Do you reset the pitch to 0 after beatmatching one tune with another? No.
The two main reasons why you beatmatch tunes when mixing are
To keep a constant, pounding bass beat for the clubbers to dance to.
To play the music at a pace that matches the speed of the clubbers’
beating hearts.
If you decide that 135 BPM (beats per minute) is the perfect pace at which to play your music, and you put on a tune that plays at 130 BPM when set at 0 pitch, you need to raise the pitch control to about 4 per cent in order to get it to play at 135 BPM.
Setting the pitch control back to 0 after you’ve beatmatched and mixed the two tunes together will not only sound terrible as the pitch of the music lowers (unless you’re using decks with master tempo, which keeps the pitch the same no matter how fast you play the tune) but now the tune will be play- ing at a speed that’s way below the pace of the clubbers’ heartbeats. They’ll have to dance slower, and you will kill the energy of the night.
The result is even worse the other way round. Imagine that you’ve had to reduce the tempo of a 140 BPM tune to –4 per cent. When you speed the track up by resetting the pitch to 0, you’ll tire everyone out by the end of the tune, as it’s now playing at 140 BPM to a dance floor that’s used to grooving at only 135 BPM!
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Fluctuations in BPM as you progress through a two-hour set can be useful (refer to Chapter 17), but when you’re beatmatching, you’ll probably find that the only time you’ll ever play a tune at 0 per cent pitch is at the very begin- ning of the night when you play your first tune.
What Do I Do if the Record or CD Skips or Jumps?
You’re a professional DJ. Be professional about getting around what to do if the record or CD skips or jumps. A jump on a record isn’t too bad, as at least it’s just a repeat of 1 or 2 seconds of music that plays through the PA, but if a CD skips, it’s a nasty sound, and you need to do something, instantly.
If you can’t just skip to the next track on the CD, hit the Searchbutton on the CD deck to advance 5 or 10 seconds past the part that’s skipping (lower the channel-fader at the same time to hide what you’re doing).
With a record, the best thing to do is to lower the channel-fader to about 25 per cent of normal playout volume and knockthe needle forward through the record by half a centimetre or so. Yes, this method won’t sound too good, and yes, you may damage your record, but your record’s already damaged if it’s skipping, and it already doesn’t sound good because it’s repeating itself!
Prevent this sort of occurrence happening by cleaning your records or CDs before playing them (head to Chapters 5 and 7 for more on caring for your music collection).
I like to cue up the next track almost instantly after mixing into a track for this very reason, as then I have the next tune sitting there, ready to mix in quickly if something goes wrong. If you wait until the end of a track to cue up the next one, you’ll have nothing to do an emergency mix with if needs be.
Sure, the mix won’t sound great, but how does that compare to how the music currently sounds?
Everything you ever do, DJing or otherwise, involves skill and knowledge, but also how you cope under pressure. If you can fix a catastrophe like a damaged CD with composure and professionalism, you show all those around you that you’re in control, and meant to be where you are – in the DJ booth, as a profes- sional DJ.
Chapter 23
Ten DJing Mistakes to Avoid
In This Chapter
Avoiding mistakes that make you look and sound unprofessional Leaving for the night with all your tunes, and all your money
The ten common mistakes described in this chapter are exactly that:
common. A couple of them may never happen to you, but, unfortunately, some may happen too often. I haven’t made all the mistakes in this chapter.
Most of them, yes. But not all.
What’s important about the mistakes you make (in DJing or just life in general) is that you learn from them. Make sure that you don’t do them again, or at the very least, make sure that you know how to cope with the consequences . . . such as the sound of silence in a club.
Forgetting Slipmats/Headphones
Forgetting your slipmats (which is an easy thing to do) is not too much of a big deal as most clubs have their own set, but if you fail to bring your head- phones, the club is unlikely to have a spare pair of quality headphones lying around for forgetful DJs to use.
Check out Chapter 24 and the Cheat Sheet at the front of the book for a checklist of ten things that you need to take with you when DJing.
Taking the Needle off the Wrong Record
Taking the needle off the wrong record is exactly the same as pressing Stop or Eject on the wrong CD player. I guarantee that at some stage in your DJ
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career, you’ll make the same mistake. Hopefully, you’ll be in the sanctuary of your own bedroom, where only the cat can judge you on your error.
If you’re unfortunate enough to make this mistake when DJing live in a club, put the needle back on (carefully, don’t throw it back on the record in a mad panic), or quickly press Play on the CD deck. If you ejected the CD, press Play on the other deck, and quickly move the cross-fader over to that channel.
Next, allocate blame. It’s probably easier to blame the sound system. You never know, someone in the crowd may be gullible enough to believe you!
Then squat down to hide in the DJ booth for a couple of minutes, and wait for the abuse to die down.
Banishing Mixer Setting Problems
Mixers are now available with an increasing number of functions, which unfortunately means that the chance of you forgetting to change these set- tings increases, too.
Leaving assign controls set to the wrong channel is easily done, so when you move the cross-fader, you’re fading into silence (or the wrong tune). Bass kills are often unwittingly left on during a mix, only dawning on you halfway through the tune that the bass is missing. And effects like flanger or echo can easily be left on because you’re focusing your attention on the next tune (or the girl/boy on the dance floor). A lapse of concentration is all it takes to ruin a good mix (and sometimes your night) – so concentrate!
Getting Drunk when Playing
You need to be fully in control of your equipment but you won’t be able to do that if you’ve had too many beers or tequilas back there in the DJ booth.
Having a couple of alcoholic drinks for Dutch courage is all very well but being so plied with booze that you can’t even see the mixer in front of you and can’t mix properly is not going to be considered very professional.
I’ve heard tales of DJs guzzling a case of Bud before going behind the decks, but unless you have a liver the size of a small house, if you must drink, just make it a couple, then stick to water.
Leaving Records Propped Up
If you have to leave your records poking outat an angle from your record box to know where the next few tunes you’d like to play are that’s okay, but removing a record from its sleeve, and propping it up against a speaker (or similar) is a bad idea. Eventually, you or someone else will bump into the speaker/desk, and the record will drop to the floor, snapping in half (which is an extremely effective way of getting you out of this habit, though!)
Cutting corners in this way breeds laziness and disrespect for your records.
As a DJ, your records (and CDs) are the most important things in the world to you – don’t risk damaging them by being lazy.
Leaning Over the Decks
As the DJ, you’re the hostof the evening, and you’re allowed to show or receive some appreciation (handshakes and kisses on the cheeks being the best way). Just make sure you’re appreciated a little to the left of the decks so that you don’t bump into the decks or hit something on the mixer.
Copy-cat rip
I saw a great photo in DJ magazine a few years ago of Sasha leaning across the decks so that someone from the dance floor could light his cigarette. Back in the days when I did smoke (it’s not big, it’s not clever, and it will kill you) I thought this look was so cool, I’d try to do the same.
Not only did I receive some friendly abuse from the lighting guy while I waited for someone to
oblige with a match, when I did lean over the decks, my T-shirt got caught on the needle on the record, ripping it right off. (The needle that is, not the T-shirt.) Fortunately, it was the cued record rather than the one playing to the dance floor, but it was further compounded by me dropping the lit cigarette onto the turntable because I was so flustered by what I’d just done.
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Avoiding Wardrobe Malfunction
Avoiding a wardrobe malfunction is harder than you think. From jeans that are cut too low (so when you bend over to pick up a record, everyone can see your butt-cleavage) to ladies wearing a white bra under a black top so the UV lights show off their glowing chests, you’d be surprised what can go wrong.
Hats, scarves, ponchos, and false beards will all eventually get tangled up in your equipment, or fall onto the decks. Wearing costumes (think Elvis cos- tumes, gorilla outfits, or Tarzan wraps) seem like a good idea in principle, but try to have a quick practice wearing them before you start mixing; your furry paws or rhinestone cuffs may turn your mixing into a nightmare.
Spending Too Long Talking to Someone
Stay professional: don’t spend so long talking to a friend, potential employer or member of the opposite sex that you don’t have enough time to properly cue up and mix in the next track. Even if you do have enough time to cue up the tune, don’t rush the mix just so that you can go back to talking to them.
And whatever you do, don’t spend so long talking to someone that the record runs out completely. Unless of course you want to get fired.
Leaving Your Last Tune Behind
If you’re just doing part of the night, and someone is taking over from you, chances are, you finished your set on a really good tune, so you don’t want to leave it behind. Wait until the next DJ has mixed out of your last tune, then pick up your record/CD, pack your bags, and leave the booth. If you’re pulled away by someone, ask the DJ to put your tune to one side, and say that you’ll pick it up later – at least that way he or she won’t walk off with it by accident.
Not Getting Paid Before You Leave
After a night rocking the crowd, don’t leave the club before you’ve been paid in full. Don’t fall for excuses such as ‘I don’t have my cheque book’, or ‘I don’t have it all here, can I give you half now, and the rest next time?’ I’ve fallen for this in the past (both times with club promoters who I thought I could trust).
Every case is different, and you should know how much you can push and stand your ground with the club promoter/owner/bride and groom to
demand payment. The safest thing to do is to agree on the amount before you set foot into the DJ booth (preferably on paper, signed by both of you).
That way, you can be very persistent about making sure that you get all the money you’re due.
If you don’t agree on an amount before playing though, good luck to you . . .
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Chapter 24
Ten Items to Take with You When DJing
In This Chapter
Tooling up for the job of DJing
Remembering things to keep you going through the night Getting home and calming yourself down
From the obvious items like your records and headphones, to the less obvious matter of taking a drink and something to make a recording of your mix, the ten items described in this chapter are everything you need for a successful night on the decks.
You may want to tear out the Cheat Sheet at the front of the book and keep this list taped to the back of your door, or next to your car keys, so that you can check it over before you leave the house. (And take the list with you, so you know to bring everything back with you!)
All the Right Records or CDs
You may have thousands of records or CDs in your collection. Make sure that you’re taking the right ones with you. Checking for one last time that you’ve picked up the right box or CD wallet won’t hurt! Also take a carbon brush to clean your records, and a soft cloth for CDs.
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Make it Personal with Headphones and Slipmats
Have a last check to make sure that your headphones still work, and that you take any adaptors needed to make them work. If you use headphones that you can repair with spare parts (like the Sennheiser HD25s), take your bag of tools and spares.
Put your slipmats between some records in the record box so they stay flat and undamaged. Just remember to take them back at the end of the night!
Using your own slipmats prevents any problems with fluffy, thick, dirty slip- mats that a club may use. You’ll have become accustomed to how slippy your own slipmats are on a set of Technics 1210s. Basic slipmats on a club’s set of decks may create a lot of drag, and even worse, may damage your records due to dirt and crusted beer spillages.
You’re a Star! MiniDisc Recorder (or a Blank Tape)
Make the most of every opportunity by recording yourself in the mix, which is especially helpful at the start of your career. You’ll benefit dramatically as you can study your performance and improve on it. If a club doesn’t have any means to record the mix (check beforehand), take along a MiniDisc recorder (or similar) so you can take away evidence that you rocked the crowd!
Pack Your Tools and Save the Day
Any real man knows that the only tools you need are WD-40 and duct tape.
But, if you want to get fancy, throw some differing size and shaped screw- drivers into a bag too, as you never know when you may need a Phillips head screwdriver to save the day.
Always Be Prepared: Pen and Paper
Not just for taking phone numbers of good-looking clientele, you need a pen and paper for taking requests, sending drinks orders to the bar, and swapping phone numbers with people who want to book you.
Keep Fuelled with Food and Drink
Unfortunately, you’re not there to have a picnic, you’ve got a job to do. But, take some sustenance to keep you going in case your body needs fuel.
Contrary to popular belief, you don’t have to put vodka into your Red Bull or Irn-Bru 32. Keep one or two cans of your chosen energy drink with you, and if you start to flag halfway through the night, drink one for the caffeine fix.
Be warned though, that some people don’t react well to the sudden hit of caf- feine. So trying one in the middle of a set, in front of a 1,000 people is not the best time to see if your body likes caffeine and guarana!
In addition to an energy drink, you also need to take something to eat in case you get hungry. Hunger leads to bad moods, and bad moods can make you lose your concentration, and you won’t be as attentive to the crowd’s needs.
Popping wine gums and jelly babies gives you a quick sugar fix, and they con- tain almost no fat.
Eating an energy bar gives you a better range of nutrients (though a larger fat content) and fills you up for longer, but does run the risk of tasting like cardboard.
Spread the Music with Demo Tapes and CDs
Nothing beats someone asking for a mix tape/CD of your work after hearing you play in a club. Nothing’s worse than not having one with you. Take a few copies of your most recent mix (check out Chapter 17 for tips on how to create the best sounding, and best looking CD or tape) and hand them out with a big smile on your face.
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A few examples of your best work are also really handy if someone wants to book you for a night somewhere. If you give them a great mix to take away, they won’t forget about you – just remember to include your phone number!
Keep Moving with Car Keys
You’re not going to get far without your car keys. I’ve spent many an evening standing at the boot of the car, head in hands in disbelief that I left my keys behind again! Okay if you’re just leaving your house, but not okay if they’re in your jacket pocket, in the locked-up club that you’ve just played at.
Have Wallet, Will Travel
You never know when you’ll need a little cash, either for taxis home as you left your car keys behind, or just to go grab some chow after your set.
If you have a few business cards, keep them in your wallet, on hand to give out when you need to do some self promotion.
Just Chill: Chill Tape for the Ride Home
Sometimes, I finish my set at four o’clock in the morning, and am in no mood to keep the buzz going by listening to more pumping tunes on the way home.
So, I keep a copy of the soundtrack to the film ‘The Big Blue’ in my car for such occasions.
It contains some of the most fantastic pieces of music I’ve heard in a long time. My wife Julie worries about it sending me to sleep on the drive home, but all it does is take the edge off the natural high I’ve got from an evening of energy and musical rapture (but it doesn’t do much about the caffeine rush I have due to one too many of those energy drinks!).
I recommend the film too . . .