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The beginners guide to d jing

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Virtualdeejay.net

This document discusses the evolution of DJing and music production over the last decade. It covers how DJing used to solely focus on turntablism, but now many producers start as music producers and later become DJs. It emphasizes the importance of beatmatching to mix songs together at the same tempo and in sync. Beatmatching can be done manually by ear by adjusting the pitch fader, or automatically through sync functions on modern equipment. The document also touches on the controversy around sync functions and whether they take away the art of DJing.

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Introduction Themusicindustryhasevolvedincountlesswaysoverthecourseofthelastdecade. Evenafewyearsago,manypeopleweresolelyfocusedonbecomingthebestDJ’sand didn’tevenworryabouthavingtheirownproduction. Infact,hundredstothousandsofpeoplearoundtheworldsawadecentamountof success—andsomeofthemevenwentontoaninternationallevel—justbybeing amazingDJ’s. DJAMisaprimeexampleofthis,ashewasoneofthefirst,highestpaidDJ’stoeverbe bookedinLasVegas.ThisalsohelpedpropelelectronicmusicintheUnitedStatestothe spotlightjustbeforeit’shugemainstreamboombackin2010‑2011. Thisnotonlychangedthefutureoftheindustryforthenextcoupleofyears,butthanks toadvancementsintechnology,italsochangedhowtheyoungergenerationsbecame inspired. Backthen,almosteverysuccessfulDJboughtturntablesatsomepointandstarting practicingonthem.Now,it’sreallycommonfortheyoungergenerationstobecome musicproducersfirstandDJ’ssecond. And,it’sverylikelythatyouareinthissituationrightnow.Youmayhaveacouplesongs underyourbelt,andyoufinallydecidedit’stimetotakealeapandstartshowcasing themtotheworld. DJingisoneofthebestandmostcommonwaysproducersperformtheirsongs. Ultimately,tobecomeanamazingDJ,youneedtogetoutthere.Youwillonlygetsofar bypracticinginyourbedroom,becauseyouneedtolearnhowtoreadacrowd. Butlet’snottrytorunbeforewecanwalk. ThereareafewconceptsthatstandtrueregardlessofthegenreandBPMyou’retrying tomix,andthey’recriticaltoyoursuccessasaDJ.
Introduction Theseconceptsare: 1.Beatmatching 2.TrackSelection 3.CountingBars/Phrases 4.EQ’ing ThesearesimpletechniquesthatanyseriousDJunderstandsverywell.However,it’s alsoreallyimportanttomentionthattherearemultipleDJingstyles. WhatwemeanbythisissimplythataTech‑HouseDJwillhaveacompletelydifferent mindsetwhilemixingandpickingtrackscomparedtoaDubstepDJ. Trytogetabetterunderstandingofyourstyleandthemusicyouwanttomix.Ifyou’re completelyclueless,don’tpanic.Youjustneedtofindoutwhichonewillbettersuityou. Todothis,startbylisteningtoDJsetsbyestablishedartistswithinyourgenreorfromthe styleofmusicyou’retryingtomix.Thiswillpointyouintherightdirection,andallyou needtodoisaskyourselfsomebasicquestions. WheredidtheDJdothemix?Wasitataclub,apodcast,afestival,poolparty? ContextisEXTREMELYimportant. Arethetrackstransitioningabruptlyorsmoothly? Doesitsoundlikemultipletracksarebeingplayedatthesametime? Doesthemixstartlowinenergyandkeepsbuildingup? So,eventhoughthereisalwayssomethingtolearnfromeveryone,youneedtobe carefulaboutwhatadviceyou’retakingonbasedonwhatyou’retryingtoachieve stylistically. ProTip:Crowdswillhavecertainexpectations.Knowwhereyou’replaying.Don’texpectpeopleto headbangtodubstepifyousomehowmanagedtogetbookedatabarorclubwhere95%ofthe bookingsarehousemusicDJ’s.Peoplegothereforareason.
SignalFlow Beforewejumpstraightintothesubjectofbeatmatching,it’sworthgoingonareally brieftangentandlearninghowthebasicsignalflowoftheequipmentlookslike. Beingawareofthissincethebeginningwillaidyouinunderstandingsomethingsthat wewillbetalkingaboutlaterinthisbook. Asyoucanseeintheimageabove,InputOneorTrackAandInputTwoorTrackBare wherethesongscomefrom.Theseplayerscanbeeitherturntables,CDJ’s,oreven digitalchannelsfromacomputer. Then,thesignalsfromTrackAandTrackBgetsentstraightintothemixer.
SignalFlow Finally,theoutputsignalorthemasteroutputfrom themixergetssenttothespeakers.Thatiswhatthe audiencegetstolisten. ThisisaDJM‑400twochannelmixerbyPioneer, andyougettocontrolwiththefaders—andinevery othermixer—whatgoestothemasteroutputfrom eachchannelwiththem. So,ifbothfadersarecompletelyupandhavesongs playingatthesame,youwillhearallofthatinthe masteroutput. Now,youmaybewonderingwheretheheadphones comeintoplayinallofthis.Youcanplugtheminto themixerandhitthecuebuttonineveryindividual channeltosendthatsignalstraightintoyour headphones. Thisisa4channelmixerandit’srespectivecue buttons.Ifallofthemareturnedon,youwillhearall ofthechannelsinyourheadphonesatthesame time. Note:FadersDONOThaveanydirecteffectonthecuebuttons.Ifyouactivateany cuebutton,youwillreceivesignalinyourheadphones,regardlessifthefaderisupor down.Eachmixerhasitsownuniqueknobtocontrolthevolumeofthecueonyour headphones. Someadvancedmixersoutthere,suchastheDJM‑900NXS2shownabove,also haveacuebuttonforthemasteroutput.Thiswayyoucanmonitoreverythingthe audienceislisteningtoinyourheadphones. Thisisusefulbecausetherearesomeclubsandvenuesthatdonothavemonitors pointingtowardstheDJbooth,andit’shardtoassesshoweverythingissoundinglike onthedancefloor. (MASTERCUE) (TRACKCUE)
SignalFlow Tostartwrappingupthissection,let’sdoitbysayingthatthebasicprincipleofDJingis gettingtwotrackstoplayatthesamespeed,whileinphase,atthesametime. Thiscouldbeeithertohavethemplaysimultaneouslyandandcreateaunique“mash up”,ortofadetheminandoutrespectivelyandstartweavingaDJmix. Asyoumusthaveinferredbynow,itisextremelyimportantthatbothsongsplayatthe samespeedsotheydon’tgooutofphase.Whenanygivenamountofsongsareoutof phase,thebeatswon’tlineupanditwillgetmessyreallyquick. Twotracksplayingatthesamespeedinphase Twotracksplayingatthesamespeedbutoutofphase.
SignalFlow Beatmatching Buthowdoyouadjustthephaseofthe trackimmixing?Well,that’swherethejog wheelscomeintoplay. Youcanmovethejogwheelsineither directiontonudgeyoursongforwardorgive italittlepushbackwardsuntilyoumake thembothlineup. Nowthatweknowaboutthebiggerpicture ofDJing,let’sgoalittlebitmorein‑depth intoeveryindividualconceptthatyouneed toknowabouttogetstartedasaDJ. BeatmatchingisthefundamentalprincipleofDJingregardlessofthegenre. Tobeabletobeatmatch,weneedtounderstandtheconceptoftempo.Historically, temposhavebeennamedaftercertainItalianwordsthatcomposerswoulduseto express“howfast”oratwhatspeedtheirmusicshouldbeperformedat. Forexample,Andantemeans“atawalkingpace”andit’ssomewherebetween76to110 BPM. JOGWHEELS
Beatmatching Tostartwrappingupthissection,let’sdoitbysayingthatthebasicprincipleofDJingis gettingtwotrackstoplayatthesamespeed,whileinphase,atthesametime. Thiscouldbeeithertohavethemplaysimultaneouslyandandcreateaunique“mash up”,ortofadetheminandoutrespectivelyandstartweavingaDJmix. Luckilyforus,wedon’tneedtouseItalianwordsanymoresincemodernproducersand DJ’suseBPMorbeats‑per‑minutetomeasuretempo.120BPMisstraightforwardandit simplymeans120beatsinoneminute. ContemporarypopanddancemusictracksalsohavesteadyBPM’sincomparisonto classicalandjazzpieceswhichmightevenhavebothtimesignatureandtempo changes.ThisactuallymakesaDJ’sjobslightlyeasier. Thisalsomeansthatyoudon’thavetoworrytoomuchabouttimesignatures,as98%of themusicyouwillbemixingwillbeoncommontimeor4/4. EvenmorecomplexsongslikeMattLange’s“CountIt”forexample,whichhasa compoundtimesignature,wasproducedinawaysothatitstillhasafour‑to‑the‑floor kickdrumforeaseofmixing. Thefirststeptomixtwosongstogetheristomakesurethey’replayingatthe samespeedandthatthebeatslineupwitheachother. ButhowdoyoumaketwosongsplayatthesamespeediftheyhavedifferentBPM’s?
TochangetheBPMofasongyouneedto usethepitchfader. Youdon’thavetoworrywhetheraplayer orcontrollerhasapitchfaderornot, because98%ofthemhaveone.Even vinylplayerslikethelegendaryTechnics 1200haveit. Note:NativeInstruments’S8controller doesn’thaveapitchfaderforexample,it hasatouchstripinsteadwhichservesa fairlysimilarfunction. Thisishowit’sdoneintheold fashionedway. Solet’ssayyouhavetrackAplayingat145BPMandyouwanttomixinanothertrack whichisat150BPM. PITCHFADER A B Beatmatching
Beatmatching Therearemultipleapproachestodoso, andnoneofthemarewrong.However, sincewe’retalkingabouttheverybasics overhere,themostsensiblethingtodo wouldbetomovethepitchfaderoftrackB upwardstodecreasetheBPM. Thegoalhereshouldbetomoveitjust enoughsothattrackBplaysexactlyat 145BPM.Thisway,assumingbothtracks areinphase,thedrumbeatsfromboth songswon’tcreatechaoswhileplayingat thesametime. Now,weneedtogiveyouafairwarning. We’regoingtotalkaboutavery controversialsubjectinthefollowingpart, andwedon’twanttocreateastancehere. Ourgoalistoinformyouandteachyouhowthingswork,andhopefullyyou’llcomeup withyourownconclusion. MovingthepitchfaderupwardsordownwardstomatchtheBPMsoundseasyinwords, butitactuallygetsquitetricky. VinylturntablessuchastheTechnics1200donothaveadigitalscreenlikeCDJ’s,most controllers,andweren’tconnectedtoalaptopeither. Allyouhadwasamixer,2vinylplayers,andyourrecords. Tobeatmatchyouhadtodoitallbyear,anditwasn’taskillthatwaseasytolearn.You hadtoputindaysofhardworkandfrustrationtostartgettingit. Ofcourse,thisisallassumingyouhad2recordsatdifferentBPM’s.Ifeverythingyou ownedbackthenwasatthesameBPM,thingsweremuchmoresimpler.Allyouhadto worryaboutwasmakingsurethatthebeatslinedupwitheachother. 145BPM150BPM
Beatmatching Butnowweshouldtalkaboutitsmoderncounterparts,CDJ’sandcontrollers.Thistypeof equipmentmostofthetimewillaskofyoutoanalyzeyoursongsfirstbeforeyou’reeven abletoplaythemback. Becauseofthis,thesoftwarewillshowtoyoutheBPMinwhichyoursongiscurrentlyat. Whetherit’satadigitalscreentheequipmenthas,orinyourlaptop. ThisactuallydealswithalotoftheheavyworkoldDJ’shadtoworryabout,andthisis wherethecontroversylies. OldschoolDJ’sargumentthattheartofDJinghasgottenlostbecauseoftechnology aidingthenewgeneration.Itwasdefinitelyanartthatonlyfewmanagedtomaster; Mixinghundredsoftracksoneintoanotheralmostseamlesslywhilemakingitlook simple. Buttechnologydidn’tonlybringthattothetable,italsobroughttonsofeffectsand functionalitiesintotheplayersandcontrollersthatpeoplecouldn’thaveevenimagined before. Alotofthenewestequipmenthasintegratedthedreadedsyncfunction.Thisisa simplebuttonthatwillmakethecomputeroryourequipmentsyncyoursongs instantaneously. Thisiswherethefamoussaying“DJ’sonlyhittheplaybutton”comesfrom.Andit’strue, wecan’ttrytomakeuporalterreality.AlotofDJ’sarejustselectingtracks,syncingthem automaticallywithsoftware,andhittingplayattherighttime. Sotorecapquicklythisentiresection,youcanbeatmatchasonginthefollowingways: 1.Byear. 2.WatchingtheBPMinanyscreenavailableandadjustingthepitchfadermanually. 3.Usingthesyncfunction. It’snotthegear,it’sthepersonbehindit.
Beatmatching Ifyou’reinterestedinlearninghowtobeatmatchbyear,becomeawareofsomeimportant issuesregardingthistopic,andgetsometipsandtricks,feelfreetokeepreadingthis section. Otherwise,jumpstraightto“Arrangements,CountingBars&PhraseMixing” ThemostcommonperformancesetupfordancemusicDJ’srightnowisto2‑4CDJ’s. However,noteveryoneisatthatlevelyet,andthemajorityofbeginnerproducers/DJ’s can’taffordthattypeofequipmenteither.Abigpercentageofthatgroupalsoisn’tlucky enoughtoknowsomeonewhoiswillingtoletthempracticewiththeirequipment. Bottomlineis,knowinghowtobeatmatchbyearisstillaveryvaluableskill. Youneverknowinwhatkindofoldorcheapequipmentyoumightendupperformingat whileyou’reabeginnerduringyourjourney. YoumightalsoencounterCDJ’sthathavearidiculousmileage.Sometimesthepitch fadersarewornout,thescreensfreeze,andmultipleunexpectedglitcheshappen. Knowinghowtobeatmatchbyearnotonlycansaveyourlife,itcanalsohelpyouleavea goodimpressionontheclubownersormanagers. Youneedtobeawarethatmostpeoplerunningvenues,wereorhadexperienceDJing. Theirviewsonthissubjectmightdiffertoyoursjustbecausethey’reolder,andyouneed tounderstandthatthey’renotwrongeither. Thetruthofthematteris,nooneisgoingtoputapieceoftapeonthescreeneitherand forceyoutobeatmatchbyear.Thetechnologyisthere,andyouhavefreewilltouseit. NowweneedtotalkaboutsomethingthatalotofoldschoolDJ’sdon’tliketomention, almostintentionally. Backthen,noteveryonehadaccessorenoughmoneytobuythenecessaryequipment, andkeepbuyingvinyl’sataconstantbasis. CLICKTOJUMP
MostoldschoolDJ’sstartedwithabunchofrecordsandkeptexpandingitthroughout theyears. Oldpitchfadersweredesignedtohavearangeof+/‑8%,someofthemalsohada settingof+/‑16%. Butwhatdoesthismean? Well,welearnedintheprevioussectionthatweusepitchfaderstoaltertheplayback speedofasong. Ifourpitchfaderstayedrightatthemiddle,at0%,thissimplymeansthatthesongwould playbackatitsoriginalBPM. Withasettingof+/‑8%,thismeansthatwhateversongyouplayed,itcouldonlygo8% fasteror8%slower. So,ifweloadedasongthathasanoriginalBPMof119,withthepitchfadersettingat8%, thismeansthatitcanonlybespeduporsloweddownby9.52BPM. Thismakesbeatmatchingbyearawholelotsimpler. Goingbacktoourpreviousexample,let’ssayyouwanttobringinatrackthatisoriginally at122BPM,andthesongyou’recurrentlyplayingisat119BPM. Youdon’thavetodothematheverysingletime,butbyknowingthisyoucantellthatif youmovethepitchfaderallthewayupyoursongwillbesloweddownbyroughly10 BPM(9.76exactly). YouonlyneedtobringdowntheBPMby3togodownto119.Thepitchfaderisalso linear,soitwouldbeasafebettoassumethatifyoumoveithalfwayuptheBPMwould godownby~5BPM. Halfofthatwouldbe~2.5BPM,sothiswouldgiveyouaprettysolidvisualballpark imageofwherethepitchfadershouldbeat. Beatmatching
Therestcomesdowntoalittlebitofpracticeandfinetuningyourears. Nowthatyouareawareofthis,wecangobacktoouroriginalpoint.AsoldschoolDJ’s amassedvinyls(andwe’retalkinghundredsofthem),itwouldbehardtokeeptrackofall ofthedifferentBPM’softheirrecords. OldDJ’swouldcreatelittlecheatsheetsormakenotesonthevinyl’stoaidthemselves whenevertheyplayedthem. Thosewhoreallymasteredtheircraftandhadacertaindegreeofmusicianshipcould alsofigureoutthekeyofthesongbyear,makeanoteonit,andtakeitonestepfurtherby doingharmonicmixing. Ifyoudon’tknowwhatthatis,don’tpanic.We’lltalkalittlebitaboutharmonicmixinglater inthisbook. Allofthisisn’tnew.Italreadyexistedbutitwaslimitedtothepeoplewhoreallytookthe timetomasterandtaketheircrafttothenextlevel. Tofinalizethissection,let’sdofinalnotesaboutpitchfadersandbeatmatching. Asageneralruleofthumb,it’susuallybestpracticetoNOTaltertheBPMofasong bymorethan+/‑8%,speciallyintheupperBPMranges. Forastandardsongat128BPMthisis+/‑10.24BPM. Thisissomethingthatyouneedtolistenbyyourselftoreallyunderstandwhy.Soloadup somesongsandmesswiththeirBPM’sextremelyinbothdirections.Forexample,picture anyprogressivehousesongyoumightlikefrom2012playingat138.24BPM. Ifyoudoexperimentwiththis,itispreferredthatyoutrythisatleastinacontrollerorin CDJ’s.Butifyoudon’townorhaveaccesstoeither,messingwiththeBPMinsideyour DAWshouldsuffice. Movingforward,oneofthefirstthingsyoushouldcheck,especiallywhenyou’reusing equipmentthatisnotyours,istoseewhat’sthecurrentrangeofthepitchfaders. Beatmatching
Beatmatching However,ifyou’remixing strictlyhousemusicfor example—orjuststaying withinsimilargenres overall,doesn’thavetobe strictlyhousemusic—itis recommendedthatyou keepthepitchfader settingsineither6%or 10%,asthiswillmakeyour lifeeasierandgiveyou waymorecontroloverthefinetuning. SoftwarelikeTraktorallowsyoutochangethepitchfadersettingsinquiteadrasticway, whichopensupsomecreativeopportunitiesforcrazytricksandmixingtechniques. Unfortunately,thesetechniquesareoutsidethescopeofthisbook. StandardCDJ’sNexus2000have4settingsavailable:6%,10%,16%and“wide.” BroaderBPMpitchfadersettingsaredesignedforopenformatDJ’swheretheyjump betweenmultiplegenres,forexamplehiphopandallthewaytodrumn’bass.
Arrangements,CountingBars&PhraseMixing Nowthatyouhaveadeeperunderstandingofthefundamentalprinciplesofmixingtwo trackstogether,wecantalkabouthowtostartcreatingseamlessmixes. IfyouareayoungproducerthatislearninghowtoDJ,thenyouaremostlikelyfamiliar withtheconceptofmusicalarrangements. Ifyouaren’t,worrynot,aswewilldoaveryquickbreakdown. Everysonghasanarrangement.Themostsimpleandcommonarrangementforpop songsishavinganintro,verse,chorus,verse2,chorus2,bridge,finalchorus,andoutro. Now,inthefollowingimageyoucanseeadeephouse/techhousesongwhichisat123 BPM. Itisincrediblyeasytotell(visually),thatthissonghasanintro,thenitgoesstraightintoits mainbeatsection,thenitslowsdownintoamelodicbeatsection—thelighterpinkand bluesection—goesstraightintoabreak,andbuildsupintothemainpartonceagainplus anoutro. Learninghowtoreadwaveformscomeswithpractice,butyoushouldn’trelyentirelyon this.Youshouldbeveryfamiliarwiththetracksyou’replayingandknowhowtheir arrangementsarelaidout. Almosteverymusicalphraseincontemporaryarrangementscomesinamultipleof4.One sectioncaneitherbe4bars,8bars,16bars,oreven32bars.Italldependsonthegenre. Someproducersevendo12,20,or24barssections,andthisisn’tthatraretobehonest, ascertaingenresofdancemusicallowforalotofcreativitywithinarrangements. ZHU‑DesertWoman(OriginalMix)
Arrangements,CountingBars&PhraseMixing Ifyoudon’tknowwhatabarisinmusic,itissimplyawaytoorganizewrittenmusicin smallsections.Everysonghasa“regularbeat”orpulsethatyoushouldbeabletofeel;A smalltricktofinditistotapyourfootonthefloorwhileasongisplaying. Ifyoudoitwithmostpopanddancemusic,youshouldbetappingyourfootwhile countingupto4. 1,2,3,4…1,2,3,4…thefirstbeatiscalledthedownbeatandit’sthestrongestoneout ofall.So,4/4orcommontime,meansthatfourbeats(numerator)madeoutoffour quarternotes(denominator)buildasinglebar. Itiscompletelyacceptabletohavesmallernotevaluesaslongastheyadduptofour quarternotes.Thiswouldstillbeconsideredasabar,forexample: So,multiplebars,usuallyingroupingsofmultiplesof4,buildmusicalsections. Inthefollowingimageyoucanseeaprogressivearrangement,wheretheintroisalittlebit longercomparedtomostpopsongs(32bars).Butoncethebeatdrops,thereareonly twosmall4barbreaksandthetrackkeepsbuildingandgoingonuntilithitstheoutro(32 bars). Pryda‑ProjectL.O.V.E(OriginalMix)
Arrangements,CountingBars&PhraseMixing Youshouldbestartingtorealizebynowwherethisisgoingto.Tocreateseamless transitionsandborderlineflawlessmixesyouneedtomakesurethatcertainsectionsof bothtracksalign. ThemostbasiconewouldbealigningtheoutroofTrackAwiththeintroofTrackB.If bothsongsarefromsimilarartistsorwithinthesamegenre,itishighlylikelythattheoutro willbeexactlythesamelengthastheintro. Note:Forreallyprogressivefourtothefloorgenres,introsandoutrosareusually32 bars.Genreswheretheaveragetracklengthisaround3‑4minutesusuallyhave8bar intros,whilethelargermainsectionsmaybe16bars. Thisway,whenTrackAfinishes,TrackBwillgorightintoitsverse,chorus,drop,ormain beatsection.Onceagain,thisisgenredependant. Onceyougetthehangofthisbasictechnique,ifknowyoursongswellyoucanstart creatingmorecomplexmixesand“arrangements”withinyourentireDJmix. Forexample,youcouldhavetheintroofyourincomingtrack(TrackB)toplayrightatthe breakofTrackA.Then,youcouldstartfadingawayTrackAbyloweringitsvolume gradually,orusingsomeeffects. Ideally,andalsodependingonthetracksyouselected,thedrumbeatshouldneverstop. Thisisagreatwaytomaintainenergyonthedancefloor. Justremember,thecrowdcan’tbegoingwild100%ofthetime,useyourbreakswisely.
Equalizing Learninghowtousethemixer’sEQisthenextsteptoachievecleanandflawless transitions. Ifyoucomefromamusicproductionbackground,youarewellawareofhowtrickyitcan gettomakeyourkickandbasssittogethernicely.Especiallywhenbotharehugeand sharethespotlightthroughoutyoursong. However,ifyouhavenomusicproductionbackground,don’tstress.Allyouneedtoknow isthatlowfrequenciescarryalotofpower. Thathugeredbumpyoucanseeintheimageaboveisthelowendonatechhousesong. Andthisisprettymuchhowmostmoderndancemusiclookslikethroughafrequency analyzer. IfyouplaythissongatfullvolumeinanytypeofDJequipment,yourmetersshouldbe prettyhotandneartheredzone. StayawayfromtheredzoneinanytypeofDJequipment.
Equalizing GoingintotheredzoneinanyPAsystemingeneralisacompletelydifferentballgame thanredliningyoursmallstudiospeakers. Thistypeofsoundsystemsdealswithamorepowerandcanoverheataboutthreetimes asfastasyoursmallmonitors. Ifyoustayintheredzoneforaprolongedamountoftimethere’saprettybigriskof completelyblowingoutthespeakers.Youcouldalsoseverelydamagethemifahuge burstofenergyhappensthatgoes“beyond”themeters. SomevenueshavecompressorsorlimitersintheirPAsystem’soutputtoprevent performersfromblowingtheirspeakersinadvertently.Butthismeansthatthey’re squashingyoursignalprettyhardwheneveryougointotheredzone…andthatsounds terrible. Inotherwordsandcontrarytopopularbelief,youdon’thavetoredlinetoheadline. Wheneveryou’remixingmixingtwotrackstogether,youfirstneedtoadjustyourgain accordinglywiththetrimknobandproceedtocutthelowendofeithersong. Remember,lowfrequenciescarrythepowerandgiveasenseofweight. Note:Everysingleindividualchannelhasatrimknobatthetopwhichallowsyouto adjusttheinputvolumeoneachchannel.Asaruleofthumb,setthegainsinthe channeltopeakjustbeforehittingtheredzonewhilehavingyourchannelfaderallthe wayup.Thiswillbethehighestgainyouwanttohaveeachchannel. (TRIMKNOB)
Equalizing ThisalsoappliesformoreadvancedDJ’swheretheymightbeusing4channelsatthe sametimetocreatecomplextension/releaseloopsforthedancefloor. It’salwaysasinglechannelcarryingthelowendenergy. TherestiscompletelyEQ’dinthelowendortheyhavenolowendfrequenciespresentat all.Hence,noneedtoEQthemouttobeginwith. Inotherwords,youonlyhave1smallroomavailable(yourmetersupto0dBFSinthe digitaldomain),andit’sliketryingtostickbothanelephantandahippoinatthesame time,it’sjustnotphysicallypossible. IfwegobacktoourpreviousexamplewherewemixtheintroofTrackBwiththeoutroof TrackA,youhavetwochoices: 1.EQthelowendfromTrackAfromtheveryfirstmomentyoubringinTrackB. 2.EQthelowendfromTrackBandwaituntiltrackAfinishestobringitbackin. There’snorightorwrongansweroverhere,doingeitherwillyieldcompletelydifferent resultstotheenergyonthedancefloor,andthisissomethingyouneedtoexperiment withalittlebit.Theeffectisalsodifferentdependingonhowthetracksarecomposed/ arranged. ThesecondreasonwhyweneedtoEQthelowendoutisbecauselowfrequenciesare omnidirectionalandourbrainjuststrugglesrecognizingtwosoundsinthesame frequencyrange. Usuallyourbrainwilljustpickuptheonesoundwhichisthestrongestoutofboth,orin otherwordstheloudestone.Soinanutshell,everythinggetsreallymuddyandthisis somethingyouwanttoavoidalmostatallcosts. Andfinally,tobringeverythingtogether,eventhoughthelowendmayhavedifferent fundamentalfrequenciesacrossthetwotracks,theamplitudeswillstilladdupand increasethevolume.Thiswilldefinitelymakeyougointotheredzoneofyourmixer,even ifthey’reclashingharmonically.
Equalizing However,theyarethereforareasonandthey’renotuseless.Youcanusetheminmultiple ways.Forexample,soundsthatarefurtherawayhavewaylesshighfrequencycontent. Ifyouintendtoloopsomethingandleaveitasthebackgroundforawhile,youcouldalso carvesomehighfrequenciesoutwiththetopbandEQtohelpaccentuatethis psychoacousticeffect. Wewilltalkaboutharmonicmixinginthefollowingsection,butalternatively,youcould usethemidbandEQtocarvesomespaceinasynthloopsoitdoesn’tclashwiththe vocalthatmayliveinanotherchannel. BeingelegantandsubtlewiththeEQ’sinamixercomeswithpractice.Somegreatadvice thatwillhelpyouunderstandhowtousethembetteristosearchforYouTubevideos whereanyofyourfavoriteartistsmightbemixingwhilethere’sacamerapointingstraight attheentiresetup. Thiswillworkevenbetterifyou’reasomewhatfamiliarwithsomeofthesongsheplays orjustthegenreoverall,asyouwillbeabletotellmoreaccuratelywhat’sgoingonduring themix.
TrackSelection Nowthatyou’refamiliarwiththemostimportantconceptsofmixingtrackstogether,we cantakeitonestepfurtherandtalkabouttrackselection. TrackselectionisoneofthemostelusiveconceptsforaspiringDJ’s.Inanindustrywhere thereisanimplicitcompetitionbetweenartistsandlimitedopportunities,whenevera beginnerDJgetsashotit’sprettycommontoseethemgoingashardastheycan. Thereisatimeandplaceforeverything.It’scrucialtounderstandthiswhenyou’rein youramateurphase. Ifyouhavetheopportunitytoopenforsomeonebig,understandthatyouarethewarmup set.Pickyourtracksaccordingly. Eventhoughyoumightgetsomefriendsandotherpeopletogoandsupportyou,the majorityoftheaudienceistheretoseetheheadliner. Youmightseethisasanopportunitytoimpresspeopleandmakeanameforyourself,but trustus…thepromoters,theownersofthevenue,andthebookingagentsdon’tshare yourperspective.Youwillmostlikelyleaveabadimpressiononthem. Yourjobhereistogatherpeopleintothedancefloorandmakethemhypedfortherestof thenight. Greatwarmupsetsareanalmostforgottenart. Ontheotherhand,wheneveryoulandyourfirstheadliningshow… Makethebestoutofyourshotandbringdowntheentireplace! Thisbringsustothematteroflearninghowtoreadcrowdsandpre‑planningsets.They keyistokeepafinebalancebetweensatisfyingthecrowdsexpectationsandgivingthem trackstheydidn’tknowtheywantedtohear.
TrackSelection Youneedtobringthemintoyourownsonicworld,yourtasteinmusic.It’sallaboutthe journey. Pre‑planningsetsisnotabadthingtodo,everyonedoesit.Thinkaboutsomeofthebest oldschoolDJ’sthatarestilltouringuptothisday.Theydonotbring1,000vinylswith them.Theypacksomeoftherecordstheypersonallywanttoplay,andsomeothersto pleasethecrowdwhereverthey’replayingat. ThisisarguablyoneofthebestmindsetsforaDJ.Ifyou’replayinga1hourset,bring someextratracks.Doyourhomework,askthepromoterorownerofthevenuewhattype ofmusictheiraudienceusuallyenjoysthemost. Preparesomemusicinthatstyleandgetpeopleupandgroovingonthedancefloor.Once you’vecaughttheirattention,startplayingsomeofyourowntracksandshowthemyour ownstyle. Neverstoplookingeverynowandthenatthecrowd. Thisisalsoanotherreasonwhyyoushouldbringsomeextratracks,sincenoteverysong willworkineveryscenario.Ifyourealizethatasongisjuststartingtokillthevibeofthe crowd,youcanjustmixitoutonthebreakdownjustlikewementionedbrieflyonthemore advancedphrasemixingtechniques. Butit’salsoworthrememberingthatjustbecausepeoplearen’tgoingmental,itdoesn’t meanthatthey’renotenjoyingyourset.Especiallywithcertaingenresofmusic. Youcan’texpectpeopletoreacttoreallyabruptordrasticchangesingenreseither.If you’readubstepDJ,don’ttrytogetbookedforahousemusicevent,itjustwon’twork. Thiswholeconceptismoreaboutplaying,forexample,sometechhouseinavenuewhere they’reusedtodeephouse.Youcouldalsotryplayingsomedrumandbassinavenue wheredubstepistheusual.Fansaremorelikelytoacceptthatandgowithit. Keepitcoherent.Ifyou’retryingsomethingnew,makesureit’ssomethingwithinthesame realm.Don’tgetbookedforrandomshowsforthesakeofplaying,becauseiftheygo wrongitcanbereallydemoralizing.
HarmonicMixing Harmonicmixingisaconceptthatisalittlebitmoreadvanced,sowewillonlytalkaboutit briefly. Beforeyoueventrytopracticethis,makesurethatyoucanbeatmatchandgetyour songstolineupcorrectlywitheachothereverytime(phase). Whenyou’redoingharmonicmixing,yourfocusshouldbeonthekeyofthetracksandnot onbeatmatchingandphrasemixing.Thoseshouldbesecondnaturebythispoint. Harmonicmixingconsistsinmixingtracksthatarethesamekey,songsthatareafifthup orafourthdown(keywise),ortracksthatareintherelativemajor/minorkeysofeach other. 1.Mixingtracksinthesamekey TrackA(Cmajor)→TrackB(Cmajor) 2.Songsthatareafifthup/fourthdownfromtheoriginalkey. TrackA(Cmajor)→TrackB(GmajororFmajor) Wecan’tdoanin‑depthexplanationonhowthisworksbecauseit’soutsideofthescope ofhisbook.However,ifyouwanttounderstandthistoamoreprofoundlevel,wesuggest youtostudysomebasicmusictheory. Basically,goingfromCmajortoeitherGmajororFmajorworksbecausetheyonlyhavea 1notedifferencebetweeneachother. Alternatively,youcouldalsogotoDmajororBbmajor.Sincethere’sonlya2note differenceit’llstillbesomewhatsmooth.However,thisisprettymuchtheupperlimit,as changingtoakeywitha3notedifferenceisalreadytoomuch. 3.Relativeminorkeys TrackA(Cmajor)→TrackB(Aminor) Youcouldalsogototherelativeminorkeyfromtheoriginaltrack,asbothscalessharethe exactsamenotes.
HarmonicMixing Thereareafewmoreintricaciestoharmonicmixing,butthisisthefundamentalconcept thatyoushouldbeawareof. Sometimessongsonlyhaveabeatintheirintroandthisdoesnothaveanegativeimpact ifyouphrasemixitcorrectlywithsomeothersongthatit’sinacompletelyirrelevantkey. Thisisanotherreasonwhyit’sreallyimportanttoknowyourownlibraryandsongs. Mostofthetimeyouonlyneedtoworryaboutharmonicmixingifyou’reputtingtogether twotracksthathaveharmonicandmelodicinstruments/elementsgoingonatthesame time.
MostCommonDJEquipmentin2018 YounowhaveaprettysolidpictureofwhatentailsbeingaDJinourdayandage.Wehave talkedaboutsomeofthefundamentalconcepts,minussomesmalldetailsthatyoucan onlylearnbyyourselfbydivingin,findingyourownstyle,andgettingreallifeexperience. It’sworthfinalizingthisbookbygivingyousomeinsightintosomeofthemostcommon equipmentthatyouwillfindoutthere. Theindustrystandard.Youwillseethissetupinatleast80%oftheworld’sclubs,venues, andfestivals.MostDJMmixershave4channels,soit’sprettycommontosee4CDJ’s hookedupinsteadof2. Ifyou’reintomoreundergroundgenresofdancemusic,it’salsoverycommontosee mixersthataren’tmanufacturedbyPioneer.SomeDJ’sliketomakeuseofsomeofthe functionalitiesdifferentbrandshavetooffer. CDJSetup
MostCommonDJEquipmentin2018 TheAllen&HeathXONE92mixersarethesecondmostcommonmixersyouwillseethat CDJ’sarebeinghookedupto,andthisisasixchannelmixer. ManufacturerDenonhasalsomadeaprettyaggressiveentryintotheindustryrecentlyby makingpartnershipswithcertainDJ’stoperformonandpromotetheirproducts. Onceyougettoacertainlevel,clubsandvenueswon’tletyouhookupyourown equipment.Youwilldefinitelyneedtobefamiliarwiththistypeofsetups,somakesome newfriendshipsandstrivetogettoknowsomeonethatwillmentoryouandletyou practiceinthisgear. Oneoftheonlywaysthatacluborvenuewillletyouhookupyourcustomsetupisifthey arebookingyoutoheadlineforthenight.Soreallytakethisintoconsideration. Anotherincrediblebenefitoflearninghowtoperforminthistypeofsetupsisthatyouonly needtocarryyourUSBdriveswithyou.Allofwhichyoucanfitinsideyourpocket. Thisiswithoutevenmentioningafterparties.Anotherreasonwhyplayersandmixerswill nevergooutoffashion.Evenifyoudevelopauniqueliveshow,youwillmostlikelyendup spinningintheafterhourswithaverysimilarsetup. Allen&HeathXONE92
MostCommonDJEquipmentin2018 DJControllers DJControllersarewaymoreaffordableforbedroomproducersandamateurDJ’s.There’s aplethoraofcontrollersouttherethatalsocomewithamyriadoffunctionalities,sowe can’treallylistallofthem. ThedownsideofDJcontrollersisthatsomevenuesorclubswon’tletyoubringyourown controlleraswejustmentioned,plusthey’renotthatsmallorportable. Theycanbecomequiteannoyingtobecarryingaround,andthisiswithouteven mentioningthatmostofthemaren’tsturdyatall.Theyarequitefragile,andifyoudon’t carrytheminsomesortofflightcase,there’sadecentriskthattheymaygetdamaged somehow. Ifyou’reinterestedinmixingtracksinatraditionalway,havingmultiplecreative“live”remix functionalities,orevenusingStems,bothofNativeInstruments’TraktorS2orS4are incrediblechoices. TheTraktorS2hasasimpletwochannelsetupthatisincredibleasanentrylevelDJ controller. TraktorS2
MostCommonDJEquipmentin2018 Ontheotherhand,it’sbigbrother,theTraktorS4comesequippedwith4channelsand hasmultipleaddedfunctionalitiesthatyoucancheckouthere.Multiplehighprofileartists suchasMr.Carmack,PorterRobinson,andBranchezusedtoperforminthisexactsame DJcontroller. It’sarguablyonthelowtieroftheacceptableprofessionalDJperformanceequipment.If you’reinterestedinusingTraktor—becauseyouneedaniOSdeviceoralaptoptooperate bothofthesecontrollers—thisisthewaytogo.Weguaranteethatyouwon’tbe disappointed. TraktorS4
MostCommonDJEquipmentin2018 VinylSetups Ifyouwanttojumpstraightintoitandstartgettingpracticeinacontrollerthatresembles CDJ’sthemost,thenyoushouldopttogetaPioneerXDJ‑RX2. It’sa2‑deck,2‑channelall‑in‑onesystemthatoperatesonitsownwithouttheneedofa laptop. ThisisascloseasitgetstoexperiencingCDJs2000withoutactuallyowningthem,but eventhiscontrollerfallsslightlyshort.Youjustcan’tmatchtherealsetupwithany controller. Vinylsetupsdidn’tgetleftbehindorforgottenalltheseyears.Inearly2018,vinylsales finallystartedsurpassingdigitalsales.Surprising,huh? Unfortunately,somelegendaryequipmentforthisrealmstoppedbeingmanufactured unfortunately,liketheTechnics1200forexample.Althoughit’sfairlyeasytogetyour handsinsomesecondhandturntables,therearenownewerandcheaperalternativesout therethatyoushouldn’tdisregardatall. PioneerXDJ‑RX2
MostCommonDJEquipmentin2018 ForscratchDJ’s,themixersarealsoslightlydifferent.Someofthemostcommonones thatyouwillseearoundnowadaysaretheNativeInstruments’Z2,Rane’sseventy‑two, andMixar’sDUOMKII. Vinylsetupsusuallyconsistof2channelsonly,unlessthey’rebeingusedinconjunction withtwootherCDJplayers.ThisisverycommonwithinhouseandtechnoDJ’s,where theyonlyplayreallyoldrecordsanddon’thavetoworryaboutscratchingorcuttingmixing techniques. 2channelsimplevinylsetup. 2vinyl‑2digitalplayerssetup.
FinalThoughts Thisisit! Wecoveredavastamountofinformation,sodon’tfeelstressedifyoufeellikeyoudidn’t graspsomeoftheconceptswepresentedinthisbook.Takeasmallbreakandgobackif necessary. Andonceyougetasolidgraspoftheconceptswepresentedinthisbook,youshouldbe abletostartcreatingsimple,yetsolidandcoherentDJsets. Thetruthis,manyDJ’souttherethatarealreadymakingsomemoneyoutofthis professionkeepitsimpleanddon’tgofarbeyondsomeoftheseconcepts.Butyoushould alwaysstrivetobeabettermusician,producer,andDJ. Justlikeinmusicproduction,alotoftrialanderrorgoesintothis.Studythesongsyou wanttoplay,startmessingwiththeeffectsonyourmixer,tryputtingmultiplesongs together,andtrytothinkaboutcreativetransitiontechniques…yourimaginationisthe limit! Ifyouspendsometimepracticingandgettingoutthere,justlikeyoudevelopyourown soundwhileproducing,you’llstarttorealizehowyoulikemixingsongstogether, transitioning,andthereforeyou’lldevelopasignatureDJingstyle/sound. BestofluckandhappyDJing!

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The beginners guide to d jing