How To DJ 101

1. How to DJ 101 Introduction: Hi. My name is Brynn and I'm a Korean D. J and producer. In this course, we're going to teach you how to be a deejay. What a danger actually, Does housing mix how to use the effects plus all the color effects on the mixer, and we're going to show you how to go through your playlists and how to organize your music . This tutorial and course will not go through marketing or how to get gets. We have simple courses which deal with how to get gigs as a mobile D J and as a club deejay and as an artist. So you should check out those courses if you think they are more suited for you. However, in this course is a very basic course on. We will talk about nine. Lee had a day Jay how to mix and how to have fun while doing it. I look forward to seeing you in this course and place. If there were any questions, make sure to put them in the comments and to send me a message, and I will try to answer them as quickly as possible. Thank you. And I hope to see you in the course 2. How to DJ 101 - Part 1: What is a DJ?: Hi and welcome to a lesson one. What is a deejay, artist and producer? A. D. J. Otherwise known as a disc jockey, is someone who creates a vibe dance for and makes people dance. I just jockey is responsible for selecting the next track and to ensure that people are having the best time possible on the dance floor or in the venue. Basically, and D J, in its basic form, is selecting the next track. You can be the best mixer in the world. You might even have won a championship in scratching and term title is, um, however, it doesn't mean much if you've selected the next track and it's complete trash and doesn't work on the dance floor or doesn't fit the vibe with the Verne. So deejaying is very separate to scratching and turn. Title is, um, and it is also completely separate to making your own music that is music production and will not be covered in this course. The importance of what comes next is critical to your deejay set. You want to keep people on the dance floor is as long as possible, and if you're applying in a venue which is selling alcohol. You also want people to be buying drinks. If the music is bad in a venue or at the event, people are not going to respond to the event and the venue as well and might possibly leave to find something better. It is a DJ's job to ensure people stay as long as possible, spend as much money and overall, make sure people are having a great time. A definition of an artist is someone who writes and produces music tours and toured internationally. And D. J, however, is not an artist or reproduce up. While it is true that some DJs do produce and become artists, the core essence for D. J is not someone who produces music. Some artists and music producers, however, do become DJs in order to tour and perform life. However, in saying this, though, just because an artist or a music producer does tour does not make them a good D. J. I, as well as you have probably seen artists before at music festivals and events that have not been very good deejay, but their music is really good. That is because it is two completely different set of skills deejaying requires you to read the vibe of the room and select the track accordingly. Whereas music production is mostly spent in a studio creating music and again, as I said, they are completely separate, different skills. At the end of it. True D. J is someone who knows how to read a crowd and might even have to emcee a an event as well , have a outgoing personality and be able to have fun while they're doing it. 3. How to DJ 101 - Part 2: How to Organise your Music Library: in this lesson, we're gonna be talking about how to organize a music library. Now there's a few things we need to sort out first. The first thing you want to sort out is what type of music software do you want to use in order to organize your library? There is, of course, music software and D J software intertwined together such a Cerrato tractor and other deejay software. But there is also other software, such as Pioneers Record Box, which is primarily used to sort out music when you're using it with pioneer equipment. There is also the options of using iTunes and just simply the basic form of just putting individual tracks in Folder in your Explorer, or find out, depending on whether using Mackel PC. Obviously, this goes without saying you will need a laptop in order to organize your music. If you do, you have a vinyl collection. No, this is very different. If you were a final deejay and you only use vinyl records, that is completely fine. However, you will need to have your own physical way of identifying which record is where. If you have crates and crates of vinyl, I want to just using sticky tabs on using posted nights in order to find where your vinyls are. If you have a large collection, if you really have a small collection, then you should be able to find which track you need very little really quickly. However, most people have live final collections when they do jay, and it might become hard in order to find these tracks. It is also a good habit to get into is to put little post it notes on the vinyl record itself. If you know the BPM of that record, this helps in identifying how quick the track is and is paramount in order to mix between tracts quickly and cleanly. Most DJs want news of vinyl collection, and most DJs won't have a CD collection, either. At CDs are vastly becoming outdated technology. They're kind of like the VHS is and the cassette tapes off the nineties. The best place to invest your time and effort is to creating a digital platform in which you can create on and also playlist all of your music so that you can put them onto a USB drives SD drives, apply it directly from your computer As I mentioned earlier, there are multiple different types of stage I software you can news. If you're deciding to use a soft where hardware based interface suffers cerrado and tractor , then obviously this will be the choice for you. We were going to what type of decks and controllers there are later run. But suffice to say, this is probably the first decision you need to make whether you're going to be deejay off US bees, hard drives in its D cards or whether you're gonna be using a computer to deejay with. If you decide to use tractor or Serato, then it is highly recommended that you also have a computer, which is able to keep up with the demands. The software. There is no point going into a gig and downloading and installing the software, doing all the back end off organizing your library if your computer does not have the specs in order to keep up with cerrado and tractor, the benefits, however off using cerrado and tractor, is that although music is already there and it's easily searchable, this puts less strain on the decks CPU in order to find songs. However, there was also other downsides to using Terata surrounding contract up. The biggest downside is that you have to buy all the hardware that goes with cerrado and tractor. With cerrado attractive. There is also the messy business of setting it up. If you're working in venue, it becomes a lot more tiresome to set up around another D J that you might be taking over from then just simply putting in a us big, however ever each their own. And everyone has their own preferences in terms of which software or they want to use, or whether they want to use US bees, hard drives or a stake out. The decision is with you. This tutorial is going to be using the court box. The reason for this is because I have the most familiarity with recalled Bucks and be is because record books is going to be used by you at some point, regardless of whether you used tractor or cerrado, because at some point you're gonna need to create us big backups for your sets. So if you're using cerrado attracted you, then you need to have backups on. But it's also really good toe to toe have because it will analyze along off your music on the white forms and organized the BPM, K and all of that. It will sort that all out for you so that when you're using a USB hard drive, arrest Ekkehard, you can plug it in, and it will tell you all the information you need to know in order to mix cleanly between each track. This is so important is because most gear is pining. There is obviously other brands such a den in which is its main competitors. However, Pioneer is more or less the industry standard for D J equipment in 2020. This might change over time is that it brings out better gear, a cheaper prices. However, at the moment, Pioneer is by far dominating the market, and there really isn't many clubs, and Bob's out there that use then in equipment. It's more or less all pioneer, so using their software is the best way to get the best results for your set and also analyzes. You're attracted really well, and I've been using a few years, and it's always been really good. So let's jump into it and I'm gonna show you how you can organize your music. That one thing to keep in mind is that this is using years off curating and putting playlist together in this. So there are gonna be quite a lot of playlists here. The first thing you might want to do is you might want to just create all of the different genres off music that you are gonna be downloading and having so house would be a great way to start. In order to do this, you want to create a fold of first and then you'll have all your playlists underneath to create a boulder or you need to do is you will go to the top and split right click and click. Create new photo. We're gonna call this school shit tutorial. So you've got your fold up, and now you can create a playlist underneath this and you've now created by the photo and apply list for you to correct your music. I would recommend if you're going to be producing. What I recommend you do is you create some playlists for the different times and the different sub genres off that main drawing. So, for house, you have disco thing. You have took house then you have progressive house, No big broom house, progressive house, proper progressive house full. Then you have maybe new disco, and you can do this with all of your folders and your playlists. What this allows you to do is it allows you to break songs apart that are different in sound and in different genres, so that later down the track, if you want to go into a check out set, you could easily just go straight into your tech house playlist and then go through those songs opposed to having it just under one big arch off house. Because there are so many different genres and sub terms of house and sounds deep House, for instance, sounds completely different to tech house and check out sounds completely different. Disco House. Once you have created your drummers, you also have the option off creating by time. What I mean by this is creating different playlists and folders according to the time that your plane. So, for instance, right here I have a playlist called House Open. This is what I play when I play, my opening house says. It's usually got a slower, and it's got a easy tempo to play to an open house set n vibe. I usually play this on my Sunday sessions and also at the start of the night. Then you've also got House Peak, for instance, which is my pick time house sets. I've only just started creating this playlist as this playlist is more for and pick house to a house crowd. Then I also have a house compaign. This means house commercial Paige, where I can play these tracks to a conventional crowd, which is still in house. That would then also have House Commercial House Commercial is basically a playlist, which combines house music and all of the remixes, bootlegs, mashups of house with really commercial tracks. So you can see in here you'll have something just like this chain. Smokers drop the pressure in my life. Ed Sheeran remixes there, so you've got all those commercial tracks, but their house remixes off that that's how I define them. However, you can create your playlist to post toe how you want to organize that this is all gonna be very personal to, However, thes small steps will make a big difference in the long run. And there's nothing worse than going through 1000 2000 foxy outs and tracks on reorganizing them again. It's not a fun time. Another thing I recommend is creating a month by month playlist. So here you've got on the left, got month by month folders and then you've got by year and then by month, so you've got January 2020. So these are all the tracks that I would play out at a commercial set from January Diesel, the new tracks from February, March and then April. Obviously, it changes month by month, depending on how much you download. However the's in particular, used and how I use them is for commercial tracks that I know to apply to commercial trap crowd. And then the new tracks I get Favorites is a little different, and these are my personal favorite tracks. From those month that I've downloaded. You'll notice how the size of these the amount of tracks up one of my favorites is a lot lower than my month by month. Because commercial tracks and some tracks that you download that you know you will have to play to a crowd you may not like personally, but, you know, you might have to play, and that is the trade off with D. J. Sometimes you have to play tracks that you don't enjoy. Tempo allows me to have a broad selection of tracks in a particular speed. Some of these include hip hop, more cheesy tracks or rule club bangers or electric, or are based tracks. So, for instance, down here you'll see 72 79 b p m 88 89 b B B m 90 to 99 bpm and so on. The's a really helpful when genre isn't as important. So you can see here how I have Cocoa jumbo here by Mr President, which is a relatively cheesing nineties track. Then you've also got express herself by deployed, which is more off my mobile phone track up a living outside Wrong. Always pronounce that wrong. Then you also got hip hop track such a stronger by Kanye West. So as you can see, it's different genres. However, they are in the same BP in range, which makes them easy to play to commercial trap crowds and makes it flow a lot nicer. It also makes it easier to mix because you know that you don't have to jump between pilots to get particular songs. I've gone down further and created club tracks and club commercial. What these basically means is that these air commercial friendly tracks that you can play to a comm initial friendly crowd, how these club tracks are little either a little bit more heavier base heavy. Or they just wouldn't be susceptible to playing Teoh multigenerational crowds and also to crowds that are a little picky on what they want to hear. You can create these for all the different talks of BP EMS that you're going to be playing in. This is more useful if you're a type in format, deejay or plan, implying multiple different genres in multiple different types of BPM transitions. Transition tracks are really helpful in transitioning from one ppm toe, another what I have done here in the track title, as I have edited the start of the track title so that it displays the BPM. It starts off in originally to the BPM it ends up in. The reason for this is when you're organizing your tracks on the Pioneer decks or on any dicks you're able to quickly go through and find the BPM. You you need quickly appoints to adjust big site. For instance, Let me love you. The transition 1 26 to 100 you can easily find if you go by track titled You can see here on the list that you have started for 1 24 or you can start at 1 28 It makes it a lot easier to find tracks this way, opposed to just having the track title and then having it afterwards. It's just a small tip there to help you out in the long run. You do this for all the different types of transition tracks that you end up downloading. You can get transition tracks from multiple different sources online, such as digital music pool, direct music service, spin back promo, Hot, Pettit and Smashed. The club are a few good places to stop these air usually or subscription based services, so you might have to pay money to get in access to these sites. But they are absolutely critical to making sure that you can transition between 1 30 70 BP and I use transition tracks all the time in my sets, and it definitely does make a big difference in the quality of your mixes on the quality off your sets. Even if you do not like seventies eighties and nineties music, I recommend creating some playlists, so but you have somewhere to put them. Every track that you download and that you put into your music collection should be organized into a playlist somewhere. Otherwise, how else you gonna find them? You can create playlists for specific events, but I recommend keeping them all in one folder. As you can see here, there are a lot of random playlist from events I've played over the years where I wanted to create a play this specifically for that set or for that event, I've never delete them simply because it's nice to go back sometimes and go through those sets and took out tracks that you might want to continue playing again after a time not flying them. Finally, down here you have a with odd sort of playlists that I have that don't really belong to a folder, but a good have just on themselves. I have my club essential tracks here, which is the tracks I know work in a club commercial banks is kind of like commercial essentials, except it's more relevant to 2020 opposed to this this fight list. I made very long, long time ago in 2012 saying they were added in 2012 meters relevant there. But we're eight years along the track now, so this one's a little bit more relevant. You can see that by that date in which they're added. You also have here Club opening similar Teoh House opening. It's basically tracks I used, but I'm opening a commercial club. It's a little bit old, this playlist now, but I still pick out tracks out of here sometimes, which I use in my sets. ADM. Bangers is basically the D M tracks and MASH ups don't really play these much anymore because idioms big rooms, not as popular hip hop is you're going to come across hip hop tracks at some point, put them all in one place and then hip underground is pretty self explanatory. More hip hop underground tracks that don't get played in mainstream. So this is being a quick way to had organized your core box playlist. I'm gonna quickly go over some quick tips in order to make it easier for you to organize your tracks on the right. Here is what's called a sub browsing window. If we click this open, it will open up another separate browser essentially so you can go into your playlists. Here, select a playlist that you want to drag and drop into, and then simply just drag. Drop, drag, drop, etcetera. Dragon drop. When you open up the core box for the first time and you putting the tracks for the first time, they automatically analyse. However, if you find that the analytics offer core boxes wrong or slightly off, you could always go back and re analyze the track by clicking analyzed track. You can analyze by BPM and by key, and then you go OK, What this will do is reanalyze the track to ensure that it is as correct as possible. This usually takes a couple seconds. If you're on a quick computer in record box, you can also pre organize your set. What I mean by this is that you could also organize your cue points and hockey points that you're gonna be using during your sets opposed to making them life. Let's open up a track here and do it quickly. Here we have a remix that I have pulled from a D J website, and in this trap you can see the way form at the top. Here it is going to be different for each D. J and how they organize their sets and how they organize that two points. I'd like to organize my two points where it's 15 seconds out from the drop or from the breakdown. So here I can tell with where the Pixar in the track that this is the 15 2nd lock before it is going into the breakdown also into the vocals in order to create a key point. All you need to do is press I on your keypad, which will automatically set a in point from your loop that you don't actually have to complete the loop by having a loop. But it does create that first cue point. However, we need to go a step further. This is only created the two point and hasn't been saved. What you need to do is press the M key to save this key point. You can see here how it has saved the cheap point on the right side off record box. You could also create pocket points. If we collect Hawk you on the right here, it will go to ah ha que menu. If we press I, this will cure your whole point as hopeful. Two point I please know that no old players and city Jay's can incorporate off the hockey points as a minimum. They do three hockey's, which is a B and C depending on what Dex you're going to be using and on what interface you're going to be working with, whether you're using control or you're using the full C J 2000. Next is two sets you'll need to decide whether you're going to be able to set three or up to. I think that is, I guess, right cheap points I've never personally set by two points. I've never needed to set a cue points, but the option is there Should you wish to. The next thing you need to do is transfer your playlist interested advice in which you're going to be using, such as USB or SD card. I have just inserted a USB stick. You can simply drag and drop your playlists into the device like, so I know automatically start exporting this to your USB drive. If it is the first time you have plug your USB drive into record box, it will automatically create record box folders on your USB drive. Regardless of whether you've put your plan, it's in there. You can click and see how much space you have left on your USB drive by clicking on the USB drive under devices here, who will tell you the total amount of space that your USB drive has and how much available spaces left. You can click the device name and change it, and you can also change the way form color that you will see on your sin DJs or on your controllers by clicking RGB, which stands for red, green, blue or blue. Currently, I have mindset to blood. However, you can't change this in the settings by going into C, J and Device and Cooking RGB, which will automatically change it for all times that you export it to your US Pete In conclusion to this lesson in organizing your music library, you will need to download record box record books. It is free for any pioneer deejay purchase So if you buy a pioneer CJ, we buy a pioneer controller or any pioneer deejay product, you should get record box free. With that purchase, however, you can also purchase a que for it from the Pioneer website. This software is absolutely paramount for you. Toe. If you're planning on D J long term and if you plan on doing it and developing your skills over time in this lesson, we have learned how to play list and how they put music into different playlists and how to organize your music side that you can effectively know where your music is whenever you're playing or D J X sets and it doesn't matter what John wrote is on. It doesn't matter what time slot you have a playlist. They're ready to go. Trust me, it saves a lot of time when you're playing and a lot of stress. When you know that you know exactly where the track is and you get get get it's gonna be there, there, there, and some of you go to track plain and it's ready to go. It is especially helpful if you mix really quickly on you don't have the time to sliced on , searching for new music. I'm bringing. Make sure to stay and training for the next lesson, which will be had a mix between two songs Thanks. 4. How to DJ 101 - Part 3: How to Mix: Hello and welcome back to this course and learning have a deejay. Now, in this episode is all the fun stuff. You're gonna learn how to mix two different tracks together. In this tutorial. It will be letting hell Teoh mix different be PM's learning how to mix the same BPM and basically just learning the fundamentals off, mixing and putting two tracks together. Obviously, these are just the basic way that makes a tractor in many different ways to mix tracks together. Depending on what you're mixing, however, we'll go over the very basics of what you need, and hopefully you'll learn something from it. Don't forget, though you do need to put your time in. And like any art form, you do need to practice. So keep practicing and you will get better. Every time I'm gonna stop talking about, we're gonna go straight into the fun stuff which is mixing. The first thing we're going to do is go through the basics of what the mixer is on. What you need to know about now, as you can notice you, if you've been doing some research, you'll notice that this is a CJ 900. This is actually quite a old piece of equipment. Now it's about 10 years old. This is obviously my personal equipment, but the reason why I'm still using this equipment this 900 here, instead of upgrading to a 2000 or 2000 nexus is one is. The main reason is price. The second reason is also it because the fundamentals off deejay and mixing two tracks together are the same. No matter what piece of equipment you use, it doesn't matter if you have a 2000 nexus to or you have a CD J 100. The print in the main principle stay the same, no matter which piece of equipment used. So while we are using dated CJ's now, the principles are exactly the same that I'm gonna teach you on this city, Jay, that you will use on a city J off any different type off brand all make model year. Whatever. The first thing you need to know when using C J or in turntable of any sort is you need to know where the play button is. This is usually located in the left hand corner. All of the playoff kill thing right above it. you have your cue button. Shia. You also have your tempo right here, which allows you to control how fast and how slow your temperatures of your track. The jog wheel, which allows you to make small, incremental changes to the speed of the track to beat match with the track that you're missing. You know, Atal, you will have truck backwards, track Ford's fast forward and rewind for the track. You will see this on nearly every single CJ and turntable out there when I mean turn table . I don't mean final turntable, but just digital turntable, and you also will most likely have an in button and out button for looping the track. You should be able to find the play this stuff you made earlier in the last video from human brown spots. Nothing told and then going through and finding the track using this joke. Well, she'll You can also go back if you've selected the wrong playlist or folder by hitting the back button here. If you do not wish to plant track right now, but you want to play the track later. There is also the tag function by pressing this button bottom here it allows you to tag different tracks. This means that further down in your set, you can go back to the song that you tag without having to go back into the playlist. You can find the music that you've tagged in the button up the top here called Tag List. Select the USB device in which you have tagged music in and your tracks will come up here. You can then select the track using the drug will here. Well, not the drug will, but the selected were here. Let's go into starting the basics of mixing a track. Now we already know from the information off the analyzed file that we analyze when we were in the record books in the last step side is that we know that the track is at 124 BPM. This is how fast track is playing with electronic music. Usually it's quanta ized, and it's very on point. However, if you're mixing up the music such as rock or acoustic drums, the timing might be slightly out. So please keep this in mind when you're mixing are other track we job selected on the opposite deck is at 126 b b. M. This is obviously quick up by two BPM than the other track CD. Jai's usually have separate temper 66 plus or minus 10 plus or minus 16 plus or minus. And why, what this means? It's a sensitivity off your master tempo control here. When you change the tempo of a track with a plus or minus, you also change the pitch of the truck in order to hit the pitch the same. What you want to do is select the Master Temple here. Selecting the master tempo means that when you move the track either up or down the scale, it doesn't change the K off the track when selecting your temperature from six to wide. What this refers to is how much you are increasing or decreasing the tempo. If you're tempo is on possible minus six, it will give you greater control over the increments in which you are setting the tempo. However, you will only be able to set the tempo the so far or to say like so. For instance, the original temple of this track is 124. If we decrease it all the way. The lowest will be I would ago is 117 as this is the maximum amount that you're able to change tempo for. However, if we increase it to 10 plus or minus, we will be able to increase this to 112. We go into possible minus six thing. The lowest big here will be able to change it to 104. And if we go wide, the track will simply stop. Because this is the lowest BPM, it is very unlikely that you'll ever have a track that's at 248 BPM. Usually I like to sit Mina 10 and mine 10 plus or minus. It gives me the flexibility to change the BPM quite drastically, while still remaining toe have enough control over the temper off the track. What we're gonna do now is we are going to mixing this track. However, this track is playing in 124. Where is our other track is playing at 126 meaning that we have to increase the speed of this track to mix it in. To do this, we're going to increase our tempo upto 1 26 Now you'll notice here that the tempo up the top has already changed a 1 26 but I'm still increasing my tempo. The reason for this is when you're using possible minus 10 inch, 8% is one BPM. I'll say that again. Each BPM is the same. So if we go to a percent here, that is exactly 1 25 However you're not have said it changes when it's at 4%. In reality, this actually only increasing it to 1 24.5 You'll notice this a little bit better on more advanced decks. But the reason why we're showing you on a city J 900 is to exemplify all these small little things that you can learn by using a deck that's a little bit older. It also means that you will be able to mix on any different type of deck, no matter how advanced it is or not. If you got by n percent each time you're mixing and each bpm you go, you'll be able to calculate exactly how much percent you need to increase or decrease your track to get the exact BPM matched. Right now, I'm very confident that this is exactly the right BPM for the other track. We're gonna dive into a tiny bit of music theory just before we press play. When you press play on the next track that you want, you always want to try and hit it on the end of the bar or the end of the bar 16 or 32 bar . The reason for this is so that when the track drops into its breakdown or drops into a drop , it's exactly in time with the rain. It would be if the track was continuous. What I mean by this is we listen to this track and I'll tell you when we need to drop in and press play on the next track. Now you'll notice how I quite that exactly. Press play on exactly into the truck. Now, now that we're playing boys, these trucks together, you hear that they're exactly but that will soothe track dropping to break down on this track. The other sect that we're missing out now, the reason why we want to make sure that the music's in time is because if you don't do this. It will sound really odd and can basically won't be very nice to listen to. We'll go back to the previous track and try and do it on the off beat, United said. It sounds completely off, and it doesn't sound correct. Did you notice how the locals are actually at the time with the original track with the high don't really match quite well with. So to ensure that your track sound really well with their mixed, you want to make sure that you're hitting them on the exact age 16 or 32 part off the bar, usually at the end of the chorus or the end of the this. Now, if selected house as the starting point for this tutorial, simply because house has a consistent bait. If you're a dub step base or any sort of type of D J that wants to mix songs with with an irregular bait and you're just starting out, I'm like, so just starting with house means it, or a genre that you like that has a regular bait. The reason for this is because it is a lot easier to loan with a consistent big opposed to a inconsistent bait that based music and cheesy music has and rocking because they were too wise to mixed songs in Your is the first is to listen to the kick. Now you can listen to the chick if they really defined kick, usually in the intro off a house track they pretty defined. And you can hear them pretty well, however, sub basis and keys can be a little bit hard to hear if they're a little bit modeled in the mix. So the best way the second way in the best way to mixed music is actually to listen to the clap or the snare. If you can't hear the clip of the state, then you listen to the hi hats. The higher elements off track because you're is pick up much better on these higher elements than they do on the base elements. Plus, if you have a big B system that you're playing on the sub off the main system, the front of house speak speakers that are playing might actually confuse you when you're listening to it in your headphones, because you can feel the sub frequencies in your chest, which might throw you off so It's always best to try and listen for those high frequencies those collapses, snares and those high hats in order to learn how to mix. What I'm gonna do here is I'm gonna play another track on. We're gonna mix it in right from the stop. One tip I could do in order to kid time, actually tap your finger on a scene like this. Not pressing anybody will help me keep time. So that was more or less your battle. When mixing is going to be part of this booth again. This comes down to a lot of practice and a lot of time. If you press the track and it is a little bit too light or a little bit too, really, you'll need to spin the job real backwards in order to slow down this track or speeded up words to speak up the track in order to get it in time. If you miss your true by pressing the play button either extremely to like or extremely to , really, sometimes it might be better to not try and mix it in at all. If you are nearly three or four beats out from the other track then I would recommend Whiting until the next opportunity the next 16 bars or the 32 bars and then pressing play again because you'll end up having a cleaner mix, then trying to spin back along these baits and trying to get him in time. If you know your music very well, then do it. But if you don't know the music very well and you're finding it difficult to make seem, then just white until you get the next opportunity to make the tracking and to press fire again as a final example on how to mix regular Bates, especially with tracks like that Aaron House I'm gonna use to new, different tracks. But this time, instead of mixing on the outrage, I'm gonna mix during the actual course of track so that the next song drops in at the exactly the end off the chorus off the track, we mixing out from, - you know, Did you know now that you've seen how she makes track seem using the drug will, the next compartment I will talk about is how to mix on the actual mixer itself. We've just talked about how we mix on scene DJs and Now we're gonna be talking about how a mix on the actual mixer itself We're gonna show you what the knobs do, what the failures do, and basically how we use them to create a seamless mix from one song to another. So stick around now. This is a very typical Mitzi that you'll see this is DJM 900. Next to section you can see just down the bottom. Here is a very popular mixer and there are more up to date models. However, this model is still industry relevant. Now, with this mixer, we have multiple channels. We have Channel One channel to channel free Channel four to my channels, one here and one of the back off the mixer. We also have an effects penalty which will go into more detail later, some or sound color of fixed, which again we're going to later. The different fighters for each individual channel on the cross faded down here. With this mixer there too wise to mix, you can eat. That makes through. Which means that every time you push up one of these fighters, it's increasing the volume of this ticket or you can use to cross fighting down here. Cross fighters, a move used Kipper. And when you're crafting, Held can use in your house or any other, it's all about. In order to activate this, you just need to switch this switch here on any one of the channels, whichever one you're using a little bit, which it will be channels. So in order to be here, you're on the base. So when this truck fighter is here, it is fine channel. When you moved in channel Labor, I after you switch your other channels, you're now playing for the experiment with this, and you can decide whether it's rock. But this tens of this tutorial we are using three life, which means we've been using crossed by a little. The first thing before you start your set. You also want to check your Channel seven. This will determine Talbot. Find over. Yeah, when you push it up. If you see here, you see how it's striking by really, This is what I was pretty heels on. It means that you are right. I mean, you're pushing it up from 100 if you have it on the other thing is naming study, especially on the Internet here, you get your absolutely. And when you have a 100% that's when it here. Which means that when you're using your settings to turn them over right down and you have a letter, it means that you're completely cut. Backs pregnancy. So I was like, Here you go unnoticed, Done holds barred here reading, meaning that the issue is completely full of the sound from that rain loathe and never actually finding you attractive switches over to choose. We should get some level 81 bar that taking their, however, is still extremely like I recommended switching later on. That's how I mix and for the purpose of this tutorial about how when you're mixing two tracks together and you have your BPM are the same and you actually got this song in time and it's running well, they're not alewives in which you can mix and only decide for yourself in star power, and you just time and whether you can see on the Left Channel is now not being fined. However, this demonstration guys hear music when we're putting in on your track. What we want to do is you want to pull out a light because you never want to have to trip flying or at least very late having them. The reason for this is if you have vices. Finally, they called it trickle. Now I don't want to get into production, however, is you need to have a basic understanding off each graph on how the country will be mixing your trust. Different songs will have different qualities to track, but the most common is having a bistline stand there pretty much coming hot. Trying to see other things is world class and other things like that. However, for you just need to make sure that when you and that basically blowing out system on making it sound the mixture of money, you have a much cleaner sounding if you don't crime fight. So when you decide to start mixing your track and you're right, I recommend having setting like what this does. Is it topped out the low frequencies in the middle of it. You could hear the five had come in and start pushing up your still time, and when you're ready, whether it's the end of a 30 for you, ready to switch from your life pregnancy on this one, this one by signs of country basically split and obviously bringing your meats at your leisure turned down off your other track as well as you start to pull this out. Obviously this happens in increments and happens over time. So what I'm gonna do is I'm gonna show you how I was fixing attracted u T I turned down the life and I'm looking up mine My right track way should be having your highs coming for now . Another time, Certainly in your you'll notice that I completely switched the base signs when I came over . Now, usually I don't do this. When I mix this sort of style, I'll try and bring them in a bit more gradually to make sure that they're in time because that one was a little bit out. However, it's just more of a demonstration to show you that it sounds a lot better when you put in your you switch the baselines over opposed to having them play at 100% all the time. The next feature I want to go over is the game knobs. Otherwise known is the Tribune Arms. These are the knobs on top of your itchy above a channel. What this does is it increases the game one inch individual channel. No, All tracks that you're going to play are gonna be exactly the same volume level, which means that you're going to have to increase or in some cases, decrease the volume on your track in order to meet the same volume off the track that you're mixing out off. There are several ways in which we can determine whether a track is going to be lower or higher in volume before even listeningto. The first is using the indicators on the DJM, while not 100% accurate and doesn't show you the true volume off the track. These are a good starting point to see if your track is too low or too high. The other indicator is to actually use the CPJ's themselves these way form on the city. Jace is an excellent way in which for you to determine whether a track is lower or higher or volume. As you can see on this particular track, the white form is pretty loud is a dance music track. This track, wherever the wife form, is smaller. This means that the track will be lower in volume simply because this particular track was mastered in the seventies on mastering over the years has gotten better tracks that I mastered nowadays and within the last 10 years tend to be paid, writes the top off unity. I will not go into how to master and right now. But suffice to say that tracks that haven't made within the last 10 years have been mastered a lot better than tracks in the past. When you're mixing in a track, it is always important toe. Listen to the different levels off your tracks that you're mixing in and out off. The best way to do it is simply just to go between the Q buttons and simply select Q on the track. Your meeting out off anything during this and simply switching over just to make sure that the tracks are both at the same level of volume. The other way to do it is simply to listen to them both at the same time, and you'll be easily be able to tell which ones coming through which ones. Not again. It's never good to hear a track that's too loud coming in and attract that's coming into soft. This is something that people pick up on the easiest and the best way to get around. This is simply just to listen to the tracks. Before you push out your next track. Simply, just listen to it. So basically, when you're listening and you're mixing in your tracks, you also should be listening to volume levels. It's really important because it's the one thing that general people who don't know anything about music it's the one thing that they're gonna pick up on is when tracks the too soft when they come in or too loud when they go out, it's really important that you nail this. You can always change the volume agile mixing in. It's never too late to change the volume if you're already pushed your fader up and you're playing both the tracks at the same time while you're missing in, you can always just the day knob and make sure you get that right 5. How to DJ 101 - Part 4: Mixer FX: Hi, my name is bring on in this lesson. We're gonna be talking about the color effects and the effects panel on D J mixes. The offense can be used to make the mixing between your tracks easier, but it can also help spice up your set with different effects that will you can use on your buildups and on your breakdowns. And it will basically make your set sound a little bit more in unique. Opposed to just playing the original song. Stay train on. Let's get into it on the right Here we have our effects panel. Now, this is obviously gonna be located in different areas, depending on which mix of use. The first sitting we're going to use is going to be the transiting. The trendsetting is basically kind of like a telephone if you're a producer, if you know of a jury. So basically what it is that that's ducking out the audio, depending on what time and you have set to it and it's dropping that audio very quickly. So what I'll do is I'll play an example here. Theo set it to one now at the 100% mark there. It's obviously gonna be no particularly great to listen to. However, you can do some really cool things, like using it for buildups, or you can use it forward over other top side effects you have. Then you also definitely. At some point you gonna come across the role function what this basically does. It's kind of like a Lupin loom about function, except it's a little bit easier to use with the fix. So we're going to play a track here, going back so you can get music to be sparingly with this one, because it can be quite annoying to listen, to continue to use it over and over again. You continually are looping. Different parts of the song at the end of the people are there to listen to the lyrics and not here. You just repeating one phrase of that lyrics for the song for the whole song to change the severity off. How much these effects are in. You can use the level in death right at the bottom. There, savor it, says Min and Max, You compress when you press the on battle here, just adjust this to how much you want this effect coming. I really go all the way to Max because then your effect is taking over the actual song itself. Kind of want to keep it around about Midway. Sometimes here, if you don't want it, if you want to come in it gradually, I always recommend doing it. And gradually anyway, instead of just pressing on and off on a particular setting because then if you haven't set it up correctly, it doesn't completely ruin the song. Each mixer is gonna have different settings. However, I'm not gonna go into every single one simply because there's so much we can do with it that I wouldn't be able to cover it all in this lesson. Plus, they might be settings on this one that might not be on your mixer or the mixer. You have might have more settings that this one doesn't have. The one effect I will quickly touch on, though that will be on every single one will be the echo function here. This basically creates an echo. You can adjust how much or how little echo you want by adjusting the timing function on the city Joe 900 you can use the value here, use the pad here or you can mainly. You're just the time here on this timing knob. Also, don't forget Teoh switch which channel? That you want the effect of happen on you can select it by four or three. I'm currently plugged into four and three. So be any of those two. However, you obviously gonna have your own set up in whichever channel works for you. Here we have all sound cholera fix. Basically, these correspond to these norms here. A sound effect Will sound color effect has a different purpose. You have your spice, echo gate and compression noise crush and fill it up. The space is kind of like an echo, except it makes it it. It's really good with pads dubbed Echoed is kind of basically an echo effect. Your gate and compressor corresponds to compressing the sounds, and I don't really know when you would really use it, because I never use it. But you might find a use for noise is good for buildups. It basically adds white noise to your track, however used it sparingly because you don't want to add too much white noise where it just destroys the building. Everything else about the track crush is a bit crusher. It's essentially adding distortion to your track. It's good in small doses, however, the same thing applies that the noise die too much because you might just ruin everything that you've just done to build it up on the field. Sir is really important, actually, because it will filter out all of the frequencies either high or like I'm gonna press play on this track now because the filter is actually really important for mixing with field so we can apply a high pass filter, which gets rid of all the light frequencies. However, if we put it to a low, it will get rid of all of the high frequencies. This is good if you want adding the track very slowly like this and build detention. It also works the other way when you want to get rid of the low frequencies. When you're mixing attract, you don't do it very quickly. Give it some bit of special, even do it the opposite way. You get what I'm talking about. There's different applications for using the filter, but you can also add it. Use it Teoh mixing as well, especially when you can't be bothered using the high meat and life frequency 6. How to DJ 101 - Part 5: How to Record DJ Mixes: Hi, my name is bring, and in this lesson we're gonna be talking about how to record your deejay Nixon's. There isn't why you would want 1/4 deejay. Makes sense for two purposes. One to promote yourself to your friends and family and toe potential fans that you might have on two is so that you can listen back and see where you make mistakes and where you went wrong. The second point is really, really important that I can't tell you how many times I've recorded my mixes and found that they're being ariz ended, and I've needed to go back and learn how to do that better or transition better. In that instance, it's really important when you first start that you recorded you makes us. There's a few ways in which you can record your mixes. The first is used audio mixer, and you'll have you should have a second master output with the Pioneer mixes, you definitely will. You will have Ossie I out, and you'll also have XLR ounce off those mixes. If you're already going out of your mix up from into Maine Booth monitors, that's fine or you're going into a main speaking system. That's fine. There should always be a second master output. If there isn't, you might need to invest in splitting the signal, which you can buy from your local deejay or a V store. You just get a Excel a splitter or Ossie I splitter. They're usually not that expensive, however. The mixer shoot, as I said, should have a second master happen. But I don't know that now because I don't know what makes it that you have. And that's a question that you need to answer yourself. However, I'm going to go on the assumption that there is a second output on your mix up, or an output in which is free for your use output. The sound off your main mix. There are two options in recording and creating your mix. The first option is using a sound card sections. The scarlet to I to This is one of the older ones now because I bought a couple of years ago, but this is a really good sound card to use. You can also, by any sort of USB sound card, for that matter. But essentially all you need doesn't matter what sound card's used is, you need two inputs they left in the right channel. Whether that be XLR or 6.5 on, you also need it to obviously be a USB interface so USB into your computer. The reason for this is it's a lot more stable connection than using ones. When I do my life streams, because when this video is quoted, it's April 2020 and, you know, in April 2020 happened. It was all Corona. So when I was doing my life dreaming, I used this and just go straight into this, and it creates a clean signal for my listeners. Thea Other option. The second option is to use an R C. A 2345 mil cable. It's not as reliable 3.5 mil. Cable TV are usually really cheap, so it's your cheaper option. However, over time is, you pack it up, you roll it up and you use it. They tend to fail within sort of 6 to 12 months just because they're pretty fragile cable in the actual table itself, so you'll end up losing in a left or right side, or you'll start to notice that the quality is not there my stuff crackle, or you want somehow lose frequencies during it. The second option is to use the 3.5 mil to see a cable. The benefits that we're using this cable is that it is a much cheaper alternative to using a sound card. Sound cards usually cost anywhere between 2 to $400. Where is the RC 83.5 mil Cable shooting cost awaiting war than $20 a 3.5 mil Cable is essentially a headphone jack to see a Which is this. You would have seen one of these before, especially if you've got a head fine, pretty standard. Jack there and say, If you've ever cooked TV before, which I assume you have, you would have seen maze in the back. If you're connecting it to some old VCR's before the days of hatred and light, the benefits of it is that is cheap and readily accessible. The downside is it usually doesn't last as long as a sound card. RC 83.5 year okay was usually die within the 1st 6 to 18 months. They're not built for durability, and if you want to go for the expensive our CIA cables to 3.5 more cables that are more reliable. Gold tipped all of that. You might as well spend the money on a sound card. Sound card is probably better option. However. You can use R C a. 23.5 if you have Teoh now that you have selected your preferred method off getting the signal from your mixer to your computer, whether it be through a sound card or 3.5 C a table, you're now need to select a recording program in order to recording Day J mixes. I do not recommend any recording program that comes stock with your computer. This because it's not designed for high end recording, and it is always better to use software that is designed for recording. The 1st 1 I would recommend is audacity. This is a free piece of software that you can get online and is relatively quite good. It is a very good piece off free software. There is no adware on it. It doesn't deepen audio for any raising for ads or anything like that. So it is really good for a free option for that. If you already own a digital audio workspace or door such as I. Walton, FL Studio to Base and others, and you've already started music production. Then I just recommend using the door. It is a lot easier to record edit and cut your missus if you need to. And you can also add in other elements, such as the J Drops and other little pieces off music should you need to. You can also do this in audacity, but I found it much easier to use in able to. This is audacity. All you need to do is that you need to check that it's getting the right signal from the right place because sometimes it will try and take the signal from your microphone on your laptop or computer rather than taking it from your sound card. If we go down here, we can see all the different options, and we can see which my friend we want to select for the purpose of this video I know intersect my webcam just because nothing is coming through my sound card at the moment. Now that we have selected out where can in which you would have selected your sound card we can hit record When we hit record, you can say that my voice is down Coming. Three. The microphone on my Web 10. When you have done recording or D j X, all you need to do is click stop. From here, you can edit and cut any piece off your mix in case it was bad. We need to redo it in order. Don't edit your deejay mix, or you need to do is learn a few key things. The very function which is dysfunction here. Imagine a memory of the clean off your age, I said, and also be come function. In order to cut. You need to select which part off the audio that you want to cut by clicking the selection tool. Selecting which part that you want to cut impressing cup. This will cut sections out of your mix that you are undesirable or that you want to edit out and redo. If you know that you've screwed up your mix halfway through, you can always go back and just record the part that you screwed up. Andi. Then you can cut and paste using audacity, so that is a clean mixed When the listener listens to it. You can also do this in able to This is my godson template In order to create a template, I go through this in separate course soon to be out on school ship. But for now, I'm gonna show you how to record your deejay. Makes on able to just like audacity. You need to make sure he's in the old preferences that you were, according from the right source. Right now, I'm not recording from anywhere because my audio input device says no input as my sound card was not connected when able to was launched. It will not show up in this input. You need to make sure that your audio card is connected before your Lord ableto. Otherwise you will not recognize it and you're not piano selective. While able son is running for the purposes off this video, I will not bother doing that, and I'll just collect the microphone that's in my computer. The next thing is to make sure that your audio track is ready to accord in order to create a audio track or you need to do is press control tape. If you were using a PC for go right click in click Insert audio track when you open up able to for the first time, they should already be two tracks ready for you to use when you are ready to record a track or you need to do is hit the record on the side here to make the track aware that it is ready to record. And you can already see here that with my voice that the record off this track is already picking up the volume then you need to do is hit the record button to start recording. The track will go read like this when you start recording to signify that this track is recording an audio signal. Same thing applies. We're cutting the track All you need to do if you want to cut pieces abnormal medically if you haven't used that water before, is to go through highlight and then press the late on the section that you don't watch wish to want. Just like audacity. You can also change and edit the clip in order to delay or you need to do is highlight this section and press delete All highlight the section right click and press delete if you wish to add another piece of audio, such as a deejay loop or D J in show, you can always do this on a separate audio track or on the same one that you're using. I recommend putting it on a different audio track. If you're using a deejay in truth, simply because it allows you to eat, you compress and do other things with the digit insurance. If you need to, then you just add that clip to start off your deejay makes. When you're finished your deejay mix. Make sure to save your project by clicking safe and then save set as the final thing you can do is after you've saved your project. If you wish to save your project and save your mix so that you could edit it later, it's the export. The audio. You can choose to upload your audio directly toe soundcloud via a button. However, if you want you to have a separate, listen to your track before you export it and put it up online for other people to listen to. Then I'd recommend just exporting it. In this episode, we have gone through how to record your deejay mix. You can do this via a sound card or via 3.5 mil tow cable. The reason why you would want to record your mix is for two reasons. One is so that you can find out where you've gone wrong in your track and in your mix. The second is to showcase your skills to your friends, family and to any potential bookers in the future. Please stick around has been going to the more fundamental parts of deejaying and how to actually pick the next track might sound very easy, but it is actually the core fundamental off how to deejay. I'll see you there. 7. How to DJ 101 - Part 6: How to Pick The Next Track: in this video is a particularly hard to teach deejaying, and nine, which exact song apply. It comes down to the individual. Everyone's gonna have their own interpretation of what song comes next, even amongst DJs. In order to teach this only teach Avery broad overview, and I won't be going into specific tracks in which you should play. However, I rule you some tracks as an example off high energy and low energy tracks. Highly two tracks tracks which have a high BPM or their instrumentals of vocals are very happy and in your face. Some of these tracks usually tracks you can use to build a dance floor or to keep a dance full pumping. However, you cannot apply a whole set full of high energy tracks. The reason for this is because people get exhausted of hearing kind of tracks offer a seven amount of time. This, unfortunately, is the downside of many festival and touring artists who haven't learned how the deejay properly they usually by hiding, which sets where it's just constant drops or its constant, highly tracks, and it doesn't give the listener the chance to have a break Now. I'm not gonna go into the psychology of it because I don't know the psychology of it myself . However, people do need to have a break from dancing really hard or hearing hard. Getting tracks hard. Having tracks doesn't necessarily mean electro dub step in any of that. It can also mean house tracks, which just have a high energy presence. People need a break from that break to go to the bar, broke to go to the toilets or even just a break toe, have their body shut down and just stop moving for a couple seconds just so I can recuperate and go back into it. Low energy tracks are usually tracks that are lower in BPM, or they just have a lower vibe to them again. This is very hard for me to explain, because usually I need the music in front of me in order to explain what a highly to track and alone in track is. What I can do, though, is explained in terms of a commercial track that everyone knows and explained that this is a highly contract and what is alone in any track. It all depends on what type of joining your playing for a commercial track. Your three x by Chris Brown is a perfect example of a high energy track. I'm only gonna play skipper of it because obviously I don't want to get in French by copyright. So as you can probably tell right from that small snippet that it is a quite high energy track, this next track is what I would call a low energy track. It has got a lower BPM than the previous track, but you can also tell not just by the BPM, but also by how they this song is constructed and by the lyrics that it definitely does not have the same God as the previous track. Take it. I tiu. I'm way too good todo you take my love. As you can tell by this dry track that is definitely going different. Lower Bob in the previous track. If you wanted to bring the crowd down, for instance, and I wouldn't say destroy the energy of the room but definitely changed the Marine Environment room. This would be a good track to drop down into. However, as I said before, using transition tracks is probably the best way to do this. If you find that your set is getting styled and that you're not getting the same reactions out of people that you were when you started the more higher Energy Party or set. So, for instance, say, If you played that previous song, get three X by Chris Brown, and it was absolutely going off. They were throwing their hands in the end. You playing a similar track to that which you know does really well. But you don't get the same reaction it might be because people aren't really feeling that high energy anymore. And you might need to take change. John Heard's to Do that, and the best weight changed genres is through transition tracks, which I've already mentioned previously. If you don't have a transition track, that's fine. There are ways of doing that, which will cover in another part another episode. However, for his part, we're just gonna talk about the actual track, your selecting itself. So say, for instance, we go from yet three X to change genres. You could change even though yet three X is an R and B slash hip hop track. You could move into playing R and B, going down a line into 75 BPM playing something like whatever you like by T I or you can do the opposite and go higher up. Move from 1 30 bpm, which is what Chris Brown's track is into, say, I actually can't say the word because it bridges the temps in conditions of school share. But in in Paris by Kanye West. If you know that song, then you know what I'm talking about in Paris is a song which is 1:40 p.m. It's a lot more faster, lot quicker, that definitely get the crowd moving a little bit quicker. I would use this a lot towards the end of Set, posed to the start set with this region change genres and may even move into cheesy attracts and rock tracks such as Kiss or three fighters and stuff like that to completely change the vibe of the room. What these do is essentially breaks just set up a little bit. It might shall set a little less predictable, and it also just people who might not have bean enjoying your music, something that I might enjoy. The biggest problem with deejaying is that you will never, ever, ever please everyone in the room doesn't matter how good you are. So you can go from playing hip hop at ST 80 BPM and go into playing. Switch our mind or going into Mr Bright Side or something like that. These obviously I'm using really well known common examples here. You can use this to go into other genres that other people that may not have been drawing the rest of your set might enjoy so that 20% of people that were enjoying it you've now got them on board and you've got them dancing and moving a little bit more and you can play a couple of rock tracks, play a couple cheesy tracks or you can go play something else in order pens on to see what type of stylist said you're playing. But at the end of the day, to mix a track up mixes set up by using mashups and bright lights and stuff like that definitely help. The difference between a good D. J in a bad D. J is someone here is able to mix it up, keep it fresh appeal to the most amount of people, but also not play the radio edit of all the cheesy tracks and just think call out a day. It is not a good sign if someone comes to the same party event venue every single week and they're able to pick out five songs from now whether they're going to get this particular song words particular song, do you just need to keep it fresh on DNA using mashups it and it's do help but be inundated also, obviously, always comes down to your song selection and selecting songs that people may not have heard in the warm up. If you're talking about a genre specific set, so so you're applying it. How set or a base set? Or try and base Whatever the case may be and you're not paying commercial, open format set, there is ways to do this, and the way to do this is actually apply classics. That particular genre. So, for instance, a classic house trap would be Lola's thing. Or you can play another track like music. Sounds better with you or drop the pressure by my life. You know, always different sort of classic house tracks would be worked really well. If you need a freshen up your set a little bit in terms of bass tracks. You can always go back to the original Skrillex dubstep tracks, which may dump step coming to the mainstream back in 2000. 12,011 you can always use is from or throwback based tracks. If you want to go back to the nineties and play old school drum and bass, go back in place. An old pendulums. Things like that. They always good ways to break up your set. If you're playing a genre specific set and you don't have the luxury of jumping around completely to a cheesy track, playing songs of people I'm not expecting is one thing. But also playing songs which people can connect to is really important. You also want to try and play songs, which have a heavy singalong element. It doesn't matter what your honor you're playing. You're always gonna want to have at least some tracks which have a vital element to it. Because vocals tell a story, and using vocal tracks can definitely break up your set. If they have a right down along vocal breakdown, especially entrance, you have the option of having that long broke all breakdown and people could sing along to it and pull that art. Essentially. Also, there is dense orientated tracks, a dance tracks or tracks in general, but have a particular dance for it. Arconic Dancing like the Macarena. We will rock you What I like about you, obviously very cheesy tracks, but things tracks have particular dance moves attached with them, which people can resonate with. And it is very cool when you're playing an event and you play a song and everyone's doing the same dance. Unless it's Gundam star don't play Gundam star. That's a terrible track. Never, ever Blake on them. Start finally, to end this lesson off with. One thing I can recommend you doing is creating that, whether you know how to use that Wilson or not, or finding a track which completely breaks or dance full this track rule, be able to determine whether or not you should be going in a particular direction or not. Usually, it's a cheesy track or vocal track that just tells you what your audience is doing. If the audience responds really well to it been great. You've just kicked that started your dance, for if it doesn't know and it's more finding out, if a dozen, then you at least you know that doesn't matter what you play at this particular stage. They're just not gonna dance. And these testing or branching in track breakers or separators definitely help determining where dance glories in your set. My name is bring and thank you for watching this lesson. We still have a couple more to go, so make sure to click next and I'll see you in the next one by 8. How to DJ 101 - Part 7: How to Improve Your DJ Skills: So you've been watching this for a while and you sort of getting the candle of how to mix and had a deejay. This lesson is gonna be the final listen of this series, and it's gonna cover how to improve your skills both in mixing and song selection quickly. Well, the first and most obvious thing it's like any skill on hobby is that you need to practice . You cannot be great at mixing, scratching or turn tabal ism or anything like that until you practice this. Also, gone goes to song selection and building your music library. You will not know how to pick the next song unless you start deejaying in front of crowds and you won't know what works until you do. You might have a small inclination, however, being that guy at the party saying I have a really good Spotify playlist really doesn't cut it because the crowds change over time and different vibes and different people with different demographics coming into a venue definitely do change what you play. This is why DJs will never, ever lose work, because Spotify playlists and D J software will never be able to read a room like a D. J can. Some quick ways in orderto expedite your learning curve is to record your mixers. Now, we did go over this in a previous episode. However, with this you can record your mix, then listen to it in the car, listening to it at work or listen to it anywhere, really, And you will be able to learn which parts of your mixed didn't really sound very well. They might have sound really good when you're mixing. You might have thought all this loop sounds really cool. This effect look sounds really cool. However, when you listen to it back, you might go all maybe not. Or maybe Wow, that actually sounds really cool. Or contribute inspiration to try a new technique. Or try something new on the effects panel of your mixer that you may not have thought of before. You might also learn that certain tracks don't work well together, usually because they're completely different case or different PM's or different drummers. You'll learn what works and what doesn't over time. The second recommendation I can give you is to listen to other DJs. Watch what they do. Usually, most DJs don't mind if you date. What if you watch what they're actually doing behind the Gex? Give them their space but listen and watched. Other DJs have been doing a lot longer than you play, especially if it's a deejay that you listen to that sits. Then, you think, are I'd really love to place sets like how he or she does that. Go to this set, support them, and you will make good connections out of it as well. But listen to how I do it and learn from them. It's the most quickest way to build your skills because you will learn techniques from different DJs. Over time, you can learn them at your local clubs from local DJs, or you can learn them from your favorite artists. And this goes into my third point watch live deejay streams from your favorite artists and look at how they're interacting with the mixer and the CJ. Some of them you might even find out that they're just using the Sync button on the CD Js and there no, actually, mixing it all. I mean, it is a bit of a bump when you find that out, but you do learn how to mix better by watching other people laid back. Look is a really good D J to watch because he doesn't all of his mixing life, and he doesn't pick all of his songs and events as well. You'll find some artists do that. They're usually artists that go into Dejiang so they can tour and make money. But usually those type of artists just select their playlist before they're set and then go with it. That's no real deejay. Anyone considered pre selected and play in front of 20,000 people, you know, to me, that's not real deejaying. The best way to learn is the learn off DJs who are actually mixing and playing each song as it comes up. Another way to really expedite your skills is Teoh not just makes the same songs over and over and over again. You might get really good at those songs, but at the other day, you got gonna mix different genres. Eventually doesn't matter if you are based deejay or your house data. You'll end up mixing different songs, which are a little bit out of your comfort zone. So try mixing different drummers, different baby EMS, different styles, different sounds, you'll be surprised how much you learn about different ways to mix as well, and you can also gives you better insights on how to make so shorter's. Should you ever have to? If you're in open format Day J, especially if you have to mix a different genre that you're not used to, you already have a list of little bit of experience and how to mix up Jonah. My final piece of advice is you do need to actually apply in front of people. I know that it might be very daunting to play in front of people and to be the center of attention, especially if you're an introvert. However, you will not gain the experience of learning what song comes next and what's best for the crab next, unless you actually go out and do it. You don't have to always charge money, Teoh Dangi, especially when you're only got a few sets under your belt. But if you learn how to deejay by doing functions by doing kids birthday parties, things like that is a really great way to start. Remember, if you're just starting, you have nothing to be arrogant about. Don't go into a club when you only played maybe one or two in house bodies and expect that they're gonna book you because nine times out of 10 unless you've got a couple 100 people following you and I'm gonna come to your sets, they're not even gonna want Bother. Build your experience up first playing the smaller parties and then build up to playing the bigger events, the biggest festivals, the bigger clubs, bigger bars, things like that. You need to start small before you can go higher, and you need to build your skill base up. So learn how to do that first. This is the end of this episode is very short episode. There are a few things that you do need to do in order to expedite that curve from that includes practicing, practicing, practicing, playing in front of other people. You also need to record your mixes and listen back to them separately. Plus, getting feedback is maybe one thing. But I wouldn't get them from normal people because they won't understand the technical side of it. But getting feedback from other DJs and also going to your local DJs and learning from them . You will also create a great network from it which will cover in future videos. And it is a great way to learn quickly because these DJs been playing a lot longer than you and they have no one tips tricks. And I can tell you what you are doing wrong and expedite your skills a lot better. My name is Bryn. Catch you later. 9. How to DJ 101 - Conclusion: Hi. This is the end of the day. J course like to thank you for watching these videos. I put together this quick conclusion videos to wrap up what we've got over. We've gone over what a d. J is and what it isn't. We've also covered how to mix songs from one to another. We've learned how to go through playlists, how to play list and put your songs together so that you know where they are when you start mixing. We've also gone into how to record mixes as well, so that you can go back and listen to your mixes and expedite the learning curve and learn from previous mistakes that you may have made when you've been mixing and you just didn't hear it at the time. If you follow these episodes and you're listening to learn, even if you learn a little bit, I'll be happy and really glad If you go through and record a little bit of your mix and send it through 2 May, I will be happy to have a listen to you and give you feedback. If you have any comments, questions about anything that I've talked about, where you want a delving deeper into certain topics, then for afraid to hit up me up in the comments of message. But I'm always happy to get back Teoh potential students and help you guys move forward and develop your deejay skills. You don't have to be wanting to go into clubs and bars or even play events. Just want toe. Learn how to mix in your own time for a bit of fun. That's totally fine. And if you want to continue your skills and get better at it than yes, please message me because I'd love to hear from you. My name is Brennan, and I will see you in the next episodes and in any future courses I do by