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Why The World Wants DJs Again! #TuesdayTipsLive – Online DJ School

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Why The World Wants DJs Again! #TuesdayTipsLive – Online DJ School


– I’m here with Steve, so
it’s a nice treat for us all on Tuesday Tips Live, isn’t it Steve? – Good to be here, mate. We’re in the same room, amazing. – Does happen. So, welcome. It’s Tuesday Tips Live, so for those of you who
are new to this channel, it is Digital DJ Tips,
we are behind this book, Rock The Dancefloor, but also we are one of the biggest DJ
schools in the world. We have got 20,000, 21,000 students now? – And growing. 163 countries, only 30 countries to go. – So if you’re in one of the 30, we might publish a list one day and let them on for free or something, just so we can say we’ve got someone in every country in the world, anyway. Point is, we’re here to teach you how to become a better DJ, a better DJ/producer,
and today’s all about being a better DJ as
you’re about to find out. So if you’re new to the channel, click the subscribe button, click the bell if you’re on YouTube, click show these posts
first if you’re on Facebook, which means that whenever we
go live, you get to see it. Same token, if you’re watching the replay, that’s probably because you
haven’t done those things, so go do them now and then you can watch the fun as we mess this all up live on live Facebook, and actually looks a little
bit dodgy now already. Ah, there we are, we are actually live. Just took a second to come through. Right, so I’m going to
hand this to you Steve. So I’m teaching him how to do this, he’s never done this before. That’s Facebook, so you can
read out some Facebook comments, and I’ll show you how to get
YouTube in a minute, okay? – All right, cool. – So listen, if you’re
watching this on Facebook or on YouTube as a replay, and thinking when are those two blokes going to get to the point, we’re not, it’s going to be a show, we’re going to be here
for about half an hour, we’re going to answer your queries, we’re going to answer your questions. This isn’t one of those
five minute Facebook videos, you’re watching a recording
of a live show, okay, so just to let you know up front, don’t write about it in the comments, that’s what this is. – So shall we say hello to the few guys joining us live already? – Yeah. – Nikki Brooms says,
hi Phil, how you doing? – Hi Nikki. – Faye says ola. – Ola, Faye. – Dr. Karen L Bicksack,
good morning from New York. Hello to New York. Stephen Stevie Pringle says hello. Azura, hi guys, Franklin, Brooklyn in the house, from
Brooklyn in New York, now. – Cool. – Gareth Walker, one of our top students. – Hi Gareth. – How you doing, man? Nigel Harwood, also a top fan, saying hey, how you doing Nigel? And Brian, Eric, Dominic, Atinas, Pepe, Mauricio and a few more. – Wow, we’re busy already.
– That’ll do us to begin with, good to see you here, guys. – So, I’ll tell people what
we’re going to be doing today. So today we’re going to be talking about an opportunity that
hasn’t really been here for a long time for DJs, there’s never been a better
time if you just want to DJ, I will explain why in a minute. So it’s quite exciting if you think it’s time to get ahead, and I’m not a producer, that’s what we’re talking about today. I think, I can’t remember
what we titled it now, we titled it, so Phil checking the title, just so you know, you’re
on the right channel. This was titled, Why The
World Wants DJs Again, I knew we came up with something snappy. And it’s true, the world really
does want just DJs again, which is really interesting. And I’ll tell you before we just say hello to a few early people on YouTube, I’ll just tell you why we’re seeing this. We’ve been seeing it for a while. We started to hear about this when we were talking to our
DJ friends, people we help, people who help us make courses
and stuff, they were saying, people who’ve been doing
this for a long time, they’re touring, DJ set again, instead of the 45 minute festival slots when you turn up, do a victory lap, play the tracks that you
and your mates have made, you know, if they’re not pre recorded, they’re just quick blends
from one to another. Instead of all that stuff
with the pyrotechnics and the shows and the visuals, great as that stuff is, the club owner, now the EDMs, they’re
clearing the dancefloors. So there’s a real desire out there to get people who can really DJ again. And there’s pluses and minuses about this, which we’re going to talk about. So people like John 00 Fleming who’s a veteran DJ from
the United Kingdom, underground trance guy,
he’s been touring the world, he told us this. Laidback Luke, who we’re working
with on a training myself, I actually wrote about it on the blog just a couple of days ago,
saying the same thing. There is a real crying
need for what he calls open format DJs, but we
all know what we mean, people who can mix, who are flexible, who can do all this kind of stuff. So I’m going to talk to
you a little bit about the challenge here for DJs
like you watching this, if you think this sounds brilliant, I want to just DJ, not the only– – On YouTube, couple of
messages, and also it’s his life. So you’re going to, for everybody– – As we’re going to find out. – Also, good to have you here. And Darren from Australia, bus
as well, how you doing man? – Just want to DJ, the world
is looking for DJs right now. So the reason as we’ve explained is that there’s a lot of clubs out there, that post EDM, post
the big producer thing, still need to fill their dancefloors and want people who’ve got the skills. But the problem is, and
this is where you guys have got to share your
thoughts with us now, ’cause I really want
to know what you think, this is about you today as much as us. We want you to help us
kind of explore this, this big opportunity around
them to ride the wave. So what happened was, you wrote a big hit, you’ve got a sound, you got a few presets on your DJ software that everyone liked the sound of, and you could keep pressing
them again and again, and guess what, you had a
stream of tracks out there under your name. Suddenly, people wanted to know you. Agents, publishers, different people representing
you in different territories, obviously a record label, tour managers, you got the structure around you. So you were able to ride the wave, ride the wave of the money and the gigs and the fame and so on. So that’s one thing that these guys had at the height of it, and it’s
definitely fallen off now, we’re hearing it from everyone. – Also as well, it became such an easy way
to put on a performance and a show compared to putting on a band. I mean Calvin Harris was one
of the early ones to twig. Basically, he used, his first two albums, he was doing all the vocals,
all the songs himself, he was the producer,
the writer, the singer, and he would go on tour with a band. And as soon as he had a hit, he scrapped that band, because they’re expensive
to put on the road, and basically just turned up
and DJed and played his tunes, and so it became such
a moneymaker for people ’cause it was so easy, wasn’t it? Like a concert of just a guy
with a USB stick, basically. – They might not have had the skills that the veteran DJs who
used to DJ for eight hours on their own in a club back
in the 80s had and have, but they did have the
structure around them. So what you have now is a situation where the promoters and the nightclub owners are crying out for people to
come in and fill their clubs. But the DJs that can actually do it, either DJs who are left from
before the EDM explosion, and who are still hungry
and still want to do this. Either they haven’t
got the representation, so they don’t know how to capitalise on getting into those gigs, or the new breed of DJs, and I’m talking to you if
you’re a controller DJ, I’m talking to you if
you’ve been following things like our Skills Sessions online, and learning the stuff you
could never do on record decks. We’ve got decks out here
because we’ve been filming for our forthcoming advanced DJ course, showing everything, right? But you know, if you’ve used a controller, you’ve never used this
stuff, you’re a software DJ, you’ve got skills as well. You’re a good DJ, in theory. But the trouble is, you haven’t got this structure around you. So the opportunity, and this
is what we’re asking you to help us with today, and
to give us some comments is, how do the DJs who can really play, whether they’re left over from the 80s from before the EDM thing, or the 90s, or they’re new DJs today
who are coming through and have got the skills,
and we’ve got hundreds and hundreds and hundreds of
DJs like that on our books. We know you’re there. How do those DJs kind
of combine everything that was good about the EDM thing, ’cause the EDM thing was great. There was showmanship,
there was performance, there was a spectacle, that was great. How do you take that, combine it with deck skills
that have always been there, combine it with the new controller skills, and then round yourself out
getting the representation and getting the expertise
in marketing and so on to get the big gigs in the
big clubs that are currently sat there waiting for people
to jump in and take them? Because the truth is, a lot of these producers
can’t do it, right? So if you’ve been
diligently learning DJing, now’s your chance, best
chance in a decade. But we really want to know what you think, because we’re sensing it,
Laidback Luke’s saying it, A-Trak’s saying it, John
00 Fleming’s saying it, people we know are saying it on our forums, in our communities,
we’re hearing this stuff, what haven’t you got that you need to get these big gigs in the clubs? What can we start helping
you with to get them? What people are saying, Steve? – Unfortunately, a few people were saying that the connection’s been a bit bad, so we’re sorry about that, but apparently it’s sorted itself out now. And we’ve actually got
a joke come in here, just got a controller for the first time, where do you put the vinyl? – Ah, good question, you can just glue it on top, right, that job will fix straight on. – Okay, so, Stuart here says, you know, about how, do I actually need
to learn to mix without sync in order to, you know,
be more respected as a DJ to get more gigs? – It’s a good one, it’s always
good to know that stuff, because once you know that stuff, you actually understand
better what the sync button is doing for you. And if the sync button
fails for whatever reason, the tracks are difficult
to mix or whatever, you can take over manually,
it’s a bit like autopilot. Autopilot’s useful for a pilot, but you better be able
to fly a plane, right? So I think it is important. So yeah, in answer to that question, I want to give you the basics to kind of like frame this for you. So this is our book, Rock The Dancefloor. And we have these areas here,
you probably can’t see that. You can kind of see it. We have these five big areas here, gear, music, techniques, playing out and promoting yourself. And to be a good DJ,
you need those things. Gear is geeky, gear is understanding where everything plugs in and what to do if the sound doesn’t come out. Music is having the best collection, techniques is the skill stuff. Playing out is about performance, it’s about being able to
go there and put on a show, which remember, we’re not dissing what’s gone in the last 10 years, the EDM guys could put on a show for sure. – Yeah, yeah. – And then promoting yourself is about how to network and
hustle and do this stuff that gets you the gigs. So what we’re talking
about today is how to get real DJs, if you like, DJs who are concentrating
on the techniques part up to speed on all the other bits in order to be able to
jump into these big gigs in big clubs all over the place. I mean, I was in Vegas two weeks ago, and they had DJ nights
in the biggest clubs, just DJs playing. There was still Calvin
Harris hanging on in there, and Tiesto, you know, the
biggest producers in the world are obviously going to
play the biggest clubs. But I went to a night where
there were seven or eight DJs who were just resident style DJs, mixing DJs, and the place was full. This is happening. What’s happening over on Facebook, have you managed to switch back there? – Yeah, so there are, you got to help me out if
there’s a way to refresh more. – Great book Phil, I got it
on Father’s Day last year. It really is a Bible, says Eric, so that’s very good for you. – Yeah, so Johnny, sorry, Elena says, being able to mix between
genres seems to be the key here. So– – That’s very, very true. – Between different BPMs and genres, which is what we were talking about, about being open format, multi-genre, that, you know, versatility is important. – But actually, it’s worth
pointing out that there is, it is important to be able to do that, and of course, a lot of
modern DJing is about that, but at the same time, to be able to stick to one genre as well, I think it’s about taking the best of all that’s gone before. So if we can find a way
of taking the best of old school mixing, the best of scratching, the best of the EDM performance thing, and the best of the modern open format bit of everything thing, and then get the marketing expertise, the professionalism behind the DJs who are getting good at that, I think that’s where the next wave is. Because everyone is sick
of someone standing there pressing buttons with fireworks, right? I think we can probably all agree on that. It was great while it
lasted but things move on. – Tony actually is similar to that, do I focus on one genre and specialise, or spread the love
across a number of genres and become good but unfocused? I think you can still be focused on what you’ve just described, spread the love across a number of genres. – I think, you know, we’re
going in quite deep here, but the thing is, you can have elements
that you always prefer. I’ll give you an example,
in my DJing style, I love it when there’s a
girl and a boy in a song, like a question and answer kind of song, I’ve always loved that kind of song. I like it when there’s bongos and whistling, like humans whistling. And I like strings, I
like long, slow strings. That’s just me. – I’m all about drums and rhythm. – Where there you go, you see? I’ve liked those things across all music, from indie music in the mid 80s, right up to now. All genres of music, I can pick out tracks throughout my life that
have got those elements in. Put them together, you
get an open format set, but it sounds like me,
and that’s the point. Steve will always sound like Steve because over his lifetime, he’s preferred certain
kinds of rhythms, and so on. And you will always sound like you, but you’ve got to be true
to the tracks you like, and ask yourself why you like them. And over time, if you are
collecting across genres, your sound will come out for sure. This is where the production
thing actually helps. So if you’re not going to be a producer, ’cause once you start making music, everyone expects you to play
the music you make, right, you’re kind of pigeon holing yourself. A good thing and a bad
thing, as you’re saying, at least you’ve got focus then. But if you let your DJ style develop with various elements that
you tend to fall back on, you can still have a sound
without being a producer, and while remaining open format. – Okay, so, Radan says, at the end of the day, it’s a matter of marketing yourself. – It is, agreed, Radan. And marketing isn’t a bad word. You know, marketing is,
if you’ve got something, an essence of something that’s good, how are you going to
get that to the people who are going to appreciate
it, who don’t know about you? You actually owe it to the
world to market yourself, because if not, you’re a bedroom DJ, and we don’t want to
stay bedroom DJs, right, we want to get out there. Marketing’s a good thing. It’s not about snake oil, it’s not about being a sleazy salesman, it’s about reaching, going to be enriched by what you’ve got. That’s what marketing is. – Jarelle says that I’m
struggling to perform with my wife singing, not
having a karaoke feeling, feeling she’s a great singer. – It’s difficult, isn’t it? – She’s been singing
along while he’s DJing and he can’t, putting him off. – It’s difficult, yeah. Maybe just turn your headphones up a bit. – Johnny says, open format
is vitally important, he’s agreeing there. – You know, the problem with
open format is, done badly, it’s like a mobile DJ without
the microphone, right? It’s just a crappy jukebox
playing unfocused music that’s a bit all over the place and not very good in the first place, and badly mixed together, right? You know, there is a downside to it, just like there is with
anything, but yeah. – Keeks says, hi guys, where do the promoters look for talent? My experience of festival
DJs is like a circus. For example, the heavenly
guys go around the circuit every weekend for four months. How do you join the circus? Having more front than Brighton, or just being one of the hundreds? – Well, I think you join
it by doing the work, you have to gig, you know,
you’re not going to be as good. I hate to break it to you guys and girls, but you’re not the finished article after you’ve played half a
dozen gigs, you’re just not. You’ve got to play 100 gigs, 200 gigs. We were talking to, we were talking about DJing
a few years ago recently. And we were talking about Judge Jules, he was a big DJ in the UK. One thing he did was tour. He was always on tour, he played hundreds and hundreds and hundreds and hundreds of gigs. – He would go to every far flung corner of the country as well, no matter how long the car journey, because he knew he just needed to– – A little pocket in every–
– Get out to, exactly, yeah. – You know, you do the work
and you get the results is the truth, it’s
unglamorous, but it’s true. So I think you have to put the work in and not expect it to drop into your lap. I think you’ll find if
you talk to the people who you think are just walking into gigs every night for four months, they’ve actually done a lot
of work to get to that point. – Yeah. Back to YouTube, DJ Glade says, I’m a DJ, I started
since I was 13 years old, I’m now 16, and I use different genres. And I don’t know how to market myself. So I’m just picking
the language out there, ’cause obviously, English
isn’t the first language. We talked about marketing
there just already, but DJ Romify says, in the early 90s, at least here in Finland, most of us DJs were all round DJs, able to play R&B, hip hop,
house, trance, eurobeat, smoothly from 90 BPM up to 200 BPM rock. So it was kind of, I think, for me, when I first got into DJing, it was when, it was rare groove and hip hop, and all of these things
were all mashed together, and they were different
tempos and BPMs and style. So it was absolutely part of
how I learned to DJ initially, and I think that got a
bit lost a bit later on. – It kind of did, especially
with the single sound EDM 45 minute sets and so on. But that’s always been, I would say that the
single genre DJing phase was actually a shorter part
of DJing than open format, open format’s always been there. – Yeah, true. – Yeah. As Steve says, at the beginning of house, there were literally
not enough house records to play a whole night of house. So you had to play a bit of hip hop and a bit of funk or
whatever, bit of disco. – Tyson says, Tyson’s
here every week, right? – Hi Tyson, you certainly are my friend. – Knowing songs that work well together is the best way to rock the dance floor. John says, I work four nights a week, I’ve been doing this
for more than 35 years. – Good on you, John.
– Nice one man. – So here’s a tip. If you’ve got a reasonable
size collection, it’s always a good idea to decide what energy level you
think your songs are, and give ’em a star or give them a number in a spare column or something. And then if you organise by
key and then energy level, what you find is you get like
some songs in a similar key or a compatible key in
the same energy level across all different genres. So now you can look for interesting mixes between those songs, and it kind of opens up your collection, just by adding that one new thing. And by the way, you don’t have
to be scientific about it, just guess, you know, is this a lying on a sun lounger record or a chewing my face off record, well there’s a one and a five
right there for you, right? So you know. – Too Fine Productions, I’m
sure that’s not your real name. But good to have you here.
– But we like the name. – This is just what I’m dealing with now. I’ve been getting a lot
of offers at small clubs, but a few of them have
different equipment. It seems like you have to learn every piece of equipment there is. I went from Technics 1200s,
which we’ve got here, well, 1210s, actually, to Serato, and now CDJ with Rekordbox. I’m getting a lot of love
based on the elements of music I play no matter what type of music, but this was about being able to play– – The need to play on
different types of gear, yeah. I mean, the thing with playing with different kinds of gear is, the truth is, it does
get easier over time. And the real key is to learn
to beat mix on anything, because if you can beat mix on anything, it’s like getting into a
different brand of car to drive. As long as you can work the stick, the lever, the gearstick, then
you’re going to be all right. I just want to say at this
point, if you’re enjoying this, if this is a debate that
you’re finding is helping, please do like, share, and let your mates know
about this as well, that would really help us, and it’s going to help your mates as well, get you a bit of kudos. So what else have we got, Steve? – Nigel, his advice is just be yourself. Guys, be professional on
all aspects of yourself and the way you treat people and come across when DJing at venues. It goes a long way. And also be ready to learn new skills. I picked up four venues
lately by being open format, and mixing through all various music and offering a different vibe. Make yourself unique. – This is really interesting stuff, and that is exactly what we’re
hearing more and more of. The DJs who can do that,
and who are professional and who turn up every time and who bring the job, get the gigs. Now I’m calling out to you especially if you are a DJ who
kind of felt left behind by the big EDM thing, where you had to have a Beatport hit, and then you went and
played an hour of tracks that sounded just like your Beatport hit. If you felt left behind by
that, well now’s your chance. Or if you’re a DJ that kind of never wanted to do that
in the first place, and you’re young and fresh,
it’s also your chance. You’ve both got an opportunity here that wasn’t here maybe even 18 months ago, but is here now. So this is an exciting time for DJing, for proper DJs and proper
DJing, it really is. If we can get our act in gear, and if we can get you all the skills, gear, music, techniques,
playing out, promoting yourself, promoting yourself and
playing out being really key, because as we said, the EDM
guys before the bubble burst, they were very good at
promoting themselves and they were very good
at marketing themselves. So this is something that
is missing a little bit in the current age when people are looking
for a new breed of DJ. – So Darren’s made a good point here, which I’ve got an answer for, but he says, most average punters, so
you know, your audience, think all you do is press
play and it’s all an act, thanks to the EDM guys, a
bit like singers miming. And I get that, but
that is easily fixable, even with like the most basic sort of performance DJing
techniques, like a spin back, or a little bit of basic
scratching, like a baby scratch, or learning how to cue jump on your mixer so that you can create
live remix of tracks by pressing the button so
that the people can see that when you’re doing something, you’re actually remixing the track. There are very simple
performance techniques that you can learn that
prove to your audience you are doing something. – And another thing that
proves to the audience that you’re doing something
is knowing the right song to play right now for the
people in front of you. There are times where you
can just drop the right track and you know it’s going to go off. And that’s all it takes, you know, all it takes is picking
that track correctly. And that doesn’t take skill, that just takes an ear for music, right? So you know, there are ways of showing that it isn’t a jukebox and it
isn’t pre-recorded up there. By the way, if you’ve just joined us, we’re talking about the fact
that there has never been, well there hasn’t been for
about a decade we reckon, a better time to be just DJing, and just playing music for
the love of playing music and the art of DJing. That’s why we’ve called this
why the world wants DJs again, because since the kind
of EDM bubble burst, there’s big clubs that
need to get people in there who know what they’re doing in order to fill these dancefloors, and that could be you. Whether you’re a veteran or
whether you’re new to this, so you know, we’re going to round this off in five minutes or so, want
to get back to the comments, but that’s what we’ve been talking about. So if you’ve missed this, most of this, go back to the beginning
on the replay and watch it because there’s a lot
of interesting stuff. – Tony just saying, thanks guys,
I appreciate your feedback. Dayo Sonny Santos from Brazil. – I’ll give you a tip, if
you don’t know the name, just pretend and just look
like that’s what it says, it’s been working for me for years. – I like to try and get it right, having had a surname which is
practically unpronounceable, I’m a bit sensitive to it, I like to take my time. – Sensitive guy. – Wow, John says, I started working as a regular DJ when I was 15. I’m 57 now, still work
regular four nights a week. – Well done, good to hear that, John. – Darren Harvey, I’ve been
open format for 30 years, which I think is kind
of what we were saying, that like if that’s when you started, it was like, it was all you knew. – Can I just say, well done to you guys who are coming out and saying, look, I’ve been doing this for decades, ’cause you know, you must
be feeling this as well, you must be feeling this
swing back, I hope you are. It’s what we’re hearing. – Johnny says, many new
DJs need to find a mentor, someone who is well
versed in various styles of genres and crowd interaction. – It’s true. Or join a community, or you know, find people who’ve been
there in your town. The good thing about mentors is they kind of know you’re
coming for their bacon, and they don’t care, they’ve
been there, they’ve done it, they want to pass it on,
they want some legacy. If you can find someone like that who wants to see you do well and kind of live vicariously through you because they’ve done
it, they’ve had enough, you’re onto a winner, so
do look around in your town or neighbourhood for someone
like that, they do exist. I had a great mentor for instance, I’m sure you can think of people who helped you.
– Yeah. DJ Yaz Yaz says, however good you are, always give yourself time
to check your folders and look for more new music. Variety of music is the best way for me. Joseph says, I really made
a crowd do a double take a couple of weeks ago going
from Vengaboys to Phil Collins while staying at 142 BPM, changing genres and decades
in an instant can be fun. – It can, we were talking to
Laidback Luke the other week when we were in Amsterdam with him. And he was saying that he was getting faster
and faster and faster in a DJ gig in Japan, and he got to about 150 BPM and then dropped A-ha, Take On Me, which is about 150 BPM. And someone came up to him and said, did you just spend 20
minutes getting the BPM from 130 to 150 just
so you could play A-ha? And he’s like, who would do that? He said, I just got to that BPM and it came into my head, so I played it. You know, that’s open
format DJing, that’s– – He also said in that same conversation about a gig he had, which was an EDM gig, where he just found that the crowd were just not going for the big bangers, it just wasn’t happening,
he couldn’t get them going. And as a DJ who likes
to go and do a good job, he was getting more and more frustrated. And in the end, he actually
played Queen, We Will Rock You, and had the whole, you
know, hands clapping going. And you know, it worked, and
he’s not afraid to do that. He’s there to get people moving, to get a reaction, to give
people a memorable experience. – It’s worth saying that
music’s about context, a good DJ can go from We Will Rock You into some really dirty
underground acid in an instant, and that is the context
you put the tunes in that makes the difference sometimes. There’s a difference between a cheesy DJ and a DJ who’s prepared to
play big, big, big records. – Well, we’re getting
tonnes of comments now. So just to let you guys
know that we will answer all your comments in Facebook
and in YouTube as well, do as many as we can live.
– We will do that, ’cause we got to go, we’ve
got some training to film, we’re in the middle of filming for our forthcoming advanced DJing course, we don’t often get to work together. So we took a break to talk to you today. But look, the moral of today’s story is, if you just want to DJ, if you’re not interested
in producing music, we still encourage you to produce music, it’s a good extension of being a DJ and it will open doors for you. But if you just want to DJ, times are now in a better position for you than they have been for a long, long time, since way before the big EDM thing. So sharpen up your skills, make sure you understand all
the different kinds of gear, make sure that you’re prepared
to put a performance on and not just turn up
and stare at your feet and play the same genre all night, and make sure that you’re looking around for people who can help you. And make sure you’re professional, make sure you turn up, do a good job, you’re easy to work with. And you could get these gigs, and we really want you to share
with us as and when you do, either in the comments underneath, in the Digital DJ Tips community, if you’re one of our students over in our StudentHub community, we want to know, we want to help you, but we also want to
know and enjoy with you your wins in this area, ’cause we think it’s going to
be an exciting 18 months or so. It’s been a hip hop year. You know, we had EDM, it
kind of all went hip hop, we think it’s swinging back
towards real DJing now, which is really exciting, good to see it. – Cool. – Awesome people, any final hellos? – Well, there’s tonnes. DJ Styles, Andre, Huan, Movie Cave Dave, John Eccles. – Nice name.
– How you guys doing? And Facebook, both channels
really really busy today, it’s obviously a subject that
people are excited about. Jamie, Shane, Asura, Tyson, thanks for being
here, and Johnny and Eric. Good to have you here guys. – Awesome, well thank you
very much for coming in today. It’s been a bit of an open
format Tuesday Tips Live today, where we really wanted to get your views, and thank you for sharing them. – Look, real vinyl. – Real vinyl, Nightcrawlers,
Push the Feeling On. MK, now there is a veteran who’s still really smashing it today. Mark Kinchen, MK, that’s from what, 1993? – 91, I would, 2. – There you go, 30 years,
nearly 30 years ago. So yeah, you know, real
DJing’s still here, it’s making a big comeback, be part of it. I guess I can say, go get out there and make the moments, people. We’ll see you again very soon.

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18 thoughts on “Why The World Wants DJs Again! #TuesdayTipsLive – Online DJ School”

  1. cr8ive says:

    A lot of promotors might judge you on your ability when arriving with a DJ controller, but how far does this judgment go when it comes to age, specially if passion is not something you can assess with the naked eye?

  2. DJActionVasquez says:

    Like I said in another comment, when this one hour dj set started happening it was weird to me because I've always done jams for like 6, 7, 8 or more hours by myself (sometimes with my dj partner). And my dj partner also has done sets that lasted just as long. But of course, we started way back in the vinyl days so we're used to doing that.

    Now since we already have that skill I was hoping to get some advice from y'all because we've been away for a long time and we're just getting back on the scene.

    ps: We've also always played multiple genre parties, plus we cut, mix and scratch — so we're open format ready!

  3. vapon says:

    …because companies want to sell their toys… simpe ha?!

  4. Jeremy Dahl says:

    Hey guys I love the book I have it on audible and I'm glad to tune in

  5. Mr F-Swift says:

    Not surprised now, all this EDM drops pre recorded DJ sets, acting like your djing , sync Steve Aoki etc has got boring if you listen to lot of DJ mixes today there is no raw vibe or groove to it , sounds robotic compare that to DJs of yester year
    I tell you now there is so many quality mixing djs from the vinyl days who never made it big like these so called DJ stars today pushing buttons

  6. Antoine Simpson says:

    Guys! You are seeing the big picture. That may happen where you are or in Europe, that is not the case in the states. There is a situation where House DJs and Producers are being used by promoters and club owners to get their names out there then decided to change their format to EDM, Hip Hop or Top 40 DJs. The results are: Fights, shootings and venues being destroyed. I live in Chicago. In the course of 4 years approx 6 nightclubs closed down. Some due to change in the neighborhood but mostly due to not allowing House music in their clubs anymore. There are major cities in the states that going through the same thing. It makes it hard for upcoming DJs like me to find a place to play. I have played 4 times since DJing. I would like to play more but in order to do that, I would have to play outside of my city.

  7. Antoine Simpson says:

    You guys are killing me. This is the thing! If you want to be a open format DJ and play at different kinds of gigs (Weddings, Business, etc) sure you should learn different genre. You must be certain you love what you play and not looking at it as a job. That's when you will burn yourself out and quit. I've seen and heard stories about it. I love House music but I like UKG and Techno. Those format fit me for they involve Underground Dance Music.

  8. Anthony Blake says:

    Here in is the problem I see it with what you have gone over. I have been DJ'ing for nearly 20 years and I still struggle to get gigs in both small venues and big venues. I don't know how to get into big venues because of the representation part, i'm crap at that. I am an open-genre, multi-format DJ and I rarely get the chance to play the styles I love (the usual styles I end up playing is generic pop/chart/party because that's what the pubs/club want)

    But the smaller venues, are being flooded with these bedroom laptop DJ's who auto play other peoples playlists and without having any real DJ skills for mixing or reading crowd, whom spend more time chatting up the customers and drinking alcohol.. They have driven down the price and pretty much killed the pub/small club industry because they just can't do the job but the venue won't pay more for DJ's because they think we are all like them. It's something I have seen getting wrong over the past 10 years. and the pubs are twigging on and getting streamed ipads in and getting rid of DJ's all together because they have a low opinion of what DJ's.

    I've seen this on FB a lot but it's as true today as it ever has been "Good DJ's aren't cheap, Cheap DJ's aren't good". Unfortunately, i feel the cheap DJ's are winning and destroying the industry in the process.

    I certainly would appreciate help with agents because I really am terrible at self promotion despite knowing I am above average technically for blending & have a pretty good taste in multi-styles.

  9. StarGayz says:

    I'm in my mid 40's and I've been DJing professionally since I was 20ish. I play just about any format you can imagine. I DJed in Los Angeles, Kentucky, Tennessee, and more almost entirely in LGBTQ nightclubs, bars, events and Movie Premiere Events… I took about 5 years off from it and when I came back all my contacts were basically gone SO I completely understand not having the structure around me. I feel like I'm sinking most of the time even though I've had all this experience playing long sets, short sets, specialized sets… Man, it sure would be great to be lifted up and be able to take on more clubs and events. This was a great video and I'm very glad I listened to it.

  10. John Parker says:

    Tbf there's been a growing underground backlash building in the UK for a number of years now. Stemming from the Internet radio scene. ( 2 pm gmt every Sunday housemasters-radio.com be there or be square 😜). Shameless plug, but on a serious note. Stations like housemasters, house heads, influx to name but a few have brought people together, encouraged networking so now they are not just radio shows on a Internet station, they are branching out into club nights and festivals we at housemasters are even looking at Ibiza next year, fingers crossed. So the void is already being filled, by a new underground, as is always the case. People who believe in the music will always win out eventually as the fly by nights make their quick buck then do off.

  11. Atem S. says:

    Nice the 2 boss are back!!!

  12. Mr T says:

    The World wants Clowns again.
    We need more Clowns 😀

  13. Soul2cold DJ Soul says:

    Hey guys what’s the best controller out for Serato Pro right now?

  14. Jefferson Walters says:

    ZeNN 😀👌🏄 surf the open format wave 🔥 thoughts FaM

  15. doug duval says:

    Open format and being able to work with different genres of music is the way to go… I started in 1984 and had to learn different genres of music to reach my crowds in the clubs… It makes you more versatile!

  16. C Sanchez says:

    Thank you gentlemen for bringing up a much needed discussion. Ive also watched Luke’s call to get back to real DJing. I’m a 45 year old DJ that has been DJing for 32 years primarily within the NYC, Philadelphia scene. I’ve spun and had residences in the 90’s – 2000’s at many larger clubs throughout NYC, Philly, Miami, LA, Vegas, Greece and other parts of the world. In the last 10 years I only focus on venues/parties that share my artistic voice (Afro House, Afro Cuban House, Latin, Deep, Funky, Soul, Disco House Music). As a Man and DJ of a certain age that has dealt with club owners, promoters and booking agents throughout the years I want to share my prospective. First and foremost the DJ is not the “Star” the music, the journey and the environment you create is. Today music is no longer purchased at Record Stores meaning that everyone has access to the same songs, released at the same time (iTunes, record pools and remix services (Crookclan). How do you set yourself apart? How do you get promoters to notice you? How do you build a legitimate following? First take your time to learn and fall in love with the art of DJing. The art of being the driver, taking the wheel and taking a group of people through a musical journey. Take classes, learn about song structure and music programing. Be creative, unique, develop your own artistic style and sound. I’ve seen DJ’s that download the Beatport 100, iTunes 100, Record Pool “Hot List” and play those songs at every set. That’s the reason from club to club many DJ’s sound the same with the same playlist. Are they still around in 5 years? Most likely not. Listen to music from the past to current. What made people dance 5 years ago? 10 years ago? In the 90? 89’s? Etc. Take your time, don’t be in a rush and practice without expectations. I was DJing for 5-6 years (practicing every day) before my first opportunity of an opening set at a local club. You’re not a professional DJ because you can mix two songs together and have been doing it for 6 months. Work on your craft. Study and get inspired by veteran and modern DJs that know how to program long and/or unique sets. (IE Jazzy Jeff, Oscar G, David Morales, Junior Vasquez, Louie Vega, A Trak, Craze, Laidback Luke, DVS1, Judge Jules, Tony Humphrey’s, Rich Medina, etc). Start practicing, mixing and recording longer sets. If you can mix for 3-4 hours sets, while taking your “audience”, through a journey, through space and time you’re a step above 90% of of other DJ’s. Inclosing the DJ’s that are trend setters, legends and enjoy long successful careers are the ones that love the music, respect DJ culture, dance culture and have defined their unique sound. Peace and love.

  17. Antoine Simpson says:

    100 to 200 gigs to play at a festival? Question: What if you are not DJing full time? What if you are a part-time DJ who is doing half to a dozen gigs. You are saying that DJ can't play in a festival? You said to market yourself and have a platform to get noticed. I have a platform, and as a result, I played a festival in my city and about to play another soon. If you are good and, the right people notice, you can play anywhere. You don't need 100 gigs to do it. Wow!!!!

  18. Rene Jenkins says:

    I used to play at the Bonham Exchange in San Antonio, TX in the late 80’s through the early 90’s for roughly 7 years. Still one of the largest “discotech” type of nightclubs in San Antonio. When I was there we regularly had 3 DJs mixing at the same time on 3 different level and on our best nights would pack in 3000. I recently started mixing again and invested in a DDJ 1000. I also recently joined two record pools. Visiting several clubs across a couple of states to get an idea of the current sound I found several things that irritate me about younger DJs.
    1) Laziness – Todays DJs have a tool chest that was unimaginable during my time. They have awesome effects. They have 25 different versions of track that varies in genre, style, and BPM range. I used to take 3 or 4 different versions of a track and create my own remix on the fly. Constantly creating my own pseudo echo by playing two tracks with one beat behind, phasing two tracks at the same time, or resampling parts etc. Clubs I’ve visited DJs are not working, they are just playing tracks, which is just lazy. Why not take a few of those 25 different versions and create a whole unique mix that varies in style and BPM range?
    2) Lack music depth – Every club I’ve visited they are terrified to play older tracks. Example I was in a gay bar on business trip and bought the DJ a shot. She asked if I would like to hear something I asked yeah play something really fun like the ABBA – The Visitors (Hot Tracks Version) or Man 2 Man – Male Stripper (Acid House Remix) or something like that. The DJ eyes glassed over. There is track where the Male Stripper rhythm is sampled > Dished Yellow (Sasha Set Mashup Dirty), which could have been an easy spring board into Male Stripper. Back in the early 90’s I would regularly throw in old tracks like New Order – Bizarre Love Triangle or Soft Cell – Tainted Love and it would tickle me when college students would ask what new song I was playing. I’m not saying DJs should play a whole night of old music. Today’s music is awesome, BUT, just like great books and movies are great in any era so are great tracks. You just have to be confident enough in your skills and music knowledge to pull it off. Playing it safe gets you nowhere except for being a second rate DJ.
    3) Same old song – sort of back to #1 being lazy. You have tools to tell you what you played and when you played it. Visiting the same club several times on the same night, example like on a Saturday, you could tell the DJ was following nearly the same set the previous Saturday. Granted I was guilty of this back in day, but I remember refusing to play certain tracks (leaving them at home) because I got tired of the requests. MIX IT UP!
    Thanks for this channel!
    Now, how does one like me get a guest DJ spots for FUN? What I mean is I don’t want to give up my current career, currently it’s too lucrative to give up. How can I get a guest DJ spot? Would offering my service for free be too much to get started? Or should I request some type of payment? In other words how do I get started?

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