Allen & Heath

4U Recording Expands Possibilities with Allen & Heath SQ-6

4U Recording Atlanta, located in West Midtown Atlanta, GA, is a full service recording studio owned by Tony Alexander and renowned songwriter and producer David Porter. The facility holds two large rehearsal/event spaces, four recording studios, and a podcast room. The studio recently underwent a large renovation to improve communication and networking between their various studio spaces. “We wanted to make things more up to date, and incorporate Dante,” explained Studio Manager Vohn Keith Jr.

4U’s Studio A, a large rehearsal and performance space, was upgraded to an Allen & Heath SQ-6 console, which opened up the room to more possibilities. “We wanted something that would work for live performance, but also had recording and Dante capabilities,” recalled Facilities Manager Reo Harris. “We also liked that it had a small footprint, and we can easily expand our I/O using a digital stagebox.” The 4U team added a DX168 expander for I/O at the stage, which runs back to the SQ-6 via a CAT6 digital snake.

With the addition of an SQ, Studio A can now capture multitrack recordings of live performances and rehearsals via Dante. “It really opened up our possibilities,” noted Harris. “With all the individual tracks we can access and feed to our other studio spaces.” Harris also appreciated the price point of SQ. “For all the features available, there was nothing else on the market that really compared.”

Harris had never used an SQ before they purchased one for Studio A, but he was able to pick up on the workflow right away. “I love the touch screen capability, and being able to patch in local I/O or networked input sources quickly,” he explained. “I also really enjoy working with the reverb and delay plugins built-in, it’s so easy to route to them – the whole console is very intuitive.”

The event spaces at 4U are host to a diversity of performances “Sometimes it’s big artists preparing and rehearsing for tours,” explained Keith. “But we’re open to everyone that has that creative sense and is looking to find their sound. Our goal is to make our clients reassured and confident in all our studio spaces.”

Allen & Heath

CJD Productions Tours with Custom dLive Build

When sound engineer Chris DiCorpo made the switch to Allen & Heath’s dLive platform, he already understood the concept of mixing without a full-fledged dLive control surface. “I had a CDM32 MixRack and an IP-8 controller for a while,” he explained. “I was mixing with just the IP-8 for faders, and a laptop running dLive Director to make deeper configuration changes.”

Compact dLive ‘Wings’ rigs like DiCorpo’s allow for lightweight systems that can easily be transported without sacrificing processing power – since all 128 channels and 64 busses of 96kHz FPGA processing are handled in the MixRack. “I actually did take that system out to the UK for a few shows, which was a cool experience,” he recalled. “I knew this compact setup was the way to go, but I wanted something more robust.”

With some inspiration from custom rigs he had seen on dLive forums, DiCorpo started to brainstorm a new setup that would incorporate a second IP-8 controller for more faders, as well as a Waves DSPRO 1000 he owned to handle audio monitoring. “The plan was to use the Waves card in my CDM32 MixRack to send audio to front of house,” he explained. “I also use a Waves server for some PA processing, but the DEEP plugins in the dLive mean that I generally don’t need to insert Waves on any of my channel strips.”

DiCorpo chose a Mac Mini for his new front of house rig, which runs dLive Director, manages the Waves SoundGrid network, and allows multitrack recording and virtual soundcheck with his DAW. “I just started building from there,” he recalled. “I found a company in Canada that allows you to easily design and order one-off custom aluminum enclosures, so I added the connectors I needed, vents and cooling fans, and two spaces at the top where my IP-8 controllers would sit.”

The two IP-8 controllers are powered using a PoE switch, which also acts as a network interface with the dLive MixRack, computer, and Waves server. A wireless router is also connected to the MixRack, which sits at the stage for performers to control their monitor mixes using mobile devices.

For screens, DiCorpo mounted two 12″ touchscreen monitors on arms that can be removed when the rig is transported. “When I want to disassemble, I just remove the threaded thumb screws and I can lay the monitors on top of the IP-8s,” he explained. “When everything is folded up inside the Pelican case, it weighs about 56 pounds.”

Since IP-8 controllers don’t have as many buttons as a full dLive surface, DiCorpo uses scene changes to alter the functions of the buttons. “The channel buttons default to PAFL and Mute,” he explained. “I reconfigured the buttons in two scenes. In one, they are Select and Mute, in the other they are PAFL and Mix Select. Those two scenes are filtered so they don’t impact any of the other settings on the console, and I can easily flip back and forth with a single button.”

A common question DiCorpo hears when it comes to the IP-8 is how to achieve “sends on faders” for monitor mixes. “Many people assume it’s not possible, but it is,” he confirmed. “You can create a scene for each monitor mix, and assign the faders as Aux sends, rather than Main bus faders. In my layer containing the Aux masters, the 8 buttons across the top select my monitor mix scenes.”

DiCorpo affectionately refers to his custom rig as the “CJD Al2000,” combining his initials, the chemical symbol for Aluminum, and “2000” – to maintain consistency with the official Allen & Heath dLive product naming scheme. “I figured it’s kind of halfway between a dLive C1500 and a C2500,” he clarified. He even added a custom decal for the side of the enclosure.

The completed CJD Al2000 is now getting some mileage, as DiCorpo tours with Boston-based pop-funk band Couch. “Engineers who are familiar with dLive see the IP-8 controllers and can figure out what I’m mixing on,” said DiCorpo, “but still a lot of people ask questions about it and give compliments. It’s a great conversation piece.”


Ocean Way Audio Releases GLL Loudspeaker Data for AeroWave AW9090

Ocean Way Audio, a leading manufacturer of premium speakers, has released GLL (Generic Loudspeaker Library) Data for their highly acclaimed AeroWave 9090 systems. The aptly named AeroWave 9090 speakers offer 90 degrees of coverage in both the horizontal and vertical planes, ensuring that the entire audience has the same sonic experience.

The GLL data contain comprehensive measurements of frequency response and polar patterns for AeroWave 9090 loudspeakers. These data have been precisely measured and analyzed, and are now available for use with EASE and EASE Focus 3 acoustic simulation software. Data for the 9045 (90×45 degree) models are also available.

The newly released GLL files allow users of AeroWave to accurately model and visualize the performance of the 9090 loudspeakers in various configurations and environments. This data is an essential tool for audio professionals, helping them to make informed decisions about loudspeaker placement, EQ settings, and other critical aspects of PA system design and optimization.

For those looking to hear AeroWave in person, Ocean Way Audio will be hosting a free listening experience in Nashville, TN on September 29th and 30th (registration:

“I am beyond thrilled the AeroWave 9090 GLLs are now available,” said National Sales Manager Samia Scoda. “With surging waves of interest and an upcoming AeroWave Listening Experience at Belmont University’s prestigious Fisher Hall, timing could not be more ideal.”

“It gives me great pleasure to see the new GLLs for the AW9090,” said Ocean Way Audio CEO Allen Sides. “The data irrefutably confirm what we already knew about AeroWave: The system delivers unprecedented stereo coverage and fidelity for the entire audience.” The 9090 and 9045 GLL loudspeaker data are free to download now for all AeroWave users, and can be accessed through Ocean Way Audio’s website at

Allen & Heath

Yeah Yeah Yeahs Tour Internationally with Dual dLive S5000s

New York indie rock group Yeah Yeah Yeahs are back on tour, with show dates in the US and internationally following the release of their 2022 album, Cool it Down.

Handling mixing duties for the tour are Daniel Good and Nahuel Gutierrez, who started working with Yeah Yeah Yeahs’ Karen O following her Danger Mouse collaboration Lux Prima in 2019. “We did two shows at the Ace Hotel in Los Angeles and the band performed one more show in New York,” explained Good. “At that point we weren’t sure if Yeah Yeah Yeahs would ever be performing again, so it was cool to get contacted again after their album came out.”

Good and Gutierrez are each mixing on Allen & Heath dLive S5000 surfaces, along with DM0 MixRacks handling 128 channels of 96kHz input processing. For I/O, various DX168 expanders are distributed on the stage. A SuperMADI card was also included, which allows for a simplified multichannel broadcast feed when needed, as well as a 128-channel Waves card for multitrack recording and playback.

The tour package was provided by Worley Sound, a boutique rental company out of Nashville, TN. “We specialize in custom control packages for our clients,” explained founder Tom Worley. “I think the Allen & Heath price point really speaks to a lot of mid-sized tours that want a compact footprint, and flexibility of I/O expansion through cards and stageboxes.”

Good had limited experience on Allen & Heath’s dLive platform prior to this tour (mixing Todd Terje & the Olsons), but the console had left a good impression on him. “I just remembered that it sounded great, and five or six years later it kicked into my mind again.” Good explained that the production team wanted to use the same gear throughout the tour to minimize prep time locating rental equipment at each stop. “The way you can lay out Allen & Heath consoles and configure the hardware any way you want – we knew that it could accomplish what we needed quickly and easily.” Good also appreciates the flexible workflow within the dLive’s software interface. “Some people can get stuck to certain ways of working, but you can do everything ten different ways with this console.”

“I liked that the console was really easy to understand,” noted Gutierrez, who handles Yeah Yeah Yeahs’ monitor mixing. “It fit the budget, and it was great to have the shared stageboxes for [Good] and myself. It saved us a lot of space and weight in the touring package. The more we used the consoles, the more we liked them.”

Gutierrez notes that the suite of processing plugins built-in to dLive also make mixing shows more convenient. “We basically mix everything in the box, the DYN8 dynamic EQ is fantastic, as well as all the onboard FX and parallel compression options.” After the second day of rehearsals, the band already remarked to Gutierrez that the audio sounded better. “Dan [Good] has also been getting amazing reviews because the shows have been sounding fantastic.” Good shares enthusiasm for the DYN8 dynamic EQ and multiband compressor plugin. “I use that mostly on keyboards, stuff that really resonates in the room.”

The dLive’s new Source Expander plugin comes in handy as well for the duo. “That’s becoming a really good tool to clean mixes,” noted Gutierrez. “I have it inserted on cymbals, vocals, and a couple of the open mics that are not used frequently to eliminate background noise.”

For creating distorted vocals on certain songs, Gutierrez employs the Dual Stage Valve preamp emulation. “It’s probably one of the best vocal distortions I’ve heard,” he remarked. “We’ve tried pedals and a few other solutions, but nothing sounded right until we found this emulation.” Good also uses the various preamp models at front of house to add more color to his mix. “I was blown away when I first discovered those,” he recalled. “They’re so versatile, you can pretty much get anything you want out of a channel.”

Both engineers rely on dLive’s Scenes feature to recall preset mixes for each song in the band’s set. “At first I just started by muting or pulling faders for channels I knew weren’t used on that song,” explained Good. “As the tour progressed, I picked up on little things I wanted to tweak – adding in EQ changes, fader movements, and panning. It’s pretty awesome that dLive allows you to scope the dynamic EQ separately from the rest of the channel processing, that’s something I’ve always wanted to do.”

Deviating from most modern performances, Yeah Yeah Yeahs’ shows do not rely heavily on backing tracks. “The guitarist has a loop pedal with some pre-recorded loops,” explained Gutierrez. “But he has to trigger them in time, there is no computer running a click track or keeping things in sync.”

For on-stage monitoring, Yeah Yeah Yeahs rely almost entirely on IEMs for their current tour. “Everyone uses in-ears except for the drummer, who receives stems into a small mixer and does his own headphone mix,” explained Gutierrez. “It’s the first full tour for the band on in-ears – but once they got used to them, they were really happy with it.”

At front of house, Good uses dLive’s display output to set up a live RTA on an external monitor. “It’s cool to have that without having SMAART, to see how things are translating.” He also makes use of the console’s ABCD input feature, which allows a user to quickly swap the input source of a mic channel using a user-defined SoftKey. “There are so many SoftKeys that I was almost looking for reasons to use them,” he joked. “Karen will jump mics sometimes – I need to be ready to swap from wired mics to wireless instantly and in pitch black, so I can do that now with a single button push.”

“The engineers seem to really be enjoying the consoles and having great results,” said Tom Worley. “Even the band was telling me how the sound is improved and how happy they are.”

Yeah Yeah Yeahs’ tour is ongoing, with two shows in Brazil this September.


Ocean Way Audio to Host AeroWave Listening Experience in Nashville

Ocean Way Audio is excited to announce a listening event for its groundbreaking AeroWave point-source loudspeaker system. The event will take place at the Fisher Center for Performing Arts at Belmont University in Nashville, TN on September 29th and 30th. Each day of the event will feature a reception, followed by two live demo sessions and a Q&A with Ocean Way Audio CEO and five-time Grammy award-winner, Allen Sides.

“AeroWave represents a truly revolutionary change to what has been possible with existing line array technology,” explained Sides. “Phenomenal stereo imaging, along with unmatched directivity control allows for a truly unique level of clarity and definition. Were excited to show our new AeroWave system at Belmont University’s beautiful Fisher Hall.”

Carefully designed to minimize interference and deliver clear stereo imaging to an audience, AeroWave is already generating plenty of buzz following previous live demos at the 2023 NAMM Show and the Granada Theater in Santa Barbara, CA.

“The extraordinary level of interest in the Ocean Way Audio AreoWave System, further driven by the massive engagement garnered at InfoComm, has been the catalyst igniting the creation of this listening experience,” noted National Sales Manager Samia Scoda. “We are honored to be received by Belmont University in their prestigious Fisher Performing Arts Center and very much look forward to delivering a truly special and unique experience to the world of sound.”

Interested parties can RSVP for the event by visiting

Allen & Heath

Allen & Heath’s New CQ Series Speeds Up the Mix for Musicians and Engineers

Allen & Heath has unveiled its new CQ series, a trio of compact digital mixers for musicians and bands, audio engineers, home producers, small venues, and AV installers, that places ease of use and speed of setup firmly at the heart of the user experience.

“CQ takes our renowned processing and effects, adds exciting new assistive mixing tools, and packages it all up into our smallest, and most affordable, digital mixer series yet,” says Keith Johnson, Product Manager at Allen & Heath. “Usually at this price point, users are forced to choose between a mid-range analogue mixer, lacking in modern features, or an entry-level digital mixer, where corners have inevitably been cut. With CQ there are no compromises. It’s a fully featured 96kHz mixer with stunning audio quality and intelligent tools that, regardless of your experience, lets you mix smarter, sound better and work faster. Just add sound!” 

Built around an innovative new 96kHz processing engine, the series comprises the CQ-12T and CQ-18T desktop mixers featuring tactile controls and a 7” multi-touch screen, and the portable CQ-20B stage box mixer, all controllable via the companion CQ apps. 

The processing engine, utilizing Allen & Heath’s acclaimed FPGA technology, brings numerous time-saving tools to the CQ to speed up and simplify common tasks for users of all abilities. Gain Assistant automatically sets preamp gain to the optimal level and monitors and adjusts for any unexpected peaks in the signal. Feedback Assistant identifies and filters out problem frequencies across all outputs via simple one-button operation, with more in-depth control available for challenging acoustical environments.  

Input channels can be switched between a Quick Input, giving users a source-specific set of controls with single knob control of channel processing, or a Complete Input for full control of all channel processing parameters. Additionally, an Automatic Mic Mixer (AMM) is present on all input channels, instantly improving clarity and reducing background noise in speech-based applications. 

The CQ range also introduces a new suite of high-quality, user-friendly reverb, delay and modulation algorithms with instrument-specific presets for speedy setup, while the FX Assist tool shapes the FX by dynamically responding to the input signal for optimal clarity. The CQ-18T and CQ-20B offer 4 FX engines and the CQ-12T features 2 FX engines. 

All three CQ mixers benefit from flexible recording and playback options including a multichannel USB audio interface, multitrack SD card playback and recording, simple stereo recording and playback via an external USB drive, plus convenient stereo Bluetooth playback. 

The CQ series is supported by a pair of free multi-platform apps. The CQ-MixPad app enables remote control of the mixer from anywhere in the venue, while the CQ4You app empowers performers to take control of their personal monitor mix via their mobile devices.  The CQ-18T and CQ-20B also benefit from integrated high-performance dual-band Wi-Fi for quick and easy connection of control apps without any additional network equipment. 

The CQ-18T provides 16 mic/line inputs and 1 stereo input, the smaller CQ-12T includes 10 mic/line inputs and 1 stereo input, and the stage-friendly CQ-20B offers 16 mic/line inputs, two of which can be used as Hi-Z instrument inputs, and 2 stereo inputs. All three models feature 6 independent outputs which can be configured to run up to 3 stereo outputs. 

Allen & Heath

Allen & Heath AHM Makes Things Easy for Cornerstone Tavern

Cornerstone Tavern in Raleigh, North Carolina is a unique bar and music venue, made up of three separate houses connected by a large shared patio. The communal patio space can be separated or combined using a central bar area.

In the years before their recent audio upgrade, Cornerstone was utilizing separate analog processors for audio distribution at each of the three respective houses. “The system got complicated and overwhelming,” noted Scott Carneval, integrator and designer with Precision Audio in Raleigh. “There was buzz, among other issues. One ofthe old processors died and couldn’t be replaced. Allen & Heath’s AHM platform was the perfect replacement.”

All houses are now networked together, each controlling their own front patio, a side patio, and the indoor sound, in addition to the back patio. Up to five DJs can perform simultaneously on the property, with each zone choosing which DJ they’d like to listen to. A standard music streaming device is also an available option for listening, along with one of eight television feeds.

A 64×64 Allen & Heath AHM-64 processor is at the heart of the upgraded audio system, with an AR2412 I/O expander in one house, and an AR84 in another, allowing for plug-and-play distributed inputs and outputs for DJs and TV feeds.

The team at Precision Audio also built a custom application for the end users to control and manage their audio system using Allen & Heath’s free Custom Control platform. Custom Control allows for installers to design tailored applications using an intuitive drag-and-drop editing software. The custom application can then easily be loaded up on any Android, iOS, Windows, or MacOS device – as well as pre-configured Allen & Heath
CC touch panels.

Precision Audio built Cornerstone Tavern a simple layout: source selectors for each zone to choose which DJ, music server, or local TV they’d like to listen to – along with respective volume control. The staff can quickly log in, choose the house they’re wanting to make an adjustment to, pick the patio or area, and make the change.

“Building out the iPad and iPhone apps was straightforward and easy, it just works,” noted Carneval. “We were hesitant to pass digital audio from one building to another, but the system is rock solid. They’ve had no issues and no support calls since the integration.”



BASSBOSS is proud to announce that the much anticipated MK3 series is now arriving to dealers nationwide. MK3 brings performance improvements and an enhanced user experience – with an upgraded 96kHz DSP, weatherproof inputs, waterproof power connectors, global power compatibility, and improved amplifier power allocation.  Additionally, the new ControlBASS software for easy remote management is being introduced.

“Following the announcement of the new feature-filled BASSBOSS MK3 series and the electrifying demo experience at NAMM ’23, we are massively excited that dealers will finally be able to deliver this world-class solution,” noted National Sales Manager Samia Scoda. “The level of enthusiasm across the board for the brand and this new series is unprecedented, and is a testament to BASSBOSS’s customer-centric design focus. For customers who seek incredible performance and value, MK3 delivers!”

The upgraded DSP in the MK3 series boasts significantly more processing power. The 96kHz sampling rate is double that of previous generations. Users will immediately notice higher resolution, a lower noise floor, and even greater fidelity. The number of directly accessible preset curves has doubled from 4 to 8, and presets can be easily cycled at the touch of a button with no signal drop-outs. Up to 100 additional on-board presets are available via the intuitive ControlBASS software.

A new integrated 2-port networking switch allows for cascaded network configurations for control of multiple cabinets at once. The easy-to-use ControlBASS application, available for both Mac and Windows, enables users to monitor system status, control levels, and update processing options remotely.

In addition to the new DSP, BASSBOSS has also updated its amplifiers to improve power utilization. The new amplifiers allocate more power to low-frequency channels – where more power is always needed – increasing overall system output capacity. The MK3 series power supplies are operable on inputs from 90-250VAC, allowing more efficient operation on generators and power distribution systems, as well as making them electrically compatible worldwide. The MK3 line also features rugged Neutrik powerCON TOP (True Outdoor Protection) power connectors, providing IP65 level protection for added peace of mind in harsh conditions.

“It has been a long time and a lot of work to incorporate all the updates I wanted to include, but the BASSBOSS MK3 series has finally arrived!” noted BASSBOSS President and Designer, David Lee. “l am thrilled to be able to provide these upgrades in performance and features to our customers. I believe they enhance the value of the products significantly, now and far into the future.”

Allen & Heath

Allen & Heath AHM at Heart of Staring Lake Amphitheatre Upgrade

Staring Lake Amphiteatre is a 400-seat outdoor performance space in Eden Prairie, MN. The city-owned venue is used for theatrical productions, concerts, weddings, and special events.

When the amphitheatre’s previous audio system started to fail, they began to shop for more up-to-date solutions. “They were looking for a more modern system that would give them higher end features,” noted Nic Hentges of Audio Logic Systems, who earned the bid for the project. “It had to be flexible and powerful enough to handle theatrical performances, while being easy to control during small events.”

The team at Audio Logic Systems explored multiple product lines before deciding on Allen & Heath’s AHM platform to manage audio at the facility. “We felt like the cost and feature set made for an incredible fit,” recalled Hentges. AHM series audio matrix processors offer scalable audio processing and distribution with multiple control options.

For simpler events like Yoga classes and weddings, an AHM-32 provides system processing and easy control over a small number of microphones and playback sources – thanks to an intuitive IP-6 rotary controller with LCD displays, as well as a custom application the installers designed using Allen & Heath’s Custom Control editor. “If it’s a yoga instructor or city employee with limited audio experience, they can just grab an iPad and have control of the mics and playback while moving around in the audience area,” explained Hentges.

The custom tailored app can run on any iOS, Android, Windows, or Mac device on the AHM’s network. “Our lead engineer found the AHM platform very easy to work with,” said Hentges. “He’s excited about putting it on other projects.”

An Allen & Heath SQ-6 compact digital console was also included to allow for more hands-on mixing during larger events with a dedicated audio engineer. A DX-HUB and DX168 stageboxes were added to the system to provide distributed I/O around the stage as needed. “The clients had been avoiding digital consoles for many years,” explained Hentges. “They were really pleased once they started working with the SQ. All-in-all, I believe this system to be a great fit.”


Winners of UPnXt DJ Contest Announced

The 2023 DJX Show UpnXt DJ Contest for aspiring youth DJs has come to an exciting conclusion. After intense competition and a display of exceptional talent, BASSBOSS is proud to announce the winners of the social media video challenge, who now have the opportunity to showcase their DJ skills at DJX’23, held at the Atlantic City Hard Rock Hotel in August.

DJ Dillion (Dillon Jordan, 17) took the top spot as the challenge winner, with his great material choices and innovative style. At just 8 years old, DJ Dillion asked his parents to get him a DJ controller – and ever since has been dedicated to learning his craft. He has now been DJing for 9 years, and in addition to winning the UPnXt Challenge, he has won numerous other contests, including the 2020 We Are Hip-Hop DJ Battle and the 2021 CLT DJ Battle.

DJ Giz and DJ EliT (Franklin Burch, 12 and Elijah Thomas,14) secured second and third place, respectively. Their infectious beats and undeniable talent impressed the judges, and their performances promise to show how younger DJs are pushing the field forward.

The winner will receive an exclusive VIP trip to Atlantic City, NJ – including an all-access pass to DJX’23. Furthermore, all three winners get to perform a DJ set at the renowned BASSBOSS “Demolition Room” and floor booth during DJX’23.

“We are thrilled to congratulate DJ Dillion, DJ Giz, and DJ EliT for their remarkable talent in the UpnXt Challenge,” said Lian Amber, CEO of BASSBOSS. “Their skills, dedication and passion for music have shone through, and we cannot wait to witness their sets at DJX’23! These young DJs are the future of the industry, and we are proud to provide them with this opportunity to shine.”

The UPnXt DJ Contest was a unique collaboration between BASSBOSS and the #NoChaser International Kidz DJ Cafe, a self-funded organization that provides a safe space for children to learn and grow through music and art programs. Located in Philadelphia, PA, the Kidz Cafe aims to educate youth on the art of DJing, aspects of DJ history and culture, and running a successful entertainment business. Participating youth DJs have various opportunities at local radio stations and venues, including corporate events, large social gatherings, and weddings.

The UPnXt Challenge brought together both BASSBOSS’ and Kidz DJ Cafe’s passion for music and the desire to showcase and support young talent. To enter, youth DJs submitted five minute videos of a DJ performance, and were evaluated on musical material, DJ skills, and presentation.

All contestants of the UPnXt Challenge will also be performing at a Silent Disco party on Tuesday evening in the BASSBOSS Demo Room, as well as Immolakee Studio B at the Hard Rock Hotel, Atlantic City NJ from 6-8 PM, and all day on Wednesday, August 9th at the BASSBOSS Booth #503 on the floor of the trade show.

DJX’23 will also be hosting a youth-driven panel discussion featuring International Kidz Cafe youth, where they will describe the challenges faced by non-typical DJs of all ages and demographics in their seminar “Don’t Judge A Book By It’s Cover.” Expect a session filled with solutions and inspiration on Tuesday, August 8th in Hollywood Ballroom East at 4:30pm.