DJ There Was a Time

¶ … DJ

There was a time when learning how and becoming a DJ was a hard won professional decision. DJs had to create a collection, develop a following, do all their own marketing and most importantly learn about how to please a crowd with bumping beats that were reflective of the scene. Though most is still true, and DJing is still an art form requiring a great deal of legwork and many late nights the digital age has changed the manner in which the professional DJ performs his trade. This work will first introduce the reader to a system of digital DJ equipment that offers some fantastic fundamental solutions for the logistics of the art of DJing. The work will then specifically deal with some of the more artistic aspects of DJing, such as how to take the customer on a ride through music throughout the night, how to read the crowd, pick music and then some of the more business related questions like how to market and create a label for yourself and what to charge for your services.

Serato Scratch Live

It might seem like a big commitment to invest in a digital DJ system, and yet it is a quintessential aspect of being on the scene in the most up-to-date way, in fact few would have the time to manage the fast paced musical genre played most often by DJs. Clubs also integrate and limit the ability of DJs to work with different systems and an inclusive, nearly plug and play system like Serato is essential to keeping oneself up-to-date and capable of spinning at a moment's notice. Equipment is likely the biggest investment one can make and making the right choice about what you want and the taking full advantage of its capacities is essential to being as current as one can be and being fully capable of pursuing your art as far as it is willing to take you.

Scratch Live is a DJ solution that comprises of the Serato Scratch Live software, Serato Control and an audio interface from Rane. Serato Scratch Live lightened the load for the professional traveling DJ. Heavy crates of records can be exchanged into a huge library of music that can be easily transported on a computer hard drive. It is the only digital DJ system that stays true to the art of DJing with no auto sync or effects by design. The DJ is in control of the mix at all times, not the computer.

Scratch Live Software

Scratch Live software has an array of unique tools and performance features:

Beat Extraction

Real Time Tempo Metering

Waveform Coloring based on Spectral Content

Multiple Cue and Loop Points per track

Record Directly from a Microphone

Record and Archive your precious Music Collection

Fast Access to your Music Library and iTunes ™ library integration

Exclusive Access to Fresh Promotional Music with Whitelabel.net

No Charge Upgrades that constantly add new features and improvements

Serato Control

You can scratch and mix files from your computer hard drive using Serato Vinyl, CD or Approved USB Controllers.

Serato Control Vinyl and Control CD (included)

The Scratch Live Control Vinyl and Control CDs each contain the Noise Map Control Tone, a unique control signal which allows Scratch Live to track the motion of the record, simulating the same movement with digital audio. With Serato's proprietary control, the result is a feel and sound indistinguishable from playing vinyl. As a producer and DJ, the track you finished today can be played on a real turntable tonight. You can switch from Control Vinyl to traditional vinyl records as well if you wish.

Serato Approved USB Controller (optional)

Serato has certified a select range of new generation controllers with USB connectivity to Scratch Live. This means that Scratch Live can now send track information from the software to the supported hardware on-board displays. You can also use the platters, buttons and sliders instantly, as supported hardware has pre-mapped controls for a no fuss setup.

These models are Serato Approved USB Controllers (PDF Quickstart Guide)

Denon DN-HC4500

Denon DN-HD2500

Numark iCDX

Numark DMC2

Pioneer CDJ-400 (New in Scratch Live 1.8.2)

Rane Hardware

Serato Scratch Live is exclusively licensed to Rane Corporation. You can use it with the following 3 Rane DJ products:

Rane SL 1

Rane TTM 57SL

Rane MP 4

Serato Scratch Live DJ Solution" (http://www.streamlineaudiovideo.com/ser-scratch-live.html?gclid=CNuw2-WNgZkCFQ9Jagodah6ToQ)

The above, is representative of what you get with a Serato package and some of the many features it provides to the user. Additionally, this list is a step-by-step of what you still need to run the system, and what support might be needed at a venue.

Picking Music

The digital developments offers on Serato (as well as other digital systems) create a completely different venue for the selection and compilation of music. Either way hours of research online and in the clubs with regard to what is going to work and what is going to leave the crowd standing and staring at the DJ with mouths open. Research should begin with Q & A sessions with other DJs and club owners but mostly it must begin with an individual love of club, techno and other club played music, as well as with a desire on the part of the DJ to be innovative and fresh, think on his or her feet and enjoy the crowd and the environment of a club. Many DJs would likely use the word instinct to describe just how they choose music and please the crowd all night long. Yet, the DJ is also likely to spend a great deal of time doing research in person, asking and talking to people (other DJs included) what is hot and what is not. The computer is the last place one goes when he or she has decided just what is going to make the crowd move. When you create a working play list in your mind hit the digital tracks, support the artists with credit and fees, when applicable and develop a good repute with other DJs and artists by supporting their work and their ability to make a living. Once you compile a play list, listen to it, develop a system, why you play certain songs in a certain order, the psychology of the set. Warm up to crescendo, if you like, but her is where instinct, skill, experience and art come in. Know what is new, support new artists and sounds, something that is a notorious aspect of the innovative nature of DJs. Music play lists must be from the heart, and must move the DJ before they move anyone else. Though developing sets in isolation is not the best possible way to develop a list the influences must to some degree be in your head, as you recall the music you have heard and liked and the advice of others as your interests exposes you to possibilities.

Know Your Crowd

The crowd is likely to be different in different settings. One of the most important aspects of playing a new venue is checking out the scene before you begin to spin. If you have enough notice got to the club prior to gig night and check out the vibe. What does the crowd look like? How is the venue lighted? What kind of music are other DJs playing and how can you emulate and improve on what is already being done. ("The Dj Q & " 46) Trade mags abound but might not always be up-to-date on every aspect of the material, though they are the best place to find out about tech. ("Clubbing News; Van Dyk" 46) Most of all you are an innovator so don't be afraid to take a risk, if the crowd hates it they will let you know and the rapid change options of an integrated digital system will allow you to quickly change the play list as the crowd demands and even change out a single track mid set. If a crowd is standing still (worst case scenario) you will know they need a change, but they can also give more subtle clues such as disorganized movement, moving off the dance floor, looking at the booth with confusion or even cat calling you, yet there are also subtler clues (instinct will drive you) like you simply are not feeling the set. You will be made painfully aware of this feeling if you do not check your play list prior to using it. Though some DJs fly by the seat of their pants, playing to the crowd as they go, and this is where intense knowledge of options and available music is important, but until you are completely comfortable with your tech and your music winging it is a bad idea.

Trade Lit

Keeping up-to-date (like last week) on trade literature, including who is hot and why in the DJ world as well as the tracks that are working and popular at any given time is essential but again don't be afraid to try new things and shake up the scene, innovation is the nature of the beast. If you know a local or up and coming band play their work, try it out on the crowd and build a reputation for innovation. Local newspapers, show magazines, gig websites and current rapidly changing blogs are all great resources, beyond word of mouth and getting out there to listen to other artists work and play. ("The Dj Q & " 46) Word of mouth and local participation with other DJs can also be one of the most fundamental aspects of success in the business. There are also a growing number of trade conferences across the world, which provide vital links to people and places as well as great ideas and most importantly social and professional networking ops. ("CULTURE: Tables Are" 15) was just going to quit," she recalls. Now the seasoned DJ realizes that, up until that point, her skills had developed in isolation, and what she really needed was a community. She began finding exactly that at Washington's August 2002 Ladyfest, an all-out extravaganza of female-oriented music, art and activism. "I had no contact with girl DJs up until that moment," says Miss Passman, aka DJ Ladyplastik. Instead of giving up, she was going to get proactive. ("Moving Crowds and Shattering" D04)

Developing skills in "isolation" can only go so far. What might really be needed is camaraderie and fellowship with other like minded people, be they club goers or DJs.

Know You Venues

Booking gigs in your home town is the best way to get started and knowing these venues will likely be second nature to someone with a love for the scene but out of town bookings require research and skill to learn. Blogging with other DJjs who have played them is probably the best way to find out what is happening and what to expect. Additionally, it is essential to ask a lot of technical questions of the booking agent. Make sure you know what they have and what you need to bring. Don't ever misrepresent yourself, as technical troubles on gig night are not looked kindly upon, by the crowd or the venue and most importantly they appear unprofessional. If the venue employs professional sound staff, meet with them ahead of time so you and they know what to expect and how to help each other get the job done. Take yourself and your work seriously, as professionalism is a highly prized characteristic in an artist and making a reputation as a slacker is only cool until you fail.

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