DJS : Fatboy Slim’s DJ secrets: "Always be 20 percent more wasted than your crowd"

“It’s one of the basic rules of DJing. Always make sure you’re 20 percent more drunk than your crowd. Or you can be 20 percent more high than your crowd. Or just having 20 per cent more fun than your crowd. You have to lead by example.”

Those irreverent words were spoken by Fatboy Slim, AKA Norman Cook at the Ibiza IMS conference, the annual industry gathering timed around the island’s major opening parties, where Cook is helping mentor 18 aspiring DJs who are part of the Burn Studios Residency program. It’s an integral part of the conference, which sees the up-and-comers trained by an elite cast of DJ talent, with the payoff being three chosen for a residency across the season.
“It’s ironic me saying this, because I actually gave up drinking three years ago. But for the majority of my DJ career, I felt that I had to be very much ‘in the party’.”
Cook joins an elite and varied cast of DJs that also includes Solomun, Steve Lawler, Avicii and Maceo Plex; all bringing their own unique of skills to the table, with one of Cook’s trademarks being his sense of fun, and connection with the crowd.
He also emphasises the importance of actually making eye contact with the sea of people in front of you. “Some DJs spend the whole evening completely focused on the decks, which might be great for what they’re doing technically, but if you’re not actually making eye contact with your audience, you can’t judge whether they’re going for it or not.”
“And there is a certain look that you get that says, yeah, I’m really enjoying this. Otherwise you might get a look that says, ‘What the fuck are you doing?’”
Speaking later to ITM, Cook emphasised he’d taken an irreverent approach in order to get the point across to the DJs in training. “It’s not just about siting in your bedroom and doing this really clever mix, it’s also about entertaining people. It’s not such a difficult principle to latch onto.”
Fatboy Slim debuted his new audio-visual show in recent years, which was in full force when inthemix caught him at Sonar Festival in Barcelona later that year. “While the set might have been full of party tunes, and fairly straightforward in its appeal, it was still packed with plenty of exciting surprises, brimming with all sorts of bootlegs and edits that hadn’t been heard before…He garnered the best crowd response from any act all night, and it felt for two hours like the Sónar Festival had been transformed into the Big Beach Boutique, with hands-in-the air galore.”

Credit : In The Mix

EDM : Laidback Luke's six golden rules for producers

Between running label Mixmash Records, doing the international festival circuit and continually adding to his production resume, Dutch high-flyer Laidback Luke has experience to burn. He’s also a tireless advocate for new artists, with a string of proteges over the years. A few months back, we saw Luke share Tiga’s Six Golden Rules for Producers inthemix feature, so we asked the Mixmash boss to write his own for us. Being one of dance music’s standout good guys, he gladly obliged. Follow these pointers and you could be lighting up mainstages like Laidback Luke himself.

 

This is the order of how to get into producing…

#1 Start with making edits

This is re-arranging your favorite tracks and switching up the order of the song structure. Maybe try to cut a few notes and beats to make it sound crazier. Move into making mash-ups. This is basically putting two tracks together. Take the beats of one track and put the melody of another track over it. Most common mash-ups are putting an acappella over a track. Mash-ups will make you more aware of EQ-ing and compressing as well as blending elements together.
After this you will be ready to try and make bootlegs. Bootlegs are unofficial remixes. This involves adding your own beats and melodies to existing tracks. Please never call a bootleg a remix, unless the original artist or record label will release it. If you try calling a bootleg a remix, you will be seen as a wannabe by the professional world. After you have mastered this, you’ll be able to start making your own tracks.

#2 Sample a kick-drum from a professional track

A well-mixed, loud dance track stands or falls with the kick-drum. To ensure you use the right one, and it sounds heavy enough, just sample one from an existing track. This way, you know it has already been mixed and mastered. Any element you layer on it will kick ass.

#3 Time to masterchain

I always start my productions with my full masterchain on. Masterchain are the plug-ins you have on your master output to make your track sound fat and at a decent professional-sounding volume. I always advise to have at least a compressor and a limiter on there. My masterchain has at least five compressors in there now! Whatever works for you to get the fattest sound is fine. Just make sure your track doesn’t distort and you still have dynamics in there.

#4 Don’t get stuck in a loop

Take a half-hour break every two hours. Like, really push yourself to do so! I can tell you most of my ideas and inspiration came from taking a pee after those two hours, or while nibbling on a sandwich. That break clears your brain out from the strain and freshens up the ears. When you get back in studio mode, you’ll instantly hear what needs to be tweaked or what you need to do to take the track to a higher level.

#5 Reference your tracks

It’s very important to mirror your tracks with professional tracks. I often have three or more references to compare my tracks with. When you switch back and forth to your track and the professional tracks, you will hear where your track is lacking.
Think about it: these professional tracks sound good everywhere. So if your track sounds similar in the overall EQ and loudness, your track will sound good everywhere as well. After that, it’s good to try and hear your track on any type of system, whether it’s your car, TV or crappy earplugs.

#6 Onto the next…

Make an effort to actually finish your tracks. Snippets don’t count. It’s a true producer’s skill to be able to actually finish a track. Although you’ve spent a ton of time on a track, and it feels like your baby, leave it and start working on a new track.
You might get people who aren’t into your track, or say this and that needs improving. Take that feedback and work on a new project. Only then will you keep evolving. It protects your artist ego, as the best is yet to come, always.
For everything Laidback Luke is up to, follow his official Facebook.

Credit : InTheMix

DJ Tip : 5 Ways DJing Can Help You With Your Day Job

DJing at night can actually make you more successful in your day job… here’s how.

It’s amazing how much the lessons I learned in a club as a DJing helped when I got my “real” career outside DJing. In fact, I highly recommend DJing as a great training program for any type of creative career… and it’s a hell of a lot more fun than most internships.
Although I’m not driving a Bentley sipping champagne with supermodels, I’ve pretty much made my living as a creative professional for 20 years: as a designer, producer, animator, creative director, college instructor, and yes, a DJ. The companies I’ve worked with were also diverse: software corporations (Microsoft) and entertainment conglomerates (MTV Networks), plus small businesses and funky art projects. It’s amazing how many times at all these various places I’ve thought, “Yup, this is just like DJing at the club…”

Here are five reasons why DJing is great training for the “soft skills” essential to your day job, especially if you work in a creative career as I do:

1. It builds your creative confidence

Being a creative professional means trusting your instincts and getting others to believe in them. Unlike professions with clear outcomes, creative work is subject to huge interpretations about what’s good or successful.

True creativity requires a leap of faith into unknown and unproven territory…

True creativity requires a leap of faith into unknown and unproven territory. That’s pretty damn tough to do on your own. Even tougher is convincing a business-minded person to follow you – and pay for it.
But once you’ve rocked a crowd as a DJ… you have absolute proof that your creative instincts work. You don’t get a polite comment, or a head nod or a Facebook “Like” – you made somebody sweat! (and shake, move and shout, too). So when its time to do a photoshoot, write a story, or whatever else, you know for certain your creative instincts can work.

2. It’s the best creative feedback you’ll ever get

When I did a good mix in the club, people would cheer. If I screwed up, they’d boo. When you’re DJing, you know who likes your idea, who hates it, who doesn’t care – and the instant their attitudes shift.

Sasha, back in the day. How may careers give you this kind of instant feedback?

That’s incredible feedback you can learn from. Sociologists would kill for it. Marketers spend millions trying to guess what their audiences want. DJs have it right in front of their eyes. The feedback might be brutal at times, but it’s profoundly real and direct. And you’re unlikely to find it in many other professions.
I directed and animated spots that are still broadcast on nine million TV screens in the USA. I’ve never seen my audience react to them. I assume and hope people laugh and smile when they see them, but who knows? Compare that with a DJ who knows they’re rocking it because people are sweaty from dancing.

3. Handling bar managers and stupid requests is a lot like handling clients, co-workers and bosses  

As a DJ you’ll inevitably get an incredibly stupid request or a difficult manager. It’s tempting to tell them to f*** off, but you know that’ll cause more problems that it’ll solve. Even if you could get away with it, you’re ultimately there to create a good night for everybody. So you have to figure out a way to gracefully handle it. In other words, you learn to behave like a professional.

Those golden words came out subconsciously – but the instincts were honed on the dancefloor…

This is great experience for projects that inevitably involve reviews, approvals, and sign-offs – often from people who have little understanding of the creative process.
If you can handle a drunk demanding their favourite song “right now”, you won’t get flustered when a client gets upset or people suggest changes to your plan.
I remember a design meeting where I almost choked on my coffee thinking “WTF!? That idea is horribly tacky. An awful cliche!” But all heads at the table turned to me, waiting for my response to the client. Without skipping a beat, I said: “That idea has been used so many times, I don’t think it’ll have the market impact you’re looking for.”
I couldn’t believe I had spoken with such tact! The guy’s idea was quickly killed without drama. Those golden words came out subconsciously – but the instincts behind them were honed on the dancefloor, fielding requests.

4. You learn to balance what the crowd wants to hear (their taste), with what the crowd needs to hear (your taste)

DJs face two extremes in requests: punters who want cheesy commerical hits or snobby music purists who want you to “keep it real”. This tug-of-war won’t go away when you leave the club to work in an office: Graphic designers love odd typefaces, but people are happy to read Arial. Web designers love new UI techniques, but most browsers are out of date. Filmmakers love character-driven dramas, but audiences want big explosions and special effects.

Learning to get audiences listening to and enjoying your taste in music can set you up for getting your way at work, too.

Professionals always have to take into account commercial concerns while inspiring people with their creative energy. That’s exactly what a club DJ does. Even if you’re lucky enough to DJ in underground scenes, no crowd will ever share your exact tastes in music. So learning how to sell your vision to people who don’t share your tastes is a powerful skill. Even Michaelangelo fought with the Pope when painting the Cistine Chapel.
When I first DJed in public, I quickly found out my taste had limits – the crowd did not share my enthusiasm for that cool remix. But I also learned that if I introduced my music to people in the proper way, they’d appreciate it and everybody would have a good time. I noticed the big club hits had things in common with my artsy tracks, and beatmixing brought the two together. In other words, I learned how to find creative common ground with my crowd. I never felt like I was selling out.
Years later when I would pitch my ideas in a conference room, I could naturally make connections to ideas people already liked. It definitely hurts more when somebody rejects your personal creative ideas, instead of sombody else’s remix. But my experience finding common ground on the dancefloor also made it much easier to collaborate in the office. My projects never deteriorated into a battle over the “perfect” idea, instead I naturally saw creative differences as a search to find a good groove with a new set of people or circumstances.

5. You see how non-creative tasks are essential to creative quality

It’s easy as a creative person to pretend the uncreative parts of work don’t matter. But DJing helps you realize how “unrelated” details become essential to a good night. One a bad cable or improper configuration and there’s no music. If you don’t organise your music well, it’ll be hard for your sets to flow. Getting along with the doorman / bouncer will help when a drunk starts hassling you. And so on.

Over time I started to enjoy the chores of DJing…

You see how your attitude can get in the way, too. You learn how to stay calm under pressure. You learn how to focus and tune out distractions both good and bad. You learn what to sacrifice (bad requests, your pet favourite songs) for a larger purpose. Over time I started to enjoy the chores of DJing – setting up cables was part of the thrill of a good night to come.
I can’t say I was ever “thrilled” to write emails or attend boring meetings, but I learned to embrace them as a critical part of getting creative work done.

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A note of caution…

If you’ve read these tips carefully, you’ll see its a long way from hitting the sync button, striking the Jesus pose, and waiting for the money to roll in while the crowd roars. For all the mom and dads that might be reading this, I’m not saying a nightclub is good environment for your kid.
But if you’re reasonably responsible, DJing is great training for a professional career. I’m sure the soft skills I’ve outlined would apply to other professions, too. But it’s definitely work.
Fortunately its fun work. DJing is an opportunity to watch your skills face pressures, setbacks, and hassles – yet still create a magic moment the crowd loves. That’s what any good professional challenge is about. Although it may not easily fit on a resume, DJing is great character-building experience you can take outside the nightclub, too. Have fun trying!
• Reason808 has DJed extensively in the USA and now lives in Hong Kong. His DJing has frequently been interrupted by an interesting career, but continues in China as DJ Homei. Check out his night job on his Mixcloud and his day job on his website.

Credit : Digital DJ Tips

Taking DJ Gigs Outside Of Your Normal Genre

We all too often see DJs on our forums and other online DJ communities asking for advice for an upcoming gig in a brand new genre or style than they normally play. While playing loads of gigs will give you some great experience, it’s also true that not every gig is right for every DJ. Think you’re ready to step out of your comfort zone? Ask yourself the questions inside to make sure you’re prepared.

WHAT’S YOUR DJ COMFORT ZONE?

“Hi, I’m exclusively a bass player but this Saturday I have a performance playing lead guitar and I was wondering if someone could point me at some music tabs I could use.”

If you ever overhear someone say something along those lines, the first thing out of your mouth should be “why are you playing the gig if you don’t know how to play guitar?” Sadly, many DJs do not always have the perspective to realize that they’re asking the exact same thing when they pose questions like:

“I only play Dubstep but this Friday the gig I have says I need to play House, can anyone help me out?”

There’s an understandable desire shared by most DJs to book as many gigs as possible. However, it becomes a problem when DJs book gigs they’re wholly unequipped to play. Doing so runs the risk of damaging their name, and more importantly it could ruin the experience for the people paying to see the show.
Musical diversity is extremely beneficial to any DJ, and that is not what this article is about. This article is not saying you shouldn’t branch out from your comfort zone or that you should specialize in one particular genre. It simply boils down to this: if you have never played a specific style of music before, the first place you try it out should not be in front of a crowd.

A DJ’S SELF-REFLECTION TEST

In order to make sure you’re ready to jockey an incredible evening, we’ve concocted a few great questions to make sure that this type of gig is right for you. So before you accept a new DJ gig outside of your comfort zone, you should ask yourself a few important questions:

1) Do you have enough time to find a sufficient quantity of music and listen to every song at least once?
It’s extremely amusing as a punter to watch a DJ caught off guard by a track that does something they weren’t expecting. As a DJ it’s far less amusing when your Progressive House set is interrupted with a rap interlude by Eminem because the track you downloaded is actually a mash-up but you didn’t listen that far into the track when prepping.
Not only do you need sufficient time before a gig to get the right amount of music, you have to use that time to get the right kind of music. You should listen to every song as least once before ever playing it out so you know how it’s structured, if there is anything surprising in it, and so you can get an idea of where it will fit in to your set.
If you said no to this question, say no to the gig.
2) Do you have time to get a variety of music so you can properly react to the mood of your crowd?
A good DJ can create multiple sets that sound completely different all within the same genre. When you cram for a gig you’re not prepared for, you run the risk of building a collection that’s at either extreme:

• Tracks that are too varied and incohesive together
• Tracks that are not varied enough to deal with a situation where the crowd is not feeling what you’re playing

Seasoned DJs do not stick to preplanned sets when they’re tanking the dance floor. Adaptability is the primary weapon in the DJ’s arsenal and it doesn’t matter how amazing a DJ you are – if you don’t actually have enough music in the style you’re playing to be adaptable, it will catch up to you.
If you said no to this question, say no to the gig.
3) Do you actually know anything about mixing the genre and do you have time to figure it out?
There is a difference between beatmatching and mixing. Just because you can beatmatch something does not mean you will be able to mix it properly.
For example, if you can beatmatch Tech House, you can beatmatch Electro House – but the actual way you arrange and blend your tracks is considerably different between the two. Tech House lends itself to long and intricate layering whereas the build-and-drop nature of Electro House with a greater reliance on vocals means it often lends more to quick cuts and fast blends.
Taking time to listen to some mixes in the genre you’re looking at exploring is a good way to get a feel for how it’s mixed and arranged but nothing beats taking the time to go watch a good DJ in action.
If you said no to this question, say no to the gig.
4) Do you know what’s popular in your local scene and what people will dance to?
The Beatport charts and other common sources of “popular music” within a genre tend to be based on downloads by other DJs and not on actual dance floor appeal. Just because it’s popular with other DJs doesn’t mean the punters in your city will enjoy it. This is especially true when you’re playing a genre with a pre-established audience and local scene – just because you know a lot of great bhangra tracks doesn’t mean you’ll be ready to wow the crowds at Non Stop Bhangra!
Knowing the scene in your city and the type of music people go out to hear is important if you want to make a good impression when you hit the decks. It’s not possible for a single person to follow every scene in a city which is why we tend to specialize in a smaller number of genres for playing out.
If you said no to this question, say no to the gig.
5) If you’re new, do you really want to play gigs you’re not 100% prepared for and possibly ruin your name in your scene?
Putting on my promoter hat for a moment, I can tell you that I’m more likely to consider a DJ for future gigs who says no to a party they know they cannot play compared to a DJ who takes a gig and bombs because they have no idea what they’re doing. Furthering the second scenario, I am more likely to tell other promoters about a DJ who bombed and that they should avoid them whereas if you say no to the gig and tell me what you actually are good at playing I might be able to pass your name to a promoter for whom you would be a better fit.
Consider for a moment Paris Hilton – if she had actually come out earlier this year at her first DJ gig and blown away the world with an incredible set, she could have very easily been headlining festivals around the world based on that performance. Instead, she’s fighting a really bad performance reputation that has defined her career as a DJ (not that we’re especially sad about that).
It’s far too easy for new DJs to fade into obscurity if they don’t leave a good impression early on. Once your name is associated with poor performances it’s extremely difficult to break that stigma.
If you said no to this question, ask yourself, should you take the gig?

DON’T BE AFRAID!

In closing, it’s always good to broaden your horizons and avoid pigeonholing yourself into one niche genre. The secret behind how to do so successfully is by practicing at home before you start accepting gigs that you’re not equipped to play. It is saying no to gigs you are not suited for that will set you apart as a professional.

Credit : DJ Tech Tools

DJ Secrets : Getting Kicked Off The Decks + 5 Tips For DJing At Nightclubs

Over the weekend, the internet blew up with video and heated discussion about turntablism prodigy DJ Shadow getting kicked off the decks in Miami for playing music that was “too future”. Today, we explore why some nightclubs have become dangerous places for DJs to try new genres and tracks, and share five solid tips that all DJs can use to ensure their club gigs go smoothly.

SHADOW BOOTED FROM THE DECKS

  DJ Shadow

• ✔

@djshadow

I don't care if I get kicked out of every rich kid club on the planet. I will never sacrifice my integrity as a DJ...ever #AllBassesCovered

16 Dec 12

A quick summary of this weekends events as a recap – DJ Shadow (whose Twitter bio reads: “I play for smart kids”) started his set at the Mansion Nightclub in Miami Beach, and about thirty minutes in was asked to stop by the club management for playing “too future” music. There’s even a video of it happening (some very not safe for work language in it, you’ve been warned):
2012 has been filled with similar incidents happening to high-profile DJs, including Mansion’s ejection of Dennis Ferrer, the widely-noted booting of Mark Farina from the decks of Marquee Dayclub in Las Vegas and last weekend’s removal of Tommy Sunshine from W.i.P. in New York City. But what exactly causes these incidents? Our friends The DJ Gospel might think it’s the apocalypse, but there’s a better explanation if you follow the money.

The DJ Gospel @TheDJGospel

So @djshadow, @dennisferrer and @djjazzyjeff215 get booted from DJing, and @ParisHilton is asked to DJ. Mayans may be right #ATITG

17 Dec 12

WHEN DANCE MUSIC AND CASINO NIGHTCLUBS MERGE

If you’ve been living under a rock, the last few years have seen an immense rise in the popularity of electronic music and DJs have stepped to the foreground of pop culture. We’ve seen DJs and producers have success all over top music charts, on award shows, and in producing pop music. This success has translated to superstardom for many – and as festivals with electronic music headliners increased in number and attendance, it’s been clear to venues of all types that there’s a significant amount of money to be made.
Las Vegas and Miami are both party destination cities – where casinos and nightclubs thrive on the business of out-of-towners coming to their city and partying all night long. If there’s a popular performer in America, you can bet that a casino in Las Vegas will try to book them – as the New York Times reported earlier this year, the new stars of Vegas are DJs. Miami has seen a similar growth in electronic music tourism, perhaps best exemplified by October’s announcement that the Ultra Music Festival will expand to two weekends.

But just because more DJs are being booked to get feet in the doors of venues doesn’t mean that they’re the biggest money makers once a nightclub opens. As Tommy Sunshine aptly noted in his letter to Vibe after last weekend’s incident:

Basically their #1 priority is their “clients” who spend money in bottle service & what they say dictates the music direction. The DJ’s who have to play to people who act this way don’t deserve this kind of abuse.

For many of the big spenders in nightclubs, they’re not there to hear Shadow’s forward-thinking sounds. A quick perusal of pictures shot at the Shadow gig on Saturday night gives a good indication that the crowd on the dancefloor was into DJ Shadow’s performance – but they also reveal that Hugh Hefner was in attendance (see photo above-right).
The club already has all of the cover charges from the crowd once they’re in the door – but if a big-spending VIP like Hefner isn’t into the music and complains, the club and/or promoters will likely take notice (for the record, Hefner could be a huge Shadow fan – he’s just an example of the types of VIP patrons that spend money on bottle service in clubs like Mansion).

FIVE TIPS FOR PLAYING AT NIGHTCLUBS

Ultimately, DJing at certain venues can become a delicate balancing act for many working DJs. There’s a responsibility to maintain and enhance the environment, mood, and atmosphere of a club night – but that has to be weighed against your own personal artistic integrity and what the limits of your willingness to become a human jukebox is.
1) Play Appropriate Nights/Venues: This is one of the biggest tips a DJ looking to increase their bookings should heed. If you’re not comfortable playing a gig where the crowd might need non-stop top 40 to keep anyone on the dance floor, then don’t take a gig that’s going to be advertised as such.
Doing your homework is a big part of this tip – you should go to a club on the night that you’ll be playing and see what works and what doesn’t. This way you’ll have a good understanding of what the normal crowd is like at the venue and can plan accordingly.

2) Communicate and Network: As the DJ, you want the nightclub staff to be on your side in any situation, so make sure you know them. Talk to and learn the names of the promoters, the owners, the managers, and the security – as they’ll be the ones who will come up and let you know if there’s any issues before things get serious. Ideally you’ll get honest feedback from them about how the night is going from their perspective, and if you’re friendly with them, they’re unlikely to come up and give you the axe without any warning.
3) Be prepared to change: It’s easy to get into a DJ booth and get separated from how the music sounds to the audience versus how it sounds to you. Be ready for feedback from the audience, because like it or not, it’s coming. You can be ready for this – if you did your homework and investigated the club previously, you’ll know what types of tracks to keep in reserve in case your selection isn’t going over well.
4) Turn the other cheek: If things go poorly and you’re asked to leave the decks, keep your cool. If it’s appropriate, you can let the crowd know that you’re done , like Shadow did in the video above – where the crowd’s reaction made it clear that they were not happy that this happened.
Remember that your best booking asset as a DJ are your connections, so don’t let the fact that you’ve been asked to leave the decks affect how you act towards the other DJs, the crowd, etc. These people might not agree with the decision to end your set – but even if they do, don’t act brashly and risk damaging your reputation just because this gig didn’t work out.
5) Live to fight DJ another day: No matter what happens during your gig, odds are pretty good it won’t be your last. Figure out what went wrong – was the music not right, or was there just a over-complaining VIP? Don’t let being asked to step down from the decks be your last DJ performance, but look at it as an opportunity to learn more about what types of gigs you want to be playing.

Credit : DJ Tech Tools

Tips for Opening DJs – Josh Wink, Hector Romero, Mike Huckaby, DJ Dan, Shiftee +

As a rule before any gig you should find out who is playing before and after you and always show up at least 1 hour early before your set. This not only enables you to feel the vibe of the room but make sure you do not repeat any tracks that the previous dj has played. Since you have an idea of what the dj is playing before you, pick a great track to transition and leave the next dj with a great starting place. Again, you will know what that dj will be playing so you can choose something that will be easy for them to flow into. This is just common respect for the crowd and the next dj. If you play an earlier set, make sure you play a set that is groovy and does not try and rinse the energy out of the room, especially when there is a headliner on after you. The key to a good dj is knowing how to pace the energy of the night. I guarantee you will get way more compliments if you play appropriately to your time slot. The one mistake I see up and coming dj’s do that is never cool is to bang the shit out of it before the headliner goes on—as if to impress that next dj. That is not cool. If you really want to impress the next dj and the crowd, play appropriately and sexy and let the night have a nice build. If you are in a headlining position, go crazy! Again though, make sure you leave the next dj with something they can flow out of. Lastly, be respectful of the space you are working in. Most booths are small so have consideration for where the next dj will be putting their gear. You can start moving your stuff a bit towards the last couple tracks in your set so the transition can be easier for them. Oh, and never play the headliner’s new big tune in your set. I know this seems like common sense but you’d be surprised as to how many times I’ve seen this happen. - Dj Dan
Feel out the room and crowd and play something appropriate. Don’t over plan and try to stick to a pre-planned set that is not appropriate to what’s actually happening.  Better yet, know what you’ve got as options to play and don’t plan at all!  Don’t play banging shit to an empty dancefloor while people are still filing in and getting their drinks. It’s called the warm up slot for a reason.  Know your role and fulfill it and you’ll be invited back. - Matt Shadetek


Ah the opening DJ set. To me it seems like a lost art form. Art form because it takes a special kind of DJ to handle a crowd that comes early to the club and not bore them but yet not bang it out like it’s 3am.  I feel that the opening DJ’s set is as crucial as is the prime time set. In my opinion you’re actually a good opening DJ if you can rock a 10 to 1am set and not really play any major hits! And it’s not impossible! There are loads of amazing tunes that work during those early hours, you just have to put the time in and find those gems that work. – Hector Romero

All’s fair in love & DJing until somebody feels like their toes are getting stepped on. That said, there are a couple rules to abide by. Setting for an opener is akin getting the energy of a room to simmer (not boil). This is a different skill set than party rocking. You can’t drop ALL the fire right before the opener’s set, play your best bangers and then hand it over. The other rule is that you can’t let your EGO get in the way. The folks that hired you are often business people – so think long-term. You are a walking business building relationships. Don’t do the headliner’s job if you want to get more work. – Dj Ceiba
Being an opening DJ can be very tricky and it takes true skill and talent to be a good opener. You have to keep people dancing, but not too hard. You want to keep people going to the bar without clearing the floor. Playing to an empty room is also a skill. You also need to know when to pick things up as an opener. If you bore people with too much atmosphere, people might leave. As far as opening DJ etiquette goes, know what the person after you is going to play and build up to that. Also keep your levels out of the reds! If you have the mixer buried in the reds, the next DJ has no headroom and nowhere to go with their levels.Opening up a night is a great opportunity to play those mood setting musical records you wouldn’t get to play at peak time. – DJ Endo
 

I think that everybody who is a DJ needs to know how to be a warm up or opening DJ. It takes awareness and patience to do so. An opener DJ sets the mood of the venue, and this is SO important! A DJ is someone who entertains, educates and creates aural atmospheres. I love opening, as I get to play deep and moody music, creating a special feeling that gradually builds. Where that is my main intension.  -  Josh Wink

If you were a person attending the event, what would YOU want to hear at that moment? Always keep the audience in mind because after all, neither you or the superstar DJ after you will be anywhere without them. Most of the time it’s just meeting people’s expectations, then surprising them. If it’s a Top 40 night, don’t play esoteric material, and if it’s a cutting edge party, don’t play obvious tracks the audience is sure to know. And please, please PLEASE don’t “Madison Square Garden” as I like to call it, i.e. playing the most peak hour material of the evening, as a early as possible to an unengaged, small audience without looking at them. Finally, people notice. Even if people are getting drinks or talking with their friends during your set, you can win them over if you read them well, pace yourself and have just as great of time (if not better) than they are. Honestly I love doing opening sets: less pressure and the world needs more awesome opening DJs that compliment the night. - Rx

An opening DJ should always remember the role that has been delegated to them for the night. You are opening up for another DJ. Your role is to set the tone for the headlining DJ.  Often the opening DJ will try to outdo the headliner by playing strong cuts way too early in the night, and trying to get peak hour crowd responses. A good opening DJ will always remember their role he is playing within the night, and will not try to do that.  The opening DJ should also be compatible to the headliner, and know his stye of DJing as well. - Mike Huckaby

Get set up right away–make sure everything is working smoothly before you get a drink. If it’s a paying gig, find out who’s paying you, how they’re paying you, and at what point in the evening you can expect to be paid. It might be up-front, or you might have to wait around until 4AM. Know this in advance. Go to the bathroom before your set starts. There’s nothing worse for the headliner than DJing in a puddle of urine left behind by the opener. Know the music that you’ll be playing. Don’t try to make a bold statement just yet, especially if nobody is listening. Make sure before you start your set, that you know when you are on and off. If the following DJ is there, work out with him/her how the transitions should happen (both musically and technically) .  Bring extra music to play in case the later DJ is a no-show or starts late. Be conscious of your place and function in the movement of the evening and know your role–whether it is to provide background music, to warm up the crowd, to create a context for the music that the later DJ(s) will be playing. - Martín Perna


I agree with everything everyone has said BUT I still think it’s important for you as an opening DJ to try to stand out and make your mark on the night. If you don’t turn heads with your set, what was the point? Respect of the headliner is great, but ultimately you want more work, which comes through fans and the promoters remembering who you are after your set. Here are a few little suggestions to get into people’s heads:
1. Talk on the mic and say your name throughout your set. I call this “Castanza-ing” (shouts to people who get my specific Seinfeld reference).
2. Drop surprising songs WITHIN THE CONTEXT OF THE NIGHT. Play tracks that people will go “ohhhhh” too, but only within the style of the night and your role of the opener as described by everyone else. These can be throwback songs, silly songs, or songs that seem like they don’t belong in dj sets.
3. Make little flashy routines (that work within the context of the night as already described).
In short, stand out, but do so appropriately! 

 

Credit : Dubspot Online

Check Out Pulselocker: Try Before You Buy – For DJs

Have you ever bought a song with a vocal you just didn’t like that wasn’t in the preview, or played a special gig where you had to waste money on tracks you knew you were only going to play once? Do you subscribe to services like Spotify that stream music for you with a monthly fee and wished you could play those tracks in your favorite DJ software? These are the problems that Pulselocker hopes to solve – read on for our exclusive first look at the service.

Pulselocker is an application that sits on your computer (Mac OSX only for now) that will let you preview full songs, download 320 kbps AAC/M4A versions of those songs to your computer, and then play them through your favorite DJ software. The application does this by creating a separate drive on your computer that Pulselocker has code-named “directdrive”.

All the songs that you preview are located in that drive, which is made available to your software through the explorer. Pulselocker currently works with Serato ITCH, Intro, and Scratch Live 2.3.3 or higher, as well as Native Instruments Traktor and Atomox Virtual DJ – but other systems are planned on being implemented in the future. EDIT: There has been some compatibility issues with Virtual DJ. They are working on it and plan to have a fix in the next few months.

TRY MIXING BEFORE PAYING FOR TRACKS

Once the songs are loaded and analyzed you can set loops, cue points, and play those songs like normal – as long as the Pulselocker application is open. If the application isn’t open, the Pulseocker drive does not show up in your software and you’re not able to play the tracks. This works both online and offline so once downloaded, all tracks can be played at will without an Internet connection. Locker sizes will range from 10-1000 tracks depending on the subscription you choose.

If you find that gem of a track and you want to make it yours and in the process, support the artists even further, you are given the option to purchase the track. After purchase you can do what you want with the tracks – DRM-free, as if you bought it from any other source.

In the application, you can add songs to the queue and star certain tracks as a handy reminder. Tracks play with a full waveform at the bottom allowing you to see the structure of the song – something that’s lacking from many online stores. To make finding that next tune even easier Pulselocker users can rate and tag tracks in the catalog to help with accuracy. Users can also share playlists with other users and of course there’s Twitter and Facebook integration. One handy Facebook feature, once logged in, any artist you like on Facebook will show in Pulselocker.

TRIPLE MONETIZATION FOR ARTISTS AND LABELS

With the ability to torrent just about any track out there for free, many DJs and listeners ask why they should buy their music at all. For those of you who know me from the DJTT forums, you’re probably aware I’m a very strong supporter of buying all of my music and supporting the producers that make that music. Based on questions raised in the forums about legality and how the artists will get paid when you’re using Pulselocker, many of the DJTT readers think similarly – so here are some of the answers that Fred Han, director of Marketing and Communications at Pulselocker gave in the forum when questions were raised how exactly artists get paid.

“Pulselocker was founded by DJs and producers and we built the company (and our business model) with the artists’ interests top of mind. While we cannot stop technology’s financial impact on the music ecosystem, we are providing new monetization opportunities to help soften the blow. In addition, we have our own licensing deals, and work with all providers of relevant content, be it majors or indies. At the same time, we pay artists and collecting societies and have all the legitimate rights to offer the services we do.”
“Our subscription model is totally legal and artist-friendly so no need to fear. These arrangements enable us to offer a catalog that spans from funk&rare grooves to reggae, hiphop, dnb, dubstep and house/techno (and subgenres), and is growing everyday.”
“If you play lots of different gigs with varying music styles then you’ll be happy with the currently listed categories. Each of these have more subcategories to pick from to help narrow down choices.”

In an attempt to address some of these concerns, Pulselocker has introduced a three-tier system for paying artists. For plays of the songs outside of the locker (i.e. on-demand streaming), they share at a starting rate. For plays which occur through the locker, they share at a significantly higher rate, and for purchased tracks they split revenues similarly to iTunes or any other download shop. While it may not be the final solution to an ailing system, it definitely seems like a positive new approach to what’s been a pretty stagnant system.

The list of trending tracks in Pulselocker

Unlike many of the top sites for DJs buying music, Pulselocker has managed to pull together a diversified catalog of music that is sure to work well for all DJs. Electronic, Hip-Hop,/R&B, Reggae, Funk, Rare Groove, and Jazz all are available in the app for you to try before you buy. I was even able to find some Country and Big Band music!

Pros:

• Low monthly fee
• Full length previews
• Ability to legally try and play before you buy
• Not limited to just EDM – hip hop, R&B, rock, funk, blues, jazz and more are available
• DRM-Free 320 kbps AAC/M4A format
• Tracks show BPM and Key in Pulselocker

Cons:

• OSX only for now. Windows version is planned – possibly early 2013
• Application must be open unless you pay for the track
• Initial private beta had a few bugs, but the tech guys have been responding to feedback quickly
• Not able to modify ID3 tags with non-purchased tracks
• The private beta catalog was initially small, however deals have already been signed with several big independent aggregators to increase that size. They’ve promised to offer nearly 6 million tracks by the end of the year.

iOS and Android-compatible versions are planned for the future. I asked what other kind of things were planned for the future of Pulselocker and the answer was pretty intriguing.

“We’re going to focus on making sure we have the right features and catalog with our beta user group, then we’re going beyond the laptop — phones, tablets, and connecting directly to performance instruments. Stay tuned.”

PRICING, AVAILABILITY, AND FREE INVITATIONS!

Initial pricing is set at full streaming, social features, and a five track locker for less than $10 US. They’ll be scaling up from there depending on the locker size.

“Pulselocker monthly subscription tiers accommodate DJs and music aficionados of all budgets. Starting at $9.99 for a 10-track locker, tiers range from $14.99 for 50-tracks, $24.99 for 100-tracks, 34.99 for 200-tracks, and $69.99 for 1000-tracks”

To celebrate the launch of the public beta Pulselocker is offering a 60 day-free trial with a 100 track capacity locker for the first 10,000 people who sign up. That being said, DJTT has secured invites for all of our readers that will get you to the head of the queue and in the beta quicker.

Credit : DJ Tech Tools