DJ Times March 2018, Vol 31 No 3

Miami Music Week Highlights AMERICA’S FIRST MAGAZINE FOR PROFESSIONAL DJs ESTABLISHED 1988 MARCH 2018

$4.95 US $6.95 CANADA

Winter NAMM: Top Gear Picks Holy Ship!

DJ Party at Sea America’s Best DJ: JAUZ Honored P o r t e r R o b i n s o n ’s

Plus: Crankdat u James Zabiela u Wedding Gigs Gone Wrong How to Coach Your Clients u Numark NS6II u Rob Papen SubBoomBass 2

THE GLOBAL LEADER IN AUDIO SOURCE SEPARATION THE GLOBALLEADER LEADERININAUDIO AUDIOSOURCE SOURCESEPARATION SEPARATION THE GLOBAL

ONE SONG SONG IN. IN. THREE THREE STEMS STEMS OUT. ONE OUT. ONE SONG IN. THREE STEMS XTRAX STEMS AUTOMATICALLY SEPARATES ANYOUT. SONG XTRAX STEMS AUTOMATICALLY SEPARATES ANY SONG INTO VOCALS, DRUMS AND REMAINING MUSIC STEMS. XTRAX STEMS AUTOMATICALLY SEPARATES ANY SONG INTO VOCALS, DRUMS AND REMAINING MUSIC STEMS. INTO VOCALS, DRUMS AND REMAINING MUSIC STEMS.

N ow Com patible wit h TRAK TOR and NI S TEMS F ile For mat N ow Com patible wit h TRAK TOR and NI S TEMS F ile For mat N ow Com patible wit h TRAK TOR and NI S TEMS F ile For mat

www.audionamix.com www.audionamix.com www.audionamix.com

NOTABLES…MILESTONES NEWS EVOX J8: RCF’s sub/satellite system.

WINTER NAMM ’18: 11 HOT DEBUTS FOR DJS DDJ-1000: Pioneer DJ’s controller.

Rane’s Twelve: Look ma, no tonearm.

New Decks: Audio-Technica’s latest.

ABDJ: JAUZ Honored

DJ TIMES

MARCH 2018

San Diego – This past Jan. 25 at Omnia San Diego, JAUZ was honored for winning America’s Best DJ 2017. Before playing a smashing set, the L.A.-based DJ/producer (aka Sam Vogel) was given a special plaque and a golden Pioneer DJ DJM900NXS2 mixer to signify taking the ’17 title.

ArtChick

By Wesley Bryant-King Anaheim, Calif. – Held this past Jan. 25-28 at the Anaheim Convention Center in Orange County, Calif., the Winter NAMM show drew over 115,085 registrants (manufacturers, distributors, retailers and performers) and featured nearly 2,000 exhibiting companies, according to organizers. Of course, there were plenty of products debuted for the club and mobile DJs and for anyone who produces music.

As was the case at the 2017 event, it seemed as if we’re currently between major innovation cycles with music technology — as is frankly the case with technology more broadly. Most of the new “stuff” on display could generally be considered incremental improvements over what’s on the market already, but that’s certainly not to say that a lot of it wasn’t pretty interesting and compelling indeed.

So, what over the three days caught our attention?

Perhaps the one thing I saw that did make me think I was seeing the future came from an unlikely vendor: Survios. The company makes gaming software for the emerging VR (virtual reality) market, and it showed an early version of Electronauts VR, a virtual-reality music-making application.

While targeted to gamers and music fans, I actually did wonder if I wasn’t witnessing an entirely new method of control that could eventually be applied to DJing, or more conventional music making workflows. More likely, it’s something big-name producing DJs could use to engage fans and enable them to remix tracks or enable other virtual interactions. It was, in any case, pretty cool.

In terms of more immediately applicable innovation, Audionamix showed Xtrax Stems, a new software application that can take virtually any song as a source, and deliver three stems: the vocal, the beats, and “the rest.” Now compatible with Native Instruments’ Stems file format, the software allows remixers and DJs to easily split apart source tracks for manipulation during a performance. While the software runs locally, the actual work is offloaded to the cloud where it’s easy for Audionamix to continue to roll out improvements to their algorithms. The demoed results were pretty impressive.

Ableton conducted private briefings and presentations on its upcoming Live 10 DAW software (due out by the time you read this).

With tons of new sound content, Max 4 Live now integrated into the application, a new wavetable synth, and myriad improvements throughout, Live fans will have few reasons not to upgrade to this new version.

A small company called Sensel demoed an interesting new control surface. It consists of a flat, metal base, onto which rubberized overlays are magnetically adhered. The overlays feature molded, multi-colored elements that the user can interact with, from conventional keyboards to multi-function controllers, all driven with touch sensitivity. With MIDI compatibility, the use cases are varied, and span various potential DJ and music creation workflows. I’m intrigued by the one-size-fits-all, modular potential of it.

Audio-Technica has re-entered the DJ space with a new vinyl turntable, the AT-LP1240-USB XP. At least in my eyes, it’s more like some sort of military tank that happens to play records; its heft certainly makes it feel like one, in any case. Along with the turntable, A-T has introduced a couple of sharp DJ headphones and DJ phono cartridges as well.

Native Instruments talked about its new Sounds.com subscription service. It’s rather like Spotify for samples and loops — with the exception that the material you download is yours to use within the licensing terms in perpetuity, whether you remain a subscriber or not.

But to provide an incentive to stay, NI has made it remarkably easy (continued on page 40)

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VOLUME 31 NUMBER 3

DEPARTMENTS 7 Feedback

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

25 Mainstage

New-Technology Showcase

26 Making Tracks

Rob Papen SubBoomBass 2

28 Sounding Off Numark NS6II Controller

30 Mobile Profile

12 Alter Egos

Porter Robinson’s “Virtual Self” Project Dives into the Past, Yet Pushes Toward the Future

BY BRIAN BONAVOGLIA

In Dallas, Leonardo’s Masterpiece

32 Business Line

3 Ways to Coach Your Clients

34 Gear

18 Holy Ship!

Two Epic Boat Cruises Carried the World’s Top Jocks Out to Sea

BY JOSEPH LLANES

22 Intros & Outros

DJs Recall the Bridal-Party Entrances That Rocked the House – And Those That Didn’t

BY JEFF STILES

New Products from ADJ, Reloop & More

38 Grooves

Phat Tracks from EDX, Thomas Gold & More

41 Club Play Chart The Hottest Records, As Reported by Our Top U.S. Record Pools

SAMPLINGS 8 Crankdat On the Rise

DJ TIMES

MARCH 2018

10 In the Studio With…

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James Zabiela

www.dasaudio.com

Discover our new curve

FROM THE EDITOR

Alter Egos & Forward-Thinking Gear It’s been awhile since we checked in on Porter Robinson, but now that he has a new, somewhat novel project – Virtual Self – he felt compelled to offer up the straight dope to us. This past December, he played a one-off show in Brooklyn, unveiling the new, retro-flavored material. Timed with the release of the self-titled EP, the show answered the questions from the legions of Porter Robinson fans about his next move. Here it is – and in his interview with our Brian Bonavoglia, he explains what motivated his latest artistic endeavor.

Also, fans who are at Ultra Music Festival during Miami Music Week can catch Porter Robinson’s Virtual Self, among a slew of other top electronic acts. Of course, speaking of Miami Music Week, we’ll be in the 305 between March 20-25, taking in the musical festivities and industry events.

Whether it’s a 24-hour bash like Get Lost (Crosstown Rebels’ annual bacchanalia), any number of DJ-driven pool parties on South Beach, big events like Above & Beyond’s one-off show at the RC Cola Plant or the massive Ultra Music Festival in Downtown Miami, DJ Times will be taking it all in and reporting online and for the next issue. But, for the moment, check out our selected MMW events on the opposite page.

This month, we also take a look back at Holy Ship! As one of the electronic-music’s most-loved events, this year’s entries – Versions 10.0 and 11.0, for those counting – delivered another strong lineup of international DJ talent, spinning all genres. Through the eyes of photographer Joseph Llanes, we bring you the DJs of Holy Ship!

In the Sampling entries, our L.A.-based writer Lily Moayeri connects with British DJ/producer James Zabiela who explains his rather involved studio process on putting together his latest mixcomp, Balance 029. Also, Brian Bonavoglia interviews Crankdat, the 20-year-old trap/EDM DJ/producer (aka Christian Smith) who’s blowing up with his “re-cranks” and original productions. And now, he’s recently become a Vegas resident for the Hakkasan Group – congrats!

From the world of the mobile entertainer, our Iowa-based scribe Jeff Stiles asks a panel of wedding jocks about their best and the worst experiences of bridal-party introductions. As DJs who play these events know all too well, the line between perfection and disaster can be thin indeed.

For Business Line, New Jersey-based DJ Mike Wieder returns with more advice for mobiles from his new book, “Be the Difference Maker.” This time he shows DJs three ways to coach their clients.

And in Mobile Profile, we bring you Next Level Entertainment’s Leonardo Washington, who’s making mobile masterpieces in Dallas, Texas.

Taking a look at gear, this month’s issue has a lot to offer. For starters, in our Making Tracks studio-review column, New Jersey-based DJ/producer Mike Gwertzman puts Rob Papen’s powerful SubBoomBass2 virtual synthesizer through its paces. For our Sounding Off pro-audio column, Denver-based DJ/producer Wesley Bryant-King reviews Numark’s very capable NS6II controller.

Of course, the big gear-related news this month is the slew of new products recently debuted at the Winter NAMM show, which ran this past Jan. 24-27 in Anaheim, Calif. After walking the convention center’s massive exhibit hall, Wes gives us 11 “show picks,” i.e., product debuts for mobile, club or studio jocks that impressed him mightily.

And lastly, once again, we congratulate JAUZ, America’s Best DJ 2017. This past Jan. 25 at Omnia San Diego, we presented the L.A-based DJ/producer (aka Sam Vogel) with a special plaque and the golden Pioneer DJ DJM-900NXS2 mixer that’s indicative of the ABDJ title. Appreciative of all the help for putting on the successful event, which also saw JAUZ rock the Gaslamp District club late into the evening, we have to thank Sol Shafer, Jae Espinoza and Kristina Bello from Omnia/Hakkasan Group, Jen Stein at Red Light Management, Matt Rodriguez at Paradigm Talent Agency, our ABDJ contest winner Robert Vames and our photographer Kristine Di Grigoli-Paige of ArtChick Photography. Again, everyone’s contributions were vital – thanks again.

DJ TIMES

MARCH 2018

Cheers,

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Jim Tremayne Editor, DJ Times

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

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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 March 2018

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FEEDBACK

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This is Feedback, a monthly feature that fields questions from you, our readers, and funnels them out to in‑ dustry 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 ques‑ tion that is not asked.

Miami Music Week At presstime, it appears that Winter Music Conference is, at the very least, taking the year off. Nonetheless, Mi‑ ami Music Week goes on – and just what does that mean?

Between March 20-25 in South Beach, downtown Miami, the Wynwood Art District and all points nearby, we’ll see DJ-driven parties, music-industry events, invitation-only schmoozes, and one enormous, three-day, music festival. Accordingly, here are some of the highlights of Miami Music Week: Coldharbour X Black Hole Rec o rd i n g s S h ow c a s e , M a rch 20, ORA Miami: Lineup in‑ cludes Markus Schulz, more TBA. Deep Sugar Gotsoul – Ultra Naté’s Rooftop Party, March 2 1 , N o . 3 S o c i a l : L i n e u p i n‑ cludes Bruce B, Christina Calamia, jojoflores, Lil Ray, Lisa Moody, Quentin Harris and Ultra Naté.

All Gone Pete Tong Pool Party, March 22, Surfcomber: All B2B lineup includes: Black Coffee B2B Virgil Abloh, Tiga B2B Kölsch, Black Honey (aka The Black Madon‑ na B2B Honey Dijon), B Traits B2B La Fleur, Idris Elba B2B Doc Martin, and Pete Tong B2B Damian Lazarus.

A b o v e & B e yo n d C o m m o n Ground Miami, March 22, RC Cola Plant: Lineup includes Above & Beyond, Seven Lions, Gabriel & Dres‑ den, ALPHA 9 B2B Spencer Brown, and Jody Wisternoff B2B Luttrell.

David Guetta, DJ Snake, Dubfire, Eric Prydz, Flosstradamus, Hardwell, Jamie Jones, Kaskade, Maceo Plex, Marshm‑ ello, Nicole Moudaber, Paco Osuna, Porter Robinson’s Virtual Self, Sasha & Digweed, Steve Aoki, and Tiësto.

Ultra Music Festival, March 2325, Bayfront Park: Lineup includes Afrojack, Armin van Buuren, Axwell & Ingrosso, Carl Cox, Chainsmokers,

C ro s s t ow n R e b e l s p r e s e n t Get Lost Miami, March 24-25, Venue TBA: Lineup includes Au‑ diofly, Blond:ish, Carl Craig, Cassy,

Damien Lazarus, Davide Squillace, Dennis Ferrer, DJ Tennis, DJ Three, Doc Martin, Ellen Allien, Guy Ger‑ ber, Seth Troxler and Soul Clap.

Lee Foss’ Repopulate Mars, March 25, Gramps: Lineup in‑ cludes Camelphat, Eli Brown, Josh Butler, Kaz James, Latmun, Lee Foss, Lisbona Sisters, Max Chapman, Mirko Di Florio, Solardo and Sonny Fodera.

SAMPLINGS

CRANKDAT: RE-CRANKED

DJ TIMES

MARCH 2018

Vegas Bound: Crankdat just became a Sin City resident.

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Plenty of producers have initially emerged onto the electronic-music scene as remix wizards, but few talents in recent years have done it quite like Crankdat.

The Ohio native—aka Christian Smith, 20—began putting his own spin on some of music’s hottest tracks, like Fetty Wap’s “Trap Queen,” and calling each effort a “re-crank,” rather than your traditional remix or bootleg. Honing his craft with each release and working his magic on cuts from heavy-hitters like San Holo, Joyryde, Porter Robinson, Mija and Zeds Dead, his electric edits would soon become secret weapons amongst his peers.

Receiving early support from JAUZ, following his debut production, “Dollars,” this promising talent would connect with the bass-house phenom for “I Hold Still” featuring Slushii.

Opening 2018 with his DJ Times: When did your trademark “relatest original, “Reasons to cranks” come about?

Run,” and currently closCrankdat: I think it started in 2016 when I ing out his North Ameri- was making a ton of remixes in the summer. I can “Outcast” tour, DJ Times wanted to add a bit of flavor to the name. Everycaught up with the melodic one was making a remix, but only Crankdat was mastermind. making a “re-crank.” I feel like I started something there. I watched some other people create their own specialized labels, too, which was kind of cool.

DJ Times: Is there anything specific you look for when deciding on reworking a track?

Crankdat: It totally depends. There are a lot of things I keep in mind when picking a track.

When I started, I reworked pretty much anything I liked and thought of, but now it’s a little more particular. I’ll ask myself, “Is this a song that people want to hear remixed?” In my opinion, not everything should have a remix. Or I ask, “Is this something I can dodge the copyright strikes on?”

So yes, there are specifics, but a lot of the time it’s situational.

DJ Times: After building a name with all those remixes, where you nervous about releasing original work?

Crankdat: I don’t think nerves ever really came into it; it was more so a commitment deal.

Knowing that I’m only going to release a “first solo original” once, I wanted to make sure that it’s good and means something to me. I also wanted to make sure my skillset lined up. Taking a tune and flipping it takes one set of skills, writing an original tune takes another. It was something I had to work on, and that takes time.

DJ Times: You recently joined forces with JAUZ and Slushii – who else are you interested in collaborating with? (continued on page 40)

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

IN THE STUDIO

JAMES ZABIELA: FULLY BALANCED It took James Zabiela the better part of a year to put together Balance 029. It’s not just that he painstakingly chose the 58 tracks that make up the double-disc, mix-compilation in this long-running and well-respected series, but also the number of personal upheavals he’s had to deal with while working on the release.

“I was constantly picking it up and putting it down,” says Zabiela from his English hometown of Southampton. “I kept getting interrupted, which made it very difficult, and everything was taking ages. When I finally handed it in, I changed my mind about one thing five times, ended up with two versions of the first mix and three versions of the second mix, then changed the master files because I wasn’t happy at the last minute. I drove Balance Music absolutely bonkers.”

Zabiela took a different approach toward Balance 029 than he has taken to compiling mixes in the past. He created a playlist for each disc, which are called Act 1 and Act 2. For the former, this was 1,124 tracks, for the latter 1,152, with the odd crossover. Each one of those was divided into folders of: “deffos,” “nearly deffos,” “I like these,” and “possibilities.” This intensity is for one goal only: Finding as many magical mix moments as possible.

“When you have those moments when two records just sing at each other, it’s amazing,” explains Zabiela. “When you’re (continued on page 40) Masterful Influence: Zabiela’s mix recalls a prog classic.

ALTER EGOS

By Brian Bonavoglia

Yet

PUSHES

Toward the Future

Porter Robinson’s “Virtual Self ” Project Dives into the Past,

technic-Angel

It’s not too often that we see a North Carolina-based DJ/producer rise to stardom, but Porter Robinson certainly has done it. Not only has the Chapel Hill-based talent become a world-renowned electronic artist, but he’s also emerged as one of the most prominent influences among his peers.

Robinson began producing at the young age of 12 – his understanding of electronic music and studio fundamentals entirely self-taught. From the very beginning, Robinson was viewed as a prodigy, creating music that he called “Complextro,” a simple word he created to put on his MySpace page as somewhat of a joke. Little did he know, his unique ability to add classically inspired melodies and complicated fills would lead to him catching the ear of Skrillex, who, by 2011, was on his own, well-documented, career trajectory.

This connection would later lead to his fiery 11-track Spitfire EP being signed to Skrillex’s imprint OWSLA, officially solidifying Robinson as one of the most promising new talents throughout the electronic landscape.

In 2012, Robinson would go on to release his timeless, euphoric anthem, “Language.” He also co-wrote Zedd’s chart-topping hit “Clarity” and joined forces with fellow production prodigy Mat Zo for their collaborative single, “Easy.”

Robinson had hit the electronic-music world’s big-time stage.

But, like many virtuosos, he quickly began to lose interest in the hit-driven, commercial-dance-music scene, and started to chafe at how formulaic electronic music was becoming. Consequently, he chose to go in a new direction following his “Language Tour.” Robinson began to create a full debut album, Worlds,

DJ TIMES

MARCH 2018

with a complete live show to accompany it.

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Fueled by his love for anime and Japanese culture, 2014’s Worlds served as a nostalgic journey using melodies that provoked true emotion. As for his live show, his “Worlds Tour” featured Robinson singing, playing synthesizers, and

Pathselector

triggering samples. The authentic beauty from both the album and live performance would lead to Robinson attracting an uber-fanbase across the globe.

In 2016, Robinson would join forces with longtime friend and like-minded producer Madeon for “Shelter.” That quirky single was a very pleasant surprise to most and it was accompanied by an international “Shelter Live Tour,” which included a performance with the French producer at Coachella 2017.

Afterward, Robinson went on a brief hiatus that lasted until this past October, when he took to social media revealing his mysterious new project, “Virtual Self.” With “EON BREAK” as the debut release from the alter-ego project, the majestic/frenetic tune marked a scintillating new chapter for Robinson, one that’s unlike anything he’s ever pursued.

Only sharing 3-D art and cryptic messages after the initial October announcement, Robinson saw his fanbase and, indeed, the entire electronic community begin to buzz about Virtual Self. He would go on to release a second single, “Ghost Voices,” a glistening groover that Robinson categorized as “Neotrance.” Then in late November, the five-track Virtual Self EP surfaced. Next, he unveiled Virtual Self live, with a smashing performance at a Brooklyn warehouse a week later.

Even after the Virtual Self project’s debut performance, the electronic music world was left with questions as to what it all means and why it started… until now. In this DJ Times exclusive, Porter Robinson for the first time opens up about Virtual Self and the inspiration behind this enigmatic project.

DJ Times: Back in October, you unveiled your newest project, Virtual Self, seemingly out of nowhere. When did you know it was time to reveal your new alias to the world?

Porter Robinson: I had been spending years obsessing over every element

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DJ TIMES 16

of it – the music, visual style, presentation, website, characters – and I wanted to present it in a way that was complete, and with virtually zero context.

It was critical for me not to hold peoples’ hands when it was released. I wanted discovering Virtual Self to feel like you stumbled into this other world that has always existed. I’m happy to talk about it now, but at first, I wanted to convey the feeling…

“Where the fuck did this come from, and why?”

DJ Times: When would you say Virtual Self was born?

Robinson: In 2015, at the height of my depression. I was writing music that sought to be kind of like a follow-up to Worlds, but it just wasn’t as good, and I knew it. It wasn’t coming from a real place back then. I think I’m at my best when I’m rebelling against something. When I wrote Worlds, it was because I was really sick of the EDM sound at the time. Virtual Self felt like me reacting against the pressures and expectations that I placed on myself after that first album. Once I started diving into compiling mood boards of the visual art style I wanted, and accumulating a set of sounds that gave me that Y2K vibe, it was like the dam broke, and writing music just flowed out of me.

DJ Times: What is the true inspiration behind this project? It seems to be reminiscent of late ’90s and early 2000s electronic-dance music.

Robinson: Virtual Self is like me trying to paint a picture… my fuzzy, nostalgic, unclear memories of Y2K dance music like trance, hardcore, and ’90s jungle. I wanted to intentionally conflate everything and cross styles in a way that wasn’t necessarily authentic to the era – it’s never quite trance, it’s never quite hardcore, and, although it possesses some jungly elements, it’s never quite jungle/drum-n-bass.

DJ Times: How’s that?

Robinson: Like, I remember when I was told by people in the drum-n-bass scene that the jungle and d-n-b world took it as a point of pride to resist trance influences. But for me, when I was 10-years old and hearing electronic music in video games, I didn’t make those genre distinctions. I couldn’t have explained the difference between jungle and the Y2K trance I was hearing at the time. It was all the same to me, and I loved it.

DJ Times: How did that translate to this project?

Robinson: So, when I was working on this project, I realized that I wanted Virtual Self to exist in this weird limbo between the genres of the time. That’s how I remember this music – as an outsider – and as a little kid, I received all these disparate styles of electronic music in a singular package. So now as an adult, I wanted to recreate that feeling with Virtual Self.

DJ Times: Was there any type of rave culture in North Carolina growing up?

Robinson: I still don’t really think I’m in the rave scene, and I was never able to attend electronic music shows as a kid. I experienced electronic music through rhythm games, Kazaa, DI.fm, and Ishkur’s Guide to Electronic Music. My mission statement with Virtual Self is not to say anything like, “2000-2003 was the real rave, this particular time period is the truth” or anything like that.

For one, I wasn’t there – I was 10-years old, illegally downloading electronic music on a barely post-dial-up connection. Instead, it’s more like…

“There’s this art style and musical style that I have these blurry, but joyful memories of, and I never fully experienced it. But this is how I remember it.”

DJ Times: Back in December, Virtual Self ’s first live performance debuted at a warehouse in the industrial side of Brooklyn. Is this the type of environment we can expect for Virtual Self performances going forward? Out of all venues across the globe, why Brooklyn for the debut?

Robinson: It was critical for at least the first show to have the right ambience. I just didn’t like the idea of doing Virtual Self in a hard-ticket rock venue, or in a theatre, and a club wouldn’t have fit the kind of lighting I wanted. I just really, really felt that it needed to be a warehouse. (continued on page 42)

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DJ TIMES

MARCH 2018

Photos By Joseph Llanes

Two Epic Boat Cruises Carried the World’s Top Jocks Out to Sea Port Canave ral, Fla. – It’s become an annual rite. Electro nic-mus ic fans from around the world congregate in South Florida for a pair of epic parties at sea – Holy Ship! Featuring many of the globe’s top jocks, the annual Florida-toCaribbean-Sea cruise rocked it yet again.

Held on two consecu tive sessions (this past Jan. 6-10 for Version 10.0, then Jan. 10-13 for 11.0), Holy Ship! delivered a who’s who from all electronic genres. Cruising to The Bahamas and back, Holy Ship! was produced by Hard, Cloud 9 Adventures and The Bowery Presents. It all looked like this:

Bristolian Beats: Jody Wisternoff gets way out.

Filthy Lucre: Nancy Whang’s jackpot.

Dirtybird Captain: Claude VonStroke.

Phantasm: JOYRYDE on the mic.

Dubstepping: 12th Planet (aka John Dadzie).

Bombs: Rrotik drops the Brazilian bass.

Beer Me: A thirsty Valentino Khan.

Anjunadeep Beats: Luttrell in the mix.

Real Life: Kye Gibbon of Gorgon City.

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MARCH 2018

My Lil’ Friend: YehMe2 aka Josh Young.

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Bangin’: AC Slater rocks the beach party.

Messy: Snails spews his “vomitstep.”

Get Real: Claude VonStroke & Green Velvet.

Chi-Town DJ: J.Worra gets grooving.

VOLAC: Russian duo kicks it live.

The Black Madonna: Rocks the boat.

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MARCH 2018

Mad Decent: Mr. Carmack delivers.

Firehouse: Kim Ann Foxman gets started.

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Kosher: Blessed by the Rave Rabbi.

MARCH 2018

DJ TIMES 22

OK, wedding jocks… get the picture: One of the bridesmaids at the reception was refusing to walk in with her assigned groomsmen, the bride was not doing anything to help with the dilemma, and suddenly the DJ found himself in a pickle.

This was four years ago, as DJ Mick Uranko was lining up members of the wedding party for their introduction into the hall.

“We were about five minutes from the start of introductions, and as we all know, rounding up the bridal party can be a task all in itself,” says Uranko, owner of Uranko Productions in Pottsville, Pa. “Well, as I was lining people up according the bride’s notes, I suddenly hear one of the bridesmaids demand, ‘I’m not walking in with Billy! I want to walk with Fred. Look at him: Do you honestly think I’m going to walk into this room with him?’”

This caused quite a stir at the commencement of this reception, when apparently the bride hadn’t reached out to ask if there were any problems with the matches she’d chosen for the entrance.

“Come to find out, one of the bridesmaids was married, but the guy she was scheduled to walk in with was an old ex that her husband knew about and was not a fan of,” Uranko recalls.

“What I learned from this experience is that, even though, yes, it’s the bride’s special day, there are a lot of potential problems that we can control by simply asking the right questions before the wedding.”

When it comes to introducing the wedding party, we’ve all experienced our challenges and we’ve had our successes. For example, we didn’t forget to mention the flower girl and ring bearer. We pronounced the names of every bridesmaid and groomsman properly. We pumped up the volume as the best man and maid/matron of honor strolled out onto the dance floor. And then, we kicked the energy up yet another notch with a party song for the bride and groom that had every guest on their feet, clapping their hands and ready to let go.

We’ve all had bridal party entrances that rocked the house and got the wedding reception kicked off better than we ever could have expected.

So, we asked mobile jocks about the best grand entrance they’ve ever experienced. What made it so grand? How did the audience respond? How thoroughly did the bridal party—and even they themselves—prepare for the entrance?

And what kind of feedback did we get, either from our clients or from the guests? Anything that didn’t work?

Mark Haggerty of Denon & Doyle Entertainment in San Francisco, Calif., says his worst wedding entrance was when a couple instructed him not to play any music in the background. Needless to say, that introduction ended up being very dry and boring.

But Haggerty’s favorite entrance was when every single bridal-party member entered the ballroom with the “Dating Game” theme song, as the DJ told the audience a little about each person—much of which was hilarious.

Then the bride and groom walked in with the theme song for “The Newlywed Game” playing overhead.

“I love getting an audience on their feet and lining the entrance as the wedding party comes in, shouting and giving each other high-fives,” Haggerty explains. “If I have a great coordinating team of my own, I’ll get two people to stay at the doors and close them right before I announce the bride and groom – and then open the doors for their entrance.”

Haggerty says audiences and bridal parties alike always love his grand entrance work due to his attention to detail.

“I meticulously go over the names—writing them down phonetically—so I don’t butcher them and pronounce them incorrectly,” he says. “Of course, this can be a bit challenging here in the Bay Area, since we’re such a melting pot of cultures.

“Besides Latin surnames, there are plenty of Indian, Chinese, Russian and Middle Eastern names that can sometimes be challenging to say correctly.

I’ve gotten in the habit of not looking at the names the week before the event. I’ve found it’s better to wait until I’m lining them up in the foyer to go over the first and last names. I make sure to listen to how they say their names, and then I repeat the names back to them to ensure I’m saying it right.

Next, I write the names out phonically… misspelling their names, of course, to make sure I say it correctly.

“It’s funny how many people try to correct me as I’m spelling it wrong!”

Although he says nothing comes to mind when trying to remember the worst bridal entrance he’s ever experienced, Mike Walter of Elite Entertainment in Tinton Falls, N.J., doesn’t hesitate when it comes to recalling his best ever.

The introduction that best stands out for Walter was when he worked with a bride and groom who were both musicians and in a band.

“The reception was in a hall with the entrance on one end of a long room and a stage on the other end,” recalls Walter. “We began with the stage curtains closed and the parents and bridal party entering from the main entrance.

But then, when I introduced the bride and groom, nobody came out.

“I was in on the joke, obviously, and said something like, ‘Oh wait, they aren’t coming through the main entrance—they’re onstage, of course!’”

That’s when the stage curtain lifted, revealing the bride and groom with their band.

“The band suddenly launched into a three-song set that was awesome,” Walter adds. “I’ll never forget the bride wearing a black leather jacket over her wedding gown, which was totally cool.”

MARCH 2018

The best wedding entrance Scott Goldoor says he’s ever experienced was about 10 years ago, when this owner of Signature Sounds in Plymouth Meeting, Pa., had a bridal party kicking off the entrance performing a dance to a medley of popular songs.

“This couple had collaborated with each member of their bridal party to select songs for each couple or trio to walk in to,” he says. “The parents of the bride and groom were also included, and each group that walked in did a choreographed 30-second to one-minute dance or dramatic bit.”

The bride and groom then walked in to their introduction song before dancing to what Goldoor remembers as a sappy love song, “I think it was a Whitney Houston song, but that’s when I suddenly slammed over to play ‘Jump Around’ from House of Pain. Suddenly, 200 of their guests went absolutely ballistic,” he says. “From there, we mixed a couple songs and then a pre-recorded mix the couple had provided for us.

“It really set the tempo for the evening and loosened the crowd up a bit.

Instead of simply saying, ‘Once again, how about a round of applause for the new mister and missus!’… we said something along the lines of ‘Hey gang, whaddaya think?’

“Needless to say, the people were screaming, shouting, whistling and cheering.”

DJ TIMES

Up in Ithaca, N.Y., DJ Michael Melice claims his grand entrances are always over-the-top.

“I truly believe that having a high-energy introduction sets the tone for the entire wedding reception,” he explains.

“My favorite entrance of this past year was just a few months ago. I’ve found that autumn-winter weddings always tend to be great from a DJ standpoint, due to the fact it gets dark a lot earlier, which helps enhance our lighting.

“This particular couple had selected one of my most exclusive wedding packages, which includes multimedia with flat-screens, motion monograms that picture falling snow, uplighting, a confetti cannon – and, of course, a customized entrance.”

Melice said he actually began preparing for the grand entrance during the tail-end of this event’s cocktail hour, playing on his flat-screen a video love story he had recorded with the bride and groom a couple months earlier.

“This not only encouraged guests to grab their seats, but also built up excitement for the introductions,” he says. “For this particular custom intro, we had built a light show around every song. We had uplighting all around the room pulsating in bright colors, while the moving heads had stars moving around the room.

“I started by playing the song ‘Born in the U.S.A.’ as I introduced the parents of our groom. Guests were going absolutely crazy, chanting, ‘U.S.A.! U.S.A.!’ The parents of the bride next came down to ‘Another One Bites the Dust,’ and then we transitioned to modern songs for the actual bridal party.”

Finally, it was time to introduce Melice’s bride and groom.

“I had every guest grab their dinner napkins and spin them around as high and as fast as they could,” he continues. “At this point, the bride and groom come through the main entrance doors through a crowd of 200 guests, who were spinning dinner napkins like Pittsburgh fans do when the Steelers score a touchdown. Lights were strobing all around the room, and once they arrive on the dancefloor it’s time for their first dance.

“Now to top it all off, a beautiful monogram with their names is projected right behind the couple. TV monitors are displaying a video montage with pictures of their engagement. I’ve added audio drops that I took from the couple’s video love story, and then I fired a confetti cannon filled with snow.”

The next morning Melice says he had multiple inquiries from people who had attended the reception.

“A lot of them said they didn’t have a wedding planned and were not even engaged,” he recalls, “but they already knew who they wanted to hire for their future wedding.”

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When he consulted with a couple who had met at a WWE SummerSlam in Pittsburgh, Steve Croce of Philadelphia-based Silver Sound Entertainment suggested to them a wrestling-themed entrance.

“Just before we began, several of the guests were handed signs that read things like ‘Ultimate Wedding’ with an Ultimate Warrior logo, or, ‘The Rock Says You’re Married’ with a picture of a ring, and were asked to wave them around when the groomsmen first entered,” Croce recalls.

“The bridesmaids then entered to ‘Pomp & Circumstance,’ doing the Pope wave and a Miss America smile while walking to the head table, and that’s when the groomsmen—dressed in full wrestling gear—entered to various WWE theme songs – with their DJ doing his Howard Finkel impersonation.

“The audience then exploded as confetti cannons blasted off, with the groom charging fullspeed into the ballroom to the Ultimate Warrior’s theme, in the same way Ultimate Warriors maniacally enter the ring.”

Meanwhile, when asked about the worst entrance he’s ever seen, Croce says that was when the bride and groom had instructed him to play Elton John’s “Circle of Life” from “The Lion King.”

“They hadn’t told me beforehand what they were going to do, which should have sent up a huge red flag because that’s when the bridal party crept on the floor, emerging from different areas of the ballroom wearing costumes I would grade a C-minus.

“The understandably weirdedout crowd leered at the wedding party, as though a jungle cult ritual was beginning.”

Not only was this intro weird, but Croce said it was weird timing as well. “‘The Lion King’ was no longer interesting to the crowd, as it had faded in popularity years ago,” he says. “Plus, it had nothing at all to do with the bride and groom.

They weren’t in an off-Broadway performance, didn’t care for Disney World, and weren’t known for being fans of ‘The Lion King.’

“The bride and groom had simply seen the idea on Pinterest and tried to duplicate it, failing miserably.”

It ended up being a Circle of Death.

Back in Pennsylvania’s Coal Country, Uranko says he’s been using what he refers to as a “Shadow Video Entrance” for several of his wedding receptions, and as a result has been receiving some amazing feedback.

“Everyone has made shadow puppets,” he says, “so even if you don’t have a full-blown setup the bridal party can at least practice by doing some shadow positions at home.”

Uranko says the first step in pulling off a Shadow Video Entrance is finding the right venue. “Ideally you’ll want a venue where the reception area has very little natural light near the grand entrance area,” he explains. “Another logistical element is the location of the entrance. You’ll need adequate room in front of the entrance, so your layout plan might need to be changed.”

In order to pull off the effect, Uranko uses an Optoma 515 Projector hooked up to a MacBook Pro that runs GrandVJ. “The projected image is mapped to the exact size of the drapes,” explains Uranko. “This prevents the bright light from the projector bleeding around the edges of your drapes, and gives your entrance a more professional look rather than just placing a light behind your subject.

“What takes this entrance to the next level is that we coordinate a different video clip for each couple that is introduced. So not only are they introduced to their own song, but we’ve added another level of entertainment with a video clip.

“All of the videos are royalty-free, by the way, and can be found on videoblocks.com.”

Uranko says a grand entrance is the first opportunity for a bride and groom to let their guests know that their wedding will be different than every other reception they’ve ever attended.

“The reaction we receive when pulling off a Shadow Video Entrance is phenomenal,” he claims. “You’re tying in an emotional moment with both audio and video that together have a personal connection with each couple that’s introduced. When combined, this really gets everyone excited.

“What’s a lot of fun with this entrance style is that your bridal party will want to come up with fun shadows to make. If you’re able to set up the night before, you can even do a dry-run, so the bridal party can practice everything. I can almost guarantee that no one in your bridal party will be familiar with this style of entrance.”

Although he can’t recall one particular wedding introduction that went better than any other, K.C. KoKoruz in Chicago says all the introductions made by The Keith Christopher Entertainment group are customized for each individual client.

“I have a simple belief, which is that people really don’t clap with love and enthusiasm for people they don’t know,” he explains. “When any DJ, MC or band leader introduces a stranger into a room full of people, they’ll not get an overwhelming response because the guests simply don’t realize that they’re important to the bride and groom.

“Rather than the simple introduction, we do the following: “Our first bridesmaid has been friends with our bride since they were four-years old. They grew up living across the street from one another, they went to kindergarten together, they were Girl Scouts together, cheerleaders together and 25 years later they’re still the closest of friends.

“She’s being escorted in by the cousin of the groom, and while the family tree says that they’re cousins they are truly more like brothers.”

It’s KoKoruz’s personal belief that when we add a personal description and relationship to a wedding couple, that bridal party member will become relatable to each guest.

“Everyone has a childhood friend, and everyone has someone who’s like a brother to them,” he says. “Once they become informed of how a member of the bridal party is connected to the wedding couple, the love and applause will naturally follow.” n

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QSC Audio’s First-Class KS212C subwoofer

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DJ TIMES

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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.

MAKING TRACKS STUDIO…HARDWARE…SOFTWARE…

BIG BOTTOM: ROB PAPEN’S SUBBOOMBASS 2

By Josh Harris

In late 2018, cutting-edge virtual synth and FX designer, Rob Papen Soundware released SubBoomBass 2, an update to the Dutch company’s very popular SubBoomBass bass synthesizer.

I’ve been a fan of Rob Papen’s virtual synths for years, having had a chance to play around on the original version of BLUE. Somehow, however, I missed the original SubBoomBass soft synth. Nonetheless, SubBoomBass 2 sports an updated GUI, a whopping 1,900 new presets, and several other important features that will be highlighted in this review.

What Else Is New: SubBoomBass 2 maintains the gold-colored UI, but now has an XY pad, which can control a host of assignable parameters like filter cutoff and effects. Pad movements are even recordable, resulting in some fantastic rhythmic patterns. Two new string oscillators and a host of new waveforms (i.e. bass guitars, xylophone, talkbox, etc.) are

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“While they cater largely to the sub frequencies, the sounds don’t overload the low end… that’s the sign of great sound design.”

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SubBoomBass 2: Updated GUI, quaking sounds.

included, vastly expanding the sonic options from the original SubBoomBass.

And, if that’s not all, Karplus-Strong string synthesis has been added, which is a method of physical modelling synthesis that loops a short waveform through a filtered delay line to simulate the sound of a hammered or plucked string or some types of percussion. Nice.

The new Bank Manager has a star feature, so that favorite sounds can be marked and easily found. The sounds in SubBoomBass 2 are fantastic and, weeks later, I still haven’t made it through all 1,900 presets! The UI is extremely easy to navigate and I love both the XY pad and the updated step sequencer.

The step sequencer now has a pattern mode, which allows up to four sequences to run simultaneously. For me, step sequencers can add movement and dynamics in a different way than playing a part and quantizing it.

More Upsides: The timing of this review was very fortuitous, as I was working on a bunch of hip-hop tracks that needed good sub-bass sounds. What I noticed about SubBoomBass 2’s sounds are that, while they cater largely to the sub frequencies, they don’t overload the low end. There was very little to do to glue the sounds into my mix. For me, that’s the sign of great sound design.

The Sequence Presets folder has a nice collection of patterns and, within most sequence presets, there are multiple patterns (Seq A, B, C, D), which are selectable via the Play Mode drop-down menu. Working the XY pad and adjusting the filter cutoff on the sequence patterns resulted in some very interesting sounds!

Conclusions: As I have stated in many reviews, I am a bit of a synth-bass addict, and I’m still not sure why the original SubBoomBass wasn’t in my arsenal of VSTs. Better late than never, I suppose.

That said, producers and remixers of all stripes should get tons of use out of this plug-in. If you are upgrading from Rob Papen’s original SubBoomBass, the price is $39 – and $99 if you are a new user. Also, SubBoomBass 2 is included in eXplorer4, the latest incarnation of Rob Papen’s all-encompassing software bundle, so owners of that bundle can download the SubBoomBass 2 installer for free.

Studio hounds take notice – Rob Papen Soundware wins big with SubBoomBass 2.

(From Rob Papen: SubBoomBass2 can be purchased in a boxed edition – as an AAX (32-/64bit), AU (32-/64-bit),VST (32-/64-bit) compatible audio software plug-in for Mac OS X (10.6 or higher) and Windows (Vista 7, 8 and 10) – from authorized Rob Papen dealers or as a direct download at www.robpapen.com.)

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

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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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SOUNDING OFF PLAYBACK…PRO AUDIO…PROCESSING

NUMARK NS6II: SOLID CONTROLLER

By Wesley Bryant-King

There’s no question that there are a lot of DJ controllers on the market these days — all-in-one control and audio interface solutions, generally built around a specific DJ software application.

And in the past couple of years, it appears that New Zealandbased Serato has become the application of choice for bundling with new controllers to hit the market.

I must confess that it makes my job as a reviewer just a bit easier in some ways. I have my Mac-based DJ controller test bed setup, I’m familiar with and regularly use Serato, and pretty much all I have to do is unplug one, and plug in another.

The downside,

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NS6II: Robust, ideal for mobile DJs.

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however, is that a lot of the controllers that hit my hardware review bench begin to look a lot the same.

I have to confess as well, then, that when the Numark NS6II arrived, I had a slight bit of a “well, here’s another one” reaction. It was upon closer inspection, however, that I began to see the NS6II for what it is: a robust, Serato-based DJ controller with some design choices that make it particularly suitable for the true, working DJ. First Impressions: Numark is part of the inMusic Brands family, which aggressively pursues the DJ market from no less than three different angles, and three different brands: Numark, Denon DJ, and more recently, Rane. It’s readily apparent that understanding the DJ market as well as the company certainly must does result in some interesting thinking when it comes to product design. Either that, or Numark has been reading my reviews over the years, because they’ve crossed off just about every “nit” complaint I’ve made in print about DJ controllers. I’ll explain that in more detail as we go along.

Inspecting the NS6II after unboxing, I find a lot of duality. Dual

USB connections. Dual external inputs. Dual master outs. Dual mic inputs. Dual circular digital displays in the centers of the dual platters; you get the idea.

Dual mic inputs… that is something I mention (or complain about) a lot, because in mobile DJ environments, I find it essential, and I think any mobile jock would agree. Take the typical wedding gig for example; I always need an MC mic for myself, and a wireless handheld to give the best man or maid of honor to do their things, for guests to make toasts, and so on. While I suppose you could do that with a single wireless system connected to a single mic input on the controller, call me “old school” — I just like using my trusty, great-sounding, hard-wired SM58 and a wireless system for everyone else. As a result, on the NS6II, I dig that there are not just dual inputs, but dual, front-panel controls that are identical for each, including dual-band EQ and level. I would have liked to have seen on/off buttons as well, but hey, I can twist a knob, and Numark needs ideas for the NS6III, right?

W h i l e I d o n ’t have my testbed setup to evaluate it, the NS6II provides (as noted above) two USB host connections. According to Numark, this allows a single NS6II to be connected simultaneously to two laptops. Each side of the unit has a toggle to indicate which laptop is active, providing the ability to play the last track of one DJ’s set from one side, mix seamlessly to the first track of the next DJ on the other side, then disconnect the exiting DJ and keep going. Definitely an innovative way to transition jocks midstream.

The dual master outs on the back include RCA and XLR — the latter clearly telegraphing the intended market for the NS6II. The RCA inputs for external sound sources further make that point and are also essential to me for mobile gigs where I tend to mix from multiple sources, including computer-based files (in Serato DJ), as well as external devices, and often CDJs as well; I like the flexibility.

Speaking of duality, each “side” acts as two decks, for a total of four. The NS6II provides all four channels broken out with EQ and level sliders. Decks 3 and 4 can be set for “PC,” which means they’re virtual decks in Serato DJ, or as I suggested earlier, can be set to “Line” for external signal sources.

Finally, Numark’s design ethos is in clear evidence here, too.

The predominantly red backlighting against the sleek, black, aluminum top does make a statement. (The underside of the controller is plastic, but I like the primary wear surfaces being metal.)

Set-Up & Use: For me, anyway, set-up of the NS6II couldn’t possibly have been faster, or simpler. Plug in the power. Plug in the monitors I have in my testbed. Connect the USB cable to my Mac. Load Serato DJ. In roughly 90 seconds start-to-finish, I was mixing

Dualities: 2 mic inputs, 2 master outs & more.

my first set with the unit.

Of course, those who don’t already have Serato DJ in place will find that the unit unlocks the full version of that software and getting going is really little more involved than downloading the software online.

Obviously, new Serato DJ users will also have to contend with getting their music library loaded as well, but that’s not exactly rocket science either. The fact that the NS6II was plug-and-play means that Numark has made all of this as simple as possible.

Using the NS6II hands-on is where things get pretty much industry-standard, aside from some notable extras that Numark’s designed in. That’s a positive in a lot of ways, because it makes it possible for experienced DJs to use the gear without cracking the manual. It’s only a negative because DJ controllers can start to seem all alike.

But the NS6II still differentiates

itself. Along with the laundry list I provided earlier, the unit provides a few niceties that round things out.

Among them are needle-drop, touchsensitive strips, one of each side, for quickly moving the playback point.

Additionally, you’ll find round LCD color displays in the center of each of the two rotary encoding platters.

The displays show BPM, time remaining, and percentage of pitch modification — not to mention a visual, segment display indication of relative track position. Critically, the display also shows its toggle state; left side between deck 1 and 3, right side between deck 2 and 4.

Those platters, by the way, have a terrific feel. Solid, perfectly sized, and they feel like most CDJs I’ve used, providing accurate, intuitive control and responsiveness.

Each of the four channels has a combined high-/low-pass filter. It’s

nice having them in hardware; of course, Serato DJ offers HPF and LPF in its effects engine as well. And speaking of effects, the NS6II provides four knobs and four buttons on each side of the unit to intuitively control that effects engine.

Numark’s implementation of queuing, looping, slicing, etc., is very much like that of its competitors; there are eight drum-pad like buttons under each platter, along with modeswitching buttons. DJs accustomed to Serato DJ and this particular control approach will feel at home. Call me old-school (again), but I’ve never really liked unlabeled, multi-mode, multipurpose buttons. Still, I confess… I’m the odd man out on this topic – most DJs are just fine with it.

If that complaint was a nit, so is this: There’s not a tactile center detent on the pitch sliders. The only way to know that the slider is neutral

is to visually look for the white LED indictor that’s adjacent to the center position to light up. I usually adjust pitch by feel, and not having that tactile indication of neutral/center feels like an oversight to me. Again, maybe Numark can put that on the list for the NS6III when it’s time.

Conclusion: As I said at the outset, it’s clear from the feature set that Numark is targeting real, working DJs with the NS6II, and the street price of roughly $800 definitely aligns with that target. While it might lack some of the truly high-end features of more expensive competitors (like color LCD displays and standalone media playback without a computer), for the price, and the feature set, there’s a lot to like in this capable, workhorse DJ controller. Nicely built, nicely appointed, a joy to use, and ideal for mobile jocks, Numark’s new NS6II is definitely one to consider.

MOBILE PROFILE CAREERS…INNOVATIONS…SUCCESS STORIES

Leonardo Washington: Dallas’ Next Level

IN DALLAS, LEONARDO PAINTS HIS MASTERPIECE

DJ TIMES

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By Stu Kearns

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Dallas, Texas — Leonardo Washington gives credit for his success to hard work, studying his craft, heavy research, and one other key factor.

“We treat people like people,” says Leonardo, owner of Next Level Entertainment. “We talk to them and not at them. We treat every event with a personal touch, and we believe that clients deserve an experience like no other on the most important night of their lives.”

Leonardo, a native of Monroe, La., showed a passion for music, like so many DJs, at an early age. He started on the trumpet, moved over to the French horn, and was good enough to earn a place on Grambling State University Tiger Marching Band.

He started Next Level Entertainment in Atlanta, in 2001, after finding inspiration at a friend’s wedding. The DJ, Lorenzo “The Jam Man – King of Old School” Brown – was working the crowd, and Leo went up to the booth and said hello. Asked some questions. Looked at his music. He had never seen anyone command a crowd like that.

Right away, he was hooked, and when he started Next Level, it was a new company faced with the same challenges of so many other startups: “I was a new company that just entered the DJ market,” he says. “I had to come up with strategies to compete with people that are already in the market. How would I get people to recognize Next

Level Entertainment?

That’s where the hard work came in — exceptional customer service and providing a performance as near to amazing every time. Easy to say — tough to do.

How do you get to “amazing”? Says Leonardo, “Communication with the couple. You have to make them feel comfortable by gaining their trust that you are going to make this once- in-a-lifetime, sensational moment special and all about them. It starts with your introduction of the couple. You have to captivate the crowd by saying something, finding that sweet spot of being stern and welcoming to ensure that all eyes and attention is on this once-ina-lifetime moment.”

Of course, the first step to “amazing” is achieved via the microphone. “Initially, right out of the gate, what you say in the first 20 seconds, how you control the room, how you grasp their attention, is crucial to the guests accepting you. You’re in charge, and you need to get them to buy into your plan for execution. If they don’t stop and listen, you have started your night on a rocky path. You have to get their attention and respect immediately.”

Leonardo says much of that is reliant upon appearance .

“Not only do you have to be the part, you have to dress the part as well,” he says. “You must be polished, articulate, and have something to say when you turn on that microphone.”

Next Level, a solo op — “the reason being is because Leonardo has to paint the masterpiece at your reception himself ” — books about 60-75 gigs a year, and subs out the overflow. “We found this charismatic entertainer from Florida, Randy Sent-

er, also known as The Mouth from The South,” says Leonardo.

“Randy meets the standards that make Next Level unique and different.”

On the gear tip, a typical Next Level system will include: a Pioneer DJ DDJ-SX2 4-channel Serato controller ; Shure wireless mics; an RCF EVOX 12 active, 2-way/array loudspeaker system; and various lighting products from ADJ, Elation, Eternal Lighting, Chauvet DJ and Mega-Lite.

A few years ago, Leonardo made the move to Dallas, and having learned from his first experience in Atlanta, was better prepared for the startup challenges. “The Dallas market is filled with a lot of talented DJs,” he says. “A lot of them are well-equipped with lights and toys. We try to sell ourselves on knowing what to do, what to play, what to say at the right time and for the right audience as well. Every event is different, and you have to have the right experience. It’s about understanding the true needs of your customer. You have to get to know them on a personal level. What are their likes and dislikes? You have to understand their vision and how you can help turn it into a stunning reality.”

I n t h e f u t u re , L e o n a rd o hopes to further entrench Next Level Entertainment in the Dallas market. “I want to continue to be a trendsetter and a difference-maker in the state of Texas, to change the mentality of what a DJ is from one event to another,” he says.“We are going to continue to find different ways to create an exciting experience at weddings that people will tell their friends about.”

BUSINESS LINE

SALES… MARKETING…SOLUTIONS…

THREE WAYS TO COACH YOUR CLIENTS

By Stu Kearns

Thirty-five years is plenty of time to compile enough experiences to put into a book, no?

That’s what Mike Wieder, the New Jersey-based jock and owner of Ultimate Sounds Entertainment, decided to do. He’s recently released his book, “Be The Difference Maker.” We spoke to Wieder and asked him for some nuggets.

DJ TIMES

MARCH 2018

DJ TIMES: SAME-SEX WEDDINGS: WHAT ARE SOME THINGS I SHOULD BE AWARE OF?

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Mike Wieder: We do our share of same-sex weddings and they are pretty much the same as a traditional wedding.

With the exception of a few formalities and wording, there really is no difference.

First off, the couple just wants you to treat them the same way you would treat a heterosexual couple. Secondly, the wording for introductions needs to be modified: It’s never going to be “For the first time as husband and wife,” but it could be “For the first time as a legally married couple” or something similar.

There may be parent dances, a cakecutting, garters and bouquets being tossed, etc. You just have to change what you say and how you do things. An example would be with the garter and bouquet. Instead of removing a garter, you may have the couple toss their garters or bouquets at the same time, or instead of having single ladies or men attempt to catch, you can have all of the single people come to the dancefloor.

Recently I met with two women planning their wedding and when they walked into my office they seemed a bit standoffish.

Before they even sat down, they asked, “How would you introduce us?” Without even batting an eye, I responded with “My name is Mike and you are?” They laughed, sat down, and proceeded to tell me the horror stories of speaking with other DJs who either did not want their business or had no idea how to handle a same-sex wedding.

Same-sex marriages are happening more and more over the last few years. This was not always the case, as I remember some years back when asked my opinion on them. My response is the same today as it was back then; “I am pro same-sex marriages and pro divorce.” It’s a business decision: new business, repeat business, and none of your business.

YOU SPEAK ABOUT “B U, DO U…” WHAT DOES THAT MEAN? Make sure the person your clients spoke to and built a relationship with, is the same person that shows up to their event – and I’m not talking about a different entertainer.

If they liked your sense of humor, personality, or musical style, make sure you bring it with you.

Over the years, I have caught the garter and bouquet at weddings.

That is where personality comes in. I never shy away from the situation.

Instead, I embrace it, even when Grandma pulled a knife on me.

There is a lot of competition out there and most couples hear the same stuff, different DJ (i.e., SSDD). Cookie cutters are good for cookies, not entertainers. Dare to be different.

If you are different, be different! I always ask my couples what their color scheme is for their reception. Why? The answer is simple: We want to match the bridal party’s colors down to my bold socks. And we never wear white shirts, because we want to be different from the venue staff.

IN THE LEAD-UP TO THE EVENT: ONE MONTH PRIOR, WHAT’S THE MOST IMPORTANT THING I SHOULD BE DOING? It is now one month until the big day. In the time that has passed, you should have, whether through mail, e-mail, Facebook, or phone, kept in touch with the couple. Now is the time to go over details. Most importantly, ask questions!

Their wedding day is not the time for questions. Make sure you know who sings their wedding song and that you have the correct version (album, acoustic, mix, cover, etc.).

Same goes for parent dances and any other important music requests. Never be afraid to make suggestions. Now is a great time to go over all of the formalities. Make sure you have the names of the bridal party (spelled phonetically) and the proper order.

Mike’s Memories: At a wedding I played the first-dance song, “Amazed” by Lonestar. The bride specifically requested a certain version of this song. About 10 seconds into the song, she starts mouthing, “This isn’t the right song,” and I start mouthing back, “This is the one you picked.” As I am turning gray and getting nauseous, the lyrics began, and she smiles as she resumes enjoying her first dance. After the dance, I spoke with the bride and apologized for playing the wrong version.

She explained that it was the right version. She just assumed that all of the versions were the same, as she did not listen to it ahead of time.

Do not be afraid to give homework. One of the most important moments of the reception is usually the one with the least amount of preparation. Many hours are spent on choosing a song for the first dance, yet very few have ever danced to it prior to their special day. Suggest to your couples that they dance to their song, so they get a feel for the timing.

That way, they will know if they want to dance the entire length of the song together, or invite the guests to join.

Also, if you are doing an anniversary dance, ask them ahead of time to find out the names and the amount of years together for the longest married couple. Have the couple supply you with the table numbers of important people (parents, best man, maid/matron of honor, and whoever may be giving a blessing or toast).

This may sound crazy, but have the bride ask someone to video her trying on her gown, including how it is bustled, and send it to you. I can’t tell you how many times I have bustled a gown. This came about during a wedding where the only person who knew how to bustle the bride’s gown was the maid of honor, who also happened to be completely drunk.

I took the initiative to ask the groom if he would mind if I “groped” his wife. With his approval, I attempted to, and eventually succeeded in bustling the gown and returning the bride back to the party. You can actually contact local bridal boutiques and ask if you can come in for a bustling lesson.

Stay tuned. Next month, Mike’s Wieder’s secret to being the “difference maker.”

GEAR AUDIO…LIGHTING…STUFF

Bust a MOVE Ready to Hardware Native Instruments 6725 Sunset Boulevard, 5th Floor Los Angeles, CA 90028 (866) 556-6487

DJ TIMES

MARCH 2018

www.native-instruments.com Native Instruments announced the next generation of MASCHINE, the MASCHINE Mk3. The newly-updated controller features a built-in 96kHz/24-bit audio interface with two ¼-inch TRS line outputs, two ¼-inch TRS line inputs, ¼-inch dynamic mic input and stereo headphone output. There are 25 pro-quality studio and creative FX included, as well as a 25GB KOMPLETE 11 SELECT library and 8GB MASCHINE library.

MASCHINE Mk3 maintains the same ergonomic layout while adding more dedicated function buttons; 16 larger, more responsive pads; and two high-resolution RGB color screens for easier sound browsing, editing and sample-slicing.

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American Music & Sound 925 Broadbeck Dr. #220 Newbury Park, CA 91320 (800) 431-2609 www.AmericanMusicAndSound.com Reloop’s MOVE series of active PA speakers includes three models— the MOVE 12, MOVE 15 and MOVE 15 SUB. The MOVE 12 and MOVE 15 are active two-way full-range PA top speakers that come with a 12and 15-inch midrange driver, respectively. The units feature integrated DSP with LED display, a bass reflex unit that extends the frequency range downwards, a horn attachment in front of the tweeter for wide dispersion, and a 4.5-inch high-frequency compression driver made out of titanium. The MOVE 15 SUB offers a frequency response of 35 Hz – 125 Hz and two XLR inputs and outputs.

White Knight

GOBO & Arrow

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

ADJ Products 6122 S. Eastern Avenue Los Angeles, CA 90040 (323) 582-2650 www.americandj.com

Pioneer DJ has released exclusive new versions of their CDJ2000NXS2-W flagship multiplayer and DJM-900NXS2-W DJ mixer in a brilliant white finish. The CDJ-2000NXS2-W features high-resolution audio with support for FLAC/ALAC files, as well as a full-color touchscreen that displays such track information as Wave Zoom, Needle Countdown, Phase Meter and more. The DJM-900NXS2-W comes with two USB ports, four phono inputs and DVS support, as well as Pro DJ Link via LAN or USB.

The Pocket Pro from ADJ is a compact moving head powered by a 25watt white-light LED. The fixture has a 15-degree beam angle and is fitted with a manually adjustable lens that lets users alter the focus of the beam to suit different projection distances. The Pocket Pro comes with independent color and GOBO wheels and each of the GOBO patterns is replaceable. Additional features include an upgraded powerCON power input, micro-stepping motors, 0-100-percent digital dimming, five selectable curves, GOBO shake, variable speed digital strobing, and random slow to fast pulse effects.

AUDIO…LIGHTING…STUFF

GEAR

Hear You Overloud & Clear

Take Flight UDG Gear Industrieweg 18-21 3846 BD HARDERWIJK The Netherlands www.udggear.com The UDG Ultimate Flight Case Roland DJ-808 Black Plus (Laptop Shelf) sports a heavy-duty construction of 9 mm thick plywood that is laminated in a black finish with a honeycomb/hexagonal “Stage Grip” pattern. The case sports spring-loaded handles and a fully-padded interior featuring high-density Diamond-embossed EVA foam protective padding that protects the equipment against scratches, dust and other damages. The case lid is removable and the laptop shelf can be adjusted.

Time+Space Distribution Ltd Unit 7A-B, Cranmere Road Exeter Road Industrial Estate Okehampton Devon EX20 1UE +44(0)1837 55200 www.timespace.com Overloud expanded its Gems series of effects plug-ins with Sculptube, a processor dedicated to adding valve-produced harmonics to sounds. Sculptube uses fourth generation DSP technology to offer a realistic simulation of tube warming and distortion. It features a built-in EQ and parallel processing for sculpting tone, as well as tube biasing control, A/B comparison, Triode and Pentode simulation and multilevel undo-redo. A Scribble Strip is also included, allowing users to take notes anywhere on the plug-in panel.

Ants on an Analog

BandLab launched a new, free Looper that lets users create beats on the go using their mobile phones. Available for both iOS and Android, the Looper features built-in pitch and time-shifting technology, as well as a variety of effects such as reverb and echo. Users get access to 12 professionally created sample packs ranging from hip hop to pop, each of which come with 24 purpose-built loops. Projects can be published directly to BandLab, Facebook, Instagram and Twitter.

The Analog Four MKII from Elektron is a four-voice analog tabletop synthesizer. It comes in an aluminum enclosure that sports back-lit buttons, a crisp 128 × 64 OLED screen, hi-res encoders and dedicated quick performance controls. The unit features dedicated audio outputs for each voice, two expression/CV inputs and a USB 2.0 high speed port, making it easy to integrate the Analog Four MKII with external gear and computers. The Overbridge software suite will also become available for Analog Four MKII.

MARCH 2018

BandLab www.bandlab.com

DJ TIMES

Strike Up the BandLab

Elektron Music Machines 1340 E 6th St #632 Los Angeles, CA 90021 (213) 935-8521 www.elektronmusicmachines.com

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GEAR AUDIO…LIGHTING…STUFF

Hungry Like the Woofer

Voco Puffs

QSC Audio 1675 MacArthur Blvd.

Costa Mesa, CA 92626 (800) 854-4079 www.qsc.com

VocoPro 1728 Curtiss Court La Verne, CA 91750 (800) 678-5348 www.vocopro.com

The ultra-compact KS112 powered subwoofer is the latest addition to QSR’s K Family of loudspeakers. The KS112 features a single 12-inch transducer in a 6th order bandpass premium birch cabinet. The unit is equipped with advanced thermal and excursion processing in order to optimize system performance, as well as an on-board DSP that provides variable crossover, delay, and savable/recallable Scenes for commonly used applications. There are two M20 threaded pole receptacles, as well as low-noise casters. A locking security cover and padded transport cover are available options.

VocoPro announced its new Digital 31, 32 and 34 product line. This fully digital wireless system gives users the choice of one, two or four wireless mics or instruments in one integrated all-inclusive system. The unit operates in the 900 MHz range and uses 24-bit digital technology to deliver clean, professional-quality signal. Each receiver comes packaged with a wireless handheld microphone, as well as a body pack transmitter with headset microphone and instrument cable. Using one-touch IR sync, users can integrate up to nine systems.

Dot Korg Titans of Industry

DJ TIMES

MARCH 2018

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

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Zero-G released Heavy Industry, a 1GB collection of 100-percent original and royalty-free samples that “lean towards the darker side of the cinematic soundscape genre,” according to the company. These include atmospheres, transitions, ambiences, drones and effects, all of which are recorded in 24-bit audio. Heavy Industry is comprised of 320 Acidized WAV files, 320 AIFF Apple Loops, 248 Kontakt Instruments, 248 EXS24 Instruments, 248 HALion Instruments and 248 NN-XT Instruments.

Korg 316 South Service Road Melville, N 11747 (631) 390-6500 www.korg.com Korg’s ARP ODYSSEY FS now comes in a limited-edition bundle that includes a Korg SQ-1. Available in three colors— white, black/gold and black/orange— the FS series offers the same three-filter configuration, replicated analog circuits and sound, and a full-size chassis to match the original. Additional features include USB and 5-pin MIDI and the classic rubber pitch and mod pads. All models also include a limited-edition ARP color version with orange silk-screening on a black panel, as well as two mini-patch cables.

AUDIO…LIGHTING…STUFF

Treatment Bound

Power Packed

Auralex Acoustics 9955 Westpoint Dr #101 Indianapolis, IN 46256 (317) 842-2600 www.auralex.com

BASSBOSS 9501 Cargo Ave. Ste. 600 Austin, Texas, 78719 (512) 368-3268

Acoustical treatment manufacturer Auralex Acoustics has released its SonoLite SonoKits. These wall-mounted acoustic absorption panel packages allow users to reduce unwanted acoustical reflections and tame chaotic reverberations in both professional and residential studio settings. SonoLite SonoKits are convenient and modular configurations of Auralex’s SonoLite Panels and SonoLite Bass Traps. SonoLite panels are fabric-wrapped Studiofoam acoustical absorption panels that provide excellent broadband frequency control, with a stylish velour fabric covering.

GEAR

www.bassboss.com Powered loudspeaker manufacturer BASSBOSS has released the DJ18S active subwoofer.The compact, deep-bass sub weighs 110 pounds and delivers output that’s 3dB down at 27Hz, according to the company. The unit, perfect for mobile applications, includes a 2,400-watt RMS amp that delivers continuous output. The long-excursion 18-inch woofer has a 4-inch copper voice coil for superior power handling and a Neodymium magnet structure for high sensitivity, which makes the unit lighter and louder.

Adapt or Die CEntrance, Inc. 8817 Mango Ave Morton Grove, IL 60053 (847) 581-0500 www.centrance.com CEntrance has released the MixerFace R4 mobile recording interface. With the footprint of a smart phone, the four-input recording interface is designed to make mobile recording quick and easy, while delivering professional results. With its built-in, rechargeable battery, the MixerFace R4 is designed for music-makers to instantly capture a performance or a musical idea anywhere, yet it also functions perfectly for field recording, live-event taping or audio-forvideo capture. MixerFace R4 can easily mount to a tripod, making it a valuable audio component of a DSLR video recording rig.

MARCH 2018

Audinate has introduced Dante AVIO, a family of cost-effective endpoint adapters that enable audio professionals to easily connect legacy analog and digital audio equipment to Dante networks. Perfect for mobiles working big events, the Dante AVIO series features six new adapters including line-in and line-out analog adapters, a bi-directional AES3/ EBU adapter and a bi-directional stereo USB adapter. Each Dante AVIO adapter acts as a completely independent Dante network device, allowing legacy gear to enjoy the benefits of networked audio. These devices can now seamlessly transmit high quality, uncompressed audio streams over long distances without the noise and ground issues common to analog connections.

Recording On-The-Go

DJ TIMES

Audinate, Inc. 1200 NW Naito Parkway Suite 630 Portland, OR 97209 (503) 224-2998 www.audinate.com

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TRACKS…MIXES…COMPILATIONS

Mousse T

EDX

“FADED” u Kings of Tomorrow feat. Kandace Springs u Defected Sandy Rivera dons his KOT moniker once more for another slab of classic house. In true KOT style, he delivers the goods on a track that meshes a great, emotional vocal from Springs and a deep groove perfectly.

– Curtis Zack “JADED” u EDX u Sirup With a big, bouncy bassline and active chord work, this cut is all dance and then some. We love the simple, yet effective vocal hook, as well as the strings stabs. Another funky house winner from EDX.

– Phil Turnipseed “HEAT” (REMIXES) u Rapson feat. Nathan Thomas u DFTD For this soulful house anthem, we get some seriously hot remixes from Scott Diaz and OPOLOPO. While the latter mix is slightly smoother, both deliver a tough groove and highlight an irresistible vocal hook and piano riff.

– Tommy D Funk “ROCK THE MIC” u Mousse T feat. TAZ & Inaya Day u Glitterbox

“HIGH EXPECTATIONS” u Xenia Beliayeva

u Manual Music A bit of a departure here on this very ’80s/ early-Madonna-ish electro-pop rumbler – oddly catchy. Meanwhile on the flip, the Sid Le Rock remix of “Noir” burbles with a darker, more sinister synth groove – think early Y2K electro-clash.

– Jim Tremayne “DON’T STOP (CREEPIN’)” u Thomas Gold

u Armada Music

A delectable electro-house track, with enough elements to work in a big-room club or for the most feverish festival-goers. With a pounding four-on-the-floor, big builds and a freaky catch-phrase ("I'll be creepin’ day and night") this track is a sure slayer.

– Jennifer Harmon

After his remix of “Cola,” Mousse T returns with this original – an old-school, hip-house production that cries out hit record. A smooth, snappy dancefloor gem, the original version is sublime, while on the flip, disco don Kon provides a somewhat deeper alternative.

– Curtis Zack

“GROW DA FUNK OUT” u Deeplomatik &

Pan Majestic u Salted A two-tracker of disco grooves courtesy of Miguel Migs’ Salted imprint. This one uses the piano from Convertion’s classic “Let’s Do It,” while “Funk 2gether” lifts from The Whispers to create a grand, sweeping groove. Delicious.

– Curtis Zack “MASTER BLASTER” EP u Filta Freqz u DFTD Both the title track and “Show Me” are laced with a proper heavy, swinging 4/4 beat – perfect for the dancefloor. The hip-house title cut will get the floor moving, while the garageleaning “Show Me” will put hands in the air.

– Tommy D Funk

DJ TIMES

MARCH 2018

“AURA” EP u Grazze u Pinkstar Two deep-house bangers here that’ll rock your set. The title cut is a rugged, smoky groover that delivers a dark groove and brings some spacey keys and a subtle vocal hook. “The Red Road” drops a slightly lighter groove, but still has a muscular bass and some haunting vocals.

Brilliant.

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Thomas Gold

– Phil Turnipseed

Purple Disco Machine

Sandy Rivera/Kings of Tomorrow

“DON’T YOU WORRY” u The Joi-Fuhl feat. ShezAr u Soulphuric DJ/producer Kwame Safo delivers a superb killer vocal-house track and we’re graced with a fantastic remix by DJ Spen & Reelsoul, which brings raw elements of ’90s funk and soul.g

– Tommy D Funk “I FOUND LOVE” u Greg Winfield feat. Kadesh u T’s Box Terry Hunter goes gospel on this latest release on his own imprint.

A first-rate vocal from Kadesh is matched by the production that screams quality. If you like your soulful, uplifting vocals, then this one’s essential.

– Curtis Zack

“YOU GOTTA BE”

u S.E.L. u Quantize With a cover of the Des’ree’s ’90s classic, the unstoppable DJ Spen takes to mix duties for yet another Quantize bomb. A range of remixes, but you only need the main “Housed” version for maximum dancefloor damage.

– Curtis Zack “TRY & TRY”

u BB Smooth & Groove Technicians u Groove Technicians A neat little soulful number out of the U.K., courtesy of the Groove Technicians. Four mixes to select from here, with the soulful vocal mix standing out as the best of the bunch.

– Curtis Zack

“FEEL LIKE NEW” u Sam Dexter u Hungarian Hot Producer/remixer Dexter delivers a masterful remake of the Sharon Brown classic, “I Specialize in Love.” Using sparse vocal samples and keeping that juicy bassline, Dexter enhances the percussion and adds some timely breaks for a rousing new version. Hot, beefy and true to the original, it’s a definite pick hit!

– Phil Turnipseed

F O R T H E L AT E S T T R A C 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

“NOW OR NEVER” (REMIXES)

u Newman u Soundstate

Big in its original form, the disco-flavored “Now or Never” just got raised into the stratosphere courtesy of these remixes. Antonello Ferrari, Aldo Bergamasco and Sol Brown deliver a remix package that demands attention.

– Curtis Zack GUEST REVIEWER: THOMAS BLONDET

Miguel Migs

Thomas Blondet

DJ TIMES

Purple Disco Machine & Boris Dlugosch (Feat. Karen Harding) Sweat It Out! Fellow Germans Boris Dlugosch and Purple Disco Machine come together for another dancefloor hit – filtered disco-house vibes with heavy beats, dub synths and Harding’s huge vocal.

This is definitely a track that’ll get the crowd going. Rock this one.

MARCH 2018

“LOVE FOR DAYS”

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Crankdat

(continued from page 8)

Crankdat: I’m very open to collaborating with so many people. I love Sam [Vogel, aka JAUZ] and Julian [Scanlan, aka Slushii], and I’m so glad we were able to make that track work. I’d love to work on a song with Illenium, Skrillex, Zeds Dead or Alison Wonderland. There’s a lot of guys and gals that I’d love to merge my style with. Hopefully, I get the chance to do so one day.

DJ Times: You’re a big video-game guy, playing whenever you seem to have some free time, and you even threw together a Rocket League mix on Spotify. How much does gaming influence you as a producer?

Crankdat: Ha-ha yes – though it is becoming more and more rare to find free time. I still try to make actual time for it because it’s the best stress relief for me. I am massively influenced by a lot of what gaming stands for. Games create an exclusive world accessible only through playing,

and in principle that’s what I try to do with my music. I like for my work to paint a picture, to create a world, to take you somewhere where you can imagine new things and exercise your brain in a way you might not have before. That’s exactly what gaming does for me.

DJ Times: How did you start producing?

Crankdat: At the end of 2012, when I discovered FL Studio. For a vast portion of my life, I had always wanted to make beats, but I didn’t know how it was done or what was used. When I discovered those answers, I was consumed and immediately dove into 14-hour days of just creating anything and everything, especially electronic music. It was something I just wanted to get better and better at, and I just wanted to be the best. It was an amazing creative outlet for me and that was something I had never really experienced before.

DJ Times: Who inspires you, production-wise?

Crankdat: Skrillex inspires me more than anyone. He pushes the envelope and creates incredibly innovative sounds and uses them in such unique ways. He’s an extremely talented musician and I study his work more than anyone else’s.

DJ Times: What production gear do you use?

Crankdat: I don’t really use anything to produce besides my laptop.

When I’m at home, I use my UA Apollo Twin for the in-box plug-ins. I have a mentality right now where I need to try to keep my set-up minimal, so it stays consistent when I work on the road. However, I’ve noticed in recent months I’m much more efficient in the studio, so I’m going to get out of that thinking and not work on the road as much.

DJ Times: How do you like to organize your workflow?

Crankdat: If we are being perfectly honest, my workflow has very little organization – ha-ha. The extent of it is that I always have my vocal track at the top of the DAW. That’s really it, I swear.

DJ Times: With your “Outcast Tour” in the rearview, what can fans expect from Crankdat for the remainder of 2018?

Crankdat: I have my first Vegas residency with Hakkasan Group. This is something I’ve dreamed of since back when I DJ’d birthday parties and high-school homecomings. I’m also stoked to have my own weekly radio show on iHeartRadio. Brian Fink, the program director over there, has been a big believer in the project and I couldn’t be more grateful for his support. Aside from that, I have a lot of original music that I’m excited to put out over the course of the year.

It’s all really interesting, and every song is super different, and can’t wait to share it!

– Brian Bonavoglia

“Reverie 68.”

Zabiela himself has two new original tracks, one on each mix. “Vines” graces the more downtempo Act 1, while “X-Ray” on Act 2—the livelier of the two mixes—fits in nicely with Avalon Emerson’s ethereal “The Frontier (High Desert Synthapella)” and Redlight’s retro piano-house “City Jams.”

Armed with Ableton Live software and a Pioneer DJ DDJ-RZ controller for rekordbox dj, Zabiela set himself up at his coffee table in his living room for hours at a time.

When he found his mix moments, he would make meticulous notes to reference once he was ready to mix.

“Cue letter B mix from here with this track,” Zabiela gives an example of one of his notes. “When I load the tracks in rekordbox now, I’ve forgotten what a lot of the things

meant, but there’s all sorts of crazy notes all over the cue-points on all these tracks. It looks like the diary of a crazy person in XML form.”

In order to get a visual representation for the mixes on Balance 029, Zabiela has created an intricate “mix guide,” an idea he got from Sasha and John Digweed’s classic Nor thern Exposure. When it came out in 1996, the teen Zabiela pored over this unique insert, obsessed with the mix. It’s still his favorite of all-time.

“That diagram is basically a timeline with blocks drawn for each track, so you could see what tracks were mixed and when,” recalls Zabiela, now 38. “I owe a great deal to that compilation and that mix guide.

The one we drew up for Balance 029 is bananas.”

As somewhat of a reaction to his

meticulous Balance 029 experience, Zabiela is contemplating a vinyl-only DJ night in Southampton, where he doesn’t have to lug a record bag through any airports. “There’s something so nice and simple about packing your records for the night,” he says, “and only having those tracks you’ve carefully chosen that would fit in your bag. You can’t take more than what you can carry with you. I miss the simplicity of that. You’re not looking at a screen and you’re physically touching the record, so you feel closer to the music.

“And there are no cue-points and notes and countdowns, so you’re just using your ears and you either know the tracks really well and you’re symbiotic with them, or you’re predicting what’s going to happen. It’s a different feeling altogether.”

– Lily Moayeri

The company is putting finishing touches on firmware as we speak.

Germany’s Reloop, distributed stateside by American Music & Sound, showed its new controller, Touch, which pairs with Virtual DJ software. With a color touchscreen and an interesting layout, along with a design tailored specifically for Virtual DJ, it’ll be of interest to DJs looking for a turnkey solution at a decent price point.

Speaking of controllers, Pio neer DJ showed its new DDJ-1000.

While a one-piece, rekordbox-based controller, it has the equivalent of a high-end Pioneer DJ mixer onboard, along with control capabilities that borrow heavily from Pioneer’s legendar y CDJ series. The net result is a pretty impressive controller that reaches for the high end of the market with its capabilities and pricing.

Avid showed off the latest iteration of its popular DAW, Pro Tools. With retroactive MIDI capture, MIDI editing improvements,

and improvements to make it easier to get started and to work and collaborate, Pro Tools aficionados will find lots of reasons to upgrade.

RCF showed a number of new speaker products of interest to mobile DJs, but what caught my eye was the EVOX J8 woofer + satellite system. With a similar footprint and specs to the original EVOX, this new series sports a composite cabinet with a lower weight and better portability — at a more attractive price point.

James Zabiela

(continued from page 10)

DJing out, occasionally, you’ll do one of those by accident—and then you’ll replicate that at every gig for the next six months. I wanted to mine for those, which is one of the reasons it took so long, just colliding different tracks into each other trying to find those moments.”

The result is, not surprisingly, very considered. Zabiela takes his time building the mix, and not for a big drop, but more to hit a plateau and maintain the energy there, without wearing the listener out.

On Act 1, Zabiela hits the heady chimes of Talaboman’s “Safe Changes,” going through the ambient washes of Grandbrothers’ “Bloodflow” and the quirky jazz loops of Sad City’s “Steady Jam” along the way, eventually dipping into quiet moments with Second Story & Appleblim’s rework of Debussy’s

DJ TIMES

MARCH 2018

NAMM

40

(continued from page 3) to find new material, and it will be providing cloud storage for existing material as well.

Rane, an inMusic brand, showed its new Twelve tonearm-less turntables and Seventy-Two mixer at NAMM. The mixer sports a touchscreen for enhanced configuration and control, while the turntables allow precise feel and control without worrying about tonearms, cartridges or media wear. Announced back at DJ Expo this past year, the goods are just about ready to ship.

MP3s in 6

Compiled As February 13, 2018

NATIONAL CROSSOVER POOL CHART

NATIONAL URBAN POOL CHART

1 Diana Ross 2 Camila Cabello F/ Young Thug 3 Sofi Tukker 4 Rihanna 5 Selena Gomez F/ Marshmello 6 Halsey 7 Charlie Puth 8 Toni Braxton 9 Emily Perry 10 Bruno Mars & Cardi B 11 Axwell & Ingrosso F/ T. Guthrie 12 Justin Timberlake 13 Pink 14 Stonebridge F/ Hayle Joelle 15 Jax Jones 16 Ed Sheeran 17 Lee Dagger & Siân Evans 18 Niall Horan 19 Clean Bandit F/ Julia Michaels 20 N.E.R.D. F/ Rihanna 21 Sam Smith 22 Kristine W 23 Olivia Holt 24 Tom Budin & Luciana 25 Hailee Steinfeld & Alesso 26 Dirty Disco F/ Celeda 27 Johanna Michelle 28 Win Marcinak 29 Yves V & Florian Picasso 30 Rita Ora 31 Tiesto, Gucci Mane & Seven 32 MK 33 JES 34 Purple Disco Machine 35 David Guetta And Afrojack 36 Bob Sinclar F/ Akon 37 Avicii F/ Rita Ora 38 Beck 39 Morgan Page 40 LeAnn Rimes

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

Ain’t No Mountain High Enough Havana Best Friend Consideration Wolves Bad At Love How Long Coping Boom Finesse Dreamer Filthy Beautiful Trauma Meet In The Middle Breathe Perfect Shelter From The Storm Too Much To Ask I Miss You Lemon Too Good At Goodbyes Stars Generous X With U Let Me Go To The Dance Floor Blaze The Dance Floor Celebrate Here With You Anywhere Boom 17 Get Me Through The Night Love For Days Dirty Sexy Money Til The Sun Rise Up Lonely Together Up All Night Beautiful Disaster Love Line

Most Added Tracks 1 Beck 2 Pink 3 Bob Sinclar F/ Akon 4 Inaya Day & Ultra Nate 5 Liam Payne 6 Purple Disco Machine 7 Justin Timberlake 8 Sofi Tukker F/ NERVO 9 Yves V & Florian Picasso 10 Hailee Steinfeld & Alesso

Up All Night Beautiful Trauma Til The Sun Rise Up Over Me Bedroom Floor Love For Days Supplies Best Friend Here With You Let Me Go

Motown Epic Ultra Roc Nation Interscope Capitol Atlantic Def Jam Dauman Atlantic Def Jam RCA RCA 418 Music Interscope Atlantic Tazmania Capitol Atlantic Columbia Capitol Fly Again Hollywood One Love Enterprise Republic Dirty Disco Twin Burning Tyger Spinnin Atlantic Casablanca

Ultra Intonenation Columbia Parlophone Spinnin Interscope Interscope Armada Curb

Capitol RCA Spinnin’ Peace Bisquit Interscope Columbia RCA Ultra Spinnin’ Republic

REPORTING POOLS Victors - Milwaukee, WI; Chris Egner n Peter K. Productions - Peter K n Carlo Cabrera - NAshville, TN n Masspool - Saugus, MA; Gary Canavo n OMAP - Washington, DC; Al Chasen n Chew Fu - Woodbridge, CT; Chew Fu n Dj Stickyboots - Goshen, NJ; Blake Eckelbarger n Nexus Radio - Chicago, IL; Manny Esparza n Kahoots - Columbus, OH; Ilan Fong n MetroMix - Pittsburgh, PA; John Hohman n Soundworks - San Francisco, CA; Sam Labelle n New York Music Pool - New York, NY; Jackie McCloy n Dixie Dance Kings - Atlanta, GA; Dan Miller n DJ Rafy Nieves - San Juan, PR; Rafy Nieves n C-89.5 Seattle, WA; Randy Schlager n Mixxmasters - Lithonia, GA; Brian Stephens n DJ Laszlo - Las Vegas, NV; Laszlo Szenasi n Pacific Coast - Long Beach, CA; Steve Tsepelis

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

G-Eazy F/A$P Rocky & Cardi B Kendrick Lamar F/ Zacari Lil Pump Migos N.E.R.D. F/ Rihanna Game F/Jeremih, Young Thug & Sevyn Goldlink F/ Brent Faiyaz &shy Glizz Lil Uzi Vert Yo Gotti Stefflon Don F/ Fremch Montana Cardi B F/ 21 Savage Kodak Black F/ XXXtentacion Quality Control F/ Quavo/Takeoff & Offset Meek Mill H.E.R. Farruko, Bad Bunny & Ryssian A$AP Ferg Calvin Harris F/ Kehlani & Lil Yatc Incredible Gang F/ N.Cannon,Jeremih & Ty Money Blac Youngsta

No Limit Love Gucci Gang Stir Fry Lemon Oh I Crew The Way Life Goes Juice Hurtin’ Me Bartier Cardi Roll In Peace Too Hotty 1942 Flows Focus Krippy Kush Plain Jane Faking It Dream Girl Booty

RCA Interscope Warner Brothers Capitol Columbia EOne RCA Atlantic Epic Capitol Atlantic Atlantic Capitol Atlantic RCA Sony RCA Columbia Republic Epic

Most Added Tracks 1 2 3 4 5

Drake God’s Plan Remy Ma F/ Chris Brown Melanin Magic Nav F/ Lil Uzi Vert Wanted You Bruno Mars & Cardi B Finesse Youngboy Never Broke Again Smoke

Republic Columbia Republic Atlantic Never Broke Again

NATIONAL LATIN DANCE POOL CHART 1.

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5.

6.

7.

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11.

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15 16.

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L’Angel & J’Moreno Karol G Pabanor ft Lu-K Jason Cerda Aliya Wisin & Yandel Nacho Romeo Santos Zawezo Renzo Charlie Aponte Jason Cerda Luis Fonsi & Amy Lovato Maluma feat Nego Do Borel Aliez & MDA J-Lo feat Wisin Zion & Lennox Prince Royce ft Farruko Johnny Ray Ozuna

Ando Suelto Ahora Me Llamas (RMX) Tu Me Pones Mal Alarma Bling Bling Como Antes Bailame Imitadora Frikiao (Trapbow Remix) Baby Dile Pa’ Mi Gente Alarma (Remix) Echame La Culpa Corazon Pasan Los Dias Amor Amor Amor Tuyo y Mio Ganas Locas Dejame Salir Se Preparo

On Top Latin Hits 3 Knots Mogold Latin Hots Sony Universal Sony AMD Mayimba CA Mogold Universal Sony Crossover Sony Warner Sony JZ Prod.

Universal

Most Added Tracks 1.

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Zacaria Ferreira Ilegales Ozuna San Luis Y Silvestre Dangond Soleil J Feat Maffio

Asesina Zum Zum El Farsante Como Yo No Me Arrepiento

ZF La Oreja Media Universal Sony Crossover

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

Porter Robinson

(continued from page16) DJ Times: You chose DV-i and Raito as support for that show, why?

Robinson: They’re both incredible, for one! But the thing that was most critical for me was maintaining the purity of the vibe and aesthetic throughout the night from start to finish. The idea of anyone playing, for example, trap or future bass or anything really 2017 at the show felt really wrong. So, I started digging to find out who could play and could maintain the vibe, while still completely doing their own thing.

DJ Times: Can you give our readers an idea of their stories?

Robinson: For the uninitiated, DV-i is a Brooklyn artist who releases on Maltine Records, a Japanese netlabel, and he makes this insanely effortful, amazing stuff – sort of visual novel/RPG/PS1 music with hyper breakbeats and late ’90s Roland ROMpler synth work. It’s really amazing. And Raito makes rave-influenced techno and breaks.

Definitely listen to his tune “Take Me” from his alias Otira.

DJ Times: The Brooklyn event was titled “Utopia.” Any significance to that?

Robinson: “Utopia” was a word that came up a lot when I was coming up with song titles and the sort of decorative, atmospheric text that you see a lot in Virtual Self visual art.

DJ Times: The lighting production for that event was next level.

Would you say that’s as vital a part of the overall project as the music?

Robinson: Absolutely – I really hate the idea of any potential source of stimulus being unused.

That’s why I obsess so much over lighting, video, cover art, and music

videos. I really want the experience to be firing on all cylinders. I really want to drown people in the look and feel of any given project.

DJ Times: No genres seem to be off-limits when it comes to a Virtual Self set. Can you tell us a little bit about your track-selection process?

Robinson: As I said earlier, I’m trying to recreate this vibe I have in my memory where all of the tropes and clichés of the early 2000s – within a certain vibe – are being expressed all at once. But this is quite difficult, as most of the music you find from that time period is essentially one genre or another.

So I spent a lot of time obsessively searching. I dedicated myself to listening to – at least scrubbing through – every single trance song released from 1999-2003, according to Beatport’s release dates. I did something similar looking for techno, breaks, and jungle. I’m certain I scrubbed at least 40,000 songs over the last two years. I was trying to give myself a huge toolkit of stuff to search from.

DJ Times: That’s a lotta material…

Robinson: In pursuit of that goal of conflating a bunch of tropes together, I spent a lot of time editing.

I’d take an actual old-school trance breakdown and, at the expected moment of climax, switch it into a slowed-down “Amen Break.” It’s partially about subverting expectations, but it’s also about trying to combine unalike tropes in a Virtual Self kind of way.DJ Times: But there are familiar tracks, right?

Robinson: In terms of more specifics about selections, I wanted

a good balance. I wanted to play mostly music that people don’t recognize, but that feels distinctly Virtual Self, with the occasional well-known classic sprinkled in. I certainly wanted people to hear the show and wonder how much of it was authentically from that time period, and how much of it was made by Virtual Self. Finally, I didn’t want there to be any sense of irony or satire. I didn’t want to play cheeky, old, dance hits or anything that could be taken as ironic.

DJ Times: What were your final thoughts following the debut performance?

Por ter Robinson: I was so happy.

DJ Times: You’ve announced there will be no Virtual Self music at Porter shows and vice versa. Why did you choose to go this route?

Robinson: I just really want to maintain the purity of the atmosphere of both projects. For Virtual Self, I obsessed incessantly for years on end trying to maximize a certain kind of aesthetic – that’s captured by the sounds used in the song, the style of chords, the production style, the look of the visual art, the look of the videos, even the vibe of the fonts used in the designs, needing to ensure that it’s all absolutely right and as Virtual Self as possible.

I want a Virtual Self show to be the most Virtual Self experience you can possibly have, you know?

Same with the Porter shows. I’m interested in immersion above all else. I want people to get to feel like they’re living in a different world.

Anything that breaks that immersion is something I don’t want.

DJ Times: The Vir tual Self EP

featured five tracks and introduced the world to two characters. Who are technic-Angel and Pathselector?

Robinson: They’re the “producers” – Technica wrote “EON BREAK,” “Particle Arts,” and “Key,” and Pathselector wrote “Ghost Voices” and “A.I.ngel (Become God).” I get the sense that Technica’s more about exploring the uptempo and happier stuff with hardcore and jungle and cybertrance influences, where Pathselector is more about breaks, dark trance, garage, and 2step. You can really hear it in the music.

DJ Times: “Ghost Voices” became an immediate favorite, not only among your fans, but your peers.

Robinson: I was really surprised by how many DJs picked that up.

It’s been like four years since I made music that DJs would really be interested in playing, so I didn’t even think to expect it. It definitely makes me happy.

DJ Times: Many seem to believe that this year more DJ/producers are creating the music that they actually want to make, rather than playing it safe and making music they think the audience wants to hear. Would you say this is part of the inspiration behind Virtual Self?

Robinson: I really hope that happens. I love electronic music so much, and I think it’s at its healthiest when people are innovating and aren’t trying to intentionally write hits. My hope is that people will make music for themselves, dive into lesser-known influences that they love deeply, and try to share as much passion and excitement as n they possibly can.

After all, it is called Group Therapy.

Above & Beyond, Next Month in DJ Times

Doug Van Sant

Sometimes our fans even cry.

Alive Coverage

42

Our shows are emotional outlets.

Doug Van Sant

DJ TIMES

MARCH 2018

Above & Beyond: Finding Common Ground

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