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Tell the Dj Turn It Up Tell the Dj Bring It Back Tell Them Play That S*** Again Song

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Name for person who plays recorded music for an audience

Radio station DJ in a studio

A disc jockey, more commonly abbreviated as DJ, is a person who plays recorded music for an audience. Types of DJs include radio DJs (who host programs on music radio stations), club DJs (who work at a nightclub or music festival), mobile DJs (who are hired to piece of work at public and private events such equally weddings, parties, or festivals), and turntablists (who utilise record players, usually turntables, to manipulate sounds on phonograph records). Originally, the "disc" in "disc jockey" referred to shellac and later vinyl records, but nowadays DJ is used equally an all-encompassing term to also describe persons who mix music from other recording media such equally cassettes, CDs or digital audio files on a CDJ, controller, or even a laptop. DJs may prefer the title "DJ" in front of their real names, adopted pseudonyms, or phase names.[1]

DJs unremarkably use sound equipment that can play at least ii sources of recorded music simultaneously. This enables them to blend tracks together to create transitions between recordings and develop unique mixes of songs. This can involve adjustment the beats of the music sources so their rhythms and tempos do non clash when played together and to enable a smoothen transition from one vocal to another. DJs oftentimes apply specialized DJ mixers, small sound mixers with crossfader and cue functions to alloy or transition from ane song to another. Mixers are also used to pre-listen to sources of recorded music in headphones and adapt upcoming tracks to mix with currently playing music. DJ software can be used with a DJ controller device to mix audio files on a figurer instead of a console mixer. DJs may also apply a microphone to speak to the audition; furnishings units such as reverb to create sound furnishings and electronic musical instruments such as drum machines and synthesizers.

Part [edit]

Originally, the word "disc" in "disc jockey" referred to gramophone records, but now "DJ" is used as an extensive term to describe someone who mixes recorded music from whatsoever source, including vinyl records, cassettes, CDs, or digital audio files stored on USB stick or laptop. DJs typically perform for a live audition in a nightclub or dance club or a Tv set, radio broadcast audience, or an online radio audience. DJs as well create mixes, remixes and tracks that are recorded for subsequently sale and distribution. In hip hop music, DJs may create beats, using percussion breaks, basslines and other musical content sampled from pre-existing records. In hip hop, rappers and MCs use these beats to rap over. Some DJs prefer the title "DJ" as role of their names (eastward.g., DJ Jazzy Jeff, DJ Qbert, DJ Shadow and DJ Yoda). Professional DJs often specialize in a specific genre of music, such as techno, house or hip hop music. DJs typically accept an all-encompassing knowledge about the music they specialize in. Many DJs are avid music collectors of vintage, rare or obscure tracks and records.

Types [edit]

Club DJs [edit]

DJ Pete Rock performing at Rahzel and Friends – Brooklyn Bowl, 2016

Club DJs, unremarkably referred equally DJs in general, play music at musical events, such as parties at music venues or bars, clubs, music festivals, corporate and private events. Typically, club DJs mix music recordings from two or more sources using different mixing techniques to produce non-stopping flow of music.

1 key technique used for seamlessly transitioning from i vocal to another is beatmatching. A DJ who more often than not plays and mixes i specific music genre is often given the title of that genre; for instance, a DJ who plays hip hop music is called a hip hop DJ, a DJ who plays house music is a house DJ, a DJ who plays techno is chosen a techno DJ, and so on.

The quality of a DJ performance (often called a DJ mix or DJ set) consists of two master features: technical skills, or how well the DJ tin can operate the equipment and produce smooth transitions betwixt two or more recordings and a playlist; and the ability of a DJ to select the well-nigh suitable recordings, as well known as "reading the crowd".[2]

Hip hop DJs [edit]

DJ Kool Herc, Grandmaster Flash, and Afrika Bambaataa were members of a block party at South Bronx. Kool Herc played records such as James Brownish'due south "Give It Up or Turnit a Loose", Jimmy Castor's "It'due south Simply Begun", Booker T. & the M.G.'south' "Melting Pot",[3] Incredible Bongo Band's "Bongo Rock" and "Apache", and Britain rock band Babe Ruth's "The Mexican". With Bronx clubs struggling with street gangs, uptown DJs catering to an older disco oversupply with dissimilar aspirations, and commercial radio besides catering to a demographic distinct from teenagers in the Bronx, Herc's parties had a prepare-fabricated audience.[four] [5] [6]

DJ Kool Herc developed the style that was the blueprint for hip hop music. Herc used the tape to focus on a short, heavily percussive function in information technology: the "pause". Since this part of the record was the one the dancers liked best, Herc isolated the break and prolonged it by changing between two record players. As one record reached the end of the pause, he cued a 2d record dorsum to the offset of the break, which immune him to extend a relatively curt section of music into a "5-infinitesimal loop of fury".[7] This innovation had its roots in what Herc called "The Merry-Become-Round", a technique past which the deejay switched from break to break at the height of the party. This technique is specifically called "The Merry-Go-Round" because co-ordinate to Herc, it takes one "back and along with no slack."[8]

Radio DJs [edit]

Radio DJs or radio personalities innovate and play music broadcast on AM, FM, digital or Internet radio stations.

Dancehall/reggae deejays [edit]

In Jamaican music, a deejay (DJ) is a reggae or dancehall musician who sings and "toasts" (raps) to an instrumental riddim. Deejays are not to be confused with DJs from other music genres like hip hop, where they select and play music. Dancehall/reggae DJs who select riddims to play are called selectors. Deejays whose way is nearer to singing are sometimes called singjays.

The term disk originated in the 1960s and 1970s when performers such as U-Roy or Rex Stitt toasted over the instrumental (dub music) versions of popular records. These versions were often released on the flip side to the song'due south 45 record. This gave the deejays the adventure to create on-the-fly lyrics to the music. Big Youth, and I Roy were famous deejays in Jamaica.

Turntablists [edit]

DJ Qbert performing in Rainbow Warehouse in Birmingham (video with close-up photography at the DJ mixer, though without sound)

Turntablists, too called battle DJs, use turntables and DJ mixer to manipulate recorded sounds to produce new music. In essence, they use DJ equipment as a musical instrument. Perhaps the all-time known turntablist technique is scratching. Turntablists often participate in DJ contests like DMC Globe DJ Championships and Cherry Balderdash 3Style.[9]

Residents [edit]

A resident DJ performs at a venue on a regular basis or permanently.[10] [eleven] [12] They would perform regularly (typically under an understanding) in a particular discotheque, a item guild, a particular event, or a particular broadcasting station.[13] [14] [15] Residents have a decisive influence on the club or a serial of events.[16] Per agreement with the management or company, the DJ would take to perform under agreed times and dates.[11] [17] Typically, DJs perform every bit residents for 2 or three times in a calendar week, for case, on Friday and Saturday. DJs who make a steady income from a venue are besides considered resident DJs.[18] [nineteen]

Examples for resident DJs are:[20] [21]

  • Alfredo Fiorito, Richie Hawtin, Sven Väth — Amnesia, Ibiza, Kingdom of spain
  • Martin Garrix — Hï Ibiza, Ibiza, Spain
  • Larry Levan — Paradise Garage, New York City, Usa
  • David Mancuso — The Loft, New York Urban center
  • Tiësto, Deadmau5, Calvin Harris — Hakkasan, Las Vegas, USA
  • Kaskade — Encore Embankment Club, Las Vegas, Usa
  • Dom Chung — UK
  • Ben Klock, Marcel Dettmann, Tama Sumo — Berghain, Berlin, Germany
  • Fish Go Deep — Cork, Ireland
  • Djsky — Ghana, West Africa

Other types [edit]

  • Mobile DJs — DJs with their ain portable audio sound systems who specialize in performing at gatherings such as block parties, street fairs, taverns, weddings, birthdays, schoolhouse and corporate events. Mobile DJs may also offer lighting packages and video systems.[22]
  • Producer DJs — DJs who create remixes of popular club hits, completely original tracks, or transition friendly versions of tracks which extend the start and stop of a song. Producer DJ oft accept their work featured on online DJ tape pools.[23]
  • DJanes — a term describing female DJs used in countries such as Deutschland that employ grammatical gender in their languages.[24]
  • Celebrity DJs — widely known celebrities performing as DJs.[25]
  • Bedroom DJs — a general term for DJs performing at home, unremarkably recording their sets and posting them online.[26]

Equipment [edit]

DJs employ equipment that enables them to play multiple sources of recorded music and mix them to create seamless transitions and unique arrangements of songs. An important tool for DJs is the specialized DJ mixer, a modest sound mixer with a crossfader and cue functions. The crossfader enables the DJ to blend or transition from ane vocal to another. The cue knobs or switches allow the DJ to "listen" to a source of recorded music in headphones earlier playing it for the alive club or broadcast audition. Previewing the music in headphones helps the DJ pick the next rail they desire to play, cue upward the rail to the desired starting location, and align the two tracks' beats in traditional situations where auto sync engineering is not being used. This process ensures that the selected song volition mix well with the currently playing music. DJs may align the beats of the music sources and then their rhythms do non clash when they are played together to help create a polish transition from one song to another. Other equipment may include a microphone, effects units such as reverb, and electronic musical instruments such equally drum machines and synthesizers.

As music technology has progressed, DJs have adopted different types of equipment to play and mix music, all of which are still commonly used. Traditionally, DJs used two turntables plugged into a DJ mixer to mix music on vinyl records. As meaty discs became popular media for publishing music, specialized high quality CD players known as CDJs were adult for DJs. CDJs tin take the identify of turntables or exist used together with turntables. Many CDJs tin now play digital music files from USB flash drives or SD cards in addition to CDs. With the spread of portable laptop, tablet, and smartphone computers, DJs began using software together with specialized sound cards and DJ controller hardware. DJ software can be used in conjunction with a hardware DJ mixer or exist used instead of a hardware mixer.

Turntables [edit]

Turntables let DJs to play vinyl records. Past adjusting the playback speed of the turntable, either past adjusting the speed knob, or by manipulating the platter (e.k., by slowing down the platter by putting a finger gently along the side), DJs can friction match the tempos of different records so their rhythms can be played together at the same time without clashing or make a smooth, seamless transition from one song to some other. This technique is known as beatmatching. DJs typically replace the rubber mat on turntables that keeps the record moving in sync with the turntable with a slipmat that facilitates manipulating the playback of the record by hand. With the slipmat, the DJ can terminate or tiresome down the tape while the turntable is nonetheless spinning. Direct-bulldoze turntables are the type preferred by DJs. Chugalug-drive turntables are less expensive, but they are non suitable for turntablism and DJing, considering the chugalug-bulldoze motor tin exist damaged by this blazon of manipulation. Some DJs, about commonly those who play hip hop music, become beyond merely mixing records and apply turntables as musical instruments for scratching, beat juggling, and other turntablism techniques.

CDJs/media players [edit]

Main article: CDJ

CDJs / media players are loftier quality digital media players made for DJing. They oftentimes accept large jog wheels and pitch controls to permit DJs to manipulate the playback of digital files for beatmatching like to how DJs dispense vinyl records on turntables. CDJs often have features such every bit loops and waveform displays similar to DJ software. Originally designed to play music from meaty discs, they now can play digital music files stored on USB flash drives and SD cards. Some CDJs can also connect to a computer running DJ software to human action as a DJ controller. Modern media players have the ability to stream music from online music providers such equally Beatport, Beatsource, Tidal and Soundcloud GO.[27]

DJ mixers [edit]

A Numark DM2002X Pro Master DJ mixer. This three aqueduct mixer tin have upward to three input audio sources. The gain control knobs and equalization command knobs allow the volume and tone of each sound source to be adjusted. The vertical faders allow for farther adjustment of the volume of each sound source. The horizontally-mounted crossfader enables the DJ to smoothly transition from a song on ane audio source to a song from a dissimilar sound source.

DJ mixers are small audio mixing consoles specialized for DJing. Most DJ mixers have far fewer channels than a mixer used by a tape producer or sound engineer; whereas standard live sound mixers in pocket-sized venues have 12 to 24 channels, and standard recording studio mixers take even more (as many as 72 on large boards), basic DJ mixers may have only ii channels. While DJ mixers accept many of the aforementioned features found on larger mixers (faders, equalization knobs, gain knobs, effects units, etc.), DJ mixers have a feature that is unremarkably merely found on DJ mixers: the crossfader. The crossfader is a type of fader that is mounted horizontally. DJs used the crossfader to mix two or more audio sources. The midpoint of the crossfader's travel is a 50/50 mix of the ii channels (on a two aqueduct mixer). The far left side of the crossfader provides simply the aqueduct A sound source. The far right side provides only the aqueduct B sound source (e.g., record actor number 2). Positions in between the 2 extremes provide different mixes of the 2 channels. Some DJs use a figurer with DJ software and a DJ controller instead of an analog DJ mixer to mix music, although DJ software can exist used in conjunction with a hardware DJ mixer.

Headphones [edit]

DJs more often than not use college quality headphones than those designed for music consumers. DJ headphones have other properties useful for DJs, such equally designs that acoustically isolate the sounds of the headphones from the outside environment (hard crush headphones), flexible headbands and pivot joints to allow DJs to mind to ane side of the headphones, while turning the other headphone abroad (so they can monitor the mix in the guild), and replaceable cables. Replaceable cables enables DJs to purchase new cables if a cable becomes frayed, worn, or damaged, or if a cable is accidentally cut.

Airtight-dorsum headphones are highly recommended for DJs to block outside noise equally the surround of DJ usually tend to be very noisy. Standard headphones have iii.5mm jack but DJ equipment normally requires ¼ inch jack. Almost of specialized DJ Headphones have an adapter to switch between three.5mm jack and ¼ inch jack. Detachable coiled cables are perfect for DJ Headphones.[28]

Software [edit]

DJs have inverse their equipment as new technologies are introduced. The primeval DJs in pop music, in 1970s discos, used record turntables, vinyl records and audio consoles. In the 1970s, DJs would accept to lug heavy directly drive turntables and crates of records to clubs and shows. In the 1980s, many DJs transitioned to compact cassettes. In the 1990s and 2000s, many DJs switched to using digital audio such as CDs and MP3 files. Every bit technological advances made information technology practical to shop large collections of digital music files on a laptop computer, DJ software was developed so DJs could use a laptop equally a source of music instead of transporting CDs or vinyl records to gigs. Different most music player software designed for regular consumers, DJ software can play at least two audio files simultaneously, brandish the waveforms of the files on screen and enable the DJ to listen to either source.

The waveforms allow the DJ see what is coming next in the music and how the playback of different files is aligned. The software analyzes music files to place their tempo and where the beats are. The analyzed data tin can be used by the DJ to assist manually beatmatch similar with vinyl records or the software tin automatically synchronize the beats. Digital signal processing algorithms in software allow DJs to adjust the tempo of recordings independently of their pitch (and musical key, a feature known every bit "keylock". Some software analyzes the loudness of the music for automatic normalization with ReplayGain and detects the musical cardinal. Additionally, DJ software can shop cue points, set loops, and apply effects.

As tablet computers and smartphones became widespread, DJ software was written to run on these devices in add-on to laptops. DJ software requires specialized hardware in improver to a reckoner to fully take advantage of its features. The consumer course, regular sound card integrated into nigh computer motherboards can only output two channels (i stereo pair). However, DJs need to be able to output at least 4 channels (ii stereo pairs, thus Left and Right for input 1 and Left and Right for input 2), either unmixed signals to send to a DJ mixer or a main output plus a headphone output. Additionally, DJ sound cards output higher quality signals than the sound cards built into consumer-grade computer motherboards.

Timecode [edit]

Special vinyl records (or CDs/digital files played with CDJs) can be used with DJ software to play digital music files with DJ software as if they were pressed onto vinyl, allowing turntablism techniques to be used with digital files. These vinyl records do not have music recordings pressed on to them. Instead, they are pressed with a special indicate, referred to as "timecode", to control DJ software. The DJ software interprets changes in the playback speed, management, and position of the timecode betoken and manipulates the digital files it is playing in the same way that the turntable manipulates the timecode record.

This requires a specialized DJ sound carte du jour with at to the lowest degree 4 channels (2 stereo pairs) of inputs and outputs. With this setup, the DJ software typically outputs unmixed signals from the music files to an external hardware DJ mixer. Some DJ mixers have integrated USB sound cards that allow DJ software to connect straight to the mixer without requiring a separate sound card.

DJ controllers [edit]

A DJ software can be used to mix sound files on the computer instead of a separate hardware mixer. When mixing on a computer, DJs often use a DJ controller device that mimics the layout of two turntables plus a DJ mixer to control the software rather than the figurer keyboard & touchpad on a laptop, or the touchscreen on a tablet estimator or smartphone. Many DJ controllers take an integrated sound card with four output channels (2 stereo pairs) that allows the DJ to use headphones to preview music before playing information technology on the master output.[29]

Other equipment [edit]

  • A microphone, so that the DJ tin introduce songs and speak to the audience over the sound system.
  • Electronic effects units such as delay, reverb, octave, equalizer, chorus, etc.
  • Multi-stylus caput shells, which let a DJ to play dissimilar grooves of the same record at the same time.
  • Samplers, sequencers, electronic musical keyboards (synthesizers), effects pedals (effects unit) or pulsate machines.
  • PA arrangement or sound reinforcement organisation (ability amplifiers and speaker enclosures), typically including subwoofer cabinets for deep bass (or, if a DJ is dissemination and/or recording a set, dissemination equipment or recording gear)
  • Monitor speakers, for listening to the "house mix" that is playing over the main speakers

Techniques [edit]

Several techniques are used past DJs equally a ways to ameliorate mix and blend recorded music. These techniques primarily include the cueing, equalization and audio mixing of two or more sound sources. The complexity and frequency of special techniques depends largely on the setting in which a DJ is working. Radio DJs are less likely to focus on advanced music-mixing procedures than society DJs, who rely on a smooth transition between songs using a range of techniques. Notwithstanding, some radio DJs are experienced club DJs, so they use the same sophisticated mixing techniques.

Club DJ turntable techniques include beatmatching, phrasing and slip-cueing to preserve energy on a dance flooring. Turntablism embodies the art of cutting, trounce juggling, scratching, needle drops, phase shifting, back spinning and more to perform the transitions and overdubs of samples in a more creative manner (although turntablism is often considered a use of the turntable equally a musical musical instrument rather than a tool for blending recorded music). Professional DJs may use harmonic mixing to choose songs that are in uniform musical keys.[xxx] [31] Other techniques include chopping, screwing and looping.

Recent advances in applied science in both DJ hardware and software tin can provide assisted or automatic completion of some traditional DJ techniques and skills. Examples include phrasing and beatmatching, which can be partially or completely automated past using DJ software that performs automatic synchronization of sound recordings, a feature commonly labelled "sync". Nigh DJ mixers now include a shell-counter which analyzes the tempo of an incoming sound source and displays its tempo in beats per infinitesimal (BPM), which may assistance with beatmatching analog audio sources.

In the by, being a DJ has largely been a self-taught craft but with the complexities of new technologies and the convergence with music production methods, there are a growing number of schools and organizations that offering instruction on the techniques.[32]

Miming [edit]

In DJ civilisation, miming refers to the practise of DJ'south pantomiming the actions of live-mixing a set on phase while a pre-recorded mix plays over the sound organization.[33] [34] Miming mixing in a live functioning is considered to be controversial within DJ civilisation.[35] Some inside the DJ community say that miming is increasingly used as a technique by glory model DJs who may lack mixing skills, but can draw big crowds to a venue.[36]

During a DJ bout for the release of the French group Justice's A Cross the Universe in November 2008, controversy arose when a photo of Augé DJing with an unplugged Akai MPD24 surfaced. The photograph sparked accusations that Justice's live sets were faked. Augé has since said that the equipment was unplugged very briefly before being reattached and the ring put a iii-photo set of the incident on their MySpace page.[37] [38] Afterwards a 2013 Disclosure concert, the duo was criticized for pretending to live mix to a playback of a pre-recorded track. Disclosure'south Guy Lawrence said they did not deliberately intend to mislead their audience, and cited miming past other DJs such as David Guetta.[39]

History [edit]

The term "disc jockey" was ostensibly coined by radio gossip commentator Walter Winchell in 1935, and the phrase first appeared in impress in a 1941 Variety magazine, used to describe radio personalities who introduced phonograph records on the air.[40] [41] Playing recorded music for dancing and parties rose with the mass marketing of home phonographs in the late 19th century. British radio disc jockey Jimmy Savile hosted his get-go alive dance party in 1943 using a unmarried turntable and a makeshift sound system. Four years afterward, Savile began using two turntables welded together to form a single DJ panel.[42] In 1947, the Whiskey A Go-Go opened in Paris every bit the outset discotheque.[43] In the 1960s, Rudy Bozak began making the first DJ mixers, mixing consoles specialized for DJing.

In the tardily 1960s to early 1970s Jamaican sound organisation culture, producer and sound organization operator (DJ), (Jamaican) King Tubby and producer Lee "Scratch" Perry were pioneers of the genre known as dub music.[44] [45] They experimented with tape-based composition; emphasized repetitive rhythmic structures (oft stripped of their harmonic elements); electronically manipulated spatiality; sonically manipulated pre-recorded musical materials from mass media;[44] and remixed music among other innovative techniques.[45] Information technology is widely known that the Jamaican dancehall culture has had and continues to have a meaning impact on the American hip hop civilisation.[44] [45]

Vintage DJ Station. A DJ mixer is placed between the 2 turntables.

Pioneer DDJ-RX controller running with rekordbox on a reckoner

DJ turntablism has origins in the invention of direct-drive turntables. Early on belt-bulldoze turntables were unsuitable for turntablism and mixing, since they had a wearisome start-up time, and they were prone to wearable-and-tear and breakage, as the belt would break from backspinning or scratching.[46] The showtime direct-drive turntable was invented by engineer Shuichi Obata at Matsushita (now Panasonic),[47] based in Osaka, Nihon.[48] It eliminated belts, and instead employed a motor to directly drive a platter on which a vinyl record rests.[49] In 1969, Matsushita released it as the SP-x,[49] the kickoff direct-bulldoze turntable on the marketplace,[50] and the start in their influential Technics serial of turntables.[49]

In 1972, Technics started making their SL-1200 turntable, featuring loftier torque straight bulldoze pattern.[51] The SL-1200 had a rapid outset and its durable direct drive enabled DJs to manipulate the platter, as with scratching techniques. Hip hop DJs began using the Technics SL-1200s as musical instruments to manipulate records with turntablism techniques such equally scratching and trounce juggling rather than merely mixing records. These techniques were developed in the 1970s past DJ Kool Herc, Grand Wizard Theodore, and Afrika Bambaataa, as they experimented with Technics direct-drive decks, finding that the motor would continue to spin at the correct RPM even if the DJ wiggled the tape back and forth on the platter.[51]

In 1980, Japanese company Roland released the TR-808, an analog rhythm/pulsate machine, which has unique artificial sounds, such as its booming bass and sharp snare, and a metronome-like rhythm. Yellow Magic Orchestra'southward use of the instrument in 1980 influenced hip hop pioneer Afrika Bambaataa, after which the TR-808 would be widely adopted by hip hop DJs, with 808 sounds remaining central to hip-hop music always since.[52] [53] The Roland TB-303, a bass synthesizer released in 1981, had a similar touch on electronic dance music genres such as techno and house music,[54] [52] along with Roland'due south TR-808[53] and TR-909 drum machines.[55] [56]

In 1982, the Compact Disc (CD) format was released, popularizing digital audio. In 1998, the first MP3 digital sound histrion, the Eiger Labs MPMan F10, was introduced. In Jan of that aforementioned twelvemonth at the BeOS Developer Conference, N2IT demonstrated FinalScratch, the first digital DJ system to allow DJs control of MP3 files through special time-coded vinyl records or CDs.[57] While it would take some time for this novel concept to catch on with the "die-hard Vinyl DJs," this would become the first step in the Digital DJ revolution. Manufacturers joined with computer DJing pioneers to offer professional endorsements, the first being Professor Jam (a.g.a. William P. Rader), who went on to develop the manufacture's first dedicated computer DJ convention and learning plan, the "CPS (Computerized Performance Organisation) DJ Elevation", to aid spread the word well-nigh the advantages of this emerging technology.

In 2001, Pioneer DJ began producing the CDJ-thousand CD player, making the use of digital music recordings with traditional DJ techniques applied for the starting time time. As the 2000s progressed, laptop computers became more powerful and affordable. DJ software, specialized DJ sound cards, and DJ controllers were adult for DJs to use laptops as a source of music rather than turntables or CDJs. In the 2010s, like laptops before them, tablet computers and smartphones became more powerful & affordable. DJ software was written to run on these more portable devices instead of laptops, although laptops remain the more than mutual blazon of computer for DJing.

Female DJs [edit]

In Western popular music, women musicians have achieved great success in singing and songwriting roles, however, there are relatively few women DJs or turntablists. Part of this may stem from a full general low percentage of women in audio engineering-related jobs. A 2013 Sound on Sound article stated that there are "...few women in tape production and sound engineering."[58] Ncube states that "[due north]inety-five percent of music producers are male, and although there are female producers achieving groovy things in music, they are less well-known than their male person counterparts."[58] The vast bulk of students in music technology programs are male. In hip hop music, the low percentage of women DJs and turntablists may stem from the overall male domination of the unabridged hip hop music industry. Most of the top rappers, MCs, DJs, record producers and music executives are men. At that place are a small number of loftier-profile women, only they are rare.

In 2007 Marking Katz's article "Men, Women, and Turntables: Gender and the DJ Boxing," stated that "very few women [practice turntablism] boxing[s]; the matter has been a topic of conversation amidst hip-hop DJs for years."[59] In 2010 Rebekah Farrugia states "the male-centricity of EDM civilization" contributes to "a marginalisation of women in these [EDM] spaces."[threescore] While turntablism and broader DJ practices should not exist conflated, Katz suggests utilise or lack of use of the turntable broadly by women across genres and disciplines is impacted upon by what he defines as "male technophilia."[59] Historian Ruth Oldenziel concurs in her writing on applied science with this idea of socialization equally a central factor in the lack of appointment with engineering science. She explains: "an exclusive focus on women's supposed failure to enter the field … is insufficient for understanding how our stereotypical notions have come into beingness; information technology tends to put the burden of proof entirely on women and to arraign them for their supposedly inadequate socialization, their lack of aspiration, and their want of masculine values. An equally challenging question is why and how boys have come to love things technical, how boys take historically been socialized as technophiles."[61]

Lucy Light-green has focused on gender in relation to musical performers and creators, and specifically on educational frameworks equally they relate to both.[62] She suggests that women'south alienation from "areas that take a strong technological tendency such as DJing, audio applied science and producing" are "not necessarily about her dislike of these instruments simply relates to the interrupting effect of their dominantly masculine delineations."[63] Despite this, women and girls practice increasingly engage in turntable and DJ practices, individually[64] and collectively,[65] and "carve out spaces for themselves in EDM and DJ Culture".[lx] A 2022 article cited a number of prominent female DJs: Hannah Wants, Ellen Allien, Miss Kittin, Monika Kruse, Nicole Moudaber, B.Traits, Magda, Nina Kraviz, Nervo, and Annie Mac.[66] Ii years later, another article brings out a list with world-famous female DJs including Nastia, tINY, Nora En Pure, Anja Schneider, Peggy Gou, Maya Jane Coles, and Eli & Fur.[67]

Female DJ The Black Madonna has been chosen "one of the globe's almost exciting turntablists."[68] Her stage proper name The Black Madonna is a tribute to her mother's favorite Catholic saint.[69] In 2018, The Black Madonna played herself as an in-residence DJ for the video game G Theft Automobile Online, equally role of the Afterward Hours DLC.[70]

There are diverse projects dedicated to the promotion and support of these practices such as Female person DJs London.[71] Some artists and collectives get across these practices to be more gender inclusive.[72] For example, Discwoman, a New York-based commonage and booking agency, describe themselves as "representing and showcasing cis women, trans women and genderqueer talent."[73]

In Japan, the newest Bushiroad franchise: D4DJ focuses all-female DJ unit.

Health [edit]

The risk of DJs working in nightclubs with loud music includes dissonance-induced hearing loss and tinnitus.[74] Nightclubs constantly exceed safe levels of noise exposure with average sound levels ranging from 93.2 to 109.7 dB.[75] Constant music exposure creates temporary and permanent auditory dysfunction for professional DJs with average levels at 96dB existence higher up the recommended level, at which ear protection is mandatory for industry. Iii quarters of DJs have tinnitus[76] and are at gamble of tenosynovitis in the wrists and other limbs. Tenosynovitis results from staying in the same position over multiple gigs for scratching movement and cueing, this would be related to a repetitive strain injury.[77] Gigs tin can last four-5 hours in nightlife and the hospitality manufacture, equally a result there are potential complications of prolonged standing which include slouching, varicose veins, cardiovascular disorders, joint compression, and musculus fatigue.[78] [79] This is mutual for other staff to experience as well including bartenders and security staff for example.

In film [edit]

  • Berlin Calling – a German film about fictional DJ and producer Ickarus (Paul Kalkbrenner), who is struggling with drug abuse
  • Speaking in Lawmaking – an American documentary film about techno artists Modeselektor, Wighnomy Brothers, Philip Sherburne, Monolake and David Day
  • Kvadrat – a French and Russian documentary moving-picture show about the realities of techno DJing, using the example of DJ Andrey Pushkarev
  • It's All Gone Pete Tong – a fictional mockumentary British movie near Frankie Wilde, a DJ who gradually becomes deaf due to drug corruption and an unhealthy lifestyle
  • We Are Your Friends – an American fiction picture about a higher DJ trying to brand information technology in the DJing scene with "ane striking song", starring Zac Efron
  • Scratch – a documentary about the hip-hop DJ and the 2000-era turntablist move
  • Tonkatsu DJ Agetarou – a Japanese anime, originally a manga, almost a fictional grapheme named Agetarou who aspires to be a DJ master with the assist of his friends and mentor, Big Master Fry.
  • 24 Hour Political party People – about the Britain music scene from the late 1970s to the "Madchester" scene of the late 1980s and early 1990s.
  • Man Traffic – about early Uk rave counter-civilization featuring music and performances by historic DJs Fatboy Slim, CJ Bolland, Carl Cox, and Mad Dr. Ten.
  • Plow Up Charlie – a 2022 series about a struggling DJ, played past Idris Elba, who is also a bachelor trying to get in again subsequently a 1 hit dorsum in the 1990s
  • Avicii: Truthful Stories – a documentary motion picture about Avicii

See too [edit]

  • Digital DJ licensing
  • List of lodge DJs
  • List of music software#DJ software
  • Live PA
  • DJ mix
  • Record collecting
  • Spelling of disc
  • Phase lighting
  • VJ (media personality)

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Notes [edit]

  • Assef, Claudia (2000). Todo DJ Já Sambou: A História do Disc-Jóquei no Brasil. São Paulo: Conrad Editora practise Brasil. ISBN 85-87193-94-five.
  • Brewster, Bill, and Frank Broughton (2000). Last Night a DJ Saved My Life: The History of the Disc Jockey. New York: Grove Printing. ISBN 0-8021-3688-5 (North American edition). London: Headline. ISBN 0-7472-6230-six (Great britain edition).
  • Broughton, Frank, and Bill Brewster. How to DJ Right: The Fine art and Science of Playing Records. New York: Grove Press, 2003.
  • Graudins, Charles A. How to Be a DJ. Boston: Class Applied science PTR, 2004.
  • Lawrence, Tim (2004). Love Saves the Twenty-four hour period: A History of American Dance Music Civilization, 1970–1979 . Duke University Press. ISBN 0-8223-3198-5.
  • Miller, Paul D. a.one thousand.a. DJ Spooky, Sound Unbound: Writings on DJ Civilisation and Electronic Music, MIT Press 2008. ISBN 0-262-63363-ix ISBN 978-0-262-63363-5.
  • Poschardt, Ulf (1998). DJ Civilization. London: Quartet Books. ISBN 0-7043-8098-six.
  • Zemon, Stacy. The Mobile DJ Handbook: How to Get-go & Run a Assisting Mobile Disc Jockey Service, Second Edition. St. Louis: Focal Press, 2002.

External links [edit]

  • DJs at Curlie

bennettroatt2000.blogspot.com

Source: https://en.wikipedia.org/wiki/Disc_jockey

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