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So then, you ask, now what?

I’m glad you asked that. Stick around, for in the coming months this blog will be the place for you to visit to learn the ropes and gradually go from a guy who opened a Christmas present in 2022 to a guy being paid big bucks to DJ a Christmas party in 2023.

Today I’ll start with some of the most basic of basics. Some, and maybe all, of this maybe obvious to you, but it won’t be to everyone, and perhaps there will be one or two nuggets of knowledge here that will help you on your path to DJing.

Let’s start!

First off, open the box. Carefully! Remove the controller and all the paraphernalia that came with it, and set it all aside. Now replace the styrofoam, cardboard, plastic, and other packing materials back into that box. You should save all of that, partly because if you discover something wrong with your controller in the coming weeks you may need to return it with all the original packing materials to get a refund or a replacement, but also because someday you may want to sell this controller and upgrade to a new one. You will get more from a buyer if you present it with all its original parts and packaging. So pack that up and tuck it away in a closet, attic, corner, or under your bed.

Next, let’s gather everything else you’ll need. (For the purposes of this article, I’m assuming you are using a DJ controller, and are not starting out with turntables or CDJs. If you are, let me know in the comments and I’ll offer some advice, but also keep reading as much of what I write will still be applicable to you.) You’ll need:

1. a laptop, or other computer
2. a USB cable
3. headphones
4. speakers

Once you’ve gathered the above, it’s time to set up your home DJ booth.

First, connect the controller to the laptop with the USB cable. The controller probably came with one, though if you have a newer Mac you may need an adaptor, or a different cable. The cables that come with controllers usually aren’t very good, and can sometimes cause latency– when there is a delay between what you do on the controller and what you hear from the speaker– so at some point you’ll want to upgrade. This is the best cable in the world for DJing, so consider picking one up sometime soon. But for now, the one you have should suffice.

Next, connect the speakers. If you have powered speakers, run a cable from the master out on the back of your controller to the speakers. If you have passive speakers, run a cable from the master out on the back of your controller to the amplifier or receiver that is connected to your speakers.

Now, plug your headphones into your controller, plug your controller’s power cable into a wall socket, and everything should be wired up and ready.

Now let’s get the computer ready. What software are you using? That depends mainly upon what controller you have. My recommendation is Serato. It is hands down the best DJ software that exists today. Others may recommend Traktor, Virtual DJ, Rekordbox, or something else, but Serato is what you are going to encounter “in the wild,” most often, and what most of your DJ chums will be using. But, again, what you use may depend on what controller you have, so figure that out, and download it. Go through whatever steps are needed to get it installed on your computer.

Do you have some music? If not, that’s what Heavy Hits is for! Now that you’re a DJ, you’re going to need a source for new, and old, music, so consider signing up, but however you do it, make sure you have some music on that laptop.

And now you are ready to start practicing! Come back here for future blogs where we’ll cover other topics for beginner DJs, and get you up to speed and ready for your first public performance!

The post So You’re a DJ Now? appeared first on Heavy Hits.

First up, our resident YouTube creator DJ And One teaches us how to make our first DJ mix in Ableton.

And later this month, he shared with us 3 accessories every DJ absolutely needs.

The post May 22 Video Recap appeared first on Heavy Hits.

My answer is that it’s a good skill to have, and it is nearly never a bad idea to mix between two beat-matched songs, but I believe it is far less important than most DJs believe it to be. Granted, if I were to perform for an audience composed entirely of the people will will read this article, I’d better be a grandmaster of the art. That’s because I believe it is safe to assume that 99% or more of the readers of the Heavy Hits blog are DJs, and when one DJ listens to another DJ play, he tends to be hyper-critical of the performer’s skills. Even the slightest errors in beat-matching, phrasing, volume, or any other aspect of a mix won’t go unnoticed.

The same cannot be said for the general public, and as it is the general public who will make up the vast majority of your audience, those are the only people you really need to please. Do they care about beat-matching? Not in the slightest. Most of them aren’t even aware that beats can be matched. They want to enjoy some music, and possibly dance, and couldn’t care less about any of the hows or whys that go into making that music happen.

I know what I’m saying goes against everything you believe about DJ’ing, and right now you are shaking your head in disbelief that I actually think people don’t notice, if only on a subconscious level, that music sound better when skillfully mixed. It does, don’t get me wrong, but my experience, after many decades of DJ’ing professionally, is that people simply don’t care. As long as you play the right songs, nothing else matters to most people.

Here’s a story that underscores my point. About a decade into my DJ career I was setting up to DJ a party, and just as I was ready to begin I realized my headphones weren’t working. I had no time to run out an buy a new pair, and had no choice but to DJ without headphones. Keep in mind, this was in the 1990s, and I was mixing actual vinyl records, so I had no hot cues to trigger, no waveforms to consult. Everything had to be mixed by ear, in headphones, or there would be no mixing. And so, that night, for 4 hours I DJ’ed for about 200 college kids without mixing anything. Worse, I had to cue songs up live in the speakers. Songs with a spoken intro? Zip past it live in the master out for all to hear. Every single song for 4 hours just scratched in, or dropped in, or beat-matched live in the house system for all to hear. That client continued to hire me to DJ 6 events a year for the next several years.

At the end of the night, I went to apologize to the social committee. They hadn’t even noticed. No one had. Literally no one I spoke to that night was even aware that what I’d done was different from what any other DJ had done. The dance floor stayed full the entire night, the energy was high, and everyone had a great time. Because they heard the right songs.

Don’t take any of this to mean you should be lazy as a DJ, or you should not be constantly working to refine your skills. Merely realize that what is most important to you, as a DJ, about your performance, may not register at all with your audience.

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Coming in on the 115th episode is Baltimore native DJ DRE with a hot mix of tracks that every hip hop DJ needs in the crates. Dre has been mixing it up since he was 14 and his main influences are DJ Drama, DJ Khalid and especially the legendary DJ Jazzy Jeff. His ascended the ranks quickly going from college parties and private events to DJing for the mayor of B’more and now he’s an official DJ for Rick Ross’ label MMG. Check the mix featuring Drake, Migos, CJ and more and get your hip hop rotation on point:

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DJ Jamesy is no stranger to the NYC nightlife scene with appearances at Kinfolf, Schimanski, Up&Down, SNS Bar, Locksmith and he’s also been invited to spin at legendary parties such as Brunch Bounce and The Rub. On this mix Jamesy shows us his impeccable taste and smooth mixing style as he bounces through dancehall, afrobeats, electropop and more. Check the mix and download all your favorites below:

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DJ QUEST reppin’ Florida coming in with the heat from down south featuring a hip hop mix with some of this years biggest hits and some essential throwbacks for good measure. Quest has been a staple on the airwaves since the mid 90s when he got his start in Orlando. He’s been featured on BET’s Rap City and has worked with Jadakiss, David Banner and Paul Wall to name a few. In 2013 He won Florida’s #1 Mixshow DJ and is an accomplished producer as well. Check the vibes of a true OG and cop all your favorites below:

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LA party rocker and 20 year vet in the game- DJ ANNALYZE has a skill set that rivals some of the top DJs in the world but it’s her passion and love for music that sets her apart in a very unique way. She is renowned for her scratching and ability to captivate the crowd with her high energy sets. She’s toured with major artists, spun at massive festivals, rocked countless clubs, and has even performed live on the Jimmy Kimmel show and at the Grammys. On top of all the accolades what really sets Annalyze apart is she’s one of coolest, down-to-earth, humble people you’ll ever meet and has been a big supporter of the pool since the early days. It’s our great pleasure to present her latest mix that touches upon all genres and you’ll quickly realize why she’s had so much success in the industry. Takes notes and grab all your favs right here:

The post HHP112 – DJ Annalyze (Los Angeles, CA) appeared first on Heavy Hits.

DJ LIL VEGAS stepping in with a hot hip hop mix fresh for the summer. Lil Vegas is one of North Carolina’s most in demand DJs, is an official Heavy Hitters DJ, and has really made a mark on the airwaves where he plays every Mon-Fri on 102 JAMZ (WJMH FM). He’s shared the stage with Rick Ross, Drake, Waka Flocka, Jeezy, French Montana, and many more and plus is on top of the private events and wedding hustle. Check the flow, get some new ideas, and download all your favorites below:

The post HHP 107 – DJ Lil’ Vegas – (Greensboro, NC – The Heavy Hitters) appeared first on Heavy Hits.

“You look like this mad scientist up there mixing records, like some crazy chemist.” – JJ Brown

Clayton the Chemist is a DJ and Producer who masters a wealth of different musical genres, to present a soulful experience on the dance floor, and off of it.

His entity Natural Selection, provides deejaying, song mastering, acoustical consultation, and music. For the past 20 years, Dave Clayton has devoted himself to learning as much as he can about music production, audio engineering, acoustics, live sound, and speaker design.

He is 1/2 of the pioneering fusers of Funk, Soul, Jazz, and Electronic Music, the group Clayton & Fulcrum. His solo vibes range from House, Bass, DnB, and of course, all that’s funky.

Here’s a quote from the man himself about his sound:

“When you hear the first notes of Stevie Wonder’s voice, you instantly feel what he’s singing about. The range of my sets, and musical library, will be broad, but the thing that ties everything together, the essential element, is that you will feel the emotion the song is conveying.”

Monitor Placement Study

Compromises are a part of life, and the best strategy is not to avoid them, but to make ones that give you the most benefit, for the least tradeoff. There are so many incredible producers out there, and a lot don’t have the resources to design a critical listening room from scratch. This study details monitor placement, and acoustical treatment, of a rectangular apartment bedroom, which is being devoted fully to music production, mastering, and DJing.

The theoretical ‘sweet spot’ of a listening position in a room, proposed by Wes Lachot, is at 38% the length of the room, in the center of the width of the room. The tweeters of the monitors should also be in an equilateral triangle with the listening position. These should not be compromised, and if possible, the highest priority.

Another thing that cannot be compromised, is that the monitors should not be close to the walls. If that’s not possible, some monitors have eq profiles that reduces the effect of the wall. Creating an equilateral triangle from the listening position, which was calculated to be 54.72″, for a length of 144″, to wall, gives us an idea of each monitor tweeter’s path to the wall, and let’s us start to move them towards or away from the listening position, to find a good medium of where the monitors should be, in respect to the wall, and the other furniture and equipment. This is when the compromises start.

Accounting for the desk dimensions, and location of the office chair at the sweet spot, an equilateral triangle with the tweeters was dimensioned.

Bass traps were utilized for the front two corners, and due to the bedroom entrance, and utility closet, placing bass traps in the rear two corners wasn’t feasible, so those two were placed at the front of the listening position. The bass traps are made from rigid fiberglass, with rock wool being a cheaper alternative. The concept is that there are very small air bubbles in the fiberglass, that vibrate in response to sound waves passing through them, bouncing off the wall, and passing back through. The vibration of the air bubbles converts the energy in the sound waves to heat, thereby reducing the sound that is reflected back to the listener.

The thicker the stack of rigid fiberglass, the more the reduction of low end reflections. Mid-High frequency control panels can be made with less thickness. Rigid fiberglass panels are the most effect forms of acoustic treatment, however anything is better than nothing, and foam can help a room a lot. In this studio, The Natural Selection Lab, foam is being slowly phased out with panels.

References

Discussion on finding the sweet spot in the room

https://www.gearslutz.com/board/studio-building-acoustics/681979-finding-sweet-spot-room.html

Room Monitor Placement

http://arqen.com/acoustics-101/room-setup-speaker-placement/

Equilateral Triangles Calculator

https://www.calculatorsoup.com/calculators/geometry-plane/triangles-equilateral.php

Acoustic Treatment Resources

https://realtraps.com/art_basics.htm

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