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How to DJ - A manual (LONG) [EDITED]
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| wozzeck |
The following is a paper I wrote in the last week for one of my classes. I hope it is helpful to those beginning. For those that are already spinning, read it anyway, and let me know what you think! I hope i Help.. Sorry for the length. If you do use this on a website, I ask that you give credit to me and DI-Afterhours! Thanks!
Wozzeck
EDIT: Edited so it wasnt' so menacing.. sorry i cut and paste from word! :)
Hope this is makes it easier
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So you've purchased a pair of turntables. You looked in the instruction manual that came with the tables for the part about "How to be a DJ". Unfortunately, there is no such chapter in the manual. This process, however, will get you started on the right path to success. Even if you haven't bought turntables or CD decks (by the way, the process is virtually the same for both, so the word turntable and CD decks will be used interchangeably), but you are interested, read through what is written here.
Not only is this a step-by-step guide for beginners, but it also includes the reasoning for why the hobby, and even profession, is so appealing. This will give you, you who are about to squander quite a lot of money, an idea if this is really worthwhile. Not everyone is suited for this pastime. If you are someone who loses interest in something quickly (particularly if you can't figure it out), or if your genre of choice is more a phase than a passion, consider something else, preferably something cheaper. Your pocketbook will thank you.
The process itself is not all that complex to learn; indeed, the real test is if one has the patience to practice and not give up. The result of your effort, if successful, is phenomenal. The reason for this euphoria is twofold: firstly, you have succeeded in a difficult task that has taken you many months to achieve. You've trained your ear to accept and analyze what was previously a cacophony, picking out two separate tracks, and being able to differentiate between them. Secondly, an even greater sensation than the first, as you come to master this skill, you begin to realize that this ability to beat-match allows you to build complete new songs and layers. You've created a completely different level, and the results are limitless. By taking some riffs, vocals, samples, and a beat the producer was able to create a single track. Now you take this track by the producer, combine it with another and create a completely different song, a unique amalgamation of the two, with some flavors of both, but it's own distinct character as well.
The first thing you should understand is the distinction between genres. The largest two categories of music that use turntables are electronica (techno) and rap (turntablism, or the famous scratch sound). There are other genres as well, and you can research those if you are interested. Since explaining both genres will not give one or the other enough detail to help you, for the sake of detail, this manual will only consist of beat matching in techno. Most likely, you've already bought a few 12" records that you enjoy. Simply place this record on the platter. You may have noticed that your turntables came with a felt or rubber pad. This pad is absolutely necessary if you are going to be doing any mixing on your turntables. The metal platter that spins the record is not very gentle with records, and will easily scratch them to pieces. If your turntables only came with a rubber pad, it is highly recommend that you replace those with some felt slipmats. This is necessary, as you will come to learn, to allow the platter to spin freely while the record is stopped. As you start the record you may feel the need to just stand back and leave everything alone, as if you were browsing an antique shop. This is a common perception by beginners. You must get over this feeling if you are ever going to be an effective DJ. The great majority of turntables out there are designed to take a beating, as is the record.
Drop your hand on the record as it's spinning, and simply move the record back and forth over a beat to get a feel for what you'll be hearing. Practice stopping the record with your hand, but still allowing the platter to spin underneath the vinyl. This may prove to be more difficult on lower-end equipment, due to the torque in the cheaper turntables being very low. If this is the case, you may want to consider adjusting your technique to compensate (wax paper under the slipmats, different stopping technique). You can even try to scratch back and forth. You will not be able to hurt the record or turntable as long as you use common sense (please resist the urge to use the record as if it were a Frisbee).
Before you begin to mix, you should obtain a little musical background about what you are mixing. The majority of techno is 4/4. What this means to you is, that every measure (unit) will have 4 beats to it. Every 16 beats there will be a "downbeat", which will provide you with an opportunity to "phrase-match" your track that you have cued up to the one that's playing live. A downbeat is defined as the first beat of a measure. In most techno, however, every 16 beats there is a markedly more emphasized downbeat. Phrase matching has to do with the organization of the track. This is slightly beyond the scope of what is being explained here. It has to do with how tracks are frequently arranged in techno. For example, you wouldn't want the climax of a track to come in during the "outro" of the track being played live. Although this concept is very important to understand, it isn't vital to basic beat matching. What is beat-matching then?
Let's consider an example. Say, for example, you begin a set, with a record that has 138 beats per minute (BPM). The idea of beat-matching is to blend tracks so the listener gets the feeling that separate tracks become one long track, where the beat never stops and all segues are unnoticeable. Not all records are the same BPM, however. If the next record you want to play is 145 BPM, you must use the pitch lever to adjust the record -4.82%. This will cause both records to play at the rate. It is essential to line up the beats in the record; otherwise, the result is something akin to stampeding horses. Most likely, this will be the sound you hear until you master the science of beat matching (the jargon for this calamity is a "trainwreck", you can imagine why this term was chosen!). If you're thinking that bringing a calculator isn't quite how you thought things were done, you're correct: it's not. The best instrument you can have is not a calculator or a beat-counting device, but your trained ear.
With record A playing live over the speakers, cue up record B. The audience can't hear what you're doing with this other track, since the cross fader (the part that slides left and right) will be all the way to the left. This means that only track A will be playing, and none of track B. As you wait for the downbeat of the track (the emphatic first beat), find the first beat of track B in your headphones. Slowly move your hand clockwise and counter-clockwise over the beat. Precisely when the downbeat occurs, release the track B with your hand. In all likelihood, you probably released the record a little bit late or early. Merely restart both tracks and try again. Sooner or later you'll start both tracks right on the same beat, and you'll notice one of two things happening. The two records could be coincidentally beat matched, meaning you've found two records that have the exact same BPM. If this is the case, make sure to make note of this combination, as it'll help you experiment with the sound of beat matching. Odds are, however, that the beats will not stay in sync. Instead, they will fall out of place and what you will hear in your headphones will be analogous to the warm-up of the symphony before the concert begins.
Here is where beat matching really starts. Take off your headphones and carefully listen to the beat of track A while track B (cued track) is still playing. Ignore everything else besides the beat. You can even count the beats out loud if it helps you. You must determine which record has the faster BPM, and the approximate magnitude of that distance. Once you know which is faster, put your headphones back on. Never make any changes to the record playing live over the speakers. It is human nature to notice pitch-change, and usually (nearly always the rule with records) it will sound terrible. Instead, change the pitch of record B, which the audience can't hear. Adjust the pitch accordingly.
The best technique for adjusting pitch is the following: say, for example, you think that the record A is playing faster, so you need to catch record B up. Put your finger gently on the inner most area of the record closest to the spindle. Gently push the record along with your finger. You'll notice in your headphone that everything begins to play a little faster. If the beats start to come in closer to each other, you've made the right choice. Adjust the pitch towards the "+" sign. The way, your finger is the temporary adjuster, and the pitch adjustment lever (usually on the right of most turntables) is your permanent changer. Conversely, if you need to slow the record down, drag your finger across the raised bumps on the side of the platter. If this helps, move the pitch lever towards the "-" sign. How much movement is enough? This really depends on finger-cueing-pitch coordination. It will come with time. For now, experiment with what you think is right, and eventually you will get the hang of it.
You know you have the right pitch when both beats occur at the same instant. When this happens everything seems to slide right into place. Slowly move the cross fader over to the right and introduce track B into what is already being played. At this point, you may notice in your headphones or over the speakers that your mix begins to fall apart. This means your records weren't exactly beat matched to begin with. Quickly but firmly push the platter or the record, or slow the platter down depending on which way (plus or minus pitch) the records are falling apart. The amount of force that you need to push the record will come with experience. Slowly move the cross fader all the way over to the other side, preferably cutting record A out right on the downbeat (not necessary, but it is the best sound).
You've now successfully beat-matched and transitioned your first records. Don't worry if you don't get on your first try, or even your 30th try. The one thing you must remember is you cannot give up, no matter how far you think you're off. You will eventually understand. Believe it or not, one day the process will click, and you will suddenly wonder why on earth you never understood. It is a fact that learning to beat-match requires the production of new neurons in your brain. Once this occurs, from then on, you will have beat matching refined.
Why would someone devote so much time to this? Some of the reasons are listed at the beginning of this manual, but there are others as well. Once you are the master of beat matching, you can begin to work on the other aspects of being a DJ. If you have the patience and the will to master those, you can begin to play at parties and clubs.
The ability to be able to control the climax and jubilation of the crowd are great reasons for having spent so much time and effort on this hobby. You become the master of ceremonies. You are the driver; you determine what is next and how it is next. At the party, you are what the star soccer player is to the world championship. The crowd will respond to your every move, and your every record you play. You are playing the music you love, sharing it with everyone in the audience. Every huge transition you manage will be like scoring a goal. The crowd will go wild. It is an experience you will never forget. |
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| darkmerc |
Cool essay, I like the writing style. :) It kind of takes you through the process of novice to pro while explaining some things. Read this as more of a motivational piece then actual "How to DJ" but there are some good pointers in there to get started on for sure. Good work!
ps: what grade did this get if you don't mind me asking? :D |
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| wozzeck |
| quote: | Originally posted by darkmerc
Cool essay, I like the writing style. :) It kind of takes you through the process of novice to pro while explaining some things. Read this as more of a motivational piece then actual "How to DJ" but there are some good pointers in there to get started on for sure. Good work!
ps: what grade did this get if you don't mind me asking? :D |
Turning it in today, i'll let you know. What do you think I'll get? :) |
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| wozzeck |
| Bump so it stays at the top :) |
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| montie |
hey great guide. It really goes thru the steps for a beginer dj, and even has some good hints for people who are more advanced. You do an excellent job of explaining everything very clearly.
this hsould definatly stay near the top.
your from st. louis? missouri? I'm from there originaly also. (i just moved to Los Angeles for college). do you play at alot of clubs or raves there? whats your dj name, cuz i may have seen you spin. |
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| wozzeck |
| quote: | Originally posted by montie
hey great guide. It really goes thru the steps for a beginer dj, and even has some good hints for people who are more advanced. You do an excellent job of explaining everything very clearly.
this hsould definatly stay near the top.
your from st. louis? missouri? I'm from there originaly also. (i just moved to Los Angeles for college). do you play at alot of clubs or raves there? whats your dj name, cuz i may have seen you spin. |
MONTIE.. jesus christ.. it's max what's up dude
hahaha |
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| fieroavian |
| that's totally brill bro. motivates me quite a bit, and it sure will get newbies to a good start. |
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| Dj_Psygnosis |
| quote: | Originally posted by wozzeck
The ability to be able to control the climax and jubilation of the crowd are great reasons for having spent so much time and effort on this hobby. You become the master of ceremonies. You are the driver; you determine what is next and how it is next. At the party, you are what the star soccer player is to the world championship. The crowd will respond to your every move, and your every record you play. You are playing the music you love, sharing it with everyone in the audience. Every huge transition you manage will be like scoring a goal. The crowd will go wild. It is an experience you will never forget. |
Frigging awesome essay, i love this part of the essay the most...the part where you say "You become the master of ceremonies. You are the driver; you determine what is next and how it is next. At the party, you are what the star soccer player is to the world championship. The crowd will respond to your every move"....awesome. |
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| montie |
| quote: | Originally posted by wozzeck
MONTIE.. jesus christ.. it's max what's up dude
hahaha |
HOLY ING MAN. this is a small ass world. you cant ing go anywhere without meeting st. louis people, people that you know at that. this is ing insane.
what class did you have to type this up for? are you taking some DJing classes? thats hella tight. hopefully i'll be taking some production classes here soon. if i can work it into my schedule. |
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| Gluegun |
Dude! Now I wanna be a DJ *for real*, heh...
Ah well, I gotta get more comfortable *attending* the friggin dances and i gotta figure out what type of electronic music i really like first...
it's a good thing I'm moving to Southern California; that should make the process go much faster..
:) :) :) |
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| dj_nomiz |
just one question... it might have been answered in the essay but i am sorry, i did/do not have time to finish the essay as i have a science test soon, when mixing and putting 2 vinyls together where u said creates a new tune with samples from both vinyls, is that the case for trance? at this other site i went and visited AND read all of... it said mixing was basicly joining one vinyl onto near the end of another but it did not mention anything about mixing 2 vinyls together and creating a whole new tune, im just confused... do u actually create a new tune when u mix? or is it just basicly joining one vinyl onto the end of another that's nearly at the end when u mix?
all answers are greatly appreciated... cheers |
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| wozzeck |
| quote: | Originally posted by montie
HOLY ING MAN. this is a small ass world. you cant ing go anywhere without meeting st. louis people, people that you know at that. this is ing insane.
what class did you have to type this up for? are you taking some DJing classes? thats hella tight. hopefully i'll be taking some production classes here soon. if i can work it into my schedule. |
haha hey bro.. this was merely from my own experiences, what i've learned and what helps. I actually spun at the galaxy a few weeks ago here in town..
The paper is actually a process paper for one of my english classes here..
Are you really gonna head the producing route? (I think that'd be ing tight if you had the ideas and talent)
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just one question... it might have been answered in the essay but i am sorry, i did/do not have time to finish the essay as i have a science test soon, when mixing and putting 2 vinyls together where u said creates a new tune with samples from both vinyls, is that the case for trance? at this other site i went and visited AND read all of... it said mixing was basicly joining one vinyl onto near the end of another but it did not mention anything about mixing 2 vinyls together and creating a whole new tune, im just confused... do u actually create a new tune when u mix? or is it just basicly joining one vinyl onto the end of another that's nearly at the end when u mix?
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Good question.. If you are just matching intros to outros, then yes you're just blending records together. If, however, you start a record, and just as quickly begin your transition and continue it for a while THEN you create, in a sense, new layers and a new song. If you're good, then the transitions are TRULY impressive.. Your audience will be like.. "WHOAH.. NEW SONG?? HOLY !".. THATS what you want to do (mainly with trance)
wozz |
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