DJNSM Bio

Playing live May 2011

One Sentence

DJNSM brings studio knob tweaking to the DJ toolbox and applies the sensible creativity of a skilled jazz musician to create a live mix that makes feet dance and brains sizzle.

Haiku

DJNSM*
Via cuts, voltage, samples and great skill
Seeks to melt your brain

Paragraph

DJNSM is part scientist and part musician. A total reinterpretation of battle DJ skills meet a tight Ableton mix. The tasty loops, real musical arrangements, and a toolbox built from studio techniques delivers a new branch in the evolution of electronic music. Real time assembly and processing of  the mix via low and high tech methods require custom built processors, substantial programming, and the desire to go  someplace totally new. The signal coming out of the speakers is a culmination of digital trickery, analog depth, and highly cerebral references allowing anyone to dance to and sing along.

Collaborators and Collaboration.

DJNSM playing a showcase live set at Cervantes Other Side (thanks to Bridging the Music)

Long Version

DJNSM (Marc) has been producing music as a project leader and member in the Denver / Boulder music scene since the 1990′s. This particular story begins while working at a boutique synthesizer shop in Denver during close of the twentieth century.

The electronic journey begins with a project called Bugpowder followed by another electronically driven jazz project by the name of Vegas Trio (aka Vegas Witchcraft). [The] Vegas [project] kept  steady residencies in and around the Denver / Boulder area.These projects enjoyed opening slots or shared the stage with national acts such as Garaj Mahal, Particle, Jachimo Gates, Cheb i Sabbah, Ron Miles, Particle, Cabaret Diosa, Lost at Last,  and Robert Walters 20th Congress.

Presenting an Ableton workshop to a full house (Jan 2011 - Cervante's Ballroom)

A frequent guest musician, engineer, and project leader through out the years provided a wealth of experience. Working in the music scene for a ‘stint’ helped build network and reputation.  But the ability to create something new in every musical endeavor created the most demand.

The (re)Creation into DJNSM begins with considerable time logged in the development stage. Always looking to explore the musical fringe provided that music was never boring. Add to the equation synth-head status and exotic gear junkie, Marc soon same to realize that mixing boards and effects processors were instruments yielding truly unique voices and capabilities.

The mix remains approachable.

Complicated ideas are delivered via references and methods intended to engage and stimulate the musical orientation we all share.

In some ways, the final sound is never complete. Introductions of a new technology, instruments and methods became common practice for all shows.  The shift from keyboards (Fender Rhodes / synth) to vibraphone and some bass kept the sound flexible and fresh. The ability to hold down jazz of the “gone by” era as well as progressive arrangements is the modern delivery.

From the fringe side, custom built and modified electronic equipment seals the deal.  New hardware processing and one-off electronic controllers are a standard fixture. Shows often end with a 10 minute discussion with patrons regarding equipment used, how it was built, and what it does.

Fast Forward just a little bit…

Petting Zoo at Moe's: Installation for Westword's Artopia 2011

New focus, production of  new musical ideas, new skills, and a means to express trapped ideas. A combination of Ableton, custom electronics, deep programming, and unique signal handling.

The modern era of music does not start with gigs or club shows, rather the DJNSM discipline is rooted in research and development.  Time spent practicing includes rehearsing, building and exploring equipment, writing, reviewing gear, teaching electronic music, and promoting Ableton and Electronic music in Denver and Boulder.

The music industry is changing very fast. Too fast to drop any anchor right now. So let’s enjoy the ride and see where we go!

For the record, this bio represents less than 5% of the work, bands, years, and accomplishments.

* Counting each letter as a Japanese On