it’s finalized, you’ll be able to give guests your app code, have them download Audio Fusion’s app, and use their own headphones (via their cell) to tune into your live mix. Any DJ will be able to host a super-sanitary silent disco without needing to invest in or charge hundreds of headphones.

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IN THIS ISSUE

VOLUME 2 NUMBER 3

Ascendaent Talent

Inspired by Coachella, SOHMI Takes Her Time, Makes Her Mark on EDM

By Brian Bonavoglia

House Techno Love

30

Desert Hearts’ Decade Party Rocks Cali’s Lake Perris

FEATURES

By Saxe Coulson

Emergence

Longtime West Coast Tastemaker Eric Sharp Steps Up His Studio Game

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By Jim Tremayne

24

Get Ahead

How DJs Can Measure SEO Backlinks & Compete Online

By Jordan St. Jacques

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ON THE COVER The Road Back

Why Hardwell Returned to the DJ Booth After Nearly Four Years Away

By Brian Bonavoglia

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In the Studio With…

8 Feedback

Mister Lady

Sound Bites DJ Ruckus

10

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

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34 Festival Spotlight Detroit’s Movement Festival

38 Studio Session KRK V-Series 4 Monitors

40 Playback

Pioneer DJ HDJ-CX Headphones

42 Mobile DJ Profile College-Town Multi-Op

44 DJ Business

Getting Started: Advice Aplenty for a Mobile Newbie

46 Gear

New Products from Pioneer DJ, ASI Audio & More

50 Tracks

Phat Tracks from Carl Cox/Nicole Moudaber & More

52 Club Play Chart

The Hottest Records, As Reported

by Our Top U.S. Record Pools

James Hickey

Rukes.com

Cover Image by Rutger Geerling/RUDGR.com

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FROM THE EDITOR JIM TREMAYNE

THE RETURN OF HARDWELL – AND MORE In 2018, Hardwell stepped back from the global EDM scene that made him a star. He continued to produce music, although on a smaller scale; but more notably he put a pause on his considerable touring schedule that included the world’s most prestigious clubs and biggest festivals.

Much has been made about some of the pressures that impact global DJs. We’ve all read cautionary tales about top DJs who’ve burned out, or worse. While it’s true that most jocks can only dream of enjoying such a career, it’s also true that such a life brings stresses that only those enduring them can understand. Hardwell understood and took the time – nearly four years – to step back, breathe and reconnect with family and friends in his native Netherlands. Call it a necessary mental-health break.

And now, with his recent performance at Miami’s Ultra Music Festival, Hardwell’s back on the scene, this time with a slew of singles (from his upcoming Rebels Never Die album) and a new world tour that includes four North American dates in the late summer. Our Brian Bonavoglia connected with Hardwell (aka Robbert van de Corput) to get the straight dope on his hiatus and his triumphant return.

For this issue, we take a look at a wide range of DJs. In Sound Bites, we visit with DJ Ruckus (aka Gregory Andrews), who has made a living out of playing big events – from Vegas residencies to fashion shows and private celeb parties. We also go into the studio with Mister Lady (aka Jacqueline Jirka), the L.A.-based DJ/producer who makes taut techno, but also fun mashups in an alt guise.

Additionally, in our feature section, we connect with Eric Sharp, a longtime West Coast tastemaker, who’s making some terrific house sounds these days. Brian Bonavoglia also connected with SOHMI, another ascendent talent who’s cranked out a series of impressive singles and recently played Coachella.

This issue also sees us visit several industry events that have been sidelined for the past two or three years. For starters, Vietnam-based scribe Saxe Coulson visited Cali’s Inland Empire for Desert Hearts’ 10th anniversary weekend with a festival that featured faves like Justin Martin and DJ Harvey. Next, for the Festival Spotlight section, we headed to Detroit for the Movement fest, which brought out Motown’s best, plus top global talent like Adam Beyer. (Also, a shout-out to the afterparties, which included a memorable Body & Soul event.) And, featured in the News section, we made our return to Anaheim, Calif., for the NAMM show, which featured a fair amount of new, DJ-related products from industry manufacturers. Thanks to Cali’s Staci Nichols for her report.

And speaking of gear, our review columns offer looks at a pair of new products for DJs. In Playback, Chicago-based Reed Dailey tests out Pioneer DJ’s HDJ-CX headphones. Meanwhile, in Studio Session, Denver’s Wesley Bryant-King takes KRK’s V-Series 4 monitors into his studio for evaluation.

In mobile-entertainer-related content, Canadian digital-marketing maven Jordan St. Jacques explains how DJs can measure SEO backlinks and better compete online. In DJ Business, we present advice aplenty for a mobile newbie looking to get his career started on the right foot. And in Mobile DJ Profile, we visit with David Osborne of Sound Insight in Athens, Ga. And, of course, this issue offers the very latest on DJX, our annual trade-show/exhibition, which is set to run Aug. 8-11 at the Hard Rock Hotel & Casino in Atlantic City, N.J. – we hope to see you there. For the very latest on DJX, please visit www.djxshow.com.

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

Cheers, visit our website: www.djlifemag.com 516.767.2505

Jim Tremayne Editor, DJ LIFE

Editorial and Sales Office: DJ Life, Oyster Bay, NY 11771. (516) 767-2505 • (Sales/all other business): (516) 767-2505 • djlife@hazanmediagroup.com.

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: FESTIVAL PARTNERSHIP & MARKUS SCHULZ Atlantic City, N.J. – In the ongoing effort to bring the DJ community its best-possible show experience, DJ LIFE magazine and DJX ’22 have announced an exciting new partnership in the Monopoly City.

DJX – set for Aug. 8-11 in AC’s Hard Rock Hotel & Casino – will kick off its After Dark series with an opening-night party (Aug. 8) that will also serve as the closing event for a new Atlantic City music festival, Lucy The Elephant, a four-day/night event that will present some of the globe’s top DJs, including renowned talents like Tiësto, DJ Snake and more. (Full details here.)

DJX’s opening-night attraction, set to play the HQ2 Nightclub at the Ocean Casino Resort, will be Markus Schulz, the only jock voted “America’s Best DJ” three times (2012, 2014, and 2018).

Known for his euphoric trance sets and hard-hitting tracks, the Miamibased Schulz has worked his way up the DJ ladder from spinning mobiles and clubs in Boston and Phoenix to playing some of the world’s most prestigious clubs and festivals. He’s also successfully run his label, Coldharbour Recordings, since 2013.

Additionally, Schulz will participate in a DJX “Keynote Q&A,” where he’ll be interviewed by DJ LIFE Editor-in-Chief Jim Tremayne. They’ll discuss Schulz’s rise thru the DJ ranks – how he went from mobile to global – and became one of the world’s most-popular DJ/producers. Attendees, of course, will have time to ask questions as well.

As always, DJX ’22 will present: three days of exhibits featuring the latest DJ-related technologies and accessories; 30 seminars, panels and keynotes tackling the hottest topics in all facets of the DJ game – club, mobile or studio; and three nights of After Dark events, like the opening party at HQ2 and the Aug. 10 mobile party at Boogie Nights in the Tropicana. Produced

by DJ LIFE mag and its publisher Hazan Media Group, DJX is the DJ industry’s longest-running and most-successful trade-show/exhibition.

DJ LIFE and DJX are thrilled to partner with the Lucy The Elephant Weekend and its co-founder/promoter, Louis Branchinelli of Lou B Industries, and the principals maintain even grander ambitions for future AC collaborations.

Jim Tremayne, Editor-in-Chief of DJ LIFE, says: “DJ LIFE mag is excited to be an official media sponsor for the Lucy The Elephant Weekend and to again be working with Lou B, one of the most talented and successful electronic-music promoters in America. Lou’s vision for Lucy The Elephant is perfectly aligned with our goals for an inclusive industry experience in Atlantic City.”

Branchinelli (aka Lou B) concurs: “As we share a long-term vision of synergistic events in Atlantic City, we’re gratified to be partnering with DJ LIFE magazine. The Lucy The Elephant Weekend is another great milepost in the journey for the place that’s known as America’s Playground, and we’re very happy to be a big part of that.”

Adds Shawn Hazan, President/CEO of Hazan Media Group: “Our partnership with Lou B on the Lucy The Elephant Weekend allows us to continue to contribute to the community in Atlantic City; it also continues our long-term strategy of further providing for the industry we represent. This is the beginning of very exciting times for both DJ LIFE mag and DJX.” All DJX badgeholders 21 years of age and over will be admitted free to the Aug. 8 event at HQ2, which will begin at 9 p.m. Proof of age required.

Dress code. For the latest on DJX’22, please visit www.djxshow.com.

DISCOVER EMPOWER NETWORK EDUCATE ENTERTAIN INSPIRE

REIMAGINED & REBRANDED VIEW VIDEO #CALLINGALLDJS 8

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www.DJXSHOW.com

To exhibit contact Josh Kerman

jkerman@hazanmediagroup.com 516.767.2505 ext. 510

SOUND BITES For DJ Ruckus, big events and big venues are no big deal – after all, he’s been spinning them most of his professional life.

In addition to playing big clubs like Miami’s Crobar as a teenager and spinning Vegas hotpots like Hakkasan and Zouk (where he recently became a resident), he’s worked a slew of major fashion events, for clients ranging from Louis Vuitton to The Gap. And the private celeb parties? The client list is long – from his cousin Lenny Kravitz to P.Diddy, from Oprah to Spielberg, J.Lo to Kanye – and tough to top. He’s also enjoyed studio triumphs with productions and remixes for Janet Jackson, Ice Cube, Macy Gray, OutKast and TLC. So, as Ruckus – aka Gregory Andrews, 37 – prepared for a summer of work at Zouk in Resorts World Las Vegas and beyond, we grabbed a few moments with the in-demand, open-format jock.

DJ LIFE: Musically, what were your first influences?

What made music your calling?

Ruckus: My parents introduced me to Stevie Wonder, Marvin Gaye, Al Green, Whitney Houston, Regina Belle and my brother taught me about rap from Run-DMC to KRS-One to Outkast and Biggie. My proximity to musical influence, from family and close friends Lenny Kravitz and Dallas Austin, gave me the opportunity to see successful musicians up close and behind scenes. I was drawn to the freedom of manipulating a recording with a turntable and using the turntable as an instrument and their influence made me believe I could make it a career.

DJ LIFE: I got some pictures of you spinning at the Zouk popup at Mammoth Film Festival – it looked like a blast. What was that gig like for you?

Ruckus: That was a fun one – there were some really cool and fun people in the room. The film industry brings out really smart and interesting people and that makes for an easy platform to play all types of music.

DJ LIFE: How do you prepare for an event like that?

Ruckus: Good question! To prepare for all the different styles is a full-time job. I prepare at least for five or six hours for a new set, and I change sets almost every show.

DJ LIFE: From the professional DJ’s perspective, how would you describe the Zouk club in Las Vegas?

Ruckus: I knew their property in Singapore is a monster, but the club standards in Las Vegas are bit different. There have been some flashy monster clubs in the last few years. Zouk came supercorrect. I always check for the flow of a room, how comfortable it is for people to move around in the club, the level of finishes on the seating lighting and paint – of course, most important, lights and sound.

Their take on the sliding chandelier is immaculate.

As that has become the new mega-club standard, it must be heard to recreate and beat most recent designs – Zouk crushed it! The L-Acoustics sound system and the positioning of the DJ and tables is perfect for someone, like me, who likes to perform and exude lot of energy while DJing.

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

Ruckus: In my booth, I use four Pioneer DJ CDJ3000s. I play off of rekordbox. I use SD cards, as they are small, portable and usually out of the way of other DJs that more likely use a USB. So, if I end up jamming with someone B2B… or don’t have to disturb their equipment during switch overs. I pride myself on possibly being the most versatile DJ out here.

DJ LIFE: What are a few tracks that are always in your DJ box?

Ruckus: Sgt Slick’s Melbourne Recut of ABBA’s “Gimme! Gimme! Gimme!” My edit of “Lite Spots vs. Rock With You.” Also, “Be Faithful” by Fatman Scoop. “Be Faithful” was in the first round of vinyl I ever purchased from Carjul Records in Miami, and it’s a song that can be played in any room ’til this day. Not many tracks are like that.

DJ LIFE: Which DJs do you admire and why?

Ruckus: Rüfüs Du Sol and Monolink. I love them for their vibe and feeling steadiness of the sound music without massive build-ups, but still has great energy.

D-Nice, I have a ton of love and respect for what he is doing. Maintaining the integrity musically that he has and becoming as famous as a DJ playing that music is very hard to accomplish. And Mark Ronson and DJ AM are my heroes from when I was coming up.

DJ LIFE: How do you balance posh private events with open-to-the-public gigs? What’s the difference in your approach to the sets?

Ruckus: Each event, whether private or public, I have to spend hours organizing. Sometimes a private won’t require as much of my personality and presence during my performance. It may require or allow smoother music and maybe a bit more particular to the ethnicity, location, age group of the clients. Many of the private clients or brands I am familiar with or have a long relationship with and I have a good sense of what the night will be like. With public shows, it’s more about the hottest new music of the moment. There’s a much different emphasis on the showmanship.

DJ LIFE: Can you recall playing an event that made you nervous?

Ruckus: So many of my gigs make me nervous in a good way. If I am prepared and nervous, there’s gonna be a sick set. One of my first big gigs was Diddy’s birthday in Morocco, and I was terrified!

DJ LIFE: How did you survive the lockdown?

Ruckus: It was very hard to keep the target. My whole routine was gone. I did find exercise, meditation, and health care helped. I worked on music and the music-making process. I took time off to see family when that was possible. I did play some exciting virtual shows and did podcasts with my friends, the legends from Headliner Music Club.

DJ LIFE: What’s next for you?

Ruckus: I’m returning to touring in Europe this summer. Many more releases on my own indie label, Cause A Ruckus, and some exciting new jewelry projects.

– Jim Tremayne

DJ RUCKUS: BIG EVENTS ONLY

Vegas Resident: Ruckus spins at Zouk in Resorts World.

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IN THE STUDIO WITH…

MISTER LADY: BALANCING A MUSICAL EVOLUTION For many DJ/producers, 2020-21 presented a period of unfettered artistic opportunity – with no gigs, it was free time to hit the studio and create their best tunes. But for Mister Lady, the L.A.based talent came out of the lockdown with musical evolution on her mind.

Known for harder-edged techno like 2021’s “The Feeling” EP, she began the new year by mixing her tougher musical instincts with more melodic flavors to create “Close to Me,” a superb techhouse cut. Still, never too far from more bracing sounds, she recently followed that up with “metalKlangen,” a raging six-song techno EP. Call it balance.

Born in Chicago, educated in Berlin, trained as a DJ in London and currently residing in the Hollywood Hills, Mister Lady (aka Jacqueline Jirka) has been cranking out a steady stream of quality tunes since her 2021 debut.

Additionally, her weekly “Soundwerks Radio” mixshow on Dash Radio’s Electro City and Radio Eibiza showcases all her musical tastes. And check out her new TWISTED GEiSHA artist alias, which expands her palette in a surprising way.

We recently caught up with Mister Lady in Las Vegas.

DJ LIFE: The “Close to Me” single has quite a combination of flavors – there’s

DJ Duality: Mister Lady aka TWISTED GEiSHA.

Photos by James Hickey

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an acid feel, a great rhythm, a soulful vocal and a memorable hook. What was the process?

Mister Lady: I started with a partially modular synthesizer, an ARP, and I like working that way because it slightly confines me to a bit of a ’70s sound. But it’s customizable enough, of course, that you can get a lot of unique things out of it.

DJ LIFE: The track’s got that loopy, Moroder-ish thing going – ravey and ’70s at the same time.

Mister Lady: Yes! So, I tinkered with that a lot because it sounds beautiful to start with, and then I used a tape-delay – a machine that I’ve always been fascinated with. It has an ambiguously nostalgic feel. It was evoking two different eras and, together, it just comes across as otherworldly. I got the sound first and then I went for the hook. I am a drummer originally, so the way that I come up with a lead or a hook is that I just loop it and then I shift the notes until it sounds how I want – and if it means I need to expand it a few bars, fine. I think this was a fourbar… I take breaks and let me ears rest.

DJ LIFE: Your first EP has a real pounding, Drumcode-like techno vibe. What was the motivation to evolve your sound to something less heavy?

Mister Lady: The first EP, “The Feeling,” was the music I wanted to make in 2021.

I like the darkness, the heaviosity to it, the aggression – that’s what I wanted to hear in the world musically, and I still do. But close to me now is a feeling that’s a little bit more hopeful and approachable. And I feel like that’s the music I want to hear now in 2022 where I think humanity is… coming out of the pandemic. It makes more sense to make approachable music that is a bit more uplifting and brings people together. Of course, heavy, aggressive music can make you feel just as good, too. [laughs] DJ LIFE: What’s your musical background and how did you get into electronic music?

Mister Lady: I grew up in Chicago and I studied music since I was very young, always a drummer. I was a big band freak, a drumline person. I still do love hearing drumline cadence kind of stuff. And in Chicago, I was immersed in dance music…

DJ LIFE: Listening B96 on the radio?

Mister Lady: Exactly, Bad Boy Bill and Jumpin’ Julian Perez. I grew up with that stuff all around me and I was into keeping it Chicago, so I was also into Ministry and things like Nine Inch Nails, industrial.

I loved that when I was a teenager and in my twenties. Also, I was really into the Chicago rave scene. DJ Keoki would always be playing in Chicago or a rave in Gary, Ind., back when I was being very disobedient as a teenager.

DJ LIFE: What’s your main studio gear?

Mister Lady: My main DAW is Ableton Live. I’m a big fan of Native Instruments MASSIVE. I have [KRK] ROKIT 5-inch monitors – and I DJ at home with Pioneer DJ booth monitors. I got the Elektron Rytm [synth] and made all my original music – it’s a mono output. I have an ARP and I use Xfer Records Serum – I have a ton of presets for it. I find it’s a great jumping off point for a lot of things. But MASSIVE is almost a semi-modular synth because it has a built-in good sound. Serum has a such a clean slate that it only sounds like what you program it to do. It doesn’t have any character.

DJ LIFE: Who are three producers that you admire and why?

Mister Lady: Skrillex and Knife Party… that early 2000s electro-house sound before it teetered over to American dubstep. The flow of it with the sound design from Skrillex and Knife Party was one of the most exciting things that happened in the last 20 years. I’m a fan of acidysounding synths, so particularly what Skrillex does is a currently relevant sound.

Even Dog Blood, the side project on Owsla – I’m a huge fan of that. Orbital’s “Halcyon” at Glastonbury – we still listen to that. Amaze-balls! And the joy that they have for making music… just great.

My current techno producer is Ramon Tapia – I like the heavy darkness, the epic reverb in his kickdrum sound – clear, succinct and euphoric.

DJ LIFE: What’s your DJ set-up?

Mister Lady: I have three Pioneer DJ CDJ-2000s and a 4-channel DJM-900 mixer, plus the DJS-1000 – that’s my fourth channel – and an RMX-1000. I play off USBs – I don’t stream my music.

DJ LIFE: Which DJs do you dig?

Mister Lady: Here are two totally opposite DJs. The musically literate answer is Kai Tracid – my fave to see live. I was blown away with his phrasing and how he approached his set. He’s like halftechno/half-trance – that’s close to me.

Also, DJ Coco from Barcelona – he’s

a ridiculous Spanish version of retro Top 40. He closes out the Primavera Sound Festival every year. It’s music and not pretentious – he doesn’t care about how smart the music is, he just wants to make people happy. So, that kind of priority of joy… yeah.

DJ LIFE: Give us three tracks that are favorites…

Mister Lady: “Last Step” by Ramon Tapia, either the original or the remixes.

That’s just been my anthem for the past six months or so. “Children” by Robert Miles, the remastered version. Every time I play that live or on Twitch people go apeshit. You just have to hear the opening, and it’s electric. Also, “Halcyon” by Orbital. The club mix of this is iconic.

DJ LIFE: Explain the TWISTED GEiSHA guise. What’s the difference from Mister Lady?

Mister Lady: After years of producing techno and DJing as Mister Lady, I recently decided to start a second artist alias for more commercial releases and fun party mash-ups, as well as original productions.

TWISTED GEiSHA is a bit raunchy-yet-fun, in a rock-n-roll way, with swagger. My first release was TWISTED GEiSHA x Walker Hayes, “Fancy Like,” which is my trap/ EDM take on this pop/country hit song. It’s gotten an astounding amount of views on YouTube already!

DJ LIFE: Sounds like fun…

Mister Lady: Also, there’s my mash-up of Lucinda Williams’ “Honey Bee,” which is my bad-ass take on a bad-ass country legend. There’s lots more music coming out in the weeks and months ahead, including takes on Lynyrd Skynyrd’s “Sweet Home,” The Cramps’ “Ultra Twist,” and Nirvana’s “Lounge Act.” I also have some original productions coming out. I’m really excited for this new alias as it allows me to do very commercial music that I ordinarily could not do under the Mister Lady guise without alienating my amazing technoloving friends.

DJ LIFE: What else is next for you?

Mister Lady: I am looking to play more gigs in 2022, now that the world seems to be opening up. I’m going to put out another EP with “Close to Me.” I’m going to do a remix EP of my first EP, “The Feeling.” I have another techno EP called “metalKlangen,” and other than that I’m trying to stay flexible on what I want to do creatively. “Close to Me” was a big turn for me and I feel really good about it, so I want to do more music in that vein.

– Jim Tremayne VOL.2 NO.3 |

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ROAD THE

RUKES https://www.rukes.com/

WHY HARDWELL RETURNED TO THE DJ BOOTH

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BY BRIAN BONAVOGLIA Electronic-dance music has been around for nearly 50 years now, but it wasn’t until the early 2010s that the genre began to dominate musical culture here in the United States. Among others like Calvin Harris, Avicii, and Swedish House Mafia, Hardwell was at the forefront of its explosion in popularity, making hit records and gracing festival stages around the globe.

But, unlike the others, Hardwell voluntarily put his career on hold. And now that he’s returned to the scene after nearly four years, we ask: “What happened?” This is the story of Hardwell’s road back to the DJ booth. But first, a little background: Hardwell (aka Robbert van de Corput) was born in Breda, Netherlands, where music quickly became a significant part of his life. After taking piano lessons and attending a music school, van de Corput began producing his own music around the age of 12, while also getting completely engulfed in DJ culture. Unsurprisingly, he was heavily influenced by Tiësto, the legendary DJ/producer who also grew up in Breda.

But early on, he struggled to find his sound and looked to get gigs as a hip-hop DJ. Eventually, he switched gears, pursuing harder, electronic sounds, and soon became more known throughout Breda’s DJ scene. Continuing to hone his craft on the decks and in the studio, Hardwell began to rise through Holland’s DJ ranks – even though he ran into promoters who believe his sound was “too underground.”

With passion as his driving force, Hardwell’s breakout came in 2008 when he delivered “Show Me Love vs. Be,” a bootleg/mash-up of Mobin Master’s cover of “Show Me Love” (by Robin S.) with “Be” (by Steve Angello and Laidback Luke). As DJs across the world discovered the track, it simultaneously received high praise from Laidback Luke and Angello. (The two legendary producers would release the track as an official cover version of “Show Me Love.”)

After that initial burst of notoriety, things quickly began

BACK AFTER

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to accelerate the following year for Hardwell, who received an invite from Tiësto to attend one of his shows.

When the two performed together onstage, it catapulted Hardwell further into the spotlight.

In 2010, Hardwell founded his record label, Revealed Recordings, which was used as a platform to showcase the sounds of young producers across the world. He would then launch his own podcast in 2011, Hardwell On Air, a one-hour selection of songs by various artists. That same year, Hardwell collaborated with Tiësto to produce the massive electro-house track “Zero 76,” named for their hometown Breda’s telephone prefix “076.”

The following year, the Dutch talent would unleash his anthemic single, “Spaceman,” which dominated the club and festival circuit, putting the big-room house genre on the map. Considered a subgenre of electro-house, big-room house caught on with its relatively minimal melodies, long build-ups and booming, electrostyle drops. Before long, practitioners like Hardwell, Martin Garrix, and Dimitri Vegas & Like Mike were gaining massive popularity.

Now one of the hottest names in electronic-dance music, Hardwell was getting booked as the headliner for the biggest DJ-events in the world – Creamfields, Electric Zoo, Electric Daisy Carnival, and Ultra Music Festival. Then, to start 2013, the Dutch superstar went on a bus tour through Canada, accompanied by Revealed Recordings favorites Dyro and Dannic. He followed up with his first worldwide tour, “I Am Hardwell.”

That year got even better, as he headlined Tomorrowland and delivered a memorable main-stage performance at the Ultra Miami with over 80,000 viewers tuned into his live-streaming set. Additionally, he began to top the international DJ rankings. As his electrifying sound and exhilarating DJ sets put him in high demand across the globe, he would take his next big step as an artist by dropping his debut album, United We Are, which featured the Chris Jonesfronted hit, “Young Again.”

While the landscape of electronicdance music continued to evolve, Hardwell experimented with new sounds and genres, showcasing his VOL.2 NO.3

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production prowess and versatility with a steady barrage of releases outside the realms of electro and big-room. And like most global jocks, he maintained a vigorous, yearround tour schedule.

But in 2018, Hardwell decided to pump the breaks on his career, clearing his schedule indefinitely, by taking an indefinite hiatus from touring – though he stated that he would continue to produce new music. His “last” performance was at the Ziggo Dome for the Amsterdam Dance Event. Moving forward, Hardwell would go relativity silent, outside of a handful of releases in 2019 – like the Trevor Guthrie-featured “Summer Air” – until this past March, when he made his triumphant return in Miami.

Leading up to Ultra Miami 2022, there were rumors that Hardwell was the special guest closing out the festival. The first phase of the festival’s lineup revealed the Sunday closing performance would come from “one of the most iconic artists in electronic-music history.” When the alphabetical third wave of artists addition was revealed, fans quickly noticed that the censored name was between Gareth Emery and ILLENIUM. (Anybody wanna take a wild guess who it might be?)

The week before Miami Music Week, Ultra officially revealed that Hardwell would be stepping behind a pair of CDJs once again after a nearly four-year hiatus. And, for all those who were able to witness it live at Bayfront Park or catch his return on the livestream, it was a thrilling event. Hardwell delivered a 60-minute set, rocking the main stage crowd with a steady barrage of electrifying, techno-tinged tunes unlike anything we’ve heard from the Dutchman before.

Following his performance, powered by his exhilarating new sound, he would announce the upcoming release of his next album, Rebels Never Die, and world tour dates on his social channels. Since then, he’s released seven singles, beginning with the statement-making “Broken Mirror” and (so far, at presstime) concluding with the blazing, future-rave track, “Pacman.”

A lot has changed in the world of electronic-dance music since Hardwell stepped away in 2018, but Hardwell’s now ready to play his new sounds for the masses. After doing five European festival dates this summer, he’ll kick off a 17-date world tour, which will take him to four continents through the end of 2022. The tour features four North American dates – Montreal, Vancouver, San Francisco and a New York stop at UBS Arena on Sept. 17.

Leading into his upcoming tour dates, we caught up with 34-year-old Hardwell, one of the biggest names that EDM has ever seen, to discuss the reasons for his return to the DJ booth, the new album Rebels Never Die, his influences, and everything in between.

DJ LIFE: Why did you feel the timing was right to make your return with an album in 2022?

Hardwell: This new music is where I wanted to be, and I just felt the fire was back inside me. So, there was a yearning to take this new music on the road and get back DJing.

I’d missed the fans throughout my time away and I just felt ready to get back out there.

DJ LIFE: How would you say the electronic-dance-music landscape has changed since 2018?

Hardwell: It’s evolved a lot. We’re seeing much more awareness of mental health and the impact that it can have on people’s lives, if that goes unchecked. Key issues like inequality, sexism, and racism are being addressed. All of these are important issues that needed attention. Dance music was born out unity, inclusivity, and like-minded people, so I think this evolution in the scene is a positive step forward.

DJ LIFE: Outside the natural evolution of production that comes over time, do you think the coronavirus lockdowns played a role in producers getting more creative in the studio?

Hardwell: Yeah, but I guess artists had no choice, right? Away from the bombastic stage performances, big productions and visuals, the music was the only thing that could do the “talking” during the lockdown, I

TRIO OF GOODNESS: FAVORITE HARDWELL ANTHEMS 16

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“Spaceman” (Revealed Recordings 2012): This timeless festival anthem is a pure adrenaline rush from start to finish.

Fueled by a pummeling bassline and an intergalactic, trance-tinged melody, this exhilarating production encompasses everything right about big-room house.

suppose you could say.

DJ LIFE: How did the lockdown period impact you, professionally and personally?

Hardwell: I was already working day and night in the studio, so not much changed when it came to my own schedule. But it was hard witnessing friends of mine, both in and outside of music, see their entire career or business grind to halt. Like many, I felt very confused about what would happen – not just in the scene, but in life – after all of this passed. But I’m happy to see life is now returning to normal again.

DJ LIFE: You stepped away from a vigorous tour schedule and everything else that comes with being a globetrotting DJ in 2018. How important is it for artists, do you think, to take a step back to recharge their batteries mentally and physically when they begin to feel burnt-out?

Hardwell: Just from my own experience, I feel it is crucial. You can’t burn the candle forever and not expect the flame to go out at some point. So, take a break if you feel you need it – the scene will still be here.

DJ LIFE: You’re older and wiser this time around – how big of a role does maturity play when it comes to your return in 2022 and beyond?

Hardwell: In my case, I think it plays a big role. I’m more educated in the studio, I’ve more history with the music and I am also more appreciative of everything in my life.

When you’re starting out, you’re always searching for that next big moment or looking too far forward to realize what’s in front of you already. It feels different, but in a good way now.

DJ LIFE: What was your view of the EDM scene while you were away from it? Is there a greater appreciation for it, or do you feel differently?

Hardwell: I am extremely proud of that “EDM bubble” we all lived in during that moment. What can incredible time in dance-music history that was. I understand, musically, it was not for everyone, but that period in electronic music’s history broke down barriers, opened new doors and arguably elevated all genres and artists in the scene.

DJ LIFE: Being a producer/DJ is a whole different ballgame compared to when you first popped onto the scene. What advice do you have for bedroom producers out there who may be overwhelmed or feel pressured to do things a certain way, juggling all these social-media platforms while getting music out there?

Hardwell: I still stand with the same advice: Believe in yourself and stay focused. But also, just be mindful of the time you commit to things, like social media or whatever else, when trying to build your career. Get the music right and the rest will eventually follow.

DJ LIFE: While social media has definitely made it easier to get your name and music out there, would you say living in the age of social media is a double-edged sword?

What should younger DJs be wary of?

Hardwell: The landscape of social media has shifted enormously since when I was first arriving on the scene. I still believe social media can be a great asset, but it can also be quite toxic, and that’s not a good place for young artists who absorb that negativity.

It’s a powerful tool, but it can have a dark, negative side, which isn’t great when you’re starting out.

DJ LIFE: How did you handle any negativity you received on social media after showcasing your new sound at Ultra Miami? People seem to have a lot to say when hiding behind a screen.

Hardwell: Exactly that. It’s easy to make a passing comment or criticize something from behind a keyboard, but it’s a lot harder to go out there and do something yourself. But, in all honestly, I’ve seen little negativity around my comeback and the music. My show is all my own music, so it’s everything from my new album, Rebels Never Die. The whole concept around the show and album, which people have seen so far, explains that I am just being myself. So, I think fans of any genres or scene seem to under-

“Zero 76” (Musical Freedom/PIAS, 2011): This soaring collaboration with his hometown hero, Tiësto, pays homage to their Dutch roots and delivers a booming barrage of bass that still makes the rounds on the club and festival circuit to this day.

“Dare You” (Revealed Recordings, 2013): Featuring Matthew Koma, this progressivehouse beauty points up the diversity in Hardwell’s discography. Koma’s alluring vocal delivers motivating lyrics alongside vibrant synth work – an emotional masterpiece.

– B.B.

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“We’re seeing much more awareness of mental health [in the EDM world] and the impact that it can have on people’s lives, if that goes

RUDGR https://rudgr.com

unchecked.”

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stand that.

DJ LIFE: You come from a city in Holland that’s a prominent place in the world of electronic-dance music. Tiësto and Arnie Bink [of Black Hole Recordings], two big players in the EDM game, are also from Breda, not to mention W&W, R3hab and others. Even back in the day, Elvis Presley’s manager Col. Tom Parker, was from Breda. Why do you think a city like Breda has turned out so many people in the music business?

Hardwell: For a city, it’s quite small, so I guess it’s the grass-roots aspect, which has contributed to so many of us growing into established artists in our own right. Having people like Tiësto to inspire us and aim towards was a huge motivator for me and my friends. He is one of us, so the dream of being a DJ felt more real.

DJ LIFE: What was the music scene in Breda like when you were growing up?

What caught your attention and influenced your musical path?

Hardwell: Hip hop was the thing that first grabbed me and my friends at school – but this was all music from the U.S. So, when Dutch dance music began to grow and we discovered it, that’s where my musical path just had to follow. I used to spend a lot of time at Tiësto and Arnie’s record store Magik, where guys like Armin van Buuren, Laidback Luke and Ferry Corsten would occasionally be, in there buying records. Café Janssen is another place that had an impact on my musical path and, in recent years, I’ve had some great moments there with so many of my friends, family members, and DJ buddies.

DJ LIFE: Creatively, how did you approach your most recent releases? Your sound is evolving – what has influenced you?

Hardwell: I grew up on the sounds of tech-trance, so the early styles of Marco V and Mauro Picotto, for example. There was a fusion of trance and techno in there that I always loved. It was hard, but all those records just had this incredible pace and groove. As I evolved as a producer, my sound eventually led me to Big Room and when that wave took off, I kind of sheltered my passion for the techy, harder-edged stuff that I’m creating now. It was not by design. It was just the way things evolved at that time. So, I wanted to rekindle that side of my musical taste, both as a fan of the music I like and the music I make.

DJ LIFE: After being away, what was playing Ultra Music Festival like for you?

What was it like to come back to such a huge audience?

Hardwell: Well, as you’ve probably seen by now, I only played unreleased music – so, I had no idea what to expect. I can honestly say I was shitting myself before going on – not because of performing, but because I knew this was going to be very different for some fans. But the reception from the fans was so fucking amazing! In all my life, I’ve never experienced a show like that. Ultra is like a home for me and the while family there are incredible to work with.

DJ LIFE: A little studio talk: From your main studio gear, what’s your DAW? Monitors? Vital hardware? Fave plug-in?

Hardwell: Not much has changed, to be honest. I’m still using Logic [DAW], my Genelec 1034B main monitors and 7073A subwoofer, and the Yamaha NS-10M studio monitors remain. I’ve also still got my synths, like [LennarDigital] Sylenth, Access Virus TI and [reFX] Nexus. The incredibly talented Jan Morel, my studio designer, acoustician, and good friend, remains my sound board for any changes I ever want to make with my studio set-up.

DJ LIFE: Which new producer/remixers do you most admire, and why?

Hardwell: Super-proud to see the likes of KAAZE, Maddix, and Tim Hox growing each day. Working with such a pedigree of talent like we do at Revealed Recordings, it’s always a special moment to witness an artist’s dedication and commitment blossom into deserved success.

DJ LIFE: And which DJs do you admire, and why?

Hardwell: Musically, I may have been very different from some of these, but I’ve always admired how artists like Carl Cox, Fatboy Slim, Pete Tong, Tiësto, Armin van Buuren, Ferry Corsten and many others, who have been doing it for so long without missing a beat, have maintained their careers over several decades.

DJ LIFE: We know you have a couple of big U.S. dates coming up, including a huge one at the new UBS Arena in New York City. What can your fans expect at these shows?

Hardwell: I’m extremely proud of what myself and the team have put togeth-

DJ CLUB CONTROL COMFORT AND PROTECTION FOR YOUR NEXT GIG SHOP NOW

GATORCASES.COM

Lake Perris, Calif. – This past April 28 to May 2 saw the Desert Hearts collective celebrate its 10-year anniversary with its biggest festival to date. Running at Lake Perris in Cali’s Inland Empire, the event drew over 6,000 fans, according to organizers.

In 2012, Mikey Lion partnered up with Marbs, Lee Reynolds, and his younger brother, Porky, to put together the first Desert Hearts party, which drew 200 people. Ten years later, Desert Hearts is not only a festival and event brand, but it’s also a label, a collective, and a community that has grown to 5,000.

The year’s festival, whose mantra is “House Techno Love,” not only doubled in size from the previous years, but it also added an extra performance platform near the lake, the Desert Stage, which played host to festival regulars like Atish and Tara Brooks, who have played the festival every year since 2013. Other frequent performers – Francesca Lombardo, D!NK, RYBO, and Lubelski – highlighted the stage and spun melodic and uplifting beats during the daytime hours.

At the Heart Stage, things opened with Rinzen, who made his festival debut back in 2019 and has recently released music on the Desert Hearts Black label. He was followed by SHADED and other heavy hitters like Marbs, Oscar L, Porky, and Joyce Muniz, who closed out Saturday morning (at 8 a.m.) with one of the weekend’s best sets.

The Desert Stage opened back up Saturday at 10 a.m. with Bears in Space followed by Heidi Lawden and Kim Ann Foxman. The Juan MacLean played a very eclectic mix and was followed by Desert Hearts organizer Mikey Lion, who drew a large crowd and got the party rocking to close out that stage.

The Heart Stage re-opened with Kevin Knapp continuing the posi-vibes before Omar S and DJ Harvey took to the decks. For their peak-hour Saturday-night sets, the pair drew a bit of confusion from those unfamiliar with Omar’s soulful mixture of Chicago/Detroit sounds and DJ Harvey’s Rare Groove approach. Though the crowd might’ve expected something heavier – like Harvey’s occasional coalescing of disco with driving techno – the duo pursued more esoteric leanings.

Fortunately for those seeking harder sounds in the 2-to-4a.m. slot, Andreas Henneberg and Lee Reynolds delivered with a rugged two-hour set and included surprise guest Justin Martin. Doorly followed with one of the weekend’s better sets, closing out the Heart Stage at 10 a.m., and waking up plenty of campers with his mesmerizing beats.

On the following day, Beth Lydi opened up the Desert Stage ahead of Lubelski, Yulia Niko, and Francesca Lombardo and Super Flu. Tara Brooks opened up the Heart Stage Sunday night ahead of Detroit techno pioneer Kenny Larkin, who played select cuts from the ’90s. Carl Craig followed suit with his iconic Motor City sound, mixing perfectly into Robag Wruhme’s set of distinctly German techno tracks. Danny Daze and Anja Schneider took to the stage afterwards, although many at the festival were sound asleep by this time.

Legendary L.A. DJ Doc Martin closed out the festival with some groovy beats that even had one of the security guard’s dancing. Then the Desert Hearts crew brought the festival to a close, promising to bring the festival back bigger and better next year. It all looked like this: 20

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Ten Years After: Desert Hearts celebrates.

Juliana Bernstein

Desert Hearts’ Decade Party Rocks Cali’s Lake Perris

HOUSE

By Saxe Coulson

German Techno: Robag Wruhme on the decks.

Peter Speyer

Desert Hearts YouTube

TECHNO LOVE

Detroit Techno: Carl Craig’s set gets rolling.

Peter Speyer

Good Day: Lubelski lakeside.

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Mikey Lion closes the Desert Stage.

Eric Allen

Here Comes the Sun: Justin Martin in the a.m.

Brian Ngo

HOUSE

All Smiles: Happy fans connecting.

Keiki Lani-Knudson

Late-Night Action: DJ Harvey’s rare grooves.

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Sunday: Tara Brooks on the Heart Stage.

Aaron Glassman

Morning Mix: Marbs at 2 a.m.

Drew Pador

More Motown: Kenny Larkin gets grooving.

Eric Allen

Day Party: Doorly in the mix.

Eric Allen

TECHNO LOVE Congrats: Desert Hearts crew closes out the fest.

Juliana Bernstein

Lit Up: Omar-S moves the crowd.

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EMERGENCE LONGTIME WEST COAST TASTEMAKER

ERIC SHARP

BY JIM TREMAYNE

Eric Sharp has been a tastemaking DJ on the West Coast for more than a decade. Playing clubs, festivals, raves, and other one-off events, the Cali-based talent has earned a devoted fanbase in the underground and has served as a resident at Sound, Hollywood’s top nightspot. But his evolution as a music-making artist has been no less impressive.

After making a slew of remixes, Sharp began releasing original productions in 2013. Starting out with ethereal groovers on his Sharp Cuts EP, Sharp began to create tracks with wider ranging sounds.

He also launched the Rock It Science Laboratories (RIS Labs) label/ platform and licensed music to a variety of outlets in sports, TV, film, and ads.

Recently, Sharp has eased into 24

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more thoughtful, deeper-leaning house tracks. Exemplified by 2019’s “Monday Blues,” featuring frequent collaborator Zhao, Sharp’s current output offers heartfelt lyrical meaning to go with musical depth.

Fast-forward to 2022 and he’s done it again with Emergence (Create Music Group), a five-track EP (three originals with two remixes) that mixes dancefloor and earworm qualities. Strong cuts like the gospely “Scream & Shout” (with Laurent John), the melodic, introspective “The Gift” (with Zhao), and the mega-grooving “Like Water” (with Doe Paoro) should win over any lovers of quality house.

We recently caught up with the L.A.-based Eric Sharp to discuss his DJ career and his artistic evolution.

DJ LIFE: Creatively, how did you approach your Emergence EP? What were you trying to accomplish?

Eric Sharp: My arc in production started with just making sample-based club bangers for DJ sets. I then let go of the creative constraint of making tracks for my DJ sets, instead focusing on composition and songwriting. I also stopped sampling at that point. My goal with the Emergence EP was to bring these strands together, using chord progressions melodies and original vocals, while implementing an arrangement structure and sound design that makes the dancefloor go off. I was also trying to share a message with my audience.

DJ LIFE: “Like Water” is a really gorgeous vocal track and “The Gift” should really get some attention, too. You’ve got some different sounds going on there, not to mention current ideas.

Sharp: Thanks! “Like Water” is themed around serenity and going with the flow. “The Gift” is a thought-provoking missive about the commodification of artists and people, in general, and the stratification of wealth inherent in capitalism. “Scream & Shout” was born out of feeling frustrated

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by elected officials who don’t serve their constituents.

DJ LIFE: What was the process in doing the EP? How did you collaborate with some of the other talents on the EP – for example, “Like Water” with Doe Paoro?

Sharp: This offering started, like most, with a few demos I’d been working on over the last few years. I wrote “Like Water” in the same vein as my more indie-dance-focused songs, at the studio of my buddy Kyle McCammon, aka Plus. The first draft was really mellow, wavy, and spacious, and I do plan to release that as a chill version later this summer. I’d met Doe Paoro at a DJ gig of mine several years back, and I’d been waiting for the right project to approach her for a feature on. I sent her the demo and she came into the studio where we co-wrote

“I’m not in love with the digitization of life. I’ll take a packed dancefloor with real people dancing together and building community in real life any day over a virtual party.”

the lyrics and vocal melodies and then took another couple of sessions to record.

DJ LIFE: And “The Gift” with Zhao, a frequent collaborator?

Sharp: Right, Zhao and I have been writing together for years. I hit him up during the shutdowns to see if he wanted to make something together via Zoom, but he told me he wasn’t inspired to do any songwriting at that moment. A few weeks later, he

surprised me with the spoken-word portion of “The Gift,” which he’d laid down over a simple chord arrangement. I related to the poem so much that I wanted to bring it to life and share it with the world.

DJ LIFE: And finishing the record?

Sharp: When it came to finalizing the EP, I got into the lab with my good friend 28mm to bring the tracks to the finish line.

I’ve been studying sound design, but I’m not quite where I want to be with it yet, and Christian was a huge help there. I’ve learned that it’s really important to acknowledge my weak points as a producer, and ask for assistance when I need it.

DJ LIFE: What were your initial musical influences? What made you want to pursue music?

Sharp: My very first influences musically would have been Michael Jackson, early hip hop, grunge, and metal. It wasn’t until high school that I discovered house and techno, and I was immediately hooked.

Growing up in New England, I would listen to Liquid Todd’s live show from Axis [in Boston] on Saturdays, while dancing in my bedroom. When I got old enough to go to the underground parties, I remember getting down to Slugo, Osheen, Bad Boy Bill, DJ Dan, Felix Da Housecat, Armand Van Helden, Green Velvet, Joeski, and a lot of other ’90s rave DJs. My crew and I would drive to parties together and spend all night house dancing and b-boying. This was such a formative experience for me.

No matter what kind of strife was happening in my life – and there was plenty – I could just lose myself in the music and feel one with the universe. I ultimately decided to pursue music, so that I could effectuate this kind of uplifting experience for others.

DJ LIFE: What was lockdown like for you?

Sharp: The lockdown was really tough on my mental health. Lifting weights at the gym, going to shows, DJing out, doing studio sessions, and spending time with friends are important habits that I’ve built. Losing access to these outlets was depressing. The first six to nine months of the lockdown put me into a downward spiral, uncertain if my career would ever come back or if I would ever be able to do the things I want to do with my life. Over time, I was able to come to a place of acceptance and just keep things in the day without stressing so much about the future. I took stock of what areas I could focus on to improve as an artist, and enrolled in a marketing course and production classes.

DJ LIFE: Was it a creative time for you?

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focusing on more technical aspects was great in that situation, because there was no pressure to make something “good enough” to release. It was more like sharpening my tools for when it was time to get to work on a project, and I think that served me well in making Emergence.

DJ LIFE: Were you streaming during lockdown? What’s your take on that platform for DJs? Sharp: I chose not to stream. I’ve actually done a couple of streams after things reopened. I think there are some interesting things happening in the AR/VR space that can simulate a live show, and it can be a cool way to reach people who couldn’t physically attend a show because of geographic constraints or physical limitations. That said, I’m not in love with the digitization of life. I’ll take a packed dancefloor with real people dancing together and building community in real life any day over a virtual party.

DJ LIFE: How has it been like returning to the clubs?

Sharp: In a word, getting back to DJing for a crowd has been blissful.

My best shows have been at Sound Nightclub where I’ve shared the decks with Dirty South, Eelke Kleijn, CID and Chris Lake this past year.

Lately, I’ve been DJing on the patio at the newly opened Mirus Gallery in Downtown L.A., which is a supercool space that hosted my birthday and a record-release party for my EP. I also played a boat party last fall for L’Affaire Musicale with Goldroom, and have a Fourth of July Pool Party for Orlove Entertainment coming up at Skybar in West Hollywood.

DJ LIFE: What are a few tracks that are always in your “DJ box” and why?

Sharp: Felix Da Housecat’s “Sinner Winner (Green Velvet Remix).” This track plays to both house and techno crowds, and smashes nearly any dancefloor at its peak. I am not even sure if this ever got an official release, but it is an absolute weapon.

Also, Booka Shade’s “In White Rooms.” As someone who has been DJing for a long time, I take a sense of responsibility in educating crowds about classic tracks. “In White Rooms” is a versatile, timeless record, and I find it working in many different situations. And there’s Kölsch & Tiga’s “HAL.” These are two of my favorite producers, and this collaboration is sublime. “HAL” is melodic, sophisticated, and floaty, but still whips an educated crowd into a frenzy.

DJ LIFE: What’s your main studio gear?

Sharp: My home set-up is pretty simple. I run Ableton Live 11 Suite with the Push 2. I don’t mix here, so I’m still happy to write in headphones or my KRK Rokit 6 monitors. I find myself using Juno synths a lot when I’m in hardware rooms – the 106 and 60 are probably my favorites. Both have such a rich, warm tone.

My favorite reverb is Valhalla Vintage, and for synths I like Sylenth, Diva, and Ableton’s own Wavetable.

DJ LIFE: Which producer/remixers do you most admire and why?

Sharp: I look up to producer/remixers who have a diverse body of work. CamelPhat, Kölsch, Tiga, Eelke Kleijn, Kidnap, Green Velvet/Cajmere, and Armand Van Helden are some of 26

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my favorites. They’ve all been releasing quality music for years without pigeonholing. I’m always excited to hear new music from them, and find myself going back to their prior work in my sets.

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

Sharp: Pioneer CDJs and mixer are my go-to units. I’m familiar with them, as I’ve been using them for years, and I like the effects. If I’m playing a tech-ier set, I love to have four decks, so that I can layer three tracks together at the same time while cueing a fourth. My style of DJing favors long, layered mixes, and I aim to take dancers on a cohesive musical journey, as opposed to just caning the same sound over and over for a set.

DJ LIFE: Which DJs do you admire and why? Did anyone inspire you to get started on the decks?

Sharp: Some of my favorite producers are also some of my favorite DJs, such as Green Velvet and Tiga.

Fatboy Slim played one of the best sets I’ve heard in recent years. I’m a big fan of Nora En Pure, too. I like DJs that aren’t afraid to take risks, and who pleasantly surprise me when I go to hear them. A great DJ makes me lose myself in sound like I’m a teenager again. Roy Davis, Jr., inspired me to get started on the decks, when I met him at WMC in 2005 right when I started DJing. He played parties I threw in San Francisco, gave me vinyl promos of his releases, mentored me with DJing, and even did an edit for me on my first solo EP. I’m not sure I’d be where I am today without Roy taking a chance on working with a noob.

DJ LIFE: What are some places you love to play – club, festival or one-off – and why?

Sharp: Sound is my favorite club to play. The rig is just pristine, and the room is designed in a way that completely focuses the energy on the dancefloor. I’ve had so many amazing nights there. My favorite one-offs have to be underground warehouse parties. These are the roots of our scene, and a great reminder that all you need is a DJ, a sound system, a red light, and a crowd to have an amazing time. My favorite festival experience was SF LovEvolution. It was free, outdoors, massive, and completely bonkers. It encapsulates everything I loved about living in San Francisco at the time — weird, over-the-top, musically open-minded, and absolutely fun-loving.

DJ LIFE: What’s next for you?

Sharp: I’ve just turned in a remix for a New York artist named Hello Lightfoot, and wrapped up a track with my buddy Bosa that we are in the process of signing. I plan to release collaborations while I’m working on my next solo EP. As I mentioned before, I’ll also be sharing chill versions of “Like Water” and “The Gift” this summer. Beyond releasing music, I have some live shows in the works and hope to expand beyond the L.A. market in the near future. I try to never be complacent, and to continue growing in as many directions as possible, both personally and as an artist.

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Since the release of an influential 1998 thesis from Google cofounders Larry Page and Sergey Brin, the topic of backlinks has been at the forefront of the Search Engine Optimization (SEO) industry.

And when the duo unleashed the game-changing tech giant, these Backlinks became priority No. 1 for Search Engine Marketers everywhere.

Here’s a passage from Wikipedia’s page on Google history: While conventional search engines ranked results by counting how many times the search terms appeared on the page, they theorized about a better system that analyzed the relationships among websites. They called this algorithm PageRank; it determined a website’s relevance by the number of pages, and the importance of those pages that linked back to the original site.

In the last 24 years, Google has changed its algorithm many times, and adjusted to refine its generated Search Engine Results Pages (SERPs) to be real, organic experiences.

However, the more things change, the more things stay the same.

Backlinks are still here, and still a primary element of any strong SEO program. To thrive online, worldwide DJs of all stripes – mobile, club, whatever – need to have a solid Backlink strategy.

First, a reminder on what actually constitutes a Backlink. In my own words…

A Backlink is any text on the web that is tagged with a link (underthe-hood) where clicking on said text will result in you navigating to the link in question. In short, a Backlink that’s in favor of your brand will “link back” to your site when a user clicks on it.

Simple enough? Sure, but here’s one thing to consider: Watch that the site in question (that you want to post on in order to gain a Backlink) is actually a dofollow or a nofollow. This is a huge consideration, as nofollow sites will have your Backlink ignored by Google’s Crawler Engine.

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GET

HOW DJS CAN

MEASURE

BY JORDAN ST. JACQUES

Now, let’s explore how to find Backlink opportunities in two different ways… Organic and Competitive.

Organic Backlink Strategy for DJs To find opportunities for Backlinks, look no further than your industry.

Here’s just a sample of places online that you should strive for: Worldwide Directories. Start with the basics, such as The Knot, WeddingWire, Eventective, etc., for mobile jocks, and DJRankings.org, etc., for club DJs. There are dozens of such directories out there, no matter where you come from.

Local Directories. These speak far more to Google’s focus on local relevance. Look for directories that are solely region-based, as opposed to directories that simply have a section within their site labeled with the region name.

Guest Blogging. I know this will be painful for those of you who don’t like to write, but a powerful method of obtaining a Backlink is to write

“To thrive online, worldwide DJs of all stripes – mobile, club, whatever – need to have a solid Backlink strategy.”

AHEAD SEO BACKLINKS &

COMPETE

an article for an outside site that is relevant to your industry, and have that site post your article on their site.

Niche Landing Pages. Creating your very own Backlinks as part of a Niche Landing Page strategy is resourceful, and it speaks to the relevance aspect that Google loves these days. For those of you who have not heard me speak about Niche Landing Pages before, it’s the process of pushing up a series of one-page websites that speak to a niche. Essentially, you’re surrounding your main website with URLs that are named strategically to pull in Google users. For example, if your main website is https://xyzdj. com and you’re in the New York City market, a great URL for a Niche Landing Page would be something like https://chelseadj.com (Chelsea is a Manhattan neighborhood).

Competitive Backlink Strategy for DJs Make no mistake, the above is valuable knowledge, and a great starting point. However, there are a lot of you DJs who just don’t have the time to execute this task. If you have a company in the same industry where Digitera resides, then just hand this task off to your

digital marketing person/company.

If you’re still a do-it-yourself person, though, here’s a method to cut down on your time: Just look at your competitors’ SEO, and follow what they’ve done. Here’s how that works: Find your top competitor in your local region. This could be that company that you seem to be fighting against for gigs all the time, or it could be the leading DJ company in the area. You’re not limited to just doing one company – make a list of your Top 5, if you want.

You also can take a look at the leading complementary companies in your area. For DJs, these are companies doing business in Photobooths, Photography, Videography… even Wedding Planners, etc.

Run each company URL through a Backlink Reporting Tool. There are lots of these tools out there. Here’s just one of them that has a good reputation: https://neilpatel.com/ backlinks/ Look at the report. These are the Backlinks that this competitor company of yours has in its favor as of the time you ran this report.

Your task now is to chase ALL these Backlink Opportunities in favor of YOUR company as well.

ONLINE

Final note: Don’t put more than 10 companies on your list.

Following theory on Statistics and Social Graphing, after, say, eight to 10 similar local companies on your list, the Backlink sources will start overlapping, and you’ll be wasting time.

In summary, Backlinks are essential to SEO. For us here at Digitera, we chase Backlink Opportunities every day, and have seen amazing results after four to six months of a well-thought Backlink Program.

They’re so important to Google SERPs that the first name they thought of before they chose the name Google was actually “Backrub.” True story.

P.S. – My recently announced seminars at the 2022 DJX show, set for Aug. 8-11 in Atlantic City, N.J., will contain discussions on Backlink strategy for Mitzvahs (Monday, Aug. 8), Venue Preferred Vendor Lists (Tuesday, Aug. 9) and Proms (Wednesday, Aug. 10). Hope to see you all there!

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

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BY BRIAN BONAV0GLIA Looking for a DJ/producer whose profile is in ascendency? Search no further than SOHMI. The L.A.-based talent has delivered a series of sublime productions and has recently spun at major industry events ranging from Coachella festival’s Yuma Tent to Pioneer DJ’s exhibition booth at the NAMM show.

Being a classically trained pianist, music has always played a major part of her life. But it was the world of electronic-dance music where SOHMI (aka Stephanie Oh), following a self-released promo mix in 2018, found her niche and began to thrive. The blossoming Korean-American talent is a versatile DJ, producer, and vocalist with tracks that offer an enchanting blend of styles.

Occasionally dark-leaning, yet often quite melodic, SOHMI’s tracks present a tight mixture of sounds – minimal, techy, pulsing, groovy – as evidenced by punchy tracks like “Closer” and “Time.” Solid collabs like the Moroder-esque “Somebody Like You” (with Lubelski and RYBO), the tribal/ethereal “Sunday Sunset” (with Josh Butler) and, most recently, the poppy “Get to You” (with Denton) deliver even more variety.

As she prepped for upcoming gigs, including shows at Michigan’s Electric Forest festival (June 24) and Chicagoland’s North Coast Music Festival (Sept. 3), we caught up with SOHMI. DJ LIFE: How did you get introduced to dance music?

SOHMI: I was first really introduced to the culture and world of underground dance music by moving to L.A. in 2016 and attending my first festival – Coachella. Though I’d listened to artists like Avicii and Skrillex for years prior while living on the East Coast, it wasn’t until Coachella 2016 that I was introduced to the sounds of underground house and techno through the Yuma stage and Rüfüs Du Sol’s performance at the Sahara.

DJ LIFE: What made you fall in love with dance music as a whole?

SOHMI: I think it’s the same thing many people would say. The culture was a huge piece of it for me, as experiencing “rave” culture for the first time was heavily intertwined with my assimilation to a new beginning in a new city where I really felt like I had to start my social life over. The two basically happened in tandem, sort of organically feeding into each other, so there’s this

SOHMI: DJ/musician, producer & vocalist.

forever-gratitude I’ll have for dance music’s culture because, through it and thanks to it, I feel like I was really able to establish roots in a new city and build my life over again – and even expand my self-discovery.

DJ LIFE: What made you want to follow a path in music?

SOHMI: As crazy as it may sound, I think I always knew I wanted to follow a path in music – maybe even as early as age 3. I was already studying classical piano by then and had learned how to sing on my own. It’s like I was born with an intrinsic need for music.

It always came naturally to me, and I found myself always wanting to perform it, consume it, be around it. From 3 until graduating from college at age 21, I basically devoted my entire life to music and performance – outside of time spent on school and classes – and dreamed of continuing even after. Why I didn’t follow that path in music straight out of college comes down to cultural pressures that many other Asians and Asian-Americans are familiar with… my parents disapproved, and I didn’t want to disappoint them.

DJ LIFE: How’d you deal with that?

SOHMI: It took me nearly 10 years of trying other career paths and jobs that I thought were a “happy

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medium” between what I wanted and what my parents would be OK with – like a job on the business side of music or product management in tech – to realize how much of my deepest sense of self I had lost touch with, and with that, how unhappy I had become. So, following my current path in music now was not some decision that came suddenly or overnight; though the specific approach through electronic music and DJing and producing may be a newer epiphany for me, I wanted to perform and be around music my entire life.

DJ LIFE: You grew up abroad internationally in cities like Hong Kong and Seoul. How much of an influence does that period of your life have on your music?

SOHMI: That period of my life had an immeasurable influence on my music and understanding of music today. Those were the years I very seriously studied classical piano and music theory, and even though I don’t consciously bring theory into my productions or DJ sets. The very way that I hear music or instinctively know how to put music together comes from that foundation of classical training. For example, my ear is very sensitive to keys clashing or harmonic dissonance, so that’s come to shape one aspect of my particular style of DJing, which is very delib-

SOHMI Youtube

erate with harmonic mixing. And when there is tension or dissonance, I’ve chosen to create that moment on purpose – not by accident or as the result of a choice I didn’t anticipate.

DJ LIFE: What’s your studio set-up?

SOHMI: My set-up is still fairly simple and I use pretty much all the same gear that I started out with four years ago: a MacBook Pro, Ableton Live, Thunderbolt display monitor, Komplete 6 audio interface and Kontrol S49 keyboard from Native Instruments, a Samson condenser mic I’ve had for 12 years, and a pair of pre-owned silver KRK 5 monitors. Actually, I recently purchased my first piece of analog gear, the Moog Sub37, which I got mainly to create richer basslines. It’s an amazing piece of gear.

DJ LIFE: What’s your creative process like, being both a producer and vocalist?

SOHMI: It can feel a bit all over the place at times, because mentally, for me, it’s very different to approach song-making as a producer vs. a vocalist.

When starting a new project as a producer or going production first, I’m worrying about things like kicks and groove and trying to sound-design the melodic elements by digging through presets on VSTs and tweaking them to my taste. When working on a new project as a vocalist or songwriter first, I’m worrying about completely different things. I’m thinking about lyrics, a lead melody, the interplay between that melody and the lyrics, and then all the tedious work that comes with creating vocals – comping, sanitizing, stacking, processing. It’s almost two completely different tasks and I’m responsible for doing both, so it can be a lot sometimes… but it also allows my brain to switch gears between two types of creative processes, which is helpful because sometimes you hit a wall with one and find more success that day by taking a break from it and doing the other.

MAKES HER MARK ON EDM

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

SOHMI: One way is like I mentioned previously, which is to take turns between producing and songwriting/ recording vocals, so I can work through the walls and not get stuck on just one or the other. When I’m having a rough week overall though and feeling creatively low in general, I give myself space to take a break. I’ve become much more mindful of my mental health in the last few years, and I’ve found that it only makes it worse for me to force music creation on myself when I’m feeling depleted or low, as usually not much comes of it, and then I’m hard on myself which makes everything even worse. Weirdly, at times I’ve found that taking a break and watching an amazing movie or getting into a riveting Netflix show actually sparks the musical creativity again – I think because my brain subconsciously processes the relationship between soundtrack and dramatic narrative, while I’m watching these things, but I’m not having to “work” or “use my brain” during, so this gives it a chance to rest, but also get inspired at the same time.

DJ LIFE: How would you describe your sound?

SOHMI: As a producer/ vocalist, I would describe my

sound as “minimal pop-tech.”

Imagine minimal, tech-y productions – grooves that straddle the line between house and techno – with fragments of pop-inspired vocals. As a DJ, I would describe my sound as an extension or deeper exploration of the ethos of “minimal pop-tech.” My library of tracks, for example, pulls from a wide range of dance music sub-genres, which is pop in approach, and all of the tracks seem to share a kind of tech-y, minimal quality. There’s clearly a sound that I’m drawn to, which is not determined by genre or groove – hence, not sticking to house or techno or tech-house – but rather by sonic quality and melodic motif. I like round and hollow sounds, deep and funky basslines, moving melodic leads, and hypnotic vocal chops. I love minimalism and taking my time in a set to build towards impactful moments, which don’t necessarily have to be the loudest or most raucous. I love anything that sounds and feels soulful and sexy.

DJ LIFE: Tell us how your tune with Denton, “Get To You,” came together.

SOHMI: So “Get To You” came about in 2020, while the pandemic was still really escalating and lockdown was starting to affect everyone deeply. Denton – aka Josh Butler – and I had just finished collaborating remotely on “Sunday Sunset” together, and we’d had such a nice time working on that one that we wanted to get started on the next project right away.

He sent me a folder with bits and ideas in various states of completion, and I went through it to see if anything stood out to me as a potential starting point. There was one bit in there that was basically just a four-bar loop of piano chords, and it was by far the least fleshed-out thing in the folder, but for some reason I gravitated towards it. By the next day, I’d written and recorded a whole demo around 32

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SOHMI at NAMM

those chords and right away Josh loved it. After he fleshed out the production and we worked on the arrangement some more, Josh sent the song to the team over at Defected/DVINE Sounds and the rest is history, as they say.

DJ LIFE: You’re not big on genre-pinning – how big of a role does that freedom play when in the studio and playing DJ sets?

SOHMI: It’s pretty much part of the fabric of my artistry and sound, so a pretty big role, I’d say! The mindset away and freedom from genre-pinning allow me to focus on the singular goal of telling the most moving story through groove and melody, where it’s not about what genre each track is within that story, but rather what the story sounds like overall. All great stories have a beginning, exposition, conflict, and resolution, and I feel like the only way I can fully create and explore each of those narrative sections is to draw from a little bit of this and a little bit of that. A lot of minimal techno, to me, makes for an excellent “beginning” and mood-setting; exposition and conflict are well conveyed by melodic house, melodic techno, deep house, driving techno, and then resolution is really well-captured by indie dance, ethereal breaks, and vocal house. At least to my ear, anyway.

DJ LIFE: You have quite the tour schedule these days. Give us three tracks that are always at the ready for you.

SOHMI: I always have my tracks “Closer,” “Time,” and lately I’ve brought back “Midnight (The Hanging Tree)” by HOSH & 1979. “Closer” and “Time” perhaps for obvious reasons, as they’re two of my productions, but both are also really versatile tools for me, as I can play them as mid-set transition moments to bridge the vibes between house and techno, or I can play them towards the end of my sets as closing moments. As for “Midnight,” it’s just such a damn good track. It might be a near-perfect dance track, in my opinion, striking the perfect balance between soulful and funky, yet melodic and driving and moving. Those vocals just kill me. So, even if selfishly, I find myself playing this one a lot these days because it just makes me so happy to listen to – but I don’t think I’m the only one! Based on the crowd reaction, every time I play it, it’s just one of those songs that you get excited to hear coming in and makes you wanna close your eyes and get lost for a moment.

DJ LIFE: You moved to L.A. and would later attend Coachella, which changed everything for you. How did it feel to be on the other side of the stage this year playing the festival’s Yuma tent, surrounded by

family and friends?

SOHMI: I don’t really have the proper words for it. Six years had come completely full circle. In a weird way, it actually felt like visiting my old alma mater or something like that. I think because I had attended the festival for four years in a row before getting to be on the other side of the stage this year – coming back this time as an artist was like seeing all these things and walking through all these places I was familiar with already, but was experiencing as a “graduate” now, if that makes sense? Most of all though, I just felt so, so grateful. Grateful to be there, and grateful to have friends and family to share all of it with… it was like, “Damn!

Life doesn’t get more meaningful than moments like this.”

DJ LIFE: What’s next for you?

SOHMI: Every day, I wake up with so much adrenaline and excitement, but also paralysis from the thought of this very question: What’s next? There’s so much I want to do. There’s so much more music I want to make, but I’m navigating for the first time how to find enough time to work on it, while touring and playing shows all over the country. I want to continue to tell my musical story through my label, Permission, and push the sonic boundaries of my own music outside of the releases I currently have. I want to start playing more internationally and outside of the U.S. someday soon. As everything has unfolded thus far in my career, however, the things to come will happen when they’re supposed to. I feel like my job is simply to show up every day and live this life in music, being authentically me through everything I do and consistent in my vision, and the rest will happen as it’s meant to. SOHMI is simply the musical journal through which one woman is living her life, so what’s next is wherever life takes me – and I’ll tell you all about it through the music.

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Benefits include discounts and subscriptions to Ableton, Beatport LINK, IO Music Academy, OM Records, ROSTR, great swag and more! giveabeat.org/PATREON VOL.2 NO.3

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MOVEMENT FEST

retu Motown Party: A packed mainstage at Hart Plaza.

Stephen Bondio

By Jim Tremayne

Dynamic Duo: (L-R) Carl Craig & James Murphy.

Jacob Mulka

Detroit – After a three-year absence, the Movement festival returned to the Motown this past June 3-6. Produced by local promoters Paxahau, Movement filled Hart Plaza with more than 50,000 revelers to see 110 electronic acts perform on six stages.

Highlights included: local ghetto-tech turntablist DJ Godfather getting booties shaking at the Waterfront Stage; Seth Troxler dropping big, groovy tracks at the Star Gate Stage; Jon Hopkins mixing sweet, ambient passages with piston-like kick drums; Carl Craig’s soulfultechno message music touching on issues of the day; Richie Hawtin’s bangin’ mainstage set with rattling percussion and jarring moments; ADMN’s kicking leadoff set on Saturday’s mainstage; 2manydjs’ roller-coaster set that swerved from cinematic sounds to banging acid and crunching off-kilter grooves; and Jeff Mills’ masterful set that closed the festival.

It all looked like this:

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Hands Up: (L-R) Drumcode’s Adam Beyer & Anna.

Katie Laskowska

Day Party: Justin Martin at Sta Jacob Mulka

urns

ar Gate stage.

TO MOTOR CITY

Gearfest: Jeff Mills rocks the mainstage.

Stephen Bondio

Hometown Heroine: DJ Minx in the mix.

Doug Wojciechowski

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On the Mic: 2 Chainz at the Waterfront Stage.

Katie Laskowska

Waterfront Stage: Goldie flexes his grill.

Anthony Rassam

Urban Tribe: DJ Stingray 313 masked up.

Nick LeTellier

Dirtybird DJ: Claude VonStroke at Pyramid Stage.

Jacob Mulka

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Heating Up: Nastia at the Underground Stage.

Nick LeTellier

Selfie Scene: Fans pose near main entrance.

Doug Wojciechowski

Mainstager: Richie Hawtin closes opening night.

Doug Wojciechowski

Wordplay: Stacey Pullen sets the tone.

Nick LeTellier

B2B: Martinez Bros. & Loco Dice at Pyramid Stage.

Doug Wojciechowski

Monday Night: Jeff Mills closes the festivities.

Katie Laskowska

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STUDIO SESSION

Stellar Studio Monitors

KRK V-SERIES 4

KRK V4: Tight sound & imaging in a small footprint.

By Wesley Bryant-King It was only a few years ago that Gibson Brands, the venerable maker of a variety of instruments and pro-audio products, was on the brink.

But after maneuvering their way through bankruptcy in 2018, the newly invigorated company seems to have found not only its footing, but its stride as well. In large part that appears to have been accomplished through a very simple idea: focus. The company abandoned its aspirations to be everything 38

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to everyone in the music-gear biz, retaining only its various guitar brands, and just one remnant of its pro-audio division: KRK. I’ve long been a fan of KRK studio monitors, and recently I had the opportunity to take a set of its newest offerings for a spin – the 4-inch version of the V-Series, in their latest “Series 4” iteration. The V-Series is available as the V4 (4-inch main driver), V6 (6-inch main driver), and V8 (8inch main driver), and they vary primarily in the size of the main driver, and, of course, the size of the cabinet itself to accommodate that main driver. (The models also vary in terms of their amps and wattage, frequency response, peak SPL and crossover frequencies.)

I have to give KRK props here. The sleepy world of studio monitors is, on the whole, pretty much a “same-old-sameold” sort of place, where things don’t tend to change that often — or that fast. But with the latest iteration of the V-Series, the company has managed to pull some interesting tricks out of its bag, while adding some value along the way. So, let’s dig in.

First Impressions Unboxing the KRK “V4S4” (V-Series, 4-inch, Series 4) monitors — or just “V4” for short — initially feels like any KRK unboxing: You pull a beautifully designed, aesthetically pleasing speaker from a box, with its trademark yellow Kevlar speaker cones seeming to smile and say, “Hello,” then set it in place.

What makes these new V4s different from the usual unboxing is revealed when you turn the speaker around. No, it’s not the fact that there’s a just a single audio input (a Neutrik dual quarter TRS and XLR jack, to be specific); it’s the controls, and more importantly, a whole lot of information silkscreened around them.

KRK touts the speakers’ deeply configurable EQ. The marketing materials say there are 49 user-selectable EQ settings, allowing the owner to configure the system based on personal preference, or to compensate for room acoustics. It’s accomplished through seven different choices for low-frequency set-up, and seven more for high frequency — “flat” being one of the options for each. The other settings provide various cuts or boosts at specific frequencies, delivering the promised configurability.

While I admire the effort and appreciate the configurability for personal preference, in terms of room tuning, it may not be everything you need for every situation. In my own home studio, the room tends to boost frequencies around 100Hz, while excessively sucking them up around the 800Hz mark. There are some peaks and valleys across the spectrum elsewhere, but the bottom line is that the V4’s configurations alone won’t fully compensate for my room’s shortcomings. That said, I tend to prefer dedicated room-tuning solutions anyway, such as those from Sonarworks, which allow a finely tailored compensation scheme through software.

Beyond EQ, however, KRK now provides some configurability to the speakers’ behavior. Five small DIP switches allow you to set-up things like whether the KRK logo is illuminated, or whether automatic speaker standby is enabled.

It’s a nice touch.

Also a nice touch — especially for applications like DJbooth monitoring – KRK V-Series monitors come bundled with grilles. KRK claims that the grilles have no discernable effect on frequency response, but they nevertheless pack the speakers without them installed, presumably because that’s most professionals’ preference. But I do like to option to equip them for environments where the speaker cones would otherwise be left a little too vulnerable for my tastes.

Finally, I must give KRK props for applying an unusually thick sheet of EVA foam on the bottom of each speaker cabinet. This isolation is essential to good performance of the speakers, and it’s nice to see no skimping there.

In Use When I positioned the KRK V4 pair in the “B” speaker position of my home studio and cranked up some familiar music, I have to say right off that I was impressed. It’s important to understand that a driver just 4-inch in diameter isn’t going to blow anyone away with the low-end response; the spec sheet says the V4 reaches down to just 58Hz. That’s certainly enough for many applications and many music genres as well, including general DJ monitoring or casual use. Overall, the audio sounds crisp, very welldefined, and full — quite typical for other KRK pairs I’ve reviewed and used.

For serious applications like mixing and mastering, you’ll either want a larger main driver (the V8 version would be a good choice), or ideally, a dedicated monitor sub. When I connected the KRK V4s through my existing studio sub, the results are what I would expect from a KRK monitor, which is to say, on-point and impressive.

There’s really very little else to be said. KRK knows monitors, and the V4 Series 4 proves it. I’d even go so far as to say that A/B testing against my usual studio monitors (with 8-inch drivers), and with my room-tuning software compensation disabled, the KRK V4s objectively provided better imaging. Re-listening to some of my past projects, along with some favorite music across genres, leaves me with the very distinct impression that it’s time to re-evaluate my choice of “A” monitors.

Conclusions There’s no question that KRK has packed a lot into a very small form factor with their V4 Series 4 powered studio monitors. With a frequency response of 58Hz to 19kHz, serious applications might demand the larger driver of the V6 or V8, and/or the use of a dedicated monitor sub in-line.

But regardless, the V4 delivers amazing sound and accurate imaging in a small footprint.

With 85 watts of total power and 110dB peak SPL, finely configurable EQ, and a price point of just over $400 each, it’s a solid and respectable choice for a wide range of potential monitoring applications.

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PLAYBACK

By Reed Dailey Continuing to build on its popular HDJ range of headphones, Pioneer DJ has launched the allnew HDJ-CX. In this latest line extension, the HDJ-CX takes a dramatic style divergence from Pioneer DJ’s current HDJ range, delivering a low-profile, on-ear posture that is so light you might forget you have them on. In this review, we will analyze the new design language and practical applications for these mixing-and-monitoring headphones – and, hopefully, we’ll help determine if they should be in contention for your first pair of DJ headphones or your next pair, if you are in the market for a replacement and or an upgrade.

First Impressions Out of the gate, you can’t help but notice that the new HDJ-CX diverges significantly from the current HDJ-X Series. The CX is lightweight – 136g (or 4.8 oz.) without the cord, to be exact. Along with its minimalist design language, don’t let its weight fool you. A steel core backs the headband bridge piece, plus these units are U.S. Military Standard MIL-STD-810H shock-tested, making them rugged and built to take a beating.

When putting them on for the first time, I was most curious to explore how they felt on the head.

While it was no surprise that its light weight puts less stress on the neck, the two design elements that made these headphones extremely comfortable are the adjusting center bridge and the oscillating earpieces.

HDJ-CX:

PIONEER DJ’S

Versatile Cans

The center bridge of the headphones has large teeth-like adjusting notches that allow a DJ to adjust the headphones’ size to match varying head circumferences. I wear a ballcap that’s 7-¼ in size (22.8-inches/58-cm), which is “large.” When I had a friend with an 8-½ size (25.2-inches/64cm) or XXX-Large wear them, the bridge expanded with ease, and he said he felt fantastic and was comfortable on the head.

The second design element is the two oscillating earpieces that provide about 90 degrees of bi-directional rotation, allowing DJs to listen to music traditionally with both ears covered or adjust either headphone cone to sit in front or behind the ear. In the past, I often had one headphone cone covering some of my ears, so I could monitor the mix. This works for a while, but the pressure always hurts my ear after about an hour of playing.

With the oscillation, I put the headphone completely behind my ear – you can also put them in front, of course. The headphones remained firm against my head and made monitoring mixing and talking with friends between the mix much more effortless. Neat.

Sound Quality So, let’s talk about how the HDJ-CX sounds. These are smaller headphones, after all, and based on their size, I was rather curious to see how these headphones performed.

According to the company, the headphones’ frequency response is between 5Hz–30kHz, impedance at 32 ohms, and sensitivity of 103dB. And to my ears, the headphones have a tight and broad sound spectrum and are exceptionally well balanced. I could hear my snares, kicks, hi-hats, and bass with precision without any one element drowning out the other.

When I had them on and I was spinning, cueing was easy, and when I was using them as reference monitors, their sound quality was spot on. I didn’t have to crank them up, and the isolation of outside noises was on-point, with the foam never really pinching my ears. So, for those who are laptop-producing in small spaces, these are a solid alternative to studio monitors.

Beyond DJing Due to its size and weight, the CDJ-HX headphones have uses beyond the DJ booth or home studio. I found these headphones perfect for use when I was sitting around 40

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the house listening to music on my laptop and answering Zoom calls. The two cables that come with the headphones allowed me to switch from a coil cable format that I prefer when playing to using the straight cord for everyday use. Taking these cans on the road was a no-brainer; they fit right in my bag and were perfect for mixing music on the go.

Quibbles: The design cue that I wished Pioneer DJ had considered was enabling the cable connecting the two headphone cans to be removable. Enabling this functionality would allow users to replace headphone cans that may break.

Also, down the road, if Pioneer DJ did start to release different colors, they could then possibly also offer the ability for individuals to customize their headphones in a module-like fashion. While that would likely be a supply chain nightmare, it would be a lot of fun!

The Verdict Are these headphones suitable for pro-level DJing and monitoring? The answer is, without a doubt, yes! Their lightweight nature allows you to use them for an extended period in the studio. Their flexible fit and form make them perfect for both DJs, who use headphones for dual-ear and single-ear cueing.

The added fact that the HDJ-CX retails for $149 the spectrum of DJ and studio-monitor makes it an extremely apheadphone space. Size and interproachable headphone in changeable cords make traveling with

these headphones in a small bag perfect for the modern DJ, who is on the go and often does tons of prep work on a laptop – and doesn’t want the burden of carrying bulky headphones.

For performance and price, Pioneer’s HDJ-CX is a winner.

If you have any questions for Reed Dailey or Playback, please send them to jtremayne@hazanmediagroup.com.

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MOBILE DJ PROFILE Extra: David Osborne offers DJs, musicians & more.

By Jim Tremayne

College-Town Multi-Op Offers

MULTI-SERVICES Athens, Ga. – Outside of the Classic City, Athens, Ga., is well-known for three main exports: a live-band/club scene that has produced influential rock acts like The B-52’s and R.E.M.; the University of Georgia and its massive alumni base; and UGA’s wildly popular football team, the Bulldogs – 2021’s National Champs.

So, in a college market of 125,000 that loves its live bands, what opportunities remain for a mobile-DJ/entertainment service? If you’re David Osborne, a longtime Athens resident, 2004 UGA grad, and multi-op mobile, there are plenty.

Not only does Osborne run Sound Insight, a premium outfit for higher-end events, he also runs Athens DJ Service, a wedding-only company – and he offers live-band services to clients with Side Hustle, a 10-piece cover band, complete with horn section.

Speaking of side hustles, Osborne recently launched The Blueprint, “a full training resource for solo-op and multi-op DJs to train their teams.” And at DJX, this Aug. 8-11 at the Hard Rock Hotel & Casino in Atlantic City, N.J., Osborne will reveal some of that “secret sauce” when he helms “Grow A High-Performance Team,” an hourlong tutorial on recruiting, training, and maintaining DJ-staff in, what he calls, “a difficult market to operate.”

We recently caught up with David Osborne, 39, to discuss how he’s thrived and evolved in this unique Northeast Georgia market.

What inspired you to DJ? 42

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Was there a moment, an event or a person who lit that fire?

DJing is quite literally the crossroads of all the things that I’m good at. Trust me, there’s tons of stuff I’m terrible at – that’s just a different set of questions. I came out of the womb talking and entertaining people, I have my degree in music from the University of Georgia, and I come from a family of engineering-minded folks. So problem-solving and technology is in my DNA. I’m happy doing any of the mentioned things, but when they culminate at DJing it’s a Zen-type experience.

How did you actually get started DJing? Did you work for another jock?

I totally fell into DJing by necessity.

My mom got remarried in 1998 and my step-dad said, “Hey, you should DJ the reception with all your CDs.” I remember then knowing that my CD collection wasn’t going to cut it and I sourced as much as I could from the local library and played my first party on my boombox! Some years later, in college, I was always the guy making the burned CDs for parties and road trips. Right after college, I was attending what felt like dozens of weddings – and the DJs were awful. At one of the weddings, I told a friend, “Hey, I can totally do that,” and they challenged me to get started. I bought some gear and never looked back.

Did your music studies at UGA help you in your DJ business? How so?

My degree in Music Education/

Trumpet Performance has helped me tremendously. I spent 13 years teaching elementary-school general music – 2004 to 2017 – and was a professional trumpet player from 2004 to 2007, so my ability to understand and support people, as well as put on a show, come from my earlier experiences.

Can you describe your company?

How many DJs? What range of services do you offer?

I own two brands. Sound Insight is a signature-level brand – i.e., more expensive, higher expectations, higher results – that has four DJs, soon to be five. We offer DJs, lighting design, photo booths, live musicians, a live band, and FX. The second brand, which is like our minor-league-training team – Athens DJ Service – is a wedding-only DJ company that just offers DJ/dance lighting. We have five DJs at that brand.

What are your company’s main gigs?

Mostly weddings, corporate, and non-profit. Our band does work with a lot of UGA sororities.

You’re working in a town that’s wellknown for its live music – describe your live-band services?

We have a band called “Side Hustle” – it’s an eight- or 10-piece cover band.

The 10-piece has a full horn section.

The sax player is part of both groupings and is actually a working, wedding DJ with our company, so he helps with the client-facing side of the band.

What kind of mobile-DJ market is Athens? How does a DJ get and keep his or her part of the pie?

Athens is a two-faced town. The locals and surrounding areas are relatively lower-income and surrounded by barn venues in the North Georgia country. Our Athens DJ Service brand serves much of the local market and can travel up to an hour away. Our signature brand, Sound Insight, serves the destination-event side of Athens.

Proud UGA grads who go off to law school or own businesses in other states come back to Athens to host their weddings. All the guests are traveling in and stay downtown. Those couples usually are bringing a much larger budget and want that “college-party atmosphere” at their weddings.

How much does university life impact your business?

University life impacts my business a lot. It’s hard to recruit staff because qualified grads often move back home to Atlanta or to other cities, which makes it difficult to retain staff. There’s all kinds of university events, Greek-life events, corporate, non-profit – Athens is a major social-services hub – and more.

the town to host private events. On UGA homegame weekends, we’ll definitely be working outside the city.

The Athens area has grown so much this century.

In fact, the population has nearly tripled in the last 30 years. It’s not the sleepy, old college town it once was. What kind of nonuniversity business are you getting?

Just in the past 10 years, the city has changed economically to start to attempt to attract more professionals to stay. I mean, when I say we’re getting an REI and a Costco, that’s a big deal for Athens standards. The amount of corporate work – companies that are looking for non-DJ services – is growing. They are starting with looking for photo booths or lighting – sometimes with DMCs – and then we’re able to add the DJ side on, as well.

What are the venues like for mobile DJs in and around

Athens?

In town, venues are awesome – old Southern estates that have been turned into venues, Prohibition-era ballrooms. Outside of Athens, there are a lot of barns and former cotton mills turned into venues.

What gear do you carry in your main DJ systems?

At Sound Insight, we’re mostly all using the Pioneer DJ DDJ-1000SRT controller with Serato DJ software, V-Moda headphones, Sennheiser G4 mics, and a variety of DJ furniture – I use a ToadMatic and one of our DJs uses a Bunn booth.

We use Astera Lighting and Eternal Lighting, plus loudspeakers from ElectroVoice, Bose, QSC, RCF, and JBL. At Athens DJ Service, they are using Pioneer DJ’s DDJ-SR2 controller, using Serato DJ software, with QSC K12.2 powered speakers and Shure BLX wireless microphone systems.

How do you see your next five years going?

We’ll be growing exponentially. This past New Year’s Eve, I launched The Blueprint – www.blueprintlearn.com and @blueprintlearn on Instagram – which is a full training resource for solo-op and multi-op DJs to train their teams. We’ve been using it with our own team and it’s allowed us to grow faster and with higher quality. I see us easily multiplying several times over.

At DJX in August, what can show attendees expect to see from your “Grow a High-Performance Team” seminar?

Attendees can learn my exact process – the secret sauce – of how I recruit, train, and maintain our staff of DJs in a difficult market to operate. I’ll share every step of the way and every piece of the puzzle, as if I were training them to take over our process internally. It’s the information I wish I had five years ago when I started building our multi-ops. Come, check it out – we’ll see you in Atlantic City.

Obviously, Georgia Bulldogs football is a big deal in the Athens area. Each game draws over 90,000 fans to Sanford Stadium, so there’s an enormous influx of humanity on game weekends. How does each football season impact your business?

Football season means I know exactly when we’ll be sold out – on UGA bye weeks and away-game weekends, people swarm VOL.2 NO.3

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DJ BUSINESS

By Stu Kearns

Getting Started:

ADVICE Aplenty For A Mobile Newbie

Recently, a DJ newbie in the U.K. named Simon Gray posted this online: “I am a mobile DJ and I am just starting out. How do I promote myself? I have made posters, business cards, mailers to hotels and youth clubs, and have a mobile-disco live-stream page for nights. I have seven gigs booked this year, but I want more. Any advice?”

The replies from other jocks, mostly veterans, were numerous and useful. They included: Ian Watkinson: “You are doing all the right things. You are going to need to charge a little less, as you don’t have the reputation to fall back on. That said, make sure you’re comparing like for like – if you have good, quality kit you should be charging more than someone with a laptop and a wooden table and a jelly light.”

Matt James Southam: “Lots of what you are doing is cold marketing to non-searchers. Those will always be harder to convert than those searching for your services.

“Good areas are wedding fairs, Google ads – if you have a well-optimized website – and organic SEO. “Building up relationships with other DJs close to you is always good, as you may be able to cover them or you can pass work back and forth. Most local DJs know each other and while, in theory, are competition, can easily work together by building trusted relationships.”

Craig McInnes: “Without a doubt, find yourself a local DJ who can mentor you – not necessarily with your DJing skills, but the business and marketing side. I have been lucky and have a few great guys who have helped me. I haven’t even had the opportunity to return the favor, but I’m sure those days will come. Smile and enjoy it.”

Mark Robert Chattell: “Build a website, get registered on Google Business, advertise your services on Facebook pages that are appropriate to what type of DJ you want to be, and be consistent. Keep a record of when enquiries 44

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are busy for the next year, so you know when to promote heavily. You are doing the right thing, but giving business cards out to hotels, etc., it will just get chucked on the side or just pinned to a pin board and forgotten about. Social media is the best business card out there, but you need a platform to promote – a website. I would start with the website and work from there.”

Callum Smith: “It really is just a slow process of getting your name out there with a good reputation. Word-ofmouth and my website is the main way I get my work.

Charge what you think you’re worth and enjoy the events with the clients.”

Peter Smith: “Get yourself an online business flyer, join as many groups on Facebook, and post them. I started mobile DJing about 10 years ago, got myself a good mobile set-up and I’m booked most Fridays, Saturdays and Sundays already for the year end. Don’t try and undercut other DJs – we respect each other. If you’re good at what you do, you will get recognized and word-of-mouth is the best form of advertising. Good luck.”

Michael Allam: “Vary your marketing. I always found networking was the best approach. Get to know local DJs, local leisure, halls, pubs, etc., become active in wedding groups on Facebook, not to push your business, but to answer questions as an “expert” – anything to make your name known and get out there.

“Invest in a website – nothing fancy, but a solid, few pages. Make sure you’re listed on Google Maps and Bing Places. Link this up with an active social media, such as Instagram and Facebook. With some good SEO, some people linking to you and regular updates, you will fly above most DJs who really slack with websites.

“Business cards are always handy to have on you, but random leaflets, flyers, etc., are a valuable tool, but tend to be cold advertising, so not always very rewarding...

There again anything that gets your name out is a must.”

Gary Liam Wood: “Your reputation will grow with time and experience. Learn how to work a crowd. Don’t be afraid to use the microphone. If you can, get out from behind the booth and talk to your audience. Always smile and don’t be rude to anyone, even when they are driving you mad with the nonsense and drunken stupidity. If you know of any other local DJs, have a chat with them and try to learn from them. If they can’t cover a job, they may just pass it your way.”

Rich Mackinlay: “Word-of-mouth is the way forward.

When people admire your talent, they will tell friends and then your work diary fills up. It takes a while. I spent years getting there and COVID dropped a bomb on it. The thing I always found is it’s hard to preach your talent because it’s a live show — what worked last night might not work tonight. The other thing is price makes a huge difference on the amount of work you get. I started off wanting to be out for a reasonable amount rather than out once a week for a high rate. Stick at it and it will happen.”

GEAR

ILS 4 DJS Chauvet DJ has introduced its Integrated Lighting System (ILS), which, for the first time, makes it fast and easy to create advanced, coordinated light shows across different fixture types, wired or wirelessly and without the need for DMX programming. This patent-pending ecosystem uses the new GigBAR Move + ILS to send wireless ILS signal (or with conventional cabling) to wireless D-Fi USB receivers (sold separately) inserted in ILS-compatible fixtures.

GigBAR Move + ILS is a 5-in-1 pack-n-go lighting system that includes moving heads, derbies, washes, a laser and strobe effect pre-mounted on a single bar. The system is packed with robust features including 32-watt moving heads upgraded from 10-watts in the previous version. Previous red and green lasers have been bolstered to RGB Fat Beam lasers.

Derbies and hex-colored pars have improved brightness and the strobes are now high-powered 5-watt beam LEDs. Easy navigation and access to all the powerful 32-watt moving

head functions can be accessed directly from the full-color LCD display and Totem Mode keeps the moving heads focused on the dancefloor.

Chauvet DJ 5200 NW 108th Ave. • Sunrise, FL 33351 (800) 762-1084 • www.chauvetlighting.com

DM ME

GO NUDE Japan’s JICO, newly distributed Stateside by Mixware, has released two new offerings for DJs – the J44A 7 DJ cartridge and the N-44-7 DJ Replacement Styli (2-Pack) – and both feature the new NUDE stylus. The entire tip of a NUDE stylus is composed of diamond, as opposed to bonded tips and the J44A 7 DJ Cartridge and the N-44-7 DJ Stylus are designed to reproduce powerful bass frequencies and smooth output of the original Shure M44-7 cartridge and N447 stylus. This powerful combination makes it a great choice for turntable DJs looking to produce a lively, vigorous, and dynamic sound for their events.

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

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Pioneer DJ has released a host of new models in its DM Series of desktop monitor systems. The new DM-50D-BT integrates Bluetooth functionality into the DM-50D speakers. The DM-40 models also received an upgrade to help deliver a more optimal listening experience. The new speakers offer Bluetooth-connection capability and system upgrades to the compact DM-40 models. DJ/artists looking to produce their tracks to drop into their next set can easily do so with the speakers’ Production Mode settings with a simple switch flick – the speakers’ DSP settings will automatically adjust to create the best sound for each app. DJ/artists can easily connect their DJ setup or home studio to the RCA and mini-jack input terminals on the units. The DM-50D-BT and DM-50D also have a TRS input, and the speakers’ Bluetooth models enable artists to connect mobile devices for cable-free high-quality music playback wirelessly.

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

GEAR

A.I. FOR DJS Algoriddim has unveiled an update to its djay Pro AI on Mac, iPad, and iPhone, which introduces a next-level AI based Digital Vinyl System (DVS), enabling DJs to power their entire performance through their iPhone or iPad while using professional analog turntables and mixers. Algoriddim has also adapted djay’s user interface to complement any connected hardware and provide a blend of tactile and touch-based control. Moreover, djay’s audio engine has been fine-tuned for digital vinyl control to offer the tightest scratching, most accurate time-stretching, and lowest latency possible. Also, the company has introduced Neural Mix Vinyl, which offers isolated stems for any song right on the B-side of the control vinyl. Users can simply drop the needle of the analog turntable onto one of three distinct tracks on the physical record to play either the original song, its instrumental version, or the a cappella.

Algoriddim GmbH Königinstr. 33 • 80539 • Munich, Germany (49) 89 416177960 • www.algoriddim.com

HOW LOW CAN YOU GO?

IEMS A-OK ASI Audio/Sensaphonics has launched the second-generation 3DME Gen2 Active Ambient Monitoring System, which features ASI Audio App and belt-pack enhancements to expand the system feature set and extend battery life. The core remains the 3DME system’s application of patented Active Ambient technology to give users – DJs and traditional musicians – high-fidelity in-ear monitoring. The internal limiter’s lowest Limiter Threshold setting is now stretched down from 84 dB-SPL to 76 dB-SPL for those with especially sensitive hearing, along with subtle improvements in the attack characteristic of the limiter and the linearity of extremely high frequencies. The selectable Start-Up Squeal Suppressor (formerly called the Safety Limiter) eliminates feedback squeal that was possible when a user covered the ambient microphone with their finger while inserting the earpieces with the system powered. Similarly, turn-on and turn-off “thumps” heard when powering the system with earpieces inserted are now greatly reduced.

Next Generation ASI Audio/Sensaphonics 23307 Commerce Park • Beachwood, OH 44122 (216) 765-8875 • www.asiaudio.com

BASSBOSS Loudspeakers has released the SSP215-MKII Low-Profile Subwoofer. Tuned low, the double-15-inch unit provides frequency response of -3dB at 35Hz. The system features long-excursion, low-distortion woofers, which allows it to deliver high SPL at frequencies lower than many double 18-inch cabinets. Each 15-inch woofer has a 4-inch voice coil with a power handling rating of 1,500W RMS and 3,000W program.

The 180-pound unit also includes a 4,000W continuous RMS Class D subwoofer amplifier. Size-wise, the unit’s smallest frontal dimension is only 17.5-inchs, allowing multiple placement options for expansive bass in a constricted space.

BASSBOSS 2620 S. Hill St. • Los Angeles, CA 90007 (855) 822-7770 • www.bassboss.com

GEAR ERIS MONITOR PreSonus Audio Electronics has released the Eris E5 BT Active Media Reference Monitors with Bluetooth. Each speaker is equipped with 50 watts of Class D power.

With flexible analog and aptX Bluetooth wireless inputs, accurate frequency response, and a rich, full bass response, Eris E5 BT monitors are ideal for beatmakers and home studio producers. The monitors feature a 5.25-inch woven-glass composite woofer that delivers rich, tight low end and a 1-inch silk-dome tweeter for transparent high frequencies. The units offer ¼-inch TRS balanced inputs, unbalanced RCA inputs and stereo aptX Bluetooth input. A front-mounted headphone jack enables private listening, and a ⅛-inch stereo Aux In accepts signals from non-Bluetooth audio devices. The Eris E5 BT is also the first in the Eris family to offer a ¼-inch TRS Sub Out for adding a subwoofer PreSonus Audio Electronics 18011 Grand Bay Court • Baton Rouge, LA 70809 (225) 216-7887 • www.presonus.com

COLUMN SYSTEM LD Systems, an Adam Hall brand, has released the MAUI 443 G2, a cardioid powered column loudspeaker.

The system offers 1,500 watts of total output (RMS) with a frequency response of 37 Hz to 20 kHz and a SLP of 132 dB (peak) and is perfect for rental companies, DJs, musicians, small clubs, street festivals and permanent installations. The cardioid properties of the column elements and the possibility of creating a cardioid bass with an additional subwoofer further highlights the professional nature of this system. Transportation is easy and assembly is quick. No need for cables and stands – special multi-pin connections are used instead. Together, the rugged sub housing made of birch multiplex with polyurea coating and the light, powder-coated aluminum column weight less than 105 pounds.

Inputs include two XLR IN connections, while two XLR outputs enable a wired stereo configuration of two systems. Meanwhile, the SUB OUT can be used to hook up an additional sub.

Options include a transport roller board, carry bag and subwoofer cover.

LD Systems/Adam Hall Group 1 S. Corporate Dr. Riverdale, NJ 07457 (973) 335-7888 www.adamhall.com

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MIXING SOFTWARE Program4PC has introduced DJ Music Mixer to its range of software for Windows. Combining an intuitive and easy-to-use interface with innovative audio and video mixing tools, the system will help DJs create live mixes. Features include: automatic BPM calculation and sync; real-time pitch and tempo adjustment; auto-play mode; automatic beat detection; beat synchronization between the decks; instant looping; and set cues to mark places in tracks. Additionally, DJ Music Mixer allows users to: scratch, reverse and fine-tune cue points; remove the vocal from the music; access all archived music; mix video; visually monitor song structure; and apply effects like echo, delay, and reverb.

Program4PC, Inc. P.O. Box 3451 • Granada Hills, CA 91394 www.Program4PC.com

GEAR SOFTWARE SUITE Arturia has released V Collection 9, a suite of 32 pro-grade software instruments, which includes 14,000 presents, 14 exclusive new sound banks, NKS compatibility, smart macro controls, and in-app tutorials. Main features include: four new instruments (Korg MS-20 V, SQ80 V, Augmented STRINGS, and Augmented VOICES); Prophet-5 V and Prophet-VS V, now rebuilt as two individual instruments; CS-80 V, with a new sound engine with rebuilt DSP modeling, advanced modulation, voice dispersion, and a modernized advanced panel; Piano V rebuilt with 12 piano models, from Japanese Grand to Piano Bar Upright, and advanced sound design controls; and performance and workflow updates like better loading times, refreshed GUIs, and expanded user playlist functionality.

Arturia 26 Av. Jean Kuntzmann 38330 • Montbonnot-Saint-Martin, France (33) 438020555 • www.arturia.com

COMPACT INSTRUMENTS

UPGRADED INTERFACE Audient has released its latest desktop interface, the upgraded iD44 MKII. The Analog to Digital Converters’ THD+N figure sees a 9dB improvement from the original unit. The iD44 (MKII) now also benefits from the addition of Audio Loop-back, so users have the ability to capture playback from multiple applications on the computer at the same time as the microphones – ideal for content creators, podcasters and streamers. The incorporation of a dual headphone amp – including both a ¼-inch jack and a mini-jack, means three sets of headphones can be plugged in at once – as well as the makeover of the unit’s all-metal aesthetic, complete the key upgrades.

Audient Limited Aspect House • Herriard, Basingstoke Hampshire, UK • RG25 2PN’ www.audient.com

Roland has introduced AIRA Compact, a series of ultra-portable instruments with freeflowing features for creative exploration and authentic Roland sounds. Fun, affordable, and easy to learn, the T-8 Beat Machine, J-6 Chord Synthesizer, and E-4 Voice Tweaker bring serious musical power to everyone from hobbyists and gadget collectors to tech-savvy pros.

AIRA Compact instruments let anyone jam, perform, and develop ideas on the go with friendly controls, inspiring sounds, and loads of intuitive music tools. Users can realize complete compositions with a single unit or expand their possibilities by connecting and synchronizing with other AIRA Compact models. From one master unit, multiple AIRA Compacts can be mixed and monitored with headphones or an external speaker system. It’s also possible to interface with computer DAWS, mobile music apps, and hardware instruments via USB-C or MIDI. Driven by Analog Circuit Behavior (ACB) and other advanced technologies found in top-line Roland instruments, AIRA Compact delivers the real-deal sounds behind decades of hit music. Users can create with the genuine voices of Roland icons, including TR rhythms, TB basses, JUNO synths, VT effects, and more.

Roland Corporation U.S. 5100 S. Eastern Ave. Los Angeles, CA 90040-2938 (323) 890-3700 www.roland.com

“MIRACLE” Ultra Naté BluFire/Peace Bisquit Over an engaging production that deftly mixes Afro-Pop/Afro-House elements, B’more’s legendary diva delivers tales of empowerment and strength. A snaky guitar riff combines with a supple rhythm and a hooky horn section for one memorable track. Soulful and affirming.

– Jim Tremayne

“TELL YOU WHAT IT IS” Eats Everything & Shermanology Three Six Zero Recordings The renowned U.K. DJ/producer teams with the Caribbean duo for one devoutly soulful, but massively thumping house track. The sweet keys carry a strong countermelody, and the rhythm never strays. And check the righteous “Shermanology Soultec Remix,” which ramps ups the gospel vibe even further.

–Jim Tremayne

“AFFECTION” (SOLOMUN REMIX) Boys Noize & ABRA Boysnoize Records Solomun takes Boys Noize’s boppin’ original electro track and turns it into a techy, melodic-house monster. And check out his darker dub version, whose stark, twitchy rhythms should turn out plenty of late-night dancefloors.

– Jim Tremayne 50

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Solomun

Carl Cox & Nicole Moudabe

Eats Everything & Shermanology

“CALABRIA” Claptone Defected With another crowd-pleasing take on this iconic hit from 2007, clubland’s masked marvel offers his summer anthem for 2022. With a snazzy breakdown complete with the sax-riff hook and pulsing bassline, this one should keep firing up dancefloors around the globe.

– Jim Tremayne

Ultra Naté

TRACKS

“HOW IT MAKES YOU FEEL” Carl Cox & Nicole Moudaber BMG From Cox’s upcoming Electronic Generations album, this epic techno track carries us away on quite the nervy journey. From the outset, a steady kick drum gives way to 808-acid flourishes, then builds with hi-hats and effective synth stabs until it transforms into a nearly nine-minute jaunt of raver bliss.

Energetic, rhythmic and pulsing, this one’s easily for peak-hour.

– Jim Tremayne

“BRING ME UP” EP BEC Factory 93 The title techno track kicks hard and goes deep with distorted vocals and squirmy effects. Dark and effective, it rumbles with plenty of menace. Rugged B-side, “Acid & DMT,” as one might expect, flexes the 303s and ventures into some fairly heady places. Solid techno twofer.

– Jim Tremayne

“BELFAST” (YOTTO REMIX) Orbital London Records Shuddering kicks and ascendent swirling synths launch Yotto’s sublime remix of Orbital’s majestic 1991 classic. It builds with authority, then drops Emily Van Evera’s iconic, operatic vocal sample for moments of bliss. Wonderfully melodic.

“PROBLEM SOLVER” Loods Trick Soulful female-vocal vamps over a Moroder-esque synth and a pumping beat make for one catchy, high-energy track.

From Australia’s Loods (aka Elliot Struck), this one thumps from beginning to end and yearns for peak-hour placement.

– Jim Tremayne

Loods

Lee Foss

Jon Hopkins

“DEEP IN THE GLOWING HEART” (NIGHT VERSION) Jon Hopkins + ANNA Domino A mesmerizing synth line syncs up with a thumping kick drum for hypnotic effect on this thrilling techno track.

Equally melodic and bewildering, this “Night Version” of the cut – originally found on Hopkins’ 2021 Music for Psychedelic Therapy album – should easily work the all-night party circuit.

– Jim Tremayne

BEC

TRACKS

“TUKO TUKO” Lee Foss & Paskman Repopulate Mars Manic chants meld with a warped rhythm, squiggly synths and random spoken-word passages to create a mad soundscape for the dancefloor.

Deep and disorienting, this one should be saved for your darkest moments.

– Jim Tremayne

VOL.2 NO.3

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DJLIFEMAG.COM

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Compiled As July 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 Jack Harlow Camila Cabello F/ Ed Sheeran Beyonce’ Lady Gaga Harry Styles Latto & Mariah Carey Diplo & Miguel Alesso & Zara Larsson David Guetta / B Hill / E Henderson Kx5 F / Hayla Seamus D Sofi Tukker Lodato & Janice Robinson Calvin Harris, Dua Lipa, Young Thug Aviella Imagine Dragons & Jid Company B Dove Cameron Doja Cat Steve Aoki & HRVY Swedish House Mafia & Constance Kah-Lo Imanbek & Byor Marshmello f. Khalid Mike Izon Lauv Just Kiddin Em Beihold Tyga x Doja Cat James Hype & Miggydela Rosa Kate Bush Post Malone & Doja Cat Kim Cameron Traig Charlotte Sands Armin Van Buuren & Sam Grey Sasha Anne Nitti Gritti/Hardar Adora

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

Sweetest Pie About Damn Time First Class Bam Bam Break My Soul Hold My Hand As It Was Big Energy Don’t Forget My Love Words Crazy What Love Can Do Escape Like That Summer In New York Dreamer Potion Like It How It Is Enemy Let’s Just Dance Boyfriend Get Into It (Yuh) Save Me Heaven Takes You Home Drag Me Out Belly Dancer Numb Another Rainbow All For Nothing Change My Mind Numb Little Bug Freaky Deaky Ferrari Running Up That Hill I Like You Perfect High On You Dress Human Touch Catch Me I’m Falling Sex Drive

Khalid Charlotte Sands Black Eyed Peas F/ Shakira & Guetta The Kid Laroi Kim Cameron Maneskin Company B Harry Styles Mike Izon France Joli

Skyline Dress Don’t You Worry A Thousand Miles Perfect Supermodel Let’s Just Dance Late Night Talking Another Rainbow Fallen

1501 Certified 300 Atlantic Generation Now Epic Parkwood / Columbia Interscope Erskine RCA Higher Ground Future House Parlophone UK Toolroom Pitched Up/ Ultra Ministry Of Sound Spinnin’ Columbia Dim Mak Interscope Records House Of Pride Music Disruptor RCA Dim Mak Republic Epic Spinnin’ RCA RSM Virgin Robbins Moon Projects / Rep Empire The Cross Records Rhino / Warner Republic Side FX Partners Swishcraft Lakeside Armada Tazmania Spinnin’

RCA Lakeside Epic Columbia Side FX Arista H.O.P. Erskine RSM Swishcraft

REPORTERS n n n n n n n n n n n n n

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 Michael Cerchiai

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 House Of Pride Radio

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

Jon Z / Jadakiss / Shotter Ledo Pepper Mashay Karol G Shakira & Raw Alejandro Becky G Rico Walker Tito Puente Jr.& Meñique Jose Adrian Tony Fuego Milly Quezada Van Lester Alsikiatra Ephrem J Riverita y su Orquesta Dominic Marte Daddy Yankee / Pitbull David Kada Alex Rose / Wisin / Yandel Don Perignon / Herman Olivera YouMaico feat Manny Cruz

Pa Que Sude Dancin Lights Provenza Te Felicitó Baile Con Mi X El Tumbao De La Timba Niña y Señora Me Gusta Mi Bizcochon Resistira Ya No Queda Nada Tas Mordio No Regreso Contigo Que Trigueña Tan Linda Lo Se Hot Y Si Me Vuelvo Sentido Ritmo Bembe Como Duele

C.F.E.E Freckle Bandit Universal Sony Kemosabe Salsaneo Doral Music JAM TF Media LOMG Cuquita Alsikiatra EJ Music Jibaro Prod.

Direct Balance El Cartel Cache Ent. WK Don LOMG

Most Added Tracks 1 2 3 4 5

Prince Royce & Maria Becerra Rubby Perez Gente De Zona & Carlos Vives Henry Jimenez Presenta Miosotis

Te Espero Un Compromiso El Negrito Lloraras Vaiven

Sony R.P.Music Group Universal HJ 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