The current pandemic has definitely taught us how to be more technically versatile and being able to offer our music production sessions online is just one great example.

With travel to our studios being a challenge right now, online production sessions are a great way to begin your journey in music production or get the support you may need to finish your projects. 

Our online sessions are suitable for complete beginners looking to learn the basics of Ableton software, as well as more advanced producers looking for support with their current projects, including mixdowns, improving arrangements, processing sounds using analog gear, finding the missing ingredients to complete tracks or removing unwanted ones.

To start your online sessions, you will only need to have a computer with a webcam, Ableton software and headphones; our instructor will guide you through the rest of the set-up to ensure you can work remotely.

If you do not already have Ableton, you can download and install the trial version which gives you all the features for free for 90 days (Ableton download). 

Our online sessions are one-to-one lasting two hours, and cost just £60. 

We work with all genres of electronic music.

For more information or to get booking, please email us at info@becomeadj.co.uk.

With the pandemic in full force, dancefloors globally are sadly shut so many DJs are searching for ways to stay connected with their listeners and continue showcasing themselves. Recording and posting your mixes on socials are a great way to do both, while ensuring you keep inspiration flowing, but if you also want to be seen in addition to being heard then recording a video mix or streaming live is something you should be doing.

Of course you can just stream or record with your phone but if you're looking for professional quality, it probably won't do the trick.

Don't fret, we have you covered! 

We now offer HD video recording of your DJ mixes, free of charge when you book our DJ Studio.

Once recorded, your video DJ mix will be emailed to you, so you can stream it on Facebook, Instagram or twitch at the best time to interact with your listeners. In addition, you can reach even wider audiences by uploading your video mix to platforms such as Youtube or Vimeo.

So, why not avoid a technical headache and instead book a couple of hassle-free hours in our DJ Studio to record your video  DJ mix hassle-free. 

Our DJ Studio hire is available 7 days per week, 11am-11pm and costs just £10 per hour. If you're looking to record your video mix, please just drop us an email in advance to reserve the camera.

Book your DJ session HERE

Know someone with a passion for music, or an aspiring or experienced DJ or producer? Therefore, why not give them the perfect gift.

We offer gift vouchers for our courses and studio hire, redeemable within 6 months and with our super flexible working hours (11am to 11pm, 7-days per week) it will be easy to fit into anyone’s busy schedule. 

DJ and production lessons

From DJ lessons for complete beginners through to more advanced levels, as well as music production sessions to learn how to create a track.

Our lesson vouchers are for a one-off taster session, a few lessons or an entire course - the choice is yours! All sessions are one-to-one with an instructor and can be customised to suit knowledge, skills and experience. One two hour session costs only £60.

Studio hire

Our studios are suitable for DJs who want to record or practice on the latest equipment (Yes! we have Pioneer CDJs3000!), or producers in need of a dedicated space to work on their tracks. 

Vouchers are for the hour, at £10 per hour for both DJ and production studio hire.

To find out more or purchase vouchers get in touch: info@becomeadj.co.uk or call 02087405850

VST is short for Virtual Studio Technology, software which essentially enables you to mimic different hardware equipment used in the studio, allowing you to access virtually any instrument or effect.

VST audio plugin can process audio effects such as reverbs, delays, distortions and modulations, sending audio through the plugin itself to process the sound and create the above effects. In other words, this midi information which creates audio outputs is transformed into virtual instruments, for example, synthesizers, drum machines and samplers.

In a nutshell, VST software uses digital signal processing to transform recording studio hardware into software, allowing producers to access a wide range of instruments and effects. 

Some VSTs are already included and built into Ableton or other DAW, however, you can install external third party VST plugins to expand your effects or instruments artillery. 

Having many VST plugins is not going to make you a great producer, however, your knowledge, expertise and most important creativity will. We would advise to first really get to know well the built-in VST that comes with Ableton and once you have mastered this, to look into adding some external VSTs to help you achieve incredible results. 

As you may know, Ableton can be run on both MAC and Windows operating systems and in our opinion, Ableton is the most user-friendly and intuitive DAW, especially important for all starting out producers. 

Installing VST on Ableton: 

• Download the VST installation file from the third-party website and run the file. 

• The plug-in installer might ask you where to store the files and you can choose either default suggested folders or these examples: 

C:\Program Files\VSTPlugins - 64-bit VST2 plug-ins - for Windows

Macintosh HD:/Library/Audio/Plug-Ins/VST/ -  MAC

The default storage space can be confirmed by going to  Options - Preferences - Plug-ins

• Once you have installed the VST plugin, launch the Ableton software and go to: Preferences - Plug-ins/File Folder - Plug-In Sources and activate the folder you used to install the Plug-in into.  

• Every time you launch Ableton it scans for new plug-ins, once it’s scanned and located it will appear on your Plugins sidebar. If you can not locate it, try to rescan the Plug-ins. 

When making your tracks, samples can be a very fun and useful resource to feed your creativity, help to express your ideas and add originality to your music. Samples are small elements of recorded sounds which are re-used in new music tracks. Any recorded material can be sampled and processed, ready to include in your new creations. Samples can include elements of a song, dialogues from films, youtube clips - anything that has been recorded and catches your creative ear. Most producers would usually process the sample to create a new feel and make it fit their concept and idea, which includes techniques such as layering, equalising, repitching, and looping, to name just a few possible manipulations. After all, most of the time, used samples become unrecognisable as they are completely recontextualised. The use of samples provides the producer with endless possibilities for their idea expression.  

Finding sounds to sample isn't difficult when you know where to look. There are many websites on the net which store libraries of different recorded samples. However, if you have a particular idea and know the type of sound you are after it can feel like trying to find a needle in a haystack. 

If you would like to learn more about manipulating and processing samples or how to record your own, book our one to one Music Production sessions HERE. 

To start your sample digging, we have compiled a list of go-to website for royalty-free and easily accessible libraries.

https://freesound.org/ - FREESOUND

Freesound is a great database of audio samples recorded and uploaded by fellow users from around the world. It’s easy to use and to navigate - just type in the desired sound and explore the results. The database offers waveform previews, tags and other useful filters for an easier search. The database is completely free, however, pay attention if using samples in your tracks as some users request to be credited. 

http://bbcsfx.acropolis.org.uk/ - BBC Sound Effects

The BBC Sound Effects library is a goldmine for any sound designer or more obscure music creator. It includes an impressive 16,016 recordings under the terms of RemArc licence which means the sound effects are BBC copyrighted and you need to clear it for commercial use, but they may be used for personal, educational or research purposes. 

The sounds are organised into a vast number of categories such as atmospheres, British rail, explosions, birds, waterfalls, screams to name a few. 

https://archive.org/details/audio - Internet Audio Archive

This library is full of royalty-free original music, news broadcasts, old radio shows and even book and poetry readings. You can search the archive by year, media type, language and subject. 

http://legowelt.org/samples/ -  Legowelt

Legowelt is simply a legend, with his career spanning for over two decades. His extensive sample library is uploaded on his website and holds an expansive collection of synths and drum machines. Think about legendary vintage synths like Roland Juno 106, Kawai K4 and 1970’s Minimoog. All files come in a .zip folder and the sounds are all in 16bit WAV format. This library is a must for everybody as you truly need to browse the site and play around with some of the instruments there.

https://samplefocus.com/ - SampleFocus

This community-led library hosts thousands of audio samples. All the items are tagged and catalogued by category, timbre, mood, character and instrument which makes your searching much easier and quicker. What is more, it offers recommendations on similar sounds based on your search. 

We have a super doper exciting upgrade in the studio - new Pioneer CDJs3000. The new players offer some very good features like bigger and better touchscreen, improved jog wheel and enhanced audio quality amongst many others. But come and try it out yourself. 

DJ Studio hire available 7 days per week, 11 AM-11 PM and only £10 per hour. Book HERE

(https://www.youtube.com/watch?v=8kLWOh4Bqts&feature=youtu.be&fbclid=IwAR1e_K7Yrn4fV9w_TP-xM_fuQtoFDodvIe7ymw0nGhGCVSb3X_rkEP4p4x4)

Contents of the video:

0:00 Intro

08:16 Octaves

10:14 Tones & Semitones

11:09 Scales

12:09 Monophony vs Polyphony & Harmonics

16:00 Notation

17:00 Tonal System

18:38 Major vs. Minor Scale Formulars

19:26 Diatonic system

20:41 Pentatonic system

25:58 Tonic Supertonic Mediant Subdominant Dominant Submediant

26:49 Phrases

33:36 Dissonance vs. Consonance

36:18 Non western musical systems

42:05 Outro

​

• Take your pick from our range of industry-standard equipment. Add a third or fourth Pioneer CDJ, Technic 1210s, and/or the uncompromising analogue Allen & Heath Xone 96 mixer to your set-up. 

• We’re a family-led business with a deep-seated passion for electronic music. We share your love for music and get how important quality equipment and sound is.

• We’re proud of our roots! We’ve been teaching and supporting fellow DJs and music producers in London for over 10 years, and we were the very first to recognise the need for DJ studio hire in our beloved city.

• Our professional, friendly support and guidance is on stand by! If you need us, someone will always be available to help you out. Curious about how a particular filter works? Or perhaps need help to set up traktor? We got you!

• Record high-quality mixes with the push of a button. Give us a heads up in advance and we’ll make sure our Zoom H5 recorder is available for you.

• We also offer to video your mix in HD quality so you could stream or upload to your social channels

• Enjoy the luxury of our spacious, sound-proofed, acoustically treated studio guaranteeing the very best experience.

• On a mission to record a jingle or add MC’ing to your practice? We have two professional Rode microphones ready to go!.

• Looking to reach a wider audience through streaming? We’ll support you to get set up using our web-cam and super fast wi-fi. 

• We don’t want you to get lonely. Bring along a friend for that long-overdue B2B!

Convinced yet? Come and try us out.

Book studio hire online for only £10 per hour.

ANTØM has been learning music production with Ableton and he just released his debut EP on our in house label  - Kombinat. We have launched the label and dedicated it to emerging artists primarily learning the craft with us at our BAD studios. 

His 5-track EP catapults you head first into the depths of heavy, driving, percussive techno, where distorted broken beats and undulating grooves intoxicate the deepest corners of the brain. ANTØM draws inspiration from his roots in Italy, his current abode in Berlin and his recent time in London, the outcome of his studio time is complex and uncompromising and a solid release. 

Buy Links: 

Bandcamp

Beatport

Kombinat’s third release ‘Constitution Hill’ comes from London based Irish producer Niamh who marks her first EP with a four-track collection of driving, tripped out sounds. Nodding to her roots in Dublin’s electronic music scene which paved the way to her discovery of the rowdier side of techno which she currently revels in, this EP celebrates the beginning of her journey in production which initially started near Constitution Hill in Dublin and continues to evolve here in London.

Buy Links:

Bandcamp

Beatport

Following a solid, widely sought after EP from Ireen Amnes marking its launch in August 2018, Kombinat returns with its second release to show it really means business!

This time we welcome Fabio as Apatik with ‘Intelligenza Emotiva’, a 4-track EP exploring the dimensions of emotional intelligence. Using dark, driving drums and rhythms, emotional pads and pulsating percussions as his tools, Apatik reveals his journey and revelations, the result being a cutting-edge, stand-out release guaranteed to keep you locked in.

We are extremely proud of Fabio’s achievements and what a great first release. Support by buying, sharing, loving and caring.

DJ Gift Vouchers: DJ Courses, Music Production Courses and DJ Sudio hire 

With the holidays around the corner we wanted to remind you that we have a range of different gift vouchers available for those special people in your life who are passionate about electronic music. From DJ lessons for complete beginners through to more advanced levels, as well as music production sessions to learn how to create a track. Vouchers are for a one-off taster session, a few lessons or an entire course - the choice is yours!

All sessions are one-to-one with an instructor and can be customised to suit knowledge, skills and experience.

We also offer gift vouchers for DJ Studio hire - the perfect set up to practice and record mixes using industry standard equipment in a comfortable and spacious environment with a top notch sound system!

To find out more or purchase vouchers get in touch: info@becomeadj.co.uk or call 02087405850.

​

After a long wait the next edition of the Xone is here and you are very welcome to come and try it. Available to use during your dj studio hire or your DJing session.

All in all, the new Xone puts a modern twist on the masterful art of what the Xone:92 already provides. In other words: it takes the base of the Xone:92 we all know and love and adds updated features you need as a DJ in the tech world we live in today. This includes new dual USB ports – so two DJs can connect their own laptops at the same time, making for easy movement back and forth and access to the six channels on the mixer – and two separate headphone CUE systems. In short, it’s the perfect elements you need to set up seamless B2B sessions with other DJs.

Other new features also include a new three-band EQ added for booth output, a “Crunch” control feature to add to the list of Xone’s iconic filters and more. As put by A&H, it “Xone:96 lets you connect your whole rig, from laptops and turntables, to pedals, synths and drum machines.”

We are very exciting to announce a launch of our very own in house record label called Kombinat which is dedicated to emerging artists from the techno and experimental world and will be a great outlet for our students to release their musical creations.

And the first release is from hugely talented Ireen Amnes who is also our instructor here in the studios. ‘Duality of Self’, the debut five-track EP comes from rising techno creative, Ireen Amnes - a strong musical background, devotion to analogue machines and a number of cross-genre influences sitting behind her unique sound and style. Here, she takes us on a earnest, powerful journey through the psyche, each track portraying different stages of consciousness and understanding throughout life.

The release opens with 'Deranged', its industrial and dark techno influences providing a restrained yet intense portrayal of chaos and what can feel like the decline of sanity in the times of biggest confusion. 'Deranged' leads into 'Ambivalent', a broken-beat beauty exploring the darkness of unsurety infiltrated with the lightness of hope, its organic analogue percussions woven throughout representing an underlying struggle yet unwavering persistence in the search for truth. 'Unconscious Mind' follows - mechanical elements and unique drums depicting the busyness of the unconscious mind at work - our detachment from reality coming across through its feeling of incompleteness. Penultimately, 'Tangled in White Stripes' gives the feeling of claustrophobia - the frantic frustration of being trapped within ourselves, as if a straitjacket restrains us from liberation - making it a perfect 'let it go' release for the dance floor. Lastly, the solemn, ethereal soundscapes of 'Awake' complete the release, signifying the realisation that all of our struggles are in fact dictated by the mind - providing both relief and dejection.

Here at Become A DJ, we have a big love for teaching and mentoring people in music production. Many of our clients have been on an amazing journey through their sessions with a dedicated instructor, coming out the other side feeling proud of the tracks they have created which tell a story about who they are. I have finally opened up the mac and compiled a little library of previews of some of the works created by students during their music production sessions.

The previews are sectioned into six playlists by genre: Techno, Tech House, Deep Tech, House, Deep House, and Other and can be accessed on our Soundcloud page HERE. If you’re looking for some inspiration we would encourage you to have a listen, and feel free to share your comments.

What’s more, in August we will be launching a new record label called Kombinat, which will be dedicated to emerging artists from the techno and experimental worlds - including many of our production students. The first release will be by our instructor, Ireen Amnes and is named Duality of Self.

If you would like to get into music production or want to improve your existing skills, please get in touch to have a chat with our instructor or book in your first session.

As some of you might know apart of teaching and mentoring here at Become A DJ we are also founders and organisers of On the 5th Day project - techno events, podcast series and record label. You can head down to Facebook page to learn more HERE.

On the 5th Day events take place at an incredible venue, Corsica Studios and aim create a truly free and welcoming environment, where people from all walks of life can join together and be connected by the music they love.

Through the curation of our line-ups, we aspire to generate magical musical flow and thus truly memorable events - events which push boundaries and where artists feel free to illustrate their many different colours to a musically hungry and inquisitive crowd. Each of the artists we book, both guests and residents, are a crucial piece to a visionary puzzle which once complete, delivers a musical work of art.

You may have heard that it takes 10,000 hours to master a skill. We’re certainly not saying that you should lock yourself in the dj studio for the next 10,000 hours, but it’s without a doubt that solid practice is needed to progress and improve. 

Deliberate and mindful practice can really help you to achieve your goals thus always try to plan, prepare and monitor your performance for greater and quicker improvement. To break it down: 

• Analyse. Identify one part of your DJing that needs improvement, e.g. beat matching, set building or mixing of tracks.
•  
• Practice. Try to focus on the part that you want to improve.
•  
• Evaluate your progress.
•  
• Repeat it all again.
•  
•  

Some tips to improve your DJing practice session: 

• Cover the bpm counter on the Pioneer CDJ's screens to improve your beat matching skills. That way you will have no choice but to beat match by ear. After all, the mission is to hear and feel the music, not see it.
•  
• Record your DJjing sessions so you can listen back for things to improve on. Our Zoom h5 recorder is always available.
•  
• Try different equipment. If you are used to play using Pioneer mixer, mix it up and use a different kind. We have an Allen Heath Xone92 mixer available in the DJ studio which you can request.
•  
• Add a third Pioneer CDJ deck to your set up to perfect your skill even further.
•  
• Bring a friend and have a b2b session. It's always a lot of fun to collaborate and a b2b is a great way to learn from and inspire one other.
•  

If you do not have the equipment at home or your neighbours are simply not that into the music - we’ve got your back! Our DJ Studio is available for hire on an hourly basis, 7 days per week where you can put it all into practice and enjoy the powerful bass of our KRK Rokit 10 speakers. 

We offer discounts on hire fees for all current and previous Become a DJ students. Hire is available from one hour up to a full-day and is chargeable by the hour, at £15 p/h non-students, £10 p/h to our past or current students. A member of our team will always be around to assist you should you need help.

Available DJ equipment:

4 x Pioneer CDJs 2000nexus 

2 x Pioneer DJM900 mixer 

2 x Technics 1210's turntables 

1 x Allen & Heath Xone92 mixer

1 x Zoom H5 recorder

Each studio is fitted out with Rokit KRK 10 monitors.

Book it online: https://www.becomeadj.co.uk/dj_practice 

Throughout the years we have met, mentored and taught a lot of people throughout their djing  and music production adventour and it is always a great pleasure to see where their passion is taking them - discover and attend the gigs they play, listen to the music they release or visit parties they organise.

One of previous student at ‘Become A DJ’ Tonia Nee earlier in the year has launched Synthapise - a non-profit techno music project created to raise awareness and funds for individual causes. Her second event will take place on the 19th of May at Elektrowerkz, who’s focus is not only to provide dark, emotive techno but also to help the animals at the same time. Synthapise is donating profit created from the event to Mahouts Elephant Foundation who work to improve the welfare of captive Asian Elephants. You can view how your contribution will make a difference by not just following but also getting involved on Synthapise Facebook page HERE.

The event also supports up and coming London artists and you will be sure to see loads of familiar faces.

Line up:

Tonia Nee

Karen Wilkins

Jasmin

Ireen Amnes b2b Anirec

Claus Fuss

Sllav

Vishscale

Join for a night of conscious techno where you can enjoy the music and the atmosphere knowing that your contribution is going towards a great cause.

Our beloved London certainly deserves to be on the list of the best cities to go shopping for vinyls. Even though most of the people turn to ordering their music online, nothing can beat the feeling of going to a shop for some crate digging and being able to find some unknown and rare sounds. There are dozens of record shops spread across the capital covering every genre you can imagine, but we are going to focus on the best electronic music stores.

Third Son is the alias of techno producer and DJ Joseph Thomas Price. Born into a musical family, Joseph studied many different styles of composition from an early age. In Third Son Joseph combines throaty basslines with fluttering synths and heavy percussion and, in doing so, enraptures his audience with a unique and refined sound.

In this interview he speaks to us about his experience within the music industry, journeying from when his initial interest was piqued, to the present day DJ playing to thousands. Take note, because this kind of information can be rather difficult to come by.

From what I understand you come from a musical background. Growing up what kind of music did you listen to; did you play any instruments?

My dad was a lecturer of music at a university, so I was always exposed to classic, jazz and experimental music. Anything you would expect from traditional instruments. My first instrument was the piano and then I moved onto more obscure wind instruments, but lets not talk about that.

By thirteen I was super keen on guitar, mainly because I wanted to play solos like John Frusciante and Steve Vai. Once I reached grade 8 I began transitioning into electronic music writing.

When did you first start appreciating house and techno and what artists initially inspired?

I was really into a band called sky eats airplane. It was rock music but with gnarly electronic synth sounds and FX. I then slowly started to discover bands like Massive attack and Autechre and then had a massive phase in my teens obsessed with Amon Tobin. It’s not technically techno, but that was really the gateway for me

What and why were you inspired to start DJing and producing? Tell us a bit about your first songs and your first gig.

I’ve always made music, whether it was on the piano or when I first found fruity loops on my brothers computer when I was about 14 years old. I used to be really into ambient music, probably derived from a combination of Mike Oldfield and Boards of Canada.

I was in bands for years as a teenager, but my first DJ gig wasn’t until uni, playing in the ‘Alternative' room at a commercial club. The sound system was questionable but it gave me a chance to try out early productions in a big room. I think it’s crucial to learn how tracks translate from the studio to a club as early on as possible, and you can only really do that by playing out.

Tell us a bit more about your early production and DJing. What was your first equipment like?

Production wise, a computer, pretty much. In fact I used to love making beats with Music 2000 on the Playstation as a kid, which was essentially just compiling loops - but it was great fun.

The first DJ rig I had was actually borrowed off my best mate in uni. It was an early version of Serato, some 1210’s, and a beasty old allen and heath.

You’ve come quite far from where you started, so how do your initial gigs compare to the shows you play now? What’s been your favourite show you’ve played?

After starting out at student nights it’s nice to now be playing venues where I can play exactly what I want to. My favourite gig so far was probably Space in Sharm. There were some really great moments, especially when I was playing my own tracks. There’s no better feeling that. It’s pure gratification.

You’ve made a fresh start with Third Son, but what aliases did you release under prior to changing your pseudonym?

Third Son is my third project. Before this I was releasing music under the alias Origins Sound with the same guy who lent me those decks. That project was a crucial part of the puzzle.

New artists often struggle to have their music listened to in a crowded market. How did you go about trying to get your music heard by a wider audience?

I was lucky enough to start with Kal, my manager. We sent out demos straight away and Noir signed my first EP within pretty much a week of conception.

After that for me it was about making as much music as I possibly could without skimping on quality. Signing material to a spread of labels early on certainly helped in getting off the ground, but it’s true - it is hard for young artists as there’s so much noise out there. That said, we’re now better equipped than ever before. Getting mixes out there, locking down gig bookings, and generally being pro-active about what you want to ultimately achieve will help your music find the right people.

Contacts can be very important within the music industry. Did you have any useful contacts before you started working in a more professional capacity?

Actually no, my contact list was pretty poor, but that’s why having a manger was so crucial for me early on.

I’m sure there are many things you wished you had been told before you were signed. What advice would you give to any budding producer or DJ?

To start with, focus on quality over originality. Trying to be original while learning the craft is impossible and you can get bogged down with the idea itself. Reach a point where you’re comfortable creating a range of sounds and original music will come as the sum of your influences.

You just moved from Bristol and are building a new studio. What has this process been like and what notable piece of equipment in the studio?

I’m now living in east London with a basement studio complete with LED ceiling (It came installed). For me the acoustic of the room is paramount, so probably my mega thick rugs and base traps. The Aira stuff is pretty fun to jam on and I have a couple of analogue keyboards, but I have so many great soft synths that I’ve used for so long now I feel I can pretty much create any sound from them e.g Arturia, Arp 2600, Jupiter 8, Sylenth 1.

You are currently signed to Sincopat. Why did you decide to sign to the label and what about their philosophy and sound attracted you to them?

I’ve always loved their music, more consistently than any other label actually. I also really like the way they work. They’re professional and uber cool guys.

You recently released your Get to the Chopper EP on Sincopat. What can we expect from you in the coming months? Any new music or exciting gigs?

Got a few follow up EPs with various labels, 303Lovers, Definitive, Underground Audio, and an EP with Einmusika that i’m looking forward to. Gigwise, I’m playing quite a bit in europe and the middle east at the moment. Doing my first India tour in November so pumped about that.

This is an easy to use guide on how to set up Traktor with our DJ Studio equipment - Pioneer DJM-900 mixer and Pioneer CDJ-2000s.

It’s important to stress that Traktor may be the first step on the road to your dream DJing career, and that once you’ve familiarised yourself with the software, you may want to move on to CDJs or vinyl so you can develop and refine your skills.

Of course, to help you feel like a real DJ it is essential that Traktor works with both a mixer and CDJs.

Before you begin to connect your laptop to the hardware you’ll need to have the correct drivers installed on your computer. The drivers for the DJM-900 can be found here: http://www.pioneerdj.com/en/support/software/djm-900nxs.

If you’re a windows user you may also want to download the drivers for the CDJ-2000s here: http://www.pioneer.eu/uk/support/software/CDJ-2000/page.html#download_189.

Once these are downloaded, plug your mac or PC into the mixer and the CDJs with three separate USB cables. If your computer doesn’t have three USB ports you will need to use a USB hub, which can be provided.

Do not plug the cables into the USB ports on the top of the CDJs, but rather, make sure you plug the square end of the cable into the back of the CDJ and the USB end into your laptop or hub. Most importantly, make sure you the hub is on.

The Setup Wizard is an invaluable tool for getting started with Traktor and Pioneer hardware. Access the wizard by first clicking on the preferences icon (the cog icon) in the top right hand corner of the screen.

The wizard is situated in the bottom left hand corner of the preferences menu, just bear in mind that if you have custom settings loaded the wizard will overwrite them. This means it may be a good idea to save your own preferences first.

When using our equipment choose the ‘yes’ option when prompted to select a hardware controller and select Pioneer as the manufacturer and the CDJ-2000 as the controller.  

If you are prompted to choose a mixer select ‘yes’ at the appropriate screen and choose Pioneer and the DJM-900nexus. You can then choose your deck preferences within Traktor.

You may also need to make sure that audio setup is configured in the correct manner. This is where you need to go if you’ve run the setup with the DJM-900 previously, but have used Traktor with another interface since. If you have already run the wizard these options should be selected. Just bear in mind that the DJM-900 should be the selected audio device in the preferences menu.

In terms of output routing just make sure your version of Traktor matches the image below.

You will also need to make sure that the correct inputs are selected on the DJM-900 itself, which is the USB option furthest to the right on each channel. For example, the knob on the right at the top of the first channel of the mixer says ‘1/2’ which corresponds to the stereo signal of the CDJ that is connected to that channel.

You will then need to select the ‘LINK’ option on the CDJs and choose Traktor. If you cannot select Traktor, you may need to go to controller manager in the preferences menu and select the CDJ-2000s.

You will then be prompted to push in the knob on the front of both CDJs to initialise Traktor and can begin playing. 

Enjoy!

Become a DJ is excited to announce a brand new weekly podcast. This podcast will air live and then be posted on our soundcloud page and promoted through social media!

The shows will feature mixes from up and coming house and techno DJs, as we look to showcase the freshest talent from London and beyond. Become a DJ will continue its tradition of promoting students and former students, whilst occasionally shifting focus to other London based acts. Rest assured - all of the mixes we will be sonorous odysseys.

Alongside these mixes we will be hosting informative interviews with industry professionals. In this segment we will be chatting to everyone from booking agents to managers, and allowing listeners to get the low down on the latest trends in an ever-changing industry. Listeners will be able to tweet their questions before the episodes, meaning that this is a genuine opportunity for any budding DJ or producer to get the inside track on how to improve their prospects within the music business.

We hope you will take the time to tune into the podcast and listen to some great content. You won’t regret it!

The main pirate stations in London I can remember listening to were Flex FM and Rinse FM. Many pirate stations were being shut down by OFCOM with a lot of people being arrested. The reason being that these stations have a close link to drug dealers and organised crime. Despite this link to crime Rinse FM gained an FM License. Although it did face opposition for a long time and only gained its FM recognition in 2010, despite it running for well over a decade. The stations owner at the time commented - "We want to be legal to say: look at our scene, look at what we're doing. We're a business, we're not criminals." 

Despite the government's disregard for these illegal stations, It’s claimed that BBC Radio One’s relaunch in the 90’s was the government's reaction to the successful ventures of these pirates. Radio One, originally a part time service, only played commercial music for only a time slot of up to 5 hours. However pirate stations didn’t have this curfew. So taking direct influence from them a few select DJ’s claimed Radio One over the course of the 90’s transforming it into a station with a wide range of genres, including underground dance music. Pete Tong began his dance music orientated show despite the genre’s controversial viewpoint in society at the time.

The internet’s underground radio stations are giving it a good go at keeping this culture alive. Trying to relive the good old days of an old fashioned shout out or rewind. Often these internet shows are only available on the FM or AM frequencies because a fan will re-broadcast it but that’s about as pirate as it will get. The social media revolutions played a huge part in the downsizing of the stations listener base. Youtube has its Music Channels, Soundcloud has its artist profiles, Facebook and Twitter can be used to share music at an incredibly high rate. So finding underground music is a lot easier now but the disposability of music is at an all time high.   

So between the Internet sucking out the culture, DAB radio taking over making it virtually impossible to hold a pirated station and OFCOM still clamping down heavily on these “criminals”. I wonder how long it is before the pirated radio station cultures of London will eventually be a thing of the past. Very few survivors will be left of it’s culture with only a few stations being granted an FM License to carry on it’s legacy. Cheerful stuff right?!

Top Trumps for DJ’s - A Real Thing 

The 90s marked the end, not only of a century, but also a millennium. The decade leading up to the year 2000 saw a lot of change and excitement. Many important events happened to shape not only the 90s but our lives since then. That change happened in every way you can imagine – politically, technologically, and culturally. With the Cold War over, Nelson Mandela free, and the Internet changing the way we work and live, the events of the 1990s provided the perfect bridge between the outrageous 80s and the dawn of the new century. Dance Music just happened to be in full swing, with the rave culture becoming more and more socially acceptable in mainstream society, the DJ was being fast tracked as the new rock star. 

So it was a natural step in the evolution of the DJ, when the highly influential record label !K7, produced a series of trading cards of some of the biggest names in electronic music in 1996. Most of these DJ’s still play out, produce and are still quite successful. Did you know, Sven Vath once played a set of 30 hours straight? Or that Richie Hawtin’s shortest set was 5 minutes? Well, you would have if you bought yourself some DJ trading cards!

The most traded product on the dance floor's of clubs in the 90’s, was very similar to that of this decade, so it’s doubtful people would go to The Hacienda each week in hope of trading Carl Cox for Carl Craig. Although you’d definitely be the heart and soul of the party if you told your newly made raver friends that Carl Cox had a collection of over 30,000 records. No doubt girl’s would flock to you hoping you would be in possession of the ever elusive Laurent Garnier card! However I think we all secretly hope that there was, and still is, a secret community at raves who actually do carry these around hoping to complete their collection of Techno pioneer trading cards.

These cards are actually quite a rare commodity now, so if you do come across a full set, it may well be a worthwhile purchase. This is the kind of thing that you would find at a car boot sale or maybe something your parents forgot about from their mysterious past as a raver and is still housed somewhere in your loft. Either way i’m incredibly happy these actually exist. 

As music lovers, we've all stumbled upon this question many times: is the DJ an artist? This is a troublesome inquiry. Of course, there is a very specific set of skills involved in DJing, yet does that per se make the DJ an artist? There is also a particular skill set that is needed to, for example, changing a flat tyre, but of course that's by no means considered an art. Is the same logic valid for DJng?

Sculptors, composersand painters are considered artists because they have learned how to master a skill, that they use in order to manifest their emotion – and that work, in turn, also resonates emotionally with their public. And if you think of it, that is also what a good DJ does. As we see it, a great DJ is someone who uses their skills to craft mixes, and in doing so they're creating something new that might or might not be made accessible to a group of people. Yes, that is definitely what we call a real DJ

A bit of history

This craft has been going on since back in the 1930s, 40s and 50s when genres like musique concrète and experimental music (think John Cage, Halim El-Dabh, and Pierre Schaeffer) used records in a similar way to today's DJs, by essentially sampling and creating a piece of music that was entirely produced by the turntable.

Turntablism is a bit more recent: it came about when the DJ mixer started playing a role in manipulating sounds from records, and therefore creating something new, too. The word was coined in 1994 by DJ Babu to describe the difference between a DJ who simply plays music and one who performs by manipulating the records and mixer to shape the sound – which coincided with the early days of hip hop Djing.

The DJ as a selector

So, at his/hers most fundamental level, a DJ picks a selection of tunes and plays them to a crowd of people. The essential goal is to make them dance. Some may argue that an iPod on shuffle mode can do the exact same thing, and an iPod is definitely not an artist, so why would a DJ be? Well, you've guessed it, folks: an iPod, or a jukebox, or a compilation CD can't make sure people keep dancing. These objects lack aesthetic judgement, and above all, the ability to read people's behaviour and emotions – and to respond to that with its own knowledge and sensibility in order to keep them satisfied.

One of the most essentials parts of DJing is the tune choice. A DJ chooses a scope of tracks that blend nicely together, keeping in mind the that his/her mixing should take listeners on a journey. If the DJ succeeds in doing this seamlessly, he/she is creating something that is nearly symphonic in its structure, with crescendos, and drama, tension and release. The shifts through light and shade, major and minor keys are not carried out randomly: they're precise decisions that embody a vision and a personal taste. The DJ is combining a) his tunes of choice, with b) what melodies go well together and c) what the crowd needs at that moment. That's a whole lot of factors to take into account while expressing yourself. Isn't that an art in itself?

Some DJs are a bit like iPods or jukeboxes though – those who focus solely on playing the hits or on playing requests. As much as we have nothing against them personally, our perspective is clear: these are not the ones that we look at as artists. Same as a paint-by-numbers painter sits at the bottom of the artistic spectrum.

The art of mixing and live editing/remixing

A DJ also uses his/her set of aptitudes to mix his/her personal music selection together in a way that simultaneously brings out the genuine magnificence of the individual pieces and at the same time create a suite of music in which the audience barely notices the transitions between tracks.

By acomplishing this feat, the DJ keeps the dance floor energy on smooth, constant flow. Mixing tracks together skilfully can also sound very beautiful when elements between two songs interact well – we all know how magical that feels, it's like a coincidence sent from the music gods. At this end of the spectrum, there is a great deal artistry and creativity involved.

Our conclusion

In our opinion, DJs are musicians, live remixers, and live producers as they take sounds, layer them, manipulate them, and present them in such a way that it becomes something entirely new from the original pieces used. The original tunes are used like instruments in a orchestra as the DJ is no longer ‘just playing music made by other people’. They can pick a tune and turn it into a hit, they can take noise and turn it into music, they can make people move when they feel like, and they can make a crowd just stop and think when they want to. There is often a message and a purpose in their sound, there is a creation of a new work of art by connecting disconnected pieces. DJs that do this are undoubtedly artists.

This is not only valid fod DJs. The same applies for producers (or any kind of musician, for that matter): a producer on the bottom end of the spectrum takes presets, loops and samples, puts them together and calls it an artistic feat - when in reality, most times it's more like a collage with no personal expression involved. On the other end of the spectrum these is emotional manifestation, structured creation, sculpted sounds, layers, arrangement, purpose, original sounds and note composition. These are ‘electronic musicians/artists’.

As House music lovers made their way inside this magical club, searching for the nearest dancefloor, each offering an epic musical journey as our DJ’s entertained the ravers right through until 6am.

Alongside our guest, Giom, 10 DJ’s hailing from the Become a DJ studios had some seriously delicious vibes cooking all night long. Amongst the DJ’s included:

Keith Hunter, Cat Hooper, Naanite, Markus Rush, Novella K, Nico, L-Plate, CO9, Mark Ellis and DJ F.L.Y.

Each DJ brought their own vibe and musicality to the crowd, each performing and mixing flawlessly, bringing their energy and passion. In turn the crowd gave back their love for the music and in both rooms hands were seen in the air, smiles were cracked and everybody left feeling elated to be a part of something special.

As we reflect on all the good times we have had there, everyone at Become A DJ wants to thank Pacha for making a lot of people’s dreams a reality. Each and every one of our students came to Become a DJ with little or no experience and to of played in this iconic club has been beyond expectation for many. This may have been the end for Pacha London, but it won't be the end of Raw Silence. The new venue will be revealed to you all very soon, so watch this space…

More photos: https://www.facebook.com/RawSilenceRecords 

So you have created a great mix, something that will rock every dance floor in the world. It will get every man, woman and child bopping their heads along for sure. However you need to record it, so those said people can put it on their Ipods and listen to it on the bus to work. At Become A DJ we have a fully equipped DJ studio, with all industry standard DJ equipment. If you want to record your set we would be more than happy to help. Just book online here:  

http://www.becomeadj.co.uk/dj_practice. Below is a brief run down on how to record your mixes using a standard Pioneer set up.

To record your mix please first download Audacity to your computer. Then download the Pioneer DJM-900 Driver software to your computer as well here. Make sure your mic input is muted/switched off on your computer.

• Connect usb from the mixer to your computer.




• The pioneer DJM-900 software should come up automatically upon connection.




• In the Mixer Output, Set USB 1/2 3/4 5/6 7/8 to REC OUT. USB Output level at -10db.




 
•  

Open Audacity

• Click FILE - preferences.




• In the Devices section change: recording - device to DJM-900.




• In the Quality section - Sample rate: 44100Hz.

                                 Sample Format: 24-bit.

• Real time conversion - Sample Rate Converter - Best Quality (Slowest)

                                 Dither - None.

• High Quality Conversion - Sample Rate Converter - Best Quality (Slowest) Dither - None.




 
•  

Devices section:

Quality section:

Now record your mix.

• Click record (The red circle) in audacity and enjoy!




 
•  

Please keep levels out the red. It will distort the mix and will not sound good in the recording.

Below are pictures of two recordings, of the same piece of music. 1st picture is not clipped (How it should look). The 2nd is clipped (how it shouldn’t look).

1.

2.

Exporting your mix.

• Click FILE - Export (to export)

• Name it and save it to where you want in the click down menu. IE. Desktop

• Choose which format in the click down menu. IE. MP3, WAV, AIFF etc.




 
•  

If you can’t save as a certain format you may be prompted to download software. Follow the instructions. Then choose which format you want.

Saving your Mix:

• Click FILE - Save Project As

• Name it and save it to where you want in the click down menu. IE. Desktop

• Don’t change the format here.




 
•  

Then locate your exported mix on your computer.

You now have a recorded mix.

Digital / Lossless formats: FLAC vs WAV

Lossless audio formats like FLAC are kind of like a ZIP for audio. When you ZIP a file, the resulting document is smaller than the initial file, and that's why we call it compressed. And when you extract it, you get the same file back. How does that work? It has been analyzed for repeating patterns so it can be saved in an optimised way. So what happens is, when you compress CD quality audio into a FLAC file, the resulting file is generally around a third smaller, but if you extract the audio out again, you will get the exact same audio file, with no data lost along the way. Although when people mention lossless audio formats they usually mean compressed formats like FLAC, WAV is also a lossless format.

So is it better to use FLAC or WAV? Well, WAV files are pretty big. Normally twice the size of FLAC. Also, they have no standard tagging system to mark he title and artist of the track, which means you need extra care when naming your file. Moreover, WAV files have no built-in error checking: if the file is corrupted you will hear the problem when playing the track, with no warning – while FLAC files have a check to make sure the file has not been corrupted.

On the other hand, WAV is supported my most software and devices, which can bring you a bit peace of mind - and a hassle-free DJing experience. Also, because this file type is not compressed, playing it won’t use up any extra processor power to decompress it. Some will tell you to skip FLACs altogether and just use WAVs. Unlike a FLAC, which has been squished down, a WAV file is an uncompressed representation of what the artist recorded in the studio. By buying WAVs, you can avoid the potential data loss incurred when the file is compressed into a FLAC - this data loss is rare, but it can happen.

So at the end of the day, if you want a perfect, infallible sound, we would recommend keeping all your tunes archived in a compressed format like FLAC. That way you can protect them against corruption, you can have them neatly tagged, and you will save a whole lot of file space. When taking tunes to a club, you can always extract your playlist to WAV or rip them to CD if you are worried about compatibility.

Digital / MP3

If you're playing out in a club, lossy formats like MP3 can lack punch, definition and clarity when compared to the original source – but if you use them 320 kps versions, made with a good codec, it's very unlikely that anyone will actually hear any difference. Keep in mind, though, that it also depends on the club system - some of the best sound systems really can sound amazingly transparent and revealing.

What has given digital DJs a bad name is those who play low rate files they have downloaded from torrent sites, as well as the many 320s out there that have been poorly ripped from vinyl or made using poor codecs. But if you 320s straight from major digital shops like Beatport, Juno and such, the track's quality won't be compromised, providing the tune was produced and mastered properly in the first place. They can be clearer than vinyl in some cases (no dust, no slightly worn needles, no flutter from the turntable, etc). For absolute crispness and clarity though, we do recommend lossless formats if you're playing digital.

Vinyl

As much as it's seen as a state-of-the-art format, the sound that you can get out of a vinyl record still depends on a number of variables. First and foremost, there's the source material - the tracks the artist laid down in the studio, and what medium they used to record. Was it analog tape? Then a vinyl pressing of that piece of music will probably sound better than a CD. Was it a laptop recording at 24 bits? Then a lossless digital file can equal the quality of the source. Second, how good is the pressing? A clean, 200-gram vinyl record sounds much superior to a thinner disc, even if the exact same source material is used. Third, there's the equipment in which your record will be played. How good is it? Think PA and mixer, but also the condition of your needles and turntables.

There's much discussion about a certain warmth, a quality only attained when playing music on vinyl. The truth is, analogue formats have a wider frequency range, which while inaudible to the human ear, do affect other sounds that we can hear. this is why vinyl has a warmer sound than you would get playing the same track from a WAV or FLAC file. In all honesty, given the perfect conditions vinyl will very likely sound better than pretty much any digital medium, even if just marginally.

How they all compare in the real world

Don't be scared though – we can safely say that as long as the tunes are well made and appropriate for the crowd, the people will dance with equal vigour regardless of the format you're playing. Just be careful: on large systems, sometimes if a DJ carelessly swaps from vinyl to digital a lot it is noticeable, particularly when they are using MP3. So keep checking the levels and the EQ and you should be fine.

Last but not least

Much of today's electronic music is made on digital platforms, using digital samples that have already had the "inaudible" bits clipped out of them when digitized. So when a track like that is pressed on vinyl, all the missing lows and highs that weren't there to begin with don't magically appear. With rock, classical, anything done by instruments that are actually put to wax before digitizing, its a different story.

But we should stress that mastering the art of mixing is something better achieved through practising with vinyl. Also, it is a classic format that really pays respect to who came before us and taught us the craft. Besides, digging lost crates in record shops is more of an unforgettable experience than browsing for tunes online... So as with all things in life, it's a trade-off. You just need to work out your priorities and go with your preferred format. No fear, just a lot of commitment!

First things first: Festival culture is very different from club culture

Music festivals take genres like techno and house (and, well, dubstep and so-called EDM) ouf of the club landscape and into parks and public spaces. They also shift the timing of the experience from night-time-into-the-break-of-dawn to the afternoon and a perhaps bit of the evening (some festivals do happen well into the am, but...not that many). And as much as music is what matters the most for us, with club culture the experience is heavily linked to an actual club setting, complete with a tight soundsystem, a great VJ or, even better, darkness, and that community vibe where we feel like we're all soldiers repping a (rather underground) cause.

With music festivals it's quite the opposite: the soundsystem may be super loud, but it's not exactly a quadriphonic Funktion One; the park, the giant LED screens, the cake in your face may be all fun and games, but ithey're far from a real club experience – ithey channel a stadium rock type of feeling rather than the intimate vibe you enjoy at a proper club night.

The truth is, the festival trend means that the majority of the new generation would rather shell out hundreds in going to festivals abroad than actually attending real, exciting club nights in their home city – and actually supporting local artists while actually having a taste of what the original club culture is all about.

Line-up quality: underground vs mainstream

We are all for people having a good time, dancing and doing whatever they want, but the trouble with festivals is – where do we draw the line when it comes to quality? For the most part, the DJs that are booked to play in big festivals are not the ones people like us, real lovers of the craft, would ever pick. They are rockstar Djs who top the charts and are a lot more worried about the stage props and laser projections than actually playing quality music using a respectable set of skills (yep, many of them play pre-recorded sets or dumb down their performace to the point of it being about “The drop”).

They are, in reality, bottom feeders of sorts, who thrive on getting people zoned out on wobblers and pitched-down vocals rather than emotion, substance and all those qualities that make music an amazing art form. The typical mainstream EDM stadium DJ does a disservice to club culture by wiping the possibilities for electronic music to be perceived as a thought-provoking genre with cultural relevance and depth. In essence, they contribute to making our culture less credible – and that's beyond frustrating, as DJing and electronic music, as fairly young art forms, have enough challenges to face as it is. Our thought? Bring more underground, respected names to these stages!

The public

What also worries us about the festival craze is that it's breeding a generation of impatient, apathic, drop-thirsty kids instead of informed, passionate music lovers. Club culture is about the journey, about the hours of build-up and the ecstasy of the peak time, when everyone is going strong and the DJ is sweating it out to keep everyone dancing until sunrise. With festivals the DJ has one or two hours to make it all happen, creating a more-is-more atmosphere where bangers are played one after another, creating a rush described by Nina Kraviz on Groove magazine as a massive orgasm. By allowing this to happen again and again, these events are educating their public into thinking that “getting it on” and waving your glow stick is enjoying yourself – when really, what they should be doing if they wated to experience club culture is they should be dancing together to great, carefully selected music for hours and hours.

Another problem is that many of the festival-goers aren't really dance music lovers – they're people who want to go out, listen to super loud, banging tracks and let go of their worries. Which is fine. But what happens then is that they often disrespect real DJs that don't fit their hard-hitting standards, like what happened recently when Jeff Mills stopped playing after being hit by a botttle at a festival in Belgium. Festival promoters need to be careful and know their audience before they make their bookings. If your line-up features Nickelback, the public probably won't like Richie Hawtin, and vice-versa.

(Most) festivals aren't about the music

...They're about the money. There, we said it. Festivals have become a proverbial field day for marketing types, who fill them with brands and clichés about what it's like to have a good time. This means that, to maximise revenue, the promoters are forced to book super mainstream acts, and that extends to the DJ world. So instead of getting the pioneers and the innovators, you get the Steve Aokis and Skrillexes the Aviicis. And of course, your music enjoyment will be clouded by lots of advertising campaigns, and reminders to use X or Y app and update your Facebook status and scan that QR code – instead of just losing yourself in the moment. That is also the antithesis of music enjoyment.

Having said this, there are a good number of festivals that really do up the bar when it comes to bookings – like Sònar in Barcelona, or Movement in Detroit. But these are festivals created by dance music aficionados who know the importance of giving people a glimpse of the future, even if it means less profit. In these festivals, you can hear a whole lot of experimental sounds and ground-breaking new artists in well-curated settings and good sound systems. These are projects that elevate the club culture to new heights instead of appropriating it and making it look ridiculous and empty.

Last but not least: the hidden effect on the DJ Culture

The rise in popularity of these events has led to suggestions of an “over-saturation” of festivals, and that there are simply too many festivals for the market to sustain. This myriad of festivals has also driven up artist fees. In a global scene with numerous promoters fighting for the services of a handful of big-name international acts, these artists have been able to demand an increase in their fees, making it unsustainable and leaving out all the younger talent that doesn't drive as much profit. 

But let's end on a positive note here - we don't want to sound like festival haters, we are not. We think festivals can be lots of fun but shouldn't be taken as a good example of how dance music works. In reality, we'd just like to start a conversation about our culture to hopefully make it evolve and be perceived by people in a fairer light.

The 13 DJ’s creating vibrations amongst the crowd spread across two rooms alongside John Monkman included - Rimus, Keith Hunter, Long Pham, Pitix, Mark Ellis, Nico, Novella-K, F.L.Y., Sodergrenade, Naanite, H!FON-G, Tim James and Ed Esquire. 

Here is how some of the guys playing described the night:

Michel aka Pitix - “A good sound system matters. After playing at Pacha for Raw Silence I couldn't deny it any longer. Sure, there were the lights and the cool venue, but what makes it a real party is the Raw Silence crowd dancing and celebrating the music…”

Katie Arnold - “My first set at Pacha has to be up there as one of the absolute highlights of my life so far. I have spent plenty of time daydreaming about playing music that I love to people, since I was a young girl. I am so happy to say that actually doing it was everything I hoped it would be, and more. Being able to not only see and hear, but to actually see people respond to the music as the energy in the room shifted, has to be up there with one of the most amazing feelings i’ve had. After a few minutes of relaxing into it, being behind the decks genuinely felt like home. I am so so happy I stuck at the course, despite a few challenges along the way, and followed my heart rather than my fears and doubts. Thank you so much to Mantas and Egle for all your hard work, dedication and support. You have helped me to bring a life-long dream to life!”

Mats - “I played my first gig at Pacha back in April and it was a truly amazing experience. The buzz was amazing and the crowd were brilliant. I was so surprised to be playing again and finding that the energy was even bigger than the first time. Everyone was in a great mood, some amazing tracks were played and you could really feel that everyone was having a great time. My set just flew by and i was having such a good time it felt like i was only up there for 5 minutes. The extra sound and smoke machines etc added to what was already an electric night with so much energy flowing. I am really looking forward to playing there again. I have no doubt that the Raw Silence crew and the crowd will make it into another unforgettable night. Hope to see you all there soon. Thanks.”

Marianno - “The Raw Silence nights at Pacha London is definitely one of my favourites. Everybodys vibe is just amazing from the very start till the end of the night. Performing there is the best, you feel you are being taking care of and your sound is really going to come through thanks to the constant improvements to their sound system. People know they are going to come and listen to an amazing crew of djs playing the best music.”

Paul Wright - “I had a epic night at Pacha. I really enjoyed playing my set and the crowd were amazing. I can't express how grateful I am to "Become A DJ" for making all this possible.”

It was a fantastic night for all those involved and the only way i could personally describe it is with a quote from the famous Friedrich Nietzsche - “those who were seen dancing were thought to be insane by those who could not hear the music”. Raw Silence came, saw and conquered with heads held high in the knowledge of another successful party.

Photos can be found here - https://www.facebook.com/RawSilenceRecords

The Raw Silence DJ’s included: Cameron Bremner/  Pitix/ Cat Hooper/ Long Pham/ Rimus/ Markus Rush/ Mark One/ Lego Las/ Sodergrenade/ Adam Dolby/ Naanite/ Patricia Marie C. These guys kept two rooms in Pacha going till 6am.

The first time DJ’s went into the DJ booth full of butterflies in their stomachs, they came away with their dreams being realised and the biggest grins on their faces. They had rocked Pacha with some heavy beats and the crowd loved it. 

Amongst the crowd were the foot shufflers, the cool guys at the bar, the girls on the platforms and plenty of House Music fans dancing the night away. In the DJ booth the headphones were on and music the only topic on anybodys minds. When Vanilla Ace turned up DJ Rimus was already creating waves amongst the crowd with his bass infused Deep House. As Vanilla Ace took to the decks the bass lines, deep euphoric melodies and drums going right through everyone flowing freely throughout the club for an hour and a half. 

Then it was time for more Raw Silence DJ’s to keep the party going till wrapping it up nicely at a respectable 6am. The sun was rising over London as pacha closed and everyone involved in the night came away happy in the knowledge of another great party by the Raw Silence team. However don’t just take our word for it, see it in the video below.

Here the track - https://www.youtube.com/watch?v=n-zUwgOiLoc&feature=youtu.be

‘Work On You’ featured as the lead track from the 19th Collected Works compilation EP series from Off Recordings. How did your track find its way into featuring within this series? 

Once I had made the track, I had a feeling it would suit OFF so sent it over to Andre Crom and he loved it after playing it out a few times. 

Why do you think this track suits Off Recordings, and how do you feel you compare to the other producers on the EP? 

OFF always put out classy pieces of house music and 'Work on You' fits nicely with the current direction and style they are going. The other producers on the EP are great and all have a certain style. I'm probably a bit more eclectic than most as I don't just sit in one genre of house or nu disco.

What was your initial mind-set going into ‘Work On You’ and what did you want from it?

I discovered the vocal on an old house acapella vinyl I have had for years, not even sure where I got it, but once I heard it I knew it would work in a jacked up bouncy vibe with a killer bass sound. 

How do you normally start your production process?

I usually start by getting some drum loops going and then fitting the vocal around it to make sure it’s going in the right direction. Once that’s done I start with the bass sound and atmospheric parts. 

Which VSTs have you used to produce this track? 

It was a mix of Arturia stuff, Mini V for bass and CS80 for the synth sounds. 

When you were creating ‘Work On You’, how long did you spend on the arrangement? 

The arrangement didn't take that long as I knew how I wanted it to be. I DJ on Serato, so I always have a good vision of how the sound wave should eventually look like. 

How did you make the main bass line? 

This took a while as I didn't want it to sound like a generic style, so I experimented with a number of ideas on the Mini V. Once I had one that had me moving in my seat, I knew I was onto a winner. 

Do you mix and master your own tracks? 

I try and do as much as I can but usually I'll send to an engineer friend to beef up and mix down properly. Mastering is usually done by the label. 

What do you do if you lose the flow and inspiration? How do you recharge? 

Have lunch! Go for a walk, check your emails. Listening to some new music helps as well. 

Did you test ‘Work On You’ out in a club before sending this version to the label?

I always test new tracks in my sets before I send to anyone, I've made the mistake in the past of sending tracks to labels without road testing them first. Gauging the audience reaction is a must, there is nothing better when someone comes and asks you what something is that you just made.

Putting the glitter ball into hard graft, ‘Work On You’ is a testament to the careful craft of fine-tuned mechanics. Made with the dancefloor at heart, it’s been tried and tested within its valentine, and even been given clubber kiss over approval before dropping on Off Recordings. A stand out amongst the EP, Vanilla Ace is clearly cooler than ice. Headlining the next Raw Silence Pacha London party on April 25, make sure you get down so Vanilla Ace can make his magic ‘Work On You’.

Hear the Track Transitons - http://www.youtube.com/watch?v=EBvVJ1Fit1s

‘Transition’ became part of the of the Crook & Cads compilation from Save You Records. How did the track end up in this selection?

I made ‘Transition’ and it was a track that I didn’t initially plan to release. It wasn’t something I had thought about as something I wanted to put out there. Just because it was something that I wanted to make, it wasn’t specifically for a label or anyone specific. I had just been messing around with bass sounds and vocals and it eventually just came together. The track was originally sent to Rob [Bradley] at Save You Records, just because I had just finished it and I thought they might like it. The initial track I sent them wasn’t really a finished version; it was more of just a sample. They liked it so I thought I would spend a bit more time on it, and progress it to where it is a finished track that was ready to play out.

Why do you think it suited Save You Records?

I think it is exactly the kind of stuff they release, it is very dubby and dark, it’s raw, the percussion is really distorted and it’s the kind of track that Save You really focus on with their techno. It’s not necessarily for the peak time of a set, you wouldn’t use it at the key moments but it’s definitely something that can build a set and a lot of DJs look for tracks like that. I certainly look for tracks like that because they are essential for building a good set, Save You are perfect for putting out tracks like that.

What was your initial mind-set going in to ‘Transition’ and what did you want from it?

The whole inspiration originally came from a bass sound that I found on Rob Papin’s Predator, I thought it sounded similar to the bass pattern used in the Jaws films because it had an intense repetitiveness to it. I played with the cut-off and the resonance until I was happy with output as my theory is always if it works in a simple loop then it will work on a full track. Another inspiration for the track came from a track I played when I was in Middlesbrough at a night called *riffraff. I was warming up for Margaret Dygas, it was a vinyl rip of a really rare track from DBX – Daniel Bell - called ‘Baby Judy’ on Accelerate. I think the vinyl is £100 on Discogs and there is only like one available. I played this vinyl ripthat someone had given me, the reaction it got was amazing and was better than anything else I had played that night. The best thing about that was that about 99% of the people there had never heard that track before because it is so rare, so to get that reaction was impressive. I was inspired to do something along those lines.

‘Transition’ is laced with vocals, where did you take the sample from?

It was a bit cheeky to be honest, it was from a really famous track by Eddie Amador called ‘House Music’. It’s a great vocal but it has been used about a million times over the last 10 years. I wanted to use it, but it had to be distorted and I did the classic thing of pitching it down. I chose to use a very small two lines of the vocal rather than using the key parts, because it was just the tone of the voice that I liked. I thought that would be enough with some effects and alterations to create an atmosphere in it. I don’t think it needs anything more than that because the tracks not about a vocal. It’s an ode to the DBX track which has a vocal in it of a similar ilk, which I think works really well. A vocal is a key part of a house or techno track, despite the instrumental that people think when they listen to it. The vocals for me are key, even if they are just a very small part of the track.

What tech did you use when you were making ‘Transition’?

The DAW I use is Logic 9, other instruments I regularly use are Trillian and Omnisphere which are both from Spectrasonics which are really good. They are both sample based but the effects they come with are really powerful. To create the bass sounds for ‘Transition’ I used Predator with some careful compression, limiting and distortion. I also added a second sine sub bass line about 3 minutes in the track to give it a low end boost. I often use the Waves package for this, mainly using L2, MaxxBass & CLA-3A. I also like the PSP warmers and D16 distortion tools. The idea for the sine stab came from the DBX track and I used the Microkorg for that. Through the development of the track the original production didn’t have the acid lead towards the end, I had something else in there but it wasn’t quite right. After speaking to Rob I bought this cheap Roland TAL-BassLine TR 303 emulator for £12, after playing around with some extra effects it’s a really good emulator. So I looped the acid bass and recorded the parameters live using an Akai MIDI controller. This gave it a much more natural feel, a little bit like you would with a real 303, instead of automating it. That was pretty much it really, then I just focused on just careful drum programming and polishing touches here and there.

You said your thoughts on the track changed throughout its development, what provoked that?

When I write a track I identify the key elements of it and utilise them as best as possible. You utilise the track parts in specific areas to make them as useful as you can. You might write a fantastic melody on the piano, and you might write a great bass groove or it might just be a really good vocal snippet that you like which can catch somebody’s ear. In ‘Transition’ it is stripped back so the bass and the vocal were definitely the key parts of the track, but when you are looking to get to around two or three minutes you can run out of steam with that. I didn’t just want the track to just stop and then carry on the same as the beginning like a lot of music does. This track needed to develop a lead, which didn’t take away from the main idea, focused around the vocal and lead bass, that’s where this 303 sound came in. Originally it didn’t have that acid sound to it, I think it adds something to the track without it necessarily changing the whole direction.

Who have you had supporting the track and playing it out?

I remember Tom Craven from Illusion Recordings played it out. I emailed it to Lee Foss and he emailed me back saying that he had already bought - which was quite a nice compliment to receive. It’s nice that he took the time to check it out. I got a lot of feedback from the up-and-coming producers which was nice - from people I was chatting to on Facebook or Soundcloud - and people were saying it was a cool track that was a little bit different, which was really nice to hear considering I started with no plans to actually put it out.

How has it influenced your productions today?

One of the things I spent a lot of time on with ‘Transition’ was my drum programming, and careful effects on my drums. I wanted to have an almost live feel to the drums, so the hats and the snare drums are very chunky and they are slightly out of time as well which gives it more of a natural feel. I have definitely taken that on board with releases I have done since, especially on my new EP which is coming out on Gruuv Records (Audiojack’s label) – giving a nod to Todd Terry’s 909 hat patterns, giving them loads of shuffle and swing. In ‘Transition’ they were programmed in a slower way, so there were really tiny adjustments between the hats and having them spread slightly differently so it would hopefully sound closer to how a drummer would sound in a studio. 

You are progressing into live sets, is this reflection of that?

Yeah definitely and I think it is reflecting on my knowledge of drum production and how a lot of people brush over it a little bit. Obviously people can use loops, they can programme a very simple drum loop and it can sound good in a club but the way to distinguish yourself is to try and create a little bit of difference in your drums. I think it’s nice if your drums have got a little bit of depth to them, rather than taking the easy way out and just sticking a loop in there or just putting hits on midi line. It is definitely something I focus on right at the start of a track.

What has made you want to start performing live?

It is something that I have always wanted to do and it is something that I have had at the back of my mind for a while. As much as I appreciate a DJ set, it’s nice to have an alternative way of playing. I think there are so many DJs now that turn up with a USB stick and play, which is absolutely fine and I do that as well but I think if I have got the option to say “If you would like to see me play live, this is also a possibility.” I have more music out now, it is an ideal way to show and play people some of the music I have made but maybe change it a little bit so it is more interesting. I haven’t decided exactly how I am going to play live yet, I have been creating loops, mastering parts and getting things ready. It is just a decision whether I use Ableton Live 9 alongside maybe Ableton’s Push, another midi controller and drum machine/synth or if I go along with the idea of using Native Instruments and use the remix decks which those guys have got an F1 controller set up with which is also a very powerful tool. I need to find out which is the best way to go for me, and that is going to take a lot of time and testing. It’s in the future, but it is definitely going to take some time.

What else will you be putting out this year?

I have got quite a bit coming out, I was working fairly hard last year. The next thing I have got coming out is a remix on Alive Recordings of Monday Club ‘Way U Do’. After that I have an EP out on Electronique, that’s got a wicked Jordan Peak remix on it. After that, around May time the Gruuv Records EP will be drop just before summer. After that in June I have an EP on Made Fresh Daily with a Sasse remix. Towards September time I have an EP on a new label called Abstract Culture, which includes a Trikk remix.

What upcoming gigs have you got booked?

On Saturday 1st March I will be playing at Building Six O2 for the Amine Edge CUFF records party and the on Friday 14th March I will be playing at Warehouse London and I have just actually been booked for Found festival in June.

‘Transition’ proves that even the most self-indulged productions can have a massive effect within the wider world. From what started as a bedroom plaything has become a staple in building and maneuvering sets that feels perfectly planted at Save You Records. Taking the plunge into live performance is a big move for Cera Alba, and is sure to make his new productions on Electonique and Groove Records even greater standouts in clubland. With his unprecedented knowledge of tech, you can expect nothing less that wizardry when that comes into materialisation. 

Working not only as DJs the pair work as composers, song writers, sound engineers, producers and also run their own label - Loco Records. With such an impressive arsenal of skills at hand, it’s no surprise that Karol XVII & MB Valence have clocked up numerous awards for their work within the scene including recognition from Beatport and DJ Mag. 

With their fingers covered in fillings from multiple selections of electronic pies, Karol XVII & MB Valence share their experiences with Become A DJ. From their very first DJ music establishments, to their incoming imprints throughout this year Karol XVII & MB Valence offer up their opinion on what they think it takes to become a DJ.

What was it that initially got you into dance music and made you want to become DJs?

Karol - Well, it's a different story for both of us. I decided to be a DJ, because the principal of the junior high school I went to asked me to take care of the sound during a musical event at my school. And so it happened. Later, I got to a club where a DJ was playing a track with a strong bass that went through me totally. Then, there was no way back. It turned out later that the bass was taken from the cult synth Roland Juno 106. 

Marek - As for me, I got fascinated by mixing techniques after I'd been raised in a spirit of dancing, because my mum worked for a dance school. There were DJs working there as well who would initially lend my mum audiotapes with music for social dances, but later with disco dances, too. My first contact with DJing was at the age of 13 when I went to a school party at my elementary school where a DJ played some crazy music I'd never heard before, because my mum's DJs hadn't given her such audiotapes. Nowadays, I often laugh at those moments, but then it was an important time to get to know music and to guide my interest in it. A few years later I met Karol who showed me how to play vinyls. He aroused my desire to deal with all that and it was then that I realised that my former trials to mix music at home by means of tape decks without any pitch control sliders were just a joke. All of a sudden, I got enchanted with gramophone records running from belt-drive turntables using slipmats made of foil and it was something that made me fall in love with DJing.

When DJing, what is the set up you request and why?

Marek - So far, we've been into the traditional way of mixing, the manual one, so it's not enough for us to have a just a “sync" and play buttons on the device. But similarly to most DJs, we're used to working on Pioneer's equipment and always request to have that set up. It's also cool to have USB ports for flash drives on the device, because we totally damaged our spinal cords carrying heavy cases full of vinyl records, so now we think that the less the better. We also need one line input for connecting an iPad docking station which allows us to make use of iPad's endless possibilities including synths sounding professional, effectors or samplers that all make our performance better. We had a little adventure with Ableton Live as well, but currently we're back to the roots of DJing, that is traditional mixing. The suspension of performing ‘live’ was caused by the necessity to convert tracks that were produced in Cubase into tracks compatible with Ableton Live which took us lots of time. It would have been different if we'd been working with Ableton at the studio, but we've been faithful to the Steinberg Company since the beginning and we're not going to change that.

How did the pairing of Karol XVII & MB Valence come together?

Karol - I used to hold a residency at one of the clubs in our city and at one time I had an idea to run a DJ workshop in order to improve the level of mixing at that time. Marek showed up at the workshop and after some time we came to the conclusion that we had similar dreams. Those were hard times with plenty of sacrifice, huge problems, but most of all our continuing struggle with the equipment, hiring a professional studio, searching for musicians for recording sessions, holding auditions for vocalists, and absolutely no access to any information. We didn't have any access to the Internet either. We focused on magazines and pieces of advice a friend of ours gave us. These days you can do it all way faster, but then there was more work than effect.

You both run Loco Records, what initially made you want to set up the label?

Karol - Initially, we decided to set up the label to license our tracks to other labels, DJ organisations etc., but then to put out our own tracks on it. We never believed we'd be able to attract such big names as Maya Jane Coles, Robert Owens as well as other top and talented artists. We also had the policy not to release our productions on labels other than ours, but we've recently changed our thinking.

As well as being label owners, DJs and producers you are composers, lyric writers and sound engineers. Do you feel a DJ needs to be multi-skilled to make it within today’s industry?

Karol - No, absolutely not. At the moment a DJ doesn't need to have any skills at all. Obviously, it's not that apparent whether they'll turn out to be successful or not. In our country there's been a change lately that you have to produce music and release tracks to be recognisable and to be able to perform as a DJ. Until recently, it was enough to become a famous DJ if you had contacts, connections and lived in the capital city of Poland. On the other hand, there was no technology that allowed laymen to mix beats, so it was a kind of verification, but you could still see a famous DJ who wasn't aware how to mix two tracks properly. 

Nowadays, everyone can be a DJ. Similarly, anyone can make a track and release it without a problem. Luckily, there are some filters on the way and not all tracks produced by means of a ‘smartphone’ are sold at digital music stores. It's hard to say if it's good or bad, because on the one hand, we'll never hear potentially brilliant ideas, but on the other hand we won't have to suffer from listening to mixture of sounds that you can't stand. However, we have to face the truth, there's loads of music and lots of people making it with no effort at all and putting it out on minor labels around the world. In terms of quality, music loses a lot through all these procedures taking into account both technical and practical aspects of the matter, because one has to know that it's extremely difficult to mix down a track at the studio.

Marek - If you begin creating a tune from scratch, each track varies and you have to put in a great deal of effort to make a coherent whole. Another thing is that it's not a problem today to buy sample packs and combine them like Lego bricks. We don't disapprove of that, provided the track is really unique afterwards. All in all, we can't forget that house originated from using ready-made sounds. On the other hand, we have to remember that those were different times. These days, making music based on ready-made loops and samples won't let you go far, because life will quickly verify the skills of such a producer. Now, it all depends on what he or she chooses. When it comes to us, we're simply happy after having created something that sounds original knowing that we did it ourselves from the very beginning, something that is well mixed down at the studio and then mastered professionally. A DJ artist doesn't have to establish a label, because it's not an obligatory stage of life for a DJ artist.

Do you find it difficult to juggle all of these professional pastimes?

Karol - This job is nothing but an enjoyable pastime. There's nothing that can bring you greater joy than the happiness of finishing up a track successfully, regardless of what kind of success this is. Whether it's commercial success, or personal success of finishing your own track. This is something that will remain for long as your creation, and if you're happy with this, it's a great pride and joy.

What parts of the production process do you find most pleasurable and most challenging?

Karol - We actually find the whole process of making music the most enjoyable of all. The fact that you can listen to the sound while making it. It doesn't matter if it's about the mastering process or looking for the perfect sound. Music is what counts and as long as you can hear it playing, it's awesome. However, when there's a cable that doesn't work or the equipment conks out for some reason that won't let us work efficiently, we simply go bonkers. 

Because of that, it might be easier to tell what the worst thing about making a tune is. It's the moment that has nothing to do with music, the one when something goes wrong with the equipment like when you have to press a mouse button twenty times to make something work. Then you feel as if you were wasting your time. When it comes to the challenge, sometimes it so happens that an idea for a track in its overall sound becomes unworkable while mixing it down at the studio. There are several reasons for that. Sometimes, blending the technical aspects with what you wish to achieve is quite difficult to merge. Unfortunately, we know that we must finish this and the final result has to be exactly as planned. Sometimes, it takes us two long weeks to deal with mixing down a track. Then it can be really challenging indeed.

What can expect to see from Karol XVII & MB Valence and Loco Records in 2014?

Karol - 2014 is going to be arduous to us again, because we took a little break from work in 2013 after four years of intense activity. This year starts with an EP on our Loco Records label. Besides that there are a couple of other releases scheduled to come out on Toolroom and Suara Records among others. In former years, we made a lot of remixes. Practically, we did them once a fortnight. We're planning to remix less, but do what we do with quality. Also, we want to do something similar with releases on Loco Records - fewer but better. Moreover, we intend to stop releasing the series of samplers entitled ‘A Four Track Sampler’ - which series appeared on Loco for a number of years and was composed of four previously unreleased tracks. We'll return to cyclic mixtapes we once did and those appeared as Deep Loco, now they're called Mixture. We're considering a possibility of releasing an album, but it's too early to decide. We'll see.

And finally the big question… What does it take to become a successful DJ/producer?

Karol - Unfortunately, we don't know the answer to this question and probably nobody will give you an objective answer here. It's as if you were told to make a hit. You can never be certain that what you've done will be of someone else's interest. This also applies to us. We have no idea why we've drawn people's attention whereas 10,000 more talented producers have been left unnoticed. This business sometimes requires you to be in the right place at the right time and simply have a bit of luck. Obviously, we receive words of recognition all the time, but that doesn't let us formulate a straight answer why someone likes our music of all available in the world.

Marek - You have to work extremely hard with no sleeping at times, but I guess everyone knows that. Sitting up all night is part of what we do. After all, the brain is in the alpha state then so you become more creative. Anyway, after all these years we can say that if you want to be successful you must work hard, you can't give up if you fail and you should be a little lucky. If you're patient and have some ideas and simultaneously you're focused on your work, you'll surely have your fifteen minutes of fame in the future.

Hard work, dedication and a whole heap of body destroying sleepless nights have been key to Karol XVII & MB Valence’s success throughout their domineering take on house. 2014 will see the duo continue their obsessive production into the decadent genre throughout their Loco Records imprint. However we also see them stepping into the hands of Toolroom and Suara Records which further guarantees dance floor delights when crafted by the hands of these iconic labels. Keep an ear out for the Subway Station 1 EP due out later this year which is sure to make your first train home listening that much sweeter.

You can check out Karol XVII & MB Valance more online at: 

https://soundcloud.com/karolxviimbvalence

https://www.facebook.com/KarolXVIIandMBValence

DropOne30 is the ‘Become A DJ’ party series for student DJs mixing the sounds of progressive house, electro to create those massive big room moments. With a sound selection so big, DropOne30 needs a giant club to play it out in. Previous parties have been held at Ministry of Sound, while more recently ‘Become A DJ’ and DropOne30 have worked with super-clubbing brand Pacha, at their London HQ.

Not even some of the biggest DJs in the world have the ‘Play Pacha’ box ticked on their DJ bucket list, so our first time live DJs have experiences that even top some of the big boys as DropOne30 DJ Jason explains, “Playing at Pacha was the coolest, most uplifting experience ever. The energy you get from the crowd is amazing. All of this would not have been possible without ‘Become A DJ’. They helped me to unlock the skills I needed in order to perform at a 'club' standard, giving me the confidence to play in one of the most well-known clubs in the world!”

It’s this ‘club standard’ DJing that Become A DJ delivers to all our students, taking the student from complete novice to resident ready DJ. It is important that DJs get this live experience as DropOne30 DJ Arvind describes, “Realised that it’s very different to know (in studio) how to play than actually playing in front of live audience, there is so much going on. Once you hit play on your first track, time moves like a flash and the rush you feel is beyond words. Your entire set seems to finish within five minutes and you're like “wow, what the hell was that?” It's magnetic and once you start, there is no end; you're already thinking about your next gig.. Love it!!!”

DropOne30 parties feature regularly throughout the year so keep your eye on the Facebook page for event details, photos and DropOne30 mixes. We don’t just forget about DJs when they have played their first gig either, we always invite our students back to party with the DropOne30 family again as DJ Mesh enjoys, “I thoroughly enjoyed playing at the last two parties at Pacha.  It was an overwhelming feeling of joy to play music that you love and see the crowd loving it too!!  I can't wait to do it again!! Become a DJ helped create the link between DJs who share similar tastes in music to play together.”

It’s that first time moment that is the really special one however, bridging the gap between bedroom and dance floor as DJ Nico explains, “As my first DJ club experience, Pacha couldn’t be any better. It ticked all the boxes: very good sound, great ambience and most important, great crowd! I will always be very thankful to Mantas (and Egle) not only for teaching me how to DJ but also for giving me the opportunity to do so!”

Become A DJ students get the experience of playing, nurturing and honing their DJ craft ready to completely own clubland. We look forward to seeing you dropping it like it’s hot at the next DropOne30 party to catch the freshest new DJs before they are shouting “F**k Me I’m Famous” from an Ibiza superclub DJ booth.

More photos:  

https://www.facebook.com/media/set/?set=a.674764612582510.1073741831.623794904346148&type=3 

Cristoph’s DJ sets and productions range from Deep House to Tech House to Techno, integrating heavy bass lines with quality and uplifting melodies.

In this interview Cristoph shares his experiences right from the first gig he ever played, through to how successful 2013 has been for him and gives invaluable insights and advice for all aspiring DJ’s.

When did you get into the music scene? How old were you? 

Both my Dad and Brother were DJ's so I've been into the music scene all my life basically. I used to mess around on their decks then my Dad bought me first pair at the age of 15 and its just went on from there really.

Did you start DJing or produce first?

Started to DJ first, I've only been producing properly for the past couple of years really.

Do you remember what it felt to play for the first time in front of the crowd? Did your first gig went well?

First time I DJ'd in front of a crowd was at a party I'd put on with one of my friends. It was a great feeling seeing people having fun to the music I was playing. My first 'proper' gig was when I was 17 in a nightclub in Newcastle. I was ridiculously nervous but it went well and the promoter was really happy. I still get nervous before every gig now.

What’s your ideal/preferred DJing set up? 

Ideal setup would be 3 Pioneer CDJ 1000's or 2000's and a pioneer DJM 900 nexus. 

What piece of software and hardware you could not live without?

Ableton 9 and my Novation 61sl mk2 controller keyboard.

Who is your favourite DJ and Producer?

This is a question I'm asked a lot by people I talk to. I don't think I could pick just one as I find the whole industry massively talented. I'm really into Hot Since 82's stuff at the moment and think he's a great DJ too. Think Detlef is producing some great tracks, as is Guti. Maya Jane Coles is another producer and DJ who I'm massively into. I'm also a huge fan of Eric Prydz. I may not play his music out when I DJ but I think the guy is a genius!

What do you do outside of the dance music scene? 

Outside of music I like to just chill and see my family and friends. I'm an uncle to 6 nephews and 2 nieces, with another nephew or niece on their way so I enjoy seeing them a lot. Other than that I like to watch football and american football. Saying all this, its not often i'm out of the studio.

To my understanding you had a really successful year in 2013,  released quite a few tracks on Underground Audio and Defected Records, what’s in the bucket list for 2014?  

2013 was a crazy year to be honest, couldn't have wished for it to go any better! 2014 I have 2 EP's with Defected and a remix too, an EP with Extended Play and one with Relux Underground, gigs wise I'm playing Bath in January then London in February, March and April. Hopefully I'll just continue producing music which labels are wanting to sign and get more bookings. I'm still very new to it all so just enjoying the experience and learning new things.

And lastly, what does it take to make it? 

A lot of hard work and determination goes into following any dream and I don't think the world of DJing and production is any different. I personally don't think 'I've made it' or at least not to where I want to be. However, what I can say is that you must be prepared to make any sacrifice and put as much effort in as physically possible. You can take a lot of knocks in this industry but you have to take them as part of the learning curve. Music is an art so for me there is no right or wrong, just people's opinions. I've found that the amount of time you put in in the studio you often miss out on things your family and friends do, trips away, nights out etc. It can be lonely at times as it’s just you and your computer or just you travelling away to a gig to meet strangers. This is the sacrifice you have to make though and trust me the rewards will be more than worth it if you put the effort in. The feeling of finishing off your own track, finding that a label wants to sign it, seeing you have been booked for a gig or even just seeing people who enjoy your music are feelings that just can't be beaten for me. It's been my dream since I can remember so I guess I’ve always been willing to do whatever it takes to try and reach the grade I want to be at. If it doesn't work out then at least I can say I gave it my best shot.

You can check out Cristoph more online at: 

https://soundcloud.com/cristophmusic

https://www.facebook.com/CristophMusic

With the revival of the French House scene, some dynamic players have started to take centre stage. One of these figures is STUFF, a DJ and producer originally from Grenoble who had his introduction to the circuit around 2007, fraternising with such influential local acts as Acid Washed and Kiko. Since producing his first releases on David Carretta's well-respected Space Factory label, he has now started moving into the genres of house and low Miami bass and is a soldier at CUFF label. We talked to him about his background as a DJ and producer, and asked him what guidance he would give to new, aspiring artists. 

Can you tell me how it all began? Did the DJing or production come first?

Since my early childhood I was totally into this music, especially "synthetic" music, so I began by learning production. I  really wanted to understand how all these sounds were made which seemed so futuristic!

Where did you learn your skills from and on which equipment? Were you self-taught or did you take a course?

I was self-taught. I learned all by myself, alone like a geek, experimenting on the first equipment I had which was an old analogue synthesiser called a Realistic Mg-1 (which was actually made by MOOG)  and a Roland TR 707 which was about 14 years old!

When DJing, what is the set-up you request and why?

I now use Traktor Scratch+ and an X1 Kontroller. I used to work with vinyl back in the day, and on CDJ too. However, today we have these wonderful tools which can help you really personalise your set using a lot of wonderful FX. I don’t think the audience give a shit about how you make your cook - they just want a musical trip! So for me, it's the best way to make it really personal.

What do you think about beat-syncing software? Is there a place for this or is it just taking away from some of the magic of DJing?

I think the most important thing is the result and not the way that it's made. Some DJs are able to make huge sets with beat-syncing software; others are better at producing an old-school flavour. It's all subjective I think.

When producing, which DAW do you use and why?

I produce in Ableton Live because it's so complete. The software already has everything you need to make a good track and I know all its parts and tricks. I think it's truly designed for our kind of music, and so I can work really fast on it!

Which part of the production process do you find most pleasurable and most challenging?

I love the beginning of a track, when you jam on the keyboard to find a sound or a melody. It's the most exciting part for me. I’m a bit lazy so I don't like to spend that much time on the structure, the details, the mix and all that kind of thing, but today the level is so high that it really can make the difference, so that’s the challenge for me!

What do you do if you hit a brick wall when producing a track and lose your inspiration?

I have produced for many years now, and lots of different kinds of stuff too. My experience is that you always make your best track when the process is really easy and everything happens really fast. My best tracks were made in a couple of minutes, so when I’m not inspired, I stop! It can be nice to watch some movies/TV shows for example - sometimes you can find some dialogue which will give you inspiration; maybe a rhythm, maybe a melody, or maybe just a title.

What projects are you currently working on and what is lined up for you in 2014?

I have a lot of music coming out soon; an EP on Time has Changed records with a really cool remix from German Brigante, and the long awaited birth of my homie's label CUFF, run by my brothers in arms Amine Edge and DANCE - it will be huge. I can't wait for my first release on it. The feedback is awesome and we are already planning a lot of gigs all around the world! 

Any tips for our students and readers who also want to find a job out there which involves music and DJing?

Trust yourself and don't be in too much of a rush. You need to really understand all the aspects of this job; it sometimes can take a bit long to learn but if it’s your passion, then it's also a pleasure at each step!

And last question: what does it take?  

It's pretty simple: you need big balls! In order to say "Hey! Listen to me. I’m here and this is good music which you will love now!”

You can check out STUFF more online at: 

https://www.facebook.com/stuff.official

https://soundcloud.com/stuff-1 

Launching the series this week is Sixty69nine. Hailing from Belgium, where he holds key residencies at some of the country’s top House music hot-spots – Sixty69nine is taking his love of music and carving himself a career out of it. With the likes of Tomorrowland and The Yacht Week already ticked off of his DJ bookings bucket list – he’s a man on a mission and isn’t taking any prisoners on his way up the DJ career ladder.

More than just a DJ though, Sixty69nine is a proficient producer who has enjoyed success in the Belgian dance charts and has a discography with some impressive labels in house music circles. Day to day he even works for Belgian national radio constructing playlists and mixes that go out to the whole nation.

Interview:

Thanks for talking with us today. We want to get some insight into your journey so far with music. Can you tell us a little about what it was that first pushed you towards picking up the headphones both as a DJ and producer? 

Music is all about passion and I want to share my passion for music with as much people as possible. At first you start off with playing other people’s music. But after a while you start making your own edits of existing tracks to create more of a personal style. The next logical step is creating your own original tracks. The best feeling in the world is playing a track that you created yourself and seeing a massive reaction from the crowd. Goosebumps! And as a certain Swedish house role model of mine always says: Goosebumps never lie!

What did you learn to mix on to begin with? 

A very cheap 2 channel DJ mixer and 2 turntables. 

What tips would you give to first time buyers of DJ gear? 

Try to save up money till the point you can afford something that works/feels like the industry standard in clubs and festivals.

What are your views on beat-syncing software? Is there a place for them or is it just taking away some of the magic of DJing? 

A ‘real’ dj should be able to beat-match without any help from software. I personally never use beat-syncing software/buttons but I don’t judge people who do. The most important thing in the end, is that the people on the dance floor have a good time.

Which headphones do you rate highly for DJing? 

I absolutely love the Sennheiser HD 25s.

High-end DJ equipment is getting more and more expensive every year. Are you someone that chases the new technology? 

I always keep an eye on what’s moving and changing. But for the moment I’m quite happy with what I’m using during my gigs. A USB key and a pair of Sennheiser HD25s. In my rider I always ask for a pretty standard set-up: DJM 900 Nexus with at least 3 linked CDJ 2000s. And of course a pair of good stereo monitors in the booth with an adjustable volume control on the DJM 900 Nexus. Pretty funny how technology has taken DJing to the next level. I started out with heavy crates full of vinyl and now I can carry all my music in one simple USB-key.

You work for a national radio in Belgium. Tell us some more about your day to day roles and how you managed to get work in that field? 

I make daily mixes that are being used during the office hours playlists. So every hour, two tracks are being mixed. And I make those mixes in Ableton Live. It’s nothing like mixing live for a crowd or mixing only house music but it’s fun too!

Any tips for our students and readers that also want to find a job out there that involves music and DJing? 

Get your name out there! Make sure you have a good product to work with and try to get in touch with the right people without being too pushy.

Thanks for the insights into your work! Last question – What does it take? 

It takes a lot of hard work. It’s good to see that you guys offer guidance and education to people who want to get into this business.

You can check out Sixty69nine more online at: 

www.facebook.com/official.sixty69nine 

www.soundcloud.com/sixty69nine 

www.sixty69nine.be

A lot of courses and training schemes come to an end, and then off you go, blinking into the wilderness, without so much as a goodbye or an obligatory wave. This hurts! You don’t know which steps to take next, then gradually lose hope and focus, and end up dumping all your DJ equipment in the nearest available skip. Why spend so much time, money and effort honing skills you won’t even have a chance to use? This is why ‘Become a DJ’ have crafted specific events and opportunities for you to showcase your abilities. 

We arrange our own nights where you can experience performing live, as well as giving you the chance to meet other DJs and music industry professionals to network and collaborate with, giving you that crucial ‘In’ into the scene. You can build up your back catalogue of mixes, seeing how they go down live whilst also having an awesome night with like-minded friends and associates, not to mention other related opportunities such as podcasts and a burgeoning record label. After all, why try and make it alone when you could do it with the support, shared expertise and similar passions of your comrades?

Our nights come in two different guises. Firstly, we have our Raw Silence events once every month or so. These are Deep/Tech House nights, perfect for our students who are passionate about this genre of music, featuring superb resident DJs and the freshest talent from our course. We try and find new, left-field venue choices rather than standard bar or warehouse locations, in order to complement the music as much as possible and create an awesome ambience in which everyone can connect, make friends and concoct grand schemes. We are also building the Raw Silence record label, to release the production pieces done in our studio and podcasts featuring interviews and live guest mixes involving established DJs. 

Then we have our DropOne30 nights, which showcase the best in Progressive through to Electro House. These are designed for our students aiming at that big room energy, and so the venues are chosen accordingly, including such staples of the party scene as Pacha and Ministry of Sound. These nights will also have their own podcast in order to spread the word and offer as many outlets for our students’ music as we can provide.  

But a picture is worth a thousand words, so please check it out yourself. Videos, Podcasts, Dj Sets and Photos  from the parties can be found at https://www.facebook.com/RawSilenceRecords  and https://www.facebook.com/dropone30.  

The next DropOne30 party is on the 30th of November in Pacha and Raw Silence will be taking over the whole Cargo Club on the 26th of December. 

In its most general definition DJing is simply selecting musical tunes and playing them in succession. As such, some DJs (let’s call them that for a second) do little more than what can be accomplished by clicking the randomize button in your iTunes library or on your iPad. But at the other end of the spectrum, the best DJs possess an uncanny ability to select the tunes in such a way that takes the unsuspecting audience on an emotional and physical journey. They string the individual songs together like movements in a symphony and creating a performance that becomes more than the simple sum of its parts. This seamless combination of songs that were written by different artists in different times, requires refined skills and technical ability that is the result of patient practice. Like musicians on their instruments DJs practice on their decks. Some might say that it is easy to make a drunk and drugged up crowd dance. But try it and if you clear the floor you’ll know……   

  Traditionally DJs used turntables with vinyl records. A lot of DJs who started on vinyl stayed with that format because they believe it sounds better than CDs or mp3s and the physical ritual of taking a record out of its sleeve and cuing it up on the turntable is undoubtedly enjoyable. A drawback is that playing a song is inherently linear: you start in the beginning and play toward the end, but there is no way to jump around in the song or to loop a part. Also, the tunes musical key is intimately connected to the speed at which it is played. So if you speed one tune up to match the tempo of another you will also make that record sound like a chipmunk. Most importantly however, releases are now digital, seldom vinyl, and few record shops exist nowadays where you could buy them. Building a record collection was never easy but it is almost an impossible task today. Although it must be said that with vinyl records one was more selective, buying quality music rather than downloading terabytes of tunes that are never listened to or played out. The mindless consumption of available music is not what we advocate here! Digital formats, like for example playing CDs on Pioneer decks or files directly from a laptop using a software DJing program remedy all the above limitations. On CDs it may still be difficult to take a large collection with you on the road but it is definitely possible on a laptop or on a USB stick that you can insert into the latest Pioneer decks. Also, when a song is played on a computer or on a CDJ it is loaded into RAM (Random Access Memory – NOT the Daft Punk album) and thus it is possible to jump from one part of the song to the other seamlessly and accurately. Further, the songs musical key can be made independent from the speed it’s played at. Finally, the abundance of music and its immediate availability in digital format allows for preparing for any gig. And that’s just the beginning…  DJing with Traktor™Think of the advantages WORD (the text editing program from Microsoft) offers in comparison to a manual type writer and you get an idea of what it is like to use a software DJing program or a the latest Pioneer decks compared to turntables. Companies that produced software DJ applications were founded in the 90s. Traktor™ is one of the most widely used DJing software made by Native Instruments (Berlin, Germany). It runs both on Mac and Windows computers and in principle can be operated with a mouse or the computer keyboard. However, over the years the software has grown to include 4 decks and a rich set of functionality. For best effect, external hardware controllers can be used (via USB) to unlock all this functionality. Traktor™ is used by amateur as well as professional, internationally known, DJs alike. It is a favorite of beginners because its clean interface and stable operation allows learning without hindrance and interruption. Professionals favor this software because they can forge their own style and perform unique sets that are admired the world over by millions of fans!  However, the ease with which a software program, such as Traktor™, allows a beginner to start with DJing should not be confused to mean an easy path to becoming a skilled and respected DJ. Those that simply use the software to hide their own inadequacies are hardly DJs. If you allow the software or Pioneer decks to beatmatch tunes (via the synch button) while you sit back and wave your arms, that’s a serious disrespect to those craftsmen who spent years practicing to do this with vinyl. With more possibilities in the modern equipment comes the responsibility that the audience and your peers expect more from you. So if you decide on digital DJing instead of vinyl the road to respectful performances will be equally long and hard earned.  So? Are you ready? If you want to learn, Become a DJ will be holding two Traktor™ Workshops on the 19th and 20th of October. The 1st of these workshops will be aimed at total beginners while the 2nd will explore advanced topics. Come join us!

Then there’s the money issue. It’s not just Stradivarius violins, which cost an arm and a leg – and probably any other body parts you’re willing to part with. The sort of standard equipment kit you find in clubs costs over £5000, the sort of money you won’t be finding down the back of any sofas outside of Chelsea anytime soon.

At Become A DJ we know what it takes to get started as a DJ and we’re experts at inspiring and educating others to take the necessary steps needed to begin what will become your new passion. DJing is without a doubt one of the most rewarding hobbies or even career paths you can imagine, and with the right support from the right people, you really can give your life a new direction within music. There is nothing more rewarding than playing music you love to people who want to hear it and being able to manipulate and deliver it in any way that your creativity desires. 

Some people never even get as far as touching a set of Pioneer CDJs, but those that do - never look back! There is a magic in DJing that is hard to find anywhere else, so if you’ve spent nights in clubs and bars amazed by the atmosphere created by your favourite DJs and wanted to taste that feeling for yourself – Become A DJ is fast becoming one of the go to sources for those wanting to get hands on with the DJing world.

Why use a professional DJ school?

For many, DJing begins in the bedroom of a friend on a pair usually sub-standard belt-driven turntables, mixing with a mixer that’s been passed down from DJ to DJ for 20 odd years. Coming into our DJ school will put you face to face with the technology that you’re going to be using should you get those all important first bookings in clubs and bars out in the real world. Setups around the world’s bars and clubs are relatively consistent, so skip the L-plates and get right onto the kit that the DJ world actually relies on.

Value

There’s nothing wrong with learning on old and cheap gear, but if we’re honest, you’re not going to walk into a club in the UK and be faced with a set of old turntables from the 80s anymore! At Become A DJ, we use the tools that the industry has decided are standard. There’s no denying these setups are expensive if you’re starting out, but we offer rates that wont break the bank, giving you hands on experience with the right tools for the job.

Experience

Much like anything else with a long learning curve, your journey will be made easier by guidance from well-informed and experienced tutors. Become A DJ tutors know their pitch faders from their cross faders and have spent several years honing their skills behind the decks. Walking up to a modern Pioneer DJ setup for the first time is much like walking into an aircraft cockpit – there’s a lot of buttons and sliders flashing at you, but if you don’t know what they all do – the results can be devastating! With dedicated hands on tuition from Become A DJ, you can expect to ride the learning curve in the fastest and most effective way possible.
Get in touch with a member of team from Become A DJ today and we’ll be happy to talk in detail about what we can offer to meet your personal DJ needs.

All the fans of powerful beats- watch this space for coming parties!

‘Become a DJ’ headphone review Headphones are a must have item for any DJ. With such a big choice and models focused and designed just for DJs, it is a hard task to find the right match. We will look into the most popular headphones, DJs opt out for. I hope you will find this review helpful.
Pioneer HDJ 2000From their launch in late 2008 the Pioneer HDJ 2000 have become one of the most popular and recognized headphones between DJs. They are at the top of Pioneer’s headphone line-up and we figured they are definitely worth checking out. Here are some points we put together:

The Good:- Very comfortable due to “Memory-foam” ear pads, create a tight seal around the ears- Fold into a compact size to fit in an included pouch, have a removable coil lead- 50mm dome driver units, high flux magnets help create crystal-clear audio- No distortion at high volumes

The Bad: - Better than average over-the-ear sound isolation, however Sennheiser HD25’s isolation is superior having in mind those are on-the-ear headphones- Ear pads do not swivel all the way- Cable is only replaceable by Pioneer and is quite expensive

The Ugly: - The price. Based on the performance we would have to compare them to the HD25’s, however those are way more budget-friendly 

Our Conclusion: Probably the most comfortable set of headphones we have encountered, however lack of sound isolation, expensive maintenance and the steep price make it an investment to reconsider. 

Sennheiser HD25-C-II Probably the most popular DJ headphones, the HD 25 offers mostly everything professionals or enthusiasts would want. There are various variants with longer and coiled cables and higher impedance so be sure to check those out too.
The Good:- Professional monitoring headphones offering high attenuation of background noise- Can handle very high sound pressure- Capsules are rotatable for one-ear listening- Lightweight and very comfortable - Value for money spent The Bad:- Durability. The plastic frame or the hinges do not seem to creek when pressured or used for longer than a month, however, we did encounter some problems with the detachable cable. While in a bag with a laptop the straight jack plug was bent by 90 degrees (go figure how that had happened) and there were some issues with the stereo mini-jacks on top of one of the capsules The Ugly:- No Ugly points here 
Our Conclusion:In our opinion by getting the HD25’s you get yourself a superb pair of quality headphones. Whether you need to work on your mix at home or at a studio or perhaps you are a DJ looking to upgrade or renew your equipment.
Sennheiser HD205The HD 205 are medium sized, supraaural headphones that provide great sound quality and good sound shielding of ambient noise; comes with convenient protective pouch for easy storage and transportation. 
The Good:- Features thickly padded headband and ear cups- Rotating right-hand driver perfect for DJs- Blocks a fair amount of ambient noise due to stiffly sprung headband- Has a meaty, bass-heavy sound that’s best suited for dance music- Compared to other headphones at this price range it excels with the sound quality. The Bad:- Can be found uncomfortable if you have a larger head- Midrange response is a bit weak- Durability. Hard plastic design creaks after moderate use, doesn’t fold for storage. Also the cable is irreplaceable The Ugly:- No ugly points here

Our Conclusion: Overall very good value for your money and a definite winner in this price range; we use them proudly at our DJ School. In our opinion Sennheiser DH205 are perfect headphones for beginner DJs.

AiAiAi TMA-1 AIAIAI, Denmark company, claims to have been working in collaboration with 25 professional DJ’s (James Murphy, A- Trak, Seth Troxler, Madlib, amongst others) while designing and testing the headphones which are orientated to deliver pro quality performance in studio and on stage. But does it? ;)

The Good: - Clear engaging sound, thumping bass and dynamic midrange, however high frequencies do not deliver- Zero distortion – even when pushed hard- Another on-ear set rather than over-ear, which offers good isolation, not just for the listener, but also to those around. - Durability. The headphones are built to last; expandable rubberized wire and a robust, one-piece design (not a single screw to be seen) The Bad:- High frequency sound is too week thus certain genres of music will suffer heavily in term of quality- No rotating ear cups for single-sided listening- Not foldable, which stops the headphones being as space efficient as Pioneers, however the whole earpad sections are removable- No cushioning on the thin rubber headband, which can lead to fatigue after long periods of use The Ugly:No ugly points here

Our Conclusion:All in all, good, DJ focused headphones that sound reasonably well, are durable, stay on your head and look good, however it seems that the comfort of the headphones were sacrificed for the minimalistic look by not adding some cushioning for the headband.  On the other hand only suitable to limited genre of music.  Is it the best DJ headphones, probably not? Personally, we have chosen to go for Sennheiser HD25.

Beats by Dre MIXR You all most likely have seen a lot of people walking around wearing headphones with a distinctive and bright ‘b’ logo on them. Are the headphones that good or is it just a brilliant example of good marketing?! 

The Good: - Bass driven, great if to be used for DJing, No distortion at high volumes- Loud, 40mm drivers deliver a massive amount of volume, again good if you are using headphones for DJing- Each earpiece has a jack which gives you a choice of which side to plug into- Replaceable cables, very durable- Easily foldable to store in the supplied case The Bad:- Ear pads seal ambient noise quite well, however leak sound to others- Headphones can get tight around the ears, headband could have a bit more padding, not the most comfortable ones- Too loud, which makes them not the best fit for production use. 
 The Ugly:The price is ugly! Too expensive compared to other headphones in the market that offer similar quality and comfort.

Our Conclusion: Buy these headphones only if you will use it purely for DJing- when you need to hear sounds over the ambient noise, as it will deliver extreme levels of sound, which are clear and undistorted. To our understanding, it is way too overpriced and the mentioned Sennheiser HD25 is around £90 cheaper, which sounds good in studio as well. 

Party people! Very last minute, but best things come spontaneously! We would like to invite you all on the 11th of May to Hide London Club, Mayfair to yet another party! Our 'Become A DJ' students - Ryan Molloy, Keith Hunter, Patricia Marie C, Markus Rush, Victoria V and Urban Myth will be shaking the earth so hard that all the Mayfair snobs will start crawling in to our place like a bunch of worms after the rain. Let's hope at the end of the night, they will scream - EUREKA!

Jokes aside, the venue prides itself boasting an impressive void sound system, inspired by the system at DC10 in Ibiza- but especially tailored for the Jermyn Street. Be assured, this is not your avarage Mayfair club; there is no dress coda, no ropes or rules- this is a sapce for you and the DJ to simply appreciate the music.

Saturday, 11th of May, Hide London Club, 91 Jermyn Street, SW1Y 6JB. 22:00-03:30

Traktor™ is one of the most advanced and widely used DJing software. Artists as diverse as Richie Hawtin and DJ Shiftee use it creatively to forge their own style. We are very proud that our Traktor™ instructor (Swim the Shine) was recently invited to Budapest, Hungary to hold a 2-day workshop at the local The Audio-Visual Open Studios (AVOS). This workshop covered a wide range of topics from the basic features of operation up to the more advance aspects with plenty of time reserved for hands on practice and experimentation. Not only that, but Swim the Shine even played a gig while in Budapest at the famous bath party (www.cinetrip.hu). 
Soon we'll be hosting Traktor™ workshop in London studio as well!!! Watch this space if you are interested.....

Written  by 'Become A DJ'

Scuba is a respected producer, DJ and the head honcho of the label Hotflush Recordings (www.hotflushrecordings.com/). He’s from England but now resides in the mecca of dance music a.k.a. Berlin. He’s got more than 3 full-length albums of music to his name and they are all quality. Further, he oversees the development of many an artist on his label that are expected to go on to carve out quality careers for themselves.  But if you are that good, it will be hard to stay truly underground. People will come and people will want hear more of you! So yeah….. when you book a gig at a large venue like the Forum in London and have 6 different performers and an official afterparty at the Egg club in Kings X, you will be hard pressed to balance that elusive line between an underground/overground event.

To some, the term “underground” means, you can’t have too many flashing lights / cris-crossing lasers nor scantily clad dancers. People with this frame of mind maintain that the only things that matter are the music and the camaraderie of like-minded individuals. On flip side of the coin, there are others who are on the opinion that if they have to pay £16 for an event they deserve more than a dark room, a makeshift bar and the camaraderie of people they didn’t want to meet in the first place.  So Scuba had to walk a line and a line was walked: we got both, lights and no lights, both lasers and no lasers and there was a proper bar (courtesy of the venue). Though we got none of the scantily clad birds…. I say underground is not for everyone!The way Scuba achieved this dichotomy is that the first half of the gig (i.e. the warm up acts) was played in a completely dark room while visual entertainment only kicked in for Scuba as the main event. This is maybe fair enough. For example if you were to open for the Rolling Stones, don’t hope for a great reception from the crowd, any kindness of Mick and his gang nor that anybody (in the Stones or the crowd) will remember your name.  But is that what Scuba wants? Does he want us to forget his protégés? So is this underground or overground music? Is he a star or is he a caring father figure to the artists on his label? All in all, we were a little disappointed with the whole gig. His music is still great though so we will continue to devour his output….  

Written by Julius and Swim the Shine

Welcome on board, Sam!

Simone Tanda, or Sam as his friends call him, or Sam4Toys as the rest of the lot know him, is a certified Ableton Trainer and we are very lucky and thrilled to be welcoming him to our small team. Simone teaches in schools in London and Italy and is also a Keith Macmillen Product Specialist. In love with music from a very young age Simone started off with playing electric bass, moved on to Rome to study with the best professional musicians, later on focused on professional music production, recording, and composing. Passionate, creative, sometimes rough, Simone’s music is full of personality and that is, well, a rare gem! Students at Become A DJ will surely not leave the course empty handed!

Ladies and gentleman, let the show begin! Delighted, thrilled, and excited to announce our newest addition to the Become A DJ arsenal - the Music Production Course. It is designed for those who have a heart for creating music and want to learn to do it with the powerful Ableton Live 9. You know, master the tricks of the platform, pick the brains of our talented music production instructor... OK, on to the specifics. The course will jump start on February 16th with an ‘Introduction to Ableton Live 9’ workshop - the first of our regular introductory workshops that we plan to give monthly. During the 3hr session the students will get a fantastic opportunity to get to know the platform and even start making their own music right there on the spot. Awesome! The session will help the undecided to answer two very important questions: is it for me? and if it is which of the two options should I choose? The two options being: Music Production with Ableton Live 9 Course or a Custom Ableton Live 9 Course (Dj and Live Performance). The price? £30 for 3 hours, a proper bargain! For more information about the Workshop and to book your spot click here.

We at Become a DJ are passionate about music and the art of DJing. While our mission is to provide high quality courses in which students learn the skills they need, our hope is that during their time with us they also soak up our passion for this art. We believe that music is for everyone. It matters not whether you are rich or poor, old or young, boy or girl as long as you love what you do and you make people enjoy their lives while you are doing it. Similarly, it matters not what equipment you use. If you rock a crowd you rock a crowd. 'Nuff said.  

In this spirit we are widening the spectrum of courses we offer to include software DJing. In the first instance we are going to offer courses at different levels using Traktor™. There is a lot of unnecessarily angry exchanges on user forums, magazines and social media websites about whether or not software DJing is actually DJing. We do not subscribe or participate in these feuds because in our opinion they are pointless. First of all, one cannot stop the technological advancements. Software DJing has arrived in a big way. Regardless of whether every single person welcomes it or some will refrain, the fact remains that more and more live shows and clubs use this platform. Secondly and most importantly at Become a DJ every student will still need to learn to beatmach (without the synch button engaged) regardless of whether they sign up to learn vinyl, CD or software DJing. When build on solid foundations, using Traktor™ for a performance can be just as challenging to the performer and just as entertaining for the audience. Software DJing is not harder or easier than other forms, It is simply different. Laying a pair of skillful hands on some hardware controllers to operate Traktor™ can result in incredible and satisfying musical experiences and jaw-dropping performances. Achieving such performances requires dedication, patience and practice, just as much as it does using vinyl or CD decks.  

We are looking forward to seeing our students regardless of which course they sign up for.

Figure 1- Camelot Wheel

Here is a bit of musical theory to help you figure out the discrepancies and a trick to help you organise your Rekordbox™ databases.

Look at the piano keyboard in Figure 2. The white keys are designated by the letters of the alphabet as shown. The pitch of the note the key makes increases from left to right (e.g. the pitch difference between the two C keys is an octave). The difference in the pitch between adjacent keys is called a semi-tone. If you have two adjacent white keys (e.g. E and F) then the step between the two white keys is called a semi-tone. If you have a black key between two white keys (e.g. between F and G) then going from one of those white keys to the black key between them is also a semi-tone. Now the tricky bit is what to call this black key. It is ambiguous because it is a semi-tone higher than F and a semi-tone lower than G. Going up in frequency is represented by a suffix '#' (called 'sharp') while going down in frequency is represented by the suffix 'b' (called 'flat') in musical notation. Therefore, the black key between F and G can be called either F# (i.e. F-sharp) or Gb (i.e. G-flat). Similarly,
The black key between C and D can be called C# (i.e. C-sharp) or Db (i.e. D-flat)
The black key between D and E can be called D# (i.e. D-sharp) or Eb (i.e. E-flat)
The black key between G and A can be called G# (i.e. G-sharp) or Ab (i.e. A-flat)
The black key between A and B can be called A# (i.e. A-sharp) or Bb (i.e. B-flat)
 

Figure 2- Piano Keyboard

So next time when Rekordbox™ gives you a key that you cannot find on the Camelot Wheel you'll know how to convert the output of Rekordbox™ to the corresponding Camelot Wheel entry.

By the way the 'm' and 'M' in Rekordbox™ output stand for 'minor' and 'Major' respectively on the Camelot Wheel. For example 'Gm' in Rekordbox™ means 'G Minor' (i.e. 6A) on the Camelot Wheel.

And here is how to change your Rekordbox™ key detection entries from musical notation (e.g. Em) to the numerical equivalent used in the Camelot Wheel (i.e. 9A).
- Detect the keys of all your tracks by Rekordbox™
- Click on the header 'Key' to sort your tracks by their detected keys
- Use Shift-Click to highlight all the songs of the same key (e.g. highlight all tracks with Em)
- Click the little arrowhead on the 'Info' tab on the left to open all the information corresponding to the selected tracks
- In the 'Key' field change 'Em' to 9A

Repeat the same procedure for all the other keys and you will have the Camelot Wheel entries in your Rekordbox™ database in no time at all.

Written by Swim the Shine