THE LATEST
Vol.6 No. 4
Pacha Returns to NYC Mike Walter & The Power of Song
PLUS:
Jason Ross Harrison Rane System One Vochlea Dubler 2 Palm Tree Music Fest OM Records Bash Expert Wedding Advice
Side-Hustle DJ Tips
ROGER SANCHEZ
Making Spectrum Sounds
The platform for creation, production and distribution of music and content showcasing next gen tech, tools, and gear.
T?
one time.
64%
Have a dedicated home studio
16%
Want to build a new home studio
25%
Engage in production and recording activities
25%
Are making User Generated Content
50%
Are interested in adding to their existing studio technology
Your paragraph text Your paragraph text
ATTENDEE BREAKDOWN A&R Agents Artists Bedroom/Upstart DJ Booking Professionals Club DJ Influencer / Streamers Label Executives Management Companies Media Mixshow DJs Mobile DJ Program Directors Promoters Production Companies Radio DJ Radio Programmers Remixer / Producer Retailers Venues
CREATE OPPORTUNITY, ONLY @ THE EDIT August 10-13, 2026 Hard Rock Hotel & Casino Atlantic City, New Jersey (516) 767-2505 X 502 djx@hazanmediagroup.com
@DJXShowOfficial
YOUR STAGE. YOUR SOUND. JBL Portable PA Solutions deliver legendary performance, powerful sound, and pro-grade features across a complete lineup built for every event, crowd, and venue. Learn more at: jbl.com/portable-pa-systems
Visit us at Booth: #308 and Demo Room: Big Cypress Studio A
MORE SUBSTANCE LESS NOISE
Open the brandboX A QUIETER SPACE ON THE DJX FLOOR FOR SOLUTIONS, SERVICES, AND STRATEGIES THAT BUILD BUSINESS
Aug 10–13, Atlantic City, NJ
Live Demos Hourly Tues/Wed 11:30 am–6:00 pm Thurs 11:30 am–3 pm QSC Demo Room: Brighton Ballroom IV (upstairs)
LS2 LS 218 Dual 18-Inch Active Subwoofer
KC12 3-Way Active Column Loudspeaker System
CB10 Compact Battery-Powered Loudspeaker
feat DJ Nicki Nell
We are proud to be sponsoring the opening night of DJX’26 for Sunset Sessions again this year. Preview the QSC demo room, connect with DJX attendees, enjoy food and drinks on us.
Mon Aug 10 6:30 pm–8 pm Brighton Ballroom IV (upstairs)
©2026 QSC, LLC. All rights reserved. QSC, LLC’s trademarks include but are not limited to all trademarks listed at qsc.com/trademarks, some of which are registered in the U.S. and/or other countries. Patents may apply or be pending.
NEWS
DJX ’26: Keynotes, After Dark Parties & More
Beat Junkie: DJ Melo-D
Legendary: Kool DJ Red Alert.
By Jim Tremayne Atlantic City, N.J. – DJX’26 is heading back to The Boardwalk. Set for August 10-13 at the Hard Rock Hotel & Casino in Atlantic City, N.J., DJX will gather all sections of the DJ industry – mobile, club, studio, turntablist, beginner, etc. – with its long-running combo of new technologies, vital education, and sponsored After Dark events. Produced by DJ LIFE magazine and Hazan Media Group, DJX will present an exhibit hall full of the latest DJrelated products (audio, lighting, studio, content-creation, accessories, etc.), a slate of 35 seminars, panels, and keynotes tackling the most-pressing topics, and After Dark events featuring top DJ talent. Operating since 1990, DJX is the longest-running and most-impactful trade show/event in the North American DJ industry. Keynoters: Three ultra-successful DJs, three different stories in our “Keynote Q&A” series… On Aug. 11, John “Jellybean” Benitez, the legendary NYC DJ, will discuss his uniquely varied career, which has seen him produce and remix hits for the likes of Madonna, Whitney Houston and Michael Jackson, make music for films, run record labels, and take on new enterprises like Jellybean’s Funhouse Record Shop in Ft. Lauderdale, Fla. Also on Aug. 11, renowned DJ/producer Arthur Baker, will discuss his studio success on legendary tracks like Afrika Babaataa’s “Planet Rock” and “Looking for the Perfect Beat,” plus Rockers Revenge’s “Walking on Sunshine.” Immediately afterward, DJX will screen Baker’s self-directed documentary, “Rockers Don’t Stop: The Revival of Rockers Revenge.” On Aug. 12, Sid Wilson will discuss his career in top metal act Slipknot, his ventures as DJ Starscream, and his entry in the DJ-gear industry with his company Stop the Panic. After Dark: On Aug. 10, hitmakers “Jellybean” Benitez and Arthur Baker will spin the official DJX’26 opening-night party at the spectacular HQ2 Nightclub at the nearby Ocean Casino Resort. On Aug. 11, the “Respect the DJ” Party will rock the VÜE Rooftop Bar at The Claridge Hotel with a lineup of six party jocks: Dook, Frank Garcia, DJ Tony-T, DJ Lou Paris, Linda Leigh and Iron Mike. On Aug. 12, DJX will present its “Legacy of the Mix” mobile party The Balcony Cabaret inside the Hard Rock. Sponsored by AlphaTheta and RCF, the open-format event
Party Rocker: Matthew Law.
will be co-hosted by DJ vets Jake Jacobsen and Mike Alevras and will feature a pair of hitmaking dance-music divas – Shyra Sanchez (“Operator”) & Pretty Poison feat. Jade Starling (“Celebrate”). The event will feature also DJ/VJ/MC performances by top sports jock Matt Dodge (Tampa Bay Rays/ Buccaneers), DJ Larry D (Virginia’s Astro Event Company), DJ Stacie (FIT Radio), DJ Kid Kasper (Virginia’s B101.5 FM), Todd Moffre and Big Daddy & The Family. Immediately after that event concludes, DJX’s closing party – “Mell Starr and Friends” – will rev up in the same room. In addition to MC/host Starr, the show will feature legendary radio icon/mixtape innovator Kool DJ Red Alert, ultra-talented turntablist/original Beat Junkies member Melo-D, and party-rocker supreme Matthew Law (of A-Trak’s Fool’s Gold Records). The event is sponsored by AlphaTheta, RCF & the Beat Junkies Institute of Sound Sunset Sessions: DJX’s Sunset Sessions will offer attendees early-evening gatherings with the industry’s top brands featuring music, food/drink, and giveaways. QSC (Aug. 10) and AlphaTheta (Aug. 11) are scheduled with sessions in the Hard Rock that will run each day from 6:30 to 8 p.m. Ultimate DJ Giveaway: As always, at the end of the show, one lucky DJX attendee will have his or her name pulled from the hopper and walk away with a treasure trove of gear from the following companies: AlphaTheta; ColorKey; Crane; Headliner; JetPack Bags; Mo & Joe Electronics; ProX Live Performance Gear; Rockville Audio; and Ultimate Ears. For the latest on DJX, please visit www.djxshow.com. (For more on DJX Sponsored Seminars, please see Pg. 12.)
Pacha Back in NYC
Brooklyn, N.Y. – Pacha, the iconic Ibiza nightlife brand, returned to New York City with a splash this past June with an opening weekend that featured Black Coffee, Solomun, and Michael Bibi at its sprawling outdoor space. For the latest on Pacha, please visit Pg. 38. Deonté Lee
VOL.6 NO.4 |
DJLIFEMAG.COM
7
IN THIS ISSUE
VOLUME 6 NUMBER 4
28
14
The Side-Hustle DJ
Sound Bites Harrison
30
30 Years On…
OM Records Celebrates Anniversary with Big Bash & More By Saxe Coulson
Even If You’re Not Going Full-Time on the Decks, Here Are Some Ways to Get the Most Out Your DJ Life By DJ HAPA
16
In the Studio With… Jason Ross
32
Greatest Songs Ever? In Mike Walter’s Latest Book, He Asks a Very Basic Question: What Makes a Great Song? In This Fun & Freewheeling Discussion, We Discuss Songs – Their Meaning & Their Power By Jim Tremayne
8
DJLIFEMAG.COM
|
VOL.6 NO.4
36
Pacha Returns to NYC Legendary Club Brand Lands in Brooklyn with a Splash By Jim Tremayne
ON THE COVER Spectrum Sounds Twenty Years Since His Last Album & Six Years in the Making, Roger Sanchez’s “Spectrum” Celebrates the Sonic Colors of Clubland By Mark Mancino
20 12 Feedback
DJX’26: Latest Updates for the Atlantic City Show
42 Festival Spotlight Palm Tree Music Festival
44 Playback Rane System One
46 Studio Session Vochlea Dubler 2
48 Mobile DJ Profile Mark Brenneisen’s EPIC Events
50 DJ Business
Timeless Tips: A Wedding Expert’s Guide
52 Gear
New Products from RCF, Reloop & More
62 Tracks
Haris Nukem
Phat Tracks from Josh Wink, Adra & More
64 Club Play Chart
The Hottest Records, As Reported by Our Top U.S. Record Pools VOL.6 NO.4 |
DJLIFEMAG.COM
9
FROM THE EDITOR JIM TREMAYNE
THE S-MAN & MORE It’s been awhile since we’ve connected with the legendary Roger Sanchez, but now is certainly the time. It’s been 20 years since his last album and now, after six years in the making, he returns with Spectrum, which celebrates the sonic colors of clubland. Our Mark Mancino interviewed the NYC-born DJ/producer to discuss the album, his career, and the ever-changing sounds of dance music. In this issue, we also visit the latest version of Pacha New York. The celebrated Ibiza club brand opened in Brooklyn this past June and we caught one of its early shows – a terrific performance from Masters At Work (Louie Vega and Kenny “Dope” Gonzalez). And no doubt, it looks like it’s going to be a major NYC DJ venue for years to come. Cali correspondent Saxe Coulson took to the Sierra Nevada foothills for OM Records’ 30th anniversary getaway party. The San Francisco-based label, famous for house and hip-hop, among other genres, celebrated with more than 50 DJ/artist performances, including sets by Mark Farina, DJ Harvey, Doc Martin, Justin Martin, Marques Wyatt, Miguel Migs and more. And in our Festival Spotlight, we bring you scenes from the Palm Tree Music Festival in The Hamptons of Long Island, which brought DJ talents like Kygo, The Chainsmokers, Gryffin and It’s Murph this past June. Our good friend from Cali, HAPA the DJ Coach, offers another dollop of wisdom for side-hustle DJs. In his feature, he explains how to get the most out of your DJ life, even if you don’t want to go full-time on the decks. We also visit with longtime New Jersey mobile Mike Walter, whose latest book (Greatest Song Ever?) dives into what makes a great song by discussing the strengths of 40 different tunes – many of which are dancefloor gems. (He’ll also be doing a similar discussion with me at DJX.) We think you’ll like the conversation. In Sound Bites, Mr. Mancino connects with rising Brit DJ/producer/vocalist Harrison, who’s riding high on the strength of his cover of t.A.T.u.’s “All the Things She Said” which has been heavily featured on HBO’s Heated Rivalry. He also connects with Jason Ross, an up-and-coming trance talent, who discusses his new full-length, True North. In the world of mobile entertainers, we visit with Upstate New York jock Mark Brenneisen, whose AllWeDoIsEPIC company handles much of the Lake George area’s DJ needs. But he’s also found other ways to maximize his opportunities in his tourist-rich landscape. (At DJX, he’ll be presenting “Say It Different: Modern MC Skills for Today’s Weddings.”) Also, in DJ Business, Brian Lawrence offers 10 timeless tips for wedding jocks. (At DJX, he’ll be presenting “From Browsing to Booking: The New Age of SEO for DJs.”) In our gear-review sections, Minnesota’s DJ Deets tests out the unique Rane System One all-in-one standalone set-up with platters. Meanwhile, Brooklyn DJ Mike Márquez reviews Vochlea’s Dubler 2, an intriguing desktop app that turns your own voice into a real-time MIDI controller, allowing you to sing, hum, whistle, or even beatbox ideas directly into your DAW. And, of course, everything leads to DJX in Atlantic City, N.J. From Aug. 10 to Aug.13 at the Hard Rock Hotel & Casino, the show will present the DJ industry’s largest tech-filled exhibit hall, 34 seminars, panels and keynotes, plus After Dark events every evening. For the very latest, please visit www.djxshow.com. We hope to see you there on The Boardwalk!
editor-in-chief Jim Tremayne jtremayne@hazanmediagroup.com editor-at-large Brian O’Connor boconnor@@hazanmediagroup.com web editor and social media manager Mark Mancino mmancino@@hazanmediagroup.com contributors Joe Berinato, Chris Caruso, Shawn Christopher, Paul Dailey, Reed Dailey, Chris Davis, DJ Deets, Tony Fernandez, Tommy D Funk, Lexi Ferguson, John Hohman, Wesley King, Brian Lawrence, Mike Márquez, Lily Moayeri, Jordan St Jacques, Jeff Stiles, Ashley Teffer, Danny Turner, Phil Turnipseed, Joshua Volpe, Travis Wackerly, Curtis Zack chart coordinator Dan Miller dmiller@hazanmediagroup.com creative director Janice Pupelis jpupelis@hazanmediagroup.com director of technologies and project management Steve Thorakos sthorakos@hazanmediagroup.com Chairperson & COO/Co-Publisher Robin Hazan rhazan@hazanmediagroup.com President & CEO/Co-Publisher Shawn Hazan shazan@hazanmediagroup.com
Cheers,
Jim Tremayne Editor, DJ LIFE visit our website: www.djlifemag.com 516.767.2505 Editorial and Sales Office: DJ Life, Oyster Bay, NY 11771. (516) 767-2505 • (Sales/all other business): (516) 767-2505 • djlife@hazanmediagroup.com. Editorial contributions should be addressed to The Editor, DJ Life Mag, Oyster Bay, NY 11771 or sent to JTremayne@hazanmediagroup.com. DJ Life Mag is published bi-monthly starting with the second month annually. Design and Contents: copyright © 2026 by DJ Life Mag and must not be reproduced in any manner except by permission of the publisher. Web: DJLifeMag.com, DJXShow.com and HazanMediaGroup.com Subscriptions: Complimentary Digital Edition. Email: djlifemag@hazanmediagroup.com Phone: 516-767-2505 ext. 502 Web: djlifemag.com/subscribe
10
DJLIFEMAG.COM
|
VOL.6 NO.4
FEEDBACK
DJX’26: SPONSORED SEMINARS SCHEDULED Atlantic City, N.J. – Set for Aug. 10-13 at AC’s Hard Rock Hotel & Casino, DJX ’26 will present seven sponsored seminars from companies exhibiting at the show. They include: Aug. 10: ColorKey Lighting presents “Fast Setup, Big Impact.” Discover solutions from ColorKey’s full line of wireless and long-lasting battery-powered fixtures. Transform your DJ lighting experience and enjoy the freedom of wireless control. Aug. 10: New Tools for DJs with AlphaTheta/Pioneer DJ. AlphaTheta’s Jay Brannan will present an in-depth and interactive demonstration of the brand’s latest products. They include the CDJ -3000X multi-player, SLAB Serato Studio controller, the RMX-IGNITE effector, the DJM-V5 mixer, the CDJ-1500X multi-player, and the XDJ-AN all-in-one system. Aug. 11: Carnival Cruise Line – Your Pathway to Becoming an International DJ. Join Carnival Cruise Line for a high-impact seminar designed for DJs ready for their next big opportunity. Learn what it takes to perform for thousands of guests onboard one of the most recognized entertainment brands at sea. Aug. 11: One DJ, Many Worlds: How to Successfully DJ Multicultural Events. Join AlphaTheta’s DJ Creme, as he shares practical strategies for successfully DJing faith-based
gatherings, multicultural celebrations, community events, and multi-generational audiences. Learn how to understand cultural expectations and create meaningful musical experiences. Aug. 12: German Light Products – How Wireless Lighting Can Transform Your Next Event. Learn about Nexus Lights, GLP’s latest range in wireless lighting, and hear how these lights are transforming events through their fast, customizable deployment with control via app, DMX and programs such as SoundSwitch. Aug. 12: Planning from the Palm of Your Hand with Vibo. With a panel of influencers, Vibo will demonstrate its unique event-planning software – an interactive system that bridges the gap between DJs and clients, delivering significant outcomes for DJ businesses. Aug. 12: The SMPL Path To Success: Why A Good CRM System Is Crucial. Discover SMPL System, the all-in-one event-planning/management software that’ll optimize client interactions, bookings, and business growth. From managing events to staying in sync with inquiries, SMPL will discuss how a tailored CRM system for DJs can simplify workloads and amplify success. For the latest at DJX’26, please visit www.djxshow.com.
SOUND BITES
HARRISON: BREAKS OUT BIG
Images by Andy Nason
| VOL.6 14 Harrison DJLIFEMAG.COM NO.4 Onstage: His t.A.T.u. cover has earned 750 million streams.
Few artists experience the kind of breakout moment Harrison has relished in over the past year. The U.K.based producer/vocalist/DJ found himself at the center of a global phenomenon after his reimagining of t.A.T.u.’s “All the Things She Said” became the emotional centerpiece of HBO’s Heated Rivalry. What began as a fresh interpretation of the 2002 smash classic quickly evolved into one of dance music’s biggest success stories, topping Spotify’s Viral Charts globally, in the U.S., and in Canada for six consecutive weeks while generating more than one billion views across TikTok. That momentum has translated into an impressive career trajectory. Harrison has now amassed more than 750 million Spotify streams across his catalog, released acclaimed remixes for artists including The Veronicas (“Untouched”) and Duran Duran & Nile Rodgers (“Free To Love”) – and he continues to expand his reach with performances at Capital Pride Festival in Washington, D.C., Hyde Park in London, and Fenway Park’s upcoming Heated Rivalry Night in Boston. Prior to his rise following “All The Things She Said,” Harrison also experienced major streaming and viral moments with his covers of other popular songs, from such artists as Taylor Swift (“Anti-Hero”), Green Day (“Boulevard of Broken Dreams”), Snow Patrol (“Chasing Cars”), Juice WRLD (“Lucid Dreams”), among others. And let’s not forget about his explosive originals, including “Breathe Me In,” “Tell Me Why” with ALOK, “Once Upon A Time” with Kill The Buzz, and “Earthquake” with Hardwell. Despite the whirlwind rise, Harrison remains grounded in his creative process. Whether he’s producing, writing, or stepping behind the decks, his focus remains on emotion first and technology second – a philosophy that continues to shape both his music and his performances. DJ LIFE caught up with Harrison Manley-Shaw, 33, to discuss his creative journey, studio workflow, viral success, remix philosophy, and what’s next. DJ LIFE: How did you start making music? Harrison: It was honestly pretty basic. I definitely wasn’t one of those kids with a dream studio from day one. I was just obsessed with music and spent hours teaching myself, experimenting with whatever equipment I could get access to. Looking back, those early years were less about the gear and more about learning how songs made people feel and how to create those moments yourself. DJ LIFE: What’s a day in the studio like for you? Harrison: Most days start with listening. I spend a lot of time absorbing music, ideas, and references before I actually start creating. Once I’m in the session, it’s usually pretty fluid. Some days I’m writing. Some days I’m producing. Some days I’m recording vocals. I’ve learned not to force things. If an idea is there, I follow it. If
Harrison: Very carefully. Songs like that mean a lot to people. My job isn’t to replace the original. It’s to honor what made it special while finding a way to introduce it to listeners in a new
Images by Andy Nason
it isn’t, I move on and come back later. DJ LIFE: How do you usually start a track? Harrison: Usually, it’s an emotion first. I know that sounds vague, but it’s true. Sometimes it’s a lyric. Sometimes it’s a chord progression. Sometimes it’s just a feeling I can’t shake. I try to capture that feeling as quickly as possible before I start overthinking it. DJ LIFE: Your reimagining of t.A.T.u.’s “All the Things She Said” has become a global phenomenon. What was the creative spark that made it come to life? Harrison: I’ve always loved songs that carry a lot of emotion and nostalgia. “All the Things She Said” is one of those records that instantly takes people somewhere. I wasn’t trying to reinvent it. I just heard a way to bring it into my world and give it a different energy while keeping the emotion that made people fall in love with it in the first place. DJ LIFE: The track became the sonic centerpiece for HBO’s Heated Rivalry. What was it like for you to watch your music translate onto the screen like that? Harrison: If there’s one thing this experience taught me, it’s that you never know where a song is going to end up. Watching people connect with it through the show was surreal. The messages I received from fans all over the world were incredibly moving. It’s one of those things you dream about as an artist, but never really expect to happen. DJ LIFE: “All the Things She Said” rode the charts and hit over 1 billion views on TikTok. How do you process that level of exposure and success? Harrison: I don’t think I’ve fully processed it, if I’m being honest. One minute you’re making music in your studio and the next you’re seeing your song everywhere. It’s amazing and overwhelming at the same time. More than anything, I’m grateful. The numbers are incredible, but knowing the song genuinely meant something to people is what sticks with me. DJ LIFE: Have you since felt any added pressures when it comes to creating new music or performing a DJ set? Harrison: There’s definitely pressure, but I think every artist feels that at some point. The trick is not letting it control you. If I start thinking about expectations too much, it gets in the way of creativity. I try to stay focused on making music I genuinely love and trust that the rest will take care of itself. DJ LIFE: With Fenway Park hosting a dedicated Heated Rivalry Night on August 31, what does it feel like as a U.K.based artist to have your music cross over so heavily into American sports culture? Harrison: It’s crazy. Growing up in the U.K., I never could have imagined being connected to something like that. It’s a reminder of how far music can travel and how it can become part of people’s lives in ways you never anticipate. DJ LIFE: You recently dropped a huge remix of The Veronicas’ anthem “Untouched.” How do you approach remixing a track that holds such a special place in pop-music history?
context. That’s always the balance. DJ LIFE: Do you have any pre-show rituals or routines you carry out backstage before walking out to the decks? Harrison: Nothing too strange. I usually take a few minutes to myself, put my phone away, and focus. Once I step on stage, I want to be completely present. DJ LIFE: What’s a piece of advice you received early on in your career that you still carry with you today? Harrison: Stay authentic. Trends come and go, but people connect with honesty. That’s something I’ve tried to hold onto throughout my career. DJ LIFE: How different are you sets? Can you compare playing an underground, intimate club night versus a massive outdoor event like the Capital Pride Festival? Harrison: They’re completely different experiences. In a club, you can take your time and really build a journey. At a festival, you have to grab people’s attention straight away and create big moments. I enjoy both for different reasons. DJ LIFE: You handle roles as a producer, a vocalist, and a DJ. When you’re in the studio writing, how do you find that balance between the technical mindset of a producer with the emotional performance delivery of a vocalist and songwriter? Harrison: I try not to wear all the hats at once. When I’m writing or recording vocals, I focus on emotion. Later, I’ll switch into producer mode and worry about the details. If you start editing while you’re creating, you can lose some of the magic. DJ LIFE: Do you have a track or remix of your own that you’re most proud of or that you hold close to your heart? Harrison: I’d probably say “All the Things She Said” simply because of what it’s become. Seeing a song take on a life far beyond what you imagined and connect with so many different people is something I’ll never take for granted. DJ LIFE: Having amassed over 750 million streams so far, what does the next chapter for Harrison look like? Harrison: More music, more growth, and hopefully more opportunities to connect with people. The last few years have changed my life, but I still feel like I’m just getting started. There are a lot of things I want to accomplish, and I’m excited for what’s ahead. – Mark Mancino VOL.6 NO.4 |
DJLIFEMAG.COM
15
IN THE STUDIO
Greg Fry
JASON ROSS: FINDING TRUE NORTH
Genre Fave: Ross has emerged as one of trance’s top talents.
Rare are the times in electronic music do you experience an artist whose career has evolved as naturally as Jason Ross. After first emerging through the Anjunabeats family with the guidance of Above & Beyond, Ross quickly established himself as one of dance music’s most versatile producers, seamlessly blending the emotional depth of trance with the cinematic power of melodic bass. Along the way, collaborations with Seven Lions, Gryffin, Blanke, and others helped define a sound that has become unmistakably his own, also resulting in fan-favorites like “Higher Love,” “Ocean,” “Shelter,” “One More Day,” “Wild Ones,” “After You,” and the acclaimed Rooms EP. Now, Ross enters a new chapter with True North, his most personal and introspective body of work. Built around themes of authenticity, self-discovery, instinct, and emotional honesty, his latest full-length album represents more than a collection of songs – it’s a statement of identity. Accompanied by cinematic visual storytelling and a behind-the-scenes documentary series that has resonated with fans across social media, True North reflects the artist Ross has become after years of trusting his own creative compass rather than chasing trends. DJ LIFE caught up with the Twin Cities-raised/L.A.-based Jason Ross, 37, to discuss his early days learning on vinyl, the making of True North, balancing inspiration with discipline in the studio, his touring philosophy, and why following your own path has become the defining message behind his latest chapter. DJ LIFE: How and when did you get into electronic music? Jason Ross: I discovered electronic music in the early 2000s through artists like ATB, Tiësto and later Above & Beyond. What drew me in was the emotional side of dance music. It felt cinematic and uplifting in a way that no other genre did. I got into the electronic scene in college and would go to events in downtown San Diego to catch my favorite DJs. One of the first major shows that really left an impression on me was seeing Above & Beyond live. It made me realize electronic music could be both powerful and deeply personal. DJ LIFE: When you were first starting out as a DJ, what was your set-up? How about your DJ set-up today? Ross: When I was first learning the ropes, I was fortunate enough to have a mentor who showed me how to DJ and produce. He first had me learn to DJ using vinyl, and later I learned how to use CDJs – back when we had to burn CDs and carry around a massive CD case. I spent countless hours teaching myself how to beat-match and build sets. Today, my set-up is much more streamlined. I primarily play on Pioneer CDJ-3000s with a DJM-V10 mixer, and a lot of my focus is on preparing edits, mashups, and custom moments that make each show feel unique. DJ LIFE: What did your original software set-up when you were just figuring out electronic-music production? Ross: It was an early version of a MacBook, a pair of KRK speakers, headphones, and Ableton Live, with some software like [LennarDigital] Sylenth, [Spectrasonics] Omnisphere, and sample packs I got from friends. I had no idea what I was doing, but I was completely fascinated by the process. DJ LIFE: Do you have any go-to studio synths or plug-ins at the
moment? What is your preferred DAW? Ross: Ableton Live is my DAW of choice and has been for years. As for synths, I still use [Xfer Records] Serum constantly, along with [u-he] Diva, Omnisphere, and [Reveal Sound] Spire. As for plug-ins, I always reach for [SoundToys] Decapitator for distortion, [Slate Digital] Fresh Air for some air and brightness, and FabFilter plug-ins like Pro-Q, Pro-MB, and Pro-L. I try not to get too caught up in gear, though. Most of the magic still comes from songwriting and sound selection. DJ LIFE: What’s your studio routine like these days? Ross: I’ve become much more structured over the years. Inspiration is great, but you can’t rely on it. Most days I’ll start in the late morning, spend time reviewing ideas, then focus on writing, arranging, or finishing music. Some of my favorite creative breakthroughs have happened late at night when there’s less noise and distraction. I try to balance discipline with leaving room for spontaneity. DJ LIFE: You’ve described True North as a story of authenticity and an intentional statement of identity. For you personally, what does your “true north” look like as an artist? Ross: True North is about trusting your inner compass. It’s easy to get pulled in different directions by trends, expectations, and outside opinions. This album was about reconnecting with the reasons I started making music in the first place and creating something that genuinely reflects who I am. My true north is making music that feels honest, emotional, and meaningful, regardless of what’s popular at the moment. DJ LIFE: The mini documentary you recently posted on your socials has been going incredibly viral. What has been the most rewarding part of pulling back the curtain and showing fans the raw realities of your touring life? Ross: The response has been amazing because people connected with the honesty of it. Social media often only shows the highlights. I wanted people to see the full picture, including the sacrifices, uncertainty, and personal growth that happen behind the scenes. The most rewarding part has been hearing from fans who saw pieces of their own journey reflected in mine. DJ LIFE: What was the creative process like for you on this album?
Ross: The album took shape over several years. I wasn’t trying to force a concept at first. As more songs came together, I realized there was a common thread connecting them. Themes of growth, self-discovery, nostalgia, and finding your path kept showing up. Once I recognized that, the album became less about individual songs and more about telling a larger story. DJ LIFE: The creative world surrounding True North uses cinematic vignettes mixed with short-form documentary elements. Why was it important for you to tell this album’s story through visual representation? Ross: The album was always bigger than the music itself. The themes are very personal, and visuals gave us another way to communicate them. The documentary elements added authenticity, while the cinematic pieces helped bring the emotional side of the story to life. Together they created a more immersive experience for fans. I’ve always loved films that feel raw, personal, and relatable, and I felt those themes aligned naturally with the music on True North. Seeing the project through a cinematic lens felt like the best way to tell the story, and it gave me an opportunity to explore a creative medium I’m deeply passionate about. DJ LIFE: What is the main message you hope listeners take away from True North? Ross: I hope people walk away feeling inspired to trust themselves. We spend so much time searching for answers outside of ourselves, but often the direction we’re looking for is already within us. If the album encourages someone to follow their own path a little more confidently, then it has done its job. DJ LIFE: How do you approach your DJ sets? Ross: Club sets give me the opportunity to be more adventurous. I can take longer journeys, play older/classic cuts, and explore different styles. Festival sets require a different mindset because you’re trying to connect with a much larger audience in a shorter amount of time. The energy needs to be immediate and impactful while still telling a story. DJ LIFE: What’s the rest of the year looking like for you? Ross: The first half of 2026 was all about finishing up True North. Looking ahead, the biggest focus is the True North Tour this fall. I’m excited to bring the full visual and musical experience to fans and celebrate this album in a live setting. – Mark Mancino VOL.6 NO.4 |
DJLIFEMAG.COM
17
YOUR TRUSTED GATEWAY TO ACCESS THE DJ INDUSTRY, INFLUENCE, & CULTURE
Event Production ■ Event Strategy ■ Execution ■ Brand Activations ■ Pop-Up Events ■ Conference Creation ■ Logistics & Ops
Strategic Advisory
Experiential Branding
Content Creation
Development ■ Brand Identity ■ Storytelling ■ Advertising ■ Experiences
■ Visual & Graphics
■ Revenue Generation
■ Messaging & Delivery
■ Sales Strategy
■ Digital Campaigns
■ Bolt-On Opportunities
■ Website Development
■ Market Penetration
■ Communications
■ Guidance / Training /
■ Campaign
■ Creative Services
■ Discovery
Insights +1 (516) 767-2505 X 517 Shawn Hazan - President & CEO shazan@hazanmediagroup.com
EL24S
WORL PROD D U PREM CT IERE
THE WORLD’S FIRST 24” POWERED PA SUBWOOFER
BIG CYPRESS STUDIO B
YXL
ALSO ON DISPLAY
yor kville.com
VOL.6 NO.4 |
DJLIFEMAG.COM
19
20
Long before the internet age fragmented electronic music into micro-trends and algorithmic playlists, Roger Sanchez was already fundamentally shaping the architecture of global dancefloors. From his earliest days cutting his teeth in the fierce underground circuits of New York City, the globally celebrated, Grammy-winning DJ/producer, and Stealth Records label head has stood as an uncompromising monolith of house music. Over a legendary, multidecade career, his name has become synonymous with continuous evolution – a rare talent who can command the sweaty intensity of a dark basement
sents a meticulous six-year labor of love that was accelerated when the global pandemic unexpectedly rooted the nomadic artist to a single spot. Sanchez says that the rare period of extended stillness allowed him to drill down on a bold visual and sonic philosophy that treats sound as an array of distinct light frequencies. The resulting album is a multi-dimensional landscape that moves effortlessly from the bright, soulful, and radio-ready tracks of the visible light spectrum to the deeper, driving, and emotionally weighted club tools of the infrared and ultraviolet realms. Much of Spectrum was conceived and written during
Way,” and the driving dancefloor cut “Temptation” with Low Steppa and Ragdoll. The album also features a stunning, vocal centerpiece, “How Do We Say Goodbye,” crafted with in-demand vocalist Karen Harding, which beautifully pairs a trancelike ambient intro with a thunderous house drop. Additionally, contributions from U.K. garage mainstays Donae’o and Kele Le Roc, pop icon Melanie C (formerly of The Spice Girls), and Chico Castillo round out a well-balanced tracklist. To celebrate the release, Sanchez is taking Spectrum on a continent-spanning summer tour, designed with both the dedicated
In the weeks leading up to the Spectrum album release, the house-music legend has commanded the global electronic media landscape, delivering a highly talked-about, live-remixed B2B broadcast set with TCTS for KISS and making a major national television appearance on the U.K.’s Sunday Brunch. Living in an era where online visibility and viral algorithms often prioritize content creation over genuine track selection, Roger Sanchez stands tall as one of the scene’s most uncompromising tastemakers – and when it comes to showing the world what he’s got in store for the dancefloor, he’s only just getting started. We recently
club just as easily as a massive, stadium-sized music festival. Whether delivering timeless anthems like 2001’s monumental “Another Chance” or mentoring the next generation of house-music talent through his own label imprint, Sanchez has spent decades staying fiercely authentic to the groove, proving that true passion will always cut through the noise of a saturated industry. Sanchez is further cementing his legacy with the release of Spectrum, his first full-length studio album in 20 years. Released this past June via Stealth Records, the massive project repre-
an influential period spent in London’s Shoreditch area, a creative chapter that heavily drenched the record in raw, bouncy, and industrial U.K. summer club sounds. To bring the vast musical canvas to life, Sanchez compiled a worldclass, cross-generational roster of collaborators that spans multiple genres, eras, and cultures. Longtime house heads and new-school shufflers alike were treated to advanced previews via three massive singles – the basement-ready, tech weapon “Grinnin’” alongside Fedde Le Grand, the uplifting house groove “Come My
vinyl selector and the festivalgoer in mind. Sanchez’s grueling summer schedule includes high-profile festival sets across Europe, appearances at leading parties, and notable returns to the U.K.’s legendary Manchester-born club heritage with dedicated FAC51 Hacienda and Hacienda Classical sets in Birmingham, Nottingham, and Milton Keynes. The tour also spans London’s industrial warehouse mega-space Drumsheds, Monaco’s Amber Lounge, and a massive primetime residency at Pacha Ibiza for their upgraded “Flower Power” nights.
caught up with the legendary Roger Sanchez. DJ LIFE: Let’s take a trip back in time. What was your original bedroom-DJ set-up? Roger Sanchez: I started out with two Technics SL1100 belt-driven turntables and a Gemini mixer. The belt drives would lose tightness after much use, and that would make precise mixing more challenging. The pitch was a dial, which was less precise than the later Technics 1200s with the slide pitch. I learned how to maintain beat matches with a fluid and changing format. DJ LIFE: What does your
DJLIFEMAG.COM
|
VOL.6 NO.4
Haris Nukem
VOL.6 NO.4 |
DJLIFEMAG.COM
21
current tech rider look like? Anything you can’t live without? Sanchez: I’m playing with four Pioneer CDJ-3000s and DJM-V10 or DJM-A9 mixers, an RMX-1000, and I can’t live without the CDJs – I use them almost as stems in the way I remix live during my sets. DJ LIFE: Over a multi-decade career, you’ve seen some of the craziest corners of nightlife. What’s the most bizarre story you lived through while you were behind the decks? Sanchez: I played a private event in Brazil in an unfinished building with no walls. They suspended the DJ booth on cables over a two-story space, and I had to access it with a cherry picker. This was when I was still playing with vinyl. The booth was 4-feet-by-5-feet – a bit small – and the promoter decided to bring his girlfriend up to dance in this wobbly booth with my needles bouncing around. DJ LIFE: In the studio, what’s your DAW of choice today? Sanchez: I use Logic and Ableton Live – they used to slave together, but now I have to use them separately. Ableton Live allows me to set up loops, drums, and samples quickly, while Logic allows me to sound-design and is my preferred platform to record vocals and live instruments due to its transparency. DJ LIFE: Do you have a studio routine these days? Sanchez: I tend to try to give myself a structured time to work but… since I also tour a lot, I allow myself to work on the road in my mobile setup when inspiration strikes. DJ LIFE: Can you compare a day in the studio today to what it was like 20 years ago? Sanchez: My workflow is a bit different. A lot more is done on my computer, whereas 20 years ago I had to be in a studio with analog keyboards to program my sounds and records. My studio has become very mobile, and I can’t live without recording vocals and instruments in various places due to the ability to clean up my sounds afterwards. 22
DJLIFEMAG.COM
|
VOL.6 NO.4
DJ LIFE: When starting a brand-new track, what’s your approach? How do you get the session going? Sanchez: Each track begins in a different way. Many of the songs I’ve written begin with a melodic hook, while many of the tracks start from a beat or a bassline idea. DJ LIFE: Are there any particular plug-ins, synthesizers, or sample packs that you use in most of your sessions these days? Sanchez: I’ve been using Splice to help me find synth and bass sounds and I use a lot of the patches on Serum and Spire, and then rework them. DJ LIFE: How do you break through a creative wall or writer’s block when you’ve been staring at the same loop for hours and a track just isn’t coming together? Sanchez: I will put a track away when I’ve hit a wall and go listen to completely different genres of music just to reset my brain – jazz, rock, funk, Latin. All of these spark ideas I can then re-approach my track with later. DJ LIFE: Do you ever miss working with analog gear? Sanchez: While I love the sound of outboard gear, the truth is that the agility of a condensed production set-up has allowed me to be more productive on the road. I have both set-ups, so when I can take time off of the road, I can indulge in the analog gear and create that way. DJ LIFE: Spectrum is your first full-length studio album in 20 years. After two decades of releasing singles, EPs, and compilations, what made you feel it was time to construct a big body of work again? Sanchez: I had been putting some ideas down, but the pandemic rooted me to one spot and that gave me the time to really start to drill down on what I wanted this album to be. From there, I kept writing until I felt I had a picture fully formed. DJ LIFE: You’ve described the album using light frequencies… can you break down that visual and sonic philosophy? Sanchez: To me, sound has color. Some of the tracks feel darker, more towards infrared and ultraviolet colors, while others feel brighter and relate more to the visible spectrum of light. That’s how I see it in my head.
DJ LIFE: How does a track like “Grinnin’” with Fedde Le Grand fit into that color spectrum versus something deeper like “Temptation” with Low Steppa? Sanchez: “Temptation” has a warmer and lighter sound and, to me, fits in the visible spectrum, while “Grinnin’” sounds darker – more like a basement red-light atmosphere. This fits more into the infrared spectrum of the album. DJ LIFE: A significant portion of this album was written during your time in London’s Shoreditch area. How did the raw, industrial U.K. summer club scene shape your sonic landscape compared to your foundational New York roots? Sanchez: There was definitely a heavy lean towards darker, bouncier basslines that I heard in London during those summers, and this led to some of my tracks like “Come My Way” and “Temptation.” The disco and Latin sounds on the album were very influenced by my New York roots. DJ LIFE: Six years of work went into this album. Because sounds and tastes can change in the dance-music world, what was your process of keeping or updating tracks, or discarding them along the way? Sanchez: There are a few tracks that I have revisited closer to the end of the album and updated some sounds and mixdowns. The key ideas remained, but I updated some of the synths and effects. This way, the entire album has a consistent and fresh sound. DJ LIFE: Your collaboration list on this record crosses multiple generations and genres – from U.K. garage acts like Donae’o and Kele Le Roc to pop icon Melanie C. What’s your process when collaborating and bringing artists into your musical world? Sanchez: I worked with artists I admire and relate to their work and, more importantly, what their voices bring to the palette of colors on this project. Their contributions really brought the ideas in my head to life and made the songs very three-dimensional and relatable. 24
DJLIFEMAG.COM
|
VOL.6 NO.4
DJ LIFE: For the true crate-diggers, you’re releasing this album as a red, transparent, triple-vinyl package. As a longtime vinyl DJ yourself, how did you approach the sequencing of the tracks specifically to cater to a working DJ spinning wax? Sanchez: I created extended versions of many of the tracks for the vinyl and was careful about the run time to ensure maximum quality and volume to each vinyl. I wanted to be able to play them out myself, so I made sure this would sound as top-notch as possible, while cool to look at [laughs]. DJ LIFE: Lyrically, you’ve noted that the album pulls heavily from your own personal experiences over the last several years. What’s it like to release an emotionally vulnerable album these days? Sanchez: I have always connected personally through my music – I feel the artists I most appreciate and follow do the same. It gives me a clear starting point while writing. Sometimes, however, I can imagine stories and write about jokes as well. DJ LIFE: Looking at the singles “Come My Way” and “Temptation,” how do you feel these tracks bridge the gap between the classic ’90s/’00s house groove your longtime fans crave and the modern tech-house sonic landscape? Sanchez: I think the vibe of each of these tracks connects to my roots and classic sound, while elements such as the drums, bass sounds and synths are more current and what I like to use now to give it the punch that’s more in line with current tracks. DJ LIFE: Is there a track on Spectrum that was the most challenging to finish or the one that went through the most revisions? Sanchez: “I Don’t Wanna Know” with Melanie C is the one I revised the most. Initially, I started with a sample idea, but when clearance became a bit challenging, I reworked the track several times. I really wanted to keep it a bit more underground, so the final version was the one I was happiest with. Melanie’s vocals were fantastic, so it was really on my end to get the balance right with her sound and an underground vibe. DJ LIFE: Your summer tour is a relentless schedule that features a major “Flower Power” residency at Pacha Ibiza. What does mean to you to hold down a residency there in ’26? Sanchez: “Flower Power,” in its current incarnation, really reaches back to a classic sound, while I have been able to update elements and remix them live. In a way, this aligns perfectly with Spectrum, as I have reached back into my classic vibes while simultaneously updating the sound to keep the original spirit of where I started, but in a modern setting. I love being back at Pacha Ibiza. It’s a bit of a homecoming for me, as this was where I held my long-running Release Yourself residency for years. DJ LIFE: This summer you’re pulling off some massive double-header days – playing festivals, then flying straight to Ibiza for a gig the same night. What is your survival strategy? Sanchez: I rest as much as possible before and after my
sets and, for these double-ups, I stay hydrated, little to no alcohol, and just focus on the music. DJ LIFE: You have several “Hacienda Classical” and FAC51 Hacienda dates booked this summer. There’s got to be some great memories with that legendary Manchester brand… Sanchez: I really have a strong connection to that era and, having played the Hacienda in its heyday, remember what the vibe was like then. I try to recapture the spirit with my sets while adding the current energy with beats to make it a new experience. DJ LIFE: The tour also features gigs in massive warehouse spaces, but also some intimate rooms. What’s your approach to each? Sanchez: Larger rooms are more challenging to connect with an audience in the way you can with a smaller room, but the energy is more intense. I draw from that energy and reflect it back to the crowd. DJ LIFE: Your tour hits some vastly different party cultures. Do you still read a crowd completely on the fly? Sanchez: I still read them on the fly, but I do weave a thread with where Spectrum maps my current sound and then I merge them. It keeps each set fresh and unique. DJ LIFE: In recent weeks, you stepped up for a highly talked-about B2B set with TCTS for KISS. Looking back at your entire career, what’s your absolute favorite B2B set you have ever played? Sanchez: There have been quite a few special B2Bs, but The S-Men’s first tour with DJ Sneak and Junior Sanchez is a standout for me, since that was the first B2B2B I had rehearsed for and we really were in a new and up-and-coming era then. The one we did at Tribal Gathering was magic! DJ LIFE: Do you have any pre-gig rituals or routines before you play in front of a big crowd? 26
DJLIFEMAG.COM
|
VOL.6 NO.4
Sanchez: I tend to meditate to clear my head and just mentally go through certain tracks I want to create highlights with. That allows me to relax and open my mind to flow. DJ LIFE: How do you handle a crowd that is completely staring at you through their phone screens? Sanchez: I always prefer them to put away their phones to live in the moment, but also understand this is the way people often currently experience events and try to not let it throw me off. I think more events are starting to restrict them – and hopefully that allows the crowd to be more in the moment. DJ LIFE: How do you view the industry changes, like the necessity to play the social-media game? Sanchez: Visibility online has become a major benchmark of success for the industry across the board. I think that when everything reaches a saturation point, those with true passion and something original to offer will cut through. I view things as they are and work out how to navigate them. My passion for what I love remains the same. DJ LIFE: With social-media metrics and viral video clips impacting so much, how do you maintain your status as an uncompromising, pure selector? Sanchez: I have always played and made music that resonates with me and stayed authentic. I’ve found that social media actually rewards authenticity over manufactured content, so this works out for me [laughs]. DJ LIFE: Over the course of your touring career, can you recall the most meaningful interaction you’ve had with a fan? Sanchez: I met a couple after a set in Pacha years ago, who told me they had met when I was playing “Another Chance” at Pacha, and they fell in love. He proposed to her the following year when a DJ was playing “Another Chance” at another event. My song helped connect them in a profound way, and that affected me deeply. DJ LIFE: If you could go back and tell the Roger Sanchez who was releasing “Another Chance” in 2001 one piece of advice, what would it be? Sanchez: I would say… there will be awesome moments and others where things get bumpy and challenging. Keep being yourself and doing what you are doing – it’ll all work out in the end. DJ LIFE: What is the most rewarding part of being the Stealth Records label boss and mentoring the next generation of house talent? Sanchez: I get to open up opportunities for others and show them what I’ve learned while being part of the next generation. DJ LIFE: Is there a bucket-list career goal you’ve yet to check off the list? Sanchez: I have played quite a few festivals and venues, so I don’t know if there is a bucket-list venue as such… maybe a set in outer space—yes! A space rave! I’m up for that!
Not every DJ is doing 100 dates a year. Not every DJ has dropped the 9-to-5. In fact, most haven’t. Most DJs are side-hustle DJs, and there’s nothing wrong with that. But in our industry, I believe it’s incredibly important to value the craft, your skills, and the role of a DJ as a whole. My hope for this article is to shift the perspective of the side-
Even then, I kept diversifying: I helped launch DJCity out of a West LA apartment in 1999, built a vinyl distribution company, opened a record store in Los Angeles, and eventually launched Scratch DJ Academy in that same space. My “9-to-5” never looked like one job. It looked like a portfolio, and it gave me the freedom to say yes or no to gigs on my own terms. That’s the real advantage of a day job: steady income buys you the ability to turn down the wrong gigs, invest properly in your craft, and grow your
hustle DJ, and to get you to ask yourself: “Am I playing it safe? Am I living up to the full potential of my purpose within me?”
network organically through the people you already see every day. The problem was never having a day job. The problem is drifting, taking random gigs with no bigger vision, underpricing yourself because it’s “just extra money,” and letting the lack of full-time pressure become an excuse to stop applying yourself. If you’re going to be a side-hustle DJ, let’s be a strategic one.
side-hustle DJ The Myth of “All In” There’s a romantic idea in creative industries that you need to “burn the ships” and go all in. It’s the sentiment you see on social media every time someone’s highlight reel makes you feel less confident, or less blessed, than the DJ scrolling past you. I’ve had the honor of helping thousands of people navigate becoming a pro DJ, and I want to break this myth down a little. I started DJing in 1996, and like most DJs back then, I didn’t see it as a profession. At most, it was side money in college, and my crew made a pact not to take any money from our gigs, reinvesting it all back into equipment, records, and custom Puma track jackets instead. It wasn’t until the mid-2000s, after landing nightlife residencies and bringing on a manager, that I saw DJing as something I could fully pursue.
28
DJLIFEMAG.COM
|
VOL.6 NO.4
By DJ HAPA
Even If You’re Not Going Full-Time on the Decks, Here Are Some Ways to Get the Most Out Your DJ Life
Progress, Not Perfection None of this has to be perfect, and it’s not going to be. What matters is that you keep moving. When you’ve got 40 hours a week going somewhere else, time becomes your tightest resource, so growth has to get focused instead of waiting for some mythical free Saturday. I tell my students to think in 90-minute blocks: tighten up a wedding intro sequence, update your pricing guide, clean up one crate, practice mic transitions, send five follow-up emails. Stack enough of those sessions on top of each other and momentum builds on its own. Consistency beats intensity when your calendar is already full. That same mindset applies to protecting your energy. If you’re working a people-facing job all week and DJing Friday and Saturday nights, burnout isn’t a risk, it’s math. Don’t stack backto-back late gigs just because the money’s there. Schedule recovery time after a big event. Prep earlier in the week instead of Friday night with a
Red Bull in hand. Sleep, hydration, and actually moving your body matter here, too, even if it feels boring to say out loud, because your performance onstage is tied directly to what you’ve got left in the tank. And build your systems now, while things are quieter. A way to track leads, email templates, contracts and invoices ready to go, a music library that’s actually organized. Side-hustle DJs who treat their business like a real company from day one scale a lot faster than the ones waiting for “enough gigs” to justify getting organized. Your Day Job Is an Asset, Not an Apology Financial stability is one of the best parts of having a day job, but it can also hide sloppy business habits. If you’re serious about growing this, track your numbers: gross income per gig, what you’re actually spending on gear and marketing, and taxes set aside before you spend the rest. A lot of sidehustle DJs underprice themselves because “this isn’t my main income,” but that logic costs you, and it drags down the market rate for everyone else. Here’s the rule I give my students: if you wouldn’t accept that rate fulltime, don’t accept it part-time. Your market doesn’t know you have a day job, and it doesn’t care. It cares about the value and the experience you bring. Your day job isn’t something to apologize for either. If you work in corporate, you already understand client expectations. In sales, you already know how to close. Teaching, you already know how to hold a room. IT, you’re already systems-minded. Hospitality, you already understand service. Your DJ brand is your music taste plus your personality plus your work ethic plus whatever professional experience you bring in from that other world. This is also where language matters. Keep telling yourself, “I’m just a parttime DJ” and you’ll behave like one. There’s a real difference between “I DJ on the side” and “I’m a DJ who also has another career.” One feels optional. The other feels intentional. Decide which one you actually mean, and let that identity show up in how you prepare, price, and show up to a gig. Knowing When (& If) to Transition Not every side-hustle DJ needs to go full-time, and that’s genuinely fine. But if that’s your goal, don’t leave it vague. Define the bridge: consistently booking two to three months out, replacing 50- to 75-percent of your salary, six months of expenses saved, repeat business, systems that run without chaos. When you can see the bridge clearly, crossing it becomes a decision you make on purpose, not a leap out of frustration. Until then, let your day job be fuel. Build your capital, your skill, and your reputation, and move when the math and the mindset line up together. And regardless of whether you make that transition or not, pursuing your passion and continuing to see progress is a leap of faith, and it’s worth the risk. Final Thought If you’re reading this with a day job still on your calendar, hear me: you’re not behind or “less than” other full-time counterparts. Focus on building and being intentional about it. Don’t let “side hustle” become the excuse for disorganization, underpricing, inconsistency, or playing it safe. Whether you do 10 gigs a year or 100, show up like a professional every time, because careers aren’t built on volume; they’re built on discipline. The side-hustle DJ who moves with intention will always outgrow the fulltime DJ who moves without direction. Keep your job if it serves you, but build like you’re actually going somewhere, because you are. And when you ask yourself the question I opened with – “Am I playing it safe, or am I living up to the full potential of my purpose?” – make sure your answer is one you’re proud of. DJ Hapa is a veteran DJ, educator, and founder of The DJ Coach. With over 25 years of experience behind the decks and more than two decades teaching DJs around the world, he’s on a mission to teach the world to DJ – smarter, cleaner, and more creatively.
“Don’t let ‘side hustle’ become the excuse for disorganization, underpricing, inconsistency, or playing it safe.”
30 YEARS ON… OM Records Celebrates Anniversary with Big Bash & More By Saxe Coulson Mushroom Jazz: Pool party people.
Tuolumne, Calif. – Electronic-music industry mainstay OM Records marked its 30th anniversary this past July 2-5 at the Deloro Valley retreat in the Sierra Nevada foothills with a getaway celebration that coincided with America’s 250th birthday. The San Francisco-based label has maintained a diverse catalog of releases over the past three decades that include such genres as house, downtempo, hip hop, and whatever Mark Farina’s landmark Mushroom Jazz series constitutes. According to OM owner/partner/ label manager Gunnar Hissam, the event drew more than 500 house-music heads. Over the event’s five stages, more than 50 DJ/artists performed, including Farina, DJ Harvey, Doc Martin, Justin Martin, H-Foundation (Hipp-E and Halo), Marques Wyatt, Miguel Migs, DJ Garth, Colette b2b DJ Heather, Shiny Objects, Rithma, Thugfucker, and PillowTalk. The Origins: OM Records launched in 1995 in San Francisco, long before the rise of social media or Spotify and SoundCloud or even Napster and Limewire. Its studio ran out of a rooftop floor and the staff worked out of several offices on the third floor, which included a then-unknown local DJ named Ryan Raddon, years before the world knew him as Kaskade. OM Records’ debut release was The Groove Active Collection, a compilation of jazzy hip hop. Although predominantly releasing 30
DJLIFEMAG.COM
|
VOL.6 NO.4
Magnificent: Justin Martin on Skyline Stage.
Uncharted: PillowTalk bangs the party.
house music, including Kaskade’s initial output, OM Records has a versatile catalog across its 800 releases, with some breaks, downtempo, and even hip-hop that includes OM Hip Hop and Deep Concentration on one side and Colourforms and Smoke N’ Mirrors on the other. Mushroom Jazz: OM co-founder Christopher Smith (aka Shiny Objects) first crossed paths with Farina at an afterparty at San Fran’s DNA Lounge, where Farina was dropping tracks that would later appear on Mushroom Jazz Vol. 1 — the relationship is now three
Co-Founder: Shiny Objects (aka Christopher Smith).
OM Records: 5 Vital Releases
The Groove Active Collection (1995). The label’s first release and the first of many OM covers to carry Mission District street art from Twist. Mushroom Jazz, Vol. 1 (1996). Farina’s mix series, which moved from a mixtape to CD. It shipped with a bonus enhanced CD-ROM featuring interview content from Gilles Peterson, James Lavelle, and material tied to Dorado Records — years before “bonus content” was anything anyone talked about. Legends: Volume 1 by Juan Atkins (2001). A DJ mix from the founding figure of Detroit techno that barely touches Detroit techno at all. Of the 18 tracks, only Atkins’ own Model 500 opener, “I Wanna Be There,” carries any of that sound. The rest leans more toward tribal house and tech-house, including a cut from OM’s own Fred Everything. Electrolush: The Very Best Of Minimal & Electro Nouveau (2006). A detour into minimal and electro that also quietly connects OM to Get Physical Music’s M.A.N.D.Y., whose track “Body Language” (credited to M.A.N.D.Y. vs Booka Shade) appears on the double-CD comp. OM Records – 30 Years (2026). The anniversary release itself, catalog OM-800 — built, per the label, like a classic OM party: big-room house on the first half, downtempo, breaks, and a little drum-n-bass on the back end. Just perfect.
Logo: Mark Farina’s OM Records tattoo.
decades deep. With his long-running Mushroom Jazz series and various singles and EPs, Farina has nearly 20 releases on the OM imprint, including a breezy new track “Stay on My Mind” on OM Records – 30 Years. Smith also contributed to the compilation with the hypnotic vocal track “Want Your Love.” After this strong getaway weekend event, OM isn’t done celebrating. Hissam confirmed a 30th-anniversary event planned for January in Chicago at Smart Bar and Metro, with details still to come. Happy anniversary, OM Records!
Do It For You: Miguel Migs in the mix.
VOL.6 NO.4 |
DJLIFEMAG.COM
31
?
GREATEST SONGS EVER
By Jim Tremayne
When he’s not running his successful DJ company and rocking parties, Mike Walter is writing books about the music he loves. After his 2018 effort, On This Date In Music, the New Jersey-based DJ/author recently followed up with The Greatest Song Ever? For music fans and especially DJs, Walter’s book asks a very basic question: What makes a great song? To find out, he runs thru 40 songs by offering anecdotes and compelling arguments about what makes them all great. He also offers his all-time, greatest tune. Now in his fifth decade of DJing, Walter runs Elite Entertainment in Tinton Falls, N.J. If anyone’s ever met and talked to him for five minutes, you’ll know that his love for music is deep. The DJ/MC of thousands of events, he’s witnessed firsthand the transformative power of music. The right song at the perfect moment can lift spirits, change moods and move a room to impossible heights. In this fun and freewheeling discussion, Walter and I discuss songs – their meaning and their power. DJ LIFE: What prompted this particular subject for a book? Mike Walter: A few years ago I published a book called On This Date in Music, which is very factual. I tell a story about something that happened in the world of music on every day of the year. A friend of mine said to me 32
DJLIFEMAG.COM
|
VOL.6 NO.4
that he loved the book, but he wished I’d offered more opinions about how good a song or album is. So, that was the first inspiration and then a few years ago I heard the song “Night Moves” just as summer was ending and the lyrics really hit me hard. I sat down and wrote an essay about the song and how Bob Seger tricks the listener into thinking it’s a simple song about young love when really he’s singing about getting old. I shared that essay with a few friends and got really good feedback, which inspired me to write about some more songs that are, in my opinion, awesome songs that deserve a deeper listen. DJ LIFE: From the book’s list of tunes, your tastes would seem to be relatively pop-leaning – let’s just say nobody’s gonna accuse you of arcane, hipster tastes. What would you say formed your musical tastes? Walter: I’d say the radio more than anything. There wasn’t a lot of music in my childhood home. My parents had a stereo and a few albums, but other than Christmas time when they’d pop on some holiday LPs, it was rarely used. But I listened to the radio incessantly growing up, whether it was a boom box I’d lug around my Queens, N.Y., neighborhood or the Walkman I got in high school that allowed me to listen to music on my commute into Manhattan every morning for school. DJ LIFE: Yes, a very different time… Walter: I was in that generation that would wait for a
favorite song to come on the radio, so I could record it on cassette tape and listen to it over and over. Whether it was rock radio or pop radio or even oldies, I loved listening to radio and hearing the DJ’s patter and the songs they chose. In fact, my introduction to mobile DJing came while I was in broadcasting school with an eye towards becoming a radio jock. Based on how that industry is dying, I’m glad I went the way I did. DJ LIFE: What makes a song stick in your head? What impresses you about a song, so that it has longevity for you? Walter: I’m definitely a lyric guy. Rhythm and melody are essential for a great song, but the writer in me, the lover of words and phrases, needs to hear something poetic in the lyrics for it to really be great – and also have longevity. And, as with “Night Moves,” as we age and our perspectives change, great lyrics can take on whole new meanings for us. DJ LIFE: Was there a methodology for your choices? Did you think in terms of genres? Walter: I did want to have a wide range of genres, as well as eras represented in the book so that was definitely intentional. I’m a product of the ’80s, so I could have written a whole book like this, of just ’80s songs, but I didn’t think that would be as interesting or enlightening to the reader. So, I purposefully choose some older songs, as well as some recent ones. But I stayed true to my main objective of offering great songs that deserve a deeper and more thoughtful listen. And when it came to older songs, I also considered their legacy and influence on the future of music. DJ LIFE: I did appreciate the fact that the choices weren’t so obvious. For example, for Michael Jackson, you didn’t include “Billie Jean,” but “Wanna Be Starting Something.” It made me wanna go back to those songs and re-evaluate a few. I’m assuming you went down quite a rabbit hole yourself… Walter: I was intentional about avoiding the most obvious selections. For example, I knew I had to include a Leonard Cohen song because he is one of the greatest lyricists in all of pop music. I mean, the man was really a poet who couldn’t make ends meet writing poetry, so he decided to try his hand in music. And “Hallelujah” would have been the most obvious song of his to include. But I sincerely don’t think it’s his best song and it has already received its fair share of flowers through the years – I read an entire book about the song a few years ago! So that sent me down the rabbit hole of other Cohen songs that I love and respect and that move me and that’s how I choose “Anthem.” And if that made you or any reader go back and re-evaluate something you’d heard once or twice, but never really thought much about, well, mission accomplished! DJ LIFE: Being a DJ must’ve impacted some of your choices, although there are definitely some of the 40 that you’d probably never play. I’m curious… what percentage of those 40 songs have you ever played at a DJ gig? Walter: Well over half – but not all for dancing purposes. Take a song like “Guilty.” I often play that as a dinner song. Or “Hey Jude” as a singalong track. But some of
In Mike Walter’s Latest Book, He Asks a Very Basic Question:
WHAT MAKES A GREAT SONG?
In This Fun & Freewheeling Discussion,
Songs, Their Meaning & Their Power
We Discuss
VOL.6 NO.4 |
DJLIFEMAG.COM
33
the break-up songs I’ve never played at a wedding. It’s not exactly the tone I want to set. DJ LIFE: A lot of these tunes will resonate with everyone differently, of course, and often it’ll be about where you were in your life at the time. So, that can color the song a certain way that’ll be kinda inescapable – good or bad. Example: When that Styx song would come on the radio when I was 12 or 13, it made me agitated. Were there songs on the list that landed there mainly from an impacting moment in your life? Walter: I tried to avoid that. For example, Beck has a song called “Nobody’s Fault But My Own” that I listened to a lot when my first marriage was ending. To this day, that song tears me apart. And I considered it for this book. But once I removed my created, it’s up there near the top. So, the best dance song ever had to personal association with the song, make the book. it didn’t stand the test of “is this song DJ LIFE: Leonard Cohen’s “Anthem” [1992]. Wouldn’t have thought of this great?” and “does it deserve a deeper L.Cohen tune first, even from that album, but it’s a good one. Still, glad he listen?” So a song might have popped made the list. For many, Cohen’s a bit of an acquired taste. on my radar because of the personal Walter: If he’s an acquired taste, it goes back to what I say in the book’s impact it had on a certain moment in introduction… people don’t read poetry! And that’s sad. It’s a beautiful, my life, but if that was the sole reason, emotional, thought-provoking art form and it’s also perfect for our TikTokthen it didn’t make the final 40. shortened attention spans. Most poems can be consumed in less time than DJ LIFE: And, again, it’s actually a pop song, and that includes a minute of introspection afterwards to give been fun going back and listening to some thought to what you just read. But other than a college lit class, most each and every one. So, let’s get into people don’t read poetry – heck, most people don’t read at all, but I can some of these songs… Alanis Morisonly tackle one problem at a time [laughs]. Cohen is the quintessential sette’s “You Oughta Know” [1995]. poet and I knew from the jump that I had to include something by him in The “I-will-not-be-ignored” song. Pretty the book. His oeuvre is so expansive that it could have been any number of venomous for a pop hit. A real signpost songs. For me, “Anthem” has the perfect mix of light and dark, sadness with of the times. a touch of optimism. I love that duality as I think it reflects my own outlook Walter: We live in a post-“WAP” on life. world, so it’s hard to understand how DJ LIFE: The Five Satins’ “In the Still of the Night” [1956]. My mom’s dooshocking it was to hear a young Moriswop tune became a cinematic signifier of a particular era. Put this in a sette singing about going down on movie and it immediately becomes the ’50s. someone in a theater. But back then, Walter: When you think of a “timeless” song, this one is at the top of the it was. And yeah, venomous is a great list for me. I wish there were some way to calculate how many people have word for that song. As I recommend, slow danced to this song since its release 70 years ago – whether it’s a reisolate the vocals – you can find them cording of it or a band playing it live. Has to be in the tens of millions, right? online if you don’t have the technoloDJ LIFE: Billy Joel’s “Scenes from An Italian Restaurant” [1977]. Since the gy to do it yourself – if you don’t wince HBO documentary, he’s taken on a real resurgence – I mean, I snagged when she sings: “Are you thinking of The Stranger right after I watched the doc, and listened to it for the first time me when you fuck her” you’ve never since I had the 8-track in the 9th grade. been in a bad breakup. Walter: There are a few fictional couples that have become immortalized DJ LIFE: Earth Wind & Fire’s “Septhrough art. Romeo and Juliet are probably the most famous. In movies, Rick tember” [1978]. I really dug the R&B and Ilsa are the first that come to mind for me… more recently, Jack and version of EW&F more than its discoRose. When it comes to music, Jack and Diane and Gina and Tommy may flavored years – it’s one of those songs be in the conversation, but for my money, no one’s more famous than Brenthat, where I grew up, I definitely da and Eddie. That’s the impact “Scenes” has had and coming up on half heard plenty. But it’s also one of those a century old, it shows no signs of fading away or even becoming played songs that benefitted from re-discovout. As I point out in the book, a big part of that is it’s not an eight-minute ery… it is a supremely happy song and song, it’s three shorter songs stitched together and those tempo changes, I’ll guess that your nights behind the along with the time jumps in the song – we go from the present-day resdecks helped push this one onto your taurant to “the summer of ’75” – make it such an interesting track. And list. the “Cold beer, hot lights, my sweet romantic teenage nights” so perfectly Walter: Absolutely! As I say in the encapsulates our wild youthful years – or at least it does mine. book the list of “never-fail” dance DJ LIFE: The Beatles’ “Hey, Jude” [1968]. Though I def consider myself a songs is very short and, for me and my Beatles fan, I could live the rest of my life and never hear this one again. But typical wedding crowds, “Septemthat’s just me – I can be a killjoy. But, I probably loved it the first 20 times I ber” is at the top of that list. That song heard it when I was 5. Why this Beatles tune? has brought more joy to people and Walter: This song hits me way differently than it hits you. As I say in the gotten more fannies out of their seats book, those final few minutes, between the “na-na-na” chanting and Mcthan any song I can think of. And while Cartney becoming a man possessed, they make me happy to be alive and dancing isn’t the only reason music live in this time. And I’m more of a Lennon guy than a McCartney guy – I is the greatest art form man has ever 34
DJLIFEMAG.COM
|
VOL.6 NO.4
prefer the acerbic poet over the sugary pop star – so, that’s saying a lot. DJ LIFE: The Doobie Brothers’ “Listen to the Music” [1972]. A pleasant radio song when I was in the 4th grade. Actually, they had a buncha good radio tunes. People forget how big that band was. Walter: As I say in the book, I had to include a song about music and, for me, nothing speaks of the transcendent power of music than this one. DJ LIFE: Joy Division’s “Love Will Tear Us Apart” [1980]. I love that this supposedly was written as an answer song to Captain & Tenille’s “Love Will Keep Us Together.” Another signifier of many things… time, genres, mental states. That icy synth still cuts thru and nobody sounds like Ian Curtis. Why did this one sustain for you? Walter: I love lyrical dissonance and this song is a perfect example of it. If you don’t pay attention to the lyrics, it’s an upbeat, danceable synth-heavy riff. But as you’d expect from the title, the words are a downer. That kind of duality in a song is impressive. DJ LIFE: Plastic Ono Band’s “Happy Xmas (War Is Over)” [1971]. My all-time favorite popmusic Xmas song. As a kid growing up next to a big army base, this one caught my attention with the eternal reminder: “War is over if you want it…” Walter: Mine, too… although “Fairytale of New York” is a very close second. DJ LIFE: Damn straight… Michael Jackson “Wanna Be Startin’ Something” [1983]. Another interesting choice, but I definitely get it. It’s one that gets overlooked in the midst of MJ’s massive hitting streak… always liked that stuttery groove, which morphs into Afro-beat and its “you’re a vegetable!” lyrics. Another dancefloor fave for you? Walter: Personally, yes. Not at gigs. As I state in the book, it’s not an easy song to mix because of the tricky drum pattern – although there are plenty of remixes that fix that for DJs. My go-to 36
DJLIFEMAG.COM
|
VOL.6 NO.4
MJ songs are “Don’t Stop ’Til You Get Enough,” “Billie Jean” and “P.Y.T.” But this whole song is awesome and the “mamma say” chant with the horns at the end just takes it to a new level. I have vivid memories of dancing to this in some New York City nightclubs as a teenager that I’ll always cherish. DJ LIFE: Aretha Franklin’s “Respect” [1967]. As soon as Aretha opens her mouth… whoa. As a DJ, this one cuts through generations – I’ll assume it’s survived through the years for you, right? Walter: Absolutely! It’s the ultimate female anthem. And, in my opinion, the greatest cover ever. DJ LIFE: Amy Winehouse’s “Rehab” (2006). Another signifier… and this one can hit you in different ways. It’s a defiant drinking song, or a plea for help – your choice. Did you get requests for this? Walter: Not many. Her big gig song is “Valerie.” But yeah, based on how things worked out for her, this song in retrospect takes on a whole new meaning. The poor woman was crying out for help and we all just sent her further up the pop charts. Sad. DJ LIFE: Gin Blossoms’ “Hey Jealousy” [1992]. Another one of those “hey-notbad” radio tunes from the early ’90s, when rock was still on the airwaves. And, of course, it’s a rare “hey-I-got-problems” pop song, which is endearing. Walter: This comes on the radio... I’m cranking it to 10 and singing every word. And it’s another one of those awesome songs that get even better when you learn the backstory and how tragic things turned out for its creator. DJ LIFE: Notorious B.I.G.’s “Hypnotize” [1997]. I used to spin at an Irish pub and when things would begin to dwindle and enough ladies were finally in the room, just drop Biggie and the fun begins. From the first note, this one never fails. It’s one of those course-correction tunes… Walter: Dropped it this weekend at my wedding and it raised the energy instantly. DJ LIFE: Fleetwood Mac’s “The Chain” [1977]. Neat choice… hard to pick a “deep cut” from one of the biggest-selling albums of all time, but this one’s it. The other one for me – and I’m more of a Christine McVie guy – was “Songbird.” Why do you think this song and this album still reach people? Walter: The whole album is an open wound and the struggles they are singing about are things everyone can relate to. But there are triumphs throughout the album and the ending of “The Chain” is the biggest one. Or maybe the “don’t stop thinking about tomorrow” lyric, which Bill Clinton used so brilliantly in his campaign. DJ LIFE: Talking Heads’ “Once in a Lifetime” [1980]. Listening again to this, it’s really a miracle how good this band was... and how weird? It’s a song that’s so well-known that people forget that it was never a U.S. hit. Fela/Afro-beats and contemplative art-school lyrics… what’s not to love? Walter: The whole band was awesome and Byrne’s solo career has been amazing as well. His last few albums have been incredible, and his live shows the last few tours are so unique. DJ LIFE: Ozzy Osbourne’s “Crazy Train” [1981]. Two thoughts here: My freshman year in college, this was the lunkhead anthem blaring down the dorm hall every soggy weekend; and this, as I’m sure Mets fans like you know, was Chipper Jones’ walk-up song. It’s amazing what staying power this one has. Walter: Great hard-rock tune. And if it were just about how crazy Ozzie was, it wouldn’t have made the book. But he was warning us about things we clearly ignored. I mean, think about how prescient the line: “One person conditioned to rule and control/The media sells it and you live the role” is today. DJ LIFE: Prince’s “Gett Off” [1991]. Not one I thought you’d pick, but a fun one – saucy & cocky, for sure. For dancefloor groove, I also dig “Controversy” and “Lady Cab Driver.” As the well-known Prince completist that you are, why this one? Walter: It’s Prince at his raunchiest, funkiest, funniest best... especially the extended mix with the extra lyrics where he goes into some of those “23 positions.” DJ LIFE: Sting’s “Fragile” [1988]. This one should really hit home these days… but it probably won’t. As another great songwriter sang, these are different days. Walter: I often post a line from this song on Facebook whenever there’s a school shooting. I do it so often a buddy of mine told me recently he saw me post “lest we forget” and thought, “Oh shit, something bad has happened.” I’ll never understand why this isn’t considered by music critics to be up there with “Yester-
day” and “Hallelujah” as all-time great songs. DJ LIFE: CCR’s “Fortunate Son” [1969]. One of my all-time favorite songs, bar none. The anger, the voice, the driving rhythm, the insta-hit guitar lick – a radio song tapped into the zeitgeist. As someone impacted by that war, I stop and listen every time – along with “Born in the U.S.A.” To me, those songs are genuine treasures. Walter: I give Randy Bartlett credit for this one. He was one of my beta readers and he suggested it. The more I listened and analyzed, the more I realized I’d missed this awesome track for too many years. Its anti-war message and anti-class system message are spot-on. Unfortunately, we, as a society, haven’t gotten either of those messages. DJ LIFE: Van Morrison’s “Into the Mystic” [1970]. Tough to pick just one with Van, but this might just be the one. Walter: Yes, he’s had so many great ones. But there’s something about the simplicity of this track, along with the enigmatic lyrics, that works magic for me. I often drop this in during salad or dinner at a wedding and I can feel the mood in the room change. DJ LIFE: Usher’s “Yeah!” [2004]. Irresistible. I remember when this was a hit and stopping into this kinda unhappening DJ-bar in Montreal. The DJ played this and the place went from deadsville to up-for-grabs in an instant. Weird how a song can do that… I’m sure you’ve had that experience plenty of times. Walter: Most solid dance songs from that era dropped out of favor and are just now returning because they’re “retro cool.” At weddings, the whole pop-punk movement from the early oughts is bigger now than ever. But “Yeah!” has never left my party playlist. It’s as “can’t-miss” as “September,” and I don’t see it losing that traction anytime soon. DJ LIFE: Jay-Z’s “99 Problems” [2004]. Pretty bad-ass all the way through. Of course, I’ve
never talked to a cop like that… and Ice-T would like a word. The Grey Album version from Danger Mouse is pretty good, too. Walter: You’ve never lived till you’ve told a cop to “kiss your whole asshole.” Kidding, of course, I’m a groveler when I get pulled over. I’ve begged my way out of many a ticket. Of course, I’m the right skin color for that – which isn’t a racist statement on my part. It’s a sad testament to profiling by some of our law enforcement. DJ LIFE: Diana Ross & The Supremes’ “Someday We’ll Be Together” [1969]. Their last hit… quite a send-off. When I was a real little kid, I thought The Beatles and The Supremes were impeccable, just perfect radio acts. To me, every song was great. And Motown still works, right? Walter: When I think about how long I’ve been DJing, Motown comes to mind. When I started in the ’80s, that’s the music I played to win the parents over. Nowadays anyone who was listening to the Temptations or Supremes release their newest hits on the radio is up there in years and not on the dancefloor much. So why does that music still work? Because it was timeless and infectious and everyone knows the words to those songs. Berry Gordy knew what he was doing, even if he was a ruthless businessman. “Someday” isn’t a big gig song; The Supremes most danceable tracks are “Stop! In the Name of Love” and “You Can’t Hurry Love.” But “Someday” is so joyous and optimistic. DJ LIFE: Richard Hell & the Voidoids’ “Blank Generation” [1977]. That era’s punk was really my jam, so I can go on forever about that stuff – this one certainly rates. Still love Hell’s frantic vocals and Robert Quine’s strangled guitar lines. What’s your attraction to this one? Walter: That goes to the poetry thing. Hell was a poet at heart. Still is. Not sure if you’ve read any of his recent stuff. So lyrically, while most of his contemporaries were screaming inane lyrics – “Beat on the Brat” isn’t exactly high-brow stuff – while trashing away, he was actually putting out some thought-provoking stuff. And “Blank,” for me, encapsulates the whole era, all the anger and apathy, all the hopelessness of a lost, or blank, generation perfectly. DJ LIFE: Johnny Cash’s “Ring of Fire” [1963]. Another fairly impeccable artist, in my book. I much prefer many of his other tunes, but to be sure, but this is a good one, and it seems to be one that everyone knows. Walter: I love that he was singing a song about a passionate romance while still married and so was June who’d written it about him – or did she? – while still married to someone else. Kinda like Lennon masking an affair in “Norwegian Wood.” DJ LIFE: Radiohead’s “Creep” [1992]. Alt-Rock 101 via The Pixies – soft/loud/soft/ loud – with lyrics for the dispossessed. It might’ve been formula by then, but another fun re-listen. Walter: Another song that perfectly captures the zeitgeist of that time and that generation. DJ LIFE: Your No. 1 tune in the book is Bob Seger’s “Night Moves” [1976]. Interesting choice. I wore this album out in the 8th grade. Always felt like it was Seger’s answer to “Born to Run,” with all the youthful angst and dreams going on. Kinda perfect for 8th grade, come to think of it… Walter: Yes, and as I point out, it amazes me that Seger, in his young thirties at the time, could tie the aging process into a song about backseat banging so subtly. “With autumn closing in” meant nothing to be when I first the song as a kid. Now that I’m staring down 60, it kicks me in the gut. It’s fantastic songwriting! DJ LIFE: In the magazine and at DJX, we talk about a lot of things – gear, marketing, motivation, etc. – and not always about music and the power of songs. I actually think that sometimes DJs, who are so caught up in all the other facets of DJing, can take music a little bit for granted. Do you think this book might give DJs a bit of a reminder about appreciating the great songs that they play? Walter: I don’t agree that DJs take music for granted. But I do think a lot of DJs have a very myopic view of music – either it’ll pack the dancefloor or it’s useless. I saw it again somewhat recently when Bruno Mars released his latest LP. Most DJs I saw who commented on it on Facebook put it through that prism, dismissing the majority of the album as worthless. While I love finding a new banger that will help me get folks dancing, I also love music that I can’t play at gigs. I love music that pumps me up when I’m working out or reminds me of previous heartbreaks or the worthlessness of violence, etc. So, hopefully, this book will remind DJs that music has more than just that one purpose and we can enjoy the non-danceable songs in our time. VOL.6 NO.4 |
DJLIFEMAG.COM
37
LEGENDARY BRAND LANDS IN BROOKLYN WITH A SPLASH
RETURNS TO NYC The Iconic Brand: Back in NYC. Matteo Prandoni
By Jim Tremayne
Brooklyn, N.Y. – The iconic Ibiza nightlife brand, Pacha, returned to New York City with a splash this past June by presenting an opening weekend that featured Black Coffee, Solomun, and Michael Bibi at its sprawling outdoor venue. Settling into the 80,000-square-foot East Williamsburg space formerly inhabited by Avant Gardner, the latest version of Pacha New York reprises the smaller Manhattan venue that ran 2005 to 2016, and it features two entertainment environments: The Outdoor Yard and the indoor Brooklyn Hall. With a crisp d&b audiotechnik sound system and a massive 270-degree kinetic video wall, its 5,300-capacity outdoor venue has plenty of dazzle, but the top-shelf bookings would seem to be Pacha New York’s main draw. FIVE Holdings, a Dubai-based, hospitality/real-estate/entertainment group, acquired The Pacha Group in 2023 for a reported $330 million and became the operator of the Avant Gardner complex for another reported $110 million. So, big money means big DJs, and indeed the renowned talents have been impressive so far. Danny Tenaglia, ANOTR, Lost Frequencies, Masters At Work, Vintage Culture, Bunt., Cardi B, Alok, ZHU and more have already performed, with more big names to come. So far, it’s looked like this:
Madness: The elrow party lets loose. Pacha NYC
38
DJLIFEMAG.COM
|
VOL.6 NO.4
The Rapture: Black Coffee in the booth. Deonté Lee
WAP: Cardi B throws down outdoors. Rommel Demano
Music Is the Answer: Danny Tenaglia in the mix. Matteo Prandoni
Boom: Planet Pride party explodes. Pacha NYC
Masters At Work: Kenny Dope & Louie Vega. Pacha NYC
Turbo Time: Patrick Topping at elrow party. Glenn English
VOL.6 NO.4 |
DJLIFEMAG.COM
39
Turn It Is Music Up: the ANOTR’s Answer:Jesse Danny & Oz. Tenaglia in the mix. Matteo Marc Patrick Prandoni
Vintage Culture: The crowd surges. Pacha NYC
40
DJLIFEMAG.COM
|
VOL.6 NO.4
Mobile Groove: Michael Bibi on opening weekend. Deonté Lee
MAW Opener: Honeyluv gets grooving. Pacha NYC
Hear Me Now: ALOK delivers. Pacha NYC
Gud Vibrations: Slander + NGHTMRE. Pacha NYC
Lost Frequencies: Are you with me? Erick Hercules
Take You There: ARTBAT onstage. Pacha NYC
VOL.6 NO.4 |
DJLIFEMAG.COM
41
TOP EDM TALENT FIRES UP THE HAMPTONS Photos by Kursza
Southampton, N.Y. – The Palm Tree Music festival fired up Long Island’s glitzy Hamptons this past June 27 with some of Closer: The Chainsmokers get rolling. Food for the Soul: It’s Murph onstage.
EDM’s top names. Held at the Shinnecock Nation Reservation and drawing nearly 10,000 fans, the ever-roving, heavily sponsored festival presented major talents like Kygo, The Chainsmokers, Gryffin, It’s Murph, Xandra and more. It all looked like this:
Groovin’: Brooke Brazelton drops a beat.
Day Set: Xandra hits the big stage. 42
DJLIFEMAG.COM
|
VOL.6 NO.4
Whoa: Lasers light up The Hamptons.
In the Mix: Will Sass settles in.
Feel Good: Gryffin exhorts the crowd.
Multitudes: Festival fans get loose.
On Fire: Kygo’s set gets going.
Blast Off: Big stage finale. VOL.6 NO.4 |
DJLIFEMAG.COM
43
PLAYBACK
RANE SYSTEM ONE: SUPERB STANDALONE
By DJ Deets What do you get when you throw two turntables, a battle-style mixer, and a laptop into a blender and mix it all together? It seems that the folks at Rane DJ took a stab at this very question, and the result of their hard work is the new Rane System One. This beast of a standalone all-in-one unit arrives with a simple mission: combine the tactile response of motorized platters with the freedom of Engine DJ’s laptop-free workflow. The result is one of the most intriguing DJ products of 2026 and arguably the most performance-focused standalone system currently on the market. First Look First impressions-wise, the System One looks and feels like typical Rane hardware. And, that’s a great thing because Rane is no stranger to building serious tank-like hardware. It feels immediately familiar to anyone coming from battle mixers, DVS setups, or even the Rane One controller. I’m admittedly a big fan of the Rane One controller, so I was very intrigued by the prospect of an all-in-one unit with the underlying DNA and architecture of the Rane One. At 29-inches long and nearly 30 pounds, It’s not the most-portable piece of DJ gear ever built, but every inch certainly feels like it could survive heavy use. The main thing that separates the System One from other 44
DJLIFEMAG.COM
|
VOL.6 NO.4
System One: Standalone all-in-one with platters.
all-in-one units are the two 7.2-inch motorized spinning platters. Rane and its parent company, inMusic Brands, have pretty much perfected these by now. They combine the feeling of manipulating spinning vinyl platters with the limitless convenience of digital music. This feels purpose-built for DJs who scratch: the torque is adjustable, the response is immediate, and the connection between hand and music feels remarkable. What makes the System One unique is that everything happens without a laptop. The OS The biggest story here isn’t the spinning platters. Rather, it’s the operating system behind-the-scenes. Powered by Engine DJ, the System One allows DJs to perform directly from USB drives, SD cards, internal storage, and even streaming services via Wi-Fi. Library preparation is straightforward, and the ability to import existing collections from other DJ software makes the
switch easy. The central touchscreen is responsive and well-integrated into the workflow. Browsing tracks, navigating playlists, and triggering effects feels natural and not forced. Unlike some standalone systems where the screen can feel like a necessary compromise, the System One genuinely encourages laptopfree performance. I had some initial worries that the shift from MIDI controller to built-in processor would potentially introduce latency, but I encountered none during my testing. This is probably thanks to the 8-core ARM processor and the 4 GB of RAM under the hood. It is still possible to use the System One as a controller for DJ software. Making a debut on the System One is the OmniSource architecture. This allows seamless transitions between various media sources, including local media, streaming services, and software. For mobile DJs and open-format performers who regularly jump between different music sources, this flexibility is a major advantage. Performance From a performance standpoint, Rane clearly understands its audience. The Mag Four crossfader feels superb to use, delivering precision expected by hardcore turntablists. Of course, ample adjustment options are present. Effects implementation is also particularly impressive. There are a ton of built-in effects, opening up a ton of creative possibilities. I’m glad to see effects paddles – something carried over from the Rane One – making an appearance. DJs who enjoy live remixing, transitions, and performance routines will feel right at home. There are eight bright RGB performance pads below each platter. They’re not the biggest ever fitted to a DJ controller, but I found them easy to use. The 2-channel mixer includes controls for both regular 3-band EQ, as well physical tri-level stems control (vocal, melody, drums). There are also dedicated ways to control stems on each deck section. Audio quality is exactly what you’d expect from a flagship Rane product: loud, clean, and professional. I/O There are dual microphone inputs (both combo XLR/ TRS jacks) with controls on the front faceplate. Both mic inputs have a 2-band EQ. Looking at the back of the unit, there’s a universal lockable IEC power cord, USB ports for connecting the unit to either a laptop running DJ software or external storage drives. Thankfully, the different ports are labeled and far enough away from each other that it would be hard to accidentally plug in a computer into a port marked for a storage drive and vice versa. The port to connect to a computer is USB type-C, and there is only one. There’s also an SD card slot for media as well. The main output comes out via both XLR and RCA outputs. There’s a booth output on TRS jacks, and there’s an auxiliary input on RCAs as well. There’s even a built-in
“This is a beast of a unit, and I could definitely see mobile DJs and open-format jocks loving the spinning platters and the all-in-one convenience.”
Laptop-Free: Onboard Engine DJ software offers versatility.
Bluetooth audio output. I would have liked to see a full 2-channel standalone mixer incorporated here, but the one auxiliary input is a nice touch. Two other outputs worth mentioning are connections to both smart lighting (Philips Hue and Nanoleaf) and SoundSwitch DMX control. Place in the Market The Rane System One enters a crowded premium market dominated by standalone offerings from AlphaTheta (formerly known as Pioneer DJ) and inMusic’s own Denon DJ. AlphaTheta’s rekordbox is a more mature and refined software experience, and there are cheaper non-standalone controller offerings on the market. But, what differentiates Rane is not necessarily its software ecosystem, but its commitment to performanceoriented hardware (especially the motorized platters). This is a beast of a unit, and I could definitely see mobile DJs and open-format jocks loving the spinning platters and the all-in-one convenience. The Verdict The System One focuses relentlessly on feel. This is the first standalone system I’ve found that genuinely attempts to satisfy DJs who still judge equipment by how closely it replicates the experience of vinyl. For some users, the 2-channel format may feel limiting compared to four-deck alternatives. But, for scratch DJs and open-format professionals, the focused design may be viewed as a real strength rather than a weakness. By successfully combining motorized platters, Engine DJ’s standalone ecosystem, professional battle-style controls, and deep performance features, Rane has created a product that fills a gap many DJs didn’t realize still existed. It won’t be the perfect choice for everyone. DJs who prioritize four-deck mixing or clubstandard familiarity may look elsewhere. But for turntablists, open-format performers, and anyone who has long wanted a true standalone system without sacrificing tactile control, the Rane System One is one of the most exciting DJ hardware releasesMen of 2026. of the Moment:
Digweed & Tenaglia.
VOL.6 NO.4 |
DJLIFEMAG.COM
45
STUDIO SESSIONS
Dubler 2: New Voice in Music Production By DJ Mike Márquez
After more than 25 years in the house-music scene, I’ve learned one undeniable truth, now, more than ever: Music productions open doors, while just being a DJ does not. It’s as simple as that! Whether you’re a house DJ, an open-format DJ, or spinning hip-hop or Latin music, original productions, remixes, and even well-crafted edits can help separate you from the pack. Like many DJs, I’ve dabbled in production over the years, even creating the theme song for my interview show “DJs After Dark.” But truthfully, one of the biggest hurdles has always been translating the ideas in my head into my DAW. Almost every producer knows the feeling… a melody, bassline, or drum pattern suddenly appears in your mind, only to disappear while you’re searching for the right sound or clicking notes into a piano roll. With AI-assisted music tools becoming more common, it’s easy to assume every new production tool is trying to automate the creative process. Vochlea’s desktop software app Dubler 2 takes a completely different approach. Rather than generating music for you, it turns your own voice into a real-time MIDI controller, allowing you to sing, hum, whistle, or even beatbox ideas directly into your DAW. Instead of reaching for a keyboard or pad controller, you simply perform the idea into a microphone. Dubler 2 analyzes your voice and converts it into editable MIDI that can trigger software instruments, drum racks, synthesizers, and even external MIDI hardware. Before the traditional producers come after me, let me be clear: Dubler 2 isn’t trying to replace a keyboard, years of musicianship, or the craft of music production. It’s simply another way to get ideas into your DAW before inspiration fades. What Is Dubler 2? Dubler 2 is a plug-in that analyzes incoming audio from a microphone and converts it into MIDI. Essentially, whatever tone of noise/sound the microphone picks up, it mimics that with the instrument you have open in your DAW. The software supports two primary approaches: Melodic pitch detection: Sing or hum notes to generate MIDI melodies and basslines. Rhythmic trigger detection: Make distinct percussive sounds to trigger MIDI notes assigned to drums or samples. It also includes built-in sound generators for quick auditioning. However, its broader potential comes from pair46
DJLIFEMAG.COM
|
VOL.6 NO.4
ing its MIDI output with instruments and sounds already used in a production set-up of your choosing such as Ableton Live, FL Studio, Logic, etc. However, is Dubler 2 just another plug-in that gets used for a week before disappearing into your VST folder? Or is it a genuinely useful creative tool that earns a permanent place in your production workflow? First Impressions Seeing endless Instagram ads for Dubler 2 definitely piqued my interest. Watching producers happily singing “ba-ba-ba-da-bom” only to have it instantly transformed into a synth line looked pretty cool. At the same time, I’ve been around long enough to know that demo videos don’t always tell the whole story. Over the years, I’ve seen more than a few products promise to revolutionize music production, only to become another forgotten plug-in. I wasn’t sure whether Dubler 2 would be genuinely useful or simply another clever idea that looked better online than it did in real life. Getting started was surprisingly straightforward. Vochlea sent the complete kit, including its dedicated USB microphone, and I tested everything using the Dubler software alongside Ableton Live. Before you begin, Dubler 2 walks you through a quick calibration process that matches the software to your microphone (in case you decide to bring your own), voice, and input level. It only takes a minute, but I quickly learned it’s worth doing at the start of every session because it noticeably improves tracking consistency. Vochlea recommends using its included USB microphone, and honestly, it worked very well throughout my testing. If you already have a decent microphone and audio interface, you don’t necessarily need to buy another one. Dubler 2 supports other microphones as well, and Vochlea provides set-up guides for them. However, I do not recommend condenser mics. They are more sensitive and may capture extra breathing, room sound, and incidental noises. Dynamic microphones work best. That said, I didn’t have any issues with the included USB mic, so I stuck with it for the entire review. Installation was painless and, after calibration, I was ready to start making some noise. The first thing that caught me off guard was the tracking.
Honestly, I expected to spend the first hour fighting with the software, trying to convince it that I wasn’t singing random notes. Instead, Dubler 2 recognized my voice with an accuracy that was far better than I anticipated. Was it perfect? No. Definitely not. But it immediately proved that the technology behind it is legitimate. The learning curve wasn’t getting the software to understand me. It was learning how to use my voice as a controller. That may sound obvious, but it’s a completely different mindset. As DJs, we’re used to manipulating gear with our hands. Jog wheels, mixers, pads, keyboards... that’s our comfort zone. Thinking about how clearly we’re attacking a note or how consistently we’re articulating a sound isn’t something most of us spend time doing. The cleaner and more deliberate my vocal performance became, the better Dubler 2 responded. Finding My Voice My first goal was simple: Could I hum a melody into Dubler 2 and have it come out close enough that I didn’t feel like reaching for a keyboard? The answer surprised me. Although Dubler 2 can generate drum triggers, basslines, chords, and expressive MIDI control, I found myself coming back to one feature over and over again: melodies. Humming a lead line into Ableton Live felt much more natural than hunting around a keyboard for the right notes. Was the MIDI always perfect? No. But it didn’t have to be. The important part was getting the idea into the session before inspiration disappeared. Cleaning up a few MIDI notes afterward was still much faster than trying to recreate a melody I’d already forgotten. After spending a little time getting used to the software, humming melodies became second nature. The more deliberate I was with my pitch and note transitions, the better the results became. Before long, I stopped worrying about whether Dubler 2 was listening correctly and started focusing on the musical idea itself. One thing I appreciated was that Dubler 2 doesn’t expect perfection. The MIDI it generates is editable, which means you don’t have to nail every single note on the first take. If the rhythm was right, but one or two notes were slightly off, it was usually faster to correct them in Ableton Live than it would have been to play the entire melody on a keyboard from scratch. That ended up changing how I approached writing ideas. Instead of opening the piano roll first, I’d hum the melody, capture it as MIDI, and then refine it afterward. It felt more like sketching than programming, and for someone who doesn’t consider themselves a keyboard player, that was a refreshing way to work. Creating Drum Patterns? “Spit like a beatbox, the way the beat rocks, new version of Pete Rock.” Well, for Kanye West, maybe for me, kind of! Yes, Dubler 2 can trigger drums and samples using vocal percussion or other short percussive sounds. Each trained sound can be assigned to a MIDI note, which can then trigger any sound in a drum rack, sampler, or drum synthesizer. For example, separate trigger sounds might be mapped to kick, snare, closed hi-hat, open hi-hat, clap, or percussion. The exact mapping depends on the drum
instrument being controlled. The key challenge: distinct transients Rhythmic triggering depends on recognizable differences at the beginning of each sound. Two sounds may feel different to a person, but still have similarly shaped transients, causing the software to interpret both as the same trigger. This is why simply attempting realistic mouth-made drum sounds is not always the best method. Clear articulation is more important than imitation. Short, deliberately different pops, clicks, consonants, or other sharply defined sounds can work better. Vocal-percussion experience may help, but beatboxing is not the only option. Hand claps, finger snaps, tapping objects together, and other distinct acoustic sounds can also be used if they are sufficiently separated from one another. Best types of drum parts for voice triggering Voice-triggered drums are most compelling when the human timing and dynamics are part of the musical character. This works more for looser styles like swing-heavy hip-hop, lo-fi, trap-influenced patterns, and slower rhythmic ideas with varied velocity. It is less efficient for parts that are simple and rigid enough to program instantly, such as a conventional four-on-the-floor beat. Rapidly repeated hi-hats and densely layered drum arrangements can also be challenging because they demand highly consistent articulation and timing. Is Dubler 2 Worth It? In a world of AI-created tracks, Vochela’s Dubler 2 can keep original creativity a viable option by reducing the gap between hearing an idea and getting that idea into a DAW. Dubler 2 makes it easy for anyone who wants to flip that idea in their head into an originally created track. It is definitely worth considering for beginners or musicians who want to compose with their voice, rapidly capture melodic ideas, or add a more physical and expressive way to control MIDI instruments. Its strongest role is as a creative bridge between an imagined musical idea and an editable arrangement. It is particularly promising for sung melody capture, loose drum programming, expressive synth control, and experimental workflows involving nontraditional sound sources. It can also be useful for producers who do not see themselves as keyboard players, but can hear and perform ideas vocally. What it is not, however, is a universal replacement for sequencing, finger drumming, or a MIDI keyboard. It will not turn you into Louie Vega or Kanye West. But if you treat it as another composition tool with specific strengths – natural melodic input, flexible MIDI control, and fast conversion of vocal sketches into material that can be developed further – you can see your workflow expanded tremendously. Dubler 2 Cost Standalone Dubler 2 software is priced at $99, which is ideal if you already own a reliable studio Dubler Studio Kit 2 costs $219 including software with Vochlea’s customcalibrated USB mic. Dubler microphone separately costs $129. VOL.6 NO.4 |
DJLIFEMAG.COM
47
MOBILE DJ PROFILE
UPSTATE DJ DOES EPIC EVENTS By Jim Tremayne
Lake George, N.Y. – Though he does much of his business in a town of less than 4,000 full-time residents, Mark Brenneisen’s entertainment company – ALL WE DO IS EPIC – is certainly branded in a way that guarantees attention. Located in upstate New York at the base of the Adirondack Mountains, beautiful Lake George is a major tourist destination that hosts a multitude of weddings and a variety of other events. But outside of the area’s seasonal peaks, Brenneisen has found related sources of revenue… as a wedding planner/venue manager, as a travel agent, and as a music-festival producer. With his EPIC company, he DJs and/or MCs about 150 events per year, and at this year’s DJX in Atlantic City, N.J., he’ll present “Say It Different: Modern MC Skills for Today’s Weddings,” which will share his on-mic secrets to show attendees. We recently caught up with Mark Brenneisen, 55, to discuss life and work upstate. DJ LIFE: Where did you grow up and what got you first interested in music? Brenneisen: I grew up right here in Lake George, N.Y. It is an amazing piece of historical gorgeousness. But I also grew up in the 1980s with MTV, and that is probably what laid the foundation for my love of music and video. DJ LIFE: What got you into DJing? Brenneisen: In 1996, my girlfriend’s younger sister was dismayed about going to the student-council dance, and I asked why. She said because all they do is fight over what CD would be played next – the kids brought CDs to play. I offered to go and be the moderator, take the CDs and play them in order I received them to be fair. Next thing you know, it’s 2026… DJ LIFE: What’s the story behind your mobile company? Brenneisen: So, I’ve been going since 1996… that’s 30 years, but different names/rebrands. I started by myself, but we eventually launched Adirondack Weddings in 2006 and rebranded the DJ portion to Epic about 10 years ago. DJ LIFE: Are you full-time DJ or do you have a regular job? Brenneisen: I’m a full-time DJ, but also a wedding planner/venue manager and travel agent. Having three angles on income like this helps the slower periods. For example, winter time there are less weddings and events, but people are traveling and booking venues for the next year. DJ LIFE: How many events do you do each year? Brenneisen: I would say around 150 currently, as I get older! DJ LIFE: What’s your percentage breakdown of events? Brenneisen: I’d say, 30-percent weddings, 50-percent club/bar/game shows, and 20-percent social, as in birthdays, anniversaries, etc. 48
DJLIFEMAG.COM
|
VOL.6 NO.4
Multi-Tasker: Mark Brenneisen works a variety of angles.
DJ LIFE: How does your company market itself? Brenneisen: We still use web sources, Instagram and Facebook. Much of our wedding business is straight referral or comes from the wedding-and-events venue we manage – The Barn at French Mountain. DJ LIFE: What DJ gear set-up do you usually use? Brenneisen: Personally, I still work with my Denon MC6000 when I am by myself. It’s compact and easy for me to manage. Being an old-school DJ, I still enjoy my 16-32-beat mixes, scratching and vocal posting. Both myself and my DJ use Serato. At weddings and club work, I usually work with a younger DJ, who uses stems and a more modern controller, which I am getting used to and enjoying it! We use Electro-Voice EVOX and QSC PAs, Colorado Light & Sound and few others for lights, and Shure wireless microphone systems. DJ LIFE: So, when you’re just doing MC work, who’s on the decks? Brenneisen: My employee, DJ Mike B, is my main wedding DJ – he’s always with me at weddings. For social events, if I can book him somewhere else, I will. For example, recently on Saturday he was at Saratoga Performing Arts Center working the Tim McGraw pre-and post-event parties for that concert for Live Nation and I was at Painted Pony Rodeo hosting that venue’s after party. He and I also do a lot of B2B at local bars where we split the show – I use his gear and love it! For larger events like festivals or our Latin nights in the village, I will being in other DJs and MC for them. Always trying to share the love any way I can, if it fits. DJ LIFE: Tell us about some of the summer festivals you’ve done. Brenneisen: FÊTE ADK Lake George DJ Takeover Festival is our pride and joy. We started it four years ago – it’s Memorial Day weekend every year in our town. And new this year was the Lake George Freedom Festival, which we also produced this past July 11. I’ve always told younger DJs: Don’t try to get into a festival, produce your own! DJ LIFE: What have you been playing recently? Brenneisen: I honestly cannot say one song that really stands out this year, but I have been enjoying tech-house remixes of classics and festival remixes of bangers. Personally, I don’t play a lot of newer hip-hop/rap. When I am DJing at my age, I’m pretty heavy in the ’80s, ’90s and early Y2K decades, while sprinkling in newer music here and there. It’s been working for me. DJ LIFE: What events do you most enjoy and why? Brenneisen: I am split evenly between weddings and open-format gigs of any kind. At weddings, I am more of an MC traveling with my main DJ. There’s something about a microphone and being a host I thoroughly enjoy. Making the experience the best it can be is a priority for me and my clients. I’m going to share a ton of this at DJX this year. DJ LIFE: Right, you’ll be doing a tutorial at DJX’26 in Atlantic City – “Say It Different: Modern MC Skills for Today’s Weddings.” What can attendees expect from your presen-
tation? Brenneisen: Those who sit in with me are going to get solutions to the same-ole/same-ole stuff that DJs do all over. I can predict what many are going to say, or repeatedly say at a wedding. It’s acceptable, but horrible. It can be better; it should be better. Having taken many MC workshops over the years, coupled with a desire to want to be different/better, I created a flow that is polished, seamless and commanding. I owe much of this to connections/ workshops/seminars at DJX. I always say a great DJ already has the music component down, now it’s time to elevate not only your events, but the industry as a whole. We can be better, and great MCs can create careers for themselves. I often get hired to MC events, where musicians are providing the music or another DJ even, but the client wants my planning and speaking abilities… and they will pay more for that. DJ LIFE: How has the business changed in the past few years? What have been its challenges? Brenneisen: We’ve dropped in the number of weddings, but increased in the social events/bar sectors. We’ve also increased our travel bookings – including DJing for groups/ weddings we’ve booked in the Caribbean – and also increased the venue bookings. Marketing the DJ biz for me, being older, staying in tune with how certain socials work, different platforms, etc., have been the biggest challenges. Again, I have told DJs who ask me about why we do less weddings… one reason is I can make five-times the money selling travel, and then get to stay home on the weekend with my wife.
DJ BUSINESS
TIMELESS
A WEDDING EXPERT’S GUIDE By Brian Lawrence In 1998, I wrote The Wedding Expert’s Guide to Sales & Marketing. DJs were still carrying vinyl, websites were barely part of the conversation, and most wedding businesses relied on bridal shows, print advertising, referrals, and the phone ringing. Nearly 30 years later, the tools are unrecognizable. The timeless principles, however, are not. 1. Word of Mouth Alone Is Dangerous One of my favorite quotes in the book was: “If you count strictly on word-of-mouth, you will be swallowed by your competition.” Word-of-mouth is wonderful, but it was never meant to carry your entire business. A DJ may feel secure because venues, planners, and past couples keep sending referrals. Then one venue changes management, one planner moves, or one platform changes its algorithm, and suddenly the phone gets quiet. A healthy DJ company gives couples numerous ways to find it. Referrals, Google, reviews, social media, venue relationships, content, and AI visibility should work together. 2. Excellence Is Not a Marketing Plan Another direct quote from the book was: “We all know word-of-mouth is a great way to win business, but it is only gravy. The meat of your business should be derived from advertising and other promotions.” Many DJs believe the quality of their work should speak for itself. It should, but only after someone 50
DJLIFEMAG.COM
|
VOL.6 NO.4
discovers you. You can be a top DJ in your market and still lose to a weaker competitor who is easier to find, understand, and trust. Talent helps you deliver the wedding. Marketing gives you the opportunity to be considered for it. 3. Stop Judging Marketing by What It Costs The book put this plainly: “It’s not the cost of the advertisement that counts, it’s the cost per response.” A wedding show booth that costs $2,000 may feel expensive. A $500 ad campaign may feel reasonable. Neither number tells you whether the marketing worked. The better question is: What did it produce? How many qualified inquiries came from it? How many appointments were scheduled? How many weddings were booked? DJs now have analytics, call tracking, CRM data, and conversion reporting. Activity is not the same as results. 4. Know Where Every Lead Comes From Every DJ should know which sources generate inquiries and which generate bookings. Those are not always the same. Instagram may create attention, but not always generate serious leads. A venue may send fewer inquiries with a much higher booking percentage. Google may bring couples who are further along in the process to make an immediate decision. Ask every couple how they found you, track the answer, and compare it with your booking data. When
DJ BUSINESS you know where business comes from, you gain control. When you do not, you are guessing.
“You can be a top DJ in your
5. Reach Couples Before They Compare Packages In 1998, I suggested reaching newly engaged couples through jewelry stores and corporate employers. The tactic feels dated. The timing does not. Couples research long before contacting a DJ. They watch videos, read reviews, compare venues, and decide what kind of experience they want before inquiring. Reach them during an earlier stage. An example might be a directory of your favorite venues. Also, weave in your expertise as a DJ at those venues. Explain what an MC really does, how music planning works, how you handle mixed-age crowds, and what couples should ask before hiring a DJ. The company that helps first often earns trust first.
market and still
lose to a weaker competitor who
respond. Never send a disappointed message that makes the couple uncomfortable. A gracious reply is better marketing. Thank them for considering you, wish them a wonderful wedding, and leave the relationship on a positive note. Couples talk to friends, post in groups, and discuss vendors online. How you treat people who do not hire you still reflects on your reputation.
is easier to find,
9. Stay Connected to Past Couples DJs spend enormous energy finding new leads while overlooking the people who already know what it feels like to work with them. Past couples can leave detailed reviews, refer friends, introduce you to venues, and become advocates for years. An anniversary message or thoughtful follow-up keeps the relationship alive without turning it into a sales pitch. The wedding may be over. The value of the relationship is not.
understand, and
6. Publicity Builds a Different Kind of Trust Advertising tells people you are good. Publicity gives someone else the opportunity to say it. A DJ who is quoted in a wedding article, invited onto a podcast, featured by a venue, or asked to speak at an industry event gains credibility that a paid ad cannot duplicate. Couples are skeptical of marketing claims. Google and AI also look for evidence that a business is recognized beyond its own website.
“Every DJ
7. Thank the Venue After the Wedding After a wedding, send a handwritten thank-you note to the venue manager, planner, or catering team. Do not include a brochure. Do not ask for anything. Just thank them for helping create a successful event. Most DJs disappear after loadout. A sincere note shows professionalism, gratitude, and awareness that a great wedding is a team effort. People remember the vendors who make them feel appreciated. 8. Treat Couples Who Do Not Book With Respect When a couple says they went in another direction, most DJs never
trust.”
10. Networking Was the Original Algorithm Long before anyone talked about backlinks, engagement, or AI authority, the wedding industry ran on relationships. A respected venue mentions you to a couple. A planner includes you in a guide. A photographer tags you, links to you, or recommends you in a conversation you never hear. That is how trust travels. Collaborate with other vendors on articles, videos, venue guides, and planning resources. Build genuine relationships instead of collecting contacts. The language changed, but the principle did not: The more trusted people who know, respect, and mention your business, the stronger your business becomes.
should know
which sources
generate inquiries and which
generate book-
ings. Those are not always the same.”
Brian D. Lawrence is the coauthor of “From Browsing to Booking” and owns a wedding and event industry-focused webdesign and SEO agency. On Aug. 10 at DJX’26, he’ll present his tutorial, “From Browsing to Booking: The New Age of SEO for DJs.” Please visit www.brianlawrence.com.
GEAR
LOLLIPOP PHONE Reloop, an American Music & Sound brand, had released the RHP-10 Mono professional one-ear DJ headphone, designed for precise monitoring and max flexibility. Equipped with a powerful 50-mm neodymium driver, it delivers dynamic sound with kick-bass emphasis, making it suitable for demanding DJ environments. The swivel-mounted ear cup features a water-resistant ear pad made from soft vegan leather and provides comfort thanks to the ergonomic handle and flat, lightweight housing. The construction supports extended use and flexible one-ear application. A robust XLR connection with locking mechanism and coiled 6.3 mm jack cable ensures secure and adaptable signal routing. A 90-degree-angle adapter further improves cable positioning. Reloop/American Music & Sound 310 W. Newberry Road Bloomfield, CT 06002 (800) 431-2609 www.reloop.com
SPACE-SAVER AlphaTheta has released the CDJ-1500X, a multi-player for a wide range of environments, from bars and small clubs to anywhere DJs need flexibility and pro features. With its space-saving design, the unit fits into smaller DJ booths and a wide range of set-ups. Built-in Wi-Fi opens the door for users to access their cloud-based music library via rekordbox CloudDirectPlay, so users can go beyond USB drives. This is the first player to be compatible with CoBeat, an exciting new service offering a fresh optional way to interact with the crowd and receive song requests directly on the screen of the CDJ. Other features include: 8 Hot Cue buttons; Beat Loop knob; Beat Sync and Beat Jump functions; midsize jog wheel; and AlphaTheta Care extended warranty. AlphaTheta Corp. 2050 W 190th St #109 Torrance, CA 90504 (424) 488-0480 www.alphatheta.com
PORTABLE, POWERFUL RCF has launches its ART 8 Series, a new line of portable active loudspeakers. Designed for DJs and more, the ART 8 delivers clear sound, high output and rapid deployment. Available with 10-, 12and 15-inch woofers, each model features high-grade transducers, True Resistive Waveguide technology, 1,400-watt Class D amplification and advanced DSP. FiRPHASE processing ensures coherentsource behavior with 0-degree linear phase, enhancing imaging and vocal clarity. XBOOST provides additional low-frequency depth when needed, activated directly from the rear panel. In line with the ART point-source speakers’ deployment flexibility, RCF ACE-enabled sub models include integration presets for ART 8, enabling fast system tuning from the sub interface. RCF 101 Circle Drive N. Piscataway, NJ 08854 (732) 902-6100 www.rcf-usa.com
52
DJLIFEMAG.COM
|
VOL.6 NO.4
GEAR
PARTY STARTER Numark, an inMusic brand, has released Party Mix III, the newest evolution of this compact, full-featured controller. Created for upstart DJs, Party Mix III is plug-and-play compatible with Algoriddim djay on smartphones/tablets and Algoriddim djay PRO or Serato DJ Lite on desktop. In addition to these free software options, the controller is also compatible with Serato DJ Pro and VirtualDJ (with purchased license). Made for learning, practicing, and performing, Party Mix III pairs a traditional two-deck mixer layout with the classic beat-synced LED light show. Key features include: Stems Control; Fade FX; Bluetooth MIDI Control; capacitive touch jog wheels; 3-band EQ, filter and gain knobs; and eight performance pads per deck. Numark/inMusic Brands 200 Scenic View Dr. Cumberland, R.I., 02864 (401) 658-3131 www.numark.com
THE 45 KING JetPack Bags/Orbit Concepts 15324 Proctor Ave. City of Industry, CA 91745 (877) 273-3049 www.jetpackbags.com JetPack Bags has released the JetPack 45-PRO, a new bag for 7-inch vinyl. Developed with the legendary DJ crew, the Beat Junkies, the 45-PRO combines high-capacity storage, pro DJ functionality and durable construction – with room for up to 200 7-inch records, custom-branded dividers, multiple compartments, and dedicated storage for accessories. In addition to side handles, a top duffel-style handle, and a padded detachable shoulder strap, the 45-PRO also features hidden backpack straps and a limitededition gooseneck light with an exclusive white 20,000 mAh portable battery. The 45-PRO features high-grade, waterresistant materials, thick EVA foam padding, sturdy inner construction, heavy-duty lockable zippers, and travel-friendly design that fits overhead as a carry-on.
GET A JOLT ADJ has introduced the Jolt MFX 360, a dual-sided linear LED fixture that brings together two distinctive lighting effects in one motion-enabled design. By combining the atmospheric warmth of a retro-style blinder with the punch and energy of a modern strobe and wash, the new fixture offers users a uniquely versatile creative tool capable of transforming any stage, venue, or installation. One side generates a warm scenic glow inspired by classic filament-style blinders, while the opposite side produces an intense strobe and color wash effect designed for dynamic, high-energy moments. Fast motorized tilt allows the fixture to flip rapidly between the two faces, while continuous 360-degree rotation opens the door to a wide range of kinetic effects and sweeping visual transitions. ADJ 6122 S. Eastern Ave Los Angeles, CA 90040 (323) 316-9722 www.adj.com 54
DJLIFEMAG.COM
|
VOL.6 NO.4
GEAR
CLEVER CANS Sennheiser has released the HD 480 PRO closed-back headphones for studio and live environments. They deliver tight, accurate bass reproduction and offer comfort for audio pros tasked with recording, tracking, or monitoring in the studio, in live-audio environments or on the move. To adapt to different set-ups, its detachable cable can be worn on the left or right side of the HD 480 PRO. To ensure accessibility, the left and right earcups are braille-marked. The HD 480 PRO benefits from several Sennheiser-patented features, including: Special Axes Geometry for adapting to the head; comfort zone for glasses; and blocking of cable-borne noise. Sennheiser 1 Enterprise Dr. Old Lyme, CT 06371 (877) 736-6434 www.sennheiser.com
IN MOTION Fender has released Fender Motion, a pair of pad controllers available in 16- or 32-pad units. Designed to spark inspiration for producers of all genres, Fender Motion pairs professionalgrade pad hardware with native Fender Studio Pro DAW integration, hardware and software designed to work together. Write, edit, produce and perform without leaving your set-up, switching software or losing the thread of an idea. With built-in chord mode, songwriting ideas come fast thanks to its custom-voiced progressions and assignable scales. Motion is engineered for improvisation and sonic exploration, spanning songwriting, beatmaking, finger drumming, melodic sequencing, mixing, live performance and studio production. Fender Musical Instruments Corp. 1575 N Gower Street, Suite 170 Los Angeles, CA 90028 (323) 210-1800 www.fender.com
CABLE-READY Accu-Cable, an ADJ-related company, has introduced the SPD Series, a line of power and DMX combo cables engineered to streamline lighting connectivity, featuring IP65rated Seetronic locking power connectors bundled with 5-pin DMX signal transmission into a single cable solution. Built for professional indoor and temporary outdoor applications, SPD Series cables feature locking Seetronic SAC3FX and SAC3MX IP65 power connectors paired with durable 12AWG power cable to ensure consistent and reliable power delivery. The DMX signal is carried through premium Seetronic SCWF5-B and SCWM5-B 5-pin IP65 connectors with gold pins, utilizing 22AWG two-pair DMX cable for optimal signal integrity. To ensure durability, each connector is sealed with rubber gaskets. Accu-Cable 6122 S. Eastern Ave Los Angeles, CA 90040 (323) 316-9722 www.adj.com 56
DJLIFEMAG.COM
|
VOL.6 NO.4
DJ 300 PRO X DESIGNED FOR THE BOOTH. MADE TO ADAPT. Designed with a modular 2-in-1 system that lets you switch between on-ear and over-ear – depending on the environment, your setup or personal preference.
GEAR
TWYN PEAKS GLP has introduced TWYN, a new dual-face moving head that brings together the capabilities of two of the company’s most successful platforms, the Creos and the JDC Burst 1, in a single system. By combining a high-output RGBL wash with a hybrid strobe, TWYN significantly reduces the number of fixtures required. Its dual-face design houses two independent lighting systems in one compact fixture. The wash side is built around a 3x3 lens array with nine 40-watt RGBL LEDs, identical to those found in GLP’s X5 Series and Creos. The opposite face is configured as a hybrid strobe, drawing on the design of the JDC Burst 1. Thirty-six high-intensity white LEDs produce a broad, even strobe with an output of up to 22,800 lumens. These are complemented by 480 RGBW LEDs in the surrounding segments. GLP German Light Products 16170 Stagg St. Van Nuys, CA 91406 (818) 767-8899 www.glp.de
THE SIMULATOR Created by One Day Code Games, DJ Life Simulator is a technical, educational and career-focused DJ simulator that transforms learning how to mix into an immersive experience with real-world applications. Similar to the Rocksmith music-video game, which teaches instrument learning, DJ Life Simulator follows the same philosophy — but instead of guitars, it focuses on DJ controllers and DJ culture. Can be played with a mouse/ keyboard, but also with a variety of pro-level, MIDI-compatible controllers. Unlike traditional rhythm games, DJ Life Simulator recreates the actual workflow of a pro DJ. There are no scripted notes or fixed songs: players freely choose their music, and every transition is entirely player-driven. Players will learn beatmatching, phrasing, harmonic mixing, EQ techniques, crowd reading, transition timing, effects management and track selection. One Day Code Games 44 7495 198110 www.djlifesimulator.com
THIRD STAGE Yamaha has released its DXR mk3 Series powered loudspeakers. Designed for DJs, production pros and more, the third-generation series delivers higher output, enhanced sound quality, app-based control and advanced DSP processing. Featuring a new 2,000-watt Class-D amplifier, up to 134 dB SPL output, and intuitive speaker control, the DXR mk3 delivers power and flexibility. New Bluetooth connectivity and a full-color LCD interface allow users to manage, tune, and adjust up to 10 speakers from a single mobile device, streamlining set-up and operation. Users can quickly recall roomspecific presets, access feedback suppression tools, and make realtime adjustments. Available in 15-, 12-, and 10-inch 2-way systems and can be paired with companion DXS mk3 subs. Yamaha Corporation of America 6600 Orangethorpe Ave. Buena Park, CA 90620 (714) 522-9011 www.usa.yamaha.com 58
DJLIFEMAG.COM
|
VOL.6 NO.4
presents
[Mobile Monday Spotlight] in
Gabriele Milone
Nate Jones
DJ Chino & Dj Tica
DJ Miro
DJ Monica
Josh McFarland
Mike Beltran
DJ Deni-D
DJ IMMS
GEAR
LIGHT UP Cameo, an Adam Hall Group brand, has expanded its OTOS series with the two new IP65 moving bars – OTOS LC12 and OTOS L16. Both models are aimed at users who want to realise precise, dynamic and visually consistent looks for both indoor and outdoor applications. Whether dense, expansive light surfaces, flowing wave movements, graphic pixel looks, ramp and chase effects or powerful strobe accents, the new OTOS solutions have been developed for a wide range of applications. While the OTOS LC12 enables organic, kinetic light images and variable front light effects, particularly with its individually tiltable heads, the OTOS L16 focuses on clear lines and precise, symmetrical movement patterns. Cameo/Adam Hall Group 1 S. Corporate Dr. Riverdale, NJ 07457 (973) 335-7888 www.adamhall.com
RETRO FIT Akai Professional has unveiled the MPC Live III Retro, a standalone music-production center that pairs the full feature set of the MPC Live III with a retro-inspired design drawn from the original MPC machines of the late ’80s. Finished in the classic Akai colorway, MPC Live III Retro is built for today’s creators who want modern standalone power wrapped in a classic design. Boasting a Gen 2 8-core processor, 8GB of RAM, and MPC3 OS, the unit features a capacity to run up to 32 simultaneous plug-in instances, 16 audio tracks, and a suite of powerful workflow tools including: Clip Matrix, 16-step sequencing, Super Timestretch, Pro Stems Separation, and an enhanced CV Playground. AKAI/inMusic 200 Scenic View Dr. Cumberland, R.I., 02864 (401) 658-3131 www.akaipro.com
FASTER, SMARTER DJ.Studio has released version 4.1, a workflow-focused update for its timeline-based DJ-mix creation platform. The update adds voice-over recording directly inside DJ.Studio, allowing users to record spoken intros, radio-style segments, drops or other external audio without leaving the project timeline. Recorded audio appears in the Input lane and can be edited with tools such as background-noise removal, reverb, EQ, automation and effects. The update also introduces faster stem separation during the mixbuilding process. Users can work with a faster stem mode while editing and arranging, then render the final export in full quality. Organization has also been expanded across the app. DJs can now create folders for samples, mixes and mashups, with search tools designed to make larger libraries easier to navigate. DJ.Studio Sophialaan 32, Leeuwarden, 8911AE Netherlands http://dj.studio
60
DJLIFEMAG.COM
|
VOL.6 NO.4
An LA-based nonprofit that utilizes DJing, music production, and related entrepreneurial skills to support people impacted by incarceration.
ic
al
ing
us
He
GIVE A BEAT
and
Opportunity Thr
h oug
M
giveabeat.org | Follow @giveabeat
Youth Music Production & DJ Program Music education programs for youth in juvenile halls & community settings that build confidence & empower the next generation.
Prison Electronic Music Program Provides creative outlets, connection, & hands-on music education that fosters healing, self-expression, & personal growth.
Alumni Network Supports returning residents through mentorship, skill-building, & creative life pathways.
TRACKS “Futurama” Josh Wink Ovum Recordings A filthy acid-techno track that tickles your mind as much as it draws you to the dancefloor. With a winning combo of acid squiggles, taut beats, whooshing crescendos, and one frighteningly enormous drop, this one has the goods to rock any underground party. Rave on. – Jim Tremayne Josh Wink
“Going Crazy” Jenny Harrison Muscle Funk Muscle Funk serves up a big-room house cut with Harrison’s raspy Joplin-esque vocals riding high over uplifting grooves. Lenny Fontana injects his signature New York house energy with a remix packed with driving beats, string loops, jazzy xylos, infectious piano jabs, and that undeniable 4/4 we love so much. – Joe Berinato “A Better Place” (DJ Fudge Extended Remix) Seamus Haji feat. Kathy Brown Big Love Originally released in 2020, this one sees the super-hot DJ Fudge take on the remix duties and, true to form, he supplies an absolute belter. A super-funky bassline, wicked keys, and the unmistakable Kathy Brown vocals all combine to perfection. – Curtis Zack
Jenny Harrison Seamus Haji
“All My Love” John Morales feat. Brian Lewis Do It Anyway Covering the 1980 LAX disco classic on Prelude, Morales’ version stays faithful to the soulful and sweeping original, but gives that extra kick that modern clubbers demand. Check it out. – Curtis Zack “Inner Rage” DJ Dove Cha Cha Groove Records On this heavy-hitting, tech-house roller, the extended mix builds momentum around a driving, no-nonsense groove, with punchy drums and a gritty, hypnotic bassline, matching the track’s edgy title. And with its seriously cool, late-night Armand Vibe remix, this release offers excellent versatility for DJs. It’s a peak-time weapon for underground dancefloors. – DJ Mike Márquez
John Morales
DJ Dove
62
DJLIFEMAG.COM
|
VOL.6 NO.4
“Love Theory” Sonic Soul Orchestra feat. Daniel Thomas People Watching SSO (aka JP Firmin) return with another high-quality vocal cut on the People Watching imprint. The original version provides a great gospel vibe and, on the remix, Swing Ethics take it down the New Jersey route. – Curtis Zack “Love You” Weiss feat. Byron Stingily Fool’s Paradise British producer Weiss teams up with Stingily and his distinctive falsetto for this peak-time disco slammer. This one ticks all the right boxes, hits all the right notes, and most importantly hits hard. – Curtis Zack
TRACKS “Proud & Bold” (Remixes) Leee John & Byron Stingily LJ Music Ltd. Two legendary falsettos combine forces for a stirring slice of soulful house. On remix duty, DJ Destruction delivers analog, funky, twangy-bassed retro soul, while Boogie Back brings warm, classic disco claps. Also, the “E-RAZE & Byron Mix” adds raw, early-90s club muscle. A proud, uplifting song, soaked in soul, with remixes for many a dancefloor. – Joe Berinato “Movin’” Max Evans The Discography Lessons An infectious, feel-good house cut, this one blends deep, rolling grooves with an undeniable funk factor. Propelled by shimmery guitar riffs, punchy low-end energy, and a commanding diva vocal, it demands any room’s attention. This groover should keep bodies moving well into the early hours. – DJ Mike Márquez “Rosa” Miss Natalia LouLou Exuding Ibiza cool, Miami swagger and Brazilian zeal all at once, this Latin-tinged tech-house workout is built for peak-time terrace sessions. Chunky rhythms drive the track, while Natalia’s breathy, seductive vocal slips between the beats, adding allure without distracting from the groove. It’s sleek, sexy, and the tropical drops are truly refreshing. – Joe Berinato
Sonic Soul Orchestra
Weiss Byron Stingily
“Garlands (made us do it)” Benirras Beach Club feat. Tommy Jules Salt & Sand A heavyweight package landing on Salt & Sands. The pick of the remixes comes from Richard Earnshaw who supplies one of his trademark remixes with sharp drums and sublime keys. – Curtis Zack “Red Light” (Manolo Remix) Esther Anaya, Fiscaro, Manolo & Mike Ferullo, feat. Dee Robert Beat Drop Records This one pairs banging EDM energy with Robert’s powerhouse vocals. While the package offers plenty of versatility, it’s the hard-hitting “Manolo Remix” that stands out. Giving the track an edgy, peak-time transformation, Manolo delivers a driving club weapon. – DJ Mike Márquez “Let You Go” Adra White Label The U.K.’s Adam Raffe (aka Adra) has been making waves of late with his remixes and edits, yet now it is time for something original. Irresistible chords provide the foundation and, with a dreamy vocal hook to top things off, this has summer written all over it. – Curtis Zack “Sweet Disposition” Alex Gewer Glasgow Underground Nu-disco is on the menu for this new release on Glasgow Underground. An ultra-cool vocal is backed up by live feel percussion, warm guitars, and pumping beats. Cool and funky. – Curtis Zack
Adra
Alex Gewer
VOL.6 NO.4 |
DJLIFEMAG.COM
63
CLUB PLAY CHART
Compiled As of September 15, 2026
Listen to the DJ LIFE National Dance/Crossover Chart on SPOTIFY! LISTEN NOW!
National Crossover Pool Chart
National Latin Dance Pool Chart
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40
1 Olegario feat Papikaiser Enamorado (Cubanito Ext. Mix) Digittunzz 2 Gary Vera Y Bomplenea ft Willie Torres Tengo Lo Mio BC 3 Bad Bunny EeO Rimas 4 Greeicy feat Rawayana Solecito Veni Universal 5 Karol G, Judeline, Rusowsky BbY WOW Interscope 6 Lekastro El Perdedor Mayimba 7 Farruko Madrid 167 LLC 8 Menteabierta Y Cali Flow Latino Rulay LOMG 9 Alex Bueno Galleticas De Avena Mayimba 10 Gilberto Santa Rosa Vale La Pena Vivir Dreams and Facts, LLC 11 Kalimete Sueltala Sueños 12 La Biggie Teteo Atlantic 13 Ana Isabelle y Gilberto Santa Rosa Se Pasa Rico LOMG 14 Wilito Otero y Wilbert Taveras Tu Cuerpo Ardiente LOMG 15 Miriam Cruz Que Descaro El Tuyo LOMG 16 Dale Pututi x Nesty x Tito El Bambino Los Despechaos Plus Media 17 Grupo Niche Mas Que Palabras GN/Codiscos 18 Willie Panama Conquistando Sunflower Ent. 19 Christian Alicea Tropikete Rimas Ent. 20 Judy Santos Tocame El Alma LOMG
Ella Langley Tame Impala Ultra Nate’, Hugel David Guetta / Bebe Rexha Teddy Swims Madonna& Kylie Minogue Bebe Rexha Gracie Abrams Ariana Grande Olivia Rodrigo Sir Ivan Inner City / K. Saunderson Martin Garrix / Ed Sheeran Dominic Fike Shakira / Burna Boy Sombr Loud Luxury f/ Sadboi Madonna / Martin Garrix Zara Larsson DJ Goja / J. Derulo / Melody Bruno Mars Fisher f/ Florence Arman Taylor swift Kygo f/ Kahlid / Gryffin Sabrina Carpenter Prospa / Cloonee DVBBS / CHRSTPHR Drake Anna Lunoe / Devaura / Mincy Marshmello / Portugal The Man Pink Panthress / Zara Larsson Lewis Martinee / Orfeh Drake, Sexyy Red Slayyyter Manuel Riva & Great Adamz Madonna / Sabrina Carpenter Olivia Rodrigo Malcolm Todd Zara Larsson Madonna
Choosin’ Texas Columbia Dracula Columbia Movin’ To The Sun MTGDR Sad Girls Empire Mr. Know It All WBR Love Sensation WBR New Religion Empire Hit The Wall Republic Hate That I Made You Love Me Republic Drop Dead Geffen Love Is The Piece Peaceman Pennies From Heaven Virgin Repeat It STMPD Babydoll Columbia Dai, Dai Sony Homewrecker Warner Out Late Republic Bizarre WBR Midnight Sun Epic Mi Chico Interscope Risk It All Atlantic What A Life Catch & Release I Knew It, I Knew You Republic Save My Love Sony House Tour Island Free Your Mind Circoloco One Night CR2 Janice STFU OVO In The Mood NLV Phoenix Joytime Collective Stateside WBR Love Is Like Dancin’ Drag & Drop Cheetah Print OVO Dance... Columbia Shake Radikal Bring Your Love WBR Stupid Song Interscope Earrings Columbia Crush Epic Danceteria WBR
Most Added Tracks 1 2 3 4 5 6 7 8 9 10
Prospa & Cloonee Barry Can’t Swim Bananarama Bruno Mars Ariana Grande Shaboozey Ellie Goulding Mariah Carey Tame Impala Alex Warren
REPORTERS ■ Gary Canavo ■ DJ Sticky Boots ■ Manny Esparza ■ Howard HK Kessler ■ Steve Tsepelis ■ DJ Ilan Fong ■ Chris Egner ■ Randy Schlager ■ Alan Chasen ■ Brian Stephens
Free Your Mind Dance Dance Dance! Venus Risk It All Petal Burn It Down Ravers Underneath The Stars 2026 Loser Emerald Eyes
Most Added Tracks 1 2 3 4 5
Techy Hilda Lamas Omar Enrique y Omar Acedo Boy Wonder Jaco
Nada Caprichosa (Club Bangers Rmx) Vida Pretty Little Baby Amor De Barrio
Reporting Latin Pools ■ Latinos Unidos Record Pool ■ Salsamania Latin Record Pool ■ Lobo/Bass Record Pool ■ North East Record Pool ■ Mixx Hitts Record Pool ■ Ritmo Camacho Record Pool
LOMG CHR LOMG CFEE LOMG
■ Ritmo Internacional Record pool ■ DJ Latinos Record Pool ■ MassPool ■ Record Pool Latino ■ Latin Beat Chicago Record Pool ■ All In Music Pool
ATTENTION DJ LIFE READERS: DJ Life is currently looking for DJs that are interested in reporting to the DJ National Dance/Crossover chart and the DJ Times National Urban Dance chart. Reporterships are open to Record Pools and individual DJs. For more information contact: Dan Miller, dmiller@hazanmediagroup.com
CircoLoco Atlantic London Atlantic Republic Empire Polydor Columbia Columbia Atlantic
masspooldjs
Saugus,MA
The HyperMiXx
Syndicated
Nexus Radio
Chicago,IL
In The Mix With HK
Syndicated
Pacific Coast
Long Beach, CA
Multiple Pod Casts
Columbus, OH
Victors
Milwaukee, WI
KNHC 89.5FM
Seattle, WA
OMAP
Washington, DC
Mixxmasters
Atlanta, GA
Listen to the DJ LIFE National Dance/Crossover Chart on SPOTIFY! LISTEN NOW!