This blog will document my process of how I will create a DJ set to perform in the TV studios that I will use as a promotional tool to send to club and festival promoters with the hope to gain live gig.

W/B 3rd October

This is my personal DJ set up that I use practise DJing as well as to take out to partys and festivals I may be playing at. In the video below I explain all the equipment I have and how it is all linked together to create wicked mixes.

The equipment that a live DJs needs is:

• A Laptop with software such as Rekordbox or Serato - this is used while peforming live or to plan and set up tunes before hand if CDJs are being used.

• A Controller, CDJs or turntables - these will be used to play and control the songs, they can have EQs, effects and loop options.

• A Mixer - if your playing out life this will be used to connect the controllers or CDJs to the main output speakers that the audience will hear.

• Speakers - to play the music out to the crowd.

• Headphones - these will be used to pre cue the music so you can beatmatch (when DJs match the beats of songs so they are playing together in time) and hear if a tune works with the one already playing. The most common, indusry standard headphones are the Sennheiser HD 25.

• Cables - the correct cables to connect everything togteher. This could be XLR, 6.5mm, RCA.

• A personallity - it may sound silly but a DJ that has a presence on stage and loks like they are enjoying themselves gets a much better reaction from the crowd than one who is stood their, staring moodily at the decks.

On most high end DJ controllers like the DDJ 1000 or stand alone mixers, there will be an array of outputs on the back, these are all used for different things. The XLR output is balanced. This means that unlike the 1/4 inch jack, which is also present, it has a three pin connecters as one is grounding the singal. This is better as it stops any static or earth noise from interupting the signal that can be present if the cable has to go a long distance. The 1/4 inch or 6.5mm jack is often used for booth monitors, which are the speakers inside the DJ booth. The cables coneected these are not long so do not have to be grounded like XLR. If CDJs are being used they will be connected to the mixer in their designated channel via RCA, which are like 6.5mm but are unbalanced so can run into interfearce if going long distances.

Here is a collection of blends I have been practising for my forthcoming DJ performance. I think these tunes all work so well together as they are in the key of Fm, with each song having a unique element that it brings to the mix, this could be a heavy bassline or memorable vocals so they double/triple perfectly with each other. I have utilised four channels, beat-match by ear and use the reverb effect occasionally.

W/B 10th October

This week I practised more blends in the studios, looking through my libary and choosing songs that have the same or a related key. I used the PA system and set up the equimpnent: plugging the controller into the laptop via a usb b cable, running an rca to 6.5mm cable from the back of the DDJ 400 unit into the mixer and then from the mixer's output and into the active speakers via an xlr cable. Active speakers are ones where they have a bulit in amplifer that is compatible for those speakers so they are perfectly married together, so the speaker does not blow. Passive speakers do not need a power source directly into the speakers but do require an external amplifer. These need to be consistent, for example if you were to connect a 500w amplifer into a 100w speaker, the speakers would break and make them unusable. This website perfectly demonstartes the differnece between them, https://www.makeuseof.com/active-vs-passive-speakers-whats-difference/ 

Today we set up the new DJ studio, with new speakers and LED lighting. We are using the KRK Rockit 5 G4. These active speakers have a frequency range of 43Hz-40KHz, which means they are able to produce sound in this range. They have a 5inch subwoofer, this is the part of the speaker that produces the low end, Rockit speakers are well known for being powerful and dominent in producing the low end. These are connected to the laptop running Rekordbox via USB to the DDJ 400 and then the sound goes through the controller and is connnected to each speaker individually via rca to 6.5mm in the back of each speaker. The volume can then be controlled via eaither the volume knob on the back of each speaker or the master output know on the controller. We then added LED lights that diffuse onto the back wall in order to create ambienence and add to a live set feel as clubs and festivals use lighting and lazers.

W/B 17th October

This week I met up with international DJ superstar and idol of mine DJ Bish (https://soundcloud.com/jayke-bishop) at Shipment Studios, near Bristol. I asked him about how he plans his DJ sets and how he mixes. He answered by saying how he often knows exactly what he is going to play for each set, which allows him to have seamless transitions and perfectly timed double drops. He also advised me to get personalised dub plates to make my sets more exclusive and memorable, which really stands out to promoters. Since then I have contacted Doctor, the vocalist for Sigma's tune "Rudeboy", he has agreed to do it and I am now waiting for him to do it.

We then got in the mix together, which allowed me to see how he mixes between tunes and the energy he brings. I am going to copy this energy into my own performance. Also by mixing in front of him really boosted my confidence in front of the decks, if I can mix in front of one of my heroes I know I can do it to a live audience. While in the mix I tried out some blends, to see if they went down well with him. A few really stuck out, including "No No No (Crossy Remix)" by Ed Solo and "Your Love" by Kanine & Friction. As such, I will use them in my DJ performance. This is an example of primary research, I have tried and tested ideas myself and acted on the evidence I have gathered. Below is the mix I did with him.

When I got back I had so much inspiration to put together a set list for this mix and came up with this.

It contains some blends that I know go down well with crowds, like "Ante Up" by Ed Solo and "Camberwell Carrot (Ed Solo Remix)" by Dub Pistols. It has some technically difficult triple drops, like "Rock It (Wilkinson Remix)" by Sub Focus with "Rudeboy" by Sigma (which will be a personalised DJ ARC dub) and "Baby" by Bish, which is an exclusive track as it only came out on a Bish Dubpack. Finally, it has tunes in it that I really enjoy playing and what I think are wicked, like "Couple Guinness VIP" by Selecta J Man and "Lock Stock" by Junk Mail. 

Now I need to practise playing this mix through as much as possible to make it sound as clean and tight as possible ready for the recording in the TV studios.

W/B 31st October

This week I have managed to book the TV studios for the 10th November. This is good as it means I have a date to work towards, although it would be nice too of had it slightly earlier, but that is out of my control. If I was to do it again, I would try and book the studios in first week so I can have the choice of more timings. This week I had my first live club set at the local club Move. It was great practice to try out some of the blends I am planning on doing for the TV studio set. It was also great because it tested my adaptability skills. In the communication I had with the promoter before the night, I was told there would be 3 CDJs, however when I got there, it was only two. I really had to think on my feet to create a new set to one that I practised. Also, when I stepped up to the decks, one of them would not pre cue, so I was not able to beat match before I brought in the next tune. I had to keep a level head and turn lots of knobs and finally I fixed the problem. Overall, I am really overjoyed with the set and some many others have also thought so, including Brian the promoter who has asked me back for another one. Here are some clps of my set. 

W/B 7th November

This is the week I am doing the performance! Here is some of the equipment I am going to need:

We have a three camera set up. Two are being controlled and moved by people, with one static wide shot camera to make the shots more diverse. I have roped in some of my friends to help man the cameras. Taylor is being the director, sitting in the control room choosing when to transition and cut the cameras. Joe and Sam are going to be controlling the cameras. I downloaded some trippy visuals to play in the background on a projector and screen. I have made some final changes to the set list. Doktor never got back to me so I am going to have to just use the original tune. I did manage to get some vocal jingles from Jungle icon Top Cat, which I have added to the start of the mix. Below is the final track list.

I now feel fully prepared to record this mix. I trust the people filming me, I am really happy with the set list I have curated and I am really conformable with using all the equipment.

Health and Saftey

An aspect of performance is taking into consideration health and safety procedures. For my DJ set, cable hazards are an issue. If they are left littered on the floor, people can trip over them and injure themselves. Also, if a cable is left with no slack it could potentially break the equipment as the cable could be pulled and pull things over things such as speakers, which may break the expensive equipment. A way to overcome this risk is by giving all cables enough slack and tape down any running along the floor. Another risk could be starting equipment fires. It could be caused by overloading a socket with too many plugs or pouring any liquids near electronic devices. These are dangerous to the performer, technical team and the equipment itself. A way to minimise the risks is spreading the connections with multiple outlets and have the correct fire extinguisher to hand. According to this website, https://www.businesswatchgroup.co.uk/fire-services/fire-extinguishers/types/, for electrical fires C02 or dry powder extinguishers are needed. The couloirs for these are black and blue. A main risk when working in the music industry, especially DJing, is ear health. If ears are not well looked after, the small hairs inside ears can be damaged which could lead to permanent hearing loss or irreversible conditions such as tinnitus. Making sure ears are well protected and protection is offered is a legal requirement under The Control Of Noise At Work Regulations 2005 and if an employer does not provide sufficient support, they can be prosecuted. This should include protection, such as ear plugs, being offered free of charge and an area to take breaks free of noise. Personally, I also carry ear protection on my keys. They are called Bollsen SoundPRO, https://bollsen-hearingprotection.com, and allow for me to listen to music in loud environments, either DJing or just raving, without the risk of hearing damage. They work in a way so that they do not complete muffle the sound but cut off some of the harsh frequencies that are damaging to the human ear. In my own experience, they make raving and listening to loud music a more pleasurable experience. Without them, I leave a rave with my ears ringing for upwards of two hours, yet with them I leave feeling perfectly fine. They are a necessity for anybody working in the live music industry. Eye damage can also be an issue especially for the digital side of music. Making sure appropriate breaks are taken in between sessions is vital in making sure people's eyes do not strain. Another way to reduce eye fatigue is investing in blue light glasses. These are special glasses that reduce the light emitted from a screen that causes stimulation and strain. Another potential risk could be incorrectly moving and setting up equipment in a way that can damage the lifter and surrounding people. Before something heavy is picked up, like a speaker, judgement should be made whether it needs more than one person, and how to correctly handle it. Your back should always be straight when carrying something, while bending at the knees. This reduces the risk of damaging your back. The equipment should also be attached in a way that is safe for others. For example, if a speaker is being attached to a pole to put the sound cones in line with people's ears, make sure all the appropriate screws and knobs have been tightened so it does not tip over and fall onto somebody, which could permenatily injure or kill them.