We recorded the event live on Ustream and you can watch and listen to this performance on the DJM2000nexus and 3x CDJ’s below…

1. It seems ‘Bear Essentials’ is tearing up the local club scene, where did the name come from and how did you get into DJing?

I began DJing back in my hometown of Appleby in Cumbria. My music teacher, Martin McDonald, introduced me to music. Initially I was a drummer in a school band called “Teen Element”. Although I gained a lot from being part of a band there was something missing and I felt I had more to offer. It was at this point I was introduced to my first DJ controller; I believe it was the Hercules RMX Console. From here I played at many school discos and private parties. As for the name “Bear Essentials”, I get asked this all the time and I think I should write a sheet explaining so I can just give it to people.

During my school years we (myself, my two sisters and my brother) were the only mixed raced kids in the entire school, I also had an 8″ afro which got me the nickname “hair-bear-bunch” from my teachers. So my peers then gave me the name “Brown Bear” and it stuck for a while. Over time I developed the name and came up with “Bear Essentials”, for me the name is a play on words. If I were to take the bare essentials to a club I would be bringing just enough, no more no less, for everyone to have a good time. I then kept the “Bear” part so I would remember where I came from and kept my nickname from school.

2. You seem to have a talent of mashing up a lot of tracks and styles together with great enthusiasm, do you plan mixes, sets and do edits? What type of prep work goes into your sets before you play out?

My approach to preparing for sets has changed over time. I used to be a DJ that would think more is better; I would take thousands of tracks to a gig even though I knew exactly what I was going to play. I’ve read a lot of articles on set prep and different ways of selecting music for a gig, and I don’ think there is a right or wrong way to do it, it is heavily based on the individual and their style of DJing.

My quick mixing style and 3 or 4 deck setup means I select around one hundred tracks per hour of DJing. Using this method means rather than have the limitations of pre-planning a set and not being able to diverge at all I still have the freedom to roam the different genres. Also, by not taking thousands of tracks I ensure that I don’t get lost in tracks that I just wouldn’t play. Along with these tracks I take between 20-30 throwback tracks, which can be a real winner with the crowds. So my advice would be to select pools of tracks rather than pre-plan everything.

Prior to turning up to a club I put a lot of work and time into the tracks I’m going to take with me. Every track is Rekordbox analysed and I set cues/hot cues/loops where appropriate. I ensure that I set a hot cue either 32 or 64 beats before a drop for every single track; this allows me to know exactly when a track will drop and can enable me to “double drop” easier and mix in and out even faster. I am a massive fan of making my own edits and chopping and changing tracks to suit my style and needs. I believe the hours I spend preparing for a gig is what allows me to have so much freedom in my sets to keep the crowds guessing.

Every track is Rekordbox analysed and I set cues/hot cues/loops where appropriate. I ensure that I set a hot cue either 32 or 64 beats before a drop for every single track

3. What do you use to prep your edits and playlists?

I prepare all my edits on FL Studio 10. From here all my tracks are imported to my Serato software, which I use as my main database. I create playlists in here and import them to Rekordbox; using this method means only my top rated tunes get onto the Rekordbox software. By using this database on Rekordbox I can then go on to create my set lists specifically for upcoming gigs.

 4. At home, you have a Pioneer XDJ-Aero, what made you opt for this DJ Controller above others?

SIZE!!!!!!! Before I broke onto the club/festival scene I used to do a lot of mobile gigs, I was carrying round 2 Pioneer CDJ 400s and a Behringer DDM4000 all in a coffin case. This was heavy at best; the sensible option was to get a smaller controller. I looked at the Pioneer DDJ-SX but again it was too big for a mobile setup. For what it is the XDJ-Aero is unbeatable, with the built in Wi-Fi and independent effects units for both channels. It has a mic input and can be used as a stand alone mixer with it’s auxiliary inputs. I played at the Radio Metro Arena (Newcastle) to 4,000 people using the XDJ-Aero and I could have been on CDJ 2000s (it’s that good!)

5. We have seen you use your iPad with the XDJ-Aero in our competition we hosted with Pioneer DJ – is this something you think will catch on and do you ever use it in a Live situation?

Even though it’s a massive gimmick I was sucked into it, using it along with the Rekordbox app is a massive leap forward in DJing. However, I think in the future the use of Rekordbox on the mobile phone will catch on, as it’s a smaller device and accessible. I have used an iPad in a live situation; however, with my usual style of DJing I wouldn’t find the time to mess around with an iPad. I have been lucky enough to watch James Zabiela use his iPad during his DJ sets and it blows people away, in saying this, this is his style and he has mastered it. For me iPads in live sets will not become a permanent feature.

I played at the Radio Metro Arena (Newcastle) to 4,000 people using the XDJ-Aero and I could have been on CDJ 2000s (it’s that good!)

6. You obviously use Rekordbox software, what are your thoughts on this software and how do you organise your collection?

Rekordbox is my new-found pastime. I am always looking through tracks analysing and adding cues, loops etc… I’m massively OCD when it comes to tracks, I always have to have them named correctly with genre, bpm, length of track, it seems to take over my life. I only add music to the Rekordbox database that I would feature in my DJ sets. I think the software is brilliant once you have mastered the shortcuts and what everything does. My collection is organised into upcoming sets. I used to organise my collection in terms of genre, however this meant that a lot of my sets were becoming too similar. To counter-act this I make a new playlist for each gig I do, this way I am forced to look through my tracks and work out what’s hot and what’s not. It also means that my sets don’t get boring for me and for the crowds. As I said earlier I take around one hundred tracks per hour of set time, plus 20-30 throwback tracks.

7. Whilst performing in our Pioneer Rekordbox Suite, you seemed comfortable and enjoyed using the flagship CDJ2000nexus, what did you like most about it?

Well… where do I start. This is literally the daddy, just like the 2000 but with all the extras you wish the 2000 had. The large display with the waveform is great and the button to control the quantise on/off (where previously you had to trawl through menus) is so much better. I will avoid treading on anyone’s toes talking about the sync button, and I think we would have to do a whole new interview if you wanted my views on it. Personally I stuck to USB as it’s what I know, but I would be willing to try using my iPhone/iPad as a music source. As well as all the new features the jog wheel is so much more fluid, which for me on three decks was really important.

8. When using a Pioneer mixer, do you have any special FX combos you use to make transitions?

Hahaha… Well that’s a need to know basis… BUT … I will let you know one that I use quite frequently. On the DJM 900 I combine the noise effect and reverb to mix out a track into the drop of a second track. Not many people know you can assign the noise effect to a channel that has no track playing through it. I then assign the reverb to that same channel to give it a nice tail. By combining the two effects you can get a very nice build up to a drop. On the drop of the second track the first track is completely removed and the noise effect is put back to the 12 o’clock position, (off) the reverb is left to naturally tail off.

Not many people know you can assign the noise effect to a channel that has no track playing through it.

9. Where can we usually find you performing and playing your latest DJ set?

At the minute you can catch me:

Monday @ Club Social [Bijoux]

Tuesday @ Persistence (MCR) [Venus]

Thursdays @ Drop [theCUT]

Monthly @ Persistence (Newc) [TupTup Palace]

Monthly @ Haus of Sound (Lancaster) [Elements]

Bank Holidays @ Persistence (Newc) [Legends]

This summer I have already opened the Dance Stage (Ballast) and Closed the Red Bull stage at Evolution Festival. I’ve got sets over in Ibiza (Amnesia) and at Kendal Calling (Glow Tent).

10. It seems your name is a buzz word or hashtag around Newcastle scene right now, if you have any advice to upcoming DJ’s in the area to break into the DJ scene, what would that be?

To any upcoming DJs I would say Practice, Practice, PRACTICE… Everyone is always still learning. I am always trying to discover new ways to wow audiences. Don’t be scared to look at and mix different genres, being able to mix other genres only makes you a more rounded DJ (skill wise). Try to find a unique selling point (USP) about yourself. What separates you from the rest, and enjoy what you are doing. We all have “that gig” which isn’t as good as the rest, but try and work out why and how you can prevent it happening again. Finally get noticed, I started a YouTube channel and put up loads of videos of me doing 10/15 minute mixes, these eventually got picked up and I landed my first residency.

 Contact/Booking details:

bearessentialsdj[at]gmail.com

Please note: You can watch and listen to his half hour set at the bottom of this page whilst you read this interview.

Catching up afterwards we managed an interview with him giving us great insight into how he manages his workload running a label, DJing, producing music and how he uses his selected DJ tools (Traktor) when performing. This is what he had to say…

1. As owner of Axon Recordings you seem to have quite a few releases out yourself, how do you manage to keep up the production work and manage a label at the same time?

“I have a couple of evenings every week that I to dedicate to label work. However, I would say I end up working on label stuff almost every day in some sort of capacity. I think it helps setting at least these two days aside though.

When I start working on a track, the amount of time I spend on it can vary… I might spend a full weekend working on ideas, or I might just have an hour here and there to start with. I then might not work on it again for a week. It just depends really. If I start something though, I think it’s good to give it a few days to rest, then go back with fresh ears.

I would say most of my time is spent working on music in some shape or form though.”

2. When producing your own stuff, what is your favourite production tool of your choice?

“Not sure if you would call it a ‘tool’ as such, but for me, it would have to be Ableton Live. I love how Live quickly allows me to get something going. I really like the workflow and I can get ideas going really quickly.

I love how flexible it is, allowing me to edit/re-edit sounds and loops really quickly.

I really enjoy using the drum machine, or sometimes Impulse, for my drums. Again, it’s really flexible and I can get a good groove going really quickly.

However, I think how quickly I can do stuff, and how comfortable I am, really comes from taking the time to learn the software. In the learning stage (which I’m still in really), YouTube videos and tutorials can be a great help. But, just messing around and playing can be just as good.”

I try to use sounds that need little or no processing to fit, as they help give a cleaner sound and work better in the mix. If you need to EQ or process the hell out of something to make it work, it probably isn’t the right sound.

3. When using software instruments and effects what are your top 3 plugins you use regularly?

“In no particular order:

Sylenth1

I think Sylenth1 is massively overused, and it’s usually very recognisable in productions. Although, I’m trying to use it less, I do always find myself going back to it. It’s a really good and versatile VSTi overall, and you can get some really nice sounds out of it. I think you just need to stay away from the obvious pre-sets. For me, it’s pretty straight forward and easy to use. I sometimes try to use NI’s Massive, but I find it very complicated and fiddly.

Xfer Records – LFO Tool

I mainly use this as a sidechain plugin, instead of a compressor. I think it gives a nicer sound/feel, while allowing you to draw in your own envelope. I tend to group my sounds (bass, melodies, pads, percussion) and will give add a little bit of sidechain to each group.

NI Kontakt 5 (Sasha Soundlab)

I’ve only recently discovered this and I really like it. I got it when I got the Sasha Soundlab library. I think I’ve only scratched the surface but there’s so many good sounds that can be used and tweaked. The audio quality is really spot on too, but I’d expect nothing less from NI.”

4. Do you own or use a midi keyboard regularly?

“I have an M-Audio Oxygen 49. To be honest, I don’t use it that much really. It’s a bad habit buy I  write a lot of midi parts by just clicking the mouse. However, when I’m trying to write some melodies or pads, it’s really good. Especially for those spontaneous moments or happy accidents.

Set Live to record and just play away until something works.

5. When mixing down or mastering your final tracks what do you rely on the most?

My ears (and a decent pair of monitors)! You could use all of the best plugins in the world, but you know what sounds good and what doesn’t (most people do anyway).

I always try to ‘produce’ as I go. By that I mean, I’m working on things like levels/EQ as I’m making the track, rather than go back and do it later. This makes the final mixdown a lot easier, as it may only need a few tweaks.

However, I try to use sounds that need little or no processing to fit, as they help give a cleaner sound and work better in the mix. If you need to EQ or process the hell out of something to make it work, it probably isn’t the right sound.

A good pair of monitors definitely help though!!! My KRK Rokit 5s are one of my best purchases!”

6. In your performance in store you used a DJM 900 and a Traktor X1 controller, what are your thoughts on using these and the ‘sync’ debate?

“The ‘sync’ debate is pointless. I really don’t understand why people have an issue with it. I can mix – I started on vinyl and then CDJs. However, like a lot of other DJs/producers I love technology. I got the old Final Scratch system years ago, and since then, I’ve more or less stuck with it.

One thing the sync button will never do, and this is why I don’t understand the issue some people have, is that it won’t find good music and program a good a set for you. It also won’t drop the track at the right point and work your faders/EQ.

I love Traktor – I love how it allows me to prepare and sort my tracks. I love the FX and I love how creative it allows me to be with the mix.

Going back to your point though… If the end result is good, who gives a ****?

Pointless argument, and people need to get over it.

Going back to the gear though. The DJM900 is a superb mixer. I’ve always been a fan of Pioneer mixers. The build is second-to-none, and the built in FX/EQ are really nice. The best feature for me, is that I can plug my MacBook Pro straight in to the mixer and use the built in sound card with 1 USB cable – No messing about with phonos! It’s a perfect companion to my X1.”

7. Would you ever consider using an iPad and a controller to perform live with?

“No, I don’t think I would.

I’m a big fan of the new Traktor DJ app for the iPad and iPhone. I love how it allows me to listen to new tracks, practice mixes, beatgrid tracks and make playlists. However, I would never take it to play out. I just don’t think and iPad is sturdy or rugged enough.

Even though I use Traktor with an X1 controller, I love to use it with a mixer like the DJM 900, or the Z2 (which I’ve just bought). I love the tactile element of it, using te faders/EQ.”

8. As a label owner and for our readers producing their own music and wanting to ‘get it out there’ what would be your best bit of advice?

“Do your own thing – Be yourself, and don’t worry about making the ‘next big thing’.
Always try to learn and try new things – Things like YouTube are a great resource. The better you know your tools, the better you will become. However, don’t try to learn/use too many things at once. Just try to learn a few really well.
Experiment – Some of the best ideas come from this.
Collaborate – It’s amazing how much you can learn from each other.
Take your time – It’s no rush.
Ask for honest feedback – Use sites like Soundcloud to get feedback (from people who aren’t friends/family).”

So, a big thank you to Che for popping down to our Newcastle Store to perform a LIVE DJ set which we recorded on Ustream. You can watch and listen to this live set below…enjoy!

Not only will you be getting a professional quality sample engine you will also be getting incredibly realistic room sounds since these drums where recorded in Avatar studios, one of the most famous recording studios in the world. You will also be getting 20 GB of phenomenal drum sounds recorded by some of the industries leading studio drummers including Pat Thrall, Neil Dorfsman and Nir Z. These Drummers have also recorded plenty of drum loop MIDI notation for you to mess around with.

Quickly construct your own custom kits by selecting certain drums out of a wide range of drum kits for Superior drummer’s extensive library. You can also use superior drummer’s envelope section to manipulate the drums further and further still by including 6 different effects.

We are now selling the Traktor Z2 here at Soundware for a very reasonable price of £499 so you’ll be saving yourself £150! This is an incredible price considering you will not only be getting a two channel with added channel capabilities, you will also be getting time coded vinyls, Time coded  CDs and Traktor Scratch Pro which is worth £240 by itself. So if you think about it you’re actually getting £949 worth of Traktor products for just £499!

Hooking up to a Midi Keyboard could not be any easier, simply plug in a MIDI cable to the MIDI IN port on the back of the module and the other end into the MIDI OUT port on the back of your key board, plug in the power supply and there it you have  a truly epic synth.

If you are looking for a new way to design sounds and explore the world of analogue synth modulation then the Waldorf Rocket is for you, this little box is an ideal sound design machine, which in combination with its extremely attractive price of just £199.00 will appeal to any sound designer and musician interested in quality sounds. It works as a stand-alone instrument or in any imaginable music production environment but its most important feature is of course its sound. This is designed by its analog multi mode filter (VCF) with Low Pass / Band Pass / High Pass, highly diverse oscillator section with modulation, hard sync and can include up to 8 oscillators in unison for chords.

The selling point of these new audio interfaces is basically that you are now able to connect now to an Ipad giving you the ability to record where ever you are. AVID have also changed a few thing with the build of these new models, re-enforcing the  controls and jacks and being housed in a rugged metal chassis offering protection against any physical damage which may occur when you are transporting this device. Just because the Fast track Solo and Duo are aimed at portable musicians/producers does not mean that the internal components are any less impressive. The Solo and Duo enables the capture of two sources simultaneously at 24-bit, 48 kHz resolution with high-quality mic preamps and inputs:

• Fast Track Solo includes one mic preamp and one instrument input.
• Fast Track Duo includes two mic preamps/instrument inputs and two line inputs.
• They both allow direct monitoring while recording without latency.

Toontracks dfh EZ Drummer:

Dfh EZdrummer  is a multi-microphone drum sampler designed for musicians and producers in need of a compact, affordable, easy to handle plug-in without compromising sound quality or control. The visualized drums in the interface combines auditioning of sounds and drumkit construction. The extensive drag and drop midi-library (featuring 8000+ midifiles) enables users to create a great drumtrack in just a few clicks. For more advanced handling, users can control microphone bleeding and levels between drums using the internal mixer.

The mixer also allows stereo and multitrack routing into the host through one single plug-in, and thanks to the second generation Toontrack Percussive Compression (TPC), system requirements are kept to a minimum.

The drums for dfh EZdrummer™ were recorded, produced and played with the best in the business. From Toontracks pro SUPERIOR line we’ve adopted the humanizing features that are instrumental in making our drum samplers the pinnacle in digital drum production.

Toontracks EZMix 2:

Whether you are mixing drums, bass, guitar, vocals, piano or adding that final touch to your master, with its more than 300 professionally designed audio processing settings, EZmix 2 is your one stop to a perfect, ready for release mix!

Leave the behind-the-scenes complex effect routing and processing to seasoned veterans. Start mixing your music – it´s EZ!

EZmix 2 continues to build on the same fundamental idea: having mix-ready effect chains designed by audio professionals only one click away, making mixing music not only easy and incredibly fast, but offering results second to none. The new and revamped version comes with a revised interface, guitar amp and cab simulation, new effects and signal chain content. In essence, EZmix 2 is a one-stop shop to realize a professional, release ready mix quickly and efficiently.

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The Novation Bass Station II is an analogue mono-synth based on the classic original Bass Station but re-worked for the 21st century. It has two filters, two oscillators plus a third sub-oscillator, patch save and a fully analogue effects section. Add a step sequencer, arpeggiator, full sized keys and a powerful modulation section and you have the makings of a synth that is built for bass, but capable of so much more.

Visit us in Newcastle from 3pm on the 15th May (Wednesday) to get “hands-on” with the Bass Station II

Novation product specialists will also be showcasing the brand new Launchpad S and Launchkey 25. The workshops are informal. The sessions will be based on what you want to know! Here’s an overview of the Bass Station II to whet your appetite. Please contact a store directly to register your interest or if you wish to book a specific time with a Novation product specialist. FREE beverages will be provided.

Soundware TV - Click here to view the embedded video.