Two turntables or two CD players (or more, optionally) 2-channel mixer Headphones Speakers Mixing software (optional)
Analog set-ups will allow you to DJ in the most traditional way, learning the skills the way they were pioneered: scratching a stylus against vinyl. This will require you to collect a sizable collection of vinyl records to play, which can be somewhat expensive. Digital set-ups allow you to be extremely mobile, and the learning curve will be much smaller when you’re working with a digital set-up. Learning to beat-match and transition, for example, will be much easier with a BPM counter and a software system.
These programs will enable you to access a library of MP3s on your hard drive to compliment your vinyl and CD selections. More often than not, these programs provide live looping and scratching capability, delays and reverberations, real-time control and video and karaoke options. Ableton is a program that allows you to connect mixing controllers via USB cable and operates more like the classic DJ in your head does. It’s good for beginners and the budget-conscious.
If you’re serious about being a DJ, odds are you’re aware of a few in your area. Hit them up for advice or for a tutorial on their system! If they’re half as passionate as you are, they’ll love to give you a minute of their time, explaining their ways.
This will be especially useful if you ever plan on producing. We’ll get to the value of that in a bit, but know that it should be an avenue of your career later on down the line.
Some music mixing software may be hard to learn. You can find great tutorials online for most types. Otherwise, DJ schools can teach you about the cutting-edge stuff out there – but know that you can do it yourself.
House Trance Techno Electro Glitch Dark Alternative Progressive Breakbeat Hardstyle Hardcore Downtempo Jungle Drum and Bass Dubstep Hip-Hop
You can use a pitch warp to match the beats, though it’s best to choose two songs that are only a few BPM off. However, use it on the song that doesn’t have vocals yet. Speeding it up or slowing it down changes the key and messes with everything.
Cue up the second song. Have your second song ready to go as your first one is winding down. Use one hand on the turntable or CD player’s pitch to adjust speed (if your BPMs don’t match) and put the other on the crossfader, so that the first song’s volume decreases as the second song’s volume increases.
Certain songs and certain places in certain songs are prime for scratching, while others are terrible for it. Knowing when to scratch is like comedic timing: you’ll know it when it’s right and when it’s just wrong.
Also be sure to experiment with the different methods on your mixer. For most effects, there’s more than one way to do them. You’ll find what you prefer (generally one method is a very do-it-yourself way and the other is more automated).
You also need to adjust the volume levels of the songs. The song you are mixing out of will be playing at full volume, so you need to adjust the second up slowly, listening closely to the tune to bring it up subtly. [2] X Research source Never mix vocals over vocals. It’s important to avoid creating awkward noise, which means you need to be super-familiar with the songs intros and outros. Digitally, it’s possible to use beat-matching software to do this automatically, provided that the songs are within a few BPM of one another. It’s still good to learn how to do it analog, since this is a fundamental skill.
This is also not a Wednesday afternoon hobby. If you want to develop any level of skill, you’ll need to work at it. Counting to 4 may be an integral part of DJing, but reading crowds and knowing what music surprisingly goes great with what music is a skill that has to be honed.
Crowd pleasing means playing songs that would, most likely, hit the taste of the biggest number of people in any given crowd. This style of DJing is best suited to private events, such as weddings or small parties. A music specialist sticks to a particular genre of music, regardless of what the crowd demands. Usually, these DJs play nightclubs who have specific genre standards or they have an established following based on a certain type of music.
Gain inspiration from the DJs that hit it big. Sometimes it can help to look up to professionals such as Headhunterz, Tiesto, Avicii, Knife Party, Sebastian Ingrosso, Deadmau5, and Skrillex.
This also offers you more opportunities for future gigs. Instead of only having one or two clubs in the area that’ll have you, you can do those, a few other clubs, and the occasional wedding or hoppin’ bar mitzvah. For each genre you do, you’ll have to know the classics, the deep cuts (the B sides that should’ve been A sides), and the current stuff. Having a healthy mix in your repertoire will keep the party going. [3] X Research source
You should be constantly writing yourself notes, finding out what that song you just heard was, and keeping a list of ideas for later when you’re sitting down and doing your thing. Always keep your phone or a pen handy because inspiration calls when it pleases. And so does your best friend when he wants you to hear this new track he’s working on.
Find companies that supply DJs to weddings and the like. You won’t be freelancing, but you’ll be getting your foot in the door. Sign up to work at a local college or community radio station. Some venues need between-band DJs. Let that be you![3] X Research source
Be careful with requests. If you’re playing a nightclub that caters to a hip-hop crowd and you have a tourist or someone unfamiliar with the scene requesting a song that doesn’t fit with the genre, consider carefully before you play it. Remember, your aim is to keep the core of the audience happy and coming back. If at all possible, visit the venue beforehand. Getting a feel for the regular crowd before you go can help take the pressure off a new gig.
Keep a busy schedule. As you’re gaining a fan base, play as many shows as necessary to get your name out there. Book yourself on a tight schedule at first to keep your interest alive and your creativity fresh. Basically at the beginning: take whatever gigs you can.
Make playlists. Build playlists on iTunes or Spotify and share them with your fans. This allows them to sample your musical tastes, and lets you introduce people to new music you want to incorporate into your shows. This won’t defeat the purpose of them coming to see you, it’ll simply whet their appetites.
When you first start off, people may book you on the stipulation that you bring X number of people. This means nothing. You are not the promoter and you are not your friends. However. . . sometimes you gotta take what you can get. Know that these guys are only the ones you’re working with now; avoid them in the future.
And once that happens, you can hit up record labels. Even if you don’t end up being a top-billing artist, you can work with other artists and behind the scenes doing what you love.
Don’t play mostly fast songs at a wedding. This will take away from the romantic atmosphere. Don’t play mostly slow songs at a gathering of kids. They will get bored fast.
Straight up, the DJ world is full of scumbags. You want to be that good apple that isn’t a part of the bunch. If you’re not professional, there are a zillion other guys and gals out there chomping at the bit to take your spot.
In addition to rowdy or unappreciative crowds, you’ll be dealing with shady promoters and technical disasters. Use your savvy people skills to navigate through these issues and let them make you all the better for it.
You’re totally allowed to go a bit crazy. The more you feel it, the more your inclinations will be spot on. The more spot on you are, the more the crowd wants you back.
Start figuring out your rates. How much are you worth? You don’t want to be a DJ diva about it, but you don’t want to sell yourself short. Account for distance traveled, if you’re bringing your own equipment, and the general realities of the gig (some are quite clearly better than others). And don’t forget: are they feeding you?
