Já que hoje, 9 de março, é dia internacional do DJ, quero fazer parte do meu trabalho como DJ: re-editar um texto meu esclarecendo ao público pra que serve o DJ alem de ser um "profissional que coloca música", qual a sua importância e o seu futuro.
O que é o DJ realmente? O público se confunde muito porque existem vários tipos de DJs (e varias misturas entre esses tipos), mas aqui vai um resumo, do meu ponto de vista:
O DJ "entretenimento"- apenas toca os hits e está exclusivamente focado em agradar o público da forma mais fácil e direta, sempre ligado na industria da música e nos seus hits atuais.
O DJ "educador" - Geralmente segue um conceito,de gênero(s) ou segmento(s) musical(is). Mescla o entretenimento com mostrar coisas novas e diferentes pro público, que ele acha boas e dançantes. Funciona como um "curador musical" (quando o publico quer ouvri coisas novas naquele conceito, o segue). Geralmente são mais idealistas, atentos para a evolução e valorização da profissão.
O DJ autoral - Basicamente toca coisas que ele mesmo produziu. Nessa entram quase todos os conhecidos como "top-DJs' do mundo, com algumas exceções
O DJ "poser" (ou "fake", termo que eu nao curto muito) - Geralmente assumiu aquela função pra ganhar status social, conquistar pessoas ou até mesmo beber de graça. Pode tocar por qualquer trocado ou mesmo "na amizade". A música e a técnica vêm em segundo plano. Obviamente não está nem aí para colaborar com a classe.
O DJ "oportunista" (que tambem é "poser") - "Fiquei famoso no BBB mas saí de lá, e agora? Comi a Madonna e ela me chutou, e agora? Já sei, vou atacar de DJ, assim pessoas vão pagar pela minha presença. O som? Eu enrolo. Só aprender a técnica básica, ficar em um gênero musical apenas e tocar os world top 40 - coisa que qualquer um pode fazer - que o pessoal engole. Pra passar mais veracidade, vou pagar um 'ghost producer' pra que eu diga que eu que produzi, que to lançando minhas produções etc.
SELECTOR (ou "Bota-Som") - Pode ser qualquer um dos tipos acima, mas não usa da técnica de mixar as músicas entre ela sem perder o ritmo.
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Don’t get me wrong. I can’t help but notice a lot of “mixing not important” articles lately, mainly written by and for newbie DJs and Balearic silverbacks who can’t mix well. A proper DJ selects well and mixes well.

And are smooth transitions really what makes a DJ set enjoyable? 
When it comes to the art of DJing, how essential is the role of beatmatching to the overall sucess of a set or mix? Another way to put it might be: are smooth transitions the ultimate measure of skill, or are there other qualities like track selection, charisma and composition that play just as big a role in our evaluation of DJs?
It might be hard to imagine in the era of DJ voyeurism and the online echo-chamber of negativity where every mistake is dissected and criticized, but there was a time when beatmatching was a secondary, if not entirely negligible aspect to spinning records. Legendary Loft DJ David Mancuso was known to play his records in their entirety—a tradition that continues up to the present. Even renowned mixer Theo Parrish told us that beatmatching can only ever be one weapon in the wider artillery of a DJ’s skills.
So what drives our unrealistic expectations of perfection? Maybe the present conceptual distinction between the DJ and the “selector” is us finally coming to terms with the fact that mixing is not the be-all and end-all of a set, and we can finally go back to listening to music the way it was always meant to be presented. To find out more about this debate, read on here. Watch Theo Parrish discuss the art of DJing in this classic edition of Slices below.
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Animação divertida, que mostra muito a realidade do que a gente vê aí pela noite.
Foi feita em 2004, mas continua superactual.

10 Silly Mistakes Beginners Make When Choosing A DJ Name
If Tïesto had stuck with his real name - "Tijs Michiel Verwest" - he may have struggled to reach the levels of success that he enjoys today (also, there would need to have been 18 people to hold that name sign up behind him, not six...).
Choosing a DJ name is one of the most important early decisions you'll make when getting started as a DJ. (Tell us your DJ name in the comments below). Get it right, and you'll have an instantly recognisable name that tells the world the kind of DJ you are and helps get you noticed. Get it wrong, and all kind of obstacles will block your path to success. Here are some of the rookie errors people make time and time again, and that it's simple to avoid:
Read more at_Ler o Artigo Completo...<> 

A incrível história do DJ que trouxe boa parte da música eletrônica pro Brasil na mala
Lá estava um sujeito alto, de cabelo liso, bigode, me esperando no estúdio de gravação de um amigo. Carlos Machado, 55 anos, nascido em 11 de julho 1960 em Niterói, DJ com mais de 40 anos de cabine, produtor musical, engenheiro de som autodidata e o maior dealer de discos que o Brasil já teve, finalmente estava ali na minha frente.

This topic has been floating around for a while but still something I wanted to tackle in an Op-Ed as I'm rather precious about it.
I started going to raves around 1993 at the dawn of the first wave of the American rave scene that has since become this monster we now universally refer to as EDM.
These early parties are where I got some of my first exposure to the electronic dance music DJs who at the time were playing genres like House, Trance, and early techno. This seamless style of DJing was very different than the other major DJ culture of the time, which was Hip Hop.
The idea behind DJing dance music as one long journey was pioneered by guys likeLarry Levan and Frankie Knuckles. The idea was fairly simple, keep the dancefloor moving by mixing records together to create the illusion of a never-ending track. The essential skill was not the beatmatching but more about picking the right records for the right moments as the night progressed.
It's always a bummer for me to hear people say, "anyone can be a DJ these days", because nothing could be further from the truth. That would be almost the same as saying that everyone that can drive an automobile can be a race car driver, sorry, but NO.
As dance music evolved out of disco, producers started to engineer the 12" singles with intro and outro beats, thus giving DJs room to lay down long smooth mixes. That's why (for you non-DJs) dance music singles can be a little longer than necessary and annoying towards the beginning/end, they were not meant to be listened to as singles but to be blended into a set.
This is where the art of being a DJ comes in, and yes being a DJ is actually a skilled art, not just someone playing music back to back and standing around. It's always a bummer for me to hear people say, "anyone can be a DJ these days" because nothing could be further from the truth. That would be almost the same as saying that everyone that can drive an automobile can be a racecar driver, sorry but NO.
The DJ, no matter what equipment used, is responsible for one thing, and that's to read the room and play the right music in the correct order to make people dance.
Not just dance, that's selling it short, more like make people lose their minds to the rhythm and forget all their problems. That's more like it.
Every crowd is different and so is every vibe, so the same set at every show will never work the same way.
There is a human factor involved in a DJs performance, and that is reading the crowd. A great DJ knows exactly how to move in the right direction if he/she starts to lose the floor. There is almost a gut instinct a DJ learns after enough time in front of the decks, they become one with their audience to a certain degree.
In today's post-rave world of electronic dance music, there is a notion that it's ok for a DJ to play the same set over and over (often already mixed). This practice has begun to kill the spirit of dance music, to some degree creating lazy and uninspired DJs who have forgotten their craft (or never knew it).
The famous "DJs" who do this are now just iPods who want drink tickets and come with a light show... and that takes all of the humanness out of it, doesn't it? I mean, if I can plug an iPod in and it will do essentially the same the thing, what's the point? Where is the art? Where is the performance?
Considering we are going out to electronic music events to feel more "human" in a world where we are increasingly more cut-off, doesn't a preprogrammed set completely defeat the purpose of that?
Don't get me wrong, there are still many working DJs (old and young) that do DJ the way it should be done. These DJs are the glue that is going to hold this scene together when the hype fades; these are the DJs that people will still go see when the other stuff becomes dull and uninspired (it already is to many of you).
So what does it mean to be a DJ these days? I think it means the same thing it meant in 1993, nothing has changed aside from the mass misunderstanding of the actual definition of what it means to "DJ."
Don't agree with me? Do yourself a favor if you haven't already: next time an "old school" or "underground" DJ is in town at your local club, go out and see them. Watch what they do and how they react to the crowd and then you will have your answer, no Op-Ed necessary.

So You Want To Be A Wedding DJ…
Maybe you feel that your club gig is constantly short changing you: You may have heard that the wedding industry has lots of money to offer, and I can tell you there is much truth to that. Or maybe you just want a change of scenery. I used to be a former club and radio DJ. I took a decade-plus long break and missed spinning music to a crowd, but I knew that the same old club routine would be a virtual dead end. That's when I decided to start my wedding DJ business, and within just two years of operation it was flourishing.
There are some significant differences between rocking a club crowd and a wedding venue dancefloor that one has to consider before taking the plunge. In this article, I'll introduce you to a couple of them so you can decide whether or not DJing weddings is for you.
A preface before we go forward: This article is written for those that have some DJ experience. No matter what setting you play in, you need to have a bit of musical knowledge, some ability to mix songs together, and be at least comfortable with the platform you're DJing on, whether it's Serato, Traktor, CDJs or even vinyl. The professional wedding industry is not the place where you would want to begin your DJ journey.
Solo or team member?
If you decide to step into the world of wedding DJs, you have to decide if you want to do this on your own or if you want to join an established DJ business. If you don’t feel like you can get your “sea legs” right away, then maybe starting off with an existing multi-op (a mobile DJ company that hires many DJs) is the best way forward. You may also be mentored by some existing DJs in the industry and gain practical real world experience in the process.
If you decide to throw caution to the wind and start on your own, be forewarned: You're going to need to think about the “long game” as the first couple years will be a struggle. The investment in equipment, music, advertisements, and even just pacing yourself while still trying to take on more gigs are gruelling challenges. I could spend days talking about the business aspects of this, but that will be for another article.
You are no longer just a DJ
One of the first big realities of being a wedding DJ is that DJing is just one component of a larger service. The couple is hiring you for your expertise not just song selection and mixing, but in how you can interact with the venue and other vendors.
Being able to manage the timeline for the night is one of the critical aspects of being a wedding DJ, and making sure that the venue and vendors are all in sync is just as important. You don’t want to start off, say, a special dance without the photographers and videographers ready, or you don’t want to kick off the cake cutting song without knowing that everything is prepared first.
And let’s not forget, as a wedding DJ you're going to have to spend time preparing for someone else's special day. This can sometimes mean lots of hours and even days of planning with the couple and on your own to ensure that all the particulars are managed, that you have all their must-play songs, and that you're familiar with the day's programme flow.
Read more at_Ler o Artigo Completo.......<

Techno legend Tiga: ‘Real DJing is like stand-up comedy’
My history with DJing could be the story of any awkward teen. I never knew what to do at parties. I loved to dance, but people were slow to join in and “Do the Tiga”. Girls were much more into my yo-yoing skills than I was comfortable with. But I did have an ace in the hole: music. My dad played music at parties in Goa, and I would help him make his tapes because I was super organised and had incredibly neat handwriting. That was my first lesson in DJing: be organised. Also, I knew how the buttons on the tape machine worked, and more importantly what they could make hippies do.
Oddly enough, I never really thought of what my dad did as DJing, and those parties in the 70s and 80s didn’t register as raves the way seeing a documentary about Sven Väth, entitled No More Ugly Germans, in a Swiss hotel room in 1992 with my parents did. It hit me like a tonne of bricks. It was the warehouse that seemed real – far more real than Euros escaping life in Goa. I wanted urban. I wanted city. I wanted to be fancy. Maybe rich. I wanted real light switches and nice pants, real pants. I had no idea where you could even buy those proper-looking clothes. I decided that finding out was for me.
I would spend a lot of time trying to find songs I loved, songs that were mine and no one else knew. And if someone did know the song, I wept and burned the tape. I actually ended up hating one of the first girls that would even talk to me because she had a CD single of the KLF’s What Time Is Love? and I didn’t and it filled my pubescent heart with rage. It gave me a longing I called “Compact Lust”.
When I went to my first real club, much later on, I saw the DJs in the corner and wanted to be them. Not so much to be the centre of attention as to be occupied. Maybe even necessary. This strikes me as a radically different starting point than wanting to be the main attraction. I imagined the actual centre of attention was some cool guy at the party, you know, the kind with a collared shirt and a long curly hair. The DJ had a realistic role, a respectable one, and I set my sights on that niche. As it turned out, I had what it takes.
But what does it take?

Trapped in the Booth
12 Ways That DJs Avoid Spinning Your Requests
DJs are assholes. Throw us in front of some turntables and it doesn’t matter if it’s EDC or the small patch of carpeting outside the Manhattan Mall Gap store, we quickly morph into pompous monsters. Mostly, it’s a power thing. We have MP3s and the ability to play them through a large sound-system and you do not, giving us a highly false sense of importance and yes, sometimes a drug problem to boot.
And lookI feel terrible. I’d like to apologize for all of us, as you seem reallynice and I bet we’d be super bffs IRL. But there are two sides to every coin. Your side? The interminable onslaught of requests. Of course, like a hooker catching the clap or egregious lip-syncing at a Britney show, some requester interaction comes with the territory. We know this and we try to cope as best we can, aiming to honor the spirit of our Lord AM.
But dealing with an endless parade of song petitioners night after night, month upon month, year after molly-ed out year is enough to turn even the Zen Buddhist-ist of DJs into a spiteful piece of shit. More than that, turning requesters down becomes essential to doing our job. We’d never get through a set, otherwise.
Often, though, saying “no” isn’t nearly enough. Sometimes it even gets you slapped. So DJs have had to get creative. I’ve personally tried numerous, sometimes heinous and despicable methods of dismissal over the years that I’m not necessarily proud of.
So in keeping with my profession-wide mea culpa for our DJ douchebaggeryand as a cleansing of my own soulI’m going to list some techniques that I and some of my DJ friends have used to avoid taking your requests over the years. These are our confessions. My hope is that this will clarify the fog of mystery that hangs between the DJ and requester, perhaps foster some mutual understanding and maybe, just maybe, give us all hope for the future of humanity and more importantly, nightclubbing. And again, I really am sorry. For all of us. Let’s dive in.
1. The DJ Beethoven
I’ll start with a personal fav: pretending that I’m the Beethoven of DJs, operating this entire sound-driven operation though pulses in the floor. “Can you play ‘Levels?’ it’s my friend’s birthday!” “What!?” “It’s her birthday!” “What, I can’t hear you!” “I said can you please pla…” (quickly turns away and pretends the interaction never happened and that you are apparition).
The truth is, I heard you. Loud and clear. We all did. Rest assured though that the joke will ultimately be on the DJs who use this technique. Due to our frequent proximity to loudspeakers and the fact that wearing earplugs would totally clash with our jean jackets and fedoras, we’ll all likely lose our hearing, and thus our swag, joy and very livelihoods, at some point soon. Either way, I’m sorry. “What!?” “I said I’m sorry!!!!”
2. The “Yes!” *Eyeroll* Move
Perfected by my homie CFLO, in this method the DJ says, “Yes! I will play your request,” to your face, then rolls his eyes at you while you walk away and will never actually play your request. A similar technique, the kill ‘em with kindness is a favorite of DJ Equal’s. “Omg I love that song too! I really want to play it ASAP; I will do my best to sneak it in,” says a DJ who in fact does not love that song and will likely not do his best to sneak it in.
This technique may appear an easy out for the DJ, but while it neatly solves his problem short-term, he is ultimately setting himself up for an unfortunate follow up appointment. In any case, just like the thot you’re trying to bag at the club that night, never trust a DJ who says “yes” too easily. We are all sorry.
3. The “Yes!” *Eyeroll* Move Pt. 2
Upon the preordained follow-up, CFLO does something pretty smart and daring by referencing Janet Jackson. “What have you done for me lately?” he asks with sweet doe-eyes upon your return to the booth.

O mau uso das tecnologias versus a arte e ciência dos DJs
O uso inadequado de recursos e facilidades tecnológicas estão empobrecendo a música e a arte DJ

Todas as tecnologias trazem facilidades e recursos que, se utilizados corretamente, de forma adequada, com bom senso e coerência, trazem grandes benefícios. Na realidade esta é a função / objetivo básico da tecnologia: gerar facilidades e benefícios. Porém, também há pontos extremamente negativos. Na música e no universo dos DJs e produtores não poderia ser diferente. Além dos grandes benefícios trazidos para quem é realmente bom de verdade, devido aos vários recursos e facilidades gerados naturalmente, a grande maioria dos DJs e produtores, principalmente os das mais novas gerações, estão ficando cada vez mais mentalmente relaxados / preguiçosos, sem criatividade e sem maturidade técnica musical. Com isso a maioria dos DJs não estão sabendo fazer as pessoas se divertirem de verdade, da mesma forma que a maioria dos produtores não estão criando músicas e remixes que realmente animem as pessoas. Estatisticamente, se comparar as músicas do gênero dance music às atuais, estas estão cada vez mais pobres em relação as dos anos 70, 80 e 90, apesar da melhor qualidade sonora, dos efeitos, recursos e das facilidades que deveriam ajudar a música a evoluir cada vez mais.
Os produtores e DJs que aprenderam, se viciaram e / ou fazem uso errado / inadequado das novas tecnologias, pensam em números, gráficos, telas de computadores, displayers / mostradores de equipamento e softwares, e não em música. Justamente por esses e outros motivos, estão ficando musicalmente pobres e sem criatividade.
Se comparado com a média, os produtores e DJs do passado, sem as facilidades e recursos tecnológicos atuais, tinham mais criatividade, melhor desempenho, qualidade e eficiência que os atuais, ou seja, os produtores e DJs da década de 70, 80, 90, com os limitados recursos de suas épocas, eram relativa e proporcionalmente muito melhores.
Infelizmente, devido a pobreza das músicas e a falta de elementos mais animados, está se gerando maior necessidade em consumir drogas. Muitos se entopem de drogas em eventos para dançar, para se sentirem “alegres / animados”, achando que não estão animados, quando na realidade é a música que não tem elementos e estrutura que realmente proporcionem esta animação de forma natural. A maioria das músicas atuais não tem elementos que estimulem o cérebro a se sentir animado; pelo contrário, mesmo muitas sendo rápidas, têm muitos elementos melódicos e repetitivos, de fácil assimilação, o que faz com que o cérebro da maioria do público de um evento se sinta subconscientemente desanimado, sem empolgação, levando muitos a buscar artifícios para tentar se animar.
Não é que não deva usar as novas tecnologias e seus recursos e facilidades – pelo contrário – deve usar e tirar o máximo delas para principalmente ampliar seu potencial, e não para substituí-lo. Porém o ideal é aprender a usar primeiramente o ouvido e o cérebro, aprender a ler, interpretar e se guiar pela música através dos ouvidos, aprender a pensar música, tudo através de conceitos tradicionais aperfeiçoados e modernos, mais eficientes, tanto de discotecagem quanto de treinamento. Com o ouvido e o cérebro bem trabalhados, condicionados através de treinamento adequado, saberá usar ainda melhor os recursos, funções e facilidades tecnológicas.

Exemplo do atraso provocado por aprender com uso de facilidades tecnológicas de equipamentos e softwares para DJs

O uso de alguns tipos de facilidades, principalmente durante o processo de aprendizado, retardam expressivamente o desenvolvimento das principais habilidades principalmente criatividade, e consequentemente, retardam o amadurecimento técnico e profissional geral requerendo muito mais tempo que o realmente necessário com treinamento adequado, bem dirigido e direcionado para se tornar um profissional bom de verdade. E isso não ocorre só no universo DJ, aliás, não é só no universo da música e de outras artes, mas em diversas outras áreas / atividades. Como exemplo, principalmente para os aspirantes a DJs, quem aprende ou sabe afinar um violão de ouvido, sem uso de dispositivos eletrônicos, ou seja, do modo tradicional, adquire mais rapidamente ou tem muito mais habilidades sensoriais auditivas, mentais e maturidade técnica quanto as notas e tons, o que obviamente reflete em todas as habilidades, inclusive na criatividade, ligadas a música. Muitos músicos preferem manter afinando seus instrumentos de ouvido justamente para manter e / ou ampliar ainda mais suas habilidades. Depois que tiver o ouvido bem trabalhado, bem afinado, pode e deve fazer uso de recursos e facilidades tecnológicas para ampliar seu potencial.
Após mais de 13 anos atuando como especialista em treinamento DJ, sugiro a aspirantes, DJs iniciantes e veteranos que após ter o ouvido bem condicionado e passar a usar facilidades tecnológicas para ampliar seu potencial deve periodicamente, pelo menos brincar / tocar durante alguns minutos utilizando técnicas tradicionais, evitando o uso de recursos e facilidades tecnológicas dos equipamentos e principalmente dos softwares, para eliminar a possibilidade de relaxamento / preguiça mental e continuar a aumentar suas habilidade cerebrais e auditivas.

Killin' It: Photos From DJ Booths Around The World
The layout of the club is everything. From the coat room to bathroom, from the dancefloor to the balconies, tucked away alcoves, and of course—the bar, the success and longevity of a nightclub often depends not just on its music, but on a masterful design. While many of the spatial elements of a club pertain to areas beneath, aside, or in some cases, above the DJ, the area the selector him or herself occupies—the DJ booth—is pivotal to your clubbing experience.
The DJ booth is like the cockpit of the club: it's from here the captain controls her or his faithful minions, orchestrating their every move from opening hour all the way until the early morning when that final track gets cued up. Every DJ is different, and so is every club, so it only makes sense that every DJ booth you find a DJ spinning from withholds its own unique character and vibe. These are DJs booths from many of the world's most celebrated rooms to dance in, both old new, and in some cases, long gone into the annals of clubbing yore.
You can't always see what goes on inside the DJ booth, but rest assured, it's here that a lot of the magic happens.
Read more at_Ler o Artigo Completo 

O que é um DJ?
Podemos falar por diversos ângulos o que é um DJ, ou melhor dizendo, o que são os DJs. Em um super resumo, os verdadeiros DJs, na sua fórmula e essência originais, são pessoas que adoram música e se tornaram estudiosos, analistas e críticos musicais, ou seja, são profundos conhecedores musicais de forma técnica e cultural dentro de um ou mais ritmos e / ou estilo. Os DJs possuem diversas habilidades desenvolvidas na tentativa e erro ao longo de vários anos quebrando a cabeça, ou desenvolvidas em alguns dias, semanas, no máximo em alguns poucos meses, dependendo da dedicação, disciplina e maturidade, após um treinamento adequado, bem coordenado, dirigido e bem monitorado.
DJs bons de verdade são praticamente “psicólogos” (informais) de públicos, pois são analistas / estudiosos e conhecedores de comportamento / reação de públicos / eventos quanto a música, sua sonoridade, estrutura e quanto a efeitos sonoros.
Os DJs bons de verdade têm excelente consciência sensorial auditiva, e várias vezes mais sensibilidade, reflexos e percepção auditiva quanto à estrutura e sonoridade musical do que pessoas que ouvem muita música, mas não passaram por um treinamento especial adequado.
Apesar de ter algumas coisas em comum, a “visão”, percepção musical, ferramentas, dentre outros dos DJs, são diferentes de outras especialidades técnicas profissionais da música como músicos / instrumentistas, produtores musicais e outros. Existem muitas particularidades, até mesmo entre tipos / especialidades de DJs. Para saber mais sobre o que são os DJs, sugiro que leia a série de artigos sobre o assunto neste site, onde a atividade DJ é classificada de diversas formas, quanto a equipamento, especialidades e outras.
Hoje, só o fato de a pessoa saber sincronizar e mixar músicas não pode mais ser caracterizado como um (a) DJ, e muito menos bom de verdade, pois atualmente muitos mixam impecavelmente bem, porém não têm uma das principais habilidades e característica de um DJ de verdade: o conhecimento e domínio de público. Infelizmente, distorcendo a figura do verdadeiro DJ, devido a falta de conhecimento, habilidade e maturidade técnica profissional adequada, a grande maioria toca sets / seqüências e faz mixagens / viradas extremamente programadas / ensaiadas para não errar na transição, perdem a flexibilidade e / ou não têm / adquirem habilidade para “manipular” o público de forma adequada. Muitos não sabem e / ou têm medo de mudar a estratégia dentro de sua “especialidade” musical, tipo de evento e / ou ”casa noturna”, caso o comportamento do público não seja o esperado. É bom lembrar que a função principal de um DJ é divertir, alegrar um público, dentro de uma ou mais especialidades musicais principalmente de acordo com o perfil deste público, evento, boate clube e / ou outros.
Portanto, como deu para perceber, o DJ de verdade é um apaixonado por música e possui um conjunto de diversas habilidades mentais, sensoriais e físicas, desenvolvidas através de treinamento adequado ou quebrando a cabeça ao longo de anos, e as utiliza juntamente com seu conhecimento técnico e cultural musical para divertir as pessoas.

Often overlooked, setting the tracking your cartridge weight and balancing your tonearm may sound dry, but it’s about the single most important adjustment you can make to the way your turntable sounds and will save both your needle and your records in the process. We take you through the deceptively simple process, step-by-step.
Read more at_Ler o Artigo Completo The Vinyl Factory 

Something of a controversial list given the number of DJs that bleed 1200’s, Paul Rigby goes in search of the 8 best DJ turntables on offer and finds 7 options at a wide variety of prices that prove there is life after Technics.
Read more at_Ler o Artigo Completo The Vinyl Factory 

Buying a vintage turntable is a great option for vinyl fans.
For many, a budget for any sort of hi-fi is a low priority. Once the bills are paid, it can be virtually impossible to purchase a new, top quality hi-fi system. Going vintage can offer quality at a low cost. Others may have spent a bundle on a new deck but have little in reserve for that second system that would be ideal for a study, bedroom or spare room. Some might even want to revisit younger days when the then ‘new’ turntables were objects of desire and now they can afford to purchase one, or even two of these classic designs.
Below, we have listed our Top 8 vintage purchases but, before you run off to your local second-hand store or eBay account, pause for thought.
It is true that you can grab some startling bargains on the vintage circuit with beautifully engineered turntables going cheap but bear in mind a couple of things. Firstly, do some research about the state of current prices. Don’t be conned into paying over the odds. Make sure that turntable that is on offer for £200 isn’t shifting for £50 a pop elsewhere.
There may be, however, a good reason why any particular vintage turntable is for sale for a relatively high price, which brings me to my next caveat: condition. Don’t buy junk.
Vintage turntables are vintage for a reason. They have been well used, are old but some may not have been well cared for – you are recommended to examine any turntable before you buy it. If you can do this in person then all the better. Ask for a demo and see the thing working (or otherwise) in action. Otherwise, you need to ask as many questions as possible and request as many close-up photographs of the deck from all angles to get a closer look at the less photogenic aspects of the deck.
Issues to be aware of include the condition of the stylus, the bearing (When was the bearing oil last replaced? Does the platter make scraping sounds when it rotates?) The attached cables, are they in good condition? Any signs of fraying or rust? Does the arm move freely on its bearing? Is the motor still usable? How about the belt, if applicable, does it need replacing? Look inside the chassis – is it full of rubbish, dust and fluff? Does the turntable hum? There may be grounding issues.
If you can sort out issues of this nature or you ‘know a man who can’ then you can buy with confidence but if your skills are limited then buy with an extra measure of caution and be selective in your buying choices.
Read more at_Ler o Artigo Completo The Vinyl Factory

DJ Sneak: “If you never touched a piece of vinyl in your life, you’re not a DJ”
"If you're a DJ you learn how to mix with decks first... I don't care how big you are, in front of a million people, if you never touched a piece of vinyl and actually mixed that and created something with that, you're not a DJ in my eyes. I look down on people like that," the veteran US jock said in a Pioneer Radio interview, as reported by Mixmag.
He also said: "In the last 20 years, there was a gap where kids just didn't care about the craft any more. They just wanted to be famous, they wanted to be popular, they wanted to do whatever they could to be in front of all those people. They skipped things to get to that level."
"The popularity means nothing. I'd give the local kid more love because he's hustling and DJing [with vinyl] and putting his heart into it every day... You've got people who do it for love and you've got people who do it for other reasons."
Read more at_Ler o Artigo Completo Digitaldjtips

So which of these types of DJ best describes you? 

Not every reader of this website is the same "type" of DJ. We are lucky enough to work with all types of DJs, and you may be surprised at all the different needs people have when they first discover Digital DJ Tips.
Read more at_Ler o Artigo Completo Digitaldjtips

  • "DJ is literally an abbreviation of DeeJay, and that makes all the difference!" Magnifico DeeJay
  • "DJ é literalmente uma abreviatura de DeeJay, e isso faz toda a diferença!"  Magnifico DeeJay
MacBook Pro Running Slow? You Need A Solid State Drive
For Digital DJs laptop performance and speed is critical. After a few years of using the same computer you may notice that day one speed just isn’t there. How can you get back that brand new computer feeling back where everything runs super fast? Install a solid state drive.
Rather than spend $1899 – $2499 for a brand new MacBook Pro, why not get more from your original investment with this small performance upgrade. Today we’ll share the easiest and fastest way to upgrade your MacBook/MacBook Pro to a super fast solid state drive and be up and running in no time.

O DJ em sua essência original, a relação com a música e o “controle” / manipulação de público
O DJ em sua fórmula / essência original normalmente é uma pessoa apaixonada por música, que tem uma grande coleção, um patrimônio, do qual tem muito ciúmes. O verdadeiro DJ normalmente gosta de vários ritmos e estilos musicais, alguns muito distintos. Muitos gostam inclusive de músicas, gêneros, ritmos e ou estilos que não trabalham / tocam como DJ. E isso lhes rendeu, em muitos casos de forma inconsciente / natural, grande conhecimento quanto a sonoridade e estrutura que reflete diretamente em suas habilidades mentais e sensoriais, principalmente auditivas.
Em um passado não tão distante, muitas pessoas se tornaram subconscientemente, de forma não objetivada, não intencional e ou informalmente, colecionadores, “estudiosos” e “analistas” musicais, e da mesma forma se tornaram críticos, ou seja, de forma natural. Sem intenção, adquiriram a habilidade de analisar músicas e se tornaram informalmente críticos musicais e consequentemente verdadeiros DJs, mesmo sem dominar as técnicas de mixagem. Alguns, com o conhecimento cultural e “técnico” adquirido, administravam seu “repertório” e ministravam as músicas de sua coleção em boates, clubes, rádios e festas temáticas, e hoje, em raves, grandes festas / eventos direcionados a um público adepto da música eletrônica / dance music, normalmente mais instrumental, sem letra e sem melodia.
Hoje através de treinamento adequado, bem dirigido e monitorado, é possível se tornar um DJ bom de verdade, dentro de seu molde original, um verdadeiro analista e crítico musical, de forma intencional, muito mais rápido do que há anos.
Antes de “existirem” as técnicas de mixagem mais elaboradas atuais, e habilidade de se promover as transições entre músicas levando-se em consideração a estrutura, sonoridade, harmonia e estética, a grande habilidade dos DJs era a de ler o comportamento do público e escolher a música certa / adequada para o momento / situação / “cenário” que se apresentava e ou de acordo com as necessidades / objetivos próprios ou do evento. Hoje somente alguns pouquíssimos DJs realmente habilidosos, técnica e profissionalmente maduros, sabem também ler, analisar e interpretar o comportamento do público / evento quanto ao teor de animação em relação a música e trabalhá-los de acordo com os fatores citados.
Infelizmente hoje, a grande maioria dos que atuam como DJs, inclusive muitos dos renomados e veteranos que relaxaram ou nunca se dedicaram de verdade, se preocupam apenas em fazer mixagens estilizadas com equipamentos, tecnologias, facilidades tecnológicas, números e gráficos, e se esquecem do resto, principalmente do que é realmente importante, que é saber ler, interpretar e “manipular” o evento / público através da música. Com isso, muitos eventos são sem “temperos”, apesar de muitos dos que formam o público dizerem que foi bom. Dizem isso porque provavelmente nunca viram / ouviram verdadeiros DJs tocando, pois hoje, além de serem poucos, estão quase em extinção.
Os verdadeiros DJs, em sua essência original, trabalhavam, combinavam e contrastavam, vários ritmos e estilos musicais; na pior das hipóteses, vários ou todos os estilos / variantes / vertentes de um único ritmo.
Hoje normalmente devido aos falsos conceitos, falta de habilidade, falta de cultura musical, por preconceitos bobos; por provavelmente ser extremamente mais fácil de se trabalhar e ou outros fatores, a maioria dos que atuam como DJs se limitam ouvem, trabalham / tocam uma única vertente / estilo, de um único ritmo. Hoje são poucos os DJs que têm conhecimento, habilidade, maturidade técnica e profissional; dominam a música de ouvido e têm capacidade para manipular, combinar e contrastar músicas de diferentes estilos, ritmos e até gêneros quanto a mixagem e ao comportamento de público.
De qualquer forma, para concluir, podemos dizer que os DJs em sua essência original são viciados em música, estudiosos musicais e especialistas em manipular eventos / públicos através da música.

My Cousin's Roommate Is Spinning Right Now
At least twice a week I get an email that says "come out to XXX cafe on Friday night, my friend XXX is spinning, he's really great!" Then I get there, and there's usually like 20 people there, talking, drinking and just sitting around. The reason there's only twenty people there is because everyone else's friend is a DJ too. While the tunes are invariably better than Channel Radio, it's usually not worth biking in the rain to hear your friend's friend DJ. Having just moved to DC and not being much of a dancer, I'm just now learning this the hard way. My new personal policy is never to see a DJ that can't get a bigger audience than a public school gym teacher.
Maybe DJ culture is a byproduct of chaos theory as applied to popular music: as time progresses, entropy exponentially accelerates the proliferation of bands, songs, and singles. It's all so overwhelming that we need someone to be a responsible musical filter for us so we can get up from the stereo and just have a good time. But the entropy applies to DJs too. Now that the laws of chaos have accelerated wack DJ reproduction, I need a filter to filter the filters.
Please don't get me wrong, I like a good DJ as much as the next guy. Good DJs and good bands are precious and rare and they're equally valid forms of expression. But I think that DJs are hitting the critical mass stage that bands hit in the late 90s. By 2001, you just couldn't be bothered to go see your roommate's band,and I think it's coming around again.
Being a good DJ means having the right taste for the room and having the perfect combination of records on hand to move the crowd, make 'em laugh and occasionally ache with nostalgia. The records one owns are crucial to DJ success. So many that "spin" now rocked to Fugazi's "Merchandise"in the 90s...we've come a long way from singing along to "you are not what you own."
While taste and record collections matter now, DJs of the future will eschew turntables altogether. They'll just have 2 AM/FM receivers, headphones and a mixing deck. All night long, they'll scan the bands to boom out the perfect clips from broadcast radio, with no interruptions and no commercials. Maybe the songs will get cut a bit short when BTO is playing on one radio and the DJ finds a new Missy Elliott track on the top 40 station, but it'll be more thinking on the feet, more immediate judgment calls. Innovators can scratch with static and emergency broadcast practice tones.
Twenty years from now my kids will get emails delivered directly into their spinal fluid that say "come out to club XXX, my friend XXX is supposed to be there. He programmed the jukebox at So-and-So last year, and he's got the best taste in music. Tonight he'll tell you what to like if you buy him drinks."
posted by Jeff Simmermon @ 9:31 AM

10 Secrets Of Highly Successful DJs
What are the things that successful DJs tend to know that others maybe struggle to work out? Apart from the skills of doing the job, what makes some DJs last the pace while others burn out or get disillusioned? That's what we're looking at today.
In today's article, I'm going to step back from the specifics (we're busy teaching all of those in our DJ courses every day) and look at the big, overarching things that you'll need to get right if you want real, lasting success in this game. If that's your aim, I hope these points help you to "fine tune" your approach and get where you want to go a little more easily.
1.            Get some work experience - Want to be a DJ? Then get out there! Nobody ever learned anything in their bedroom. So you can't get a gig? Then help someone else. Do some flyering. Help set up the gear, or a club night's decor. Offer to collect email addresses for a local DJ when he or she plays. Offer to do a half-hour warm-up before the club opens. Be inventive - but get out there. That's where you'll learn
2.            Be a music fan first - and don't be in too much of a hurry - Good DJs aren't born, they're made. Behind every great DJ is a wealth of clubbing, crate-digging, mix-swapping and general music loving. Don't forget to develop your taste as you develop your DJ skills. However much you're itching to get behind those decks, if you've got nothing to say when you do, you got there too early. Enjoy the music. Learn everything you can about it. You don't become a music expert overnight, so enjoy the learning curve. It'll all aid you when you finally do get your break
3.            Focus hard on your music collection - Individual gigs, club residencies, even whole scenes come and go, but the best DJs have music collections they spend a lifetime slowly, slowly building up. This "behind the scenes" work isn't glamorous, but great music is the foundations of your career. When you finally surface as a polished, professional DJ with a crate full of magic, only you will know how you collected those tunes over the years - and nobody will be able to reverse engineer your path. You'll be unique. You'll have earned it
4.            Work hard and remember nobody is indispensable - Putting the hours in is of the utmost importance. Nobody is so gifted that they can just "wing it", and if you don't commit to this and work hard, trust me - somebody else will and they'll nab your spot every time. People who work hard and make a big effort to go the extra mile do stand out at any stage in their career. It's always a good thing to remind yourself that you can't take anything you have for granted, that no one is indispensable, not even you...
5.            Look and act the part - If you turn up late and scruffy, the impression you give is "don't give a damn". It's important to be both reliable and well turned out. By looking and acting like "somebody", (and I don't mean being cocky and diva-like, I just mean well dressed, washed, alert and with a sparkle in your eye!) you say: "I'm the person in charge of this party, I'm someone to lead tonight's fun, trust me - and let's go!" It's partly how you dress/appear, but also partly your professionalism. Be the pro. People remember and prefer to work with pros
6.            Disregard your age (young or old) - You're never too young to "make it" (at least, early 20s is old enough); it's to an extent a young person's game. But they again, there's something weird about DJing. It seems to really not matter so much how old people are. Maybe it's because age = a good tune collection, but if you can keep up, you're going to be fine. What's more important than how old you are is how relevant you are. If you can't connect with your audience, you can't expect them to connect with you. If you decided to shut yourself off from the music they love years ago, well they're not going to give much time to the music YOU love when you play a tired DJ set in front of them. Stay in touch, stay enthusiastic, and age is - to quote the cliche - simply a number
7.            Take time to relax and recharge - You're in this for the long run, so don't burn out. Sure you're passionate, sure you've got to put the work in - but if you put so much work in that you lose perspective on the bigger picture (family, rest, rejuvenation, stuff outside of DJing), in the end, you lose. Whether it's a month a year completely off, every Monday and Tuesday relaxing after a hard weekend working, or just a sacrosanct barbecue every Sunday with the family - pick your relaxation, and enjoy it. Remember, a lot of creative thinking gets done when we take time to kick back
8.            Find a way to unwind after gigs - Getting home at 4am or whatever having just played an electric DJ set can leave you wired and far from ready for sleep! It's an adrenalin thing and it goes with the territory, but you need tactics for relaxing and unwinding. One good "balancer" for me has always been exercise - just running four or five times a week seems to leave me properly ready for sleep at night even if I've been DJing or whatever. If I don't do it I seem to get lethargic and restless at the same time. Do what works for you - but remember that finding a way to unwind is important in this game
9.            Control your nerves - All DJs get nervous. If you don't, you're doing it wrong. The trick is to be professional enough to hide it. Sure, stuff can go wrong, but your job as a DJ is to hide that side of things form the audience as much as you can. They don't care, it's not their problem! Good DJs realise that and fix stuff unobtrusively and deftly. Of course, experience gets you better at this, but remember that having nerves is fine. It keeps you on your toes, and that's actually a good thing
10.         Have confidence in yourself and your abilities - Again it's a cliche, but often the only thing holding you back is you. Dare to dream. Have a vision for where you want to be. Sure, you might not be the polished, finished article, but it's in our nature to put our own efforts down and elevate those of others. Be aware of this and compensate for it. Chance are you HAVE "got it", you ARE "good enough". A bit more self belief can be all it takes to accelerate your career. Being a bit easier on yourself will make your journey more fun. Ask for the advice and opinion of those who you respect, enjoy the ride, and trust in yourself
5 Cheap DJ Tricks and How To Avoid Them
Let’s face the music, folks: DJs love being the center of attention. Throughout the course of the night they are always looking for ways to remind people: “Hey, I’m not an over-paid iPod!”  Mainly though, we love any kind of positive reaction from the crowd – the ultimate form of DJ crack. Many of these techniques are tired, overdone, and simply put, “easy pops”. Here are five of the worst offenders, and their more creative alternatives.
The easiest pop of all – just play the big one song everyone knows or is expecting to hear. It’s a sure-fire way to get a crowd on the floor quickly and reliably. Unfortunately, you just performed the musical equivalent to eating dessert first – nothing really tastes quite as good after that.
The Creative Alternative: Pick a recognizable (but not overt) loop from the most popular tune and mix it in under a lesser-known track with the same key. You will get that “this DJ is amazing!” response your under-appreciated ego craves without completely giving it all away. Here’s a great example of the concept in action.
You all know the drill: count it out with me:
1. Drop out the bass
2. Raise up your hands
3. Drop the bass back in!
Wow, now go take a siesta – because you just pulled off one of the most musically difficult feats known to man. In fact – take the rest of the night off, you earned it.
The Creative Alternative: Use a filter and reverb sweep to gradually carve out the bass and drop a beatmasher in for a subtle fill. It’s harder, less generic, and generally works better anyway. Here is a full tutorial on this technique.
Is it just me, or do some DJs seem have authoritarian complexes, ordering the crowd to do strange things every 10 minutes? “Everyone go to the bar and buy 4 drinks, then come back and dance harder! ” In all seriousness, there is nothing more cringeworthy than the typical crowd rousing rally calls:
“Everyone put your hands upppppp!” or “How’s everyone feeling tonight?”
The Creative Alternative: If you want to confound and confuse, try telling everyone “don’t put your hands up!” and then watch blissfully as their left and right brains collide under the sheer weight of your confounding demand. If you really must say something to the crowd,  drop a creative sample over the mix to send an original message.
Ok, I admit it, this one is pretty fun. Matter of fact, if you are playing sing-along music then none of these rules really apply anyway. Throw those cakes, spray the champagne and fulfill every DJ cliche ever invented. Extra points if you manage to include all 127.
Looping the downbeat, the one, the kick, the bass, the thump, the bump – or whatever you want to call it and then speeding it up so it get’s f   f   f    f f f f fffffaster is the newest oldest trick in the book. Although technically more difficult to pull off perfectly, it’s still an easy pop and fairly tired at this point.
The Creative Alternative: Most people build up the kick drum, turning the entire song into a stuttering mess. Perhaps loop a sample OVER the main song (an acapella works great) and shorten that loop to create the same build but slightly less reminiscent of Swedish House Mafia. Here are some very creative build techniques for Serato.

1.6 milhões de euros. 4 noites em Ibiza. Mais que Deadmau5. Mais que Tiesto. Mais que… Mais que PORRA!
Você já deve ter se indignado com esta notícia durante o final de semana, tenho certeza que sim. Afinal, PORRA, sério?
Bem, minha opinião: PARABÉNS PARIS HILTON.
De verdade. Você pode não ser a DJ de House mais foda do mundo, mas com certeza é uma das mais bem pagas.
Ela tá trampando, honesto ou não, tá no mercado, paga quem quer.
Sabe quem merece o PORRA, neste caso? Você sabe a resposta: o mesmo dono de club / promoter / contratante que paga 5x mais para o playboy bonitão da cidade do que paga para um DJ que trabalha honestamente e rala no warm up.
A desvalorização que os DJs “de profissão” recebem, noite após noite, localmente no Brasil ou em Ibiza, sempre partiu do mesmo “ser”, aquele que ganha dinheiro a partir da ignorância alheia.
Agora fica a dúvida, cabe aos DJs virarem as costas e falirem estes clubs?
Ou vai todo mundo baixar a cabeça, continuar tocando por cem conto e deixar as Paris Hilton’s – aka qualquer playboy influente da sua cidade – receber as notas todas?
Club que não trata seus DJs com respeito não é club, é puteiro ou bar. #aprendam
… papo a ser continuado.
Via notícia publicada na MixMag e em todos os cantos da Internet e redes sociais.
Read more at_Ler o Artigo Completo

Your Questions: PA Or Studio Speakers For A House Party?
Rip up the sound system! If you're not careful, you'll end up literally ripping your speakers if you pick the wrong type to DJ with at a house party. Take our advice and do it right...
Digital DJ Tips forum reader Jamal writes: "I'm DJing at a medium sized house party say 30-40 people. I’ll be in an average sized room, but I have no idea what speakers to use. Would studio speakers do the job? Do I need a PA system? I’m not sure what my budget is at the minute but would appreciate some help!"
Digital DJ Tips says:
Definitely avoid using studio speakers, they're too delicate for party DJing and you're likely to damage them by overpwering them or someone putting a beer bottle through them, or something similar (whatever your best intentions beforehand...).
A PA system is a much better bet, provided you choose one that's the right size. If you don’t own now, don't buy: rent. Tell the rental company what you need. A general rule of thumb is five to 10 watts (more on the 10W side for house) "RMS" per person. In this case between 300 and 400W should be sufficient, but again, tell the PA rental company.
It’s always a good idea to consider a combination with one subwoofer and two (smaller) top end speakers if you want some good low end. But for a house party with 30-40 people this is probably overkill (unless you really want to shake the room). Make sure you get stands too to get the speakers at ear level.
• If you'd like to learn more about PA systems, check out our free series Beginner’s Guide To PA Systems.
Being a resident DJ is much more than just being able to beatmatch and select great tunes. There's an art to being the guy who both rocks a crowd properly while still leaving them wanting more, especially when a "name" is booked for a particular night. Great resident DJs keep people coming to the club, but don't let their confidence get ahead of who the people might be coming to see. And great resident DJs turn into world-traveling DJs. Just ask Jed Harper. This Canadian prospect has held down a number of residencies, ranging from gigs at Uniun, The Guvernment, and CiRCA to being the resident DJ for the Toronto Blue Jays. He's parlayed his talents on the decks to spinning at both the Ultra Music Festival and the BPM Festival, and he's shared stages with Kanye West, Tiesto, and David Guetta, while playing private affairs for everyone from Diddy to Justin Timberlake. So when Jed hit us up wanting to break down the do's and don'ts of being a weekly resident DJ, we had to oblige. If you're in a similar situation, and want to a) keep your gig for a while and b) potentially move on to bigger opportunities, take heed.
The DJ phenomenon of Paris Hilton, and why it doesn’t matter
By Mark Settle

Paris Hilton’s ability to rake in millions while knob twiddling an S4 (and now the S8) is always an easy target for writers, and is a subject I’ve drafted posts about but never published. This week however, she only went and won a Female Breakthrough Artist of the Year award (not best female DJ – that was DJ Oriska), thus making it harder than ever not to craft some words. These words however are not what everyone might expect as I don’t walk the easy path of hating, but instead have put it all into context, and I have one overwhelming opinion…
You really need to keep this front and centre in your mind when dealing with the Paris Hilton DJ phenomenon. Her ability to demand insane loot per gig and win awards is bugger all to do with DJing, but everything to do with being Paris Hilton. It’s all about pulling power and celebrity.
Like oh so many awards and top whatevers, they’re valueless popularity contests. It’s all about the VIPs working their PR machines night and day in turbo mode to whip up as many public votes as is humanly possible. It’s not as if there is a panel of respected elder DJs who honour worthy recipents with things that actually mean something. No, this is a numbers game and nothing more. In this respect, Paris Hilton could win the best anything and everything award, because it’s all about fans pressing a vote button. Remember, it is not “best”, but is “most voted for”.
So treat this and any other popularity contest with the… I was going to say contempt, but even that’s an emotion wasted on something with zero value. Well to us anyway – each one does mean she gets yet more money per gig though.
Again, you really need to remember that this isn’t about Paris Hilton’s DJ skills, but is all about her ability to fill a club. In fairness to her, having watched a video (which has now gone), it does appear like she can actually blend one track into another. But that isn’t why punters are dropping £70 for VIP entry. Those people want to see Paris Hilton, but not to see Paris Hilton DJ. It is the experience, the atmosphere, and being able to get utterly mullered in the process.
Of course you are, but you’re a DJ, and you’re the worst critic of other DJs, and by far the worst person to go into a club. But once again, when you keep in mind that this is about the celebrity of Paris Hilton and not the DJ skills, it becomes much easier to let go.
Let’s do a test — which of you considers yourself to be a better DJ than Paris Hilton? Woah — I’m not counting all those hands. But could any of you walk into Amnesia and pitch a four night residency based on your most awesome mixtape and doubtlessly glossy press pack, and expect to get £1.6m? You could even offer to go head to head in a DJ showcase with Paris Hilton to hammer home your superior abilities. “But I have no idea who you are” says the promoter, “and neither will the crowd”.
So yes you have the skills, and you could doubtlessly rock the crowd. But you were never getting that gig because you are not Paris Hilton.
If you want to be angry at anyone, vent your spleen at the crowd, who will pay insane amounts of cash for entry, drinks, and anything else that might be on offer. Be angry at the way that in the eyes of that crowd, celebrity trumps ability and quality. Nobody is making them go though — it is entirely their choice.
That crowd, even knowing that she’s merely adequate at beatmatching WANTS the full Paris Hilton experience. And given the huge payout, she’s more than happy to be centre of attention, do her thing, and drench the crowd in foam, a crowd that loves every minute and staggers away happy and wet. And you would as well if offered mad loot and an Ibiza residency. But you are not Paris Hilton.
In the whole scheme of things, it really doesn’t matter at all. Paris Hilton operates in her own sphere of DJing that has no impact on yours whatsoever. You were never getting that gig, because it was only ever going to be hers and created specially for her anyway.
For me it’s a matter of “don’t hate the player, hate the game”. The Urban dictionary states it in terms more suitable of my prosaic style:
“Do not fault the successful participant in a flawed system; try instead to discern and rebuke that aspect of its organization which allows or encourages the behavior that has provoked your displeasure.”
I guess that’s the Urban Dickensian English Dictionary then.
To wrap up, quoting an article from Complex describing her audience and where you should really be targeting your displeasure:
“The crowds do seem to enjoy it but most are too off their faces to care that she’s simply pressed play on a Beyoncé megamix.”
So the crowd is to blame, because they don’t want your awesome skills. They care not for the time and effort that went into custom edits, amazing multi-layered four deck mixes, or your own expertly crafted productions. Simply put — they are not the discerning crowd you’re looking for. Instead they want to be crammed sardine style into Amnesia, buy ridiculously overpriced drinks, and be sprayed with a foam canon while dancing to any old EDM top 40 guff. Why? Because she is Paris Hilton.
As a DJ hack, it was probably expected that I write a story about Paris Hilton. I apologise in advance if this offends, but I had to get it out of my system. But unless she wins DMC or makes a Kontrol S8 promo video for NI, I won’t be doing it again.
Original image © BRYAN VAN DER BEEK.

Dá pra imaginar que no passado o DJ ficava em um espaço escondido e hoje é capaz de lotar um estádio tocando música eletrônica?
Neste ano, a cultura em torno do DJ e da música eletrônica alcançou níveis tão altos quanto os dos artistas de pop e rock e se depender dos fãs, promoters e empresários, isso vai aumentar ainda mais! Com orçamentos astronômicos, cenários perfeitos e line-up para todos os gostos, a música eletrônica se consolida de vez no lifestyle de muita gente!
E os brasileiros não ficam atrás, com o anuncio da chegada do Tomorrowland no Brasil, a cena eletrônica brasileira ganhou um gás ainda maior e as produções andam a todo vapor no Soundcloud. Tudo isso é fruto do trabalho de muita gente que no passado, lutou para que a dance music fosse valorizada e o papel do DJ como artista fosse reconhecido. Além disso, veículos de imprensa, blogs, sites e revistas foram fundamentais para que todo esse esforço fosse recompensado nos dias de hoje.
Obviamente nem tudo são flores, ainda existe gente que desmerece o trabalho, ainda existe promoter mercenário e ainda existem as famosas panelinhas, mas aposto que muitos produtores, DJs e agitadores noturnos que não estão mais entre nós e os que ainda estão, devem estar orgulhosos do trabalho que fizeram! E eu também estou orgulhosa desses quatro anos que passei escrevendo no Remixa Brasil! Nesse tempo, conheci muitos produtores e DJs que hoje em dia estão detonando muitas pistas por aí e me orgulho de ter cedido um pequeno espaço para que eles pudessem ser enxergados.
Infelizmente também conheci gente que não era tão profissional assim e conheci muita gente talentosa que desistiu da carreira por falta de espaço, mas eu aposto que um dia, muito deles voltarão com tudo para as pick-ups.
Como qualquer ser humano, chega um momento na vida que você precisa parar e cuidar um pouco mais de você mesmo e esse momento chegou para mim. Vou sentir muita falta de escrever aqui e como o título diz, isso é um breve adeus e esse hiato  servirá para que eu possa me renovar e quem sabe criar um novo Remixa ou simplesmente servirá como um descanso para que eu possa cuidar mais da minha carreira profissional e aprimorar meus conhecimentos na discotecagem, que é uma das coisas que eu mais amo fazer no tempo livre.
Agradeço do fundo do meu coração a todos que me acompanharam nesses quatro anos e que sempre tiraram um momento para ler todos os posts, ouvir os sets e participar das nossas festas! A lista é grande e passaria a noite escrevendo! Mas o recado final fica para todos aqueles que assim como eu apreciem e apoiem nossos produtores e DJs brasileiros, tem muita gente talentosa aí só esperando uma oportunidade pra mostrar seu trabalho e não apoiem essas “celebridades” que usam uma arte tão linda apenas como trampolim de suas carreiras medíocres.
Um super abraço e lembre-se: deixe a música mais alta que seus problemas!
Nos vemos na pista! 
By Aline Mourad in @remixabrasil


Before requesting songs, making comments or asking questions to the DeeJay, please... Check below for your request, Here's How: 
1.Play something good...something we can dance to!
The DeeJay has to play for more than one, what you may hate may be another's favorite song and everything played here can be danced to one way or another. 
2.Would you play something with a beat?
Be Serious! We know of no songs played in a club that don't have some sort of a beat! 
3.I don't know who sings it and I don't know the name of the song, but it goes like this...
Please don't sing for the DeeJay! They have to put up with smoke-filled rooms and dangerous decebal levels all night. Do them a favor and don't give them a rendition of your favorite song! 
4.Everybody wants to hear it!
Oh sure, you polled everyone in the club and, as their spokesperson, you are requesting the song. 
5.I can get laid if you play it!
If you are good enough, you can get laid to anything!! (also been known as "buy the album and get laid for a month!") 
6.I want to hear it next!
The only people who can get away with that statement write the DeeJay's paycheck! 
7.I don't know what I wanna hear.. what do you have?
It's a lot easier for you to go have another beer and figure out what you want to hear than it is for the DeeJay to recite the name of every record in the booth! 
8.Hey man, nobody can dance to this!
It is not advisable to say this when the dance floor is packed (but, some people do anyway)! However, even if there is only one person on the floor, it still contradicts the statement. 
9.Everybody will dance to it if you play it!
The DeeJay won't...I guess that blows a hole in that theory!
1.If you ask for a song and the DeeJay says he just played it, don't say, "Well, I just got here." It makes absolutely no difference. 
2.Don't say, "Is this the only kind of music you play?" If you go to a Chinese restuarant, you wouldn't ask for Italian food. Rock clubs play rock, alternative clubs play alternative, discos play disco, etc., etc., etc… 
3.If you ask for a song, be specific. Don't say, "I wanna hear something, anything but this!" Try going to the bar and saying, "I wanna drink something, anything but this..." You can't complain if you're not specific. 
4.However, if you are specific and the DeeJay says he doesn't have the song, don't say, "What?!! What do you mean you don't have it? What kind of d.j. are you? Why don't you get into the wonderful world of fast food! You obviously don't know what you're doing as a DeeJay!"... He may shoot you!!! 
5.Give the DeeJay a break! The next time you request a song, stop and think before you speak. And above all, if the DeeJay has one hand on the mixer, one hand on a turntable/CD player - wearing headphones, Don't bug him. he's mixing!!! Unknown Author 

O Que é Um Bom DeeJay?
Apesar de não ser reconhecida pelo ministério do trabalho e ainda ter padrões de sub-profissão, ser DJ hoje em dia é uma atividade cobiçada (e tentada) por muitos. Nesses tempos de música acessível dentro de casa, pela internet, proliferam mais do que nunca os que se auto-intitulam DJs. Talvez pelo status que o DJ tenha hoje, talvez pelo hype da mídia com a profissão. Ou talvez pela música simplesmente, por ser lúdica e prazerosa a atividade de colocar música para outras pessoas.
Há muita controvérsia sobre o assunto, mas tomo a liberdade discorrer sobre ele, já que sobrevivi apenas como DJ por muitos anos (hoje posso considerar que tenho uma atividade paralela, a produção musical, que faço ha 6 anos e só agora rende algum lucro)
Nos anos 80 o DJ era o cara que conseguia os discos importados, graças a um bom muambeiro ou um parente que trabalhasse viajando. Eram respeitados os DJs com a maior coleção de vinis (Importados, já que era uma cultura importada e a praticamente a totalidade de DJs tocava musicas internacionais).
Aí vieram os anos 90, a popularização do CD, e a música começou a ser copiada com fidelidade absoluta. Mas para ser DJ era necessário ter fornecedores de música, contatos no meio, etc. Era necessário um grande investimento de tempo e dinheiro.
Hoje, em plenos anos zero, a música vive em um plano totalmente diferente. O Mp3 se consolidou, os cd-players profissionais evoluiram para leitores de mp3 (se pode fazer uma festa inteira apenas com dois cd-r). Com 200 reais se pode comprar um gravador de dvd que usando uma mídia de 3 reais, comporta mais de 70 horas de som . Em poucos meses, pelos mesmos 3 reais as pessoas estarão comprando o DVD-R DL, comportando assombrosos 150 horas de áudio de alta qualidade - o que seria equivalente a quase uma semana ininterrupta de músicas sem repetição. Hoje os Softwares evoluiram e são acessíveis. A música ganhou um status não-físico: de apenas um arquivo podem ser feitas centenas de cópias em questão de horas.
Hoje em dia qualquer um que saiba operar um cd-player, um mixer (basicamente um aparelho que controla o volume dos dois players) e tenha conexão com a net e conhecimentos básicos de software pode passar uma semana baixando "all time hits" e posar de DJ no fim de semana. Há muita desinformação, muita quantidade e no final das contas, pouca qualidade. Infelizmente se vê muitas vezes o marketing influenciando brutalmente no diferencial de um DJ, em detrimento da qualidade do trabalho.
Um parêntese: Hoje tambem é cada vez mais comum encontrar cursos que prometem transformar alguem em um DJ, como se gosto pela música e conhecimento musical abrangente (dois elementos essenciais para ser um DJ) fosse algo que se ganhasse instantaneamente. Qualquer curso para DJs não "torna alguem DJ", e sim ensina a manusear a musica com as ferramentas do DJ, e deve haver honestidade total a respeito de informar isso ao aluno.
A busca pela dificil resposta de "o que é um bom DJ" passa por vários caminhos. Começando pelos sinuosos conceitos de *o que é* um DJ:
- Um locutor (e programador) de FM é um DJ.
- Uma pessoa que aluga som e iluminação para casamentos e toca o mesmo repertório toda festa (hits consagrados) é um DJ.
- Uma pessoa com uma concepção artística conceitual e fechada (só toca um estilo específico) é um DJ.
- Uma pessoa que só toca músicas próprias é um DJ.
Todos acima podem ser ótimos ou péssimos profissionais. Mas o grande público ainda tá longe de identificar um tipo do outro, o que gera muita confusão.
De qualquer forma, é injusto colocar no mesmo balaio uma pessoa que coloca uma lista de hits pra tocar num mp3-player com outra que se dedica a mostrar um trabalho original, com estilo e feeling, escolhe o repertório de acordo com o momento e público, é embasado por um conhecimento musical abrangente, mostra coerência no repertório como um todo, tem carisma e energia e ainda mostra uma tecnica que ajuda tudo a fluir melhor. By Dj. Weliteen

O trabalho do DeeJay não é de mera reprodução de obra musical, por óbvio, tocam músicas com caráter de inovação, fazem, portanto, arte. Eis que a criação do DeeJay se baseia, por mais das vezes, na reprodução de pequenos trechos de obras musicais e criação de outras, com ritmo e sonoridade própria." Cláudia Longobardi Campana, Juíza de Direito da 16ª vara Cível de SP

"When I resigned from the hard rock, my thought was that I’d be leaving Las Vegas’ increasingly competitive business of table wars and club alliances, guest lists and celebrity bookings for the relatively stress-free life of a DJ. not so fast.
Before jumping ship, I had neglected to consider that, at any given nightclub, there are several managers, hosts, promoters, plus an entire marketing department where you can land a job if you want, but there’s only one musical heart beating in the body of a club—the DeeJay. 
In many ways It does depend on the venue. But my set is always gonna be representative of my experience. 
One thing that separates me from a few DJs out there - even ones that I respect that I feel are in the upper-echelon of DJs - is that there’s a way that you can change mood. 
You gotta put the songs together and the music together in a way that represents you. It’s easy to match BPMs. But it’s harder to create a mood." Unknown Author 

I have always subscribed to this simple, self-effacing PHILOSOPHY: 
I play good music and, if you don’t like it, then something is wrong with you, not me or the tunes.
After playing thousands of gigs and hearing and seeing a lot of the same stuff, the nightlife consumer never ceases to amaze me. These days, the audience is less interested in what is fresh and different. Rather, they’re interested in what is familiar and safe, which poses a problem for the jock who prides himself on STRAYING from the standard format in the best interests of his audience. But the other, more pressing problem is that, once this deviation from the acceptable program does occur, you can almost guarantee some listeners will impose their two cents on you, the other listener, and me, the DJ. When this occurs, I can assure you, none of us wins.
There is a sense of ENTITLEMENT that spans the entire spectrum of club-goers, from A-list celebrities seated at their $10,000 tables to the weekend warriors who pay $20 covers and have a strict two-drink stipend. Many nightclub patrons, regardless of their social cachet, think they can make DEMANDS on behalf of the entire club. These people feel that they can speak for hundreds - sometimes thousands - of their fellow clubbers and request a song.
I am here to tell all those who make requests: This is not the case.
Regardless of your social status, whether inside or outside the club, you were not commissioned to create a musical mosaic for the night - the DJ was. But don’t worry - I’m not just here to rant; I’m HERE TO HELP. Since nightclub etiquette books aren’t handed out at the door, I’ve listed five main examples of what not to do when approaching the DJ booth:
1) The Christian Audigier cronies you run with might favor your knowledge of music, but requesting the Number One song
in the country is not a novel idea. The DJ is obviously going to play it, as he knows that any departure from iTunes’ top songs would foster unwanted attention.
2) The lines “I used to be a DJ” and “This song would work great right now” are not going to impress the DJ enough to get your song played any faster, if at all.
3) Sending a girl to make the request you just made two songs ago will only push your request to the bottom of the pile.
4) Don’t assume that the one song you want to hear that your girlfriend just re-requested for you is going to get you laid.
5) Just because you are a Hollywood celeb, who happens to stumble into a recording studio on occasion to commit musical massacres, does not mean anyone else wants to hear what you’ve, uh, created. And sending one of your handlers over to make a request for your “song” is not going to warrant a single play.
Of course, the SONG REQUEST is as old a practice in clubland as drinking eggnog during the holidays. That said, sometimes especially creative people come up with other questions to ask the DJ while he’s working. For example, some ask for directions to the bathroom, the location of their missing friend or, my personal favorite, a pen. Yes, a pen.
With all these requests, it’s a wonder that the DJ has time to play a record. That is why the next time you are in the club and you find yourself staring at the DJ, contemplating a self-serving solicitation, remember this: I did not ask you to do back flips, so why should I do them for you?
Now, shut the EFF up and dance!
Read more at_Ler o Artigo Completo

DeeJay é igual a Ginecologista, ele trabalha onde todos se divertem...DeeJay is like a Gynecologist, he works where everybody have fun........................................... 

DeeJay começa debaixo carrega caixa, carrega mesa e carrega equipamento, rala a noite toda por uns trocados e cresce na vida, vira grande. - "DeeJay"
DJ ganha de presente do natal o "par-de-cdj", mal-e-mal sabe tocar um set, que quando toca é porque é do amigo da família do dono da boate. - wow "top dj"

Aprendam, $$$ não compra e nunca comprou TALENTO e DEDICAÇÃO. Ame a arte, e quem sabe um dia, você poderá ser chamado de artista e não de "top dj".

"Pois é final do ano chegando daqui a uns 3 meses Carnaval, mas já tem um monte de gente andando fantasiado por ai, uma das principais fantasias talvez até a mais popular nos últimos anos. É a de Dj, como tem gente fantasiado de Dj tenho notado também que a fantasia de pinoquio e engenheiro de audio também estão se popularizando o negócio esta complicado" Carlos Machado

UrbanDictionary defines a bedroom DJ as "A person who owns DJing equipment (ie. turntables, mixer, CDJ, etc.) and has a passion for music, but doesn't play out to crowds at bars or special events (ie. raves). Instead, they opt to play their music at home for their friends or over the internet via audio broadcasting software, such as shoutcast."

Sempre esqueço
que DJ não tem nada ver com música, mas sim com  o facto de ter feito algo “famoso” antes de “virar DJ”!

A Lot of DeeJays
are comfortable with what they play at various festivals and are doing the same sets over and over again,” he told inthemix.
“To me, what real DJing is about is anticipating the moment, the location and the crowd. Playing the same set would be impossible for me. For me, DJing is about improvisation in the moment. Sometimes DJs bring out confetti and fireworks that needs to be synched, which I don’t really see the use of, to be honest. You could have a button that says ‘Fireworks’ and when you think the moment is right, you just press it.”
He also added that breakout producers often haven’t had enough time to finesse their DJ skills before being thrust in the limelight.
“A lot of famous DJs these days are famous because of their productions,” he said. “These guys came out of the studio and don’t really have a DJ background, so you have DJs who play their tracks, but they’re essentially not very skilled.”
“It is going really fast these days,” he added. “Talent comes and goes. It’s the ‘goes’ part that makes me worried. I’m here for the longevity; it’s about the whole trip. Being accelerated very fast can do strange things for the kids who aren’t ready.”
When inthemix caught up with Laidback Luke back in 2010, he laughed about how some promoters familiar with his new releases have the idea he’s an inexperienced DJ. “I get that often,” he said. “I think it’s flattering at my age that people think I’m a newcomer! Sometimes I get the benefit of that. Promoters will hire me to play for them for the first time. They’ll be like, ‘Okay kid, this is your shot, if you mess this up, we’re probably not going to book you again, but if you do good, we’re going to make you big in this country!’ Having 13 years of DJ experience, I can manage stuff like that. It’s cool to surprise people, coming from an underdog position.” Laidback Luke
Vem ser DJ! É a profissão “do momento", e pra mim é o melhor trabalho do mundo!
Quer aprender a tocar ou a produzir? Tem muitos cursos excelentes por aí. Mas ser DJ é diferente de saber tocar.
Aprender a ser DJ, parceiro, você aprende com o tempo. E eu aprendi, ao longo de mais de uma década, a seguintes coisas sobre ser DJ.. E vamos esquecer de habilidade, precisão, scratching, turntablism… Vamos falar de SER DJ….
Ser DJ é escolher entre se enxergar como “a grande máquina que move a noite" ou só como uma parte dela, tipo uma engrenagem. É saber que cada um desses 2 jeitos de se enxergar vem de uma personalidade diferente e gera um profissional diferente.
Ser DJ é escolher entre ficar triste ou inseguro pelo fato da noite que você é “HEADLINER" (atração principal) não ter enchido, ou ficar feliz por ter conseguido segurar a pista em uma noite vazia e fazer a casa vender bem, e ver o sorriso na cara do dono, do gerente e dos funcionários do spot. E principalmente dos clientes.
Ser DJ é quase apanhar (ou apanhar mesmo) de um convidado da casa por se recusar a tocar a música ou o estilo musical que ele queria, mas reconhecer que você mesmo já foi tocar de “ovo virado" e foi desnecessariamente grosso com alguém que queria simplesmente te pedir uma música. E procurar pedir desculpas por isso, se possível.
Ser DJ é saber ser compreensivo e prestativo com os promoters e donos de club parceiros que sempre te ajudaram e estão passando por algum contratempo e por isso ainda não te pagaram, mas saber ter a mão firme e a mente afiada para receber o que aquele festeiro malandro te deve, ou simplesmente se esquivar de trabalhar com os malandros.
Ser DJ é saber a hora de tomar dores e escolher um lado, mas também saber a hora de se manter neutro quando as boates ou grupos de festeiros rivais se enfrentam no mercado. Muita gente some do mercado por não se atentar a essa dica.
Ser DJ é saber ser amigo, mas saber ser profissional. É saber que por mais que nos peçam, o tempo todo, coisas como cortesias, furadas de fila ou até mesmo músicas, ou simplesmente poder ficar ali na cabine, os verdadeiros amigos entenderão quando não pudermos atender tais pedidos. Afinal de contas, estamos ali pra trabalhar.
Ser DJ é saber se interar e respeitar o staff dos lugares aonde a gente toca, até mesmo aonde a gente não toca, mas frequenta. Desde o gerente até o limpador de banheiro. Pois a noite não é só putaria, drogas e desande, como muitos pensam. É um imenso mercado, de onde muita gente honesta e trabalhadora tira seu sustento. E estamos todos juntos nesse barco.
Ser DJ é saber seus limites na noite, tanto nas drogas lícitas quanto nas ilícitas. É entender que se bebida fosse ruim ninguém bebia, e talvez se droga fosse ruim ninguém comprava, mas também entender que se você está lá para trabalhar, manter-se sóbrio te deixará em vantagem para quaisquer eventuais situações difíceis.
Ser DJ é ser workaholic, e muitas vezes, assistir o trabalho engolir, com um apetite voraz, seus relacionamentos, seus momentos com sua família, seu descanso, sua saúde. E o DJ assiste a isso tudo quase sempre incapaz de fazer algo contra, pois não tem como fazer uma carreira andar nos trilos sem dar prioridade tocal pra ela.
Ser DJ, com raríssimas exceções, é viver disso e para isso. Pois como disse Martin Luther King Jr: “Se alguém varre as ruas para viver, deve varrê-las como Michelângelo pintava, como Beethoven compunha, como Shakespeare escrevia.” Há raríssimas exceções, mas em geral, um bom DJ vive só da profissão DJ. E os bons DJs que não vivem só disso cobram o justo pelo seu serviço, pois sabem que ser DJ, antes de um prazer, é uma profissão.
Ser DJ é saber se virar, mas ao mesmo tempo, ter o bom-senso de se recusar a tocar sob condições impossíveis. É saber andar em cima do meio-termo entre ser compreensível com um equipamento oferecido diferente do que está acostumado a usar, mas saber se recusar a tocar quando as condições de trabalho oferecidas não são condizentes com uma performance boa, e às vezes, nem com a segurança do próprio profissional em cima do palco.
Ser DJ é viajar, ter o pé na estrada, conhecer gente nova o tempo inteiro. É uma das melhores profissões do mundo para se fazer lobby. E muitas carreiras sólidas e duradouras de DJs que figuram entre os mais reconhecidos na cena são construídas , tijolo a tijolo, usando o lobby como cimento. E não, isso não é feio. É inteligência! Pois a discotecagem não é só uma arte, é “Business".
Ser DJ é estar longe, mas mesmo assim ter a cabeça em casa. É lembrar da família, dos amigos, das origens e zelar por isso. Ninguém consegue viver viajando sem ter algum lugar aonde se sinta verdadeiramente em casa.
Ser DJ é aprender sempre. Assim como viver. Como escolhi essa carreira, me sinto vivo aprendendo sempre. Errando, caindo, levantando.. E quando você sente que sua carreira chegou a um ponto que você sempre sonhou, você vai deitar a cabeça no travesseiro e sonhar mais alto.
Ser DJ é minha vida. Afinal de contas, ser DJ, antes de tudo, trata-se de amar ser DJ.
Read more at_Ler o Artigo Completo

Is all about entertaining people, about selecting the most exciting parts of the music in order to tell a story, let’s say about emotions.
Music is a language, a way to communicate. And emotions are the vehicle by which we identify with this sonic narrative.