Powerful reminders for DJs under Covid-19

We all need a bit of good cheer around now. Fortunately, that’s exactly where DJs come in. We’re the ones showing up with fancy gear and playing songs that put smiles on people’s faces. It all feels a little stifled right now, but don’t forget that there are others out there waiting for you to step up and lead them. Here are a few encouraging reminders from the DJ Courses Online crew. 

DJs bring the good times

The good times are officially in demand. They’re always in demand, but especially so during times of crisis. This isn’t true for many other industries. People under stress consider their entertainment not negotiable. While people have lost their jobs (and their freedoms), most are still saving a lot of money on entertainment. If you can bring the good times right now, you’ll see a rise in popularity.

Live streaming is about interaction

Live streaming is one income stream that’s allowing DJs to offset their gig losses. But remember, music is free everywhere. Videos of people DJing are free everywhere. You’re not just here to facilitate music playback. You’re here to communicate and interact with your guests. Drop the act and get into the comments feed while you’re waiting for Track A. Live performance is a skill separate to the skill of working a pair of decks. 

Be a social conduit

Anyone in any kind of spotlight right now has a powerful opportunity to provide people with what they’re craving. Interaction. Conversation with strangers. Meeting interesting people. Covid-19 is going to spark off a wave of openness between communities who all share their isolation. Be the middleman by offering an environment for people to mingle. Whether it’s a Zoom group chat or a Mixcloud Live stream doesn’t matter. The quality of the stream doesn’t matter (too much). The aim is to get people together. Show up regularly on weekend nights. Make people happy to be there. 

The times they are certainly a-changing, and we have to change with them. Not all is lost. And don’t forget - you have a skill. Forget the old way of doing things and start to use the skill of creating good times to make people glad you show up. That’s a career. Maximize your skill by signing up for a DJ course by DJ Courses Online today. 

John Bartmann is a music producer and DJ

Personal tips for out-of-work DJs

It’s not the greatest time to be a DJ, is it? The industry as we knew it appears to have shut down. Nobody seems to have any work. As we shift from denial to acceptance, things feel difficult. That’s because they were easy before, but things have changed. And anyone who calls themselves a professional DJ will have to change with them. Here are a few things to keep you active and motivated during this time. 

Find the resources

Sites are popping up with lists of resources for out-of-work creatives during this time. Start Googling and check out what’s available to you in your area. FreelanceArtistResource.com is one good place to start, but keep looking for what you’re looking for, of course. 

Keep healthy

We’re DJs, and we feel more like studio rats than people who do yoga (although this guy is apparently a yoga DJ). So it’s OK if you don’t do 6 hours of meditation or run on the spot for 5 miles. But you have to admit, we need physical and mental exercise to stay healthy. Start with one small thing every day. It could be a stretch while you wait for the kettle to boil. Make it something you do every day. Just like you enjoy being able to use a pair of decks, learn to enjoy the benefits of keeping healthy.

Stay in touch

Those under lockdown are all getting a little tired of Zoom calls and WhatsApp family groups by now. So make sure that you’re enabling some quality interaction with the people you used to see regularly. Make the purpose of your phonecall to have a laugh or offload some of your worries. Keep connected to people, even though lofi phonecalls aren’t great. Make the time spent with others count. 

A few simple things are all that’s required to stay positive and healthy during this time. Remember, as DJs, people look to us to bring the good vibes. And the good vibes are certainly in demand right now. Keep learning the tools of DJing in our selection of online DJ courses. Now’s your chance to level up! 

John Bartmann is a music producer and DJ

Mixcloud Live is here

With the popularity of live streaming DJ sets on the rise, Mixcloud has launched a brave new solution to the problem of playing copyrighted material. Mixcloud Live is now in beta, having released earlier than anticipated. Start adapting to what it means to be a professional DJ. Let’s check out a few features of the problem-solving platform.

What’s the problem being solved?

The problem is being flagged for copyright infringement every time you want to play your favorite golden oldie in a live stream! Facebook and Twitch clearly have to defend themselves by issuing these notices (and interrupting your feed). But there has to be a smarter solution. At the very top of Mixcloud Live’s FAQ is the statement that “Mixcloud Live is the only legal and licensed streaming platform for creators to upload and live stream their shows.” 

What’s the catch? 

You need to be a premium member, which currently costs $15/mo, with the option for a free 90-day trial. We’re in one of those time-will-tell situations, but the general buzz seems to be that the problem of the Covid-19 income drought is already being addressed by Mixcloud Live. If you’re serious enough about your DJing to afford risking $15/mo, it’s certainly worth a shot. 

How does it work?

Mixcloud Select is the payment model allowing DJs to earn from their streams. It’s been praised for embracing a subscription model instead of merely facilitating tipping and donations. The model empowers creators to think of themselves more as service providers meeting a social need than lucky recipients of generosity. 

We all need to have fun. We all need social connection through live events. Mixcloud is leading the way here, offering something which feels like more than just content. The chance to empower practicing DJs who work hard to bring you the best new music around. That’s worth a few bucks. You know what else is? Learning more about how to DJ the best new music yourself. So get over to the DJ courses page and check out the available coursework from the team of seasoned professional DJs. 

John Bartmann is a music producer and DJ

Stay calm and keep DJing

Stuck at home? Join the club. But even though the party’s on hold, there are still good reasons to keep working on your DJ set. For starters, when lockdown regulations are finally lifted, there might be a boom in demand for parties and professional DJs. You want to be ready. Let’s visit a few more positive ways of looking at this weird time

Normal is overrated

Accept it. Life probably isn’t going back to normal any time soon. You’re not likely to be playing to a crowded room any time soon. So what’s the gameplan? There must be other skills that you’re able to work on in the meantime. Have you explored the avenues of live controllerism, crab scratching, production? There are so many things related to DJing that are now at your disposal. You know when your mind starts to wander and you fantasize about the next big thing? Now’s the time to lay the tracks and get on that train. 

Get productive

How about getting into some new habits? Here’s an idea for those who have more time now than ever: break your day into chunks of 2 hours each. Make a spreadsheet with a few 2-hour tasks every day. Make it easy while you start the habit. Then, start feeling the sweet satisfaction of ticking off the list as you go. Finish a track. Compile a lockdown mix. Set up an online store. Research trends in live streaming. It doesn’t all have to be bleak. In DJing, as in life, you choose your own path. 

Stay positive

Might be tougher than it sounds, but now’s a good time to flush out negative interactions with people who don’t support you and start thinking about your future as a creator. Don’t despair. There are enough people online who want to hear what you have to say. Believe in that, and begin the process of finding them. How? Not by shouting louder and Facebook ads. By showing up consistently with something very specific for people who want to hear from you. 

Join the others who see the value of upskilling themselves during this time. Learn more in a structured environment. Sign up for the Advanced DJ Techniques course DJ Courses Online today. 

John Bartmann is a music producer and DJ.

Taking your DJ set online

There are probably more people now than ever searching the web for something new. This gives DJs the opportunity to pick up some new fans by live streaming their DJ sets. Ready to go live? Following on last week’s post, check out a few tips on how to do it right using Open Broadcaster Software.  

The connection

A good connection, great audio and an interesting look. With these three things in place, your DJ set stands apart from the rest. If possible, use cables instead of wifi. Reduce network traffic by disabling wifi on your mobile devices. Get your little brother to stop streaming videos for a while. Kill any background programs that might be eating broadband and CPU while you stream. 

The audio

Good audio is really important, seeing as most people will have you on in the background. So raise your standards a little and make sure your outgoing live stream feed isn’t clipping, dropping out or being broadcast in mono. Don’t use your computer’s built-in audio card to pick up the room sound. They generally fail at bass and sound, well, roomy. Use an external soundcard or a handheld recorder like a Zoom H4N or Tascam. However you solve it, make sure the audio is a direct feed and never passing through air at any stage.

The picture

Pick an angle which shows your face. It’s cooler to be dark and hidden but more people will connect if they can see what you look like. Using your laptop screen is an option, but you’ll probably want a second device placed further away to capture the booth area. You can use an external webcam or your phone as a second camera with the OBS Camera app. 

Seriously, though, get your live stream set together. A lot of people are bored right now, and besides that, there’s room to grow even when you’re stuck at home. Upskill your party curation with the Advanced DJ Techniques course DJ Courses Online today.

John Bartmann is a music producer and DJ.

Live streaming your DJ set

A whole bunch of DJs around the world are currently restricted to their homes. Not the ideal environment for people who like being around other people, preferably on a busy floor. Maybe you’re just having fun, or maybe you’re ready to get DJing professionally. Either way, let’s make the best of it with this guide to live streaming your DJ sets from home. 

Get the streaming software

First, you’re gonna want to download and install OBS. Open Broadcaster Software is a free program that allows you to assign and transmit audio and video feeds to live broadcasting platforms like Twitch, Facebook Live and YouTube. Install, set it up (here’s how) and enter your stream key to begin streaming to your preferred platform. It’s pretty easy to get set up. 

Pro tips for live streaming

Often you’re unable to monitor the live feed of your set yourself while doing it. Maybe you’ve only got one device, or the bandwidth is poor. Have a DJ or audio buddy watching your stream from their place to comment on the audio and video quality so you can tweak it should anything go wrong. Typical problems include clipping, audio dropouts and unintentionally broadcasting in mono. 

Copyright

Yeah, about that. You might get cut off for playing previously released music when you use Facebook Live and YouTube. Facebook and Instagram allow you to hit larger numbers than platforms like Twitch, but you might not want to restart the stream every time the AI comes along to shut you down. It seems that standard practice among DJs right now is to use Facebook to begin the set, alerting people to the unrestricted party on Twitch. Another option is Zoom, which was recently used to 

Streaming your DJ set live is a great way to kill some time and share your selection with a new audience. Due to the recent changes, people are behaving differently online. It’s a good opportunity to get your name and your work out there. Sign up for the DJing Basics course with DJ Courses Online today and use this time to take the next step in your DJ career. 

John Bartmann is a music producer and DJ.

Using the mic at your DJ gigs

Whoa! Nobody said anything about public speaking when you signed up to be a DJ, right? Well here’s a little tip for you: a DJ that connects with a crowd is way more likeable than an elusive shadow in the corner booth. When it comes time to stepping up your game in the world of career DJing, use the mic to address people and keep the vibe alive. Here’s how to ace it. 

Learn a few phrases

You don’t have to make it all up on the spot. Just learn a few key phrases that people want to hear and use them often. Here’s some stuff that works every time: 

• How are y’all doing tonight?

• Everybody make some noise!

• Get your hands up!

These easy phrases are expected by crowds all over the world. It’s part of the gig. Get comfortable with them, and then start expanding your repertoire of crowd-pleasing lines!

Know your audience

There’s a pretty big chasm between a banging house party and a formal corporate event. Know your audience. Corporates don’t want to be interrupted while they’re having a conversation, so don’t tell them to get on the dance floor until they’re ready. House party guests don’t care about how badly you’re behaving, so feel free to use colorful language and joke around. Being a professional is about matching people’s expectations. Use the appropriate language.

Practice

Talking to crowds can be terrifying. You gotta practice! At every event, you should be talking to your crowd, even if it’s just to announce your name or make a small connection. Make sure you grab that mic at least once at every gig you do. 

Being able to speak is part of the job of DJing. Just remember to keep your sentences short. And don’t be surprised or offended if the host asks you to cut the music and make an announcement to the guests. Overcome your fears and get better at DJing by signing up for a course with DJ Courses Online today. 

John Bartmann is a music producer and DJ.

Elevating your online DJ profile

How do the same DJs seem to keep getting gigs? Ask around and you’ll find it’s most often a case of recommendation through trusted friends. Relatively few people are Googling ‘book club DJ’ because chances are strong they already know someone personally. So in order to make the move towards a professional DJing career, it’s super important that you have an online presence that shows people what you’re up to. If they get a recommendation to check you out, impress them. Here’s how. 

Release regularly

If you haven’t posted anything in 6 months, you’re not active. Even if you’re really pretty busy in real life, it will appear as though you’re sleeping through the season. Pin your best clips at the top of your feed. Make sure the next thing below that is no more than a month old. Keep your feeds alive with content.

Get a website

You know what bedroom DJs and amateurs don’t do? Invest $10/month in their own websites, that’s what. A site doesn’t have to be glam. It doesn’t have to be more than one page. Having your own site is a way of saying yes, I am in fact available for business. It distinguishes you from those who are content to make a lot of noise on social media alone. Link all your social media channels to your site. Have a large, quality image of yourself. People most often book you based on how you look.

Email people

Emails are the secret weapon of entrepreneurs. A list of people who want to hear from you should be at the heart of your communication strategy. Emails are far more effective than social media at driving people into action. Anticipated, regular emails are how you maintain a presence in the minds (and hearts) of your audience. 

You’ve heard all this stuff a million times. So get on it! Make a career for yourself as a DJ by acting like the pro you feel you already are. Get there quicker by signing up for a DJ course by DJ Courses Online today suits you best.

John Bartmann is a music producer and DJ.

Different approaches to your DJ mix

It’s not all about using two decks to avoid silence. It’s an artform that takes practice. And you can design your own unique style by DJing with different approaches to each mix you do. Check out a few ways to improve your DJ skills by approaching the mix differently. 

Single out performance features

One way to approach your next DJ mix is to decide that for a certain track, you’ll be using only a certain effect to its full potential without layering in different effects. There are so many ways to spice up a track - reverbs, delays, slicers, hotcue triggering, filters - that it becomes tempting to flick around from one to another. Don’t! Make it a practice to say, ‘OK on track B I’m only using the beatmasher’ this time. Limit yourself. Limitation forces you to be creative. Then, for the next track, only use the next feature.

Experiment, practice, hone

There’s more to DJing than mixing track A into B. You might get your kicks just nodding along to a basic A-B mix, but at some point you’ll want to improve your looping and sampling. Remix decks are a good way to get away from the beginner stuff. They’re designed to allow playback of stems rather than mixdowns, and really crack open some amazing possibilities. The best way to get good? Spend a few minutes a day repeating what you did yesterday and taking it one step further.

Cross-mixing genres

You know what happens when you switch genres mid-set? You take a risk. The crowd might hate it and leave the floor. But you know what else happens? People notice you. And if it’s an artfully done and well-rehearsed move, most people will assume you have some taste. It’s almost always an energy shift which you can use to your advantage. Flip the switch by going half time (playing an 80bpm tune over a 160bpm tune) or double time. Make sure you’ve practiced your major cross-genre mix moments beforehand. Software can be unpredictable when you break the format.

Controlling the energy is what it’s about. You’re a vibe creator. Challenge yourself to create unusual flow in your set and go beyond the temptation to simply be normal. Eventually, you’ll want to make a name for yourself, which means taking a chance. On yourself. Get more into DJing with one of the three Advanced DJ Techniques courses offered by DJ Courses Online today.

John Bartmann is a music producer and DJ

Planning a DJ routine

Time to get your set together! Right, where to begin. Well, uh… wait a minute, how does that track go again? Where did this batch come from? That’s right. The very first thing is knowing your music backwards. Like, loving it to death even though you’ve heard it 100 times. Listen to your favorites every day. Then you’re ready to start putting together a proper mix routine and implementing some of your DJ tips and tricks.

Mix the isolated parts

Listen out for parts that are isolated. Examples might be a vocal acapella, a drum break or a melody line that stands alone in the mix when the beat and bass have dropped out. These are usually good transition points. Mix the isolated part of one track with the bass and beat from another. Hey presto! You’ve got a unique mix that nobody else has thought of!

Highs, mids, lows

Frequency bands are how DJs think about a track and its mix potential. A good mix will aim to cover all three ranges by using the highs of one track with the mids and lows of another, for example. Play just the mids from one track with the highs and lows of another. This is all basic stuff, but learning to DJ comes easier when principles are clear. Create a new fusion out of two previously separate parts by interleaving the three frequency bands of two separate tracks like a sandwich.

Mixing in key

Without getting too much into music theory, mixing in key is a great way to control the flow of your set and the energy of the crowd. In the same way that you’re able to beatmatch, you’re able to keymatch. Keymatching is simply choosing songs to blend into each other that share a similar position in the musical spectrum of keys. The key of C major, for example, works well with A minor or even F major and G major. This is because they’re related. Check out some more on the circle of fifths for theory about which keys to use. 

You have to know your music. Spend the time listening to the music. Headphones in while walking to work. On the bus. While working. This habit really goes to the heart of DJing, and your love for music will carry you through when you’re tired of hearing the same track again and again. But do it anyway. Upskill your party curation with the Advanced DJ Techniques course DJ Courses Online today.

John Bartmann is a music producer and DJ.

Switching from controllers to CDJs

Making the leap from using a controller to using CDJs can be a little intimidating. You don’t know the booth gear as well as your own controller. Your custom functions (like keyboard shortcuts) are no longer available. There’s a learning curve to DJing on new equipment. Let’s check out a few things all DJs should know before making the jump.

Hot cues

Even if you find hot cue buttons on most models of CDJ, they’ll be in a different position. There are generally fewer than 8 and don’t have more than one function. Their playback behaviour is also generally toggle, meaning that they’ll latch on and start playback of a track rather than toggle playback momentarily, like a drum pad. Hot cues aren’t as widely used on CDJs as on controller devices and seem to be more of an afterthought than a primary function. 

Browser behavior

CDJs don’t have a keyboard. You can’t search by track name. This means that you have to be more organized! No use having 30 million songs if it takes you a year to find each one with the browser knob, even with the hold-down speed scrolling function. By the time you reach CDJ fluency, you’ll want a few solid playlists and very little switching out of old and new material between gigs. Build a good library that reflects your taste, and then tweak it. 

Jog wheel behavior

CDJs are generally considered more of an artform than controllers. Even though most controllers have jog wheels (but many dont), DJs mostly agree that CDJs are a little more tactile and don’t raise many latency issues. It’s generally easier to scrub through the track and find the downbeat. There’s sometimes a HARD/SOFT knob which allows you to control the stiffness of the wheel. 

Unless you’re a master DJ, fewer functions generally means more fun. With CDJs, there’s less to go wrong, and you spend more time feeling the music and the touch of the gear than you do hunting solutions with your brain and keyboard. It’s a recommended step for anyone learning to DJ to get to grips with a pair of decks at some point. Sign up for the DJing Basics course with DJ Courses Online today to take the next step in your DJ career. 

John Bartmann is a music producer and DJ.

3 ways to DJ better

It’s your gig. You organized it. You attracted your followers to the venue. You aligned the stars. Now it’s time to be good. To give them what they want, and some of what you want too. Each event you play should make you a little better than the last. But only if you’re taking it all in and learning to DJ while you do. Here are a few ways to get better at DJing faster. 

Mix like a pro

Many first-time DJs import a bunch of summer hits into their software and just start mixing without really knowing what’s coming next. You need to know the tracks you play. Where are the builds and drops? What’s the overall flavor? Is it universally mixable, or is it a little different? Analyze your songs. Filter out the ones you don’t really care for, and find more to fill their place. When you know them really well, you’ll notice your mixing get better fast. 

Connect with the crowd

People need a flow. To get into a track or a set, they need to place their trust in the DJ and their track choice and skills. It’s a process that gets built up over the night. So watch their movement. If feet are tapping, and people are moving more, you’re doing something right. Make eye contact, smile, talk to people and get into the groove yourself. All basic advice, but often overlooked by DJs who focus too much on the technical side. 

Learn from your mistakes

Each gig is different. Even holding a residency will place different demands on you on different nights. Conditions at outdoor events can wreak havoc while DJing. Touring takes this to the next level. Sound rigs can be unpredictable, management and venue owners can be jerks, crowds can be boring. Think of the whole journey as adding entries to a database of knowledge that only you have. You want that book to be fuller every time. Remember what goes right (and wrong) and learn from each new DJ event you play. 

A million DJs, a million ways to get the job done. But everyone is subject to the same game. You want the crowd to get going. You want to be recognized for all your organizing and your taste. You want to have fun for real. Get better faster by signing up for a course with DJ Courses Online today. 

John Bartmann is a music producer and DJ.

3 things DJs do wrong

A few things have to be in place for a good night to happen. Sometimes one of them goes wrong. Sometimes all of them do. We’re always learning something new when learning to DJ. So check out a few tips about why your night out might have gone a little off plan.

Sound problems

The rig doesn’t have to be the ultimate. An epic party can start on a pair of cheap knockoff PA tops. But it does have to put out audio for the duration of your set without a crackle, hiss, buzz or pop. Sometimes you don’t have a choice. For every other time, insist on going the extra mile and haul your own gear if you have to. If it fails, they won’t look at the speakers, they’ll look at you. 

Not knowing what to play next

Do your prep! The basics of every gig are a pre-event whip-through of your track selection and order. Getting to a gig and fumbling around between every song looking for the perfect next one aint helping. Rather be wrong than unsure. That’s how you learn what works. You wanna shine, so be even better than your last gig by doing your homework every time. 

Beatmatching badly

Here’s the thing about dance DJing: most of the time, the crowd doesn’t really care what’s playing, as long as there’s a beat going. But mess up that beat and your floor will empty out quicker than a bottle of rum on Mardi Gras. If you need to hit the sync button, do it. If you need to practice for another 100 hours, do it. Just get the beatmatching thing right for every track. 

Don’t worry. That’s the key thing. DJing is mostly about showing up with loud speakers, music and a smile. That’s what the crowd expects. That’s what the clients demand. Wherever you’re at in your DJ journey, keep the vibe positive and keep on learning how to do the thing. Check out which of the DJ courses offered by your favorite DJ academy suits you best.

John Bartmann is a music producer and DJ.

The musical body math of DJing

Music is a type of math. Or rather, it’s the opposite on the boredom scale, but having a mathematical approach is a useful way to understand what you’re doing as a DJ. Have you heard of the circle of fifths? It’s the way that song keys are classified. And you can use it to your advantage when selecting tracks by key. Get into the flow of learning to DJ by checking out a few basic principles behind the effect of sound on the human body. 

Step to the right

Our biology controls us. That’s why we can predict that when you raise or lower the key between one track and another in your set by a fifth (seven piano semitones), a ‘brightening’ or ‘darkening’ effect happens. It’s true. According to the music theory that we all respond to unconsciously, going from a track in C Major up a fifth to a track in G Major has a more uplifting effect than going down two ‘steps’ to a track in Bb. Here’s the circle of fifths diagram that helps explain it better. Step to the right and you raise the energy. To the left and you darken it. That’s biology, folks. 

Body tempo

Your heart rate is the main reason that we love music at 120bpm and find 250bpm a little fast. A normal resting heart rate is around 60-80pm. Once you start dancing, you raise that up to 120-150. Higher than this range and your body starts to feel overwhelmed. A whole lot of music theory is structured around this principle. Nothing mysterious, just common sense and basic workout science. 

Frequency magic

You know all that stuff about 432Hz having mysterious healing power? Mostly baloney, and most evidence of sound frequencies being healing is underproven. But we all know what happens when we cut the lows! Be aware that low frequencies allow your crowd to catch their breath. A dip in the mid frequencies allows them to talk more easily, while boosting them emphasizes the melody and harmony of the track. And high frequencies are best used to remove the excitement so that you can drop it back in. One, two, three, bingo!

You obviously don’t need a biology degree to DJ. It does help seeing yourself as more than just a playback machine, and having an in-depth sound knowledge will raise your chances of working on bigger and more complex rigs. Don’t be intimidated by the science. Be fascinated by it. Learning psychoacoustics is a good place to start. Use these principles in your mix by signing up for a DJ course by DJ Courses Online. 

John Bartmann is a music producer and DJ.

4 types of DJ business model

Imagine there was an article listing a whole bunch of business models for a mobile DJ. Hey, here’s one! The ever-popular bedroom DJ is overpopulating the planet. Maybe you wanna stand out a bit and, you know, actually have a plan about how to level up. Get smarter by learning the business side of DJing. Here are the business models being practiced by the pro DJs. 

 The solo player

Booking yourself out to parties, bars and clubs. You start with family and friends, then put the word out. Good as a side-hustle for those who have day jobs. This is also the phase during which you need to acquire your own gear, music collection, and stuff like liability insurance. A fun, low-pressure environment to test the waters of professional DJing. 

The team player

Working at an existing DJ entertainment booking company as an employee. These companies typically have a catalog of DJs, MCs, dancers and performers. They’re in charge of finances and you don’t have to invest in gear. Work is stead and less pressure than running the admin yourself. But you’re kinda locked in, and can’t really work for yourself on the side. Pay can be a little lower than doing your own thing, but more reliable. 

The sub-contractor

Booking both yourself and others out for gigs. Independent sub-contractors have the advantage of being both more free than an exclusive operation and in charge of your business. You’re able to take a cut of bookings for other DJs, but also accept the reputational impact of their performance. If you recommend them and they suck, you suck. And vice versa. Good option if you’re more into the entertainment angle than the business angle. 

The boss

Booking out sub-contracters and employees under a formal company banner. This is where you’re in charge of them all. The Sauron of Serato. You’re tax compliant, legally liable and in charge of all finances. You’re marketing other smaller companies under your banner and you have a large stake in the company. 

DJing isn’t just about spinning records. It can be, but if you’re hungry for more, you’ll need to level up by embracing one of these models. Could take some time, but hey, if you’re serious about sharing good music with good people, you’ll see the value. Get into the game with a course by DJ Courses Online today.

John Bartmann is a music producer and DJ.

The psychology of DJing

Every gig you play is going to contain a few predictables. People are pretty much the same everywhere when it comes to music they know being played at party volume. Pick up a few tips for learning to DJ in the headspace. Here are a few things you can use to your advantage when prepping your next set. 

The leader group

When you’re playing a set, there are often 1-3 people in the crowd or hanging around the dance floor that will lead the way for the rest of the audience. Their actions set the mood of the night. Remember, people tend to do what other people are doing, and that always starts with a (brave) group of leaders. Identify them early and play for them. If they’re enjoying your selection keep going, or find something that they’re into. Soon, they’ll be the ones to break open the dance floor, and the rest will follow. Works like a charm. 

Delayed gratification

If you’re doing your job, the crowd will soon be loving the tunes and you’ll have a group on the dance floor. This is where you want to keep them. When you reach this moment, delay their gratification for a while before playing your A-list of hits. You see, once you’re done with your A-list, that’s it. There’s no coming back from it. Don’t burn the crowd out too early. It will mean resisting temptation, but always save the bangers for the end of your set, even if it means that you don’t get to every one. Rather not allow them to drift off before you’re done. End your set with them cheering for more. 

It’s not about you

DJing has had such a huge profile boost in the last couple of decades that it’s tempting to believe the hype. But always remember that this is about providing a space for the audience. Having a DJ steal try to the limelight is lame. Saying no to the same request three times is lame. This is about your audience. If you’re not too hot on playing what they want to hear, you’re in the wrong profession. Or maybe just at the wrong gig. Either way, change what you need to so your supply matches the crowd’s demand, not the other way around. 

DJing is a bit more psychological than playing in a band or producing music on your own. It requires getting inside the heads of your audience. The aim is to be constantly reading body language and interpreting signals from those present. There are certain things you can’t learn by reading, so consider satisfying your hunger for DJ knowledge with a course by DJ Courses Online.

John Bartmann is a music producer and DJ.

Bring your DJing to life with effects

Something as simple as a drum loop can be brought to life using effects. Stuff like reverb, delay, chorus, flanging and phasing. They’re all send effects which duplicate your dry (unaffected) signal and then play it back into itself, altering the sound in some way. Let’s check out a few practical uses of these built-in effects. 

Effect the background

Veteran DJs don’t use a lot of effects on their main mix. Too much reverb or chorus can kinda steal the energy from the floor and make it seem like you can’t wait for the next track to play. And it can sound a little tacky. You do want to be enthusiastic, but you don’t really want to be this guy. So if you’re dying to use effects, use them on backing drum loops and samples instead of your main mix. Using Traktor’s Remix Decks or Ableton Live’s session view, you can run multiple clips at once. If you’re playing something that sounds good on its own, limit the effects work to the backing loop instead. 

Keep it simple

Some of the effects bundled in to DJ software can be pretty sophisticated. Parameters on a standard reverb effect might include Dry/Wet, Size, Highpass, Lowpass and Freeze. A good rule of thumb? Stick to two parameters per effect. Don’t try to cram too much creativity into your playback. It’s cool to play around with them while you create a signature style, but over time you’ll want your ‘effect moments’ to resemble one-trick ponies. The further away you take the people from the original sound of the track, the more attention you’ll lose. Keep it simple. 

Sparse works better

Effects generally work better when applied to sparse moments in your set. Experiment with extending your mix out and allow a moment for only the beat drum loops to run. Then, apply different effects and compare the results with applying them during the main part of the song. Sounds better when there’s less going on, doesn’t it? Generally, effects should be thought of as auxiliary moments, and don’t often work well during the main hook or drop of a song. Especially if it’s a really well known number. 

To sum up, you’ll want to use your DJ effects sparingly and at the right moments in your set. If you’re only doing 64 bars of total flanging an hour, that’s OK. Reverb is a great one for building tension, and delay often works well when timed to ¾ time. Find your inner effects guru by signing up for the Advanced DJ Techniques and Tips DJ course with DJ Courses Online.

John Bartmann is a music producer and DJ.

Comment tagging your DJ library

Every new event you play as a DJ has its own requirements. Unless you have a residency at an established venue and play the same tracks every week, you’ll need a way to find and pull up tracks on the fly. That means being a librarian and having an efficient way to find your tracks by something other than title or artist. Genre and BPM are the next best things. But there’s an even better way: tagging. Check out the professional DJ Courses Online version of library organization.

Away from playlists

Imagine creating a new playlist for every event you did from scratch. Yikes. Playlists are great for when you’re completely in charge and don’t expect any requests, but how often does that happen? Nope. Being able to find music one the fly is better. That means going off-script. DJing a constant supply of new music also wreaks havoc when you’re trying to ‘lock things down’ because you’re constantly refreshing your set. The solution is to move away from order and towards spontaneity. Yes, use playlists as a springboard for your set. But if you’re aiming to level up, begin moving away from them. 

Towards tagging

As you build your collection, get to know the comments field of your metadata. It’s a good tool to input short little phrases that are specific to you and how you think. For example, you might have a phrase that reminds you of a song you know really well to describe all other songs that mix well with it. So, for example, labelling a song ‘drinking in la’ for mid-tempo 90s electronica. It doesn’t have to be genre-based. It could refer to songs with identifying backbeats or weird time signatures. Or tracks that are really lofi and old in their production quality. Whatever categorization strategy (and comment phrase) you use, it should act as a mnemonic. That is, to remind you of other songs like it, making finding similar songs way easier.

Universal language

Why use ID3 tags at all? Software like Traktor, Rekordbox and Beatport Pro already have this functionality in the form of crates, which are simply personalized collections categorized by a tag field instead of a by a sequential playlist file (m3u file). Well, using ID3 comment tags ensures that your all the hard work that went into labelling your personal collection isn’t wiped out when you want to switch software one day. Forced compliance and planned obsolescence are standard operating procedure with many software manufacturers. Cover yourself and own your data! 

There are loads more tips on how to go about tagging your work. Use phrases you’re likely to remember. Avoid special symbols (!@#$%^&*), which can fail to display. Group tracks together in little packages that work well together. Use numbers in your tagging (eg ‘major trap 1’) to allow you to filter the comment column to sort results into an order. The key thing is to show your personality through your selection and rise above searching only by BPM or genre. That’s the trick to building a name for yourself. Go deeper into DJing with a course by DJ Courses Online today. 

John Bartmann is a music producer and DJ

Three types of cue points

Know thy software. DJs need to have a relationship with both their hardware and software. There’s always some feature you didn’t know about or some way of hacking it to your advantage. One way to take the stress out of professional DJing events is to set your cue points before the event. Let’s check out the three types of cue points found in Traktor and other software like it. 

The downbeat load marker

The downbeat load cue point is the point at which your track will begin playback. Even if you’re using something other than Traktor or Ableton, you should have some marker that represents the ‘first cue point’. It might not be at the start of the actual file. Many tracks have instrumental or atmospheric introductions. The most obvious downbeat marker is the very first kick that plays in the track.

Mix out marker

The mix out marker is simply a good place in your track to begin the mix out process. This is most often at the start of a breakdown, so that as the kick from track A ends, the kick from track B can begin. Pre-deciding these mix out markers means that at a glance, you can see where the track’s mix out begins, which is a visual signal. But it also means that you can quickly load to that point should you want to re-trigger and restart your mix out rather than restarting the track from the beginning. Bear in mind that your countdown warning will not apply to this marker, only to the end of the track. You’ll need to be watching your track A carefully if you want to begin mixing halfway through! 

Ending loop marker

Sometimes you want to extend the outro of your song while bringing in the next track. Outro loops are the way to go! Somewhere towards the end of your track, select a nice 8- or 16-bar section and loop it. Then, simply take your time bringing in your next track. Again, having the marker in place beforehand is the best way to save time and energy and avoid common errors while mixing. The last thing you want is to be trying to make admin decisions when you’re meant to be enjoying and feeling the music. 

Preparation is key to the enjoyment of your music! But let’s be real, there are often times when you have to play tracks you haven’t planned. It’s best to understand the power of mix point markers. Get to know your controller shortcuts for setting mix points on the fly. Rely on your ability to read the waveform and anticipate the downbeat, break and drop. Get advanced with your mixing ability by signing up for the DJ Techniques II Course with DJ Courses Online today.

John Bartmann is a music producer and DJ

What could DJs do better?

Like all of us, DJs often make the mistake of thinking that their success is someone else’s responsibility. The reality is that the music industry is a super competitive place. To succeed, you’ll need to do something that demonstrates your allegiance to one thing: yourself. Get enrolled with the DJ Courses Online Career Tips class for deeper insight. Here are a few things about the industry that we have the power to fix. 

It’s not all about getting paid

You know that phrase ‘it’s just business?’ Well, it can be hard to hear when you’ve shared insane emotional highs with your ‘business partners’. Music is a lot more personal than other business. People are truly invested in each other and nobody likes the idea that music is only business. This is why there’s never been a sponsored ‘Coca Cola song’ that worked (this one isn’t sponsored and doesn’t count). Humans draw the line when it comes to their music. It’s almost sacred! So align yourself with those humans who aren’t following music made for any industry, but rather music made for others who share their taste. 

Be careful what you sign

DJs often sign to one label or agency. One of the more common complaints you’ll hear is that labels and agencies aren’t taking responsibility for developing their DJs. There might be good reasons for that, but DJs can feel trapped in a contract and powerless to create their own business. It a super-important thing to remember in an atmosphere where ‘getting signed’ is spoken of as a magic cure-all for escaping obscurity. Be careful what you sign. 

Align with the sound

The barrier to entry for DJing is floor level. This has enabled a vast majority to self-publish and has opened the floodgates for music that, frankly, sounds entry level. We tend to reward people not for their taste in music but the volume of their voice on social media. One thing we could do better is to take personal responsibility for not allowing bad music messaging to even enter into our lifestyles. This is harder than it sounds. A friend wants you to comment on his/her socials. A bad mix is playing in the background when you have the power to change it. Take a stand for better music and allow the public image of the DJ to matter less than the sound coming out of the speakers.

Music is timeless and the industry keeps shifting to keep up, much like trying to harpoon a whale. Remember that. At the end of the day, commerce is racing to keep up with the people’s enjoyment of music, not the other way around. As a DJ, the best thing you can do for your audience is to be more selective about what you stand for outside of personal glory and success. That way, you’ll find the people who you’re truly doing business with. Sign up for membership by DJ Courses Online and take the next step in your DJ journey. 

John Bartmann is a music producer and DJ