WHAT IS A GOOD DJ AND WHAT IS HIS JOB?

Still, Avicii, or Martin Garrix are good deejays, If you suppose that Daft Punk. Okay, perhaps I ’m overstating it a bit, but let me explain the deejay profession to you and you can judge for yourself whether these celebrities are good deejays or just are n’t.
This composition is absolutely not written with the end of “ breaking eggs” on the tails of others, but rather with the ideal of doting the “ i’s” and eventually putting an end to these visions that selling the music assiduity and its outfit spills over into your head.

I’m writing this composition with the primary end of making you understand what the job of a MC really is and to distinguish it from that of the patron, author, and musician of music. I do this so that you can identify what really motivates you and to be suitable to draw a profile that suits you.
And I know what I ’m talking about, having started with amateur deejaying first, I got more and more interested in the plant mixing and Computer- Backed Music. I started my first products and I forced myself to do the evening deejay in the idea that in this way I could make myself given and eventually reveal my music.

THIS TYPE OF COURSE IS A MYTH THAT YOU MUST STOP BELIEVING IF AT THE Base WE DO N’T LIKE DEEJAYING!!!

  • If it’s the composition that interests you. However, stop believing that it’s the composition that will allow you to succeed, it’s fully wrong!
  • If it’s the deejaying that interests you. However, but remember that Dj and tunesmith are two completely different effects, If you’re interested in both and do both well.

FROM Slice-JOCKEY TO DEEJAY

Whether you like it or not the first part of the slice jockey (deejay, DJ) is as the name suggests,” TO ENCHAIN DISCS”. This means that the primary part isn’t to make people dance as we can frequently hear, but to string together records. Because a deejay can veritably well be paid to string together records in a fashion show or during the donation of a new model of auto and thus, isn’t paid to make people dance but to” PLAY MUSIC WITHOUT INTERRUPTION” during an event. Indeed, I grant you, we’re more habituated to seeing deejays in a discotheque, that said, that wasn’t always the case and we’ve to go back in time to understand why deejays have primarily plant their place in this type of place.
At the onset, the dancing establishments, the “ Night Clubs” as they say, called on real music groups to Amp an evening or an event. Over time, recording and sound reduplication technologies in the 1950s gave birth to the “ LP record”, generally known as” vinyl record “. This one, in the space of 10 times came of similar good quality that it was no longer necessary to call upon a group of musicians to reproduce a music. And that’s how the first music suckers relatively naturally began to collect knockouts and hundreds of vinyl records to string them together at private parties and come “

During the same period, the “ Night clubs” understood that they could also collect hundreds of music and distribute them without having to call on musicians. Accordingly, in the interests of profitability, clubs have gradationally replaced music groups, musicians, by a single hand whose function was to make the “ Slice Jockey”.
You’ll have presumably understood it, the deejays, have between citation marks, “ soaked” a part of the work of the musicians.

But effects do n’t end there. Although the Anchorpeople of the day could fluently replace a band when it came to music delivery, effects were relatively different when it came to setting the mood. A music group clearly makes music but also performs on stage. A band takes the stage, a band puts on a show and that’s where the deejays were and frequently still are. This is why to fill this void, the deejays have come secondly ANIMATORS.
Therefore, the part of the Slice-Jockey has grown to that of ANIMATOR.

And it’s thanks to this point that the profession of deejay has been suitable to find recognition among an followership. Because the deejay no longer had the simple part of playing records according to a musical program defined by an cultural director and/ or a musical programmer but had to do it well, hear and acclimatize to the responses of the public.
Therefore, the deejay, to acclimatize to the public, had in addition to having a good musical culture, to keep abreast of the rearmost news. This is why it must be attentive to the different fashions and be on the lookout for new arising artists.

In a short time, the deejay has taken such an important place in cotillion establishments and radio stations that it has come a standard in terms of gift gibing.
This is why the record companies and directors have naturally approached the DJ to offer them to play their title by means of “ arrangements” fiscal or “ in- kind” …

Still, I ’ll give you that … or you can meet him or her …”
, “ If you pass up that title.


These arrangements have gradationally converted some popular deejays into artist- producing deejays. Because having the power to distribute unknown music to an followership, it has the power to make artists known. And accordingly, the power to produce artists takes too important threat since it can directly test the “ capacity of appreciation” of a title towards an followership.

But this is another story that goes beyond the frame of conventional deejay and begins that of some directors of current music. History which will give birth in the times 2000 to the miracle of” DJ Star “

DEEJAY ’S JOB CONSISTS OF

1) Chain music.
2) Amp an followership.
3) Hear and acclimatize to the responses, tastes, and solicitations of the public.
4) Be on the lookout for new trends and arising artists.
A good MC doesn’t put his musical tastes.
A good MC must follow the tastes of the public to the detriment of his own.
A good MC is distinguished by his capability to understand and give an followership, the atmosphere, and the music that this followership wants.
Remember that in a café, it’s the public who come to the party and not the DJ, nor all the people who work in the establishment. A good MC in a café creates a gleeful atmosphere because it’s the public who asks him! It isn’t the MC who asks the followership to dance. It’s the public who asks the DJ to put on some music to dance!

This also means that an followership can ask a MC for commodity other than dancing.
The public in a “ chesterfield” establishment doesn’t ask a MC to play music to cotillion, but music to relax.
It’s the DJ who has to acclimatize, not the followership!
.
Having said that, the followership is n’t the only one in deciding what to do with a MC, because in reality, it’s the client.
The DJ provides a service to a customer and that customer can be commodity other than an followership.
In a café, the “ end client” is the public, but the direct client is the café that calls on the services of the MC.
This means that a direct client can ask the MC not to acclimatize to the end client, for illustration, to put a brand image.
This can be the case for a fashion show. The creator of the show requests the services of a deejay and thus becomes his customer (or his employer depending on the type of contract, but this is a detail that doesn’t change the sense at each). This creator asks the MC for a certain sound dressing, a certain selection of music that the creator judges to be in acceptability with his cortege. In this case, indeed if the public prefers Hipsterism Hop music, if the creator has chosen Electro music, the DJ will follow the suggestions of the creator who pays him.

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