Introduction

INTRODUCTION

Before DJ equipment became widely available to consumers, most DJ's learned their
skills at discotheques. Typically, experienced jocks passed on their techniques to new DJ's. As a "resident" (i.e.,a DJ with a steady gig), the DJ had access to professional equipment, a pro-audio sound-system, and promotional music mixes -- which at that time -- gave the Club DJ's a virtual monopoly on the presentation and performance of dance music. Eventually these club jocks got slots on the radio and the first "mix-shows" emerged (such as Chicago's Hot Mix 5 on WBMX-FM). As a result, Club DJ music and skills such as beat mixing were exposed to the masses.

Perhaps the most significant development in the evolution of DJ equipment occurred when Technics released the "direct-drive" SL-1200 in 1974, and the improved SL-1200MK2 Turntable in 1978-79. Still considered the industry standard, the "twelve-hundred" enabled DJ's to scratch and mix without fear of breaking and/or stretching the belt found in belt-drive turntables.

Hip Hop, which originated in the Bronx (New York) during the early-to-mid-70's, strongly influenced the evolution of DJ equipment - particularly turntablism. DJ's such as Kool Herc (first DJ to loop two identical records on two turntables-1973), Grand Wizard Theodore (first DJ to scratch-1977), Grandmaster Flash ("peak-a-boo cue system"), and Afrika Bambaataa ("godfather of hip hop"- produced Planet Rock) invented turntable techniques that eventually spread throughout the world - particularly when Grand Mixer DST performed on the turntables in Herbie Hancock's "Rockit" video (1980's). As a result, scratching and turntablism was exposed to the masses.

With the growth of raves in the late-80's and 90's, the demand for DJ equipment also grew. Speciality shops catering to rave and hip hop DJ's proliferated and almost anyone that wanted to become a DJ had access to professional equipment and music. At roughly the same time -- because of the Internet -- DJ remixes could be obtained for free and sometimes quicker than conventional distribution methods. The nightclub DJs' monopoly in breaking new dance music had ended -- as well as a portion of the Club DJ's value to record labels and artists.

Mixing everything The most common noises you'll get rid of are things like some one breathing, a note book page of rhymes being turned or better yet the under lying tone of the room that starts build up as your track count increases. Using the automation of your DAW is essential to this step. Alternately you could edit out noise manually or try using a noise gate but right now the MUTE button is the star so show it some love. Using the automated mutes also makes it look cool when your mixes play back every one will thing you a pro engineer.

The other secret and mysterious power of the mute button is using it to sculpt the arrangement of your track. Use the mute button to turn of sounds during sections of a track. Every instrument in a beat or song doesn't need to play the entire way through the track. Use the mute button to create breaks in the drum patterns or open up sections of the song. Doing this will help add interest to your mix and bring out the form of the song. Maybe if you just came out of a heavy section of a song like the chorus you could mute out a few instruments at the beginning of the verse so they dynamics of the track change and contrast a bit. Then as the verse continues slowly add instruments back in building back up to the chorus. The possibilities of what you can do with your beats and songs in endless and so are the amount of interest it will add to your mix.