The Painful Truth About DJs

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Contents

Before I Entered The Scene

After I Entered The Scene

Why Become A DJ?

Good VS Great

The Hype Game

Friendship and Professionalism

Putting It All Together

If You Are Considering Becoming A DJ

Knowing Your Music

Ignorant, Stubborn DJs Holding Back Technology

There Was A Time

What The Scene Needs

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Before I Entered The Scene

I've always had a love of dance music whether it be Jazz, Swing, Reggae, Ska, Hip Hop, RnB.....whatever. I mainly loved Hip Hop until the 90s when it went from dance music to gangster music. I'm also a total tech geek so it would only be natural that I love electronic dance music. Growing up in America meant I wasn't exposed to "techno". Like most people I called all EDM (Electronic Dance Music) "techno", that is why I'll use the phrase in quotes. On rare occasions when I came across "techno" I loved it. Once I watched an entire British detective show on PBS because they were investigating club deaths and I loved the music in the show. After I got my first job I started spending my money on "techno" CDs. Since I had nothing to go on, I would buy a compilation CD and whatever songs I liked I would look for other CDs with those artists. It was a strategy that seemed to work. I soon started learning all the big acts like Underworld, Leftfield, Orbital, Chemical Brothers and Daft Punk. I didn't know genres at this time. It was all just techno to me until I discovered Jungle. Jungle became my first true love after hearing Shy FX's "Original Nuttah". Unfortunately, I was the only one that enjoyed this music. I was given the attitude by some that "Nobody listens to techno".

I was eager to convert others to this music I was so passionate about. I began making "mixtapes" for my friends. The term mixtape has 2 meanings. Within the scene we think of a mixtape as a continuously beat matched mix. Outside of the scene, society views mixtapes as simply a collection of songs also referred to as compilations or in today's society playlists. I knew nothing about beatmatching. Some of my CDs were mixed but I actually didn't like them that way. I preferred to hear each song as the artist intended it, not mixed with someone else's song. Besides it messed up my mixtapes when you could hear another song being mixed out of or into. I had heard DJs beatmatch live on the Top 40 stations on weekends, but never gave it much thought. As for my CDs I bought, I figured they were just produced in a studio that way (which many of them are). I was introduced to a mixer board and shown how to fade out one song while fading in the next. I was so proud of my "professional" mixtapes even though I wasn't beatmatching. I was constantly making mixtapes to share this music with others, a trait I still have today.

Since I wasn't in the scene at this time, I knew nothing of vinyl purism or DJ worship. I thought vinyl was dead. At this point in time a DJ was simply someone that plays other people's music. I didn't see it as an art form or even a skill. I was aware that "scratching" took skill but never fully appreciated it until I tried it myself. I didn't know of any big name DJs. I just focused on the music and the artists. I didn't own mix CDs by famous DJs.

After I graduated I moved out on my own. I moved 2 hours away from my hometown to start fresh. I was eager to find the scene but didn't know where to look. I actually looked up clubs in the phonebook and then called them and asked if they played "techno". Unfortunately, I wasn't able to find a scene. It never crossed my mind that clubs and raves were different. I knew there were clubs in big cities but that was all I knew. Then my car broke down and I didn't know any of the locals. I was making minimum wage and couldn't afford to fix my car and I couldn't get a better job since I didn't have a car. I wasn't going anywhere. Unable to find a local scene, I did discover a bookstore which sold Mixmag, Urb and DJ magazines. I began to buy them religiously and then go online and try to track down the songs. I focused all my attention on the songs listed and didn't pay attention to genres or big name DJs. I was having trouble tracking many of the songs down since I was looking for them in CD stores not in specialty vinyl shops. From what songs I did find and my constant reading I was able to gain a fairly good knowledge of artists and song titles.

Eventually, I found a rave flyer in a music store in the mall. Once I made it to my first rave I was able to find other parties because of the flyers I got there. I made a friend at that first party and me and him would start clubbing together. In time a local club reopened and I would go there every weekend.

After I Entered The Scene

At first clubbing was only about the music. I went to listen and dance. I had no desire to socialize and had horrible social skills anyway. I went to clubs before they opened and didn't leave until they closed. I never understood the attitude of people that showed up late "when the party was just starting" or left early when the party was "dying". I didn't want to miss a beat. I was so excited to FINALLY be in the scene that I had this incredible energy. People would constantly ask me what I was on but I was completely sober. Not totally, I was high on the music.

In time I started talking to others. That was when I got my first disappointment. I had only been in the scene a few months and would talk to others that had been in the scene for years. They would mention all the clubs and raves they had been to. Many which no longer existed. They would mention legendary raves and the big name DJs they met over the years. I was so jealous and it depressed me that I entered the scene so late. But what shocked me was when I tried to talk music. Nobody seemed to be able to name any of the songs. I got the same excuse from everyone: "I'll probably know it if I heard it." Everyone I spoke with claimed they were in it for the music. Then why was it nobody knew anything about it? I searched for the rave scene so I could meet others passionate about the music like I was but started to feel like I was the only one again.

I would watch some ravers messed up on drugs every weekend. They wouldn't shut up about drugs. When they told me they were in it for the music I was skeptical. As for the others they seemed to be in the scene for the whole experience. They were in it for the package which consisted of the music, the dancing, the socializing, and the substances. This explains why they showed up late to parties "when they picked up" and also explains why they would turn down phenomenal parties simply because their friends weren't going. I don't doubt that either group loves the music. I doubt the music being their prime reason for coming. This is what drove me to write my first ever article in which I explain the differences between Music Lovers and Party Kids. It later drove me to follow up that article with "Loving the Music Versus Being Into It".

What really struck me as odd was that even though many of these ravers knew nothing about the music, they all seemed to want to be DJs. How can you be a freakin' DJ if you don't know your music??? Not just HOW, but WHY? Why would someone want to be a DJ if they didn't know their music? During this time I was still reading all the magazines I could get my hands on and was discovering some phenomenal tracks but just not hearing any of them in the clubs I went to. So I began to ask the DJs why they didn't play certain tracks pertaining to their genre. To my surprise many of them had no clue about the songs I was mentioning. Songs that were unmissable to anyone that made any kind of effort. I soon realized that many of these ignorant ravers did become DJs. They became ignorant DJs.

Just as every raver claims they are in it for the music, so does every DJ. But is that really their main reason? Like I said earlier about ravers, I don't doubt that they love the music. What I doubt are their motives. The same could be said for DJs. I don't doubt they love the music. What I doubt is why they took the next step and became DJs. You don't have to be a DJ just because you love the music. I know many people who are passionate about EDM but have no desire to DJ.

Why Become A DJ?

I always thought a DJ was simply someone who shared music with others. But if you are going to be professional about it, you should at least have some musical knowledge.

Imagine a local radio station was hiring a Classic Rock DJ. If you knew nothing about Classic Rock, should you apply? You could learn the music along the way, but would the fans respect you? Wouldn't they see right through you? How successful would you be?

I love other genres of music but know very little about many of them. I love Reggae but I have no knowledge of it. Since I know nothing about it, I have no desire to DJ it.

There is a sample I've heard used in various songs. The sample goes "Everybody wants to be a DJ". Paul Van Dyk's "A World Full Of DJs" is one such song. It is a sample that has become a painful truth in recent times. EVERYBODY WANTS TO BE A DJ!

It seems everyone I meet anymore is a DJ. I have to stop from rolling my eyes when I meet someone and they tell me they DJ.

It isn't just the ravers that wanted to be DJs. I've had many occasions where a friend would bring a non-raver (such as some goth or punk younger brother) to a party and at the end of the night that person asks how to go about becoming a DJ. Here is an example of someone who isn't even into the music, couldn't tell the difference between House and Drum and Bass, wanting to be a DJ. Sure enough, many of them go off and buy a mixer and a pair of tables. So why is it that so many people want to become DJs? What other reasons for DJing are there other than doing it for the music?

The first reason is because "it looks like fun". I'll agree. DJing is a lot of fun. Personally, I don't have a problem with people DJing for fun. However, if it isn't something you plan on taking seriously, I ask that you stick to being a bedroom DJ. The scene is already flooded with too many wannabe DJs. However, as fun as DJing is, I don't believe that is the main reason for people becoming DJs.

Let's go back to the Classic Rock radio station scenario. Imagine that job came with all sorts of benefits in addition to paying very well. Those benefits included a small amount of fame, getting into concerts free, meeting celebrities and even sex appeal. How many people do you think would apply for that job whether they knew anything about the music of not?

Let's examine the benefits to being a DJ. You can get paid to do something that is a lot of fun. You have a certain level of power by controlling what the audience is listening and dancing to. You have everyone's attention. You can have a small amount of fame or a lot. You can get into clubs for free. You can meet famous DJs and maybe other celebrities. You have a certain level of respect for just being called a DJ. I once read in a men's magazine that if you want to pick up chicks you should become a DJ, because they get all the ladies. So there is even a certain amount of sex appeal from being a DJ.

Do you honestly think everyone wants to be a DJ because they love the music??? The same music that many of them know very little about. They may love the music, but I doubt that is what motivates them. I believe very strongly that most DJs are motivated by the image and power and other perks. For many it is just bragging rights. They just want to be able to brag to others that they are a DJ.

But our scene isn't the only scene filled with wannabes. Every scene has their fair share. The various rock scenes are filled with people starting their own bands and the hip hop scene is filled with wannabe rappers. They strive to live what is known as the "Rockstar" lifestyle.

My belief that they are driven by image isn't just based on my experience with ignorant ravers wanting to be DJs. I also base this on the egos and ignorance that most DJs display. Many seem to focus too much on the most trivial things. For example, there is the whole Vinyl vs CD/Laptop debate. If they really cared about the music, they wouldn't care what a person uses. You may have heard the saying "Real DJs use vinyl". It is all freakin' image with many of them. To make matters worse, their ignorance rubs off on many ravers. Many of them focus more on how a person spins than what a person spins. I love turntablism but I hate turntablist egos. I hate the whole "If you can't scratch, you're not a DJ" mentality.

Ego-driven DJs are ruining the scene. If you don't know your music how can you possibly do it justice? The biggest problem is that there are too many purists that stick not just to one genre, but to one sub-genre. There are too many Trance DJs, Progressive House DJs, and Electro DJs dropping the most repetitive and boring songs. There are too many egotistical Drum and Bass DJs dropping these "sick, wicked" dark tracks, that all sound alike. There are too many Deep House snobs whose sets go nowhere. If you hate Trance it is probably because you've never heard good Trance. The same goes for all genres.

Promoters today try to make up for this lack of talent and diversity by booking multiple DJs a night and rotating DJs regularly. There was a time when people would travel for miles to hear just one DJ spin every weekend. Today's crowds cringe at the thought of having to hear just one DJ and they certainly don't want to hear the same DJ over and over.

Good VS Great

I feel it is appropriate at this time that I should let you know my standards for DJs. I have much higher standards than normal and I'll explain in detail.

It seems to me that most people judge beatmixing DJs (non-turntablists) on two main categories and then rate them either good or bad. Those categories being the quality of music and the ability to mix.

When it comes to quality of music, I'm sure we can all agree that everyone is entitled to their own opinion. However, I'm sure we can also agree that those with more experience will have much higher standards. You can always tell who the new ravers are because they have the worst taste in music. They enjoy the cheesiest DJs and the cheesiest music. For the average raver a song is considered cheesy if it is over played, generic, and/or tries too hard to be cool. A DJ that plays cheesy music would be considered a bad DJ. A DJ that plays enjoyable music that isn't cheesy would then be considered good.

As for mixing, if a DJ can beatmatch then they are a good DJ. If a DJ can't beatmatch then they are a bad DJ.

My problem is that the scene is flooded with good DJs. Bad DJs are actually quite rare. The problem, though, is that they are good but not great. They are nothing to get excited about. Even though many of them have enjoyable music and can beatmatch flawlessly their sets are still boring. They're not bad DJs but they aren't great either. Good is just a nice way of saying they are mediocre.

So what separates a mediocre good DJ from a great DJ? I've broken this down into 3 main categories. The first two being music and mixing, of course with much higher standards, and the third category being the art of programming.

I get mix CDs handed to me all the time. On average the CDs aren't bad but they aren't great either. The selection of music is enjoyable but nothing to get excited about. For many CDs I'm lucky if maybe 1 or 2 songs really interest me. Sometime there isn't a single song that excites me. If the music doesn't excite me, how many times do you think I'll listen to that CD? In stark contrast, I've gotten CDs by artists such as Groove Armada, Yousef, Tom Middleton, Krafty Kuts, DB, Marco V, John B, Paul Van Dyk, and Carl Cox where every freakin' track blows me away. It is that quality of music that makes a DJ great. There are very few DJs I hear when I go out that fit those standards.

My standards for mixing are also much higher. I don't judge a DJ simply on whether they can beatmatch. I discovered when I started DJing that just EQing is an art form in itself. The book Last Night A DJ Saved My Life goes on to describe that 2 DJs can do the same exact set and 1 DJ can sound phenomenally better just because of how they work the EQ. There is also the matter of layering tracks on top of one another. Beginner DJs will play a whole song through and then beatmatch the next one in. More advanced DJs will focus on layering multiple tracks. They'll even throw in EQ tricks such as swapping basslines. Ultimately, what I think makes for great mixing is when a DJ has their timing down. When songs melt into each other at just the right moment. When a DJ can match build ups and breakdowns together. When the theme of one song ends and immediately the theme from the next kicks in. Timing is what gives a set its energy. There is a proper balance to timing also. You don't want a repetitive song to play on for so long the audience grows bored, nor do you want to mix a song out while the audience is still enjoying it or mix it out before the good part. I also love the technique of dropping surprises. When a DJ slowly mixes in the next song without you even knowing it and then slamming it in when the main riff kicks in. When a DJ combines beatmatching, EQing, layering, timing and surprises then that makes for some great mixing. Great DJs are the ones that can give you goose bumps. When I go out I study other DJs mixing styles and it amazes me how many of them just beatmatch one song into the next with no sense of timing or layering.

DJs should never take beatmatching too seriously. You should never sacrifice a great song for a flawless mix. The music should always come first. Not all songs are DJ friendly. Some songs have little to no intro; they simple start from the main riff. Other songs fade in from silence or from a break down. There are also songs that don't keep steady beats. Sometimes it isn't the song but perhaps a warped record that is impossible to beat match. I think audiences judge DJs too much on beat matching and need to learn there are others things involved. I was at a bar and heard a girl beatmatch for a while and then killed the song and dropped Joy Division's "Love Will Tear Us Apart". I loved it. Turntablists will often mix songs for a while and then drop some kung fu or sci-fi sample before going into something totally different. I've listened to house sets where the song ends and an acappella or some other voice-over kicks in before changing moods. I like to call this style of mixing "theatrics". This is where the set is viewed as a performance.

Finally, we come to the art of programming. I feel the art of programming is the most overlooked part of DJing and as such I feel that it is what really separates a good DJ from a great DJ. A DJ set should be like a rollercoaster ride, full of ups and downs, twists and turns. There is a proper balance of crafting a set that both evolves yet stays coherent. If a set constantly evolves the audience will not grow bored with it. However, a DJ must strive not to evolve too quickly. People enjoy being locked in a groove. If you disrupt that groove you'll lose the crowd. So your set must also be coherent. A great DJ also understands both the mental and physical state of their audience. When you buy a movie soundtrack there are different songs for different moods. There are happy songs, sad songs, joyous uplifting songs, triumphant songs, dark and brooding songs, spooky songs, frantic songs, and high energy songs. A DJ that spins emotional music such as Progressive and Trance should try to take their audience on an emotional journey. I prefer to call this style of DJing "storytelling". All DJs should also pay close attention to the physical state of their crowds. If they are getting tired then chill them out. Slowly by slowly work them back up and if you see them getting tired again, repeat the process. This is why I hate DJ purists. Too many DJs stick to one genre, one mood. Their sets go nowhere. They might be able to rock the crowd for awhile, but in time the crowd grows bored. I've seen DJs spin for an hour and people are glad to hear the next DJ. In contrast, I've seen DJs spin for 6 hours and the crowds are begging for one more track. You can program a computer to beatmatch songs and then fill it with music, but you can't program it to play with soul and to read the audience. The art of programming a set is what can turn a simple mix into a performance.

Those are the 3 main categories for being a great DJ; phenomenal music, masterful mixing, and a set that has a sense of direction. Sadly, very few meet those standards. There are of course bonus categories. Turntablism is an added bonus, so is crowd interaction. I've always felt that if the DJ isn't feeling it, how can the audience? Ultimately, it rests on the music first. If the music is good enough I'm always willing to overlook the rest. However, the rest will make the music so much better.

There is great skill involved in Beat Mixing properly and I hate the egotistical turntablists that think "if you can't scratch, you can't DJ". Turntablism is extremely flashy, while Beat Mixing involves subtlety. Turntablism will always get more attention because most people don't have a clue what all is involved in Beat Mixing.

As high as my standards are, I'm extremely forgiving of mistakes. Accidents happen. We are all human, everyone makes mistakes. Nothing annoys me more than hearing a DJ perform a rough mix and hearing a raver bad-mouth them for it. Now if that DJ is wasted and they keep messing up, that's another story. I'd also like to stress that I never judge a DJ based on one set. Sometimes you have to take into account nervousness or not being acquainted with the equipment or both. I have heard DJs train wreck horribly during one set and then later hear them rip it up for another. The only exception to not judging a DJ based on one set is if they are being a total egotistical jerk and acting like they are the best DJ in the world while performing a horrible set.

Here are a few simple statements to drive home the point of Good versus Great even further:

• A good DJs wants you to hear the music. A great DJ wants you to feel it.
• A good DJ can rock the crowd but a great DJ can captivate them.
• A good DJ mixes but a great DJ performs.

The Hype Game

Unfortunately, too many mediocre good DJs trick people into thinking they are great by playing The Hype Game. They will look for anything to brag about to make you assume they are better than they actually are. This goes along with me believing most DJs are just in it for image. There are many Big Name DJs that are nothing but hype. Let's examine what all is involved in the whole hype game.

Crowd Reaction - Never judge a DJ based on crowd reaction. I've seen horrible DJs rock crowds and I've seen phenomenal DJs ignored by crowds. There are a few factors to consider when judging crowds. What connection does the crowd have with the DJ? Are they simply friends or just supporting a local favorite? You'll find crowds do play favorites regardless of talent. Friends support friends. We've all seen lousy DJs cheered on by their friends. I've never understood DJ competitions that judge DJs by audience reaction. In every case the local resident always wins, or at least whoever brought the most friends.

I was at a club one time and the worst DJ I ever heard in my life rocked the crowd. Granted the crowd was made up of drunken college kids that just wanted to get laid and could care less who was spinning or what was being spun. Sometimes the crowds are made up of newbie ravers that don't have a clue what a great DJ sounds like.

There is also the matter of time slots. Late night crowds are always rowdier than early crowds. As the alcohol or other drugs begin to take effect the crowds become wilder and wilder. Plus, many people show up later when the party picks up. I've seen too many talented DJs spinning to empty dance floors because they were stuck spinning first.

Sometimes crowds just fall for hype. Some no name DJ gets up on stage and puts their heart and soul into their set and the crowd ignores them. Then Big Name DJ gets up and the crowd goes ballistic even though they make no effort and their set sucks.

I've read countless interviews with famous DJs that have complained about crowds in certain countries and cities. It just goes to show that you can't judge a DJ based solely on crowd reaction.

Length Of Years Spinning - DJs like to brag about how many years they've spun. I've found it doesn't mean a thing. There are horrible DJs that have spun for years and there are phenomenal DJs that have just started.

The Venues They've Spun At - DJs like to brag about all the clubs and raves they've spun at over the years. So what? You'll find most of the time they only spun at these venues because they knew someone associated with them. Maybe the DJ is friends with the club owner or the promoter throwing the party. I've heard my share of horrible DJs at mega clubs and massive raves.

Distance Traveled - Promoters always love to brag about bringing in far away DJs, whether they are from other states, across the country, or from other countries. I've got news for ya. There are bad DJs in other states and other countries. I live in America and I'm pretty sure Europe has their share of bad DJs. It's not like every Euro DJ is phenomenal. From my experience, most DJs that travel from far distances are just friends with the promoter or in most cases are originally from the area. I'll see a flyer where some DJ is coming all the way from Germany to spin at a local party, only to find out they are just visiting back home to see their relatives. It confuses me why we get excited to see DJs from far away.

Big City Advantage - Let's face it, big city DJs will always get more attention than small town DJs. Are they any better? If they are it has nothing to do them with coming from a big city. Big cities will always have more successful events because they can attract more people. More people means more fame. More fame means more hype. I've known quite a few DJs that have moved to big cities just so they can be more successful. I've considered it myself.

Opened For Big Name DJ - I really don't get this one. I'm constantly seeing DJs brag about what DJs they've opened for. UNLESS THAT DJ PERSONALLY REQUESTED YOU, YOU HAVE NOTHING TO BRAG ABOUT. I've spun at parties where I had no clue who went on before me. Do you think Big Name DJ that travels all around the world, spins every night and has been doing so for years has any clue who you are? It's like I said earlier, they probably only got that slot because they were friends with the club owner or the promoter. Some DJs brag about simply being on the same flyer even though they went on much earlier or worse...weren't even in the same freakin room!!!

Popularity - Most hype is simply based on popularity. Big Name DJs are many times just very popular DJs. What really bugs me is that promoters seem to care more about popularity than talent. Let's face it; promoters want DJs that bring crowds. The problem with booking DJs based on popularity is that while they may pull a crowd, if they aren't truly talented they are also going to drive others away. This means they'll constantly pull the same crowd but it won't get any bigger. The promoter might not be after big crowds, but if the venue is losing money because the crowds aren't big enough then they may find themselves having to find another venue. I think they should focus on talent; the crowds will come in time.

Various Mixing Techniques - DJs love to brag that they can scratch, that they remix live, that they practice fast-mixing, and/or that they use more than just 2 turntables. Here is how I feel about each.

I love turntablism but ultimately I'm in it for the music. I would rather hear a DJ with great music and poor mixing, than a DJ with great mixing and poor music. Scratching can add to a set but it can also detract from it depending on how it is done. Many of my favorite DJs don't scratch. (I know there is more to turntablism than scratching….)

Just as turntablists brag "You aren't a DJ if you can't scratch", I'm wondering how long until we hear DJs brag "You aren't a DJ if you don't remix live". The problem with live remixing is that it changes what the artist originally intended you to hear. In many ways it can disrespect the artists. I'm not against live remixing; I just don't think people should look down on those that don't.

Fast-mixing can bring a certain level of energy to a mix but it also can be a complete tease on the audience. Have you ever heard a DJ mix your favorite song out too early? I've heard mixes that were so quick you could never get into any of the songs. Where is the fun in that?

When I first started mixing with 3 tables I found that the beatmatching wasn't as hard as I thought it would be. It turns out the real challenge was finding 3 tracks that go together. There are advantages to mixing with 3 tables. A third table really helps if you have 2 songs playing together and you don't want to stop one to set up the next mix. A third table is also great for acappellas. But to layer 3 or more tracks requires certain kinds of music. I found I went through and pulled out all my stripped-down, repetitive instrumental tracks for it to work. It is a nice option to have but it is VERY IMPRACTICAL.

I want you to pay special attention to what I say next on this matter. I spin various genres and I've learned something by doing so. Various genres require various styles of mixing. You won't be able to use all these techniques for all styles. Stripped down techno is easier to layer than full on vocal house. You may be able to quick-mix some booty house, but that won't work for trance or progressive where the songs take longer to develop. A DJ from one genre should never make fun of the mixing style of a DJ from another genre.

Produce Music - I hear it all the time. "If you want to get anywhere you need to produce". I've got a problem with this attitude. There is no guarantee that being able to produce music will make you a great DJ. There are phenomenal DJs that can't produce to save their life, and there are phenomenal producers that can't DJ. Why do we associate them together? I constantly see DJs bragging that they can produce. But are they any good? I've read countless articles and spoken with people who've gone to see famous producers DJ and complained how horrible they were.

So, there you have it; The Hype Game. DJs will use any one of those topics to brag about. You'll actually think they are a great DJ when in fact they are just some mediocre good DJ. The hype game no longer affects me. The more a DJ hypes themselves up, the higher standards I'll have for them. I don't care how long you've spun, I don't care where you are from, I don't care where you've spun at, I don't care if the rest of the crowd loves you, I don't care if you produced a best seller, and I don't care who you opened for. All I care about is what comes out of those speakers!!!! I've also learned that you can't trust a thing they put on flyers. Promoters are going to act like their DJs are so freakin' awesome. DON'T BELIEVE A THING YOU READ!!! I ask that everyone reading this stop falling for The Hype Game.

Friendship and Professionalism

Have you ever gotten a flyer for a party that was a great distance away and decided to go even though you didn't know any of the DJs listed on it? If you have, you've probably had your share of bad experiences. There is nothing worse than traveling a few hours to a party and listening to horribly cheesy DJs. To make matters worse, the locals all seem to love them. Of course, we all know why the locals love them. They are probably all friends. The more the crowd cheers them on, the more disgusted you get. You decide you are never going to waste your time and gas money on this venue again. My question to you is this: Are we guilty of doing the same thing with our events? Do we hype up DJs simply because they are our friends?

If you haven't noticed by now, production companies are almost always just a group of friends that work together to throw parties. Now there may not seem like there is anything wrong with this, but there is one problem. Friendship can get in the way of professionalism.

The rave scene embraces the PLUR philosophy. As such you will meet many people that are very kind and open minded. It is a scene that embraces friendship and socializing. It is very easy to make friends within this scene. When you factor in social drugs such as alcohol and ecstasy, you will find that ability to make friends is greatly increased. When I entered the scene I soon found I was making more friends than I could keep track of.

As it turns out, one of the things I loved most about the scene would ironically also be the cause of many of its problems. I find very little professionalism when it comes to production companies' standards for DJs. Production companies are just groups of friends that want to throw parties and will book their DJ friends whether or not they are any good. Every production company seems to have its share of good and bad DJs. In some cases entire production companies are made up of bad DJs. Many productions companies are actually made up of DJs with the sole purpose of hyping themselves up. You can imagine what this does to quality control.

My ex-girlfriend is a fan of American Idol and I've seen a few episodes with her. When the judges go to various cities, thousands of people try out. Many of these people are completely talentless and it is obvious they just want fame and fortune. Only a few are actually any good. The rave scene is very much the same when it comes to DJs. Thousands become DJs, many of them driven by image. The difference between American Idol and the rave scene is that the judges try and act professional, by only sending a few through. Of the thousands that try out in a city, maybe only 3 or 4 go through. In the rave scene EVERYONE goes through because we are all friends.

Now I'm not totally against friends working together to throw parties nor am I against DJs starting their own production companies. Who would be? But I'm finding that EVERY production company I come across is just a group of friends. As such there is NO quality control for DJs. As I stated earlier, I can't trust a thing I read on flyers anymore. Since I no longer trust flyers, I have a hard time motivating myself to go to parties when I don't know the DJs listed. Of course, most who read this that are involved with production companies may assume they have high standards for DJs. But those standards are for good DJs, NOT great DJs.

This may explain why many production companies struggle with attendance and/or constantly attract the same crowds. They fail to realize that their DJs really aren't all that great. They might have a few good songs and can mix, but they are nothing to get excited about. I said earlier that focusing on popularity not talent will only bring the same crowds and can drive others away. Remember, the scenario I mentioned earlier. If you travel out of your way to go to an event and the DJs are just okay, you may not waste the effort coming back. What if others feel the same away about your events?

Friends are supposed to support friends. I understand this. People that know me will tell you I'm always the first one on the dance floor cheering on the DJ. I'm always trying to give the DJ the attention they deserve. I always try to congratulate DJs on a job well done. I'm not asking ravers to turn their backs on their friends if they are spinning. What I'm asking is addressed to production companies and I'm asking that they please raise their standards. Nobody has the heart to turn a friend away if they aren't great, so I propose an anonymous panel of judges. Let the DJ know what the panel has decided so if they aren't good enough they won't take their frustration out on any one person. This way they won't know that it was you that voted against them. I'm putting this suggestion out there for those of you considering starting your own future production companies. This method of raising DJs standards however won't work on production companies comprised of all DJs hoping to hype themselves up.

Additionally, multiple production companies will take turns booking each other's DJs. It is a sort of "You scratch my back, I'll scratch yours" philosophy. Production companies aren't going to be picky with DJs from other companies if it is going to guarantee spots for their own DJs. Besides, talent really doesn't matter. Production companies need to pull a crowd if they are going to be successful. Booking other DJs will ensure they bring their own circle of friends. The DJ running the production company will always get special treatment. I've found that DJs that run production companies always get booked more that those that don't. That is because they have something to offer in return.

My local rave scene is dead. Every event I go to has its share of good DJs and bad DJs. In an effort to make their events more appealing promoters are booking as many DJs as possible. Since many of these DJs are purists, specializing in one genre, the only way to get any kind of variety is to have a variety of DJs. Audiences cringe at the thought of having to listen to one DJ all night. DJs are no longer getting the attention they deserve. I hate one hour sets. I find they are an insult to DJs. In that first hour a DJ must overcome any nervousness and try to get accustomed to the events DJ set up. As the DJ slowly overcomes their nervousness and gets a feel for their set up, their set begins to improve. Then just as they are getting "on fire", their set is over and the next DJ must start from scratch. This ruins any energy they are starting to build and is why I believe one hour sets are ruining the scene. I've heard DJs spin for over 3 hours and the energy that many attain in that third hour is incredible. I once read an interview with a DJ and he stated that the third hour is when everything comes together. I've experienced this many times myself. But now a day's DJs rarely spin past one hour. Maybe because deep down inside promoters know they aren't that great. A great DJ can take you on a mental and physical journey into the music and have you begging for more over the course of an evening. I would rather hear 1 great DJ spin all night than 20+ mediocre good DJs.

I would also like to point out that nervousness wreaks havoc on a DJs performance. Those familiar with mixing know that beatmatching takes a VERY subtle touch. That touch is gone when you've got shaky hands. When you start to mess up because you're nervous, you just get even more nervous which can make you mess up even more. I hate it when that happens. Nervousness can come from just being up on stage and/or geting used to different equipment. I'm always willing to take nervousness into account when a DJ's mix seems sloppy. This is why you'll sometimes hear DJs do their best sets at house parties where there is no pressure. Some DJs find they mix best after a few drinks. This why I really hate 1 hour sets. Just when the nervousness is subsiding and I'm getting into the groove...my set is up.

Another huge problem with 1 hour sets is that it destroys creativity and risk taking. In the book Last Night a DJ Saved My Life, they describe that when promoters started booking multiple DJs, DJs no longer where able to connect with their audiences the way they used to. In an interview with Carl Cox, he said he hated 1 hour sets because he would focus only on anthems to make a name for himself. Songs can be likened to food dishes. Nobody orders mashed potatoes as a main dish, that is a side dish. Some songs are main dishes, while others are side dishes. When a DJ only spins for 1 hour, that DJ will focus on all their main dishes to make an impression on their audiences. I've found the DJ most people remember is the DJ that "ripped it up". As such when I've only got an hour to spin I'll spin my high energy songs. My sexy, sultry deep tracks will sit at home collecting dust and begging to be spun. Trust me, 1 hour sets are hurting the scene.

I love to do unprepared live sets. I love going with the flow and letting the music guide me. However, when I have a 1 hour set I find I end up pre-planning my set. Not so much for weeklies, but for big events. As I start to think about what I want to spin, I put songs together and before I know it, my set is planned. Pre-planned sets aren't as exciting as live sets. You also won't pay attention to the crowd's physical state if the set is pre-planned. Finally, if you practice too much you can become bored with it by the time you get to spin.

So 1 hour sets have sub-par mixing because of nervousness, they stifle creativity and diversity by focusing on main tracks, and they can lead to pre-planned sets which lack the excitement of a live set. And you thought I just wanted to play longer…

I've found over the years that some of the best DJs I know never seem to get booked. When they do they constantly get stuck spinning first. In contrast, some of the worst DJs I've heard are holding down residencies at various venues. Why is this? It could be that while the talented DJs are at home researching their music and practicing their mixing, the talent-less DJs are off hyping themselves up and securing all the venues. These ego-driven DJs are bragging about how great they are and are playing the Hype Game to their advantage. The other possible reason could be that the other DJs don't want to face REAL competition. If a DJ runs a production company, the last thing they want is another DJ stealing their spotlight.

Perhaps, the biggest reason talented DJs don't get booked as much as they should is because they are "out of the loop" or no longer part of the "in crowd". I've noticed that the DJs that show up at every event, house party and after party are the ones that seem to get booked all the time everywhere. Some of these DJs aren't even that good and I'm constantly being asked by others how they manage to spin all the time. It's all who you know. Production companies are groups of friends, the more friends you make the better your chances of spinning out. As some DJs get older they can't get out as much because of work schedules, money problems, or family commitments. Even though they are incredibly talented no one seems to want to book them. When they finally are booked, they are put on first and spin to empty dance floors.

I just want to say that production companies need higher standards and they need to give their DJs the attention they freakin' deserve!!! I sincerely find 1 hour sets insulting. It's ALMOST as if the promoters don't really care about their DJs, they just want to fit as many DJs as they can to make their party more appealing. I know my friends are going to hate me for that last sentence. On behalf of some of my friends, I would like to point out that some venues require multiple DJs. The venues feel the more DJs, the bigger the crowd.

That does sound extremely cruel. Perhaps I'm being too harsh. I'm sure most promoters aren't out to screw over their DJs. Many are just too worried about having a successful event. But hopeful I've got you thinking.

Putting It All Together

Let's review everything I've said by putting it all together. Let's follow an example of a typical raver becoming a DJ and what effect that can have on the scene.

Imagine some individual gets invited to a rave by their friends. Upon arriving they see this DJ up on stage that has total control over the crowd. They watch as all eyes are focused on this one single person. They realize everyone there has a great respect for this person. They begin to wish it was them up there. They wish they were controlling the music. They wish they were moving the crowds. They wish they could brag to others that they are a DJ.

Upon leaving the venue they decide they want to become a DJ. So they go and buy a pair of turntables and a mixer board. They then go to a record store and randomly look through crates of records not really having a clue who many of the artists are. They come across a few good songs and decide to purchase them. Their method for finding music is based on luck not research, which is why their selection of music is hit or miss. They then spend weeks practicing to beatmatch. Eventually, they start spinning at house parties and their friends are very supportive.

Now one of two things happens. Either their DJ friends ask them to join their production company or they start their own and add all their DJ friends. Either way the production company is made up of a circle of friends. The only problem is none of them are really that great. They aren't bad DJs, but they aren't great either. They are just mediocre "good" DJs that aren't anything to get excited about. But that doesn't stop them from hyping themselves up as if they are God's gift to Earth.

They start to throw events and all their friends come out to support them. In addition many new ravers show up that have no clue what great DJs sound like and fall victim to the hype. More and more people show up and since the DJs aren't actually bad they believe the hype. As more people show up the DJs become friends with them ensuring they'll come back. As time goes on their events get bigger and bigger. If they throw events in a big city they will find they are more successful.

They then start booking Big Name DJs and attract even bigger crowds. The crowds assume they must be great DJs because they are spinning at these massive venues with such Big Name DJs. They are totally oblivious to the fact that they are the ones that paid for the Big Name DJs.

As their events get bigger, their venues become more luxurious and their fame begins to spread. The DJs begin hyping themselves up more. They brag about all the years they've been spinning. They brag about all the parties they've spun at not just their own. They brag about the massive venues they've spun at. They brag about the Big Name DJs they've hosted. Soon they are the some of the biggest DJs in their local scene and yet they are still just the same old mediocre good DJs. The local crowds sadly fall for the hype or simply support them since they are all friends.

But what makes this scenario so disturbing is that it isn't an isolated incident. Entire rave scenes are made of multiple productions companies. Every production company is made of friends hyping themselves up. The more successful they become the more they hype themselves.

Soon those newbie ravers become jaded ravers. They complain the music isn't what it used to be. Maybe that is because when they started they didn't know any better. Ignorance is bliss. As they become more experienced their standards will become higher. They'll soon find the new DJs don't impress them or even the old ones. The magic the rave scene once held fades away. They'll have bills, jobs and maybe a family to worry about and won't have the time or even the interest to go out anymore. Soon they'll leave the scene. As time goes on the scene dies. Production companies struggle to throw events.

This scenario may make me sound very cynical but I'm actually an optimist. So I'll admit, as promised earlier, that I was exaggerating. Or was I? Some of you reading this may feel that what I speak is the truth. While others may feel I'm insulting them. I said earlier not to take it personally. I just want to make you think.

If You Are Considering Becoming A DJ

If you are considering becoming a DJ you must first decide what kind of DJ you want to be. Do you plan on taking it seriously and perhaps try to go professional? Or is it something you simply plan on doing for fun? If you just wish to do it for fun, I beg that you stick to being a bedroom/house party DJ. There are many great DJs that aren't getting the attention they deserve because the scene is flooded with so many wannabes.

If you are planning on taking it seriously there are 2 things you need most.

The first thing you will need is passion. Without passion you will find you are just wasting time and money. I've known tons of people who have bought equipment and never got into it. Some never touched their equipment while others did become DJs only to give up on it a few years later. I should hope the passion you have is for the music not the image.

The second thing you need is a source of income. Get a freakin' job!!! There is nothing I hate more than a lazy DJ that only owns a couple of songs and bugs everyone to use their equipment. DJs hate when a new "DJ" shows up at a house party with their "five records" and bug everyone to give it a try and proceed to train wreck their "five records". Equipment costs money. Music costs money. Don't be a deadbeat DJ. It disgusts me when I meet these deadbeat DJs and they have dreams of becoming world famous DJs. Those "five records" better be really damn good.

I suggest that you buy a pair of cheap turntables, don't buy Technics 1200 or better. This way if you realize that DJing isn't for you, you won't have spent a fortune. Spinning off cheap, crappy tables will also push your skill. If you can spin on cheap tables, you'll be able to spin on anything. Once you get better, upgrade to whatever you think are the best tables out. Don't give into the "Technics are industry standard" bull. But don't let go of those old tables either. Keep using them to keep your skills sharp. Besides, if you have two pairs of tables you can experiment with 3 turntable mixing.

You'll also have to start learning your music. I'll describe this in detail later.

But if you plan on being successful you'll find that you need to focus on making lots of friends and hyping yourself up. Don't worry about talent; it doesn't matter in today's rave scene. Be sure you start a production company too. This way other production companies will kiss up to you. If they don't then you can at least book yourself.

If you haven't realized that last paragraph was SARCASM.

Knowing Your Music

I've notice that when most people buy a music CD they remove it from its case and place it in a CD book. They then toss the case off to the side, perhaps storing it in a box or closet. It's as if they don't care about track listings. Let's face it; you don't have to know a song's title to enjoy it. But for me, that drives me crazy. I can't stand hearing a wicked song and not knowing what it is called. I always have the CD case nearby for when a song interests me. I'll even constantly check the back of a CD case while I'm driving. If there is a song I want, I'll take the case to my computer and look for the song. I've already added entire CDs' track listings to my wish lists. I keep track of EVERY song that interests me. I never know when I may run across one. I have a record list on my computer I often refer to and add to. I'll admit it, I'm obsessed.

In all my past articles I've complained about ravers not knowing their music. Since I was into the music before I entered the scene I was forced to do research to find this music. I've recently come to a newer conclusion about these ravers. I did notice that while many of them couldn't name songs, they could name DJs. When I started they knew more about DJs than I did. I've realized they didn't need to know songs because they relied on DJs to do that for them. A DJ can be seen as a sort of middle man. The DJ delivers the music from the artists to the masses. I still wish people knew more about the music, but I've gained a much better respect for them.

However, if you are going to take the next step to DJ seriously you will need to start learning your music. The masses rely on the DJ. If the DJ isn't doing their job, they are letting down the masses. If they don't know their music, they will most likely have a poorer selection and can ruin people's impression of that particular genre. Some people think all Trance is cheesy because of the garbage they are constantly exposed to. Some people think Progressive is boring because of the garbage they are exposed to. If you hate a particular genre it is probably because you've never heard good music within that genre. I hold those DJs accountable.

How can one learn about the music? You can learn through word of mouth, by exposing yourself to other DJs and mixes, by sorting through music stores, by checking out online resources and by reading books and magazines. When reading magazines, try to read the entire thing. I've found that just within interviews, those being interviewed may mention songs that have influenced them. Sometimes when clubs and events are reviewed they'll list songs that rocked the night. Mixmag used to print Radio 1 Essential Selection track listings. While you read the magazine, write EVERYTHING down. Don't just stop at one magazine either. I used to try and read Mixmag, Ministry, Musik, M8, DJ, International DJ, Mixer, Revolution, Urb, Knowledge and ATM. It got very expensive. I speak in past tense because some of them are no longer in print. In addition to offering valuable information many come with free CDs. I can tell you they are some of the best CDs in my collection.

When I used to read multiple magazines, I would find the same songs popping up over and over. I would read about some for months. Imagine how I felt when I talked about these songs to DJs and many of them had no clue. This is what made me realize they weren't in it for the music. If they made ANY kind of effort they wouldn't have missed these songs. Some gave the excuse that they don't play popular songs but that was just to excuse their laziness. I'M NOT ASKING THEM TO PLAY THOSE SONGS; I'M ASKING THEM TO BE AWARE OF THEM. If you aren't aware, you weren't trying. To be fair, not all genres are represented. I have never read about Baltimore Club or Breakcore. I first heard about Dubstep through the scene and only recently seen it reviewed in Drum and Bass magazines.

Some DJs reject magazines because they want to brag that they are truly underground. Again, I'm not asking that you spin them; just be aware of them. If you really love this music, you would take whatever is available. Magazines are invaluable. I'm looking at the cover of one now and it says 500+ songs rated. Every time I read a magazine I learn about a new artist or label. Just finding one artist or label can lead you to countless songs. If you like a song by an artist, you'll want to see what else they've produced or remixed. If you like a song, you may wish to see what other songs that label offers. Every song you'll find will lead to countless others. If I'm in a record store randomly looking though music, with this wealth of knowledge I'll be able to spot artists and labels I would have otherwise ignored. So who has the advantage; the DJ who doesn't read magazines because they're "underground", or the DJ that just got done reading a thousand reviews?

When I started raving I couldn't believe how many DJs didn't know their music. My whole motivation for raving was the music. Soon I found that I had better music at home than what I was hearing out. This defeated the purpose for me going out. I became more and more disappointed with the quality of music I was hearing. I felt compelled to become a DJ myself so I could share with others the music I was finding.

The first time I spun out I completely rocked the place. People were coming up to me saying it was the best music they had heard in years. I'm constantly having people tell me I have an incredible selection of music. I'm NOT anyone special. I just do a ton of research. You wouldn't believe how many times I tell DJs to buy books and magazines and they still don't. It just makes me believe even more they aren't really into the music. They would rather spend a few moments in a store or online finding music. They seem to depend more on luck that actual research. This is why I get so many CDs with only a few good songs, if that.

Ignorant, Stubborn DJs Holding Back Technology

I grew up very religiously. Most religions offer some sort of hope for eternal life whether it be in heaven, on Earth, or through reincarnation. Mine was no different. I always thought about the future growing up. I'm not talking 20 years or 100 years into the future, but millions. I've studied history to see how the world has changed to get a better understanding of how the future could pan out. When automobiles where first invented people thought they would never catch on. They were too loud and smoky. But technology improved and mankind embraced them. People thought the television would never replace the radio as the main source of family entertainment, but we see how that turned out. Computers used to be huge machines with vacuum tubes that took up entire basements. The notion that most people would eventually have them in their homes was unthinkable. What lesson can we learn from this? I've learned never to doubt anything becoming successful and I've learned to embrace the future.

I said earlier I'm a tech geek. I'm always following the latest gadgets. I've seen how the wax cylinder was replaced by vinyl, which was replaced by eight track, which was replaced by tape cassettes, which were replace by CDs, which are now being replaced by MP3 players. I've watched VHS fall to DVD and I'm watching the Blu-Ray/HD DVD battle unfold. I've read about future technologies such as holographic discs the size of DVDs capable of holding 1 terabyte of information.

I've found that most DJs are hypocritical crybabies. When it comes to vinyl turntables there are too many "Technics Only" DJs. They're hypocrites because they'll upgrade every other equipment but their turntable. When you ask why they still hold onto a piece of equipment that is over 30 years old, they'll tell you it is "industry standard". Ummmm, okay? Why doesn't that lame excuse work for the other equipment? Answer this question. What will it take for there to be a new standard turntable…other than an upgraded Technics? Nothing, because these ignorant stubborn DJs won't accept anything else. When I bought the Numark TTX1 you would not believe how many people thought I was crazy when I said it was better than Technics. It's as if the Technics 1200 is some legendary relic handed down to mortal man by the gods themselves. Don't confuse technology with wine. Technology does not get better the older it is. To disbelieve that a brand new turntable is superior to a 30 year old one is just plain ignorant. These DJs will show off their brand new freakin' mixer, their brand new sampler, their brand new effects board, and their brand new drum machine, hooked up to their brand new computer running the newest software connected to their brand new sound system…but won't dare upgrade their turntable...because "it's industry standard". WHAT!!!??? They can say they've tried other tables and they just don't like them, but truth is they are just too stubborn to change.

There is of course, the infamous vinyl versus CD/laptop debate. Take a piece of paper and write down every advantage with vinyl and every advantage with digital formats. You will find that with each passing generation of equipment, you would be crossing things off the vinyl list and adding things to the digital list. That is assuming you aren't stubborn and are willing to admit advantages of the digital formats. Most DJs' excuses for rejecting digital formats are based on out dated equipment. You can sample records but you can't do real time looping. Since you can do real time looping, you can subdivide those loops to create build ups. You can't transmit video through vinyl or multi-channel audio beyond stereo. You can't make copies of vinyl records as easily and as cheap as digital formats. You can't fit your entire record collection into a small case, unless you're that deadbeat DJ with "five records" I mentioned earlier. As digital formats become more and more popular and as vinyl purist's excuses become more and more invalid, their excuses become lamer and lamer. I read an interview with a DJ who complained that while he enjoyed seeing DJs sift through records; he hated seeing DJs flipping through a CD book. How lame can you get?

I would like to take this time to examine some of these lame excuses:

Vinyl sounds better - The analog versus digital debate will never end. I'll admit that I've noticed vinyl can sound much better than CD but there are a few things to take into account. First, CDs use 16-bit audio which is inferior to other formats such as 24-bit audio. Vinyl may sound better than 16-bit but how does it compare to higher resolution audio? Vinyl may have phatter basslines than CDs, but there is a clarity to CDs, especially with breakdowns and acappellas, that vinyl can't match. There are sonic maximizers that can be added to sound systems to improve digital audio recreating the warmth of vinyl. Vinyl can't offer multi-channel audio. DVDs offer 5.1 sound. That .1 refers to sub bass frequencies. Can vinyl compete against a DVD's sub bass channel? I've been following the hi-def formats and I keep reading about these Uncompressed PCM soundtracks on Blu-Ray films. They say the quality is amazing and blows away the Dolby Digital and DTS soundtracks. One reviewer said his dog kept going crazy thinking the sound was real because of the sound quality. If you know anything about a dog's hearing, you'll understand how incredible the quality is. How do you think vinyl will stand against that? I'm always looking to the future. It's just a matter of time before these things drop in price. Imagine Blu-Ray turntables with true vinyl controls! I'm not sure if they do, but there is no reason the current software programs like Ableton, Serato, Final Scratch, etc... shouldn't be able to use these formats.

Finally, and most important, if the audience can't tell when a DJ is using CD or vinyl; does it really matter?

Here is something really funny about the whole sound quality issue. What do you think most DJs listen to when they aren't spinning records? Give up? They listen to FREAKIN' CDs!!! If you hate the sound quality of CDs so much, why do you have an entire library of them? Oh what's this? You've converted them to MP3? You mean you'd rather listen to your music library in a "less than CD quality" compressed format? Oh what is this your handing me? Is it your mix CD? Sorry, I hate the sound of CDs do you have any "mix vinyls" you can hand out?

I'd rather see a DJ using vinyl - I don't know about you, but I go for the music. What I care about is what comes out of those speakers. When I'm in the middle of a dance floor or off to the side or in the back where there is room to dance, I could care less about seeing the DJ. I came to hear them, NOT see them.

You have access to your entire library - And this is a bad thing because???? I'm an eclectic DJ. I spin house, breaks, trance, techno, progressive, electro, tribal...whatever. I never know where the music is going to take me. I need to be prepared for anything. It would be easy to just fill a record case with one genre, but when you are dealing with multiple genres it is extremely difficult deciding what to bring. I'd love to have my entire collection at my fingertips. This is just another extremely lame excuse.

Downloading digital music makes getting music too easy - And this is a bad thing because???? Getting music is a two step process. The first step is acquiring the knowledge of what is out there. You can learn about music various way such as by reading books and magazines, searching through stores, through word of mouth, listening to other DJs' sets and CDs. However, it must be noted that the passionate DJs will always take this a step further. While a normal DJ may check out the top 10 list in just one magazine, the passionate DJ reads every list in every magazine. The passionate DJ will also read all the other music reviews. They also read any club reviews and interviews to see if any other songs pop up. They also learn their history to see if there are any songs in the past they missed. Each song they find may then lead them to countless others. The normal DJ just learned ten new songs; the passionate DJ learned a thousand. The digital download shops may offer easy lists to download but the passionate DJs will always work harder for their music. If you are afraid it makes learning music too easy, you're just scared you may have to work harder. I'm not afraid.

The second step in getting the music is the act of physically acquiring it. If I haven't said it already, I'm in it for the music. I DID NOT START DJING BECAUSE I WANTED TO GO ON SOME TREASURE HUNT! Nothing frustrates me more than not being able to get a song I want. Knowing that a song is ALWAYS available and I can get it INSTANTLY is something only a fool would reject.

It makes DJing too easy - I want to stress I'm in it for the music, I'm not really in it for the challenge. Technology can either make you lazy or allow you to take things further depending on how you embrace it. Pessimists see the laziness while optimists see the possibilities. When it comes to vinyl turntables some feel the newer ones make DJing too easy because of their powerful torque. Why do you think the Technics 1200 has been number one for so long? Because the 1200 has been better than the rest. How so? Because they were easier to spin on!!!! Now when a table comes along that is easier it is considered too easy. If you want a challenge, buy a belt driven table and shut up!

When I first started raving everyone made fun of CD DJs. I would see ravers totally loving a set and would leave to get a closer look at the DJ. When they came back they were furious because the DJ was using CDs and refused to enjoy their set. How freakin' immature can you get? Everyone called the CD DJs cheaters. What is so ironic about this is that CD DJing has always been more difficult. Recent tables mimic the vinyl feel, but the older players were extremely difficult to use. Yet, everyone called them cheaters. Most of this was based on a false assumption that all CD tables Auto Beatmatched. While some claimed to offer that feature, none of them seemed to work all that well and I've never met a DJ that used that feature.

Some people complain that Auto Beatmatching takes all the work out of mixing. Beatmatching is the VERY FIRST step in the mixing process. Amateurs focus on beatmatching, professionals go beyond that. If Auto Beatmatching is going to allow me to focus on more important things like my EQ, my timing, or layering more than just 2 tracks and loops; then I'm all for it. If you think Auto Beatmatching ruins the art of mixing, then you don't know what all is involved in mixing.

I don't even want to waste my time or yours describing the absurdity most DJs display. Most DJs are hypocritical crybaby idiots. Do you want to know why that is? Because "real DJs use vinyl" and "real DJs use Technics". It's like I keep saying, they care more about image than what is important.

I want to stress that I respect preferences. If you prefer vinyl I'll respect that as long as you at least respect other formats. Vinyl or CD/Laptop is each DJs individual choice. If you don't respect that you aren't in it for the music. This goes double for non-DJs. Why someone that isn't even a DJ would get involved in the vinyl vs CD/laptop debate is beyond me. I think what I'm trying to say is that I hate close-minded DJs.

While I do respect preferences, I do have to say I'm skeptical of "Technics Only" DJs. Have they really given the other tables a try? Have you ever tried to get someone to try a new food and they keep fighting it. When they finally do try it they refuse to admit they liked it even if they did. Or they may force themselves to not like it. I think most DJs don't like other tables because they've already made up their mind they don't like them. They display that stubborn, immature, childish behavior.

I embrace the future. What do you think DJs will use a hundred years from now? What about a thousand or a million? So why hold onto old technology?

There Was A Time

There was a time when DJs weren't worshipped. There was a time when the idea of a DJ being famous was absurd. DJs used to be the lowest paid employees in the clubs and weren't given any respect. Back then you had to really want to be a DJ. Some of the biggest DJs of our time came from that time period.

When DJs started becoming popular they made or broke a club. Each club had its residents and people chose clubs based on the DJs. People would travel for miles to hear the same DJ every weekend. Some club owners were at the mercy of the DJ. DJs spun entire nights for 10 hours or more, yet still got paid next to nothing.

Today, DJs are worshipped like gods. Everyone wants to be able to call themselves a DJ. I almost wish it were like the old days.

When I entered the rave scene, I too looked up to DJs. It used to mean something to me back then. Today, I've lost ALL respect for DJs. I can't stand the ignorance many of them display. I can't stand their egos. I can't stand their stubbornness. Most DJs are ignorant, hypocritical, egotistical crybabies. I think we as a scene should start looking down on DJs, so only the truly passionate ones will stick with it. If someone tells you they are a DJ, just laugh at them. Okay, maybe that's going too far.

What The Scene Needs

I strongly believe the rave scene needs higher standards if it is to improve. We need professional production companies that don't rely on hype and popularity. We need production companies with some sort of quality control. We need DJs truly passionate about the music and the art of mixing. We need ravers to stop falling for the hype and to stop worshipping DJs. It would also help if people made more of an effort to know their music.

Have you ever heard the term "graded on a curve"? It is when you adjust standards to compensate for present quality. Are we judging DJs on a curve? Has the quality of music and mixing they offer gotten so low that we have adjusted our standards to compensate? I respect people's opinions, but that doesn't mean I trust their judgment. If a raver has limited experience with DJs or the music, can you trust their judgment? Can you trust a raver's judgment if they are friends with all the DJs?

I warned you I was going to focus on the negative. There is, of course, a positive side. I know many people who love this music and this scene. I know many DJs and promoters that love the music and the scene. What I've mentioned are problems that need to be examined. I'm sure you'll find yourself guilty of at least one thing I've listed. This article was simply made to make you think. I hope I accomplished that.

I've got friends that are great DJs and I've got friends that are good DJs. (I don't really hang out with bad DJs...ha ha!) I want to support by friends, but I don't want to be part of the problem. I'm hoping that by listing my standards for mixing there will be those that will examine their mixing and will raise their standards as well. I want the scene to be as healthy as it was when I started.

I'm also aware that this is simply my opinion and many of you may not agree with it. I respect that. If you agree with some of the things on here, please share this with others.

Josiah Cochran
8/12/2007