Live stream your DJ set

Maybe it’s the fact that the plague seems to be in decline. Maybe it’s the fact that Roland just released a smartphone mixer that allows you to livestream from anywhere. Whatever the case, we’re all itching to get out and play. Here are a few ideas for live streaming your set and showing ‘em how you’re living your best life. 

Technical stuff

Live streaming is still a little complex. Solutions are appearing, but you still have to learn how to connect everything. And you probably still need a laptop to capture that bass. Also, you’ll need a mini-tripod to hold your phone and a couple of specific cables. And an external soundcard. Yeah, it’s still a bit of a hack, but the results are worth it.

Get out

Videos of DJs playing sets in outdoor spaces always do well. Especially after 90% of us have spent the last 2 years caged up like animals. We all want to be where you are. You’ll need to think about places with a great view but which also have a power supply for your gear. And preferably spots where you’re not gonna get mugged! Greenery, open air, sea views, gardens and parks are all gold. 

Video specs

Live streaming is a bit of a power play for DJs who release music online. In videography, background blur makes the shot easier on the eye. If you don’t have a camera with an adjustable depth of field, try to find a spot which has a lot of distance behind where you’ll be standing. Either an outdoor space or an indoor space like a warehouse or somewhere with windows and a view. You can use Zoom filters to create artificial background blur, but it can look a bit weird, especially in low light.

It’s a great feeling knowing that you’re reaching people. Remember, though, that having an online presence means showing up regularly, even when it appears that the follower numbers are a little light. Ignore them. Look for the people that matter, and reward them with interaction in the comments during your set. Social media is one half of it. The other one is knowing how to DJ like a pro.

3 things software DJs can expect

Most music calamities at DJ events are as a result of a software issue. Programs are the bottlenecks through which a lot of (analog) audio usually passes. Unlike fixing a faulty cable, our inability to easily pop the hood of a computer program usually causes more trouble than hardware. Let’s understand a little more about how Serato and Traktor DJs solve their software problems on the fly. 

File not recognized

One common problem when DJing is when your software or decks fail to recognize a file. The dreaded ‘file not recognized’ issue can come as a surprise, particularly when you’re playing on a set of decks that belongs to the club. Or something on the older side. While it is a bummer being denied your banger, you can usually just skip to the next track. Best solution? Do your research into which decks are buggy, and know your downloads. Here’s a nice brief overview of how different file types tend to behave.

Laptop updates

It’s incredible how laptops seem to time their software updates right as you’re about to play a gig. If you’ve ever been unfortunate enough to see a ‘please wait while XXXX updates’ message, you’ll know what we mean. It’s enough to give a DJ a stroke. Laptop DJs: disable automatic updates on your event machine. You’re welcome. Here’s a DJ that pranks the crowd with a Windows error message song.

The oldest fix in the book

When all else fails, restart your laptop. Obviously not the most awesome thing to happen mid-set. That’s why you should always have an emergency mix loaded up on your phone, plugged into the desk via an aux cable. In the time it takes for you to diagnose the problem and restart your main machine, you can hit play on your phone and if you’re lucky, the crowd will be none the wiser. You should come prepared to every gig with an emergency switch-and-reboot setup. It fixes most software problems and also beats 7 minutes of silence.

Ah, software. The solution to (and cause of) all of life’s inconveniences. Software is eating the world, but that doesn’t mean you have to be a victim of it. In fact, learning how to use your gear better is the only way you’re gonna get on top of it. Learn from YouTubers, or learn from professional DJs. Either way, have a banging set!

3 tips for DJing with USBs

You spend the afternoon at your mate’s place getting some new tunes on a flash drive. You take it home, plug it into Traktor and some of the files aren’t reading. Sometimes it’s the files, but often it’s the USB stick, because there are a whole bunch of ghost files that came with the music. Sound familiar? Check out a few career tips from pro DJs on which flash drive to use for your set. 

USB type

The USB should be built for durability. Make sure it’s not that brittle plastic type, or something too fancy or novel. A Garfield keyring flash drive simply isn’t made for professional DJ equipment, and especially not equipment running proprietary software. Avoid the generic ones. You know, the ones that you get given at trade shows. 

USB specs

Capacity isn’t that important. Most of us have collections under 32GB in length, which works out to about 220 hours of MP3s. If you want to futureproof a year or two, get a 64GB for your music collection. More importantly, get a USB 3.0 drive. Pioneer gear, for example, only uses USB 3.0 at this point in time. 

File type

You can format your drive as NTFS or FAT32, which are the Windows and MAC file systems respectively. Here’s an in-depth rundown on FAT and NTFS files systems, including their strengths and weaknesses. And the winner for DJs is FAT32. It’s compatible with a wider range of systems. And while the maximum file size is still 4GB, that shouldn’t make a difference unless each of the tracks in your library is 80 hours in length. 

Bonus tip! whatever USB drive you store your stuff on, get 2 copies and always keep their contents identical. Always take a backup USB! 

Yeah, stuff like file formatting and USB specs isn’t the most glamorous side of being a touring DJ. But learning to be a technician is something that all the pros have to go through. That’s why the gear is called ‘Pioneer’ and ‘Technics’, right?! Level up your skills with acclaimed DJ course video lessons from the pros.

How DJing vinyl is different to USB or CD

Spin vinyl much? You’re a rare commodity, and your planet salutes you. Seriously though, vinyl DJing is the rare, expensive and inconvenient art form that unites the purists, pushes the limitations and embraces the past. For those who seek to walk the vinyl road with records or courses like Serato DJ, here are a few quick tips on what to expect from our round, waxy friends.

Needles misbehave

Needles have a way of jumping around. A buildup of dust on your needle can cause the whole tone arm to migrate across the plate mid-song. Scratches have a way of teleporting the needle to a different moment in the song. People have a tendency to bump the table. Do what you can to minimize it. This dude even uses squash balls as shock absorbers for his vinyl setup!

We like analog hiss

When CDs were first commercially available in the 1980s, they were praised for their clarity and precise reproduction of the recording. As the era of cassette tapes and vinyl was coming to an end, people were all amazed to hear new music with such crystal-clear accuracy. Now it’s 2021, and vinyl has been making a comeback for 15 years straight. It’s actually a reaction to the clinical fidelity of digital files. Why? Because we actually like the warmth and hiss of music on vinyl. 

Embrace the mistakes

You know the way old school hip hop scratching sounds? It originated when dancers would bump the table, causing the song to make that scratch or reverse sound (and probably also cause the crowd to go “Aaaaaw c’MON!” or applaud sarcastically). The scratching became a normal part of the music, and DJs started getting creative with it. Point is that scratches, hiss and spin outs are all normal parts of the vinyl experience. Embrace them!

Being a professional Serato DJ or vinyl DJ is different to most careers. The criteria for a good ‘product’ (ie DJ set) are lower. People generally go to parties and follow DJs around because they’re just into a vibe. As a working DJ, it doesn’t really matter too much if you’re on digital or vinyl. Just make sure the vibe you’re putting out isn’t too self-important and people will love your energy.

Common DJ hardware problems

DJing does require a certain level of technical ability. Of course at the end of the day, it’s all about the music and knowing how to deliver good times. But having a technical side will certainly remove some of the frustration when real-life debugging is required. Here are a few things to watch out for. 

Headphones

If you need one mini-jack headphone adapter, buy three. Always have a couple in your bag. They tend to vanish. Having to ask the DJ before you if you can borrow (or buy) theirs is a little embarrassing. Another common problem is faulty cabling, which crackles or causes one of the sides to fail. Most of the value of a pair of headphones is the cans themselves, so you can replace cabling with a soldering iron. Finally, if your headphones aren’t working check if they’re plugged in! Don’t worry, it’s a common mistake. 

Club equipment

Nightclubs are like train stations. Loads of traffic. People in clubs also tend to put their drinks on any surface available. Speakers, DJ booths, equipment tables. Next to the DSP. If you gave them a chance, they’d rest their beer on the mixing desk. People steal mixer and crossfader knobs. Things get messed up quickly, and moisture gets in everywhere. Faulty club equipment is the source of many woes. As a professional DJ, there’s not much you can do other than being prepared to play on equipment that’s a little ghetto sometimes.

No Sound

No sound? Problem. But one you’ve diagnosed and fixed before, even under pressure. Remember to follow the signal flow, starting with the memory on your computer and ending with the front of house speakers. It’s probably software. Usually is. Check the volume, but also check the EQ. Sometimes it’s filtering out all the frequencies, even if the volume is up. If it goes dead in the middle of your set, here’s a pro tip: frown at one of the venue employees. The crowd will follow your gaze and assume it’s their fault!

You’ve got this. Ain’t a problem you can’t fix. The secret with hardware and technical issues is to remain calm and breathe. Extra oxygen means clearer thinking. Also remove anyone from the scene who is panicking or isn’t helping you think it through. Remember your Jedi training. And remember your DJ course material.

Doing a smooth DJ changeover

In pilot training, most accidents happen on takeoff and landing. Same with DJing. Once you’ve got control of the gear and your set has started, you’ve actually got loads of time to think ahead and solve problems. Changeover time is where the bad stuff most often happens. Here are a few things to consider when taking over from the previous DJ.

Pre-route everything

The more stuff you bring, the greater the chances of signal being interrupted. You need to get your setup routing down to a fine art. Setting up stuff like drum machines and samplers requires more focus when it’s time to change over. As much as possible, pre-plug everything in before taking your master output(s) into the mixer. If possible, get your own mini-mixer, route everything through there and then literally just hand the current DJ a set of master outputs. Beats hunting for a PFL switch on a mixer you’ve never seen before.

Live instruments

Your set might include a microphone which you use for talking or even playing percussion or an instrument. Awesome! Going ‘live’ is a great way for you to make your set stand out and for you to put on a bit of a show. But be warned: microphones equal feedback and inevitably pick up some of the room noise. It’s obviously much cleaner to just play your whole set ‘in the box’. If you get a break in the music, do listen out for a low hum. The mic might be causing some resonance. Best bet: kill it when it’s not being used.

Redlining and gain

Many club mixers have abusive upbringings. Do not redline. It’s amateur. It makes the speakers distort. That might sound great to people who listen to music on speakers that distort, but for everyone else it’s gonna sound like a night of sheer hell. Volume and gain are not the same thing. You are normally able to achieve the same loudness by lowering the gain and boosting the volume. Your software might be causing the problem, but it’s usually the club mixer. The file quality also plays a part here. It could be an overcompressed MP3 rip.

Once you’ve got the set going, you’ll be good. All that work you did in becoming an advanced DJ pays off. And if you’re on before the other DJ, be kind. You’re probably pumped after your set, so pay that goodness forward by helping them find their stuff, offer to plug it in and most of all - be cool.

Slay your nerves before a DJ gig

Nervous about getting back to DJing in real life? You have good reason to be. It’s probably been over a year since your last set. Twitch kinda counts. But it also sorta doesn’t. You know what we mean. DJ Courses Online has your back with a couple of techniques for calming yourself before a set. 

Breathe

Breathe from your diaphragm. Try to avoid moving your chest. Taking even 5 of these deep breaths is gonna calm you down. Fact. Anxiety is a chemical reaction going on in your brain. Breathing introduces more oxygen into your brain, which disrupts this buildup. But you don’t need science to know this. Just breathe. 

Plan your fallback

Worried you’re gonna hit the wrong hotkey? It’s cool, people aren’t in the room to judge. And if they are, their opinion isn’t worth your time. This is about keeping the vibe going, even if you have the jitters. So plan for the moment you make a mistake by having three fallback songs ready to go in case of emergency. That should buy you the time you need to get back on the horse.

Feel good before your set

Don’t buy into the hype around what a DJ should look and act like. Be professional enough to arrive at your event in a clear state of mind and well-rested.  Weird advice to give to the people who start parties, right? But you do want to be somewhat approachable and not all grumped out before your set begins. If you’re connecting with people on a genuine level - regardless of anyone’s state of mind - you’ve done your job.

Everyone is still a little worried about the future, and that’s OK. It’s up in the air, but there’s the promise of a return to some type of normality on the horizon. Anxiety is a part of life, but it doesn’t have to get in the way of your career as an artist. Check out some of the online DJ courses here and get back in the game!

New features in Traktor 3.5

Whatever gear you play - old or new - DJ Courses Online hooks you up with solid tutorials that both show and tell how to get the most out of it. Check out one of the online DJ courses today.

We’ve known it was coming for a bit, but today the updated Traktor Pro 3.5 has been released. The fresh version of Traktor Pro boasts two new features that are likely to be well-received: the new streaming library features for Traktor (via Beatport and Beatsource LINK) and advanced HID integration with Pioneer DJ’s flagship CDJ-3000 players.

Better CDJ-3000 integration

More than one DJ (like, everyone) has been complaining about the half-cocked HID integrations you generally get with computer-based DJ software. Traktor has addressed this in the update, stating that users… 

“...can also control most of TRAKTOR’s performance functions directly from the CDJs. New extra-large displays on the CDJ-3000s make TRAKTOR’s waveforms crisper and more immersive. Cover artwork on the central jog display and larger bowser fonts make navigating large libraries easier. The new integration makes DJing on external decks feel more like playing within the TRAKTOR software itself.”

Streaming libraries

Streaming libraries are finally available in Traktor Pro. Users of Beatport LINK and Beatsource LINK will be able to download and browse top releases and playlists inside of Traktor Pro 3. In the words of NI: 

“...the new Beatport and Beatsource LINK access allows DJs to search the entire Beatport and Beatsource catalogues for their favourite artists, labels, or curated playlists. These search results can be sorted by release date or genre, allowing DJs to continuously explore new music.

This means that users are also able to access both Beatport and Beatsource LINK functions, including streaming playback of full-length tracks from either catalog within Traktor Pro 3.

The jogwheel keeps turning, with DJing becoming ever more connected, tactile and geared towards the fun. Get into the DJ Courses Online course catalog and level up your skills.

Why throw your own party?

It’s not unlikely that the local bar or club for DJs has closed down. Perhaps you’re out of options in your town and are looking for a place to play. One way around the lack of venues is to throw your own party. Check out a few reasons why DJs might want to start making things happen for themselves.

You can ‘book’ yourself

Yeah, there’s never as much money when you start out doing your own venture. But it’s still a booking and you’re still entitled to some takings. So whether the payout is great or not, it feels good to be in charge of creating the atmosphere you think your people need. In a post-Covid world, DJs will have to rely more on themselves and access to good DJ course material.

You learn your value

If there’s one phrase that summarizes what a whole generation of internet DJs needs to hear, it’s this: you’re worth as much as you bring to the bar. People go out to have a good time, not to find their new favorite DJ or even hear new music. Those things are bonus surprises. By throwing your own party, you’ll have a clearer idea of what you’re worth - both in monetary value and in learning if you have what it takes to be a professional DJ. 

You claim your space

There’s a room for a party in every town. There’s no good in thinking your corner of the world is ‘too small for a DJ night.’ We’re all about to be surprised at the spike we’re gonna see in the entertainment industries. When venues begin their slow emergence from hibernation, at least 5% of the population is going to go balls-to-the-wall party mad. Be ready. Claim the space by making your event THE event.

The future is indeed bright for DJs, especially those who have been honing their DJ skills on Twitch for the last year. So if the laws in your area currently permit it, get your party night together. Just don’t forget to play a few schmaltzy bangers at the end of the night to leave the people all fuzzy. Also, don’t forget to check out some of the course material by DJ Courses Online.

DJ gear that never worked out

When it comes to gear, DJs can be notoriously difficult to please. It’s not enough that the controller works perfectly. It should also feel good in your hands and hopefully make you look like a feature in the room. But the road to a popular DJ controller is paved with duds, bombs, booby traps and just plain old poor design. Here are a few that never took off. 

The Guitar Fighter

DJ Amp Live is probably best known for the legal issues around his Radiohead In Rainbows remix (he won the case, sort of). But then there’s the Guitar Fighter, a DJ controller that was never released commercially but turned a few heads along the way. It’s basically the child of a Guitar Hero controller and an MPC. Check it out. 

The Pacemaker

There have been a couple of attempts to make standalone DJ controllers. The Pacemaker was one of them. Back in 2006, the iPod-like device was brought out. The Pacemaker would let you toggle two tracks with just one hand, using circular touch pads and ribbon strips. After delays, the expensive ($700) device was released - just in time to be made obsolete by the smartphone explosion. It’s now an app. Check it out. 

Otto

Otto was a wonderfully simple circular beat slicer device. The touchable device controlled its own dedicated software and worked by cutting and rearranging a single sample into little pieces. Otto was a one-trick-pony which used the dot matrix style of coloured lights to play back the sample. Tactile, simple and unfortunately also now defunct. Check it out. 

Whatever gear you play - old or new - DJ Courses Online hooks you you up with solid tutorials that both show and tell how to get the most out of it. Check out one of the online DJ courses today.

How to throw your own party (right)

Throwing your own party is a bit like farming. Unlike getting bookings, it’s about the medium- to long-term. You sort of have to be committed to making it work for at least 6 months before it starts to pay off, particularly in a Covophobic world. It is a completely different game to getting bookings, so here are a few ways to do it right.

The music

The music is where 90% of the word-of-mouth happens. All it takes is for someone to say the words ‘jackin house’ to get jackin house fans excited. Even if you’re not totally into the music, deliver the tunes people want to hear. Everything else is really just the icing. There’s a bunch of practical DJ industry advice for DJ Courses Online members. 

The venue

Start small. It’s better to have 30 people in a 50-person venue than 100 in a 500-person venue. Professional DJing is really just about playing records that make people dance together. Dancing is a vertical expression of a horizontal desire. To some extent, you’re playing matchmaker. And those people need to feel like they’re being crammed together in a space. Scale up to a bigger venue only when your regular event genuinely packs out.

The promotion

Most of the people who come to your party will be personal friends and people you know. The toughest thing about selling tickets to your friends is how to do it without turning them into dollar signs. If you’re just starting out, you do have to actually like most of the people and be genuinely pleased to see them arrive. Use social media, but don’t rely on it too much. It’s more about repeat exposure across different sources of information. A text message, then a post, then a poster, then a mention in conversation - that’s good promotion.

The best piece of advice for throwing a DJ night is to just talk to people about it. Mention that you’re keeping your ears open for opportunities. Everyone will say it’s a great idea, but take their opinions with a pinch of salt. It’s much easier to say ‘sure’ than to buy a ticket. Reach out to more experienced DJs about starting your night and see what they think. And finally, pay a bit of money to level up with a course. Take a tour of the DJ training courses offered here and get your party started!

3 fringe cases for Ableton Live

Ableton Live is indeed the alien technology among DJ software options. Far from being either just a DAW or a playback platform, Live allows DJs to push the boundaries of possibility and create some truly innovative effects. Here are a few things you didn’t know people were doing with it.

Controlling Ableton Live using vinyl

It might take a while to get your head around this one, but pioneering DJ John Type has figured out a way to mix and control in Ableton Live 11 using vinyl. Not with a Scratch Live timecode turntable, just using a pure analog audio signal to both influence the tempo and change patches while mixing. The trick is getting the signal to run through a type of feedback loop to tell Ableton (via audio) to speed up and match the beat. Again, head-scratching stuff, here’s how it’s done.

Modular synthesis integration

Ableton could have been designed for modular synthesis. Both software and hardware place a high value on chance and spontaneity, and can take a DJ set from the realm of static playback to non-repeating musicality. One DJ doing it right is David Harrow, whose live set is a textbook for modular synth integration with Ableton. Check out the good work being done in this field.

4D sound using Ableton

The concept behind 4D sound has been around since about 2014. A 4D sound system is closer to an art installation than a DJ rig, and thorough explanations about it can be hard to track down. The general idea is that the position of the sound changes over time. Multiple speakers are synchronized and coordinated through Max For Live and Ableton Live, allowing the perceived source of the sound to travel in any direction in a space. Trippy. Here’s more. 

Ableton has a slightly steeper learning curve than most DJ software options, but it also tends to open doors and minds to less accessible possibilities. Check out the free preview lesson from the Ableton Live DJ course right here on DJ Courses Online, and keep pushing the boundaries!

NFTs and how DJs can use them

They’re being called ‘niftys’, and they’re being heralded as a new era in music and digital art. However you want to look at them, NFTs are popping up everywhere, with investors and collectors eager to get in on the action. Ladies and gentlemen, the non-fungible token, and how it affects DJs.

What’s going on here? 

Let’s imagine that a fictional 80s synthwave track called ‘Miami Neon’ (by an artist called DJ SpankRod) is being released in a couple of days. The track itself is going on sale through Beatport and the usual channels. But there’s also a separate sale for the NFT associated with the work. It states who owns the original copy of ‘Miami Neon’. Yep, even though it’s a digital track which can be ripped and uploaded on YouTube, someone can now own the original. Individual track downloads might make the author of the work a big chunk of change in the short-term release period, but the nifty is really the big kahuna. Why? Read on. 

OK. Then what? 

‘Miami Neon’ happens to be a hit. What does this mean? It means that suddenly everyone wants a piece of it. So the NFT-holder decides to sell their NFT for a profit, which they do. In the process, the author of the work (the music producer) gets an automatic cut using blockchain-based smart contracts to safely ensure an automatic and immutable revenue split. The buyer is happy because they now have bragging rights as the NFT-holder of ‘Miami Neon’. Something which had little to no value before (an audio file which can be copied for free) now has value (a ‘deed’ to the work which can’t be copied). There’s now something to pay for instead of simply getting the free version. Everybody wins.

Who is it for?

Last week, Steve Aoki made this comment on MSN.com: “The space is gonna grow to be something that we’re all gonna use as a means of collecting art … in the future. The culture’s gonna be NFT.” In the words of smart person Tom Bilyeu, “the release of music tracks as NFTs is meant to reach collectors more than investors”. There are no greater collectors than DJs. In other words, NFTs might be a technology expressly invented for DJs. In the long-term, it’s likely that we’ll see DJs gain status and credibility as collectors of the original (digital) copy of a track, with NFTs being the deed of ownership. 

There’s a lot more to unpack here. Why is it important to know who the track belongs to? Who is going to pay for something they can get for free? How does this impact the type of music being made? Lots of questions and we’ll hit you up with some answers in the coming weeks. In the meantime, take your career as a DJ a little more seriously by checking out the Career Tips DJ course by DJ Courses Online.

Beatport to start accepting Bitcoin

In accordance with the internet’s ongoing demand for everything cryptocurrency, Beatport has announced they will begin accepting Bitcoin as a form of payment for their online music download service from June 2021. Let’s take a shallow dive into what this means. 

What’s crypto again? 

Cryptocurrency is a form of digital payment beyond the borders of traditional “fiat” currency. When you buy and download a track online, you probably use PayPal or a similar service. These services are tied to your bank account, which uses your identity as a form of security. Cryptocurrency like Bitcoin uses decentralized information storage to achieve similar levels of security, with the benefit being greater ease of transaction. Basically, Bitcoin makes online transfers much easier and cheaper than traditional banking. 

What’s an NFT? 

Producers especially should be taking note of the newest trend in music publishing: Non-Fungible Tokens. An NFT is basically a stamp of ownership. In a world where you can easily copy and republish music, images and digital art, NFTs make sense. They’re a record of the rights-holder of a digital work. NFTs solve the problem of double-spend transactions, which is where someone sells the same thing twice. Like that guy who sold the Eiffel Tower. Twice.

Why is this important for DJs?

Professional DJs often find themselves afloat in a world of hype, name-dropping and street cred. There are constant disputes over sampling, copyright infringement and publishing. While blockchain-based music platforms aim to solve some of these problems, there’s another reason that Bitcoin makes sense if you’re purchasing music frequently: fewer transaction fees. PayPal charges over 3% for transactions in the United States, a whopping amount in financial terms. It’s now worth exploring the alternatives.

DJs and music producers would do well to have some currency stored in Bitcoin or Ethereum for their track downloads, or even to begin transacting in the currency themselves. Wherever your opinions lie with regard to cryptocurrency, the buzz doesn’t seem to be dying out. Neither is the buzz about raising your DJ profile with the Career Tips DJ course by DJ Courses Online.

Get your DJ decks out again

Are you motivated to get your next mix together? Lot of us are saying “what’s the point” around now, with ongoing restrictions and all. But stay motivated because this time will end. And motivation is key to getting your next set together. That’s why the DJ Courses Online video instructors all seem so hyped to be sharing the knowledge. Three quick boosters for you. 

Make the setup easy

The trick to staying on top of your game is forming a habit. You got a controller in the back of your cupboard? Get it out. Plug it in. If you live with other people, make compromises to have a bit of living room table space on the weekends. Do whatever you have to in order to have it set up and ready to go at a moment’s notice. Remove the barriers to booting up the decks and hitting cue. 

Let your hobby inspire you

Obviously, most DJs in the world are not professional. And the professional life is a little hyped at times. All good. Maybe you’re happy doing it as a hobby. You’ll probably make more friends that way! So don’t get despondent if you feel that you’re not making it as a professional DJ. You could sign up for a DJ course to learn some pro tips. You could rearrange your bedroom to make more space for your gear. Just spend a little more time on it than yesterday. 

Send a mix to a friend

Even in an age of limitless music, your friends will still be stoked to get a mixtape from you. Especially if it’s to their taste. Pick a friend. Do a mix of 10 tracks you think they’ll like and send them the MP3. The genuine thrilled reaction you’ll get is worth a thousand of those Soundcloud comments with three fire emojis. You know the type.

We’re rooting for you. If you’re at all into DJing, you’re a cool person with some skills to share. Don’t let the indifference of social media and play counts get in the way. Picture yourself behind the decks at the next rooftop party. Picture the joy you’ll bring to those people. Stay on top of your game!

Is Audius the right fit for DJ-producers?

There’s a buzz right now about a music streaming platform called Audius. No, this isn’t a paid article, just listen. If you’re producing music, you’ll wanna hear about a type of streaming platform which only works when the producers are square in the middle. Sound good? Welcome to the world of decentralized royalty splits. Welcome to blockchain for music.

Blockchain means business

Audius uses a blockchain to store its audio data, which makes it impossible for someone to claim a piece of intellectual property if someone else published it first. Permanent timestamping. Normally, you’d be able to change the date in a file. With blockchain, you can only update it, but the original record remains. In the same way that torrenting movies has been tempered by the affordability of Netflix, blatant sampling, lawsuit fears and track rips could be similarly subdued by the affordability of blockchain-based music platforms.

One platform to rule them all

We’re all used to new platforms coming along, making promises and then vanishing (or being bought out) with your data and hopes. There’s no reason to trust Audius - yet. But it does seem inevitable that sooner or later, a leading DJ-centric platform will come along which uses our current tech to enable direct fan-to-artist crypto payments. We’ll have to wait and see whether or not it’s Audius. Pretty advanced stuff, but not as advanced as this Advanced DJ Techniques & Tips III course.

User-facing

Blockchain platforms tend to resemble house parties. Someone owns the house, but nobody’s really in control of everything that’s going on. Platforms like Audius are built to serve the user base, not merely trade with them. The open-source feel of the platform holds all the promise of Web 3.0 and a much-needed overhaul of the current content distribution methods. The Audius white paper outlines most of what they stand for.

How much of this is of value to DJs is yet to be seen. But if you’re producing your own tracks, you’ll want to take notice of the way blockchain is affecting copyright (in your favor!). Yet again, times are changing.  But thankfully, learning to DJ like a boss is here to stay.

Curating an awesome DJ set

Being a great DJ is mostly about curation of awesome music. It’s as simple as that, really. You need to listen to new music constantly. You need to update your collection constantly. You need to be a bit of a librarian who knows the contents of their crate. No better way to learn DJing curation. Here are a few ideas for filtering the rubbish from your collection and building an awesome set.

The feels

At least once a year, sort your whole collection into two piles: tracks that still make you feel something, and the rest. If a track doesn’t make you feel something, it should be in line for removal. Not necessarily every track needs to be removed from the pile. There’s room for oldies and tracks that you know your friends and crowd enjoy more than you. But definitely cull your collection based on feel as often as possible. 

Seasonal selection

Fresh material usually makes up the bulk of most DJs’ sets, so you should always be on the lookout for the new stuff that suits your style. But remember that acquiring certain tunes means letting others go. You don’t actually want a collection of 10 million songs. Onboard the new stuff in summer and offload the old stuff in winter. Feels natural. 

Switching

No DJ should give their collection away, but swapping tunes with friends is a great way to build connections that matter and last. Maybe one of your ‘meh’ tunes will spark some joy in a buddy. Call up a mate, go through each other’s collections and do a trade of some of your tunes. Sharing music is a timeless way to bond. You’ll probably end up throwing a party together. 

Curating a great DJ collection is a skill worth hanging on to. DJing isn’t all only about getting loose and curating the vibe at a party. Your connection with your collection is what matters. Get more pro tips from TLM in the DJ Careers course by DJ Courses Online.

Make your next DJ mixtape better

Let’s take a look at how your next mixtape could be better. Nothing wrong with your latest one, of course. But there is a type of playbook for making your selection pop. DJs take heed! Your next mixtape could be better than your last one. Here’s how. 

Do the levels right

Having one track come in softer than the one before it is an energy-killer. That’s what the Loudness War is all about. We perceive louder music as better. You can use a free loudness metering tool called Youlean to make sure you’re judging your levels by overall integrated loudness, not just peaks. Don’t be afraid to tweak the EQ to make the whole mix sound ‘mastered’. Learn more about level mixing with a DJ Courses Online membership.

Plan the music

Especially if you’re doing a drag-and-drop mixtape compilation (instead of a recorded live performance). Planning a set to play out on a sound system is different to planning as set for listening back on bud headphones on a noisy bus. Make sure the energy you’re trying to convey suits your intended playback. 

Get it done!

It’s cool hearing your mixtape back. And you get to hear it back forever. It’s not about short-term hype and getting immediate plays and follows. Motivation is the natural byproduct of looking back at your body of work and seeing how far you’ve come and how others have joined you on the way. But you have to put in the time. Your DJ mix can be scrappy for now, while you get started. But make sure it’s better than the last thing you did. 

The art of the mixtape has been mostly usurped by streaming playlists. But so much playlist compiling starts with the question “how can I reach a million people?” And in the process, we’re kinda forgetting to reach out to the few people that will actually care that you made something for them. Don’t forget to throw in one of your own tunes! Pick up some more insight from the pros on any of the DJ courses by DJ Courses Online today. And a quick plug - DatPiff is still top of the pile for mixtapes!

Should DJs use Ableton Live 11?

It’s a debate we’re not going to end today. And it’s sort of a silly one too. There’s no audio workstation or DJ software that covers all the bases. You can use any software to do the job of showing a crowd of people a good time. So whether or not you produce your own beats and perform using Ableton Live 11, here’s a quick overview of the DJ-focused upgrades to the leading live performance DJ DAW

Towards production

With the recent upgrade to version 11, Ableton Live has shifted focus away from its power as DJ software and towards production. There is the standard host of new sounds and device upgrades, but the big one is the ability to comp. Not much use for DJs, but a fantastic development for anyone who records any kind of live input while producing music.

Follow action 

There have been a few improvements to clip follow action in Live 11. This means that you’re able to be a little more unpredictable than before. You can alter the note and velocity probabilities. You can customize clip length. And here’s the big one - you can jump to specific clips. All great little tweaks for DJs looking to push their live set forward and give it freshness. 

MPE capability

Another one that benefits the keyboardists and performers among us is the MPE support. MPE (MIDI polyphonic expression) controllers allow you to play really space age sounds. The Roli Seaboard produces mind-bending sounds. It’s like keyboard aftertouch on steroids. This development might even turn a few DJs into keyboardists because it sounds so cool.

Ableton Live has long been the DJ platform for controllerists and DJs who want to play spontaneously with their tunes. If you’re unfamiliar with Ableton Live (and especially if you want to play more instruments during your set), it’s a recommended upskill from other software. DJ Courses Online has a course specifically for Ableton Live DJs that you might wanna check out. Catch you next week!

A brief history of Daft Punk

As you’re likely aware, the duo that basically created the French house genre have split. Pioneering, Grammy-winning electronic music outfit Daft Punk is no more. And so, in memory of their contribution to DJ and dance music culture, here’s a brief history of Daft Punk’s wide arc across our musical skies.

Early years

Daft Punk was formed by Guy-Manuel de Homem-Christo and Thomas Bangalter in 1993. In 1997, their debut studio album Homework was released, with singles ‘Around The World’ and ‘Da Funk’ leading their charge. In 2001, their second album ‘Discovery’ pushed them even further upwards with classics like ‘One More Time’ and ‘Harder, Better, Faster, Stronger’, both featuring the by-now trademark vocoder sound. 

Later years

The duo toured from 2006-2007 and won a Grammy Award for Best Electronic/Dance Album in 2007. In 2010, their space-age appearance and futuristic sound made them a perfect match as the soundtrack composers for the film Tron: Legacy. In 2013, their fourth album ‘Random Access Memories’ went on to win 5 Grammys, including Album of the Year. All while setting the bar on how to DJ way high. 

Interstella 5555

If there’s one enduring legacy that Daft Punk have left us with other than their music and aesthetic, it’s a rather unknown animated musical film called Interstella 5555: The 5tory of the 5ecret 5tar 5ystem. The film was a collaboration with Japanese director Kazuhisa Takenouchi and had a budget of $4 million. Interstella 5555 enjoys a cult following, and is worth a watch for fans of Daft Punk’s crystal clear trademark style.

Daft Punk have no doubt set the bar high for any future generations of music that feels like it was given to us by an advanced alien civilization built on the principles of EDM. Their departure from our hearts (and charts) is major loss to electronic music. But don’t let that stop you from pushing onwards in your own DJ career. Check out the Ableton Live DJing course by DJ Courses Online today.