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Wikipedia

Disc jockey

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 work at public and private events such as weddings, parties, or festivals), and turntablists (who use 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 as an all-encompassing term to also describe persons who mix music from other recording media such as cassettes, CDs or digital audio files on a CDJ, controller, or even a laptop. DJs may adopt the title "DJ" in front of their real names, adopted pseudonyms, or stage names.[1]

Radio station DJ in a studio
DJ workplace in a nightclub, consisting of three CDJs (top), three turntables for vinyl records and a DJ mixer

DJs commonly use audio equipment that can play at least two 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 aligning the beats of the music sources so their rhythms and tempos do not clash when played together and enable a smooth transition from one song to another. DJs often use specialized DJ mixers, small audio mixers with crossfader and cue functions to blend or transition from one song to another. Mixers are also used to pre-listen to sources of recorded music in headphones and adjust upcoming tracks to mix with currently playing music. DJ software can be used with a DJ controller device to mix audio files on a computer instead of a console mixer. DJs may also use a microphone to speak to the audience; effects units such as reverb to create sound effects and electronic musical instruments such as drum machines and synthesizers.

Etymology

The term "disc jockey" was ostensibly coined by radio gossip commentator Walter Winchell in 1935, and the phrase first appeared in print in a 1941 Variety magazine. Originally, the word "disc" in "disc jockey" referred to phonograph or gramophone records and was used to describe radio personalities who introduced them on the air.[2][3]

Role

"DJ" is used as an all-encompassing term to describe someone who mixes recorded music from any source, including vinyl records, cassettes, CDs, or digital audio files stored on USB stick or laptop. DJs typically perform for a live audience in a nightclub or dance club or a TV, radio broadcast audience, or an online radio audience. DJs also create mixes, remixes and tracks that are recorded for later 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 adopt the title "DJ" as part of their names (e.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 have extensive knowledge about the music they specialize in. Many DJs are avid music collectors of vintage, rare or obscure tracks and records.

Types

Club DJs

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

Club DJs, commonly referred to as 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 a non-stopping flow of music.[citation needed]

One key technique used for seamlessly transitioning from one song to another is beatmatching. A DJ who mostly plays and mixes one specific music genre is often given the title of that genre; for example, 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 called a techno DJ, and so on.[citation needed]

The quality of a DJ performance (often called a DJ mix or DJ set) consists of two main features: technical skills, or how well the DJ can operate the equipment and produce smooth transitions between two or more recordings and a playlist; and the ability of a DJ to select the most suitable recordings, also known as "reading the crowd".[4]

Hip hop DJs

DJ Kool Herc, Grandmaster Flash, and Afrika Bambaataa were members of a block party at South Bronx. Kool Herc played records such as James Brown's "Give It Up or Turnit a Loose", Jimmy Castor's "It's Just Begun", Booker T. & the M.G.'s' "Melting Pot",[5] Incredible Bongo Band's "Bongo Rock" and "Apache", and UK rock band Babe Ruth's "The Mexican". With Bronx clubs struggling with street gangs, uptown DJs catering to an older disco crowd with different aspirations, and commercial radio also catering to a demographic distinct from teenagers in the Bronx, Herc's parties had a ready-made audience.[6][7][8]

DJ Kool Herc developed the style that was the blueprint for hip hop music. Herc used the record to focus on a short, heavily percussive part in it: the "break". 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 break, he cued a second record back to the beginning of the break, which allowed him to extend a relatively short section of music into a "five-minute loop of fury".[9] This innovation had its roots in what Herc called "The Merry-Go-Round", a technique by which the DJ switched from break to break at the height of the party. This technique is specifically called "The Merry-Go-Round" because according to Herc, it takes one "back and forth with no slack."[10]

Radio DJs

Radio DJs or radio personalities introduce and play music broadcasts on AM, FM, digital or Internet radio stations.[11][12]

Dancehall/reggae deejays

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 style is nearer to singing are sometimes called singjays.

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

Turntablists

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

Turntablists, also 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 best-known turntablist technique is scratching. Turntablists often participate in DJ contests like DMC World DJ Championships and Red Bull 3Style.[13]

Residents

A resident DJ performs at a venue on a regular basis or permanently.[14][15][16] They would perform regularly (typically under an agreement) in a particular discotheque, a particular club, a particular event, or a particular broadcasting station.[17][18][19] Residents have a decisive influence on the club or a series of events.[20] Per agreement with the management or company, the DJ would have to perform under agreed times and dates.[15][21] Typically, DJs perform as residents for two or three times in a week, for example, on Friday and Saturday. DJs who make a steady income from a venue are also considered resident DJs.[22][23]

Examples for resident DJs are:[24][25]

Other types

  • Mobile DJs — DJs with their own portable audio sound systems who specialize in performing at gatherings such as block parties, street fairs, taverns, weddings, birthdays, school and corporate events. Mobile DJs may also offer lighting packages and video systems.[26]

  • DJanes — a term describing female DJs used in countries such as Germany that employ grammatical gender in their languages.[27]
  • Celebrity DJs — widely known celebrities performing as DJs.[28]

Equipment

DJs use 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 small audio mixer with a crossfader and cue functions. The crossfader enables the DJ to blend or transition from one song to another. The cue knobs or switches allow the DJ to "listen" to a source of recorded music in headphones before playing it for the live club or broadcast audience. Previewing the music in headphones helps the DJ pick the next track they want to play, cue up the track to the desired starting location, and align the two tracks' beats in traditional situations where auto sync technology is not being used. This process ensures that the selected song will mix well with the currently playing music. DJs may align the beats of the music sources so their rhythms do not clash when they are played together to help create a smooth transition from one song to another. Other equipment may include a microphone, effects units such as reverb, and electronic musical instruments such as 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 compact discs became popular media for publishing music, specialized high-quality CD players known as CDJs were developed for DJs. CDJs can take the place of turntables or be used together with turntables. Many CDJs can now play digital music files from USB flash drives or SD cards in addition to CDs. With the spread of portable laptops, tablets, 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 be used instead of a hardware mixer.

Turntables

 
DJ Spooky at the Sundance Film Festival in 2003, using two Technics SL-1200 turntables and a DJ mixer

Turntables allow DJs to play vinyl records. By adjusting the playback speed of the turntable, either by adjusting the speed knob or by manipulating the platter (e.g., by slowing down the platter by putting a finger gently along the side), DJs can 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 another. This technique is known as beatmatching. DJs typically replace the rubber mat on turntables that keep 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 stop or slow down the record while the turntable is still spinning. Direct-drive turntables are the type preferred by DJs. Belt-drive turntables are less expensive, but they are not suitable for turntablism and DJing, because the belt-drive motor can be damaged by this type of manipulation. Some DJs, most commonly those who play hip hop music, go beyond merely mixing records and use turntables as musical instruments for scratching, beat juggling, and other turntablism techniques.

CDJs/media players

CDJs / media players are high-quality digital media players made for DJing. They often have large jog wheels and pitch controls to allow DJs to manipulate the playback of digital files for beatmatching similar to how DJs manipulate vinyl records on turntables. CDJs often have features such as loops and waveform displays similar to DJ software. Originally designed to play music from compact 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 act as a DJ controller. Modern media players have the ability to stream music from online music providers such as Beatport, Beatsource, Tidal and Soundcloud GO.[29]

DJ mixers

 
A Numark DM2002X Pro Master DJ mixer. This three-channel mixer can have up to three input sound sources. The gain control knobs and equalization control knobs allow the volume and tone of each sound source to be adjusted. The vertical faders allow for further adjustment of the volume of each sound source. The horizontally-mounted crossfader enables the DJ to smoothly transition from a song on one sound source to a song from a different 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 record producer or audio engineer; whereas standard live sound mixers in small venues have 12 to 24 channels, and standard recording studio mixers have even more (as many as 72 on large boards), basic DJ mixers may have only two channels. While DJ mixers have many of the same features found on larger mixers (faders, equalization knobs, gain knobs, effects units, etc.), DJ mixers have a feature that is usually only 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 sound sources. The midpoint of the crossfader's travel is a 50/50 mix of the two channels (on a two-channel mixer). The far left side of the crossfader provides only the channel A sound source. The far right side provides only the channel B sound source (e.g., record player number 2). Positions in between the two extremes provide different mixes of the two channels. Some DJs use a computer with DJ software and a DJ controller instead of an analog DJ mixer to mix music, although DJ software can be used in conjunction with a hardware DJ mixer.

Headphones

DJs generally use higher-quality headphones than those designed for music consumers. DJ headphones have other properties useful for DJs, such as designs that acoustically isolate the sounds of the headphones from the outside environment (hard shell headphones), flexible headbands and pivot joints to allow DJs to listen to one side of the headphones while turning the other headphone away (so they can monitor the mix in the club), and replaceable cables. Replaceable cables enable DJs to buy new cables if a cable becomes frayed, worn, or damaged, or if a cable is accidentally cut.

Closed-back headphones are highly recommended for DJs to block outside noise as the environment of DJ usually tends to be very noisy. Standard headphones have a 3.5mm jack but DJ equipment usually requires ¼ inch jack. Most specialized DJ Headphones have an adapter to switch between a 3.5mm jack and ¼ inch jack. Detachable coiled cables are perfect for DJ Headphones.[30]

Software

 
A screenshot of Mixxx DJ software running on Mac OS X

DJs have changed their equipment as new technologies are introduced. The earliest DJs in pop music, in 1970s discos, used record turntables, vinyl records and audio consoles. In the 1970s, DJs would have to lug heavy direct-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. As technological advances made it practical to store large collections of digital music files on a laptop computer, DJ software was developed so DJs could use a laptop as a source of music instead of transporting CDs or vinyl records to gigs. Unlike most music player software designed for regular consumers, DJ software can play at least two audio files simultaneously, display the waveforms of the files on screen and enable the DJ to listen to either source.

The waveforms allow the DJ to see what is coming next in the music and how the playback of different files is aligned. The software analyzes music files to identify their tempo and where the beats are. The analyzed information can be used by the DJ to help manually beatmatch like with vinyl records or the software can 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 as "keylock". Some software analyzes the loudness of the music for automatic normalization with ReplayGain and detects the musical key. Additionally, DJ software can store cue points, set loops, and apply effects.

As tablet computers and smartphones became widespread, DJ software was written to run on these devices in addition to laptops. DJ software requires specialized hardware in addition to a computer to fully take advantage of its features. The consumer-grade, regular sound card integrated into most computer motherboards can only output two channels (one stereo pair). However, DJs need to be able to output at least four channels (two 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 the 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

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 onto them. Instead, they are pressed with a special signal, referred to as "timecode", to control DJ software. The DJ software interprets changes in the playback speed, direction, and position of the timecode signal 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 card with at least 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 directly to the mixer without requiring a separate sound card.

DJ controllers

A DJ software can be used to mix audio 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 computer keyboard & touchpad on a laptop, or the touchscreen on a tablet computer or smartphone. Many DJ controllers have an integrated sound card with 4 output channels (2 stereo pairs) that allow the DJ to use headphones to preview music before playing it on the main output.[31]

Other equipment

Techniques

 
Grand Wizzard Theodore (R). In the early 1970s in the South Bronx, he invented the "DJ scratch" technique.

Several techniques are used by DJs as a means to better 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 depend largely on the setting in which a DJ is working. Radio DJs are less likely to focus on advanced music-mixing procedures than club DJs, who rely on a smooth transition between songs using a range of techniques. However, 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 floor. Turntablism embodies the art of cutting, beat 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 as a musical instrument rather than a tool for blending recorded music). Professional DJs may use harmonic mixing to choose songs that are in compatible musical keys.[32][33] Other techniques include chopping, screwing and looping.

Recent advances in technology in both DJ hardware and software 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 by using DJ software that performs automatic synchronization of sound recordings, a feature commonly labelled "sync". Most DJ mixers now include a beat counter which analyzes the tempo of an incoming sound source and displays its tempo in beats per minute (BPM), which may assist with beatmatching analog sound sources.

In the past, 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 offer instruction on the techniques.[34]

Miming

In DJ culture, miming refers to the practice of DJ's pantomiming the actions of live-mixing a set on stage while a pre-recorded mix plays over the sound system.[35][36] Miming mixing in a live performance is considered to be controversial within DJ culture.[37] Some within the DJ community say that miming is increasingly used as a technique by celebrity model DJs who may lack mixing skills, but can draw big crowds to a venue.[38]

During a DJ tour for the release of the French group Justice's A Cross the Universe in November 2008, controversy arose when a photograph 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 band put a three-photo set of the incident on their MySpace page.[39][40] After a 2013 Disclosure concert, the duo was criticized for pretending to live mix to a playback of a pre-recorded track. Disclosure's Guy Lawrence said they did not deliberately intend to mislead their audience, and cited miming by other DJs such as David Guetta.[41]

History

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 first live dance party in 1943 using a single turntable and a makeshift sound system. Four years later, Savile began using two turntables welded together to form a single DJ console.[42] In 1947, the Whisky à Gogo opened in Paris as the first discotheque.[43] In 1959, one of the first discos in Germany, the Scotch Club, opened in Aachen and visiting journalist Klaus Quirini (later DJ Heinrich) made comments, conducted audience games, and announced songs while playing records. The first song he played was the hit Ein Schiff wird kommen by Lale Andersen.[44][45]

In the 1960s, Rudy Bozak began making the first DJ mixers, mixing consoles specialized for DJing. In the late 1960s to early 1970s Jamaican sound system culture, producer and sound system operator (DJ), (Jamaican) King Tubby and producer Lee "Scratch" Perry were pioneers of the genre known as dub music.[46][47] They experimented with tape-based composition; emphasized repetitive rhythmic structures (often stripped of their harmonic elements); electronically manipulated spatiality; sonically manipulated pre-recorded musical materials from mass media;[46] and remixed music among other innovative techniques.[47] It is widely known that the Jamaican dancehall culture has had and continues to have a significant impact on the American hip hop culture.[46][47]

 
Vintage DJ Station. A DJ mixer is placed between the two turntables.
 
Pioneer DDJ-RX controller running with rekordbox on a computer

DJ turntablism has origins in the invention of direct-drive turntables. Early belt-drive turntables were unsuitable for turntablism and mixing, since they had a slow start-up time, and they were prone to wear-and-tear and breakage, as the belt would break from backspinning or scratching.[48] The first direct-drive turntable was invented by engineer Shuichi Obata at Matsushita (now Panasonic),[49] based in Osaka, Japan.[50] It eliminated belts, and instead employed a motor to directly drive a platter on which a vinyl record rests.[51] In 1969, Matsushita released it as the SP-10,[51] the first direct-drive turntable on the market,[52] and the first in their influential Technics series of turntables.[51]

In 1972, Technics started making their SL-1200 turntable, featuring high torque direct drive design.[53] The SL-1200 had a rapid start 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 as scratching and beat juggling rather than merely mixing records. These techniques were developed in the 1970s by 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 record back and forth on the platter.[53]

In 1980, Japanese company Roland released the TR-808, an analog rhythm/drum machine, which has unique artificial sounds, such as its booming bass and sharp snare, and a metronome-like rhythm. Yellow Magic Orchestra's 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 ever since.[54][55] The Roland TB-303, a bass synthesizer released in 1981, had a similar impact on electronic dance music genres such as techno and house music,[56][54] along with Roland's TR-808[55] and TR-909 drum machines.[57][58]

In 1982, the Compact Disc (CD) format was released, popularizing digital audio. In 1998, the first MP3 digital audio player, the Eiger Labs MPMan F10, was introduced. In January of that same year 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.[59] 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.k.a. William P. Rader), who went on to develop the industry's first dedicated computer DJ convention and learning program, the "CPS (Computerized Performance System) DJ Summit", to help spread the word about the advantages of this emerging technology.

In 2001, Pioneer DJ began producing the CDJ-1000 CD player, making the use of digital music recordings with traditional DJ techniques practical for the first time. As the 2000s progressed, laptop computers became more powerful and affordable. DJ software, specialized DJ sound cards, and DJ controllers were developed 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 common type of computer for DJing.

Female DJs

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 generally low percentage of women in audio technology-related jobs. A 2013 Sound on Sound article stated that there are "... few women in record production and sound engineering."[60] Ncube states that "[n]inety-five percent of music producers are male, and although there are female producers achieving great things in music, they are less well-known than their male counterparts."[60] The vast majority 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 entire hip hop music industry. Most of the top rappers, MCs, DJs, record producers and music executives are men. There are a small number of high-profile women, but they are rare.

In 2007 Mark Katz's article "Men, Women, and Turntables: Gender and the DJ Battle", stated that "very few women [do turntablism] battle[s]; the matter has been a topic of conversation among hip-hop DJs for years."[61] In 2010 Rebekah Farrugia states "the male-centricity of EDM culture" contributes to "a marginalisation of women in these [EDM] spaces."[62] While turntablism and broader DJ practices should not be conflated, Katz suggests use or lack of use of the turntable broadly by women across genres and disciplines is impacted upon by what he defines as "male technophilia".[61] Historian Ruth Oldenziel concurs in her writing on engineering with this idea of socialization as a central factor in the lack of engagement with technology. She says:

an exclusive focus on women's supposed failure to enter the field – is insufficient for understanding how our stereotypical notions have come into being; it tends to put the burden of proof entirely on women and to blame 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 have historically been socialized as technophiles.[63]

 
French electronic music producer and DJ Miss Kittin

Lucy Green has focused on gender in relation to musical performers and creators, and specifically on educational frameworks as they relate to both.[64] She suggests that women's alienation from "areas that have a strong technological tendency such as DJing, sound engineering and producing" are "not necessarily about her dislike of these instruments but relates to the interrupting effect of their dominantly masculine delineations."[65] Despite this, women and girls do increasingly engage in turntable and DJ practices, individually[66] and collectively,[67] and "carve out spaces for themselves in EDM and DJ Culture".[62] A 2015 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.[68] Two 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.[69]

Female DJ The Black Madonna has been called "one of the world’s most exciting turntablists."[70] Her stage name The Black Madonna is a tribute to her mother's favorite Catholic saint.[71] In 2018, The Black Madonna played herself as an in-residence DJ for the video game Grand Theft Auto Online, as part of the After Hours DLC.[72]

There are various projects dedicated to the promotion and support of these practices such as Female DJs London.[73] Some artists and collectives go beyond these practices to be more gender inclusive.[74] For example, Discwoman, a New York-based collective and booking agency, describe themselves as "representing and showcasing cis women, trans women and genderqueer talent."[75]

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

Health

The risk of DJs working in nightclubs with loud music includes noise-induced hearing loss and tinnitus.[76] Nightclubs constantly exceed safe levels of noise exposure with average sound levels ranging from 93.2 to 109.7 dB.[77] Constant music exposure creates temporary and permanent auditory dysfunction for professional DJs with average levels at 96dB being above the recommended level, at which ear protection is mandatory for industry. Three-quarters of DJs have tinnitus[78] and are at risk of tenosynovitis in the wrists and other limbs. Tenosynovitis results from staying in the same position over multiple gigs for scratching motion and cueing, this would be related to a repetitive strain injury.[79] Gigs can last 4-5 hours in nightlife and the hospitality industry, as a result, there are potential complications of prolonged standing which include slouching, varicose veins, cardiovascular disorders, joint compression, and muscle fatigue.[80][81] This is common for other staff to experience as well including bartenders and security staff for example.

In film

  • Berlin Calling – a German film about fictional DJ and producer Ickarus (Paul Kalkbrenner), who is struggling with drug abuse
  • Speaking in Code – an American documentary film about techno artists Modeselektor, Wighnomy Brothers, Philip Sherburne, Monolake and David Day
  • Kvadrat – a French and Russian documentary film about the realities of techno DJing, using the example of DJ Andrey Pushkarev
  • It's All Gone Pete Tong – a fictional mockumentary British movie about Frankie Wilde, a DJ who gradually becomes deaf due to drug abuse and an unhealthy lifestyle
  • We Are Your Friends – an American fiction film about a college DJ trying to make it in the DJing scene with "one hit song", starring Zac Efron
  • Scratch – a documentary about the hip-hop DJ and the 2000-era turntablist movement
  • Tonkatsu DJ Agetarou – a Japanese anime, originally a manga, about a fictional character named Agetarou who aspires to be a DJ master with the help of his friends and mentor, Big Master Fry.
  • 24 Hour Party People – about the UK music scene from the late 1970s to the "Madchester" scene of the late 1980s and early 1990s.
  • Human Traffic about early UK rave counter-culture featuring music and performances by celebrated DJs Fatboy Slim, CJ Bolland, Carl Cox, and Mad Doctor X.
  • Turn Up Charlie – a 2019 series about a struggling DJ, played by Idris Elba, who is also a bachelor trying to make it again after a one-hit back in the 1990s
  • Avicii: True Stories – a documentary film about Avicii

See also

References

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Notes

  • Assef, Claudia (2000). Todo DJ Já Sambou: A História do Disc-Jóquei no Brasil. São Paulo: Conrad Editora do Brasil. ISBN 85-87193-94-5.
  • Brewster, Bill, and Frank Broughton (2000). Last Night a DJ Saved My Life: The History of the Disc Jockey. New York: Grove Press. ISBN 0-8021-3688-5 (North American edition). London: Headline. ISBN 0-7472-6230-6 (UK edition).
  • Broughton, Frank, and Bill Brewster. How to DJ Right: The Art and Science of Playing Records. New York: Grove Press, 2003.
  • Graudins, Charles A. How to Be a DJ. Boston: Course Technology PTR, 2004.
  • Lawrence, Tim (2004). Love Saves the Day: A History of American Dance Music Culture, 1970–1979 . Duke University Press. ISBN 0-8223-3198-5.
  • Miller, Paul D. a.k.a. DJ Spooky, Sound Unbound: Writings on DJ Culture and Electronic Music, MIT Press 2008. ISBN 0-262-63363-9 ISBN 978-0-262-63363-5.
  • Poschardt, Ulf (1998). DJ Culture. London: Quartet Books. ISBN 0-7043-8098-6.
  • Zemon, Stacy. The Mobile DJ Handbook: How to Start & Run a Profitable Mobile Disc Jockey Service, Second Edition. St. Louis: Focal Press, 2002.

External links

disc, jockey, this, article, needs, additional, citations, verification, please, help, improve, this, article, adding, citations, reliable, sources, unsourced, material, challenged, removed, find, sources, news, newspapers, books, scholar, jstor, july, 2022, l. This article needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed Find sources Disc jockey news newspapers books scholar JSTOR July 2022 Learn how and when to remove this template message DJ DJs and Deejay redirect here For other uses see DJ disambiguation DJs disambiguation and Deejay disambiguation 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 work at public and private events such as weddings parties or festivals and turntablists who use 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 as an all encompassing term to also describe persons who mix music from other recording media such as cassettes CDs or digital audio files on a CDJ controller or even a laptop DJs may adopt the title DJ in front of their real names adopted pseudonyms or stage names 1 Club DJ Robert Hood Radio station DJ in a studio DJ workplace in a nightclub consisting of three CDJs top three turntables for vinyl records and a DJ mixer DJs commonly use audio equipment that can play at least two 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 aligning the beats of the music sources so their rhythms and tempos do not clash when played together and enable a smooth transition from one song to another DJs often use specialized DJ mixers small audio mixers with crossfader and cue functions to blend or transition from one song to another Mixers are also used to pre listen to sources of recorded music in headphones and adjust upcoming tracks to mix with currently playing music DJ software can be used with a DJ controller device to mix audio files on a computer instead of a console mixer DJs may also use a microphone to speak to the audience effects units such as reverb to create sound effects and electronic musical instruments such as drum machines and synthesizers Contents 1 Etymology 2 Role 3 Types 3 1 Club DJs 3 2 Hip hop DJs 3 3 Radio DJs 3 4 Dancehall reggae deejays 3 5 Turntablists 3 6 Residents 3 7 Other types 4 Equipment 4 1 Turntables 4 2 CDJs media players 4 3 DJ mixers 4 4 Headphones 4 5 Software 4 6 Timecode 4 7 DJ controllers 4 8 Other equipment 5 Techniques 5 1 Miming 6 History 7 Female DJs 8 Health 9 In film 10 See also 11 References 12 Notes 13 External linksEtymology EditThe term disc jockey was ostensibly coined by radio gossip commentator Walter Winchell in 1935 and the phrase first appeared in print in a 1941 Variety magazine Originally the word disc in disc jockey referred to phonograph or gramophone records and was used to describe radio personalities who introduced them on the air 2 3 Role Edit DJ is used as an all encompassing term to describe someone who mixes recorded music from any source including vinyl records cassettes CDs or digital audio files stored on USB stick or laptop DJs typically perform for a live audience in a nightclub or dance club or a TV radio broadcast audience or an online radio audience DJs also create mixes remixes and tracks that are recorded for later 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 adopt the title DJ as part of their names e 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 have extensive knowledge about the music they specialize in Many DJs are avid music collectors of vintage rare or obscure tracks and records Types EditClub DJs Edit DJ Pete Rock performing at Rahzel and Friends Brooklyn Bowl 2016 Club DJs commonly referred to as 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 a non stopping flow of music citation needed One key technique used for seamlessly transitioning from one song to another is beatmatching A DJ who mostly plays and mixes one specific music genre is often given the title of that genre for example 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 called a techno DJ and so on citation needed The quality of a DJ performance often called a DJ mix or DJ set consists of two main features technical skills or how well the DJ can operate the equipment and produce smooth transitions between two or more recordings and a playlist and the ability of a DJ to select the most suitable recordings also known as reading the crowd 4 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 Brown s Give It Up or Turnit a Loose Jimmy Castor s It s Just Begun Booker T amp the M G s Melting Pot 5 Incredible Bongo Band s Bongo Rock and Apache and UK rock band Babe Ruth s The Mexican With Bronx clubs struggling with street gangs uptown DJs catering to an older disco crowd with different aspirations and commercial radio also catering to a demographic distinct from teenagers in the Bronx Herc s parties had a ready made audience 6 7 8 DJ Kool Herc developed the style that was the blueprint for hip hop music Herc used the record to focus on a short heavily percussive part in it the break 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 break he cued a second record back to the beginning of the break which allowed him to extend a relatively short section of music into a five minute loop of fury 9 This innovation had its roots in what Herc called The Merry Go Round a technique by which the DJ switched from break to break at the height of the party This technique is specifically called The Merry Go Round because according to Herc it takes one back and forth with no slack 10 Radio DJs Edit Main article Radio personality Radio DJs or radio personalities introduce and play music broadcasts on AM FM digital or Internet radio stations 11 12 Dancehall reggae deejays Edit Main article Toasting Jamaican music 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 style is nearer to singing are sometimes called singjays The term deejay originated in the 1960s and 1970s when performers such as U Roy or King Stitt toasted over the instrumental dub music versions of popular records These versions were often released on the flip side to the song s 45 record This gave the deejays the chance to create on the fly lyrics to the music Big Youth and I Roy were famous deejays in Jamaica Turntablists Edit Main article Turntablism source source source source source source DJ Qbert performing in Rainbow Warehouse in Birmingham video with close up photography at the DJ mixer though without sound Turntablists also 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 best known turntablist technique is scratching Turntablists often participate in DJ contests like DMC World DJ Championships and Red Bull 3Style 13 Residents Edit Main article Resident DJ A resident DJ performs at a venue on a regular basis or permanently 14 15 16 They would perform regularly typically under an agreement in a particular discotheque a particular club a particular event or a particular broadcasting station 17 18 19 Residents have a decisive influence on the club or a series of events 20 Per agreement with the management or company the DJ would have to perform under agreed times and dates 15 21 Typically DJs perform as residents for two or three times in a week for example on Friday and Saturday DJs who make a steady income from a venue are also considered resident DJs 22 23 Examples for resident DJs are 24 25 Alfredo Fiorito Richie Hawtin Sven Vath Amnesia Ibiza Spain Martin Garrix Hi Ibiza Ibiza Spain Larry Levan Paradise Garage New York City USA David Mancuso The Loft New York City Tiesto Deadmau5 Calvin Harris Hakkasan Las Vegas USA Kaskade Encore Beach Club Las Vegas USA Ben Klock Marcel Dettmann Tama Sumo Berghain Berlin Germany Fish Go Deep Cork Ireland Djsky Ghana West AfricaOther types Edit Mobile DJs DJs with their own portable audio sound systems who specialize in performing at gatherings such as block parties street fairs taverns weddings birthdays school and corporate events Mobile DJs may also offer lighting packages and video systems 26 DJanes a term describing female DJs used in countries such as Germany that employ grammatical gender in their languages 27 Celebrity DJs widely known celebrities performing as DJs 28 Equipment EditDJs use 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 small audio mixer with a crossfader and cue functions The crossfader enables the DJ to blend or transition from one song to another The cue knobs or switches allow the DJ to listen to a source of recorded music in headphones before playing it for the live club or broadcast audience Previewing the music in headphones helps the DJ pick the next track they want to play cue up the track to the desired starting location and align the two tracks beats in traditional situations where auto sync technology is not being used This process ensures that the selected song will mix well with the currently playing music DJs may align the beats of the music sources so their rhythms do not clash when they are played together to help create a smooth transition from one song to another Other equipment may include a microphone effects units such as reverb and electronic musical instruments such as 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 compact discs became popular media for publishing music specialized high quality CD players known as CDJs were developed for DJs CDJs can take the place of turntables or be used together with turntables Many CDJs can now play digital music files from USB flash drives or SD cards in addition to CDs With the spread of portable laptops tablets 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 be used instead of a hardware mixer Turntables Edit Main article Turntablism DJ Spooky at the Sundance Film Festival in 2003 using two Technics SL 1200 turntables and a DJ mixer Turntables allow DJs to play vinyl records By adjusting the playback speed of the turntable either by adjusting the speed knob or by manipulating the platter e g by slowing down the platter by putting a finger gently along the side DJs can 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 another This technique is known as beatmatching DJs typically replace the rubber mat on turntables that keep 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 stop or slow down the record while the turntable is still spinning Direct drive turntables are the type preferred by DJs Belt drive turntables are less expensive but they are not suitable for turntablism and DJing because the belt drive motor can be damaged by this type of manipulation Some DJs most commonly those who play hip hop music go beyond merely mixing records and use turntables as musical instruments for scratching beat juggling and other turntablism techniques CDJs media players Edit Main article CDJ CDJs media players are high quality digital media players made for DJing They often have large jog wheels and pitch controls to allow DJs to manipulate the playback of digital files for beatmatching similar to how DJs manipulate vinyl records on turntables CDJs often have features such as loops and waveform displays similar to DJ software Originally designed to play music from compact 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 act as a DJ controller Modern media players have the ability to stream music from online music providers such as Beatport Beatsource Tidal and Soundcloud GO 29 DJ mixers Edit Main article DJ mixer A Numark DM2002X Pro Master DJ mixer This three channel mixer can have up to three input sound sources The gain control knobs and equalization control knobs allow the volume and tone of each sound source to be adjusted The vertical faders allow for further adjustment of the volume of each sound source The horizontally mounted crossfader enables the DJ to smoothly transition from a song on one sound source to a song from a different 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 record producer or audio engineer whereas standard live sound mixers in small venues have 12 to 24 channels and standard recording studio mixers have even more as many as 72 on large boards basic DJ mixers may have only two channels While DJ mixers have many of the same features found on larger mixers faders equalization knobs gain knobs effects units etc DJ mixers have a feature that is usually only 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 sound sources The midpoint of the crossfader s travel is a 50 50 mix of the two channels on a two channel mixer The far left side of the crossfader provides only the channel A sound source The far right side provides only the channel B sound source e g record player number 2 Positions in between the two extremes provide different mixes of the two channels Some DJs use a computer with DJ software and a DJ controller instead of an analog DJ mixer to mix music although DJ software can be used in conjunction with a hardware DJ mixer Headphones Edit Main article Headphones DJs generally use higher quality headphones than those designed for music consumers DJ headphones have other properties useful for DJs such as designs that acoustically isolate the sounds of the headphones from the outside environment hard shell headphones flexible headbands and pivot joints to allow DJs to listen to one side of the headphones while turning the other headphone away so they can monitor the mix in the club and replaceable cables Replaceable cables enable DJs to buy new cables if a cable becomes frayed worn or damaged or if a cable is accidentally cut Closed back headphones are highly recommended for DJs to block outside noise as the environment of DJ usually tends to be very noisy Standard headphones have a 3 5mm jack but DJ equipment usually requires inch jack Most specialized DJ Headphones have an adapter to switch between a 3 5mm jack and inch jack Detachable coiled cables are perfect for DJ Headphones 30 Software Edit It has been suggested that this article should be split into a new article titled DJ software discuss May 2020 See also List of music software DJ software A screenshot of Mixxx DJ software running on Mac OS X DJs have changed their equipment as new technologies are introduced The earliest DJs in pop music in 1970s discos used record turntables vinyl records and audio consoles In the 1970s DJs would have to lug heavy direct 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 As technological advances made it practical to store large collections of digital music files on a laptop computer DJ software was developed so DJs could use a laptop as a source of music instead of transporting CDs or vinyl records to gigs Unlike most music player software designed for regular consumers DJ software can play at least two audio files simultaneously display the waveforms of the files on screen and enable the DJ to listen to either source The waveforms allow the DJ to see what is coming next in the music and how the playback of different files is aligned The software analyzes music files to identify their tempo and where the beats are The analyzed information can be used by the DJ to help manually beatmatch like with vinyl records or the software can 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 as keylock Some software analyzes the loudness of the music for automatic normalization with ReplayGain and detects the musical key Additionally DJ software can store cue points set loops and apply effects As tablet computers and smartphones became widespread DJ software was written to run on these devices in addition to laptops DJ software requires specialized hardware in addition to a computer to fully take advantage of its features The consumer grade regular sound card integrated into most computer motherboards can only output two channels one stereo pair However DJs need to be able to output at least four channels two 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 the 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 onto them Instead they are pressed with a special signal referred to as timecode to control DJ software The DJ software interprets changes in the playback speed direction and position of the timecode signal 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 card with at least 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 directly to the mixer without requiring a separate sound card DJ controllers Edit Main article DJ controller A DJ software can be used to mix audio 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 computer keyboard amp touchpad on a laptop or the touchscreen on a tablet computer or smartphone Many DJ controllers have an integrated sound card with 4 output channels 2 stereo pairs that allow the DJ to use headphones to preview music before playing it on the main output 31 Other equipment Edit A microphone so that the DJ can introduce songs and speak to the audience over the sound system Electronic effects units such as delay reverb octave equalizer chorus etc Multi stylus head shells which allow a DJ to play different grooves of the same record at the same time Samplers sequencers electronic musical keyboards synthesizers effects pedals effects unit or drum machines PA system or sound reinforcement system power amplifiers and speaker enclosures typically including subwoofer cabinets for deep bass or if a DJ is broadcasting and or recording a set broadcasting equipment or recording gear Monitor speakers for listening to the house mix that is playing over the main speakersTechniques Edit Grand Wizzard Theodore R In the early 1970s in the South Bronx he invented the DJ scratch technique Several techniques are used by DJs as a means to better 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 depend largely on the setting in which a DJ is working Radio DJs are less likely to focus on advanced music mixing procedures than club DJs who rely on a smooth transition between songs using a range of techniques However 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 floor Turntablism embodies the art of cutting beat 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 as a musical instrument rather than a tool for blending recorded music Professional DJs may use harmonic mixing to choose songs that are in compatible musical keys 32 33 Other techniques include chopping screwing and looping Recent advances in technology in both DJ hardware and software 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 by using DJ software that performs automatic synchronization of sound recordings a feature commonly labelled sync Most DJ mixers now include a beat counter which analyzes the tempo of an incoming sound source and displays its tempo in beats per minute BPM which may assist with beatmatching analog sound sources In the past 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 offer instruction on the techniques 34 Miming Edit In DJ culture miming refers to the practice of DJ s pantomiming the actions of live mixing a set on stage while a pre recorded mix plays over the sound system 35 36 Miming mixing in a live performance is considered to be controversial within DJ culture 37 Some within the DJ community say that miming is increasingly used as a technique by celebrity model DJs who may lack mixing skills but can draw big crowds to a venue 38 During a DJ tour for the release of the French group Justice s A Cross the Universe in November 2008 controversy arose when a photograph of Auge DJing with an unplugged Akai MPD24 surfaced The photograph sparked accusations that Justice s live sets were faked Auge has since said that the equipment was unplugged very briefly before being reattached and the band put a three photo set of the incident on their MySpace page 39 40 After a 2013 Disclosure concert the duo was criticized for pretending to live mix to a playback of a pre recorded track Disclosure s Guy Lawrence said they did not deliberately intend to mislead their audience and cited miming by other DJs such as David Guetta 41 History EditFor the history of club DJs see History of DJing For the history of radio DJs see History of radio disc jockeys 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 first live dance party in 1943 using a single turntable and a makeshift sound system Four years later Savile began using two turntables welded together to form a single DJ console 42 In 1947 the Whisky a Gogo opened in Paris as the first discotheque 43 In 1959 one of the first discos in Germany the Scotch Club opened in Aachen and visiting journalist Klaus Quirini later DJ Heinrich made comments conducted audience games and announced songs while playing records The first song he played was the hit Ein Schiff wird kommen by Lale Andersen 44 45 In the 1960s Rudy Bozak began making the first DJ mixers mixing consoles specialized for DJing In the late 1960s to early 1970s Jamaican sound system culture producer and sound system operator DJ Jamaican King Tubby and producer Lee Scratch Perry were pioneers of the genre known as dub music 46 47 They experimented with tape based composition emphasized repetitive rhythmic structures often stripped of their harmonic elements electronically manipulated spatiality sonically manipulated pre recorded musical materials from mass media 46 and remixed music among other innovative techniques 47 It is widely known that the Jamaican dancehall culture has had and continues to have a significant impact on the American hip hop culture 46 47 Vintage DJ Station A DJ mixer is placed between the two turntables Pioneer DDJ RX controller running with rekordbox on a computer DJ turntablism has origins in the invention of direct drive turntables Early belt drive turntables were unsuitable for turntablism and mixing since they had a slow start up time and they were prone to wear and tear and breakage as the belt would break from backspinning or scratching 48 The first direct drive turntable was invented by engineer Shuichi Obata at Matsushita now Panasonic 49 based in Osaka Japan 50 It eliminated belts and instead employed a motor to directly drive a platter on which a vinyl record rests 51 In 1969 Matsushita released it as the SP 10 51 the first direct drive turntable on the market 52 and the first in their influential Technics series of turntables 51 In 1972 Technics started making their SL 1200 turntable featuring high torque direct drive design 53 The SL 1200 had a rapid start 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 as scratching and beat juggling rather than merely mixing records These techniques were developed in the 1970s by 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 record back and forth on the platter 53 In 1980 Japanese company Roland released the TR 808 an analog rhythm drum machine which has unique artificial sounds such as its booming bass and sharp snare and a metronome like rhythm Yellow Magic Orchestra s 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 ever since 54 55 The Roland TB 303 a bass synthesizer released in 1981 had a similar impact on electronic dance music genres such as techno and house music 56 54 along with Roland s TR 808 55 and TR 909 drum machines 57 58 In 1982 the Compact Disc CD format was released popularizing digital audio In 1998 the first MP3 digital audio player the Eiger Labs MPMan F10 was introduced In January of that same year 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 59 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 k a William P Rader who went on to develop the industry s first dedicated computer DJ convention and learning program the CPS Computerized Performance System DJ Summit to help spread the word about the advantages of this emerging technology In 2001 Pioneer DJ began producing the CDJ 1000 CD player making the use of digital music recordings with traditional DJ techniques practical for the first time As the 2000s progressed laptop computers became more powerful and affordable DJ software specialized DJ sound cards and DJ controllers were developed 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 amp affordable DJ software was written to run on these more portable devices instead of laptops although laptops remain the more common type of computer for DJing Female DJs EditIn 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 generally low percentage of women in audio technology related jobs A 2013 Sound on Sound article stated that there are few women in record production and sound engineering 60 Ncube states that n inety five percent of music producers are male and although there are female producers achieving great things in music they are less well known than their male counterparts 60 The vast majority 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 entire hip hop music industry Most of the top rappers MCs DJs record producers and music executives are men There are a small number of high profile women but they are rare In 2007 Mark Katz s article Men Women and Turntables Gender and the DJ Battle stated that very few women do turntablism battle s the matter has been a topic of conversation among hip hop DJs for years 61 In 2010 Rebekah Farrugia states the male centricity of EDM culture contributes to a marginalisation of women in these EDM spaces 62 While turntablism and broader DJ practices should not be conflated Katz suggests use or lack of use of the turntable broadly by women across genres and disciplines is impacted upon by what he defines as male technophilia 61 Historian Ruth Oldenziel concurs in her writing on engineering with this idea of socialization as a central factor in the lack of engagement with technology She says an exclusive focus on women s supposed failure to enter the field is insufficient for understanding how our stereotypical notions have come into being it tends to put the burden of proof entirely on women and to blame 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 have historically been socialized as technophiles 63 French electronic music producer and DJ Miss Kittin Lucy Green has focused on gender in relation to musical performers and creators and specifically on educational frameworks as they relate to both 64 She suggests that women s alienation from areas that have a strong technological tendency such as DJing sound engineering and producing are not necessarily about her dislike of these instruments but relates to the interrupting effect of their dominantly masculine delineations 65 Despite this women and girls do increasingly engage in turntable and DJ practices individually 66 and collectively 67 and carve out spaces for themselves in EDM and DJ Culture 62 A 2015 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 68 Two 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 amp Fur 69 Female DJ The Black Madonna has been called one of the world s most exciting turntablists 70 Her stage name The Black Madonna is a tribute to her mother s favorite Catholic saint 71 In 2018 The Black Madonna played herself as an in residence DJ for the video game Grand Theft Auto Online as part of the After Hours DLC 72 There are various projects dedicated to the promotion and support of these practices such as Female DJs London 73 Some artists and collectives go beyond these practices to be more gender inclusive 74 For example Discwoman a New York based collective and booking agency describe themselves as representing and showcasing cis women trans women and genderqueer talent 75 In Japan the newest Bushiroad franchise D4DJ focuses on an all female DJ unit Health EditMain article Health problems of musicians The risk of DJs working in nightclubs with loud music includes noise induced hearing loss and tinnitus 76 Nightclubs constantly exceed safe levels of noise exposure with average sound levels ranging from 93 2 to 109 7 dB 77 Constant music exposure creates temporary and permanent auditory dysfunction for professional DJs with average levels at 96dB being above the recommended level at which ear protection is mandatory for industry Three quarters of DJs have tinnitus 78 and are at risk of tenosynovitis in the wrists and other limbs Tenosynovitis results from staying in the same position over multiple gigs for scratching motion and cueing this would be related to a repetitive strain injury 79 Gigs can last 4 5 hours in nightlife and the hospitality industry as a result there are potential complications of prolonged standing which include slouching varicose veins cardiovascular disorders joint compression and muscle fatigue 80 81 This is common for other staff to experience as well including bartenders and security staff for example In film EditBerlin Calling a German film about fictional DJ and producer Ickarus Paul Kalkbrenner who is struggling with drug abuse Speaking in Code an American documentary film about techno artists Modeselektor Wighnomy Brothers Philip Sherburne Monolake and David Day Kvadrat a French and Russian documentary film about the realities of techno DJing using the example of DJ Andrey Pushkarev It s All Gone Pete Tong a fictional mockumentary British movie about Frankie Wilde a DJ who gradually becomes deaf due to drug abuse and an unhealthy lifestyle We Are Your Friends an American fiction film about a college DJ trying to make it in the DJing scene with one hit song starring Zac Efron Scratch a documentary about the hip hop DJ and the 2000 era turntablist movement Tonkatsu DJ Agetarou a Japanese anime originally a manga about a fictional character named Agetarou who aspires to be a DJ master with the help of his friends and mentor Big Master Fry 24 Hour Party People about the UK music scene from the late 1970s to the Madchester scene of the late 1980s and early 1990s Human Traffic about early UK rave counter culture featuring music and performances by celebrated DJs Fatboy Slim CJ Bolland Carl Cox and Mad Doctor X Turn Up Charlie a 2019 series about a struggling DJ played by Idris Elba who is also a bachelor trying to make it again after a one hit back in the 1990s Avicii True Stories a documentary film about AviciiSee also EditDigital DJ licensing List of club DJs List of music software DJ software Live PA DJ mix Record collecting Spelling of disc Stage lighting VJ media personality References Edit What is a DJ We Are Crossfader Learn How To DJ Online 12 August 2020 Retrieved 9 March 2021 Rohter Larry 16 August 2010 Museum Acquires Storied Trove of Performances by Jazz Greats New York Times Retrieved 30 October 2010 OED Appeals oed com Oxford English Dictionary Retrieved 19 September 2016 How To Read A Crowd And What Happens If You Don t Digital DJ Tips 3 November 2017 Shapiro pp 212 213 Shapiro Peter Rough Guide to Hip Hop 2nd ed London Rough Guides 2005 ISBN 978 1 84353 263 7 pp 212 213 Toop David Rap Attack 3rd ed London Serpent s Tail 2000 ISBN 978 1 85242 627 9 p 65 Ogg Alex with Upshall David The Hip Hop Years London Macmillan 1999 ISBN 978 0 7522 1780 2 p 18 Chang Jeff Can t Stop Won t Stop A History of the Hip Hop Generation St Martin s Press New York 2005 ISBN 978 0 312 42579 1 p 79 falkmanbeatz break bboy bgirl channel 8 January 2014 The Freshest Kids The History of the B Boy Full Documentary archived from the original on 21 April 2014 retrieved 26 April 2017 Shelly Field 21 April 2010 Career Opportunities in Radio Infobase Publishing pp 2 ISBN 978 1 4381 1084 4 Harris Arthur S Jr November 1961 How To Become A Disc Jockey Boys Life Boy Scouts of America Inc pp 27 Red Bull 3Style Archived 22 August 2018 at the Wayback Machine Thorp John 7 January 2014 Resident DJs Are The Heroes Of Clubbing And We Need To Show Them Love Thump Thump Vice Retrieved 9 February 2017 a b Celikbas Murat 1 October 2013 What Is Being A Resident DJ Digital DJ INFO Retrieved 9 February 2017 The Do s and Don ts of Being a Weekly Resident DJ Complex 14 November 2013 Retrieved 9 February 2017 DARIUS SYROSSIAN BEST RESIDENT DJ DJMag com 18 December 2014 Retrieved 9 February 2017 Resident DJ Mednas Dishes On Miami LIV ing Vibe 19 April 2013 Retrieved 9 February 2017 Ncube Dumisani The Monitor Variety Of Talent At Next Big EDM DJ The Monitor Retrieved 9 February 2017 Frankland Becca 7 February 2017 mUmU Liverpool 9th birthday review Skiddle com Retrieved 9 February 2017 Robinson Tyler 9 March 2016 How to Become the Resident Dj At Your Local Nightclub www magneticmag com Retrieved 9 February 2017 Golden Ean 16 April 2015 How to Get a DJ Residency DJ TechTools Retrieved 9 February 2017 5 clubs you need to visit before you die www redbull com Retrieved 9 February 2017 Top 10 Resident DJs of all Time DJBroadcast Retrieved 9 February 2017 10 Resident DJs Who Changed EDM Billboard Retrieved 9 February 2017 Stacy Zemon 24 July 2013 The Mobile DJ Handbook How to Start amp Run a Profitable Mobile Disc Jockey Service Taylor amp Francis pp 6 ISBN 978 1 136 11734 3 Mark J Butler 2014 Playing with Something that Runs Technology Improvisation and Composition in DJ and Laptop Performance Oxford University Press pp 111 ISBN 978 0 19 539362 0 Shaquille O Neal had a blast performing at an electronic music festival as DJ Diesel USA Today Sports 25 July 2016 Denon DJ SC6000 SC6000M amp X1850 First Look We Are Crossfader We Are Crossfader Learn How To DJ Online 9 January 2020 Retrieved 9 March 2021 GetAHeadphone 2016 Best DJ Headphones retrieved 27 October 2016 Steventon John 1975 3 December 2014 DJing for dummies 3rd ed Chichester West Sussex ISBN 9781118937280 OCLC 888464041 a href Template Cite book html title Template Cite book cite book a CS1 maint multiple names authors list link Harmonic mixing The Basics Retrieved 29 December 2013 DJ Mixes Remixes Retrieved 29 December 2013 FFWD Calgary Life amp Style Your Face Here Mitch Lee and Sandro Petrillo Beat Drop Archived from the original on 15 August 2014 Retrieved 8 April 2014 Wendy Fonarow Empire of Dirt The Aesthetics and Rituals of British Indie Music Wesleyan University Press 10 July 2006 ISBN 978 0 8195 6811 3 p 270 Charles Kriel How to DVJ A Digital DJ Masterclass CRC Press 25 January 2013 ISBN 978 1 136 12270 5 p 106 Heath Harold Crimes against DJing What s the single worst sin a DJ can commit International DJ Magazine International DJ Magazine Retrieved 1 July 2017 Calvano Jordan 11 May 2015 This is the most fake DJ set you have ever seen www magneticmag com Magnetic Magazine Retrieved 30 June 2017 Justice Unplugged URB 18 November 2008 Archived from the original on 19 December 2008 Retrieved 19 December 2008 Justice fake DJ set false panic in technoland Side Line Magazine 28 November 2008 Archived from the original on 14 February 2013 Retrieved 1 September 2017 Payne Chris 10 June 2013 Disclosure Explains Their Unplugged Miming Performance in London Billboard com Billboard Retrieved 1 July 2017 Luke Crisell Phil White Rob Principe 14 April 2009 On the Record The Scratch DJ Academy Guide St Martin s Publishing Group pp 23 ISBN 978 1 4299 6623 8 So You Want To Be A DJ History UF Interactive Media Lab University of Florida Retrieved 19 September 2016 Crossland David 19 October 2009 Meet Heinrich the World s First Disc Jockey Der Spiegel Retrieved 30 January 2021 Maack Benjamin 19 October 2009 Deutschlands erster Plattenprinz Der Spiegel Retrieved 30 January 2021 a b c Michael Veal 2013 Dub Soundscapes and Shattered Songs in Jamaican Reggae pages 26 44 Electronic Music in Jamaica Wesleyan University Press a b c Nicholas Collins Margaret Schedel Scott Wilson 2013 Electronic Music Cambridge Introductions to Music page 20 Cambridge University Press The World of DJs and the Turntable Culture p 43 Hal Leonard Corporation 2003 Billboard 21 May 1977 p 140 Brian Santo Consumer Electrics Hall of Fame The Maysushita Technics SL 1200 IEEE Spectrum 20 Dec 2018 https spectrum ieee org consumer electronics gadgets the consumer electronics hall of fame the matsushitatechnics sl1200 and Shuichi Obata et al Recent Technology Journal of the Audio Engineering Society 32 6 Apr 1984 131 a b c Trevor Pinch Karin Bijsterveld The Oxford Handbook of Sound Studies p 515 Oxford University Press History of the Record Player Part II The Rise and Fall Reverb com October 2015 Retrieved 5 June 2016 a b Six Machines That Changed The Music World Wired May 2002 a b Neil Kulkarni 2015 The Periodic Table of HIP HOP p 44 Random House a b 808 documentary film Vine Richard 15 June 2011 Tadao Kikumoto invents the Roland TB 303 The Guardian Retrieved 9 July 2011 Complex com Mixmag Pinch Trevor Bijsterveld Karin 2012 The Oxford Handbook of Sound Studies Oxford University Press p 518 ISBN 978 0 19 538894 7 a b Ncube Rosina September 2013 Sounding Off Why So Few Women In Audio Sound on Sound a b Katz Mark 12 December 2007 Men Women and Turntables Gender and the DJ Battle The Musical Quarterly 89 4 580 599 doi 10 1093 musqtl gdm007 a b Farrugia Rebekah 2013 Beyond the Dance Floor Female DJs Technology and Electronic Dance Music Culture University of Chicago Press ISBN 978 1841505664 Oldenziel Ruth A 1997 Boys and Their Toys The Fisher Body Craftsman s Guild 1930 1968 and the Making of a Male Technical Domain Technology and Culture 38 1 60 96 doi 10 2307 3106784 JSTOR 3106784 Green Lucy 2008 Music Gender Education Cambridge University Press ISBN 978 0521555227 Music GEA Gender and Education Association genderandeducation com Archived from the original on 3 March 2016 Retrieved 12 March 2016 Female Turntablists on the Rise BPMSUPREME TV Retrieved 12 March 2016 9 All Female DJ Collectives You Need To Know Right Now The FADER Retrieved 12 March 2016 Robertson Joel TOP 10 Female DJs Festicket Magazine Festicke Ltd Retrieved 13 February 2018 globaldjsguide 23 April 2017 The Top 10 Female DJs in the world GlobalDJsGuide Retrieved 28 May 2020 James Lauren 14 March 2018 DJ The Black Madonna on performing at Sonar festivals and making dance music accessible for all South China Morning Post Romano Tricia 18 September 2015 Decibel Fest DJ Black Madonna and her rebel heart The Seattle Times Crecente Brian 25 August 2018 How Grand Theft Auto Is Changing the Way the World Experiences Music Rolling Stone Enter femaledjs london Archived from the original on 13 March 2016 Retrieved 12 March 2016 Rodgers Tara 2010 Pink Noises Women on Electronic Music and Sound Duke University Press ISBN 978 0822346739 About Discwoman www discwoman com Archived from the original on 19 April 2017 Retrieved 12 March 2016 Potier Morgan Hoquet Caroline Lloyd Ruth Nicolas Puel Cecile Uziel Alain Puel Jean Luc April 2009 The Risks of Amplified Music for Disc Jockeys Working in Nightclubs Ear amp Hearing 30 2 291 293 doi 10 1097 AUD 0b013e31819769fc PMID 19194290 S2CID 21433591 Santos Lorayne Morata Thais C Jacob Lilian C Albizu Evelyn Marques Jair M Paini Michele January 2007 Music exposure and audiological findings in Brazilian disc jockeys DJs Exposicion a la musica y hallazgos audiologicos en Disc Jockeys DJs Brasilenos International Journal of Audiology 46 5 223 231 doi 10 1080 14992020601188575 PMID 17487670 S2CID 41798256 Bray Adam Szymanski Marcin Mills Robert February 2004 Noise induced hearing loss in dance music disc jockeys and an examination of sound levels in nightclubs The Journal of Laryngology amp Otology 118 2 123 128 doi 10 1258 002221504772784577 PMID 14979949 S2CID 19542748 Suttle Allan L Wallace Erik A April 2011 Disc Jockey Tenosynovitis The American Journal of Medicine 124 4 e1 doi 10 1016 j amjmed 2010 09 025 PMID 21435409 Waters Thomas R Dick Robert B May 2015 Evidence of Health Risks Associated with Prolonged Standing at Work and Intervention Effectiveness Rehabilitation Nursing 40 3 148 165 doi 10 1002 rnj 166 PMC 4591921 PMID 25041875 Bahk Jin Wook Kim Hyunjoo Jung Choi Kyunghee Jung Myung Chul Lee Inseok February 2012 Relationship between prolonged standing and symptoms of varicose veins and nocturnal leg cramps among women and men Ergonomics 55 2 133 139 doi 10 1080 00140139 2011 582957 PMID 21846281 S2CID 6791057 Notes EditAssef Claudia 2000 Todo DJ Ja Sambou A Historia do Disc Joquei no Brasil Sao Paulo Conrad Editora do Brasil ISBN 85 87193 94 5 Brewster Bill and Frank Broughton 2000 Last Night a DJ Saved My Life The History of the Disc Jockey New York Grove Press ISBN 0 8021 3688 5 North American edition London Headline ISBN 0 7472 6230 6 UK edition Broughton Frank and Bill Brewster How to DJ Right The Art and Science of Playing Records New York Grove Press 2003 Graudins Charles A How to Be a DJ Boston Course Technology PTR 2004 Lawrence Tim 2004 Love Saves the Day A History of American Dance Music Culture 1970 1979 Duke University Press ISBN 0 8223 3198 5 Miller Paul D a k a DJ Spooky Sound Unbound Writings on DJ Culture and Electronic Music MIT Press 2008 ISBN 0 262 63363 9 ISBN 978 0 262 63363 5 Poschardt Ulf 1998 DJ Culture London Quartet Books ISBN 0 7043 8098 6 Zemon Stacy The Mobile DJ Handbook How to Start amp Run a Profitable Mobile Disc Jockey Service Second Edition St Louis Focal Press 2002 External links Edit Wikiquote has quotations related to Disc jockey Wikimedia Commons has media related to Disc jockeys DJs at Curlie Retrieved from https en wikipedia org w index php title Disc jockey amp oldid 1134124393, wikipedia, wiki, book, books, library,

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