DJ Master Course e Book

Copyright 2009 All Rights Reserved Global Home Direct Pty Ltd
All Rights Reserved. This guide may not be reproduced or transmitted in any form without the written permission of the publisher. Every effort has been made to make this guide as complete and accurate as possible. Although the author and publisher have prepared this guide with the greatest of care, and have made every effort to ensure the accuracy, we assume no responsibility or liability for errors, inaccuracies or omissions. Before you begin, check with the appropriate authorities to insure compliance with all laws and regulations.
DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE
Table of Contents
Page 1 Page 2 Page 4 Page 5 Page 6 Page 9 Introduction Equipment Types of Leads you need to Become Familiar with Setting your Equipment up Setting up your Turntables Preparing your Tunes Calculating the BPMs Its Time to get Started Separating the sounds Exercise 1 Cueing a Record or CD Exercise 2 Learning to keep your tunes in time Without Headphones Beat Matching Setting the Volume in your Headphones Exercise 3 Beat Matching The number one fundamental skill of all DJs Exercise 4 Fading Blending from one tune to another Exercise 4.1 Fading Cutting the bass Song and Beat Structure Exercise 5 Counting Beats and bars End of phrase Markers or Indicators Exercise 6 End of phrase Markers Exercise 7 Mixing your tunes at the correct point Faders and EQs Mastering your mix
Page 10 Page 12 Page 15 Page 17 Page 18 Page 19 Page 22 Page 23 Page 24 Page 26 Page 28 Page 30 Page 31 Page 34
Page 36 Page 37 Page 39 Page 41 Page 42 Page 43 Page 45 Page 47 Page 48 Page 49 Page 54
Exercise 8 Fading The perfect channel fade EQs (Equalization) Harmonic Mixing Key Mixing General Tips how to make it Recording a Demo The Internet Your First Gig Added Chapters Mastering your CD Decks Cueing Using a CD Deck Beat Matching Using a CD Deck DJ Resources Glossary of DJ Terms
Introduction
If you have managed to track this book down, then congratulations and I dont mean that in a patronising way. I mean the Thanks for buying the DJ Master Course, now let me make you feel great about buying it kind of congratulations. Learning how to DJ is one of the best things I ever decided to do it is what has shaped the person I am today, from my circle of friends to the places I have been. It has been at the core of some of the most satisfying experiences in my life so far. My desire to become a DJ was inspired from a genuine love and passion for music. With that love of music always burning and an equal love of meeting people and living life to the fullest, it didnt take long for me to work out what I wanted to do in life: become a DJ. Ten years later here I am, with my passion for music and DJing burning as deep as ever. That passion is exactly why I have put the time into making this course the best it could possibly be. My hope is that this course will be become your opportunity to start your own journey. If being a DJ changes your life for the better in even a small way, then I will have done my job. It is very important that you know that the DJ Master Course is not a rule book it is an opportunity to learn the basic fundamentals required of a DJ. After that it is up to you to develop your own style, person and journey. The only limits will be the ones that you put on yourself! Throughout the course Ive included links to third party web sites that I have accumulated in my bookmarks over the years, whether they be where I buy my music, equipment, or editing software (for my demos), or just industry forums and communities Ive been involved in. I gured while I am sharing my knowledge from the past ten years of my life as a DJ, I should share the resources that have also helped me along the way. All the links included are completely relevant and useful at least they have been to me so you may certainly nd some benet in checking them out. Before we get started, you need to know that at the back of this book theres a glossary of all the terms within the course that you may not understand. Of course, they are terms that you will become more and more familiar with as you learn more about the art of being a DJ. At any stage, if you dont understand something, quickly ip to the back for clarication. Second major point: remember to keep all the equipment you use clean, tidy, and in good working order at all times. Any instruction manuals that come with the equipment should be put in a safe place, which will help avoid loads of headaches in the future.
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Equipment
Obviously to learn how to DJ properly, you will be required to master the use of various types of equipment. In this chapter I will break down the different types involved and what exactly you need to know from purchasing it to setting it all up.
The equipment you need and what you need to know about it
When you are ready to purchase your equipment the internet is by far the best resource. Sites such as Amazon and eBay can be a really good place to start But do your research and shop around. If you have the option, play around with a friends equipment rst for a genuine feel of what you will be getting. Second hand is always an option, particularly with quality DJ equipment like Pioneer and Technics, brands that are built tough to last in the club environment. They are also designed so problems can be xed. If you dont have money for the higher-end equipment to begin with, do not let that hold you back. Buy what you can afford and upgrade further along the track, when you can. A minimum of 2 input devices Depending on whether you decide to use vinyl, CD, or a combination of both, youll require at least 2 input devices, which are generally either turntables or CD decks. You are only limited as to how many input devices you can use by the amount of input channels on your mixer. In order to put two tunes together you require at least two devices. Anything after that is a personal preference. TIP: If you decide to use turntables, it is important to know that the industry standard is Technics, which basically means when you land your rst gig they are what you will most likely be driving. Although if you learn and master, say, Denon or Numark turntables, when you eventually get the chance to use Technics, it will be like driving a Ferrari as opposed to a Datsun. You may not know but that there are two different types of driving systems for a turntable: direct drive and belt drive. In a nutshell, direct drive is the kind of turntable you should be interested in, as belt-driven turntables will give you more drama than they are worth: when mixing, the belt can often slip, throwing your mixes out of time. But again, if belt drive is all you can afford, dont let that hold you back. Purchase the belt drive and upgrade later when you can afford it.
I have added some quotes that mean something to me along the way. Hopefully one or two of them will help inspire you as you progress through the course.
When you purchase your turntables it is a good idea to buy them fully loaded with needles and cartridges. Generally they will come included in the package but if not, it is something you need to consider in your budget. If new turntables dont come fully loaded, you may also need to purchase felt slip mats to replace the rubber mats which are often supplied. You need the felt slip mats as they allow the platter to move freely below the record when you are holding or nding the beat. A DJ mixer Used to control and mix the music from your rst input device to your second input device. It is the control centre for your mix. Initially, any standard two-channel DJ mixer will sufce, but as you get better and begin to understand the different levels of sound quality and response you can get from its functions, you will demand more from your mixer. At that point you can upgrade as you require. Headphones Using headphones, you can listen, cue and mix the next tune without anyone else hearing what you are doing. Headphones are probably your most important piece of equipment, determining not only the comfort in which you will be mixing but also the quality of sound you will be hearing to conduct your mixes. The equipment you use is based totally on personal preference, but I suggest experimenting with friends equipment, or at least trying before you buy if possible. Sound system Either a home hi- system or an amplier and speaker setup, although these days (depending on your budget) powered (amplied) speakers are denitely an attractive option not only for sound quality but for their ergonomic and sleek designs. I nd them perfect for my home set-up. TIP: Avoid DJ in a box packages as they are often very basic and are insufcient for what you want, as a serious budding DJ.
Fate knows where you are going, but it is up to you to drive there
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Types of leads you will need to become familiar with

RCA Probably the most common of DJ leads. Used for connecting the input and output devices to your mixer, they can also be used to connect your mixer to your amplier. They are generally a lead with two different coloured (usually red and white) plugs at each end. Your input devices might include CD decks, iPods, MP3 players and mini discs, which are pretty self-explanatory when it comes to hooking them in. The red would plug into the red and the white to the white. XLRs Are the bigger cables with both a male and female end. The male end has 3 pins and the female end accepts 3 pins. These are used for the more professional set-ups connecting from your mixer to the amplier or mixer directly to your powered speakers (amplier speakers). Quarter-inch jacks Can be used in the same situation as the XLRs, but as a DJ you will nd them as the jack usually required to connect your headphones to your mixer. 3.5mm stereo jack to RCA You will require this type of lead to connect input devices such as iPods, Mini discs and MP3 players to your mixer. They have a small jack at one end that is connected to the input device and RCAs at the other end to be connected to the line signal of the mixer. TIP: Both XLR and quarter-inch jacks come in two different types: balanced and unbalanced. The best thing to do when buying new cables or equipment is to explain to the person you are buying from exactly what you want to use it for. Remember with hardware, such as your mixer, etc., read all the instruction manuals otherwise you could be detracting from your sound quality without you even knowing it. Note: The types of leads you require will be totally dependent on the equipment you are using.
Setting your Equipment up

Before you begin to set up, ensure all the power is off and all volume controls on both your mixer and amplier are turned low, especially the master volumes on each. In all the excitement of buying your new set-up it is easy to skip the most important part of setting everything up which is reading the appropriate instruction manuals. Below is a diagram of how it will look BUT make sure you read the instructions rst! You dont need me to tell you how expensive it all is, and being electrical, the possibility of blowing something is real!
Equipment Setup
Figure 1.0
If once it is all set up and turned on and you cannot hear anything, the best thing to do is go back to the start and check that all the input and outputs are plugged into their right places. If all else fails have another ick through the instruction manuals, especially the FAQ sections.
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Generally, input devices such as your CD decks and iPods are quite simple to connect since they almost all use a line signal input on the back of the mixer. You just plug the RCA leads that are hard-wired or connected to your input device into the mixer and turn them on, making sure you plug red into red and white into white. If you are using something like an iPod, MP3 player or Mini disc you will need a 3.5mm stereo jack to RCA lead (as mentioned in the Types of leads you will need to become familiar with section). There is an exception, though: turntables needs a little bit of extra care before you start connecting them to your mixer. Keep reading to understand exactly what youll need to do.
Setting up your Turntables

If you are using turntables, there are specic set-up requirements that need to be taken care of. First, it is really important to set them up on a level, vibration-free surface. Earth wires Ensure that the earth wire (can also be known as a ground wire) from each turntable is connected to the dedicated earth points on the mixer. Set the counterweight So that the tone arm is counter-balanced and you are oating the tone arm. Once you have done this, put it back in the holder, and then lock it in with the clip. Take hold of the weight at the back with one hand and turn the front bit with the numbers on it so that the zero lines up with the line on the tone arm below. TIP: You will know if the tone arm is not balanced properly because it will be difcult for you to hold beats and cue the record without it jumping. Setting the height This is done to give you precise movement when oating the tone arm so that it is perfectly parallel to the platter. To ensure that you do this correctly, read the instructions from both your needle and turntable manufacturers and check their recommended settings. Note: Different manufacturers may even suggest you add some weight to the tone arm after you have oated it. This is done by rotating the weight again at the back, using the numbering system.
Connecting your turntables Once you have completed all of the above, you are ready to connect your turntables to the mixer. Unlike any other input devices you may have experimented with, your turntables need to be plugged into the phono inputs on the mixer. As mentioned above, they also have earth wires that need to be connected. When connecting the RCA leads from the turntables into the phono inputs (on line one of the mixer, for example), make sure you connect the red (right-hand side of the output signal) to the red, and the white (left-hand side of the output signal) to the white. Most if not all turntables RCA leads come hard-wired and just need to be connected to the mixer, but in the case that they arent, make sure you plug them into their corresponding colours. TIP: If at this point you have no sound and are sure your speakers and amplier are connected properly, check that the switch at the top of the mixer is turned from line to phono on whichever corresponding channel you just plugged it into. Connecting your headphones Most suitable DJ headphones need a 3.5mm adapter that basically converts the 3.5mm jack the headphones come with into a quarter-inch jack, so that it ts into the mixer. Once you have this sorted out, its a matter of plugging them in to the headphones input which will be clearly marked on your mixer. Connecting your sound system Whether you are using powered speakers or an amplier with speakers or your home stereo hi-, you need to connect whatever leads they use into their corresponding output on the mixer. Depending which way you go the leads will be different, but dont panic if your mixer only has RCA outputs (for example) and your powered speakers only have XLR inputs. All you need to do is get RCA to XLR leads and so on, depending on the individual circumstance. In the situation of your home hi- or stereo system, you can connect it from the mixers master output to any available input (except a phono input). TIP: Make sure that you change the setting on the front of the stereo hi- to corresponding channel setting you chose.
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Most mixers have three outputs: Master Output Connects from the mixer to the amplier. Depending on the mixer, it could require either RCA or XLR leads. Some of the better mixers have both options. After you have set the volume on the amplier to a level you are happy with, the way to control the master output volume is with the master volume control, usually on the top right-hand side of your mixer. Record Output Is there for exactly what it states: to connect whatever it may be that you are using to record, such as a PC. It is there to ensure you get the best possible quality when recording. To connect the record output you simply connect the RCA leads into their corresponding inputs on the mixer. Booth Output This is the output used to connect the speaker you will be using to mix with in the DJ booth, known as the booth monitor or fold back speaker. Connecting the booth is the same as the master and record outputs. Remember though, when using RCA leads, always red to red and white to white. Connecting your mixer The mixer is the control centre for your mixing. Basically, all you need to do is plug the power supply in and connect all your hardware to it. Generally there are three inputs and three outputs. The outputs are explained above. The inputs are pretty easy to remember: the phono is for turntables, the mic is for a microphone, and the line is for everything else, such as your CD decks, MP3 players and mini disks. TIP: The inputs on the back of the mixer will be marked as channels in relevance to the channels they feed. Remember, there are two types of inputs, phono and line, so make sure your turntables are in the phono and CD decks and other input devices are in the line inputs. Then set the phono/line switch on the front of the mixer accordingly.
Preparing your Tunes Calculating the BPMs

When you are learning it can be a good idea to count your individual tunes BPMs (beats per minute). This can help you in the beginning, by allowing you to make an educated guess as to whether the record you are mixing needs to be going faster or slower. Obviously it will only be a guide, as to lock a mix in tightly it will require ne tuning. The best way to manually work out the BPM of a tune is by using a stopwatch (most mobile phones have a stopwatch feature). Cue up the tune, then simultaneously start the tune and the stopwatch. Count how many kick drums you hear in 30 seconds (dont count the beat on which you start the stopwatch). Once you have done this you double the number you have, so it represents a minute (not just 30 seconds) and you are done. TIP: Some mixers come with built-in BPM counters. Although this can be handy for working out your new tunes BPMs (and would obviously be a bit quicker than manually counting them), Id still advise that while you are learning it is best to not use these as a true indication of where you are at in the mix. To lock in a mix requires much more netuning and you need to get a feel for it yourself. When you initially begin learning it is best to cover the BPM counter on the mixer so it doesnt stuff you up by taking your concentration away from where it should be. Counting the beats manually is important because it gets you listening to your new tune extremely closely, which can only be a good thing while you are learning. Eventually, with enough practice, working out the BPMs will not be required at all as you will have mastered proper beat matching, but it is something I highly recommend when you initially begin. It is not necessary to count for the whole minute, as the difference will not be noticeable enough to worry about. Remember, you are only after a guide. To get a mix locked in tight it takes much ner tuning, concentration and practice. It is also a good idea to write the BPM on your record or next to the tune on the CD label as this will always give you a rough starting point for your beat matching. Eventually you will nd you wont really need to look, but I still do write down the BPM myself, as a force of habit! Note: At this point I want you to think back and remember the feeling you experienced when you decided you were going to do whatever it took to become a DJ, because this is where it really begins. It will be at times frustrating and a tough grind, but you need to be patient, practice passionately and most importantly ENJOY learning, because thats how you will get the best results. Always remember perseverance and persistence know no failure! Good luck.
Commitment leads to action. Action brings your dream closer
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Now before we get too excited I had to share this with you. eMusic which is considered the #1 online site for independent music, with a library of over 5 million MP3s are giving away 25 free downloads. All you have to do is sign up to their 7 day free trial. The tunes are yours to keep even if you let the trial expire and decide never to log back in again. I have been a member of their site since I discovered it well over a year ago and happily pay $12 a month for the privilege. It is a quality site regardless and should be checked out anyway. That said I dont know how long the promotion will run so head over there NOW and get you free tunes. Enjoy... www.emusic.com
Its Time to get Started Separating the sounds

Now that you have your equipment all set up and working properly, the rst thing to do is to put a record or CD on and listen really closely. You need to start listening to it like never before, and start to separate the different sounds and instruments such as the melody, the bass line, and the different kinds of percussion. Pick something simple to start with like the kick drum and listen to it for the whole tune following when it starts and stops taking note of any changes it makes along the way. Try and separate it from everything else going on around it. Repeat this exercise with the hi hat, closed hat, snare drum, bass line, melody, vocals and any other sound elements that make up the tune you are listening to. You can then start to play around with the hi, mid and low EQ (equalizer) controls on your mixer, listen to how it helps separate the different instruments and sounds around the sound or instrument you are following. For examples of some of the sounds you are looking to separate and follow, as described above, check the audio samples below gure 2-0. TIP: When you are learning, especially in the beginning, you should use tunes that have a basic and clear groove without any confusing strings, vocals or drum patterns at the start. To make life even easier, use tunes in which the rst sound is a kick drum.
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Once you have done the above you need to start again, and take note of the kick drum and the alternate sound changes it makes. The rst kick drum will be a clean hit on its own and the second will be combined with a clap, snare or the like, to give it a rhythm. Practicing and counting those hits in your head will come in handy for future exercises, when you are ready to let your cued tune go in time with the tune already playing.
Figure 2.0
Audio Samples: Kick Drum Snare Drum Base Line Hi Hat Cymbal Crash Closed Hat Clap Sample
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Its Time to Cue a Record or CD

Cueing means to nd the rst beat, usually while listening with your headphones. With vinyl you would manually hold the record just before the rst beat. With a CD deck it would be the same but you would hold the cue point by hitting the cue button and the deck holds it for you. Essentially what you are trying to do is start the second record right on the beat of the rst. Next is an exercise for both vinyl and CD.
Exercise 1
Cueing a Record or CD
Cueing a tune in your headphones all the while you are listening to the main tune playing aloud is one of the rst fundamental skills required to beat match. Below is an exercise to get you going, which will take all your concentration and plenty of practice, but once you have got it you are well and truly on your way.
Persistence and perseverance knows no failure
TIP: Remember when you are learning that it is best to use simple, clear-sounding tunes that ideally begin with a crisp kick drum. Most people when they are starting out are really careful as to how they handle their turntables, but good turntables are designed to be durable. Thats how they survive in a club environment, so dont be shy.
Vinyl Turntables
For a demonstration click on this link and watch the Cueing Vinyl & Basic Turntable Mechanics video: 1. Put a record on one of your turntables and get it playing in your headphones. 2. Wind it back to just before the very rst beat, hold it there, and hit stop on the turntable. TIP: When handling the record so that you can cue it you should only touch the clear shiny bit that runs around the outside edge of the record or the label in the middle. 3. Fire the other turntable up and get it playing a different tune out loud in the room.
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4. Now go back to the rst turntable hold the record and hit start so that you are holding on to just before the very rst beat and the platter is freely moving below. 5. Start to roll back and forth over that rst beat so that you are rolling over it in time with the tune that is playing out loud in the room.
TIP: You should have one ear listening to the tune inside your headphones while the other is listening to the tune playing through your monitors (speakers). The idea is to drop the second tune in so you can beat match the music without anyone else hearing what you are doing; you need to be ready to mix. 6. Practice letting it go in time and listen to whether it needs to go faster or slower so that both tunes are in synchronisation, with the kick drums hitting in perfect time.
TIP: To let it go in time you need to remember the exercise from diagram 2.0, when you were counting the kick drum as one, two, one, two. The idea is to let go on the one or the down beat (the clean kick drum, not the one with the clap, snare or the like). 7. Continue to practice doing this until you feel condent enough that the tune is starting at its correct speed right from the start. You may need to give it a tiny push to catch it up if you let it go too slow, but soon enough it will become second nature as you begin to feel the music more.
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CD Decks
For a demonstration click on this link and watch the Cueing CD video: Note: For a detailed breakdown on how to use your CD decks, head to the end of the book to the chapter called Mastering your CD decks. I strongly suggest if you are not 100% familiar with how to operate your CD decks you head there now. It wont take long and you will have all the information you need to get through the rest of the course. 1. Put a CD in one of the CD decks and get it playing in your headphones. 2. Hit play and as soon as you hear the rst beat, hit pause, you will hear it paused in your headphones (it will sound like the CD is jumping). 3. Using the jog wheel on the deck, wind the tune back to just before that rst beat, and hit the cue button. The tune is then cued and ready to go. 4. Fire the other CD deck up and get it playing a different tune out loud in the room. 5. Start keeping the beat of the tune playing in the room, whether with your leg, in your head, or I personally tap in time lightly on the deck in front of the play button... its up to you. TIP: You should have one ear listening to the tune inside your headphones while the other is listening to the tune playing through your monitors (speakers). The idea is to drop the second one in so you can beat match them without anyone else hearing what you are doing, and so that you can be ready to mix. This is the same tip I gave above regarding turntables and its important here too. 6. Practice hitting play in time and listen to whether it needs to go faster or slower so that both tunes are in synchronisation, with the kick drums hitting in perfect time. TIP: To let it go in time you need to remember the exercise from diagram 2-0, when you were counting the kick drum as one, two, one, two the idea is to let go on the one or down beat (the clean kick drum, not the one with the clap, snare or the like). This is another tip I also gave above regarding turntables, and again, its important here too. 7. No different than when using vinyl, you may need to give it a tiny push on the jog wheel to catch it up if needed. Again, it will become second nature as you begin to feel the music more.
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Exercise 2
Learning to keep your tunes in time without headphones
Now that you know how to cue your tunes, the last thing you need to get a good handle on before we start practicing beat matching is learning to keep your tunes in time. The best way to go about this is by playing both your tunes aloud through the speakers only, and using two copies of the same tune. That will help you learn, because when both pitch controls are set at zero on either the CD decks or turntables, you know they will be playing at exactly the same BPM.
Both Turntables and CD Decks

For a demonstration click on this link and watch the Learning to keep your tunes in time video: 1. Set both decks pitch controls, whether CD or vinyl, at zero. 2. Set the cross fader of your mixer into the centre and set both up faders and EQs at exactly the same settings and volumes. (The idea is to hear both tunes at the same time and volume.) 3. Cue one of the tunes. 4. Get the other playing out loud. 5. Practice dropping the cued tune in and either catching it up or slowing it down, if required. Remember that both the tunes are made at the same tempo so there is no need to adjust the pitch control. Just focus on hearing whether they are both in synchronization or whether you have let it go a little fast or a little too slow; then make the manual adjustment required to get both those kick drums hitting together. TIP: When you do need to make adjustments to the speed to get them running in time, you should always adjust the cued track as it is the one that isnt playing through the speakers. That way the dance oor (or recording if you are making one) cant hear the adjustment. If you need to make minor adjustments while both tunes are playing out loud (in the middle of a mix) you should adjust the quieter of the two. Note: When making the temporary adjustments whether on the jog wheel of your CD deck or on the turntable, its a matter of getting the feeling for your touch, which like everything is a matter of practice and trial and error.
Perseverance is not a long race; it is many short races one after another
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CD Decks The jog wheel (which is generally a black pad on top of the CD deck) is pretty much self-explanatory. Its just a matter of giving it a nudge or push in the required direction. (Remember, this movement is only temporary; the pitch control would need to be adjusted to suit). Turntables To slow a tune down using turntables you gently brush a nger over the dimpled part of the platter. (Remember, this movement is only temporary; the pitch control would need to be adjusted to suit). To temporarily fasten the tune up, I like to give the record a light push or nudge forward on the label in the middle. As mentioned above, its a matter of trial and error and just getting that feel for the amount of pressure or friction required. Continue to do this over and over until you are condent in getting the tunes running in time without any major problems. The better you get at dropping tunes in time, the better educated guess you will be able to make on your next move. This at rst will sound extremely messy, like horses galloping, but it is a good exercise for you to begin with so you can start to hear the separation you need to make of the two tunes, while under just a little pressure. When you think you have mastered it using the method above (using two of the same tunes), its a good idea to try using two different tunes. Remember, though, this time they wont be going the same BPM, so you will need to adjust the speed manually (temporarily). Youll have to make the appropriate compensation with the pitch control, little by little, until you work both tunes into running in perfect synchronization. TIP: Play around with both methods of the above exercise for as long as you can keep it up, because the next step is to begin beat matching using your headphones. The better prepared you are, the easier and quicker you will be able to pick it up. Preparation is the key!
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Beat Matching
Beat matching is the fundamental skill you need to learn to become a quality DJ. The concept is simple, but it is actually quite hard to pick up initially. Essentially what you are trying to do is re-pattern your brain, which takes repetition, which equals time. This skill needs to be developed to become second nature. It will take patience, discipline, and loads of practice, and at times be extremely frustrating but if you are prepared to do whatever it takes, it will be one of the best things you ever learn to do. The basic concept is to get two tunes playing at the same tempo. You need to train yourself to hear which track is faster or slower than the other and keep adjusting them using the pitch control till you nd the right setting. Your goal is to have both tunes lock together and be matched in perfect synchronization.
The Basic Concept
In the middle of difculty lays opportunity
Figure 3.0
TIP: You will know when it feels right. If one side is playing louder than the other your brain will nd it more difcult to concentrate on both because they will be out of balance. You are after as close to perfectly stereo-balanced sound as you can get.
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Setting the volume in your headphones

When setting the volume in your headphones, the idea is to set it so that both your headphones and the live speakers sound like they are around the same level. Remember that you are trying to listen to two tunes at the same time and trying to get both kick drums playing together. This takes a high level of concentration so it is important that you get the headphone volume right to give you every chance of locking those kick drums together. It may take a bit of trial and error to work out what is right for you, but with practice, no matter how loud the live speakers, you will instinctively be able to set the headphones to what is comfortable for you. What you are after is stereo sound. Think of a radio which splits everything through two speakers, the left and the right; if you stand in the middle you get the stereo sound. Setting the sound level of your headphones is exactly the same, but you are balancing the sound between the tune in your headphones and the tune playing live through the speakers to give you that stereo-like sound. The idea is to get them playing together!
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Exercise 3
Beat Matching The number one fundamental skill of all DJs
It is time to try matching the pitch control settings of two tunes. You will be listening to the cued track (tune A) in your headphones, while the other tune (tune B) is playing through the speakers.
Both Turntables and CD Decks

For a demonstration click on this link and watch the Beat Matching video: 1. Using the same two tunes you used in the cueing exercise, get one of them playing out loud and the other playing in your headphones. 2. Cue the second tune in your headphones and start keeping the beat of the tune playing out loud in your head by counting, tapping one of your feet, or nodding your head (whatever is most comfortable and works for you). 3. When you are ready let go, press play as best you can in time, so that the rst beat from tune two is in time with the beat from tune one. 4. Listen carefully. What you want to hear is the kick drums from each tune sounding united. It should sound like one clear crisp boom. If they arent in time, it will sound like bboom and you will need to make a quick temporary adjustment. You then need to then adjust the pitch control accordingly (the pitch control keeps the speed constant until you adjust it). Note: By this stage you are no doubt asking yourself, how you are supposed to know if it is going faster or slower? Although this would have to be the hardest skill to master as a DJ, the answer is simple. If you push the tune one way and it sounds worse, then you need to go the other way. The more you train yourself to hear and take notice of what effects your movements are making on the mix, the more natural and instinctive it will become. If you get it wrong its okay. Make a mental note of how it sounds and remember that for the next time. It may seem impossible at rst, but with enough practice and repetition you will re-pattern your brain and it will become as simple as riding a bike. No one ever learned how to ride a bike by quitting when they fell off the rst ve times they learned because there was no other option but success!
The difference between the impossible and the possible lies in a persons determination
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The idea is to keep repeating and adjusting until you match the beats of both tunes. It is all about trial and error, listening to when the tunes are both matched and when they are drifting apart. Obviously the quicker they drift apart, the bigger the adjustment required, and the slower they drift, the smaller the adjustment required. For example, if both beats stay locked for 10 seconds, then you only need to make a minor adjustment. But if they start to drift apart and play out of time really quickly, you know you need to make a bigger adjustment. Remember: Initially you make a temporary adjustment, and then you make the relative permanent adjustment using the pitch control. The more you practice, the quicker, easier, more instinctive and more enjoyable it will become. The trick while learning to nd the right pitch setting it to use the process of elimination. For example: If you start the tune you are trying to match at zero on your pitch control and it is too slow, pitch it up to +3. If thats too fast, you then know where you want to be is between 0 and +3.
If you care at all, youll get some results. If you care enough, youll get incredible results
You then pitch it back to +2. If it still seems a little too fast, you now know the right pitch is between zero and +2. After plenty of practice you will get quicker and quicker at nding the correct setting. To begin with you may need to keep restarting your tunes over and over before you nd that setting, but dont let it get to you. Weve all been there! Just keep trying to enjoy yourself and I guarantee it will come! TIP: One of things that helped me the most was realising that my body, through instinct, would naturally keep the beat. When you learn to take notice of this instinct you can use it to help bridge the gap between the two different tempos you hear in your headphones and out loud. Try and keep the beat of the tune playing out loud by tapping your foot or the like, which will allow you to keep your head clear to keep track of the other tunes beat. Everyone keeps the beat differently it is totally personal so experiment. Find whats most natural for you and practice over and over and over again. Did I mention over and over again?!
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The preceding exercises may have seemed simple and mundane, but to become a highly skilled DJ it is exactly where you need to start. You must crawl before you can walk, which means practicing your beat matching until it becomes second nature. You need to be able to comfortably cue using your headphones and instantly be able to tell if the beats are in time. Then you can focus on other areas that may interest you more, such as scratching, sampling, beat juggling, and the list goes on. To be a DJ you need to build your music collection. Now is a good time to start and a good chance to really get to understand and know your music inside and out but you MUST master the previous exercises! That will take all your concentration and a high level of discipline to continue practicing, especially when you think you arent progressing. That is the exact moment when most people without the true passion to achieve their dreams give up and let go, and you need to stay focused and push through. If you do, you will reap the rewards! TIP: Heres a good way to think about this: if you are hitting hurdles along the way, its because you are going somewhere! So dont get disappointed and scared, get EXCITED because you are on your way to living your dream! All the previous information and exercises are basic fundamentals that need to be mastered before you can move into the next phase of the course, which is all about ne tuning your mixing skills and tailoring them to your own style and music collection. The next chapters of the course cover song structures, EQing, making a demo, and most important to becoming a truly master DJ: harmonic mixing (key mixing). I cant emphasize enough that before you move into this next part of the course, you have to put in the required time, effort and practice into exercises 1 through to 4 to ensure you are ready and well-equipped to move forward. It makes no sense to rush through the course if you arent picking up the right information and developing the skills needed to understand the following chapters. To get the most out of the following chapters you MUST be ready!
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Exercise 4
Fading Blending from one tune to another
Blending from one tune to another is all about the smooth transition from the track you are cueing to the track you are playing live. There will be a moment (exactly how long depends on the tunes that you are playing) where both tunes will overlap, but the general idea is to as discreetly as possible get them completely swapped over, while both tunes are perfectly beat matched. You ideally need to get both tunes perfectly beat matched before the mix, but very rarely will you nd a DJ who doesnt need to make really ne adjustments while in the mix. Just remember though, if you do require small adjustments in the mix, adjust the quieter of the two tunes to disguise them as best as possible from the dance oor. The two basic ways to blend from tune to tune are with the cross fader and the up faders. In the following exercise you will learn to blend from one tune to another using both the cross fader and the up faders. For a demonstration click on the icon and watch the Blending from one tune to another video
If you hit an obstacle it means you are going someplace
The cross fader

1. Ensure both up faders are up and the cross fader is set to the side of the tune playing live. 2. Assuming you have already done the beat matching of the two tunes, start the cued tune in time with the tune playing aloud. 3. Slowly make any ne beat matching adjustments bit by bit as required. Move the cross fader across to the middle so that both tunes are playing at once. 4. Now slowly start to move the cross fader to the other side until you have the tune you were bringing in playing on its own.
The up faders
1. Start with the cross fader in the middle, with only the up fader of the tune playing live up. 2. Assuming you have already done the beat matching of the two tunes, start the cued tune in time with the tune playing aloud. 3. Now begin to slowly make any ne beat matching adjustments as required. Start to bring the up fader of the cued tune up until both of the tunes are playing at once.
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4. Slowly start bringing the original tunes up fader down, until the original cued tune is playing on its own. Note: Once you get better, it is a good idea to mix controlling the bass. To do this you cut the bass out of the tune you are bringing in, using the bass EQ control. It is also a good idea to meet the faders at about 80% volume to keep control of the overall master output volume. So if you think that you are ready, give the next exercise (exercise 4.1) a go.
Exercise 4.1
Fading Cutting the bass
1. Cut the bass out of the cued tune. Then when you are ready, start to bring it in. 2. As you are slowly bringing in the cued tune, start to bring the track that is playing down to around 80% volume while you bring the cued tune up to meet it. The idea is to try and meet both faders at 80% around the same time. 3. Once both faders have met around 80%, start to slowly push the tune you are mixing in past the 80% heading for full volume. At the same time, slowly begin to pull the other tune out. The trick is to simultaneously swap the bass EQs (equalisers) over. How quickly or aggressively you do that depends entirely on the tunes you are playing some require a smooth swap and some require an instant snap swap. 4. Once you have the bass EQs swapped so that the dominant tune playing is at full bass and at full volume, slowly continue to pull the tune you are mixing out, until both tunes have been swapped completely. Note: After you master the above you will also need to keep track of how the mix sounds live through the speakers. For now, just focus on your beat matching. The rest will come naturally as you get better and more condent TIP: When fading from one tune to another, you need to make sure that the level of the record you are about to start mixing is the same as the one playing live, since not all tunes are pressed at the same volume levels. To do this you simply check the level meters for each channel. If their readings arent the same, then adjust the one you are cueing as required, using the gain EQ control, which is usually the very top EQ control on the individual channels of a mixer. (The level meter is the meter registering the loudness of each channel.)
Success doing the right things consistently
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Song and Beat Structure

It is very important to know when and where to start mixing your tunes, for that seamless mix from one tune to the other. Music is written using certain rules, and when mixing you not only have to match the beats to become any good as a DJ you also have to understand a tunes structure so that you can follow the rules of music to make your mix sound effortless. TIP: A general idea would be to mix the introduction of the tune you are about to play over the outro of the tune already playing. It is important to understand the structure of the tunes, as this is how you gain the information required to be able to do that. Most if not all dance tunes are written in 4/4 time, meaning there is a count of four beats in each bar. These bars are then grouped into four-bar phrases. These bars and phrases then make up the different sections of a tunes basic structure.
A desire can overcome all objections and obstacles
Introduction This is the beginning of the tune. It doesnt have to be a specic length but will always stick to basic song structure, which is what you are about to learn in this chapter. The introduction builds up with instruments and sounds until the start of the main tune, which is usually when the main bass line kicks in, although there can be snippets of the bass line while it builds into the main bass line dropping. Verse In dance music verses dont tend to be based around the lyrics as they would in more commercial music, which makes them a little more difcult to identify. Verses are basically the part of the tune that is building up to or down from the main hook, and generally the higher-energy parts of the tune. Chorus In dance music the chorus usually revolves around the main hook. In this part of the tune the energy is much higher. The main hook can still run through the whole tune but you will notice in the case of a verse it may be ltered down lower or only be playing snippets. In the case of the chorus, the synth or instrument used for the main hook is opened right up and has loads more energy and power.
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Breakdown Basically creating a bridge from the chorus back into the next verse. Every tune is different in how it constructs a breakdown. There can even be mini breakdowns, usually half the size, before and after the main breakdown. In the breakdown most of the sounds and instruments are usually stripped away and the hook (for example) would be ltered right down or even out before it all begins to ll back up again. With most cases in dance music, for the last two bars of the entire last phrase, it wouldnt be unusual for a snare or drum pattern to build up or possibly even a rise (a ltered synth sound pitching upwards). This is what helps pick the energy back up ready for the tune to kick back into the next section. TIP: On a record you can usually see where the breakdowns are as they are the darker rings. The fewer elements in the tune, the darker the rings on the record. Outro Generally it is when the bass line drops out and the tune starts to lose instruments verse by verse. This is similar to the introduction, although instead of building the tune up it winds the tune down. When you are mixing the intro of one tune over the outro of another tune, you have one that is building up and the other winding down, which can help you create a seamless mix. If you mix both tunes together while they are both in full ight it is going to sound very messy and amateurish! Not all tunes are DJ-friendly and provide outros, in which case you would need to do a fade-out mix. TIP: Mixing intro over outro can be very boring and lose energy on the dance oor. Later in the course you will learn better ways to mix so that you keep that all important energy on the dance oor high. Note: The thing that makes all tunes different (apart from the obvious different instruments and sounds) is the unique combination of the above sections. Different producers or musicians use different length introductions, add extra choruses, add mini breakdowns before or after the main breakdown, and have different length outros. All of this is what is most responsible for making all tunes different and interesting. This is all done following the basic 4/4 beat structure of four beats to a bar, four bars to a phrase, which you are about to learn more about as this chapter unfolds. When you are mixing you need to learn to match not only the two tunes beats, but also their phrases, so that when you have them both playing aloud they are making their individual changes throughout the mix in perfect synchrony.
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Exercise 5
Counting Beats and bars
Beyond beat matching, you need to count beats and bars. Be prepared for a lot of counting, but remember, the more you practice and the more time and effort you put in the easier it will become, the better you will get, and the more you will enjoy it. You need to get to a point where your instincts and subconscious take over!
Counting Beats To count beats you simply count 1, 2, 3, 4 in time with the music. Counting Bars A bar is a group of four beats; the best way to count a bar is by simply counting
All things are difcult before they are easy
Figure 4.0
Note: This is the best way to keep track of which bar you are up to. When you are counting put more emphasis on the rst beat of the bar you are up to, as this is the most important part of the count.
1. Put on a tune. 2. Starting from the rst beat, count the beats and bars as in the diagram below using the ONE two three four, TWO two three four method, and take note how the beats build to bars and the bars build to phrases. Do this with a couple off different tunes until you get condent with it and can hear the changes as the beats build into bars and phrases.
Figure 4.1
TIP: While I was learning, I found it useful to count the beats in my head and keep track of the bars using my ngers.
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Phrases and Verses

In dance music, almost always song structure revolves around multiples of four, for example: Four beats Four bars Four phrases = = = a bar a phrase a verse (although in the the case of a verse this is a general rule of thumb which can vary depending on the producer)
Note: You need to know how to identify the phrases because when you start your mix, you need to synchronize both the incoming and outgoing tunes phrases. If you dont and their phrases are out of line, your mix will sound messy and confusing. The idea is to get both tunes grooving along within the same structure so that all the musical changes are synchronized.
Matching Beats Bars and Phrases
It is our attitude at the beginning of a difcult task, which more than anything else, will affect its successful outcome
Figure 5.0
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End of phrase Markers or Indicators

When listening to most music, especially dance music, you will notice whats called an end of phrase marker and signicant changes in the music around these markers. Music producers use these markers as a very important part of a tunes structure. The instrument or sound they use may vary but usually something like a reverse cymbal, otherwise known as a crash, is used. It would hit on the rst beat of the rst bar of the next phrase, and a signicant change could be something like a key change, a bass line change, or a vocal. These markers are general rules musicians use to give their songs structure, particularly in dance music. The idea is to know when it is coming to the end of a fourth phrase as this is when the tune moves in a different direction, changing from a verse to a chorus or a breakdown, and so forth. The energy moving towards the end of phrase markers changes signicantly as opposed to the halfway markers. Instead of using something like a crash cymbal as the indicator, it builds for a longer time, using drum and snare patterns and effects such as lters.
Difculties increase the nearer we approach the goal
TIP: Other things to listen for to help determine the end of a phrase, apart from the cymbal crash and the reverse cymbal crash, include a rise or synth whoosh that peaks at the end of the phrase, extra drum or snare patterns in the last bar of a phrase, drum beats or percussion dropping out in the last bar of the phrase, or a vocal throwing you into the next phrase. There are loads of different options for musicians to mark the end of a phrase you need to listen to your own tunes to determine what they are. Note: The best way to understand the different methods and sounds used as end of phrase markers in your own music is by knowing your tunes inside out. The beauty of all the different genres of music we get to feast on is the diversity of interpretation. By knowing your music inside out, you will become familiar with the end of phrase markers used. Whether there are small subtle changes or new sounds coming in, it doesnt matter; they will always be there. You just need to listen for them, because music without structure would simply be noise. By really getting to know your own music, your brain will begin to store all the different indicators in your subconscious ready for you to draw on at any time. Remember that repetition is the best way to get this information stored, so practice, practice, practice.
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TIP: Once you have enough practice noticing these markers and begin relating them to where you are in a tunes structure, your subconscious and instincts will take over and it will become like second nature. That is obviously exactly where you want to be, so get practicing! Remember, patience and perseverance know no failure!
To help you start hearing these end of phrase markers and the signicant changes made in the music around them particularly listening to and identifying those big higher energy fourth phrase markers, use the following exercise (exercise 6). Keep repeating and practicing until you are condent you understand how they work at helping you identify where you are in a particular tunes structure. TIP: While I was learning, I took every opportunity, including when I was listening to the radio. I would practice counting the bars and phrases and listening to the different structures no matter what kind of music was playing, taking note of all the different markers and signicant changes around them. Sometimes my progress seemed good and other times it seemed impossible, depending on the music. With dance music we are lucky because generally the tunes are well-structured and easier to dissect. The best part about doing the above, apart from working on your concentration and focus, is the constant repetition and training of the brain, getting it to start hearing, counting and dissecting the music. It is no secret that the best way to communicate with your sub-conscious and get the best response from your instincts is through repetition!
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Exercise 6
End of phrase Markers
For a demonstration click on this icon and watch the Beats, bars & end of phrase markers video.
1. Put on a tune. 2. Starting from the rst beat and start counting the beats and bars using the same counting method as in exercise 6. This time also take note of how the phrases build into half a verse, then to a full verse, and then into the big change such as a breakdown or chorus, etc. Remember to take note of the difference between the half phrase markers and end of phrase markers, and in particular, the build of energy towards the fourth end of phrase marker that will take you into the next section.
Ability is what youre capable of doing. Motivation determines what you do. Attitude determines how well you do it
The better you get at distinguishing between the different markers at different stages of the song structures of your tunes, the quicker you will be able to pick up where you are in the 16 bars (verse). Eventually with enough practice and repetition you will nd you no longer need to count beats and bars as your instincts will have taken over. So it isnt all doom and gloom you just need to put in the required time, concentration, focus, discipline and effort until its drummed into your unconscious, enough to be plucked out at will. You need to develop this skill so that you can pick up where you are in a tune at any time, within a phrase or two!
Note: Whether in the car, at work or doing the exercises above, you need to begin to concentrate on really listening to the music rather than just going on the usual journey a normal music listener would go on. DJs hear the music differently, and thats what you are neck-deep in training yourself to do!
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Exercise 7
Mixing your tunes at the correct point
For a demonstration click on the icon and watch the Mixing your tunes at the correct point video.
Where you join your two records is extremely important, so in this chapter you will learn the correct placement of your mixes, meaning, which parts or sections of the two tunes you mix over each other. The idea is to get the placement perfect so that both of your tunes start or end a section in synchronisation with both the beats matched, as well as the structured musical changes. 1. Once you understand the core concept, the placement of your mixes becomes completely experimental. For the purpose of this exercise and to help you understand the core concept, I am going to get you practicing mixes where the bass line of the tune you are playing aloud (tune A) and the one you are mixing in (tune B) swap over perfectly. I generally choose to mix like this as it keeps the energy on the dance oor and the energy in your mix high, and eliminates key clashes between the two tunes. 2. Get two tunes and count how many bars from the rst beat there are until the main bass line kicks in on each of them, and write it down. 3. With the same two tunes, count how many bars there are after the main breakdown until the bass line drops out, and write it down. (If there is a mini breakdown after the main one, count it from after that.) 4. Now for the basic maths: you need to subtract the bars of the intro of tune A (the one you are mixing in) from the amount of bars there are until the base drops out of tune B (the tune that you are mixing out of). The number of bars you have left is the number of bars you have to wait after the breakdown of the tune playing aloud (tune B) to start your mix. Remember you have to start at the beginning of the phrase of the outgoing tune.
The difference between failure and success is doing a thing nearly right and doing a thing exactly right
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Example: If you were mixing Tune A into Tune B Tune A = Tune B = Therefore: Minus: Equals: x4 8 bars from when the tune kicks back in after the breakdown until the bass line drops out x2 8 bars from the start of the tune until the bass line kicks in Tune A: x4 8 bars (after the breakdown until the bass line drops out) Tune B: x2 16 bars (till the bass line drops in after the introduction) x2 16 bars.
Swapping Bass Lines
Success is a habit, of doing the right thing consistently
Figure 6.0
You will know when you have it right because both of the tunes will be grooving along together and all the musical changes will be completely synchronized. As you get better you will be able to experiment a bit with the placement. You will know what sounds right and what doesnt, so dont be scared to experiment once you have mastered the basic concept. You could try mixing intros over outros or even breakdown over breakdown. Its completely up to you. As long as you understand how songs are put together, you can begin to experiment with how you join them together. TIP: I suggest at this point you should practice the above over and over using a range of different tunes so that you get your phrases synchronised and swapping over those bass lines each and every time.
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You would also use these phrases to indicate when to make adjustments to your mix, other than just starting your mix. These could include: When you make adjustments to your faders. When you make adjustments to either of the tunes volumes within the mix, especially when you make that nal push of the incoming tune to full volume. When swapping the bass line of the incoming tune with the outgoing tunes (having both bass lines playing at full within a mix sounds too cluttered and messy!) When making that final adjustment to completely fade out the outgoing tune. The reason you would use the phrases either every four or eight bars as indicators to make adjustments such as the above is to help disguise them. Remember that these are the times in the structure that the musicians make their changes. Ideally, any adjustments you make within the mix would blend into those and help you create that seamless, effortless sounding mix! TIP: If possible you should record your mixes when practicing, so that you can listen back and hear what you did. When you are in the middle of a mix, especially when you are learning, there is enough to concentrate on. This way youd be able to hear exactly which mixes worked the best and which ones werent so good and still need some work. Also, it will be much easier for you to hear whether you were starting your mixes with the phrases in perfect synchronisation or not.
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Faders and EQs Mastering your mix

Once you have mastered beat matching and how and where to place your mixes to get from one tune to another, you need to master the use of your cross fader, channel faders (up faders), and EQ controls. Faders Cross fader Depending on the type of mix you are trying to create would determine how fast you move the cross fader from one tune to the other. In the previous exercise, mixing from bass line to bass line would be considered a smooth gradual mix and you would make smaller movements. As a general rule of thumb, when the new bass line kicks in and the old bass line drops out, you would want the cross fader to be sitting about halfway, so essentially you would be halfway through your mix. The second part of the mix is equally important. Just as you snuck the intro of the new tune in, you need to sneak the outro of the old tune out, making gradual calculated movements. Channel Faders My preferred style of mixing is by using the channel faders. It gives you more control of each individual tunes output volumes during the mix, without being restricted by the preset cross fader curves (the amount one tune increases in volume and the other decreases in volume as you move your fader from one side to the other). How you make the transition between the two faders is totally dependent on your mixing style, the volume levels of your mix, and of course the two tunes you are mixing together. It could be as simple as increasing the volume of one fader while decreasing the volume of the other, or alternatively, waiting until you have snuck the fader of the tune you are bring in to halfway before you start to decrease the fader of the tune you are mixing out of. Exercise 8 uses an example of how I would generally make the transition.
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TIP: When making adjustments no matter what kind the idea is to disguise and control those movements. Some good ideas when using your faders include: Smaller Movements (adjustments) when making smaller movements with the faders (smaller increases in the volume change), particularly constant ones, you dont want to be making those movements when the kick drum hits. You want to be disguising them behind the offbeat sound of the tune, which in dance music is generally a high hat (the sharp tsss sound).
Hi Hat Audio Sample
Larger Movements (adjustments) When making larger movements with the faders (larger increases in the volume change), you want to be making them at the end of bars and phrases where you can disguise them behind the tunes structured musical changes such as build-ups. Sounds like cymbal crashes are also good places to make these larger movements, as they almost always occur when the tune playing is about to take a new direction. You would essentially be making your larger movements as the tune playing makes its major structured changes. Something such as a high sounding crash would help disguise the bigger increase in volume.
Dont fall in love with the dream, fall in love with the process and the dream will come
Cymbal Crash
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Exercise 8
Fading The perfect channel fade
For a demonstration click on this link and watch the Perfect Channel fade video:
1. Set the cross fader into the middle so effectively it is bypassed. 2. Assume that your channel faders are marked from 0-10 (if they arent, imagine they are divided into ten). Set the tune playing aloud (Tune B) to 10. 3. Cue the new tune up (Tune A). Using the bass line to bass line method from exercise 8 mixing your tunes at the correct point when you are ready start your mix.
Things dont just happen you need to make them happen
4. Slowly start bringing Tune A in, making smaller movements with the relevant channel fader, remembering and implementing the tips I shared for making those movements. Continue to make them until you get the fader to around 6. 5. Once the channel fader is around 6 on the incoming tune (Tune A), continue to make those smaller movements heading towards 8. Simultaneously, start to make the same movements on the tune you are mixing out of (Tune B) from 10 down to 8. You need to control these movements so that you have both tunes at 8 before their bass lines swap over, also ensuring you have enough time to make the nal adjustments below. 6. Because of all the practice youve had in the previous exercises, you will be able to anticipate when the bass lines are about to swap over. It is at that precise moment that you make a larger adjustment on the new tune coming in (Tune A), pushing the fader to 10 (in one beat) effectively swapping both the tunes and the bass lines at the same time. 7. Begin to make smaller movements, bringing the fader of the tune you are mixing out of down until it is at 0, and completely out of the mix.
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EQs (Equalization)
EQing is used by DJs for more control of the overall output sound of a tune. They are used to make compensations and alterations in the quality of a particular tunes sound. They have the ability to manipulate different frequencies within a tune from the bass (lows) to the midrange (mids) and the treble (highs). Again, as with most elements of DJing, how creatively you use the EQ controls is entirely up to you. Mixing the way I taught you in the previous exercise, from bass line to bass line, and using the channel faders with the method of meeting both faders around 8, you wont need to make too many changes with the EQs. You would leave the EQ controls in the neutral position (twelve oclock). The way that I look at it is that when a producer writes a tune, they get the EQing exactly the way it is meant to sound. Therefore, assuming that the tune has been mastered properly, it doesnt need any EQ changes to be played at perfect sound. For me, using the EQs to clean up your mixes a little is okay, but thrashing them around can ruin the overall dynamic of a tune.
Bass (low) EQ
As mentioned in the previous chapter, mixing two tunes together with both bass lines playing on top of each other at full volume can sound way too powerful and extremely messy. That is why I generally choose to mix from bass line to bass line as I showed you in exercise 9. That way, the amount of bass playing aloud stays the same. Another way you could eliminate any overpowered bass clashes is to mix using your EQs. For example, you would kill the bass (low) to on or near its lowest point on the tune you are bringing in. When you are ready to swap the bass lines over, simply increase the bass EQ of the tune you have bought in while you simultaneously decrease the bass (low) EQ of the tune you are mixing out of, with both manoeuvres made in one beat. Once you have mastered mixing without any messy bass clashes, your mixes will become almost unnoticeable which is exactly what you want!
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Midrange (mids) and treble (high) EQs

When making adjustments with the mids and highs, the adjustments generally need only be small subtle ones. For example, you could lower the highs of the tune you are mixing in if they are distinctively louder than the tune you are mixing out of. You could also pick out and emphasise certain sounds and instruments and disguise others with small subtle tweaks, but generally speaking, these tweaks need to be far less dramatic than the adjustments you would make with the lows. Personally, I like to take a tiny bit off the top of the mids and highs of the tune I am bringing in to ensure there are no surprises within those frequencies. Assuming your mid and high EQs were set at 12 oclock, I would take them back to somewhere between 10 and 11 and progressively swap them over with the tune I am mixing out of. Messing with the mid and high EQs is done more as a requirement from tune to tune rather than a necessity, as with the bass (low) EQ. TIP: When making any adjustments whether with the faders or the EQs, always keep an eye on the volume meters. Remember the idea is to make a smooth transition from one tune to the other while keeping the output volume level the same at all times.
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Harmonic Mixing Key Mixing

With enough practice and getting to know your tunes inside and out, you will know which tunes go together and which ones dont. To really master the craft of DJing, it is very important for you to put the time, patience, and effort into learning about harmonic mixing, because that will add a complete other dimension to your mixes. Harmonic mixing is the art of mixing tunes together in perfect harmony, using the basic rules of key and chord compatibility. A lot of DJs are too lazy to take this next step, but I can assure you that if you do, it will be well worth it. You will go from being a good DJ to being a respected and great DJ, instantly. If you think of a band and imagine how dreadful it is when a singer is out of tune, it is exactly the same with DJing. In the previous exercises you were learning to mix from bass line to bass line, where it doesnt really matter what combination of keys you mix together as you are not over-lapping harmonics. However, as mentioned in those exercises, once you understand the basic fundamentals, its time for you to start getting creative and begin forging your own style. At that point, you dont want to be constrained by not being able to mix different bass lines, melodies, vocals and even genres together. You want to have full creative control over what you are doing and experiment with combining your tunes. No matter how well you match two tunes together, even in perfect synchronisation, if there is a key clash and they are inharmonious, the mix will still sound completely wrong. My knowledge of musical theory is very basic. In the past getting up to speed would have required endless hours of study, and probably even professional tutoring. Luckily for us there is no need to freak out or waste precious mixing time hitting the books, because the following information I am about to give you is priceless (even for those of you who are musically gifted). It will get you mixing harmoniously in an instant and will catapult you light-years ahead of your run-of-the-mill DJ. To help DJs learn harmonic mixing without having to study traditional confusing key notations and chord charts, a genius by the name Mark Davis created a user-friendly chart especially for DJs. Called the Camelot wheel, it is a visual representation of which musical keys are compatible with each other. On the Camelot wheel, each musical key is assigned a key code number from one to twelve, laid out like the hours on a clock. Awesome! But for the Camelot wheel to be of any use you need to know what key your tunes are in to begin with. Previously this would have been a massively time-consuming task that would involve a keyboard to enable you to manually work the keys out. It would also require a well-trained musical ear to be able to determine the keys correctly, and even with a musically trained ear could still be very time consuming.
A man who wants to lead the orchestra must turn his back on the crowd
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This is where a nifty piece of software called Mixed In Key comes in to play. Mixed In Key automatically gives you the key codes needed to use the Camelot system for your tunes in seconds. Both the Camelot chart and Mixed In Key software could not possibly be any more user-friendly. All you need to do is scan your les with Mixed In Key Version 4.0. Use the Camelot wheel to pick compatible tunes and get mixing. End result: perfectly smooth seamless harmonic mixing. It is perfect for getting your records in key quickly and easily. It helps you link between songs of any genre and it gives you more time to experiment with your mixes, which can only be a good thing! Its whole purpose is to help all DJs mix in harmony, without the guesswork. If you do your homework and learn the art of harmonic mixing you will surpass all the lazy, uneducated run-of-the-mill DJs in no time. It should be used by all DJs but it isnt... Which is good for you as this is where you can get your edge in a very competitive industry. Simply put, it is without a doubt yours and all aspiring professional DJs Fast Track to Success! You have come this far so dont stop now knowledge is power! Go beyond the basics, it has never been easier! You dont even have to take my word for it. Head to www.MixedInKey.com and check out the impressive testimonials from some of the worlds best DJs such as radio one in the UKs Pete Tong, global undergrounds Nick Warren and even Deep Dish. All these guys and more swear by it its a big part of what makes them the superstars that they are! It is made specically for the worlds best DJs. Im hoping that with the help of the DJ Master Course thats exactly what you want to be, because with Mixed In Keys user-friendly design and trusted technology, and the knowledge youll be taking from this course, there is no reason why you wont be one of the worlds best DJs! Remember the old saying you only get out of something what you put in? Dont be a lazy DJ. In the past it could have almost been understandable, as not everyone has a musical trained ear. DJs could almost be forgiven for not hitting the books and getting that professional training required, but with the information I have just shared there are no excuses. You would be surprised how many lazy and uneducated DJs are out there. You dont want to become one of them you want to be the one that they look up to! TIP: I also recommend you have a look at the tips the Mix In Key guys offer with regard to making that perfect demo and energy boosting mixes. They offer more priceless information for the aspiring professional DJ. If you are going to make a demo it needs to be perfect and the Mixed In Key guys explain exactly how to create the perfect demo mix. In the next chapter How to make it, I give really good general information on making demo CDs, but if I was to detail how to create the perfect demo, it would be using their system. So head over there and check it out.
The information I have shared here takes the saying Stand on the tall shoulders of those who came before you to a whole new level!
40
Harmonic mixing made easy MixedInKey
General Tips How to make it

To make it as a top-ight DJ there is one more step to mastery, and that is self-promotion, self-promotion and more self-promotion. This is done in a number of ways, and like everything you have learned previously, it takes time and patience. It is the key to your dream after you have mastered the fundamentals of this course. Practice makes perfect, I practiced 2 3 hours a day every day for at least 3 years before I felt condent enough to play out. First impressions endure. You need to make sure you have done everything you can so when the time comes the right people take notice. You want the reaction of the dance oor and the people in the know to be surprised at how good you are not just content!
Recording a Demo
A demo is the most important tool for your self-promotion. It demonstrates your style and ability to the masses. Once you really get going it is a good idea to do a new demo as often as possible to keep your sound and style fresh and up to date. Make your demo as long as possible to keep it interesting and to demonstrate you can mix seamlessly for as long as required. Also, dont load your demo with all the most popular tunes of the time. Instead, you need to be a step ahead nding the tunes that will become the next popular tunes, separating your demo from all the others getting handed around. I also suggest, if possible, creating one of those stick-on labels to make your CDs look as professional as possible, because remember, perception is reality. The CD label also helps with rst impressions, which are very important in getting people to want to listen to your demo. Also make sure you include your contact details, usually either of or preferably both your email and mobile number. Once you have your demo, the idea is to burn and hand out as many as possible, absolutely no amount is too many! The more the better! Dont just hand them to promoters and clubbers; make sure you also get them out to all of your friends and even their friends. This will create a buzz and get them all talking about you, especially if they like it. You never know whose hands your demo will end up in, so keep getting them out there. TIP: Make sure you carry a copy of your demo everywhere you go as you never know where and when you will run into that person who will give you your rst break. At all times you need to be networking and self-promoting. You want to get your friends and friends of friends driving around with your demo cranking. You never know who will be in the passenger seat listening!
Success seems to be connected with action
41
Remember if you are going to make a demo it needs to be perfect and the Mixed In Key guys explain exactly how to make that perfect mix. As mentioned at the end of the harmonic mixing chapter if I was to detail how to create the perfect demo, it would be using their system. I highly recommend if you havent already head over to their website to check it out. Harmonic mixing made easy MixedInKey As mentioned above your demo is the most important element of self promotion. When it comes to your demo perception really is reality it MUST look professional and grab peoples attention in an instant and make them want to listen to it. I have added a couple of resources to get you started the rst one is mixonic these guys will take care of everything from the labelling to duplication (one copy to one million copies) They have an online suite of tools that allows you to quote your project, design your artwork and upload content. It is all high quality and at basement prices. The second option neato is a good place to source everything you need to be able to do it yourself. Which way you go doesnt matter as long as it looks professional and makes people want to listen to it. There is no point putting all the hard work in if your demo isnt taken seriously from the beginning!
Success: willing to do what the average person is not willing to do
The Internet
In this day and age, a web presence can be just as important as your demo. Being on the web allows access to your prole and latest mixes, and can be a big part in building a fan base and getting yourself heard, not just locally but all around the world! (I cant say enough that perception is reality!) How creative you are with that is up to you, but you dont need me to tell you how powerful the internet is. You could build a custom website, or use something like MySpace, or do both but you do need a web presence. If you build up a list of fans and have loads of trafc or friends in your MySpace, promoters will want to get you playing at their nights to lure your fans. Remember, self-promotion, self-promotion, self-promotion!!! Another good way to use the internet to help promote yourself is by joining industry and club forums. The idea is not to get on there and tell everyone how good you are, but simply to get involved and network. These forums are where promoters promote and where clubbers talk about what they like, dont like, want to see and dont want to see. A good idea is to have a signature where your web or MySpace address is promoted every time you start a thread or make a post. You will be surprised who you will get to talk to, and subsequently meet, by getting involved with related online communities!
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Your First Gig

There should never be a gig that you think you are too good for, especially while you when you are learning. Never pay someone for a gig, but be prepared to play for free while you are building your prole and fan base, and while you are still learning. Experience in all kinds of party and crowd situations is invaluable. House party If your rst gig is at a mates house party, excellent! You can use it to build your condence and really get your mates talking about you to whoever will listen to them. Always take every gig seriously. You never know who will be there listening! It could be the best mate of the head promoter of the new local super club which is about to open. Club bar Generally in this situation you will be required to be playing all night, or at least 4-6 hours. You need to watch the crowd carefully and build your set as the crowd builds; you do not want to be dropping your big tunes while people are still arriving. You may have to compromise there, but that will involve you reading and anticipating what the particular crowd wants. This situation will be a massive help to your overall DJ skills as it will require you to take close notice of what is and what isnt working, and to make adjustments to suit. Crowds in these situations can be very varied. Club In most cases if you are playing your rst gig at a club you will be doing the warm-up set. The warm-up set, believe it or not, is very important, and it will take you at your best to make it work the way it is supposed to, while gaining recognition for what you have done. It is important that you dont start banging out the biggest tunes of the moment that is not your job. Your job is to take the dance oor on a journey and bring them up to the big name DJ whose job it is to take it to that next level. If you try and steal the thunder, chances are you will never be invited back. Again in this situation you will be required to compromise your style a little and play tunes that are going to make that journey to the next DJ smooth, interesting, and gradual. If done properly you will gain the recognition you deserve from the promoters, big name DJs, and the crowd. The more chances you get to do it and nail it, the sooner you will be promoted up the time slots, and the bigger your fan base will become. So dont be disheartened by the warm-up sets. Make them your own and master them! TIP: When you do get your chance, do not blow it by being late! Always keep your word and your booking. Be prepared to play all gigs, no matter how big or small, and take them all seriously. Never slag other DJs, no matter what. If you cant think of something nice to say, then say nothing at all, unless you want to help ruin your career. You never know who might be listening!!!
43
So to sum it up very simply

Im not telling you its going to be easy Im telling you its going to be worth it. If you do everything I have asked you to do, theres a good chance you will be sending me an email [email protected] sometime in the next 24-36 months with a story of how your dream has been transformed to a reality directly related to the key fundamentals, knowledge and secrets I have shared in this incredibly simple and powerful course. Once you have read this, make no excuses or any empty promises. Just get off your royal derriere (a.k.a. your ass!), keep practicing, and make it happen. It may not happen exactly as you planned, and it wont happen instantly, but if you practice the exercises in the DJ Master Course enough, it will happen.
It is not the mountain we conquer, it is ourselves.
Dont let go of your dreams. If you have determination and belief in your dreams, you will succeed in spite of your desire to let go
To your success!
I cant help myself... one last TIP: You may think you are not improving but I can assure you that wherever you are in your learning is exactly where you are meant to be. So keep practicing. You may not think you are making progress, but I guarantee that you are
44
Added Chapters
I decided to add more chapters to ensure that I have covered everything, leaving no stone unturned. These added chapters include mastering your CD decks, invaluable DJ resources and an extensive glossary of terms, so enjoy... The rst chapter is called mastering your CD decks. With the continue insurgence of the digital world I felt there had to be a chapter dedicated to the CD deck. I would advise those DJs starting out, who have only turntables, to at least read the introduction to this section for some very valuable information that you dont want to be missing out on!
Mastering your CD Decks

Learning to mix only with vinyl was not much of an issue in the past, but these days there is no doubt if you dont learn to mix using CD decks, you are behind the eight ball right from the beginning. There are several reasons, but the main reason would have to be the access you have to a whole new world of music . . . and after all, that is what being a DJ is all about. These days, more and more record companies are releasing music that doesnt ever appear on vinyl. In fact, independent record labels are being set up solely as digital labels all over the internet and all over the world, pushing vinyl to the curb with their low overheads and the instant access they provide to the music. Sites such as beatport and emusic. To keep evolving as the industry itself is doing, it is probably more important to learn to DJ using CD decks rather than vinyl these days. The tables have turned 360 degrees from when I started.
TIP: The general concept of being a DJ is more about your listening skills than the physical actions you are making. Moving from vinyl to CD or vice versa isnt really too difcult it is essentially a matter of getting used to different buttons or functions. The principles of being a DJ are same whichever way you go, the core concept does not change. Beat mixing is beat mixing either way! If you only have turntables for now, it doesnt matter! Get practicing, and when you can afford CD decks to add to your set-up (which can be done one at a time) you will have the ultimate set-up.
45
In the past, when you turned up at a club if you had some tunes you wanted to play using CDs, you would need to have requested CD decks or even bring your own. Now it isnt uncommon for clubs to supply only CD decks. Overall as a DJ it would be ideal to be able to mix using both CDs and vinyl, but when starting out it can become too expensive. So my advice would be to start out with CD decks as you will save an unbelievable amount of money on building your music collection: the music that in the past you had to wait for until it turned up in the mail can now be downloaded in an instant, and the music that you already have on CD will be able to come into play. Also when your rst gig arrives you can be pretty sure there will be CD decks for you to drive. Another cool thing about CD decks is that once you lock the mix in, you know it will stay locked in, unlike when you have to rely on the motors or belts of traditional turntables. This will help your master you beat matching more quickly, and in the long run it is going to give you more time to concentrate on the mix itself, leaving you with an opportunity to explore the loads of other creative possibilities that exist when youre using CD decks.
You are the only one who creates your reality
46
Cueing Using a CD Deck

Note: Different CD decks may use different terminology for their buttons. For example, instead of the search button on a Pioneer CD deck, you may have a button labelled skip. You may need to play around a little to work out what is what, but I can assure you that the process is the same. 1. First you need to nd the tune you want to play, using the track search button. The information, as with your general hi- or car stereo, is displayed on the screen. There is obviously a bit more information displayed on the screen than for the hi- or car stereo, but we will get to that a little later on. 2. Locate your desired cueing point in the track. To do this, scan through using the search button and listening in your headphones. You will notice that the display screen shows either a counter or graphic display of where you are in the track. In the case of a graphic display, you will notice it depicts the louder and quieter parts of the tune such as breakdowns, etc. 3. Once you nd the desired cueing point of the tune press the pause button. You should be able to hear the tune paused in your headphones. (The pause sounds similar to when a CD is scratched and gets stuck on a sound.) 4. This next step is the important one. Use the jog wheel to ne tune to exactly just before the beat of your desired cueing point. This can take some trial and error depending on the response time of the CD deck you are using, but the idea is to be able to start the tune right on beat every time. 5. When you have made the appropriate ne tuning so that you are at your exact cue point, press the cue button which will manually hold that cue point for you. TIP: It is a good idea to check your cue point. To do this you simply hit play, and then while it is playing hit the cue button again. Do this a couple of times quickly to make sure it returns to the correct point you cued it to. The cue point will always be there until you override it by setting another cue point.
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Beat Matching Using a CD Deck

Note: In this section I will give you a basic rundown on how to operate your CD deck and get you familiar with its controls in relation to beat matching. Once you have read this over, head back to the learning to keep your tunes in time chapter to begin learning the fundamentals of beat matching itself. The two main things you need to familiarize yourself with to be able to beat match using CD decks are: starting the tune, and making the required adjustments to the tune. Starting the tune Once you have the tune cued to your desired cueing point, you need to practice starting that tune on beat. This will require a bit of trial and error due to the response time of your CD deck starting. But as with turntables, you can quickly make the required adjustments if you start it a little too slow or quick. TIP: To keep the beat of the tune playing in the room when I am about to play a CD, I personally tap in time lightly on the deck in front of the play button, so when its time to hit play I know I am on time every time. Its up to you. Making the adjustments To make required adjustments, you use the pitch bend control which is generally a jog wheel almost representative of a record, but on older versions of the CD deck there could be two buttons, faster and slower. The pitch bend, whether with the buttons or jog wheel, makes temporary burst adjustments to the speed, much the same as manually pushing a record. Once you make these temporary adjustments you need to make the appropriate adjustment with the pitch control. TIP: Whenever you are beat matching and make an adjustment, particularly when you are learning, it is a good idea to hit the cue button straight away and start again, to give you a more educated idea on whether that adjustment solved the problem and what your next move needs to be.
The fortune is always in the follow through
48
DJ Resources
Instead of just lling this section up to make it look good and impress you I have decided to only recommend and add resources that I believe can be of a genuine use at helping you become a better DJ. Basically I have gone for quality over quantity. It is a list of specic resources that have helped me personally along the way. I have added a small description on each site Enjoy!
Music
I have added a small hand full of sites that I personally have used over the years to source my music, both digital and vinyl your music collection is a very important element you need to continue to expand your collection as you evolve as a DJ. You want to try and stay a step ahead and separate yourself from the crowd, but it is totally personal the music you buy. The sites I have suggested below are all quality sites and a good place to start so enjoy and happy hunting!
Digital Download Stores

I have added my top three sites for sourcing digital downloads It is important as a DJ particularly when you are starting out to build your personal music collection; I recommend that you do this by sourcing your music from as many places as possible as it will give depth to your collection. There are independent labels popping up all over the internet, you dont want to be caught looking in the same place all the time as you might be missing out on some real gems! Beat port The most relevant online source of electronic music in the world full stop! It is recognised as the leader by fans and DJs all around the world. beatport E-Music I shared this little gem earlier in the course I wanted to make sure no one missed out and got their free tunes! For those who missed it e-music is the #1 online site for independent music, with a library of over 5 million MP3s. They are offering 25 free downloads to anyone who signs up to their 7 day free trial which can be walked away from at any time tunes in hand. I have gladly been paying $12 a month to be a member since I discovered it well over a year ago it is a quality site that should be checked out regardless so go get your tunes and thank me later! I have no idea how long the promotion will last so get over their NOW. emusic
Never stop. One usually stops as soon as something is about to happen
49
CD Pool I couldnt leave out CD pool this site is awesome they supply DJs and the music industry with the most upfront and in demand dance pop and urban tunes and most of the time weeks before their commercial release dates to keep you a step ahead. The best part I think is that you can buy the most recent tunes relevant to the genre you are after in a bundle, you seriously cant go wrong! cdpool
Vinyl Stores Online

I have added my top three sites for sourcing Vinyl keeping variety in mind. As mentioned above in the CD section your music collection is a very important if not the most important element of becoming a DJ. I strongly suggest that you spread your wings when searching for music to help give your collection depth and ensure you are not missing any gems by searching in the same places all the time!
Black market records Is an awesome record store based out of So Ho in London without a doubt industry leaders in all kinds of house and progressive tunes a must to check out if your tastes lie in the above genres I have spent countless money at black market! bm-soho Mix Unit If you are like me and dont mind some hip hop in your record bag then you have to check out Mix Unit these guys are the kings. As long as its good I love it! mixunit Vinyl warning caters for a wide variety of genres and has an extensive catalogue to pick from highly recommended vinylwarning
50
Equipment Stores
Below is a couple of equipment stores I highly recommend. I have made several purchases at both stores. They have excellent customer service as well as offer professional advice and extremely competitive prices. Whenever purchasing equipment always do your home work on the products you are buying (no one wants to buy twice) and make sure you are getting a fair price. As mentioned previously in the course Amazon and eBay are always a good place to start. Factory sound The store I have spent countless money on my DJ and production equipment. They are based in Australia but Im sure would be happy to ship all over the world if you ask. They dont display their prices on their site you need to ring but if you do I guarantee fantastic service, professional advice and very competitive prices. factorysound Hard to nd records Hard to nd records dont just specialize in rare vinyl they are a genuine worldwide mail order DJ equipment Megastore, a must to check out when purchasing equipment. htfr
If you are not networking, you are not working
Music Communities, Forums & Social Networks

As mentioned within the course one of the best ways to self promote is by joining relevant music community forums it is important you nd out where the DJs, clubbers and promoters are networking on the web in your local area and get involved. You will be surprised who you will meet! Remember the idea is not to get on and tell everyone how good you are it is to simply get involved and keep a nger on the pulse with what is happening. Beat portal is a community forum run by the guys at beat port to provide music lovers with up-to-date information about the world of electronic music. It offers access to music news, industry news, music reviews, Podcasts, videos, DJ proles, event listings, nightclubs, and much more. Check it out! beatportal Dj Forums One of the most up to date and active DJ specic communities a must to check out. djforums
51
In the mix without a doubt Australias premier and pioneering dance music community and forum. If you want to get involved and keep your nger on the pulse with all things clubbing and dance dance down under this is the place to go. inthemix Harder faster the pioneering community and forum leader of all things dance music and clubbing in the UK it is well worth checking out. harderfaster Club vibes is the ultimate clubbing and DJ community from America, Australia, Canada, England and right around the world. Forums, event listings, VIP tickets, radio and loads more. clubvibes
Social Networks
No doubt you already know about the main social networks as an up and coming DJ they are the perfect platform to build a fan base, communicate with your fans and can be a good place to upload your latest demo mixes. They are the ultimate network interfaces and can be very powerful if you get them working for you particularly as a DJ. Its a matter of working out which one or combination best suits you.
Software for DJs

Below are the three most important softwares you will require to make that perfect demo and to take your mixing to the next level. It is attention to detail I have mentioned it a load of times but remember perception is reality! Mixed in key I love this software that much I dedicated a whole section to it in the course. If you want to stand out and be looked up to by your peers you need to take it to another level and master harmonic mixing mixed in key not only make it possible but make it easy! mixedinkey
52
Sound forge 9 It is a good idea to track mark your demo (so the listener can skip through the songs and mixes). The best software I have found for track marking and user-friendly professional editing which I highly recommend is Sound Forge. If you click the link below you can get yourself a free trial to have a play around with its user friendly extremely powerful editing software. It is the editing software used by the professionals. sonycreativesoftware.com/products/soundforgefamily Nero 9 Most computers come with burning software these days but in case yours didnt or if you dont like the software you are using I highly recommend neuro 9 nero
DJ Publication
DJ Mag Last but not least it is denitely worth checking out the no. 1 DJ publication in the world. The stalwart of all DJ magazine publications a great place to keep up with what is happening in the world of DJs around the globe djmag
53
Glossary of DJ Terms
I have compiled an extensive glossary of DJ terms. I have included terms not only relevant to the DJ Master Course but of terms that will be of value to you throughout your DJ journey.
Acappella Tune with vocals only. Great to use when sampling. Amplier The amp is the equipment used to make the music loud enough to be heard through the speakers. Anti-skating When a record spins it naturally pulls the needle into the centre. The anti-skating system on a turntable corrects that by pulling the needle the other way, keeping the stylus centred in a records groove. Balance control Controls the left and right balance of your sound. Bar A section of a tune structure, almost always 4 beats long. Bass The low frequency of music. You can control these frequencies with the bass or low EQ control on your mixer. Battle A contest in which two DJs go up against each other, generally associated with hip hop. Battle record A 12 vinyl containing samples usually used for scratching. Beat matching When you adjust the speeds of two or more records and synchronize their beats. A fundamental skill to most kinds of mixing.
Beat mixing Mixing two or more tunes together, using the technique of beat matching. Belt drive A system that uses a belt to drive the platter of a turntable, as opposed to a motor. Booking agent The person who organises your gigs and negotiates your payments. Booth The area where the equipment is set up and the DJ works. Bootleg A record that has used illegal copyright material without consent. BPM How many beats per minute a tune is; how fast the tune is moving, its tempo. BPM Counter A device usually found within a mixer or CD deck which automatically calculates and displays the BPM of a tune. Breakdown A part of the tune where it is stripped right back (breaks down) and begins to build back up, generally nishing at a climax ready to throw you into the next section of a tune. Cartridge The part of a turntable that holds the stylus and converts the vibration of that stylus into electrical signals.
54
Channel An individual pathway on your DJ mixer that music is played through. Copyright Provides legal protection for the owner/creator of something original. Counterweight Also known as the counterbalance, it is the adjustable weight on the end of the tone arm. It controls the weight with which the needle touches the record on your turntable. Cross fader A control used on a DJ mixer to make the transition from one channel (tune) to another. Cueing When you listen to the next tune in your headphones and determine and hold the beat where you plan to start it from, while another tune is playing though the sound system. Cut A snap movement from one channel (tune) to another without losing the beat, also known as drop mixing. Demo A CD mix compiled as a promotional tool. Digital A sound that is saved as a computer code, in millions of ones and zeros. Direct Drive A motor system used to drive a turntable. Distortion When the volume is up too high the sound will distort. Echo When a sound is repeated.
Effects unit An external hardware used to add a range of effects such as lters and delays to your mixes. EQ Controls Allow you to adjust or separate different frequencies in a sound or tune. Fade A gradual adjustment in the volume of sound. Fader Each channel is assigned an individual fader on a DJ mixer to control its volume. Feedback The horrifying noise made when a speaker picks up its own signal. Filter The control blocking certain frequencies out and letting others in. Flanging A sound effect that adds a whooshing feel to the music. Gain Control A control on a DJ mixer used to control an individual channels volume. Genre A category or style of music. Groove The scratch in the record that contains the tune, and/or the underlying pattern of drums or bass that drives a tune. Harmony When two notes or chords sound nice together; its very important to have tunes, when they are mixed together, be playing in harmony. Headshell Connects the cartridge to the tone arm on a turntable.
55
Hook The main catchy part of a tune. Key A family of notes that sound harmonious together. Key Clash Not a very nice sound that is created when you mix two tunes together and their keys are not compatible. Kick drum the big bass drum usually hit with the help of a foot pedal; the main driving force behind dance music. Kill switch A button on a mixer used to kill or turn off individual frequencies instantly. Level How high a sound signal is. Usually displayed graphically on a DJ mixer on the level meter. Master Volume The mixers main volume control. MIDI Musical Instrument Digital Interface, a language created allowing musical machines to interact with each other. Monitors Separate speakers from the dance oor set up in or near the DJ booth to give the DJ the best sound quality to work with. Needle Alternate term for a turntable stylus. Panning When the sound moves from one side of the room to the other. Percussion A collection of drums and other usually nonmelodic sounds created by hitting something.
Phasing Created when two copies of the same tune are playing together, the result is a sound very similar to anging. Phono Used to describe the inputs on a DJ mixer for a turntable, from the old word phonograph. Phrase A section of four bars that are used as the building blocks of a tunes structure. Pitch bend Temporarily speeds or slows a tune down so that is in sync with another. Pitch control Use to make permanent adjustments to the speed of a tune. Platter The plate on top of a turntable that is turned by the motor or belt. Remix Another version of a tune made by using elements of the original tune. Residency A regular gig at a certain club, either every week or on rotation. Sample A snippet of an existing tune used as part of a new one. Sampler A digital recording device. Slipmat A felt mat that sits between the felt and the record on a turntable so you can hold the record while the platter still spins below. Snare Drum In dance music, it is usually a digital recreation of a traditional drum kit snare drum.
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Spinback When you spin a record in reverse on a turntable. Split-cue A feature on some DJ mixers that lets you hear one track in each ear of your headphones. Stylus Also known as the needle, which makes the contact with the record on a turntable. Tempo The speed of a song measured in beats per minute.
Time stretching When the tempo (speed) of a tune is changed, without altering its pitch. Tone arm The arm that the cartridge and stylus connects to which pivots on a turntable. Tracking What a stylus is doing when it is following the grooves of a vinyl.
You can't just sit there and wait for people to give you that golden dream. You've got to get out there and make it happen for yourself Please if you have time drop me an email to bennydrohan@ djmastercourse.com with your feedback and any suggestions you might have to improve the course everyones learning capabilities are very different and I hope to cater for everyone!
Go as far as you can see, and when you get there you will see further
2009 Copyright All Rights Reserved, Global Home Direct Pty Ltd
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DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

Types of leads you will need to become familiar with

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

Setting your Equipment up

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

Setting up your Turntables

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

Preparing your Tunes Calculating the BPMs

Commitment leads to action. Action brings your dream closer

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

Its Time to get Started Separating the sounds

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

Its Time to Cue a Record or CD

Persistence and perseverance knows no failure

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

Both Turntables and CD Decks

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

The Basic Concept

In the middle of difculty lays opportunity

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

Setting the volume in your headphones

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

Both Turntables and CD Decks

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

If you hit an obstacle it means you are going someplace

The cross fader

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

Success doing the right things consistently

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

Song and Beat Structure

A desire can overcome all objections and obstacles

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

All things are difcult before they are easy

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

Phrases and Verses

Matching Beats Bars and Phrases

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

End of phrase Markers or Indicators

Difculties increase the nearer we approach the goal

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

DJ MASTER COURSE THE FUNDAMENTALS MADE SIMPLE

Swapping Bass Lines