Most big DJs were part of an event early on, like Pete Tong‘s Family Function, and Kenny “Dope” Gonzalez‘s Masters at Work parties. DJ Smash and DJ Nickodemus were part of NYC’s Giant Step, and Jason Bentley was part of LA’s Bossanova.

Step 1: Find A Need or Niche and Fill It

Finding a need or niche has two aspects: the music and the atmosphere, or “vibe.” Sometimes, the need is musical, other times, it’s merely the presentation or experience that’s lacking.

For example, there are always new types of dance music coming into existence – is there a new one that interests you, and that’s not represented in your local nightlife? Or maybe you have an idea for a memorable venue that offers more to do at an event than just listen to a DJ and drink? Figure out what you can bring to the scene. Do something that stands out, do something that people have been wanting, and everyone will remember your event.

Although most people probably know Jason Bentley‘s name from his association with KCRW (his show Metropolis was the first on the station to focus on forward-looking electronic music), he cemented his reputation by starting a club-night with other local DJs where you could dance to music he’d championed on the show. Eventually, they began to feature guest DJs whose music listeners had been hearing on the radio.

The event that people now know as Bossanova wasn’t playing music you couldn’t hear elsewhere, but it did allow people to come out and dance. Normally, other spots playing that music were non-dance locations (e.g., bars, restaurants, lounges), or events held in underground locations (e.g., raves, private parties). What Bentley and co. did was present the music in a more convenient setting for their audience.

In contrast, Pete Tong (now of BBC‘s Essential Mix) started out putting on events and later moved into radio. Pete made his name finding new music, so it was natural for him to move into radio, and consequently, his shows became the pre-clubbing staple for those getting ready to go out.

Kenny “Dope” Gonzalez played successful parties, and then got into music production, as did fellow New Yorkers, DJ Smash and Nickodemus. Because they started out as party DJs, they brought their DJ sensibility to the music they made. All of them are now in demand as both DJs and producers.

Step 2: Get to Know The Scene
Going out to familiarize yourself with the events and people that make up the nightlife in your area is intimately related to “finding and filling” the need or niche you’ll choose. You can’t fill a need if you don’t know what is or is not going on already. For instance, you need get a sense of which nights different events are happening on and of who is going to them. You don’t want to put on a new night of deep house on the same day of the week as the best-attended event of that kind.

Often, the best way to find this stuff out is by looking for club/event flyers. Music shops are the default place to look for these, but also go to clothing stores, cafes and any place where club-goers tend to hang out. Grab several flyers (the ones that look good and the ones that don’t), and do your research checking websites, MySpace, and Facebook pages.

When looking at flyers and profiles, pay close attention to names you see a lot and note who or what their associations are-often these people are the “movers & shakers” in the scene. Also analyze what gets your attention on the flyer and what doesn’t, because when you design your publicity campaign, you want to use all the techniques that make an event look hot on paper.

When you go to events, pay close attention to the elements you think work well, and the ones that do not-as with the promotional material, both the dos and don’ts are important.

DJ T-Bird

Meet the people who are involved in putting the nights on-promoters and DJs alike. You can never know too many people, and understanding how they all fit into your scene is important. If you need help with something, you want to know who the “go-to” people are.

Step 3: Promote Your Event

To put on an amazing party, you must have great promotion, a good vibe, a good venue, and good music. Notice that music is last and promotion is first-the most important thing when it comes to parties is promotion. Promote constantly! I cannot stress this enough. If no one comes to your party, then it’s a flop by default. There’s no way around this one, you have got to have a good turnout.

Once your date & venue are set, even before you have flyers or other promotional material, let people know when and where you’re going to hold your event. People’s memories are short and even your best friends need notice and reminding.

If you don’t have a lot of friends, find people who do, and figure out how to get them excited about your event. You need them to tell their friends, and get those friends telling other people that you may not even know or have access to. It’s long been said that “word of mouth is the best advertising,” and it’s true. Keep the event, date, and venue fresh in people’s minds often enough to remind them, but know when to draw the line. It is possible to over-promote, and annoy people into non-attendance.

Once you’ve got promo under control, it’s time to start to focus on actually putting on a great event!

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Tony Ustel, an up-and-coming Canadian DJ who performs under the name King Cobra, remembers the first time he realized that he was watching a VJ at work. “I always thought that people used an edit program to make the images, then put it on a DVD synced to a beat timer,” he says, “then I started to really understand what the VJ was doing, creating eyes for the music.”

Creating eyes for music, windows into the soul of a beat, is an art that VJs are constantly trying to perfect. “There is so much development going on in the audio-visual world right now,” says VJ PO-MO, known by the light of day as Meghan Athavale, “The only limit at this point is the human imagination.”

Don’t worry wannabees! When PO-MO – who specializes in syncing her own animations to music – says that imagination is the only limit, she’s not speaking from a lofty place of unlimited liquidity. Rather, she’s saying that you don’t need a big budget to be an innovator.

VJ mrghosty – a colleague of PO-MO‘s whose craft leans towards playing with found and manipulated footage – has been building his own rig for years using equipment found at antique stores and flea markets. “I was mainly using a bunch of VCRs running through a mixer, with my computer running clips that I could mix a little bit to the rhythm,” says mrghosty of his first setup. ”I then started modifying old analog gear like CED videodisc players so I could mix and scratch picture as well as sound.”

Mrghosty, a.k.a. Skot Deeming, now uses a considerably lighter rig – a dual laptop configuration run through a vintage analogue mixer – but his DIY approach remains intact. “I’m very much someone who tries to use what I have at hand,” he says. “I mod and hack the gear a bit to get it to do what I want, rather than spend the money on the very expensive gear that can be found out there for VJing.”

DIY Inventors

Although the market for pricy VJ gear is booming, the home workshop is the place where much of the development in audio visualization is happening. “Our programmer built a multi-touch surface in an afternoon using materials he found around his apartment,” says PO-MO. “I learned to make a huge back-projection screen out of $5 worth of wax paper. Skot has rigged up LED throwies and modified controllers made out of used and found equipment.”

“We’re also currently working on our own portable outdoor screen design,” mrghosty adds. ”On several actually. Screens are also really expensive. In a pinch hang a white sheet. I got a couple at a thrift store and bleached them. They’re handy to have around.”

Good to know you don’t need a fat wallet to be part of building the future of VJing. But do you have to be as scarily smart with technology as these VJs sound? “Patience is more important than technical knowledge,” PO-MO reassures us. “Technology inspires us to find ways to express ourselves creatively, and that forces us to add to what we already know.”

Audience Interactivity

So what does the future hold for idea-heavy, cash-poor VJs of varying technical know-how? “Adding elements that the audience can interact with rather than simply watching is something I’m very much interested in,” says mrghosty. ”Imagine that we could do our mix visually, but with elements of these visuals being controlled by the audience.”

PO-MO notes that this is already being experimented with at large-scale events like Shambala. “Motion sensors and other interface devices are being used to alter the visual show, so it’s different every time,” she says. And not surprisingly, DJs love it. “It gives the audience a full spectrum of delight,” says King Cobra, “and it gives them a bigger push to get on the dance floor. Since I started playing with a VJ, the floor dancers have doubled.”

Working with Environmental Factors

Another emerging trend is the development of technologies and visual styles that take advantage of otherwise inhibiting environmental factors. While VJs often complain about too much light or smoke in a venue ruining a visual performance, PO-MO uses these elements to add depth and texture to her show. “One of the things I’ve been playing around with is projecting into mist or fog,” she explains. “Certain colors in the spectrum seem closer because they reflect from those mediums better. If I animate a swimming fish and change its color and size gradually, I can simulate it moving in 3D through the fog.”

Evolution on a Budget
PO-MO‘s description creates quite the mental image of a future when concert-goers may find themselves not only staring into the eyes of the music, but actually moving through the mind of the beat, displayed visually all around them. Looks like your mom might have been right when she said you don’t need drugs to have fun.

Blurring the Line between Audio and Visual

For his part, mrghosty envisions a future where audio and video collaboration blends. “The integration of audio/video sampling is a great direction to head in.  Actually taking what we’re doing and adding music/audio samples from our end while we play would add an extra element of interactivity with whomever we’re playing with. This has been going on for sometime, with older a/v performance groups like EBN (Emergency Broadcast Network), Coldcut Crew, and some others.  When a show becomes integrated with picture and sound being produced by everyone on stage; well, I think that’s an incredible thing.”

That would make for some interesting sounds, but what do musicians think of VJs contributing audio? King Cobra, who performs regularly with mrghosty, doesn’t feel threatened. “Skot and I are more like collaboration. He has been my only VJ; he has based all his images to what I play. I think they call it band practice,” King Cobra laughs. “For us, the set-up is easy and so far, I’ve never felt crowded onstage.”

Noise and Light

Can you picture it? A future where going to a concert or club is like stepping into a virtual reality of synchronized sound and color; a ghostly neon creature slithers past you at shoulder-height; a palm-sized LED light given to you upon entry projects tiny birds onto the ceiling that swoop and flutter in time to your dancing; onstage, the performers call to each other in waves of noise and picture like marine mammals seeking each other out across the ocean.

The pressure of creativity pushing up against budget and technology is fueling the evolution of visual performance. But are there limits? Will concert-goers rebel as traditional forms of entertainment morph and shift? Will musicians balk against become part of, rather than central to, a live performance? At Sonic Weekly, we’d love to hear your thoughts on VJs and the directions in which visual performances are headed. Have your say in the new VJ section of the Sound-Off Forums…

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You’ve decided to be a DJ and perfect your skills. You’ve gotten your music, and gear or access to it. You’ve practiced so that your mixes are too smooth for even Sasha & Digweed to notice where one track ends and the next begins. Your flares & crab-scratches impress Q-Bert. This is all good, but how about your skills with handling requests? There are many important things you need to know to be a truly skilled DJ and we’ll discuss some of them here. Today we tackle requests.

Requests are something every DJ has to deal with, so it’s best to expect to receive requests until the day you hang up your headphones for good, which means you’ve got to learn the best way to handle them. Even if you reach superstar level (i.e., the crowd is paying money because your name is on top of the marquee, you need an escort to enter the club, and there’s a real “backstage” area), there are still people who can approach you and make a request, such as the venue owner, or the promoter who hired you.

The most important thing to keep in mind is: no matter what the request or how it’s presented, do not take it personally. If you’re a DJ who “doesn’t take requests,” there are still polite ways to decline without shutting people down. Remember, DJs (as a group) still have a questionable reputation with many people. Unnecessary curtness doesn’t help our cause.

Typical Request Scenarios

Most commonly, DJs tend to think of requests in terms of songs/groups/genres. “Do you have ‘song x’?” “Can you play something by ‘group y’?” “Are you going to play ‘genre z’?” These are easy enough to handle with a response such as, “Sure, I have ‘xyz’ and I’ll see if I can fit it in.”

I differ from many DJs who will tell you to always say “yes.” I only recommend saying “yes” if that response is actually true. If you don’t have the song or even if you do but don’t want to play it, an apologetic “Sorry!” will usually do the trick. Additionally, you can mention a DJ who might play the requested song/group/genre, especially if they’ll be playing the same night as you or they’ll be playing in the same venue another night. Doing this comes across as trying to be helpful and not merely telling them to “buzz off!”

I find that the most common requests tend to be quite vague: “Do you have any good music?” “Can you play something we can dance to?” Initially, your reaction to these questions might be to take offense, but generally, the questioner doesn’t realize how this sounds to us as DJs. From their point of view, they’re asking an unprejudiced question which put more simply is this: “Will you play something I/we like or want to dance to?” Given that they are paying your salary, even if indirectly (e.g., buying drinks, being the guests of honor, etc.), there is a certain amount of justification in their desire to influence the musical direction. If you can accommodate them and still keep your self-respect and gig by doing so, why not do it? If, however, they’re asking for hardcore hip hop or techno and the music has only been playing for 15 minutes, you might have to tell them that it’s a little early in the evening for that.

Attitude is everything when telling people you cannot accommodate them. It should seem more like a professional decision than a personal choice—you have to successfully communicate, “I cannot,” as opposed to, “I will not.” If people feel like you’re refusing for personal reasons (like you think the song/band/genre sucks), they will turn on you.

Peacekeeping Duties

Dealing with conflict is an important skill you need as a DJ. Confrontation is a bad thing in our business and I recommend deflating anything that seems like a future conflict. “No More Drama” should be our motto because what we do is set and maintain an atmosphere. We should be alleviating tension by our presence as DJs, not generating it.

If you’ve been strictly advised by the venue or person who hired you about the music policy, you can always use that as your explanation for what’s played during your session, “holding your ground,” and deflecting criticism, if necessary. However, I have had gigs where everyone seemed to want to hear the one thing I was told not to play.

If what’s being requested is something I have and don’t find inappropriate, I will approach “the boss” about playing it as follows: “I’m getting a lot of requests for ‘genre/band/song x,’ what would you like me to do?” Once again, this takes the pressure off you, as often “the boss” will reply, “Just get them dancing!” But if he or she is quite firm about the prohibition, then it’s “out of your hands.” By the mere fact that you asked the host, you can tell disappointed requesters that you tried, which takes the heat out of any possible conflict.

A DJ Bag Full of Tricks

The last skill relevant to requests: music choice. For those of you who are using a computer-based system which allows you to bring your whole collection (e.g., Serato, Ableton Live, etc.), this is generally a non-issue, but you die-hard vinylists & CD jocks out there have to decide what goes with you and what stays at home.

Here’s a tip to avoid a pitfall that newbies and even a few veterans get snared by: in addition to bringing music that would be appropriate for the gig, pack some that would be “inappropriate”—it just might save you if the crowd is different than expected. By “inappropriate” I mean music that’s different than what the gig is billed as, not music that would offend or annoy the crowd. For instance, I always recommend bringing a bit of funk and disco to house or hip hop gigs. Is there anything worse than getting multiple requests for music that you own, like, and didn’t bring because “it wasn’t that kind of gig?”

As a veteran of all sorts of events (weddings, parties, clubs, corporate events, etc.), I recommend having music that will allow you to chill out the crowd, pump them up, get them dancing, and then send them home—regardless of how the job was characterized when you were booked. You may be called upon to do any or all of these at a moment’s notice.

Although it’s unfair, in the minds of many people who will be paying you, the onus is on you to get people dancing and “make the party happen.” Knowing that ahead of time should guide your choices in what you bring. Personally, I think you should always have some familiar music in your DJ bag—look into remix versions closer to your sound if you’re not a mainstream DJ.

What Makes A Great DJ

Requests are a part of the DJ life and if you come equipped with the proper attitude and music, they can be signposts as to where the crowd is gravitating “vibe-wise,” and not “annoyances.” We all get into DJing to have fun, right? Take requests in stride, be as kind as possible, and even on gigs that aren’t that much fun, you will come across as being a skilled professional.

What’s your most awkward request story? Tell us, or let us know if you’ve got a question for our resident DJing expert, in the SW forums!

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In the club scene, many DJs think that sacrificing their hearing for the love of the crowd is a small price to pay. Three west coast DJs talked to Sonic Weekly about ear protection and sound regulation, and why the status quo is sound over safety.

“The Louder the Better”

Hearing loss has been a serious problem in the club scene for years. With big speakers and small venues, the probability of damaging your hearing is pretty high. Blasting your ears with electronic dance music on a consistent basis will eventually cause damage to your ears, and could worsen a pre-existing hearing problem.

Most music venues have an average decibel level of 110 to 120 dB, and at times up to 140. Any exposure to sound over 120 decibels for more than 7 and a half minutes will cause irreversible hearing loss. When you consider the fact that a gunshot at the peak of its volume is 140 to 170 decibels, it puts the magnitude of this much sound into perspective.

DJs and club goers are especially at risk for damaging their hearing, and yet it seems that very few are concerned. In a culture that feeds into cultivating style over personal health and safety, there are many who scoff at the idea of earplugs. Although concern over hearing loss in the club scene is growing, the reality is that changing the behavior of people rarely happens overnight. And for some DJs, hearing loss isn’t reason enough to mess with a good thing.

“I Want Them To Feel It”

DJ Rugged is an underground DJ from Orange County, California, who spins a unique blend of hip-hop and hardcore. We wanted to find out about the role he plays concerning sound awareness and sound protection for his audience. Rugged says that often, different venues he spins at have mandatory sound checks. “It’s usually the club owner, you know? But sometimes I’ll use my own buddies to do quick sound check. I’ll send them out on the dance floor to tell me if it seems too loud.”

When asked how he knows if music is too loud for the audience, he says, “I think it’s up to the audience. They can stand in front by the speakers if they want, or be in the back. It doesn’t really concern me. In my mind, the louder the better.”

Rugged seems to endorse the idea of his audience using ear protection, but isn’t overly excited about the concept. “I think it’s cool. If people want to be safe and use ear plugs then more power to them. I have a few buddies that wear them. But it’s really not a huge deal to me.” He goes on to say, “I look at it like this: either you dig my music or you don’t. If people out there can enjoy my music with earplugs in, then I’m all for it.”

When asked whether he was concerned about his hearing due to constant exposure to loud music, he said, “I am concerned, but if I’m at a show I tend to not really think about it. I get caught up in the moment and earplugs are kind of the last thing on my mind.” Rugged believes there is a direct correlation between the level of sound he plays his music at, and the audience’s involvement and enjoyment of the show. “When I play shit with a heavy bass-line, I want it loud so people can be like, ‘Oh shit, I’m digging this beat.’ I really want them to feel it.”

We asked Rugged if he blasts the volume when he listens to music at home. “I do always,” he confirmed. “I have to be able to feel that bass-line. It makes it easier for me to hear the transitions and the beat when it’s really loud. It also helps me decide if I like the beats that I made or if they need work.”

“I’m a Terrible Example”

Citizen Ten

Citizen Ten is a DJ out of San Francisco who spins electronic and hip-hop beats, as well as some rare soul and international. He has an entertaining and different take than DJ Rugged on the issue of ear protection. During Citizen Ten’s early years of spinning at shows, worry about hearing loss seemed to be a non-issue. However, after speaking with him, it became clear that hearing damage has begun to impact his life and career as a DJ. He’s decided it’s time to protect the most valued assets to his career, his ears. “I’ve been irresponsibly damaging my hearing since I was a teenager rocking out at punk shows and I still don’t wear ear plugs,” he admits. “I should. Everyone should.”

When asked about any personal hearing loss over the years, Citizen Ten said, “Oh yeah, it has definitely caught up with me. My girlfriend will be standing in the same room as me and asking me something, and I literally have to ask her, ‘What?’ two or three times before I can hear what she’s saying. It sucks.”

As his hearing has diminished, he seems much more eager to embrace new technology to save the hearing he has left. “I’ve been meaning to get those pro custom ear plugs that reduce, like, everything, but haven’t gotten around to it. I’m a terrible example. I recommend them to everyone. I’ll make my kids wear ‘em one day. My hearing is getting worse and worse and there’s no doubt in my mind it’s from DJing and all around rocking out way too hard.”

“Earplugs, Earplugs, Earplugs”

ListenHear - Musicians Filtered Earplugs

When asked if he had ever seen the cult classic movie, It’s All Gone Pete Tong—a movie about a famous DJ that goes completely deaf—Citizen Ten replied, “From what I’ve gathered, it’s an extremely true scenario. It’s happening to me now – but not on that level. The messed up thing is that, as a DJ, if the sound system or the monitor is too loud, I have to crank up my headphones louder just to hear the next song I’m mixing in. Hence the damage. It’s a vicious cycle. I don’t think we’re going to see a massive trend towards lower levels of volume either. Ever. That being said – it’s all about decibel-cutting earplugs. Earplugs, earplugs, earplugs. I sound like my dad…”

“The Crowd Will Feel It”

DJ Mark Moreno

Finally, we spoke with Mark Moreno, a well-known DJ from Orange County CA, who spins house, electro, and hip hop. Moreno has played large-scale venues, but which of these was the loudest? “It was definitely the Home Depot Center in Los Angeles back in 2007. It was for the Jeremy McGrath Invitational and I was playing for 30,000 people each day. It was crazy loud!”

Moreno says that over the years he has noticed some hearing damage, but feels a sense of dedication to his audience as far as playing his shows at a maximum volume level. “I have noticed that my left ear has a loss of hearing since I use that side for my headphones. I don’t worry too much about it because my ears were shot from water damage, or as we say, ‘Surfers Ear.’ The kids at shows like it as loud as possible so I give it to them when the system or promoters permit. They love it.”

“I’m Not Too Worried”

Moreno seems more devoted to his audience’s satisfaction than concerned over his own possible hearing loss. He accepts hearing loss as something that just comes with the territory of being a DJ. “Like I said before, my ears are already dust from surfing, so I’m not too worried. I’m sure as the years go by I’ll have a significant amount of damage to them.”

Like Rugged, Moreno feels strongly that the volume levels of his music directly affect the crowd and their enjoyment. “I love playing with the audience on an audio level. If I’m about a hot track that I know will kill the dance floor, I’ll reduce the volume of the track playing so when the heat comes, the crowd will feel it. They love it when those 808s and four on the floors hit loud and hard.”

Why is changing the norm so difficult when it comes to listening to club music? As far as protecting your ears, maybe it’s going to take one more generation of over the hill, deaf club-goers to make the switch official. What category will you fall under: …trendy or trendsetter?  Let us know your take on DJing and hearing loss in the Sound-Off forum!”

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In essence, electronica began just like rock did—with a small grassroots movement that grew from tiny underground parties into major clubs, and eventually, total market saturation. This has naturally led to a massive selection of genres, subgenres, and nifty little hybrids. These days, however, the movement seems positioned to either fall into oblivion, or undergo an absolute rebirth. What did rock music do in a similar crisis? Musicians hit the stage and performed on the telly. They learned to distort the sound of the electric guitar, giving birth to thrash, heavy metal, punk, hardcore, rap—you name it. Shock-rock found it’s voice, and eventually hit the mainstream, no longer all that shocking. At the same time, meek and mellow emo scored equal amounts of adoring fans. This created a nice, even balance of eye-popping, anything goes stage shows, and stripped-down, back-to-basics garage sounds. The genre evolved.

So how will electronica respond to a similar identity crisis?

For answers such as these, it’s best to consult a world-famous DJ with loads of experience. That bona fide star is Kevin Bazell, better known as Kazell; a DJ who crossed the pond years ago and landed in Venice, California. He’s opened for the likes of Sasha and Digweed and headlines clubs all over the nation. When he sat down to dish with us, he first waxed poetic on the old days, when techno was the only genre and DJs actually spun vinyl. “Everything has naturally become more electronic and techie over the years,” he says. “Now you can look at the current popular music and they have elements of electronica within them. I have always had those elements in my tracks but it has always been based on the music that is of prevailing influence. I think that each genre of electronica has borrowed from one another. These days you can play a much bigger range of music than you used to be able to. When I first started DJing there was no such thing as subgenres.”

To make matters more complex, with the advent of digital music, the record industry is also a shadow of its former self. For musicians and/or producers to get recognized, they need to be able to stand out from the pack, even more so than before. Michel, an Israeli-based electronic music producer who has toured the world in support of his group Safi Connection, had this to say about the industry: “…there are so many talented producers, but in order to survive you must create a new sound, or shall I say your own signature sound. The key is to always be original.” Did you talk to this guy? Sounds so exotic. My boyfriend knows him on MySpace and asked him questions, yes – and he IS exotic! He asked me to use his real name in this, so Safi has changed to Michel, FYI.

Technological advancements have improved the sophistication of music dramatically by expanding the potential for what can be achieved. Since creating electronic beats is now a relatively easy and inexpensive home-based process, the scene has experienced an influx of new talent. Michel feels this is a mixed bag. “The progressive scene is in low times now. There was a 1000% increase in releases over the last [year-and-a-half.}] That’s a good thing, but the problem is that there is the same amount of buyers.”

Kazell has a similar view on the genre’s calamity. “Super clubs are a great opportunity for large groups of people to gather and have an amazing experience, but I feel that some of the smaller grass root parties seem to have disappeared, especially in Los Angeles. For that reason, I think it is more difficult for new DJs and producers to break in.” Translation—electronica has peaked. It’s time to up the ante.

Bear in mind that electronica is the one genre that has broken the boundaries between all others, primarily because it’s music based on technology. Yes, it’s hit the proverbial wall, highlighting every commercial product and serving as background fodder for the most benign of corporate antics. And yes, it’s true that many fans are starting to feel jaded and cynical, wondering what’s become of their beloved movement. But this hardly means electronica is about to dissipate. Michel agrees. “I think if we look around, we can see that electronic music is already everywhere, from Hollywood cinema, [to] commercials, festivals, clubs and so much more. So I think we can stay optimistic.”

Let’s go back to the world of rock—how did they handle this shift? Well, for starters, the boys began dressing-up. They donned costumes to look like glam goddesses, aliens, and even monsters, with people painting their faces and incorporating more theatrical elements into their images and live performances. Pioneers like Alice Cooper eventually paved the way for bands like Gwar and Marilyn Manson. True extremists like G.G. Allen blew our minds with his punk-laden outbursts and antics. So does this mean DJs and producers are about to wear wigs and chew on bats behind the decks? Yes and no.

We’ve already seen the seedlings of a visual revolution. VJing represents the next evolutionary step in the scene. Extremely popular in Europe, this video art form is finding its ground in the U.S. with pioneers like Sander Kleinenberg leading the march, VJs add a multi-media experience to the mix and DJ Kazell sees this as a good thing. “I think that performance wise there is a lot more room to grow as far as bringing in artists…on stage. That is the most interesting side of music for me. It is difficult to predict where it will all go, but I am seeing more live jamming with musicians on stage being the future.” Live music? On stage? It’s a crazy concept indeed, but it sure beats those disinterested go-go dancers. A more organic, unpredictable live experience will do the electronic scene a world of good—it might be the only way to break the chains. It’s tough to know how far it will all go in a theatrical sense, but it’s not so far-fetched to imagine DJs and their collaborating performers dressed to the hilt in dazzling threads and colorful costumes. After all, we’re a tough bunch to please, and we do demand a show.

So what’s a hesitant DJ to do in the face of all these visual shenanigans? Don’t resist my friends; you already know it’s futile.  Kazell concurs. “Honestly, I think things are changing for the better. I was pretty quick to embrace CD’s. As vinyl was phased out, I was able to get music months ahead of vinyl release.” And staying ahead of the curve granted him a huge advantage. Those who refused to change stayed obscure, while he hit the big time.

No matter how the tides shift for the electronica scene, one thing’s for certain: something’s gotta give. Genres are blurred, sales are maxed, and fans are feeling downright bored. It’s not all bad news, though—as the electronic sounds merge with other styles and help push the mainstream forward, many DJ’s are finding an increased freedom to play what they want, helping to dictate what the future holds. There’s always room for both extremes; we need them, in fact, to balance out the middle. As electronica begins to stretch into the magical fringe, be prepared to witness a whole lotta craziness. If the evolution of the genre means that DJs become VJs and club life becomes a multi-sensory explosion of sight and sound, we all come out winners. Some artists will go mainstream, while others dig deeper underground. It’s the only way to survive, and it sure beats the hell out of hearing the same beat forever more.

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Vancouver has the Rhythm Institute, South Africa has the DJ Mix Club School, and Australia has the United DJ Mixing School.  Each institution promises to educate students on core DJing skills, and some offer advice on the business side as well.  America’s top choices include the DJ Mix Academy, based in Boston, and Scratch DJ Academy, which first formed in New York in 2002 and now has branches in Miami and Los Angeles.  Scratch is by far the most prestigious, partly because of its Co-founder, the late/great “Jam Master Jay” of Run DMC fame.

Michael Cannady, Director of Business Development for Scratch, helps to shed light on whether or not such structure and format actually help to improve their students’ chances for a successful career, “Scratch DJ Academy was created to lower the barrier to entry for people interested in the art forms of DJing and music production,” he says.  This brings up an imperative point—while the club scene is littered with young hopefuls who eye DJs with envy, getting the necessary goods can be expensive and overwhelming.  But enroll in just one class at Scratch,” says Cannady, “and you’ve got the keys to the electronic kingdom.”   That’s because at Scratch, you get to use the gear.   ”[Students] are given unlimited access to our equipment while you’re enrolled,” Cannady says, “If you don’t have the money to invest in turntables or beat-making equipment, Scratch is a great way to learn basics [and at the same time get] access to the necessary equipment.”

It’s a point well made, as a class here costs far less than the purchase of an entire DJ set-up.  Courses run about $300, including “DJ boot camps” that cater to beginner, intermediate, and advanced levels.  They even feature private one-on-one sessions for about $90 per hour.  Compare that to an average of $1,000 or more to construct a full turntable, mixer, headphones, and speaker set-up, and it represents a substantial discount, provided you’re only seeking a minimal amount of training out of the gate.  Consider this a much less expensive way to discover whether or not DJing is truly your calling; it sure beats selling your equipment online at a massive loss, if and when you discover it’s just not your game.

So what do these courses teach you that your DJ buddies can’t? “Our curriculum was designed to help students learn both correctly and quickly.  It’s true that you can learn a lot of these skills from a friend who DJs or maybe even on your own, but learning from Scratch is quicker and [we] make sure you learn the right way.”

Loads of DJs had their first inspirational epiphany on a dance floor. DJ Suzanne, a house music master playing LA’s club circuit at places like The Standard and The Key Club for almost a decade, remembers her first lightning bolt moment like it was yesterday, “Josh Wink was playing, and he and his tables were suspended in the air above the crowd.  I distinctly remember standing on the dance floor, transfixed, looking up at Josh, who could have been any good DJ, but I saw him like some kind of god.  And I thought, ‘that’s what I want to do.’ ”

How does one begin the journey?  Is there any one true path to becoming a successful DJ?  Yes. Absolutely.  Like anything, you just do it.  But unlike some artistic disciplines, the good news is that the majority of what you need to know from a technical standpoint can be self-taught.

DJ Lee, owner of the record label Dionysus Records, tells of his early beginnings.  “I had suggested to a bartender friend that ’60s garage and ’70s punk shared a similar sound and someone should do a club that plays both.  He said, ‘Why don’t you do it?’  So he gave me one Thursday a month and that’s when I started.”  Fast forward twenty years and Lee can still be seen behind a pair of decks several nights a week, including clubs, weddings, house parties, and tiki events.

When you know this is your path, the first step is to take the plunge and purchase a pair of decks.  For some, that’s the light bulb moment.  Beat-matching for the first time, feeling your pulse fuse with the tunes you’re manipulating; it can feel cosmic and electrifying.  But how does one actually learn to beat match?  It’s an illustrious skill that’s rarely broken down.  DJ Suzanne gives us the skinny.

First, she says, you slap on your first record, and find the beat. Then, the process becomes a fusion of music and movement. “Count the 4/4 time, and use your body to keep the beat.  Every DJ has her/his own way, i.e. the head bob, the shoulder-shake, the foot tap, etc.  Feel the beat inside so that when you turn down the music, the beat is still moving through you.”  Next, place the second record on turntable two.  Hold [the second record] on the one (the first beat) with your hand.  Now listen again to the first record.  The beats almost always go in an eight-count.  Find the one count, and right before it begins to play, let record two begin. Give it a slight push.  Try this a few times till you get a feel for it.”

Across all DJ genres, it’s apparent that whatever your opinion, the landscape is improving.  More women are hitting the airwaves and stages than a decade ago, and while this is an outward improvement, many female DJ’s still say they’ve got a long way to go.  It seems the MTV-syndrome of hot or not has definitely taken over—if you’re at a club, watching a lady-mixer , say, Sandra Collins, you’re not just admiring her spinning, you’re also ogling her sexy outfit  That sexy label is tough to break and many women choose to embrace rather than battle it because, let’s face it, it gets them gigs.

The inspiration to become a DJ, regardless of gender or background, seems to be universal.  Melissa Marriott, an old-school Drum and Bass DJ with an impressive list of appearances and credentials, says, like so many, it all began on the dance floor.  “When I started going to raves, not everyone and their kid brother was a DJ like [like they are] now.  There was still a bit of mystery and celebrity with being a DJ.”  She went on to play for seven years, favoring a jazz-inspired style that often included a saxophonist and vocalist. But the real motivation was watching the crowd. “Being able to make people rock out is the best feeling in the world.”

But whether or not these girls really know how to rock, does the discrimination really impact their careers or can their gender actually be a benefit?  For Rebecca Sin, a well-known LA-based Techno DJ, being a woman is a good thing, “It is definitely something that has helped me out everywhere I have lived and played. In an industry that is mostly male-driven, being a female makes you stand out quite a bit more.”  It’s true the world loves to look at a pretty woman, so many promoters book a female DJ simply because they’re a novelty. This can be frustrating for a woman who wants to be known for her worth, not her hormones.  Says Marriott, “When I first started out I did feel some discrimination. There were maybe 5-10 female Drum and Bass DJ’s in regular circulation then. I often felt like a sideshow act.”  She says proving her worth every time was a necessity.  But that’s not exactly a warm welcome.

Then there’s the matter of the all-girl shows—are these an excellent showcase of talented women or another girls-on-parade display? Marriott chooses to avoid them.  “I think its great that some girls out there powwow together to support themselves but that was never my angle.  I would always be asked to play ‘girl shows’ which I continuously refused to play because I felt it took away from the music and made my being a chick some sort of gimmick to sell tickets to a show.”  On the other hand, it’s hard to know whether the promoter and clubber’s motivation is exploitive, or just plain supportive.  That’s the problem with this scene—the answer to both questions is often yes and yes.  A female DJ accepting a gig has to weigh her options.  As Marriott says, “If someone wants to put me on their lineup to push ticket sales, I would hope that they’d do so because I could rock a show not because I was a girl to stare at.  I think as time has gone on, its gotten much better. But I’ve never wanted to be someone’s favorite ‘girl DJ,’ I want to be someone’s favorite DJ.  Period.”

The genre of music can dictate the tone of the atmosphere.  For Susan Davis, a 1960’s and 70’s Garage, Beat, and Soul DJ, gender discrimination hasn’t been an issue.  “Because the music I DJ is so specialized I rarely have any conflicts with gender.”  Yet this isn’t an across-the-board declaration.  “I do find that when going to music festivals where they have DJ’s between bands there are never any female DJ’s.  [And] when I’m setting up at a club I haven’t DJ’d at before, I’ve had sound guys treat me like I don’’t know what I’m doing.”  But once they have proven themselves, these women find it’s just not a major issue to fret over.  Fortunately, discrimination, wherever present, is surmountable.  And their success is living proof.  Davis’ calendar is full at least three times a month for house parties, club gigs, and similar paying events, so she’s clearly on the path to success.

What about the notion of ageism?  Are women rejected based on a fake-ID or a few eye wrinkles? Rebecca Sin found her age to be a huge benefit. “I started playing out when I was 19. Being a female and [being] so young definitely helped me stand out. The only thing that was negative was the fact that most of my friends who were also my age couldn’t come and hear me play since most of the clubs were 21 and over.”  Mariott says  being on the other end of the age spectrum is a selling point too. “With drum and bass there’s a long history of “big upping” the original artists. The older you are and the longer you’ve been in it is actually a benefit. Being older and having paid your dues for years is worth far more then being young and fresh.”  Davis has a different, but equally unconcerned, point of view. This 37-year-old mixer doesn’t find age to be an issue. “Clubs are dark and people never guess my age so I’ve never encountered ageism.”

These days, it seems the real challenge for female DJ’s isn’t about discrimination, but having enough time.  It’s rare that a woman has a family and a club-based career.  Anne Lit, a long-time KCRW radio DJ, is about to take the plunge, and will stay on the airwaves as a mom.  But for most, having a child means succumbing to a career change.  It’s even hard to maintain a relationship, as DJing can require significant travel, as well as the constant search for new tunes and endless practice sessions.  Melissa Marriott says she became known as the “queen of the disco-nap” because her schedule kept her up all hours of the day.  An hour here or there to sleep was commonplace.  Rebecca Sin agrees. “Currently, the most challenging aspect of my career is that I’ve been traveling for work pretty much constantly since May.”

Fear over discrimination should not stop a woman from pursuing a career in the DJ realm, it’s more than possible to succeed, if you’ve got the drive and talent.  The biggest sacrifice doesn’t seem to be about dignity, but a matter of balancing the rest of life’s rewards.  Marriott knows that best.  She recently left the DJ world to focus on the rest of her life, not because she couldn’t maintain both, but because she knew it was time for a change. “I never had a relationship for longer than a few months until I stopped DJing.  I finally ended up getting on Match.com to find a man outside of the scene and have been with him for the last year,” evidence that there’s always the possibility for a happy ending,you just have to know what you’re looking for and how bad you want it.   DJing can indeed be all-consuming, whether you’re a man or a woman, but if you find the right balance, you can have it all.

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The talented mixers read the crowd, weave set-lists that tell stories, and keep the dancers pumped with their energetic stylings.  There are also the fakers, turning knobs that actually don’t impact the song in the slightest, and trying their best to fool the masses.  But the truth is the majority of people daring enough to stand in front of a crowd and control the ebb and flow of the audience, are talented musicians in their own right.  And most of them have worked tirelessly to earn their place on stages large and small.  Let’s break down the DJ types once and for all, hail a few of the real-deal talents, and hypothesize about what’s next for these mystical musicians.

A few decades ago, if you were a DJ, you were on the radio.  There wasn’t a need to beat-match, and no opportunity to “read” a sweaty dance floor.  The show normally involved a pre-programmed set list with a heavy dose of silly banter.  While still a viable career choice, today, this category of record-spinners doesn’t qualify for the new generation of rock stars.  Popular DJs instead rely more on talent and  personality, with little crossover into the beat-matching world.

Then there are exceptions like Jason Bentley of LA’s KCRW, with his velvety, deep-toned voice and massive knowledge of the electronica scene—the guy is a breakthrough does-it-all rarity.   Bentley performs live, he music supervises film and TV shows, and he has a loyal fan base for his nightly electronica public radio show.

Actually, many of today’s club, wedding, and party DJs, started out on the radio, like Eve Falcon, a dynamic mixer, producer, and vocalist, “I started DJing on the radio when I was thirteen, but I didn’t get into club DJing until about 2002.  So I’ve been a DJ for practically my whole life.”  But performing live on the radio and performing live in person are two distinct things.  For Eve, the difference is the people, “I’m different than a radio DJ for the sheer reason that I physically see and connect with my audience.”  She’s also keen on creating a masterful mix—a completely unnoticeable song transition is a serious skill, “I like to take my time with mixes so they’re generally indiscernible and they feel more like I’m switching moods than songs.   I also think my musical choices and knack for programming are pretty unique due to my radio background.”  There’s no chance for a live club DJ to hide a bad mix with voice-over and jokes, and a crowd of happy dancers can turn on you in an instant.

DJs are only as good as the last mix, and if it triggered a train-wreck—the term for a mismatched beat—they are officially on probation with the revelers.  DJs do a whole lot more than slam down a record and hit the cross-fade; this really is serious business with sky-high expectations.

Let’s be real here—there are a lot of pieces to the DJ equipment puzzle, and none of them are cheap.  So what’s an ambitious up-and-comer to do?  Listen to the experts—people that, through trial-and-error and a lot of dollar signs, have found the keys to the electronic kingdom.  This lowdown features the advice of three such seasoned smarties, all converged into a handy how-to.

There’s a fundamental question that must be answered before you set out on your shopping spree.  You know what you want to spin, but you’ve got two huge choices in the technology world—will it be digital, or vinyl?  This scorching-hot topic is debated endlessly, so you’ve no doubt given it plenty of thought.  Regardless of whether you fall in the organic camp or the new digital frontier, the fact is, cost-wise, these puppies are night and day.  Even Sarah Marie, a self-confessed “vinyl snob” who’s graced the decks at big clubs like Spundae and Avalon, admits digital is easier on the pocketbook.  “Digital tracks are usually only about $2 each, compared to the $13-$15 per record.”  So unless you’ve got deep pockets or have just inherited a massive record collection, digital is an easier choice for newbies.  Need more validation?  Edison Elektrik, a DJ veteran for over a decade who’s played with greats like John Tejada and Derrick May, says that digital allows more flexibility in a DJs sound and style, “With digital now being available anywhere, you can really buy a track from another sub-genre and experiment with your sound,” he says. “You don’t even have to buy the whole record. . . .$2 vs. $12 is a no- brainer!”

What’s the most important piece of equipment a DJ owns?  It’s not the decks, the mixer, or even the music itself.  Across the board, most DJs confess it’s their computers that mean the most to them.  Without one, everything from the latest music trends to online networking becomes virtually out-of-reach.  There’s no need to debate the Mac VS. PC issue here, because these days, almost all the popular studio-suites are compatible for both operating systems.  Either way, once you’ve secured your precious computer (all the better if it’s a laptop), it’s time to hit the pavement—online or otherwise.  What exactly do you need?  Here’s the all-important starter-list:

Decks — Technics are absolute musts for vinyl, and for digital, Pioneer gets the most props. You’ll need at least 2 to start out—diehards and serious mixers will want 3-4.

Mixers — There’s lots to choose from here, but top brands include Pioneer and Allen & Heath. Look for a 4-channel mixer to start with. No matter which brand you choose, it’s a good idea to familiarize yourself with various makes and models. When you land your gigs, you’ll likely be using a variety of mixers, so make sure to learn the basics for as many as you can muster. This will be one less issue to sweat over when you’re hovering over the decks.

Headphones/Headset — Sony or Sennheiser are good choices. These aren’t just about sound quality, but comfort too—make sure you’re not in pain after a few minutes of shifting. These suckers are about to become your best friend, so choose wisely.

Software — This isn’t a must-have for vinyl-lovers, but once you master a program like Ableton or Traktor, you will unleash your ultimate music-making and mixing power. This is especially valid for any would-be producers.

Monitor Speakers — M-Audio or Mackie are great options. Find a pair that project the subtle highs and lows of the music in a way that suits your listening-style.

Cables — Have spares, and lots of ‘em—frayed or otherwise damaged cables have ruined more than one DJ’s night.

Coffins and Cases — Being mobile is a critical element to success. Most DJs don’t cart around their equipment, but you gotta bring the music. Vinyl-lovers will definitely want to invest in a case or two. Digital-peeps—just pack up the laptop and software.

Music — Last, but certainly not least—get thee some tunes!

There are definite tricks of the trade when it comes to shopping; and don’t you dare pay retail. DJ Ubique, an electro/house/breaks DJ who’s opened for the likes of Christopher Lawrence and Satoshi Tomiie, has heaps of advice for first-time shoppers—he recommends buying equipment second-hand from internet shopping sites.  However, he warns, don’t get taken for a ride.  Buy only from reputable sellers, check their references and when in doubt, buy only from well known DJ-specific websites.

Prefer to shop in-person?  Ubique has wise-words for that avenue too.  “I’ve even printed out prices, went to Guitar Center and received a better deal than the net.”  And if you’re seriously committed and ready to buy the package deal, Ubique goes one-step further. “Buy a whole set instead of one piece of gear. It’ll be easier to drive a hard bargain if you’re ready to walk out with a higher volume.”  Lastly, don’t underestimate the power of of the internet.  At the very least, search for what you’re looking for and eyeball the lowest price as a guideline—chances are, what you see is damn-near rock-bottom.

An awesome must-have rundown is more than just a laundry list of tangible goods.  No matter how fabulous your skills and equipment may be, you’ve got to master the art of marketing as well.  DJs don’t get discovered in their bedrooms—it’s networking that gets you the gigs.  The best way to start selling yourself is—you guessed it—via the internet.  Set yourself up with a basic web site, and get those demos out.  Sarah Marie shares her secrets to getting gigs; it’s all about frequenting the places you’d like to spin at.  “Just make sure to have your business card and a demo ready when you’re out and about,” she advises.  “Also, a lot of what goes down is verbal—if you don’t follow up on your promised slot or idea of a night, then chances are it’ll fall through the cracks and nothing will come about.”  In other words, the beauty is in persistence and follow-through. Edison Elektrik, who took matters into his own hands and co-founded the MilitantSexCouncil, has this to say: “Don’t wait for others to book you… DIY, baby!”

Don’t let the amount of must-do’s distract you from the reasons you started this DJ craziness to begin with. It’s all about the music.  Maintain a sense of the big picture, and if you can’t buy the whole shebang in one swoop, prioritize and knock-’em down, one by one.  Make friends with other DJs and gobble up their hand-me-downs. Remember, too, that for every newbie hitting the scene, there’s likely a DJ throwing in the towel—keep your ears perked for such liquidations.  Be vocal, be loud, be proud—you want this, go after it. Above all, keep a sense of humor; if you’re in this for the long-haul, you’re definitely going to need it.  DJ Ubique’s must-have equipment list isn’t complete without “A six pack of Stella Artois.”  Just find your own inspiration, shop like a pro, and keep living the dream.

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