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Music Genres

Author: admin  //  Category: Deejay

This is a list of some of the world’s music genre and their definitions.

African Folk – Music held to be typical of a nation or ethnic group, known to all segments of its society, and preserved usually by oral tradition.

Afro jazz – Refers to jazz music which has been heavily influenced by African music. The music took elements of marabi, swing and American jazz and synthesized this into a unique fusion. The first band to really achieve this synthesis was the South African band Jazz Maniacs.

Afro-beat – Is a combination of Yoruba music, jazz, Highlife, and funk rhythms, fused with African percussion and vocal styles, popularized in Africa in the 1970s.

Afro-Pop – Afropop or Afro Pop is a term sometimes used to refer to contemporary African pop music. The term does not refer to a specific style or sound, but is used as a general term to describe African popular music.

Apala – Originally derived from the Yoruba people of Nigeria. It is a percussion-based style that developed in the late 1930s, when it was used to wake worshippers after fasting during the Islamic holy month of Ramadan.

Assiko – is a popular dance from the South of Cameroon. The band is usually based on a singer accompanied with a guitar, and a percussionnist playing the pulsating rhythm of Assiko with metal knives and forks on an empty bottle.

Batuque – is a music and dance genre from Cape Verde.

Bend Skin – is a kind of urban Cameroonian popular music. Kouchoum Mbada is the most well-known group associated with the genre.

Benga – Is a musical genre of Kenyan popular music. It evolved between the late 1940s and late 1960s, in Kenya’s capital city of Nairobi.

Biguine – is a style of music that originated in Martinique in the 19th century. By combining the traditional bele music with the polka, the black musicians of Martinique created the biguine, which comprises three distinct styles, the biguine de salon, the biguine de bal and the biguines de rue.

Bikutsi – is a musical genre from Cameroon. It developed from the traditional styles of the Beti, or Ewondo, people, who live around the city of Yaounde.

Bongo Flava – it has a mix of rap, hip hop, and R&B for starters but these labels don’t do it justice. It’s rap, hip hop and R&B Tanzanian style: a big melting pot of tastes, history, culture and identity.

Cadence – is a particular series of intervals or chords that ends a phrase, section, or piece of music.

Calypso – is a style of Afro-Caribbean music which originated in Trinidad at about the start of the 20th century. The roots of the genre lay in the arrival of African slaves, who, not being allowed to speak with each other, communicated through song.

Chaabi – is a popular music of Morocco, very similar to the Algerian Rai.

Chimurenga – is a Zimbabwean popular music genre coined by and popularised by Thomas Mapfumo. Chimurenga is a Shona language word for struggle.

Chouval Bwa – features percussion, bamboo flute, accordion, and wax-paper/comb-type kazoo. The music originated among rural Martinicans.

Christian Rap – is a form of rap which uses Christian themes to express the songwriter’s faith.

Coladeira – is a form of music in Cape Verde. Its element ascends to funacola which is a mixture of funanáa and coladera. Famous coladera musicians includes Antoninho Travadinha.

Contemporary Christian – is a genre of popular music which is lyrically focused on matters concerned with the Christian faith.

Country – is a blend of popular musical forms originally found in the Southern United States and the Appalachian Mountains. It has roots in traditional folk music, Celtic music, blues, gospel music, hokum, and old-time music and evolved rapidly in the 1920s.

Dance Hall – is a type of Jamaican popular music which developed in the late 1970s, with exponents such as Yellowman and Shabba Ranks. It is also known as bashment. The style is characterized by a deejay singing and toasting (or rapping) over raw and danceable music riddims.

Disco – is a genre of dance-oriented pop music that was popularized in dance clubs in the mid-1970s.

Folk – in the most basic sense of the term, is music by and for the common people.

Freestyle – is a form of electronic music that is heavily influenced by Latin American culture.

Fuji – is a popular Nigerian musical genre. It arose from the improvisation Ajisari/were music tradition, which is a kind of Muslim music performed to wake believers before dawn during the Ramadan fasting season.

Funana – is a mixed Portuguese and African music and dance from Santiago, Cape Verde. It is said that the lower part of the body movement is African, and the upper part Portuguese.

Funk – is an American musical style that originated in the mid- to late-1960s when African American musicians blended soul music, soul jazz and R&B into a rhythmic, danceable new form of music.

Gangsta rap – is a subgenre of hip-hop music which developed during the late 1980s. ‘Gangsta’ is a variation on the spelling of ‘gangster’. After the popularity of Dr. Dre’s The Chronic in 1992, gangsta rap became the most commercially lucrative subgenre of hip-hop.

Genge – is a genre of hip hop music that had its beginnings in Nairobi, Kenya. The name was coined and popularized by Kenyan rapper Nonini who started off at Calif Records. It is a style that incorporates hip hop, dancehall and traditional African music styles. It is commonly sung in Sheng(slung),Swahili or local dialects.

Gnawa – is a mixture of African, Berber, and Arabic religious songs and rhythms. It combines music and acrobatic dancing. The music is both a prayer and a celebration of life.

Gospel – is a musical genre characterized by dominant vocals (often with strong use of harmony) referencing lyrics of a religious nature, particularly Christian.

Highlife – is a musical genre that originated in Ghana and spread to Sierra Leone and Nigeria in the 1920s and other West African countries.

Hip-Hop – is a style of popular music, typically consisting of a rhythmic, rhyming vocal style called rapping (also known as emceeing) over backing beats and scratching performed on a turntable by a DJ.

House – is a style of electronic dance music that was developed by dance club DJs in Chicago in the early to mid-1980s. House music is strongly influenced by elements of the late 1970s soul- and funk-infused dance music style of disco.

Indie – is a term used to describe genres, scenes, subcultures, styles and other cultural attributes in music, characterized by their independence from major commercial record labels and their autonomous, do-it-yourself approach to recording and publishing.

Instrumental – An instrumental is, in contrast to a song, a musical composition or recording without lyrics or any other sort of vocal music; all of the music is produced by musical instruments.

Isicathamiya – is an a cappella singing style that originated from the South African Zulus.

Jazz – is an original American musical art form which originated around the beginning of the 20th century in African American communities in the Southern United States out of a confluence of African and European music traditions.

Jit – is a style of popular Zimbabwean dance music. It features a swift rhythm played on drums and accompanied by a guitar.

Juju – is a style of Nigerian popular music, derived from traditional Yoruba percussion. It evolved in the 1920s in urban clubs across the countries. The first jùjú recordings were by Tunde King and Ojoge Daniel from the 1920s.

Kizomba – is one of the most popular genres of dance and music from Angola. Sung generally in Portuguese, it is a genre of music with a romantic flow mixed with African rhythm.

Kwaito – is a music genre that emerged in Johannesburg, South Africa in the early 1990s. It is based on house music beats, but typically at a slower tempo and containing melodic and percussive African samples which are looped, deep basslines and often vocals, generally male, shouted or chanted rather than sung or rapped.

Kwela – is a happy, often pennywhistle based, street music from southern Africa with jazzy underpinnings. It evolved from the marabi sound and brought South African music to international prominence in the 1950s.

Lingala – Soukous (also known as Soukous or Congo, and previously as African rumba) is a musical genre that originated in the two neighbouring countries of Belgian Congo and French Congo during the 1930s and early 1940s

Makossa – is a type of music which is most popular in urban areas in Cameroon. It is similar to soukous, except it includes strong bass rhythm and a prominent horn section. It originated from a type of Duala dance called kossa, with significant influences from jazz, ambasse bey, Latin music, highlife and rumba.

Malouf – a kind of music imported to Tunisia from Andalusia after the Spanish conquest in the 15th century.

Mapouka – also known under the name of Macouka, is a traditional dance from the south-east of the Ivory Coast in the area of Dabou, sometimes carried out during religious ceremonies.

Maringa – is a West African musical genre. It evolved among the Kru people of Sierra Leone and Liberia, who used Portuguese guitars brought by sailors, combining local melodies and rhythms with Trinidadian calypso.

Marrabenta – is a form of Mozambican dance music. It was developed in Maputo, the capital city of Mozambique, formerly Laurenco Marques.

Mazurka – is a Polish folk dance in triple meter with a lively tempo, containing a heavy accent on the third or second beat. It is always found to have either a triplet, trill, dotted eighth note pair, or ordinary eighth note pair before two quarter notes.

Mbalax – is the national popular dance music of Senegal. It is a fusion of popular dance musics from the West such as jazz, soul, Latin, and rock blended with sabar, the traditional drumming and dance music of Senegal.

Mbaqanga – is a style of South African music with rural Zulu roots that continues to influence musicians worldwide today. The style was originated in the early 1960s.

Mbube – is a form of South African vocal music, made famous by the South African group Ladysmith Black Mambazo. The word mbube means “lion” in Zulu

Merengue – is a type of lively, joyful music and dance that comes from the Dominican Republic

Morna – is a genre of Cape Verdean music, related to Portuguese fado, Brazilian modinha, Argentinian tango, and Angolan lament.

Museve – is a popular Zimbabwe music genre. Artists include Simon Chimbetu and Alick Macheso

Oldies – term commonly used to describe a radio format that usually concentrates on Top 40 music from the ’50s, ’60s and ’70s. Oldies are typically from R&B, pop and rock music genres.

Pop – is an ample and imprecise category of modern music not defined by artistic considerations but by its potential audience or prospective market.

Quadrille – is a historic dance performed by four couples in a square formation, a precursor to traditional square dancing. It is also a style of music.

R&B – is a popular music genre combining jazz, gospel, and blues influences, first performed by African American artists.

Rai – is a form of folk music, originated in Oran, Algeria from Bedouin shepherds, mixed with Spanish, French, African and Arabic musical forms, which dates back to the 1930s and has been primarily evolved by women in the culture.

Ragga – is a sub-genre of dancehall music or reggae, in which the instrumentation primarily consists of electronic music; sampling often serves a prominent role in raggamuffin music as well.

Rap – is the rhythmic singing delivery of rhymes and wordplay, one of the elements of hip hop music and culture.

Rara – is a form of festival music used for street processions, typically during Easter Week.

Reggae – is a music genre first developed in Jamaica in the late 1960s. A particular music style that originated following on the development of ska and rocksteady. Reggae is based on a rhythm style characterized by regular chops on the off-beat, known as the skank.

Reggaeton – is a form of urban music which became popular with Latin American youth during the early 1990s. Originating in Panama, Reggaeton blends Jamaican music influences of reggae and dancehall with those of Latin America, such as bomba, plena, merengue, and bachata as well as that of hip hop and Electronica.

Rock – is a form of popular music with a prominent vocal melody accompanied by guitar, drums, and bass. Many styles of rock music also use keyboard instruments such as organ, piano, synthesizers.

Rumba – is a family of music rhythms and dance styles that originated in Africa and were introduced to Cuba and the New World by African slaves.

Salegy – is a popular type of Afropop styles exported from Madagascar. This Sub-Saharan African folk music dance originated with the Malagasy language of Madagascar, Southern Africa.

Salsa – is a diverse and predominantly Spanish Caribbean genre that is popular across Latin America and among Latinos abroad.

Samba – is one of the most popular forms of music in Brazil. It is widely viewed as Brazil’s national musical style.

Sega – is an evolved combination of traditional Music of Seychelles,Mauritian and Réunionnais music with European dance music like polka and quadrilles.

Seggae – is a music genre invented in the mid 1980s by the Mauritian Rasta singer, Joseph Reginald Topize who was sometimes known as Kaya, after a song title by Bob Marley. Seggae is a fusion of sega from the island country, Mauritius, and reggae.

Semba – is a traditional type of music from the Southern-African country of Angola. Semba is the predecessor to a variety of music styles originated from Africa, of which three of the most famous are Samba (from Brazil), Kizomba (Angolan style of music derived directly from Zouk music) and Kuduro (or Kuduru, energetic, fast-paced Angolan Techno music, so to speak).

Shona Music – is the music of the Shona people of Zimbabwe. There are several different types of traditional Shona music including mbira, singing, hosho and drumming. Very often, this music will be accompanied by dancing, and participation by the audience.

Ska – is a music genre that originated in Jamaica in the late 1950s and was a precursor to rocksteady and reggae. Ska combined elements of Caribbean mento and calypso with American jazz and rhythm and blues.

Slow Jam – is typically a song with an R&B-influenced melody. Slow jams are commonly R&B ballads or just downtempo songs. The term is most commonly reserved for soft-sounding songs with heavily emotional or romantic lyrical content.

Soca – is a form of dance music that originated in Trinidad from calypso. It combines the melodic lilting sound of calypso with insistent (usually electronic in recent music) percussion.

Soukous – is a musical genre that originated in the two neighbouring countries of Belgian Congo and French Congo during the 1930s and early 1940s, and which has gained popularity throughout Africa.

Soul – is a music genre that combines rhythm and blues and gospel music, originating in the United States.

Taarab – is a music genre popular in Tanzania. It is influenced by music from the cultures with a historical presence in East Africa, including music from East Asia, Sub-Saharan Africa, North Africa, the Middle East and Europe. Taarab rose to prominence in 1928 with the rise of the genre’s first star, Siti binti Saad.

Tango – is a style of music that originated among European immigrant populations of Argentina and Uruguay. It is traditionally played by a sextet, known as the orquesta típica, which includes two violins, piano, doublebass, and two bandoneons.

Waka – is a popular Islamic-oriented Yoruba musical genre. It was pioneered and made popular by Alhaja Batile Alake from Ijebu, who took the genre into the mainstream Nigerian music by playing it at concerts and parties; also, she was the first waka singer to record an album.

Wassoulou – is a genre of West African popular music, named after the region of Wassoulou. It is performed mostly by women, using lyrics that address women’s issues regarding childbearing, fertility and polygamy.

Ziglibithy – is a style of Ivorian popular music that developed in the 1970s. It was the first major genre of music from the Ivory Coast. The first major pioneer of the style was Ernesto Djedje.

Zouglou – is a dance oriented style of music from the Côte d’Ivoire (Ivory Coast) that first evolved in the 1990s. It started with students (les parents du Campus) from the University of Abidjan.

Zouk – is a style of rhythmic music originating from the French islands of Guadeloupe and Martinique. It has its roots in kompa music from Haiti, cadence music from Dominica, as popularised by Grammacks and Exile One.

Record Label Business Plan – Review

Author: admin  //  Category: Deejay

If you are a music producer, a deejay or a person who decided to start their business by creating their own Record Label Company and you don’t know where to start, you might need a proper guide which will teach you step by step how to successfully start and run this kind of company without wasting money and failing. The best thing is that you can download a course straight to your computer, regarding the resources available online, but you need to know which person you can trust in order to get the enough information to succeed in this business.

I am a 34-years-old deejay and I decided to use this passion and start a business.

The Music Industry it’s big and may be very profitable if you know where and when to start, how to plan and grow your ideas and finally how to successfully succeed in this market. One of the profitable business ideas in this niche it is running your own

Record Label Company.

I did not knew where to start or how to proceed so I started searching online for more information. After visiting and reading many websites I found a guide called Record Label Business Plan, which seems to include all the details and information that I needed to start this company. To be honest, I was not too crazy about spending 99 dollars on a guide that might show me how to start a business which I had no idea of how it is going to be after launching or any financial structure included in this type of company.

Overall I had no idea about this project, but the presentations provided in the website of this guide convinced me that I need to risk and try this course, and later I will see how it goes, a good investment or just wasted money. I love the fact that the entire guide it’s included in a PDF file, so anytime I have a question I can access it on my personal computer. I printed the file and then started to read. It turned out to be my best investment in a guide. Everything was well organized, the information and steps provided were very friendly for a beginner. The Record Label Business plan, as it’s names describes it is basically a plan, nothing more, but it provides the enough information in order to you to start and run a Record Label Company which will generate you a full time income. The person who wrote this guide has enough experience to teach you these steps and accomplish your goals.

The Record Label Business Plan contains several modules presenting a clean and easy step by step guide, so that you could understand the basics of running a business in this niche and also making your Record Label Company profitable. I like how the author keeps everything easy to follow and understand under a specific template.

The main six parts of this course are the following:

– Mission Statement

– Executive Summary

– The Management Team

– Music Industry Analysis

– Marketing and Promotion

– The Financial Plan.

Every aspect and secret of this journey is highlighted in this course.

Conclusion: If you want to start your own Record Label Company I highly suggest you educate yourself and invest in this guide.

More About Corporate DJ Services

Author: admin  //  Category: Deejay

Do you want to organize a corporate event and make it successful or are you looking for an option to just to add to the vibrancy of the corporate party? Then no other options would be better than utilizing the services of a professional DJ service company. Let it be sales and incentive events, executive seminars, product launches, trade show events, premier events, team-building events, or board retreats, a corporate party is incomplete without entertainment. In fact, here comes the importance of corporate DJ or Disc Jockey services.

A DJ or deejay can be hired according to the nature of the corporate get-together, and in most cases, a corporate deejay does the role of a Master of Ceremony (MC). In other words, most of the companies when they decide to organize a corporate function, they look for a DJ who can also perform as the Master of Ceremony. The prime role of a DJ for a corporate event is to keep the guests entertained. Further, a professional deejay may be adept enough to judge the guests’ mood and providing services accordingly, thereby influencing the audience and win their applause.

Today, majority of the companies render corporate dj services. However, the services rendered by these companies are more than just supplying DJs to enhance the vitality of your corporate event as well as to carry out MC services, and also cover band entertainment combos, interactive live game show, décor lighting, laser light shows, special effects, and audio / visual services. Further, these companies provide dj services to suit the nature of the corporate event. For instance, the way these companies organize for annual meetings and banquets may be entirely different from the way they organize for product launches and team building events.

Sometimes these companies undertake the role of an event manager, from planning corporate event to implementing it, with the help of expert of DJs who can enliven the event, backed by themed attire, lighting decoration, and music and video. Further, DJ service providers also customize the services according to the unique requirements of the clients. However, only an expert and trained DJ could liven up the ambiance of an event. Hence it is important to hire a professional DJ when you decide to throw a corporate event. Usually, a corporate event takes place during the middle or end of the year. DJs would be of great demand, especially during the end of the year. It is therefore book the services of DJ or DJ service provider early in order to avoid last minute hassles.

From DJ to Performer: A Guide to Becoming a Great DJ And a Great Performer

Author: admin  //  Category: Deejay

What Separates The Great DJs from The Rest of The Pack?

What is it that separates the great DJs and extraordinary DJs and performers from the more mundane and ordinary DJs and performers? Is it raw talent? A strong drive and passion for success? Or is there something more to it? While the science of deejaying and the tools of the DJ have evolved significantly in the past decade the artistic expression of the individual DJ and how they decide to use the tools in their DJ arsenal still remain as one of the most significant factors in the overall strength of their performance. Ultimately it is their ability to artfully manipulate music that will elevate the great DJs from the rest of the pack.

Music is the Foundation of Any Great DJ

As music is the raw clay the DJ must sculpt his art from, choice of music is therefore one of the founding factors in a DJs overall success. It is important to remember that as a DJ you are responsible for the overall mood of the entire crowd. It is therefore important that you chose music that is appropriate for the crowd you are playing for. You don’t play Drum and Bass for a crowd that only listens to Top-40 and Hip Hop. It is good to occasionally throw in other genres if you can make them work but save that for times when you know your crowd is definitely more diverse.

It is also important to remember that often as a DJ you get music much sooner than the general public. This means several things: First, it means you will have to learn how to push new music to your audience without alienating them. You may have to rotate in new music every few songs mixed in with what you already know works well with your crowd.

Second, remember that again you are getting music long before the general public, so it may feel old to you, but it is still fresh and new to them. So don’t stop playing a song just because it feels old to you. If the crowd still responds well to a song it may still be worth playing, even if you feel like you and the nightclub staff are tired of it. Remember, it’s not about the employees as much as it is about the patrons. Your choice of which past classic songs are left in rotation and what new songs you decide to push every week are often part of what separates you from other DJs.

Third, a good regimen of hot remixes can also elevate a DJ from otherwise similar DJs. It’s important to find as many unique and flavorful remixes as possible and in many cases create your own either ahead of time in the studio or live using a capellas and instrumentals or edits that start with the song and end in an a capella and vice versa to create smooth unique song transitions that separate you from the other DJs out there. Just remember that a remix should be better than the original song or just as good but offer something unique for your audience, otherwise you should just stick to playing the original version of the song. Playing remixes just to play remixes is bad practice and means you really don’t have a good grasp of music. If it makes people say, wow that was an awesome remix and make people think “that remix totally makes sense” then it is worth playing if not you may want to rethink your remix bag, rotate out the ones that don’t work and try out a few new ones every now and then.

Practice and Skill Sets Help Elevate A DJs Performance

Another major factor that helps elevate a normal DJ to the status of a great DJ is their own practice regimen and the skill sets attained through practice. DJs that can scratch, juggle and use various styles of creative transitions often create much more energetic and memorable performances than DJs that don’t have these skills within their repertoire.

Image Isn’t Everything But It Is Still a Major A Factor In A DJs Success

Finally, the last major factor is your image. In order to become a Superstar DJ you have to look like a Superstar DJ, or at least look like a superstar. A picture of you deejaying at an ordinary gig just won’t cut it, unless it looks like a studio shot at a nightclub with a spectacular looking light show and a huge crowd with you as the focal point. Otherwise, you are better of with a modeling style, professional, artistic photo shoot with some good head shots and a few full body shots. The occasional prop may be used or even other models on the sides of you representing the kind of crowd you as a DJ can be expected to pull in. Remember when choosing a DJ, the first thing a nightclub, promoter or event coordinator will see is your press pack or Mixtape CD Cover and though they say never to judge a book by it’s cover often that is the first thing they do. So make sure you get a professional photographer and a professional Designer to handle your image, your press kit and your CD covers.

The same goes for all your events, make sure you send the designers and nightclubs the image of you that you want represented on the flyer and make it available online in high quality format in case they decide to or need to snatch stuff off the internet. Also make sure they run the flyers by you before going to print as the flyer also represents you and is part of your overall branding as a DJ. You want to be represented with quality artwork in every city you play in. If you look at their past flyer designs and don’t think they will produce one that is up to your standards you may want to suggest a few designers you have worked with in the past that you feel will benefit the nightclub more. They may be thankful for pointing them to a new source of higher quality flyer designs. Just be careful that they don’t get offended as sometimes it’s a personal friend or the owners themselves that may be designing the flyers for the club, so you may want to say it more like “I have the contact of a really good flyer designer if you need it, he does a lot of my flyers and CD artwork”

A professional website is also part of your overall professional image. Myspace and Face Book are fine as secondary websites, but you should have a real website with a memorable domain name as your main website. It should be included in all your promotional materials and it should be featured on every flyer for every event you are a part of. You have to promote yourself as well as the event after all, so that your fan base can continue to grow over time. This is part of how you increase your demand as a DJ.

Make Sure Your Performances Are Extraordinary

Whenever you travel and perform at new locations make sure every performance is extraordinary. Even if you feel sick or tired and exhausted from flying it is important to have that ON SWITCH that just turns on the second you hit the stage. It’s natural, even after countless performances to get nervous right before performing in front of a new crowd you’ve never been in front of before, but remember that you are a professional and know that as soon as you get past that first song all your training and all your professionalism will start to shine through and you will soon be back in your element, you are a great DJ after all and your performance will reflect that. Also remember to remain flexible, you may have put together a few parts of your set ahead of time and planned on playing a few songs that you wanted to play for this particular gig but remember ultimately the crowd response will tell you which direction to head with your music and you may have to adjust accordingly. Be prepared for anything and nothing will catch you off guard. DJs only become extraordinary performers through their ability to handle various crowds and turn them into fans with positive vibes and performances that get the crowd involved into the mix.

Your ability to make the club and event promoters money and your ability to move the crowd is going to be a key factor in making sure you get re-booked over and over by the promoters and nightclubs you work for, so make sure you also help with part of the promotions utilizing your website and your online presence as well as making sure you rock out the night every time you perform.

Round out your skills, improve your image and diversify your styles so you too can transform from an everyday run of the mill DJ to a great DJ and performer and start touring around the world.

Disc Jockey: Know The Different Types Of DJs

Author: admin  //  Category: Deejay, Equipment, Night Club Scene

A disc jockey is an individual who presents, mixes and links recorded music for radio audiences or a live audience. He uses different tricks and techniques to entertain his audience, including cueing, slip-cueing, audio mixing, phrasing, phase shifting, cutting, scratching, pitch control, cross fading, effects processing, beat juggling, beat matching, needle drops, sampling and sequencing.

Disc Jockey: 4 Types of DJs

DJs can be classified based on various factors, including the type of music played, disc jockey equipment, techniques, target audience, events and settings. Four different types of DJs are:

Mobile DJs

Mobile DJs usually play from a wide collection of pre-recorded music for a specific audience at wedding receptions, local parties, banquets, dances, religious ceremonies, local charity events or other private functions. They travel with their own DJ equipment and movable sound systems. Mobile DJs generally play more mainstream music and take requests from the audience. Apart from playing music some mobile DJs may also take up other responsibilities, including emceeing, event coordination and sound engineering, to make the event a success.

Hip Hop DJs

Hip hop DJs create music by using DJ mixers and turntables. They usually select and play music to back up the emcees, who act as the host of an event or performance.

Club DJs

A club disc jockey is a person who plays music in bars, clubs, night clubs, raves and discotheques. The techniques and programming styles used by Club DJs are quite different from those used by mobile DJs. They usually focus more on beatmixing, beatmatching and controlling the energy level of the crowd. Unlike mobile DJs, who use their own equipment, club DJs usually use hired equipment.

Radio DJs

Radio DJs select and play music that is broadcast through the radio. They play music for radio listeners instead of a live audience. Radio DJs enjoy much more freedom in choosing the tracks in the playlist. They often talk to the listeners, solve their queries and take song requests from them. Also, they prepare for interactive shows, run contests and take interviews of notable personalities.

To hire the services of a professional disc jockey for a special event, visit OccasionalSoundsEnt.com. The company offers high quality services at the most competitive prices.

Interesting And Important Facts About Turntable Needles

Author: admin  //  Category: Deejay

While today’s modern world of music has been turned into a digital soundscape, many parts of this same music are made using equipment from past generations. The turntable has indeed become an intricate and hugely popular part of many kinds of music today. While rap and hip hop genres include awesome and unique scratching performed on turntables, you might be surprised to know music in the 50s and 60s did as well. Check out these facts about turntable needles.

The sound of scratching depends wholly on the condition and type of needle being used. Many deejays have a certain brand they prefer while many others make their mixes while trying different ones. Many artists have found sounds can be completely different when using one type of needle as opposed to another one in the same exact mix.

When vinyl recordings first became available, the material used to make the needle affected the produced sound. The earliest versions were made out of sapphires and diamonds. Diamonds were an excellent choice due to the durability. The needle, also referred to as stylus, wore out over time and prolonged use. Hence, the greatest part of using a diamond stylus is the benefit of long lasting and more perfected sound quality.

Earlier versions used steel and copper materials for manufacturing an interchanging stylus. Interchangeable versions are not a popular choice today due to the use of the more popular cartridge styles. Instead of interchanging the needle, the whole cartridge containing the stylus mechanism was replaced when there was a need for improved sound.

Music recording has come a long in the past 100 years. Digital technology and the introduction of the compact disc has greatly improved the sound. However, if better and more advanced technology presents itself, the compact disc will no longer be the leader.

Due to the digital platforms required for a CD to play, advancements could cause CDs to become obsolete. The greatest aspect of vinyl and turntables is they can still be played and have even become incorporated as a musical instrument as well.

Turnatablism is the art of using a stylus to scratch magnified and unusual sounds into recorded music mixes. In all of history has there been such an integration of equipment and music. Many artists have recorded mixes that have hit number one of the charts. Using turntable needles and a couple of decks, you might be surprised at the sound even a novice deejay can produce.

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DJing – Finding the Cue

Author: admin  //  Category: Deejay

The first thing you need to do is set up your mixer. Put the channel faders for both inputs (CD or Vinyl) to full, and the cross fader to the middle. Set the gain controls and EQ controls on both channels to the same setting too.

Whether you use vinyl, CD or MP3 – the most important thing you can do is find an exact cue point. In most instance, this cue point will be a bass drum – and it’ll probably be either the very first bass beat of the entire tune, or it’ll be the first beat of a phrase in the intro. (Check out the Better Mixing page for information on Phrases etc).

With vinyl, assuming it’s the very first beat of the tune, this is simple enough. Just put the needle on the record at the very beginning, press play, and when you hear the first bass beat, stop the record, and wind it back – until you hear silence. Then wind it forward a tiny amount, until you can hear the bass beat begin to play. Press stop, and leave the needle there. You now have the needle cued at the very first bass beat

CD’s are just as simple. Pop in the CD and press play. It’s going back to the very beginning of the bass beat that’s harder. If you have something like the CDJ1000’s, you can just wind the platter back in exactly the same way as you would with a turntable. When you hear the bass beat, and you know you’re at the beginning, press CUE to store it. (Most other models of CD deck will probably need you to press PLAY to set the cue).

If however, you’re using a CD deck that doesn’t have vinyl emulation (like the CDJ1000’s) and when you pause the tune, it just repeats that same frame of music over and over, use the controls on your CD deck which let you skip back frame by frame (you’ll either have dedicated controls, or just press the search buttons quickly in succession to do this) and wait for the juddering, broken CD sound to stop. Skip forward one more frame to make sure you’re right at the beginning of the bass beat – and then store the Cue point (either by pressing CUE, or PLAY – check your manual).

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Turntablism and the Rise of Hip Hop

Author: admin  //  Category: Deejay

With the rise in popularity and hence, commercialism of the hip-hop subculture nowadays, the urban lifestyles various facets have naturally been pushed into the mainstream.

Not without the help of MTV and its various offshoots, a lifestyle that just a few years ago was still underground is now common fodder for soft-drink commercials, billboard ads and even NBA games. It’s not uncommon nowadays to ask a 50 year old Caucasian farmer from the Midwest who The Fresh Prince is and get a correct answer (uh, that would be Will Smith in case you’re wondering).

It’s only natural then that the street arts that make-up the backbone of hip-hop has also gained international pop attention. Graffiti writing, break-dancing, rapping and beat-boxing (making rap beats with one’s mouth) used to be confined to the urban ghettos of the main cities of America like New York and Los Angeles. Now spray-painted (aerosol) art can be seen on the walls of Berlin, national break-dancing competitions in Seoul are televised globally, and rappers are a dime a dozen in the cities of the Philippines. One can truly say hip-hop has gone pop when Iraqi kids scramble to get their hands on posters of 50cent. The saying “music knows no boundaries” becomes a colossal understatement indeed in light of this.

‘Deejaying’ or the more accurate term- turntablism, is one of the last nuances of hip-hop to come out of the urban jungles of America. According to battlesounds.com, a website created for hip-hop deejays by hip-hop deejays, a turntablist can be defined as “one who has the ability to improvise on a phonograph turntable.” DJ Babu of the world-famous Beat Junkies (an award-winning turntablist crew) defines a turntablist as “one who uses the turntable in the spirit of a musical instrument”. Still, a more detailed definition- “a musician: a hip-hop disc jockey who in a live/spontaneous situation can manipulate or restructure an existing phonograph recording (in combination with an audio mixer) to produce or express a new composition that is unrecognizable from its original ingredients.”

The word hip-hop was said to have been coined from the way early turntablists ‘hopped’ from one turntable to another in a ‘hip’ fashion during live shows with rappers. Indeed, the DJ has come a long way from being a rapper’s sidekick during hip-hop’s infancy. Now they can be seen playing in rock bands like Linkin Park, Limp Bizkit and Incubus- packing stadiums throughout the globe with their fusion of rock and hip-hop music.

Some people say the rise turntablism and hip-hop as a whole is just a fad and that it will die down soon. I’m not so sure about this- everything that comes with this magnificent African-American sub-culture has surely brought more color to the urban lifestyle of today’s youth. There are now lots more ways to express oneself in terms of fashion, music and arts. One thing I can say for sure though- The more the merrier!

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How To Sell *LOTS* Of Digital Downloads In Your Local Area

Author: admin  //  Category: Deejay

This is more of a tip than an article, whereby, I want to show you how you can begin experiencing tremendous digital download sales in your own local area in only a week or less.

And, implementing this tip will greatly influence your own local radio stations, whether college, non commercial or commercial, to begin requesting your CD and giving you radio airplay.

And, wouldn’t it be great to finally get some local support while eliminating the old “can’t buy no love in my home town” scenario?

I’m glad you agree, so here goes…

1. The first thing that *MUST* occur is that you must ALREADY have your music on iTunes, the digital download music site at (iTunes) and similar download music sites. None of the rest of this tip will work if you do not already have your music on iTunes.

If you try this process without your music already at iTunes, you are going to lose big with digital music sales as well as upset potential music buyers who attempt to buy your music at the site only to discover that it is not there and will not likely return.

And, it currently takes approximately sixty (60) days for music to become active on iTunes after submitting it. But, you need your music on iTunes (and similar sites) in order to begin getting paid *immediately* after the following process begins.

2. So, assuming your music is already on iTunes (you are blessed if it is), make a list of local dance nightclubs where there are live deejays that play your style of music in their nightly playlists. While this information is not applicable to Jazz, Classical or similar genres because of their “live performance” natures, this tip will work extremely well for the genres of; Country, Rock, Hip Hop, Rap, Electronic, Dance, and similar genres of music where deejays appear nightly.

3. Next, contact local nightclubs to get the contact info for their deejays. If nightclubs are unwilling to give you their deejays’ contact information, the next alternative is for you to personally visit the nightclubs during their hours of business and speak directly with the deejays.

Note: To save both a trip to nightclubs and a CD that can be used for sale, when contacting deejays by phone, inquire if you may email them an MP3 file that they can burn to CD themselves. Some are likely to accept the MP3, however, most will probably want to receive the CD. However, it doesn’t hurt to try to save on product, time and money by offering the MP3 file.

4. Either way, you want to get your music in the hands of the deejays for them to play the single that you are promoting. That is your main goal and, opposed to radio deejays who may play politics with you in getting airplay, nightclub deejays will welcome the chance to get a new CD and give it a try to see how his or her audience will react to it.

Note: Keep in mind that your song must be very dance floor oriented/dance-able or it must be a very strong ballad. Don’t simply suggest a mediocre song from your recording. If necessary, have several friends listen to your CD to get their opinion on which song you should select to present to the nightclub deejays. An uptempo tune is usually your better bet.

5. After making your selection and presenting it to the deejays, this is the general and wonderful scenario that is likely to occur for you.

A. If your song is a literal ‘mover and shaker’ on the dance floor the night the deejay introduces it to his crowd, people are not likely willing to wait until record stores open the next day in order to get your music. And, most are certainly not patient enough to wait until they receive it three days later in the mail. This is because, in both cases, they are likely aware of http://www.iTunes.com since it has approximately 70% of the music market share for digital download sales.

B. What people are going to do, is get your name from the deejay, then go to iTunes online once they return home in order to buy your digital download. In fact, the first night that the deejays play your music, you will likely experience download sales.

6. As local radio station music directors, program directors and radio deejays also tend to stay in touch with local nightclub deejays to learn what people are responding to on the dance floor, nightclub deejays will probably introduce you and your song to their radio deejay counterparts, thus, starting a buzz about you and your music at the local radio level, which will then cause local radio personnel to begin seeking you out for your music for airplay consideration on their stations.

7. Also, some of the nightclub disk jockeys in your area are also likely to have specialty/mix shows on your local radio stations. They will then bring your music on their show and introduce it to their listening audiences who may have not gone to any of the local clubs where your music is playing. This now gives you a dual local audience for your music.

8. Now, at both the nightclubs and radio stations, your listeners are likely to start making multiple requests for your music, which is an absolute wonderful thing to happen, particularly, locally. Also, the radio deejays are likely to introduce your music to their music directors and program directors.

The great thing is, this local promotion costs you very little to implement and maintain while having the potential to create some incredible digital download sales and profits on your local level, which should also increase your gigs in your local area as well.

Wow! It looks like this “tip” became an article after all

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The Top DJ Tips, Tricks and Advice for Club DJing and Making People Dance

Author: admin  //  Category: Deejay

Here’s my multi-steroid booster, magic bullet little blue pill designed to make you perform like the best hot list of 6 key DJ tips:

1. Be the Master of your equipment

Don’t think you’ll somehow get by without enough practice.

You may not want to hear it but you’ll need to know your DJ gear inside out and like a real pro.

Read the manuals, look up the best video tutorials, practices and advice on how to use it and try some little tricks with it yourself in the weeks and days leading up to events.

Develop your own little techniques and wizardry. Take it to the max.

Be the geek who knows all about how to make the most of your gear.

Make sure it’s 100% reliable and carry out all the maintenance checks you’ll need. Take a back up solution if you can.

Back up gear

For example: if you have no back up for your laptop, burn some tunes onto CDs. At least if your laptop crashes you’ll be able to play from them.

Know exactly how everything works. Be relaxed with it. This willl free you to think about other things, such as..

2. Know your music

Knowing exactly what tunes you’ve got in the bag, case or on your hard drive is a huge bonus.

Knowing when to play the right tunes and who to play it to is just as important.

A deejay who cannot perform should either not be playing or has forgotten to check through his or her music recently.

Check my pro DJ tips on knowing all about your music.

3. Watch the crowd

Now, you can master your DJ equipment perfectly well.

You have the best tunes in town.

But if you’re not paying attention to the heart and soul of the party, then none of that matters.

A real pro will be watching the crowd every few seconds.

He or she won’t be just looking up every ten minutes, they’ll be feeling the dancefloor out, connecting with them.

A top deejay won’t be so immersed in their mix that they can’t look up. They are comfortable enough with their mixing techniques that they can afford to check out who’s dancing, who’s going crazy and they’ll see if people start to sidle off the dancefloor.

Reading reactions

You’ll be able to gauge people’s reactions. Maybe they’re happy, drunk, drugged up, boys or girls, black, brown, white.

All of this is important when deciding how to react by choosing your next tune.

It’s the intuitive part of DJing and it’s why some make it and others don’t.

Luckily you can find out much more about DJ Tips to read the club dancefloor.

4. Look great when DJing

Like it or not, how you look is part of your image and impact.

Some people even prefer a good looking guy or girl to someone who puts on the best tunes.

No really, it’s true.

Ask your image conscious friends some tips on how to dress and adapt to the venue you’re playing at.

People will relate better to you if you at least make an effort.

I’m not saying you have to look like Brangelina, but be smart, adapt and make the most of what you have.

When I say adapt, I mean that you’ll need to know about the people who hang out there and they’ll react better to you if they relate to your image.

You’ll go further if you do that.

5. Don’t get distracted from your set

It’s all to easy for the weak willed boys amongst us to get distracted by a hot gorgeous girl coming up to the booth with a flirtatious smile and asking for Lady Gaga right this minute, because it’s her birthday, she says. Be respectful, but remain in charge Be polite, but don’t get distracted. Speaking to her is not more important than getting your mix right. Now, maybe it’s just me but people always seem to ask me for stuff right when I’m lining up a tune and I need to concentrate. I just ignore them until I’m set and satisfied. Then I’ll answer them, quickly. Remember your priorities Don’t let them distract you from your set. Listen, be nice, but they can’t change the course of a night that’s going so well. The priority is your set. You need to remember that before some big breasted dolly puts you off. If you find that you have difficulties with saying no to requests then see exactly how best to handle them with my tips on dealing with booth requests.

6. Play the music they want and not what you want

Now let’s get this straight.

While it’s hard not to think this is all about you, numero uno, number one son of a gun and the king of the booth, it isn’t. I know I just said you shouldn’t get distracted by hotties asking you for music, leave that until the end. One of the best DJ tips is for you to pay attention to the whole crowd, not just one person asking for Lady Gaga. You see, people are there to have a good time and very few of them will actually be looking at and wondering about how cool the deejay actually is. It feels grand to lay down tunes that make people dance from a club booth, but you’re here to make people dance. You’re not playing to jerk yourself off in a booth. The more people that dance, the more successful the night will be and the more chance you have of getting bigger and better paid future gigs. So it’s up to you to adapt to the crowd and not the other way around. The above DJ tips should help you play your set better, get invited back for more gigs and rock the dance floor.

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