DJ LIFE MAG, Vol.3 No.2 Danny Tenaglia

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Anaheim, Calif. – According to organizers, 46,711 industry pros attended the 2023 NAMM Show , which was held this past April 12-15 at the Anaheim Convention Center. The annual trade show gathered much of the music-retail industry to see the latest product releases in a variety of categories, including DJ, musical instrument, studio, pro audio, lighting, and accessories. Of course, DJ LIFE was there to report on the latest DJrelated developments.

DJ Sector: Pioneer DJ showed three new items – the DJM-A9 4-channel mixer, the OPUS-QUAD all-in-one DJ system, and the DDJ-FLX10 4-channel DJ controller for rekordbox and Serato DJ Pro.

France’s Hercules , exhibiting from the booth of its distributor American Music & Sound , debuted the DJControl Inpulse T7, a feature-packed motorized DJ controller. Also, at the AM&S booth, Germany’s Reloop showed Flux, a 3-channel DVS interface for Serato DJ Pro, the Turn X direct-drive turntable, and the Turn 7 belt-drive USB turntable. Related company Glorious showed the Glorious Sound Desk Compact studio workstation.

At the Mixware booth, Decksavers showed its latest protective covers for a variety of DJ products. Also, Mixware brand Headliner debuted the Headliner R2, a 2-channel analog, rotary DJ mixer with 3-band isolator EQs on each channel and genuine ALPS potentiometers. Odyssey showed a variety of cases, DJ podiums and accessories, like the Smart Laptop Stand with High Speed 3.2 Media Hub.

Pro Audio: QSC debuted L Class, a new series of intelligent, active loudspeakers for apps ranging from portable, plug-andplay setups for DJs to networked AV productions and club installations. Units include the LA108 and LA112 speakers, plus the LS118 sub.

From the Adam Hall booth, Germany’s LD Systems debuted the MAUI G3 Series of compact, column PA systems. BASSBOSS showcased its dual-18 ZV28 mkII and its Quad 21-inch Kraken powered subwoofers.

EAW showed its RS123 active speaker and RS115 active sub, plus its KF210 2-way line array. JBL showed its SRX900 powered line arrays and subs. Peavey showed its new Aquarius AQ Series of loudspeakers and LN 1263 column array speakers.

DAS Audio launched its ALTEA-DUO Series of 3-way, powered column systems, which includes DUO10 and DUO20 systems. Samson debuted the Expedition Explor portable PA system.

Celestion debuted the 18-inch PowerProX18 sub.

Ultimate Ears Pro debuted UE Premier IEMs, a new set of in-ear monitors that features 21 drivers per side. Audeze showed its new MM-100 headphones.

Lighting: Chauvet DJ introduced new additions to its Freedom line of wireless battery-operated lights, including four pars, plus new packages and sleeves. The company also debuted RFC and RFC-XL, two remote controls, and the Intimidator Spot 360X moving-head unit.

ADJ debuted several new products, including a variety of Element Series uplights and Encore Series lights, plus the Stryker Beam moving head, the Stryker Wash LED zoom wash moving head, the Vortex effect light, and the Cosmic Burst moonfower effect. Related company AVANTE Audio showed its Imperio Pro mini line-array speaker system, which includes the IMP205 line-array element and the IMP118 sub, and debuted the AS8 ACDC active column-speaker system.

Studio: Berlin’s Bitwig showed Bitwig Studio 5, a new version of its DAW. NUGEN Audio debuted its Jotter note-taking and studio-collaboration software.

IK Multimedia showed its new Total Studio 4 Max, a collection of plug-ins. Software maker Sound Particles showed SkyDust 3D, the market’s frst 3D synth. Audiomovers released its new INJECT plugin, which allows DAW users to easily route audio.

Avid showed updates to its Pro Tools software, which provide music creators with Sonic Drop, a monthly content program that delivers a mix of new samples, loops, and instrument presets, PlayCell sample player instruments, and dozens of new presets for GrooveCell and SynthCell instruments.

At the ACT Entertainment booth, Ultimate Support Systems debuted the VMC-T-T Venue Mic Stand, UTH-100 Universal Tablet Holder, and BCM-300 Deluxe Broadcast Mic Stand for content creators.

U.K.-based iFi Studio launched products for studio and live sound, including the Pro iDSD Studio fagship interface/controller, Pro iCAN Studio reference-class headphone amp, and ZEN One Studio compact D/A converter.

Mic maker beyerdynamic unveiled a redesign of its M Series, which includes mics for live and studio applications. Finland’s Amphion debuted the One25A, its frst 3-way, active studio monitor. Augspurger Monitors showed its new MX65-Sub12 nearfeld speaker.

Four Color Zack at BPM Music party. Hercules Debut: DJControl Inpulse T7. Pioneer DJ: DJ Dynamix & DJM-A9 mixer.


Miami Music Week

24 NAMM ’23 Highlights Our Picks for Top DJ-Gear Debuts from the Annual Anaheim Show
Parties Big & Small Bring the DJs to South Florida By MMW Photographers 20

Big Bam Boom

Legendary NYC DJ Danny Tenaglia Takes His Old-School STAX Concept to a New Venue

In the Studio With…



I’ve said it before and I’ll say it again; If you put a gun to my head and ask me to name my favorite DJ, I’ll usually reply, “Danny Tenaglia.” Why? Some of the best clubbing nights I’ve ever experienced happened when Tenaglia was working the decks. And, I gotta say, covering his career has been one of the pleasures of mine.

Long known as “the DJ’s DJ,” Tenaglia’s also a dancer’s DJ, the kind of club jock who’ll take you on a genuine journey with an often-fawless trip through genres and moods. Ask anybody who’s experienced his legendary New York residencies at venues like Vinyl, his memorable marathon sets in Miami at clubs like GrooveJet or his global journeys to faraway spots like Ibiza and beyond. From percolating house grooves to tough techno and clubland classics, a Tenaglia set will turn you out and may have you talking about it forever after.

These days, Tenaglia, 62, doesn’t tour as often as he once did and, in an effort to bring back some of the old-school favor to NYC’s clubland, he’s breaking out the STAX – i.e., a pair of megasound systems that he’s brought out of mothballs – and taking them to a Brooklyn warehouse for what he hopes to be another memorable New York residency. Just before that gig and another one we caught at Miami’s Treehouse, we discussed his latest doings, his infuential career, and the current DJ scene.

As mentioned, this issue also took us to South Beach, as we took in Miami Music Week, which included scads of club parties, sponsored events, and pop-ups. Of course, we checked out the annual Ultra Music Festival, which presented many of EDM’s biggest stars, including Carl Cox, Rezz, and Charlotte de Witte. In this issue, two photo spreads take you right back there.

A couple weeks later, we went way out west to Anaheim, Calif., for the NAMM Show, the musicretail industry’s biggest trade event and the place where many new DJ-related products are unveiled. In our news page, we reveal which products – playback, pro-audio, lighting, studio, accessories, etc. – will impact the DJ world. And in Staci Nichols’ feature report, she offers her top product picks from the NAMM showfoor.

For our Sound Bites department, we ventured to Honolulu, where we caught a terrifc set from Noizu (aka Jacob Plant), a British DJ/producer whose career is experiencing an impressive second act with hits like “Summer 91.” In our post-show conversation, we fnd out how he’s done it. Additionally, we visit with Renaat Vandepapeliere, DJ and longtime co-founder of Belgium’s legendary R&S Records. In our chat, he offers his perspective on the label’s top DJ/artists like Aphex Twin and explains how he’s succeeded by always looking forward.

In Club Spotlight, we venture to Hell’s Kitchen on Manhattan’s West Side to check out Musica. In addition to talking with industry vet JonPaul Pezzo, the club’s programming/marketing man, we show you glimpses from some of the venue’s biggest nights, including sets from Green Velvet, Kerri Chandler, and Nora En Pure.

As he often does, our Denver-based scribe Wesley King handles our product-review departments. In Playback, he tests out Hercules’ Hercules DJControl Inpulse MK2 controller. Then in Studio Session, he puts two more products – Novation’s Circuit Rhythm and FLKey 37 – through their paces.

In our Mobile DJ Profle, we visit with Akron, Ohio-based multi-op Ryan Von Ahn, who explains how he succeeds by managing clients’ anxieties. And in DJ Business, we ask a question that’s been on everyone’s minds recently: Will Artifcial Intelligence replace the mobile jock? Or will it merely enhance their businesses? Several entertainment-company operators weigh in.

Speaking of AI and ChatGPT, in particular, we’ve also announced a round of DJX seminars that will directly address the technology’s implications on the DJ business. Set for Aug. 7-10 at the Hard Rock Hotel & Casino in Atlantic City, N.J., DJX will present 30 educational seminars, panels and keynotes, an exhibit hall full of the latest DJ-related technologies, plus sponsored evening events. For the very latest on DJX, please visit www.djxshow. com – we hope to see you there!



Jim Tremayne


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nXt launches at DJX’23 with the following initiatives: The nXt DJ Summer Camp led by Coach Hapa, the


DJs ages 13-19 can enroll in the nXt DJ Summer Camp

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Prizes will be awarded to the 15 top contestants. They range from nXt All-Access passes to performance opportunities at DJX. Additional DJX’23 show foor experiences include onsite activations, education, seminars, mixers, tutorials, and demos on the latest gear and technology. #CALLINGALLDJS REGISTRATION FOR nXt@DJX IS NOW OPEN WELCOME


Atlantic City, N.J. – It should be clear to everyone by now that, moving forward, Artifcial Intelligence (AI) will impact nearly every facet of our lives – and that includes the DJ world. But some of the public discussion of AI has been foreboding. As it relates to DJs, what’s to fear? What’s to embrace? And just how deeply will AI facets like ChatGPT impact DJs and their businesses?

At DJX – set for Aug. 7-10 at the Hard Rock Hotel & Casino in Atlantic City, N.J – digital-marketing maven Jordan St. Jacques from Canada’s Digitera will have answers with sessions on four different AI-specifc topics.

Produced by DJ LIFE magazine and Hazan Media Group, DJX will present a showfoor full of the latest DJ-related products, a slate of 30 educational sessions, and nightly parties featuring top DJ talent. DJX’s AI sessions will include: Aug. 7 – Workfow Mgmt: How DJ Companies Can Best Use AI. The advent of ChatGPT and other such AI tools has changed the digital landscape as we know it. And for those running DJ companies, using such tools productively will save you hours every week in your workfow. Join St. Jacques as he takes you through the paces on how best to use ChatGPT in your workfow – from blog-writing to contract-creation and everything in between – so that you make the best use of your time every week.

Aug. 8 – The Big Fear: Will AI Replace DJs in the Future? One of the biggest questions within the DJ industry these days is: “In the future, will AI replace the DJ?” This year at DJX, our AI panel will explore exactly that issue. At this lively discussion, moderator St. Jacques will be joined by Ken Cosco (Boston’s A Touch Of Class) arguing for the DJ side vs. Ryan Von Ahn (Ohio’s By Request DJs) arguing for the AI side... with Ross Akselrad (Philadelphia’s Pulse Entertainment) taking a neutral stance and pointing out the pros and cons of both perspectives.

Aug. 9 – Web Tasks: ChatGPT for SEO & Social Media. In this session, DJX attendees will experience a deeper dive into ChatGPT with regards to the ever-important topics of SEO and Social Media. Join St. Jacques and Brooklyn-based DJ Mike Marquez (NYC’s Twitch trailblazer) as they explain how ChatGPT can speed up common SEO and social-media tasks that we all must do.

Aug. 10 – The Finale: AI Tooltime. Join St. Jacques for an hour-long session to go through all the best AI tools for your business available on the market today. The session will plow rapid-fre through as many productive tools as possible –and the hosts will give away a few freebies at the end of the hour to everyone in attendance, as a way of saying thank you to those of you who stayed for the last day!

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At this point, you’d think that Renaat Vandepapeliere wouldn’t have a lot more to prove. It’s been 40 years since the Belgian DJ/entrepreneur co-founded (with his wife Sabine) R&S Records, one of electronic music’s most infuential imprints. It’s a label that’s given us rave anthems like Joey Beltram’s “Energy Flash ,” evergreen dancefoor cuts like Jaydee’s “ Plastic Dreams ,” and one of the most enduring albums in the genre’s history, Aphex Twin’s Selected Ambient Works 85-92

But, as he’ll tell you, he’s a traveler, one who looks ahead, not backward. So, there’s more, always more. And with In Order to Dance 4.0 – a collab featuring the latest sounds the label has to offer – R&S celebrates the present, not to mention its 40 years in the business. With its wildly diverse range of sounds, the 14-cut full-length delivers genuinely melodic techno (Hyphen’s “Winter Sky”), twisted rattlers (Vromm’s “Red Tuna”), FX-flled ravers (Pascal Nuzzo’s “Hold On ”), manic D&B (Som.1’s “Ultimatum ”), and even tasty hip hop (Nphonix & Matrika’s “Rumble Around ”). A quality effort.

DJ LIFE recently caught up with the R&S chief to discuss his legendary label, DJs, and the way forward.

DJ LIFE: Over the years, the sounds on R&S have certainly evolved and, on this comp, it’s all there... hip-hop, acid, electronic soul, breaks, rumbling techno. What was your vision for this release?

Renaat: It’s our 40th anniversary year and it would be easy to put out a “Best of R&S” compilation featuring the label’s most commercial tracks, but I wanted to do something else, like an album of demos from mostly unfamiliar names. Each track on the album captured me directly from the frst moment I heard it. R&S is all about the music. I don’t look at Facebook or artist profles. I’m not interested in how many followers someone has. I don’t care who the music is made by or where they come from. As long as the music grabs me, you’re welcome on R&S.

But, the vision for this album was for it to feature more and more eclectic dance music

rather than just one sound. And if it surprises people, it can only be a good sign because they will be equally surprised by some of the new releases we have in the pipeline; this is only the start.

DJ LIFE: Of all the early tracks that raised the R&S profle, which one helped the label the most?

Renaat: For me, every release is and has been important in this whole voyage. But it’s clear that “ Energy Flash ” [by Joey Beltram] and “Mentasm ” [by Second Phase] put us on the map and, of course, Richard James [aka Aphex Twin].

DJ LIFE: Why did “Energy Flash” resonate so much when it was released?

Renaat: First of all, there were less tracks being released 30 years ago. But


more so, the track sounds familiar and yet there’s something uniquely different about it. I call it “the salt and pepper” effect. It stood out; there was nothing like it.

DJ LIFE: I know I’m not alone when I say that Aphex Twin’s Selected Ambient Works 85-92 from Apollo/R&S is an album I still revisit to this day. Why do you think that album retains its charms all these years later?

Renaat: Because it has melodies that everybody can remember. It has this wonderful creative freedom, and you can hear that. It’s a blueprint. It’s an emotional album. It grabbed me completely the frst time I listened to it, and it can be appreciated by the old and the young because it’s a beautiful album, period.

I remember the day clearly when Richard came to my home with a box of cassettes. He was 17, and I was completely intimidated by him. He has such a strong aura and charisma, it’s unbelievable. I cannot even describe what it was like. It was like Jesus coming into your house. He’s a beautiful guy, but I was intimidated because I knew I was seeing an individual artist, someone extremely special. For such a young guy to be making such mature music – it was ridiculous! The music was great then, and it’s still great.

DJ LIFE: What do you make of the current electronicdance scene – labels, festivals, clubs, and DJs?

Renaat: It’s a youth culture, and it’s their time. It’s their moment. We all know that dance music goes in cycles and morphs into different shapes and sounds… so, my opinion is a bit irrelevant. I’m not a judge and I’m not here

to judge – otherwise, I’ll sound like an old grumpy man, or like my father the frst time he heard The Beatles, or especially The Rolling Stones.

DJ LIFE: But you still keep up with it all…

Renaat: Just this weekend I went to an event where the music was 200 BPM – can you imagine? And I was there for six hours. But the kids loved it. They were having the time of their lives, so who am I – or anyone else for that matter – to tell them they are wrong? Music is all subjective. I’m not gonna follow this music, I’ve seen this before; it’s like gabber in the old days. But, hey, as long as everybody has fun listening to a fart-like beat at 200 BPM, I’m OK with it.

DJ LIFE: How much are you DJing these days?

Renaat: Before Corona, I was playing weekly somewhere, and I was really enjoying myself. During the pandemic, I started streaming live sets from home because I was bored. But since then, the gigs I want to play are few and far between. I think that’s because maybe I’ve enjoyed the freedom of playing from home a little too much because I’d switch from hip-hop to jazz to whatever. When I’m playing, I’ll drop a rock track in there because after an hour I’m bored with dance music – I need some guitars or something. Maybe it’s best if I stay home for now. But I don’t know… maybe I’ll become the DJ that gets the care homes rocking. People often ask me to play gigs, but I’m always asking myself, “Shall I? Shall I not?” Even for most R&S parties, I prefer to leave it up to the youngsters. But for the next one we have, in Ghent, I will play.

DJ LIFE: What makes a good DJ to your ears?

Renaat: A good DJ, for me, is someone who surprises me with their music selection – someone who can be quite eclectic and is working towards something by bringing the music up and bringing the music down. A DJ’s relationship with music is like a love affair, and there are many ways to have sex. For some, it’s like eating a carrot and going at it like a rabbit, but good DJs know the art of foreplay. All DJs fear making mistakes, but good DJs know how to handle those mistakes. I’d much prefer to hear a DJ make a few slip-ups than hear a clinical pre-planned or pre-recorded set. I come from the old days when the stylus might skip across a record because there was dirt on the needle.

DJ LIFE: Any advice for young DJs?

Renaat: Learn. Today, especially, everybody wants to be overnight millionaire DJ, selling three records and getting 50 grand per second to play. I’m saying this to a lot to young kids… watch documentaries, watch the life story of bands like The Rolling Stones… see the effort and the work they’ve put in, the ups and downs of their careers. Learn what it is to be an artist. If you approach music like a blinkered horse, you’re going to miss so much. Explore and learn what’s come before you, dig deep and explore different genres, expand your horizons, your mind, and your knowledge. That takes dedication – and that is real passion, doing your research. It might not get you any instant wins, but it will be benefcial in the long run. I’m 66, and I’m still doing it. I’m still listening to classical music, to rock music, to as much as I can hear. If you’re a producer, the more history you know, the more creative you can be. Suffer for your art, period.

DJ LIFE: What will be the R&S legacy?

Renaat: That’s for other people to answer, really. If there’s one thing that pleases me, though, it’s that I can listen back to R&S records that are 30-years old and they still sounding fresh, but I’m a traveler and I prefer to look forward.

Renaat Vandepapeliere: Celebrating 40 years of R&S Records.


Honolulu – Hawaiian Brian’s is an unlikely spot to hear the latest tech-house grooves. The multi-purpose entertainment venue sits next to a car park just off a main Ala Moana thoroughfare and it mostly features pool tables, dart boards, and arcade games. It’s more Dave & Buster’s than Ministry of Sound.

But tucked inside, slightly away from the booze-fueled gaming areas, sits HB Social Club, a black-box “concert hall” that has become a venue of choice for Oahu EDM promoters. Tonight, Noizu’s in town and the area house-heads are out in strength.

For the past two-plus years, Noizu (aka Jacob Plant, 32) has enjoyed a good ride. Since moving to Los Angeles from his native England, the seasoned DJ/producer has undergone an artist rebranding (from his given name to Noizu) and enjoyed several well-regarded releases – “ Rave Alarm ,” “ DANCE ,” and “ Elevate ” – before hitting paydirt with “ Summer 91 ,” an old-school, anthemic, happy-house track.

At HB Social Club, as soon as Noizu dropped the tune’s piano intro, the room collectively pulsed, hands shot into the air, and, yes, everything became sunshine and rainbows. But that wasn’t all. Newer bangers like “ Push to Start ” (a collab with Westend) and upcoming single “ Lost ” created plenty of dancefloor froth as well. And by the end of this February night in one of the more curious American club settings, everyone seemed to be sweating, smiling, and satisfied. House music remains alive and well, even in the middle of the South Pacific.

We caught up with Noizu a few weeks afterward to discuss his studio kit, his Techne label, and his recent culinary endeavors.

DJ LIFE: I caught your recent set in Honolulu at HB Social Club. The crowd was really up for it, and it sure seemed like you were having a good time.

Noizu: Ha-ha, yeah, it’s always fun playing there – the crowd really go for it. I’ve played there three years in a row now – I love it. I always make a trip out of it because it’s too nice just to go for one night.

DJ LIFE: “Push to Start” is a real banger. Creatively, how did you approach it? How did you make this collab work?

Noizu: Me and Westend have been working on music together for a few years now, but we never loved anything we did enough to put it out. We fnally decided to focus on a club record that would bang in our sets and sound good at festivals this year. Once we had a direction, it took a few days to nail, mix and master. The process of that song was actually quick and easy. I wish every song was like that.

DJ LIFE: These days, what’s your main studio gear?

Noizu: I use Ableton Live now and mostly plug-ins. I have a Moog Grandmother, a Juno 106, and a Novation synth, but that’s the only three hardware synths I have. I honestly don’t use the hardware as much as I would like because I am always on the road. I actually just

L.A. Life: For Noizu, it’s house music & hot sauce.

got a new laptop and I have been really strict about what plug-ins I use. I’m trying to have less choices instead of more, so I can really focus in. Mainly, it’s UAD, Native Instruments, Arturia, iZotope, Korg, and a few others, but nothing mad.

DJ LIFE: Aside from the computer, what’s your most important piece of studio kit?

Noizu: Honestly, the DAW. Ableton gives you so many standard plug-ins you can make anything with it. There’s nothing else you need, everything else is just a bonus. I use iZotope for all my mixing and mastering, so I would say that’s pretty important to my workfow. In terms of the music side, Native Instruments has everything you need – if you can’t make a song with Komplete then you might as well give up. They are my go-to for sounds.

DJ LIFE: What made you want to pursue music?

Noizu: My frst-ever infuences when I was younger were more guitar music. I played the guitar and listened to a lot of metal, grunge, and rock. It wasn’t until I heard rave music that I shifted from rock to electronic music. I’ve always been obsessed with music since I was young and started producing at around 13-years old, so it’s been my life for as long as I can remember.

DJ LIFE: The U.K.’s DJ and dance-music culture has always been huge – what part impacted you the most as a youth?

Noizu: I think the fact that dance music is big in the U.K. has helped my understanding of it because it was always around me. Going to Ibiza every summer is massive thing that people from the U.K. do and that really exposed me to different types of electronic music and DJs. London also had such a strong scene when I was growing up. Everyone all of a sudden wanted to me a DJ, so that really pushed the scene forward.

DJ LIFE: Which DJs were you initially drawn to?

Noizu: Fatboy Slim, The Prodigy and Chemical Brothers were a massive part of my musical journey over the years. I saw them play in the U.K. and it blew my mind. I’ve been a fan of so many different forms of electronic music it’s hard to pin down because there are so many.

DJ LIFE: You moved from England to Los Angeles a few years ago. Obviously, much of the music industry is there, but, as it relates to dance music, what has been the biggest transition for you?

Noizu: It defnitely took time to adapt in L.A. It’s so different to London, it was a bit of a shock at frst. I love it here, though. There are so many people in the music industry here and it feels like a place with like-minded people, which helps drive you. The music scenes are very different, too. The sounds you hear in L.A. are very different to London, so I feel like a ft more in the L.A. scene now.

DJ LIFE: You’ve mentioned that the pandemic was tough on you. Those “drive-in raves” really helped you out. How do you refect on that time and how did you get through it?

Noizu: Yeah, that time sucked, and we all tried to do things to get through it. I remember everyone saying these things “are here to stay” and remember thinking, “Fuck that!” Thank God, most things from the pandemic in music are fading away. Those drive-in raves helped me so much through that time and many other artists and companies. I’m glad it’s passed and the industry is getting back on its feet again.

DJ LIFE: Not long after, you really hit a home-run with “Summer 91.” Seems like a great, old-school piano-house

tune always connects, plus there’s a bit of a nostalgia factor with the lyrics on that one. Talk about putting that tune together and what impact it has had on your career?

Noizu: Yeah, that was a life-changing moment. It helped my career so much because it put me in a stronger position for getting booked and being on festival line-ups, etc. That song was just purely inspired from being in lockdown and dreaming of being back at raves. I think it came out at the right time and summed up how people were feeling.

DJ LIFE: What’s your vision for your imprint, Techne Records?

Noizu: Me and the team are trying to grow Techne every year. The dream for me is one day it would be a standalone label that doesn’t rely on Noizu songs and the Noizu brand to push it. I love the idea of having Techne parties and releases that are completely removed from Noizu and sit in their own right. For now, we focus on house and techhouse, but when I slow down on the touring I would like to try and expand that label and focus on a handful of artists to help develop.

DJ LIFE: What advice would you give up-and-coming talent?

Noizu: Personally, it would be to learn how to produce and make your own music and sound. I think for the longterm of a career that is a foundation that you need.

DJ LIFE: You had a bit of a musical history before you launched the Noizu project. What set you on the Noizu path? How did you see this project and this persona as different from what you’d already done?

Noizu: I moved to L.A. and was at the end of my old career. Things had dried up and it was getting harder. I saw what Chris Lake was doing early on with the tech-house stuff and knew I could produce music like that. He actually asked if I had anything for the HOWSLA album he was working on at the time. I sent a track called “Lasers” and he loved it, but asked if I could do it under a new name… That was the birth of Noizu!

DJ LIFE: Was sidestepping your professional past and playing down your identity important to you?

Noizu: I think it’s nice sometimes to start anew. Take away everything you have done before and start fresh. There’s an excitement in that, the same excitement you have for music when you are 16-years old and wanting to get into it all. Also, by hiding my identity to start with, it got rid of any prior music I had done in the past and gave an audience a fresh perspective.

DJ LIFE: I understand you’ve really taken to cooking and you’ve even launched a hot-sauce brand. Tell us about that…

Noizu: It’s called Heaters Only Hot Sauce, and it’s absolute fre! I’ve never been so excited about something since starting Noizu. Cooking is a real passion of mine. I love to cook when I’m not touring – something about it really excites me. Starting the hot-sauce company has helped me explore passions outside of music, and I can’t wait for the future of it.

DJ LIFE: What’s next for you?

Noizu: My next single is coming out on Techne and it’s called “Lost.” I’ve been playing it a lot in my sets and it’s been getting a great reaction. Apart from that, I’m touring, making new music, and will have new hot sauce favors all to come this year!



Legendary NYC DJ Danny Tenaglia Takes His Old-School STAX Concept to a New Venue

New York City – For more than three decades, Danny Tenaglia has been one of America’s mosttreasured DJs. From the mid-’90s to the early aughts, his extended stints in Manhattan spots like Vinyl/Arc, Tunnel, and Twilo were among the most infuential open-to-close residencies in New York City nightclub history. Not only would he spin multigenre, marathon sets – often from 11 p.m. until noon – but he’d play through some of the city’s greatest sound systems. And now, he’s brought that vibe back to NYC – this time in Brooklyn.

This past April, in a recently discovered Sunset Park warehouse, Tenaglia presented STAX , a party that combined two massive, custom sound systems that he’s procured over the years – one six-stack system from the Vinyl/Arc days and another fourstack system from District 36, another long-gone Gotham venue. As one might expect, it was a memorable night for new and longtime fans and, especially for those DJs who came to appreciate Tenaglia’s unique gift for creating the perfect party.

But, in talking with Tenaglia, we found that this event wasn’t meant to be a one-off. No, STAX , as he explains, may provide a new kind of New York City event, and one that will allow the 62-year-old jock to keep doing what he loves in his hometown, while hopefully curtailing his globetrotting ways moving forward.

In our conversation, we discussed his recent proaudio adventures and his eclectic tastes, while also looking back at a career that’s included club hits,

Max STAX: Danny Tenaglia & his super system.

club dramas and plenty of deep respect from his DJ contemporaries. It went like this:

DJ LIFE: Let’s talk about the origins of this warehouse party in Brooklyn. What’s the concept with the project?

Tenaglia: I owned the sound system from the Vinyl club after it became Arc. Steve Dash had put in the Phazon system there and they offered me to buy the original system. Timmy Regisford originally used it at Shelter and then it was used for the Body & Soul parties. There’s a history involved in that sound system. It was built by a guy named Dave Soto. And so, I acquired those six stacks from Vinyl and that is pretty much the reason why I got my loft in Long Island City – because I had the sound system.

DJ LIFE: But you also acquired another system…

Tenaglia: About eight years later, I got offered to buy the District 36 system and – as if I didn’t have six stacks enough to deal with in storage – I just couldn’t refuse it because it was Gary Stewart’s prototype of the technology that Pioneer now owns [the GS-WAVE series]. It was massive. It was almost 30 years after what Dave Soto had built. So, it was modern. It was solid wood and 14-foothigh stacks and boxes on top with double-lens horns. I just saw it as a great opportunity and I thought, “OK, one day maybe I’ll get a place to do a party and put up all these 10 stacks together.”

DJ LIFE: But you had to fnd a place to combine the two…

Tenaglia: Yes, I moved to New Jersey after I left the loft in Long Island City and put everything in storage. I got this house in North Jersey. I got everything at this one address – I got a nice storage shed out back. And now I’ve fnally brought it to fruition by having everything put together under the one roof. Hopefully, it’ll be the start of some-

thing new – perhaps a series of events – and we’ll see where it goes from there.

DJ LIFE: So, this is something that you›re looking to perhaps do on the regular?

Tenaglia: I would like for it to be regular in New York. I’m looking forward to working in this Brooklyn venue because we went to see it and I was pleasantly surprised – it was much bigger than I thought and the ceiling is just right. I think it’s a perfect layout, wooden foor, and I think that if it goes well moving forward, it’s going to relieve me from some travel. You know, I’ve now performed in 50 countries and I think it’s only a given that now that I’m 62… do I really wanna keep traveling as much as I used to?

DJ LIFE: Oh, I get it. At this point in your life and career, it can be a challenging way to make a living.

Tenaglia: So, if I can make a decent living in my own backyard again, it’ll be good. Because if I play New York, if I’m at Brooklyn Mirage or wherever it might be, I’m under a kind of a contract where I can’t play for another two months anywhere. But if I have my own event…

DJ LIFE: The shoe is on the other foot. Those damned radius clauses… What should fans expect from this party and beyond?

Tenaglia: I’m just hoping that what fans get from it is what I dreamt that it could ever be – my version of Paradise Garage. Give them that feeling of what so many of us grew up with… what it was like going to so many clubs, including Studio 54, you know? They had these towers. They had these massive stacks.

DJ LIFE: Seems like every big New York City DJ who ever experienced Larry Levan spinning at the Paradise Garage back in the day wants to create a similar situation for himself.

Tenaglia: I think Timmy [Regisford] accomplished that in doing Shelter – he had his version of it. Phil Smith and his team built it up with Sound Fac-

“I didn’t ever just only like one style of music. I didn’t just love Motown when I was a kid. I loved The Beatles, too, and it just was always that way.”

tory, and they had their version of Paradise Garage. Junior [Vasquez] had it. I defnitely had my own version of it at Vinyl [with Be Yourself from 1998-2004] for the fve-plus years I was there, but I was not the owner of the sound system, and the brand Vinyl belonged to the club. This time around, I can fnally say that the 10-speaker stack concept will be something that I dreamed up, and so, I simply call it STAX

DJ LIFE: The DJ game is so different these days, where a lot of DJs seem to be more about the business and the branding than the music…

Tenaglia: I never owned a record label. I don’t have the branding like a lot of people out there and, you know, making big bucks doing these parties. I’m often just a guest of theirs these days. But now, I’m hoping that I can bring something to New York where I could have them come, be a guest of mine as well, and it’ll be just like a mutual kind of event. I’m not looking to go into this with dollar signs in my eyes. I just wanna have a great time and show people, in a sense, what’s still possible. Again, give them that feeling of what so many of us grew up with in going to so many great clubs.

DJ LIFE: The younger generations of dance-music fans absorb their new music differently. It’s more about the internet and festivals than clubs for them. Many people have never experienced anything like this.

Tenaglia: And I want to show them. These concert stages at festivals, they’re only throwing the sound out to the crowd. They’re not getting a four-point system. They’re not getting overwhelmed by the quality and the thunder and the bass and all that. Now, a lot of clubs just want the visibility. They don’t want their VIP rooms being obstructed by towers. It’s a different experience.

DJ LIFE: Your “Be Yourself” parties and your residency at Vinyl became almost an ethos in New York – anybody could come to your club night and have a great time. The

possibilities were open and endless.

Tenaglia: A lot of the formula there had to deal with the venue and it being a venue that wasn’t, you know, leaning towards the glamorous life. There was no liquor, which is something to be said for right there.

DJ LIFE: Right, you can’t really do that with a club anymore in New York City. You must sell alcohol to survive.

Tenaglia: It wasn’t really a drinking crowd. The Vinyl venue itself was known for being a dance party. It had Shelter, Body & Soul, the NASA rave parties on Fridays and it eventually became Arc. They started doing the progressive nights with Made Events with DJs like Danny Howells and so on. We all connected somehow with each other and, of course, there were no LED screens or big fash kind of vibe. It was like entering an alleyway, that kind of party. And that’s similar to the warehouse in Sunset Park, Brooklyn. From the outside, you could easily pass it by and not know what was happening upstairs.

DJ LIFE: Of your residencies here in New York City – Twilo, Tunnel, Vinyl –I’ll guess that Vinyl was your favorite, right?

Tenaglia: Oh, without a doubt. It was the longest lasting, as well – fve years and four months. I think the biggest difference between Twilo, Tunnel and Vinyl for me as a resident DJ is that, at Vinyl, I didn’t feel any sense of competition or stress to keep the crowd there. Because [at the other places] you had the club owner wanting me, was almost pushing me, to play a style of music that I wasn’t interested in. I’m not gonna sit here and play all these vocal records, so yeah… I was able to do my thing at Vinyl. I always felt pressure at Twilo, such a legendary room in the heart of Chelsea.

DJ LIFE: Club music was changing a lot at that time and there was a

“These concert stages at festivals [are] only throwing the sound out to the crowd. [Fans aren’t] getting a four-point system. They’re not getting overwhelmed by the quality and the thunder and the bass.”

part of New York clubland that was getting a little formulaic. But at your residency at Vinyl, we didn’t always know what you were going to play.

Tenaglia: Right, we had guest DJs like Doc Martin and Basement Jaxx that helped me greatly to show people that I wasn’t falling into that formula or format. Also, there was the techno that was coming out and the minimal and eclectic music I was absorbing with the Global Underground CDs – it was an exciting time.

DJ LIFE: Let’s talk about the idea of a DJ residency, where you’ll play the same venue every weekend, or play three out of four weekends a month. It’s not something you see a lot anymore. But from your perspective, how did you approach it?

Tenaglia: There’s defnitely a big sense of comfort in it because, if you’re seeing the fans who come regularly, you’re doing something that they like and appreciate, and they’re open to new music that they’ve never heard before. They have this trust in my taste that it’s gonna be for their tastes as well. You have the opportunity to break new songs and, with the residency, you can play it a week later and before you know it, people are talking about those songs and, hopefully, buying them.

DJ LIFE: That’s what I always love about coming to see you play – I’m not sure what direction you’re going to go. If you’re a curious listener, that’s exciting. I’m willing to get on that ride, you know?

Tenaglia: I didn’t ever just only like one style of music. I didn’t just love Motown when I was a kid. I loved The Beatles, too, and it just was always that way. And then I went on, you know, through disco and Paradise Garage and deep house and falling in love with

DJs like Larry [Levan] and Tony Humphreys and Jellybean [Benitez] and Shep [Pettibone]. A lot of times it was apples and oranges, but it was all under the umbrella of dance music. Then, other genres came through – the Depeche Modes of the world and Kraftwerk – and I just kept embracing it and absorbing it like a sponge.

DJ LIFE: How do you approach your schedule now?

Tenaglia: I pretty much take January and February off to just get my stuff together in the home life and sort studio fles, whatever, just trying to catch up with all the stuff that you don’t get to do while you’re on the road. Right now, I see myself doing like an average of 50 gigs a year, give or take a few. It seems that I’m doing a lot in Europe between June and September. But then there’s always the Singapore, Tokyo, and Australia gigs that come along. Also, I’m going back to some of the same places – like I played Ibiza fve times last summer, Italy fve times, too. I’ll do an enormous festival, but I’ll do a really small underground venue, too.

DJ LIFE: Hey, the demand is still there and you can pick and choose a little bit, right?

Tenaglia: Yeah, thank God [laughs]. I’m still doing well with the people reaching out to book me. I’m with the Bullitt Agency now, and they’ve been wonderful with me.

DJ LIFE: What are a few cities and venues you still love playing?

Tenaglia: The frst one that always comes to mind, for 20 years now, is Stereo in Montreal. It’s a glorifed version of Paradise Garage to me, so I always look forward to going back there. Also, Brooklyn Mirage, whether I’m playing with Victor Calderone or Carl Cox or whomever, I love that New York vibe. There’s not many New York DJs left from the older residency days, so working with Victor is always special. Also, Womb in Tokyo. I like their vibe. It’s a New York vibe. They got the stacks and they’re very consistent. No big LED-type stuff – it’s a musical venue.

DJ LIFE: What’s your DJ-gear set-up now?

Tenaglia: I moved on from [Pioneer DJ] CDJs to [Native Instruments] Traktor. It’s going on

eight years now and I still swear by it. I use the Pioneer DJM-V10 mixer. I did check out Pioneer’s new [DJM-A9] mixer recently. I wouldn’t rule out that I would maybe include CDJs again in my shows, but the way I operate with the laptop is I use four decks within Traktor and two of the decks are remix decks. So I have all my loops gathered and vocal samples, and it’s just really all that I need.

DJ LIFE: You seem more loyal to the platform than a lot of the DJs I’ve interviewed over the past few years…

Tenaglia: I know there are DJs who used to use Traktor, but don’t use it anymore – but I have no problems with it. I mean, it is time-consuming to use Traktor to get your songs from, say, iTunes. You make your playlist and you have to pretty much re-do it in Traktor.

DJ LIFE: For some, there’s a travel factor.

Tenaglia: Yes, if DJs are traveling, they’re pretty much only gonna play two hours or less. So, it’s just so much easier for them to just put in a [USB stick]. They’re gonna play an average of 15 to 20 songs, maybe. And yeah, I gotta say it’s not easy to keep up with Tractor, but I just can’t imagine doing it any other way.

DJ LIFE: What’s your approach in the studio these days?

Tenaglia: I’m trying to get back into that and I’ve always done special edits for my own sets. Recently, I did a track for Nervous Records as “The Brooklyn Gypsy” – it was an instrumental version of [Crystal Waters’] “Gypsy Woman.” And now I’m completing a track with myself and Cevin Fisher, also for Nervous.

DJ LIFE: Through all the peaks and valleys that other subgenres enjoy or endure, why do you think dance-music fans keep going back to house music?

Tenaglia: I think it’s that essence of soul and funk that’s in it, you know? That’s where it’s more related to the dance

music of the ’80s and the disco era, and even a hip-hop element, if you will. People can relate to that fun stuff and you can groove to it.

DJ LIFE: What are a few tracks that are always available to you to play?

of My Life” by Adeva – that vocal vibe always works for me. Also, “Ruhe” by Schiller from my Global Underground London CD – perfect fow, the perfect breakdown, perfect ending.

Tenaglia: Well, to state the obvious, “Music Is the Answer” and maybe “Be Yourself” [both with Celeda] are the two that people know globally and the lyrical content is there. People still submit remixes of [“Music Is the Answer”] unsolicited and people are constantly playing the a cappella over other tracks in their sets. And I think people have this expectation that they want to hear their favorite songs at concerts or club nights. I have to say, “In and Out

DJ LIFE: What advice would you give up-and-coming DJs today?

Tenaglia: I would tell them to do their homework and research on music, in general, so that they understand more than just kick, clap, snare and, you know, beat-matching it. Go to Wikipedia and YouTube. Research the history and fnd out what you might love about all the legendary DJs and listen to their remixes and understand the music before the remix. Then, you’ll adapt your own sense of what you may want to portray, as a DJ, in blending different styles. But if you want to just be a click-drag-and-paste DJ, then you’ll just be like everybody else.

DJ LIFE: After all these years as a DJ, what are you most proud of?

Tenaglia: I think the fact that I’m still doing it. I’m in disbelief that it was, like, 1976-77 and I was working every week in a pub in Williamsburg, Brooklyn. And a couple of weeks ago, I turned 62 and I’m like, “What the hell? Where did time go?” But, I still have this burning desire to just keep doing it. The fame maybe isn’t as high as it used to be… but just the fact that I’m still doing it – I’m proud of that.


Parties Big & Small Bring the DJs to South Florida

Miami, Fla. – Though the (usually) annual Winter Music Conference took the year off, much of the dancemusic world still jetted down to South Florida this past March 20-26 for what has become colloquially known as Miami Music Week.

With a variety of rooftop parties, club shindigs, and one-off/pop-up events – all culminating with the massive Ultra Music Festival at Bayfront Park in Downtown Miami – Miami Music Week gigs stretched from South Beach to Wynwood and all points in between. Here’s a look at the week as it was:

Get Lost Party: Lit-up fans at Factory Town. Albert Lalamaeiv Club Opening: Morten & David Guetta at M2. Jason Koerner


EDM Awards:

Anabel Englund: Live at EDMAs. EDMAs Get Lost: Gordo gets grooving. Albert Lalamaeiv All Night: Dennis Cruz at Get Lost. Albert Lalamaeiv In the Mix: Chloe Caillet at Get Lost. Albert Lalamaeiv Joel Corry & Hollywood Hamilton. EDMAs EDMA: Armin van Buuren’s trophy. EDMAs Lasers: CloZee’s set at Ultra Fest. Tessa Paisan Deep Root Party: Diplo & Francis Mercier. Mario de Leon Drum Beats: AMÉMÉ at Get Lost. Albert Lalamaeiv

Backstage: Hardwell arrives at M2.

& LP Giobbi at Get Lost.

Dig Me: HoneyLuv mugging at Oasis.

EDMAs: IHeartRadio’s Brian Fink & Disco Fries.


Climax: Ultra Music Fest ends the week. ALIVE Coverage

Tritt Visuals Jason Koerner B2B: Pete Tong Albert Lalamaeiv

NAMM ’23 Highlights

Our Picks for Top DJ-Gear Debuts from the Annual Anaheim Show

Anaheim, Calif. – The NAMM Show, held annually at the Anaheim Convention Center, is that magical time when when companies that supply DJ gear, musical instruments, pro audio, lighting, studio products, and accessories to the music-retail market break out their latest versions for the coming year. It’s not uncommon at NAMM for these new toys to be one-of-akind prototypes that don’t even have model names yet. And for DJs like me, the top DJ-gear manufacturers let us kick the tires a bit.

So, every year, DJ LIFE sends out a real, working DJ – again this year, it’s me, Staci Nichols (aka DJ Track Star Staci) – to fnd the products that will create the biggest waves in the mobile-DJ community. From our NAMM visit this past weekend, here are my top picks for 2023. (For a longer, more inclusive rundown of new DJ-related gear from NAMM – for mobile, club and studio sectors – please visit News on Page. 3.)

#10. Max DJ Console L with Rack Base. Max Design has been changing the game in the DJ-furniture arena since its launch. It was its frst time exhibiting at NAMM, and it was showing off its new black DJ podium-style consoles (previously only white was available). Additionally, Danny Max has added a third “column” style – now you can get a rackmount-ready column! It features 10 19-inch-wide rack spaces for $2,199.

#9. WM System Ramp distributed by National Fleet Products. New gear that reduces what we have to lift, that is easier to set up, or that saves us set-up time frequently makes my Top-10 list! If you’ve ever had to lift a metal ramp – a two-person job – and place it on the back edge of a van, then you’ll love this spring-loaded, 1,500-pound capacity ramp. Install it just inside the rear door of your van and thank me later. Price: $2,100.

#8. Odyssey’s 75-inch DJ Booth Façade with Up-Angled Front Flatscreen Mount. This new, bigger, and improved DJ façade from Odyssey is fresh out of the workshop and does not even have a SKU number yet. (Odyssey’s Dave Lopez speculated that it will probably be the DJ Façade 75S). This DJ façade/booth combo has been popular in the industry for years – I used to have one myself. This new iteration is bigger (75-inches long) and has scrim fabric on the inside of the metal frame rather than on the outside. Its coolest feature, though, is the up-slanted front for better fatscreen visibility. Why our industry keeps pushing out fatscreen-fronted booths at straight-up, 90-degree angles, I don’t know. From year to year, Odyssey seems to key in on these “simple fxes” and takes the lead in rectifying them. This new booth will be $899 when it becomes available.

DJ Staci arriving early at NAMM.

#7. Mixware’s Headliner R2 Pro Rotary Mixer. This little knob mixer (12.6- x 8.6-inches) was getting a ton of attention at NAMM. It’s nothing new for “vintage reboots” of DJ gear to become crowd favorites, like last year’s Stokyo Record Mate turntable/mixer. This no-fader/rotary DJ mixer retails for $399. What I would love to see is for a “deco” piece like the Pioneer DJ’s Opus-Quad to incorporate this gorgeous wood-panel look, instead of more black and a new favor of metal – we can make way more aesthetic DJ gear if we get out of the black or white, must-be-metal, boxy mindset. Thank you, Headliner, for this refreshing piece! (We’ll continue this discussion on Pick #6!)

#6. Pioneer DJ OPUS-QUAD Expecting this all-in-one, 4-channel, stand-alone controller ($3,199) to rank higher on my list? Not so fast.

Yes, the OPUS-QUAD has some cool features that are certainly innovative, like the “Utility/Shortcut” button that allows you to send hot cues directly to the cue button, but overall it falls a little short for me – after all, I’m a very mobile DJ. I found this 29-pound unit more fashy than functional for my needs. Indeed, it features a new sleek, angled design that seems geared primarily for swanky clubs – portable it isn’t. But decide for yourself –you may be taken with its “deco” design more than I was. Either way, you can’t say it’s not different.

#5. Reloop Mixon 8 Pro distributed by American Music & Sound. Germany’s Reloop pushes innovation forward year after year at NAMM and always keeps the “average Joe” in mind. So, it’s no surprise that the Mixon 8 Pro was a fnalist for the NAMM Tec Excellence Award. Priced at $1,249, this user-friendly controller brings push-button stem separation to the tablet DJ. In line with the signature Reloop functionality, it includes a built-in tablet holder and works with Serato DJ. This type of practicality always scores big with me. It would be more practical, though, if stem separation had dedicated control buttons instead of sharing functionality with the upper effects knobs. When the other stem-separating controllers do offer this, it does seem like a bit of a misstep.

Exhibit-Floor Scene: DJ Eliza May at Mixware booth. Getting Busy: DJs at the 12inchSkinz booth. Top Pick: Pioneer DJ’s DDJ-FLX10 controller.

#4. Eliminator Lighting’s Stryker Wash I love how new lights are putting all types of effects into one fxture. From the ADJ family comes the Stryker Wash ($799), which defnitely does something new and exciting. Its moving-head beam can adjust from 5-degrees (like a spotlight) to 50-degrees (like a color wash). So, for example, one Styker Wash fxture during wedding dinner could replace a case of uplights, serve as a frst-dance spotlight, then do its moving-head thing during dancing.

#3. JetPack’s Glide System. Each year, JetPack stays focused on coming up with new goodies to make the DJ’s life easier…and they do it in style. Their new Glide System is no different. If there can be such a thing as a “medium” case, this is it – yes, it’s harder than a soft case and softer than a hard case. Who wouldn’t appreciate the lightweight durability? The Glide System fts REV-7/RANE ONE-sized controllers and features sturdy inline wheels, four reinforced “grab” handles, a telescoping “pull” handle on top, and, of course, a variety of Velcro-adjustable inner pads. Showing its attention to functionality, JetPack provides two bottom bases for the inside part of the case – one fat for the REV-7 and one with notching that accommodates the RANE ONE’s feet. Genius! I also love how there is a webbed pouch on the outside you can stick in your laptop case (the JetPack Snap backpack). While you cannot get your logo embroidered on the Glide System, you can get your logo on the Snap backpack and stick it in the outer pouch. The Glide System retails for $420 with a Snap backpack included or $320 without – the Snap is $110 on its own.

#2. Upgrades to the Odyssey DJ Podium. It was already hard to compete with Odyssey’s super-affordable, streamline DJ Podium, but now it’s going to be even harder. Odyssey has added a variety of upgrades: drink-holder ($20), headphone holder ($20), and a telescoping laptop stand ($100). Odyssey also removed the metal clamps that were inlaid into the column of the original model, so it now has a sleeker look. The new podium stand also includes a heavy metal foot stabilizer and a wider column as well.

My favorite feature of Odyssey’s DJ Podium, though, has always been the pre-molded, sound-dampening foam inserts that come with the unit – these foam inserts sit inside the top of the podium stand and ft all the top controllers (DDJ-1000, REV-7, CS Live 2 and 4, DDJ-SX2 and 3, and RANE ONE). This means no rail system, no Allen wrenches, no knobs, etc., in order to make your controller sit level and fush with the top of the DJ Podium. On top of all this, Odyssey’s DJ Podium is now available in both black and white and both 37-inchs or 40-inchs high. It retails for $1,499, which includes a roller fight case. You can’t beat that!

#1. Pioneer DJ’s DDJ-FLX10 Controller. The DDJ-FLX10, retailing for $1,599, is Pioneer DJ’s frst controller with dedicated stem-separation buttons. As far as I’m concerned, push-button stem separation is the biggest thing making waves in our industry right now. As usual, our industry turns to Pioneer DJ to see where they will set the bar for this new tech.

The FLX10 has three stem-separation buttons: drums, instrumental, and vocals. If you use Serato DJ or Virtual DJ, you’ll notice some missing stems. (Serato DJ has vocal, melody, bass, and drums, while Virtual DJ has vocal, instrumental, bass, kick, and high-hat.) So, why would the FLX10 only have three stems, then? Apparently because rekordbox, the company’s DJ software, only has three stems.

Nevertheless, I like that the FLX10 shows a color-coded, illuminated ring around each jogwheel that corresponds with which stem is being played. I like that the FLX10 allows you to throw effects onto each stem individually with the touch of a button. The FLX10, through rekordbox, also allows you

to connect DMX cable directly to the controller and have a light show auto-generated that fows with the music. Even though this is not new rekordbox functionality, it’s still cool. Finally, to access the additional Serato DJ and Virtual DJ stems, you need to use the cue pads.

Honorable Mentions:

Glorious DJ furniture now available with telescoping legs. Reloop FLUX replaces SL-1 Serato box and is now the only Serato interface.

The Chauvet DJ ILS Command, a new module controls the company’s popular ILS fxtures. Chauvet DJ also reintroduced its Freedom line of wireless, battery-operated lights, which includes several new items.

QSC’s L Class, a new, intelligent, active loudspeaker system with apps that range from plugand-play DJ systems to high-end productions and permanent installations.

That’s it! We’ll see you next year when the show returns to its Winter version: The 2024 NAMM Show will run Jan. 25-28 at the Anaheim Convention Center in Anaheim, Calif. For the latest info, please visit www.namm. org

Morgan Page at Pioneer Pro Audio demo room.
WELCOME TO THE FUTURE #CALLINGALLDJS To exhibit contact Josh Kerman 516.767.2505 ext. 510

Miami, Fla. – Ultra Music Festival, held this past March 24-26 at Bayfront Park in Downtown Miami, presented the biggest names in electronic music, including Martin Garrix, Marshmello, David Guetta, and Swedish House Mafa. According to organizers, more than 165,000 fans attended the event. It all looked like this:

Mega-Fest Lights Up Downtown Miami
ALIVE Coverage
Whoa, Dude: 3D visions on the dancefoor.
Off: Mainstage madness at Ultra. Mass Manipulation: Rezz lights up Live Stage. Mainstage Friday: Gryffn gets it going. ALIVE Coverage Trance Kings: Ferry Corsten & Armin van Buuren. Day Party: Frank Walker gets bouncy. Let It Rip: Afrojack’s after-blast. Esta Vida: Hitmakers Marshmello & Farruko.
Euro Trio: Tchami, Oliver Heldens & Malaa. Techno Talent: Charlotte de Witte on mainstage. Heavy Optics: Resistance Megastructure scene. ALIVE Coverage Sunshine Saturday: Nicky Romero rages. Horn Blower: Timmy Trumpet in the house. Smoked Out: Carl Cox in the Megastructure. ALIVE Coverage View from the Top: Ultra Fest wraps up.
ALIVE Coverage
Friday Headliner: Martin Garrix on fre. ALIVE Coverage

Musica Fires Up Manhattan’s West Side

New York City – Situated in the heart of Hell’s Kitchen, Manhattan’s Musica nightclub inhabits a building that has already seen plenty of high-end DJ action. Formerly known as Space Ibiza New York, then FREQ NYC, the building became Musica in May, 2022.

Originally brought to West 50th Street by an Italian group, Musica has transitioned into a NYC-run operation – but with the same superb light-and-sound system and a music-booking policy that runs the gamut of popular electronic sounds. Recent bookings include a diverse range of DJ talents, including Green Velvet, Nic Fanciulli, Markus Schulz, Nora En Pure, Danny Krivit, Ferry Corsten, Ilan Bluestone, and John Digweed.

We recently caught up with Musica’s Director of Programming/Marketing JonPaul Pezzo, a Gotham-area nightclub veteran, to discuss the club, its high-end tech and its unique challenges.

DJ LIFE: Originally, an Italian group brought the Musica brand to Manhattan. Italy’s a country that’s always taken nightlife seriously. Is there still any infuence of the Italian club aesthetic at Musica NYC?

JonPaul Pezzo: To be honest, not much besides the name. The Italian infuence that brought the brand to New York has moved on and the New Yorkers have taken control again. But, it has not skipped a beat bringing that old-school New York club vibe. From the frst event we did with Victor Calderone, it has been a smash hit with the core New York crowd.

DJ LIFE: This venue has had many club incarnations in the past. How do you think its current incarnation differs from what came before it? How did you give Musica a separate identity?

Pezzo: I was director of operations for the old club in that space for over two years. It was a special

Musica: The view from the street. Drinks Anyone? Musica’s bar area.

Musica Gear List

DJ Equipment

4 Pioneer DJ CDJ-3000 players

1 Pioneer DJ DJM-V10 mixer

Main Audio

D&B Sound J Series 4-Point system

Each stack: 3 J-SUBS & 4 J12 top boxes

Lake signal processing

More Specifc

12 D&B audiotechnik J12

14 D&B audiotechnik J-SUBS

21 D&B audiotechnik D12 amps

4 D&B audiotechnik Y12

12 D&B audiotechnik Y10s

2 D&B audiotechnik B2 Subs

4 D&B audiotechnik J Frames

5 D&B audiotechnik Y Frames

2 D&B audiotechnik M2 monitors

4 D&B audiotechnik Y brackets

2 Motion Laboratories power distros

2 D&B audiotechnik M2 monitors


12 Clay Paky Sharpy moving lights

8 Chauvet Maverick MK1 Spots

8 JMAZ ATTCO Wash 150Z

6 JMAZ Crazy Beam 40 Fusion (VIP lighting)

6 Martin Atomic 3000 LED Strobes

2 Chauvet Amhaze Stadium Hazer

1 ChamSys MagicQ MQ500 Stadium Console


72 VISS Display PX 2.9 LED screens

1 Resolute Media Server

All Lit Up: Green Velvet takes over. Going Deep: Kerri Chandler in the mix. Going Off: Nic Fanciulli rocks the foor.

place and was always one of the best rooms in New York City; it just ran into hard times and, unfortunately, had to close eventually, but not before its time in NYC was done. Bringing the room back to life was rather easy because it was always such a favorite. Add to that the amazing sound and light upgrades we have done, and it truly rose right back to the top of being the best room in Manhattan for dance music.

DJ LIFE: What was the main idea behind the NYC version of Musica? What were you bringing to Manhattan nightlife?

Pezzo: In recent years, Manhattan has been pushed aside for Brooklyn. It’s no secret – it’s just the way things morphed. The plan for us was always to reignite the spark that was once Manhattan nightlife. You have hordes of people from Manhattan, New Jersey, Queens, etc., that don’t want to trek to Brooklyn. It’s easier for them to get to Manhattan for a night out on the town. We want to make sure that no one is excluded from hearing their favorite DJs because of geographical obstacles. It’s always refreshing to give the people and the DJs a change of scenery.

DJ LIFE: With much of the NYC nightlife migrating to Brooklyn, how does Musica keep partiers in Manhattan?

Pezzo: We plan to keep them here by bringing in the top-tier talent mixed with amazing sound, lights, and energy. Again, it’s expensive for someone from New Jersey, or

Blue Boy: Tech-house action with Malone. Party Starter: Marco Carola hits a high note. Hands Up: Nora En Pure flls the room.

the Upper East or West Side to get to Brooklyn. We are talking anywhere from $50 to $200 Uber rides, and that is a major obstacle for many who have to go to Brooklyn. There are some amazing rooms in Brooklyn and we all love it, but it’s just not for everyone. Not everyone wants to cross a bridge or a tunnel to go out, and certainly not multiple bridges and tunnels if you’re from New Jersey.

DJ LIFE: Currently, what’s the music-booking policy at Musica? What kinds of DJs do you intend to keep bringing to the club?

Pezzo: We are just getting started, so we are really exploring all options out there. We are, of course, focusing on landing top-tier talent and have already had the likes of Danny Tenaglia, Victor Calderone, Gordo, Nora En Pure, and Green Velvet play the club, as well as many more planned. We are not pigeonholing ourselves to one particular sound, but we do want to keep it somewhat consistent with a particular genre on certain weekdays.

DJ LIFE: Tell me about the club’s sound system, D&B audiotechnik…

Pezzo: I can’t speak to why the original operators choose D&B audiotechnik, but I can speak to the way it sounds and how it was done

right. It’s a clean, crisp sound with people being able to have a full conversation on the dancefoor, while still feeling the music at an amazing level. You want that perfection in a sound system. It doesn’t need to leave your ears hurting when you get home. Louder is not always better.

DJ LIFE: I see you have a range of diverse lighting products from a variety of manufacturers – Italian pieces from Clay Paky, but also lights from Martin, JMAZ and Chauvet. What was Musica’s approach to the lighting system? What was Musica’s approach to video?

Pezzo: The lighting is in a constant state of upgrading. We are constantly looking at new fxtures and new products to add to the show. We recently

installed a giant video wall behind the DJ, two smaller video walls on the sides, and some pixel walls on other sides. We don’t want to be too bright, but certain acts call for a certain ambiance and we want to be versatile enough to give the DJ what they want and give the people an amazing show.

DJ LIFE: What do you think keeps New Yorkers coming to a particular club? What qualities are they looking for when it comes to going out and having a good time?

Pezzo: First and foremost, it’s the talent. We are unfortunately in a talentdriving cycle of the music industry, so you have to constantly book the hot artists, or the up-and-coming artist, and keep your ear to the ground. We are lucky to have some of the

best talent buyers in the country working with us, so we have been able to keep up to par so far, and we’re just getting started. In addition to that, you need to have a welcoming place, good security, a good, clean venue, and happy staff. At the end of the day, people are paying to come and have a good time, they want to feel welcomed, and they want to feed off the energy of the room and the staff the minute they walk in the door.

DJ LIFE: Any secrets to that?

Pezzo: I have always been big on making sure people are greeted walking in the door and sent off with a “have a great night” walking out the door. These are the little things that people remember.

Main Room: View from the DJ booth. La La Land: Green Velvet prepares to fash.


Circuit Rhythm & FLKey 37

One of the most interesting things to watch as music creation has become more and more computerized is the proliferation of hardware-based controllers that aim to make the job more natural, and more intuitive. It’s a bit of a crowded space, quite frankly, but one simultaneously ripe for innovation, but also locked into certain, predictable ways of doing things.

The U.K.’s Novation — part of the Focusrite group that includes not just Focusrite- and Novation-branded products, but now also Sequential (the late Dave Smith’s synth company), among several others — seems to be balancing those two opposing approaches. (Novation is distributed Stateside by American Music and Sound.)

I recently had a chance to take two of the company’s controllers for an extended spin: The Circuit Rhythm and the FLKey 37. The two are very different products with two different purposes, and two different audiences. But, they do provide a peek into the Novation’s mindset.

This controller seems to keep its focus well inside the box — and there’s nothing wrong with that. Designed specifcally for Image-Line’s FL Studio (renamed in 2003 from FruityLoops, but still often called that, despite the passage of time), it’s a conventional MIDI keyboard, but one with additional functions targeted specifcally to FL Studio users’ workfows.

As the name suggests, the unit offers 37 conventional piano-like keys, with the usual pitch and mod wheels on the left, along with a range of knobs and pads for additional types of interaction, plus a small digital display. The back panel is quite simple: MIDI out, USB, and a sustain pedal jack.

Novation has bundled some useful software from the likes of AAS, Spitfre Audio, and others, and for new users, there’s a liberal six-month trial of FL Studio Producer Edition itself included, as well.

There’s a certain freedom in providing direct hardware control for otherwise computer-based software capabilities, and FLKey 37 delivers. The keyboard itself feels great to use, and the various other controls do as well, although many users of the product seem not to give particularly high marks for the pads, which I agree could be improved.

If there’s any other potential shortcoming it’s that, of course, it’s a virtual impossibility for any piece of hardware to map every single software feature as a button or a knob or whatever else. As a result, the FLKey 37 necessarily focuses on the most-used features. You’ll want to position the unit where it’s easy to play, but do so while your mouse and computer keyboard are easy to reach, as well. Additionally, experienced FL Studio users may least beneft from the pure software control aspects of the unit.

Nevertheless, being able to easily capture melodic elements on the keyboard, to sequence beats using the unit’s pads, and the control features that go with those capabilities might very well make the FLKey 37 a great value-add for any FL Studio user — especially given its price point ($199).

FLKey 37 FLKey 37: MIDI control for FL Studio creators.

Circuit Rhythm

If the FLKey 37 is inside the box, the Circuit Rhythm is far less so, although you wouldn’t necessarily know it by looking at it. It resembles any number of beat controllers (which it is, too, in some use cases), but Novation calls it a “beatmaking performance sampler” on the product packaging; on their website, it’s in a category labeled “groovebox” (one of three products in that category). What that means is that the product is designed to make it easy to program and perform beats; do so anytime, anywhere with its on-board memory and battery power; then brings things back to the studio, hook it to your computer and your DAW, and more fully fesh out your creative ideas. On that last score, it’s joining a lot of recent hardware devices, smart device apps, and other tools aimed at releasing music-makers from the shackles of a studio desk.

The device ($399) may be a compact size, but its 10 knobs and 60 pads — 32 of which are for beat control, and the remainder for user interface — pack a lot of hardware-based functionality into that small, easily portable package. The back panel has audio I/O, MIDI I/O, a headphone jack, a USB-C connector for power and computer connectivity, and a microSD slot to expand memory.

Novation doesn’t specify exactly how big the sample library is that ships with the product, but it seems extensive, and the company provides additional options through its Components functionality, which can be accessed via a standard web browser, while the Circuit Rhythm is connected to your computer via USB — a nice, and convenient touch that negates the need to install software. (It also makes it simple to upgrade the unit’s frmware.) Components also makes it easy to back up and swap content, including accessing the material from the libraries in the included Circuit Rhythm Sample Expansion Pack.

The Circuit Rhythm is not limited solely to beats in the strictest sense; you can load any samples you want, and many of the provided ones are, in fact, traditionally melodic. You essentially conceptualize, play with, and build out projects through the unit’s sequencer, amenable to both beats and certain other sounds, which an intuitive construct that will be familiar to virtually all users in Novation’s target market for the Circuit Rhythm.

Honestly, it’s an extraordinarily fun tool in a compact form factor. Like most products of this type, there is a learning curve involved to get the most out of it, aided by a nearly 100-page user’s manual, which can be downloaded from the Novation website. But the investment of time is rewarded in spades with both the creative expression capabilities, and the sheer enjoyment involved in using it. If you want to get a real sense of what it’s all about, watch a video on the Novation website with Jennifer “TOKiMONSTA” Lee using it to craft some music.


Novation’s wide array of products seems to offer a little musical “something” to virtually anyone, in the form of synths, beat controllers, and keyboard controllers of various sizes, specs, and types that are at once both familiar and innovative.

The FLKey 37 has the potential to be a worthy addition to any FL Studio user’s workspace, and given its street price of right around $200, it’s certainly a very affordable addition. The Circuit Rhythm, on the other hand, has a broader potential market: pretty much anyone composing electronic music who wants to easily sequence beats at will, anytime, anywhere. Its roughly $400 street price makes it a bit more of an investment, but one with plenty of return in terms of utility and pure enjoyment. Here’s to Novation continuing to stay both inside, and outside the box.

Circuit Rhythm: Versatile sampler for studio or live apps.

Starter Set:


DJControl Inpulse MK2

It’s been exciting to watch the evolution of the DJ market over the past nearly two decades that I’ve been both a DJ and a writer on the topic of DJ gear. Brands have come and gone, trends have as well, and technology has radically reshaped what it even means to be a DJ (and continues to do so). But one of the few constants is that Hercules, the brand name used by France-based Guillemot, has — nearly from its earliest days — been equated with providing upstart DJs with a strong frst rung on the skill-development ladder at an affordable price point.

This past year, Hercules – distributed Stateside by American Music & Sound – introduced its latest offering for aspiring DJs, the DJControl Inpulse 300 MK2 controller. Unfortunately, lingering supply-chain challenges delayed the actual introduction of the unit until early this year. It’s a modest improvement over the previous version of the Inpulse 300, with improved jog wheels and rubber pads. But perhaps the real plus of the newer MK2 version is its compatibility out of the box with Serato’s DJ Lite — something previously available only in the more expensive DJControl Inpulse 500 controller. But I’ll circle back to software shortly.

DJControl Inpulse 300 MK2 is a controller that knows its market and knows its purpose. Gazing upon its top surface, I immediately see everything I would expect to see in a competent DJ controller, in a typical arrangement: two jog wheels, two faders and a crossfader, transport controls, tempo sliders, flter and EQ knobs, eight performance pads per side, and a smattering of buttons and other controls for levels and software interface, among others. It seems pretty typical, and honestly, that’s rather the point; it should refect an industry standard layout and approach.

Where things get more evident with regard to the unit’s place in the market requires only a peek at the back panel, where one fnds solely a pair of RCA connectors (for master outs) and a USB port. On the front, there’s only a 1/8-inch headphone jack. These markers of an entry-level DJ controller are reinforced slightly by the feel of the controls on the top panel. That may be a bit harsh; in fairness, while my expectations for a $200 controller are low, the DJControl Inpulse 300 MK2 actually has a nicer feel than I thought it would. Knobs, sliders and buttons have a good tactile feel, but the jog wheels are not as solid in operation as a more expensive unit from the bigger brands. But again, that’s not the space where this controller is designed to play, and for what it is — what it’s supposed to be — I’m actually impressed.

Now back to software, as that’s really a key part of the positioning of this controller in the market… Like other Hercules controllers, you can use the company’s own DJUCED soft-

DJControl Inpulse MK2: A solid on-ramp to DJing.

ware, which has steadily improved in quality over the years. When I frst encountered it in its earliest incarnations years and years ago, it seemed like it was cobbled together without tons of thought. But the company has clearly devoted time and effort in refnements and improvements to the point that today, it looks good, works well, and has a mature feature set, which includes support for various streaming services — much like its well-known contemporaries.

Despite the improvements in DJUCED, there’s a contingent of DJs, both established and aspiring, who simply want to use what the “big DJs” use, and these days, that’s Serato DJ, which explains why Hercules built Serato DJ Lite support into the MK2.

The quick start guide for the MK2 suggests installing both DJUCED and Serato DJ Lite; in practice, I’d probably suggest new users pick one or the other, knowing that you can always change directions later on. But in some respects, Serato DJ Lite makes the most sense, given its upgrade path to the full Serato DJ with all its advanced features. That being said, DJUCED offers an Intelligent Music Assistant feature that suggests tracks based on various elements, which while imperfect, may nevertheless be helpful to brand-new DJs who haven’t yet developed an innate “feel” for how tracks might complement one another.

Regardless of which software you choose, however, the basics of the DJControl Inpulse MK2 are the same. One of the differentiators of the unit is its Beatmatch Guide system. Using LEDs in various locations on the controller face, the system shows you — visually — your tempo alignment and whether you need to speed up or slow down a track, along with indicators showing the phase alignment of the tracks. While useful, I wonder how much value these hardware-based, illuminated guides have, in light of the waveform displays built into modern DJ software. Then again, I’m not a frst-time DJ, so I’m thus not the best judge here, and of course, these indicators can always just be ignored as one’s skills develop further.

Beyond the hardware and the software, however, Hercules provides a series of videos in its DJ Academy series that explains and demonstrates for aspiring DJs all the fundamentals of the art form. Videos include understanding or “feeling” the beat, beat-matching and fundamentals, further developing skills, and hardware-specifc videos for the company’s fagship controllers.

And to give users some material to work with, Hercules even offers a series of regularly updated collections of royalty-free, curated tracks to download and work with. In short, all you need to get your DJ aspirations humming along is the DJControl Inpulse 300 MK2, a computer (ideally a laptop, of course, if you’re planning to DJ on the go at some point), and a commitment to the usual advice: practice, practice, practice.

That’s more or less always been Hercules’ proposition in the market, and one, seemingly, the company remains more committed to than ever.


With a street price of just a hair under $200, the Hercules DJControl Inpulse 300 MK2 carries on the Hercules tradition of providing an on-ramp to the world of DJing for aspiring bedroom DJs everywhere; it’s a full “DJ experience in a box,” with all the hardware, software and content needed to get started — and a foundation to take any would-be master of the beats as far as their imaginations might allow.



Akron, Ohio – The markets of Northeastern Ohio and Western Pennsylvania have been good to Ryan Von Ahn.

Twenty years ago, he started By Request DJs, and he hasn’t looked back. Based in Akron, Von Ahn’s outft currently staffs fve systems, does about 85-percent weddings, and has found the secret formula to relieving anxiety from his bride-and-groom clients. Here’s how he’s done it:

DJ LIFE: How did you get into the DJ business?

Ryan Von Ahn: I’ve been a DJ since 2002, which is when By Request was technically founded. My frst gig was a pep rally for my high school where the contracted DJ company dropped off equipment, but the talent never showed up.

DJ LIFE: How do you differentiate your company from the area competition?

Von Ahn: We have one of the more experienced teams in our area and have seen what works and what doesn’t. Many of our DJs either came to us from other companies or had extensive wedding experience as another type of vendor – such as a photographer, caterer, banquet manager and even a limousine driver. With this in mind, our teamwork with the rest of the vendor crew at an event is where the magic really happens. Through detailed planning and coordination, we make sure no moment gets missed and all the moving parts come together to make each portion of the evening, or day, happen.

DJ LIFE: How do you generate most of your gigs?

Von Ahn: Most of our referrals actually come from fellow vendors and venues we have been to – these are from those who notice the difference between us and “some of the others.” We’ve actually even had referrals from other DJs on particular jobs. Outside of these referrals, our marketing mix currently consists of web listings and bridal shows.

DJ LIFE: What’s your main gear for typical events?

Von Ahn: Currently, By Request primarily uses ElectroVoice and Peavey speakers, with our go-to speakers for most weddings and events being E-V’s Evolves. For larger events, we use E-V’s EKX tops and subs. I usually work alone – as do most of our DJs – and many of our clients have a separate ceremo-

ny, cocktail area, and reception area at their venue, so my confguration is different than most.

DJ LIFE: What about controllers and software?

Von Ahn: It’s worth noting that I run two computers in parallel – one with Serato DJ and the other with Mixmeister on it. This allows me to accurately mix when needed, but also step away and automate the sound for announcements, vendor coordination, and other duties that come up at events. For my main system, I typically prefer Pioneer DJ controllers, such as the DDJ-SX2 and XDJ-XZ, with E-V Evolve 50s and E-V RE3 mics.

DJ LIFE: How about lighting, effects, video, etc.?

Von Ahn: All of my dancefoor lighting at this time is Chauvet. My uplights are Adkins, which are distributed locally in my area. Outside of sound systems, we are able to serve our clients with most, if not all, effects they see from the larger production houses on a smaller scale. We have everything from box truss by Global Truss to a few different low-lying fog machines, projectors, photobooths, video switchers, livestream rigs and more. Our most recent addition to our arsenal is a Bunn Command Center.

DJ LIFE: In planning, how do you make clients feel less anxious?

Von Ahn: Ironically, our advice to couples is to wait until the last minute on working through timelines, etc., as it will make more sense after all of your other details and foorplan for your venue are in place. To make people feel less anxious, we show an example work order, which includes a timeline along with a checklist of all the behind-the-scenes details we take care of. Weddings come in all shapes and sizes and have different budgets and personal effects that can drastically change the workfow. At By Request, part of each DJ’s job is to do “table touches” – in other words, upon arrival, they are expected to locate the cake-cutting tools, champagne, and any other details which could cause a hiccup in performance, if missed. You’d be surprised at how often these items don’t make it to a venue and we’ve been able to catch it early enough to do something about it.

Anxieties Spinning Since ’02: Ryan Von Ahn of By Request DJs.


Congratulations! HIP HOP 50 YEARS

DJs WEIGH IN Can AI Replace the Mobile Jock?

Can Artifcial Intelligence enhance your mobile-DJ services? Or scarier, can it replace your DJ services?

Some DJs recall a previous example of how iTunes and streamers enabled the average Joe and Jane to program their own event – for good or ill – and they believe that AI is poised to wreak similar havoc. Or is it?

DJ “Iron” Mike Bacon of Ambient DJs in Hamilton Square, N.J., recently broached the topic, and offered a warning to anyone posting a Chat GPT playlist online.

“Anyone that posts Chat GPT playlists or similar A.I. material should be fully prepared to get said Chat GPT playlists roasted and ridiculed,” he says. “After all, it’s not your list or ideas. It’s AI’s and AI doesn’t have feelings, so I’m going to judge harshly.”

Like many DJs, Bacon takes pride in curating, preparing, and executing sets for his audiences. “I take it personally when people buy into the idea of Artifcial Intelligence, replacing me or any of my talented colleagues,” he says.

To all those who are in fear of the AI revolution, Bacon responds, “I kindly ask that you unplug your gear and hang it up – or look at yourself in the mirror and make a pledge to not accept the supposed rise of the machine. You can be the successful coffee shop that people make a special trip to patronize, or you can be the shop that closes down because the Keurig exists. There’s room for us all.”

Ohio-based DJ Pat Tofl takes a diplomatic approach. “AI is just another tool at our disposal to help make our jobs easier,” he says. “Why spend hours web-searching an unfamiliar genre to curate your playlist when AI software can ‘help’ you do it much easier and

quicker? I think of my 70-year-old parents’ reluctance to using the radar cruise control on their new car. I haven’t seen anyone say they are using the lists verbatim; but if you aren’t using this as a tool, you are missing out on making the prep work for your job easier.”

Not a bad take. Use technology as if it were an intern. “It’s not like AI is actually playing the music,” said Brooklyn, N.Y.-based DJ Sheldon Stephens. “I don’t think anyone is simply grabbing a ChatGPT playlist and pressing play. A playlist from ChatGPT – or anywhere for that matter – should be a list of songs you could play. You still gotta prep the songs, learn the breaks, and most of all practice with them. Doesn’t mean you have to play them in that order or at all at that event.”

True that. It’s a sentiment echoed by Omaha, Neb.-based DJ David Shearer. “So far, ChatGPT playlists pick good songs, but that’s about it,” he says. “What ChatGPT is missing out on is the human element. The order that you play those songs in, where you mix out of one song and into another, reading your crowd, reading the dancefoor, etc.”

Who is AI going to hurt, then? “DJs who are basically afraid of the microphone,” says Shearer. “DJs who aren’t a true master of ceremonies, DJs who can’t read their crowd and can’t read their dancefoor — the ‘Automix DJs,’ if you will.”

Meanwhile, professional DJs, who are good MCs, know how to rotate their dancefoor, know how to read their crowd, know how and when to mix out of one song and into the next one... those are going to be the DJs who, in the long run, can stay in the game longer.

Of course, there are some doom-sayers. “AI will win,” says U.K.-based jock Simon Heath. “It will track which guests have danced, and which haven’t. It will judge their age, track how many beers they’ve had, watch their sobriety decline, and then hit them with a banger from their time. It will offer guests a chance to share their Spotify playlist, add in some requests, and will create not just the playlist, but do the mix and control the lights.”

Shearer disagrees. “Nah. A person’s wedding day is one of the biggest days of their entire life! An AI/ Spotify/Automix list is in all likelihood going to leave them very disappointed on their wedding day,” he says. “For the bridal couples who want to go the AI route, I have equipment ready to rent to them where they can just play their AI list from their phone. But I can almost promise you to a 99-percent rate that most of those couples are going to be disappointed at the end of the night because they didn’t have a human DJ who had the ability to take their event to the next level.”

Texas-based DJ Dwayne Krause concurs and remains fearless about the new tech.

“If you are a real DJ and know how to work a crowd and keep the dancefoor full, you should have nothing to worry about.”


RANE, an inMusic Brand, has released the RANE FOUR, an advanced 4-channel DJ controller that harnesses the groundbreaking Stems capabilities of the Serato DJ software. This partnership gives DJs unprecedented control over vocal, melodic, and instrumental elements of any song in their library, allowing them to reach exciting new levels of creativity within their DJ sets and livestreams. With never-before-seen fea-


tures like STEMSPLIT, Performance Pad OLED displays, and a new dynamic internal FX engine, the FOUR is, according to the company, the world’s most advanced 4-channel Stems DJ controller. The newly designed internal FX suite features 22 paddle-triggered, fully customizable Main FX and four knobcontrolled Channel FX for adding favor and personality to individual Stems elements and tracks. This robust FX suite features traditional FX classics like Reverb and Echo and new additions including Scale Down, Recycler, Riser, and more. The Channel FX section offers dynamic, hands-on manipulation of four knob-controlled FX including Filter, Filter Roll, Noise, and Flanger.

RANE/inMusic 200 Scenic View Dr. Cumberland, R.I., 02864 (401) 658-3131


QSC has introduced L Class, its next generation of advanced, intelligent, active loudspeakers for applications ranging from portable, plug-and-play setups for DJs to networked, high-tech AV productions and fxed installations for clubs. L Class delivers its performance and audio experience via highoutput amplifcation, state-of-the-art DSP, premium components, extensive system intelligence and an elegantly intuitive user interface. Onboard Dante connects L Class to networked AV systems and connected stages. Developed with sound quality and expandability in mind, the new LA108 (two-way, 8-inch) and LA112 (two-way, 12-inch) active line-array loudspeakers are complemented by the LS118 (single 18-inch) active subwoofer, each offering a combination of innovation and ease of use. Technical innovations abound in the LA108 and LA112, including the proprietary QSC LEAF (Length-Equalized Acoustic Flare) waveguide, the ergonomically designed, single operator QSC RapidDeploy rigging system, and QSC AWARE (Automatic Wireless Array Recognition) system intelligence, which also provides one-button single box or full array intelligence and optimization.

QSC 1675 MacArthur Blvd. Costa Mesa , CA 92626 (714) 754.6175

Pioneer DJ has released the DJM-A9, its next-generation, professional DJ mixer. With clear sound quality, enhanced playability and connectivity, and a host of new features, the 4-channel DJM-A9 is poised to take club performances to the next level. By including an ESS Technology 32-bit high-quality analog-to-digital (A/D) and digital-to-analog (D/A) converters into the channel input section and the master and booth output sections, the DJM-A9 offers multiple advancements over its predecessor, the Pioneer DJ DJM-900NXS2. The unit’s new layout design makes it more instinctive and comfortable to play. Through fne-tuning and improved construction, the microphone section of the DJM-A9 brings new possibilities when streaming or MCing. Changing DJs or playing back-to-back is a breeze on the unit thanks to the dual sets of USB Type-B and Type-C ports, which enable DJs to connect two PCs/Macs running either rekordbox or Serato DJ Pro. And the mixer’s expanded connectivity opens new possibilities for performances. If a DJ wants to play tracks from a mobile device, Bluetooth input makes it easy on the DJM-A9. The audio can be routed to any channel, and a DJ can use all the mixer’s effects to change the sound. Beat FX are more instinctive to use on the DJM-A9 thanks to the new color display and revamped X-Pad, which is now arranged horizontally for simple, sideways fnger sliding. The Beat FX channel selector is now a dedicated button, enabling quicker effect routing, and the Multi I/O section has been upgraded to offer true send capabilities. DJs have 14 Beat FX, including three new ones – Mobius, Triplet Filter, and Triplet Roll.

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



Pioneer DJ has released the DDJ-FLX10, a 4-channel controller for rekordbox and Serato DJ Pro that includes functions that DJs can use to easily perform mashups on the fy with no need to prepare tracks in advance. Thanks to the new Track Separation technology in rekordbox, DJs can easily load tracks from their music library to the DDJ-FLX10 and manipulate different musical parts to create infnitely unique performances including live mashups. The controller focuses on the three track elements that are crucial to DJing – vocals, drums, and inst (other instruments) – so DJs can easily play around with each one. DJs can reference important information and customize the look of the controller, thanks to the expanded On Jog Display. Improving on the jogs from the popular DDJ-1000, there are four On Jog Display modes to choose from, giving DJs the option to display different types of waveform information. The DDJ-FLX10 introduces Mix Point Link, a new rekordbox-compatible feature that enables the


user to neatly and seamlessly link the playback of tracks in their set while freeing up their hands to help foster creativity.

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

Are you tired of the same old boring DJ setups at your events? If you’re looking to shake things up and take your party to the next level, look no further than the BoomBox Booth. Easy to transport, set up, and pack down in just under 10 minutes fat, the BoomBox Booth has a sleek, lightweight structure makes it perfect for any event, whether it’s outdoors or indoors. And with its modular design, mobile DJs can customize the colors to ft any brand, logo, or event style they desire – a perfect marriage of style and function. The BoomBox Booth brings the party to life with its sound-activated lighting, touchscreen display, and inbuilt speaker system that packs a punch. You’ll feel like you’re partying in a club, even if you’re just in your own backyard. The sound quality is crystal clear and of the highest caliber, ensuring that your guests will be dancing all night long. The BoomBox Booth will allow you to stand out from the rest, perfect for any mobile DJ or event planner.

BoomBox Industries 61 425 472976


Building on the success of Avante Audio’s original Imperio Pro “mini” line array system, the new and improved Imperio Pro Series offers increased output, enhanced audio quality, and new features from the same versatile and compact cabinet design. Intended for easy transportation and fast setup, the Imperio Pro IMP205 is a lightweight, high-output active line array element that can be utilized in a variety of different confgurations – both ground-stacked and fown – to cover a wide range of applications and audience sizes. The unit combines high-quality neodymium components with Class-D digital amplifer modules and advanced internal signal processing. Boasting a robust ABS plastic construction, fnished with a heavyduty powder-coated steel grille, the Imperio Pro IMP205 has a sleek and distinctive design. At just 12.5 pounds, it weighs less than the original Imperio model. Integrated rigging hardware makes joining together multiple Imperio Pro IMP205 array elements quick and easy. They can be joined with a choice of seven different splay angles and, using accessories sold separately, can be pole-mounted, ground-stacked or fown.

Avante Audio 6122 S. Eastern Avenue

Los Angeles, CA 90040 (323) 316-9722.



Mixware brand Headliner has released the Headliner R2, a 2-channel analog, rotary professional DJ mixer. Perfect for DJs looking for precise control and a warm sound, the R2 features an analog flter, 3-band isolator EQs on each channel, and genuine ALPS potentiometers. The R2 includes two stereo channels with selectable line and phono RCA inputs. Each channel comes equipped with gain control with peak LED, a headphone cue selector, a large channel volume control knob, and a flter activation switch. One of the standout features of the R2 is its analog flter on the master channel, which features selectable high-pass/low-pass flter modes with frequency and resonance controls, allowing precise control of the DJ’s sound. The headphone cue control section includes headphone mix control (Cue/master), and a split monitor switch. DJs can easily switch between listening to the master output and the cue output, or blend them together in your headphones, giving complete control over the mix. The high-current headphone amplifer with dual ¼and 1/8-inch jacks allows DJs to use any type of headphone.

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


Germany’s Glorious, distributed Stateside by American Music & Sound, has released the Glorious Sound Desk Compact, a professional studio workstation. Although smaller than the Glorious Sound Desk Pro, its littlebrother workstation doesn’t skimp on functionality, design, or stability. The cleverly designed studio workstation provides space for studio monitors at ear level and a screen at eye level. Directly below, on two 3U racks, there’s space for 19-inch outboard equipment, so that nothing interferes with the creative process. In spite of its small size, the studio workstation can easily accommodate a laptop, audio interface, or synthesizer. The work surface hides a pull-out keyboard tray large enough to hold keyboards with up to 61 keys or similar peripherals. The keyboard tray can be installed at six different heights to make producing as ergonomic as possible. The studio workstation has multiple cable ducts, allowing it to be set up as a free-standing piece or fat against a wall. A cable channel built into the work surface facilitates centralized cable routing for a cleaner and tidier workspace. The Sound Desk Compact’s X-shaped design and additional bracing make it remarkably stable. Created with a stylish wood fnish, the unit is available in black, white, or walnut.

Glorious/American Music & Sound 310 Newberry Rd. Bloomfeld, CT 06002 (800) 431-2609


CHAUVET DJ has re-introduced its Freedom range of wireless, battery-operated wash lighting with a new line of products packed with new features. They include four new pars, all with improved color mixing, RF compatibility, full-text OLED menu readouts, included magnetic diffusers for beam angle adjustments, and an improved kick stand for precise height angles. Freedom Par T6 offers tri-color color mixing in a compact and lightweight package. Freedom Par Q9 is a compact, quad-color LED uplight, available in single units or in the Freedom Par Q9X4 that includes four lights and a charger in a protective carrying case. Freedom Par H9 IP is a compact, hex-colored par. The light’s IP rating and robust housing repels mother nature for temporary outdoor situations to give you Freedom lighting power rain or shine. Freedom Par H9 IP can be purchased in single units or in the Freedom Par H9 IPX4 that includes four lights and a charger in a protective carrying case.

CHAUVET DJ 5200 N.W. 108th Ave. Sunrise, FL 33351 (954) 577-4455



Germany’s Reloop, distributed Stateside by American Music & Sound, has introduced Flux, a USB-C interface for using Serato DJ Pro with turntables, CDJs or other media players. Flux can transform any conventional mixer into a professional digital vinyl system. Three stereo inputs provide DJs with maximum fexibility. Turntables, CDJs and similar can be used in any combination. The settings are adjusted using discreet DIP switches, which virtually eliminates any chance of accidental switching in the club. The interface includes three stereo outputs, including an AUX out that can be routed to Serato DJ Pro’s internal sampler. Gold-plated, corrosion-resistant RCA jacks ensure high-quality audio transmission.

Reloop/American Music & Sound 310 Newberry Rd. Bloomfeld, CT 06002 (800) 431-2609


Pioneer DJ has introduced the OPUS-QUAD, a professional all-in-one DJ system that provides standalone 4-deck playback. With support for various media source types, including USB-C and USB-A, the OPUS-QUAD provides DJs with fexibility. DJs can easily fnd tracks in the biggest music libraries via an intuitive large touch display and a new rotary selector. Playback options are many, from USB thumb drives to huge SSD drives, to plugging in a PC/Mac that’s running DJ software, or by connecting via Wi-Fi to wirelessly play tracks from their smartphone or using rekordbox CloudDirectPlay. DJs can even pair a mobile device via Bluetooth wireless technology – perfect if they want to quickly drop a request into their set. Once DJs create a set and begin performing, the unit’s deck confguration makes performing comfortable and easy as DJs can view track information for each deck with a single glance. Also, OPUS-QUAD produces highquality audio at any venue. With zone output, DJs have the option to output audio that’s separate from the master audio, giving DJs the option to play different music genres in different rooms of a venue from just one unit. The OPUS-QUAD has a unique look. Its fan-shaped, sloping top plate not only looks sophisticated, but also enhances the operation and comfort during play.

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


LD Systems, an Adam Hall brand, has released the MAUI G3 Series of compact column PA systems for DJs and other performers. The new series, which includes the MAUI 11 G3 and MAUI 28 G3 models, is based on a completely revised subwoofer concept with four bass refex ports and an enlarged speaker chassis that incorporates the integrated amplifer. With a total output of 1,030 W RMS (2,060 W peak) for the MAUI 28 G3 and 730 W RMS (1,460 W peak) for the MAUI 11 G3, these column PA systems deliver powerful sound in any application. Equipped with a 12-inch woofer (MAUI 28 G3) or two 8-inch woofers (MAUI 11 G3) and the latest DynX DSP generation, the subwoofer enables extended and distortion-free reproduction even at maximum volume down to 37 Hz (MAUI 28 G3) or 39 Hz (MAUI 11 G3). When using a second subwoofer, the bass range can be operated in cardioid confguration at the touch of a button (preset). With the MAUI G3 Series, LD Systems has retained the well-known strengths of the MAUI: the MAUI 11 G3 and MAUI 28 G3 also offer a convincing full-range sound with plenty of bass and headroom and can be transported quickly and easily to any event. At the same time, LD Systems has given the new models more amplifer power, as well as numerous acoustic improvements that raise the sound and dispersion behaviour of the MAUI G3 Series to a new level.

LG Systems/Adam Hall North America 1 S. Corporate Dr. Riverdale, NJ 07457 (973) 335-7888



Donner Music has released the DMK-25 Pro portable MIDI keyboard ideal for music creators of all genres. Supporting a large variety of popular DAWs in the market, the DMK-25 PRO provides users with a complete music production experience, while also streamlining their workfow. Features such as Intelligent Dynamic Scale Mode and Real-Time Multi-Mode Control make it easy for users to arrange their music, and the included 16 modal scales let players transition seamlessly between different musical genres. Other convenient functions, such as arpeggio, note-repeat, and chord functions, are easily manageable for even a novice creator.

Donner Music 525 N. Tryon St FL 16 Ste 1727 Charlotte, NC, 28202 (571) 370-5977


G-Sonique has released the KFXT-41 Techno Kick drum processor VST plug-in effect, which allows users to create fat, dense, intense kickdrums from simple kicks (e.g., 808/909 or basic env.pitch modulated sinus samples), including their processing with spatial reverberation, maximum density at bass frequencies, resonance and percussiveness, saturation and full volume. Users no longer have to worry about fnding a suitable combination of samples, choosing and tuning dozens of external plug-in effects to achieve a real techno kick drum. In this plug-in, users will fnd saturation and bass boost analog unit for maximally fat bass and sub-bass, analog kick resonators – 2x for highlighting the centers/percussiveness/ringing of the mid-range frequencies of the kick drum. In the plug-in, users will also fnd a special analog sine saturator as well as a monoizer because the bass and sub-bass frequencies must be mono to eliminate problems on large sound systems in clubs and festivals.

G-Sonique Digital Instruments Holubyho Street 921 01 Piestany Slovakia


Germany’s Reloop, distributed Stateside by American Music & Sound, has released the Turn 7 premium belt-drive USB turntable system. The acrylic platter with LED lighting and the external drive belt make the Turn 7 an absolute eye-catcher. Powerful and steady drive A decentralized, low-vibration DC motor drives the Turn 7. The integral fat belt runs gracefully along the turntable exterior, ensuring smooth operation and a sophisticated appearance. The start/stop rotary switch allows you to select between the turntable’s two speeds (33 and 45 RPM). The acrylic platter is 20-mm thick and weighs 1.7 kg. It also has excellent antistatic characteristics. As a result, crystal-clear audio is possible without using a platter mat. The satin fnish of the material creates a focal point and contrasts with the otherwise plain design of the belt-driven turntable. The turntable comes with the Ortofon 2M Red cartridge system pre-installed. The gold-plated corrosion-resistant RCA connectors ensure the best possible signal transmission. The built-in USB output allows you to digitize vinyl records. The Turn 7 features an optional, blue platter illumination.

Reloop/American Music And Sound 310 Newberry Rd. 06002 (800) 431-2609





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“Lose My Mind”

Jamie Jones

Helix Records

On this bouncy house track, Connie Constance’s charming vocals and the sweet horn hooks bring it all home. Hopelessly catchy with warm Summer overtones, this one has Ibiza’s Café Mambo written all over it.


AMÉMÉ One Tribe

Pushing an irresistible groove, this righteous Afro-house track also delivers tasty snippets of techno synth sizzle, while featuring vocals from the Beninborn DJ/producer’s mother. Superb.


Purple Disco Machine & Kungs

Columbia Local

Though a bit confectionary – it takes a bite from Alphaville’s ’84 hit “Big in Japan” – this thoroughly retro Eurodisco collab rouses nonetheless with its thumping bassline and earworm hooks. Extra points for a lyric that asks: “Am I bipolar?”


Todd Terry

Freeze Records

The man behind this jam is none other than Todd “Tha God” Terry who’s launched more than a thousand sonic ships since the inception of his Freeze imprint in 1991. His latest effort here is a looped jackin’ hip-house chugger with a funky/chunky beat and ominous vocal injections. Classic Todd.

“Looking for Shelter”


This Never Happened

Shimmering and ethereal with nifty panning effects (via producer Boxer), this glowing collab tingles its way into your brain and really creates a mood for RYTERBAND’s emotive vocals. Of course, the “Extended Mix” ramps things up a bit, especially for those with a taste for pulsing melodic house.

Todd Terry
Purple Disco Machine & Kungs

“Magic Hour”



A whopping trance track that builds into a stomping juggernaut, then breaks down with precision into moments of melodic synth swirls and celestial effects. Of course, it ramps up again to full, crunching, delirium. By-the-numbers, perhaps, but effective.

“No Reason”

The Chemical Brothers


A simple, hooky groover with a partyat-ground-zero vibe, as it delivers foreboding lyrics amid its splendidly bouncy rhythms – and check the wonderful acid/303 breakdown. What’s not to love here?

“Fuck What U Heard”

The Blessed Madonna & Todd Edwards

Warner Records

On this unique collab, a burbling bassline gives way to a trippy vocal loop that’s dropped over a thumping, stripped-down rhythm that, but the end of the track, veers into near-psychedelic territory. Disorienting, but stout late-night fare.

“Be the One”

Eli Brown


Jittery and madly rushing at the outset, this quickly alternates to dark, minimal, and brooding rhythms, creating a disorienting effect as it careens back and forth. Percolating and tough, this acid-tinged techno track’s a dark-room banger.

Gorgon City


On this well-crafted, melodic, deepleaning house tune, skippy rhythms and throbbing synths build a solid foundation for Lavrentia’s yearning vocals. Another catchy winner for Gorgon City.

The Chemical Brothers – Jim Tremayne Eli Brown
Gorgon City The Blessed Madonaa “Voodoo”

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






Most Added Tracks

■ Gary Canavo

■ DJ Sticky Boots

■ Manny Esparza Nexus Radio Chicago,IL

■ Howard HK Kessler In The Mix With HK Syndicated

■ Peter K. Productions Peter K Syndicated

■ Brian Stephens Mixxmasters Lithonia,GA

■ Randy Schlager KNHC 89.5FM Seattle, WA

■ DJ Ilan Fong Multiple Pod Casts Columbus, OH

■ Michael Cerchiai House Of Pride Radio San Francisco, CA

■ DJ Spawn Mix 93 FM Los Angeles, CA

■ Miss Joy TAO Group Las Vegas, NV

■ Chris Egner Victors Milwaukee, WI

■ Alan Chasen OMAP Washington, DC

■ Dan Mathews KRYC Sacramento, CA





Most Added Tracks

1 Edwin Perez Sonero De Que Homerun Music Inc

2 Mike Bahia Y Greeicy Mi Pecadito Warner Records

3 Edwin “El Calvito” Perez Ahora Me Toca A Mi Con Clase

4 2DEEP feat El Chima & JoeytheGawd Patilla Dim Mak

5 KD One & Lil Jon Vamos A Beber (Sak Noel Remix) Dim Mak


■ Latinos Unidos Record Pool

■ Salsamania Latin Record Pool

■ Lobo/Bass Record Pool

■ North East Record Pool

■ Mixx Hitts

Record Pool Latino

Latin Beat Chicago

All In Music Pool

Record 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,

As May 1, 2023
1 Taylor Swift Lavender Haze Republic 2 Ray & 070 Shake Escapism Capital 3 Miley Cyrus Flowers Columbia 4 Tiesto & Tate Mcrae 10:35 Musical Freedom 5 Remy F/ Selena Gomez Calm Down Mavin 6 Lady Gaga Bloody Mary Intercope 7 Loud Luxery & Hook N Sling Afterparty Armada 8 The Weeknd & Arianna Grande Die For You Republic 9 Coi Leray Players Republic 10 Latto F/ Lu Kala Lottery RCA 11 Morgan Wallen Last Night Republic 12 Metro Boomin’ F/ The Weeknd Creepin’ Republic 13 David Guetta & Bebe Rexha I’m Good (Blue) Warner 14 Miley Cyrus River Sony 15 Shakira F/ BZRP Music Sessions #53 Orchard 16 Calvin Harris & Ellie Goulding Miracle Sony 17 Pink Pantheress F/ Ice Spice Boy’s A Liar Pt2 300 18 Bebe Rexha Heart Wants What It Wants Warner 19 Frank Walker X Ella Henderson I Go Dancing Palm Tree 20 Cash Cash F/ Ruthanne Anyway Ultra 21 Tiesto All Nighter Atlantic 22 David Guetta, Anne-Marie & Coi Leray Baby Don’t Hurt Me Warner 23 Lisette Melendez Hot Shot Flava 24 John Summit F/ Hayla Where You Are Off The Grid 25 Mk & Dom Dolla Rhyme Dust Ultra 26 Zara Larsson Can’t Tame Her Epic 27 Vavo & Clare Mae Take Me Home Imperial 28 Anabel England Need Me Right Ultra 29 The Chainsmokers Cheyenne Giles Make Me Feel Spinnin’ 30 Serena Bleu Levelin’ Up Serena Bleu 31 Skrillex, Fred Again & Flowdan Rumble Atlantic 32 SZA Kill Bill RCA 33 Kendra Erika Thriller Killer Oyster Shell 34 Armin van Buuren & Punctual ft Alika On & On Armada 35 Lola Audreys Miami (feat Nile Rodgers) Dist. By Foundation 36 D.O.D. Set Me Free Armada 37 Kaleena Zanders/Shift K3Y Vibration Payday 38 Kim English, Schak Moving All Around (Jumpin’) Trick 39 Nicki Minaj Red Ruby Da Sleeze Republic 40 Jade Starling Crazy Tazmania 1 Tiesto All Nighter Atlantic 2 David Guetta, Anne-Marie & Chi Leray Baby Don’t Hurt Me Warner 3 Coi Leray Players Republic 4 Bebe Rexha Heart Wants What It Wants Warner 5 Kaleena Zanders & Shift K3y Vibration Payday 6 Regard & Ella Henderson No Sleep Epic 7 Lola Audrey Miami Dist. By Foundation 8 Purple Disco Machine x Kungs Substitution Sony 9 Mk & Dom Dolla Rhyme Dust Ultra 10 Chainsmokers/Cheyenne Giles Make Me Feel Musical Freedom
Ritmo Camacho Record Pool
La Fuga Cali Es Un Vacilon (Cubanito Remix) Slammin’
Shakira TQK Universal
G feat
Turizo El Merengue Sony
& Manuel
Karol G x Romeo Santos X Si Volvemos Universal
Zion & Lennox Desnudate Warner
Enrique Feliz x Rafa Rosario Las Mujeres Ajenas Mayimba
Don Omar feat Lil Jon Let’s Get Crazy! (Mambo Drop) Inisono/Saban
Romeo Santos Suegra Sony 9 Pitbull x AYYBO x ero808 Right Or Wrong (Hypnosis) Mr 305 10 Brray Ft Jhayco, Ryan Castro Corazon Roto Remix Universal Latin 11 2DEEP Guaracha En Reggaetonlandia Dim Mak En Fuego 12 Jacob Forever Rica y Pega Forever/Onerpm 13 Diveana Provenza J&N Records 14 Alfredo De La Fe feat Alex Abreu A Otro Con Ese Cuento Altafonte 15 Pablo Perez Mi Ritmo Tiene Fuego PPB 16 Williy Chirino Y Gilberto S. R. La Musica Loud And Live, Inc. 17 Teria Morada & A. Mendez Ft Choclair Bon Voyage (A. Mendez Spanglish Mix) Underbite Records 18 Rosalia & Cardi B Despecha Columbia 19 Bajando Fino Toxica Go Latinos 20 Beto Collado Punto Y Coma MP
The HyperMiXx
■ The Dance Environment What’s In-Store Music
Angeles, CA
Ritmo Internacional Record pool
■ Jeff Koppel JK Productions NY Tri-State Area DJ Latinos Record Pool

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