DJ Times April 2018, Vol 31 No 4

U P D AT E

AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988

APRIL 2018

$4.95 US $6.95 CANADA

FINDING COMMON GROUND ABLETON LIVE 10 & NEW DAW UPDATE PROFITING FROM LOUSY COMPETITION MIAMI MUSIC WEEK PREVIEW PLUS: DIRTYBIRD CAMPOUT EAST F LANE 8 DNMO F CRISTOPH F PIONEER DJ HDJ-X10 HOW MOBILES MAKE A DIFFERENCE

NOTABLES…MILESTONES NEWS

Miami Beach, Fla. – Beware South Beach and beyond… the DJ/ dance-music community and thousands of its fans will hit South Florida March 20-25 for Miami Music Week. The massive infusion of humanity will find its way to the 20th annual Ultra Music Festival, plus loads of sponsored parties and branded events (at clubs, by pools, on boats and more) that expect to run ’round the clock.

And in a surprise, 11th-hour move, Winter Music Conference has announced that it will indeed proceed this year. Although it’ll only offer an abbreviated schedule – three days of industry-specific seminars running March 20-22 at Faena Forum – Winter Music Conference is back for its 34th incarnation and promises to announce more future moves. DJ Times will be there, participating in WMC daytime sessions.

DJ Times will also attend The Remix Awards on March 23 at the Fontainebleau Hotel on South Beach. Presented by Digital Music Pool and the Remix Top30 Countdown, the award event will honor artists and remixers/producers in a variety of categories. Also, the event will present its Legends Award to Paul Oakenfold, who will spin a set for attendees.

Paul Oakenfold: On March 23-25, Ultra Music Festival will hit downtown Miami’s Legend Award recipient.

Bayfront Park. Delivering 30-plus hours of music over a dozen stages, Ultra’s lineup will deliver the biggest acts from all electronic subgenres.

Top DJs include: Adam Beyer; Afrojack; Armin van Buuren; Axwell & Ingrosso; Carl Cox; The Chainsmokers; Dash Berlin; David Guetta; DJ Snake; Dubfire B2B Nicole Moudaber B2B Paco Osuna; Eric Prydz; Flosstradamus; Hardwell; Jamie Jones; J.E.S.u.S. (Jackmaster, Eats Everything, Skream and Seth Troxler); Joseph Capriati; Kaskade; KSHMR; Maceo Plex; Marshmello; Nicky Romero; RL Grime; Sasha & John Digweed; Steve Aoki; Tiësto; and Porter Robinson’s Virtual Self.

Top live acts at Ultra include: Azealia Banks; Empire of the Sun; Fischerspooner; G-Eazy; Infected Mushroom; Modestep; Tchami & Malaa; Rabbit in the Moon; and The Wailers.

With parties running throughout the week, Miami Music Week visitors will have dozens of choices to see DJ sets at nightclubs or hotel swimming pools all over South Beach, downtown Miami and beyond.

Among the Recommended Events: The week at E11EVEN club downtown will include sets from Borgeous, DJ Expo @ Harrah’s AC Andrew Rayel, Dash Berlin, Diplo, AAtlantic City, N.J. – The 2018 DJ Expo will Trak, G-Eazy and Dada Life. move to AC’s Marina District. The show is On March 22, the Rapture Festival set for Aug. 13-16 at Harrah’s Resort Atlanat Virginia Key Beach Park will include tic City and it will present an exhibit hall sets from Luciano, Guy Gerber, Chris full of the latest DJ-related technologies, Liebing and more. On March 23, the seminars tackling the most-pressing topics Dirtybird Players will spin on the and sponsored evening events. For the latest Space Terrace with sets from Claude on ’18 DJ Expo, please see Page 8 and visit VonStroke, Billy Kenny, J.Phlip, Walker thedjexpo.com. & Royce, Will Clarke and more. Also on March 23, DJ Three’s Hallucienda at Electric Pickle will feature Three, Daniel Bell, Doc Martin + Sublevel and special surprise guests.

On March 24, Crosstown Rebels presents Get Lost Miami at TBA location with sets from Art Department, Carl Craig, Damian Lazarus, and Soul Clap, among many others. On March 25, Repopulate Mars at Gramps Bar will feature sets from Lee Foss, Denney, Detlef, Justin Martin, Kidnap Kid and more.

Maceo Plex: Ultra Festival headliner.

Lee Foss: Repopulate Mars party.

Andrew Rayel: Trance at E11EVEN.

APRIL 2018

By Jim Tremayne

DDJ-1000: Pioneer DJ’s controller.

DJ TIMES

MIAMI MUSIC WEEK: ULTRA FEST, PARTIES AND, YES, WMC

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Cover Images By Amelia Troubridge Contents Image by Alive Coverage

VOLUME 31 NUMBER 4

12 Common Ground Even in America’s Grittiest Techno Town, Trance Superstars Above & Beyond Manage to Create Community

BY JIM TREMAYNE

18 Competitive Juicing Your Competition Stinks – But Can You Learn or Profit from Their Unprofessional, Face-Palm Moments?

BY JEFF STILES

22 Sunshine State Dirtybird Campout East Hits Florida, Brings the Big DJs

BY BRIAN BONAVOGLIA

24 A Step Up U.K. DJ/Producer Cristoph Has Slid into the Spotlight – with a Little Help from His Idol, Eric Prydz

BY BRIAN BONAVOGLIA

DEPARTMENTS 7 Feedback

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

26 Making Tracks Ableton Live 10/DAW Update

28 Sounding Off Pioneer DJ HDJ-X10

29 Mainstage

New-Technology Showcase

30 Mobile Profile Multi-Op Shines in Chi-Town

32 Business Line

DJ TIMES

APRIL 2018

How to Make a Difference, Pt. 3

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SAMPLINGS

34 Gear

New Products from Rane, Yamaha & More

8 DNMO

38 Grooves

10 In the Studio With…

41 Club Play Chart

Rising Teen

Lane 8

Phat Tracks from Louie Vega, DJ Koze & More

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

FROM THE EDITOR

A&B: Trance in a Techno Town This month we were fortunate to spend some genuine quality time with electronic-music superstars Above & Beyond, and the trio’s uniquely devoted fanbase. First off, we caught up with A&B’s Tony McGuinness and Jono Grant here in New York (third member Paavo Siljamäki was absent) after they engaged a pair of fan-friendly events – first at SiriusXM’s Rockefeller Center offices, then in Chelsea for a screening of their new acoustic-tour doc “Giving Up the Day Job.” Lucky for me (and our readers), the interview was lively and they didn’t shy away from gear talk – an occasional issue with some DJ/producers. But, of course, they had plenty to say about their audience – yes, it’s a mutual lovefest.

Fast-forward a couple weeks, and we ventured to the Motor City for a Sunday-night A&B show at a venerable old theatre – the Fillmore Detroit. Of course, hearing global trance sounds in the city world-renowned for its techno was such an odd pairing that we just had to it. Indeed, the boozy Saturday scene at the TV Lounge, where local techno titan Carl Craig carried the party early into the morning, couldn’t have been more different from the following evening at the Fillmore – a blissed-out bacchanalia with a tuneful, emotive trance soundtrack. It made for a memorable musical weekend (see you soon, Detroit). Big thanks to Tony and Jono for making us feel so welcome – Above & Beyond might be the only EDM act in the world that’s actually as nice as its fans.

In Samplings, our local Long Island correspondent Michelle Fetky went into the studio with hitmaking DJ/producer Daniel Goldstein (aka Lane 8). Our Assistant Editor Brian Bonavoglia, spent some time with rising teen talent DNMO and, in a short feature, he also connected with Cristoph, who has recently benefitted from an alliance with global star Eric Prydz. And that’s not all – Brian reports from Florida’s Dirtybird Campout East, which saw DJ sets from DB talents like Claude VonStroke and Justin Martin, but also surprise sets from jocks like Mija and our old pal, Biz Markie.

In our tech-review columns, Boston-based DJ Paul Dailey puts Pioneer DJ’s HDJ-X10 headphones to the test in Sounding Off. Also, for the Making Tracks studio-gear column, Denver’s Wesley Bryant-King takes on Ableton Live 10 – a major release for DJ/producers, of course. But that’s not all, having just returned from the Winter NAMM show, Wes offers the latest and greatest info on the DAW scene.

On the mobile front, Iowan scribe Jeff Stiles asks DJs about their competition’s worst flubs – and finds out what they learned from them and how they took advantage of these face-palm moments.

In Mobile Profile, we meet Howard Wallach, the “Top Dawg” at Chicago’s A-Z Entertainment. And for Business Line, New Jersey-based DJ Mike Wieder offers the third and final installment from his book, “Be the Difference Maker.” In this one, he gives us 15 ways to make a difference at your next event.

This issue also takes us to South Beach and all nearby environs, as we further preview Miami Music Week. First off, it turns out there will be a Winter Music Conference after all, and it’ll run March 20-22 – as always, DJ Times is happy to participate. Additionally, the DJ/dance-music industry will flood South Florida with a slew of parties (pool, boat, club, etc.) and festivals, including the 20th annual Ultra Music Festival, which will run March 23-25 at Bayfront Park in downtown Miami. As Fred Schneider once yelped… pass the tanning butter.

And don’t forget: DJ Expo will run Aug. 13-16 in a new location – Harrah’s Resort Atlantic City.

The marina area property offers plenty of sparkling new opportunities for DJ Expo, which will present exhibits, seminars and sponsored parties for more than 5,000 professional DJs of all stripes.

Expect to hear more exciting announcements about DJ Expo soon.

editor-in-chief Jim Tremayne jtremayne@testa.com editor-at-large Brian O’Connor boconnor@testa.com assistant editor Brian Bonavoglia bbonavoglia@testa.com chart coordinator Dan Miller dmiller@testa.com contributors Kat Bein Wesley Bryant-King Chris Caruso Shawn Christopher Matt Clark Paul Dailey Reed Dailey Chris Davis DJ Deets Tony Fernandez Tommy D Funk Michelle Fetky Mike Gwertzman Jennifer Harmon Josh Harris Greg Hollmann Mike Klasco Michelle Loeb Lily Moayeri John Ochoa Jeff Stiles Bruce Tantum Phil Turnipseed Curtis Zack President/Publisher Vincent P. Testa FOR CUSTOMER SERVICE AND TO ORDER SUBSCRIPTIONS, CALL 800-937-7678 VISIT OUR WEBSITE www.djtimes.com

DJ TIMES

APRIL 2018

Cheers,

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Jim Tremayne Editor, DJ Times

DJ Times Sound & Communications The Music & Sound Retailer Sound & Communications ClubWorld Blue Book America’s Best DJ The DJ Expo IT/AV Report Convention TV News VTTV Studios

director of integrated advertising Paul Bozikis pbozikis@testa.com art director Janice Pupelis jpupelis@testa.com production manager Steve Thorakos sthorakos@testa.com digital art director Fred Gumm fgumm@testa.com social media coordinator Matt Van Dyke mvandyke@testa.com marketplace advertising sales manager Ricky Pimentel rpimentel@testa.com art/production assistant Ricky Pimentel rpimentel@testa.com Circulation circulation@testa.com Classifieds classifiedsales@testa.com operations manager Robin Hazan rhazan@testa.com Editorial and Sales Office: DJ Times, 25 Willowdale Avenue, Port Washington, New York, USA 11050-3779. (516) 767-2500 • FAX (Editorial): (516) 944-8372 • FAX (Sales/all other business): (516) 767-9335 • DJTIMES@TESTA. COM Editorial contributions should be addressed to The Editor, DJ Times, 25 Willowdale Avenue, Port Washington, NY, USA, 110503779. Unsolicited manuscripts will be treated with care an d should be accompanied by return postage.

DJ Times (ISSN 1045-9693) (USPS 0004-153) is published monthly for $19.40 (US), $39.99 (Canada), and $59.99 (all other countries), by DJ Publishing, Inc., 25 Willowdale Ave., Port Washington, NY 110503779. Periodicals postage paid at Port Washington, NY, and additional mailing offices. POSTMASTER: Send address changes to DJ Times, PO BOX 1767, LOWELL MA 01853-1767 Design and contents are copyright © 2018 by DJ Publishing, Inc., and must not be reproduced in any manner except by permission of the publisher.

Websites: www.djtimes.com and www.testa.com April 2018

visit our website: www.djtimes.com

FEEDBACK

hall on August 14-16. See the latest and greatest products for club and mobile jocks – playback gear, PAs, lights, video, attire, accessories. Check out the new home-studio technologies for musicmaking DJs – DAWs, controllers, monitors, insulation and more.

Sponsored DJ Expo events give attendees and exhibitors special networking This is Feedback, a monthly feature that fields questions from you, our readers, and funnels them out to industry professionals. If you have any questions about DJing – marketing, mixing, equipment or insurance, any at all – drop us a letter at DJ Times, 25 Willowdale Ave, Port Washington, NY 11050, fax us at (516) 944‑8372 or e‑mail us at djtimes@testa.com. If we do use your question, you’ll receive a free DJ Times T‑shirt. And remember, the only dumb question is the question that is not asked.

DJ Expo ’18 Update Atlantic City, N.J. – You spoke, and we listened – DJ Expo is moving to Atlantic City’s Marina District this summer.

The 2018 DJ Expo will run August 1316 at Harrah’s Resort Atlantic City.

As always, DJ Expo – produced by DJ Times magazine and its publisher, Testa Communications – will present DJ-related exhibitions, educational seminars/ personality-driven keynote sessions, and lively, sponsored evening events. And for the ’18 show, expect a few fresh, new twists.

Now in its 29th year, DJ Expo remains America’s largest gathering of professional DJs. Its seminars offer solutions to the biggest issues in an everchanging industry, be they mobile-, club- or studio-related topics. Tech talks, marketing tips, performance pointers, and new ideas of all kinds are in abundance throughout DJ Expo’s seminar schedule. Also, DJ Expo’s “Keynote Q&A” series has become a wildly entertaining forum. Top talents like Jazzy Jeff, Lil Jon, Laidback Luke, Markus Schulz, Paul van Dyk, QBert, Jellybean Benitez and more have told their success stories and offered valuable advice to DJ Expo attendees.

Of course, the DJ Expo showfloor and demo rooms will debut and showcase the products that impact DJs of all stripes. All the major companies that manufacture, distribute and sell the majority of DJ-related products will fill Harrah’s exhibition

and branding opportunities, plus they deliver memorable musical experiences featuring trend-setting DJs and hitmaking artists. In past years, Expo attendees have enjoyed performances from Lady Gaga, Biz Markie, DJ Enferno, Cash Cash, Naughty By Nature, DJ Skribble, Salt N Pepa, and more.

Also, DJ Expo will present its “Enter-

tainer of the Year” competition. Hosted by DJ Jake Jacobsen, the annual event will bestow awards, in a variety of categories, to the best of the best from America’s Mobile Nation.

As always, DJ Expo is the place to be.

For the very latest on the 2018 DJ Expo at Harrah’s Resort Atlantic City, please visit www.thedjexpo.com.

SAMPLINGS

DJ TIMES

APRIL 2018

DNMO: RISING TEEN

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He’s already been designated one of SoundCloud’s 2018 Artists to Watch and he’s receiving major support from Canadian bass duo Zeds Dead, so it’s safe to say that DNMO is poised to have quite breakout year.

Popping onto the scene in 2017 at the age of 16, the Cornwall, England-based phenom (aka Aiden Morgan) made noise with an impressive remix discography, which includes his smoldering re-rub of “Knock Me Down” by MAKJ & Max Styler feat.

Elayna Boynton on Dim Mak. Soon he began to drop singles like “Sakura” (a jittery collab with KRANE) and the pulsing “Hollywood” (featuring Nevve). Now that he’s back with the radiant “Do It Better,” DJ Times caught up with the rising teen.

DJ Times: When did you first get introduced to EDM? DNMO: Around 10-11 when it first caught my attention. I was just about to start high school and I used to download a ton of UKF Drum & Bass mixes, which honestly blew my mind. It was so new and fresh at the time… unlike anything I was listening to.

DJ Times: What producers have influenced you?

DNMO: Skrillex, Zeds Dead, Flux Pavilion were the three main players for me. Ever ything they were coming up with was so new, and I honestly had heard nothing like it. It was just so far ahead of its time that it became something I ended up looking up to.

DJ Times: What’s your musical background?

DNMO: My dad used to design hi-fi stands and was always playing a different style of music almost every night, which was a really great thing to experience. I got into really playing the drums when I was about four and, from then until I was like 10 or so, I was dead-set on being a drummer… until, of course, I came across the world of electronic music and have been completely sidetracked on that ever since.

DJ Times: What’s current studio set-up?

DNMO: I’m running everything using my old MacBook, which can be a bit frustrating at times when dealing with large project files. I’ve got a Focusrite interface, a pair of Yamaha HS7 monitors, beyerdynamic DT 770 headphones, and I produce on Ableton Live 10.

DJ Times: What’s your process?

DNMO: I almost always start with drops first. I always seem to get stuck with writing a drop for verses I’ve written, so I like to do it the other way around when I can.

I usually start with making a cool bass sound as the core foundation.

I normally follow up with writing a bassline then building chords off that. Then, I work in the drums, and layering a ton of sounds to fill it out.

I spend way too long going over the same sounds trying to perfect them.

DJ Times: How did growing up in the U.K. influence you as a producer?

to step up my chord progressions and melodies.

DJ Times: After making a handful of stellar remixes, was it nerveracking to unveil your first single?

DNMO: I still remember how anxious I was in the five minutes before posting “Sakura,” my first original, on SoundCloud. It was a pretty tense moment because I wasn’t sure how people would respond. But in the first few minutes, the track got such positive comments and I’ve been so motivated to focus on originals ever since.

Working on remixes has always been something I was used to, so

U.K. Phenom: DNMO aka Aiden Morgan.

“I was dead-set on being a dr ummer … u n t i l I c a m e a c r o s s t h e wo r l d o f electronic music .”

DNMO: I think it’s given me more insight to other fields of music, and to not be afraid to combine different sounds/instruments that you wouldn’t normally. I’m a really big fan of some of the liquid drum-n-bass that gets made out here, which definitely inspires me

when I started writing originals it was definitely a challenge. Looking back, I’ve always felt a more emotional attachment to my original tracks. I look at them almost like my children, so the first one was high stress for me.

DJ Times: Tell us the produc-

tion process behind your new single “Do It Better” with Ayelle and Sub Urban…

DNMO: I reached out to Ayelle last year to say I was a fan of her work, we got talking and she sent over a bunch of demos. I fell in love with this one particular verse and just knew I had to work with it. I wrote the initial idea pretty much that day, but when it came to working the second verse, I had a gut feeling that Sub Urban’s voice would be a perfect fit so I sent it over to him. He wrote the whole verse in about a day. The song was pretty much born from there. I knew I wanted to keep a darker vibe with this release similar to my previous ones, but felt this one needed a bit more energy. I wanted something I could see people jamming out to.

DJ Times: Zeds Dead has been one of your biggest supporters – what’s your relationship with those two?

DNMO: Hooks and DC have been the best this last year. We met when I had just finished my song “Broken,” also with Sub Urban, and we were pitching it to labels. The label was rather new at the time, but my manager had a contact at Deadbeats, their label. The track seemed so obviously fitting that we had to send it to them, even just to get their feedback. The boys hit us a couple days later saying they loved the track and we just hit it off from there. A month after that release, they asked me to remix something from Northern Lights, which was so mind-blowing. That album was one of my favorites of the year, so having that opportunity was really amazing. We worked on some stuff a few months back, which we’re super-excited about as well.

DJ Times: What’s planned for the rest of 2018?

DNMO: I have a lot of big things lined up that I can’t share at the moment. Definitely plan on seeing your first round of shows from DNMO in 2018. I can’t say anything specific yet, but I’ve got some cool events coming up. You can expect loads of originals and a few collaborations from artists you may or may not have expected. I’ll be dropping some new merch throughout the year, which I cannot wait to share with you all.

– Brian Bonavoglia

www.thedjexpo.com

HARRAH’S RESORT ATLANTIC CITY AUGUST 13-16, 2018 ATLANTIC CITY, N.J. THE NEXUS OF ALL THINGS DJ /djexpo

/thedjexpo

@djexpo_ #djx18

thedjexpo.CoM

For exhibition and sponsorship information, please contact Paul Bozikis at 516-767-2500 Ext.507 or pbozikis@testa.com

IN THE STUDIO

DJ TIMES

APRIL 2018

LANE 8: LITTLE BY LITTLE

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No Phones, Please: Daniel Goldstein aka Lane 8.

Daniel Goldstein has enjoyed quite a ride in the past six years. Known to fans as Lane 8, the Denver-based DJ/producer gained notice in 2012 with the stuttery groover “Don’t Want You Back” and has since been an ascending Anjunadeep artist with dreamy tracks like “Ghost” (feat. Patrick Baker) and “Hot as You Want” (feat. Solomon Grey).

Both of those smooth cuts were included on his popular 2015 album, Rise, and since then, he’s also done remixes for acts like Above & Beyond, deadmau5, ODESZA and Eric Prydz. Now in early 2018, he’s dropped his second artist album, Little By Little, via his own This Never Happened imprint, and it’s already topped charts and earned millions of streams.

We recently connected with Lane 8 who discussed his new album, his latest tour and how he’s attempted to minimize vibe-killing cell phone use at his shows.

DJ Times: How did you get into DJing?

Lane 8: My first exposure to DJing came in college. A few of my friends had decks and we would mess around at the end of parties at 3 a.m., and play our favorite tunes to whichever five drunk people were still there. It just slowly developed over time as a fun hobby, but as I got more and more into electronic music in my early 20s – DJing also became more and more of a focus for me.

DJ Times: Your first big break?

Lane 8: Through some persistence and dumb luck, a track I made back in 2012 called “Don’t Want You Back” ended up in the hands of The Magician, who had an extremely influential mix series called The Magic Tapes. He played my track in one of those tapes, and I started to build a fanbase and got bookings purely based off that. It’s still amazing to me how easily and quickly the project got moving once I had that initial push. Not too long after that, Jody Wisternoff started playing my music in his sets and, through that, I signed with Anjunadeep, and things really took off from there.

DJ Times: What’s your DJ-gear evolution been like?

Lane 8: DJ software has come and gone over the years, but actually I’m surprised how similar my setup is today compared to what I learned to DJ on. Back in college, I learned on [Pioneer DJ] CDJs with actual CDs, and now I’m using USB sticks – but the basic idea is exactly the same. My current setup is pretty simple – three CDJs, a mixer, and a microphone. I like to say thanks to the audience a couple times during my sets – it’s the least I can do.

DJ Times: And the studio?

Lane 8: My set-up has changed considerably. I have moved from my early days producing with just a keyboard and a drum machine to discovering FL Studio to later discovering Ableton Live – and a million new bits of software have found their way into my set-up over the years. Right now, I really love the u-he Diva for synth sounds, and I use a ton of UAD plug-ins for mixing.

DJ Times: Which artists most influenced you? Which producers?

Lane 8: Artists? Pet Shop Boys, LCD Soundsystem and Nils Frahm. Producers? Eric Prydz, Aphex Twin and Pete Rock.

DJ Times: You’ve banned cell-phone photos/videos from your shows. Why? Lane 8: The whole concept came about during a tour I did in 2015. I noticed that whenever I played one of my better-known tracks, instead of dancing and singing along, most of the crowd scrambled to record the moment on their phones. It struck me as really sad that so many people weren’t experiencing music in an organic fashion anymore.

Based on my own euphoric clubbing experiences I had when I was younger, I wanted to give fans that visceral and personal connection with music and fellow fans that I feel is lacking at a lot of shows these days.

DJ Times: How are people taking it?

Lane 8: There has been an increased interest in my shows because of the concept – the feedback we have received on (continued on page 40)

Above & Beyond: (from left) Tony McGuiness, Paavo Siljamäki & Jono Grant.

Amelia Troubridge

Detroit – It’s a chilly Saturday night at The TV Lounge, one of the Motor City’s grittiest havens for hometown grooves, but the local party people are beginning to warm up.

Inside the tight environs, it’s Detroit-techno troubadour Carl Craig spinning in the backroom, the masked house-slinger Merachka in the front.

Drinks are flowing, the coat-check’s a mess and the main bar stands three-deep as far as the eye can see. Nonetheless, the TV Lounge bartenders – rocking Tigers caps and brandishing Old English “D” logo tattoos – are busting it, delivering high-speed pours and exchanging currency with jack-flash efficiency. Things are getting a bit wobbly.

Typical of midtown Detroit, the scene is a rich mixture of urban culture – white, black, Latino, Middle Eastern, straight, gay and whatever/whocares – all getting down the way they only do in The D. It’s a techno party – a little rough, maybe – but the bass is rumbling, arms are flailing, and it’ll be going on for awhile.

Cut to the following scene the very next evening, just a five-minute drive away… the Fillmore Theatre sells out with a house full of well-behaved suburbanites, all-in to experience their favorite community leaders, Above & Beyond. Less grit, fewer neck tattoos, perhaps, but there’s no drop in enthusiasm. Tonight, trance is very much alive in America’s most fervent techno town.

For this A&B performance, it’s just Jono Grant and Tony McGuinness on the decks. (The studio trio usually tours two at a time, swapping out every few gigs – third member Paavo Siljamäki will join them three days later in St. Louis, replacing Grant.) Before the show, the venue’s green room is a vision of tranquility. Grant and McGuinness luxuriate on a couch and greet old friends and new acquaintances, offering them beverages and nibbles. In fact, just prior to set time, Grant picks two choice chocolates and downs them, semiceremoniously, as if they were two shots of primo tequila. Mötley Crüe circa 1985, they’re not.

But when Grant and McGuinness hit the Fillmore stage, the theater explodes with the unique kind of exuberance only afforded performers who’ve forged the deepest connections with their audiences. It’s not merely pleasant applause. It’s warm, yet loud and wildly loving – as if they’re welcoming family because, in a sense, they are.

Indeed, like very few other electronic acts, Above & Beyond has created its own community (or “Anjuna Family”), and consequently, it has enjoyed a career that only seems to keep ascending. On the artist front, the group’s emotive trance tunes – from the melancholic “Sun & Moon” to the ecstatic “Blue Sky Action” and even the cheeky “Naked” from its latest Common Ground album – continue to widen the group’s reach in the electronic world. In fact, the new album quickly topped electronic charts and debuted at No. 3 on the Billboard pop-album chart.

But there’s more. Between 64 singles since 2000 (under various monikers and fronted by vocalists like Zoë Johnston, Justine Suissa and Richard Bedford), five artist albums since 2006 (including its OceanLab incarnation), the non-stop touring, which includes major festival stops worldwide, and the operation of its Anjunabeats/Anjunadeep labels, the London-based trio has built up buckets

ArtChick Photography

U.S. Venues: A&B’s Faves

DJ TIMES

APRIL 2018

Red Rocks Amphitheatre, Morrison, Col.: “It’s incredible because of the setting [in the Rocky Mountains],” says Grant, “and the fact that there are rocks that are red. [laughs] That’s a really special venue, also because you can see the whole audience.”

Echostage, Washington, D.C.: “It’s a great room,” says McGuinness.

“It’s managed to transplant that weekly club vibe into a much bigger room.

They’ve managed to accommodate VIPs and integrate them into the room

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of goodwill with the expanding fanbase.

Additionally, the group’s ability to perform its songs within a more traditional band set-up – typically, McGuinness on guitar, Grant on Rhodes, Siljamäki on piano – has certainly put A&B in a unique place. (Check “Giving Up the Day Job,” the recent documentary that highlights A&B’s 2016 acoustic tour and dramatically illustrates its hold on fans.)

But, as the group freely acknowledges, as much as anything, it’s A&B’s weekly “Group Therapy Radio” twohour show/podcast that maintains its relative ubiquity. Playing music new and old from the group, its labels or from anywhere else they desire, “Group Therapy” keeps fans connected to A&B’s world and involved with each other via forums and social media. And when you see the group perform, whether it’s on the mainstage at Miami’s vast Ultra Music Festival (55,000 fans per day), New York’s iconic Madison Square Garden (21,000), or Detroit’s relatively intimate Fillmore (2,200), it’s strikingly apparent that Above & Beyond has created a universe that any artist from any genre might envy.

Indeed, at the Fillmore, Grant and McGuinness delivered two hours of A&B hits, complete with Detroitspecific text-message backdrops and eye-gasmic visuals that kept clued-in fans on their feet throughout and had them fully aglow upon exiting. It was an evening offering an emotional fullrange: screams, hugs, singalongs, and yes, even some tears.

Prior to the Detroit show, DJ Times

– there are no tables in front of you.”

Adds Grant: “Echostage has a nice warehouse-y feel that captures the dance scene that we remember when we got into it. And the sound is great… and that’s the most important thing – great sound.”

The Greek Theatre, Berkeley, Calif.: “That was the loudest venue on our acoustic tour,” says McGuiness. “It was one of the coldest nights of the tour, we’re playing outside, but I can still remember the noise those guys made. It’s a wonderful place to play for that kind of show – you can see every face.”

caught up with Above & Beyond’s Jono Grant and Tony McGuinness in New York at SiriusXM’s Rockefeller Center studios, where they discussed a variety of topics – from studio and DJ technologies to the new Common Ground album and their very special relationship with fans.

DJ Times: About the new record, Common Ground… any difference in the creative process from 2015’s We Are All We Need.

Grant: I think one of the things in the production process was probably the idea of committing to stuff and recording it almost a bit like a band. We used a lot of analog synths this time – we tried to get an organic sound.

DJ Times: Why’s that?

Grant: I think in the modern recording world, there’s a tendency that if you’re using a lot of soft-synths you want to be able to change things all the time. But if you’ve recorded a Jupiter 8 pad sound down as audio, it’s kind of stuck there – you move onto the next thing. So that approach, especially toward the end of the record, we found useful, to keep things moving forward.

DJ Times: How has playing live as a full-fledged band informed this record?

McGuinness: I think it maybe made us aware of how songs sound in that format. It’s a little bit more to see our own songs and see they can work in that format, and I think that’s one of the reasons why we were kind of relaxed to release “Always” [a ballad featuring Zoë Johnston] in the form that it was. Maybe doing the acoustic thing gave us that confidence in a way. But to be honest, I think we treat the two things as being almost 90-degrees to each other.

Doing acoustic gives you a break from producing in electronic form and, when it’s all finished, it’s kind of refreshing to go back to the electronic sound.

DJ Times: Anything else dramatically different this go-round?

Grant: Well, on this album we got back in with [vocalist] Richard Bedford, who we worked with on [2006’s] TriState and [2011’s] Group Therapy. He’d gone off to do some solo stuff with other producers. We had “Northern Soul” and we thought it would be great to hear Richard on this – imagine how it would sound! We tried a few singers on this and it didn’t sound quite right for the record, but it was amazing to get him back.

DJ Times: In the studio, are you still using Logic and Ableton Live?

McGuiness: Yeah, and I think we had grown a little impatient with some of Logic’s idiosyncrasies on the last album.

There were issues with automation, particularly taking chunks of the song away and moving them and the automation not tracking. But they seem to have sorted out a lot of that stuff now.

DJ Times: We saw the 2018 version recently at the NAMM show.

McGuiness: Yeah, and there’s a brand-new update that just came out that’s got some very exciting changes. The thing you notice when you try other production software like Ableton Live and [PreSonus] Studio One is the ease at which you can play loops at the tempo of the song, and Logic’s just introduced that. I’m hoping they keep giving us the updates that we need because, frankly, I think Logic’s the easiest to work with.

Grant: It’s nice to see Apple actually caring about Logic again. It seemed like they were making [Logic] more like GarageBand, but not really adding the features that people wanted, so I’m really curious to check out the new tempoaudio-stretching thing they’ve brought in.

McGuinness: And they’ve got a Pultec EQ in there, which is going to help us with our UAD loading. [laughs] DJ Times: So, I assume you’re still using Ableton Live for the “Group Therapy” radio show?

Grant: Yes. I think Ableton has so many things going for it… I really like Ableton for the way it deals with audio and tempo, and that’s why I’m hoping Logic’s going in that direction a bit more because if you had those two DAWs combined, in a sense, you would have – in my mind, in terms of creativity – the perfect DAW… because Ableton’s great for loop-based dance music and Logic’s a little bit more friendly for stuff that’s a bit more linear.

ArtChick Photography

DJs & Mixes: A&B’s Faves

Grant: “For me, I’d say Paul Oakenfold because in the ’90s I heard his Goa Mix [1994 Radio 1 Essential Mix] and that inspired me to start doing all this, so there you are.”

McGuinness: “The DJ mix I’ve listened to the most in the last 10 years is probably Joris Voorn’s

McGuinness: We also use Ableton for bootlegs and stuff like that.

It’s just really, really quick.

DJ Times: Your records have this incredibly pristine feeling to them, but they don’t sound sterile. For example, your piano sounds are so stark…

McGuinness: Then tell him of the great lengths we went to get the piano sound on “Always…” [laughs] Grant: I think sometimes we do things that wouldn’t be noticed by everybody. We believe in the attention to detail – tone is really important in our records, as well as the music. This is nothing new – people are doing this in other genres of music.Yet, perhaps for some reason, it’s done less in dance music and a lot of people are balancing stuff in the box…

DJ Times: So what about that piano sound, for example?

Grant: What Tony was alluding to was… the piano is just a [Steinway] EXS24 grand piano in Logic – it’s nothing special. When I played that in, I just had a low-pass filter on the piano because I was just trying to get an idea down – I wasn’t worried about the piano sound. It was just a set of chords with Zoë singing over the top. But then later, we had this piano sound that was suddenly part of the record. I was really saying to Tony that we want it to sound like a crappy piano in a bar somewhere – want a bit of fur to it, a bit of harmonic richness. But we don’t want it to sound really bright, so we’re stuck with this EQ filter, so we rooted back out of the box with the filter on, back

Balance 014 CD [from 2009]. It was a moment in time. It came about, I guess, accidentally. He produced all these loops that he was going to play, and he decided to glue them altogether in an album. There’s 75 tracks on it. There’s so much in it that it’s just wonderful. He’ll always have a place in my heart.”

into a Neve 1073 [vintage preamp] or BAE 1073 preamp, just to make it seem like it’s been in the outside world.

DJ Times: Why? Grant: See, the trouble with a lot of dance records is that they’ve never been turned into electricity to the point that you actually hear them – everything is rendered in the box. So, then it has a bit of hiss on it. It has a bit of harmonic richness because those boxes put in harmonic distortion. So, I suppose, what we try to do is add the attention to detail in the records that we’ve all grown up with. Tony’s in the band Sad Lovers & Giants – they recorded to tape and we’re interested in that. We’re always trying to put something organic in there, just to make stuff feel a bit more real, to have its own personalities… because with soft-synths, everybody has the same sounds.

DJ Times: So how does a producer create a difference?

Grant: The only way to be different is, if you’re going to use those soft-synths, you have to root them out of the box or think outside of the box and use them in a different way.

DJ Times: But, of course, one of the main things that differentiates Above & Beyond from a lot of electronic acts is that you have songs that stand on their own. You could play them on piano or guitar…

Grant: Well, we try not to slap a vocal on an instrumental too much. We try to get the vocal on early in the process of writing because then you kind of write the music around it and it’s a bit more complimentary.

DJ Times: Tell me about the process on “Naked,” from the new album. I know you believe the lyrics are easily misinterpreted, but that’s a catchy one.

Grant: It’s slightly… has one of those cringe moments with the lyrics. That song began with no drums – it was kind of an electronic, downtempo, ambient piece of music. The one thing we’re very conscious of is writing the right stuff at the right tempo. It was 126 BPM, close enough to the type of tempo that we might play out. See, if you write something at 100 BPM, suddenly you’re in no-man’s land if you want to turn it into a dance record. So, we did it with no drums and adjusting a vocal over the top. I suppose that’s another difference – we tend to write with the singer in the room.

DJ Times: But you made this one right for the dancefloor…

Grant: So, we had this ambient thing, then started making a dance version of that. By the end of it, Tony was putting guitar on it and we went to town and turned it into a big dance record that’s almost got those 1998 sounds in it – arpeggiated synth riffs. We tried to make it a little retro… We wanted to have a little bit of that flavor in that track – we thought it would be fun.

DJ Times: And your DJing platform is still Pioneer DJ gear with rekordbox?

Grant: Yeah, and one of the reasons we use that is that it’s a holiday from staring at the screen in the studio. When you go out and play to an audience, you could bring a laptop, but we’re not sure that it would add that much value to the performance – and it’s a break from the studio. We already have one laptop where we can do visuals. There’s enough computer stuff going on, isn’t there?

DJ Times: What was your evolution with DJ gear?

Grant: When I first started DJing, I was at university and it was all I could afford… I bought one Technics 1210 with a Stanton cartridge on it. I bought it because I wanted to make dance music and I decided I wanted to buy vinyl and listen to it. So, I bought myself one and then I got another one and, I think, a very cheap and basic Vestax mixer.

DJ Times: Then, of course, you went digital…

Grant: I remember the first time I ever used a CDJ, which was in a club in Japan called Velfarre, and it was the first time I saw a CDJ-1000. I was quite nervous, but I thought… I’ll have a go at this. I put the CD in and mixed the track in for the first time ever in a club in front of 2,000 people… and I thought, “Wow! This is incredible – they’ve made it!” Obviously, it’s easy to look back on it with rose-tinted specs, but my memory of it was… this is an experience

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that is very similar to vinyl. They’ve nailed this – and, of course, they got better and better.

McGuinness: The other thing that CDs have allowed us to do, as our shows have gotten bigger… the show element of what we do has become more and more important…

Grant: We say CDs, but it’s actually SD cards…

McGuiness: Right, we use SD cards… and what we have developed… because a lot of big shows will have pyro and other things that are timed... and what a lot of people do is pre-record a set and have a time-code when all of this stuff happens… we’ve developed our own bespoke software that takes the MIDI clock out of the decks. So whatever tempo we are currently playing at that time, that tempo informs the visuals that we’re playing. So, we’ve developed these bits of video that can be played at different speeds and we’ve worked long and hard to enable that to happen without any artifacts or clipping in the video or any juttering… and that enables us to do a show with all of these things perfectly timed, but actually still be DJing.

Grant: It doesn’t have to be pre-planned, which is nice.

DJ Times: How important has the radio show, “Group Therapy,” been for the group?

McGuinness: It was always important to us on so many levels, however you look at it. We have this ability that, let’s say, The National and Coldplay don’t have – outside of record cycle – a reason to be in somebody’s life every week. We’re kind of tapping you on the shoulder and reminding them that Above & Beyond is still here.

DJ Times: I think the fans are volunteering at this point…

McGuinness: Well, they are, but it’s still a platform, and the fact that we have a label… and the fact that we have other people who want to be on the show gives it a validity. But really what we’re able to do with the radio show is constantly be in people’s lives. We can’t really do that with touring – we can only be in one town at a time. So, even though we try to cover the world every year or two, that radio show has just given us this wonderful reminder. I mean, if you go back 20 years, people would have a record collection and you would be the vinyl in their record collection… but that’s all gone.

DJ Times: So, there’s a certain level of ubiquity that you have…

McGuiness: Right… and we now have this virtual tap on the shoulder that brings people together to listen to it. Also, changing the name to “Group Therapy,” that was really a crowd-suggested thing because once that album came out that became a phrase with which they were describing our live shows better than “Trance Around the World.”

Grant: It was far more appropriate, as well. You can’t own the brand “trance,” but you can own “Group Therapy.” About some of the material [on the show], a lot of people were saying, “Aw, this isn’t a trance record.” But we didn’t really care what it was because we’d just play a track we loved…

DJ Times: Trance fans can be picky…

Grant: Yeah, so we were like, “Well, we have freedom from within as well to do whatever we want, rather than being labeled… trance.” So, we still play trance music, we still consider ourselves trance, but it’s nice to have a brand that we own instead of a brand that we can’t have (continued on page 40)

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After being hired to work a wedding reception for one of his wife’s co-workers, Indiana mobile jock Chad Hough was surprised to learn that his services had been suddenly replaced by a family member—who had offered to entertain the reception free-of-charge.

And throughout the course of the event, “DJ Chaddy Chaz” could not help but just roll his eyes.

“This other DJ’s setup was a 6-foot folding table with a 21-inch monitor keyboard, mouse and PC tower on the floor,” says the Fort Wayne-based Hough. “At the end of table, he had a 2-by-4 taped on top of his two speakers, which held a banner that hung down between them.

And he sat down all night long, with no lights whatsoever. For the grand entrance, each of the 12 members of the wedding party had a different song that they walked in to—with dead air until he found the right song to be played.

“It took about 45 minutes to get everyone in the bridal party inside. And after that he didn’t even play any background music during the dinner hour.”

Needless to say, the logistics of the entire reception were a headache for DJ Chaddy Chaz to even stay and watch. So, with that in mind, we asked mobiles to point out the most glaring failures of their competitors.

The most curious, screwed up, antiquated, low-rent thing they’ve ever seen or heard a competitor do — no names, of course!

What outlandish things have those other mobile DJs resorted to, and how would they have handled the situation differently? Basically, when have they found themselves face-to-face with a face-palm moment?

For the ridiculous reception Hough attended, everything seemed to just get worse.

“After this DJ’s third plate of food and no background music, he played the wrong song for the first dance and then took almost 20 minutes to locate the correct tune,” he recalls. “Then, this DJ was playing all his music off iTunes, with dead air between each song. The bride was getting pissed.

“She’d go up and ask for a certain song and he’d spend another 20 minutes searching for it.

Then, when it came for the next song, we’d have to listen to another 10 minutes of dead air.”

Hough says many of the guests that night left right after the first dance because it was too boring, but he and his wife had to stay because it was her co-worker. And all night long, the coworker kept telling Hough she wished she’d kept him as the DJ. “That’s what you get for free,” he says with understatement.

To reassure his own brides that their receptions will not be a royal fiasco, Hough says he meets with each of them at least three times, in person, in addition to the emails and phone calls he makes to ensure that each client gets exactly what they want and how they want it done.

“Even back when I started DJing in 1983, I never had dead air,” says Hough. “I didn’t sit – I stood. I condensed the grand entrance down to where it’s not so stretched-out, and I involved the guests in the party as much as I could.

“Lights jazz up the atmosphere when the party gets going – so, of course, I’ve now switched to LED lights. I keep receptions flowing on time by always letting the wedding party know what’s happening next. Read the crowd and know what music you have and, as a result, your

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guests will be talking about the reception for years to come.”

Of course, it’s not just on the East Coast where mobile jocks have wacky competitors. The first face-palm DJ that comes to mind for Mark Haggerty of Denon & Doyle Entertainment was when another multi-op DJ company in the San Francisco Bay Area invited prospective brides to view their hired DJs performing at a “Cosmic Bowling” function at a local bowling center.

“I seriously don’t think that’s the best venue for someone planning a wedding,” says Haggerty with a chuckle.

But Haggerty does admit that inviting potential clients to observe him at other gigs can be a good thing.

“We’ve sometimes asked clients to ‘crash’ one of our wedding receptions just to watch us in action,” he explains.

“We point out that they need to see the entire body of work performed by one of our MCs. If they come in during dinner, they’ll hear dinner music and possibly some mic work. If they get there early and see the grand entrance, they can get a good feel for the DJ’s mic presence, even if they don’t like the actual song being used.

“And the same thing with the style of songs played at the reception they’re visiting.”

Back on the East Coast, in Ithaca, N.Y., over the course of his career DJ Mike Melice has seen plenty of examples of DJs dropping the ball. Oftentimes that includes another DJ not being able to fulfill a gig commitment, leaving the client having to pay the consequences.

“Just a few days ago,” says Melice, “I received a panic call from the manager of a local Sky Resort, informing me that the DJ company they hired called two hours before a big event to say he wouldn’t be able to perform because he couldn’t find a babysitter.”

Fortunately for Melice, he was at a gym when they called and was able to leave, drive home, pack up his gear and still make it to the newfound event with time to spare. And Melice says that particular Sky Resort was so impressed with the way he handled the situation and with his professionalism that they decided to make him their go-to DJ for all of their future events.

“Unfortunately, technology has made it possible for anyone with a decent music library and a pair of speakers to advertise themselves as a professional DJ,” says Melice.

“What really separates a pro from an amateur is moments like this. I have never missed an event in my 15-year career,” he says, adding that he realizes a situation like that could happened to many professionals.

“The other DJ could have easily called someone else to fill in, or asked a DJ friend he trusted to cover this event for him. However, this guy made the decision not to be proactive, which showed lack of care and passion.”

Melice says feels fortunate to live in an area where many of the top-end DJs work together.

“Even though sometimes we compete,” he says, “I know I can trust one of my local DJ friends to help me out if I

was in the same situation.”

For other mobiles throughout the country, it’s difficult to pick out a specific time when one of their competitors did something embarrassing, simply because they’re too busy playing their own events to notice what other DJs are doing.

“I really don’t pay too close attention to competitors in my local market,” says Mick Uranko of Uranko Productions in Pottsville, Pa. “I spend a lot of time making sure my brand is staying ahead of trends and making sure I reach my goals each year.

“Don’t get me wrong,” he adds, “there are companies that I may compete with, but we’ve reached an all-star level where ridiculousness is very minimal.”

Instead, DJs like Uranko are quick to point to current industry trends that cause plenty of eye-rolling and face-palms.

“The most ridiculous thing I notice is companies that stop growing and remain extremely complacent with how they perform at their weddings,” explains Uranko. “A lot of these companies are stuck in the past. An easy way to spot this type of company is any time there’s a disagreement on a Facebook group – they always make it known how many years of experience they have.”

Uranko says he’s always open to lending advice and helping others get paid more for their weddings. “However, if you’re not willing to grow, learn new ideas, take chances, step outside of your comfort level, practice, network, and remain determined then yes, you’re, right that you’ll never be able to charge much in your market.”

To counter that type of attitude in his eastern Pennsylvania Coal Region market, Uranko says he simply continues to grow his brand through networking with other award-winning companies to learn the latest trends.

“Each year I set a goal of how many weddings I’d like to book,” he says. “For each wedding I take, rather than just being another reception it’s more of an entire production—with special effects, lighting design, projection images, an integrated video love story—and, last but not least, DJing.

“And how I consistently make improvements each year is by raising my rates.

I raise them because I want to challenge myself. The overall experience we provide is the reason why brides book us. I have no choice but to get better, to offer new services and to continue to grow my brand.”

What drives K.C. KoKoruz of The Keith Christopher Entertainment Group in Chicago-town crazy? DJs who are short-sighted and, in the end, lose profit for themselves as well as for everyone else.

“For one of my competitors, during the Midwest’s slow season of January through March, he offered clients a 5-percent discount on their DJ services as long as they paid their entire contract off at the time of the booking,” KoKoruz says. “This may have helped solve their temporary cash-flow problem for those three months, but during the busy season they had already collected and spent the balances from these clients.

“And now their DJs’ checks were all bouncing,” says KoKoruz, who adds that the company was eventually forced to close.

KoKoruz says another of his competitors was too lazy to even write original fake reviews about his own company, so they actually cut and pasted reviews from other DJ companies from around the country that they located online.

“He simply changed out the DJ company’s name and the DJ’s name,” he says, “to make it look like they had earned the positive review and then posted it on The Knot and Wedding Wire.”

Meanwhile, Jason Klock in Harrisburg, Pa., says Klock Entertainment is simply dedicated to staying consistent for all the right reasons—and, of course, that includes not taking face-palm actions.

“In elementary terms, actions speak louder than words,” he says. “When our competitor is speaking ill of us, we simply demonstrate our kind acts by making the right decisions. In the short term, it stinks when you hear your competition is talking poorly. But in the long-term, if you’re making the right decisions, it won’t affect you. n “In fact, it will negatively affect them.”

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St. Cloud, Fla. – This past Feb. 2-4, the Dirtybird Campout made its East Coast debut at the Forever Florida campgrounds – 4,700 awe-inspiring green acres of Sunshine State wilderness.

After launching its Cali-based campout in 2015, Dirtybird Records – home of label founder Claude VonStroke and other top DJ/producers like Justin Martin, J.Phlip, Will Clarke, Worthy and Justin Jay – finally hit the Eastern time zone with its increasingly popular weekend bacchanalia.

In addition to dozens of DJ sets, the event offered plenty of traditional campout activities – from tug-of-war to archery, dodgeball to badminton. Also, non-profit organization Give A Beat – DJ Times’ pet project, which offers mentorship programs and fights mass-incarceration – raised funds and consciousness through its star-studded Giant Jenga games. (Look for more at Detroit’s Movement festival in May.) But the music, of course, was the main draw. In addition to other Dirtybird DJs like Ardalan, Dateless and Shiba San, the campout’s deep slate of DJ talent included Biz Markie, Mija, Ryan Forever, Sage Armstrong, Fisher, MK, and Walker & Royce. It all looked like this: 1 Renegade Master: Mija’s surprise set.

Adam Kargenian 2 Hold ’em High: Will Clarke in the mix.

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3 Just a Friend: Biz Markie throws down.

Jess Phillips 4 Masked Maestro: Claptone rocks it.

Adam Kargenian 5 All Smiles: Claude & Justin Martin.

Adam Kargenian 6 B2B: Ryan Forever & Mija Tristen Leto 7 Bass Lodge: Head counselor Claude VonStroke.

Tristen Leto 8 The Birdhouse: Campers let loose Adam Kargenian

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10 This Ain’t Bristol: Billy Kenny on the decks.

Tristen Leto 11 Game Day: Purple Pride.

Adam Kargenian 12 Hype Man: Claude with Soul Clap.

Adam Kargenian 13 Giant Jenga: Ntem plays for Give a Beat.

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Dirtybird Campout East Hits Florida, Brings the Big DJs

By Brian Bonavoglia

SUNSHINE STATE

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If you’ve caught the attention of legendary DJ/producer Eric Prydz, your name has also sent some extra ripples throughout the greater electronic scene. And these days, that certainly seems to be the case with Cristoph, the emerging prog-house talent from the north of England.

After delivering an opening set during Prydz’s massive EPIC 5.0 performance in London this past summer, the Newcastlebased DJ/producer dropped “Feel” (feat.

Jem Cooke), as the debut track on the Swedish icon’s new imprint, Pryda Presents. Then, Cristoph followed up with “EPOCH,” a tight, tingly groover best suited for afterhours.

He’s no overnight sensation, however, as Cristoph (aka C.J. Costigan) has been releasing material since 2013 on revered European labels like Defected, Noir and Bedrock. Nonetheless, his recent alliance with Prydz has thrust the spotlight on him to some degree – he’s certainly not complaining. After all, as Cristoph readily admits, Prydz is his “musical idol.”

So, as Cristoph prepped upcoming dates during Miami Music Week (Soho House with Prydz’ alias Cirez D and Adam Beyer), at Arizona’s Phoenix Lights Festival and England’s We Are FSTVL, he connected with DJ Times.

DJ Times: When were you first introduced to the world of electronic music?

Cristoph: Growing up, I was exposed to music at a very young age. My dad was a DJ and was constantly playing music in the house, as was my mom, brother and sister.

However, it was the Detroit techno and Chicago house coming from my brother’s Technics 1210s that really caught my attention. As I grew a little older, I found myself really getting into progressive house, trance melodies and ’80s music – and my passion really started to grow from there.

DJ Times: What is it that made you fall in love with the underground-house scene?

Cristoph: Although I listened to sets of my brother DJing, compilation CDs, etc., I never actually knew what the scene was like. That all changed first when I came across a channel on Sky [U.K. television], which used to air parts of club nights like Slinky and from venues around the U.K. Granted, the music was a bit harder than what I mainly enjoyed, but to see the DJs create that sort of euphoria had me hooked. At the age of 15 and 16, my brother and sister used to sneak me in to a night at home called Shindig. It was here I fully got to witness and experience what the scene was fully about. It was those nights which cemented in my mind that all I wanted to be was a DJ. DJ Times: How did you first connect with Eric Prydz?

Cristoph: I first connected with Eric in December 2016. I was handed the opportunity to open for him at Sound in Los Angeles. I jumped at the chance, even though I was cancelling a flight home to the U.K. from Chicago, paying to fly and stay in L.A., and a new flight home to Newcastle. I thought to myself I may never get

the chance to play alongside my musical idol again, so it would be an experience I could keep me with me forever. I had noticed he had supported my track “Catsy” on his EPIC radio show a week or two earlier, so I decided to play it as my last record to try and draw him in to a conversation.

DJ Times: Did it work?

Cristoph: Luckily enough, it did exactly that and before the night was over, his team had asked me to join them at EPIC 5 and numerous other shows to play alongside Eric. From here, it developed into Eric texting me, asking for music to play out, and then him signing tracks for Pryda Presents, and his manger signing me up to be part of the team. It all happened so quick and has been such a surreal experience, but one I am truly grateful for.

DJ Times: What was it like opening for Eric at his EPIC 5.0?

Cristoph: Both completely daunting and extremely surreal. I originally had a ticket to go, then after the L.A. show that I mentioned before, his team said if I was to go then, to chill backstage with them.This soon changed to them asking me to play. It was an absolute honor for me to play that show, something I will never forget, and also for me to be able to see the show after really was a dream come true.

DJ Times: What came first for Cristoph – DJing or production?

Cristoph: DJing, for sure. I have only been producing about five years or so now.

I realized it was something I needed to learn in order to reach my goals and follow my dreams.

DJ Times: What’s your production process?

Cristoph: I literally just go into the studio and write what I’m feeling that day.

It’s in a spare room in my house, so I have the luxury of jumping in there whenever I get an idea. If I’m touring I will start penciling ideas down on my laptop and then finish them up when I return home. I try to average two to four tracks a month. It was more a while back but I’m trying to make my records more complex and when you’re on the road for weeks at a time it does get difficult. I just want tokeep learning and progressing as an artist.

DJ Times: And studio set-up?

Cristoph: I use Ableton Live for my DAW, although Eric has recently been making me want to try out Logic… so I think I will give that a go in the upcoming weeks/ months when I go out and buy it. Hardwarewise I have a Moog Sub 37, Roland TR-8, microKORG and a Korg MS-20 mini. I went through a phase of getting into hardware, but I have recently returned to mainly using software with Spectrasonics Omnisphere 2 being my main go-to- plug-in.

DJ Times: Your original “Feel” was the debut release for Prydz’ label Pryda Presents – that had to be some nerve-rattling news.

Cristoph: Again, I was honored to be given that opportunity. To have someone I class as a major inspiration, an icon/hero of mine have the faith in me to give me the inaugural release on their brand new label

truly was a proud moment. I’ve been sat on the record for quite a while, Jem’s vocal is stunning and I was very protective over where it would end up. When I showed Eric the track, he instantly asked for it and spoke about the new project of Pryda Presents and how he wants me heavily involved. It was then I knew it was the right move for me.

DJ Times: How would you describe a Cristoph production?

Cristoph: I have been asked this a few times. I generally aim for the track to have a bit of drive to it with quite a long main break to build tension/euphoria. This may not always be the final outcome. With vocal tracks, I like the lyrics to really grab people’s attention, so sometimes I write the lyrics or will use a vocalist who is on the same wavelength when they go in to the recording studio.

DJ Times: Where do you find your artistic inspiration?

Cristoph: I get a lot of inspiration from travelling around on planes and trains, etc. I guess just gazing out the window watching the world pass me by does something for me and I seem to drift away and imagine myself on a dancefloor somewhere and what I would enjoy to hear at that moment in time.

TV shows such as “Stranger Things” have helped on certain records, as has certain things in my personal life and my day-to-day feelings. If I’m little down, I can end up writing something darker, and if I’m feeling really good, it normally leads to something more driving or euphoric. Also, when I’m actually DJing, I seem to get ideas in certain areas of my sets of a track I would like to create and play right there and then, I will quickly note it down in my phone during or after the gig and then get to work either on my laptop if I’m touring or in the studio when I head home.

DJ Times: Playing alongside Adam Beyer and Cirez D for their sold-out show in Miami, was kind of a big deal. What’s it like playing to a huge crowd like that?

Cristoph: It’s a true honor to be opening for them. The show sold out so quickly, so that tells you that these two are regarded as being right at the top of the ladder within the industry – and I fully agree. It will be nervewracking for sure, 4,000 clubbers in front of me, but it will be an experience I will fully enjoy and that I’m thoroughly excited for.

Then I get to see them play back-to-back for three hours – perfect!

DJ Times: What else do you have in store for 2018?

Cristoph: I’d say 2018 is shaping up to be a great year. My residency has just been announced at Hï Ibiza, so I will be playing there 12 weeks throughout July, August and September. I am playing some huge festivals in the U.K., such as Creamfields and Parklife, as well as others around Europe, which are still to be announced. I just played EDC Mexico which was absolutely amazing. I have a couple of tours in North America already in the diary and more and more dates around the world keep coming in so I’m very happy.

Release-wise, I have been making a lot of new music since the start of the year so the team and I are just starting to go through it to get the schedule sorted and start getting it out, so I’m looking forward to that, too. n

U.K. DJ/Producer Cristoph Has Slid into the Spotlight – with a Little Help from His Musical Idol, Eric Prydz

Cristoph’s “Feel” was the first release on Pryda Presents.

DJ TIMES

UP A STEP

APRIL 2018

By Brian Bonavoglia

25

MAKING TRACKS STUDIO…HARDWARE…SOFTWARE…

ABLETON LIVE 10: NEW & IMPROVED

DJ TIMES

APRIL 2018

By Wesley Bryant-King

26

It’s just not every day that we see a major new release of Ableton’s flagship product, Live. Heck, it’s not even every year.

In fact, it was over five years ago (by the time you read this in print) that the Berlinbased company shipped Live 9. And while, like most DAW makers, Ableton has offered incremental releases with significant new functionality in the intervening years, incrementing the version number on the left side of the decimal (with Ableton stretching out its hand for payment in-kind) has become a bit of a big deal to the Live faithful.

Indeed, the release of Live 10 comes with certain expectations, and it would appear that Ableton has risen to the occasion by rolling out some dramatic improvements to its popular DAW. One of the things about Ableton Live is that its capabilities are not always readily apparent; its streamlined interface belies its capability and depth. It also serves to mask the bulk of the enhancements that have been made to Live 10. Hoping to discover them on my own, when I got access to the beta version late last year, I decided to just dive in, both by opening existing Live 9 projects, and by creating new projects and just trying to find my way.

First Impressions: What I discovered in my testing is that Live 10 is both familiar — and different. That reaction begins from the moment you open the software; Ableton has given some spit and polish to the user interface that makes it feel fresh and modern, and yet totally recognizable. But as you work your way through typical workflows, things start to feel quite different.

Let’s take automation, for example; the usual methods to show and hide automation have changed, resulting in a certain amount of fumbling to figure things out. The appearance of clips is also strangely different; ah yes, that’s because fades are now visible and editable by default. Click around and adjust things, and suddenly you realize that things are snapping differently than before. Try to drag a clip, and you have to click it in just the right spot before it works. Even reading the complete list of changes leaves you unprepared for all the things that will snag you — sometimes pleasantly, other times not as much.

On balance, however, the changes are positive, useful, occasionally surprising, and sometimes frustrating that we didn’t get a feature long before now.

In working with Live 10 over the past several weeks, perhaps the most immediately useful addition I’ve personally experienced is MIDI Capture. This is Live’s new capability where it’s always listening when you’re playing, for instance, your MIDI keyboard.

Stumble accidentally upon a melody or phrase you like? One click, and there’s the MIDI clip in a track, ready for manipulation. No need to be actively recording; just dabble, find inspiration, and know that Live has got your back.

On the “sometimes-frustrating” front, it’s nice to finally see Ableton Live get MIDI note chasing, something that’s been present in many of its competitors for quite a while now. For those unfamiliar, MIDI note chase allows you play a MIDI clip from a point other than the beginning and have all the notes sound — even if the note’s key down was earlier than the playback start point. No more long, sustained notes that don’t sound when you are looping a portion of a phrase and trying to tweak a melody or something. I’ve spent my fair share of time cursing Ableton over its absence.

Other Enhancements: Ableton has been working overtime, too, on adding more creative content to the product, and indeed, Live 10 has a number of new sounds and tools for creating them, notably the addition of a new dual-oscillator wavetable synth — somewhat logically called simply “Wavetable” — and an array of useful presets to go with it. It sounds great, the presents are well-thought-out and useful, and it’ll no doubt impress a lot of Live-heads.

Echo, a new modulation delay effect, has a pretty interesting approach to engineering and modifying delays, through its graphical visualizations.With dual delay lines, and control over envelopes and filters, you’ll find yourself having a good deal of fun with this one.

MIDI clip editing has seen a lot of attention in Live 10, most notably that users now have the ability to work with multiple clips at once. This makes it much simpler and more straightforward to deal with common, multitrack editing scenarios, like having to

The Latest: MIDI Capture, new sounds & unique tools.

It seems that the DAW market has been intense lately. While late last year saw the announcement of the unfortunate windingdown of the entire Cakewalk operation, including Sonar, the company’s popular Windows DAW, others in the segment have been hard at work: Propellerhead rolled out Reason 10 this past October, bringing some new synths to this popular and unique DAW, along with additional loops and samples to expand your creative options, and a number of smaller improvements.

Avid has introduced Pro Tools 2018, adding a number of tools to improve productivity, including useful track presets, and a capture mode that lets you improvise MIDI without hitting record – sound familiar?

BitWig 2.2 was also introduced late last year, introducing Ableton Link support, along with new devices and modulators, additional sound content, a new display profile, an on-screen keyboard panel, and numerous miscellaneous improvements.

Cubase 9.5 was also rolled out not long ago, with workflow improvements, automation curves, facelifts for certain bundled VST processors, and an array of other spitand-polish upgrades.

Finally, Apple recently rolled a significant update to Logic Pro X 10.4, adding a cool “smart tempo” capability to keep content aligned regardless of original tempo, along with ChromaVerb (a cool new reverb processor), more sound content, new Drummers, and an entire laundry list of refinements. Even better? It’s a free update for existing users.

– W.B-K

make a bassline and melody work better together, and so forth. You can select up to eight clips across multiple tracks, and easily see them together in the editing detail view. For ease of use, only one clip’s notes are editable at a time, but simply click a note from another clip to change the active one. I’ve already gotten a lot of good out of this addition.

The remainder of the enhancements in Live 10 are really a matter of perusing the “what’s-new” section of the manual. And speaking of, Ableton continues to buck trends by providing a well-written, thorough, logically arranged and visually appealing manual that’s available within the software as a PDF. That means it’s easy to throw it on your tablet for a little reading in bed, or as I prefer, when being held captive in a metal tube at 35,000 feet for longer than I’d like to be.

You’ll find those enhancements span editing, automation, navigation, mixing, file handling, user interface, and a range of other areas. But there are two that stand out.

First, Max for Live, the programmable toolkit for building devices, is now integrated within Live, vs. being a separate (but bundled) offering. Max for Live has had a cult following, it seems, and having better integration will no doubt improve workflows and the like for those who enjoy building their own customized capabilities.

Second, Ableton has rolled out a number of enhancements to its adjunct hardware, Push.

While users of the newer Push 2 will see all of the new capabilities, even Push 1 users will benefit from some of them — and kudos to Ableton for continuing to support those who didn’t choose to upgrade when the attractive Push 1 trade-in program was active.

Perhaps the one surprising omission from the Live 10 feature list is support for VST3 plugins. This is sure to disappoint a lot of Live users. But as a Mac user and given the complications of 32-bit-vs.-64-bit support in plug-ins across formats, I decided awhile back to shift to AU (Audio Units) plug-ins for all new work. In hindsight, that seems even more like the right choice.

Conclusions: In closing, it’s worth nothing that Live 10 is available in three different editions: Suite, Standard, and Intro. Many of the improvements in Live 10 are available across all three, while some of the sound content and devices are limited to higher editions. Ableton offers a feature comparison on its website, so you can see which edition is the best fit and decide whether upgrading both version and edition might be your best bet.

Speaking of upgrades, Ableton is a bit cagey about its upgrade pricing; you’ll need to log into your Ableton account to see what your options and costs are, based on the license(s) you currently own. Suite users should find that the upgrade is under $300; for new purchases, pricing is $99, $449, and $749, depending on the edition chosen.

Is the upgrade worth it? For my money, the answer is yes. While I use several different DAWs, Ableton Live has long been my primary choice — the one I load by default when I sit down to work, and the one in which the lion’s share of my serious projects have been constructed. I’ve long valued its ease of use, intuitive approach, powerful feature set, and reliability — qualities that, despite the need to get used to some of the changes the new version brings, still exist in Live 10. In short, a really solid piece of software, not surprisingly, just got way better.

DJ TIMES

DAW Update: The Latest & Greatest

APRIL 2018

New Features: Push enhancements & more.

27

SOUNDING OFF PLAYBACK…PRO AUDIO…PROCESSING

PIONEER DJ’S KILLER CANS

By Paul Dailey

HDJ-X10: Great sound, looks & durability.

DJ TIMES

APRIL 2018

Pioneer ’Phones: Flexible & resilient.

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Portable: X10s ready for the road.

For the record, let it be known that I have tested, reviewed, worked with, broken and discarded a ton of headphones in nearly four decades of DJing.

From the early days with my brown, plastic Koss Pro 4AAA models to my current favorite—Allen &Heath’s XD-53, going on five years of service—I am a headphone junkie. So after the folks at Pioneer DJ sent me the press release for the company’s latest line of DJ cans, I was excited to finally get them around my neck.

The Goods: The HDJ-X10 headphones offer innovative features including 50-mm HD drivers, making them the world’s first DJ headphones to reproduce sound from 5 Hz to 40 kHz, according to the company. These cans have undergone rigorous stress-testing, are crafted with durable metal casing and a flexible headband that is surprisingly resilient.

To top it off, the ear and neck pads have been built with a water-repellant coating that resists deterioration, as well as sweat and dirt. It’s apparent that there are lots of forward-thinking going on over at Pioneer DJ...

First Impressions: Opening the box, DJs are presented with a gorgeous piece of gear – and a ton of accessories including straight and right-angle cables (with mini-XLR connection) and a sturdy case for keeping them protected on the road. My pair is silver-on-black – honestly, it looks amazing and feels even better.

The cushioning is plush, the adjustable joints are strong and thick, and they feel substantial without being too heavy. Overall, these headphones just scream quality.

The Test: In the end, however, no set of features can overcome headphones that don’t sound good and don’t perform well in the real world – so any review has to begin and end there.

In my first test, I plugged the HDJ-X10 into my controller and began to play around. Off the bat, they sounded good… really good. I am not sure that the boasted 5 Hz-to-40 kHz of reproduction makes much sense, as most people (especially veteran DJs) cannot reliably hear the extremes of that range. But, to my ears, the efforts that Pioneer DJ engineers put into this unit certainly bore fruit.

In fact, as I moved onto playing with stems and deconstructed samples, I actually felt like these headphones almost sounded “too accurate,” as every blemish was on full display. Not sure this is always a benefit for in-the-mix DJs, but in a studio setting, this kind of precision can be amazing.

Taking these cans on the road, I noticed another minor issue – at least for a DJ like myself, who often mixes with my cans around my neck. The accuracy of these headphones means the bass is true, as opposed to enhanced, as with most DJ headphones. This made it necessary for me to turn up the volume on the HDJ-X10 and lean into them more than usual in order to mix using basslines. If you wear your headphones over your ears or prefer to mix off mids and highs, you will have no issues here. But, to me, the bass reproduction, while accurate, may be a bit underwhelming in a loud nightclub. Each DJ is different, of course, so perspectives may vary.

Conclusions: Nonetheless, if I had a 10-point scale, Pioneer DJ would have hit it out of the park in 8 or 9 of those sections.

The headphones look great. They sound great. They are comfortable for long sets. They are easy to clean and are super durable.

Perhaps, bass monsters will want to road test these first, but for everyone else – the Pioneer DJ HDJ-X10s ($349 MAP) are as good as DJ headphones get.

A big thumbs-up for this set of cans.

If you have any questions for Sounding Off, please send them to djtimes@testa.com.

BPM Supreme, The Only Music Source Professional DJs & Producers Need

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Everything is organized well and they always have fresh new content!”

– Vice, Creative Artists Agency www.bpmsupreme.com

Rane’s Battle-Ready Equipment Flattens the Opposition!

SEVENTY-TWO 2-Channel Mixer Built like a tank—solid steel construction, 4.3” color screen, dual USB inputs, Rane-exclusive Mag Three fader, customizable MPC pads. Unleash your battle DJ creativity!

TWELVE Motorized Controller Powerful motorized DJ control system with 12” platter without fragile needles and skipping tone arms. Turntablist spontaneity, digital precision. www.dj.rane.com

QSC Audio’s First-Class KS212C subwoofer n

QSC Audio’s KS212C 3,600-watt subwoofer represents the world’s first-in-class single-box powered cardioid subwoofer solution for highly portable entertainment & installation applications.

DJ TIMES

MARCH 2018

www.qscaudio.com

1

Electro-Voice’s EVOLVE 50 Portable Powered Column System

A new performance standard for column speaker systems – combining light weight, low-profile design & superior Electro-Voice sound quality. www.electrovoice.com/evolve50

MOBILE PROFILE CAREERS…INNOVATIONS…SUCCESS STORIES

By Stu Kearns Chicago – Ask Howard Wallach what he does for a living, and he’ll say, “Creating memories, seizing eyeballs, and riveting attention is what I do.”

Seems appropriate for a man who as a kid, admittedly, was always the organizer, always vying for attention. “I was maybe a bit too rambunctious for my teachers,” he says. “And school pals could count on me for reciting back movie lines and celebrity impressions faithfully.”

As founder and “Top Dawg” of A-Z Entertainment in Chicago, he’s been building a steady following of happy clients near and far. “I attend industry-related conferences through the year,” he says, “not only as a teacher, but as a student, bringing back exciting ideas and tweaking them to fit my clients’ needs.”

This all started in college, when Wallach scored a part-time job installing

stay the course? Not everything new is better, yet renouncing every change runs the risk of becoming obsolete,” he says. “Change is the new normal. Preparing for and embracing that change by investing in the right kind of advice is the best way to meet these challenges head on. My secret sauce? Network with as many DJs and small business owners as you can. There’s a lot of wisdom to be shared.”

Wallach says he’s never been bound by the limitations of packages or outdated standards. He favors a “broad portfolio of enhancements.”

It’s good business, he says, especially if you’re organized and have strategic relationships in place. “I don’t own every piece of gear we sell — but have the talent and know-how to produce top-tier knockout parties consistently. Great events beget more great events.”

DJ TIMES

APRIL 2018

MULTI-OP VET SHINES IN CHI-TOWN

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and striking for a multi-op. “I was trained to advocate for clients and given performance opportunities,” he says. “You might say… I was a natural. Crowdpleasing a wide variety of nightclub, corporate and social events, I gained master of ceremony and DJ confidence.”

He incorporated his own company in 1987. “I was advised to get insured, keep excellent financial records, and write my business plan with a pencil,” he says. “With a solid base, laser focus, big work ethic and true grit, I did real work.”

Like many DJs, Wallach made sacrifices to build his business. “I did and still do a fair share of promotional events for exposure and branding opportunities,” he says. “These choices have provided powerful connections, lessons learned, and successful habits formed.”

And his business plan has been reworked many times to reflect his evolving aspirations and goals. Business plans are necessary, of course, but for Wallach, the songs are equally important.

“They impact the ways I work, relax, behave, and feel,” he says. “Of course, I play dancefloor hits and the most popular grooves and singalongs when I perform. Personally, my tastes flow with the time of day and who I’m hanging with.

Great tracks make me smile, dance behind the steering wheel or even cry.”

Wallach says his love of music came early. “Music got under my skin; created strong feelings and strong memories. The first song I memorized the words to was ‘So Into You’ by the Atlantic Rhythm Section. Every chance I got, I recorded hits off the radio onto cassette and shared mix-tapes before there was even a name for it. People’s reactions to these small gifts of song were significant. I am sure this was the seed of my love of programming music for large groups to elicit reaction and glee.”

On the equipment tip, A-Z Entertainment uses a variety of top-tier gear. For audio, A-Z uses QSC Audio K12 active tops and KW181 active subs. In the booth, the DJs use an Apple MacBook Pro 15-inch laptop, Serato DJ software, a Pioneer DJ DDJ-SX2 controller, Pioneer DJ HDJ-1500 headphones, and a Shure GLXD24R wireless system.

For lighting, A-Z uses Chauvet DJ products including the Intimidator 355 IRC moving head spots, the SlimPAR 38 fixtures, FX9 multi-effect par lights. Additionally, the company may employ ADJ Revo 4 effect lights and Blizzard Lighting’s Weather System, a tri-color multi-head lightbar with a foot controller.

These days, Wallach’s a multi-system operator, a role he relishes. “I love managing our group of DJs, technicians, and interactive entertainers – I definitely know the coolest people,” he says. “Our stylish entertainers are the kind of people who you meet and say, ‘Yeah, I’d totally hang out with them.’”

Wallach says his job is to “listen, integrate, inspire, educate, challenge and gracefully guide our people to achieve, not great, but flawless events.”

Three of his staff have been with him more than 17 years, quite a few others over eight years. How? “Needs change, goals change,” he says. “Regular, honest conversations about each other’s expectations have made a big difference.”

So have team outings, award nights, group meals, and group photo shoots, Wallach says. When we asked him to name two of his biggest business challenges, he told us “customer service” and “knowing when to embrace change.”

“In a world of instant gratification, clients expect instant customer service — and can take to the web to share any displeasure at less than satisfactory service just as quickly,” he says. “Be humble, be direct, be prompt. Take excellent notes and be committed your word.”

As far as knowing when to embrace change, that can be more complicated.

“Early adopter or late to the game? When to embrace change and when to

Howard Wallach started A-Z Entertainment in 1987.

Denon DJ Prime Series: The Future of Professional DJ

Denon DJ’s Prime Series delivers unprecedented performance, ease of use, music organization and system synergy for professional DJs. Receiving unexcelled acclaim since its introduction, the Prime Series represents the future of the professional DJ experience. www.denondj.com/prime-series

Audionamix: XTRAX STEMS

XTRAX STEMS, the world’s first fully-automatic stem creator, can easily separate any song into its drum, vocal and remaining music components. Created for DJs, music producers and remix artists, XTRAX STEMS allows users to create multitrack content to control during live sets, opening up possibilities for easy remixing, sampling and a cappella creation like never before! www.audionamix.com

D.A.S. Audio Expands the Event Series

www.dasaudio.com

Free gift with your Bose F1 Purchase

Purchase a Bose F1 Flexible Array Loudspeaker System between February 15-March 30, 2018 and receive a free gift! www.professional.bose.com/en-US/F1BagPromo

2018 DJ TIMES APRIL 2018 TIMES MARCH

n

The successful line-up now offers a double 12-inch line array & a single 21-inch subwoofer with onboard DSP controls.

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BUSINESS LINE

SALES… MARKETING…SOLUTIONS…

HOW TO MAKE A DIFFERENCE AT YOUR NEXT EVENT

By Stu Kearns

“We all love when the couple presents us with an envelope [gratuity] at the end of the reception, but what if you present them with one?”

— Mike Wieder

Over the last few Business Line columns, Mike Wieder, the New Jersey-based owner of Ultimate Sounds Entertainment, has been advising readers about how to make small incremental changes in your performance that can yield big results. It’s the basis for his book, Be The Difference Maker.

For this month’s entry, we asked Wieder to tell us about some of those seemingly “little” things that the good DJs do at weddings. And in this, his final missive, here they are:

Realize that you are rightfully perceived as an expert.

You have the microphone, so you become a focal point and recognized as the person in charge. People will ask you where the bathroom is, tell you their chicken is cold, etc. Always respond in a positive manner. Do not adopt the “that’s-not-my-job” attitude.

Step out of the comfort zone.

As an entertainer, I have stepped out of my comfort zone more than a few times over the years. Among other things, my services have extended beyond MC/ DJ duties and they have included… limo driver, officiant, paddleboat captain, tailor, waiter, giver of toasts/blessings, sweeper of messes, medic, psychologist, mediator and referee. Plus, there was the time I loaned my pants to a groom when his split.

Before you say goodbye

to the couple, ask them if they would be willing to provide you with a video testimonial. I try to do the testimonial about a half-hour before the wedding finishes, as the couples tend to be busy at the end. Thank them for letting you be a part of their special day. Thank the banquet manager/maître d’ and other vendors for helping make the wedding a success and leave them all with a business card.

We all love

when the couple presents us with an envelope (gratuity) at the end of the reception, but what if you present them with one? Perhaps a thank-you note for using your company and maybe even a gift card to their favorite restaurant.

After the reception,

send a short note to the venue praising the staff and thanking them for contributing to the success of the event: Be sure to include your contact information.

This can and should be done with the other vendors, as well.

Once the reception is over,

DJ TIMES

APRIL 2018

it does not mean the end of your relationship with the couples. Whether through Facebook, giving a simple call, or mailing a card for their anniversary, keep in touch. I had the pleasure of having three couples whose weddings I performed at, attend my wedding, as guests. I had so much fun at their wedding and I wanted to invite them to mine. I still keep in touch with them and continue to reap the benefits of referrals from them.

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If you are doing the anniversary dance

and know (due to the couple’s homework) who the longest married/together couple is, invite the anniversary couple to cut a second slice for good luck.You can also use grandparents, parents, or even children to do this, if the couple has them.

Please do not encourage them

to smash each other with the cake. If it happens, it happens, but do not be (continued on page 40)

GEAR AUDIO…LIGHTING…STUFF

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

DJ TIMES

APRIL 2018

The four-channel DDJ-1000 controller from Pioneer is designed for dedicated use with rekordbox dj software, which was recently upgraded to a version 5.1 that features enhancements to the Related Tracks feature and Automix, which uses the software’s upgraded track analysis to automatically and seamlessly mix tracks. The DDJ-1000 comes with full size jog wheels, as well as On Jog Display. There are 14 Beat FX and 16 multicolored Performance Pads that are used to trigger features including Hot Cues, Pad FX and Keyboard Mode, which plays Hot Cues in different semitones.

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Singing in the Rane

Disco Duck

Yamaha Moment

Rane/inMusic 200 Scenic View Drive Cumberland, RI 02864 (401) 659-8192 www.rane.com

Zero-G www.zero-g.co.uk

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

The Rane SEVENTY-TWO Battle Mixer sports a solid steel construction, as well as a brand-new 4.3-inch color touchscreen interface for moving wave display, FX control, song selection and user customizations. The unit features dual USB connections for DJ handoffs and Dual Flex FX engines, one for each channel. The unit also comes with the company’s new Mag THREE Fader, a touchless, tension-adjustable fader reverse, contour controls and cut-in adjustment. Serato Control Vinyl is included in the mixer, which is SERATO DJ and DVS enabled.

The Space Disco sample pack from Zero-G features 550 samples of 24bit disco and dance music sounds, ranging from Sci-Fi FX to swinging drums and analog synth grooves, guitars, vocals and more. Designed for both Mac and PC users, the sample pack’s content is 100-percent original and royalty free. Space Disco includes 550 Acidized Wav Files, 550 AIFF Apple Loop files, 37 Kontakt instruments, 37 Logic EXS24 instruments, 37 Reason NN-XT instruments and 37 Cubase HALion instruments.

Yamaha announced the DXS12mkII and DXS15mkII portable powered subwoofers. Both models sport a bandpass cabinet design and come equipped with a Class-D amplifier that achieves 1,020 watts of peak power. This configuration helps the subwoofers achieve “remarkable sound pressure levels from compact enclosures,” according to the company.

The DXS12mkII is capable of a maximum SPL of 134dB and a low-frequency response of 42Hz, while the DXS15mkII is capable of a maximum SPL of 135dB and a low frequency response of 40Hz.

AUDIO…LIGHTING…STUFF

GEAR

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

Just Say S

Native Instruments announced the KOMPLETE KONTROL S49 and S61, part of the Komplete Kontrol S Series.

These smart keyboard controllers can be used for all virtual instruments and feature 49 or 61 semi-weighted keys, respectively. They feature two hi-res color screens, ergonomic pitch and mod wheels, a touch strip for expression control and RGB lights above each key that highlight drum cells, key switches, chords, scales and more. KOMPLETE 11 SELECT comes included with both models.

Sing-led Out VocoPro 1728 Curtiss Court La Verne, CA 91750 (800) 678-5348 www.vocopro.com SingTools-Pro is a 100-watt karaoke PA system and vocal effect mixer from VocoPro. The unit comes with a 24/56bit Multi-Digital Signal Processor, as well as 100 studio-quality vocal effects like harmonies, doubling and choir. Features include built-in assignable pitch correction and vocal elimination features that will reduce up to 90 percent of the original vocals that are recorded on the center channel of non-karaoke tracks. SingToolsPRO can connect to a smart phone, tablet, laptop or any CDG/ DVD stereo system via 1/8-inch or RCA inputs.

APRIL 2018

Native Instruments 6725 Sunset Boulevard, 5th Floor Los Angeles, CA 90028 (866) 556-6487 www.native-instruments.com

DJ TIMES

Roland has released the XS-62S, an integrated 6-channel video switcher and audio mixer with PTZ camera control capabilities in a space-saving design, optimized for installed or portable live event, recording, broadcast and streaming productions. The unit delivers a robust feature set in a compact 1RU form factor and can be operated by a single user from frontpanel controls, or remotely from a Mac or PC or programmable interface. The XS62S supports seamless 6-channel switching between four SDI inputs, featuring de-interlacer along with scaled HDMI and RGB inputs from computer, tablet and other video sources, plus two still images stored in internal memory.

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GEAR AUDIO…LIGHTING…STUFF

Take a Thrill Pill Martin by HARMAN 3300 Corporate Ave Suite 108 Weston, FL 33331 (954) 858-1800 www.martin.com Martin Professional released its smallest moving head, the Thrill Mini Profile. The unit comes equipped with an 18-watt white LED engine that delivers sharp optics with over 800 lumens of output. Eight varied gobos and eight vibrant dichroic color filters are available. The Thrill Mini Profile operates in standalone sound-activated and master/slave control modes. It features four pre-programmed shows, electronic strobe/dimming, manual focus and high-speed pan and tilt. The unit can be surface mounted or hung using the included brackets.

It’s a Trap!

Cr2 Records Unit 309, WestBourne Studios 242 Acklam Road Notting Hill London, W10 5JJ www.sampletoolsbycr2.com Festival Trap is a 973.5MB sample pack that contains more than 300 royalty-free Electronic Dance Music samples. In total, the pack includes 530 audio files and 35 MIDI files, including bass hits, bass loops, snare rolls, claps, toms, drum loops, drum fills, cymbals and kicks. In addition, users get access to 50 FX, five songstarters, 28 synth loops and 44 vocal tools. Content in this pack can also be used in other genres such as Future Bass, Rap, Hip-Hop, Grime, D&B, Trap, and Progressive House.

Show Some iD44 Momentum Audio Sales 1500 Palma Drive Ventura, CA 93003 (805)233-7831 www.MomentumAudioSales.com Audient announced the iD44 audio interface, a 20-in, 24-out Desktop Interface that features four Class-A console mic pres offering 60 db of gain. Housed in an all metal enclosure, the unit is USB2.0 compliant. It comes with ADAT inputs and outputs that enable the addition of up to 16 extra channels of mic pres for bigger sessions. Channels 1 and 2 also feature two fully balanced insert points. Additional features include a low latency DSP mixer and dedicated controls for Talkback, Dim and Cut.

Prime Example

DJ TIMES

APRIL 2018

Denon DJ 200 Scenic View Drive Cumberland, RI 02864 (401) 658-5766 www.denondj.com

36

The Denon DJ VL12 Prime is a quartz-locked, direct-drive Pro DJ Turntable with an isolated motor design for “optimal signal-to-noise ratio,” according to the company. The unit sports an S-shaped tonearm that features a reinterpreted, dual function (lock/rest) support. It comes with an “easy grip/brake” chamfered platter, the edge of which is illuminated by built-in RGB lighting. Additional features include isolated feet that eliminate unwanted vibration and feedback, an all-metal tone arm base and high-quality brushed metal controls. The VL12 Prime has an adjustable pitch range of plus/minus 8-, 16-, 50-percent, and it operates in both 33-1/3rd and 45 RPM speeds.

AUDIO…LIGHTING…STUFF

GEAR

Patches Things Up Korg 316 South Service Road Melville, N 11747 (631) 390-6500 www.korg.com Konnect is a new portable PA system from Korg that includes the Konnect app for both Android and iOS users who wish to control the multi-function 300-watt amp and four-channel mixer via their smartphone. Konnect comes with a voicing function that allows the user to choose between a variety of EQ presets. The Konnect app adds even more voicing presets and effects, and also supports more detailed parameter control, as well as solo and mute settings. A dedicated carrying bag is available, as well as a speaker mount.

APRIL 2018

Synesthesia released a new compact sound module for keyboard players and DJs called Pipes. Pipes features 48KHz 24-bit stereo sample playback and comes loaded with 20,000 samples that are compatible with WAV, AIF and MDA. Patches features what the company calls its “Tweaker” onboard Pure Data patches, which can be used to modify and transform MIDI in order to create custom sounds. Equipped with a five-inch full color touchscreen and multiple USB MIDI inputs, Patches also comes with two analog audio outputs, a stereo headphone output and a USB memory port.

Konnect the Dots

DJ TIMES

Synesthesia Laurel Canyon Los Angeles, CA (323) 382-1673 www.synesthesiacorp.com

37

TRACKS…MIXES…COMPILATIONS

“MUSIC & LIFE”

u Louie Vega feat. Anané Vega u Vega This Master at Work returns with a supremely soulful number. With a sublime vocal and a subtly uplifting Latin-house groove, this one slowly takes control, as the production quality shines through.

– Curtis Zack

Róisín Murphy), plus “Pick Up,” “Jesus,” and lead single, “Seeing Aliens.” Fans seeking Koze’s signature style of quirky songs for a sunny day will enjoy cuts like “Colors of Autumn,” “Music on My Teeth,” and “Baby (How Much I LFO You).”

– Chris K. Davis “DON’T MAKE ME WAIT”

“BYE BYE”

u Antonello Ferrari & Aldo Bergamasco u King

Two house legends deliver a powerful, but catchy dancefloor mover. A great groove supports the vocal for a sing-a-long track that should do very well.

Street If you have picked up any of the recent Ferrari and Bergamasco cuts you know the drill here: A great vocal cut – featuring Sara Bright – with disco tinges, plus a killer dub to round of the package.

u Lenny Fontana feat. Alison Limerick u Karmic Power

– Curtis Zack KNOCK KNOCK u DJ Koze u Pampa Records The Pampa Records boss has provided yet another eclectic 16-track long-player filled with emotional lyrics and introspective club beats. DJs aiming to fill the dancefloor should check “Illumination” and “Scratch That” (both feature vocalist

“THESE DAYS” EP u Qubiko u Defected Dope stuff from Qubiko, as he is welcomed into the house of Defected. Raw, uncompromising, groove-filled house music here, as all three tracks are highly playable, but make sure you check the irresistible title track, which features K-909.

– Curtis Zack “THINKING OF YOU”

u Prefix One feat. Marley J Wills u Soul Grid Trevor Davy (aka Prefix One) is back with another excellent vocal track to dominate dancefloors. Both the original and the “Deep Mix” will work your dancefloor.

– Curtis Zack

– Curtis Zack “SOMETHING TO LOSE” u Knox u KHM Graham “Knox” continues in his recent run of quality material. “Something to Lose” takes things a little deeper and with a vocal and instrumental on offer – it’s worth hunting down.

– Curtis Zack

DJ Koze

“GIMME THA HONEY”

u Frank Storm & Matteo Spedicati u Hot Creations Oh, so wrong in all the right ways… this one kicks off with a throbbing double bassline and a melodically disjointed accompaniment – plus

Lenny Fontana

mixed-up vocal snippets. Still, it’s seductive and alluring with a tough, dark edge – perfect for sweaty dancefloors. The original kills, but also check the pulsing Phil Weeks remix.

– Jennifer Harmon “GOD MAKE ME PHUNKY” EP

u Mattei & Omich u Soulphuric With vocalist Ella in tow, the Italian duo’s title track drops an infectious, nu-disco groove – the funky bassline, tight percussion and string stabs – that works perfectly alongside the spoken word. Check the Cleptomaniacs’ eerie remix.

Also, “Your World” delivers killer funk samples with more life-affirming Ella vocals… terrific.

DJ TIMES

APRIL 2018

– Tommy D Funk

38

Louie Vega

“FRAG OUT” EP u Nathan Dalton u Audio Rehab Dalton delivers a terrific four-tracker here, with each cut capturing a vibe from a different era – hardcore, garage, and ’90s-style house.

And don’t sleep on “Dumble,” the EP’s top track.

– Tommy D Funk

“WHAT WE HAD”

u Huda Hudia feat. Sweet Charlie u Kaleidoscope After starting out with a straight drumline, hardcore breakbeats kick in with angry dub-synths and all hell breaks loose. Several bars later, it lightens back up into a softer, more danceable beat, sprinkled with Sweet Charlie’s angelic accompaniment – both gritty and melodic.

– Jennifer Harmon “SUPERPRINCE EDITS, PT. 2” EP

u Superprince u Razor n Tape

One of the leading nu-disco labels keeps ’em coming with another first-class EP. All four cuts rock, but make sure you check the retro/electro-flavored “TKO Dance” and its perky groove.

– Curtis Zack “LIVE YOUR LIFE” (REMIXES)

u Diva Avari & The French House Mafia u Purple Music After the success of the original, this super-funky cut gets the heavyweight remix treatment. DJs get four to choose from – ranging from the “MoD Disco Re-Touch” to the electronic boogie of the Tommy Glasses interpretation.

– Curtis Zack

Qubiko

Nathan Haines

Mattei & Omich

Huda Hudia

Superprince

GUEST REVIEWER: DAVID DUNNE

THE REMIXES

F O R T H E L AT E S T T R AC K R E L E A S E S A N D F R E E M U S I C A N D M O R E .

GO TO DJTIMES.COM

APRIL 2018

David Dunne

DJ TIMES

Nathan Haines Papa London’s Papa Records has been releasing quality house and broken beat since 2002.

Following up 2017’s Play It Like Papa album, Papa offers a superb digital compilation of remixes by master musician, Nathan Haines. With excellent reworks by the likes of Dennis Ferrer, Kenny Dope, Ashley Beedle and 4Hero, this is a great collection for house lovers. Fave cut: Ashley Beedle’s brilliant “Buff Boy Remix” of Haines’ “Doot Dude” feat. Lyric L.

39

Lane 8

(continued from page 10) our “This Never Happened” shows has been incredibly positive and has really exceeded all of our expectations, which is great. I would like to think that, ultimately, people come to my shows because they like my music.

DJ Times: Think other DJ/artists will follow your lead?

Lane 8: I hear lots of artists talking about doing similar things, but it doesn’t seem like many want to actually come full out and do no-phone shows, for whatever reason. I think

maybe a lot of artists realize that it’s not quite as simple as saying, “Don’t use your phones.” There is a lot of teamwork and logistical wrangling that goes into these events. I have noticed is that in the stand-up comedy world, it seems that it has actually become the norm at shows, which I think is really cool and helps our movement.

DJ Times: What was your approach to Little By Little?

Lane 8: I was lucky enough to collaborate with some incredible singers

on the album – Poliça, Patrick Baker, Fractures and J.F. July. The album is sort of a celebration of the album format, and as a producer… the joy of each little task on each song that moves you one step closer towards the goal of creating an immersive experience for people.

DJ Times: Describe your inspiration behind the new album.

Lane 8: It’s in a large part inspired by some of my favorite albums that I listened to as a kid – like Pet Shop Boys’ Behaviour and Pink Floyd’s The

Wall. They’re albums that had a very cohesive sound palette and told a story as an entire body of work, rather than being a random collection of singles.

DJ Times: What else can we look forward to in 2018?

Daniel: One big focus for us this year is developing This Never Happened as a label, and we have some really exciting projects in the works from artists like Anderholm and Khåen.

– Michelle Fetky

senting not only your company, you are representing the couple. Maintain a professional appearance and handle yourself in a professional manner.

As an entertainer, you naturally become a people watcher, and you may observe something early on that you can utilize at a later point in the event.

microphone off. You can even vocally enhance certain portions of a song and get the crowd singing along.

Business Line

(continued from page 32) responsible for what could potentially be a disaster. If it does happen, then this is where your personality comes in.

A great opportunity to create some memories is to bring the bride behind your gear and let her “mix.”

Let her scratch and hit some cue points: The guests will not mind and the bride will talk about that for a long time.

Never be afraid to utilize the bride and groom to start the dancefloor. Keep in mind, there is absolutely no reason to wait on playing a hot song, as there is no shortage of good music that can be played throughout the event. Do not be afraid to play that hot song early as a party starter.

Consider ever y event as an audition for your next one. The couple had faith in you and hired you, now you have to justify their decision by rocking their reception. Bring the energy. Realize that you are repre-

DJ TIMES

APRIL 2018

Above & Beyond

40

(continued from page 16) control over.

DJ Times: How has the process of the radio show evolved over time?

Grant: I don’t think it’s actually changed that much, to be honest, the way that we put together the show.

Of course, in the old days, we’d get sent records; now we get sent files, and we get a heckuva lot of them.

We have someone in the office who puts together a list of all of the songs each week and it’s literally an email with the names of the tracks. We go through each one of those songs and listen to them and pick them for the show. So, it’s become much more digital, much more online. But in terms of the philosophy, it’s exactly the same.

We just try to find music that we love.

DJ Times: Your approach to playing newer vs. older material?

Grant: We try to generally have half of the records to be new records, and half the records are car-

Do not surprise the bride and groom! It is their wedding day and not an open-mic night, complete with guests singing or roasting them, (unless the couple wants that).

Shut your cell phone or put it on vibrate/silent.We all have a habit of looking at our phone, to post updates and the like, but at the very least, silence it, keep it low and out of sight of the guests. Unless you are using it to take a picture or video, put it away.

It seems that at least once every wedding, a guest asks if we can wish someone a happy birthday or anniversary. When that happens, I say, “Tell them I said happy birthday/anniversary.” Unless I am asked to by the couple, I explain to the guest that it is the couple’s day and the focus should be on them.

ried through from previous shows.

Although there’s a lot of temptation for the podcast to be absolutely new every week, we would rather build a record over time. Sometimes we play a record for three or four weeks or more because it takes time for the audience to fall in love with something sometimes – and you see it online.

Someone will write, “I didn’t like this track, but it’s really growing on me now.” We try to treat it as a proper radio show, instead of just a snapshot of this week.

DJ Times: Even though you’re a European act, does it mean something to sell out U.S. venues like Madison Square Garden? Did you feel the history there?

McGuinness: Oh, God… yeah. It’s the most famous venue in the world, really. I mean, Muhammed Ali fought there!

DJ Times: And you see all the pictures in the green room of the

Mike’s Memories: During a cocktail hour, I noticed a young boy by himself who just looked sad, like he did not want to be there. I made a mental note to seek him out during the reception. Sure enough, I found him sitting by himself, not having any fun. I asked him if he could help us with the entertainment and his whole attitude changed. We let him push buttons and “be the DJ.” He assisted us by handing out party props, and announced dessert. You could not wipe the smile off of his face the rest of the night.

Carry a thumb drive. This is invaluable if you are at an event, do not have a song, and need to buy it online using your backup computer.

They hired a DJ/MC, so do not sing on the microphone unless that is what the bride and groom want. They hired you, not a band or karaoke. I am all for enjoying what you are playing, and fully endorse dancing behind the gear while singing along with the

Mike’s Memories: On our way to a wedding, I received a text from the bride asking if it was possible to get a song for her to dance to with her step-father. I told her I would check to see if we have it or could get it.

She told us it was not a problem, just something she thought of last-minute. When we got to the venue and looked, we did not have it. I asked the venue if we could tap into their wi-fi (no hot spots back then) and they refused to give us access. In an effort to not disappoint a bride, we drove slowly up and down the local streets looking for an unsecured wi-fi connection. We actually found a nearby restaurant with free wi-fi and sat in their parking lot until we downloaded the song.

all the venue’s past performers and athletes…

Grant: Yes, you see the pictures.

I always like to have a look at who’s played there… “Oh, my God! No pressure!” [laughs] McGuinness: And the thing about that show, because it was also a radio show, is that you’re on for like eight hours and you don’t really have a chance to take it all in. It wasn’t until the end when we were backstage and the manager presented us all with these beautiful, Tiffany, boxed, silver tickets of the event. And I’m looking at the box and it says, “Above & Beyond, Madison Square Garden, October 28…” And then I thought, “We just played Madison Square Garden!” It was real! It really happened! It was fantastic.

DJ Times: How do you decide when to debut a particular track at the big shows?

Grant: For the ABGT big shows

and live events we do, that is kind of our point in the year where we kind of get our music together. So, that’s when we try out a lot of new material that’s going to be played over the next year. We tend to stress about two months in the studio, desperately scrubbling around and finishing off various tracks in the locker. Then they get tweaked and sometimes people complain that they like the original demo that they heard before. [laughs] DJ Times: Looking at your tour schedule, I notice that you’re playing some interesting spots this go-round, places like Idaho and some Southern cities. It’s not just all the obvious big cities…

Grant: We love that. The great thing about touring America is getting to go to the smaller places, like traveling through Charlotte and places like this. You don’t get to go there very often and seeing that your music has reached these places, and the reaction

MP3s in 6

Compiled As March 13, 2018

NATIONAL CROSSOVER POOL CHART

NATIONAL URBAN POOL CHART

1 Bruno Mars & Cardi B 2 P!nk 3 Ralphi Rosario F/ Donna Blakely 4 Zedd F/ Maren Morris, Grey 5 Axwell ? Ingrosso F/ Trevor Guthrie 6 Joe Bermudez F/ Louise Carver 7 Ed Sheeran 8 Alan Walker F/ Cyrus & Digital Farm Animals 9 Dua Lipa 10 Sofi Tukker F/ NERVO Knocks & Alisa Ueno 11 Demi Lovato 12 Olivia Holt 13 MK 14 Rita Ora 15 Toni Braxton 16 Charlie Puth 17 Johanna Michelle 18 Justin Timberlake 19 Dirty Disco F/ Celeda 20 Emily Perry 21 Maroon 5 22 Selena Gomez F/ Marshmello 23 Jax Jones 24 Stonebridge F/ Hayle Joelle 25 Bebe Rexha F/ Florida Georgia Line 26 Beck 27 Camila Cabello F/ Young Thug 28 Keala Settle & The Greatest Showman 29 Niall Horan 30 Diana Ross 31 Skylar Stecker 32 Rihanna 33 Tiësto & Sevenn feat. Gucci Mane 34 Emily Perry 35 Morgan Page F/ Stella Rio & Damon Sharpe 36 Kat Solar 37 Hailee Steinfeld & Alesso F/ Florida GL & Watt 38 Kristine W 39 Win Marcinak 40 Jena Rose

1 G-Eazy F/A$AP Rocky & Cardi B, F Montana 2 Kendrick Lamar F/ Zacari 3 Migos 4 Cardi B F/ 21 Savage 5 N.E.R.D. F/ Rihanna 6 Stefflon Don F/ Fremch Montana 7 Kodak Black F/ XXXtentacion 8 Bruno Mars & Cardi B 9 Drake 10 The Game F/Jeremih, Young Thug & Sevyn 11 Blac Youngsta 12 Yo Gotti 13 A$AP Ferg 14 Remy Ma F/ Chris Brown 15 Ncredible Gang f/ Nick Cannon, Jeremih & Ty Money 16 H.E.R. 17 Farruko, Bad Bunny & Rvssian 18 Calvin Harris F/ Kehlani & Lil Yachty 19 Derez Deshon 20 Kendrick Lamar & Sza

Most Added Tracks

1 Marshmello & Anne-Marie 2 Sonic Amazon 3 Post Malone F/ Ty Dolla $ign 4 Martin Garrix & David Guetta 5 Gerina F/ Nomad 6 Maroon 5 7 Katy Perry 8 Riddim Trvlrs F/ Alexx Antaeus & Di Dakta 9 Keala Settle The Greatest Showman 10 The Weeknd & Kendrick Lamar

Finesse Atlantic Beautiful Trauma RCA Cold Carrillo The Middle Interscope Dreamer Def Jam Crazy Enough 617 Records Perfect Atlantic All Fall Down RCA IDGAF Warner Brothers Best Friend Ultra Tell Me You Love Me Republic Generous Hollywood 17 Ultra Anywhere Atlantic Coping Def Jam How Long Atlantic Blaze The Dance Floor Twin Filthy RCA To The Dance Floor Dirty Disco Boom Dauman Wait Interscope Wolves Interscope Breathe Interscope Meet In The Middle 418 Music Meant To Be Warner Brothers Up All Night Interscope Havana Epic This Is Me Atlantic Too Much To Ask Capitol Ain’t No Mountain 17 Motown Blame Cherry Tree Consideration Roc Nation Boom Casablanca Walk In Silence Dauman Beautiful Disaster Armada Get Away Solar Music Let Me Go Republic Stars Fly Again Celebrate Burning Tyger Sweet Love Rose

Friends Come On Over Psycho So Far Away Remedy Wait Hey Hey Hey Get Hot This Is Me Pray For Me

Warner Brothers Global Groove Republic RCA Dauman Interscope Universal Monom Atlantic Interscope

REPORTING POOLS

n Carlos Cabrera - NAshville, TN

n Mixxmasters - Lithonia, GA; Brian Stephens

n Masspool - Saugus, MA; Gary Canavo

n Pacific Coast - Long Beach, CA; Steve Tsepelis

n OMAP - Washington, DC; Al Chasen

n Victors - Milwaukee, WI; Chris Egner

n Dirty Pop Productions - San Diego, CA; DJ Drew n Peter K. Productions - Peter K n Dj Stickyboots - Goshen, NJ; Blake Eckelbarger n Nexus Radio - Chicago, IL; Manny Esparza n Kahoots - Columbus, OH; Ilan Fong

n New York Music Pool - NY, NY; Jackie McCloy

n Soundworks - San Francisco, CA; Sam Labelle

n DJ Rafy Nieves - San Juan, PR; Rafy Nieves

n Dixie Dance Kings R - Atlanta, GA; Dan Miller

LOOKING FOR THESE TITLES? YOU CAN HEAR THEM AND BUY THEM AT WWW.DANCEKINGS. COM. JUST CLICK ON THE LINKS IN THE CHART. DDK HAS LIMITED MEMBERSHIPS AVAILABLE

No Limit Love Stir Fry Bartier Cardi Lemon Hurtin’ Me Roll In Peace Finesse God’s Plan Oh I Booty Juice Plain Jane Melanin Magic Dream Girl Focus Krippy Kush Faking It Hardaway All The Stars

RCA Interscope Capitol Atlantic Columbia Capitol Atlantic Atlantic Republic EOne Epic Epic RCA Columbia Republic RCA Sony Columbia BMG Interscope

Most Added Tracks 1 2 3 4 5

Dj Khaled F/ Jay Z Future Jaden Smith Ella Mai Rae Sremmurd Janelle Monáe

Top Off Icon Boo’d Up Powerglide Make Me Feel

Epic Roc Nation Interscope Interscope Atlantic

NATIONAL LATIN DANCE POOL CHART 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

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15 16.

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Ozuna Pabanor ft Lu-K Nacho L’Angel & J’Moreno Steve Aoki ft. D Yankee, Elvis C. Domenic Marte Jason Cerda Romeo Santos Wisin & Yandel Soleil J Feat Maffio Renzo Ozuna Nandy Rosario Rolf Sanchez Rumberos del Callejon ft. T Nieves Aliya Yandel ft. Maluma La Banda Gorda Zion & Lennox William Melendez

El Farsante Tu Me Pones Mal No Te Vas Ando Suelto Azukita Tu Final Alarma (Remix) Imitadora Como Antes No Me Arrepiento Baby Dile Se Preparo El Cuero De Mi Vecina Te Va a Doler Celebrando Bling Bling Solo Mia Cero Coros La Player Boogaloo Baby

Universal 3 Knots Universal On Top Ultra Music Direct Balance Mogold Sony Sony Crossover Mayimba Universal Nandy Music Latin hits Ent. Chongo Latin Hots Summa ent.

More Music Summa ent.

Cookita prod.

Most Added Tracks 1. Julio Albino 2. Ilegales 3. Romeo 4. Daddy Yankee 5. Caña Brava/Oro Solido

Cha Cha Ra Con Cua Marchando Sobredosis Dura Pussycat

indie La Oreja Media Sony El Cartel Sunflower Ent.

REPORTING LATIN POOLS n Latinos Unidos Record Pool n Salsamania Latin Record Pool n Lobo/Bass

Record Pool n Urban Tropics Music Pool n North East Record Pool n Mixx Hitts Record Pool n Ritmo Camacho Record Pool n Ritmo Internacional Record Pool n DJ Latinos Record Pool n Mass Pool n Record Pool Latino n V.I.P. Chicago Record Pool.

ATTENTION DJ TIMES READERS: DJ Times 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@testa.com

of these audiences… their enthusiasm is amazing.

DJ Times: With the Anjuna record labels, how much are you involved in the day-to-day operations?

Grant: We’re very much involved in all of the A&R processes. We have a great team in the office that enable that to happen, thankfully. We love to A&R our own stuff because, ultimately. we’re the people fronting the whole thing. We’ve got to sign music that we can play in our sets and that we can believe in, play on the radio and really get behind. So, I think that’s been one of the keys to our success has been the fact that we’ve always kept a foot in that world. It’s not anything particularly complicated, but it’s just making sure that it’s stuff that we love. We’d never change the formula.

DJ Times: Advice for young DJ/ producers?

Grant: I think the first thing is to play the long game. You need to have a course for the ship to travel on.You need to be passionate about something, and really go for it. Go all-in on that thing, if you really believe in it.

It’s very easy to get distracted in an industry like this, especially by what’s going on in social media by other artists and think, “Oh, they’re having success with this type of music, so maybe I should be making this style.”

But that’s the route to failure.

McGuinness: I think the world is changing. Nobody can do what we did because, y’know, it’s 2018 and the record business as it was when we started was a very different place. Back when we remixed Madonna [2001’s “What It Feels Like for a Girl”], that really meant something – and now it probably doesn’t. It’s not through any fault of Madonna or us – it’s just that the world has moved on from that. I would say that it’s now harder than

ever to experience a kind of break that’ll make your career. I know people who’ve been on “America’s Got Talent,” have done very well in it and come out the end of it thinking, “Well, it’s the gravy train from now on…”

And that hasn’t happened. In the same way, we had lots of little breaks, but if one of them’s taken away or we got another one, I sort of feel like we would still be here.

DJ Times: Still, there are no shortcuts…

Grant: Right, no shortcuts, but also the other thing is not to look at the scoreboard too much because if you compare yourself to others, there’s always someone selling more records or doing a bigger arena.

Whichever level you’re at, there’s always someone “better” than you, but if you can just focus on what you’re doing and being the best you can be, that is all you can do.

DJ Times: It’s been said that creating art is its own reward.

Grant: Indeed, I met a young guy in Chicago and the first thing he said to me was, “I do EDM and I’ve got my marketing plan sorted out and I’ve got investors,” and all this kind of stuff.

DJ Times: Um, like… got any songs?

Grant: [laughs] It’s amazing how many people, even people in the audience, seem to think it’s all about marketing. You might be able to sustain a career for five minutes, but you have to have something… music is the product, not social media posts, not any of these things. They don’t really sell tickets long-term. They might sell your tickets one week, but long-term music is always the product.

DJ Times: I can’t talk to Above & Beyond without discussing your fans, who are uniquely dedicated, to say the least.

McGuinness: They are. I think we can only take credit up to a point for that. It’s almost become a selfmanaging and self-perpetuating thing.

From the beginning, we have tried to communicate with our fans and encourage them to communicate with each other and with us. We had a forum to start – before Facebook, or MySpace or any of that – and the idea that there was a community of fans of Above & Beyond and of our label, Anjunabeats.

DJ Times: And it grew from that…

McGuinness: I think that was one of the key things for us in our early thinking because we had agents and people saying to us, “Oh, you have too many brands – Oceanlab, Above & Beyond and Anjunabeats.” But one of the things that Anjunabeats allows – especially in a world where most of the early adopters are guys – is to have something that they can unashamedly fall in love with, maybe have a tattoo or something…

DJ Times: Oh, I’ve seen ’em…

McGuinness: [Laughs] I mean, it’s a record label! So, when we talk about it… it’s the Anjuna Family and, of course, it’s inextricably linked to Above & Beyond. And it feels like an easier family to be a part of than… the Above & Beyond fanclub. Know what I mean?

DJ Times: Oh, I get it – a lot of people do.

McGuinness: And once you label it Anjuna Family, everybody… from us to the other people on the label, the sister label Anjunadeep, the people in the office, the fans… everybody genuinely feels a part of it.

DJ Times: How did the “Push the Button” moment happen, whereby you let some lucky fans play a tune at your show?

McGuinness: Again, that was the crowd’s idea. We were playing “Sun & Moon” over and over again. There’s a bit where it goes quiet, then the riff comes in and we thought it would be great to fuck with people by putting a pause in there. So, we put a cue point in it and we played it out maybe once or twice using this method, where people are expecting it to go, “Bahhhhh!” and then it doesn’t. [Laughs] I certainly don’t have a particular memory of doing it the first time, but there was a guy onstage with a video camera and I grabbed his hand and forced him to “push play” after the thing had paused… and the video got out.

DJ Times: Viral mania…

McGuinness: Next thing you know, people were at the next show with signs: “Let Me Push the Button!”

They gave it the name. They gave it the idea that it was possible for them to be included in it, and we sort of went along with it, which is lovely, really.

Grant: It’s like what we’ve said about the radio show. People were saying that “Trance Around the World” was “our weekly group therapy,” because our album at the time was “Group Therapy.” They were already saying it, so the fans are very often one step ahead of us.

McGuinness: It’s one of those things where… when you see the look on those people’s faces, it’s so important to them. It reminds you of how much fun you should be having, let’s say, when you’re really tired and you’re six shows in...

DJ Times: Maybe it reminds you why you’re doing this in the first place.

McGuinness: Right, and it give us a five-minute break to stop and think, “Hey, this actually is really great – isn’t it?” n

42

I didn’t quite invent deep-house music…

Wolf Mike

Hi, I’m Larry Heard.

Rick Haylor

DJ TIMES

APRIL 2018

Mr. Fingers: A House History Lesson…

But it wouldn’t sound the same without me.

Mr. Fingers, Next Month in DJ Times