Help us to write the pages you want to read. by telling us the kinds of digital DJing questions you want answers to. Nothing is too simple or 'silly', nothing too basic.
Today I’d like you to think back right to when you started DJing digitally. Or even better, maybe you are still thinking about starting to DJ with digital gear, or you’ve literally just started to learn to DJ.
My question is: What was, or is, the biggest thing on your mind about digital DJing that you can’t find the answer to? What is stopping you getting going because you’re not sure about it? What’s frustrating you because you can’t get your head around it, yet it seems like everyone else knows it? In short, what’s the (seemingly) silliest question you need an answer to?
Why we’re asking…
This website wants to be your guide, whether you’re a complete beginner or already starting to get gigs and make a bit of money from all of this, and the answers you can give us to this question will help us to do our job better.
This website wants to be your guide, whether you’re a complete beginner or already starting to get gigs…
So please help us: Reply below. Remember, no question too silly. Everyone starts somewhere.
If you asked or thought it, you can guarantee thousands others feel exactly the same way. And we want to help.
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So, here in Argentina digital djing got popular and somewhat affordable only a few years ago. So I got to understand what was all about 3 or 4 years ago.
My main question and doubt was WHAT THE HELL DOES A CONTROLLER DO?!?!?!?!? What is it? How does it work?
I really couldn’t get it… I had had some basic contact with djing software (mainly virtual dj, but didn’t get interested in it at the time) cause my non Dj mate liked to play with it.
My partner at djing thought he new what it was but he only confused me more and more. I heard him speak about controllers that needed a blank cd running the whole time, and that they codified the music through them, like an endless cd, etc etc etc (DVS and stuff). But I just couldn’t get it.
Later on I got tired of losing my cd’s, and started to get more interested in software. I really couldn’t afford getting a controler (stil hadn’t figured what they did but I knew I needed one to use the software without my mouse). So I started fantasizing about doing a home made one with some keyboards and numpads… as you can imagine, I never made it.
That was when I finally got it… and I still understand the being of a controller as an equipment full of keyboard shortcuts, some being simple like cue and play, and some being complex like faders and stuff.
So, that’s what it is to me… but I still got this question: technically speaking, a Midi command is the same as a keyboard shortcut? So, when I press cue on my midi controller, is it technically the same as if I pressed the corresponding shortcut? I know they will work the same way, but is it really the same?
Greetings.
Eduardo
[ link ]“What is a controller? What does it do?” is a very valid question, and not immediately easy to get your head around, especially as nowadays they tend to be both an audio interface AND a Midi controller.
[ link ]Regarding: Is it really the same?
Simple answer: No.
Complex answer:
Basically, a computer controller is a device that gives you the ability to interface with something else via HID control code. In a Master-Slave relationship, the controller is the one in charge. It says do something and the device (aka your computer with an audio program launched) does as instructed via commands. A Keyboard, Touch screen and DJ Controller are all input devices that send codes to the computer’s HID interpreter (the translator), this is what the DJ program uses to control what’s going on. MIDI is a form of HID (Human Input Device) protocol. In that Protocol, things like speed of communication, ranges of control and commands used are defined.
Technically, the controller is not sending keyboard shortcuts, the keyboard shortcuts are their own interpretation of code at the HID Interpreter. It’s not the same thing until the computer translates the commands (from the keyboard, the DJ controller, touch screen, etc.) to be the same thing.
*** I’d like to add ***
A controller DOES NOT generate the sound waves that are sent to speakers, that’s the job of the sound card, and while a lot of controllers have sound cards in them, they are really two things in one, a controller and a sound card.
[ link ]Hey this might not be silly but its still really annoying. I have a Numark mixtrack, and imo the pitch faders are too small meaning when beatmatching a slight movement on the faders make a big change in the bpm
i’ve tried changing the % pitch bend thing in traktor but then there are some tracks i cant beatmatch because the bpms are too far apart. I have been looking for a seperate midi controller with some big faders on to use instead but cant find any. Any suggestions would be appreciated. 
[ link ]Well, if you want a new controller, look for “14-bit hi-res pitch faders” or read the reviews to see how good they are (we always say; anything better than about 1/30th of a BPM os good enough for me). Depending on what software you’re using, have you tried to alter the +/- amount? Typically you can change this from +/-6% up to +/-50% or even +/-100%. Check your config.
[ link ]I have the Numark Total Control, which has the same issue. With the mapping I downloaded, shift mode allows the jog wheels to control BPM. The resolution is much higher so I can match BPM to the hundredth.
[ link ]I am also pretty sure you can set up multiple layout profiles in Traktor. One having the pitch % smaller for fine adjustments, and one with a larger pitch % for larger bpm gaps. Set them up and name them appropriately and then set a mapping in your controller manager for your keyboard to toggle between the two. Use them as needed.
[ link ]“could you print out a list of the songs you didn’t play so I can pick from them?”
[ link ]I’m not talking about questions people have asked you, I am talking about things you didn’t know the answers to yourself when you started DJing.
[ link ]Why would anyone use line faders apart from just slamming a track in instead of moving the fader I can’t see why they are used let alone chose instead of the xfader entirely , shed some light guru Phil :p?
[ link ]funny question for me because I never understood, why people use the crossfader.
Think the answer to both questions is: “Because they can”
[ link ]I can answer that one. There are some folks out there (me) who either spin multiple (disparate) genres or one genre that can be handled multiple ways. My main thing is Trip Hop which because it’s both melodic/atmospheric and it’s got beats based on Hip Hop leaving it quite a lot of room, you have opportunities for both cuts and blends/fades. If you are also going to scratch then it’s very helpful to have the crossfader set up with a sharp curve for scratching but then be able to handle swells/fades/volume adjustment with the up faders.
That said, I know quite a few DJs who think if you use the crossfader you’re not a real DJ.
[ link ]More precise mixing. Most DJs eventually stop using the crossfader at all, especially when they play breaks, house or techno (anything without scratching, really). It’s not uncommon to see the crossfader either disabled or removed entirely.
You have much more control over levels with line-faders. Crossfaders have a fixed curve (often adjustable, but not quickly) and force you to adjust the level of both A and B at the same time and at the same rate.
[ link ]Simple answer: more control over the mix
[ link ]Detailed answer: because using just the fader and according of course to the fader’s curve you can’t have specific numbers. For example channel A at 10% and channel B at 100%. Or the opposite one. Or Channel A at 50% and channel B at 70%. Or any other situation not possible by the fader’s mixing curve.
In the day of digital one assumes: It is easy to get music…
Now how the hell do you get tunes that are not mainstream and you just got into them? Like I heard some brazilian dance tunes, I really liked them, I do not even know the genre, let alone the musicians etc. (and forget those matching apps on your iPhone, they do not work for this sort of music…)
How do you dig into such music, that is probably very country specific?
And while we are at it, not a real digital question, but I always wanted to know: How do you make a tuna sandwich without the fishy aftertaste???
[ link ]Simple Answer: Radio stations. There are radios for pretty much every genre out there.
You can google, or look through the channel list in iTunes (iTunes have just below 6000 radio stations, although not all of them are dedicated to music).
[ link ]A tuna sandwich will always have the fishy after taste.
[ link ]You could perhaps mask it slightly with some lettuce, but even that wont work entirely.
If people have such issues with digital and Mac seems to be the accepted standard so far as I can tell, will I have issues when I show up rocking Linux?
[ link ]Maybe, maybe not. Be reassured though that negative comments almost always come from those who simply don’t understand what you’re doing and using and as such, they are the ones you should be worrying about the least!
[ link ]Nobody on the dance floor cares.
[ link ]Play good music that gets people dancing and don’t worry about anything else.
Few people will probably have a strong idea of what Linux is and even fewer will care that you use it.
Something of note is that you will often have higher latency with Linux when compared to Windows or Mac. Windows and Mac often have low latency drivers written for your soundcard while in Linux you will have to use Jack(http://jackaudio.org/) if you don’t want to use ALSA and the like (Which won’t have acceptable latency for the most part).
[ link ]you always talking about how the setlist is “everything” when djinh, and i totally agree – its just i could really need some help, tips and tricks to make good setlists
[ link ]A great thing I found when starting out practising in my room with a Numark Mixtrack Pro is finding DJ sets online from DJ/Producers in your genres, and taking their setlists and trying to re-create their mixes. Then, through finding the new music in their setlist you discover new artists, and also learn how to mix to a level that the professional is doing his/her mix at
[ link ]One question was also, “How am I supposed to beat-mix those 3 minute radio edits? I can’t even get the pitch corrected.”
[ link ]Does bassline play a big role in mixing tracks ?
[ link ]How can i mix two tracks with different bass lines ?
This is all personal preference, but I’d say “Yes, bass line plays a big role in mixing (beat matching) as it helps to keep a groove rolling.” and “You should choose two songs with similar bass lines if you’re beat matching… if they don’t match up anywhere, try to at least find a loop that is close… if that fails, pitch-sync the tune you’re transitioning into and start to roll off the bass from the first song while bringing up the bass from the second song.”
That should at least work most of the time.
[ link ]The golden rule of basslines is only play one at a time.
You have a lot more leeway with higher frequencies, but low freqs basically can’t be layered. Don’t even try.
[ link ]A question Im constantly working on:
“How can I make it (with software and controllers and all this virtual gadgetry) so that Im not actually DJing but instead Im creating electronic music, on-the-fly, real-time but still make people think Im actually DJing (in the sense of…the creation is flawless, limitless, expressive and ever-changing)?”
I dont really of course, expect an article about this one, as I realize there are as many possible answers as are readers.
[ link ]Ableton Live is your choice man
[ link ]I know!
Im far beyond the quest of the software….;)
And when I say real time and on-the-fly I dont mean just triggering loops and pre-recorded material but rather actually “playing” the stuff and record it real-time and mangle it…
[ link ]You can’t make electronic music live to anything like the same standard as you can make it in the studio. A typical 7-minute dance track represents anywhere between 10-100 hours of production time, so it’s not possible to recreate that level of complexity or precision in realtime.
I’ve worked with some very skilled producers building live sets (for example: willmarshall.me/products/glitch-factory) and they all work from stems of their finished tracks.
Some producers add elements of live stuff, but not in huge amounts and very carefully.
[ link ]While not exactly what you are talking about (It’s not technically production) you may want to check out the likes of Ean Golden and other controllerists. You may enjoy doing some controllerist stuff and Ean has some great tutorials for getting started.
[ link ]Hello Guys,
I think it would be nice to have an easy access page where we could find links to Famous DJing Blogs and websites (other dan digital djing) that help DJs with downloads, tutorials, and etc…
By following Digital DJ Tips on Facebook, I’ve already found many other websites where you post links from, for example: auditotuts, mixed in key an etc… Would be nice to have all of these (and more) here in the site.
That’s my suggestion.
Hugs,
[ link ]Not exactly a question, but a great idea.
[ link ]How can I create sample banks on my NS6 or my Vestax VCI-300?
[ link ]Best way is to use the keyboard shortcuts.
[ link ]……I didn’t even know about keyboard shortcuts…….I’ve got some research to do.
[ link ]I assume you’re referring to this within Serato Itch? Download Itch 2.0 (or higher) and open it. There is a white icon when you mouse over says SP-6, click that and it will pop up the 6 sample players across the middle of the screen. There are notes regarding sample deck controls for each Itch controller.
[ link ]here is a question.. can someone show me the difference between.
techno
tribal
deep house
progressive
moombahton
drum and bass
any links to the above mentioned genres would be greatly appreciated.
[ link ]I have two resources that can help – first, the following website explains many of the genres and even goes into some more… http://techno.org/electronic-music-guide/
secondly, your homework is to check out the movie “We call it Techno (2008)” here is the IMDB link: http://www.imdb.com/title/tt1698597/
have fun!
[ link ]Please, read the disclaimer before taking that genre guide seriously: This guide is a nontechnical, irreverent critique of electronic music. Its purpose is to entertain before it informs. Several biases here are celebrated lavishly, because downcasting people for their taste in music is closed minded.
You have been warned. Also, it doesn’t seem to go beyond the year 2000.
[ link ]I love all music, how do I know what to play?
[ link ]If you get an event, figure out what the people like and then start from the top 40 list for that event. Once you’re established, you can start experimenting, but ALWAYS pay attention to the crowd and their responses to each song.
[ link ]I’ve got quite a few but the main ones are:
I’ve just got a Numark Mixtrack(starting cheap me) and Traktor LE. Is this good enough to play small gigs? What will Traktor Pro give me thats extra ?
On my old CDJ system, I pressed play and the thing played. Now with waveforms, I cue the tune up at the precise point and press play and it delays or skips ! doing basic ‘dropping’ or ‘cutting’ in is proving a challenge.
Will I ever get used to using digital? Not liking some aspects of it at the moment … grrr
I know what soundcards / audio interfaces do, but how do you set them up? I’ve just thrown mine under the bed out of frustration !
Thanks!
[ link ]If all you want to do is play two tracks, sync and cross fade between the two, you have more than enough control. Traktor Pro does that and adds more bells and whistles (effects, track / sample decks etc.) and you can compare the features at the Native Instruments site.
As with any equipment, you have to learn what the quirks are, but it sounds like you might have a configuration problem. I’d check to see what kind of load you have on your computer when you playback and if you max out your computer’s CPU load or Ram buffer, I’d work on reducing system resources, updating all drivers, increasing physical ram, increasing latency, lowering the bit rate or simply upgrading to a new computer. I’d certainly turn on Quantize (the Q button under the “Main” dial) when dropping anything… just to make sure you’re not off the beat… and if you are, check to make sure your Beat Grid is accurate.
Sound cards are like any other piece of equipment, they have certain parameters they function well within and newer models are generally better than older models. If you’re pushing your sound card too much, you’ll have clipping or playback issues. IT IS NORMAL that the audio being played out of the sound card (through the mains) is “behind” what you hear in your cues… this is what latency means… the time between two things occurring… in this case, it means between the time you hear something in the cue and the output to mains OR between the time you do something and you hear the response. Lower Latency is better but when you push it too far, you have other playback problems so find a balance or a better sound card.
[ link ]I think I can help you with the skipping. I have traktor sound interface too and assuming you are using Windows Vista or above, it seems the sound driver and the accelerated graphics on the screen (known as AERO) are the culprit.
[ link ]By dumbing down the interface and going to basic or high contrast mode, the issue goes away and from my experience (200+ gigs) no issues whatsoever. Hats off to NativeInstruments for making such a solid product.
Hope it helps…
Apart from a controller, laptop, a pair of speakers and lighting, what else would you say is necessary to DJ a typical venue party? I’ve got my first gig soon and will probably end up borrowing some equipment to start off with but I wanted to know the essentials needed and how to hook everything up! Thanks in advance.
[ link ]I’d say a sound card (if your controller doesn’t have one built-in), headphones, XLR / TRS / RCA patch cables (depending on your sound card and what the mixing board has available as inputs), a power strip, an extension cord, and a place to put your gear when you’re at the venue and (while not essential) I’d bring a pad of paper with a pen (on a leash) attached and something like an iPod in case your gear fails.
[ link ]When I first got Traktor I was like wtf is midi? Not just in Traktor but in general everyone kept talking about it and mappings.
I couldnt undeerstand waht it was/ how it was used…the fact that it wasnt sound but actual messages and how I can use it to enhance my digital dj experience….months later after having read 985738957389 messages I get it and now make my own mappings for a drum pad I have…I think just the basic knowledge of it would be great to know for anyone getting started or not familar with it
[ link ]M.I.D.I. is an acronym meaning Musical Instrument Digital Interface… it is a control code protocol and it’s been around for at least 30 years. You can read all about it on Wikipedia https://en.wikipedia.org/wiki/MIDI In specific response to your question, MIDI can send two-way control code, this is why Traktor has “add in” and “add out” functions. Most of the time, your controller is sending signals to control Traktor via the “add in” section of the Controller Manager. “Add out” is a way for Traktor to send signals back to controllers as in change light on, off, color change, etc. and this isn’t just limited to one controller, it sends the command to ALL of your connected controllers, so you must be specific when mapping commands and make sure you don’t have overlapping commands or you’ll have unexpected (perhaps unwanted) results. “MIDI learn” (which has been around since of Traktor Pro 1) is a real help in the process of assigning functionality because you can choose a command, move a control input and assign the function quickly. In Traktor Pro 2.5, add out has been added to MIDI learn so you can assign now LEDs and anything else you want to control with a command from outside the controller.
Fortunately, the Controller Manager will allow you to load your .TSI (controller mapping file) and once loaded will load each time Traktor launches (as long as you save the control mapping on exit with the checkbox). “MIDI learn” is a
As I said, MIDI is an old standard but it is basically everywhere and it is standardized unlike the H.I.D. (Human Input Device) protocol, which has more functionality and is faster, but is tied closer to the operating system and the hardware it’s using (like FIREWIRE on OSX or USB on Windows 7).
[ link ]there’s not edit function!!! anyway… never mind the second instance of “MIDI learn” is a…
[ link ]I think my basic question that I am still learning about is; what are the components – end to end for making sound? This may be more suited for the local music store, and for larger DJ’s handled by the club, but for each situation. What scenarios does an amp make sense? Is there software or hardware to help “clean up the sound” other than my tweaks on the controller. I just learned about the “Direct Box” and it just shows me I still have more to learn.
[ link ]Signal Generator – Signal Selector – EQ (optional) – Amplifier – Speakers. Everything in the above list is connected with wires (virtual or real), but that’s as simple as I can make the diagram.
Signal Generator: Microphone or Playback device… something that makes electrical waves… this is a translation from either analog-to-electrical impulse or digital-to-electrical impulse and has two parameters; bit rate (think quality of sample) and frequency (samples per second).
Signal Selector: This is typically a Mixer or a Controller into a Mixer. Mixers are based off variable resistors that have a max value of (near 0% resistance) and min value (near 100% resistance)… a cross-fader inverts the value from left to right for two signals… Channel A gets 0% and channel B gets 100% resistance on the far left whereas on the far right, Channel B gets 0% and channel A gets 100% resistance.
EQ: Something which changes the amount of presence a generated tone has over a discrete range of frequencies (sound envelope). Think volume control for slices of the electric waves from low (frequency A.K.A. Bass) to high (frequency A.K.A Treble) range.
Amplifier: Boosts signal strength by increasing the amplitude (the force) of the electrical signal. This is not volume but it sets the maximum value that CAN be played back through a speaker.
Speakers: Generates Analog sound via elements ACTUALLY moving the air at the rate of the electrical signal being pushed through it… this is the only place the sound is created in this chain, everything else is manipulation of electricity.
I can’t think of a situation where you’re presenting your music to people where an amp doesn’t make sense. On my smallest jobs, I’m still using one mic, one mixing board and an XLR cable to a self-powered speaker. If you want Presence, you have to amplify.
There is nothing you can do with peaks that have been clipped off (other than re-sample the songs with less loss), but there are a lot of programs out there that “Normalize” volume levels and remove “Noise” from the background among them is a program called “Platinum Notes” from the same company that makes Mixed in Key but it requires some time to analyze and edit your sound envelopes… plan on doing this when you’re not in front of a crowd.
A Direct Box or D.I. is something that simply balances an unbalanced line so you can run the signal out over a longer distance without distortion. You won’t need this if you’re already running a balanced line or you’re amplifying at the speakers less than 20 feet away (which is most of the time) and most EQs will resolve this problem for you.
[ link ]Here’s a question I think everyone will appreciate: “How do I get known and liked with the people I’ve never even met?” This is directly pointed at breaking out and starting something new.
Another question I think is useful: “How do I find someone to back me when I’m trying to start out new?”
I’ll have a couple of responses in this thread below.
[ link ]Question 1: You’re going to have to start out making friends who like the kind of music you want to spin enough to go out to events, and become their friend first. DO NOT expose your friends to “works in progress” because they’ll get burnt out with your “music project.” Instead, make a ready-to-go mix and have it ready to give away. I think it wise not to push your music on everyone everywhere all the time, but when it comes up in conversation, say that you have a mix and ask them for their e-mail address. You shouldn’t push this on people because people don’t like being forced to hear anything (even if they like it).
Question 2: Most places don’t want to try something new, especially when that new thing has no backing and no money. So you have to go about finding both… First, you have to establish a group of followers who (at least) say they’ll come see you play live. If you get that number up to about 200 (approximately 20 will show up) you’ll probably convince a small bar someplace to allow you to use their PA system for the night on a trial basis.
*THIS IS IMPORTANT* Advertise (flyers, Facebook etc.) at least 90 days before your first event so people can make plans for it and make the last week push at least twice as much as you’ve done prior to that week.
I recommend charging something obscenely small for a cover and let no one in for free unless the bar owner pays you for the night (so you can afford to cover the cost of flyers for next time).
Make sure you have a way for people to get in contact with you and stay in contact with them… if people genuinely like what you play they will want to help you become a bigger name.
That’s about all the generic information I have on these two subjects… as always I’m open to be corrected, but this is the information I have from promoting clubs.
[ link ]I don’t know if this is a valid question or not, but a friend came up to me once and asked “why do you need headphones when the speakers are on?”
[ link ]It’s all about discrete preparation… You want to prepare another tune playing in a channel that isn’t being presented to the audience. If the audience can hear you play back the second channel (through monitor speakers) while “scrubbing through” to look for a start point for the next track (or cueing a loop), you’ll confuse people and it won’t be as much fun for them.
[ link ]You’ll also confuse yourself when you hear two different sets of beats… that’s why isolation is important.
[ link ]Hi,
i wonder if i look silly with a S2 on a club?
Everyone seems going on pioneer players and i cant afford them.
Do i miss something out if i dont use pioneer?
2: Do i need a seperate mixer for the Native s2 or is the sound enough to go straight from the s2 (or other similar controllers) to the amp? Im also worried my computer locks up and it ends up quiet perhaps a mixer can solve this with extra cd player?
[ link ]I think you should just embrace who you are. You have an S2 because you liked the features it offers. The only way you’re going to look silly with an S2 is if you do something silly with it. If you drop the most crowd-inspiring, best tracks people have ever heard with a remix you could only do LIVE with your controller, who’s going to look sillier, you or the person that has to follow you? Just get that good and no one will care what you show up with. Yes, there is a lot of resistance from the old school crowd… you have to earn their respect what better way to do it than to do stuff they can’t?
Your S2 outputs are good enough to go to all but the most broken, old-school amps.
If you’re worried about your computer locking up, make sure you don’t have things running on it that will lock it up and bring an iPod or some CDs just in case it does.
[ link ]Another silly question, is there a way to play longer times as when i need to go to toilet. Perhaps i need to be away 10min. Is there a tip on how to handle this if you dj alone and have a 5 hour playtime.
[ link ]Have a 20 minute mix prerecorded for your toilet breaks, or have a friend to mix for the time you are away.
[ link ]Always have a pre recorded mix for breaks
[ link ]Sorry if i ask many questions, i really like to start playing more in clubs. But how do i ask for a “job”. Do i offer playing for free? I bet many do that and they are tired of getting questions. How do i find dj jobs is my question, or are they used to getting asked and have auditions? Please, all you who have a regular dj job, how do you start this craftmanship?
[ link ]My father always says always charge what you’re worth, if you charge nothing, you’re worth nothing, and that’s the truth. No Bar or Club will respect you if you just come in and play for free.
Honestly, I think a lot of people think they can skip steps today because they’ve received advice from somewhere and because they received that advice it means that they don’t have to go through the pain.
If you want to work in a club, understand what it really takes to be a club DJ, talk to the club promoters (when they are able to talk to you… these are busy people and they don’t NEED to talk to you) they will typically ask you for a CD they won’t listen to but they’ll be interested in hearing about what you can do for them. Always find some way you get something out of the night, because you’re better than the juke box.
You’ll have to start at the bottom and work your way up. Simply being good won’t get you the job. You have to pay your dues and do the bad shifts, you might even have to do things that are unsavory to you like being nice to someone you don’t want to be nice to, or open for some guy with less talent than you. You’ll typically work the crowd, playing top 40 hits and break it down while the groove is going so that people will buy more alcohol.
If you want to be a DJ for a job, consider being a mobile DJ (for weddings and events) AND a club DJ (in multiple locations).
[ link ]Good question. Personally I would never offer to play for free. What is free generally is perceived as having no value.
However, you could try a “no cure no pay” concept. I have done that in the past in places where they didn’t know (of) me (yet
). I would tell them what my regular fee was and that I was used to getting paid in advance (you try to never end up in discussions with venue owners at the end of your gig when payment time comes around).
I would offer them a -one time only- option of having me play a set, where they would only pay me afterwards and only if they were satisfied with my performance.
That way, if they liked the performance, you have already settled on a price in advance. If they want you to come back, same thing, price is set. And by going in saying what your price is you show that you know what you are really WORTH. So, you are not number zillion knocking on their door hoping to play for free, but you are a professional offering a valued service, just making it easy for the owner to try you out, so he doesn’t risk paying your healthy fee and not liking what you did in the end.
Of course there will be owners who will take advantage of you and pay you nothing even when you had the place rocking all night long.
When that happens, you DID end up playing for free, but you still had a good practice at playing live at a real venue with real audience and people will have spotted you in the booth. So you still come out winning. Generally though, most owners understand business well enough to know that if you did a good job, it is in their best interest to pay you. And presto, money in your pocket, another gig on your resume, a new reference and a potential venue for a follow-up gig.
Good luck, happy spinning & greetinx,
[ link ]DJ Vintage
Here’s my stupid question – How do I get into Djing coming from a rock background ? I love dubstep, drum and bass, electro etc but also love my Rush,Misfits, Slayer and Guns n Roses albums etc ?
[ link ]Why not mix the two to make your own style. The crowd will tell you what they like that night and you should adjust accordingly, but if you’re into both, start moving that direction with both. I love sampled “Rock Overs” on club music… it’s a stab of awesome in a sea of dance.
[ link ]Is a ‘full kill’ on an EQ on a mixer an ‘isolator’ or not? Thx peeps.
[ link ]There are two kinds… ones that actually disengage and ones that drop down something like -15 dB (where you can still hear it if nothing else is playing), this varies by make and model.
[ link ]Guys i`m realy glad u did this , ppl can learn alot of new things from every silly question .I felt it on my own skin
What if u are in a totaly new Country where u dont know allot of ppl and stil you want to start getting gigs asap what is the best way to approach it
TY
[ link ]When I started djing it was with software and controller, now I still use software with a pair of cdj400′s. What I notice with a lot of dance music is there could be a lead in of say 2,3,4 or 5 phrases to mix the song in. I will look for where that song starts and then say beat jump back 32 beats and use that to mix that track in. My question is: is there some technique that people use to do this with cdj’s? Can u work this out with the seconds timer and is this what most dj’s do or is that dj’s know their tracks and how much lead in every track has?
[ link ]If you play house music, its fairly easy in that most house music is 128bpm so 32 beats is 15 seconds. Most house tracks or remixes of popular 40 tracks don’t get “live” until at least 128 beats or 1 minute into it.
[ link ]This doesn’t substitute for knowing your music and if you use CD-R’s with a cd-text burner like Nero, put some hints in the track to determine when to bring it in. Most cdj’s 800mkii and beyond have cd text readers so you can see those notes or make labels with that detail in there.
So to net it out, if in doubt, give yourself a minute to blend in the track. When you hear the next track start to define itself, drop the levels (eq per mixer track assumed) and let the next one take ahold of your audience.
I’m pretty new to DJing, having only watched from afar, but I now have a numark mixtrack pro. I find myself playing many of the same songs over and over again in an effort to create setlists so I know when to bring tunes in and what goes together well. I understand the concept of playing to the crowd, but my question is this, is this normal and are setlists that regimented? I’m sure i’m driving my girlfriend mad with the same songs.
[ link ]Others may disagree but I often never go into a night with a concrete setlist and I feel that is the best way to do it. Go into it with an idea of what you might want to play but nothing concrete.
Open up with a track and start reading the audience. Get a feel for what you think they want and then narrow that down further to what they want and what would be good to mix out of the current song with. Start queuing up the next track early to get an idea of where you want to mix in and out.
When you are just mixing on your own just let go of your inhibitions and start mixing. You are the only person who will ever hear it so start experimenting and enjoying yourself. This is the best way to get better. If you want to keep playing the same songs and work on a really good mix then that’s fine but keep in mind that DJing at home and DJing in a club/live environment is very different.
[ link ]Very good advice, something we’ve talked about a lot here.
[ link ]I agree with 100%. I like to call it “mixing on the fly”. I can generally read the crowd after the first three or four songs. And feel that with experience comes confidence.
[ link ]I can’t wrap my head around this one: how can a controller provide a different curve for the crossfader, than the software provides for? If all a controller does is set the position of the crossfader, changing the behavior is impossible?
The only way I can imagine it to work is if the controller’s crossfader actually controls both level line faders at the same time.
[ link ]I skipped a lot of posts so forgive me if this is old. Do you beat grid and blend songs on the kick or the snare? And why?
[ link ]It would depend on the genre of music but since most music is phrased into a 1,2,3,4 with a bass on every 1 (of course some music will have a bass kick on every beat) then you will almost always want to start on a 1 on both the first track and the second track since it will sound far more natural since the phrasing is in sync.
[ link ]How can I register a remix I made?
[ link ]For example, how is one suposed to get the rights of an acapella?
I guess that if you contact the rights holder he will ask you to pay him a LOT of $$$…
Found this the other day, might offer what you’re after:
http://legitmix.com/public/howitworks.aspx
[ link ]Can I get a residency if I’m ugly?
[ link ]is it possible for your kit to hold you back?
i have been dj’ing for 4 months and run a mixtrack pro on a macbook pro. i recently entered a club competition as a way of getting my first club gig where i won my heat and came second in the final…. the guy who won it was using an S4 and for a while i have been wanting to buy a 4Trak (which i can’t afford yet) because the Judging DJ said that he thinks i could have won with better kit….
the mixtrak pro has been great to learn on but i am feeling i need something with better Fx banks and 4 decks and more importantly dedicated filter knobs.
so i was basically wondering if what the judging DJ is saying possible?
[ link ]When I first started with midi, I had not idea what the difference is between MidiCC & Midi notes. I tried reading but it was extremely hard to understand, whether from audio related websites, wikipedia or forums. After reading so much about it, now I know the difference!
[ link ]Why do most controllers not have kills?
[ link ]That’s actually really annoyed me over the years, as I kind of got used to them on analogue mixers.
[ link ]I think this Is because most beginner djs don’t use them
[ link ]I kinda feel I already know the answer, but why should I need softwares to DJ, if I (hypotetically) already have 2 CDJs and a mixer? Is it just because I can do more things, or the software is an essential of today’s gear?
[ link ]How old is too old to start DJing? I’m 45 and want to DJ public someday. Or did I wait too late?
[ link ]Im 46. Go ahead and kick it! (Do the kids still say ‘kick it’?)
[ link ]Some days I do mix as a pro and others its harder. What could be the reasons? Since I am a mobile Dj some friends told me if the A/C has fluctuations so the pitch and cues etc… Is this true>?
[ link ]Mixing is like professional sports or any other profession. Sometimes you just have off days. My advice is to make sure your ears “rest” for ample time in between gigs or times to play and its not a contest to see how loud the DJ can be. If you haven’t watched “Its All Gone” the story of Pete Tong. Do it… Your ears and your skill are the two things that make the DJ, lose your hearing and you can have all the skill in the world and not be anywhere near as successful.
[ link ]Otherwise, use your confidence and if one mix goes bad, focus on the highs of the next track and bring in it in smooth.
Hi there, this one has always been my biggest issue, what is the best way to practice DJing for any gear, meaning practicing only on controllers (with auto looping and sync) isn’t the best thing to do imo.
[ link ]you might be in a situation where you only have the club’s gear (usually CDJs) so how to configure your software/controller to work as a CDJ, I think of it more like learning to drive, if you learn on a manual shifting car, you won’t have any problems driving an automatic car, same concept applies here imo.
I’m pretty much heading there, but there is this one thing I can’t figure out though, is it possible to manually resize a loop using jogwheels with controllers,
I have an M-Audio Xponent controlling Traktor Pro 2 (I also have Torq2 which comes with the controller)
On Serato ITCH it is possible to adjust the end and start points of a loop using your jogwheels (at least, it is on some ITCH controllers).
[ link ]Hi Guys,
Maybe this is a bit more fundamental than silly but here goes… I am at a bit of a loss as to what genre and what music I should focus on in terms of DJing, mainly because the stuff I really like to party to (harder styles of house and trance) just doesn’t get played in any of the bars and clubs in my now hometown of Christchurch NZ (this is true even before the earthquake wiped most of them out).
I hear a lot of advice that says you have to move with the times (or get left behind)… So should I “learn to like” the genres that are more popular locally (commercial charty stuff, disco, house, there is also a fairly strong underground following for dubstep) or stay true to what I enjoy and forgo the possibility of playing live sets and hopefully making a few quid.
Maybe I start mixing the stuff I like to get the basics right and then play around with other genres… On the other had I could save myself some time by learning and really getting to know tracks in the more popular genre’s now.
I’m a newbie to DJ but have been enjoying EDM from the other side of the turntables for many years, I actually quite like listening to funky style house and stuff but it’s the harder styles that realty spins my wheels.
Any thought or advice would be much appreciated.
Thanks!
Jason
[ link ]It might help you to watch my video on forging your own sound, here it is: http://www.digitaldjtips.com/learn-to-dj-video-29-how-to-forge-your-own-musical-style/
[ link ]Thanks Phill – I had watched that video and it was really helpfull, love the tip about finding the records that are sampled in recent mainstream records…. Trouble is the genres that are popular locally is not what I’m really into… I guess I either need to get into it or live in quadrant 3!
[ link ]when i first started out i stood there scratching my head for weeks trying to work out what the ‘key’ button did!? lmao
if you are reading this then chances are that you know that its a key lock button that keeps the track in key when chaining the tempo, if your a cdj user you may know it as a ‘master tempo’ button
[ link ]hello,
this post is an excellent post for all the beginners. hats off to Mr.Phil who have put his efforts together to help all types of djs progress thru this site.
i have started djing since the beginning of this year and i have purchased numark mix track pro recently. i still dont understand the technical dj terms but as i am going thru different topics, a lot of my difficulties have been solved.
my question is that on the mix track pro there are 2 ways to change pitch, with the pitch fader and with the jog wheels. i noticed that when i use the jog wheels to change the pitch, the pitch on the software doesnt change and when i do it with the fader it does. can someone say what is its significance?
[ link ]sorry if i wrote anything wrong technically.
Great question. The jogwheels are “temporary”, or “nudge”, the pitch faders are permanent.
[ link ]can you tell me the simplest use of nudge?
[ link ]To get two tracks back in time that have slipped a little ahead/behind the other one.
[ link ]what is ‘mashup’ of tracks?
[ link ]please explain bassline.
[ link ]well my question is how do u change from one song to another without people noticing that u changed the song?
[ link ]That’s kind of the skill of DJing
[ link ]What is the most basic and, more importantly, cheapest set up you can acquire/assemble for live DJing? Can you rewire a DJHero controller from my xbox and jam it into a MIDI controller and have it assimilate a notebook and use it to mix music??
I typed this into Yahoo and I didn’t get an answer… I wonder why?
Gracias!
[ link ]Laptop, Virtual DJ home, mono splitter cable for headphones, use the keyboard to control the software.
[ link ]i have a doubt that in virtual dj how to remove background music completely, or any software is there that could help me……. plz plz plz plz inform me……
[ link ]i actually have two questions.
[ link ]first; where can i get gigs if I’m under age?(can’t get into clubs/bars ect.)
and second; is it better to buy or just rent speakers for parties?