Club Mixing – The Next Level

If you have not read John Anthony’s Beatmixing 101, please read it. This article takes off from where he left off. This article is designed to demonstrate some more advanced mixing techniques used by the more advanced club jocks. Tricks such as flanging, stuttering, juggling, and basic scratching will be discussed. The article has been made in two parts the first part deals with CD and vinyl tricks and the second part deals with vinyl only tricks (scratching, backspin and so on). A scratch can be sampled but it is just not the same.
Flanging
This is an audible effect. It makes the listener hear what sounds, like a guitar flange peddle, have been used. Playing two identical musical pieces almost perfectly synced up causes this effect. Two sources travelling through a single mixer would cause what is called phase cancellation. Where as, no audio would be heard at all. No format is 100% perfect so they wander off up and down a tiny bit. So when a DJ puts the same song on in the exact spot as the one playing, it causes a wave in the sound. There is no right way to perform this trick it just takes practice to develop the timing needed to pull this of.
The Stutter
This trick is performed almost exclusively by Hip-hop DJs. There are many forms of this trick. The basics behind this trick are putting the snare or clap of one song on the following beat of another copy of the same song. Then using the cross-fader in a back and forth slam to get the vocals to stutter on a word, be it forward or backward. This trick should be used in moderation. It can be annoying to a club patron to hear this trick in every song. They do not care that you have two copies of each song.
The Chase/Echo
This trick is almost like exactly like the stutter. The chase is an effect that works well with songs that the vocals are spaced just far enough apart to fit the line in again. With two copies of a song, place the second song so that the beat mach it is one line behind the first one. Also try to keep the second one’s sound level a fair amount lower than the first. The Echo is the same set up as the stutter. But the fade is brought across and the sound level is way lower so you hear a kind of echo on the sound system. Once again I’d like to state that this trick could get annoying real fast.
Back to Back/ Juggle
This trick draws attention to the DJ and can be overdone. This is a heavily used trick in hip-hop but works really well in any vocal style genre. The basis of this trick to repeat a parse over and over a few times forming a seamless loop of the parse. In the Days when vinyl ruled the earth this trick was to show how good you were at cueing. The advent of the DJ using CD players and MD players has made it become real easy to do. The ability to set cue points and have the cross fader automatically start the CD player at that pinot made this trick common place.
This ends the CD and vinyl part of the article. The reaming tricks can’t be reproduced with out some form of sampling in CD Players. There is nothing wrong with the sampling of scratching but it losses the feeling of live scratching.
Baby Scratch
This is the basis for almost all forms of scratching. It is basically opening the fader and moving the record back and forth over a short sample. Making the sound of a scratch. The speed of the hand and the sample determine the sound you get in result.
Transformer
This scratch basically started the whole turntablist movement. Performing this scratch is essential to be a great scratch DJ.
Firstly, find the cut in point for your fader. On most mixers there is no dead point on the cross fader. On the scratch/battle mixers there may be a point where the sound cuts in.
Start with the fader turned off.
While slowly “dragging” the sample back-and-forth, cut the sound in quickly
and then quickly cut it back out
And then quickly cut it back in
Keep repeating the “cut in / cut out” motion while dragging the record. Your fader movement should look something like this; start with the fader turned off, stutter the fader over the cut-in point, finish the scratch with the fader turned off.
Alternate the speed of the “dragging” and fader movement to experiment and create new transformer patterns.
Chirp
First, find the cut in point for your fader.
Start with the fader turned on.
Play the sample forward, just as you finish playing the sample cut the fader off.
Play the sample backwards and quickly turn the fader on at the start of the sample.
Keep repeating this same process over and over:
Sample forward
Cut off at end
Sample backwards
Cut on at start
Keep on practicing until you get a nice even “chirping” sound and hand movement.
Backspin
This is a really basic trick. It’s simply grabbing the record and forcing it to spin backwards rapidly. Often times this technique is over used. The back spin is the great cop out of a mix gone array, that is to say, when a DJ messes up and can not seam to fix the mix the outgoing record gets backspinned out. If used at the proper time however it can add that little oomph a mix needs.
Stopping on a Beat
Sorry…I could not come up with a cute name for this one. This trick takes exact timing. It involves stopping a song right on the beat so it makes the classic breaking sound that record players make.
The Wind Down
This trick is used only once and a while. It’s just shutting the turntable off by the power switch and letting the song slowly grinding to a halt. Not many places or crowds will tolerate this practice repeatedly.
This ends Mixing 201. Thank you for reading it and hopefully it helps in some way as you develop your own mixing skills and techniques.

Marketing To Clubs

So you want to work in a bar or nightclub.Working in a club is not for everyone. If you are a mobile wedding DJ, there are some major differences to working a club. Let’s describe the difference’s between the two. First and foremost, a club is completely different than a wedding. A wedding is a structured event with certain things happening at certain times, all the while promoting the Bride and Groom and their requests. Working a club is a late night venture. Depending on the club, you may be playing until 1am, 2am, 4am, or 6am. Working these hours can be stressful if you have family or a job during the day, an understanding significant other is key to making this work for you. You will be coming home smelling like cigarette smoke, if you live where it is still allowed. You have to adhere to club policy while balancing the fine arts of promoting the bar sales, rotating the dance floor, beat mixing, keeping it fresh, and promoting yourself. Now, let’s break down what each of these mean.

Adhering to club policy…depending on the club, you may only be allowed to play certain music or be excluded from playing certain music. For example, the DJ has total control night, a hip-hop only night, a high energy only night, a 70′s theme, an 80′s theme, a 90′s theme, a Latin night, an all Jazz night, no rock ‘n’ roll, no hip-hop, no requests played (unless on a list of allowed songs), an all request night, or even a no Sinatra clause; these are just some examples the managements music policy may include. Other policies may include MC skills (what is said, how often it is said and/or how involved on the microphone they want you to be), alcoholic beverages (you may or may not be allowed to drink, they may even give you a credit tab to buy drinks for yourself or patrons), and hours of performance (you have to start playing at a certain time and may be required to play the last song of the evening at a certain predetermined time). These are some policies a club may have in place. The best way to know what the policies are, is to ask management.

Promoting the bar sales…entails announcing drink specials, theme nights, special party’s (i.e. holiday events) essentially getting people to buy more drinks from the bar and getting them to come back to the club other nights.

Rotating the dance floor…getting a group of people going, switching up the music (while keeping a core group on the floor), and bringing new people to the dance floor, then repeating. This lets everyone dance and work up their thirst, so they will buy more at the bar.

Beat mixing…the blending of two different songs into one another, as to not interrupt the flow of the music. This is essential when playing a nightclub (keeps the energy level up). When working a typical bar this is not always necessary, but it is a great skill to learn. It takes a lot of practice, and some are better than others.

Keeping it fresh…do not play the same sets every night you are working. Change up your sets, introduce new music, keep the clientele guessing what the next great song will be! This will keep them coming back to see/hear you, without wondering how well you will do.

Promoting yourself…let the clientele know who you are! There are several ways to do this; you could simply announce who you are on the microphone or you can have some postcard sized brochures promoting you and/or the club (check with the owners/management before doing this). If you can create a following, it is good for you and the bar/nightclub. The bar sales will increase when you are there (good for the bar). You may be able to negotiate a larger fee for yourself, if bar sales increase enough when you play.

The differences between a bar and a nightclub.

Bars (taverns) will typically have you bring all of your own equipment and music. The bar setting is usually much more casual than a nightclub. You will most likely have your setup similar to that of a wedding, where the patrons can walk up to you. You should be very approachable, friendly, out-going, and willing to play anything, within management standards. You will also probably be the only DJ there.

Nightclubs will typically have equipment, a booth, and sometimes music provided. You may be isolated in the booth, meaning that there is no way for patrons to approach you directly (you may be separated by glass, or elevated above the dance floor). Nightclubs usually have more than 1 DJ, and may have 3 or more play in one night! Be sure you know how to use the equipment provided, you may be spinning vinyl, CD’s, or utilizing a Computer Performance System (CPS), or a combination of any or all of these. There may also be someone dedicated to operating their lighting system.

How to get into a bar

Hitting the streets and making phone calls is essential. Start by looking how far you are willing to travel. You will want to find all the bars in that area. Phone and/or visit each bar. Ask if they have a DJ. If not, simply ask if they are interested; they may ask you to come in and speak with the owner. If they do have a DJ, go to the bar and check the DJ out, but find as many as you can to visit in one night. While there order your favorite non-alcoholic beverage and tip the bartender. Tipping is a great way to get in good with the bartender, especially when you are ordering a drink that cost you one dollar. You want to order a non-alcoholic drink because, you don’t want to come across as a drinker, and you want to keep your head as clear as possible (you are there to observe), plus you’ll be driving soon afterward. If you think the bar is a match for you, make mental notes about the staff, crowd, music, how many people come in, how many people leave, what was going on when they left or entered, things you could offer to benefit the bar. Once out of the bar, write your mental notes on paper. Taking paper notes in a small bar, could bring about some paranoid feelings toward you. Proceed to the next bar, and repeat the above steps.

After you have gathered information on prospective bars that may be a fit, it is time to go back to the bars (when no DJ’s are present). Again order your favorite non-alcoholic beverage and tip the bartender. Ask the bartender how they like their DJ. Some will be brutally honest. Ask the bartender if they would be interested in a change. Going to the bartender is great, because they have a lot of pull with the owner/management, they may even be the owner or manager, or they may ask you to come in at a specific time to speak with the owner/manager. If they are not looking to change their entertainment choice, thank them for their time, give a business card, let them know you are available should circumstances change, finish your drink, and leave. On to the next bar. Repeat the process above.

If you find a match, you will most likely be asked to come in on one of the regular DJ’s nights and perform (they will likely give that DJ the night off). If they like you, they will tell you. The last step is to negotiate your fee, nights, and hours. This strategy works very well and is very cost effective. Expect to spend about 10 hours, over a 3 day span, and less than $30 in gas and beverages (including tips).

How to get into a Nightclub

Getting your foot in the door can be a challenge, knowing someone already working there is the easiest way to do so. If you don’t know anyone at the club, you may have to go through a Promoter or Entertainment Director. A word of caution, the Promoter or Entertainment Director may be the Headline DJ, so don’t step on any toes! Most clubs that are only open during the evening, will have the Promoter/Entertainment Director working daytime hours. If not, your best chance to meet with them is to be at the club the moment they open. Ask for a Manager or the Entertainment Director. Find out the best time, for them, to discuss entertainment options. They will probably be busy making sure everything is ready for the nights party. Be sure to get their contact information and follow up!

In most cases a demo is required. If you have a video demo, all the better (seeing you perform will alleviate any thoughts of you using someone else’s demo). Make sure your demo is on both CD and Cassette. You would be surprised how may people ask for a demo on cassette! Have your name and all contact information printed directly on the CD or Cassette. Promoters and Entertainment Directors get lots of demo’s. You don’t want them to mistake your for someone else!

If they like what the see/hear on the demo, you may be asked to come in for an interview/assessment. Ask questions about the music format they want, how many DJ’s will be working per night, the hours needed, policies to follow, the type of equipment to be utilized, and if outside music is allowed. Take notes while asking. This shows you are serious about the needs and wants of the club. They will want you to prove your skills in a live environment (actually play a few live sets). If they still like what they hear, it may be time to negotiate fees, contracts, rules, etc. Don’t expect to jump in on a prime night. The DJ’s working the busiest nights are there because they have proved themselves and did their time on the bottom. You may also be asked to operate the lighting on a prime night, until they are comfortable enough to have you working the booth.

Basics of Beatmixing

The Premise – we get paid, not just to play music, but to create an atmosphere – an atmosphere that is conducive to people getting up on the dancefloor and getting involved. The typical crowd at a wedding reception is not likely to be the type of folks who are out at the dance clubs every weekend. People generally feel awkward when dancing. We should, therefore, try to do everything possible to create a comfortable and energetic atmosphere on the dancefloor. Smooth, seamless segues from one song to the next – without any awkward pauses, dead air, or difficult transitions – are most helpful.
Whether it is recent dance music, dance classics, oldies, Motown, rock, swing, or country, EVERY dance set can benefit from beatmixing. It is NOT just for club music with a heavy bass beat.

Definition of Terms
Before we can even get to the interesting stuff, we all have to be speaking the same language. Here are a few terms we should know as we discuss beatmixing.

Bar – Individual time divisions in a musical score, represented by vertical lines on the staff, are bars. Each bar normally contains the same number of beats and are also known as a “measure.”

Beatmixing (also referred to as: beat matching, beat synching, hot mixing, mixing) – The art/skill of bringing the beats of two different songs into phase with one another and fading across. For example, if the song the crowd is hearing (song A) is 118 beats per minute (BPM), and the next song you want to play (song B) is 122 BPM — you either slow song B down to 118 BPM using pitch control, or slightly speed up song A and cue it up to the beat. When you are ready to bring the song B into play, “throw” the CD (i.e., hit the play button on the “1 count”) so the beats stay aligned and listen to it on your headphones. Listen to the two songs play (song A through the speakers and song B in your headphones) for at least 32 counts to ensure that they are in sync.

If they are not, use the + and – “Pitch Bend” buttons to gently speed up or slow down song B in your headphones. Once you are sure things are in order, use your cross-fader or individual channel controls to let the new song blend into the old one, and eventually go completely across so only the new song is playing. This will give the illusion that the song never ended. Once you get the hang of getting beats into sync, you will quickly find many more interesting ways to fade in and out of songs.

Beats Per Minute (BPM) – The number of beats during one minute of a song. An identifier of a song’s tempo. To calculate this, take a stop-watch and count the number of beats in 60 seconds (or count for 30 seconds and double the number). See software section below for tools that you can use through your computer. Some mixers have this feature built into them as well, providing a digital read-out of the BPM of the songs on each channel.

Cold/ Fade – This refers to the type of ending of the song. A cold ending will be abrupt and sometimes dramatic. A fade ending does just that – it fades away. When it does fade, the energy decreases as well. So it is usually best not to play songs all the way through if they do fade. At the same time, songs with a cold ending require a quick and smooth transition so that there is no dead air during segues.

Cross fader (alias: x-fader, fader) – A slider control which moves from one input channel to another in a very smooth fashion. The volume on each channel is inversely proportional to each other, so if the x-fader is completely on the left side, you will only hear the input for that channel. Once you start moving it to the right, you will gradually hear the right channel becoming louder. When the x-fader is in the middle, each channel will be of equal volume. As the x-fader continues to the right, the right channel will approach full volume, and the left channel will diminish.

Cueing – Playing the music only through your headphones (without the sound coming through your speakers so that the crowd could hear) to find the spot you want to start the next song. Once you have determined the best place within the song to start (most times on the 1 count), you can hit the Play button (or throw the vinyl record) on the 1 count as you are listening through the headphones, and adjusting the speed as necessary in order to line up the beats to the song that is playing through the speakers.

Measure – A measure is a musical notation device that distinguishes a specific unit of time comprised of a fixed number of note values (whole, half, quarter, et cetera) of a particular kind, fixed by the meter and bracketed by two vertical lines across a staff of music. The two vertical bar lines are separated by the distance required by the number of notes contained in the measure. This portion of musical notation does not determine the rhythm, tempo or note values; the measure does contain the notes and various note-types. Tempo, rhythms and note values are determined by time signatures and tempo markings. Each measure of a time signature of 3/4, for example, will contain three beats, one for each quarter note. If a dotted half-note is contained between the two vertical bars, it will receive three beats and the measure will be over. The measure can also contain six eighth notes and a number of different combinations of note-type fractions depending upon the musical context. How fast the respective beats are is determined by the tempo.

Phrase – A natural division in the melodic line, similar to a sentence or part of a sentence. (Usually 4 groups of 8-counts for a total of 32 beats)

Pitch bend – The temporary changing of pitch to get beats in phase. These are the little + and – buttons next to the PITCH button on your CD players. This gives you the ability to “nudge” the speed up or down temporarily to get the song on beat. It has the same effect as placing your finger on the vinyl to gently slow it down or speed it up. Once you release the pitch bend button, the song will go back to the current pitch control settings.

Pitch control – The ability of a device to change the tempo (speed) of a song. Essential feature on your CD players if you are going to beatmix. Most pitch controls allow the song to speed up or slow down plus or minus 8 %. (Some players allow plus or minus 16 %).

Key Lock or Pitch Lock- The ability of a device to change the tempo of a song, without changing the key (e.g., on Denon 2500 and Pioneer CD decks). This lets you drastically speed up songs with vocals without a “chipmunk” effect.

Segue – Italian for “follows,” a segue is used to indicate a smooth, flowing transition from one section of a composition to another without any pause or interruption.

Tempo – The speed of a song. Usually measured in Beats Per Minute (BPM).

Throwing – Starting the song in at full volume on the 1 count (the first beat of an 8 count). The term originates from vinyl DJs who have the turntable spinning at full speed while lifting the record off the platter with their finger holding it with the needle in the groove just before the 1 count. When the DJ wants to start the record, he “throws” the record, giving a record a little push when it starts up so there is not any lag time while it gets up to speed. This effect is simpler with CD players that have “instant start” (normal CD players may take a few tenths of a second before a song starts).

Getting Started
First we need to know the beats per minute of our music. As defined above, the BPM is simply the number of beats in a song in 60 seconds. You can use a stop watch, or, if you would like to take advantage of your computer, you can use a BPM counter (see shareware URL sites in the resources section below).

It is helpful to know the intros of songs and the 8 counts.

8-counts and Phrases

So what’s an 8 count?

Example:

1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
We are fam-i-ly I’ve got all my sisters and me

1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
We are fam – i – ly Get up everybody sing!

These 4 groups of 8-counts form one 32-count phrase (4×8=32 for the mathematically challenged). It’s best to mix at the 32 count. In other words, the best place for the new song to come in at full volume will be at the first beat of a new 8-count at the completion of this 32-count phrase. Got it?

Note: in many songs, as in “We Are Family,” the first note of the song is not always the first beat of an 8 count. In this song above, the single and album versions have a drum riff that is actually number 8 beat. So if you want to begin matching the beats on the 1 count of the first 8 count of a 32-count phrase, you may want to skip over the drum riff while in cue in your headphones.

32-Count Intros

Many songs have 32-count intros (32-counts of instrumental track) which make them much easier to mix. With these songs, you can listen in cue to song B through the headphones while song A is playing through the speakers. Once you have matched up song B on the 1 count of the 32-count phrase so that it is in sync with song A playing through the speakers, you can bring the volume up and you have 32 beats to make sure that is right on track. At the end of that 32 count phrase of song A, song B is already at full volume and is ready to take over.

What if the song does not have a 32-count intro? I’ve heard this reasoning used by some DJs over the years to say that they don’t mix because not all music has 32 count intros. I’ve heard others say that you can only beatmix with “House” music or “Club” music. My answer to that is that it does not matter what type of music it is or whether or not it has a 32 count intro. Songs do NOT have to overlap for a full 32 counts to produce an effective beatmix segue. For example, when segueing 2 “oldies” songs, if song A ends cold on the 8 count and you hit song B perfectly on the 1 count so that the beat is continuous, then you have created a smooth beatmix. The same holds true for virtually any type of music, be it rock, alternative, country, etc. Beatmixing is not just for “disco” or “club” music.

Putting Sets Together

Once we know the BPM of our music, it is easier to think about what songs might go well with each other. Generally it works well to group songs together that are of a similar style. For example, if we are putting together an oldies set, it generally works well to put several songs from that same era together. That way, people who enjoy that type of music will enjoy several songs together. Mixing an oldies-song into a hip-hop song into an alternative rock song – even if done perfectly on beat — might not create the desired effect of continuity on the dancefloor. The oldies fans might exit once they hear a hip-hop song. And the hip-hop fans might depart as soon as they hear crunching guitars from an alternative rock song. Granted, in some cases, these types of transitions might be exactly what the crowd goes for. But generally it’s good to put sets together that are of a similar style.

Here are some examples of songs (and their associated BPM) that might go well together:

Oldies Set:

Runaround Sue – Dion & the Belmonts (156)

Let’s Twist Again – Chubby Checker (164)

I Saw Her Standing There – Beatles (160)

Great Balls of Fire – Jerry Lee Lewis (174)

Rockin’ Robin – Bobby Day (174)

Rock Around the Clock – Billy Haley & Comets (174)

Motown Set:

ABC – Jackson 5 (96)

Respect – Aretha Franklin (112)

Ain’t Too Proud To Beg – Temptations (124)

Sugar Pie Honey Bunch – Four Tops (127)

This Old Heart of Mine – Isley Brothers (127)

80′s Rock Set:

Love Shack – B52s (134)

Our Lips Are Sealed – Go Gos (134)

Mony Mony – Billy Idol (137)

Or

Love Shack (134)

We Got The Beat – Go Gos (156) (this mix of over 20 BPM is workable with key control in the Denon 2500 or Pioneer decks so that the tempo of the music can be adjusted dramatically without the key of the music changing. Without the key control, it would be too noticeable that the songs had been significantly adjusted and would sound awkward.)

My Sharona – The Knack (160)

Whip It – Devo (160)

That’s What I Like About You – Romantics (156)

Dancing With Myself – Billy Idol (174)

Dance Classics Set:

Macarena – Los Del Rio (106)

December 1963 (Oh What A Night) – Frankie Vallie & Four Seasons (106)

Stayin’ Alive – Bee Gees (106)

Play That Funky Music – Wild Cherry (108)

Get Down Tonight – KC & Sunshine Band (112)

That’s The Way I Like It – KC & Sunshine Band (110)

We Are Family – Sister Sledge (113)

Celebration – Kool & The Gang (120)

Boogie Nights – (120)

YMCA – Village People (127)

Born To Be Alive – Patrick Hernandez (132)

Disco Inferno – Trammps (132)

Recent Hits Set:

Electric Slide – Marcia Griffiths (108)

Getting Jiggy Wit It – Will Smith (108)

This Is How We Do It – Montel Jordan (110)

1-2-3-4 – Coolio (116)

Now That We Found Love – (118)

Copacabana – Barry Manilow (122)

Don’t Stop Til You Had Enough – Michael Jackson (127)

Dropped A Bomb On Me – Gap Band (127)

Pump Up The Jam – Technotronic (125)

Whoomp! There It Is – Tag Team (128)

Progression of BPMs

As a general rule, it is beneficial to transition from a lower BPM song to a higher BPM song. Increasing the BPMs tends to have the affect of creating more “energy” on the dancefloor. People move their bodies to the beat of the music. If the tempo of the music increases, so does the movement on the floor. As the song’s tempo increases, people will begin to move their bodies at the same rate – increasing the speed of their body movements and their heart rate. On the other hand, if we transition from a higher BPM song to a lower BPM song, people’s movements and energy level will decrease -creating the sense of lost energy on the dancefloor.

Note the progression of the dance sets above. The song sets generally move from a lower BPM to a higher BPM. With pitch control, each of these segues can be created seamlessly, all the while gradually increasing the tempo and BPM. If we were to take these same songs, switch the order of them and play them from 120 to 106 to 127 to 112 it would force the people dancing to re-adjust their body movements each time. This can be awkward and might provide just enough of a reason for people to exit the dancefloor. That’s a chance I do not want to take.

This is also equally true for slow songs and ballads. Slow dance songs can vary in BPM from the 40 BPM range to 80+ BPM (generally speaking). The principle of transitioning from a slower BPM slow dance song to a slightly higher BPM slow dance song has the same effect. It is generally perceived as more comfortable to the dancers as opposed to transitioning to a slower song, which would have the effect of dropping the energy level even more.

Taking a Left Turn

“OK, so now that I am at 160 BPM in this dance set, how long do I stay there?” Obviously, your crowd is not likely going to stay out on the dancefloor for an extended period of time if the music is at a high BPM. Folks will get plain tuckered out after just a few minutes of dancing at that tempo. So how do we transition from that? It might be a good idea to change dramatically to a slow song or ballad to give people a chance to catch their breath. Or, we might choose to transition to a completely different style of music that is at a lower BPM. For example, we end up a dance set with “What I Like About You” by the Romantics at 160 BPM. After the last “Hey” of that song, it can work well to transition to something completely different in a hip-hop song (e.g., “California Love” by Tu Pac at 93 BPM); a dance classic (e.g., “Stayin’ Alive” by the Bee Gees at 106 BPM); a Motown song (e.g., “ABC” by the Jackson 5 at 95 BPM); a ballad, etc. Might you lose some of the folks on the dancefloor? Yes. But that might be OK. After all, we are typically trying to provide a mixture and variety of music to reach a wide audience. Some of the folks might stay on the floor; others might leave. But hopefully we have done a good job of “reading” the crowd to anticipate what is likely to work.

Intro, Outro, and Breaks

So where within the song is it best to mix? As stated earlier, it is usually a better segue if the mix is on the instrumental break and NOT over vocals. Many radio versions and album versions of songs do not have full 32 count intros. This makes it a bit more tricky to have overlapping segues. One of the great tools available to professional DJs is the many remix services. There is a list below in the Resources section which highlights some of these services. These can be invaluable tools to the DJ as they generally take popular songs and remix them, providing additional 32 count intros, built-in breaks during the song (during which you can mix to another song, loop back to an earlier point in the song, lay over samples, etc.), and 32 count outros. These versions can work well when programmed into a dance sets at virtually any type of adult function – from wedding receptions to nightclubs. One type of function at which the use of remixes might not be fully appreciated is with middle school and high school audiences. The kids are usually so used to the version of the song they know, that anything other than the original creates confused looks and comments such as, “what did you do to the song?! That’s not the way that song goes!” As such, I generally don’t use the remix service versions as much for youth functions.

The other thing to be aware of when using remixes is that many times, the remix artist puts in all sorts of samples, do-hingies, bells, whistles, etc. and the resulting effect is that it is SO different than the original song that people on the dancefloor either don’t recognize the song at all and exit the floor, or think that it is too weird and exit the floor. My personal preference for remixes, particularly when playing at a wedding reception, is to use remix versions of songs that are fairly true to the original. That is, perhaps they have taken the original version of the song and have built in a 32-count intro and outro, a break or two, and have laid over the song a more danceable bass beat.

Practice, Practice, Practice
Bobby Orr, my all-time-favorite ice hockey player legend from the Boston Bruins quoted one of my favorite lines: “practice does not make perfect, practice makes better.” As we strive to increase our skills in all areas of our business, beatmixing is one of the areas in which we can constantly improve. So what is the best way to practice? One of the best ways might be to take 2 versions of the same song, adjust the pitch of one song, then try to match up the beat of the second song.

Another beneficial exercise is to practice putting some sets together. Knowing several sets of songs with similar stylings will help. Practice mixing those sets together until you gain confidence to use those mixes in a live performance. Tape the mixes (from the output on your mixing board) and listen to them, critiquing yourself. You will find that, as you continue to practice, the mixes will become that much smoother.

Advanced
Sampling: As you gain confidence with your basic mixes, you can branch out to master even more challenging skills. Sampling is one of those. Sampling is simply taking a vocal phrase, a musical riff, drum loop, etc. and laying that portion of the track over the music that is playing through the speakers.

Take a classic example: “Gonna Make You Sweat” from C&C Music Factory has one of the greatest sampling lines, “Everybody dance now!” That phrase can be sampled and laid over the music to inject a jolt of high energy to a song. So how do you extract that phrase? You could digitally sample it. Some mixers have that capability; some CD players have that capability; and there are several types of digital samplers.

There are a couple keys to this. First, the sample needs to be the same BPM as the song that is playing. That “everybody dance now!” phrase is actually 4 counts of an 8 count in a song that is 114 BPM. If we were to sample that phrase and lay it on top of another song that is much different (e.g., 125 BPM or 100 BPM), the “everybody dance now!” sample will sound awkward an out of sync. If the sampler you are using has pitch control so that you can adjust the pitch of the sample, that is a great tool to use. If not, then you may want to consider using samples that are very close in BPM to the song over which you will be laying the sample.

Another issue to consider is where, within a 32 count phrase, you will want to lay the sample. Using our example of the “everybody dance now” phrase, that actually comes in on the 5 count of an 8 count. So if you were to lay that sample over another music bed, it will sound best if you lay it over at the 5 count of the song that is playing. Play the single version of that song and count out the 8 counts yourself. You will see that it comes in at the 5 count of the 2nd measure of a 32 count phrase.

This brings up the issue of where, within a 32 count phrase, is it best to lay a sample. Generally, it is best to lay a vocal track or sample over an instrumental music bed. Laying vocals from different songs over each other can sound jumbled and distracting.

Echoing: There is a lot of creativity that can be used with 2 copies of the same song. By playing them both at the same time, at the exact same speed, and ever-so-slightly “nudge” one a bit slower momentarily, it can create an effect that closely resembles the Doppler effect — sounding like a jet going by. By placing a finger on the + or – pitch bend button and slowing down a song then speeding it up, it creates an almost 3 dimensional effect to the music.

Another version of this would be play 2 of the same songs delaying one by one measure. In other words, the song in CD cart 1 is playing and the same song in CD cart 2 is a few beats behind (depending on the vocals and instrumental beds, it might be better to create the echo at a 1 count, 4 count, an 8 count, or even one whole 32 count phrase). You can then switch the fader back and forth between the 2 songs, giving the impression that the song is echoing itself.

Key Matching: True trained musicians will tell you that songs blend together best when they are not only on beat but in the same KEY. So how does one determine the key in which a song was recorded? I have long forgotten the musical keys from my pre-adolescent guitar lessons and piano lessons. If you are like me and you do not instantly recognize the key of a song, you might want to purchase a key whistle. It is a relatively inexpensive device that you could find in most music equipment stores (places that would sell guitars, for example). When listening to a song playing at its original speed (in other words, without engaging the pitch control), blow this little whistle and listen for what it sounds like. Try blowing the various whistle keys until you hear the sound that fits well. Something that is not in the same key should be immediately noticeable and will sound brash. Once you find the key in which the song was recorded, it should sound like a perfect harmony.

Once you have determined the key, you can write that down on the CD jacket or record jacket. This becomes one other piece of information that you can use when deciding what songs blend well with each other. When you mix two songs together that are both on beat and in the same key, it will sound incredible!

Shifts in Energy and Breaks: As mentioned earlier, it is generally beneficial to build the energy on the floor by gradually increasing the BPM of the music. There are times, however, when dramatic shifts in energy can create an energizing effect. Take, for example, Rockefella Skank by Fat Boy Slim. During that song, it slams along then, at a break point, it slows down until it almost drags to a stop. Then, it builds again, faster, then faster, then faster still until it is slamming at full speed again. The crowd (obviously it has to be the “right” crowd for that song) will be captured by the music and will let their bodies move in sync – slowing down then increasing speed steadily until they scream when the music is back at full speed. It can be a fantastic effect. I have found, however, that it is best when used sporadically. Another example is the House Mix of “Fantasy” by Mariah Carey. It goes along at 125 BPM until a break where it goes back to the “Genius of Love” sample music bed at 102 BPM. Then, in dramatic form with a siren, it increases again until it is eventually back at 125 BPM. By the time it is back at full speed, the dance floor is jamming! Great effect on the crowd. I very rarely use this effect at a wedding reception because the effect will generally be lost an unappreciated by the aunts and uncles and friends of the parents of the bride, etc.

Tools and Resources

BPM Counters:

Beats Per Minute Counter Program – freeware download from:

PCs:

http://w1.171.telia.com/~u17102211/dl/bpm_counter.htm

for Mac:

http://mwn.net/infomac/app/time/mac-bpm-325.html

Songs by BPM

Current Top 30 Dance hits:

http://www.fordmgtsvc.com/music.htm

Hits of 1999:

http://www.digitaldjstuff.com/1999hits.htm

Hits of 1998:

http://www.fordmgtsvc.com/1998hits.htm

Other Resources:

Disc Jockey Music Xpress (best prices and selection for DJ remixes and other DJ materials. Tell them I sent you!) http://www.cdmx.com/ (just links to their phone number)
(800) 734-3569

Remix Warehouse (good source for remixes right here in Hotlanta)
Phone: 770 446-5102
Fax: 770 446-0747
Toll Free: 800 241-6499
E-Mail: info@remix.com

Ultimix (Looking Back Series in particular is a fantastic collection of remixes of classic dance tunes – almost all are highly usable at wedding receptions)

http://www.ultimix.com/

X-Mix (good remixes of Classics – sometimes have to be careful of the extra edits and samples thrown in – not all versions would be best used at a wedding reception)

http://www.xmix.com/pages/xmixmain.html

Hot Tracks (Hot Classics mixes are awesome)

http://www.hottracks.com/index.html

PowerHouse remix services (one of the services known for their true-to-the-original versions – this can be a prefect thing for most wedding receptions but nightclub DJs might prefer a more spiced-up version with more edits).

http://www.powerhouse-remix.com/

The Source (good source for purchase of remixes, gear, etc.; a bit more expensive that DJMX)

http://www.thesourceformusic.com/

Interesting song lists by BPM:

http://www.djrhythms.com/

Good source of DJ links:

http://restaurantresults.com/links/019c7.html

Core Music (A company that puts BPM books together for you depending on what types of music you are interested in. They also list the Top 15 Dance music songs, and their BPM, each month):

http://www.coremusic.com/

Good source for Hit Charts for a number of categories:

http://www.rronline.com/charts/

On-Air radio (pretty cool site; current, oldies, and dance played through RealAudio):

http://www.on-air.com/

Harmonic Mixing

While most DJs in the world are pre-occupied with getting the latest imported vinyl, having the latest DJ gear, and being the first to play a track, you will not find many DJs mixing by keys.Let’s face it, anything that takes time to understand, learn and practice, is probably not high on the list of a DJ’s priorities. The average DJ is to busy being a star.

For a DJ to take on a challenge such as mixing all night by keys, is to readily admit he or she may not know everything there is to know about mixing… something the average DJ’s ego just won’t admit.

Taking the step beyond BPMs to incorporate the other basics of music, is a task only a true professional DJ would take. For over 20 years there have been a handful of pioneering DJs around the world that have taken the next step into perfection and have managed to be noticed for their DJ skills. You too can become one of those DJs with a little effort, and hopefully this course will help you to achieve your next goal. Harmonic mixing!!

BRIEF DESCRIPTION OF THE MUSICAL TERMINOLOGY IN THE CLASS

MEASURE:

A distinct unit of music with an assigned number of beats. The house, techno, trance and progressive dance tracks almost always have four beats to a measure (4/4 time), though rarely tracks are done in 3/4 or 6/8 time. Most songs or tracks are usually built on 8 measure phrases with the chorus containing those 8 measures (sometimes repeating for another 8 measures: 8 + 8), while the verses are often 16 or 24 measures or more in length.

PHRASING:

A term used in overlaying records where the DJ mixes in correct musical phrasing, or set of measures. For example, an 8-measure track intro can be neatly overlaid on an 8-measure break.

TEMPO:

The tempo is the speed at which musical notes are executed, commonly expressed in the DJ world as the number of beat per minutes.

PITCH ADJUSTMENT:

When a DJ mixes in key, he or she has to work with the PA and the BPM to achieve a harmonically pure mix. You can usually mix within 1 or 2 BPMs differential and still get an excellent mix, but beyond that point a quarter note or an unpleasant dissonance set in. Keep in mind that unless you own a Pioneer mixer with PA, as soon as you pitch a track more than 1.5 + or – on your Technics 1200 MK2 the key can change.

CHROMATIC SCALE:

A scale of notes encompassing the entire range of notes within an octave in our Western 12 note system: Ab (A flat), A, Bb (B flat), B, C, Db (D flat), Eb (E flat), F, Gb (G flat), G. I use flat in referring to the individual note and keys for simplification of reference, but note that you can also refer to them with the use of sharp: Ab refers to the same note as G# (G sharp), Bb is the same as A# (A sharp), etc. These notes that can be written as either sharps or flats appear on the piano keyboard as the black notes between the white notes, and are known as accidentals.

KEY:

The key of a song identifies the family of notes that are found in its particular scale. Though the chromatic scale contains 12 different notes from Ab to G, the individual scale identified with a particular key signature contains only seven different notes. For example, the C major scale contains all 7 different white notes on the piano keyboard: C, D, E, F, G, A, B, whereas the B major scale uses all the black notes, so that five out of seven different notes in it’s scale are flat.

MODULATION:

A key change creates a lifting of all music and a chord by a measure degree to create further excitement or musical tension in a song. Modulations most commonly raise the key by a half step or a whole step. For example, the C major family of notes can be lifted a half step to Db major, or a whole step to D major. A song can also modulate from major to minor, or vice versa.

MODULATION MIX:

The DJ can create the modulation by mixing from one record to the next from one key to another key by suddenly and cleanly slamming into the next record, “slam” or “slip cue”, or with the help of a 4 or 8 measure (rhythm only) beginnin on the incoming record. For a perfect modulation mix you must remember to never allow the incoming bassline or any type of notes to play on top of the outgoing track that has any type of notes happening.

AIRBEATS:

A section of music where the strong rhythm drop ourt, or in the beginning of a track before the kick drum or heavy percussion begins, such as high hats or any type of ticks or as in the case where the vocals are the only indicators of measured rhythm. Airbeats can be used in overlaying, but be carefull to overlay accuratelyor you may have what is commonly know as a “train wreck” when the kick drum on the incoming track begins.

CHORD:

Three or more musical tones sounding in a combination simultaneously, with the lowest tone usually considered the “tonic” or root of the chord.

BASSLINE:

The lowest tones heard in a musical arrangement, usually played in house or dance music on bass guitar or a bass synthesizer.

ARPEGGIO:

Sounding the musical tones of a chord in a sequence, rather than simultaneously.

QUARTER TONE:

A musical tone that would have a pitch found in between any two half steps in the 12 tone chromatic scale. If two record in the same key are mixed with more than 1 or 2 BPM differential between them, the pitches can be thrown off into this middle ground, resulting in a strange sour sound, rather than a harmonious mix.

SYNCOPATION:

Accenting of beat or rhythms in a piece of music that are usually unaccented.

HOW TO USE THE KEYS TO MIX

There are probably no two DJs whose format and mixing systems are exactly the same. However, it is quite possible to go on all night with harmonic blend one right after the another. For those DJs who lean toward perfection at any cost, here are a few tips for working with the keys with a maximum number of options.

Try to have as many of your recurrent classics available (with the keys listed). The more records you have with you in the booth, the more options you will have for choosing a track that will work on key.

Always place your records in your crates in ascending BPM order, from slowest to the fastest tempo. Also try to keep a list on a notebook or your laptop computer of all the records available to your. As more and more DJs are using computers to store record lists, if you program your computer with all the alternatives, it will bring up the 16 different categories, I will discuss later, automatically.

Divide the list into the respective keys, working in chromatic order, separating it into two lists based on the minor and major keys. In each “key” category list the respective tracks or songs in ascending BPM order as well. With this system of organization, it’s easy to find an appropriate hansfnic blend by merely going to the appropriate category on the list.

For Example, let say that Plasmic Honey’s “Take My Soul” is playing. It’s on the key of F sharp or G flat minor and the tempo is 137 BPMs. So, all you have to do is glance down at the list on your laptop or notebook and see all the F sharp or G flat minor (tonic) tracks and those that are related harmonically to the tonic key, or B sharp, C minor, and the relative A flat major. You could possible choose to mix into Destiny’s Child’s “Say My Name” (M’s Bass 2000 mix) which is C minor and clocks at 138 BPM. Try to use the pitch adjustment theory if there is need for it. Then what you will have is very likely a hot mix.

There are still more options. For example, a modulation mix from Gb minor to G minor (a half step), or from Gb minor to Ab minor (a whole step). The best modulations are slip cue slams or an overlay, where the incoming measure of the track have no musical value (only rhythm or percussion). At the appropriate point where the incoming bassline begins, quickly mix out of the first record where the other key leaves off. The result is an uplifting of all notes and chords by one half step or a whole step. It’s an incredible lifting in energy of the dance floor and the customers around the room. Keep in mind that you can easily demodulate as well by using the same theory.

So far I have given you eight possibilities of mixing by keys, and there is still no end in sight. You can also use the “reasonably harmonious” technique by mixing records that have a relative key or what is called in music the perfect fourth and the perfect fifth of the relative major or minor keys. For instance, A major’s relative keys is Gb minor.

Remember that if there are four harmonic keys that work with Gb minor (other songs in Gb minor (tonic) , plus B minor, Db minor, and A major) there are eight half steps key alignment options. Four up and four down. Those this sound complicated? Not really, Gb minor at 126 BPM will mix in key with G minor at 130 to 132 BPM, and at that higher tempo will also mix with C minor, and D minor. It’s as if you moved the Gb minor up to a G minor equivalent at that faster beat. You can also do a half step down mix or you can effectively mix into a much lower BPM. Even if you drop the speed, the mix will sound good because the keys match.

It is admirably complicated and challenging to go through all those options each time you mix, but if you get stuck, you do have 16 different options. That’s a lot of records to mix into in a short time. That’s why I recommend putting the list on your laptop of a notebook. Any song or track that works in the basic harmonic key format, be it a modulation mix or half step alignments will flash on your screen, and that’s got to be a DJs dream come true, beside that beautiful blonde asking your for your phone number in the middle of the night. With this harmonic key system and your computer, you can be assured of one thing… a veteran genius DJ may do as well, but no one will do it any better.

I’m currently subscribed to a service that I have found very effective. In 1998 I discovered a new service called CAMELOT SOUND owned by MARK DAVIS with a service called “Easymix System” as soon as I joined his service I wrote about it on DMA raving about the service because who has the time to find out the BPMs on all records we receive, even less the key. I still receive his services today and most recently Mark suggested that we collaborate on a new service for the Latin DJs and without hesitation we proceeded to put the wheels on drive. Very soon Camelot Sound will be providing the brand new service to Latin subscribers in addition to their existing dance and hip hop services. Hundreds of DJs around the world that want to better their skills and mix to perfection are taking advantage of this service.

Camelot can be contacted by email at the following address: camelot@gte.net Their site can be found at: www.harmonic-mixing.com

Music Programming For Nightclubs

Although this article will focus on Music Programming for Nightclubs, many of the elements and ideas discussed here are applicable for mobile parties and events of many types. Whether you spin in a Nightclub with 1000+ cutting edge clubbers or at a local Pub with 100 inebriated college students, your objective is the same, to entertain the masses (by keeping the music upbeat and positive) and augment liquor sales. If you can consistently please your crowd AND put money in the owners pocket, you will be in demand and should have no problem getting (and keeping) a steady nightclub gig.For the purposes of reading and comprehending this article, I am going to assume that you have read Clubs 101 and Beatmixing 101 and have a rudimentary grasp of DJing basics. If you have not mastered the fundamentals, STOP, go back and do that before you continue as this article will only stand to further confuse you. If however, you have a good grasp of the basics, then you are ready to progress to the next step, Music Programming.

When you get to a certain level in this business, you will find that everyone can beat mix; and lots of them will be smoother in their transitions than you are. But stop and listen a little closer (and watch their dance floors). Ask yourself what are they playing? Are they just taking random tracks and blending them together or are they actually taking their crowd on a journey? Are they banging hit after hit after hit with no regard for energy level management? This is what separates the men from the boys in the DJing game. A good jock has control of his crowd (and the energy level in the room) at all times; he brings them up and down but still maintains command of the room. His sets are structured like a symphony. They have an introduction, some engaging teasers (to keep the crowd interested) and a slow but steady progression to the climax (or crescendo) of the night. It is not an aimless trip for the sake of driving. It is a calculated journey that follows a successful (and proven) formula, a formula that we will explore in this article.

In “Clubs 101″, John Anthony touched on a variety of subjects including music programming, however in this feature, we will break down the subject in greater detail. We will focus on Music Programming techniques and how you can implement them successfully in your Nightclub. Of course not all of these ideas will work for everyone (and they may not even work for you every night); But having the basic knowledge (and understanding) of how to program successfully will put you a step ahead of your competition and will make your job much more enjoyable.

Overview of Music Programming Principles

There are many factors that come together to make a complete DJ, but the single most important component is the ability to successfully program music. Basic programming begins at your first gig, when you learn how to read a crowd and make good choices about what to play next.

As you gain experience, your skills progress to knowing when to drop certain tracks (or styles of music) and how to build successful sets of music. DJ’s who reach this level have the skills to get steady gigs, keep their crowd happy (most of the time) and basically do a capable job. Beyond this however, there is a higher level of music programming, and reaching this summit, should be the ultimate goal of any Club jock.

Having said this, we have to face facts. Simply knowing where you want to be, or even comprehending what it takes to get there is only half the battle.

We are immersed in a completely “reactive” vocation. Although we wish for a great crowd every night, it doesn’t always turn out that way. If we consistently had an up-for-it crowd, climbing the walls, dying to hear the latest and the greatest tracks, our lives would be much easier and reaching that “higher” level of programming would be attainable on a nightly basis. This is the catch 22 of music programming. Big name DJs like Sasha, Digweed and DJ Dan work in clubs that are filled with the hippest, most cutting edge punters that are not only there specifically to HEAR them, but are also open minded and adventurous. So not only are these DJ’s great programmers, but they have the crowd to do it. This is not often the case with the crowds that we (the regular resident club DJs) have to entertain, but the concepts and fundamentals of successful music programming remain the same no matter where you spin. So work hard developing your skills at your local club and when you get a call from some super club, you will be ready.

Getting Started

The title of this composition is “Music Programming For Nightclubs” for a reason. While learning how to successfully program and build a set is the ultimate goal of this article, it is your MUSIC that actually plays the biggest part. Without a good selection of tracks (both old and new) to choose from, you will not be able to consistently bang out good sets over the long haul.

Every DJ that I know has a different routine when they look for new music. Many are in record pools, some subscribe to monthly services while others go to local shops or buy off the Internet. It really doesn’t matter how you get it, just that you get it and get it often. As you grow and mature as a jock, you will start to learn not only what you like, but also what your crowd will like and most importantly what will work on your dancefloor. Music selection is the single most important ingredient to successful programming, so developing a discerning ear in the record shop is VERY IMPORTANT.

Continuing on with this for a moment, please take the time to learn the power of recurrent music. With the Internet making our world smaller and smaller, it is very easy for DJs in Rome, London and Chicago to get their hands on the same new releases, at the same time. This fact makes it important to realize that understanding your music is not just buying the latest and the greatest off the wall of your local record shop, it is becoming aware of older tracks and how you can successfully incorporate them into your sets

Last point about your music is to make sure you learn your tracks inside and out.

Listen to them over and over, count the BPM, intro, outro, learn where the breaks are, what happens at what point (and if you want to get even more advanced) what harmonic key they are in. Listen to them until you know them like the back of your hand. This is extremely important, as it is not possible to become a proficient music programmer until you do your homework and are extremely comfortable with your music.

Pre-Gig Planning

You have your music ready, your mixing skills are up to par and you are ready to go, but before you walk into the club, even if you are the weekly resident, you should take some time to prepare for your performance. Stop for a moment and review the demographics of the crowd. Review the new tracks you are planning to add to the mix this week and make sure you know all of their nuances. Also spend some time with older tracks, pulling out a few “gems” to place at the back of your record box. These can be used as filler tracks (if the crowd is hell bent on new jams all night long), or as your secret weapons of the night.

Do a quick check of your headphones and make sure you always bring your own cartridges. Nothing hurts vinyl more than old, worn-out needles so do yourself (and your records) a favor and bring your own. If you play CDs make sure you have a CD Laser cleaner, a CD Cleaner/repair kit and make sure your CDs are in good shape. No matter how well you can mix or program, skipping records or CDs will certainly kill your night and make you sound like an amateur. Do your prep-work ahead of time, run through a checklist and you will be prepared for anything.

Prior to the night, there is a lot of preparation that goes into making a successful nightclub event. Ordering the liquor, hiring staff, design, decoration, etc are all extremely important. But the night of the event the most important person in the club is the DJ. I am not saying this to scare you or put undue pressure on you, it is just a fact. Carpe Diem, seize the moment, take that initial fear and turn it into positive energy.

Putting your plan into action

So, the night has finally arrived and the room is filling up with customers who are waiting to hear what you have to say (through your music). People (especially drunk people) are easily lead, but they are also easily lead astray; this is what makes a DJs job difficult. They will certainly dance to the big songs, but you cannot give them big songs all night and therein lies the dilemma. This is where you need to implement your Music Programming strategy.

To continue with an earlier analogy, you have to approach your set as one complete work, from the introduction through the apex and onward to the conclusion. Like a fine meal, you begin with an appetizer that teases the palate and previews what is to come later. You continue through course after complimentary course until you have the customer just dying to see (or hear) what is coming up next. At this point, you pull out all the stops, dazzle them with a spectacular main course and just as they are becoming content and full, you clear the table, leaving them wanting more. At the risk of making you hungry, let me conclude this metaphor and say that I assume you get the point. You want to please them, yet still give them a reason to come back next week (and the week after that), and using this strategy is the prefect first step to achieving that goal. If you look at your night (in it’s entirety) as one composition, it will allow you to see where you have gone, where you are planning to go, and prevents you from getting too far off track.

Since most people don’t dance at the beginning of the night, a lot of DJs use this time to play their newest tracks and test them out on the crowd, I think this is a mistake. If you bore your crowd too much at the beginning, they won’t be around to hear your “big finish” later on, so make sure you mix in a fair amount of recognizable songs to make the early arrivals feel comfortable and set things up for the rest of the night. There is no correct ratio for this, but I usually play 2 newer tracks for every well-known or recurrent track. Remember that this is the foundation of your night, make it upbeat and cheerful and you will put the whole room in a good mood. Make it obscure and unfamiliar and you will pay the price after midnight.

As the night goes on, you can increase the ratio of new to old, and play more hot “of the moment” tracks; but remember to keep the ebb and flow of the dancefloor constant. In my club, I try to start my first energy build at 11:00 p.m. or so, and peak (that first build) at 12 midnight. Take things down a few notches until 12:15 and then start another pre-climax build until 12:45 a.m. My final build starts around 1 a.m. and I pull out all the stops, just killing them with energy and beats until just before closing time. I customarily then take them down, someplace smooth and send them home chilled out and begging for more. Although many DJs do the exact opposite, there is nothing that will damage your club more than sending your crowd out the door all charged up. This is where fights and other problems occur, so do yourself a favor and chill them out a bit before you send them home.

In implementing this strategy successfully it is important to always remember where you are and where you are going. Selecting the next song is not enough; you have to have an idea what the next 5 tracks are going to be. And you constantly have to have a target. Not just a beginning and an end, but many Sub-destinations along the way. You want to get to this killer hot tribal track, but you are playing, deep vocal house at the moment, how are you going to get there? You pulled out this old disco track that you want to drop as the high point of this mini set, what would be a good transition tune? You want to hypnotize them with some trance before you bang them over the head with that huge techno track you just got; but how? These are the questions you have to consider and work out. This is the challenge of going beyond just playing one song after another and becoming an accomplished music programmer.

One last thing I want reiterate is this, no matter what your personal feelings are, ALWAYS REMEMBER that you are there to please the crowd, not educate them. There will be nights when you can play obscure white labels all night long and have your crowd eat it up. Conversely, there will be other nights when all they want to hear are the same 10 tired records you have been playing for 5 years now; that is (unfortunately) part of the job. I know way too many DJs that show up with a box full of new tracks and play a whole night for themselves and their other DJ friends. This is wrong! A DJs job is to entertain and although we may be sick of the Vengaboys or Fat Boy Slim, it is the clubbers that pay our salary and keep us employed, so bite the bullet and do the right thing.

This attitude will also make you a better DJ in the long run. You will have the skills and experience to help you work (successfully) with any crowd you are faced with. This is something that many DJs fail to grasp; working a crowd is an ever-evolving process. You have to modify your ideas and format to deal with changes in crowd demographics, events, venues etc. Keep your attitude in check, your mind fixed on what your ultimate goal is and you should be able to handle any curve that may be thrown your way.

Variety and Change

Lets assume that you just finished a killer set and are feeling ecstatic with every aspect of your performance from mixing to music programming. The crowd loved you and a bunch of DJs came up to shake your hand; you are on top of the world, so now what do you do?

Forget about it, and get ready for the next event!

Of course you need to understand what it was that made that night effective and try to do it all again tomorrow night, only this time, change it all up. You can’t repeat that same house classic or those same vocal drops; and that last half-hour when you killed them with those 3 trance smashes; forget it. You have to reinvent yourself from scratch in less than 24 hours; this is what it takes to become a good Nightclub DJ.

If this seems like a daunting task, there is one thing you have going for you. You are no longer just a record spinner or a human juke box, you are now a competent music programmer, with a creative mind and a vast record collection and nothing can really throw you. You understand how to work a crowd and manipulate energy on the dancefloor and instead of fearing the next night, you say, “bring it on”! It is just another opportunity for your skills to shine.

Dealing with the bumps.

There are a lot of things to deal with when you are DJing in a club. Drunk people, equipment failure, acts of god and incompetent managers and owners are constantly popping up to cause you undue stress and make your job more difficult than it already is. Add to this mixing, taking requests, remaining focused and dealing with detrimental decibel levels all night, and you can see why preparation is the only way to get by in the DJ booth. Having a plan set out ahead of time will allow you to cope with any distraction and still not loose track of where you were before being interrupted.

If it is any consolation, dealing successfully with these inevitable obstacles does become easier with experience; so hang in there and before long you will have “seen it all”.

Advancing Beyond

There are many other ideas and concepts you can incorporate into your music programming; these are things you will pick up on your own, over time.

There are various mixing techniques (like harmonic mixing, which will be discussed in a future article here at DJU) and doing your own mixes/edits using music editing programs and a CD recorder. Your creativity is only limited by your desire (or lack of desire) to learn. If you have an inquisitive mind, a thirst for knowledge and a love of dance music, you will find a million ways to continually improve your proficiency as a Nightclub DJ.

Review of Main Points

For clarity sake, lets take a moment to restate the main points of this article.

No matter what, remember that your are being paid to entertain your crowd, so every decision you make must be done keeping this fact in mind.
You need to stay on top of not just new releases, but also remember recurrent tracks and how you can incorporate them into you sets.
Don’t just aimlessly play song after song, make sure you have a beginning, middle and end to all of your sets, and keep track of where you are and where you are trying to go.
Don’t pre-plan what song you are going to play…or what order you are going to play them in. When it comes to music selection, spontaneity is the friend of a good Nightclub DJ, so be sure to change up what you play, how you play it and when you play it often. Keeping your sound fresh is VERY IMPORTANT.
Above all, don’t take yourself too seriously and HAVE FUN.

Beatmixing

The following instructions have been designed for the novice mixer. These directions are based on my own opinions and experiences over the years. Keep in mind that what you are about to read is not the only way to mix. My way is only one example and is just meant to give you the basic skills to get you started. In most cases, you will notice I am talking about vinyl and turntables. This is just a preference, even though I do spin a lot of CDs now. The techniques presented here apply 100% to CD spinning as well as vinyl.I find these steps to work well in obtaining the “perfect mix,” if such a thing exists. After grasping the basics (Which may take longer than you think so don’t get too frustrated!) of mixing, you will find that there are many other ways of doing it. Every DJ has his/her own bag of tricks and yours will develop as you get better.

KNOW YOUR MUSIC

The first thing you want to do is know your music! This is the most important rule (not opinion) in obtaining a good mix. Without knowing your songs, you can not possibly mix them with your best ability. Sometimes, the best mixes can derive from mixing songs that you don’t know all that well. However, when it comes to playing live, it is not the time to experiment. When you are practicing, get creative and definitely try mixing something that you just bought before even listening through it. If you find that it works well, learn it and use it. When it comes down to the “perfection line”, you don’t want to be guessing what will work.

Another reason to know your music selections well is so that you can mix sections of other songs in throughout the current selection. Throwing in other songs for short periods of time sounds great when done properly and they also throw off your audience as to what is really coming on next. You will know where the breaks, fills, drop-outs and edits (edits are the hardest to mix over as they sometimes allow the beat to become non synchronized) are and this will allow you to maximize the expertise of your ‘remix’. Don’t get carried away though. It may sound cool but the people who are listening won’t find it too nice when it becomes so repetitive in the song that it sounds like a sample-fest. Also, if you are just starting out, don’t even bother trying to mix in samples of other songs. I just noted that part for when you are ready to step up a bit from just mixing records together one after another. Just get the song that you want to come in next on the turntable and match up the beats before you run out of time…. for now.

LEARN YOUR MIX POINTS (BREAKS) WELL

Just in case you don’t know what a break is (No, not the music style!), let’s begin with a definition. A break is the part of the song, usually at the beginning (referred to as the “intro”), middle or end (and sometimes at all 3 points), where it is most generous in allowing you to mix songs together without a clash of tones or vocals. Some breaks do have tones through them, (in other words, a bass line or higher pitch melodies) and they should be dealt with more carefully. Vocal tracks are either absent or vaguely sampled through breaks. These “breaks” are the best spot to mix in songs that start with vocals, if you so choose. However, sometimes even a sampled vocal can make your vocals coming in from the other record sound messed up, so be careful. NEVER mix vocals on top of vocals (full vocals, not quick samples). It is easier to just mix in a song that starts with only a beat. No melodies or vocals are present so they can mix on top of practically any song. An easy way to remember what will mix without a clash is by following this little rule: Other than the beat (Percussive Instruments), if a song has a vocal, bass line, sample, tone melody or other musical aspect, then the other song you are mixing it with should be void of those components. Of course once the one song drops out those parts, the other song may have them present. Don’t think about it too hard. It all comes down to KNOWING YOUR MUSIC. Remember, this is a beginner’s documentation! There are occasions where layering those aspects can give you great sounds and mixes but stay away from it for now.

KNOW YOUR RECORDS (or CDs)

After you know your music, KNOW YOUR RECORDS. Learn the Beats Per Minute. Before you mix songs live, it is a mandatory factor to know what songs will go with other songs as far as speed is concerned. What does this mean? Try mixing a song like Puff Daddy’s: Been Around the World with Sneaker Pimps: Spin Spin Sugar. If you do it and it sounds right, call me to let me know. You might want to make sure that I am still alive though, considering it will probably be years later when you do it right! Don’t quote that though, I just pulled two songs out of a hat. Some songs with such a great difference in speed will mix, but you have to mix on every other beat or 3rd beat, or 4th beat etc…don’t get into that now. That is much, much, much more advanced. It is possible to mix them with speeds that are as different as they are, but not by the average beat mix.

Another method of mixing is to “bang” the other song in. This means that when one song gets to the end of the verse where you want it to end, you can hit stop on the turntable as you throw in the other record. The new song is then instantly started with the volume set at the maximum ideal level for sound, with no fade. One more way to mix is to turn the turntable off causing the record to gradually slow down. Throw the other record in while the one you shut off is in the process of stopping. There are other ways of accomplishing this but they require more skill.

One thing to remember is that if you are going to do something like what was just described, you must have “hand or finger control,” which comes from lots of practice. It allows you to know the exact amount of tension you need to put on the record so that when you throw it in, it comes in at the exact proper speed. Otherwise, it will either drag in and sound funny or come in to fast and sound like a bad scratch technique or a chipmunk for 1/16th of a second. Lastly, certain songs will not even sound right with this type of technique. Practice before you try it for an audience.

Once you know the B.P.Ms of your records you can easily tell what record will mix with what other records. The speeds have to be close. I try not to go outside a B.P.M. difference of +/- 5. You may think that it sounds good (And it might if you are lucky) but the speed is offset and the vocals and melodies will sound a bit too slow or too fast. Your listeners will notice if you are spinnin’ for a crowd who knows the music. I arrange my records in B.P.M. order, not by title or artist. This way, if I run into a last second mix situation (because I was distracted by a talkative friend or something), I can easily just grab a record in the same area and know it will mix. That is not the main reason of course. The main reason is to have your records of mixing potential in the same area. Mark the records with the B.P.M.s so that you can see them easily. Memorizing them is a bit hard for now. Once you have been doing it for a while, you may not even have to mark them. You just learn the speeds by hearing them. That is way down the road though. MARK YOUR RECORDS.

KNOW YOUR COUNTS (MEASURES)

When mixing the records you should know the measures. This is easy to figure out. Just listen to the song. Listen for the changes in instrumentation and vocals. Some songs do something different every 4 counts (beats). Some do it every 8, 12, 16, 32 etc. This is important because you need to match it up with the record you are going to mix in. If one record is playing at an eight count and the one you are going to mix is a 16 count then apparently the one playing is going to change twice as much as the record coming in. This can work most of the time but you have to be careful that new melodies or rhythms are not introduced that will clash with what you are mixing in. Clashing melodies can sound very dissonant and quite unpleasant to the ear. The mix should sound as natural as possible. Once again, if you KNOW YOUR MUSIC well, different measures can possibly mix correctly. PRACTICE!

TRY TO MATCH SOUNDS

Trying to pick a song to mix that has the same kick drum sound as the playing record also enhances the mix value. Different kick drums are most noticeable when playing together. By matching them, it seems as if the song that is coming in is part of what is already playing. If they are not the same sound, you will hear the fade of the old song much more clearly. That is not a good thing, but sometimes it can’t be helped. With the amount of music out there now, matching the kick drum is much more rare than it used to be. If you are staying strictly with one style of music, then it can be very easy to find alike kicks. If you can match other aspects of the songs, then more power to you. It is quite hard to match every song like that so don’t kill yourself trying to mix songs that have the exact same sound. It will sound the cleanest (as long as you are mixing on beat!) but it does not happen too often.

BRINGING IN A NEW SONG

Volume levels are another important factor. First off, fading songs in or out is the easiest way to segue from one song to another, but it is also unnatural. Beats DO NOT fade in and out of songs (other than the endings and special effects.) Why should they be in your mix? It just makes it more noticeable that you are mixing. Remember: The object is to make it sound like one constant song. If a song does not have a good drop-in or drop-out point, then by all means fade it. Even the best of us do it. It is a very common mixing technique. You should have no trouble however, “banging it in” as opposed to fading out. Most songs start with just a beat that will mix with anything in its B.P.M. range and therefore can be “banged in” (remember the definition: instantly turned on at with the volume set at the maximum ideal level for sound, with no fade). There are two ways to do this. The first is by throwing it in with the volume already up. If you are good at this then this is the best way. Don’t do it if you can’t do it in time with the record playing. If you throw it in wrong, you will have to make some quick pitch adjustments to make up for your inaccuracy and the crowd will hear the horse galloping sound of your mess up. The other way is by simply listening to the cued record in your headphone and when it is on beat, turn up the volume. Don’t just bring the cued song in anywhere you want. Make sure you wait until the end of the verse of the record playing, and then snap it on. Some people have a tendency to just turn it on once it is on beat in the headphones. WAIT UNTIL IT IS ON BEAT AND ON VERSE.

Get used to the record handling. Every one is different. Scratch back and fourth the note that you are going to start mixing with. Get a feel for it and how much pressure you need to use when throwing it in so that it is up to speed immediately. All records take very little pressure to throw in when you use the right kind of turntable. If you know the pressure level you need to use, then you can always bang records in perfectly on time.

Be careful with your volumes. Do not over power one record with the other. Sometimes you may not be able to tell by ear that one is way to loud. The easiest way to see your levels is by using your mixer meters. Every time I mix, I watch the VU meters. I bang in my records and then watch the meters, being careful to adjust the volume so that the meters read the avg. signal input, which is 0 dB. When the meters jump up a little bit higher than they were for the past few minutes, I know my approaching record is audible in the mix. Once I see the change in VU, I lower the last song’s volume (not the new song coming in) down to make up for the difference. Now, it is back at the same volume that the one record was playing at before I mixed in record two.

Due to a wonderful thing called “Phase” (no need to discuss this), the volume during a perfectly beat matched mix will fluctuate drastically if the kick drum in each song has frequencies present that interact with one another. Phase is much more technical than what I just stated but there really isn’t any need to bring it in to this discussion. When I have songs that phase, I try to off set the kick drum of each song by a couple milliseconds so that this does not occur. Instead, by offsetting them, you get a highly undetectable reverb (a delay of sorts) that keeps your levels where you want them. If they do phase, you will see it in the VU meters and most definitely hear it too! This can also be a good thing when trying to obtain special effects in your mix but for our purposes, it just makes the volume go nutty. LOWER the master volume during unwanted phase until you pass the effect. The bass can double at times and even blow a speaker if you don’t know how to control it. However, that is only if you mix at a speaker’s highest output to begin with.

THE MIX

USE THE PITCH CONTROL! After you throw the record in, make good use of the pitch controller, unless you already have matched the beats perfectly (which is not too often.) Throughout the mix the songs will fall off from each other. If you can get the 2 records to stay on beat for an average of 8-10 seconds, then you have a good pitch lock. You can get different records to lock for a whole song sometimes but a 10-sec. average is awesome. If the beats fall off under that length of time, then re-adjust. If you can match the pitches for ten second intervals, it gives you the time to take off your headphone and listen to the actual mix and maybe even switch and monitor the other record (which can be confusing). With your headphone on and monitoring the song you are mixing in, you can tell which way it is falling (fast or slow). You can then speed it up or slow it down to correct it faster than the audience can detect it. Without the headphone on, it is harder to detect the minuscule changes (my opinion). Some people may feel otherwise, but I find it easier to hear the differences when the song I am monitoring in the headphone is at a level where I can just barely hear it. The louder it is, the more it floods out what you hear with your other ear.

Do NOT use your hand along the side of the turntable platter or record to slow it down. This causes warbles in the sound unless you have a bionic hand that can apply a fixed amount of pressure. The pitch adjuster is the only thing you should use. Nowadays, I see more and more people doing this and it works sometimes, but it is still easier to adjust by the pitch. It is much more accurate than you at speed changes and is certainly smoother. Learn to use it right and it will benefit you as the most important tool of the turntable.

Another bad part about slowing a record down with your hand is the fact that if you do, it is only temporary. You may get the records to be on beat with each other but, when you remove your pressure, they immediately fall off again! If you had to slow it down to begin with because it was too fast, it is still too fast! USE THE PITCH. Again, unless you are doing some kind of effect (scratching, cueing etc..) NEVER USE YOUR HAND ON THE SIDE OF THE RECORD AS A MEANS OF PITCH ADJUSTMENT.

If you are good, then you may switch the record you are monitoring during a mix. Do this only if you have an acute sense of hearing. I say this because when you switch the monitor to the opposite record in the middle of a mix, you tend to lose your perception of what is what and/or will make pitch changes that are in reverse of what you wanted to do. If possible, stay with the record you started with (the new one coming in of course.) If I can’t tell what is happening, I first try to listen harder. When I have no other option, I will switch the cueing monitor, but only briefly. If the new song coming in is at a point that is louder than the other song, then it will be easier to switch the monitor to the lower volume record without getting confused.

MIXING OUT

Getting out of a song can sometimes be as hard as mixing into one. You have to listen for the right time to drop the first one out. Although I told you earlier in this document that you should avoid fading a song in, it is more acceptable to fade a song out. When you do decide to fade a song out, you must once again know where the song that will continue to be playing has drop-outs. If you are fading a song and it is already halfway faded out, make sure you know what is coming up in the other record. If the song mixing in decides to drop it’s beat out for a moment, you will hear the faded song at a half volume (or however far you have faded) in the background. This sounds very unnatural. To get around this problem, either quicken or lengthen your fade to match up to the drop out of the other record. In other words, if “song A” has a drop out that is about to happen in 20 seconds, make your “song B” fade complete by the 20 second point. If “song A” has a drop out point in 40 seconds, then either lengthen your fade or, fade closer to that point. Wow! That explanation even confused me!

Another way to end a record is to just hit the stop button, which will stop the record (on a good turntable) practically instantly. If you do it at the right time, it will also drag the note you stopped on for a fraction of a second. A final option is to turn the turntable off, which will cause the record to gradually slow down and stop. The only time you should practice this technique is when the song you are stopping has no beat or, the song that will continue to play has no beat for the duration of the gradual stop. Otherwise, the beats will clash and sound terrible. There are additional ways to mix out of a song and by practicing, you will find your own creative ways to do accomplish this.

OTHER TIPS

Watch out for drawn out songs, unless you are making house music sets. House music seems to be one of the few formats in which lengthy versions are acceptable. If the song is really working the crowd, then by all means let it play through. Most crowds tend to bore easily of instrumentals and vocals that play too long. Bored people dancing quickly leads to a big empty space on the dance floor.
A lot of dance mixes start out with a long intro before vocals are ever heard. This is done with the DJ in mind. It is good but don’t get trapped in mixing songs from the beginning all of the time. Some of the intros can last as long as some full-length songs. Once again it brings you back to the boring factor. To stay away from this, mix the long intro under the other song playing right up to a few verses or closer before the vocals start. Then start mixing out the first song. This way there is minimal time between the two vocal tracks. Another way is to cue the incoming record to right before the vocals. It doesn’t get any easier than that. Instrumental selections are much more acceptable to the masses these days so the above statements are partial. Use your better judgment.
DO NOT MIX VOCALS ON TOP OF VOCALS! Vocals clash no matter what key they are in. You can’t understand what they are singing/saying. Just don’t do it! It sounds horrible. You can get away with samples under vocals sometimes but I don’t recommend it.
Remember that the ultimate mix is a mix the listener did not hear. There are three things that you should hear through a mix:
The Song playing
The mix of the two (or sometimes three for advanced DJ’s) songs that sound like one
The song that was mixed (Now the song playing).
Every DJ has his or her own tricks. This is what separates them from the rest. After you learn the basics of mixing you will develop tricks of your own. Listen to others and hear what they do. Incorporate them into your style. By combining styles of others you will learn limitless techniques and know how to do practically everything. After you know all you can (which is probably impossible), what separates you from the rest is how well you can read the crowd. Can you tell what they want to hear? After all, they give you your reputation.
THINGS TO REMEMBER:

Use good slip mats. The original rubber mats are no good for mixing. They are made to grip the record for minimal slippage between the record and the mat. Get DJ mats that loosely hold the record to the platter. This will allow you to manipulate the record much (cue, spin back, stop, etc..) easier. When you stop the record, the turntable platter will keep spinning allowing you to throw the record in without having to let the platter pick up to normal speed.
Don’t scratch the hell out of records you think are going to be your most classic. After all, records start losing their sound quality after just 10 plays! Imagine how bad they become when they are back cued, scratched etc… over and over.
Don’t get into the habit of listening to a record in the headphone to get it on beat with the other one for a long time and then spin it backwards to the beginning. Pick up the needle and start it over if you went real far into it while matching beats. It saves lots of time and wear and tear on the records and needle.

Clubs for the Multi-System Company

Working at clubs can be very beneficial for the typical multi-system company that normally caters to weddings and other private events. I frequently hear a lot of “wedding” DJ’s say that clubs are a waste of time. Read on, before you jump to conclusions on the pros and cons of doing clubs. In my 17 years of experience, I have had contracts with two clubs that complimented my mobile disc-jockey service very well. In the mid 1980′s, I was fortunate enough to land a contract with a club that had just established themselves as the new “hot spot” in town. We all know how this works. A typical club will reign supreme for a few years, and then the crown is passed on to a different club. It runs in cycles. The club we were playing for had lines of people outside the doors waiting to get in. More specifically, the RIGHT kind of people who get married in hotels and upscale banquet facilities were frequenting this club. This is the time period when my company grew from two DJ systems to five in just two years. It was an incredible run for us, and we probably wouldn’t be where we are today, if it were not for the success we enjoyed during the time we played for this particular club.First, I will outline some of the pros and cons of working clubs. Then, I will provide a few suggestions on how to make them work to your advantage.

First and foremost, I believe that in order for a club to be beneficial to your company, it has to be the “right kind of club”. Why?? The single most important benefit of taking on a club is for the advertising (not the money, as most people would guess). It is extremely important that you be selective on the type of club for which you agree to provide services. The bottom line is to get advertising, and more gigs for your mobile disc jockey business. This means that you need to pick a club that has the type of people most likely to hire you for their wedding.

If you play in the wrong kind of club that attracts the wrong element of society, you are not going to benefit from the promotional aspect. This is why you need to be very careful about picking and choosing the clubs where you agree to play. My ultimate goal is to get weddings and other similar events at the more upscale banquet facilities. I am not going to get that if I play at a club that attracts a “rough crowd”. As you can tell, I am carefully dancing around this issue in order to be politically correct. I think you know exactly what I am talking about. In fact, I will go as far to say that if you associate your trade name with the wrong kind of club, it can harm your reputation and standing in the community. Common sense is the key to making the right choices here.

One common problem with multi-system companies, is balancing the need to keep enough qualified DJs on your staff to cover your bookings, without having too many people. If you keep too few staff DJs, you will find yourself in a jam when one of them leaves you without any notice. If you have too many DJs on staff, you have the problem of some of them becoming disinterested in working for your company, due to the lack of work. Having a club can help you provide those staff DJs with enough work to keep them happy.

One other benefit to having a club, is that the club typically will book you about three nights a week, or even on some of the “off” nights, such as a Thursday. Most DJs have little trouble keeping their calendar full on Saturday afternoon’s and evenings. Wednesday and Thursday nights are another story. This is where a nightclub can help boost the income of your staff and the company as well, on those weeknights when your equipment would otherwise collect dust.

Nightclubs can also be beneficial to the company by providing a training ground for your newer staff members. The typical nightclub in “Anytown, USA” is not normally like the trendy clubs that are often found in the urban cities across the country. This means that you can afford to send someone who has received a sufficient amount of training, but does not yet have the MC experience with weddings to be proficient. I am not suggesting that you send someone who is totally unprepared to do a club. I am only proposing that for staff members who have not yet had the opportunity to get wedding experience, the club and bar scene may be the ideal place for them to begin to establish a reputation.

My company has recently benefited from additional revenue from a nightclub where we currently. This club’s sound system was grossly outdated, and sounded horrible. When we took it over, we were simply showing up with a music library and CD players, plugging into their sound system. This is how they received a “wholesale” price for our services. As bad as their sound system was, my staff played the right kind of music, and started to draw the kind of people we were looking for into the club. However, the sound system was making us look bad, and the only reason we took the club was for the advertising. This was when we approached the club owners and gave them three options:

Get a new sound system.
Rent a sound system from us.
Find another DJ

Since the club knew that they faced spending a minimum of $6000 to $10,000 for a new sound system, they chose option # 2, and we installed a bi-amped sound system, with six full range speakers and two subs. We had most of the equipment anyway, and now charge them a rental fee of $100.00 per night (above the fee for our DJ service). We play three nights a week there, so the company is taking in $300 a week from the club owners, in rental fees alone. You are probably questioning the owner’s logic behind this concept. To be honest, we are too!! But the fact remains, the club owners did not want to front $6000 to $10000 for a sound system. All I can say is that it works well for us.

Once you find a club that you feel will benefit your business, it is time to negotiate the terms and conditions under which you will provide your services. A written contract is mandatory in order to prevent any misunderstandings in the future. Personally, I will not provide our services for even one night, without such a contract being signed by the club OWNERS. Managers are not qualified to sign such agreements; owners of a club are not bound by a manager’s signature on any contract. If there are partners in the club, all partners must sign the agreement.

The first thing that I would cover in the contract is an agreement that the club owner agrees not to hire any of your staff members directly. Trust me, if you agree to provide your services without such a provision, it will come back to haunt you. I speak from the voice of experience. Other items that should be covered in a club contract include:

Insurance liability coverage – Get the club manager to agree to assume any and all liability from any injuries or damages as a result of any act, error, or omission made by the disc jockey in the course of providing their services. Clubs are greater risks, as far as lawsuits go, and you can keep your insurance rates lower, by shielding your insurance company from having to pay damages for accidents that occur at the club.
The fees for each performance, payment method (cash only), and when payment for each performance is expected should also be covered.
If the club elects to advertise your disc jockey by name, they must use the company name in conjunction with the DJ’s name in the ad. Remember, you are looking for advertising and future business as the main reason for doing the club. Frequently, one particular DJ will become popular, and the club will be inclined to advertise him or her by name. This provision ensures that your company gets credit as well. We were able to get one club to post a sign with our company name on the DJ booth. This results in us getting publicity seven days a week.
Provisions for failure to appear and late starts for performance should shelter you from liability other than not receiving payment for the portion of the performance lost.
A provision to give you control of canceling your services in the event of bad weather should be included. I remember more than one time when the club manager expected us to drive in two feet of snow to play, because they had a good crowd at the club. The safety of your staff should be covered.
Standard legal provisions that the club agrees to pay attorney’s fees, court costs, and interest in the event that you have to take them to court to receive payment.
Try to get the club owners to make a commitment for a six to twelve month period, as a condition of you giving them a “wholesale price”. While this may not always be possible, it is most desirable.
Once you have a signed agreement, you need to have a joint meeting with the club managers/owners, and any of the staff DJs you plan on sending to cover the club. The music format must be worked out in advance. All parties must agree on what kind of music you are going to play, as well as the type of music that is prohibited.

In my experience, the type of music that you play determines the type of person that frequents that particular club. For this reason, it is necessary for you to set standards for your staff, and educate them on the importance of sticking with the format. After all, you have trained your staff to play a variety of music, and to take requests to please the crowd in front of them. You will have teach your staff to go against some of the concepts that you taught them for playing at a private event, where you cater to that specific crowd. This can sometimes be difficult, and requires close supervision and a lot of preaching on why you need to play a given type of format (not necessarily play the music that gets the crowd dancing that particular night).

It is equally important that you get the club managers to “buy into” your music format. Complaints are certain to come in from the people who frequent the club or bar. In order for it to work, the club manager has to back you up, in telling the person that your music format includes only certain types of music. If the club manager caves to the client, and comes up to the DJ asking them to play a song that doesn’t fit the format, you will never attract the upscale crowd that you are looking for. This is one of those “stay the course” type of concepts that requires a long-term commitment and discipline.

There are two problems that are frequently associated with a multi-system company taking on a club. First, the DJ tries to apply what works at a wedding to the club, and more likely, tries to apply what works at a club, when they do their next wedding. You should take extra care to educate your staff that the latest and greatest dance mixes that jam the floor at a club will not be as likely to work at a wedding. The effective multi-system supervisor will head this problem off before it develops by providing staff with the necessary training.

The other problem that frequently arises is that you will find clients and club staff members comparing the different DJs that you send to the club. I have found that the “regulars” get attached to a certain DJ, and when you send anyone else, they tend to criticize this person’s abilities with little or no merit. Then, the “favorite” DJ’s head begins to swell, and he thinks that he is the only one that knows how to play for that club. Once again, you need to warn all staff members that this is likely to happen, and that they should take remarks made by the club staff and regulars with a grain of salt. Emphasize the importance to your regular DJ that covers the club that he or she must refrain from bad-mouthing the other DJs. After all, if they want a night off, they have to be able to send someone else to cover the club!

The ultimate goal for a multi-system company who ventures into the club scene, is to gain favorable publicity that will result in future business for your mobile DJ company. This will only happen, if you pick the right club, and play the type of music that attracts a mid to upscale clientele. If you play your cards right, you may very well see a surge in growth of your company. That’s what happened to us, and we have been the area leaders in mobile disc jockey services ever since.

Note: This article originally appeared in the DJ Times, and has been reprinted with their permission.

Basic Clubs

Did you know that in 1997, turntables outsold guitars by a 2 to 1 ratio? Becoming a DJ is listed in the top 10 dream jobs among high school students now. Given that, it’s about time you perfect your skills to land that club DJing job before anyone else does. There are many different types of clubs, ranging the gamut from the local corner bar to the large-scale nightclubs. These are the two types that I will concentrate on here. Bar accounts, as I refer to them, are basic straightforward gigs. They generally do not pay a lot (usually $100-$150 a night). However, they do make a nice fill in for the usual mobile DJ’s unbooked mid-week. These require a well-rounded knowledge in music, and almost always require your own equipment.Crowds at these establishments can range from the after work social drinkers to local college kids hanging out. Many of the accounts I had done in past years started out with a lot of rock music early in the evening and moved on to some real mainstream dance music. There is not much more to say about bar accounts. If you work with the owners/managers to help promote drink specials and keep customers entertained, you can generally keep the account for life. As long as the bar is making money they will be satisfied. I recommend doing things to keep people involved, such as trivia and sports games with which you can do competitions (many bars have pool tables, dart boards, etc….). Most bars worked with me to give a certain number of free drinks. I even had one sports bar that would give you a free shot if you could beat the DJ in their downhill skiing video game. Keep people drinking and they will stay. This will make you a very valuable asset to the owners/managers of the bar.

Primarily, this article is aimed toward those who want to get into an actual nightclub. If you have the skills to get into clubs such as the Tunnel in NY, or Fluid in Philadelphia, then you probably don’t need this article. But if you want to learn how to get into your local hot spot, this may be of interest to you. I spin at two different clubs. One is your basic dance club with a capacity of 650 people, the other is an underground weekly club/rave with a capacity of 5500 (rated #1 in America by Urb magazine, I am leaving the names out for legal reasons). The latter is obviously the exception to the rule and anyone involved in that part of the club industry knows that it is a very tough market. Music selection and mixing skills are the requirement. Heck, I don’t even touch a microphone! Nonetheless, for most of us, the first club I described is where a lot of us would like to be.

There are a number of requirements in this type of club. This is not your typical Mobile DJ job, though MANY top club DJs started as mobiles (including Armand Van Helden, Roger Sanchez, Bad Boy Bill, Jackie Christie, Josh Wink, Danny Tenaglia, etc.). Mobile DJing is a great way to perfect your skills in music programming, mixing, microphone use, and reading a crowd. I have found that high school DJs tend to get into club work more than any other mobile DJ.

Investment in music is a weekly expense; for some it’s daily. Instead of playing just the hits that are already popular, one of the key things to being a club DJ is that you break new music. Breaking new music gives you an edge. If you have an ear for what is going to be hot, then you will be playing music before it’s big. You’ll get a name for yourself, because pretty soon people are saying “That’s not a new song on the radio, I heard that 3 weeks ago at the soandso club.” I highly recommend in addition to your regular music subscriptions, that you join a record pool. No, I am not saying you need to spin vinyl; as a matter of fact I am 90% CD. There are a lot of CD pools on the market now that supply the same music that you get on vinyl.

Programming is the biggest key in a club. Remember to whom you are playing, and your purpose for being at the club. “If women come, then you can be sure the men will follow!” This is a saying posted in my DJ booth. Generally you want to keep the women happy. If you keep the women there, then the men will stay. The more people stay, the more they drink, the more they drink the more money they spend, the more money they are spending…..well, you get the point!

In a mobile DJ situation, the event organizers are very happy to see all of the guests on the dance floor, in a club this may get you canned. I use the 50/50 rule: 50% on the floor and 50% at the bar. This is where programming comes in. You need to play in sets. I usually keep my sets about 25-35 minutes in length, anymore and people are just too tired and they go home. Marking your BPMs on your music, or carrying a list of BPMs is helpful. Start out with a BPM of about 95-105 BPM and slowly build up to 125-135 BPM. What this does is while half the people are at the bar, the other half start dancing. You slowly build up the energy and peak right at the end of the set. When you bring the BPM count back down, the people who were dancing need a rest and a drink, and the people at the bar are fired up to start dancing. This is called rotating the dance floor. If you keep a good rotation then the club is making money and so will you.

Mixing skills are obviously a choice benefit to keeping your sets flowing smoothly. There will be a second article at DJU about beat mixing in the near future. I recommend referring to this article as it will concentrate more on this subject.

Part of your job as the club’s DJ is to interact with the crowd, and announce drink specials and upcoming events. The clubs I have worked in vary. Some of them gave me the list of times and what the specials were. Others just came up and let me know in the middle of the night. I prefer the first option because you can plan where you are going to fit it into your set. I make my announcements after the peak of my sets so people start heading to the bar. Limit your announcements to one per set, anymore and people start losing interest (when you’re drunk you a have a very short attention span).

Reading a crowd also varies. In many clubs, patrons will come right up and ask for what they want. In general, once you know the crowd at a club, it’s almost always the same week after week. Some clubs don’t allow access to the DJ, so you have to feel it out first. Foot tapping and body grooving are good signs that people are getting into it. At the beginning of the night when you’re just getting things going, test various styles of music to see which one works the best. This will give you a good guideline in which to go by for the rest of the night.

Obviously there is much more to a club than is said here, and I will touch on that in future articles. However, the one question I get asked most frequently is, “How do I get into a club?” Very good question…It falls under the definition of a Catch 22. If you want to get into a club, the organizers want to know the other clubs for whom you’ve worked. But, if you haven’t been in any, I do have a few suggestions. Make a demo tape, or even more impressive, a CD (If you do not have the capabilities to make a CD contact me at abstract@prodj.com and I can help you). When making a demo try to concentrate on a style of music that suits you. I cover four different styles so my demo CD has four different mixes on it. Keep your mixes short. A club organizer is not going to listen to a 60-minute demo; 5-10 minutes should suffice. Hit the clubs with your embellished resume and demo CD and be sure to go out in person. Personality is very important. I mean come on…you want to be a club DJ have some fun with it!