1. Before Exporting – Preparation

The XDJ-RX thrives when tracks are well-prepared.

• Analyze Mistakes: Beatgrid check every track, set hot cues (intro, drop, outro), and store loops.

• Export to USB: Format as FAT32 or exFAT → always export playlists, not just tracks.

• Optimize export settings: In Rekordbox Preferences → Export → enable:

  • Hot Cues + Memory Cues

  • Waveform preview

  • My Tag & Rating info

💡 Pro Tip: Export playlists named by set flow (e.g., “Warm-Up 115BPM,” “Peak Tech 126BPM”) instead of just “Techno” or “House.” On the RX, this makes set navigation way easier.

2. USB Organization & Backup

• Always carry two USB sticks (one backup).

• Use folders/playlists inside Rekordbox → they mirror on the XDJ screen.

• Rename USB with your DJ name (looks pro + avoids confusion in booths).

💡 Pro Tip: Add a hidden emergency playlist with tracks you know blend with anything (long intros, safe energy, versatile key). These save you in stressful moments.

3. On the Navigation Workflow

• Use the rotary selector + screen for fast browsing → but get comfortable with Rekordbox playlists first so you’re not scrolling endlessly.

• Tag List (button on RX) → while playing, tag possible next tracks instead of digging last-minute.

• Info button → quickly check BPM/Key/Rating from Rekordbox.

💡 Pro Tip: Train yourself to pre-plan 2–3 tracks ahead using Tag List → avoids panic and makes your set flow smoother.

4. Mixing Workflow

• Load with hot cues: Hitting Hot Cue A for intros saves precious seconds.

• Phrasing: Practice 16- or 32-bar transitions the RX screen shows phrasing markers if set in Rekordbox.

• Loop workflow:

  • Use auto-loops to extend intros/outros.

  • Save emergency 8-bar loops in Rekordbox → they sync seamlessly.

• EQ discipline: RX EQ knobs are tight — learn bass swaps (kill bass on incoming track, swap cleanly).

💡 Pro Tip: Don’t overuse the crossfader. On club CDJs, most DJs use volume faders + EQ for smoother, more professional transitions.

5. FX & Filters

• Sound Color FX (Filter, Noise, Crush, etc.) → simple but powerful. Filter is your best friend for transitions.

• Beat FX (Echo, Delay, Reverb, Roll) → sync to BPM for dramatic transitions or echo-outs.

💡 Pro Tip: Less is more. Many DJs overdo FX on RX units. Instead, master one-knob filter transitions → club-ready skill.

6. Performance Tips

• Slip Mode → lets you scratch or loop while track keeps playing underneath → great for creativity.

• Quantize → keep loops and cues locked to grid (only if beatgrids are accurate).

• Vinyl Speed Adjust → set brake/start times to your style (fast for techno, slower for hip-hop feel).

💡 Pro Tip: Keep Quantize ON for hot cues/loops in electronic music, but OFF if you’re mixing older tracks or tracks with drifting beats.

7. End of Gig / Session

• Always eject USB properly (hold USB button).

• After each session, update software playlist with tracks that worked and remove dead weight.

• Tag new “go-to” tracks → they’ll become your core arsenal.

✅ Workflow Checklist

1. Prep & analyze tracks in Software.

2. Export playlists → USB (always 2 copies).

3. Plug into RX, navigate with rotary & Tag List.

4. Mix using hot cues, phrasing, loops, and filters.

5. Add FX sparingly, rely on EQ.

6. Review session → update software library.
   
   

Like a lot of DJs, I’d been waiting years to read those words. I jumped into Serato, updated my firmware, and logged in to see what it was all about.

First Impressions: The Good and the Not-So-Good

After logging in, I noticed that my Spotify playlists didn’t auto-integrate. That was a little disappointing. I was hoping my years of playlists would magically appear in Serato.

But then came the wow moment: load a track on one deck, and Serato starts suggesting other songs that fit. Spotify’s recommendation engine felt like a crate-digging buddy whispering ideas in my ear. It was smooth, smart, and immediately useful.

So, yes — this is a game-changer for beginners. But it’s not perfect.

Benefits for Beginner DJs

If you’re just starting your DJ journey, Spotify integration solves one of the biggest roadblocks: music access.

• Unlimited library: No more stressing over what to download next.

• Practice without limits: You can spend hours experimenting without running out of tracks.

• Genre exploration: Want to test Afrobeat into House? Drill into Trap? It’s all there, instantly.

• Recommendations: You’re guided toward songs which helps your learn faster.

In short, it lowers the barrier to entry and makes practicing more fun and inspiring.

The Drawbacks You Shouldn’t Ignore

But let’s be real: this isn’t the ultimate solution.

• No offline reliability: If your Wi-Fi drops, so does your music.

• Playlist quirks: At least in my test, Spotify didn’t bring in my personal playlists automatically.

• Audio quality: Streaming tracks don’t always have the punch of properly mastered downloads or lossless files.

• Artist support: This one matters. Spotify famously pays artists very little per stream. If DJs rely only on Spotify, artists, especially smaller underground ones, lose out.

My Advice: Use Spotify as a Tool, Not a Crutch

Here’s how I’d approach it if you’re a beginner:

1. Use Spotify for practice. Test transitions, learn beatmatching, and explore genres you wouldn’t normally pay for upfront.

2. When you find gems, buy them. Head over to Bandcamp, Beatport, Traxsource, or wherever that artist sells their music. Download the high-quality files and add them to your crates.

3. Support the scene in real life. Go to gigs, buy merch, and support the artists you love. DJing is about community, and streaming doesn’t replace that.

The Big Picture

That first mix I did with Spotify in Serato was a rush. The recommendations felt like doors were opening for new ideas. But I also know it’s not the full answer.

Spotify is a fantastic practice tool a way to spark creativity, expand your music library, and keep your sessions fresh. But the real growth still comes from digging for music, building your personal collection, and connecting with artists who inspire you.

So yes, get excited. Open Serato or Rekordbox , log into Spotify, and start practicing more than ever. But remember: the best DJs aren’t just good mixers, they’re great selectors. And that skill only comes from truly owning and supporting the music you love.

1. Setup & Basics (5–10 min)

• Connect USB with prepped Rekordbox playlist

• Check settings on XDJ:

  • Quantize: ON (for loops/hot cues)

  • Slip Mode: OFF for now

  • Beatgrid check: ensure tracks are correctly analyzed

Pro Tips:

• Use headphones to pre-cue Track B while Track A plays on the master.

• Label your channels mentally: Deck 1 = currently playing, Deck 2 = next.

2. Deck Control Drills (10–15 min)

Goal: Master deck-level controls before mixing.

• Jog Wheel Practice:

  • Scratch lightly (test pitch bend responsiveness).

  • Nudge to align beats manually (even if sync is ON).

• Pitch Fader Practice:

  • Move ±4% to speed up/slow down track.

  • Match BPM of Track A & Track B manually.

Pro Tips:

• Practice beatmatching without sync for ear training.

• Use simple tracks with steady 4/4 kick for better timing.

3. Mixer & EQ Practice (15 min)

Goal: Smooth transitions using EQ and crossfader.

• Volume Faders: Control incoming track, fade in/out.

• EQ Knobs: Low/Mid/High to blend frequencies without clashing.

• Crossfader: Practice cutting in/out, but primarily focus on EQ + volume fader transitions for smoother sound.

Drills:

1. Track A playing → slowly bring in Track B, cutting low frequencies first.

2. Mid & high adjustments → smooth harmonic/lead transitions.

3. Practice 8-bar & 16-bar phrase transitions.

Pro Tips:

• “Bass swap” is essential: cut bass on incoming track until outgoing track drops.

• Avoid overusing crossfader; smooth volume fader transitions sound professional.

4. Hot Cues & Loop Practice (10 min)

Goal: Learn to jump around tracks creatively and extend transitions.

• Set hot cues at: intro, drop, vocal, outro.

• Trigger hot cues while mixing → practice timing with phrasing.

• Use 4- or 8-beat loops to extend sections for smoother transitions.

Pro Tips:

• Color-code hot cues (Blue = intro, Red = drop, Yellow = outro).

• Keep loops short at first → prevents messy overlaps.

5. Effects & Filters (10 min)

Goal: Introduce FX subtly to enhance transitions.

• Sound Color FX: Filter is most important → practice sweeping low/high mid for incoming/outgoing track.

• Beat FX: Delay, Echo → apply at track end or drop for flair.

Pro Tips:

• Less is more: start with one FX per transition.

• Practice filter + EQ + volume fader combo → this is what pros use most.

6. Full Transition Practice (15–20 min)

Workflow:

1. Pick two tracks → load Deck 1 & Deck 2.

2. Set hot cues and loops.

3. Pre-cue Track 2 in headphones.

4. Practice 8- and 16-bar transitions using EQ, filter, and volume faders.

5. Record each mix → review phrasing, timing, and EQ balance.

Pro Tips:

• Focus on muscle memory: hands should automatically know volume/EQ/FX flow.

• Don’t worry about creativity yet → first master clean, predictable transitions.

7. Advanced Drill (Optional)

• Slip Mode + Hot Cue Juggling: Keep music flowing while jumping around on Deck 2.

• Harmonic Mixing: Match tracks by key → smoother blends.

• Practice “emergency recovery”: simulate wrong track → quickly fade/loop to correct.

8. Cooldown & Reflection (5 min)

• Take notes: which transitions were tricky? EQ mistakes? Timing off?

• Update Rekordbox hot cues/loops based on what worked in practice.

✅ Daily/Weekly Practice Tips

• Daily (20–30 min): Focused deck + mixer drills (beatmatching, EQ, faders).

• Weekly (60 min): Full mini-set practice (3–5 tracks).

• Record & review → note improvements and weaknesses.

1. Manual Beatmatching Drill (Without Sync)

🎯 Goal: Improve beatmatching accuracy without visual aids.
📌 Exercise:

• Load two tracks with different BPMs (not the same BPM).

• Manually adjust the pitch to match them by ear.

• Keep them in sync for at least 2 minutes without touching the pitch fader after the initial adjustment.

🔄 Variation: Cover the screen to force reliance on ears, not waveforms.

2. EQ Isolation Transition

🎯 Goal: Master smooth transitions using EQ instead of faders.
📌 Exercise:

• Play Track A and slowly introduce Track B.

• Cut the low frequencies of Track B while fading in the mids and highs.

• Gradually swap the lows between the tracks, making the transition seamless.

🔄 Variation: Try this using only mids, then only highs, and compare the differences.

3. 3-Song Mini Set Challenge

🎯 Goal: Improve set flow and quick track selection.
📌 Exercise:

• Pick 3 songs that mix well together and play them in sequence.

• Ensure smooth transitions, proper phrasing, and consistent energy flow.

• Try different orders and see how it affects the vibe.

🔄 Variation: Add a 4th track or change one track each time.

4. Loop Transition Practice

🎯 Goal: Use loops creatively to extend mixes.
📌 Exercise:

• Set an 8-beat loop near the outro of Track A.

• Bring in Track B over the loop and gradually phase out Track A.

• Experiment with different loop lengths (4 beats, 16 beats).

🔄 Variation: Try looping parts of the intro of Track B to blend it better.

5. Harmonic Mixing Challenge

🎯 Goal: Improve harmonic mixing and train your ear for key compatibility.
📌 Exercise:

• Pick 5 songs in different keys and analyze how they sound together.

• Mix only tracks that are harmonically compatible (same key or adjacent on the Camelot Wheel).

• Notice how certain combinations feel smoother than others.

🔄 Variation: Try mixing tracks with clashing keys and hear the difference.

6. 30-Second Transition Drill

🎯 Goal: Speed up transition decision-making and practice fast blending.
📌 Exercise:

• Mix two tracks but give yourself only 30 seconds to transition.

• Focus on speed, but avoid making it sound abrupt.

• Do this 10 times with different tracks.

🔄 Variation: Try it with 15-second transitions to push your speed further.

7. Reverse DJing (Outro to Intro)

🎯 Goal: Improve knowledge of track structure and mixing points.
📌 Exercise:

• Start mixing in Track B at the outro of Track A.

• Work backward, bringing in elements of Track B before its intended intro.

• Experiment with creative transitions using effects.

8. Genre Switch-Up

🎯 Goal: Improve versatility and adaptability.
📌 Exercise:

• Start with one genre (e.g., house), then transition to a completely different genre (e.g., hip-hop).

• Use tempo adjustments, effects, or creative drops to make the transition work.

🔄 Variation: Try blending three genres in one session.

9. Blind Track Selection Challenge

🎯 Goal: Improve intuition and on-the-fly decision-making.
📌 Exercise:

• Shuffle your playlist and mix the first two tracks that come up.

• Work out a way to make them fit together, no matter how different they are.

• Focus on finding common elements like drums, basslines, or melodies.

🔄 Variation: Do this live in front of someone for added pressure.

10. Live Recording & Self-Review

🎯 Goal: Identify strengths and weaknesses in your sets.
📌 Exercise:

• Record a 15-minute mix focusing on clean transitions and creative elements.

• Listen back critically, taking notes on what worked and what didn’t.

• Try the mix again, improving weak spots.

🔄 Variation: Have a friend or mentor listen and give feedback.

11. Phrase Mixing Mastery

🎯 Goal: Improve timing by transitioning at the right moments in a track.
📌 Exercise:

• Identify the phrases (usually 8 or 16 bars) in a track.

• Only transition at the beginning of a new phrase.

• Repeat with different genres to learn how structure varies.

🔄 Variation: Try intentionally mixing off-phrase to hear why proper phrasing is crucial.

12. Acapella Overlay Challenge

🎯 Goal: Improve layering skills and creativity with vocals.
📌 Exercise:

• Take an acapella (isolated vocal track) and lay it over an instrumental.

• Adjust tempo/pitch if needed to make it fit.

• Try blending multiple acapellas over different beats.

🔄 Variation: Use hot cues to trigger vocal snippets in creative ways.

13. Minimalist Mixing

🎯 Goal: Learn to create smooth transitions using only one control at a time.
📌 Exercise:

• Mix two tracks without using the crossfader (use only EQ or volume faders).

• Then, mix without using EQ (faders and filters only).

• Finally, try using only filters and effects.

🔄 Variation: Challenge yourself to mix without headphones to focus on visual cues and EQ balance.

14. BPM Push & Pull (Tempo Mastery)

🎯 Goal: Improve manual BPM adjustments and track control.
📌 Exercise:

• Mix two tracks, but instead of adjusting pitch, use jog wheels to push/pull one track into sync.

• Avoid relying on the sync button or BPM display.

• Keep them locked for at least 2 minutes without BPM drifting.

🔄 Variation: Switch between fast and slow tracks to challenge tempo flexibility.

15. Rapid Genre Transitions (Speed Mix)

🎯 Goal: Improve adaptability and quick thinking.
📌 Exercise:

• Pick 5 different genres and mix them all within a 10-minute set.

• Use tempo shifts, acapellas, and effects to make transitions work.

• The goal is to keep the energy flowing despite drastic genre changes.

🔄 Variation: Mix the same genre but vary the tempo drastically (e.g., house at 124 BPM → house at 100 BPM).

16. Blindfold EQ & FX Control

🎯 Goal: Train muscle memory for better live performance control.
📌 Exercise:

• Close your eyes or blindfold yourself while mixing.

• Rely only on your hands and ears to control EQ, faders, and effects.

• This forces you to feel your gear and listen more attentively.

🔄 Variation: Have a friend randomly turn EQ knobs and you must reset them by ear.

DJ Controllers (MIDI Controllers)

Choosing your Software based on Hardware

The Software you choose depends on the DJ Equipment you use.

Software is especially important if you choose to use an all-in-one controller.

Most controllers are specifically designed with buttons, knobs, and faders to work with particular DJ software, while others are more versatile and can be used with multiple programs.

Controllers can vary in size and complexity, from compact units with just a few buttons and knobs to larger controllers with dozens of controls and built-in screens.

The DJ mixer/controller acts as a bridge between the DJ and software, allowing the DJ to control the software using the mixer's physical controls. Think of it like a game console controller, but for music.

Some DJ mixers/controllers also include built-in audio interfaces, used to connect speakers directly.

DJ or DAW? (Production Software)

First, let's talk about the two primary types of music software: DJing software and Production software (DAW-Digital Audio Workstation).

DJing software is used for live performances, allowing you to mix and manipulate tracks in real-time, while production software is used to create new music.

Some popular DJing software include:

• Serato

• Rekordbox

• Traktor

• Virtual DJ

These programs typically have a user-friendly interface, designed to emulate a mixer and turntable setup, and offer a range of features, including beatmatching, looping, and effects.

On the other hand, music production software or DAW’s (Digital Audio Workstation) are used for making music and editing tracks in an emulated studio environment.

Some popular music production software include:

• Ableton

• Logic Pro

• FL Studio

• Protools

These programs are more complex and intricate than DJing software and offer a range of tools and features for music creation, including virtual instruments synthesisers , audio effects, and automation.

While both DJing and music production software have their benefits, they also have drawbacks as they are application specific.

DJing software is designed for live performances, so it may have fewer tools for music creation than music production software. On the other hand, music production software can be overwhelming for beginners and may offer different performance features than DJing software.

If you want to focus on live performances and mixing tracks, DJing software may be your best choice. On the other hand, music production software may be a better fit if you want to create and produce music.

DJing Software:

• Beatmatching: The ability to sync the tempo and timing of two tracks to create a seamless transition.

• Cue points: The ability to set markers on a track to quickly jump to different parts of the song during a performance.

• Looping: The ability to create repeating sections of a track, allowing for extended transitions or remixing on the fly.

• Effects: The ability to apply audio effects like filters, delays, and reverbs to enhance the sound of the tracks being mixed.

• Harmonic mixing: The ability to mix tracks that are in key with each other, creating a smoother and more musical transition between songs.

Music Production Software:

• Virtual instruments: The ability to create music using digital versions of instruments like synthesizers, drum machines, and samplers.

• Audio recording and editing: The ability to record and edit audio tracks with a range of tools like equalizers, compressors, and time-based effects.

• MIDI sequencing: The ability to create music using MIDI data, allowing for precise control over the timing and pitch of musical notes.

• Automation: The ability to program changes in various parameters over time, such as volume or effects settings, to create dynamic and evolving sounds.

• Mixing and mastering: The ability to combine multiple audio tracks and apply mastering techniques like compression and equalization to create a final, polished mix.

DJing and music production software are essential tools for any aspiring DJ. By understanding the differences between the two and choosing the right software for your goals, you'll be well on your way to creating and performing your own unique sound.

Regardless of which software you choose, it's essential to take the time to learn it inside and out. There are many features hidden in the settings menu that can help you customise your DJ experience. Most programs offer free trials, tutorials and online resources to help you get started. Also, don't be afraid to experiment and try new things – that's part of the fun of being a DJ!

Playing Live To An Audience

Creating A Journey

Being a DJ is about spreading good music and creating an exciting atmosphere. It’s difficult to describe the rush when you look to the crowd and see someone’s eyes as they realise their favourite song is about to come on.

An audience needs a DJ to create a musical journey, and the DJ needs the audience to feed their energy.

When you are playing live, your crowd determines whether you are doing a good job.

Playing in public will dramatically improve your skills and nothing can beat real-life experience.

DJ Skillset

If you do manage to get a gig, I can tell you that mixing in front of an audience is one of the greatest feelings possible once you get started.

If you are reading this, I'm assuming you have mastered the 3 fundamental mixing skills, and you are confident in your ability on some level.

You may not feel entirely "ready" for your first gig, but you need to push past that and often go out in public before you feel completely confident.

There is every reason to be nervous, that is how we all started.

DJ Business

As a DJ, we need to treat ourselves like a business. 

Playing gigs is a business transaction (Even though you may do your first gig for free).

Building a good company is about creating value and trading that value for money.

Providing Value Requires a Frame Of Mind Where You Question;

• How Can I Create Value For The People Around Me?

• What are The Intentions of The People Who Hired Me? (Promoters, Club Owners, Wedding Couple etc.)

• What Does a Great Experience Look Like For All The People Involved?

DJ Marketing/Branding

Social Media can be a great help to build your audience. I suggest creating a dedicated page for your DJ antics. This is where you will tell all your family and friends to support you and spread the word that you are now starting to mix.

You can post about your progress, as well as your upcoming gigs.

• It is worth thinking, "What is, or could be, different about me?" as an advantage to stand out from other DJs.

It may take time to build momentum, but you do have to create engagement actively. If you don't ever promote yourself, then no one will find or endorse you.

You can use your DJ persona as an alter-ego to get through the awkward stages of starting up and putting yourself out there.

Many of my first gigs came from putting myself out there and telling my friends about my hobby.

Getting The Gig

Check Out The Venue

Go to the club or event that you want to get a gig.

Notice the type of music playing at different times of the night.

See if you can scout some of the VIP's and if you get a chance to talk to them, get their names and compliment them on the event.

Try not to push for a gig before you get to know them and how you can add value to the situation.

Promo Mix

A Promotion mix is what you will usually send to the promoter who books you.

Your Promo can be in the form of a link (Usually Soundcloud or Mixcloud), or you might hand it to them in person on a USB.

Customize your set according to the client.

There is no point in sending a Hip-Hop mix to a venue that focuses heavily on electronic music genres.

Playing The Right Music

Music taste is subjective and influenced by opinions and feelings.

As a DJ, you should intimately know musical styles and genres when building a music collection.

In addition, it is essential to understand the venue and your crowd because that will determine what music they are used to.

Another factor to consider is "when" you will be playing.

Have you been booked for an opening set?

The opening set will be very different to the headline set. Playing all your high-energy songs at the start of an event can overwhelm people and even affect their mood to dance in the later stages of the event.

Know Your Equipment

It is important to understand the gear that you will use.

If it is not your own gear, get a list of the equipment and learn as much as you can by watching videos if you can't access the equipment.

You Will Make Mistakes, We All Do.

You will inevitably make some mistakes when mixing live. This is part of getting better.

Learn to recover quickly and do your best not to highlight them. Most people will not notice if you fumble.

Anticipate Your Gig

If you are in an awkward position where you have never mixed live before, you can perform a mental exercise to help with your confidence.

The practice involves envisioning your gig with as much detail as possible.

The human mind can play through the scenario in your mind. You can imagine your friends dancing, the equipment, the atmosphere, and you can live in the experience before it happens.

• Above all, The most important thing of all is to have fun! You have one of the best jobs imaginable!

1. Timing

2. CUE’ing

3. Beatmatching

1 - Timing Is Everything

Almost every DJ skill relies on precise timing.

Smooth mixing and engaging effects require precise pressing, whether you are playing the next track or engaging effects, everything is done “in time” with the master channel that the crowd is hearing.

The foundation of a song's rhythm is the time signature. Most popular music follows a similar pattern of 4/4 time signature of 4 beats in a bar, counted as 1 2 3 4, 1 2 3 4 etc. Musical ideas and motifs are separated into defined phrases.

No skill is more critical than identifying a downbeat and anticipating a phase change.

The downbeat is the first beat of the phrase and helps to indicate musical changes to the song, e.g. verse, chorus, and intro.

•  Downbeat = First Beat of The Bar. Naturally, we can sense or anticipate the 1 when counting.

Initially, it is good to learn by counting all your favourite songs. (1,2,3,4,1,2,3,4,etc)

The key is to move your body to the rhythm. Once you are physically moving, you should instinctively feel when to start counting.

It can also help to include the “and” beats after the 4 to help keep you locked into the first beat.

Counting the half beat will help to keep you on time for the 1st beat by counting:

1 2 3 4 and 1

as most of your button pressing and knob turning will be on the one, giving your mind an additional moment to process the timing.

2 - Cue The Songs

Cueing is a cornerstone of a DJ's work in their headphones.

Cueing mistakes can be noticeable, interrupting the flow of music during a set.

The art of CUE’ing involves lining up tracks, creating set "Cue Points," and testing them. Setting Cue Points at the precise beginning of a sound helps align the incoming track, ensuring you drop the music in at the right time.

Additional Cue Points can indicate when you may need to perform mixes (e.g., Hot Cues and Memory Cues).

Understanding the different Cue terms, like Cue Points, Cue Buttons, and Headphone CUE, is vital for smooth and seamless performances.

Here are three different Cue terms that can confuse new DJs and their meanings:

• Cue Point - Conceptual beginning of a sound, usually a downbeat

• Cue Buttons - Located on music sources/decks next to “Play’ button, used to set Cue/starting Points

• Headphone CUE - Buttons to assign music channels to your headphones.

3 - Beatmatching (Preferably By Ear)

Beatmatching combines timing and Cueing skills.

It involves playing/mixing two songs and making them sound unified for a phrase or measure.

So what is beatmatching, and is it important to define BPM?

• BPM = The Beats Per Minute of a song. A measurement of the speed/tempo of the music.

A song with 90 BPM will be much slower than one with 120 BPM.

Beatmatching requires you to listen to two different songs simultaneously and determine if one is faster or slower than the other, then judge whether the two songs can be beat-matched and played together.

Ask yourself, "If I speed up or slow down this song with the tempo slider, will the music be unrecognisable?"

The DJ uses the tempo/pitch slider and nudges the platter to beat match the songs together perfectly.

Once a DJ is satisfied with the song beatmatching in their headphones, they introduce the new music live to the crowd.

Equipment Functions

If you know my other work, I like to say, "no rules, only tools".

To get the most out of your DJ equipment, take the time to learn your gear's functions and unique features.

These functions, and others, are used creatively to build skills.

Practising the three fundamental skills will be the gateway to your progress as a pro DJ.

The purpose of practice and mastery is to learn the specific DJ skills and then apply your own style and add your ideas to the art form.

The more you practice with dedication and focus, the more opportunities you'll have to shine and impress your audience.

In short, opportunity comes from focus and hard work.

Mastering Your Instrument

Getting Better

Like any instrument, mastery will come to those who practice often and effectively.

If you want to entertain and impress others with music, here is the success formula:

Time Commitment + Repetition/Iteration + Quality = Opportunity

In short, opportunity comes from focus and hard work.

This resource will go through the Top 3 skills that will help you get good at what matters.

To get the most out of your DJ equipment, take the time to learn your gear's functions and unique features.

These functions, and others, are used creatively to build skills.

If you are familiar with my other work, I like to say "no rules, only tools".

The purpose of practice and mastery is to learn the specific DJ skills and then apply your own style and add your ideas to the art form.

1. Timing Is Everything

Almost every DJ skill relies on timing.

Whether you are playing the next track or engaging effects, smooth mixing requires tight timing.

The foundation of a song's rhythm is its time signature.

Most popular music follows a similar pattern of 4/4 timing (time signature of 4 beats in a bar) with defined phrases that indicate musical parts/changes to the song, e.g. verse, chorus, intro.

No skill is more critical than being able to identify a downbeat and anticipate a phrase change.

•  Downbeat = First Beat of The Bar. Naturally, we can sense or anticipate the 1, when counting.

Learning how to count music and identify a downbeat is the essential element when starting to DJ.

In the beginning, it is good to learn by counting all your favourite songs. (1,2,3,4,1,2,3,4,etc)

The key is to move your body to the rhythm. Once you are physically moving, you should instinctively feel when to start counting.

2. Cue The Songs

Choosing and preparing the next song is the cornerstone of what a DJ does in their headphones.

Cueing as a DJ is a process of lining up tracks and creating set "Cue Points", and testing them.

Setting your Cue Point at the precise beginning of a sound to align the incoming track is a tool used to drop the music in at the right time.

• Additional Cue Points can indicate when you may need to perform mixes. e.g. Hot Cues and Memory Cues

Cueing mistakes can be the most noticeable, and maybe you have been out partying and have noticed that your dancing gets interrupted because the music does not blend properly.

Here are three different Cue terms that can confuse new DJs and their meanings:

• Cue Point - Conceptual beginning of a sound, usually a downbeat

• Cue Buttons - Located on music sources/decks to set Cue Points

• Headphone CUE - Buttons to assign music channels to your headphones.

3. Beatmatching (Preferably By Ear)

Beatmatching combines the above skills of timing and Cueing.

The idea is to play/mix two songs and make them sound unified for a while, such as a phrase/a measure.

To understand beatmatching, it is important to define what BPM is.

• BPM = The Beats Per Minute of a song. A measurement of the speed/tempo of the music.

A song that has 90BPM will be much slower than one that is 120 BPM.

Beatmatching is your ability to listen to two different songs simultaneously and determine if one is faster or slower than the other. Then you make a judgement if you think the two songs can be beat-matched and played together.

Ask yourself, "if I speed up or slow down this song with the tempo slider, will the music be unrecognisable."

The DJ then uses the tempo slider and nudges the platter to beat match the songs together perfectly.

Once a DJ is satisfied with the song in their headphones, they introduce the new music live to the crowd.

Equipment Functions

Practicing the 3 fundamental skills often will be the gateway to your progressions as a pro-DJ.

Depending on your equipment, there are likely some functions that will be useful when developing the three fundamental skills.

• Here is a list of some of the common functions that Pro-DJs use today:

• Equalisation & Filters

• Effects Processing

• Key Sync

• Looping

• Slip Mode

• Jogwheel control (Vinyl Mode)

• Beat Grids

• Beat Jump

• Quantize

Technology Drives Innovation

There are Only Tools and No Rules

The tools available to DJs change over time, but the fundamental elements have been intact since the early '80s. The technology gives the DJ the ability to mix two or more recorded tunes artistically.

Currently, there are three schools of thought when it comes to DJ equipment:

• Elitist - "Pioneer is the Industry Standard, and Technics 1200's are the only vinyl turntable worth owning."

• Generalist - "Give me this pizza box, and I will rock a party."

• Nautical Engineer - "It's simple, I connect this sequencer to a looper that activates a gate running the wazoo effects processor creating live music using the whimper of a crying baby."

DJs choose Hardware and Software components based on what they like, what looks fun to them and their overall intentions.

What Do You Envision?

The way to discover what DJ equipment is right for you is to start with your end goals in mind. For example, what kind of DJ do you want to become, and what kind of events and shows do you want in the future.

The best general advice I have heard is that you should always buy the best you can afford.

In the Audio Visual industry, you get what you pay for, and if you fork up what you can, it will save you having to upgrade or change, thus saving you money.

Buying second-hand equipment is another way to get started, and you can get great deals on high-quality gear.

Master Your Technology. Once you commit to buying some equipment, make sure you master it before deciding to upgrade.

Many DJs get trigger-happy and think that the equipment will make them good DJs. It is, in fact, the music and practice which plays a more critical role, just like learning any other instrument.

Types Of DJ Equipment

Traditionally three elements define traditional DJ gear

• Decks - Two (or more) music sources

• Mixer - Ability to mix music and affect their volume and frequencies

• Headphones and Speakers - Separate outputs for the crowd to Dance and for the DJ to prepare the following songs

Audio signal flows through the system, and the DJ has the power to change the input signals as they make their way to the master output and out to a crowd.

1. Music Sources

Analog equipment like Vinyl Turntables sends an electrical signal from a stylus that moves through the grooves of a record.

Digital Equipment such as media players encodes and decode the audio signal into bits and bytes.

These Source Devices play the music that then flows into a mixer to be processed and routed.

Common Sources Include;

• Vinyl Turntables

• CDJ/Media Players

• Midi Controllers

• DVS (Digital Vinyl Systems)

• Other, E.G. iPod, Computer, Sampler etc.

2. Mixer

A Mixer has a channel count of two or more, which means you can plug two musical sources into a 2 channel audio mixer.

Battle mixers commonly have 2 channels, while club mixers offer 4 channels.

Mixers might look confusing, but once you understand a single channel strip, you can apply the fundamental understanding to almost any equipment.

Some DJ Midi Controllers have the mixer and music source elements packaged into one console, while other DJ setups are modular and involve connecting equipment together using cables.

Some mixers will accept various signal types. Most standalone mixers have separate Line inputs for CD/Media Players and Phono for Vinyl Turntables.

The signal flows from input to outputs, following the signal path through the mixer and faders.

Some DJs equipment will be connected to software, meaning you will need a laptop in some cases when the music is digital.

3. Headphones and Speakers

DJs use headphones to listen/CUE music in their ear before they send it out to the crowd/master speakers. The mixer will have the function to route different sources to the headphones.

Speakers come in 2 forms:

• Active - Have an inbuilt amplifier

• Passive - Need to be powered by an external amplifier

Some mixers also have a dedicated output for the DJ Booth in case the master speakers will are a distance away from the DJ (Causing Delay).

Can You DJ With Only USB and Headphones?

Yes, If your end goal is to DJ in clubs and festivals, they will usually have the equipment that will allow you to mix with some USBs and Headphones.

Many DJs will have a contingency plan, such as bringing a CD or an iPod (with RCA to AUX Cable) as a backup.

What Other Accessories Do You Need To Get Started?

Note: some DJs choose to rent the equipment when they are first starting. Renting things like speakers, basic mixers, microphones, and lights from an AV rental company is a great way to scale up a mobile/wedding DJ business without breaking your back.

Remember Lift With Your Legs, Not Your Back!

Here are some of the other peripherals that a DJ uses.

• Earplugs

• USBs and Hard Drives

• Microphones

• Computers

• Cables

DJ’ing is a Passion.

The most crucial element of DJing is Music.

Music is a universal language that touches us on a deep emotional level, creating unique experiences for an audience.

As with any creative art, there are no rules and only tools.

Building your music knowledge and collection/library is where the creative work really happens.

Without well-organised, high-quality music, there is no chance that a DJ will succeed.

DJs listen to a lot of music.

The very existence of DJ culture exists at the junction between music and technology.

Creating a musical playground is a DJ's job. People dance and have fun while the DJ combines music that mixes and blends well for that desired audience.

The ear of a DJ hears songs differently from the general public because they analyse music and break it down into smaller chunks.

DJs know how to use standard music structures to improve mixing and master the art of beats/bars, anticipating changes in musical phrase and finding the downbeat.

Everything that the DJ does is "on beat", from pressing the play button to engaging effects.

Organising Your Music Crates

DJs often catalog and categorise their songs by tempo, key, and music style/genre.

Professional DJ will collect and create active playlists/crates.

Beginner DJs can build your first playlist using 20-30 similar songs.

In the digital age, it is best practice to keep a central music folder with logical playlists.

Backups of your music library and metadata can then be easily recreated, and other programs can reference the songs central location.

How To Build an Effective Music Collection

DJs have different style preferences, but most will play a combination of top-chart hits while also introducing new uniques songs based on the audience.

Most pro-DJs buy their music from music stores, including iTunes and Bandcamp.

Record pools are another source that DJs use to find high-quality tunes.

Thanks to services like Soundcloud Go+ and Tidal and a fast internet connection, some streaming service have started to become popular amongst DJ’s.

Some DJs also download music samples from YouTube, a grey area in terms of copyright and music quality.

Tips To Master Your Music

Practice with music you love and makes you feel good.

The most incredible tool a DJ has is their ear. So the question to ask as you practice is, "Does it Sound Good?"

Recording your mixes is a great way to hear where you can improve.

There are no shortcuts, enjoy the ride, use music as your vehicle to have fun and express yourself.

Digital Vinyl?

DJ controllers and digital players are becoming more popular and affordable.

It is no wonder to see many beginners choose their first set of DJ decks based on price and convenience.

A question that some of my students ask is, "Do I need Vinyl Turntables to learn to scratch."

The short answer is no.

Fundamentals of DJ Equipment

Most DJ equipment base their design on classing DJ gear (2x Vinyl Turntables and a Mixer)

The engineers who create the equipment put a lot of thought into "how will the DJ control the music".

When a Vinyl DJ was moving a record, they were physically moving the music grooves against the needle/stylus.

The spinning platter could be temporarily slowed down and sped up to "nudge" the track in place.

Nudging the track is used to investigate if the song's tempo needs to be sped up or slowed down.

If we move the platter clockwise and it sounds more in time with the track that is playing, this might mean that we need to increase the speed using the pitch slider.

With a digital system, the engineers came up with a way for the DJ to manipulate the musical speed, even though the music existed as bits and bytes.

The Jog Wheel

A jog wheel does not typically rotate like a vinyl player, but it still allows the user to manipulate the music as if it were.

Some players have a display to indicate the rotation reference for the deck.

When the music is paused, the jog wheel can rewind or forward the track, usually in an attempt to find the cue point.

When the song is playing, the platter can momentarily speed up or slow down a song. (Pitch Bend)

When you let go of the jogwheel, the music will return to its original speed.

The DJ will "nudge" the music to better align the speed of two songs if the beat is falling behind or racing ahead. (Usually, a nudge consists of a quick 1/4 turn of the jogwheel)

Vinyl Mode

There are usually two different modes of control, activated by pressing a button labelled "Vinyl" or "Jog/CDJ" mode, located near the pitch slider.

When Vinyl Mode is engaged, the deck acts like a Vinyl turntable with the ability to stop and move the music physically.

Like a Vinyl Record, if you hold it down, it will pause the music. The physical platter continues to spin, but the record is still because the record and the platter move independently.

When a Jog Wheel enters vinyl mode, the DJ can scratch like a vinyl platter.

Additionally, in Vinyl Mode, you can use the side of the platter to temporarily speed up the track, similar to the way you would with jog mode, however when you touch or move the top of the platter, the music will stop or scratch like a vinyl player.

When the vinyl mode is enabled, we can grab (stop the music with a touch) and scratch the jog wheel similar to a vinyl platter.

Most Turntablists can translate their scratching skills from Vinyl to Controller and vice versa.

This means that it is viable to learn how to scratch on a CDJ or digital player in Vinyl Mode.

The Heated Anti-Sync Debate

The Sync button has been controversial ever since its inception.

The argument is "the sync button stops new DJs from learning how to beatmatch by ear" (Which is a great skill to have).

The critics claim that "new DJs are cheating because they can skip hours and even years of practice without putting in the work."

Is all the disapproval warranted? Is it truly an evil button?

Just like any other DJ innovation, the sync button is a tool.

A tool can be used for good or evil.

Someone may use a pencil to write a beautiful ballad, or they might stab someone in the eye.

It's not the pencil that is dangerous. It is the person wielding the tool.

Automatic vs Manual Beatmatching

Beatmatching is a process to match the speed of two songs using the tempo slider and the platter to align BPM/Speed.

An example is when the song playing and the next song are both 120bpm.

The DJ drops the new music on a downbeat, so the two songs are in-time and aligned to mix.

Practicing manual beatmatching will train a pro-DJ’s ear to listen to two songs at once and quickly decide which song is faster or slower.

What Does The Sync Button Do?

The purpose of the Sync Button is to set the BPM of a track automatically.

The Sync button can also theoretically line up the incoming with the track already playing (The Master).

I say theoretically because the sync function does not always work as intended.

Usually, the beginning of the first sound (transient) detected will sync up, which may be an off-beat noise.

Your songs will need to be analysed by BPM and beat grids. You still need the skill to drop the music near the downbeat or the 1st beat in the first bar of a new phrase.

It is not a purely magical button to do everything for you or solve all your problems, but it can be used to your advantage.

The sync button is helpful when mixing more than two tracks, and it can also help you get out of a sticky situation.

For example, if you are running out of time, the sync button can help you quickly match the BPM of your track.

Like any other DJ tool, you can figure out ways to use it creatively to make your set unique.

Is Sync Your Friend

Like any other DJ tool, it does take some skill to use the Sync Button effectively.

Sync can work well to shift your BPM to align your incoming track with the track playing, when set up correctly.

We still need to set up our tracks and program our music properly. Otherwise, it will backfire and not work as intended.

For the Sync button to do its job as intended, we need to make sure the downbeat is set as the initial Cue point and that the music was analysed correctly with a beat grid.

If the tracks are not phrase aligned, the sync button may mistake a downbeat, and you will end up with a messy mix.

When Syncing, similar timing skills apply to beatmatching manually, which is why it is good to learn to beatmatch by ear by covering the BPM visual readings.

Learning how to use your jogwheel/platter and your tempo slider will make you a superior DJ.

Master Tempo

It is worth noting that many music sources have a Master and Sync button.

The Master button will determine the source of truth in terms of tempo, while the sync button works as a slave. The slave will have its BPM adjusted to match the Master.

Once your songs are "in sync", the master fader will control the tempo of both tracks.

This can be useful if you want to transition to a radically different BPM or genre.

It is also worth noting that your software will often have different sync preferences, e.g. Serato Sync Preferences.

So What's The Deal? Should we Be Pro-Sync?

In the end, it is worth knowing how to use the sync button, when it is helpful, and where it falls short.

Pros;

• It helps when mixing more than two songs for people who use 4 decks

• Good for quick mixing, when you need to change music quickly or run out of time

• It can be used creatively to enhance your personal mixing style.

Cons;

• Not a magic bullet and may stunt your growth if overused.

• Often will not function as intended and sync to the right place, on the downbeat

• May ruin your mix, especially when done suddenly.

The DJ Protege Way

If you are a beginner DJ, it is worth learning how to beatmatch manually by ear.

Therefore, I always teach beatmatching first before I introduce my Proteges to the Sync Button.

If you run into an Anti-Sync person, you can ask them if they ever check the BPM reading of a CDJ to match the BPM of their tracks…

DJing is about having fun and making people dance. Most of the people in the crowd could not care less how you use the tools you have.

Always remember, with DJ mixing, there are only tools, not rules.

Back To DJ Mentors

Headphones are an essential tool for a DJ because they allow the DJ to prepare the next song.

The DJ can put music in their headphones that the audience cannot hear.

The Headphones are separate from the Master Output.

Learning to Mix with headphones will involve learning the CUE process.

It may seem complicated at first until you finally get the hang of it.

What Does a DJ Hear?

When a DJ is wearing headphones, They are listening to the potential next song.

They are concerned with Music Programming; The act of choosing the right song for the right moment.

They are thinking, “How does this next track fit in with my mix” based on the crowds’ energy and song fit.

The Headphones allow the DJ to mix and monitor the incoming track. The DJ tests the song before the audience gets to hear it through the loudspeakers.

The CUE Process

The term was taken from acting when a “Cue” was presented to an actor to indicate timing.

For a DJ, we take our Cue from music to get the right part of the song, playing at a precise beat/moment in time.

The headphones are a vital part of the Cue Process when a DJ is mixing.

When you are first learning the skills involved in the Cue process, it can feel like learning to drive a car.

There seems to be a lot to think about when getting the next song ready.

Once you get the hang of it, it will become second nature.

The word “Cue” appears in many forms in the DJ world.

Three different Cue terms can confuse new DJs:

1. Cue Point

2. Cue Buttons

3. Headphone CUE

1.Cue Point

A Cue point is a reference point where the next song should start. For example, a DJ will usually choose the Downbeat (First Beat) of a song.

The downbeat is usually a distinct beginning and would not include silence.

Many songs start with a small gap of silence or unrelated talking before the music begins.

The DJ’s role is to find the logical first beat to start the music in the right place.

A DJ may choose to start a song at its chorus or verse instead of the intro.

The DJ will listen for the Downbeat that begins the phrase of music, such as the chorus.

Using Vinyl, a DJ would scrub to the first sound and move the record back and forth between the downbeat and the silence before the sound to pinpoint the exact start/CUE.

The Vinyl DJ will rock the record back and forth, waiting for the right moment to drop in the new track. Usually dropping in on the One Count (1,2,3,4,1).

There is a CUE Button (usually above the Play Button) on a DJ Controller that achieves a similar result.

There can be multiple CUE points set called Hot CUEs or Memory CUEs, but that is a topic for another article.

2.Cue Buttons

Each Digital Music Source will have a dedicated CUE Button.

The physical button is a way to both set your CUE point and also test your CUE Point.

The CUE button is used together with the PLAY/PAUSE Button to prepare the incoming song.

The DJ will search for the downbeat, and then when the song is paused, they can finetune the song position with the platter to find the exact moment when the downbeat starts.

Pressing the CUE button while the song is paused will set the Cue Point.

Once the Cue point is set, the Cue button will act as a push switch that is momentary or temporary. Holding the button will let you test the Cue Point, and releasing it will return you the CUE point.

You can press the Play/Pause button while holding down the CUE button for the song to continue.

Setting a Cue point especially helps when beatmatching because you can use the CUE button to test that your BPM is aligned and adjust accordingly.

Aligning the downbeat of one song with the downbeat of the song playing is one of the first steps towards beatmatching. Dropping the 1 of the incoming track on the 1 of the song playing.

3.Headphone CUE

The DJ mixer will also have CUE buttons specifically for the headphones.

The DJ headphones Cue buttons will allocate what music channel will go to your headphones.

Using the headphone controls, you can choose to hear only channel 1 in your headphones or a mix of channels.

A DJ will usually toggle between listening to both Left and Right headphones.

When a DJ is listening with one ear, the other ear references what the crowd is hearing through the loudspeakers.

There are other ways to reference the Master Output that the crowd is hearing.

Using the Headphone Mix Controls creatively, you can practice Mixing using only your headphones.

Thie Master/CUE knob is handy at home, late at night, allowing you to mix without making any noise.

Why Mixing In Headphones Can Be a Savior

Music sounds very different coming out of loud loudspeakers.

In a Club or large venue, the speakers are generally a distance away, and as a result, you will hear some delay.

There is nothing you can do to really prepare for this except gigging practice.

Learning to Mix well in your headphones, however, will help.

Most Mixers have a Cue/Mix knob in the headphone control.

If you can master the use of this knob, you will be able to resolve the problem of not knowing what is coming out of the master channel.

You can bounce between the Cue (hearing only your assigned CUE channels) and your master mix.

Join The DJ Queue

The distinction between the three uses of the word CUE makes it easier to understand what a DJ hears in their headphones.

When a DJ is in their headphones, they are going through the steps of the CUE Process.

It may seem like a lot to comprehend, but this will become second nature to you with practice.

Below are some Visual Aids in an attempt to depict the CUE process and the headphone mix.

Image 1. Cue Process

Image 2. Basic Headphone CUE

DJ’s acquire toys and pick up pieces of gear like collectors.

But at some point, we may look back and regret our buying decisions.

Luckily there are often great deals on second-hand equipment that is like new.

Buying used can be a low-risk way of getting the equipment you want if you are patient and know what you are looking for.

What should you consider before buying second-hand equipment?

Efficient Buying Process

1. Learn The Basics + Do Your Research (What Kind Of DJ Will You Be?)

2. Establish a Budget (How Much Money Do You Need to Save)

3. Test it, Rent it if possible ( How Does The Equipment Feel under Your Hands?)

4. Demo The Software (Controller Often Lock you in to a Specific Software)

5. Sleep on the Decision, How Excited are You on a Scale of 1-10

6. Execute, Make Your Move

7. Master Your Equipment Before You Buy Anything Else

My Journey

Start Slow, Build-up The Dream

When I first started DJ’ing, my options were limited to 2 Vinyl Turntables and a Mixer.

The gear was low quality, and the deal came with a bunch of music I did not like and some large speakers but no amplifier.

It was barely functional, but it was enough to get me started.

My next purchase was a used Serato Time-Code-Vinyl soundcard that allowed me to play music from my computer using my vinyl setup.

Serato was a significant investment for me at the time, but I knew DJ’ing was something I wanted to pursue, so I saw it as an investment in my future.

Even today, most of the DJ equipment I own is Second-Hand. Currently, my setup consists of 2 x Rane Twelves and a Pioneer S9.

I slowly upgraded my setup by mixing pieces of gear and buying the best equipment I could afford at the time.

That was the route that worked for me.

It does not matter what gear you have because you can apply the same fundamental skills to almost any DJ gear.

GAS - Gear Acquisition Syndrome

DJs and Producers all over the world suffer from GAS.

We get excited by the idea of new shiny toys.

We end up buying more equipment than we need.

GAS becomes a problem because we never end up mastering the equipment we own.

Instead, we think that the “next” thing will make us a better DJ, when in fact, becoming a better DJ is about developing your skills.

It is a consistent practice that makes you better, not the equipment you use.

One remedy is to buy the best possible equipment you can afford. The sunk costs should incentivise you to master your equipment before you think about getting anything else.

You end up with less gear that is higher quality, and you are a better DJ as a result.

The True Cost of Being a DJ

When you are creating your DJ Budget, there are several things to take into account.

Hidden Costs;

• Speakers

• Headphones

• Music including subscription services, DJ Pools, and one-off purchases

• Cables including; RCA, XLR, TRS, DMX Etc

• Microphone (not always necessary)

• Peripherals like bags and cases

• Laptop to run DJ software

• Software - Pro Versions and expansion packs

• Adapters - 3.5mm to 1/4” Jack

• Vinyl stuff - Styluses and needles

Additional Tips When You Buy

1. Do a quick google search of “(insert product) fault”. If there are any showstoppers, I would reconsider the purchase.

2. Check if you need a special license or CD-key to use the hardware. (Native Instruments is a serial offender)

3. Make sure to record the Serial Number S/N of your equipment!

Each serial number is unique and allows you to identify your equipment if it is stolen or to conduct a warranty claim for faulty equipment, returning it to the manufacturer.

Keep a good record of any license keys for software and also usernames and passwords for memberships.

Use Google Drive to keep a running record of all your assets and their serial numbers.

4. All user manuals are online, not to mention countless Youtube Videos about expanding your functionality.

Many pieces of gear will have unique features and tricks that are hard to discover by accident.

To use our gear correctly, and utilise the hidden features, look for the secret menus and hidden alt/shift controls in the user manual and through videos online.

If we are going to pay good money for gear, it’s worth knowing what it can do and using its full capability.

Takeaways

As a DJ, we should always buy the best gear our budget can afford because it will save us money in the long term.

Avoid GAS at all costs and truly master each piece of equipment you own before buying anything else.

Beware of some of the hidden costs, and be sure to factor in the additional items when you are buying.

It is okay to start small and eventually work up to your dream setup.

What to Do if I Need to Pee During My DJ Set?

The proverbial question. What Do I do when I need to leave the Booth?

Let's face it, sometimes nature calls, and you don't want to have to bring a bottle with you to the Booth if you urgently need the bathroom while Mixing.

Taking breaks during your set becomes more critical when you perform extended sets.

Rest Your Precious Ears

Consider that your ears also need a break from loud music.

Your ears are the most crucial tool for a DJ. Unfortunately, overexposure to loud music will deteriorate your greatest assets.

Pro DJs use three techniques to keep their ears in good shape for the long term.

1. Actively Listen To Silence

2. Take regular breaks

3. Wear earplugs

I often sneak off to a silent stairwell for a moment of silence before returning to my DJ set. 

Emergency DJ Mixes - A Practical Solution

To progress your DJ career, it is likely that you had to put together a Demo Mix.

Creating a few 10-20 minute pre-mixes and having them up your sleeve will allow you to leave the Booth while still keeping the music playing.

Note: Be careful if you download someone else's mix because DJs will often put audio watermarks in their mixes. 

Audio watermarks are usually the DJs name with promotional shoutouts.

Auto Play: ON - Play Mode: Continue

Continuous play is a setting that Automatically loads tracks in a list and haves them play continuously one after another.

By Default, most DJ equipment will stop playing at the end of a song. However, most of the equipment will have a setting that allows continuous play.

If this setting is enabled, the next song will start to play automatically.

Note: You will need to ensure that "Auto Cue" is disabled on each deck.

Auto Cue will pause the next song at the CUE point, which will stop the music.

Lock-off the DJ booth

What if someone comes to the Gear and starts pressing buttons.

I use an AUX Input to play any pre-mixes.

I carry an auxiliary device such as a phone or MP3 player and an RCA to 3.5 cable for this purpose.

I plug the MP3 player into a spare channel line input or a dedicated AUX Input.

The AUX controls on the DJ Mixer usually have separate controls, so most people will not figure out how to stop the music or start a new song.

If you are paranoid, you can also use some electrical tape on the fader controls so no one can move them.

You can also eject/unmount the music from the CDJs/Media player if you want to be 100% safe.

Relieve Yourself

Maybe one day, they will build a "Toilet Break" Button to lock the decks. But, until then, you can use the learning above to protect yourself.

If you have any other tips, please share what you do if you need to take a break?

The past year has forced us to rethink the entire industry and levelled the playing field for new DJs to enter the DJ industry.

Isolated DJs

For many years, I took a hiatus from the DJ industry and spent the time honing my skills as an Audio Visual Technician.

Like a magnetic field, I was attracted back by the innovations in DJ Controllers and the shift in DJ software and hardware.

I saw two major new trends emerging

1. The controller technology had increased significantly and lowered the barrier to entry.

2. It is easier than ever to find great music and connect with artists.

There was also a massive need to reinvigorate the music scene in my local area.

And then the pandemic hit.

Most Touring DJs got wrecked because their ability to mix in a live public venue was eliminated overnight.

Some DJs turned to streaming to protect their cash flow, while others went into emergency mode.

The pandemic left many new DJs wondering if DJing is still relevant, or would we finally be overturned by Spotify playlists?

Sharing Music

Most DJs begin DJing because of a deep wish to play music, to help bring joy and happiness to as many people as possible. Especially in times like these, music can help ease the anxiety associated with the pandemic and make a person's day better - Marc Santaromana.

I would argue that DJing is more relevant today than it has ever been before.

As long as spreading music is essential, DJs will fill the gap by sharing and creating musical experiences.

Listening and selecting music for almost any environment, whether locked-down or locked-in.

Stop, Look and Go

As the event industry consolidates, established and Beginner DJs start from a level playing field as the industry re-opens the doors.

We are in the process of rewriting the rules, and this is your time to be part of this revolutionary music reset.

Pioneering Change

DJs will continue to reinvent the industry using innovative technology.

While the fundamentals will always remain intact, we continue to push the envelope with the help of technology.

Some recent trends that have started to emerge are:

• Music Education has exploded. You can now learn anything about any instrument or production tool online.

• Live music has localised, and many famous headlining DJs are doing local gigs.

• DJs are creating unique experiences far outside the box.

• Virtual Reality DJ Events are popping up in the Metaverse.

• Communication and collaboration have increased through online interaction with platforms such as Twitter, Instagram, and Twitch.

Thinking Differently

Now is the best time to start your DJ journey.

Many bad actors, seedy characters and shady promoters have been weeded out to make way for the new generation of DJs, Producers and Promoters.

There now exists a void for new DJs to step in and fill the gap.

The future is here. The question is, will you be part of it?

Let's get out there and help the world recover, heal and celebrate through music and dance.

Sources

• DJTT

• DDT

• Daily Hive

• DJTT

• 3LAU

In the digital age, where we can fit thousands of songs onto a USB pen drive, many of us seem to think that the more music we have, the easier it will be to DJ.

Let's challenge that conventional thinking because the opposite might be true.

Existentialism

Having less music to choose from and being intentional about how you craft your playlists will make it much easier to select a suitable next song when playing live.

The DJ who stares aimlessly at a list of 5000 songs trying to decide what music to play next will almost always be overwhelmed.

When you first start to DJ, it is best to start with a small list of 20-30 songs that share some similarities (genre or feel).

This set will become the start of your active playlists. Think about it like your Vinyl Record Crate. a Crate of 30-50 Vinyl is about the maximum that one person can carry at one time.

Imagine a Vinyl DJ. They have an entire wall of their house at home dedicated to storing their collection of vinyl records. When they want to play a vinyl set live, the weight of their vinyl bag or crate is the restraining factor.

Vinyl DJs, therefore, are much more conscious about being particular when choosing music for their active playlists.

Suppose they go shopping for vinyl's and find ten records that they love before buying just one because they limit how many Vinyl Records they can keep and carry.

By applying the Vinyl DJ mindset to our modern Digital DJ collection, our jobs for creating active playlists, music programming, music organization and music selection become much more intentional. It becomes easier when performing in a live situation.

What separates the good DJs from the great DJs is the ability to organize your music. Great DJs spend hours sifting through tonnes of tunes to build active playlists.

How to Create Crates, Breaking Your Music Into Active Playlists

Housekeeping

Start with a centralized location that you store all my music. The DJ applications you use will always reference this central location because the DJ applications do not make a copy or keep your music as that would be a waste of space.

An external Hard-Drive may be your best bet. The drive contains your entire music collection.

Using an external SDD has the dual benefit of portability and keeping the disk drive on your computer free from clutter, which helps maintain processing power to run my DJ software.

It is critical to have a backup drive that is a copy of the music if you lose or corrupt your hard drive.

Within your music file, have a folder that you name "Active Playlists".

These active playlists are files that are usually 20-40 tracks that have been combined based on sets that you practice with and play live. Some may be named based on genre, while others may be for a specific event.

Digital DJ Crate

You can then put several of these active playlists onto an "Active USB".

Active playlists make up the music that we carry around and play live, and a DJ may only ever bring their entire music collection if we were playing a mobile DJ gig or wedding.

It helps to keep several copies of Active USBs with intentional, active playlists. Usually, I limit the size of the USB to 4GB because that allows me to put a threshold on the music I actively play. I can easily recreate these USBs from my active playlist file from my music collection with all my metadata included, so I do not mind if I lose them while out and about.

If you are interested in learning where I get my music, you can check out this article for some insight.

Music Programming

Music is the number one element of DJing. That is why we get into mixing in the first place. When you first learn how to DJ during your first few gigs and live shows, people will often excuse your lack of skill if you make up for it with a great music selection.

The opposite also applied. If you have exceptional skills but the music selection is not appealing to your audience, you will generally not be asked back for a second appearance.

Being intentional about what music you allow in your active playlists will make it simpler to DJ live and help you prepare your music (Cue Points etc.).

If you collect music like a Vinyl DJ, you will find that mixing becomes more straightforward, and your skills improve and a faster rate.

Remember, less is better when it comes to your active playlists, and you don't have to start with thousands of songs when you start learning how to DJ.

Pro-Tip:

• When you are preparing your active playlists, having less music makes choosing your next simple.

• Think like a Vinyl DJ when you are collecting music and creating your music crates. Each of your songs should have a purpose.

Being a DJ is a passion. Some people see it as a rewarding hobby, and others see it as work, but in the end, the DJs who excel are passionate about music and technology.

Becoming a DJ is extremely rewarding because you can elevate your music experience, unlocking a realm of melodic mayhem and harmonic happiness.

Learning to become a DJ isn't as easy as Paris Hilton made it look. You might have even brought some new equipment expecting every moment to be as exciting as when you first opened the box. Still, after a little while, you start to experience the boredom of practicing a musical instrument.

Patience + Commitment = Mastery

Like any musical instrument, DJing takes time and patience and requires many hours focused practice, coupled with discovering/analysing music, and embracing technologies.

"Nothing in the world is worth having or worth doing unless it means effort, pain, difficulty… I have never in my life envied a human being who led an easy life. I have envied a great many people who led difficult lives and led them well."― DJ Theodore Roosevelt

Translation-If you want to consider yourself a Pro-DJ, you need to put in the work.

Before we start, we need first to get real. Learning to DJ takes time and effort. If you look at any of the DJ's that you respect, their skills have developed over time. They also started off knowing nothing at level 0.

So now that you have decided to jump off the fence and get serious, here is a 3 step strategy to get you started.

1. Building a Playlist. - Ready

Song choice is critical because sharing music is what DJing is all about. The mistake people make is that they take their entire collection of thousands of songs and start combing through the mess like a hoarder trying to find a missing sock.

The trick with building a playlist is to be intentional. Every track in your list needs to have a purpose. 

Ask yourself "Why this song?". Are you trying to invoke a feeling? Maybe it's the song that you know will unlock a crowd. Perhaps it is a song that no-one would have heard if you didn't play it. Possibly it is a perfect blend with the other tunes you have in mind.

Regardless of why you choose the song, each tune should individually fit when added to your list, one at a time. Imagine that you are collecting vinyl and that you only have one crate you can physically carry. You want to keep your essential tracks and no dead weight.

 One hundred songs or 6 CD's worth is a good start before you narrow down to a 15-20 minute set.

2. Equipment Procurement.-Set

What gear are you going to use? Most new DJs are limited by what they can afford or what they can borrow. We won't go into detail in this article, but there is plenty of information on the DJ Mentors Website.

There are three types of equipment that are common amongst new DJs.

• MIDI Controllers - or simply DJ Controllers. They usually plug into your computer.

• Computer - Best used with a soundcard and Specialised DJ software. Soundcards provide you with additional inputs and outputs that can be assigned to separate outputs for your headphones. 

• Modular Setup - This is your classic club setup with 2 x CDJs and a mixer of Vinyl and a Mixer.

It is common to start mixing using computer software such as Serato, Virtual DJ, or Rekordbox. All these programs have free trials and will work in conjunction with some DJ equipment if you decide to upgrade.

3. What are you waiting for?! - Go.

Starting is the most critical step. Decide to commit and set a recurring time where you block out everything else and start to DJ. 

Part 3 is about building up your skills. 

The important lessons for a beginner to master are to learn how to:

• Beatmatch tracks to create seamless mixing

• Use the equipment effectively, to enable smooth transitions and fades.

• Manipulate and nudge the music speed/tempo to get back on track.

• Develop an ear for Musical Timing and phrasing. Listening to two songs at once will sound strange initially. Eventually, you will build your listening skills so that you feel when to mix in and out of songs.

The Bonus Tip - Phone a Friend

Find someone you can shadow. Maybe you have a friend who is a DJ or has some equipment. Go and watch them and observe.

Having someone you can go on a DJ Journey with will help to hold you accountable when you feel like you want to give up.

If you still feel lost and need more detailed information on the steps above, you can download the DJ Guide to walk you through the three stages. You can always reach out to the DJ Mentors community and me if you have any questions.

Let me know if you just started your DJ journey or if you are inspired to start again. Share your reasons for starting to DJ in the comments.

Recording and Reproduction of Digital Audio

Almost all music we listen to has been converted from analog to digital and back again.

Gone are the days of pure analog audio where you recorded to reels tape and played back music using only Vinyl.

If you want high-quality playback and recording in a digital domain, a soundcard is for you.

Do You Need a Soundcard?

USB Audio Capture devices and Pre Amplifiers

DJs and Musicians will require an external soundcard if they are recording and playing back music from a computer into a P.A Public Address System.

Many modern DJ Equipment has soundcard built-in, to allow high-quality audio in and out of a computer.

Reproduction of Sound - Digital To Analog

When you are reproducing sounds from a computer to a loudspeaker, you convert from Digital to Analog.

The audio signal is also converted in the opposite direction from Analog to Digital when recording sound. Transducing the energy into bits and bytes that the computer can decipher. 

Using a cheap, built-in computer sound card will often be insufficient in quality, especially if you are sending music to a Public Address (PA) System.

A dedicated soundcard is essential if you are DJing from your laptop.

The audio signal from the computer will send to multiple outputs for your headphones and speakers.

Suppose you are having problems and issues. Take into consideration both the quality of audio conversion and the connection and lengths of the cables.

Recorded Noise

Dedicated sound cards will give you options for inputs, outputs and cable types.

A damaged cable can make a million-dollar Audio Mixing Console sound terrible, even through a high-fidelity speaker system.

The weakest link in the Audio Chain will severely impact the signal flow.

When recording, we use a microphone to change the sound waves into electrical current.

The Sound Card then performs a delicate process, converting the analog audio signal into digital samples/bits.

Our computers often have D/A's that are super cheap and basic. Dedicated sound cards will have better circuitry components, designed for music production.

Quality Sound-Cards and Cable will reduce sound artifacts and noise into the audio signal recording (Signal to Noise Ratio)

Audio Conversion

The sound card circuitry converts an electronic audio signal to a digital format that can be processed by a computer.

The digital bits and bytes are converted to electrical signals to drive loudspeakers.

If you are taking the act of recording and playback (reproducing sound) seriously, it is worth investing in a sound card.

An audio DA and AD converter will always be a superior technology to using the standard cards/processors in your laptop or desktop computer. - Learn More

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