Let's face it, there is a lot to learn when you start anything new. Becoming a DJ is no exception. You'll have to know about cartridges, needles, mixers and tables. You'll need to learn what pitch and tempo is and how to scratch or beatmix. In many peoples opinions, the best possible way to learn all of the aspects of becoming a DJ is watch someone. Find a mentor or someone to study under. A lot of DJs are willing to lend a hand to people trying to get into the art in exchange for helping carry gear at a gig perhaps. Maybe you can wash their car every week in exchange for some hands on training. The best way to become a DJ is to learn from a DJ hands on.
There aren't many schools that will teach you how to become a DJ. The art of being a DJ is more of an underground movement. Nightclubs, parties, weddings, there are many events where DJs can show off their skills, but you'll rarely see it taught in a classroom. The best DJ teachers are the ones with the experience. The DJs who have been mixing and spinning for many successful years. The art of scratching may be overrated by some as well. Some DJs just don't have a need to do it. If you plan on becoming a DJ for weddings, the bride and groom probably don't want to hear a DJ scratching away. They just want the music to keep playing all night. It all depends on what kind of DJ you plan to become. If you want to battle, or DJ at hot night clubs or hip-hop grooves, you will probably want to learn how to scratch. When you decide to become a DJ, don't be afraid to try everything, the more talents you have, the more job opportunities are available.
The single greatest piece of advice that can be given to someone starting out is -- PRACTICE! Many aspects of DJing are reasonably intuitive and will present themselves the more you practice. The core of being this sort of entertainer is being able to work your music. Learn your songs well, and get your beatmixing down solid. A natural progression will start from there. The hardest part about writing this document is covering all the different choices available. From my experience and listening to other professional DJs, I've learned that most decisions are personal choices which only you can make. If you find yourself unsure about what direction you want to take, examine both for yourself. Its not nearly as easy as someone telling you "decision X is the best way to go," but you will be much more confident in your choice and will have much less room for bad decisions. The first few questions you have to ask yourself are common amongst beginners.
1. Do I really want to do this?
This may seem like a terribly odd question to be asking, but it is something that you need to evaluate carefully. DJing requires a lot of time, energy, money, and patience. If you aren't sure you have these sort of facilities, avoid making any commitments until you are sure.
2. What sort of equipment do I need to start with?
If you aren't sure about whether this is something you want to seriously pursue -- don't buy anything. Find a friend who'll let you use their equipment and practice on it a bit. (Don't forget to take them out to dinner in exchange!) Once you're sure you want to get into this some more, be ready to drop serious money on gear. Professional level gear should run you about $1000 to get started. This will include either a pair of turntables or a pair of CD players, and a mixer. You can use a home stereo as your amps and speakers while you get started. If you aren't sure that you're going to be doing this for the long haul and can't drop $1000 for equipment, then skimp as much as you can and save for the real stuff once you're sure. This means getting turntables with minimum features (ie: Gemini XL-BD10's) and a simple mixer. If you're going to spin CDs, this becomes tough real quick... the minimum priced pitch control CD decks are from Gemini and cost about $250 a piece. They are good starter decks, but moving up to better CD players in the future is something to seriously consider. Bottom line: Spend the least you can if you aren't sure. Buy the real stuff as soon as you can afford it and are sure that's the direction you want to take. And don't forget to buy a pair of good headphones! You can get them from Circuit City or similar stores for about $40 for a decent pair.
Become a Radio DJ
You need a pleasant speaking voice and excellent verbal skills for this job. On the air, you may introduce music, conduct interviews, and read commercials and even the weather forecast.
Steps
Take speech, drama and English courses in high school and college. Make tapes of your speaking voice and ask your speech and drama teachers for their opinion of your vocal projection.
Consider working part-time while you are in high school as a mobile disc jockey at parties. Observe experienced mobile DJs and you'll learn what's good vs. what's unprofessional. Find out from them what equipment you need. If you're really good, you can eventually advance to more formal affairs, such as weddings. The experience will be priceless.
Ask your guidance counselor for a list of colleges and universities that specialize in broadcasting.
Apply to several schools that offer a broadcasting degree with a radio emphasis. Although it's not always necessary for a DJ to have a degree, it will give you a major advantage within the broadcasting industry.
Gain experience at your college radio station by doing any work that will teach you about radio broadcasting, a station's equipment and the problems associated with airtime. Offer to be the DJ or radio announcer at the station during unusual hours. Then make a tape of the show and include the experience on your resume.
Get an internship of any kind at a local radio station while you're in college. It can sometimes lead to a permanent position. Realize that you will most likely be doing office work initially, not talking into a microphone or running the board. But you need this experience.
Consult your broadcasting adviser about the availability of entry-level radio jobs through the college.
Consider a radio job at a small community station after graduation if the opportunity presents itself. You'll probably begin with an entry-level position to learn the ropes, but your chances of speaking on the air in the near future will be far greater than in a larger market. The large markets want you to have had several years of on-air experience.
Tips & Warnings
Become an expert on a variety of interesting topics. Prepare demo tapes that demonstrate your knowledge and your excellent speaking voice.
Time management during a show and the ability to connect with your audience are key skills to have in this field.
Be prepared for the possibility of unusual working hours if you become a DJ.
DJ Equipment
There is more to say on this subject than there is time to write it. Most of what you'll learn about equipment will come from experience. (Remember: PRACTICE!) Here are a few things that will get you started.
Mixers
If you are just getting into things and are unsure if you want to be doing this sort of work a year from now, investing into a big "it can do everything" mixer probably isn't a good idea. There are a lot of good smaller mixers available which fit the bill fine.
There is a common misconception that a better mixer will make a better performance. A better mixer will only better a person's performance once they have the practice and know how to make effective use of their "it can do everything" equipment. Even then, a good DJ doesn't need it to do everything for a good mix. My favorite example is when I let a local radio station (KUCI 88.9FM in Irvine, CA -- Riders of the Plastic Groove Show) use my mixer for an evening. DJ Ron D Core (a big name in the Los Angeles area) was one of the guest DJs for the evening and refused to use the station's mixer which had circular faders. (He said it was like using a washing machine.) My very simple Atus 200 sat between his turntables and let him mix one of the best sets I had ever heard. Believe me when I say the mixer had nothing to do with it. My point: Equipment never makes up for talent.
A few names to start with are:
o MTX
o Gemini
o Atus
o Vestax
o Radio Shack
o Rane
MTX. Very few poor reviews have been posted concerning the unit and it seems to be a popular unit for many DJs. It is mid-priced ($200-$500) and offers all of the elements needed in a good DJ mixer. Nothing flashy, just solid performance.
Gemini mixers are a definite consideration for the starting DJ. They offer a wide array of mixers from entry level to professional and most DJs who use them seem to be pleased with their performance.
Radio Shack is just bad news. Within the last three years of my net presence, I have only heard ONE good comment about their equipment and staff. (This comes from frequenting many different newsgroups, including many technical groups) Their mixers are the best priced, but it many not be a unit you'll want to keep for a long time...
Vestax is better known for the CD players. I haven't heard much about them or their mixers, but you should just know that they are out there. Somewhere...
The Rane MP-24 is a high-end mixer constructed with the professional in mind. At $1000 for a single unit, they are the most expensive DJ mixers available, but Rane has managed to justify the price tag with an impressive array of features and professional components. There is an audible difference when using one. These features include: ALP faders for clean transitions, four independent outputs, transformer isolated light trigger output (so you won't lose your sound if the light chaser cable shorts), a loaner program in case your unit goes bad (although it has been noted that redundancy is a key feature), and last but not least, a feature to disable the MIC from tape outputs (this allows you to use the MIC during a performance, but not have the taping reflect these announcements). 48 hour repair turnaround is also available.
A note about sampling mixers: Sampling mixers have received mixed reviews in regards to their quality. Some have found their quality to be fine while others complain that they are too spotty. It seems a lot of people agree that the samplers are typically good enough for drum loops but not good enough for vocals.
CD Players
The features you need to look for in a DJ level CD player include:
o Instant start
o Fast cueing
o Pitch control/Pitch bend
o Easy to read display
Features that are nice to have:
o Pitch lock
The choices you have are:
1. Denon
2. Pioneer
3. Gemini
Some basic common tidbits of information:
1. The smallest unit of sound on a CD is a frame. One frame is equal to 1/75 sec.
2. Instant start means a start time in the hundredths of a second. Claims of instant start "In under 1 second!" are bogus.
3. No CD player (yet) can scratch or backspin.
4. This FAQ doesn't consider a CD player to be a DJ CD player unless it has pitch control. Although there are many DJs who use traditional CD players for their work, that sort of list would be better suited for Consumer Reports to tackle.
Suggestions for CD-Player Care:
Although these were pulled from a Denon specific document, most of the suggestions are applicable to all CD players.
o General Care
o Rack mount the unit -- this will result in much less physical abuse on the unit In the case of the Pioneer unit, keep it in a coffin.
o Keep it clean -- Dust and the sensitive electronics inside the unit don't get along.
o Usage Tips
o Use sticky on one side clean lamination sheets to protect the display from scratches.
o Support the back of your rack mounted unit with a sturdy brace made of metal or wood. This will help reduce skipping caused by vibration.
o Use three units of rack space instead of two and fill the gaps with foam pillow. This reduces
vibration even more.
o Make sure your CDs are clean if you find cue times getting excessive.
o Operational Tips and Difficulties
o Try turning the unit off and then back on. Most problems fix themselves this way.
o Don't bend your controller cables (if you have any) tightly. This causes errors when the units
communicate with each other.
DENON
Denon's good reputation in the pro-audio market reaches well into the DJ market as well. All of their products are solid performers and are often the standard by which other units are compared.
On the lowest end if the DN-1000F. This is a single unit CD player with instant start, +/- 8% pitch, pitch bend (+/- 12%), and frame cueing. It's a solid performer and is extremely easy to carry around. There are two special plugs in the back to connect it with another DN-1000F and to connect it with an RC-35 adapter (see below). The open/close button on the tray is protected which means the unit will not eject a playing CD. This kindly keeps clueless people around you from stopping a playing song. The CD must be either cued or paused to be ejected. Last but not least is the self locking transport. The laser pickup automatically locks in place when the power is shut off.
Right next to the DN-1000F is the DN-2000F. This unit is no longer manufactured but there are still quite a few out there. The DN-2000F is essentially two DN-1000F's packaged in one convenient box. Both CD players are in one box which only has a power switch and eject buttons on it. The controls for it are all on the RC-35 which comes as part of the package.
The RC-35 is a remote control for the DN-1000F and DN-2000F players. This allows you to mount the actual units in your coffin (often seen a little above the knees) and keep the actual controls (pitch, start, stop, track change, cueing) and backlit display right next to your mixer. This unit comes as part of the DN-2000F package and is required to use the DN-2000F. The DN-1000F has all of these controls on the face of the unit already and therefore does not need the remote control for operation. However, it is handy if you want to mount the DN-1000F somewhere else and control it from the area around your mixer.
Since the DN-2000F has been discontinued, the DN-2000F Mk II has been released. It is very similar in structure to the DN-2000F but offers many new controls to making mixing a touch easier. The display on the RC-35 is now active matrix instead of backlit making it easier to view from different angles, the power switch has a protector around it to keep idiots from turning everything off, instant start has been made a touch faster at 0.01 seconds from the old 0.03 seconds.
As a replacement for the DN-2700F, Denon has released the DN-2500 as its top of the line unit. The DN-2500 offers all the features of the DN-2000F Mk II as well as three pitch ranges, 4%, 8%, and 16%, a preset mode, a jog wheel for cueing, sleep function, index search, skip search, sampler with seamless looping, master tempo, brake effect (similar to turning a turntable off and letting the record glide to a stop), and a voice reducer.
It should be noted that these units use plastic CD trays. BE CAREFUL! They are $100 to repair and are NOT covered under warranty if broken. Clubs should mount the transport high to avoid drawers getting squashed by belt buckles when open. Mobiles should be careful!
Should your unit need repair, it will be taken to United Radio in Syracuse, NY. At United Radio, a team of Denon specialists will examine and repair the unit. Remember: These techs are people too! You'll have much better luck remaining civil with them and explaining your problem in a well thought out systematic manner than you will screaming at them.
Some unofficial notes from these techs are:
o Some units with serial numbers below one thousand had consistent trouble with their circuitry not being well connected. Difficulty cueing and skipping on beats only during breakdowns are telltale signs. Accuracy: 50% o units which consistently skip most likely have a misaligned laser. handle it with extra care. accuracy:75%
PIONEER
Unlike the Denon series, the Pioneer CDJ-500 was meant to resemble a turntable more than a CD player. The unit fits nicely in a coffin space originally for the Technics SL-1200 and all the operations (including disc load) is done from the top instead of the side. The pitch slider goes +/- 10% and includes pitch lock. Instead of using buttons for cueing and pitch bend, the unit uses a large jog wheel to control the CD which is supposed to resemble the feel of manipulating vinyl. (Whether or not it resembles vinyl is up for debate, however, many say that it is easier to manipulate than the Denons.) It can also display CD-G discs and karaoke discs.
The only noticeable downfall for the unit is it's larger price tag. If you have the kind of money it takes to get one of these, go for it.
GEMINI
Gemini's recent addition to the Pro-DJ market is the CD-9500 and CD-4700, units which are in direct competition to the Denon DN-2000F/Mk II and DN-1000F respectively.
The CD-9500 features frame level cueing (1/75th of a second), a jog wheel allowing for six different search speeds, instant start, two disc bays, a remote control so you can mount the unit away from the controls, and the standard +/- 8% pitch control. Because it has only recently been introduced, we don't know its long term stability, however, initial reactions to the unit have been very favorable. Cute features include a protector on the power switch so you don't accidentally turn the unit off, and eject buttons which will not eject the disc while it is playing.
The CD-4700 is just like the CD-9500 except it sports only one disc bay and no remote control. An ideal backup unit or a good way to start buying equipment if you can't afford a 9500 on the first shot.
The nicest feature of the Gemini units is their price tag. Much friendlier than the Denon units with comparable features. One feature that Denon has up on Gemini is the pitch bend buttons -- the Gemini units only go +/-8% whereas the Denon units go +/-12%. The extra speed on the Denon units are useful when you've pitched up +8% on a track and need to push it just a little faster to get the beats in sync. On the other hand, the Gemini's multi-speed search is terribly useful when seeking through long tracks.
These are units worth checking out.
Protecting your CDs
Theft is a serious problems DJs have, especially with CDs. Because of their smaller size, its much easier to slip them out of parties, clubs, etc. and is much harder to prove ownership of afterward.
There are, thankfully, a few things that you can do to help protect your discs from theft. A simple solution is to notch the cases. Unfortunately, this is a common practice and may not do you much good if the CD inside gets swiped.
Another option is to use an exacto knife and carve your name or other ID information into the clear center of the disc. Many used CD stores will require that the seller produce identification if the disc they bring it has an ID number (ie: drivers license) on it.
A more noticeable solution is a special unremovable front clear adhesive with your name on it. A company out in Arizona makes these and can be contacted at 602-435-7299.
Turntables
Depending on whether you are just starting or have decided to go pro, you have these choices:
1. Gemini
2. Technics
3. GLI
4. Vestax
There are many other people who make turntables, however, these tend to be the more popular models. If you have questions about a specific model, please post it to the newsgroup -- that's what it's there for.
Starting DJs who aren't sure if they want to drop $400/unit for a professional turntable should look into the low-end DJ turntables from Gemini. These units aren't the best in the world, but in terms of bang for the buck, they're a good option.
The Gemini XL-BD10 is a belt driven turntable which can be purchased for less than $100/unit. It has +/-8% pitch control so you can do true beatmixes with it. This sort of turntable is fine for learning how to work your music and get the hang of putting together a good mix.
The Technics SL-1200 Mk II and SL-1210 Mk II turntables are considered professional level equipment. There is a common misconception that the only difference between the 1200 and 1210 is their color, however, both models have been seen in both silver and black. The true difference is in the 1210's ability to switch voltages for use in European countries. Both decks sport a high torque motor and use direct drive instead of belt drive. This results in a faster spin up time thereby providing means to do instant starts. The pitch slider allows for +/- 8% pitch and is extremely accurate. They are also known to hold their value for long periods of time due to their sturdy construction.
Gemini XL-1800Q IV is Gemini's attempt at the 1200 level market. It features anti-skate adjustment, pitch control, adjustable tone arm, feather-touch start/stop, strobe illuminator, pop-up target light, XLR lamp adapter, and a S-shaped tone arm. The units are cheaper than the Technics, however, many say that they aren't as pleasant to work with. If you're tight for money, get behind a pair and feel them yourself before making a decision.
A recent entry into the turntable war is Vestax. Their PDX line was meant to compete with the Technics SL-1200 and based on what many have said it is a good competitor. Definitely worth
the time to check them out and compare for yourself.
Here is a quick breakdown of turntables:
GLI SL-1900
o Direct Drive o Fully manual
o Start/stop button
o Slide pitch control
o Cueing
o Strobe illuminator
o Pop-up target light
o Aluminum platter
o 23lbs
o Adjustment s shape tone arm
o Anti skate control
Gemini PT-1000
o Anti-skate adjustment
o Adjustable pitch control
o Feather touch start/stop
o Strobe illuminator
o Pop-up target light
o S-shaped tone arm
o XLR lamp adapter
Technics SL-1200
o Quartz-Direct Drive
o Heavy Duty Aluminum Platter
o Adjustable Weights on Tonearm
o S-Shaped Tone Arm
o Feather Touch Start/Stop Button
o Anti Skating Control
o High Torque Motor
o Slide Pitch
Vestax PDX-5000
o Direct drive quartz
o Ultra high torque motor
o Start up time of 0.5 seconds
o Starting torque of 1.6kg-cm
o Electronic braking system
o Pitch adjustment of +/-10%
o Illuminated analog pitch VU meter
o Detachable mini-light
o Detachable pitch fader
o Anti-skate adjustment of 7g
o Static balanced S-shaped arm vibration sync suspend system
o Remote momentary start (mini-jack)
o No-dead zone around zero
o Quartz lock button
Record Cleaners
Dirt usually manifests itself as crackles, pop, and increased noise, whereas a worn-out stylus typically sounds like the high-end has dropped out.
The best record juices won't leave any residue on the records. The worst ones will leave a layer of "gunk" in the grooves, and possibly draw plasticisers out of the vinyl itself making it brittle. The folks on rec.audio.high-end have shared cleaning recipes which generally consist of 75% water (deionized, filtered), 25% ethanol (everclear), and some photo-flo (wetting agent).
For those of you who are more interested in pre-made cleaning agent, there have been positive reports with Discwasher D4 juice and a pad.
Another suggestion is to use rubbing alcohol and felt cleaner. Once the record is clean, place a few drops of WD40 on the corners to return the moisture to it. Remember to do this last step VERY carefully.
Don't forget that bad needles can be the cause of record damage as well. Protect your vinyl -- replace needles every few months. Your vinyl is your lifeline in this industry, take care of it.
Needle Care and Tone Arm Adjustment
1.) Mount the needle carefully, plug into mixer and make sure you attach the grounding wire to eliminate hum and noise.
2.) Back off main tonearm weight all the way to end.
3.) Move tonearm in position as if you are going to put the needle on the record. Don't worry if it the tone arm sticks in the upward position -- remember: the weight is all the way back.
4.) Slowly turn the weight until the tonearm balances parallel with the deck. Make sure its exactly balanced and level.
5.) Adjust the skating so the tonearm doesn't sway to either direction but just sits there perfectly still. This will probably be "0".
6.) Move the black ring on the very front of the main weight until "0" is at the top. You are now at 0 grams tracking weight.
7.) Adjust the height ring of the tonearm assembly to about 3 so "3" matches up with the red line. Now lock the assembly down with the locking lever. You can mess with the height later once you feel more comfortable mixing.
8.) Although it depends on what style of music you plan to work work with and whether or not you plan to scratch, a good starting place for the tracking weight is 3 grams. To set the weight, move the main tonearm weight counter clockwise until it reads 3 at the top. Make sure to put your finger underneath the tonearm so it doesn't it the platter and damage the needle. The more weight you track at, the better the needle stays in the groove. However, the additional weight will wear down both the needle and the records. Everything is a trade off...
9.) Now you're ready to go!
Its a good idea to buy a bubble level (easily available at hardware supply stores) and adjust the rubber feet to insure your decks are parallel to the ground. This helps keep the needle in the grooves.
Mixtapes
Always master your mixtape on DAT. If you don't own a DAT, rent one. A poorly recorded mixtape will reflect on your ability as a DJ, possibly giving you a bad name without good cause.
Once you have a perfect master DAT (which is no easy task, mind you) you have to ask yourself some questions about marketing, money, and how big of a DJ you think you really are. All of these center around the question: "How many mixtapes can I sell?" After all, do you really want to be stuck with 500 mixtapes in your closet?
Your two choices are to dub them off yourself (for low to medium volume) or to retain the services of a professional tape duplicator. Regardless of the route you take, always use chrome
position tapes for copies. Normal and metal position tapes are of inadequate quality.
The home recording method is where you boy the blank chrome tapes and make the labels/J-cards yourself. You'll need a dual tape deck (preferably several decks) and a LOT of time. Since you'll need to constantly rewind and replay your original, you'll want to press your DAT to CD which costs about $40, however, you'll then have a permanent master which will not degrade in quality.
Once you have the tapes, you'll need to think about the J-cards (the inserts which show through the tape's plastic cover.) Believe it or not, good J-cards a big selling point. Spend the time and money (if you need to have someone else do it) to make clean, well designed cards. Color, of course, being much preferred.
With completed, ready to sell tapes, you begin your marketing. Remember that there are a million DJs out there and every one of them if your competition. Do you feel well enough known that people will recognize your name in a store and ask for your tape without goading? If not, its time to begin getting as much exposure as you can by doing as many events as you can.
As much as we'd like to deny this, there is a substantial amount of in-store politics when it comes to record shops. You need to learn how to get on the good side of the people working behind the counter so they will recommend your tape to people when asked. Possibly even recommend your tape without being asked. =) Just being a good DJ isn't enough, unfortunately, so giving the employees free tapes is a good way to make new friends. Its not the most pleasant way to acquire business (giving away free tapes), but in the long run, you'll find the benefit will cover such costs.
What is hamster and regular style and which should I use?
"Hamster" style means scratching with the crossfader reversed, so when you move the fader to the left, the right turntable comes on and vice versa. Some people find this a more natural way to scratch (me included). The main thing is to choose a style that you prefer and stick to it. Switching between styles at the beginning will only slow up your progress. Don't be influenced by the style other people use, for example, just because QBert scratches hamster it doesn't mean you should.
What records do I scratch with?
Scratching takes years to master. If you want to become good, you'll be doing LOTS of practice. Every time you perform a scratch on a certain sample, you're wearing it away. It's essential not to practice with your treasured vinyl collection! Get yourself a couple of battle records to practice with and when they wear away, get some more. I'd recommend SuperSeal, because it has some common sounds and fresh arranged so they're skipless.
What are "skipless" records?
Imagine you stuck a little label on your record at the 12 o'clock mark. When you play the record, the label will go round and pass the same point every so often. Skipless records work by having the same sample at exactly the same point spread over several rotations. This means that if the needle skips forwards or backwards a couple of grooves, it'll land in exactly the same spot on the same sample. When you start out, you might be a little heavy handed and the needle skipping can be very frustrating. Buying battle records that have skipless sections is one way to get around this.
What scratches should I learn first?
Nearly all scratches are based on simple foundation scratches. It's important to start with the very basic scratches first. A lot of DJs will try and learn crabs and 2-clicks before they learn anything else simply because to them they sound impressive. That's not the best way to learn. If you wanted to learn how to play a guitar, you wouldn't pick one up and try playing a Hendrix solo - you'd start by playing single notes and work from there - scratching is no different. If you want the beat I used for the examples, It was a free loop made by DJ Toadstyle. Once you have it, you can loop it up using the Focus Looper I posted, or in the program of your choice.
What are the foundation scratches?
Baby - The baby scratch is the first scratch anyone should learn. All you're doing is moving the record back and forth in time with the music. There are various ways to perform it. Here's a little file with some examples:
Marches - Marches are a combination of babies and forwards. This is the first combo you'll learn. As with all scratches, you're aiming to have solid record control and get a clean and even sound. Here's an example using combinations of forwards and some of the different baby scratches mentioned above
Drags - A drag can be performed either forwards or backwards. What you're doing is slowing the record down rather than letting the sample play at it's regular speed.
Tips - A tip is like a really short baby. All you're doing is moving the record back and forth over a short distance to catch just the start of the sound
Stabs - Stabs are a little like forwards except you're only catching the very start of the sound. You can also change the pitch of the sound by pushing the record forwards at different speeds.
Chirps - The record movement of a chirp is the same as a baby. If you've practiced your baby scratches so they're nice and clean then give chirps a try. Start with the fader open, then move the record forwards. As soon as you hear the sound start to play, close the fader, but continue moving the record as if you were doing a baby. As you move the record backwards, just before you get to the start of the sample again, open the fader. What you're doing is using the fader to cut away a large portion of the sample. This gives a crisp, defined sound.
Tears - There are many different tear combinations. An easy one to learn first is the 1 forward, 2 back tear
Transforms - A transform is a technique, not a specific scratch. The fader starts closed and ends closed. What you're basically doing is snapping the fader on and off to chop up a sound. Transforms can be done over the top of other scratches including babies and tears to add more definition to the sound.
Dicing - Transforming over the top of tears is called dicing. There's two ways to speed up something like dicing. First off you can do the exact same record movement, but just do it faster. That will speed up the pitch of the sound too obviously. The other way is to do the tear over a shorter distance which means you can move the record slower. The fader movement is the same either way.
Why is it better to learn these scratches first?
An example of a more advanced scratch is the crab orbit. You move the record forwards and backwards while crabbing the crossfader. What you're doing with the record is a baby scratch. If you haven't practiced the basic faderless baby scratch, then you won't have a nice consistent motion so your advanced scratches will sound sloppy. If you practice all the basic techniques above, then when you move on to flares, 2-clicks, orbits etc. you'll have a head start over people who jumped straight in trying to do them, plus your scratching will sound clean and precise. Even if you only get a few of the basics down, you can use these techniques when you're doing a set to add an extra dimension to your mixing. A few simple scratches here and there sound a lot better than sloppy attempts at complex ones.
What are some good practice tips?
Start off slow. Don't get frustrated if you don't sound good to begin with. That happens to everyone. Keep working on the basics and you'll soon improve. Practice as often as you can and for as long as you can.
Recording your practices is a great idea. Listen back to them and you'll hear where you're good and where you're not so good. That way you can work on the techniques where you might be falling behind. I've got practices from a couple of years ago on tape. When I'm feeling like I'm not progressing and I want to give up, I listen to those and I can hear how much better I've got. It's a bit of an ego boost you might say. Hehe.
Practice with other DJs if possible. If you can hook up in person with another DJ and scratch together in what's called a Q&A session, then you'll pick tips up off each other. You'll also be more inspired to practice and it's a lot more fun than learning alone.
Once you start to get certain scratches down and you can do them consistently, speed things up by increasing the pitch of the record you're scratching over. At first you might not be able to keep up, but keep at it and your arms and hands will soon get used to it.
Finally, remember that there is no right and wrong. If you do a scratch slightly differently to someone else, then so what? Everyone develops their own way of doing techniques, which is why watching DVD's may give you the false impression that a certain scratch has to be done a certain way. Originality is extremely important. You can start out by copying other people, because that's a good way to learn, but you'll eventually reach the stage where you have a style of your own and that's what sets you apart from everyone else.
I hope this helps the people who want to get started. It's a lengthy read, but I've tried to make the tutorial easy to understand. Remember, this is a beginners guide for those just starting out, or those that want to build a strong foundation for their more advanced scratches.
Managers
A talent manager, also known as a personal manager, is one who guides the career of artists in the entertainment business. The responsibility of the talent manager is to oversee the day to day business affairs of an artist; to advise and counsel talent about professional matters and personal decisions which may affect their career.
The roles and responsibilities of a manager vary slightly from industry to industry, as do the commissions to which the manager is entitled. Music managers duties differ from those who advise actors, writers, directors, etc.
Music managers can manage Bands, singers and DJs. The role of a music manager is extensive, oftentimes tasks are divided among personal managers, business managers, tour managers, agents, bookers, and promoters.
Early on in an artist's career, the different facets of management and marketing falls upon either the band itself or, if they have one, the manager. Because the band or artist is relatively unknown, promotion, booking, and touring are minimal. When starting off, a new music manager should establish a clear understanding of what the artist(s) want. This can be done through a written or verbal contract. A music managers' first task should be focused around a CD launch.
Rates should be clearly stated initially. A good manager should understand the artist's perspective. A new manager has no experience or clout. In a band of six members, each member might receive less than the manger (who normally gets 15%). A tentative agreement, which can be renegotiated at a later date is often best. Managers who insist on a number that the band does not agree with can expect to be let go at the first convenient opportunity.
It is important for a band to have experience in front of crowds. Fundraisers and talent shows are good experience and do not require a lot of commitment (in terms of fan pull) on the part of the artist. If the artist wants a gig in a pub or bar, expect there to be conditions. The following is a list of questions asked by bar owners/managers (in order of importance).
What kind of music?
How many people can you bring?
That's all. In some cases they may ask for a demo (a recording of four of the artists' best songs). The main objective for the bar owner is to fill their floor on any given night. They don't care if you're terrible they just want to see numbers. Under 75 people is generally frowned upon and will result in a minimum fee. A minimum fee could be upwards of $100. Some bar owners will waive or reduce their $100, $200, or $300 charge if the artist can pull in a significant number of people (predetermined during negotiations-usually a handshake).
Recording studio
If the artist does not have a recording studio (i.e. a buddy's basement) then the manager should take this on. If artists have contacts managers should use them. His job is to get the band the best rate possible.
Photography
While the artist is recording, a photographer should be searched. Pictures of the artist can be used for web sites, CD labels/jackets, posters, and press kit. Cost for high quality rolls of film and their processing could be upwards of $200 for 150 pictures (labor not included). Finding a photographer friend is helpful but don't expect him or her to cover material cost. Have the photographs taken before your CD designs or artwork go into production.
CD production
Also while the CD is being recorded a CD production company should be found. CD production is when an artist takes their burned CD recording to a company to have it mass produced. The company will also make the CD jackets and labels once you provide the design or artwork. This is where the artist should expect to invest heavily. Up to $1,000 is not uncommon for 500 manufactured CDs. Again connections come in handy.
CD launch venue
Once a production date is given you can safely go out searching venues. CD launches are more attractive to bar owners because it nearly guarantees an audience. Consequently CD launch venues are relatively easy to land. Try to book a place where the crowd will feel good walking into and out of. Presentation is everything. The crowd should be talking about the artist on arrival; not the crappy conditions of the neighborhood or bar. The size of the venue should be relative to your means. If the place is too big, the artist will look unimportant. A small place can be a good thing. Just make sure the stage can fit the band's gear.
Press Kit
Once a CD launch date is established a press kit should be prepared. The press kit is used to contact the press to promote the band. By this stage in the artist's career they should have a good grasp of their level of talent . A press kit consists of:
Pamphlet with artist(s) biography, career highlights and pictures.
A written article about the artist that the press can easily edit and submit in their paper (less work for them).
A demo CD (in some cases the entire CD should be sent so the magazine/newspaper/radio station can review the entire CD.
Two tickets to the CD launch (if there is one)
It is important for the press kit to be flashy and attractive. It does not have to be expensive.
Musicians: Search for managers & agents
ATTENTION: Musicians & DJs
Each DJs career relies on the ability of their agent or manager. All famous DJs have a manager or a management group that represents them. Your manager is responsible on getting you bookings and usually they will take 10 - 20% of the booking amount. They will also negotiate a better deal then a dj can on his own. If you are looking for representation please post your dj info and request to be reviewed by managers.
Managers: Submit manager's info FREE
ATTENTION: Managers
Everyone is looking to establish new connections in the industry. We want to help new & experienced talent establish strong representation in the industry. If you represent a management company or agency involved in booking talent , you may submit your information to us and we will post it. DJs that are looking for representation will be able to send you their demos for your review
Night Clubs
Night clubs are associated with socializing and music and are usually distinguished from other forms of drinking establishment, such as a bar, pub or tavern, by the inclusion of a dance floor, although a club may also feature other forms of entertainment; possibly unsuitable for minors, such as podium dancers, a floor show or strippers. Music may be live or mixed by a DJ and is often amplified using a PA system, and can range from blues, jazz, country, disco, hip-hop, rock and metal to electronic music styles such as house, techno, trance, drum and bass and alternative electronic. Most clubs or club nights have a specific musical theme and generally cater to fans of a few particular music genres.
Gatherings in clubs at night that primarily involve music mixed by a DJ involve dancing and in most cases alcohol. Illegal use of recreational drugs such as ecstasy are commonplace in many modern clubs featuring electronic dance music. Clubs are often advertised by the handing out of flyers on the street, in record shops, and at other clubs and events, these are often highly decorative and eye-catching.
Night clubs often feature lighting and other effects: flashing lights of many colors, moving light beams, laser light shows and smoke machines. One common item is a disco ball: a rotating football-sized spheroid at the ceiling, covered with many small flat mirrors, with a light beam directed on it; the reflections form a multitude of moving light spots on the floor and on the people. Some night clubs will throw foam parties where the dance floor is filled with soap suds.
From time to time, variations enter the market, such as non-smoking and alcohol-free night clubs. Also, restaurants or supper clubs may provide music and entertainment similar to that provided by a nightclub, the main difference being that food is the main attraction at these establishments, whereas entertainment is the main attraction at a nightclub. Comedy clubs are one type of venue which provides entertainment.
Another type of club is a concert club, which specializes in hosting performances of live music. In contrast to regular night clubs, concert clubs are usually only open when a performance is scheduled. Such live music venues can be popular, however, it is more common today to find a DJ (Disc Jockey) playing a continuous mix of recorded music using vinyl, CDs and MP3s.
The styles of music that are played at clubs differ all over the world. For example, in England and Toronto there are numerous drum'n'bass clubs (among many other types) owing to the popularity of the music in those areas. In continental Europe, tech-house, electroclash and techno are particularly popular. In Spain one might find not only House or Trance, but salsa and pop clubs. However, if one were to visit the island of Ibiza, they would find some of the most serious House and Trance clubs found in the world. Despite this, house music seems to enjoy universal popularity at dance clubs all over Europe. In the U.S., the largest and most intense night clubs are those found in New York, Miami, Houston, and Los Angeles. The music that fuels these non-stop parties is generally Hard House, Vocal Trance, or Hard Euro-Trance.
There are several traditional types of venue that are often used as night clubs, such as underground buildings, reclaimed warehouses and cinemas, and custom-built buildings. Night clubs need to be insulated from the outside to prevent noise from escaping, and to prevent light and noise entering from outside. This allows the nightclub to have more control over the environment inside the building. It also creates an idea of timelessness which customers often prefer. This idea is also illustrated by the fact that many night clubs do not have clocks visible to the public.
There aren't many schools that will teach you how to become a DJ. The art of being a DJ is more of an underground movement. Nightclubs, parties, weddings, there are many events where DJs can show off their skills, but you'll rarely see it taught in a classroom. The best DJ teachers are the ones with the experience. The DJs who have been mixing and spinning for many successful years. The art of scratching may be overrated by some as well. Some DJs just don't have a need to do it. If you plan on becoming a DJ for weddings, the bride and groom probably don't want to hear a DJ scratching away. They just want the music to keep playing all night. It all depends on what kind of DJ you plan to become. If you want to battle, or DJ at hot night clubs or hip-hop grooves, you will probably want to learn how to scratch. When you decide to become a DJ, don't be afraid to try everything, the more talents you have, the more job opportunities are available.
The single greatest piece of advice that can be given to someone starting out is -- PRACTICE! Many aspects of DJing are reasonably intuitive and will present themselves the more you practice. The core of being this sort of entertainer is being able to work your music. Learn your songs well, and get your beatmixing down solid. A natural progression will start from there. The hardest part about writing this document is covering all the different choices available. From my experience and listening to other professional DJs, I've learned that most decisions are personal choices which only you can make. If you find yourself unsure about what direction you want to take, examine both for yourself. Its not nearly as easy as someone telling you "decision X is the best way to go," but you will be much more confident in your choice and will have much less room for bad decisions. The first few questions you have to ask yourself are common amongst beginners.
1. Do I really want to do this?
This may seem like a terribly odd question to be asking, but it is something that you need to evaluate carefully. DJing requires a lot of time, energy, money, and patience. If you aren't sure you have these sort of facilities, avoid making any commitments until you are sure.
2. What sort of equipment do I need to start with?
If you aren't sure about whether this is something you want to seriously pursue -- don't buy anything. Find a friend who'll let you use their equipment and practice on it a bit. (Don't forget to take them out to dinner in exchange!) Once you're sure you want to get into this some more, be ready to drop serious money on gear. Professional level gear should run you about $1000 to get started. This will include either a pair of turntables or a pair of CD players, and a mixer. You can use a home stereo as your amps and speakers while you get started. If you aren't sure that you're going to be doing this for the long haul and can't drop $1000 for equipment, then skimp as much as you can and save for the real stuff once you're sure. This means getting turntables with minimum features (ie: Gemini XL-BD10's) and a simple mixer. If you're going to spin CDs, this becomes tough real quick... the minimum priced pitch control CD decks are from Gemini and cost about $250 a piece. They are good starter decks, but moving up to better CD players in the future is something to seriously consider. Bottom line: Spend the least you can if you aren't sure. Buy the real stuff as soon as you can afford it and are sure that's the direction you want to take. And don't forget to buy a pair of good headphones! You can get them from Circuit City or similar stores for about $40 for a decent pair.
Become a Radio DJ
You need a pleasant speaking voice and excellent verbal skills for this job. On the air, you may introduce music, conduct interviews, and read commercials and even the weather forecast.
Steps
Take speech, drama and English courses in high school and college. Make tapes of your speaking voice and ask your speech and drama teachers for their opinion of your vocal projection.
Consider working part-time while you are in high school as a mobile disc jockey at parties. Observe experienced mobile DJs and you'll learn what's good vs. what's unprofessional. Find out from them what equipment you need. If you're really good, you can eventually advance to more formal affairs, such as weddings. The experience will be priceless.
Ask your guidance counselor for a list of colleges and universities that specialize in broadcasting.
Apply to several schools that offer a broadcasting degree with a radio emphasis. Although it's not always necessary for a DJ to have a degree, it will give you a major advantage within the broadcasting industry.
Gain experience at your college radio station by doing any work that will teach you about radio broadcasting, a station's equipment and the problems associated with airtime. Offer to be the DJ or radio announcer at the station during unusual hours. Then make a tape of the show and include the experience on your resume.
Get an internship of any kind at a local radio station while you're in college. It can sometimes lead to a permanent position. Realize that you will most likely be doing office work initially, not talking into a microphone or running the board. But you need this experience.
Consult your broadcasting adviser about the availability of entry-level radio jobs through the college.
Consider a radio job at a small community station after graduation if the opportunity presents itself. You'll probably begin with an entry-level position to learn the ropes, but your chances of speaking on the air in the near future will be far greater than in a larger market. The large markets want you to have had several years of on-air experience.
Tips & Warnings
Become an expert on a variety of interesting topics. Prepare demo tapes that demonstrate your knowledge and your excellent speaking voice.
Time management during a show and the ability to connect with your audience are key skills to have in this field.
Be prepared for the possibility of unusual working hours if you become a DJ.
DJ Equipment
There is more to say on this subject than there is time to write it. Most of what you'll learn about equipment will come from experience. (Remember: PRACTICE!) Here are a few things that will get you started.
Mixers
If you are just getting into things and are unsure if you want to be doing this sort of work a year from now, investing into a big "it can do everything" mixer probably isn't a good idea. There are a lot of good smaller mixers available which fit the bill fine.
There is a common misconception that a better mixer will make a better performance. A better mixer will only better a person's performance once they have the practice and know how to make effective use of their "it can do everything" equipment. Even then, a good DJ doesn't need it to do everything for a good mix. My favorite example is when I let a local radio station (KUCI 88.9FM in Irvine, CA -- Riders of the Plastic Groove Show) use my mixer for an evening. DJ Ron D Core (a big name in the Los Angeles area) was one of the guest DJs for the evening and refused to use the station's mixer which had circular faders. (He said it was like using a washing machine.) My very simple Atus 200 sat between his turntables and let him mix one of the best sets I had ever heard. Believe me when I say the mixer had nothing to do with it. My point: Equipment never makes up for talent.
A few names to start with are:
o MTX
o Gemini
o Atus
o Vestax
o Radio Shack
o Rane
MTX. Very few poor reviews have been posted concerning the unit and it seems to be a popular unit for many DJs. It is mid-priced ($200-$500) and offers all of the elements needed in a good DJ mixer. Nothing flashy, just solid performance.
Gemini mixers are a definite consideration for the starting DJ. They offer a wide array of mixers from entry level to professional and most DJs who use them seem to be pleased with their performance.
Radio Shack is just bad news. Within the last three years of my net presence, I have only heard ONE good comment about their equipment and staff. (This comes from frequenting many different newsgroups, including many technical groups) Their mixers are the best priced, but it many not be a unit you'll want to keep for a long time...
Vestax is better known for the CD players. I haven't heard much about them or their mixers, but you should just know that they are out there. Somewhere...
The Rane MP-24 is a high-end mixer constructed with the professional in mind. At $1000 for a single unit, they are the most expensive DJ mixers available, but Rane has managed to justify the price tag with an impressive array of features and professional components. There is an audible difference when using one. These features include: ALP faders for clean transitions, four independent outputs, transformer isolated light trigger output (so you won't lose your sound if the light chaser cable shorts), a loaner program in case your unit goes bad (although it has been noted that redundancy is a key feature), and last but not least, a feature to disable the MIC from tape outputs (this allows you to use the MIC during a performance, but not have the taping reflect these announcements). 48 hour repair turnaround is also available.
A note about sampling mixers: Sampling mixers have received mixed reviews in regards to their quality. Some have found their quality to be fine while others complain that they are too spotty. It seems a lot of people agree that the samplers are typically good enough for drum loops but not good enough for vocals.
CD Players
The features you need to look for in a DJ level CD player include:
o Instant start
o Fast cueing
o Pitch control/Pitch bend
o Easy to read display
Features that are nice to have:
o Pitch lock
The choices you have are:
1. Denon
2. Pioneer
3. Gemini
Some basic common tidbits of information:
1. The smallest unit of sound on a CD is a frame. One frame is equal to 1/75 sec.
2. Instant start means a start time in the hundredths of a second. Claims of instant start "In under 1 second!" are bogus.
3. No CD player (yet) can scratch or backspin.
4. This FAQ doesn't consider a CD player to be a DJ CD player unless it has pitch control. Although there are many DJs who use traditional CD players for their work, that sort of list would be better suited for Consumer Reports to tackle.
Suggestions for CD-Player Care:
Although these were pulled from a Denon specific document, most of the suggestions are applicable to all CD players.
o General Care
o Rack mount the unit -- this will result in much less physical abuse on the unit In the case of the Pioneer unit, keep it in a coffin.
o Keep it clean -- Dust and the sensitive electronics inside the unit don't get along.
o Usage Tips
o Use sticky on one side clean lamination sheets to protect the display from scratches.
o Support the back of your rack mounted unit with a sturdy brace made of metal or wood. This will help reduce skipping caused by vibration.
o Use three units of rack space instead of two and fill the gaps with foam pillow. This reduces
vibration even more.
o Make sure your CDs are clean if you find cue times getting excessive.
o Operational Tips and Difficulties
o Try turning the unit off and then back on. Most problems fix themselves this way.
o Don't bend your controller cables (if you have any) tightly. This causes errors when the units
communicate with each other.
DENON
Denon's good reputation in the pro-audio market reaches well into the DJ market as well. All of their products are solid performers and are often the standard by which other units are compared.
On the lowest end if the DN-1000F. This is a single unit CD player with instant start, +/- 8% pitch, pitch bend (+/- 12%), and frame cueing. It's a solid performer and is extremely easy to carry around. There are two special plugs in the back to connect it with another DN-1000F and to connect it with an RC-35 adapter (see below). The open/close button on the tray is protected which means the unit will not eject a playing CD. This kindly keeps clueless people around you from stopping a playing song. The CD must be either cued or paused to be ejected. Last but not least is the self locking transport. The laser pickup automatically locks in place when the power is shut off.
Right next to the DN-1000F is the DN-2000F. This unit is no longer manufactured but there are still quite a few out there. The DN-2000F is essentially two DN-1000F's packaged in one convenient box. Both CD players are in one box which only has a power switch and eject buttons on it. The controls for it are all on the RC-35 which comes as part of the package.
The RC-35 is a remote control for the DN-1000F and DN-2000F players. This allows you to mount the actual units in your coffin (often seen a little above the knees) and keep the actual controls (pitch, start, stop, track change, cueing) and backlit display right next to your mixer. This unit comes as part of the DN-2000F package and is required to use the DN-2000F. The DN-1000F has all of these controls on the face of the unit already and therefore does not need the remote control for operation. However, it is handy if you want to mount the DN-1000F somewhere else and control it from the area around your mixer.
Since the DN-2000F has been discontinued, the DN-2000F Mk II has been released. It is very similar in structure to the DN-2000F but offers many new controls to making mixing a touch easier. The display on the RC-35 is now active matrix instead of backlit making it easier to view from different angles, the power switch has a protector around it to keep idiots from turning everything off, instant start has been made a touch faster at 0.01 seconds from the old 0.03 seconds.
As a replacement for the DN-2700F, Denon has released the DN-2500 as its top of the line unit. The DN-2500 offers all the features of the DN-2000F Mk II as well as three pitch ranges, 4%, 8%, and 16%, a preset mode, a jog wheel for cueing, sleep function, index search, skip search, sampler with seamless looping, master tempo, brake effect (similar to turning a turntable off and letting the record glide to a stop), and a voice reducer.
It should be noted that these units use plastic CD trays. BE CAREFUL! They are $100 to repair and are NOT covered under warranty if broken. Clubs should mount the transport high to avoid drawers getting squashed by belt buckles when open. Mobiles should be careful!
Should your unit need repair, it will be taken to United Radio in Syracuse, NY. At United Radio, a team of Denon specialists will examine and repair the unit. Remember: These techs are people too! You'll have much better luck remaining civil with them and explaining your problem in a well thought out systematic manner than you will screaming at them.
Some unofficial notes from these techs are:
o Some units with serial numbers below one thousand had consistent trouble with their circuitry not being well connected. Difficulty cueing and skipping on beats only during breakdowns are telltale signs. Accuracy: 50% o units which consistently skip most likely have a misaligned laser. handle it with extra care. accuracy:75%
PIONEER
Unlike the Denon series, the Pioneer CDJ-500 was meant to resemble a turntable more than a CD player. The unit fits nicely in a coffin space originally for the Technics SL-1200 and all the operations (including disc load) is done from the top instead of the side. The pitch slider goes +/- 10% and includes pitch lock. Instead of using buttons for cueing and pitch bend, the unit uses a large jog wheel to control the CD which is supposed to resemble the feel of manipulating vinyl. (Whether or not it resembles vinyl is up for debate, however, many say that it is easier to manipulate than the Denons.) It can also display CD-G discs and karaoke discs.
The only noticeable downfall for the unit is it's larger price tag. If you have the kind of money it takes to get one of these, go for it.
GEMINI
Gemini's recent addition to the Pro-DJ market is the CD-9500 and CD-4700, units which are in direct competition to the Denon DN-2000F/Mk II and DN-1000F respectively.
The CD-9500 features frame level cueing (1/75th of a second), a jog wheel allowing for six different search speeds, instant start, two disc bays, a remote control so you can mount the unit away from the controls, and the standard +/- 8% pitch control. Because it has only recently been introduced, we don't know its long term stability, however, initial reactions to the unit have been very favorable. Cute features include a protector on the power switch so you don't accidentally turn the unit off, and eject buttons which will not eject the disc while it is playing.
The CD-4700 is just like the CD-9500 except it sports only one disc bay and no remote control. An ideal backup unit or a good way to start buying equipment if you can't afford a 9500 on the first shot.
The nicest feature of the Gemini units is their price tag. Much friendlier than the Denon units with comparable features. One feature that Denon has up on Gemini is the pitch bend buttons -- the Gemini units only go +/-8% whereas the Denon units go +/-12%. The extra speed on the Denon units are useful when you've pitched up +8% on a track and need to push it just a little faster to get the beats in sync. On the other hand, the Gemini's multi-speed search is terribly useful when seeking through long tracks.
These are units worth checking out.
Protecting your CDs
Theft is a serious problems DJs have, especially with CDs. Because of their smaller size, its much easier to slip them out of parties, clubs, etc. and is much harder to prove ownership of afterward.
There are, thankfully, a few things that you can do to help protect your discs from theft. A simple solution is to notch the cases. Unfortunately, this is a common practice and may not do you much good if the CD inside gets swiped.
Another option is to use an exacto knife and carve your name or other ID information into the clear center of the disc. Many used CD stores will require that the seller produce identification if the disc they bring it has an ID number (ie: drivers license) on it.
A more noticeable solution is a special unremovable front clear adhesive with your name on it. A company out in Arizona makes these and can be contacted at 602-435-7299.
Turntables
Depending on whether you are just starting or have decided to go pro, you have these choices:
1. Gemini
2. Technics
3. GLI
4. Vestax
There are many other people who make turntables, however, these tend to be the more popular models. If you have questions about a specific model, please post it to the newsgroup -- that's what it's there for.
Starting DJs who aren't sure if they want to drop $400/unit for a professional turntable should look into the low-end DJ turntables from Gemini. These units aren't the best in the world, but in terms of bang for the buck, they're a good option.
The Gemini XL-BD10 is a belt driven turntable which can be purchased for less than $100/unit. It has +/-8% pitch control so you can do true beatmixes with it. This sort of turntable is fine for learning how to work your music and get the hang of putting together a good mix.
The Technics SL-1200 Mk II and SL-1210 Mk II turntables are considered professional level equipment. There is a common misconception that the only difference between the 1200 and 1210 is their color, however, both models have been seen in both silver and black. The true difference is in the 1210's ability to switch voltages for use in European countries. Both decks sport a high torque motor and use direct drive instead of belt drive. This results in a faster spin up time thereby providing means to do instant starts. The pitch slider allows for +/- 8% pitch and is extremely accurate. They are also known to hold their value for long periods of time due to their sturdy construction.
Gemini XL-1800Q IV is Gemini's attempt at the 1200 level market. It features anti-skate adjustment, pitch control, adjustable tone arm, feather-touch start/stop, strobe illuminator, pop-up target light, XLR lamp adapter, and a S-shaped tone arm. The units are cheaper than the Technics, however, many say that they aren't as pleasant to work with. If you're tight for money, get behind a pair and feel them yourself before making a decision.
A recent entry into the turntable war is Vestax. Their PDX line was meant to compete with the Technics SL-1200 and based on what many have said it is a good competitor. Definitely worth
the time to check them out and compare for yourself.
Here is a quick breakdown of turntables:
GLI SL-1900
o Direct Drive o Fully manual
o Start/stop button
o Slide pitch control
o Cueing
o Strobe illuminator
o Pop-up target light
o Aluminum platter
o 23lbs
o Adjustment s shape tone arm
o Anti skate control
Gemini PT-1000
o Anti-skate adjustment
o Adjustable pitch control
o Feather touch start/stop
o Strobe illuminator
o Pop-up target light
o S-shaped tone arm
o XLR lamp adapter
Technics SL-1200
o Quartz-Direct Drive
o Heavy Duty Aluminum Platter
o Adjustable Weights on Tonearm
o S-Shaped Tone Arm
o Feather Touch Start/Stop Button
o Anti Skating Control
o High Torque Motor
o Slide Pitch
Vestax PDX-5000
o Direct drive quartz
o Ultra high torque motor
o Start up time of 0.5 seconds
o Starting torque of 1.6kg-cm
o Electronic braking system
o Pitch adjustment of +/-10%
o Illuminated analog pitch VU meter
o Detachable mini-light
o Detachable pitch fader
o Anti-skate adjustment of 7g
o Static balanced S-shaped arm vibration sync suspend system
o Remote momentary start (mini-jack)
o No-dead zone around zero
o Quartz lock button
Record Cleaners
Dirt usually manifests itself as crackles, pop, and increased noise, whereas a worn-out stylus typically sounds like the high-end has dropped out.
The best record juices won't leave any residue on the records. The worst ones will leave a layer of "gunk" in the grooves, and possibly draw plasticisers out of the vinyl itself making it brittle. The folks on rec.audio.high-end have shared cleaning recipes which generally consist of 75% water (deionized, filtered), 25% ethanol (everclear), and some photo-flo (wetting agent).
For those of you who are more interested in pre-made cleaning agent, there have been positive reports with Discwasher D4 juice and a pad.
Another suggestion is to use rubbing alcohol and felt cleaner. Once the record is clean, place a few drops of WD40 on the corners to return the moisture to it. Remember to do this last step VERY carefully.
Don't forget that bad needles can be the cause of record damage as well. Protect your vinyl -- replace needles every few months. Your vinyl is your lifeline in this industry, take care of it.
Needle Care and Tone Arm Adjustment
1.) Mount the needle carefully, plug into mixer and make sure you attach the grounding wire to eliminate hum and noise.
2.) Back off main tonearm weight all the way to end.
3.) Move tonearm in position as if you are going to put the needle on the record. Don't worry if it the tone arm sticks in the upward position -- remember: the weight is all the way back.
4.) Slowly turn the weight until the tonearm balances parallel with the deck. Make sure its exactly balanced and level.
5.) Adjust the skating so the tonearm doesn't sway to either direction but just sits there perfectly still. This will probably be "0".
6.) Move the black ring on the very front of the main weight until "0" is at the top. You are now at 0 grams tracking weight.
7.) Adjust the height ring of the tonearm assembly to about 3 so "3" matches up with the red line. Now lock the assembly down with the locking lever. You can mess with the height later once you feel more comfortable mixing.
8.) Although it depends on what style of music you plan to work work with and whether or not you plan to scratch, a good starting place for the tracking weight is 3 grams. To set the weight, move the main tonearm weight counter clockwise until it reads 3 at the top. Make sure to put your finger underneath the tonearm so it doesn't it the platter and damage the needle. The more weight you track at, the better the needle stays in the groove. However, the additional weight will wear down both the needle and the records. Everything is a trade off...
9.) Now you're ready to go!
Its a good idea to buy a bubble level (easily available at hardware supply stores) and adjust the rubber feet to insure your decks are parallel to the ground. This helps keep the needle in the grooves.
Mixtapes
Always master your mixtape on DAT. If you don't own a DAT, rent one. A poorly recorded mixtape will reflect on your ability as a DJ, possibly giving you a bad name without good cause.
Once you have a perfect master DAT (which is no easy task, mind you) you have to ask yourself some questions about marketing, money, and how big of a DJ you think you really are. All of these center around the question: "How many mixtapes can I sell?" After all, do you really want to be stuck with 500 mixtapes in your closet?
Your two choices are to dub them off yourself (for low to medium volume) or to retain the services of a professional tape duplicator. Regardless of the route you take, always use chrome
position tapes for copies. Normal and metal position tapes are of inadequate quality.
The home recording method is where you boy the blank chrome tapes and make the labels/J-cards yourself. You'll need a dual tape deck (preferably several decks) and a LOT of time. Since you'll need to constantly rewind and replay your original, you'll want to press your DAT to CD which costs about $40, however, you'll then have a permanent master which will not degrade in quality.
Once you have the tapes, you'll need to think about the J-cards (the inserts which show through the tape's plastic cover.) Believe it or not, good J-cards a big selling point. Spend the time and money (if you need to have someone else do it) to make clean, well designed cards. Color, of course, being much preferred.
With completed, ready to sell tapes, you begin your marketing. Remember that there are a million DJs out there and every one of them if your competition. Do you feel well enough known that people will recognize your name in a store and ask for your tape without goading? If not, its time to begin getting as much exposure as you can by doing as many events as you can.
As much as we'd like to deny this, there is a substantial amount of in-store politics when it comes to record shops. You need to learn how to get on the good side of the people working behind the counter so they will recommend your tape to people when asked. Possibly even recommend your tape without being asked. =) Just being a good DJ isn't enough, unfortunately, so giving the employees free tapes is a good way to make new friends. Its not the most pleasant way to acquire business (giving away free tapes), but in the long run, you'll find the benefit will cover such costs.
What is hamster and regular style and which should I use?
"Hamster" style means scratching with the crossfader reversed, so when you move the fader to the left, the right turntable comes on and vice versa. Some people find this a more natural way to scratch (me included). The main thing is to choose a style that you prefer and stick to it. Switching between styles at the beginning will only slow up your progress. Don't be influenced by the style other people use, for example, just because QBert scratches hamster it doesn't mean you should.
What records do I scratch with?
Scratching takes years to master. If you want to become good, you'll be doing LOTS of practice. Every time you perform a scratch on a certain sample, you're wearing it away. It's essential not to practice with your treasured vinyl collection! Get yourself a couple of battle records to practice with and when they wear away, get some more. I'd recommend SuperSeal, because it has some common sounds and fresh arranged so they're skipless.
What are "skipless" records?
Imagine you stuck a little label on your record at the 12 o'clock mark. When you play the record, the label will go round and pass the same point every so often. Skipless records work by having the same sample at exactly the same point spread over several rotations. This means that if the needle skips forwards or backwards a couple of grooves, it'll land in exactly the same spot on the same sample. When you start out, you might be a little heavy handed and the needle skipping can be very frustrating. Buying battle records that have skipless sections is one way to get around this.
What scratches should I learn first?
Nearly all scratches are based on simple foundation scratches. It's important to start with the very basic scratches first. A lot of DJs will try and learn crabs and 2-clicks before they learn anything else simply because to them they sound impressive. That's not the best way to learn. If you wanted to learn how to play a guitar, you wouldn't pick one up and try playing a Hendrix solo - you'd start by playing single notes and work from there - scratching is no different. If you want the beat I used for the examples, It was a free loop made by DJ Toadstyle. Once you have it, you can loop it up using the Focus Looper I posted, or in the program of your choice.
What are the foundation scratches?
Baby - The baby scratch is the first scratch anyone should learn. All you're doing is moving the record back and forth in time with the music. There are various ways to perform it. Here's a little file with some examples:
Marches - Marches are a combination of babies and forwards. This is the first combo you'll learn. As with all scratches, you're aiming to have solid record control and get a clean and even sound. Here's an example using combinations of forwards and some of the different baby scratches mentioned above
Drags - A drag can be performed either forwards or backwards. What you're doing is slowing the record down rather than letting the sample play at it's regular speed.
Tips - A tip is like a really short baby. All you're doing is moving the record back and forth over a short distance to catch just the start of the sound
Stabs - Stabs are a little like forwards except you're only catching the very start of the sound. You can also change the pitch of the sound by pushing the record forwards at different speeds.
Chirps - The record movement of a chirp is the same as a baby. If you've practiced your baby scratches so they're nice and clean then give chirps a try. Start with the fader open, then move the record forwards. As soon as you hear the sound start to play, close the fader, but continue moving the record as if you were doing a baby. As you move the record backwards, just before you get to the start of the sample again, open the fader. What you're doing is using the fader to cut away a large portion of the sample. This gives a crisp, defined sound.
Tears - There are many different tear combinations. An easy one to learn first is the 1 forward, 2 back tear
Transforms - A transform is a technique, not a specific scratch. The fader starts closed and ends closed. What you're basically doing is snapping the fader on and off to chop up a sound. Transforms can be done over the top of other scratches including babies and tears to add more definition to the sound.
Dicing - Transforming over the top of tears is called dicing. There's two ways to speed up something like dicing. First off you can do the exact same record movement, but just do it faster. That will speed up the pitch of the sound too obviously. The other way is to do the tear over a shorter distance which means you can move the record slower. The fader movement is the same either way.
Why is it better to learn these scratches first?
An example of a more advanced scratch is the crab orbit. You move the record forwards and backwards while crabbing the crossfader. What you're doing with the record is a baby scratch. If you haven't practiced the basic faderless baby scratch, then you won't have a nice consistent motion so your advanced scratches will sound sloppy. If you practice all the basic techniques above, then when you move on to flares, 2-clicks, orbits etc. you'll have a head start over people who jumped straight in trying to do them, plus your scratching will sound clean and precise. Even if you only get a few of the basics down, you can use these techniques when you're doing a set to add an extra dimension to your mixing. A few simple scratches here and there sound a lot better than sloppy attempts at complex ones.
What are some good practice tips?
Start off slow. Don't get frustrated if you don't sound good to begin with. That happens to everyone. Keep working on the basics and you'll soon improve. Practice as often as you can and for as long as you can.
Recording your practices is a great idea. Listen back to them and you'll hear where you're good and where you're not so good. That way you can work on the techniques where you might be falling behind. I've got practices from a couple of years ago on tape. When I'm feeling like I'm not progressing and I want to give up, I listen to those and I can hear how much better I've got. It's a bit of an ego boost you might say. Hehe.
Practice with other DJs if possible. If you can hook up in person with another DJ and scratch together in what's called a Q&A session, then you'll pick tips up off each other. You'll also be more inspired to practice and it's a lot more fun than learning alone.
Once you start to get certain scratches down and you can do them consistently, speed things up by increasing the pitch of the record you're scratching over. At first you might not be able to keep up, but keep at it and your arms and hands will soon get used to it.
Finally, remember that there is no right and wrong. If you do a scratch slightly differently to someone else, then so what? Everyone develops their own way of doing techniques, which is why watching DVD's may give you the false impression that a certain scratch has to be done a certain way. Originality is extremely important. You can start out by copying other people, because that's a good way to learn, but you'll eventually reach the stage where you have a style of your own and that's what sets you apart from everyone else.
I hope this helps the people who want to get started. It's a lengthy read, but I've tried to make the tutorial easy to understand. Remember, this is a beginners guide for those just starting out, or those that want to build a strong foundation for their more advanced scratches.
Managers
A talent manager, also known as a personal manager, is one who guides the career of artists in the entertainment business. The responsibility of the talent manager is to oversee the day to day business affairs of an artist; to advise and counsel talent about professional matters and personal decisions which may affect their career.
The roles and responsibilities of a manager vary slightly from industry to industry, as do the commissions to which the manager is entitled. Music managers duties differ from those who advise actors, writers, directors, etc.
Music managers can manage Bands, singers and DJs. The role of a music manager is extensive, oftentimes tasks are divided among personal managers, business managers, tour managers, agents, bookers, and promoters.
Early on in an artist's career, the different facets of management and marketing falls upon either the band itself or, if they have one, the manager. Because the band or artist is relatively unknown, promotion, booking, and touring are minimal. When starting off, a new music manager should establish a clear understanding of what the artist(s) want. This can be done through a written or verbal contract. A music managers' first task should be focused around a CD launch.
Rates should be clearly stated initially. A good manager should understand the artist's perspective. A new manager has no experience or clout. In a band of six members, each member might receive less than the manger (who normally gets 15%). A tentative agreement, which can be renegotiated at a later date is often best. Managers who insist on a number that the band does not agree with can expect to be let go at the first convenient opportunity.
It is important for a band to have experience in front of crowds. Fundraisers and talent shows are good experience and do not require a lot of commitment (in terms of fan pull) on the part of the artist. If the artist wants a gig in a pub or bar, expect there to be conditions. The following is a list of questions asked by bar owners/managers (in order of importance).
What kind of music?
How many people can you bring?
That's all. In some cases they may ask for a demo (a recording of four of the artists' best songs). The main objective for the bar owner is to fill their floor on any given night. They don't care if you're terrible they just want to see numbers. Under 75 people is generally frowned upon and will result in a minimum fee. A minimum fee could be upwards of $100. Some bar owners will waive or reduce their $100, $200, or $300 charge if the artist can pull in a significant number of people (predetermined during negotiations-usually a handshake).
Recording studio
If the artist does not have a recording studio (i.e. a buddy's basement) then the manager should take this on. If artists have contacts managers should use them. His job is to get the band the best rate possible.
Photography
While the artist is recording, a photographer should be searched. Pictures of the artist can be used for web sites, CD labels/jackets, posters, and press kit. Cost for high quality rolls of film and their processing could be upwards of $200 for 150 pictures (labor not included). Finding a photographer friend is helpful but don't expect him or her to cover material cost. Have the photographs taken before your CD designs or artwork go into production.
CD production
Also while the CD is being recorded a CD production company should be found. CD production is when an artist takes their burned CD recording to a company to have it mass produced. The company will also make the CD jackets and labels once you provide the design or artwork. This is where the artist should expect to invest heavily. Up to $1,000 is not uncommon for 500 manufactured CDs. Again connections come in handy.
CD launch venue
Once a production date is given you can safely go out searching venues. CD launches are more attractive to bar owners because it nearly guarantees an audience. Consequently CD launch venues are relatively easy to land. Try to book a place where the crowd will feel good walking into and out of. Presentation is everything. The crowd should be talking about the artist on arrival; not the crappy conditions of the neighborhood or bar. The size of the venue should be relative to your means. If the place is too big, the artist will look unimportant. A small place can be a good thing. Just make sure the stage can fit the band's gear.
Press Kit
Once a CD launch date is established a press kit should be prepared. The press kit is used to contact the press to promote the band. By this stage in the artist's career they should have a good grasp of their level of talent . A press kit consists of:
Pamphlet with artist(s) biography, career highlights and pictures.
A written article about the artist that the press can easily edit and submit in their paper (less work for them).
A demo CD (in some cases the entire CD should be sent so the magazine/newspaper/radio station can review the entire CD.
Two tickets to the CD launch (if there is one)
It is important for the press kit to be flashy and attractive. It does not have to be expensive.
Musicians: Search for managers & agents
ATTENTION: Musicians & DJs
Each DJs career relies on the ability of their agent or manager. All famous DJs have a manager or a management group that represents them. Your manager is responsible on getting you bookings and usually they will take 10 - 20% of the booking amount. They will also negotiate a better deal then a dj can on his own. If you are looking for representation please post your dj info and request to be reviewed by managers.
Managers: Submit manager's info FREE
ATTENTION: Managers
Everyone is looking to establish new connections in the industry. We want to help new & experienced talent establish strong representation in the industry. If you represent a management company or agency involved in booking talent , you may submit your information to us and we will post it. DJs that are looking for representation will be able to send you their demos for your review
Night Clubs
Night clubs are associated with socializing and music and are usually distinguished from other forms of drinking establishment, such as a bar, pub or tavern, by the inclusion of a dance floor, although a club may also feature other forms of entertainment; possibly unsuitable for minors, such as podium dancers, a floor show or strippers. Music may be live or mixed by a DJ and is often amplified using a PA system, and can range from blues, jazz, country, disco, hip-hop, rock and metal to electronic music styles such as house, techno, trance, drum and bass and alternative electronic. Most clubs or club nights have a specific musical theme and generally cater to fans of a few particular music genres.
Gatherings in clubs at night that primarily involve music mixed by a DJ involve dancing and in most cases alcohol. Illegal use of recreational drugs such as ecstasy are commonplace in many modern clubs featuring electronic dance music. Clubs are often advertised by the handing out of flyers on the street, in record shops, and at other clubs and events, these are often highly decorative and eye-catching.
Night clubs often feature lighting and other effects: flashing lights of many colors, moving light beams, laser light shows and smoke machines. One common item is a disco ball: a rotating football-sized spheroid at the ceiling, covered with many small flat mirrors, with a light beam directed on it; the reflections form a multitude of moving light spots on the floor and on the people. Some night clubs will throw foam parties where the dance floor is filled with soap suds.
From time to time, variations enter the market, such as non-smoking and alcohol-free night clubs. Also, restaurants or supper clubs may provide music and entertainment similar to that provided by a nightclub, the main difference being that food is the main attraction at these establishments, whereas entertainment is the main attraction at a nightclub. Comedy clubs are one type of venue which provides entertainment.
Another type of club is a concert club, which specializes in hosting performances of live music. In contrast to regular night clubs, concert clubs are usually only open when a performance is scheduled. Such live music venues can be popular, however, it is more common today to find a DJ (Disc Jockey) playing a continuous mix of recorded music using vinyl, CDs and MP3s.
The styles of music that are played at clubs differ all over the world. For example, in England and Toronto there are numerous drum'n'bass clubs (among many other types) owing to the popularity of the music in those areas. In continental Europe, tech-house, electroclash and techno are particularly popular. In Spain one might find not only House or Trance, but salsa and pop clubs. However, if one were to visit the island of Ibiza, they would find some of the most serious House and Trance clubs found in the world. Despite this, house music seems to enjoy universal popularity at dance clubs all over Europe. In the U.S., the largest and most intense night clubs are those found in New York, Miami, Houston, and Los Angeles. The music that fuels these non-stop parties is generally Hard House, Vocal Trance, or Hard Euro-Trance.
There are several traditional types of venue that are often used as night clubs, such as underground buildings, reclaimed warehouses and cinemas, and custom-built buildings. Night clubs need to be insulated from the outside to prevent noise from escaping, and to prevent light and noise entering from outside. This allows the nightclub to have more control over the environment inside the building. It also creates an idea of timelessness which customers often prefer. This idea is also illustrated by the fact that many night clubs do not have clocks visible to the public.
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