Here are the job opportunities (or as we like to call them, Grind Opps) from this week's show.
GRIND OPP #1
Location: New York City
Must have ability to produce independent video shoot.
GRIND OPP #2
Location: Los Angeles, CA
This is a great position for those looking for hands-on experience with a seasoned professional.
GRIND OPP #3
Location: Murray, KY
Chance to be grandfathered into the brand-new audio program at Murray State University!
GRIND OPP #4
Live Sound Engineer
Location: Las Vegas, NV
Vegas hotel is in need of three audio engineers for two day event.
GRIND OPP #5
Location: Washington, DC
The job title of program director will be perfect for an individual from a kid-friendly background who has a very cool calm and collected demeanor while bursting with energy, to match and guide the kids. A self-starter motivated with experience in all facets of musicianship and studio recording with a knack for creating monthly lesson […]
GRIND OPP #6
Location: Glendale, CA
Perfect candidate will have previous newsroom experience as well as line producer experience for TV or film.
GRIND OPP #7
Location: Milwaukee, WI
This is going to be for gigs in both Milwaukee and Chicago so someone who’s mobile would be the best candidate. You will need to have verifiable experience in storytelling as well as experience with camera operation and nonlinear editing which is required because you may work with a reporter or by yourself with daily […]
GRIND OPP #8
On-Air Radio Personality
Location: San Diego, CA
100.7 KFM – BFM is seeking an experienced on air pro to help fill in for the weekends and or vacations.
GRIND OPP #9
On-Air Radio Personality
Location: Baltimore, MD
This position perfect for recent graduates of the Radio Connection with an education in writing and interviewing guests as well as moderating panels to entertain an audience. Organizing and logging for commercials promotions sweepers and such as well as it hearing to FCC regulations and station company policies is a must
GRIND OPP #10
Prep Cooks and Servers for Events
Location: Los Angeles, CA
Culinary Event Company seeking kitchen and waiting staff.
DJ IZ: Welcome to “Connected.” I’m your host DJ IZ. I got my lovely co-host, Miss Cloie.
Cloie: Hi, guys. Happy Monday!
DJ IZ: We got a we got a couch full of guests. So before we get into that, we just wanna shout out, all of you who are tuning in, [inaudible 00:01:01] to get up, get on your computer, or you’re catching our podcast on Google Play or…[inaudible 00:01:07] the podcast.
Cloie: I mean we’re every…we’re everywhere, guys.
DJ IZ: I mean we’re everywhere. So here we are. We’re in the house of Roland. And let’s get to it. I got my man, Axenzo, DJ Axenzo. I got my man, DJ Mr. Choc.
DJ Mr. Choc: Hey, what’s up, what’s up?
DJ IZ: And I got my man, Igor.
DJ Mr. Choc: Igor.
DJ IZ: Yeah, so…
Cloie: Who wants to act like he doesn’t wanna sit on this couch right now.
DJ IZ: Well, he’s too cool for school, but I love him.
Igor: [inaudible 00:01:30]
DJ IZ: Well, man, thank you guys for coming in today, man.
DJ Mr. Choc: My pleasure.
DJ IZ: And for me, it’s an incredible…like it’s an important show for me because for one just not, you know, not only being in producing or DJing, to actually have the dudes on the show who are in the field every single day, who’s been doing it for a very long time. And I really just wanna tell the story of what the culture is, where it’s at, where it started, how it originated, just the art, the craft that goes into. You know, we’ve had this conversation numerous times [inaudible 00:02:03]. And you were actually DJing in my birthday party. It was so dope because it was like…you know, to have one of my own personal heroes in that environment and just to have you there, man, was something incredible.
DJ Mr. Choc: It was more pleasure, man. Thanks for having me there, man, yeah.
DJ IZ: Absolutely, man. And by the way, shout-out to all the fathers. I hope you all had a great incredible Father’s Day yesterday.
Cloie: And I think also what you were saying too is it’s a blend of worlds, right? We’re getting two totally different perspectives today…
DJ IZ: Absolutely, yeah.
Cloie: …which is part of… Well, you know, usually, we’ll get one-on-one show, another perspective on another show. But today we actually have the fortune of not just generation, but also sides of the musical spectrum…
DJ IZ: Different sides, spectrum, yeah…
Cloie: …you know?
DJ IZ: …which I think too is key. I think, you know, seeing, you know, just how we have we once did arrive. We went to the store. We bought two of the same vinyls, right, just so we can have extra bars, go here then go there. And, you know, now we’re in the world of still that, but now we have controllers. Now we have, you know, a whole different world of DJs who are kinda using controllers in a completely different way.
And I kinda just wanna tell that story, man, and just kinda touch on a couple key things that I refuse to like get lost in translation because I’ve…you know, I think, for me, the great thing with being able to travel the world in DJing is I’ve been kinda able to kinda stand back and watch and kinda just observe how, let’s say, for instance, a DJ like yourself, Axenzo, you know, who’s primarily, you know, on the electronica side, EDM side, completely different culture versus, you know, standing behind a Mr. Choc and is very much still vinyl and those…you know, the fundamentals of that DJing, man. And kinda just wanna get your guys’ opinion today, man, on, you know, what it is for you, what you love about it, you know, how much of it is craft, how much of it is actual skill, how much of it is just, you know, a fun factor. You know I’m saying? So I kinda just wanna open the floor, man.
DJ Mr. Choc: For me, I really love where DJing is at right now. I’ve been doing this for 32 years now at this point. I started buying records at the age of 13, started DJing at the age of 15. And, you know, just to see it come from where it started at, on turntables, and now to where like now we’re DJing off computers. We’re DJing off CDJs. We’re DJing off controllers. I love it where it’s at now. I still feel like the foundation of it, though, is still applying what you learn on turntables to these controllers, to these CDJs. I think I think that’s very, very important still.
DJ IZ: You’re right, right. How about you, Axenzo?
Axenzo: For me, I just use CDJs. But my part coming from producing, all my sets I like to touch for every track I play. I’m not like a very good scratcher, or I’m not good at vinyl, but I like to prepare beforehand and…
DJ Mr. Choc: Practice everything.
Axenzo: …do the harmonic mixing and do everything prepared and go to stage and fuck it.
Cloie: And I think it’s also good to note that Axenzo is a current year Recording Connection student, and you’re based in San Diego.
Axenzo: That’s correct, yeah.
Cloie: That’s correct, right? So you’re like on the journey. When we talk about tell us your story and what have you, it’s this like you on the ground running and at the…getting started at the very beginning of your career…
Axenzo: That’s correct, yes.
Cloie: …which is awesome.
Axenzo: Yes, yes. I mean before that, I graduate from mechanical engineering at San Diego State. And then I took many music classes during that time because I always wanted to be in the music. And thank God I found Recording Connection. I mean…because everything was so theoretical in my school. And I didn’t able to get into fields because of that. And I started with Recording Connection. I started with Patrick Heaney at the Phaser studios in San Diego. Beside the audio engineering, he teach me how to produce on Logic. So that’s my journey started.
Cloie: And you just performed at Coachella too.
DJ IZ: Yeah. And I think that’s a huge factor. I think coming…when you have a well-rounded, you know, musical background, I think it just only allows you to really, you know, implement those certain…that certain information into your actual craft.
DJ Mr. Choc: Yeah, same for me, I come from being a drummer like in the marching band when I was in high school. And, you know…[inaudible 00:06:35]
DJ IZ: That’s tough.
DJ Mr. Choc: Yeah, you know? Yeah, but, you know, like I think that it helped me understand a lot of the techniques in DJing when I started DJing. Like okay, cool, so it’s like this is a quarter note. This is a whole note, you know? I could understand basic music theory. So I apply that to DJing, and that’s also how I teach now so too…so yeah.
DJ IZ: And I think too like one of the things you said that was key to me was just the ability to still mix, whatever tool it is you’re using as a DJ, I mean the ability to just mix and know what records blend together well, which ones don’t. And, you know, I think just the the generation of where DJs are at right now, it’s like, you know… I know for me, it’s hard to go to a spot and just really truly enjoy the DJ who’s playing at whatever spot I’m in.
DJ Mr. Choc: We’re different types of people, though. I think like when you’re a DJ or a producer, we don’t listen to music like your average listener. We’re listening to music on how like, “Okay, oh, they put this key in there,” or “They put this breakdown there.” Like for me, like when I listen to music, I’m always listening to it like, “Oh, okay, that’s a eight-bar course. I can make something right there. Or I can actually take that outtro and put it…you know, and [inaudible 00:07:45] and use it to do…as an intro for transition instead. You know, like I listen to music differently than what your average listener does. I think that’s for anyone who’s a DJ or producer or, you know, plays an instrument or whatever.
DJ IZ: Right. And how many years are you right now, Choc, as far as DJing?
DJ Mr. Choc: Thirty-two, 32 years.
DJ IZ: Thirty-two years.
DJ Mr. Choc: Shout-out to The World…
Cloie: And he’s only 34.
DJ IZ: So that’s 32 years. And I definitely wanna make a point to shout out to The World Famous Beat Junkies. I mean I’ve been following you guys for a long time. I mean…
DJ Mr. Choc: Yeah, my brothers [inaudible 00:08:13]
DJ IZ: …Rhettmatic…
DJ Mr. Choc: J. Rocc.
DJ IZ: J. Rocc…
DJ Mr. Choc: Shortcut.
DJ IZ: Melo D.
DJ Mr. Choc: Melo D.
DJ IZ: Shortcut.
DJ Mr. Choc: D Styles, Babu.
DJ IZ: Yeah, man. Just the culture, and I think it’s been great because you kinda…you know, you get to see just the influence you guys have had throughout the years and the lineage and the longevity that you guys are still like, you know, the cats. You know I’m saying? Like…
DJ Mr. Choc: And the thing is is that we didn’t do it for popularity or to like become a star or anything like that at all. I think we actually just loved the craft. And the fact that we were able to all find each other and become a crew in ’92, I think that, you know, it stands the testament of time, like how much we love this craft and how important it is to us to like now, for the next generation that’s come up, to show them how we came up also too and teach them the same way. You know, like, yeah, there’s computers now, there’s controllers, there CDJs. But there’s still a way to learn this craft and still be able to apply the craft to these other instruments [inaudible 00:09:15], yeah.
DJ IZ: For instance, like, you know, I got a chance…one of the things we got to do early on in is we had the DJ-808 launch day, which streamed in various countries. And, you know, I got a chance to see, surprisingly, a cat like DJ Melo D get on a controller and then just take it to a whole nother level. And when you look at what he’s doing on a DJ-808, it’s like, for me, it makes all the sense [inaudible 00:09:42] because I know where that cat came from, you know? And all he’s doing is really just maximizing the ability he already has. I mean what’s great is to be able to do something on a controller like a 808 and know you can still do that on vinyl if it came down to it.
DJ Mr. Choc: It’s also about the prep, though, too, man. Like Melo D and all of us in the crew, we’re all very serious about practice time and preparing before a gig or exhibition or festival. Whatever club, whatever we’re doing, that prep time is very, very, very important to us. So I know before Melo did that 808 exhibition, like he learned the machine all the way through. Like we all…all of us do.
DJ IZ: Yeah, execution, [inaudible 00:10:20] that’s what you guys do. How much…you know, as far as like when you’re doing a show, Axenzo, like how much time do you…you know, when you gauge your show or your, let’s say, you know, just your set list, what do you gauge those things on?
Axenzo: Two hours…
DJ IZ: Two hours?
Axenzo: …max because what I do is that I harmonic the mix. And with the energy levels, you cannot go more than two hours. I’m trying energy level 4 and then going to 10 and then lowering again to 6 to leave them…leave people happy at the end up the night. Obviously, if you go…if I go a little bit over two hours, two and a half hours, I cannot keep the same energy.
DJ IZ: Now what does your performance consist of as far as the DJ? You know, obviously, you’re mixing.
I’m assuming you’re playing with filters, stutters. Kinda talk to me about that, just kinda what your arsenal is as far as your overall show presentation.
Axenzo: Honestly, it’s very basic mixing because, as I mentioned, I prepare everything beforehand. So what I do actually in the beginning, I take the songs. I analyze it. I look at the…which notes are they [inaudible 00:11:45]
DJ IZ: Yeah, yeah absolutely.
Axenzo: And then I put it on my record box. I analyze everything. If I need to edit something, I edit it. And I say, “Okay, I’m gonna start from the number 1 to number 20.” And it depends. Sometimes I change a couple tracks. It depends on the crowd. But, yeah, I don’t take any requests. “I know what I’m gonna play.” I know people like [inaudible 00:12:12] so…
DJ IZ: Well, I think it’s different for you too because I think you’re an artist DJ. You know what I’m saying? So it’s like, “This is my show. This is how I’m rocking. And this is where I’m going.
Axenzo: If you like it, like it. If you don’t…
DJ IZ: Take the ride with me, yeah, yeah.
Cloie: Right. Is that what it was like at Coachella? And you also just finished an extended engagement in Vegas. Is that…
Axenzo: Yes, that’s correct, yes.
Cloie: Can you talk about either of those, or is it hush-hush?
Axenzo: Oh no, actually, I have so big things happening. I have a new residency coming up, but I cannot say it right now. So you guys can check it out on my Instagram, @axenzo, or my stories, I don’t know, in the next weeks.
DJ Mr. Choc: [inaudible 00:12:45]
Cloie: We like secrets. Oh, it’s a secret.
Axenzo: Very big things happening, thank God. And I’m so thankful, so honored to be…
DJ IZ: That’s awesome.
DJ Mr. Choc: Congratulations.
Axenzo: …a part of RF [inaudible 00:12:56]
DJ IZ: I mean I think too like, you know, to me, just today was…symbolize a great show because I think, you know, really folks understanding just how things run kinda…or need to run kinda just cohesively with, you know, DJs on vinyl and DJs in the controller world. And, you know, I think for me, even as a producer, as a person who’s passionate about my craft, you know, I don’t really touch anything else outside of my MPC 3000 and my vinyl. So by the time I got to rocking on a 808, it wasn’t like there was any type of, you know, translation lost because I think how they first got involved in the culture with like a Melo D, they understood the importance of like, “Okay, if we’re gonna jump in this lane, we gotta really, really dive in in a real way so it’s…you know, so it’s well embraced.” And it’s not like… You know, we don’t look, us DJs, “Ah, they did that because that shit is just…” You know what I’m saying?
DJ Mr. Choc: I gotta ask, you know, being that you’ve been doing it for a while, was it like…were you scared of the technology at first as far as like [inaudible 00:14:00] DJ…
DJ IZ: Absolutely.
DJ Mr. Choc: …because I’ll tell you my story. Like when…in ’05 when I first bought Serato, I bought it. I
I went and got the Mac. I bought the software, and I set it by my turntables for like a month. [inaduible 00:14:19] open, didn’t open the computer, nothing, because I was so scared of it.
DJ IZ: I was afraid…
DJ Mr. Choc: But I was sold on it because I had seen like, you know, some of my best friends use it. And I saw Jazzy Jeff, and Jazzy Jeff, I hosted a show with Jazzy Jeff in ’05, in January of ’05. And I remember I asked him, I said, “So what’s with the Serato thing, man?” And he just goes, “It’s the shit.” That’s all he said.
DJ IZ: So same…same thing for me, and I’m glad you asked. So I’ll never forget, and this was years ago, but I wanna say no later than ’06 maybe. And DJ Revolution, and I was like, “Dude, I know you’re looking at…I know you got stacks and stacks of vinyl at your crib.” And I was like, “Are you trying to figure out how you’re gonna now convert all that and…you know?” He’s like… I was like, “Dude, I don’t know if I can go there, Rev. I just…” And he said, “It’s never going back for me.”
DJ Mr. Choc: Which is true.
DJ IZ: This is where I’m at.
DJ Mr. Choc: Because he was the first one I saw on it. Revolution was on it, and J. Rocc, my boy, my partner in the Beat Junkies. And I still wasn’t convinced. I saw Revolution perform on it. I heard the audio from J. Rocc’s mix. And he said, “Yeah, Serato.” And I was like, “Yeah, it sounds like real record.” So I still wasn’t bugging out on it. Then I saw Jeff, man. And then that…next day, I went, “There you go. Here’s all the money.” [inaudible 00:15:34] computer and software.
DJ IZ: And I think, for me, that fear factor, you know…because, you know, you’re looking at,
Okay, now I gotta like transport…now I gotta convert. How do I get all my vinyl into my computer? How do I do that?” So it was hard for me to really digest that, you know? And I was always, “All my analog do it that hard.” You know what I’m saying? I’m thinking analog…
DJ Mr. Choc: Because it’s warm.
DJ IZ: Warm sounds… I’m thinking sonics. And the first thing that came to mind…and, Igor, you can jump in on this…was, “Okay, are we gonna get a whole lot of people playing really terrible sounding files?”
DJ Mr. Choc: [inaudible 00:16:08]
DJ IZ: We’re audio dudes. You know what I’m saying? Which happened, right? Because I’m like, man,
as much as [inaudible 00:16:14] took up on my computer, at the time, I was like, “Dude, I’m not spending anything less than [inaudible 00:16:18] and [inaudible 00:16:19].” But you can get all that. You know I’m saying? It was like, “You gotta… Let me go to download. Let me go to mp3.com,” you know? And it’s just like…now you see a lot of people who…you walk in, you’re like, “Oh man, that’s a bad mp3.
DJ Mr. Choc: Yeah, yeah, oh that sounds horrible.
DJ IZ: It sounds horrible.
DJ Mr. Choc: That sounds terrible. Like oh my God. I remember when I finally did open the box and I started messing around with it and I started getting used to it, I was like, “You know what, man? Like I don’t…” I have a lot of, you know, a lot of songs digitized at that time. But then I just started saying,
“You know what? I gotta go through my records,” because I was getting songs that didn’t have the instrumentals or the a cappellas or even like the dirty edit. You know what I’m saying? So I was like, “Let me start burning my records.” So every day, I’d burn like maybe 10 or 15 records a day.
DJ IZ: And it’s time-consuming, bro.
DJ Mr. Choc: Oh my God, all day.
DJ IZ: All day, bro.
DJ Mr. Choc: All day.
DJ IZ: Before you know it, you know, you start at 10, you know, before you know it…
Cloie: The day has gone.
DJ IZ: …it’s 10:30 p.m., and you’re like…
DJ Mr. Choc: [inaudible 00:17:12] I’ve been burning…
DJ IZ: “I’d only burn through [inaudible 00:17:13],” yeah, because, you know… I know, like me, I know I was like, “Okay, if I burn these vinyls, I’m gonna EQ them. I’m gonna…”
DJ Mr. Choc: [inaudible 00:17:22]
DJ IZ: …the DB. You know what I’m saying? You know what I’m saying? But that’s, you know, that’s what goes into, you know, the conversion.
Cloie: Look, [inaudible 00:17:29]. You talk about the preparation. You talk about what it takes. This is the thing. This is the beast, you know? it’s no different than showing up and taking a class or some… It’s what it is.
DJ Mr. Choc: You have to be passionate about it.
DJ IZ: You gotta be passionate about it. You gotta love it.
DJ Mr. Choc: Every part of it, though, not just like, “Okay, I’m a DJ now, and I’m on stage. Whoo! I’m so passionate.” No, no. The passion has to go before that. It has to go with the prep. It has to go with the music…how you’re programming your music. It has to go with like when you’re actually out of gig and you have a program set, but then you’re looking out like, “Okay, they’re not really feeling these songs. I need to call Audible really quick.”
Cloie: Right, which is what I sense it was just saying, and you see the crowd, and you’re like, “Okay. All right, this is not working. What do we do now? Call Audible.” [inaudible 00:18:13]
DJ IZ: And there’s gears. And, you know, I think for me, as creators, I think it’s always something to be mindful when you become a slave to, you know, your gear. Let’s say, you know, when your computer crashes, you know, and you all know as a DJ, when the music stops, that’s always a no-no. That’s like you, “Hey, man.” It’s almost like, “Man, who pulled the power? Somebody pulled the power cable.
Cloie: [inaudible 00:18:36] lights on.
DJ IZ: And you’re looking at your computer like, “Oh!
DJ Mr. Choc: I will say like it took me a month to open the box. It took me another month to actually come out and play live with it. But when I did, I was still bringing a crate of records with me because I had already heard…
DJ IZ: The backup plan.
DJ Mr. Choc: …the horror stories about like the computers crashing and everything else. I was like, “Man, if that happens, I don’t… You know, I don’t want that dead silence. So I’m gonna be able to grab a record real quick and put it on,” you know? And I still travel like that, not with a big crate anymore, but, you know, I’ll still have [inaudible 00:19:04]
DJ IZ: Yeah, you go to the go-to vinyls.
DJ Mr. Choc: [inaudible 00:19:05] records only. Oh yeah, for sure.
DJ IZ: Insurance, yeah.
Igor: Insurance [inaudible 00:19:08]
DJ Mr. Choc: Plus I wanna get paid after the gig. Hard to do two hours [inaudible 00:19:14]. You hardly did two hours. You only did 30 minutes.
Igor: [inaudible 00:19:18] this guy. Remember the lost time?
DJ IZ: [inaudible 00:19:20]
DJ Mr. Choc: Yeah, exactly. I won’t be hired back.
Cloie: I do wanna take this opportunity because we talked a little bit before about it. But our show is jobs. We give them away. We have them. We give them…well, we present opportunities. I feel like this is a great time for a grind opp.
DJ IZ: Let’s do it. Let’s jump into a grind opp.
Cloie: Let’s go for a grind opp.
DJ IZ: Feel free to chime in guys if you see any details we’re missing. Igor, if you see some, you know…especially in your lane, it’s like…
Cloie: I know.
DJ IZ: Yeah, I’m sure you’ll dive in. There you go. First grind opp of the day is in the field of content creator. This is in New York City. Must have experience with Adobe Premiere. Must have ability to produce independent video shoot. Must have high interest in food recipes and other lifestyle video content creation. That’s interesting. Okay. Content creator. I’ve seen various content creators. I’m a content creator.
Igor: This is the whole description, right?
Cloie: Yeah, that’s it.
DJ IZ: Yeah, yeah.
Igor: I’m afraid there’s gonna be about 15 million calls.
DJ IZ: Only 15 million?
Igor: Because somebody who says that you have to have an interest in the recipes and the food and the content, that’s me. [inaudible 00:20:25]. I mean [inaudible 00:20:28]
DJ IZ: Let’s get a app immediately to Igor. He’s gonna fill one out.
DJ Mr. Choc: He’s ready to go.
Cloie: He’s hungry and ready to go. I think that also, as we transition out of that, when we…and it’s great actually that we do have you, Axenzo, because you are currently in the RRFC and working it. We also like…
Axenzo: I’m actually gradute.
Cloie: Excuse me, graduate.
Axenzo: But I am still…
DJ IZ: He’s alumni now.
Cloie: Yeah, alumni.
DJ IZ: Alumni, he’s official.
Cloie: Well, we do like to highlight our current students or the current students as well as the graduates.
And this week, we are highlighting Tavior Mowry, if you wanna roll that graphic. He was on the track to playing in the NFL and then had a very, very serious injury. And now he is on the track for music, and he’s studying with RRFC. And that’s what we’re highlighting this week in the newsletter. So you all can check it out.
DJ IZ: Yeah, we always make it a point to highlight our students on the [inaudible 00:21:27] kinda like, you know, which is why I love so much what you guys are doing with the Institute of Sound. I think anytime you see kids DJing on vinyl and learning, I like… Dude, when I see those joints on social, man, I’m just like, “Like, love, [inaudible 00:21:41],” I was gonna…you know?
Cloie: I know. They do need something stronger than a like.
DJ Mr. Choc: No, we’re really happy with the way that our new school, Beat Junkies Institute of Sound has been received, and we’re having a blast. I’ve been teaching for over 11 years. I used to be the director over at Scratch Academy. And I actually helped open their doors over in 2005. And, you know, I left after 11 years at Scratch and then got with my brothers, and we opened up our own school, Beat Junkies Institute of Sound. Grand opening was April 15th. Classes started May 1st. And we’re now two semesters in. And the way that it’s been received is amazing.
DJ IZ: Oh, it’s amazing, bro.
DJ Mr. Choc: We have classes for kids. Our kids classes have really like been a big hit. We have our lineage curriculum, which is the foundation, which we’re teaching you all on vinyl. And then we graduate to the digital. And then we start showing… So we give you all the mechanics that you need to know as far as like…
DJ IZ: Define music.
DJ Mr. Choc: …[inaudible 00:22:34] one is that the basic music theory, how to scratch, how to do a baby scratch, how to do release, where you’re at, where you’re actually gonna drop in on transition, how to find the one. You know, we teach you all those things first before we even get to the digital.
Then once you get to the digital, like, “Oh, okay, like I already know how to do all this. And I can just… Oh now I can just hit the cue point. Oh, I get it now.” You know what I’m saying? So it’s very important for us to teach in that way.
DJ IZ: The lineage, yeah.
DJ Mr. Choc: Yeah. But we also have scratching. We also have beat juggling. And the way that we teach how to DJ, you can apply to anything. So if you come to our school and you learn from us and if you’re on a controller, you can apply what we’re showing you on a controller. You can apply it to a CDJ. You can apply it to the 808, you know? You could do…you can apply it to anything. But that’s the way we teach.
DJ IZ: Yeah, which is a great way. And I think, you know, to me, it’s a great show because we actually… You know, Axenzo, you’re kinda…you’re on the come-up, man. You’re establishing yourself. And I think it’s important for you to meet a guy like Igor because these folks, you’re gonna cross your paths eventually, and allowing you to understand what really artist relations is and how you kinda engage with the company. And, you know, I know, for me, just looking at how you get down to what your setup is, I know like you probably kill on a DJ-808.
But I want you to kinda just understand what goes into just the day-to-day of how companies like a Roland engage with an artist like yourself who’s kinda on the rise, who’s making a lot of noise right now. So, you know, I got my man, Igor, here. Just tell me, you know, kinda just cover the process of how you engage with an artist, some of the things you guys look for, and how the relationship works.
Igor: Well, I guess it all starts with who the artist is and who the company is. A relationship between the artist and the company is very much as an intimate relation with somebody else in your life, different people, different interests, different outlook in the longevity of that relationship. There’s AR which is, you know, let’s have fun together for a few days. There’s AR that “Hey, let’s see what’s gonna work out. There is AR that one of the two parties is looking for a long term, the other party has no idea, and you better don’t scare them with your long-term desire. It all sounds like you meeting somebody and you wanna do something together because you both have something that you wanna…you wanna do something. You wanna accomplish something.
I think that real artist relations when it’s done right and if the company understands the artist and artist understands the company, which is not always the case, if they both parties do, there is no lose. There’s only win-win. In a business, usually, somebody’s got to lose for somebody to win. That’s just how the world works.
Axenzo: This is a collaboration.
Igor: Yes. There are so few opportunities in life. Once somebody comes up to you and says, “Listen,
we can do this and this, and both of us in the end gonna get something out of it,” 99% of situations like this, you listen to this and you think, “Okay, that’s bogus. That never happens.” But in artist relations, if it’s done right, both will help because it’s a mutually inclusive partnership when you both promoting each other.
DJ IZ: Igor, [inaudible 00:26:11]…yeah.
Igor: And that’s pretty much…like how can you lose especially these days with, you know, internet and Instagram and social media and everything? And then there is no lose. So the only thing that you…it’s the thresholds in how much expectations each party has, of course, and the longevity of that relationship [inaudible 00:26:33] and if it’s done properly. And I think that it’s all depends on the company and it’s depends on the artist.
And I think there are some…there are constant factors on this. The constant factor would be that out, say, 90% of the artists deservingly so feel like they should be supported by the companies because they put so much effort and so much passion in what they do. And the farther they are in the career, they feel like, “Listen, I put some serious life…and I put my life and put my relationships aside, and here I am. So they expect something. And for me, as an AR guy, if I don’t understand that from their side, I shouldn’t do this job. It’s a very common thing with the AR guys that get, you know…
DJ IZ: Yeah, but…
Igor: …kinda like this like, “Oh, wait a minute, like everybody wants some.” Yeah, they do, yes, because if I remember how I started and then I understand…I understand…
DJ IZ: And I agree with, Igor, but I also think there’s a dynamic that plays into even who you are as not just the AR guy, but a guy who’s also a musician, who’s put in the time. And I think you understand the culture…
Igor: And that was kinda like the reason for me to come into AR work because I am a musician. I’ve been with Roland 23 years, you know, not to bore everybody with my [inaudible 00:28:01]
DJ IZ: Yeah, that’s a long time.
Igor: I was boring, and everybody turning off the [inaudible 00:28:05]. I’ve been with Roland 23 years. And I did a lot of things. But I’ve been…you know, I made it very clear from the beginning, “You hired me because I’m a good musician. This is what I wanna do.” And thanks to the company, how the company is structured and understanding all the guys at the top. They said, “Yeah, if he’s good at this, just let him do this.” Not everybody needs to be CEO of the company. That’s perfectly fine. And I’ve been doing music. I’ve been doing sound design and patches and writing tracks for the video that we were producing with the video team very tightly, content development as well, so things like that, so going on the locations with the video team, holding the mic, coming back in the studio and mixing it, learning everything. And so I enjoyed it too much.
Not that long time ago, everything kinda changed and it came on a second [inaudible 00:28:55]. The guys upstairs just called me up and said, “We know that you do this. You know, you have a music background. You do projects on the side.” I’m not gonna go dropping any names, [inaudible 00:29:06]. But we want to apply that, your experience, to the artist relations because, one thing, it helps. And it’s exactly this.
I have conversations with artists that 20, 30 minutes in, they say, “Wait a minute.” “That’s right. I forgot. So let’s talk about Roland,” because we talk about gear. We talk about music. We’re talking about where the world is right now, what is… You know, what I mean? I do that because I love to talk about it.
Cloie: But you know what?
Igor: And I meet people like you, and I’m getting paid for this. Are you kidding me? [inaudible 00:29:42] You know what I mean?
DJ IZ: Yeah.
Igor: You know what I mean? But it is just like a relationship. Every time, every case is very different.
Cloie: I’m gonna jump in for one second because what you’re saying is something that we do talk about a lot on the show, and it’s about the creation of opportunity just by getting them door, and we say overperform, like #overperform. What you just described, like your whole trajectory and time with Roland has basically been like showing up, being the best at what you do, and also having the ability and the hunger to be able to reach out and do all these other things to the point where an opportunity was created for you.
Igor: For me, yeah. And it’s interesting because up to that point, frankly, it’s probably was the first time when the opportunity was created inside of the company and offered to me. It happened. Just a little bit over a year ago, I started doing this. I cannot believe it. It feels like years and years.
All this time, everything that I was doing, I was doing by “That needs to be done.” “I’m gonna start doing this.” “Are you okay with that?” “Yes, we’re okay with that.” And I will do anything…
DJ Mr. Choc: Take an initiative.
Igor: …anything, all…take initiative because I was like this with my music. This is how I am. I take initiative if something needs to be done. I did some things which word audio cannot be even attached to. You know what I mean? Because it needed to be done. And this is how it happen. Once you’re on the inside, you put your passion forward. You do what you can, but you constantly look around. What else can you offer? And it can enrich what you do.
DJ IZ: But I think too…I think that’s one of the main reasons why I really connected with Roland is because I was able to really, you know, see and kinda like analyze your guys’ overall perspective on just, you know, the culture of musicians itself and creators. And, you know, for me, I’ve been…you know, I’ve been around the block for so long. You know, you see who’s in it to extract a piece from the culture, bounce out, claim it as their own. And, you know, when I was able to like… We both walked the floor at NAMM and did interviews. And, you know, you see these companies like, man, just trying…let’s just try to sell something, man. And then you go to a company like Roland, and you got just the… The culture is there. They’re talking to people. You know, it’s like, man, everybody is just playing the gear. And then you see a cat like Melo D get up there. And it’s like…
DJ Mr. Choc: Yeah, I’m not just saying this because I’m here at Roland right now. But I’ll say this. Out of all the controllers that I have messed with, this is by far…the 808 is by far the best one.
DJ IZ: Dude, hands down, hands down.
DJ Mr. Choc: And that’s why that we all kinda, you know, gravitated to… As soon we saw it, it was like, “Okay, this controller is official.”
DJ IZ: It’s official. And that was one of the things that I was able to see early on in is, you know, when a company as big as Roland really makes it a point to dive into the real community of DJs just so they know by the time the product gets to us, we’re not like, “Well, how come this ain’t… Oh, see, they didn’t… Oh, man this fader…” you know? It’s like the point of connection was there and, you know, which is key for me and a guy like you, Igor, is because the only way that story is told by you being, you know, having a finger on the post talking to a DJ who’s on the up and coming like Axenzo and then sitting down and having a conversation with a guy like Choc or Melo D, it’s like that’s where, to me, that’s where it needs to get back to. You know I’m saying?
It’s like… You know, I remember at one point, you know, back in the day, you would see Herbie rocking. You know, you’d see Chick Corea with Yamaha. You know, they made it a point to really get in the trenches with these dudes. So by the time, you know, you get on this keyboard, it’s like, “Oh, man, the keys feel right. The wait, yeah, feels right.
Igor: You know, it gives both ways, like I said. You know, if it’s done right, it gives both ways. And this is why this relationship, it always reflects on the instruments that the company makes because, let’s face it, if there’s no musicians, if there’s no DJs, we’re not gonna be in the business. I mean who’s gonna buy? So in the end, it has to work for [inaudible 00:33:54]
DJ IZ: But I think too it’s…I agree with that, but I think too it’s…there’s a huge piece of it to where you don’t even…you guys no longer have to tell the story. It’s guys like Choc, me, Melo D, Axenzo that then begin to tell that story for you because we believe in it. And it’s undeniable, you know? And I think too there’s a misconception where, you know, the guy who’s just getting into the game, it’s like, “Yeah, man, let me link up with this company because I need to get some free gear.”
DJ Mr. Choc: Man, I [inaudible 00:34:24]
DJ IZ: You know what I’m saying?
DJ Mr. Choc: For probably like young students, like, “Man, how do I get sponsorship? Who do I go with?”
DJ IZ: So talk about that, Igor, like, you know, that does exist, you know?
Igor: Well, first of all, this is probably one of the misconceptions that I have to deal like very often. It’s the word sponsorship, sponsorship or endorsement, those two words, which means so much and, at the same time, you don’t know what they mean by the…when they say that. I think that sponsorship at least…I think it’s a little bit more defined because sponsorship, it’s very often then…you just write a check to somebody, and you just support them because the cost is great. Sponsorship could be, you know, the instruments for some event, you know what I mean, which is like, “Hey, we need this, this, and this,” sponsorship by providing the give. This is a great thing. It’s so cool. Sponsorship in artist relations, it’s not exactly the same thing.
Endorsement, the whole word comes, I think, mainly perception of this word is it’s with apparel and fashion. You know, like they see basketball players, and they’re all in Nike, and it’s all [inaudible 00:35:36].
Cloie: I only drink Pepsi, yeah, like, yeah, yeah, yeah.
Igor: I would like to like…and its, hey, it’s a great thing, so which is “I would like to use like everything Roland.” And it’s amazing, and it’s a great and it’s flattering because somebody wants to do that [inaudible 00:35:51] somebody wants it. That’s hands down, there’s no doubt about it.
The only difference is that we make what? I don’t know, 1,500 different products and instruments. How many artists are out there who we actually want to support and we wanna deal with? There’s absolutely no way that we can have a few hundred artists who will say, “Okay, now, considering that I have an endorsement, I would like to have a TD-50 kit. I’d like to have electric grand piano. [inaudible 00:36:17]. And this is a one guy.
DJ Mr. Choc: Wish list, wish list.
Igor: [inaudible 00:36:22] wish list. And I usually smile at this, and they go like, “I tell my friends.” If we have like 20 guys like this, we’re out of business like two minutes.
DJ IZ: Easily.
Igor: Our warehouse is empty. We got nothing. So in our case, the whole endorsement, it’s a completely different game. And it’s usually…you know, we have to identify somebody who we believe represents that culture on our side. And it’s not necessarily A-list amazing Billboard number one everywhere. That’s a different story. It could be a startup.
Axenzo: [inaudible 00:37:06]
Igor: It could be somebody. Personality should be there. And you look at it, and you say, “This guy,” or, “This girl is gonna go far.
DJ Mr. Choc: It has to make sense.
Igor: It has to make sense. And that’s when the relationship starts. And from the artist’s point of view, which is hard to imagine, but out of all the instruments that we make, not all instruments we really want to promote. You know I mean? You have to choose the winning horse. So you choose a few of those, and that’s when you’re trying to put them forward and try to promote that right. And sometimes artist needs something that [inaudible 00:37:41] they’re already selling well and it just not on this marketing plan of let’s support it with more artists and more… So how do you do that? You know what I mean?
DJ IZ: Yeah.
Igor: It doesn’t change their needs. So there are different avenues and the different angles that you can take with this, but this is, you know… The other thing that I put forth, and that’s again because why I do this, it’s almost like a product support. It’s almost an understanding of what this instrument does. I get this conversation constantly, the artist going and saying, “What about this, this, and this?” My first question is “What else are you using?” “Oh, I’m using this and that.” “Why would you use this and this?
DJ IZ: Yeah, they try to integrate everything.
Igor: This and that, and then it’s hard. [inaudible 00:38:24] if you make it. And then a couple of weeks later, we can go in the studio and help out to see how it’s all set up and it works or not. That’s where the relationship is. This is what the value of true artist relation is, not just to give you a piece of gear, which is great and awesome. You can take a picture with you and put it in a [inaudible 00:38:43] after that. Neither side won’t. Like literally neither side [inaudible 00:38:48]. And if you keep that going forward, that’s where the value is. That’s why I’m saying everybody wins out of this.
Is it possible with everyone? Is it possible with everyone that let’s say on my list of artists right now? No, it is not. It’s unrealistic just because, again, it’s a relationship, different people. [inaudible 00:39:09] than that. And it’s perfectly…I respect that.
Cloie: Speaking of relationship and opportunity, I feel like we should give some more opportunities and present some more grind opps.
DJ IZ: Bam! Let’s do it [inaudible 00:39:15]
Cloie: Love it. Why don’t we roll it for grind opp number two. Yes, [inaudible 00:39:20]
DJ IZ: Oh, snap! We got…okay, yeah, grind opp number two, studio intern. This is Los Angeles, California. LA-based music producer, Alex Arias, who has worked with Cher, Matchbox 20, The Mowglis, and more seeks intern for summer 2017. This is a great position for those looking for hands-on experience with a seasoned professional.
Cloie: Boom, that’s fun.
DJ IZ: This could be cool.
DJ Mr. Choc: This is excellent.
Cloie: Yeah. I also feel like since we’re in the grind opp vein, how do you all feel about doing one more? Are we on board with that?
DJ Mr. Choc: Yeah, yeah, yeah.
Igor: Let’s do it, let’s do it.
Cloie: [inaudible 00:39:52], grind opp number three.
DJ Mr. Choc: This is excellent, by the way.
Cloie: I mean it’s great, and we can talk about it both.
DJ IZ: Grind opp number three, this is in the field of studio engineer in Murray.
Cloie: Murray, Kentucky.
DJ IZ: Kentucky.
DJ Mr. Choc: Kentucky.
DJ IZ: Chance to be grandfathered into the brand-new audio program at Murray State University. Hey, a chance to be grandfathered.
Cloie: Listen, that’s [inaudible 00:40:10]
DJ IZ: That’s a hookup. Code word, hookup. Knowledge of acoustics, microphone setup/placement/breakdown and general audio equipment knowledge plus recording techniques is a must. Now, Igor, I know techniques, right, like you don’t just decide to roll out of bed and like,
“Okay, yeah, you know, I’m gonna be able to mic this drum kit or know how to place these mics.” Like I’ve seen so many cats go down in flames like…
DJ Mr. Choc: I don’t wanna do that.
DJ IZ: All right, yo, so like, you know, because I know a slew of cats in the engineering world. So [inaudible 00:40:40], “Hey, man, there’s this opportunity, man. But before you take it, do you know how to mic a guitar, a vintage? Do you know how to… Don’t go in there.” You know what I’m saying?
Cloie: [inaudible 00:40:50]
DJ IZ: Because those dudes, they get sent home right away. You know what I’m saying?
DJ Mr. Choc: They’re not calling back.
DJ IZ: They’ll never be calling back.
Igor: So basically…it’s exactly what you were talking about. This is where he came from. It’s those basic skills. It’s a foundation. And you’re gonna move forward and you will switch paradigm and some digital and anything. It doesn’t matter. All of that serves him to go forward. And there would be situation when that will save him…
DJ IZ: Absolutely.
Igor: …because it’s a fundamental skill to know. And it just…this is just the reality.
DJ IZ: It never goes away, man. I tell cats, you know, “Whatever trade or skill, it’s like fundamentals, even for what we do here at ‘Connected,’ has always been preached because it’s the backbone to everything, man. It’s like…
Igor: And interesting, because when you come from DJing, in a sense, you are removed from all this [inaudible 00:41:44] playing. You know what I mean? You on your own. You set your own rules.
DJ Mr. Choc: You control the music.
Igor: You control that.
DJ IZ: You’re the conductor, man.
Igor: And it’s almost gets like…I talked to some DJs that’s saying, “Well, yeah, you know,” the guys that’s setting it up is like, “I never set up the guitar. I never set up the kit.” Today, you didn’t. Tomorrow, you may need. I know the guys who are making beats that they have the full studio recording at home, and they make samples of their own snare out of, God knows, anything that gets in their hands because they know how to do that. They experiment. They sample. They [inaudible 00:42:18] layer them. They pretty much make their own personal libraries.
DJ IZ: Which I think plays into a key point of just your own identity as a creator, a DJ, you know? I’m from the era, man, where everybody had their own identity. There was like… You know, there’s a difference between Primo and Pete Rock and Marley Marl and The Bomb Squad. There’s sonic difference.
DJ Mr. Choc: There’s something about learning technique and learning moves and learning different production…you know, how to do beats or whatever, but keep your own identity within that. Like, yeah, if I’m a producer, if I’m gonna learn how Pete Rock is putting together a beat or even like, from you, IZ, if I wanna learn how you produce a beat, I’ll learn how you do it, but I’m not gonna do it like you. I’m gonna apply my…I’m gonna keep my own style in there. You know what I’m saying?
DJ IZ: Which is why I loved analog gear so much because a lot of the analog drum machines, man, you had to put content in it. So when you have to put content in something…
Cloie: It’s already your own influence.
DJ IZ: …you’re gonna put something different in it. I’m gonna put something different. Through that, we’re able to find our own identity. It’s like when cats were playing, you know, even some of the old joints like the [inaudible 00:43:30] and stuff, it’s like, man, everybody was freaking them different, you know? It’s like everybody had a different way, man. It’s like that’s what I love about a move. You know, [inaudible 00:43:38]
DJ Mr. Choc: It’s kinda [inaudible 00:43:38] with the DJ world as of late. It’s like people wanna get into DJing and they buy a computer and they start DJing, but then they lose their identity because they’re now there in the club, and they’re just playing the same 10 songs every week not really trying to like learn about any other genres, not trying to…not really looking at the crowd, reading the crowd at all. Like it’s very easy for them to lose their identity. But that’s why it’s important for us, with our school, Beat Junkies Institute of Sound, to have that to where we could show you not to lose your identity, learn how to troubleshoot in case something does go wrong with the equipment, and, “Okay, let me stop for a second. Everything’s not working properly. Let me figure out what’s going on.”
Cloie: [inaudible 00:44:17]
DJ IZ: Which lead me to Axenzo like, you know, we’re starting to see a whole lot of DJ artists. And what are some of the just the ways you even go about your artistry and just kinda having your own personal identity, your sound, you know, your presentation, your shows? Like what are some of those things that stand out for you?
Axenzo: I believe that’s the most important thing. If there’s Tiesto right now, if there’s Skrillex right now, it’s because of their uniqueness. I mean I can go out there. I can play as…sorry, I forget your name.
DJ Mr. Choc: Oh, Choc, Choc, yeah.
Axenzo: Mr. Choc said, go out there. I can play Despacito, all these songs that people love. And they are gonna be like, “Oh, tonight was great.” But tomorrow, nobody’s gonna remember me. That’s why I have to put my special touch just like the big DJs, so people are like, “Ah, I have never heard this song, but it sounds great.” And the next day, they are hearing it again, and then they are going to my SoundCloud, and they are like, “Oh, okay, can you send me this song?”
DJ IZ: What inspires you to like, you know, when you get into your remixes or your just…how you’re doing things, what are some of the things that inspire you?
Axenzo: Honestly, there’s two types of musicians, I guess. One of them just directly goes to the studio and creates stuff. Me, I am either driving, or I’m in the shower. I [inaudible 00:45:52] some kind of notes flying in my brain. I just rush outside, record it, very basic, like a voice recording king of thing, badadadabadabum. And then I go to my computer. I start to create it and then go to the studio and make it a good track.
DJ IZ: So do you have a album coming…like another album? Are you doing an EP?
Axenzo: Yes, I have many tracks coming. I have maybe 15 tracks sitting at home. I didn’t master yet. So…
DJ IZ: Okay, so you do your own mastering too?
Axenzo: Yes. I do my mixing, mastering.
DJ IZ: See that? That’s another statement for us to talk about, man, is, you know, because it’s like, nowadays, I’m always looking for who is self-contained, right, because we have to be, you know? And I remember at one point, I know you can verify this, Choc, it’s like, you know, as a creator or even as a DJ putting a record together, right, you put it together. You get somebody coming to mix it. Then you got to take it to the mastering plant. You know, that’s just the era we came from where everything…like I did my thing. Okay, now I gotta hand it off and…you know? So the…
DJ Mr. Choc: Put the polish on.
DJ IZ: Yeah, put the polish on. So now we’re at a point where it’s like you got a artist like yourself who’s, you know, start to finish, you know, which is great, man. Like I really believe more than ever just with the tools we’ve been given, it’s like we got to be self-sufficient.
Igor: This seems like the whole…that’s the whole trajectory of music in the last 30, 40 years.
Cloie: Not just music. It’s everywhere. They’re not just not in…yeah.
Igor: I think it’s everywhere. I think you’re absolutely right. It’s probably everywhere. I am 55 years old. So I remember ’80s. Eighties was my decade. But ’70s introduced me to rock music and to everything. Eighties was my decade when I was in college [inaudible 00:47:35]. That was my…
DJ IZ: You were kicking ass in the ’80s. I already know.
Igor: You know, people say, well, ’70s was fun. You have no idea.
DJ IZ: Yo, I know the ’80s was monstrous.
Igor: But at that time, everything was segmented, right? That was a producer. This was engineer. This guy was a musician. This guy was A&R guy, yeah. And then you go to the record labels. And how many record labels there are really majors out there? And ain’t none of those guys like you. You can go back to where you came from because there’s [inaudible 00:48:08] that many opportunities, right? Everything was… And now it’s a convergence of everything in one. Now the creator and the artist became everything. You can have your own way.
DJ IZ: He’s his own publicist, his own master.
Igor: Everything. Everything is up to you. You can do all of this, and there’s no excuse not to learn it because knowledge is available like where to?
DJ IZ: Absolutely.
Cloie: Knowledge is available. Knowledge is available.
Igor: Knowledge is available.
DJ IZ: Yeah, and, you know, it’s funny too because I get a lot of questions here like, “I’m a songwriter,” or, “I’m a DJ. You know, where should I go, or how do I get my music?” I’m like scratching my head like, “Yo, like SoundCloud, Audiomack, Facebook, Instagram.” There’s so much more than what we had, you know?
DJ Mr. Choc: There was no internet when we were growing up.
DJ IZ: No internet, bro.
DJ Mr. Choc: [inaudible 00:48:53] you search scratch [inaudible 00:48:54]
DJ IZ: It was like cassette tape. “Record…let me…okay. Hey, man, here’s some tapes, man. Hey, man, [inaudible 00:48:59]…
DJ Mr. Choc: If I wanna learn how to do a certain scratch, I’d have to pick up the new [inaudible 00:49:02], “How did he do that again?” “Keep listening.”
DJ IZ: And then your record gets worn out. You know what I’m saying?
Cloie: Speaking of Q&A, though, we do have Q&A that is burning up.
DJ IZ: Oh man, let’s get it, let’s get it.
Cloie: So we got two more grind opps. Let’s do four and five, and everyone gets some Q&A. Everybody like that?
Igor: Yeah, go ahead.
Cloie: Great, great, love it. Oh, great.
Igor: She keeps us in line.
DJ IZ: Hey, man, cause, you know, it’s when you’re having fun, man, you know, we need a spot. So let’s shoot to this next grind opp, fourth grind opp of the day is in the field of, bam, live sound engineer. Okay, Las Vegas, Nevada, Vegas hotel is in need of three audio engineers for two-day event. Must be able to handle multiple fast-paced back-to-back recording sessions. That’s cool because we were just kinda touching on something like this.
You know, Vegas is always fun and events are even funner. You know I’m saying? I like getting calls to come smash an event because it’s like, you know, all right, you know, I’m gonna work, okay, cool, you know?
Igor: [inaudible 00:50:01] close to the [inaudible 00:50:01]
DJ IZ: Yeah, exactly, exactly.
Cloie: It’s Vegas [inaudible 00:50:05]. All right, let’s roll grind opp number five, please. It’s coming, don’t worry.
DJ IZ: I’m gonna let you tackle this one down, Cloie, go ahead.
Cloie: Grind opp number five is in the field of program director Washington DC, shout-out, DC. A high-profile studio is currently looking for a program director for its youth program offering lessons and musical instruments and recording studio instruction. Looking for a self-starter with experience in all facets of musicianship and studio recording and a knack for creating monthly lesson plans. And this is coming to you out of Washington DC. That, that…I mean…[inaudible 00:50:41]
DJ IZ: And it’s great because Choc has been around a lot of program directors.
DJ Mr. Choc: Yes, I have.
DJ IZ: What’s that climate like? I mean obviously it’s changed.
DJ Mr. Choc: It is changed.
DJ IZ: But I know you’ve seen it all.
DJ Mr. Choc: I mean I’ll say when I was in commercial radio, it was cool. The program directors that I worked with over the years, from Rick [inaudible 00:51:00], Jimmy Steels, Michelle Mercer, Steve Wall, you know, they trusted me. And they gave me… You know, there’s still some rules at commercial radio that you gotta follow. You gotta play the hits. You gotta play the songs that are big for the station and what people are listening to. But then they trust me. Like sometimes, okay, I feel like this underground record…
DJ IZ: You can break a record.
DJ Mr. Choc: I can break a record, one or two, you know what I’m saying, because I was in grand timeslot, traffic jam. So it’s like they trust me to break those records. But, you know, in this day and age, now there’s not so much trust with the DJs nowadays. I don’t know why, you know? I’m not saying that once I left it, all changed. But I did notice there’s a big change. Some of my friends that are still in commercial radio, they told me it’s not the same like when I was there
DJ IZ: Well, yeah, I think too…I think that the playlist has gotten a lot smaller, and I think the automation has kinda just kicked in for real. You know what I’m saying?
DJ Mr. Choc: Yeah, yeah. When I was in radio, it was still talked about, like, “Yeah, automation is coming, automation is coming.” “Yeah, whatever, I’m not tripping on that.” But now it’s here.
DJ IZ: It’s here, right.
DJ Mr. Choc: Yeah, it’s kind of taken over.
DJ IZ: And I miss that. Like I miss that discovery factor. Like I’ll never forget we had…did a record for Usher. It was called “Play Me.” And it was gonna be like the B Side Joint. And I think you were the first one to play that record in LA.
DJ Mr. Choc: I loved… I still have that record [inaudible 00:52:21], man.
DJ IZ: And because of that…it’s crazy because it’s that one record like when we get together, we talk, it’s like we always bring that record up. and it’s always like I always referenced that to a time where DJs were able to like break a record, man. And it’s like, man, I missed that discovery factor.
DJ Mr. Choc: Yeah, because like we’d get a record and we’d listen to it, but like, “Oh, man, I wanna play this on air today,” you know? And then you come and have to figure out how am I gonna program it because, you know, you have to surround something that’s unfamiliar with hits. You know, you put hits all around it.
So I remember with the Usher record, I was like, “Man, I gotta figure out a way to play this.” And it was at 104, 105 BPM or something like that.
DJ IZ: Yeah, 105, yeah.
DJ Mr. Choc: And, you know, at that time, there was nothing that really that fast. So I picked up and mixed something…I forget what I mixed with it, man, but I found a way to make it work.
DJ IZ: Yeah. And it was crazy. It’s like…you like…there was a time we would ask ourself, “Man, how did he get that record?” because I think I got a call from somebody. It was like, ” Yo, man, Choc’s playing ‘Play Me’ on the record.” I was like, “Impossible. Impossible.”
DJ Mr. Choc: There’s no instrumental.
DJ IZ: There’s no instrumental.
DJ Mr. Choc: There’s no intro.
DJ IZ: There’s no intro.
DJ Mr. Choc: He didn’t know I [inaudible 00:53:26]
DJ IZ: And I happened to catch it one time, and I was like, “Holy shit…”
DJ Mr. Choc: How did he get it?
DJ IZ: How did [inaudible 00:53:30].
Igor: He had someone on the inside.
DJ IZ: But here’s what’s crazy like even within that process, when you break a record like that, you can actually force the hand of a label to get behind him because this record now takes off.
Igor: Of course.
DJ IZ: It’s crazy.
Igor: Well, that’s what the DJs used to be.
DJ IZ: Yeah, right, exactly.
DJ Mr. Choc: We’re the ones that have our hand on the pulse.
DJ IZ: The pulse.
Igor: Look at the Rodney Bingenheimer, right?
DJ IZ: Exactly, doing [inaudible 00:53:55]
Igor: I mean the guy brought like a giant to America. That was his thing. That’s why everybody trusted him. They knew that this is the guy. He was…I mean perceived curator. He was a curator. And
that’s [inaudible 00:54:12]
DJ IZ: To me…and I’ve always looked at DJs as curators. Like there’s a reason why we showed up to mom and pop’s vinyl spots and just hours and hours going through vinyl, listening, because it’s like you discover something and you’re able to present it.
Igor: I think it’s more…
Cloie: Wait, wait, wait, because this chat is blowing up, y’all. The chat is going, and we’re going to get through these questions. Before we do, as a reminder to everybody watching, thank you if it’s your first time, we do have our Facebook app, which is connecting artists and musicians and techs, everybody, everybody, everybody. We have a graphic…I don’t know if it’s available, but, yeah, bam. That’s our Connected Facebook app.
DJ Mr. Choc: There it is.
DJ IZ: So for you guys, I mean this is even something great for you guys to share because even though outside of what we do here, this is an app that allows other creators, other musicians to just network with each other in real time. You know, we got the whole GPS thing with it. So it’s like, you know, I’m a DJ. You meet somebody five miles. I mean you find…it does up for you. So it just…really, it’s a great way to connect with other people. You know, if you ever need a sound guy, you go to Connected app, “Hey,
I’m DJ Axenzo, and I’m looking for this…”
Axenzo: A cappella.
DJ IZ: …a cappella…
Axenzo: That’s the most important.
DJ IZ: …you know? And I always…
DJ Mr. Choc: Where are a cappella [inaudible 00:55:23]
DJ IZ: Yeah. And it’s something we always encourage here because I always say, you know, me and Cloie can come here every Monday and present opportunities but application, and you got to be proactive.
Cloie: It’s true, it’s true.
DJ IZ: So it’s a great way for our viewers to stay engaged, you know, because…
DJ Mr. Choc: And it’s great for people like in small towns. I come from a small town. So, you know, like if you’re not in like in a big city like New York or LA or some, you know, somewhere big like that, then it’s good for these opportunities like this to kinda find a way to get in, you know, so you can find likeminded people that you can talk with it and build with, you know? It’s important.
DJ IZ: Exactly. And like, dude, I’m always looking for a cappella. So I’m like, “Man, let me see who’s around, who’s… I don’t wanna drive all the way out to the city. Maybe there’s somebody in Ontario, San Bernardino, you know? It’s like that’s…like it’s great for that kind of stuff. And it’s a great way to just stay connected to other creators.
Cloie: Yeah, Well, to that point, we have a question for Choc, Paul from Duluth, Paul from
DJ Mr. Choc: Duluth, what’s up, Paul?
Cloie: He says, “Hi, Mr. Choc.”
DJ Mr. Choc: Hey, Paul, what’s up, man?
Cloie: “Does collaborating with other DJs and artists really make you better? I just get frustrated with people.”
DJ Mr. Choc: Yes, it does. If you find likeminded people and people that you actually get along with, like I’m blessed to be in a crew, the Beat Junkies, and, you know, I thought I’m a okay DJ. I’m good, you know? But I think since we’ve been building this school, we’ve all been around each other. And I told all the guys too, and everyone sees what’s going on now too. It’s funny. I said, “The more that we’re around each other and we’re building this school, we’re gonna start teaching together, we’re gonna see our skill level go up a little bit. And we’ve all been doing it for a long amount of time. So, you know, you probably don’t think we could get better, but we will. And, oh yeah, for sure.
Cloie: The collaboration.
DJ Mr. Choc: The collaboration, yeah.
DJ IZ: And that’s great energy. Let me just correct you, man. By no means are you just, “I’m good.” This dude is a master.
Cloie: So, Axenzo, this is more for you, but Mike D in Austin, Texas…
Axenzo: Hi, Mike.
Cloie: …says, “I wanna make EDM samples and make money selling them. Advice?
Axenzo: I haven’t done that, so I…
Cloie: Well, yeah, yeah.
Axenzo: I mean, for me, honestly, when I make my own samples, they’re like my little babies. So if someone asked me, “Okay, I like your sample or I like your track, I will give you $10,000,” I’m not gonna sell it. I mean it’s just me.
DJ IZ: I’m not mad at that, bro. I’m just saying, “Wake up.” For me, it’s still…I sample kicks and snares still to this day. You know what I’m saying?
DJ Mr. Choc: [inaudible 00:57:54], man.
Igor: It’s an interesting point you made. It becomes like your paint, points of view of an artist. And you’re sitting and you’re mixing and you’re trying to perfect it. And [inaudible 00:58:06] that’s the paint. That’s the color you worked on. And somebody comes in and just says, “Hey, you know, do you wanna sell it?” It’s like, “What do you mean? It’s like a part of me now. This is what I’m using…
DJ IZ: Yeah, it’s my…
Igor: …[inaudible 00:58:17]
DJ IZ: It’s now part of me.
Cloie: It’s not blue. This is not blue.
Igor: But at the same time, on this answer, this is the artist’s perspective who creates music, and this is why he does those samples. But there are musicians and talented musicians out there who do make samples for sale. This is what they do. They make phrases. They make little loops. They make all this. They make single shots. And, yeah, there is… If you good at it, there is a market for this absolutely.
DJ Mr. Choc: For sure.
Igor: Look at the companies that you think do a good job at this. Who are those companies that you’re listening to their demo sample packs on the web and you say, “Man, that sounds really good.” This is where you’re going because sooner or later you wanna talk to them and say, “I know you what you make. And I think my stuff is better than yours.” You know what I mean?
DJ IZ: I think I’m gonna kill that dude [inaudible 00:59:13]
Igor: But you know what I mean? It’s like there is a commercial side to it, absolutely. This is how there’s a lot of companies doing this.
Cloie: So then to that point, this is for everybody, DJ Freeze in ATL… Hello, Atlanta.
DJ IZ: What up!
Cloie: When do you know you need representation as a DJ?
Igor: One more time.
Cloie: When do you know you need representation as a DJ?
DJ Mr. Choc: When you start getting calls, and they’re just becoming just where you can’t call people back or text people back or email. You know, you need someone to handle the business part of it. Really like for me, it took a while. I’ve been through a slew of managers over the years. And I think that, yeah, when it starts getting busy and you know you can’t return every call or return a email, then that’s when you should definitely get it.
Igor: It’s also probably a level of requests as well. You know what I mean? If you start seeing that there’s a lot of requests and also the level of the requests is on a level that…invite you to White House…
DJ IZ: Clubs, events.
Igor: [inaudible 01:00:18] to this, opening in a new hotel in Vegas and you’re like, “Wait a minute. This is the A-list game. I’m gonna get somebody who can handle that.
Cloie: And [inaudible 01:00:26]
Axenzo: Just to be…I am doing my music, right? I’m doing my music. This is my product. Business part, unfortunately, I did the same. I didn’t have a manager. So I tried to do the business part and the music part by myself. And it’s kind of like a failure. In the beginning. I’m learning from the experience.
DJ IZ: Real shit, though. That’s real shit, yeah.
Axenzo: You are learning from the experience because you are like you don’t know what is your rate, what are you worth, how to sell yourself. Of course, you can do your Facebook ads. You can do your social media, everything. But manager is something you definitely need when you come to a certain point because it’s gonna clear your mind.
DJ IZ: Well, and I think that’s very valid because, you know, I think at some point, you know, your brain automatically partitions itself, you know? You get into creative mode, very hard to jump into that other mode and not be objective or any of that. You know, it does take…you know?
Igor: I think that is correct. At certain point, you will know.
Cloie: You will know.
DJ IZ: You will know, yeah.
Igor: You will know. I cannot do it by myself anymore.
DJ IZ: Let me ask you, Axenzo. What’s the biggest audience you’ve played in front of?
Axenzo: Five thousand.
DJ IZ: Wow, and that, you know? So if you see you’re getting to that point, you know, you’re rocking, yeah, definitely tug on somebody.
Cloie: Look, so Axenzo, this is two questions. But to the point of…you were talking about representation, Derek from Santa Monica wants to know how you get most of your gigs.
Axenzo: How I get… Honestly, people are reaching me. The past six months, I can say it was very, very busy. For some reason, Instagram hashtags are very important. People are literally…I mean put all the clubs you want to play on your hashtags. People are literally going there and try to book you.
DJ IZ: That’s smart. That’s a smart idea.
Axenzo: That’s what I did. That’s what I focus. And I of course sent a message to them as well. But send a message. If they don’t respond you 100 times, send 101.
Cloie: There you go.
Axenzo: [inaudible 01:02:48]
DJ Mr. Choc: Be persistent.
DJ IZ: Be persistent, yeah.
Axenzo: It happened to me, and it worked.
Cloie: And then when you are playing and you’re at a gig, people wanna know, specifically Sol in Denver, what are some EDM tracks that always get a rise from the crowd?
Axenzo: It’s very, very depends. I mean if I…
DJ Mr. Choc: He’s asking for your [inaudible 01:03:06]
Axenzo: If I want to be…
DJ Mr. Choc: Secret ingredient, man.
Igor: [inaudible 01:03:14] 10, 15 [inaudible 01:013:15]
DJ Mr. Choc: [inaudible 01:03:17]. I don’t got a pen.
Axenzo: Tracks with the more a cappella, as you call it Chain Smoker tracks because people like to sing with you, okay, “Closer” or, I don’t know, mostly with the a cappella.
Cloie: So the rest you have to pay for.
DJ Mr. Choc: Yup, find your own recipe.
DJ IZ: What do you think about the… Let me ask you this, Axenzo. What do you think about The Chain Smokers?
Axenzo: They are great.
DJ IZ: They’re great, right.
Axenzo: Yes, absolutely. They give the performance. They do the live show. That’s what I’m kind of getting into that…
DJ IZ: Inspire you.
Axenzo: …as well, yes. They are very interactive. I am not a DJ that I just sit and play. I like to…
DJ IZ: You perform.
Axenzo: Really, I like to give the crowd my energy…
DJ Mr. Choc: That’s what it’s about.
DJ IZ: Yeah, that’s what it’s about, yeah.
Axenzo: …because it’s the synchronization. It’s when I give, I take.
Cloie: No, that’s how it works.
Axenzo: I really didn’t [inaudible 01:04:15].
Cloie: That’s how it works. No, no.
DJ Mr. Choc: Really, I like that.
Axenzo: It’s the exchange.
DJ Mr. Choc: That’s what it is, though. You’re giving out energy so the energy could come right back to you, you know? It’s a full circle.
Cloie: Choc, I got a question for you.
DJ Mr. Choc: Uh-oh.
Cloie: Uh-oh, uh-oh, so look, sit back, Freddie Mack in San Mateo says he feels like his ears get jacked halfway through his set. Why? And how can I stop it from happening?
DJ Mr. Choc: Probably because he’s not listening to one side on his mixer. So he needs to put his mix volume in the cue and also adjust his volume. Like, you know, the thing is what I notice about a lot of DJs, they have their cue volume in their headphones blaring, and then the monitor that’s next to them is blaring. I can’t DJ like that. It’s like I can’t have the music in my headphones just as loud as the monitor. It has to be softer. So soften your volume in your headphones. That’s the way to do that.
Cloie: I know that’s right.
Igor: I would say from the experience of just playing music. And in the end, that’s pretty much what it is. It’s being a musician and playing music. Watch your ears.
DJ IZ: Yeah, man.
DJ Mr. Choc: Watch your ears.
DJ IZ: Watch your ears.
Igor: Because when you’re 20, when you’re 25, and you’re out there when you’re 16 and you cranking it out that your ears are bleeding, you feel invincible, at 45, you hear high hats in the track [inaudible 01:05:40], which means…
DJ Mr. Choc: So true.
Igor: …you still can live and function, but you’re not gonna mix your music anymore. You’re gonna pay somebody because you cannot hear the high-end. Your ears are gonna go down.
DJ Mr. Choc: I learned that at a young age, like to really just soften that volume, you know? Like some DJs, they’re in there partying and having fun, drinking, and they’re not really paying attention to the volume in their ears. if you have your volume at 10 in your headphones for two hours straight, that’s gonna hurt you somewhere down the line. You have to soften that volume. You have to soften that.
Axenzo: Every time when you go to a concert or club, bring your earplugs.
DJ Mr. Choc: That’s one thing I’m working on. I need to bring are plugs a lot more [inaudible 01:06:23]
Igor: And by the way, these days…again, these days, everything is available. What a wonderful time to live in. These days, you can get earplugs and maybe you’re not gonna spend $2 in a 7-Eleven with the pieces of foam. Maybe it would be $50, $60. But you will get the plugs, which will just bring evenly the frequency down. You still have high frequency there. You don’t feel like you have a pinky stuck in your ears, and they don’t hurt. And you can still hear everything. This is one of the best investments you can do in longevity to preserve because this is your instrument. And you don’t think about it, but this is your instrument. This is how you judge. This is how you make decisions. This is how you make music. It’s not all here. It’s here too. That’s your speakers. So [inaudible 01:07:04] your speakers.
DJ IZ: Social, man.
Cloie: Axenzo, Brent from New York, New York…start spreading…I gotta stop doing that joke who wants to know, “If I do the Recording Connection, do I get to pick my mentor?”
Axenzo: I mean they will pick a great mentor to you. I didn’t pick Patrick, but I am extremely thankful. And if I’m here right now, there is a very big percentage I am thankful to him and for Recording Connection. So they are gonna choose the best mentor for you.
DJ IZ: Has he ever came to one of your performances?
Axenzo: Not yet, not yet. He actually started to perform all over the world as well. He was in Europe.
DJ IZ: That’s dope.
Axenzo: I always invite him…
DJ Mr. Choc: …facility for DJs, whether you’re beginner, intermediate, advanced. You come to our school and get polished up and get educated.
DJ IZ: It’s amazing, amazing.
DJ Mr. Choc: All I’d like to say is [inaudible 01:07:57] like…
Igor: Who’s better than these guys, right? I mean…
DJ IZ: I mean…
DJ IZ: …you guys now we have to figure out how to replicate this and take it to like New York, Chicago, [inaudible 01:08:07]
DJ Mr. Choc: [inaudible 01:08:07] my ears are open. I need a soft volume
Cloie: Start spreading the news.
DJ IZ: But the only thing is we’re gonna have to clone you guys.
DJ Mr. Choc: Yeah, franchise?
DJ IZ: But it only works if we’re able to clone them. So you can’t…you know, the [inaudible 01:08:22]
Cloie: Well, science is a wonderful thing.
Igor: Okay, then it’s a tour.
DJ Mr. Choc: Yeah, we already have a curriculum in place. So, yeah, we’re definitely ready to expand, you know? We could talk about that. But, yeah, just like if you wanna learn anything about DJing, and it doesn’t matter what genre of music you’re into. It doesn’t matter what type of hardware you’re playing on or whatever, that’s what our school is. Our school is for everybody that loves the culture and the craft of DJing. And you can come and get educated by us.
DJ IZ: What if I just wanna come and learn just to crab scratch because I only wanna just crab scratch.
DJ Mr. Choc: We have that. Scratch [inaudible 01:08:52] double d stops.
DJ IZ: It was funny, man, I remember having this convo with you. We’re at NAMM. And we listen to all these guys just scratch, scratch, scratch, scratch. And everybody scratched the same. It’s like everybody’s just like doing this. And it’s nothing…there’s nothing between… It’s just like, “Man, can we can we hear like some flavor like…”
DJ Mr. Choc: It goes back to what we were talking about earlier about, applying your own style to those moves. That’s what it’s about. Like you don’t wanna sound…I don’t wanna sound like nobody in my crew. I love my brothers. I love my Junkie crew. But I don’t wanna sound like none of them. They’re all super dope. You know what I’m saying? But I wanna sound like me. And that’s what it is. Keep your identity.
DJ IZ: Yeah, you gotta keep your identity. And then, Axenzo, man, I know just, you know, hearing your overall presentation, man, I’d really love for us to get together with him and maybe give him like a 808 tutorial on the DJ-808 and just…
Igor: Yeah, no, absolutely.
DJ IZ: Because I’m telling you, you get in front of one of these things, bro, man, you’re gonna put all the other stuff in the shed.
Igor: And you know like…you know, there’s a reason…there’s a good reason why. And, you know, we talked about this. DJing evolved over time, as you were saying, you know, to turntables and going and technology came in and the computer and [inaudible 01:10:07] and everything. Very often, companies making some products because they feel like it’s an engineer-driven world, right? So they wanna nerd out, right? They wanna make something cool, which is like all like great. There are cases in every company that they make something great, but it just doesn’t sink. You know what I mean? It just kinda goes parallel, and everybody kinda look, says, “This is amazing.”
But, and there’s a but after that, right? So DJ-808 was one of those products that actually there was a lot of research into the culture dump before it came out. It wasn’t just because, “Hey, what are we gonna do?” “Let’s go with the DJs. Those guys kind of a cool these days are.” [inaudible 01:10:55] kids. That was not this product. And I think a lot of people in the industry kinda look like, “Okay, so now Roland wants to like get into that game and because it’s…” It was absolutely not the reason. We could’ve done…keep doing what we were doing, and everything would have been fine. The desire was to answer to what was going in the real life. And in the real life, we heard again and again and again that evolution of the DJing is, as we spoke many times about it, right, DJs are supposed to be producers on the stage. They wanna make music. They go far…they become more and more musicians in the real life, producers in the real time right there in front of you.
Axenzo: But there’s nothing to push.
Igor: But there’s nothing… You know what I mean?
DJ IZ: Yeah.
Igor: So the idea was a probably correct one looking backwards and saying, “Wait a minute. We are the company that is at the foundation of majority of the sounds that you hear in the remixes in DJ and everything.
DJ IZ: Yeah, 808 drum machine.
Igor: 808, 606, 909, TB-303s, all of this. So if there is somebody who can merge two worlds or at least make an almost attempt to do that and see what’s gonna happen in the end, this probably would be us. So let’s just make that…that wouldn’t be here as my turntable. So here’s my desk, right? And here’s a bunch of Roland gear and all this cable is connected. And is it sinking, not sinking? What did I do wrong? We just put something, one box in one place. So you can make a beat right there on the fly, whatever you feel like. You can compose while you’re doing this. And that was behind as to answer this. And this is why I am so excited to see that we succeeded at doing this…
DJ IZ: [inaudible 01:12:45], for sure.
Igor: And the answer to this because when we start putting it out from the guys like you, from the guys like Melo D, Jazzy Jeff, a whole bunch of guys that we went to in the very beginning because we were, frankly, you know, some of us, not all of us, but some of us were like, “Let’s see like what’s the response is gonna be.” You should know. Because it’s kind of a new thing. But what are they gonna say? Overwhelmingly, everybody said this is it.
DJ IZ: That’s why I always make it a point to say like, you know, there’s very few that are willing to organically jump into the culture and really sit with the folks that can help you get it right. And I think we’re at a day and age with all these companies, they got all the geeks in the lab, right? They got all the technology. But when you go to ask them and understand where their musicality is, they don’t have it. So that’s why that disconnect always exists. It’s like, “Yeah, you got the dopest geeks. You got the dopest scientists. But show me one that can actually DJ. Show me that one can actually make a beat, make a groove, you know?
Igor: In the end, now it became a piece that’s bringing artists from opposite sides to the center of this, right?
DJ IZ: Right.
Igor: Like Mr. Choc, for example, he is that generation that he came to this with all this knowledge doing this. Axenzo does a different way, Logic and everything, cannot get more from musicians kind of a computer scene coming in. But that piece has both of those…
DJ IZ: It does.
Igor: Both of those guys in this machine, each of them could take advantage of this and enhance their workflow and, you know, and their creative process and say, “You know what? I can really use this. This is gonna be great.” And people will respond to this. People like to see somebody making music on the stage and be involved as much as they can.
Cloie: Well, see, I wanna jump in on this, like this 808 love fest can’t continue. Before we close out, I do wanna remind our viewers that we do have an additional five job opportunities that are…
Cloie: I know, right? It’s 10 jobs.
DJ IZ: Ten jobs a Monday, guys.
Cloie: It’s 10 jobs entire. And, bam, that’s that graphic right there, and these are…
DJ Mr. Choc: And those are [inaudible 01:14:48]
Cloie: Right? Ten jobs. And they are only available on Connected, on our…through our website.
DJ Mr. Choc: On-air radio personality, oh man, you got all kind of jobs.
Cloie: All good stuff.
DJ IZ: Yeah, dude.
DJ Mr. Choc: Who you got at 92?
DJ IZ: See, I always say that, man. Every time like we really dive into what “Connected” is about, people always say, “Man, what was that when I was… Man, if I had known that existed…” you know? And that’s true. I mean I think just where, you know, technology has put us right now. We’re able to do these things…
Cloie: Have to, have to.
DJ IZ: …so much faster,yeah.
Cloie: And where can we find out more about… I mean, Igor, we know where to find…you know? But where can we find more about where you guys are, what you’re doing, your top secret mission that you can’t say?
DJ Mr. Choc: Ta-ta-ta.
Cloie: I know.
DJ Mr. Choc: You go first.
Axenzo: You first.
DJ Mr. Choc: All right…
Cloie: Oh, I just made him shy. I’m sorry.
DJ Mr. Choc: Well, for me, I’m on all the social media platforms, so the Facebook, Instagram, Twitter. And then anything about you wanna learn about the school, that’s at beatjunkiesound.com.
Cloie: Love it.
DJ Mr. Choc: And, yeah, that’s where I’m at.
DJ IZ: You got something coming up with Serato [inaudible 01:15:52]
DJ Mr. Choc: Yeah, do not wanna count the bag yet, but I’m doing… So we actually, the crew ourselves, we have some, you know…Serato is one of our sponsors at the school. And we’ve been having a great relationship with Serato for years now. So we got a little video series getting ready to come out pretty soon.
DJ IZ: Oh, dope.
DJ Mr. Choc: So stay tuned for that.
DJ IZ: I wonder, Igor, we should definitely, you know, stay in tune at what they’re doing at the Institute of Sound.
Igor: Oh, absolutely. Oh, absolutely.
DJ IZ: [inaudible 01:16:16]
DJ Mr. Choc: Yeah, you gotta come down still, man.
DJ IZ: I know. I’ll be there. I’ll be there.
DJ Mr. Choc: I know why…I know why you must have been busy.
Igor: Because maybe we will sync up and we’ll both go and check it out.
DJ IZ: Let’s do it. I’m down. I’m so down.
DJ Mr. Choc: You too. You’re pointing at them. [inaudible 01:16:27] You too.
Cloie: I just don’t have enough hands.
Axenzo: [inaudible 01:16:31]
DJ Mr. Choc: Yeah, yeah, yeah, please, please, please, please.
Cloie: And, Axenzo, where can we find more about you.
Cloie: I love it.
DJ Mr. Choc: Wait, I didn’t say exactly what my tags were, but, yeah, I have a fan page on Facebook, Mr Choc, and then on Instagram, it’s therealmrchoc, so exactly the way it sounds, thereal…T-H-E-R-E-A-L Mr C-H-O-C, not like chalkboard, Choc, like short for chocolate.
Cloie: Chocolate. I wonder why. And, Igor, where are we finding more about you and Roland?
Igor: Well, this is very simple, roland.com. We’ve tried it, but on Instagram,, it could be a roland_us, same on Facebook. roland.com is our global website and, you know, for the first time usually that something pops up and say do you wanna visit your local version of that site? There are certain differences could be localized, you know, something, so it’s better to probably go on the local website and see some of them. So some of which [inaudible 01:17:48], but, yeah. We have a very, very…same with the Boss, which is also part of Roland. It’s boss_fx.
DJ IZ: See how big Roland is, man?
Igor: It’s easy, you know… Actually, our social media is very vibrant and very…
DJ IZ: It is.
Igor: …very active, very active. This is something that it has a daily attention to how much we post, what we post, everything. I know there’s a lot of companies that just kinda like, you know, things are just like throwing out there just to be there. Everything is analyzed and [inaudible 01:18:22]. Our guys are very serious.
DJ IZ: And shout-out to Roland for letting us chill in the House of Roland and kick our feet up and just have a conversation. And I definitely wanna get a 808 in front of you, man, let you touch it, let you feel it because I’m sure it could definitely add some value to your presentation because you are a performer. And to me, you know, one of the things I loved about the 808 is it signifies performance.
Axenzo: And one more important thing because before that we weren’t able to request our equipments onstage. I mean we were, but it was hard. Lately, instead of this…what they call it industry standard, I mean there’s no industry standard anymore, but we can actually request whatever equipment we would like to use. So if I like to use Roland, I will say, “Ok, I’m gonna use Roland, and I will be performing…
DJ IZ: Let me tell you this, man. It’s got a nice travel bag. And it works. It works. So, yeah, definitely, man, we’ll definitely keep the conversations going, man. And I just wanna congratulate you on your success.
Axenzo: Thank you so much.
DJ IZ: You’re moving fast out there, man. You’re moving pretty fast.
Axenzo: It’s all the good vibes and good energy.
DJ IZ: And that’s what it’s about, man. And to me, it’s always great to see like just the culture get together, whether it’s vinyl, whether it’s controller, just to share the information, you know? And just thank you guys for coming out today, man.
DJ Mr. Choc: Oh, my pleasure, man. Thank you.
DJ IZ: I know you guys got busy schedules.
DJ Mr. Choc: You finally made it happen, man. Thank you.
DJ IZ: And I’m gonna finally make it happen, me and Igor and the Connected team will get down to the…
DJ Mr. Choc: Come on down, come on down.
DJ IZ: …the Institute of Sound…
DJ Mr. Choc: You’re more than welcome.
DJ IZ: …and just come hang out.
Igor: Just give me the word. Absolutely. That’s not let’s do lunch Los Angeles style. We’re gonna be there.
DJ Mr. Choc: I like that. I like that.
DJ IZ: Hey, Igor keeps it 100 all the time.
DJ Mr. Choc: Yeah, I like Igor already. You’re welcome to come. You too, brother.
Cloie: We’re all across social media @izconnected. That is I-Z-C-O-N-N-E-C-T-E-D. That’s for the art. That’s it. We got graphics, graphic one. There’s graphic two, go graphic two. That’s it.
DJ IZ: Like I said, we keep it simple. Thank you all for tuning in live today.
DJ Mr. Choc: Appreciate you guys.
DJ IZ: Appreciate you guys. And definitely stay tuned with Choc and Axenzo. They got a lot of things going on in the culture. And, of course, my man, Igor, here at Roland keeps it 100 and you know how we do. We look forward to seeing you next week. Remember you got all week to get things cracking, stay motivated. Go out there and get it. Application is everything. None of this works without you guys doing what you do. All right, look forward to seeing you guys. I’m your host DJ IZ, my lovely co-host…
Cloie: I’m Cloie Wyatt Taylor.
DJ IZ: And we’ll catch you next week. Until then, peace.
DJ Mr. Choc: Peace, y’all.
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