Chapter 1 of Djing

8/13/2019 Chapter 1 of Djing

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Danny Rampling Shares 20 Years Experience at The Top

Everything You Need To Know !out D"#ing $ Success%200& 'opyright ll Rights Reserved( Danny Rampling


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Foreword and Introduction by Danny Ramping

)i *#m Danny Rampling and * am sincerely than+,ul that you have ta+en the step tolearn more a!out achieving your goals-

.y passion ,or music !egan at a very young age listening to music on the ,amilygramophone /record player developing a ,ascination o, how a vinyl disc couldproduce such wonder,ul sounds- * also !ecame ,ascinated !y the music on radio-

.y ho!!y as a +id was collecting records and playing them over and over with thewindows wide open at ,ull !last on one turnta!le- These early experiences o, musicshaped my destiny to !ecome a D"-

1or over 20 years * have !een sharing the oys o, music and dancing as apro,essional D"- * consider mysel, !lessed to lead the li,e o, my dreams doingsomething * love- .y ourney as a D" has ta+en me ,rom the !edroom to pirate radio

to long running pea+ time shows on National 33' Radio 4 /syndicated internationallyaround the world-

.y cra,t has also ta+en me around the world many times to many o, the !est clu!s(events( ,estivals and parties as well as into the musical charts and on to internationalT5 as a producer and musician-

* am so grate,ul to have made so many wonder,ul ,riends on these trips worldwide6,riends ,rom all wal+s o, li,e( including many leaders within their respective ,ields o,endeavour-

There aren#t many D"#s that * have not played alongside at some point and many o,my !est ,riends are ama7ing D"#s themselves- * also met my !eauti,ul wi,e 8atriciathrough music in a 9ondon clu!-

1or over 20 years *#ve !een a!le to remain at the top o, my game( ru!!ing shoulderswith many o, the world#s most inspiring( in,luential and success,ul individuals ,rom allwal+s o, li,e-

*n this !oo+ * am going to share with you everything that *#ve learnt and experiencedthrough this ,antastic ourney-

:n the musical side o, things *#ll show you everything that * have learnt; ,rom the very!asics o, collecting music and !uying e


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*#m going to e


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Beneath is your complimentary segment from theDJ Section of the book

(To see what else is covered in Section 1, please see the end of this email)

utting !ogether a rofessional Demo "i#

Wait! Dont rewind the tape!.ost o, the excitement and hype created around underground dance music scenes(particularly in )ip>)op and Rave( has !een due to the circulation o, the .ixtape-:!viously in the *nternet and i8od age( a physical cassette is a thing o, the past( !utthat does not diminish the importance o, putting mixes out to promote your sound tothe pu!lic-

reparing a Demo8utting together a demo mix is an art in itsel, and re


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Rehearsing the Running $rderThe order o, play is e,orm( as it allows the concluding4I to serve as a ?cool>down# period( where the mix can !e !rought !ac+ down- *nterms o, energy( this does not necessarily re


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the mind set and ,ocus is usually !est the ,irst time around- )owever( as the mixingneeds to !e completely ,lawless throughout( !e aware you may need to have severalattempts( or redo certain mixes- This is not cheating6 a,ter all this is essentially astudio mix so you are entitled to edit it to per,ection-

You should also try to show o,, as much variety in your mixing techniplanned-

*t is worth mentioning that your head>space is ust as important ,or recording a demomix as it is when playing out- s you have no crowd to ,eed !ac+ on the energy o,the selection( this needs to !e created !y you- Sometimes having a ,ew enthusiastic,riends in the room can compensate ,or this( !ut i, you are ,lying solo( turn the systemup nice and loud and try to get involved in the moment- This is one o, the reasonswhy the trac+ selection needs to !e so strong > you need to !e excited a!out playingeach tune /especially i, you are re>doing the mix ,or the A thtimeC so that your love ,or

the music comes across in your mixing-

=se o, 1J( scratching( dou!le>copy techni)op o, courseC

* personally ,ind that it really helps to set the scene and create an environment that isconducive to per,orming at your !est- 1or me( * li+e low light( !ig sound and !luelighting- * used to li+e having smo+e in a room also- ,ew enthusiastic ,riends mayalso help create some energy and reaction- :r li+e Sanche7 it may !e candles andincense-

.y ,irst Essential .ix ,or 33' Radio 4 was done live at :lympic Recording Studiosin 3arnes6 Eddie Gordon set the studio up with =5 lighting so that it gave the studio aclu! ,eel; we did the mix in one ta+e through the monster studio monitors- :n anotheroccasion in the mid 0#s * was still riding on the high o, playing two great gigs innorthern England- * returned home at Bam ,ull o, energy( set up the =5 and stro!elighting and cran+ed up the spea+ers and came !ac+ and recorded an early 9oveGroove Dance 8arty 'D( ,rom B to 44 in the morning- * was inspired and !anged outthe mix until * ,elt * had got it right- .y wi,e o, the time( "enny( was asleep in the roomnext door( and along with neigh!ours( didn#t hold the same vision that * had( that *was still pumping it out in the clu!- * was in su!ur!an North 9ondonC



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!he Finished "i#,ter re>editing and tidying up any ropey mixes( !urn o,, a copy and listen to it start to,inish- This is to ma+e a last chec+ that the mixing is genuinely as tight as it should!e( !ut also to experience it in a similar way to the people that you are planning togive it to- Despite the ,act you may have spent a whole day wor+ing on it( your mixshould still !e an exciting musical experience- /*, it isn#t you may want to considerdoing anotherC

*, you are truly happy with the end result( !urn o,, some 'D copies ,or distri!ution- *tis worth the e,,ort to also design a cover and la!el( or at least print the trac+ listing toput in with the 'D-

This should always contain your contact details including your D" name( telephonenum!er andIor e>mail address or we!site details- Duplication so,tware such as Neroo,ten includes cover designer templates that will correctly si7e images ,or 'Dsleeves( and many printers come with so,tware that does the same ,or 'D la!els(%i'*)- Remem!er that impression is all important and although the music will

ultimately do the tal+ing( it is !est to spend time on creating an all round pro,essionalimage- Simply writing on a 'D with a mar+er doesn#t loo+ that great( whilst stic+ywhite la!els can sometimes peel at the edges or even come o,, in players- .a+ingyour 'D as visually pleasing as possi!le is a great way to have it catch the eye o,someone who has the power to get you a gig-

You can use the online services o, companies such as .ixonic www-mixonic-comwho ena!le you to upload your artwor+ and they ta+e care o, the rest- *, you can#tdesign( use a ,riend who does graphic design( or go to a local artIdesign college andput a notice up ,or someone who wants some experience- This way you can getcompetent pro,essional artwor+ at a !udget price- There are thousands o, willing anda!le people crying out ,or exposure and practiceC

%i'*

http://www.mixonic.com/http://www.mixonic.com/


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ostproduction of the "i#lthough !y no means essential( with heightened competition( to help distinguishyoursel,( it is advisa!le to run your mix through some post production e


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.hats in Section % of the book/

Section 4; 3ecoming a Success,ul D"

3uying .usic and Starting a 'ollection

5inyl

'D

Downloading .usic

ll a!out the .usic

3uying .usic

Styles o, .usic

Genres and Su!>Genres

)istory and )eritage

.usic Genres and Su!>Genres; n :verview

)ouse

Garage

Drum $ 3ass

Techno

:ld S+oolI)ardcore

3rea+s

)ip>)op

1un+ and Rare Groove

Soul and R$3

3uying E


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So,tware 8ac+ages

)eadphones

9eads and 'a!les

The 3udget

The 3ooth; Spea+ers and mpli,iers

mpli,iers

Spea+ers and .onitors

3uying Spea+ers and mpli,iers

Setting up a D" 'onsol

Getting 'onnected

.andatory > 3asic setup

:ptional > Extra setup

)earing and =nderstanding Rhythm

Time Signatures and 3eats o, the 3ar

8hrases and Rhythmic Structure

Starting to .ix

'ueing =p

dvanced 'ueing

1ading

3eatmatching

5arispeed 'ontrols on Turnta!les

3eatmatching Two Records

)eadphone 'ueing

'omparing Records Ready ,or the .ix

Starting to 3eatmatch Two Records

'orrecting the 8itch o, a 1aster Record

'orrecting the 8itch o, a Slower Record

8er,orming a .ix

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*n The .ix

'utting

3ringing out the .ix

Spin!ac+s and Rewinds

*nstrumental Elements

1amilies o, .usical *nstruments

.elody and )armony

*mproved .ixing

Tighter .ixes

Luic+ ?:n the 1ly# .ixing

Super>1ast ?Non>.anual# 3eatmatching

9ong 3lends

The Role o, the .ixer

=se o, the =p>1aders

=se :, EL

=sing Sounds E,,ects

Setting up 1J with a D" 'onsol

Types o, E,,ect

=sing 1J in .ixes

dvanced .ixing

ccapella .ixes

.ixing on Dec+s

3asic Scratching

.odi,ying the Eup

Scratch Records and 8reparing 5inyl

Starting to Scratch

Ru!!ingI3a!y scratching

'hops and 'hirps



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Drags and Tears

Trans,orming

dvanced Scratching

1lares and :r!its

'ra!s and Twiddles

)ydroplane Ru!s

=sing :ther .ixer 1unctions; Echoes and 3u!!les

=sing :ther Turnta!le 1unctions; Tones and Twea+s

Dou!le 'opy .ixing

1langing and 8hasing

3eat 'hasing

*ncorporating Scratching

3ac+ 'ueing

3eat "uggling

9yric 'utting

9yric 'utting in ction

=sing 'D Turnta!les

The 8ros and 'ons o, using 'D Dec+s

.ixing on 'D Dec+s

Standard and Specialist 1unctions

Diversity o, :peration

Digital D" 1ormats I .ixing with 'omputer So,tware

vaila!le 8roducts

)armonic .ixing with ?.ixed in Key#

!leton 9ive

8utting Together a 8ro,essional Demo .ix

8reparing a Demo

Rehearsing the Running :rder



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Recording the .ix

The 1inished .ix

8ostproduction o, the .ix

Distri!uting the Demo .ix

8reparing a Set to 8lay :ut

E


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3ar Sta,,( Door Sta,, and :ther 'lu! 8ersonnel

8ro,essional 'onduct

Drin+ and other Su!stances

3ecoming a 8ro D"

'lu!night Residencies

The 3ene,its o, a Residency

3uilding 'ommunity

3eing 8art o, the 'rowd

'ontracts and 8ayment

:,,ers( cceptances and greements

Revo+ing :,,ers and cceptances

'ontracts

Non>ritten 'ontracts

ritten 'ontract

3reach o, 'ontract

Damages

.o!ile and 1unction D"ing

Eup Sa,ely and E,,iciently

8resentation

8ersonality and Eti


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8romoting Your :wn Events

.ar+et Research

*mage and 3randing

Stri+ing a Deal

Negotiating Tips

'ontract I greement

.ar+eting and 8romotion

The 9aunch 8arty-

Review

,ew extra Tips

8ress Kits

Networ+ing

)ow to 8romote Events o, the *nternet using Social Networ+ing Sites

3uilding a e!site without 3rea+ing the 3an+C

3ecoming a Radio D"

Getting on the ir

8irate Radio

*nternet Radio

Remuneration

'orporate Radio

8reparation

Dead ir

.icrophone Eti


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,ull o, !onus resources-

Than+s once again ,or your interest- * hope this has !een o, value to you-

To get your ,ull copy( with over 0 pages o, invalua!le material please visit;

www+e'erythingyouneedtoknowaboutd,ingandsuccess+com

or

www+learnhowtobead,+com

!his ebook is also a'ailable without Section *

FDanny(* ust ,inished your !oo+ and wanted to say GRET ":3C

5ery inspirational and ,ull o, very use,ul in,ormationCThe thing * li+ed most is that you not only ,ocused on the in,ormation on !ecoming agreat d( !ut you also tal+ed a!out( and stressed the importance o, !ecoming a great

person-

*ts great to see you giving !ac+( and * +now with our !usy schedules as d#s it reallytoo+ a commitment on your part to !e a!le to deliver such a well thought out !oo+(

and ,or that * commend youC

ll the !estH

Bad Boy Bill(

merica#s 1avorite )ouse D" /38. 200B $ 200Sales )istory o, over 4 million units sold

http://www.everythingyouneedtoknowaboutdjingandsuccess.com/http://www.learnhowtobeadj.com/http://www.everythingyouneedtoknowaboutdjingandsuccess.com/http://www.learnhowtobeadj.com/


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www-!ad!oy!ill-com

http://www.badboybill.com/http://www.badboybill.com/


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1'erything 2ou 3eed !o 0now 4bout DJing 5 Success &all 6 sections- abo'e)

1'erything 2ou 3eed !o 0now 4bout D,ing &abo'e)

1'erything 2ou 3eed !o 0now 4bout Success &abo'e)

www+learnhowtobead,+com

Everything You Need To Know !out D"#ing $ Success
http://www.learnhowtobeadj.com/http://www.learnhowtobeadj.com/

Documents

Chapter 1 of Djing