• thejone

    finally got around to reading this! 100% agree, and the part about the Air Horn made me LOL pretty darn hard =)

  • Anonymous

    Great stuff. Coming from vinyl I understand how easy it is to get bored and keep dropping in tracks all the time and tweaking effects. As a studio synth tweaker it’s quite hard to leave things alone sometimes!

  • http://www.facebook.com/rainie.flores.7 Rainie Flores

    I love the article. Important points were discussed. This is going to be useful for beginners like my brother. He really wants to make DJ-ing as a career. I’m sharing this article with him.

    - http://www.soundops.com/

  • http://www.facebook.com/profile.php?id=1466670043 Kenny Shucker

    i learned something valuable when i first started DJ from the oddest of all sources.. A homeless man outside of a pizza shop in downtown san diego. when i first started DJ’ing i was all about playing the hottest track after hottest track after hottest track until i was out of them.

    When me and my buddies got a slice of pizza, the shop was about to close so we ate our slices out on the curb like everybody else was doing. i went to go give this homeless man a couple bucks cause he was drumming away on an overturned bucket. in my drunken stupidness i started talking to him and sat close by to him. that’s when i noticed he would only really drum away when new people would walk by because the people would think he was really good.. when there weren’t many people walking by, he wouldn’t drum as much and tone it down.

    translate that into DJ’ing now. i think we can all agree on if you can get the women to dance, then the guys will follow and everybody will be dancing. when you see a group of girls walk in, let them get their drinks, play some ke$ha, katy perry, lady gaga shit and they will more than likely dance.. rinse and repeat until you can’t keep up with the people coming in the door.

  • http://www.facebook.com/DJTEEOH Shuriken Tenshii

    Dope article!!

  • Adamhowey

    Where is a good place to find the bridging beats suggested in – Bridge the mix “Try using: congas, high hats, rides, mid or high range rhythmic material.”?

    • http://www.facebook.com/donovan.aenslaed Ðonova? ??gustu? Ænslae?

      what about the break and the build-up? also in repetitive sections with no change on them?

  • http://www.facebook.com/florent.cantin Florent Cantin

    “No, air horns on every track does not make the mix better.” Should be told to DJ at Glam’s in Lorient (fr)…

  • DJ Nova

    Great article. Found myself guilty on quite a few of your points. But then, that is how we learn. Try, listen, edit, repeat.

  • celtic-dj

    very good read…having a mix for examples is very good…cheers

  • idiot

    laptop djs suck. Go Laidback Luke!

  • p12

    laughed my ass off on the airhorn part… great article! =)

  • http://www.facebook.com/TheR4d Conrad Ingels

    I’m loving your last couple of articles. Keep ‘em coming.

  • Agentdownbeat

    good stuff. I can dig it! Now here a link to my mix for a shameless plug. Psych :P

  • http://www.facebook.com/chrismjennings Chris Jennings

    Great stuff. One trick I use with sample decks is to turn the bass down on that deck. This gives the bass of the actual track your playing room to breathe.

  • http://www.facebook.com/rglassman1 Ryan Glassman

    “No, air horns on every track does not make the mix better.”
    DJ PAULY D WHERE ARE YOU?!

  • http://twitter.com/Lylax_Dubs Lylax

    another great article Ean.

    Thank you.

  • http://www.facebook.com/david.michael.1671 David Michael

    Very well said, Ean… One of the best articles I’ve read on here lately.

    In today’s world of quantization, sync, feature-laden software and comprehensive hardware, it’s easy to want to cram as much trickery into a set as you can. I think that part of the problem is that today’s DJ struggles with wanting to feel “legitimate”, being that software does a lot of the work for them.

    Since the barrier of entry (both skill and price-wise) has been drastically reduced, a lot of DJs react by trying to stand out in any way that they can. While I understand this reaction, it’s a bit ironic when you think about it. A lot of DJs (especially newer ones) think, “How can I get this crowd to think I’m awesome” instead of “How can I help these people have an awesome night?” The latter leads to the former. Focus on how you can provide value to your audience (and venue owners!), and everyone is that much better for it.

    I talk quite about about subtlety, restraint, and the big picture on my own blog. (For example: http://www.passionatedj.com/four-easy-ways-to-be-a-mediocre-dj/ ) I think this sort of thing is quite lacking during this whole North American EDM bubble. But it’s the DJs who understand the cases in which “less is more” applies that will shine through the fads and trickery, and be able to be called “good DJs”.

  • http://www.facebook.com/mijkvandijk Mijk Van Dijk

    Excellent!

  • shantanu

    yeah, it’s a great article and i do really go through some of those problems sometime. thanks

  • http://twitter.com/SinSentidocomun Sin Sentido Comun

    Since digital djing made it’s entrance a generation of ADHD dj’s have runied dancefloors, too much fx, too much mash ups and too little music programming. It’s goo to see that you point it out.

  • Dual Citizen

    For advancing digital DJing and generously sharing the knowledge to empower the global community of DJs, thank you!!!!

  • BERNUS

    You just got it right

  • pepehouse

    Those of you that needed this article to know what it talks about are not actually playing regularly in front of an audience or have never do it. Period.

    Almost NOBODY uses 4 decks at a club or even in a bar neither effects or sample decks or other “next level” or “live remixing” shit (and if you visit some clubs or bars at the weekend you already know that) at all in a live DJ set for the following reasons :

    -They are too busy (with sync or without it) trying to keep the crowd on the dancefloor to worry about doing complicated martial arts with the music that if they do well and properly anyone that is not seeing what you actually are doing will notice, yes, it even doesn’t pay off.

    -Loops, stems and everything that is not a full song or track that actually tells something bores, annoys and makes most people leave the dancefloor or even the place, sorry guys but what still works in club it’s one song after another whatever NI or Ableton say.

    -When you are really djing you want the less hassle as possible to do your job cause you are afraid that something goes wrong or you press the wrong button screwing your night in front of the crowd and what it’s probably worse: in front of the boss that pays you.

    I could tell you a few more reasons but it’s late and I’m going to sleep, just thank me for those I put here cause if you believe and apply them, I have give you an important lesson today and you’ll avoid wasting a lot of time and headache practising at home what you never could do in a club or bar anyway and save a lot of money and energy in what I call THE GREAT DJ SWINDLE (Yeah, I adapted it from the punk film because the history repeats) aka (they sell you all kind of unnecessary and useless stuff but never give you the actual gigs which is what djing is really about) djing without an audience is fucking boring, just ask yourself: why do you think that this “DJ” blogs are so popular? Why we are not playing and listening to music instead of lurking here?

    Because playing at home is like wanking it’s not the real thing, it works for a bit but sooner or later you need a girl :)

    Do you think that pro DJs or even guys that play regularly in whatever place have or waste time reading this stuff? Do you think they actually care?)

    • Edward Ronalds

      TL;DR

      Try making it one paragraph so you can keep a captive audience. Hopefully this doesn’t reflect your long drawn out mixes and superfluous song choices.

      • Ronald Edwards

        I look forward to catching one of your single-track mixes sometime soon.

    • Deksel

      hahaha,

      Why does this offend you so bad?
      Oh btw, did n’t read your elaborate piece of literature all the way through. Would you care to summarize?

      • pepehouse

        It offends me only and exclusively because I have to live in the same planet as you, nothing personal really. PD: It’s not literature, it’s opinion, back to school?

    • pepehouse

      Truth hurts, doesn’t it? :)

      • RodrigoX

        Sorry man … I see lots of good DJs mixing 4Decks nowadays … I dont know what kind of club u attend to … I would strongly advise u to open your mind … u are really talking bullshit and sounding jealously.

        BTW, djing its a art, (isnt it anymore?), and all kind of arts has diferent ways of expression.

        Ps..: I mix almost only techno, with 2 decks, only vinyl (not timecode, but vinyl in deed), but I do aprecciate people with the skill to mix in 4 decks doing a nice job.

        Peace, and good lucky opening your mind.

        • pepehouse

          You mix only techno, vinyl only, with two decks and I need to open my mind? hahaha!…I’ll tell you a secret: sometimes I throw an acapella or some spoken word or even a good hook loop in the mix using a third deck but don’t tell anybody please….I don’t want that they think I’m open minded :)

          • aluknot

            @pepehouse

            Seriously, which type of drugs you are using?

    • lauti

      Shit man, well said. I’m with you 100%, except for the harsh words towards these blogs, cause there’s some useful info around them. But you’re right onspot.

      real live djing is about making people dance, and people dance to songs, not samples or 5 minutes of scratching.

      and yes, these companies (which make good products) are forcing it too hard on “THE NEXT LEVEL OF PERFORMANCE” adding stuff that you eventually never really use

    • passerby

      Agreed.. and well said. But useful article for some i guess. Didn’t want to comment but scrolled back to the top of this page and saw “Traktor DJ Comes To iPhone” … amusing anyway ;)

    • cath

      It’s apparent you do not have enough experience in the dj circuit. Yes there are many dj’s that do not involve themselves in performance dj’ing….but there are many that do (heny saiz comes to mind…saw him on saturday at he spent literally the entire set doing the things you have mentioned not to do…annd the dancefloor loved it!) The art of dj’ing is completely subjective, just because you do not like a particular method does not mean it is not a valid route.

      • pepehouse

        Yeah, of course, I based all my words on assumptions, sorry about it and thanks for let me know that there’s at least one DJ that is doing the “next level thing”, experienced people like you have to show the path to beginners like me, many thanks.

    • Rob Burns

      In most clubs where people really just want to hear a radio top 40 playlist this is true but for real live shows the audience apreciates something authentic and original. The “djs” who can really pull off a good live show are actually producers and have developed a workflow and ears to actually remix and create work in real time and it truly becomes art rather than just playing someone else’s songs in a sequential order. Fact is most club djs are too lazy to develop the skill required to do this ans dont really have to because most club goers expect the generic.

    • BadData

      There are lots of ways of djing and lots of kinds of djing! Not everyone has to worry about keeping a dance floor lit up all the time. I’ve seen some *awesome* live pa style dj’ing of the kind your speaking against, and I loved it. No it wasn’t danceable, and I’m sure the guy would never get booked at a big club. But I was impressed, and this guy’s craft reached me. That’s worthwhile.

      My #1 favorite live electronic artist is Jeremy Ellis. I also love Mad Zach… You seem to be saying what they do isn’t worthwhile? Seems a bit narrow minded, no?

      Not everyone is trying to be a club dj and please the boss of a club… some of us want to try exploring the many possibilities dj’ing has to offer, and both are all good :)

      And pro djs do get into this stuff sometimes, it can help to differentiate them… check out Bass Kleph rockin the finger drumming https://www.youtube.com/watch?v=YYHC60xZq54

  • http://www.facebook.com/profile.php?id=1137292039 Ronald Edwards

    This is the caliber of article I really hope DJTT holds as it’s gold standard. There’s a lot of useful, practical information here and because it’s not only discussed, but shown it adds real value to anyone learning how to DJ.

  • http://twitter.com/adam_conrad Adam Conrad

    Great article Ean, just so you know a 3 step jump on the Camelot Wheel usually doesn’t work out too well. I use this “advanced” Camelot Wheel which opens up a ton of possibilities http://imgur.com/KYw9IBE

  • http://www.gigturn.com/ Mohamed Kamal

    Dynamic remixes and raising more energy is where its at for me. Great article. Thanks!

  • Anonymous

    Yep less is definitely more. I have no interest in trying to do a guitar solo with my sample pads or a three song mash-up with one eye closed and one hand behind my back. I just like to mix (add a small dash of effects) relax and enjoy.

  • DJ Gerard

    YES :) There is a difference between a DJ skills talent show and DJing as a service

  • Anonymous

    First rate article Ean with so many good points and examples to consider and utilize when DJ. The “…less is more…” approach can be used in lots of other disciplines in life to and reminded me about what an architect once said about big houses; “Big doesn’t mean better, it typically mean more of something that is already bad”.

  • http://www.facebook.com/stefan.ulanoff Stefan Ulanoff

    Superb advice for newcomers and a great reminder of the big pic for us veterans!! Always a pleasure Ean!!

  • http://www.facebook.com/rob.cifre Rob Bamboo Cifre

    I have to say running a maschine via one of the live input decks on traktor has helped me do a bunch of these things such as bridge the mix, create drama/energy, provide new context. Great way to keep things on a more live tip too.

  • http://www.facebook.com/sebastian.rattansen Sebastian Rattansen

    The time freed up by digital DJing is the biggest benefit it offers over traditional DJing IMO. So it’s good to see an article covering how to take advantage of it.

  • jerville

    great article ean. Thanks for the tips and advice :)

  • http://twitter.com/Scattrrbrain Scattrrbrain

    Ean, gotta hand it to ya, this is the best article I’ve read on Digital DJ’ing. Cheers!

  • http://www.facebook.com/rruel Ryan Ruel

    Great article, and a topic which is always worth repeating! I like the clips, it also reminds us to RECORD EVERYTHING we do, and LISTEN to it objectively afterwards.

    • Dan White

      Absolutely turn on record every time you mix and then find time to listen to it. I often find mistakes I made sound no where near as bad as they did when playing, but also have similar realizations to Ean’s of over-doing certain techniques to the point where they take away from the mix.

      • http://www.facebook.com/robertmurgatroyd Robert Murgatroyd

        Great article! With regard to recording the set. I see that I get small waveforms. Any thoughts on increasing wave form size?

        • Dan White

          You mean small waveforms in recording, like they’re too quiet? Turn up the gain!

          • CHAS3R

            Software gain or hardware gain? I’ve always kept the software at 0.0 dB and tend to end up increasing the whole mix later in Audacity.

  • Taylor

    This was great; it’s always good to step back and get back to basics. You can get so bored and lack innovation when you play the same nights in your city every week where the crowd knows you and your style but when you go to another club/festival and no=one is prepared for you, you need to be able to ease off the throttle and take a look at your mixes from a subjective standpoint… “would I be able to dance to this easily?”, “does this work well building the energy or am I just playing what I want to play?”

    Keep them coming Ean, love all your guys work!

    PS. Just got my midifighter spectra; rocking it down here in Melbourne Aus!

  • http://www.facebook.com/profile.php?id=732729116 Renaldo John

    https://vimeo.com/65049108 <—-here i put aside my midifighter and F1 and just had Fun with the basics…practicing to learn what works and what doesnt…so i wont do it live

  • Rooshdy

    A good useful article at last! I used 2 1210′s for years and this does limit your layers and sampling ability, not a bad thing. Even when I added Pioneers EFX500 to the set up it was possible to do to much. Less IS more. I really love using my Akai LPD8 with traktor as I find the velocity pads very sensitive and when paired with some nifty macro’s, you can add flashes, space, swoops, even drumrolls as much or as little as you feel. To date the most intuitive set up I have incorperated for FX. I know my X1 does MIDI mode, but does not look or feel like a blank canvas, like the LPD8. You dont have to map everything, just a few tools is best. Why? Cos it is near impossible to remember all the mappings. 1 or 2 useful pages mapped is enough for most DJ’s in Traktor. Hotcues? Yes and no, I only use them to speed along a track, eg turn a long version into an edit to keep the energy high in the mix.

  • Anonymous

    Common sense tips that always need repeating. Thanks Ean, especially for the examples that make the tips even more understandable.

    scamo

  • steve

    Not impressed Ean, seems like a clip show or something.

  • benr

    Thanks for this, I was thinking of this problem right before I jumped on!