From London to Las Vegas: How the two nightlife scenes compare

From London to Las Vegas: How the two nightlife scenes compare

London may be famous for its historic landmarks, the rain and the iconic red telephone booth, but for the electronic music junkie, the only thing that matters is the music scene. The capital is renowned for its house music, drawing in both DJs and fans from across the globe to be part of the sickest parties with the freshest lineups. From basement shindigs at The Nest to big nights out in Fabric, people are spoiled with a wealth of options for a rowdy night out on the town.

There are only a few cities in the world that are distinctly celebrated for house music or electronic music for that matter, most of which are located throughout Europe, compared to North America where genres like hip hop and country thrive. However, one city is quickly rising to the top as a new favourite destination for electronic producers, a place that happens to also be the world’s entertainment capital.

For a long time, the casinos largely dominated the Las Vegas party scene, but the latest generation of travelers have indicated a decreasing interest in gambling as they search for unique experiences that can’t be found on the gaming floor. The change was unexpected, coupled with the proliferation of online jackpots that offer big winnings, encouraged them to invest in other resources. After the first Sin City edition of Electric Daisy Carnival debuted in 2011, it was clear that electronic music was key to reviving Las Vegas.

Years and millions of dollars later, Vegas is now the ultimate playground for electronic music fans, whether their love lies in deep house or dubstep, trance or drum n bass. International producers have become household names in nightclubs, while up and coming DJs are often featured in outdoor festivals and smaller, low key venues. The pool parties may be crowded and the megaclubs may be extravagant and pretentious, but there’s no doubt that the music will be anything less than stellar, the same quality of electronic music you’d expect in the nightclubs in London.


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Moon Harbour Radio 68: Zohki, hosted by Dan Drastic

A year after he made his debut on Moon Harbour alongside wAFF, Spanish house force Cuartero is back with a firing new EP featuring three tracks full of heavyweight dancefloor dynamite. It is an EP that proves Cuartero really knows how to make his sounds jump out of the speakers.

Supported by: Paco Osuna, Los Suruba, Nick Curly, Kaiserdisco, Maximiljan, Sasha, Arado, Catz ‘n Dogz, Robbie Akbal, Martin Landsky, Yousef, Hector, Santé, MEAT, Gel Abril, Zohki, Marco Carola, Karotte, Steve Lawler, Joseph Capriati, Dubfire

For the last Moon Harbour Radio Show of 2015 host Dan Drastic invited back Zohki. The Essen-based DJ and Producer is a part of the Moon Harbour Family for a couple of years now and used to partner with his friend Roozlee, who now pursues his career as a presenter and interviewer for a german HipHop magazine. Zohki surprises us with a warm, deep and pumping vinyl mix.

Dan Drastic DJ Mix
Jabru – Bin Juice Rhythm – Losing Suki
Moomin – Aquarama – Smallville
Kiki & Robbie Akbal – Next Step – Akbal
Acirne – Morla – Upon You
Kalyde & Youth – Good Life – Skint
Leo Wölfel – Freeplay – Let’s Play House
Eric Kupper, Kenny Summit & Proper – Over Here (Deeper Mix) – Classic
Cuartero – Bee So Long – Moon Harbour
Gorge – Tayo – 8Bit
Martin Eyerer & Ackermann – How Can i Be Down Now (Ninetoes Remix) – Danse Club
Cuartero – Shadow – Moon Harbour

Zohki DJ Mix
Alci – Somehow – Truth be Told Records
Classic Channel – Say What – Oblack Label
Guti – Space Between – No.19 Music
David Pher – Crazy Thoughts – Gruuv
John Dimas – Life on Mars – Taverna Tracks
Baraso – Pre Sego (Deep Square Remix) – Apparel Music
Zohki – Zechen – Roush Label
Diego Krause – Seize – Unison Wax Vinyls
Riven – When are you Hungry (Rhadow Remix) – Lauter Unfug
Audiojack – Stay Glued feat. Kevin Knapp (Sebo K Remix) – DFTD
Phil Weeks & D’Julz – Ligne B – Rex Club Music
Butch – Dope – Play It Say It

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RECORDING “EVA” in Digital Performer (DP) by Alex Cima

RECORDING music in Digital Performer (DP)

“Eva” (133 BPM) is the first track in my 2012 CD “Black Widow”, you can stream it stream here:

Instruments used:

  • Hardware:
  • Emu 76 key E-Synth as controller and synth
  • Roland MC-307
  • Software:
  • Reason (RSN)

Native Instruments Komplete: Electric Piano (NI-EP), Reaktor (RKT), Battery (BATT), Pro-53

  • Tassman (TAS)
  • SynthMaster (SM)
  • Strum Electric Guitar
  • DSL synth (Apple)
  • Apple SFX
  • Voice to create female speech
  • MOTU DP ProVerb

Altogether there were over 20 MIDI tracks playing a soft synth most of the time, all of which were rendered as audio tracks. In the more or less color coded DP track window, the orange is drums/percussion, yellow the reverb channels, and red, the master fader. The master fader has a four band parametric EQ and a limiter in order to prevent excessively low frequencies from being reproduced and giving “air” (boosting the high end above 5K/10K a bit), and the limiter to control peaks and enhance loudness.

So, initially I develop the percussion tracks (orange) to create the structure to which are added bass (played on the E-Synth) and an electric piano (from NI Komplete). There is a crowd effect in the intro which are loops and a “girl” speaking in spanish saying “we are going to dance” (track 0+), which is a male saying the text with a feminine affectation, cutting everything under 100 Hz, then using DP’s pitch shift and formant shift, both at 2 semitones higher, and out pops a “girl”.


Various arpeggios came from the Tassman, Reaktor, and SynthMaster. Guitar loops/sounds came from Reason, Emu and Strum. The Pro-53 played a lead. I used two reverbs, one devoted to drums/percussion and the other for the rest of the tracks that needed it, MOTU’s ProVerb is included in DP, it sounds great and I like it a lot.

I start mixing the day I start recording, ever watching the levels of the master stereo bus and what the limiter is doing (not more than 6dB gain reduction), adjusting levels and fx as more tracks are added. I use a pair of Mackie 626 monitors and SONY MDR-7506 headphones which are surprisingly good and trustable to tell you what the mix is doing, and, also ever mindful not to monitor above 90dB SPL, most of the time at lower levels. Once I’m happy with the mix in the Mackies and headphones I know I’m done.

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