So You Wanna Be a DJ? Part II by DJ Rap

Hi everyone and welcome to "So You Wanna Be A DJ: Part 2."

As we discussed in Part 1, the importance of choosing the right sounds, and keeping it simple is a big deal. Now getting ready to start producing a track, let's get more into the basics of how to make those sounds come alive.

I mentioned kicks last time, and making them really break through your mix. Kicks are what make your fans move to the groove -- so it's no small task selecting a kick sound and processing it properly. Firstly, choosing the sound. There are tons of libraries full of kicks and one-hits and samples out there and while some are better than others you can generally shape a great kick out of a mediocre sample with a little massaging. Again, it's important here to listen to your idols. Different types of kicks work for different styles of dance music. Electro goes great with a real knocky-heady kick, trance is great over a pulsing urgent kick, and progressive minimal house [my latest affair] can really take off with a deep-crisp kick that slices through the mix. Say we're just looking for your classic four-on-the-floor propa house kick. This sound should be stated and clean while carrying enough weight to support the rest of your mix. So it's okay to end up changing your kick halfway through producing the track if you find that once you start threading layers through your tune, the kick's gone pear-shaped. I do it all the time.

Whoo... enough on the ideology on the god that is the kick drum! [lets get technical]
Once you've chosen your sound, you want to identify what needs to happen to the kick to get it throbbing. When starting out producing your own music, it's always a good idea to find a track that has the sound you're going for and put it into your sequencer right up against your track -- called "reference mixing." Can't stress how invaluable reference mixing is. The two basic tools you're most likely going to use on your kick is a Compressor and an EQ. I EQ first, then compress, so let's talk about Q'ing.

Equalizer

If you're using a real sampled bassdrum, like from a drum set, I almost always notch out 300 Hz by at least 5 db. Real kick drums just have a 'boxiness' to them in that range that tends to kill a mix. The best way to find out which frequencies are helping your sound and which ones are ugly is to boost one band of your EQ about 6-9 db and sweep through the frequencies top to bottom, noting the areas that are warm and sweet and which areas are harsh or unnecessary. And any time you're changing a sound, keep in mind, add with eq to CHANGE a sound and cut with eq to IMPROVE a sound. [says Confucius]. And as always, this is all just means to an end, so if you find that cutting 600 Hz but 24 db gets you the sound you want then by all means cut 600 Hz by 24 db. If it sounds good, it is good. BEWARE though, if youre using cheap computer speakers, it might sound like you need to boost the low end of the kick by 15 db or more until you hear the bass... if you play this at a club it could blow the subs, which makes for very unhappy promoters and even madder club owners. That's where reference mixes can save your life.

Compressors

COMPRESSION! oooh, compression. This can be a love-hate kind of relationship. Keep in mind that kick samples might already be compressed to your liking which is great and might mean you don't have to get into this at all. But if you're a perfectionist like me you'll usually do the compressing yourself. Now compression is going to give your kick the width and the balls you'll need to knock over a dance floor and there are different theories on the best way to accomplish this. Lets just start with setting your compressor.

General rule of thumb, load up a compressor and turn the attack to the highest/longest setting and the release to the lowest/shortest. Now here's where there are different schools of thought. I like to squash the shit out of it at this point to make it very clear where the attack and release should be; so I'll set the threshold pretty low and the ratio high, somewhere around 6:1. Now bring your attack down/shorter slowly until you hear the kick lose its vigor and turn it back just a bit. And with the release, move that longer and longer until you hear it pump from one beat to the next. You want the next kick to fire right when the release from your first kick is finished. This will give you that classic pumping house kick that's oh-so-tasty. Lastly, re-adjust your threshold and ratio to settings that please you, and compliment the mix. There are now set rules here so go ahead and fly by your ears here.
I hope that you can use some of this knowledge to shape your kicks like the pros and really kill the crowds.

Arrangement

While you might not think that arrangement is a big deal, I'll tell you it's a well known fact that many DJ's won't play your record if the arrangement sucks. Plenty of DJ's, myself included, will spend hours editing their sets to flow together like butta. But that's another story. Getting your tracks to peak and breathe is going to take a bit of schooling and a lot of listening.

You're probably gonna kill me here but again... the first step to getting arrangement right is.... anyone, anyone... Bueller... Bueller... listen to your favs. The importance to listening to your favorite producers in any genre of music is huge. Simply because there is a formula and it works.
When it comes to electronica, gigantic intros are a pain in the ass to mix, as well as not putting beats at the end of the track, meaning more time in the studio editing so that the sets flow. I mean come on will it kill you to put 4 bars of beats at the end? or fade the sounds out so it ends up just being beats. Sounds like im nagging, but you have no idea how many DJ's bitch about this, myself included.
Once you've spent time and you understand the formula, a great way to cheat with this is to import the track into your sequencer and simply copy the arrangement. I personally dont do this but it might help you in the beginning. One of the great things about having experience DJ'ing is knowing how the crowd will react. This is something the bedroom producer never gets to see. For example I know that no matter what people say, big drops go down well. You only have to listen to productions by Paul van Dyk, BT, Tiesto, Deep Dish and Dubfire to know that I speak the truth. Same goes for every genre of electronic music, it simply sells records. However it's important nowadays to stay away from the old-fashioned crashes and 'ravey' breakdowns. Deadmou5 is a perfect example of how to do a perfect modern breakdown. It doesn't have to be cheesy, it just needs to be powerful. Of course there are some producers who do not want this kind of impact in their music as it would not suit the productions they are making. So it really is a judgement call on your part dependant on the production style you're going for.

Presentation

Well we have talked about the basics of making music: the arrangement, choosing the right sounds, the equipment (although I am biased to Pioneer when it comes to DJ' ing), the mix, studio setup etc... maybe it helped you, maybe it didn't. There are a thousand magazines and websites and places to go to get more info. For example Electronic Musician, Sound On Sound, EQ, Mix Magazine, are greats among a number of publications. Or if you want just want a good laugh I love "geekologie" (nothing to do with music but great for geeks). As far as websites I like: futureproducers.com is a great community for upcoming and crackin producers, acapellas4u if you need vocals to practice with/remix (don't forget you need to obtain a license if your thinking of releasing/selling anything with these vocals), or freesound.org is a great website for license free samples.

So, what's next? Well once you feel your music is ready, there are a few options available to you, but, before you put yourself "out there" for the world to see and hear lets talk about presentation. I can't tell you enough how sad it is the amount of music that goes un-listened to that I receive simply because it comes with a "smiley face" and no contact info. What are we, five? Presentation is everything and if it's done right, you will be taken seriously.

Make sure you print a label on your CD with all the relevant contact info. Pictures of yourself on the CD are a bad idea (I'm not kidding, I get those too) unless of course you look like Brad Pitt, Casey Affleck, Ryan Reynolds... ok you get the picture! A note (preferably typed on a letterhead) with a BRIEF explanation of who you are (this is why a small bio is a good idea) and why you think this label is right for your music. That's right, you have to think about where you feel your music fits... no good sending drum-and-bass to a house label like Subliminal or Impropa Talent, when you know it needs to go to Propa Talent! lol... Don't spend all your time gushing how great you think the label/DJ is, be professional at all times, after all, we are all the same, no one is god here and we are not saving lives, so polite and directly to the point is the way to go.

Lastly if you get no response, do follow up as many DJ's/labels need a gentle "prod" mainly because they are busy. I always try to give feedback whether I like the track or not, some don't bother and I am sorry as I think it would really help out the newblood. If you get no love at all, don't keep at them. Why would you want to be on a label that doesn't give a shit anyway? Hope some of you find this useful, it certainly helped me. And yes, I have sent a "smiley" CD out when I was a young raver myself, so I can say whatever I damn well like! lol.


In the meantime, head over to my website and sign-up on the mailing list to get a free track.

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By Debbie Emery, Radar Reporter

LANDOV

  

Pope Benedict XVI  shocked Catholics around the world Monday with his announcement that he will resign on February 28, becoming the first leader of the church to step down in six centuries.

Citing advanced years and infirmity as his reasons, 85-year-old Benedict revealed his plans to a small gathering of cardinalsat the Vatican, telling them that after examining his conscience “before God, I have come to the certainty that my strengths, due to an advanced age, are no longer suited to an adequate exercise” of leading the world’s one billion Roman Catholics.

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The last pope to resign was Pope Gregory XII, who stepped down in 1415, and in honor of the historical news, RadarOnline.com has compiled seven things that you may not know about Pope Benedict XVI.

7. Born in 1927 in Bavaria, Germany, the pope’s birth name was Joseph Aloisius Ratzinger, he was the youngest child of a police officer father but got his calling from the church at an early age. At just five, Ratzinger was in a group of children who welcomed the visiting Cardinal Archbishop Munich with flowers. Struck by the cardinal’s distinctive robes, he announced later that day that he wanted to be a cardinal himself.

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6. The most controversial episode in Ratzinger’s life came shortly after his 14th birthday when he joined theHitler Youth in 1941, which was required of all German boys at the time. He was described as an unenthusiastic member of the Nazi group  by his brother, and the family’s support further diminished after one of their cousins, who suffered from Downs syndrome, was taken away by the Nazi regime and murdered during the eugenics campaign.

5. In 1943 while still in the seminary, he was drafted into the German anti-aircraft corps as an air force child soldier and then trained in the German infantry. However, within two years he deserted back to his family’s home in Traunstein after his unit had ceased to exist, just as American troops established their headquarters in the Ratzinger household. Ratzinger was arrested and sent to a POW camp but was released just months later and returned to the seminary when World War II ended in the summer of 1945.

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4. Peacetime allowed Ratzinger to focus fully on his faith, he was ordained as a priest in June 1951 and for the next 30 years he taught dogma and theology at German schools, including universities in Bonn and Munster, where he made his name as a reformer and acted as an expert on the Vatican II council. However, his forward-thinking viewpoint didn’t stretch so far as to support the radical Marxist leanings of the student movement in the 1960s, when he began to connect their radicalism with a departure from traditional Catholic teachings.

3. After being named the Prefect of Sacred Congregation of the Doctrine of Faith by Pope John Paul II in 1981 (the main duties of which are enforcing Catholic orthodoxy), Ratzinger continued his rise up the ranks of the church by defending its doctrine on globally-debated hot topics such as birth control, homosexuality, andinter-religious dialogue. Later, as Pope, he was accused in a lawsuit of conspiring to cover up the molestation of three boys in Texas, but sought and obtained diplomatic immunity from prosecution.

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2. When John Paul II died in 2005, the Financial Times cited Ratzinger as the frontrunner to proceed him with odds of 7-1, and on 19 April 2005 he was elected as the successor, although seemingly a reluctant one, as he revealed: ”At a certain point, I prayed to God ‘please don’t do this to me’…Evidently, this time He didn’t listen to me.” He chose the name Benedict – meaning ”the blessed” – in honor of Pope Benedict XV – who was known for his pursuit of peace during the First World War – and St. Benedict of Nursia, founder of the Benedictine monastaries. At 78, he was also the oldest new pope since 1730.

1. The darkest black mark on both Benedict’s papacy and the modern Catholic Church has been the clerical sexual abuse scandal, and his handling of it has been strongly criticized, despite an investigation into the Legion of Christ founder, Father Marcel Maciel, who was accused of repeated acts of sexual abuse against children. In March 2010, the Pope sent a Pastoral Letter to the Catholic Church in Ireland addressing cases of sexual abuse by Catholic priests to minors, expressing sorrow, and promising changes in the way accusations of abuse are dealt with — but victims’ rights groups say he failed to clarify the power of secular law enforcement, and he could not escape the reality that the
church had shielded priests accused of molesting, kept it secret from the civil authorities, and blocked criminal prosecution.

THANK YOU RADAR ONLINE X X 

The 10 best house documentaries of all time

By Angie Terrell

House music has a legacy unlike any other genre of dance music. Born in Chicago in the ’80s, the style grew outward to Detroit, New York, the UK, Paris, South Africa, and all points in between, and, some 30 years later, it’s touched just about every aspect of popular music as we know it. As part of our Legends of Electronic Music series, today we take a look at some must-see documentaries that track house music’s growth and popularity—from Chi-Town to Johannesburg. And while we couldn’t quite include Lil Louis’ The House that Chicago Built since it’s still in production, here are our 10 favorites up to now.

10. The Chemical Generation
Boy George leads us through the story of how acid house, raves, and drug use are all came together during the late ’80s and ’90s in the UK. At one point, Boy George asks author Irvine Welsh (who wrote Trainspotting), “Do you think acid house could have been as popular as it was without ecstasy?”

9. Inside House
This low-budget documentary consists of interview after interview with DJs like Kerri Chandler, DJ Gregory, and Jay-Jay in a bar setting. The early debate over the introduction of MP3s becoming widely available to DJs is a heavy point of discussion.

8. Slices: Theo Parrish
The only documentary in our list that features only one DJ, Theo Parrish—but it’s still a notable one, with the master of Detroit house digging for vinyl and talking in depth about the medium and how music technology sometimes translates to “convenience replacing artistry.”

7. This Ain’t Chicago: UK House According to the Artists That Lived It
The name says it all. This documentary puts the focus on how house music took hold in the UK in the late ’80s and early ’90s, according to Richard Sen and guests. Sen compiled a collection of tracks for Strut Records called This Ain’t Chicago, and this short documentary allows him to put those songs into context.

6. Paris Is Burning
Before Madonna wrote “Vogue” and popularized the dance trend, young, black, gay men in Harlem had been competing in ballroom dance contests for at least eight years—and they were as fierce as any breaking competition. The foundation of the ballroom movement was, naturally, house music.

5. From Jack to Juke: 25 Years of Ghetto House
Chicago was the birthplace of house music as we know it. But Chicago house also gave birth to juke. Today, the influence of Chicago juke on everything from B-more to trap to Mad Decent’s discography is all too evident. This great documentary explains the history of “jack,” “juke,” “booty,” and “ghetto” with DJ Gant-Man, DJ Superman, DJ V-Dub, and plenty of others.

4. Real Scenes: Johannesburg
The most contemporary documentary of all the choices, this Resident Advisor-produced film is a great synopsis of the hold that house music has on South Africa right now. It showcases everyone from the scene’s elder statesmen to its young producers who have nothing more than a tin shed and an old copy of Fruity Loops.

3. Maestro: The History of House Music & NYC Club Culture
Maestro focuses on New York City club culture and how The Continental Baths, The Paradise Garage, and The Loft helped give rise to the global DJ phenomenon, spanning from the disco heyday of the 1970s to the height of garage and house music in the late ’80s. Featured are some classic interviews with Little Louie Vega, Frankie Knuckles, and Tom Moulton, with, of course, a nice tribute to early house don Larry Levan.

2. Back in the House
Another documentary focusing on the NYC scene, however, this one picks up whereMaestro leaves off and takes us into the 1990s when Masters at Work were producing hit after hit and Francois K’s Body & Soul parties were the center of underground house. Junior Vasquez, Danny Tenaglia, David Morales, Roger Sanchez led the charge ushering in the “new” production talents of Mousse T, Armand Van Helden, and Daft Punk.

1. Pump Up the Volume
Pump Up the Volume is the consummate history of house music up until the mid-1990s. The series features legends like Frankie Knuckles, Marshall Jefferson, Pete Tong, Jesse Saunders, Happy Mondays, and more, taking us from Chicago to London and beyond.


BIG THANKS TO BEATPORT FOR THIS LIST X