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Poker Flat's 'Forward To The Past' anthology is back for a third round, and it's as slick and club-ready as ever. The brainchild of legendary...

Back in June, DJ Mag headed to Bristol to review Alfresco Disco's 10 year anniversary party with Eats Everything, Bill Brewster and more. Now we've...

Audacious Italian DJ/producer Riva Starr lives in London's trendy quarter, Hoxton. And when he's not hot-trotting across the club circuit, or mixing up a storm...

When we spoke with Steve Bug he was post-DJing for DJ Mag TV and in the prequel to a punishing tour schedule that would take...

London's Barbican Complex never fails to make a big impression. A combined arts and cultural centre forming a nucleus within tower blocks and the lower...

Dubbed Out may only just be metaphorically starting promoter pre-school, but this event showed an ambition and shrewdness beyond its years. With an amazing venue...

John Digweed is an enigma. He began DJing at the age of 15 and started putting on parties in his home town of Hastings on...

This article was created by a Miller Music Journalist. Miller Music journalists applied to become writers via the Miller Genuine Draft Facebook Page and were...

She’s infamous, she’s Siberian and she utterly blew the roof off Snowbombing, playing inside an igloo at the top of a mountain to a select...

In a previous issue in DJ Mag Tech we saw how Ableton’s flagship production software, Live, has evolved into an improved powerhouse, with the new Version 9 release. However, not content with bolstering their software to be all-powerful, the guys at Ableton have added an extra dimension to the whole package. It’s obvious in their minds that software is not enough, and so exploring the next level seems like the logical progression.

The V-MODA Crossfade M-100 headphones sound every bit as good as they look...

House legend Felix Da Housecat has found his way again, not that we ever thought he’d veered from the path of genius. After experiencing something close to a divine intervention, convinced that he had the devil on one shoulder and his family on the other, Felix has given up tequila. And his creative juices are in full flow again, with his latest release, the ‘Sinner Winner’ EP, sparking mayhem on the dancefloors, an exciting collaboration with dub hero Lee Scratch Perry in the bag and a new album due for release this year. Now living in London, Felix cites the UK as the place that he got his start. 
“I’ve lived here back and forth, sometimes I would stay for a year. But when I first came, England accepted me. And the vibe here back then, it’s still that vibe here now, it's not cheesy here at all.”

Once upon a time DJs roamed the planet with boxes filled with enough vinyl to cripple a sherpa and synthesisers that were so big and heavy they required two roadies to wrestle them onto the stage. Fortunately, these days, all it takes is a laptop with a couple of controllers plugged into the USB ports to do the job. Korg have been around since the beginning of the electronic music revolution, and while once they were manufacturers of hardware behemoths, they have kept abreast of the times by releasing a wide range of products in both hardware and software formats, from bulky workstation synthesisers designed to live in a studio to their micro range of keyboards, which are the perfect size and weight to be taken on the road.

When it comes to DJ controllers, the big boys' toys tend to get the most attention. Anyone new to the scene could be forgiven for thinking that to get a decent hardware controller with enough features to make it a professional piece of equipment, a seriously large amount of cash is going to have to be paid in order to take it home.

When it comes to the world of studio effects plug-ins, few companies have been around as long as Waves, whose first product, their Q10 paragraphic EQ, was released in 1992. Even fewer have built such an outstanding reputation among the studio community for producing consistently awesome sounding plug-ins.