Previously, many wanted to be astronauts, and now many want to be DJs. Who is a DJ? What does it take to become a DJ? According to Wikipedia, a DJ (eng. DJ from disc jockey - disc jockey) is a person who plays for an audience, recorded on sound media musical works. DJs are different, so first you need to decide what kind of DJ you would like to become.

DJs can be conditionally divided by place of work:

DJs in clubs;
DJs on the radio;
so called " mobile DJs» (mobile dj). So all over the world it is customary to call DJs working on various holidays (weddings, birthdays, New Year's Eve, school discos and any other events), mainly with their own equipment. Such a DJ can bring his equipment and hold a disco from scratch anywhere, relying only on his own strength. Throughout the world, the phrase "mobile DJ" has long had its own special semantic meaning. Unfortunately, in Russia this phrase is found only in relation to the game of the same name for a mobile phone.

I could name other places where DJs work, but these three, in my opinion, are the main ones. And although the work of a DJ is not too different in each case, there is a big difference between these DJs. At the same time, the same DJ can work in several areas at once, which gives him an advantage.

More DJs can be conditionally divided by the type of music media. In this case, DJs can be divided into those who play:

on vinyl;
on CD;
using a computer, laptop.

Again, equipment is now available that allows you to use vinyl, CD and computer resources at the same time. In this case, the DJ can manage his digital tracks with a vinyl or CD player, or mix and match media as he sees fit. Therefore, such a division is not always appropriate.

You can also divide DJs according to the musical styles they play. But there are universal DJs who play, if not everything, then many different styles at the same time.

In general, as I said, you need to decide what kind of DJ you want to become. I would like to tell you more about the features of the work of different DJs.

Club DJ

People come to nightclubs to dance and have fun. People want to have fun on the weekend, and they need to have fun. Club owners have two legal forms of income: entrance fee and bar. Since it is not so easy to get a lot of money for entry, it is necessary that visitors stay in the club as long as possible and leave as much as possible. more money in a bar (and that they do it with pleasure!). Therefore, the work of a DJ should be as follows:

music should boggle everyone;
music should sound without stopping;
the DJ should be doing the show, he shouldn't just be a turntable;
a DJ should be fashionable, stylish, match the club atmosphere;
"Sex, drugs, rock and roll" - something that can characterize a club DJ.

Therefore, in order to get a job in the club, you need to be able to accurately mix music of certain directions. The music should sound loud and no one will forgive you for mistakes. You also need to be able to work with DJ equipment. Please note that performance may differ between Pioneer and Numark decks. Most often you will be offered to work on CD. You should have a lot of CDs with you, and every DJ usually has his own headphones. About how to get a job in the club, you need to tell separately, because it may not be so easy. In a nutshell, you must have experience and some demo material to become a club resident.

DJ on the radio

People listen to the radio so they don't get bored. You can listen to your favorite radio station almost everywhere and turn it off at will. Radio station owners have one main legal source of income - advertising. Every second on air costs money. The entire radio broadcast is disassembled by frequency and there is nowhere to expand there now. That is why the information flow on the radio is always compact and dense. There are special short versions of tracks for radio rotation. These tracks usually have an intro during which the DJ says some words and stops when the lyrics start in the song. The number of radio listeners is large enough to make it necessary to automate the sound delivery process to avoid errors.

Therefore, the work of a radio DJ should be as follows:

play music continuously and without errors, if it is not done automatically for him;
be attentive and responsible;
have a pleasant voice and be able to speak continuously and competently for an indefinitely long time;
be able to handle expensive studio equipment.

Therefore, to get a job on the radio, you need to be a competent and responsible specialist, it is desirable to have a higher education and work experience. It is not so important how the DJ looks, but his oratory skills matter. Now many radio stations arrange video broadcasting of the air on the Internet, in which case the requirements for a DJ are tightened. You have to work hard to get a job in radio. But if you are not used to waiting and you want to try yourself as a radio DJ, you can start working on Internet radio right now. Internet radio does not require much effort from you, but you can learn everything that other DJs do in such very realistic conditions. The Internet now gives you infinite freedom, and only you can define the boundaries for your creativity.

Mobile DJ

Mobile DJ (mobile dj) is the topic closest to me, which can be devoted to many articles. As part of our topic, I will emphasize only the most important.

Mobile DJs work at various events with their own equipment, and this is how their work differs from club and radio DJs. Most often, such DJs work by themselves, or for a small organization.

Given this, the work of a mobile DJ can be characterized as follows:

work with own equipment on the territory proposed by the customer;
independent delivery, installation and use of equipment (sound, light and everything else);
the opportunity to put on a variety of music throughout the event;
independent business management, starting from the search for clients and advertising, ending with the actual work and bookkeeping.
The mobile DJ monitors his equipment and makes decisions about buying, replacing or repairing it.

As a result, often a mobile DJ operates as a self-employed entrepreneur. He can take on the role of boss and subordinate, he can be an advertising agent, sales manager, designer, copywriter, storekeeper, driver, technician, DJ, MC, security guard, accountant. Such a combination of duties and heavy loads can be harmful to health, on the other hand, all your efforts will be evaluated accordingly. Many are not ready to immediately take on a great responsibility, but it is this increased responsibility that justifies itself in the same way as in any other business. We can say that in order to become a mobile DJ, you only need your own desire - after all, even equipment can be rented first. But in order to confidently work in this area, you need to make a lot of effort. Ultimately, whoever dares wins!

Does it make sense to go to study as a disc jockey when you don't know what you will need to buy and how much to expect? After all, to become a professional DJ, you need to imagine with what equipment these ideas are feasible. In this article, everything that a beginner DJ needs will be described in the most accessible way.

So let's start with the most important thing. These days, many DJs use a laptop (like an Apple with a good processor and a Fire-Wire output for audio interfaces), a good external sound card, and a controller to work. Or turntables (for playing from vinyl) and a remote control. Here everyone chooses for himself, based on his needs and capabilities.

Sound card

Good external sound cards cost about $200-600. They must guarantee high quality recording and playback, professional features and direct monitoring. This equipment is designed to process outgoing signals. Here you can advise M-Audio M-Track Quad, Sonic Core (CreamWare) Luna 2496 I / O Box , Egosystems U46XL , RME AEB 8 / I Expansion Board, etc.

Controller

Should have a crossfader, multiple EQ channel sets, vertical faders (to emulate DJ mixers). Midi controllers make it possible to work harmoniously with the program, use all its settings and effects. For a beginner disc jockey, models such as M-Audio X-Session Pro, M-Audio Torq Mixlab, Vestax VCM-100, Vestax VCM-600 are suitable.

Turntables

Designed to play from vinyl or CD. The quality of the set itself depends on the characteristics of this equipment. Turntables can be quartz (the motor is connected directly to the rotating part) and belted (connected through a belt). One of the main definitions of a good turntable is Pitch-control, which is used to adjust the speed of a song. In order to keep the mechanisms of the turntable in good condition, you can purchase the so-called slipmats so that the rotating part of the turntable does not slow down when scratching, for example. Playback from CDs requires pitch-control in the turntables. You can buy good models of players, such as Numark TTX, Vestax PDX-3000, Reloop RP-6000 mk 6, Reloop RMP-2660 b, Vestax CDX-05, Pioneer CDJ-1000MK3.

DJ console

The main functions of the mixing console are the collection of all signals ( sound effects, musical instruments, audio processing devices) to mix them into one common stream. With the help of the remote control, the overall sound, outgoing signals and their mixing are regulated. You need to be careful about the sensitivity of the remote control, since the quality of the tuned signal, the success of the fight against distortion and noise depends on it. You can use a sampler to record small sound fragments. Thus, the console offers a wide range of sound processing options - equalizers, multi-band tone controls, sensitivity selection, etc. DJ consoles should have a crossfader, a special sound effects unit and a small number of channels. Common Models: Phonic MX505 , Allen Heath XONE 2D , Reloop RMX-20 Black Fire Edition , Vestax PCV-275 , Vestax VMC-004 FX .

Headphones

An integral part for the implementation of high-quality DJ experiments. Here, characteristics such as high sensitivity, sound pressure and impedance, and frequency characteristics should be taken into account. These are, first of all, closed-type headphones: Beyerdynamic DJX-1, Behringer HPX4000.

As an addition, a DJ (dj) can use various types of effectors, combined devices, groove boxes. There are a huge number of DJ accessories for convenient work or replacement of worn parts: needle cartridges, spare needles, power supplies, crossfaders, stands, adapters, vinyl record mats, etc.

A novice DJ (dj) should keep in mind that to collect all the equipment he needs, he needs at least $2000. Differences in prices will fluctuate depending on the quality of models and firms.

Choice of DJ equipment. Quick start guide for beginners

Are you determined to become a DJ, but do not know where to start immersing yourself in a new profession? In that case, this article is especially for you. First of all, you need to understand what media you want to play from. There are many options: good old vinyl, CDs or other digital media. How they differ, what are the pros and cons of certain options, we will describe in detail below.

VINYL

A pair of turntables and a mixer is a real classic. This is what started DJing, and what is still absolutely relevant today. Let me introduce you to a classic, one might even say, a reference player - legendary. It was produced for decades in a row and became the unquestioning club standard. And all thanks to the perfect technical characteristics and the highest reliability. Probably, many of our readers have already heard that this model has been discontinued, but you can still buy such a turntable, even a new one, albeit for fabulous money.

As for the vinyl records themselves, contrary to forecasts, their release continues, and today it is quite obvious that such discs will live much longer than CDs, which are already beginning to lose popularity.

A few words about vinyl players. According to the type of drive, they are divided into belt-driven and direct-driven devices. Direct drive models are ideal for DJing. Direct drive provides stable record speed and good torque. In addition, such a mechanism is much more durable. The belt drive, due to its design specifics, is inclined to change its characteristics during operation. Most often, it reduces the torque due to the slippage of the stretched belt in the grooves of the pulleys.

Very important characteristic DJ turntables is torque. The higher this indicator, the faster the platter (pancake) picks up speed. The optimal indicator of this parameter is at least 1.5 kg / cm (this is exactly the torque y). In this case, the plate spins confidently and very quickly, and besides, it is convenient to twist it at the right time.

As for the players with a belt drive, then, of course, they also have the right to take their place in the DJ installation. These turntables are much cheaper and are quite suitable for beginner DJs. Moreover, if you learn how to mix records on belt-driven turntables, then on direct-drive turntables you will do it masterfully.

As we already wrote, the best choice for a professional DJ is a Technics turntable, but not everyone can afford this kind of equipment. To begin with, with a modest budget, inexpensive models can be considered for a DJ set, for example,. A pair of such turntables will cost only 24,000 rubles, add here a simple two-channel mixer for 3,000-5,000 rubles and get an inexpensive but decent set in the bottom line, which is suitable for mastering the basics of DJing.

Mixer

Here the choice is huge and depends only on your budget. The most inexpensive two-channel models, for example, or, cost around 5,000 rubles. They are great for the first steps in DJing, but since these are budget models, they will not last very long with active use. Which is not always bad. By that time, someone will lose interest in the craft, while someone, on the contrary, will understand that life is empty and boring without DJing, and will go to the store for a professional mixer. However, we recommend that you take a more expensive device from the very beginning. You definitely won't regret this choice. In this case, a good choice would be, the price of which is 16,900 rubles.

Video review of Pioneer mixers , :

What are the pros and cons of vinyl DJing?

Let's start with the pros:

1. Show. Think about what is more interesting to the viewer: a DJ with his nose buried in his laptop, or a DJ with perfected technique, who, with the help of two records and a mixer, creates magic right in front of your eyes - creates a completely new music. Unlike the mysterious processes that take place in a computer, here the process of the birth of a masterpiece can be observed from beginning to end.

2. Plate. This is something you can hold in your hands, unlike an mp3 file downloaded from the Internet. It's so nice to get a record out of the envelope that has been in the mail for a whole month, and before that you were catching it on discogs.com for several months. With vinyl, you get the ability to turn every hand movement into music.

3. It's fashionable. Indeed, after some decline caused by the invasion of digital technology, vinyl is back in vogue.

But there are also disadvantages:

1. Expensive. It really is. Do not forget that in addition to the equipment itself, you will have to constantly buy records, which are not cheap - each cost 400-500 rubles. And not all music worthy of DJ's attention is released today on vinyl.

2. uncomfortable. It is much more convenient to carry a CD folder with you to the club than to carry a heavy bag with records. In addition, today not all clubs have turntables for vinyl, and even if they are, this does not mean at all that they are in good condition. Often, when you arrive at the club, you realize that the turntables are phoning, that their pitches are floating, and not all channels are available.

DJ CONTROLLER

The world of musical equipment does not stand still, and now a laptop and a DJ controller have become familiar tools for a DJ.

Indeed, today such a kit is an excellent choice for a beginner. With it, you can learn the basics of mixing and avoid large financial investments in expensive equipment that may soon become unnecessary. Having learned how to work with the controller and making certain conclusions and conclusions for yourself, you can safely switch to more advanced equipment: for example, to the same “vinyl”, to more expensive controllers or CDs.

What is a DJ controller? This is a device that connects to a computer with a USB cable and transmits commands to a special program via the MIDI protocol. DJ controllers typically come with a built-in sound card, headphone output, and mic input. Externally, the controller usually resembles a set of standard DJ equipment - two players plus a mixer. All traditional controls are preserved - there is a crossfader, channel faders, frequency controls, jog wheels. For beginners, we would recommend just such a version with a basic set of controls.

Since the DJ controller works in conjunction with a desktop PC or laptop, the configuration of the latter is worth paying attention to. The minimum PC requirements are usually listed on the box or in the instructions for the controller. It is also necessary to take into account the requirements of the software with which the controller will work and which will have to be installed on the computer. In general, the more powerful and faster the laptop, the better. The main thing for this PC is a powerful processor, a large amount of RAM and a fast hard drive.

You also need to consider that some controllers for beginners do not have a built-in sound card, which means that you will have to buy it in addition. Moreover, it should be a card with two outputs. Or you should immediately pay attention to more expensive models of DJ controllers with a built-in audio interface.

As for software, the vast majority of controllers can be used with different programs. But, nevertheless, licensed proprietary software bundled with the controller is a useful thing. The most popular programs are Traktor by Native Instruments, Serato ITCH and Virtual DJ.

One of the most affordable controllers today is the . Original appearance, compactness, low price - big pluses for a cheap controller. Two-band equalizer and pitch, implemented by buttons, are controversial decisions, but, taking into account the price of the device (less than 3000 rubles), you can close your eyes to this.

One of the most affordable controllers today is the . It is very compact, but all controls are convenient. This controller is good for learning. It can be confidently used at small parties with not particularly demanding audience.

Among the models of the middle price range, we would single out Pioneer's bestseller - or an alternative solution -. Well, if you are financially ready to buy a model from the highest echelon, then we advise you to pay attention to and.

Advantages of professional equipment of the “I carry everything with me” class:

It is very convenient that you come to perform at the club with the same setup that you have at home. Everything is familiar: all the handles are in their places, there is no need to adapt to anything again.

Great potential for your creative possibilities: 4 decks, loops, effects, remix decks and more, more, more.

The entire music library on the hard drive. An unlimited amount of music is at your disposal, the main thing is not to get confused in all this diversity.

Such a set of equipment requires a lot of space to install, and after all, DJ stands in clubs are occupied with their own equipment - turntables and mixers. This is a very common story when you have to rush to look for player covers in order to put a computer on them. You have to unplug and remove club CD players to make room, etc.

The need to connect equipment in "combat conditions", i.e. in the middle of a party. The controller to the computer, the computer to the network, the output of the controller's audio interface to the input of the mixing console. What if you forgot your laptop power adapter or USB cable at home? Sheer stress.

Video review of Pioneer's line of dj controllers DDJ-WeGo , DDJ-ERGO , DDJ-T1 , DDJ-S1 , XDJ-Aero , DDJ-SX :

DVS (Digital Vinyl System)

Alternative to classic vinyl and DJ controllers

DVS-system is a hardware-software complex that consists of a sound card, software and control vinyl records or CD with time code. The key element of the system is precisely the plate on which a special signal is recorded - time-code. This signal passes through the sound card to the laptop, which interprets the signal with the help of special software. The program determines where the needle is currently located on the track, monitors the speed and direction of the plate. Then it processes the received time-code signal, interprets the received data and, in accordance with them, plays the audio track in the virtual player, that is, it repeats all the actions that you perform with the time-code record on the vinyl player. You held the disc - playback of the digital track slowed down. You have accelerated the rotation of the disc, and instantly accelerates. They made a quick movement of the disk along and against the direction of rotation, and the same metamorphosis happened to the music track. In fact, under the hands of a DJ - a kind of joysticks for mixing tracks. The sound from the laptop through the same card goes to the mixer. As a result, you seem to be using a traditional DJ instrument: turntables, mixer and two records, but at the same time enjoying all the delights of advanced digital technology.

yesterday

It's hard to believe, but the first DVS system was invented almost 15 years ago. It was called Final Scratch. It was built by the N2IT company from Amsterdam, which then had only two employees. Back in 1998, she presented a demo version of her original system. Its first users were Richie Hawtin (Plastikman) and John Acquaviva. A couple of years later, Stanton bought Final Scratch from N2IT. In 2003, Stanton joined forces with Native Instruments and created their original version of Final Scratch, which became really popular all over the world. In 2006, the paths of these companies diverged: Native Instruments launched its own Traktor Scratch product, and Stanton launched Final Scratch Open, which could work with any software.

today

The most popular systems today are from Native Instruments and from Rane. Historically, the Serato has been very popular in the US, where it is made, and the Traktor has a particularly high demand in the European market. There are endless debates on the Internet about which of these DVS systems is better, but it is important to understand that there is not much difference between them. So, you can safely choose the one that you like best.

Also, it is worth mentioning an alternative system. It is attractive primarily for its price, because it costs a little more than 5,000 rubles.

Advantages of DVS:

You play just like you did before on vinyl or CD. No need to relearn.

The need to use a computer: additional connections, reduced system stability.

Video: How DVS (digital vinyl system) or digital vinyl system works.

CD PLAYERS

The last and still most popular option for DJ equipment is a pair of CD players.

Despite the fact that sales of audio CDs are falling every year and there is a feeling that the days of this format are numbered, in a professional environment, discs of this type, and with them compatible equipment, are still in demand and popular.

As for recommendations for choosing a DJ cd player, they come down to one simple piece of advice: buy players. The choice of model depends on your wallet. If you don't have enough for new ones, buy a used one. But, only Pioneer! This is the most liquid brand in the DJ equipment market and you can always sell your turntables quickly if, for example, you decide to switch to a DJ controller.

If we talk about professional use, then in any club or bar you will find only CDJ players from Pioneer. And in the technical rider of any famous DJ, there will probably be a kit.

Pros of a DJ CD Player:

Simplicity, convenience - I recorded the tracks on a disk or flash drive and went to the club.

Ability to use the achievements of digital technologies: loops, effects, hot cues, etc.

Convenience of navigating through the collection of tracks and samples: on this disk such and such tracks, on the other such and such. More convenient than sorting through the names of tracks in a folder on your computer.

CDs are not eternal just like vinyl: they get scratched, broken, lost.

A short video review of Pioneer CD players by Dj Cosine. Pioneer CDJ-350-K, CDJ-350-W, CDJ-850-W, CDJ-850-S, CDJ-850-K, CDJ-900 and CDJ-2000 Nexus:

So, you probably already have some idea of what a DJ does, but have firmly set yourself the goal of learning how to play yourself. At the same time, you don’t want to throw away money for studying at a DJ school with incomprehensible DJs who themselves don’t play anywhere, and training with masters, in DJ schools of a higher level, does not allow a crisis, and therefore you decided to master the basics of mastery yourself , personally.

And if you are now reading this tutorial article, then you have come to the right place. The purpose of this material is to provide you with the knowledge and skills that are most complete, high-quality, but at the same time accessible, without which you can hardly call yourself a professional club DJ. To lay a solid foundation in the foundation, to teach not just the trite mixing of records, but the understanding of the correct presentation of music, what you present, how, and for whom.

First of all, ask yourself the question - why are you learning to play and how do you want to do it. Goals, as well as the result, can be completely different, and it all depends solely on your imagination. Someone wants to learn how to play professionally in clubs, and accordingly, all the numerous aspects related to working in nightclubs and club life in general; for some, the role of a DJ is limited to, say, quiet cafes and fashion shows, while someone wants to generally play for their friends at house parties or mix mixes at home. Your goal will largely determine how your training will go and those aspects that will be more emphasized, but I will say one thing - DJing is a serious occupation and you need to approach training with all responsibility, regardless of the goal which you end up chasing.

And therefore, stock up on patience and gain purposefulness, because these two factors in the first stages of training are more important than anything else.

What does a DJ do anyway? - interest Ask, is not it? What is the job of a DJ? So, first of all, the DJ presents to the listeners (dance floor) his vision of music, his selection musical material and it is this selection that primarily distinguishes a particular DJ from all the others, reflecting his musical taste.

The second point is that the tracks in the DJ's set flow smoothly from one to another, keeping the overall rhythm unchanged, and thus forming a long continuous mix. And how beautifully and harmoniously the set will sound depends directly on the DJ's ability to beautifully mix records - the main technical skill that any novice DJ so carefully hones at first.

In turn, this skill also depends on many factors, for example, on the knowledge of how music is generally constructed, and, of course, on the ability to use the equipment. All this can be learned for some time, which we actually will do, starting with the very basics. So let's get started! From the very beginning.

A bit of theory.

As you know, no matter what we are going to do, it is important to have solid bricks in the foundation, and, in other words, to know the theoretical aspect of the problem well. This fully applies to DJ skills, because it is simply impossible to play music with high quality without knowing the simple rules of its construction. For those who are already frightened by my words, without even having time to start the theory, I hasten to say that there is absolutely nothing wrong here, because 99% of modern electronic dance music, whether it be House, Techno or Breaks, is built on several rather simple rules that you will need to clearly know. Music must be played the way it was written, without violating the basic structure and harmony inherent in it. With this, I think everyone will agree.

How is it written?

This is what we will now try to figure out, taking Electro-House as an example, as the simplest and most common example of club music.

It all starts with a bass drum, the main percussion instrument, which, in fact, is a kind of basis, the skeleton on which the rest of the track is strung

It can be muffled or, on the contrary, sharper, but the drum is heard absolutely clearly. This is the first and main instrument in the foundation of club music, on which everything else is “strung” and superimposed. With this, everything is in principle quite simple and clear.

Next, we have a second percussion instrument, without which nothing can ever be done. These are cymbals, otherwise called Closed Hi-Hats (closed hey hats or just closed hats). Closed hats are located exactly in the middle between kicks.

The sound of hats, as we will call this instrument in the future, may differ slightly, they may be thinner, or, on the contrary, fatter in different tracks, but it is important to remember that they always permeate the track between kicks and distinguish them from the total mass of sounds. pretty easy.

And, finally, the final element of the main drum part is the snare (working) drum, otherwise called Snare (snare - that's what we will call it in the future), in fact, it basically emphasizes the overall rhythm of the track. Snare is the most visible element of the drum part and is the easiest to pick out. It is placed on every second hit of the barrel and plays simultaneously with it. Thus, we already have three percussion instruments.

These three percussion instruments - that's it, our basis of the track. There can be (and most often) many more instruments in a drum part: there may be additional hats, various kinds of rattles, clicks, picks and other repetitive instruments. They are called percussion, they are different in different tracks.

Having dealt with this relatively simple point, we move on to a more complex one. you have probably noticed for a long time that House, as well as all other electronic dance music, consists, in fact, of small looped pieces, to which elements are gradually added or disappear, and they are not added / disappeared spontaneously. If you take any particular track, you will notice that this happens at certain intervals, and these intervals are always the same.

So. Suppose that our barrel line is a kind of ruler on which we will mark the divisions and on which we will count. The minimum piece that forms some kind of pattern is called a measure, and it fits into 4 beats of the barrel.

For example, for clarity, let's consider a piece in one measure, in which there are already familiar drummers and another bass is added:

It's kind of unclear, right? It's okay, because now I will try to chew and explain this theoretical moment. Taking this one measure, you can, say, loop it, and all this disgrace will sound much more familiar and familiar to us.

Interesting, isn't it? And here we come to the most important thing. A measure is our minimum unit for constructing a track, it's like a small piece of a scale on a ruler. But there is also the main unit, which is no longer a small piece of rhythm, but a completely finished piece. This unit is called a square and the square always consists of 4 cycles, in which the element of the picture must fit.

Gradually, the picture becomes clearer, but to make it even clearer, let's listen to the continuation of the track from which this square was taken. Here the square is repeated twice, after which there is a transition to another part of the track, where the melody already appears.

Further, some elements of the track may be added or disappeared, there may be transitions, as after the first two squares, some other part may enter, but the most important rule that you need to remember once and for all is that all changes that occur with the track, the addition or disappearance of its elements, or some kind of change in rhythm, occur clearly in squares, and, having learned to count them in the head and hear where one square ended and the other began, we will know in advance at what point something then the track will change.

Personally, I think that the squares do not need to be counted in the direct sense of the word, you just need to learn how to feel them. Agree, it's silly to stand behind the console with headphones on and count the kicks to yourself, when at the same time you can do something more useful and enjoyable, for example, add some effects, or think about choosing the next track in the set.

But it is important to remember once and for all that whatever you do with the track, say, add effects or start overlaying the next track on it, this must be done clearly in squares or to the beat (in the case of some effects). Otherwise, there will simply be disharmony.

And what is she fraught with? I'll tell you!

People are dancing on the dance floor, they have entered the rhythm and move, following this rhythm. If the rhythm goes wrong, for example, we put some effect on the wrong track or start to reduce the next track not to the square, people will just go astray. And when people get confused, they don't know how to move and start to feel awkward. Case, isn't it? This should not be. Accordingly, we learn to beat the rhythm in the head and feel the squares.

In conclusion, based on the many years of experience of many DJs, I will give one little piece of advice. To better feel the rhythm, and, accordingly, the music itself, you can help yourself, say, by tapping your finger on the table or trampling your foot in rhythm (well, or you can nod your head :)). Rhythm, in fact, is designed to be perceived at the level of the body, so feel free to help yourself feel the music better in this way.

Remember - music should not just be heard, it should be felt.

How tracks line up

So, we have already sorted out a little with those instruments that invariably underlie any track and with those simple rhythmic rules by which these tracks are built. In general terms, we already have some understanding of how it is built, this music. In a word, we have a picture as a whole. But let's move on from overall picture building to deeper, but by no means less important details. Namely, to the structure of the construction of the tracks themselves.

The tracks themselves, logically, consist of several parts, which include its initial development, the disclosure of the main idea of the track, its main part, and finally the final episode. How a track is built logically depends primarily on the imagination of its author, however, there are several main parts that are in 99% of the club tracks we meet.

initial development. This stage goes from the very beginning of the track until the moment when its main melody is revealed or the bass line appears. Most club tracks start with an empty or almost empty (say, bass, additional drums, or some minimal sounds) drum part, to which other elements will be added further.

The window, it also hung (otherwise in DJ slang it is also sometimes called a “hole”). This is an episode of the track in which the percussion instruments disappear and remain, or its other elements (melody, vocals) are revealed. It is on the window that the main idea of the track is often revealed. The window lasts several squares, there can be several windows in the track, maybe one. In the most common version, there are a couple of windows in the track - the first comes after the initial development and precedes the main part of the track, the second - towards the end before its final part. However, there are other cases, for example, there are tracks that start immediately from the window, but they are not common, and we will not consider them as some typical example.

The main part (heat) - as a rule, follows immediately after the first window in the track. This is the most saturated, dense, and rhythmically strong part of the track. She is also the longest. After the main part, as a rule, a second window follows, after which the track will gradually begin to descend.

The final part (ending). In this part, the track starts to decline, slows down its strength and is nearing completion. The ending, as a rule, is the exact opposite of the initial development, if elements of the track gradually appeared there, then here they will also gradually disappear, leading us eventually to the same empty or almost empty drum part.

Although the construction of the track ultimately depends only on the author's imagination, there is still a certain tacitly accepted standard scheme, which is followed by most musicians who write club music. It consists in the fact that most club versions of tracks have a rather long initial development and ending, designed for harmonious mixing of tracks with each other, and this is actually done for nothing more than for convenience in the work of a DJ. By overlaying the beginning of one track on the final part of another, we get a smooth beautiful transition from one thing to another, and knowing how long it takes for one track to develop and another to completely decline will help us understand how, and at what point, tracks better to translate.

Exercises for self-control

The exercises are quite simple so far, but I ask you to take them seriously, because all further understanding of the process, and subsequently your DJ career, will depend on your attentiveness at this stage.

Listen to music, listen to it carefully. Learn to clearly divide it into squares in your head, this should happen by itself, at the level of a certain automatism. Having learned to listen and feel the music, mentally dividing it into squares, you will already know in advance at what point a change will occur in the track.

Listen to the full club versions of the tracks, listen to how they develop. How elements are added at the beginning, how the track unfolds, develops, and how it comes to an end after. Listen often to the tracks that you are going to play in the future, because the better you know the content of your own musical material, the easier it will be for you to play it.

How is the drum part built in House music? What are its main tools?

What is the structure of house music? What is a beat, what is a square? How many kicks per measure and how many measures per square?

What are the main logical parts of a typical track?

How does the track develop, what comes first, what is in the middle, and what closes the track?

What is the role of the initial development and the final part of the tracks for the DJ?

DJ, how to mix records correctly?

General concepts

So what is the right way to mix records? “First one at a time, then half at a time!” - Pig-iron Skorokhod advises us. But we, of course, will refrain from such methods and try to better understand how it is really beautiful to mix records (CDs, tracks)?

We figured out the structure of the tracks. All of them are built on squares and elements are added/disappeared to them taking into account this rule. How the tracks develop, open up, and finally end, we also sorted out. However, let me tell you one thing, you have probably already listened to a lot of tracks, and some of you may have noticed a juicy nuance. Let different tracks have the same construction, but their speed (tempo) is different. In one track, the drums hit a little faster, in the other - a little slower. Not too much of course, but there is a difference.

So, the speed at which the track plays. It is measured in beats per minute - BPM (Beep Per Minute). In this case, a blow is considered to be nothing more than, in fact, the blow of a barrel.

For example, in one track, the kick drum can beat at a speed of 126 beats per minute, and in another, say 130. For House music, the speed usually varies in the region of 125-132 beats per minute, however, running a little ahead, I can say that in In clubs, music is played on average at a speed of 129 to 132 BPM, although of course there are no clear limits.

What do we now know and should clearly understand for ourselves? All house music (as well as all other club electronic music) has the same structure, but can be recorded at different speeds. We can change the speed by making the track play faster or slower than how it was recorded. The structure always remains the same.

So, the DJ's task is to match the tracks to each other in tempo, and then find the right moment in the first track, from which we will begin to overdub the second track, and then output the second track and remove the first one.

Let's back up the story with a small portion of practice, especially since you have probably been waiting for the moment when we finally come to the turntables. Let's go. We'll take a look at mixing on vinyl and CD.

How the equipment is connected

First of all, you need to know the switching, how what, where and to what it connects. So, there are usually two classic options: two turntables and a mixing console, or two CD players and a console.

Turntables or CDs are sources of sound, the remote control is the main switching link where we connect it all. Both those and others are connected to the remote control channels. But what exactly is the difference between connecting turntables and CD players? - you ask. I will answer. Turntables have a fairly low signal level (Phono) and require pre-amplification before entering the channel, while CD players produce a higher level signal (Line) that does not require pre-amplification. Both of them have an output in the form of a wire with two "tulip" connectors. Such a pair is called a stereo pair.

If you look at the back panel of the remote, where all this is connected, you can see that on each channel there are two stereo pairs - signed Phono and Line, respectively, and on the front panel of the remote on the corresponding channels there are Phono / Line switches. Accordingly, if Turntables for you - you need to connect them to the Phono inputs of the console channels and put the switches on the front panel in the Phono position, and if CD players - Line, respectively.

How to organize listening with headphones

So, we connected the headphones to the corresponding jack on the remote control. With headphones, everything seems to be very simple, but there are a few points that you need to know well. I will look at listening with headphones using Pioneer's DJM-300/400 and DJM-500/600/800 series and above as an example.

All Pioneer remotes have a Cue button on each channel and a corresponding indicator light. Pressing this button switches the selected channel into headphone listening.

However, when listening to two-channel remotes such as the DJM-300/400 and four-channel remotes such as the DJM-500/600/800, etc. there is a big difference.

The DJM-300/400 series consoles give us two options for listening: either two channels at the same time (for this, the Cue buttons must be pressed and the corresponding indicator lights should be on), or the selected channel is in one ear, and the master is in the other, that is, the final mix that goes out to the hall. At first, the first option is preferable and simpler - turn on listening on two channels at the same time and mix.

On Pioneer 4-channel consoles, such as the DJM-600, listening to the master/channel is much more convenient, there is a balance control between the master and the selected channel, and you can easily adjust whether you hear more in the headphones - the sound from the channel you are listening to or sound from the master.

How to start a record (vinyl)

If you are going to play vinyl and already have a couple of turntables, a mixer, and a few records at your disposal, then the very first thing you need to learn how to do is start the records correctly.

So, vinyl records are read using a special needle that passes along the tracks of a rotating record. This, I think, everyone already knows.

Records play (rotate) at a certain speed, which is either 33 or 44 rpm, plus/minus 10% when adjusting the speed of the record. And your first task is to learn how to start the record so that it immediately picks up the necessary speed, not faster and not slower.

Let's put the plate on the turntable. Let's put the needle at the very beginning, wait for the first hit of the barrel to appear. Let's stop the record with our hand, rewind it a little back until that very first hit of the barrel, as if we'll catch it. Let's rewind it a little earlier, by a quarter of a second, and we will learn to release it on the count of four in such a way that the record immediately picks up its original speed, does not slow down and does not play faster on the first bits than further. In a word, it must be pushed a little at startup and pushed with a well-calculated effort.

The sleight of hand lies in the fact that you need to not just let go of the plate, but slightly push it, so that it immediately picks up the speed with which it will rotate. If you don't push the record enough at the start, you'll have to push it forward after the start, if you push too hard, you'll have to slow down a bit. Ideally, your hand should seem to merge with the plate that you release, feel the speed with which the plate rotates. Remember, the record is a rather delicate thing and reacts quite sensitively to even the slightest change in speed, so you will need clarity and accuracy in movements.

This process is nothing more than finding a starting point from which we will launch the mixing record and directly launching it evenly.

This is the first but absolutely necessary skill of playing vinyl.

How to Put a Dot Correctly (CD)

All of the following applies to all Pioneer CD players. All further presentation of the game on CD will be carried out on them, because Pioneer are perhaps the most common CD turntables, which have long become classics of the genre and the de facto standard for club equipment.

So, the first thing we should clearly be able to do is put a dot (Cue) - the starting point from which we will start the tracks when mixing.

Insert the disc, select the desired track, click on Play. Let's wait for the moment when we hear the first kick of the barrel, click on Play again. The playback will stop, and we will hear something like “tuk-tuk-tuk-tuk”. Don't be scared, gently scroll the jog wheel until you hear silence, well, or what preceded our first kick, from which we will start the track. Then, gently roll the jog wheel forward until the moment where the silence ends and the first “poke” begins (this is the beginning of the kick). The point of the beginning of the impact of the barrel has been found, now we will fix it. To do this, press the Cue button.

Now when you press the Play button, playback will start exactly from the point we set. To stop playback and return to the point, press the Cue button. If you happen to accidentally press Play/Pause, don't press Cue after that, as the point will be set in this place. Just press Play/Pause again, playback will continue, and the point will remain where you originally set it.

One more thing: in fact, all Pioneer players have an Auto Cue function, which is activated by the button of the same name. Its purpose, as you might guess from the name, is to automatically set the point, and in most cases it works very well. But in most cases, it does not always mean, therefore, you must be able to put an end to it, and know it like the back of your hand.

How Tracks Align Speed (CD vs. Vinyl)

We took the first record (or CD, in the future I will call it a record or just a track), put it on, listen. We can count the beats, counted, counted, say, 127 beats per minute. They took the second record, put it on another turntable, listened, also counted, it plays faster, say, 130 per minute. In order to properly mix them, we first need to adjust the speed of one record to another, so that they play evenly barrel to barrel, that is, synchronize them, or, in a more common lexicon in the DJ environment, adjust.

This is where we come to one of the most important practical points, the brick, without which we will not build anything.

So, in order to align records, there are two main tools on any turntable or DJ CD player - fit and pitch.

Pitch - this is a vertical slider located to the right of the trim or record dial - allows us to change the constant speed at which the track plays or the record rotates (which is basically the same thing). Lowering it lower, we make the plate rotate faster, while raising it higher, slower. Pitch is measured as a percentage of the speed at which the track was recorded. Accordingly, by lowering it by a division of 2% down, we will make the record play faster by 2% of its original speed, by the same division up - slower.

But if the pitch changes the speed of the track as a whole, then fitting is a permanent change in speed, that is, to say in simple words, we can push the record forward, making it go a little faster for a moment, or we can slow it down, making it play a moment slower.

Now our task becomes somewhat clearer. We listen to record number 1. Then we listen to record number 2 in headphones. We try to understand by ear whether record number 2 is playing faster or slower than the first. It may be a little hard at first, but trust me, with practice, you will be able to tell by ear in a few seconds which record is playing faster and which is slower. Well, suppose we figured out that record number two is playing faster, than the first. Now we need to adjust it to the first in speed. What should we do for this? To begin with, find the first hit of the barrel (put an end to the case of CD), because we must start the record from it. Found, keep. Now we need to release our second disc (well, or press Play on the CD) carefully into the next starting square on the first track (I described how to start the disc correctly a little higher). Why is it necessary to let go into the square, I think, there is no need to explain? Let us go, listen. Even if we released the record absolutely exactly, they will play together with us almost exactly for a short time and then they will start to spread, because their speed is different. Need to do something. Namely, to fit our second record. We have already determined that she plays faster than the first, so we need to slow her down a little. Is it logical?

How to speed up and slow down a record (vinyl)

To permanently speed up the record, gently place your finger on the head of the record (see illustration) and push it forward. your finger should follow the movement of the record and speed it up a little to achieve the desired effect.

To permanently slow down the record, lightly touch the rim of the rotating disc (see illustration) until the desired effect is achieved.

How to Speed Up or Slow Down a Track Properly (CD)

Rotate the jog wheel forward to speed up or back to slow down until the desired effect is achieved. Slow down. It sounds better, the barrels hit each other, but still they soon begin to diverge. This is where we need a pitch.

I will say right away that the pitch is a rather sensitive instrument, and the speed of the record changes even from the slightest change in the pitch, which we cannot even determine by ear. Therefore, the pitch must be changed slowly and very carefully. We adjusted the plate, now we slightly raise the pitch slider up, making it a little slower. They adjusted it one more time so that they played one another. We listen. They seem to play evenly, but after a while they begin to move apart again, Let's slow down our ill-fated record once more and raise the pitch slider a little more, just a little. Better? Yes, there is definitely an effect. And in this way, we need to adjust the record and change its speed until they play exactly one into the other, and do not cease to diverge over time.

Common Mistakes and Solutions

It seems to be quite simple. However, there are a lot of fairly common mistakes that spoil the life of a novice DJ quite well. Don't want to bang your head on the turntable trying to fit the record for the 55th time? Then let's learn from the mistakes of others, so as not to repeat them ourselves.

The first mistake is "How to adjust the speed faster and easier"?

You can't tell if the second record is playing slower or faster than the first. This happens quite often when records are recorded at approximately the same speed and the difference is no more than 2%. In this case, it is much easier not to strain yourself by carefully listening to the record, but to use one fairly simple trick that was once taught to me a long time ago.

Set the pitch of the second record in such a way that the track on it is obviously faster than the first, and then adjust it in the direction of braking. Thus, you will not poke back and forth in search of an understanding in which direction to adjust.

But why is it better to adjust the records by braking them, and not vice versa, you ask? The fact is that with a change in the speed of the record, the tonality of the track also changes, and if you sharply add speed to it, you will hear a characteristic not very pleasant sound (like uuuuuh), and when we slow down the record, there is no such obvious sound. Why this is so important you will understand later when we get to the finer points of the game, but for now, instead of bothering yourself with this, it will be much better for you to take it for granted and just stick to this simple rule.

The second mistake is to work with the pitch more carefully

You pitch the record, you pitch, you lead. At a certain point we can just over-pitch a little, and if the record you're pitching was, say, slower, it can easily happen that you over-pitch at a moment when the records are playing almost evenly, and the second record will play narrower. faster than the first. However, you will not notice this and once again try to slow down the record, from which they will disperse in different directions, which will shock you severely when you hear a strong miss (jamb). That is why the pitch must be summed up very carefully and always listen to the result.

As in any other business, it is important to get your hand in DJing, and adjusting the speed of the records is, in fact, the main routine that you will have to do all the time. How long it will take you to adjust the plate directly depends on your training, how quickly you catch the change in speed and how quickly you adjust the speed.

This takes practice. No one has yet learned how to adjust records in a couple of hours, so don't worry if you can't quickly catch the speed and adjust it, practice more and I assure you, everything will work out.

Exercises

First, choose a few records that you know well with the most accurate rhythm and well-defined drums. Also, it is desirable that the tracks you choose have less vague sounds that clog the drums and the main rhythm. The clearer and more distinguishable the drums are and the fewer different vague sounds in the tracks that can create “porridge” during mixing, the easier and clearer it will be for you. I would also advise you to choose tracks with a long initial development, the track should develop for at least a minute - so at first it will be easier to get your hands on.

Exercise for vinyl and CD. Sleight of hand and no cheating. Learn to release the second record clearly in a square and in time, so that its first hit of the barrel exactly hits the first hit of the barrel of the square that has begun on the first record (a lot has been written above about how to do this correctly). If you release the record accurately and evenly, you will not have to make an extra movement in the form of additional adjustment of the record after the start, which must be done if you released the record a little unevenly and the kicks of the drums did not dock from the very beginning.

Vinyl exercise.

Also sleight of hand and no fraud. Choose two records. Put them on turntables, adjust them to each other, and then set the speed so that one differs from the other by a maximum of a couple of percent. In a word, so that they do not scatter instantly, but play together exactly for at least 10 seconds. When the records begin to scatter, adjust them, but do not touch the pitch. Work only with the fit, and keep the records together to the end by only fitting them. First, set the second record a little faster than the first and adjust it to the first by braking. Exercise. Then set the pitch on the second record so that it, on the contrary, plays slower than the first one, and practice pushing the record forward. Alternate these exercises, they will help you quickly acquire the necessary skill, without which you simply cannot learn how to mix well. These exercises will help you fill your hand and learn how to quickly and accurately adjust the plates.

Again, serve your music carefully. Try to note for yourself and remember which track is faster and which, on the contrary, is slower. Knowing your material is an important guarantee of a good game.

What you need to know like the back of your hand

What is track speed? What is it measured in?

What is a pitch and what is called a fit?

At what point on the first record should the second be released?

How to start a record?

How to properly adjust one plate to another in speed.

Let's start mixing!

So, we have replenished our theoretical knowledge of club music with quite practical skills. Now that you not only clearly know how club music is built, but also know how to speed up records, we can proceed directly to the main thing - mixing records into a mix (set).

What is a DJ set? A set is a sequence of records brought together into a single whole in such a way that the tracks smoothly and imperceptibly flow from one to another, keeping the speed unchanged and not breaking the rhythm. What does it take to play a beautiful and harmonious set?

First of all, we must select suitable friend to another plate. For example, so that the records brought together are in the same key, so that the transition from one to another is as soft, harmonious, and moreover, imperceptible as possible.

We select the next, align it in speed with the first, you need to have time to clearly adjust the second record before at least a couple of minutes remain before the end of the first. Considering that on average one club track lasts from 5 to 7 minutes, you don't have much time to adjust the record - an average of 3-4 minutes. This already requires you to have a certain skill, which you have developed during previous training.

Also, let's not forget another important point. In addition to the fact that different tracks are recorded at different speeds, sometimes (rarely, but it happens) they are recorded at different volume levels. We will also need to equalize it, otherwise a completely obvious disharmony will creep into your set - the set should be even not only in speed, but also in volume level. You need to look at the volume level on the main part of the track, when all the sounds present have already opened up and play in it, especially the bass. The volume level is adjusted using the Gain knob on the corresponding remote control channel.

Most mixing consoles have volume indicators, for example all Pioneer consoles (the de facto standard for most clubs in the world) have level meters for each channel. However, if you come across some kind of "left" mixer, don't panic - just listen to the first record in headphones, then the second, and set the volume level, trusting only your hearing - it won't let you down!

After all the preparatory operations have been done, namely adjusting the next record in terms of speed and volume, we need to wait for the right moment to start mixing, or, in other words, gradually transfer the first record into the second. This very opportune moment is nothing more than the final part of the first record playing in the hall, or rather, its moment where the main motive of the track is over, and there are already a minimum of instruments left (usually about a minute - 1:20 before the end of the track).

At the start, attention, to the beat! Released! A little adjusted, both records are playing in the headphones, exactly one into the other. What's next? The next step is to know your material.

Actually, I'll tell you why. The fattest and meatiest instrument of the track, not counting the kick drum, is the bass - an instrument that, together with the drums, forms a common rhythm, rhythm section. When we mix records, the bass from only one of them should be open at the same time, otherwise we are in for a complete mess, since the bass lines of different tracks are always different. What is fraught with such a mess, I think it’s not necessary to say? People just can't dance. Therefore, we slightly cut the low frequency knob (Low) on the track that we are preparing to output, and begin to slowly raise the fader. When the fader is fully up, and you should have time to raise it for a maximum of one square, the next step is, again, to wait for the right moment and open the bass on the reduced record, while cutting it on the ending first record. And in order to correctly catch this very next opportune moment, we need to know our material well.

Usually, at the beginning of the track, the bass line does not appear immediately, but after a few squares (usually 2 or 4) after the beginning of the first square. It is at this moment that you need to translate the bass in order to get a beautiful and harmonious mix.

After we have translated the bass and the second record has already gained its main strength, it remains only to gradually remove the first track. This can be done in the simplest case smoothly, in cycles, by lowering the fader.

Other methods of information

In the previous part of the tutorial, one of the simplest and most common methods of mixing was described. However, skill and imagination, as you know, have no boundaries, and there are a great many ways. I'll tell you about some of the methods used by other DJs.

Bass cut per beat. The essence of mixing is exactly the same as in the main “bass to bass” version described above, with the only difference being that before the bass line of the second track enters, the bass is completely cut out on both tracks. This mixing option is very good if there is a significant difference in the sound of drums in the tracks being mixed, which you want to mask for the listener.

Reducing to hung up. It is relevant in the case when the second (reduced track) has a percussion part in the initial development (usually 4 or 8 squares), after which it hangs. In this case, you just need to release the reduced track for those same 4 or 8 squares (that's about 30 seconds and a minute, respectively) until the end of the first track, while it's better to cut the bass on the second track. The first track will play quietly and the second track will hang. This type of mixing is the most elementary and does not require any effort at all, except for adjusting the speed and outputting the fader.

Sharp shift. This type Mixing causes a rather strong effect, if the tracks being mixed have similar bass lines in a compatible key, and drums of approximately the same strength. The essence of this type is a sharp transfer from one track to another at the end of the square of the first track to the beginning of the second track. This type of information should be used very carefully and be sure of the compatibility of the tracks and your strength. Otherwise, it may turn out to be a jamb.

Mixing with reverse.

This type of mixing is only suitable for playing on Pioneer CDJ 800/1000 CD players. The essence of mixing is the usual output of the second track, where the last bar of the first track is reversed (ie the track plays in the opposite direction). Further on the beginning of the square of the second track, the first track is sharply withdrawn.

Reduction with twisting. Suitable for both vinyl and CDs with vinyl or scratch simulation. Everything is the same as in the previous case, with the only difference that instead of reverse, the first turntable is twisted sharply back with a scratch and then sharply withdrawn by the fader.

Mixing with effect. The bottom line is that before the final output of the second track, the end bars of the first track or the entire master are processed by some kind of filter or echo effect on Pioneer consoles.

Instead of a conclusion

This tutorial covers all the main points that would allow you to start playing on your own and avoid many common mistakes.

Of course, it is impossible to teach all the many aspects of the skill in one course, and the best tricks and skills are those that you have mastered yourself.

In the meantime, I say goodbye to you! I wish you beautiful mixes and even rhythms!

Anastasia Sergeeva

How to Become a DJ: A Beginner's Guide

Despite the fact that we do not officially have a DJ profession, many people are engaged in this type of activity not only as a hobby, but also as their main job. Clubs, concerts, holidays, radio broadcasts - there are many options where DJs are important and needed. Although it seems to many that there is nothing complicated and special about becoming a DJ, this work still requires certain knowledge, skills and dexterity.

How to become a DJ from scratch

If you decide to become a DJ and you need to acquire the relevant knowledge and skills, then there are three ways to do it:

study at a DJ school;
study privately with a teacher;
study on your own.

The advantage of studying at a DJ school, of which there are quite a lot now, is that, in addition to presenting systematic material and directly combining theory with practice, you do not have to worry about purchasing special equipment, at least at first. Private training with a professional DJ is effective because, unlike at school, here you will be treated with an individual approach.

The third method is more long-term and difficult, but in the end it may turn out to be the most effective - this is selfeducation using a variety of information on the Internet. If you do not have the opportunity to study at school or with a teacher, then this option is your only one.

The best DJs in the world agree: a person can be taught how to use equipment and special programs, teach the basics of mixing, etc., but teach how to create good music impossible - a beginner DJ comes to this himself, if he makes due efforts, practices long and hard.

The first step to understanding how to become a DJ is to determine what kind of DJ you want to be. Think about what styles of music you want to play and where.

What style of music to choose

When you are just starting to master DJing, it would be best to choose one direction in music. Tracks in the same style are more similar to each other, so as a beginner it will be easier for you to understand the intricacies of mixing music.

However, over time, you need to expand your musical boundaries, and here's why - this will not only develop your DJ skills, but also allow you to cover the tastes of a much larger audience, learn to "read" it better. If you are going to work at different events, then the need to master different musical styles will sooner or later make itself felt, for example, the music in lounge bars, student parties and weddings requires clearly different music.

Where can you work as a DJ

There are several options where you can apply your DJ skills. And although the essence of DJing as a whole is the same everywhere, depending on the place, its own specifics of work appear.

radio dj

A radio DJ can perform a fairly wide range of tasks. It chooses which music to play during the radio broadcast and provides listeners with information about each song; he can also interview guests, report traffic, tell the weather forecast, and inform radio listeners of breaking news. A radio DJ needs to have a pleasant voice, good diction, be able to speak quickly, long and coherently.

Club DJ

The club DJ makes a playlist of exactly those songs that are able to create the right atmosphere on the dance floor. DJs spend a lot of time developing their skills enough to create perfect party mixes with subtle transitions between songs. Some of these DJs end up as producers and make their own music.

Mobile DJ

This name exists all over the world for those DJs who work at individual events: at parties, weddings, proms and various holidays. Such DJs work with their equipment, because a rare customer can provide it.

If you want to become a DJ, make sure you can handle many tasks at the same time.

The radio DJ is constantly coordinating with directors, editors and technicians to ensure every broadcast goes off without a hitch. Club DJs do not just play the role of a music player, but entertain the audience and communicate with them so that they do not leave the dance floor for as long as possible. Mobile DJs work independently, so they need to be able to actively promote themselves and have excellent people skills to find new clients.

Getting a job in a club and on the radio without the relevant work experience will be quite difficult, and as a mobile DJ it will be difficult to do without a track record. Therefore, a good option for novice DJs may be to work on Internet radio, where you can get without any special skills, gain experience in broadcasting and work with music.

Choosing an audio carrier

Depending on what types of music media are used by DJs when working with music, they are divided into those who play on vinyl, on CD and on a computer / laptop.

The advantage of a CD over vinyl is that one disc holds two and a half times more music than a vinyl record, but the sound quality is somewhat inferior. You can carry even more music with you by playing music on your laptop and using the mp3 format, but since it compresses the track in a lossy way, best quality also not worth talking about.

Each DJ decides for himself which music medium he wants to use. Although now there are such types of equipment that allow you to work simultaneously with different types of media.

DJ equipment

When choosing DJ equipment, you need to build on what kind of music medium you have chosen to create music.

If you decide to become a DJ and make music using a PC, then finding the minimum equipment will not be a problem: you will need a computer or laptop, headphones, a DJ software, a Dj controller in order to control this software in a tactile manner, and speakers.

To work with a CD, you need to purchase two CD players and a mixing console, or a combined CD player / mixer.

Working with vinyl will cost the most: in addition to the mixing console, you will have to get a pair of vinyl players, which differ significantly in price from their CD counterparts, plus subsequent spending on vinyl records can cost a pretty penny.

After you have found the necessary equipment and software, you should carefully study it and figure out what functions it performs and how you will use all this in your work. How to adjust the volume and speed, how to use the scratch mode, how to set up and record loops, how to work with built-in effects and much more - all this is what you have to master to become a DJ.

Looking for a music library

Build a collection of music, in different styles and on the media you choose to create mixes. The larger this collection, the better - a variety of compositions will allow you to create interesting and original tracks in your own way. Look for rare records, but don't forget about everyone's favorite and famous songs.

All kinds of Internet resources will help in collecting the music library. Especially popular sources of music and inspiration for DJs are such popular sites as Youtube, Soundcloud, and Beatport.

However, if you plan to create remixes of other people's compositions, remember: their use without the consent of the author is considered a copyright infringement. Therefore, it would be nice to think about creating your own music and writing your own songs in the future.

Learning to work with music

The most important and time-consuming part of becoming a DJ, and what it was all about, is learning how to work with music. Initially, the main task of a DJ is to mix two songs, which he does with the help of his equipment.

The theoretical part cannot be avoided - in order to become a DJ, you will have to find out what the track consists of and what beats, quarters and measures are, how to mix tracks, what types of mixing are considered undesirable, what is the difference between mixing club mixes and studio mixes, how to choose the speed of tracks, what means “to hit the square”, etc. This work is not just mechanical - the DJ must have a developed ear for music and good feeling rhythm.

It is better to reinforce training with practice and try your hand immediately on the equipment. We suggest watching the following video for beginners, which explains how to mix tracks.

Contact with the public

To become a really good DJ, you need to learn how to interact with the audience through more than just music. Learn to draw attention to yourself.

If you have access to a microphone, communicate with the audience, but do not overdo it with shouting, often this is not worth it. The rest of the time, don't forget to communicate with gestures and make eye contact with the audience. And smile more often! Don't go into your own world hiding behind a DJ console. Try to interest the audience, and, of course, fix everything with good tracks - and then the dance floor will not be empty.

Take it, tell your friends!