Untitled - Dj Master Course

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CONTENTS INTRODUCTION Welcome To DJ Master Course .................................................................................................................................................................................................................................................................................... 01 Meet The Stafford Brothers ............................................................................................................................................................................................................................................................................................... 02 01 EQUIPMENT Equipment ................................................................................................................................................................................................................................................................................................................................................... 03 Input Device .............................................................................................................................................................................................................................................................................................................................................. 04 CD Deck .......................................................................................................................................................................................................................................................................................................................................................... 04 Turntable ....................................................................................................................................................................................................................................................................................................................................................... 04 DJ Mixer ........................................................................................................................................................................................................................................................................................................................................................... 05 Headphones ............................................................................................................................................................................................................................................................................................................................................... 05 Sound System ......................................................................................................................................................................................................................................................................................................................................... 05 Leads ................................................................................................................................................................................................................................................................................................................................................................... 06 02 SETTING UP EQUIPMENT Setting Up ..................................................................................................................................................................................................................................................................................................................................................... 07 Setting Up Cd Decks .................................................................................................................................................................................................................................................................................................................... 08 Setting Up Turntables ................................................................................................................................................................................................................................................................................................................ 08 Connecting The Turntables ............................................................................................................................................................................................................................................................................................... 09 Connecting The Sound System .................................................................................................................................................................................................................................................................................... 09 Connecting The Mixer ................................................................................................................................................................................................................................................................................................................. 10 Outputs ............................................................................................................................................................................................................................................................................................................................................................. 10 Connecting Your Headphones ........................................................................................................................................................................................................................................................................................ 11 03 GETTING STARTED Preparing Tracks ............................................................................................................................................................................................................................................................................................................................... 12 Calculating The Bpm ................................................................................................................................................................................................................................................................................................................... 12 Separating The Sounds ............................................................................................................................................................................................................................................................................................................ 13 Audio Samples ....................................................................................................................................................................................................................................................................................................................................... 14 04 BEGINNING THE MIX Cueing ................................................................................................................................................................................................................................................................................................................................................................ 15 Exercise #1 – Cueing ......................................................................................................................................................................................................................................................................................................... 16-18 Exercise #2 – Keeping Your Tracks In Time ................................................................................................................................................................................................................................... 19-20 Setting Your Headphone Level ....................................................................................................................................................................................................................................................................................... 21 Beat Matching ......................................................................................................................................................................................................................................................................................................................................... 21 Exercise #3 – Beat Matching ................................................................................................................................................................................................................................................................................ 22-24 Exercise #4 – Fading .................................................................................................................................................................................................................................................................................................................... 25 The Cross Fader .................................................................................................................................................................................................................................................................................................................................. 25 The Up Faders ........................................................................................................................................................................................................................................................................................................................................ 26 Exercise #4.1 – Fading: Cutting The Bass .................................................................................................................................................................................................................................................... 27 i CONTENTS 05 UNDERSTANDING YOUR MUSIC Song Structure ........................................................................................................................................................................................................................................................................................................................... 28-29 Counting Beats & Bars .................................................................................................................................................................................................................................................................................................. 30-31 Phrases & Verses ............................................................................................................................................................................................................................................................................................................................. 32 End Of Phrase ‘Markers’ Or ‘Indicators’ ........................................................................................................................................................................................................................................................ 33 Exercise #5 – Beats, Bars & Markers .............................................................................................................................................................................................................................................................. 34 Exercise #6 – Mixing At The Correct Point ...................................................................................................................................................................................................................................... 35-36 Equalising ..................................................................................................................................................................................................................................................................................................................................................... 37 Exercise #7 – Equalising ....................................................................................................................................................................................................................................................................................................... 38 06 MASTERING YOUR MIX Mixing Using Faders .......................................................................................................................................................................................................................................................................................................... 39-40 Exercise #8 – The Perfect Seamless Mix ..................................................................................................................................................................................................................................................... 41 Understanding Keys ...................................................................................................................................................................................................................................................................................................................... 42 Mixing In Key ........................................................................................................................................................................................................................................................................................................................................... 43 Practice And Repetition .......................................................................................................................................................................................................................................................................................................... 44 07 GLOSSARY Glossary Of Terms ................................................................................................................................................................................................................................................................................................................ 45-51 Y L N O N O I S DEMO VER e to ch ks for taking the tim Welcome, and than ur DJing dreams. towards fulfilling yo portant fir st ste u’ve taken the all-im Yo . se ur Co r ste eck out the DJ Ma p lit tle taste of , relax and enjoy a ck ba sit So . ns so d les entary chapter s an and of cour se to ent of your complim tions you may have es llm qu ta ins ing st rd fir ga e re th e tim Below is to contact us at any se. Please feel free you’ve learnt. at th the DJ Master Cour plying anything ap ter af ts igh ins d an share your success ALL RIGHTS RESERVED. This book contains material protected under International and Federal Copyright Laws and Treaties. Any unauthorised reprint or use of this material is prohibited. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system without express written permission from the author / publisher. © Master Course Media Pty Ltd. ii P A G E 0 1 CONGRATULATIONS! You’ve already completed the most important part of any journey; you’ve taken the first step. The simple fact that you are reading this very sentence means you are serious enough to take the necessary action needed to achieve success. Learning how to DJ was the single most important experience of our lives. Over ten years ago we started mixing records at home in every spare moment that we got. Little did we know that we were on our way to a life changing career that would have us jet-setting across the globe, performing in front of fifty thousand people and living in the Hollywood Hills of Los Angeles. Thanks to DJing we have been able to meet some of the most influential people of our time including famous sporting stars, actors, celebrities and TV personalities as well as work with superstar artists like Lil Wayne. We even managed to secure our own TV show on the FOX network that is currently syndicated in over twenty countries. At the end of the day, this is not why we DJ and certainly not the reason we learned how to DJ in the beginning. We love music and have a passion for dance music. Upon listening to dance music, we knew exactly what we wanted to do. We wanted to play music and have it a part of our everyday lives. The journey has been rewarding, fulfilling and often challenging at every stage of our career. Most importantly DJing has always been fun and our life has become one big party. Our goal in life has always been to do what we love and do it to the best of our ability. Now it’s our turn to share our experiences with you. With the help of leading educational training professionals, we have designed this course for anyone who is serious about mastering the art of DJing. Before we get started it’s extremely important that you know that the DJ Master Course is not a rulebook. It’s merely an opportunity for you to learn the basic fundamentals required of a DJ. We’ve compiled this step-by-step program in an easy to understand and effective manner that will have you on your way to your first gig, sooner rather than later. How soon that is, all comes down to you. Our advice to you is not to underestimate the power of practice and repetition. Be patient and pay attention to the detail that we have taken the time to simplify for you. Welcome to DJ Master Course. Chris Stafford Matt Stafford STAFFORD BROTHERS FUTURE MUSIC FESTIVAL, 2013 BEFORE WE GET STARTED Meet the Stafford Brothers. The Stafford Brothers are the hottest Australian DJ duo to hit the international dance music scene. Currently ranked the number one DJ’s in their homeland two years running (ITM Awards), brothers Matt & Chris Stafford made their way from the Gold Coast to the West Coast in 2012, now residing in the Hollywood Hills of Los Angeles. Having conquered their nations’ club scene, they were the first DJ’s to have their own network TV show, FOX’s The Stafford Brothers, syndicated in over twenty countries. The camera crew followed the brothers from their main-stage festival performances in front of thirty-five thousand to touring across Europe and the United States. Viewers were given a backstage pass into the lucrative dance music scene as the Stafford Brothers continued their quest to dominate dance-floors across the globe. Shortly after relocating to the US, they were the first electronic act signed to Birdman’s ‘Cash Money Records’ joining a label roster including Drake, Nicky Minaj and Lil Wayne. The Stafford Brothers began work on a number of club and commercial tracks, the first of which was released at the beginning of 2013. ‘Hello’ featuring Lil Wayne and Christina Milian has already reached double platinum selling status peaking at number one in Hip Hop and Dance on iTunes, Beatport and in the Aria charts. ‘Hello’ is the most played song on Australian radio in 2013, behind Daft Punk and Passenger. The Stafford Brothers have DJ residencies all over Europe, the United States and Australia at famous global venues such as ‘Marquee’ and the brand new ‘Light Vegas’ at the Mandalay Bay Hotel. Their weekly radio show #SomethingBIG is one of the most respected club shows in the world featuring EDM superstars such as Nicky Romero, Tommy Trash and Krewella as special guests. Having worked in the dance music industry for over ten years, the Stafford Brothers are not overnight sensations by any means. As directors of Australia’s leading DJ management group 360 Agency, and as part owners of multiple dance music nightclubs, they understand the DJ industry from all sides of the fence. P A G E 0 2 01 EQUIPMENT In order to learn how to DJ properly you will need to master the use of different types of Equipment. This chapter will break down each piece of equipment you will need, the different types involved and exactly what you need to know about them. If you haven’t had much experience with DJ equipment and haven’t bought gear of your own, knowing someone who has a set up is going to be a helpful start. Having a friend to practice with can also be a great way to keep you motivated. When you are ready to purchase your equipment the Internet is the best resource by far. Websites such as www.amazon.com and www.ebay.com are a great place to start as you can research and shop around for the best price. Buying second hand is always an option, particularly with quality DJ equipment like Pioneer and Technics. Not only are these brands built tough to last in the club environment, they are also designed so that if a problem does occur, they can be fixed rather than requiring an entire replacement unit. Don’t be discouraged if you can’t afford the higher-end equipment to begin with. Purchase what you can afford to get started and upgrade when you can. P A G E 0 3 INPUT DEVICE An Input Device is used to play the music, which you connect to the DJ mixer. Generally these are either CD decks or turntables. When it comes to the number of input devices you can use, you are only limited by the amount of input channels on your mixer. To mix two tracks together you’ll require at least two devices. CD DECK A CD Deck is an input device used to play music housed on CD’s and more recently USB drives and Sound Cards. It is highly recommended that you start using CD players over turntables. While there are some fundamental differences between the two, vinyl is outdated by the technology offered by CD players. Record labels rarely reproduce vinyl recordings these days making it near impossible to play on turntables many of the tracks that you would like to mix. Pioneer’s CDJ Series are the industry standard. The Pioneer CDJ1000 was the first ever unit developed that incorporated touch sensitive top plate technology to the control Platter. This revolutionary top plate detects the presence of the DJ’s hand and as a result the unit can control music in a very similar way to a vinyl turntable. Pioneer CDJ2000’s are currently used by working DJ’s in nightclubs and on the festival circuit around the world. TURNTABLE A Turntable is a circular rotating plate supporting a Vinyl record as it is played. There are two different types of driving systems for a turntable – Direct Drive and Belt Drive. Belt-driven turntables can create more trouble than they are worth, because when you are mixing the belt can often slip, throwing your mixes out of time. Ultimately, direct drive is the system you want. If belt drive is what you can afford for the time being, you can always upgrade to direct drive later. When you purchase turntables it’s a good idea to buy them fully loaded with needles and cartridges. Generally they will come included in the package, however if not, it’s something you need to consider in your budget. If new turntables don’t come fully loaded, you may also need to purchase felt slip mats to replace the standard rubber mats. Felt slip mats are a necessity as they allow the platter to move freely below the record when you are holding or finding the beat. If you do decide to use turntables, it’s important to know that the industry standard is Technics. If you get the chance to use Technics you’ll understand why they are the industry standard preferred by those in the business. P A G E 0 4 DJ MIXER The DJ Mixer is the control center for your mix. It is used to control and mix the music from your first input device to your second input device. To begin with, any standard two-channel DJ mixer will suffice, but as you get better and begin to understand the different levels of sound quality and response you can get from its features, you will demand more from your mixer. At that point you can upgrade, as needed. HEADPHONES Headphones allow you to listen, cue and mix the next track without anyone else hearing what you’re doing. Headphones are probably your most important piece of equipment as they determine the comfort in which you will be mixing but also the quality of sound you will be hearing to make your mixes. The equipment that you use is based totally on personal preference, but it’s suggested that you experiment before you buy. SOUND SYSTEM The Sound System equipment is used for the reproduction and amplification of sound such as a home hi-fi system or an Amplifier and Speaker set-up. Depending on your budget, powered (amplified) speakers are definitely an attractive option not only for sound quality but also for their easy to use and move, sleek designs. TIP: Keep all the equipment you use clean, tidy and in working order at all times. All instruction manuals that come with any equipment should be put in a safe place to avoid any future headaches. “When we first started out we would practice every day for at least two hours. We had no idea that DJing would take us this far.” – Chris Stafford P A G E 0 5 LEADS The type of Leads you need will totally depend on the equipment that you are using. With this in mind, you should always explain the purpose of what you are buying in as much detail as possible when purchasing any new cables or equipment. For example, both XLR and quarter-inch jacks come in two different types – balanced and unbalanced. You should always read the instruction manuals for all your hardware in order to get the best sound quality from your equipment. RCA The RCA is the most common of DJ leads and it connects the Input and Output devices to the mixer. The input devices may include CD decks, iPods, MP3 players and MiniDiscs. RCA’s can also be used to connect the mixer to the amplifier. RCA’s are generally a lead with two different coloured plugs (typically red and white) at each end. This makes them easy to connect as the male and female ends plug into their matching colour pair. XLR XLR connecting cables are circular in design and are slightly larger than RCA’s with both a male and female end. The male end has three pins and the female end accepts three pins. XLR’s are used for professional setups connecting the mixer to the amplifier or directly to powered speakers (amplifier speakers). QUARTER-INCH JACKS A Quarter-Inch Jack is used in the same situation as an XLR, however as a DJ you will usually only encounter them as the jack needed to connect your headphones to the mixer. 3.5MM STEREO JACK TO RCA 3.5mm Stereo Jack to RCA is used to connect input devices such as an iPod, MiniDisc and MP3 player to the mixer. They have a small jack at one end that is connected to the input device and RCA’s at the other end to be connected to the line signal of the mixer. P A G E 0 6 02 SE T TING UP EQUIPMENT Before you begin to set up, ensure all power outlets are off and all volume controls on both your mixer and amplifier are turned low, especially the master volumes. Above all, ensure you have made yourself familiar with the appropriate instruction manuals. Taking these steps in the beginning is necessary to ensure that you protect your equipment and never run the risk of unnecessary damage. SPEAKER SPEAKER AMPLIFIER CD DECK MIXER CD DECK If once it is all set up and turned on and you can’t hear anything, the best thing to do is go back to the start and check that all the inputs and outputs are plugged into the correct places. If all else fails have another look through the instruction manuals, especially the FAQ sections. Input devices such as CD decks and iPods are quite simple to connect since they all generally use a line signal input on the back of the mixer. Simply plug the RCA leads that are hard-wired or connected to your input device into the mixer and turn them on, making sure you plug red into red and white into white. If you are using something like an iPod, MP3 player or MiniDisc you will need a 3.5mm stereo jack to RCA lead (as mentioned in the LEADS section). As an exception, turntables need a little extra care before you connect them to your mixer. P A G E 0 7 SETTING UP CD DECKS Setting up the CD decks with the DJ mixer is very simple. To do this you need to connect the RCA cables from each CD deck into the chosen channel. This is done via the line inputs on the mixer channel you’ve selected. For example, when connecting the RCA leads from your CD decks into the line inputs, on line one of the mixer, make sure you connect the red and white ends into their matched colour pairs –– red to the right-hand side of the output signal and white to the left-hand side of the output signal. Once you have done this, simply plug in the power adapters for both and turn them on using the power button on your mixer. If at this point you have no sound but you’re sure that your speakers and amplifier are connected properly, check that the switch at the top of the mixer is turned from Phono to Line on the corresponding channel into which you just plugged the speaker. SETTING UP TURNTABLES When using turntables, there are a number of specific setup requirements that need to be addressed. First, it’s really important to set them up on a level vibration-free surface. EARTH WIRES – Ensure that the Earth Wire (also known as a ground wire) from each turntable is connected to the dedicated earth points on the mixer. SETTING THE COUNTERWEIGHT – You need to set the Counterweight so that the Tone Arm is counter-balanced and you are floating the tone arm. Once you have done this, put it back in the holder, and then lock it in with the clip. Take hold of the weight at the back with one hand and turn the front piece with the numbers on it so that the zero lines up with the line on the tone arm below. TIP: You will know if the tone arm isn’t balanced properly because it will be difficult for you to hold beats and cue the record without it jumping. SETTING THE HEIGHT – This is done to give you accurate movement when floating the tone arm so that it is perfectly parallel to the platter. To ensure that you do this correctly, read the instructions from both your needle and turntable manufacturers and check their recommended settings. TIP: Different manufacturers may suggest that you add some weight to the tone arm after you have floated it. You do this by rotating the weight again at the back, using the numbering system. P A G E 0 8 CONNECTING THE TURNTABLES Once you have completed all of the above, you are ready to connect the turntables to the mixer. Unlike any other input devices you may have experimented with, the turntables need to be plugged into the phono inputs on the mixer. As mentioned above, they also have earth wires that need to be connected. When connecting the RCA leads from the turntables into the phono inputs, for example, on line one of the mixer, make sure you connect the red and white ends into their matched colour pairs – red to the right-hand side of the output signal and white to the left-hand side of the output signal. Most, if not all turntables’ RCA leads come hard-wired and just need to be connected to the mixer, but in case they aren’t, ensure that you plug them into their corresponding colours. TIP: If at this point you have no sound and are sure your speakers and amplifier are connected properly, check that the switch at the top of the mixer is turned from line to phono on whichever corresponding channel you just plugged it into. CONNECTING THE SOUND SYSTEM Whether you are using powered speakers, an amplifier with speakers or your home stereo hi-fi, you need to connect whatever leads they use into their corresponding output on the mixer. Depending on the equipment that you are using, the leads will be different. For example, if your mixer only has RCA outputs and your powered speakers only have XLR inputs, all you need to do is get RCA to XLR leads and so on. When using your home hi-fi or stereo system, you can connect it from the mixer’s master output to any available input, with the exception of a phono input. TIP: Make sure that you change the setting on the front of the stereo hi-fi to the corresponding channel setting of your choosing. P A G E 0 9 CONNECTING THE MIXER The mixer is the control centre for your mixing. Basically, all you need to do is plug in the power supply and connect it to all of your hardware. The amount of inputs and outputs vary depending on the mixer. MASTER OUTPUT The Master Output connects from the mixer to the amplifier. Depending on the mixer, it could need either RCA or XLR leads, however, some of the better mixers have both options. After you have set the volume on the amplifier to a level that you’re happy with, the way to control the master output is by adjusting the level on the mixer. RECORD OUTPUT The Record Output is used with a third party device such as a PC to record what is being played through the mixer ensuring that you get the best possible quality. In order to connect the record output you simply connect the RCA leads into their corresponding inputs on the mixer. TIP: The inputs on the back of the mixer are marked with the channels that they feed. Double check your turntables are in the phono inputs and CD decks and other input devices are in the line inputs. Making sure that you adjust the phono/line switch on the front of the mixer accordingly. STAFFORD BROTHERS THE LIGHT, LAS VEGAS “Nothing beats the feeling of walking out on stage and playing the music you love to a crowd of people going crazy. Our life has become one big party. I wouldn’t trade it for the world.” – Matt Stafford P A G E 1 0 BOOTH OUTPUT This is the output used to connect the speaker known as the Booth monitor or fold back speaker within the DJ booth. The method for connecting the booth output is the same as the master and record outputs. However, remember that when using RCA leads always connect the red to red and white to white. THE INPUTS The inputs are much simpler and easy to remember. The ‘phono’ is for turntables, the ‘mic’ is for a microphone, and the ‘line’ is for everything else, such as your CD decks, MP3 players and MiniDiscs. CONNECTING YOUR HEADPHONES Most suitable DJ headphones need a 3.5mm adapter. This adapter converts the 3.5mm jack that the headphones come with into a quarter-inch jack, so that it fits into the mixer. Once this is done your headphones can be plugged into their particular input clearly marked on the mixer. “Take every opportunity you can to go and see the DJ’s you’re into. One day you might be sharing the stage with them.” - Chris Stafford STAFFORD BROTHERS & ERIC PRYDZ GUVERNMENT, TORONTO P A G E 1 1 03 GE T TING STARTED TIP: Some mixers come with built-in bpm counters. Although this can be handy and faster for working out your new tracks’ bpm, it’s advisable that while you are learning it’s best to not always use tracks with the exact same bpm. PREPARING TRACKS Calculating the Bpm Bpm is the acronym used for Beats Per Minute. This is the term used to measure the Tempo of a track calculated by how many complete beats are achieved within one minute. It is important to know the bpm of the tracks that you wish to play as you will need them to be relatively close in order for them to mix and blend seamlessly. When you are learning it can be a good idea to count your individual tracks’ bpm. By doing this you can determine whether the track that you are mixing in needs to be sped up or slowed down in order to match the current track that you are playing. Obviously to lock a mix tightly it will require fine-tuning, however the bpm is a good initial guide. It’s a good idea to write the bpm on your record or next to the track on the CD label as this will always give you a rough starting point for your beat matching. Popular online music outlets such as Beatport and SoundCloud often display the bpm of tracks available. When you initially begin learning it’s a good idea to cover the bpm counter on the mixer so it doesn’t distract you from where you should be concentrating. The reason this is advisable in the beginning is that it gets you to focus intently on the tracks you’re mixing, allowing for a more intimate understanding of the way the track is constructed and can therefore be mixed. With enough practice, eventually working out a tracks’ bpm will not be as important as you will have mastered beat matching. P A G E 1 2 SEPARATING THE SOUNDS Now that you’re set up, the next step when it comes to creating effective mixes is now becoming familiar with the different layers of a track such as the melody, bass line, and the various kinds of percussion. It’s an important skill that needs to be developed, because the ability to separate the various layers of a track allows for you to develop more complex and advanced mixes. To begin wih you should choose a layer that is reasonably simple to identify such as the kick drum. Follow the sound for the entirety of the track, taking note of when it starts and stops and noticing any changes it undergoes along the way. Repeat this exercise with the hi-hat, closed hat, snare drum, bass line, melody, vocals and any other sound elements that make up the track you’re listening to. Once you have mastered the ability listen and isolate the layers of the track whilst doing so, you can then begin to play with the high, mid and low EQ (equaliser) controls on your mixer. You will notice how these EQ functions help separate the different layers and sounds around the particular focus layer or sound being followed. For examples of some of the sounds you are looking to separate and follow, check the audio samples below in Diagram 1. DIAGRAM 1 Instead of counting or hearing: DRUM CLAP DRUM CLAP DRUM CLAP DRUM CLAP ONE TWO ONE TWO ONE TWO Start counting or hearing it as: ONE TWO Once you have done the above you need to start again, and take note of the kick drum and the different sound changes it makes. The first kick drum will be a clean hit on its own and the second will be combined with a clap, snare or the like, to give it a rhythm. Practicing counting those hits in your head will come in handy for future exercises. In the beginning when you are learning how to separate the sounds and layers of a track, you should source tracks that have a basic and clear groove without any confusing strings, vocals or drum patterns at the start. To make life even easier, use tracks where the first sound is a kick drum. P A G E 1 3 AUDIO SAMPLES Click the titles below to hear the different audio samples: KICK DRUM CYMBAL CRASH SNARE DRUM CLOSED HAT BASS LINE CLAP HI-HAT STAFFORD BROTHERS & BIRDMAN THE HIT FACTORY, MIAMI “Hard work can take you a long way in this industry. We didn’t know anyone when we started out and our mates were our only fans. It ’s just a matter of dedication, the rest can be learnt.” – Matt Stafford P A G E 1 4 04 BEGINNING THE MIX CUEING Cueing refers to sourcing that initial beat and this is usually done while listening to the track with your headphones. When using vinyl you would physically hold or pin the record just before the first beat. Similarly, with a CD deck you hold the cue point by hitting the cue button and the deck holds it for you. Essentially what you are trying to do is start the second track right on the beat of the first track. Next is an exercise for both vinyl and CD. One of the first fundamental skills required to beat match is to be able to cue a track listened to through your headphones whilst you are still listening to the main track playing out loud. Below is an exercise to get you going. Learning this skill will take all your concentration and plenty of practice, but once it’s mastered, cueing stands as a cornerstone in your ability to DJ. TIP: Remember when you are learning that it is best to use simple and clear sounding tracks that ideally begin with a crisp kick drum. “NERVO are just one of the many amazing female artists leading the way in EDM right now.” – Chris Stafford STAFFORD BROTHERS & NERVO FUTURE MUSIC FESTIVAL P A G E 1 5 EXERCISE #1 – CUEING CLICK PLAY TO WATCH DEMONSTRATION CD DECKS In order to cue your first track: 1. Load one of the CD decks and play the track through your headphones only. 2. You will need to find the first beat in order to cue the track. Press ‘play’ and as soon as you hear the first beat, press ‘pause’. Once paused, in your headphones it should sound like the CD is jumping. 3. Using the jog wheel on the deck, wind the track back to just before that very first beat, and press the ‘cue’ button. The track is now cued and ready to go. 4. Set up the other CD deck and have it playing a different track out loud in the room. 5. You will need to keep the beat of the track playing out loud. You can do this by tapping with your hand on the side of your leg, nodding your head or tapping your finger alongside the ‘play’ button of your CD deck. TIP: When cueing tracks you should have one ear listening to the track inside your headphones while the other is listening to the track playing through your monitors (speakers). The idea is to drop in the track playing through your headphones (Track A) so that you can match its beats to the track playing out loud (Track B). This is done so that nobody else can hear what you are doing, whilst also allowing you to prepare your tracks for you to mix them. P A G E 1 6 6. Practice pressing play in time with Track B and listen to whether it needs to go faster or slower so that both tracks are synchronised with the kick drums of both tracks aligned. TIP: To let it go in time you need to remember the exercise from Diagram 1, when you were counting the kick drum as ‘one-two, one-two’ – the idea is to let go on the ‘one’ or ‘down beat’ which is generally the clean kick drum not the beat with the snare, clap and so forth. 7. Similar to vinyl, you may need to give the track a tiny push on the jog wheel to catch it up if needed. Again, it will become second nature as you begin to get more of a feel for the music. TURNTABLES 1. Load a record onto one of your turntables and play it through your headphones only. 2. Again, you will need to find the first beat in order to cue the track. Spin the record back to just before the very first beat, hold it there, and press ‘stop’ on the turntable. 3. Load the other turntable and have it play a different track out loud in the room. 4. Returning to the track playing through your headphones, hold the record on the turntable and press ‘start’ so that you are holding onto it just before the very first beat and the platter is freely moving below. 5. Start to roll back and forth over that first beat so that you are rolling over it in time with the track that is playing out loud in the room. TIP: Again like when cueing tracks on CD decks, you should have one ear listening to the track inside your headphones while the other is listening to the track playing through your monitors (speakers). In the case of vinyl, the idea is the same whereby you are looking to drop in Track A playing through your headphones so that you can match its beats to Track B playing out loud. Again, it is done so that nobody else can hear what you are doing, whilst also preparing your tracks for you to mix them. P A G E 1 7 6. Practice letting it go in time with Track B and listen to whether it needs to go faster or slower so that both tracks are synchronised, again ensuring that you align the kick drums in both tracks. TIP: To let it go in time you need to remember the exercise from Diagram 1, when you were counting the kick drum as ‘one-two, one-two’ – the idea is to let go on the ‘one’ or ‘down beat’ which is generally the clean kick drum not the beat with the snare, clap and so on. 7. Continue to practice doing this until you feel confident enough that the track is starting at its correct speed right from the beginning. You may need to give the record a tiny push to catch it up if needed. However, it will become second nature as you begin to get more of a feel for the music. STAFFORD BROTHERS POSTER AMSTERDAM, THE NETHERLANDS “T hanks to DJing we’ve travelled to places all over the world.” – Chris Stafford P A G E 1 8 OK, that’s your first little peek into the course; we hope it’s already been of some value to you. If you’re serious about becoming a successful DJ, the complete DJ Master Course teaches you everything you need to know in just 8 simple lessons. The sooner you start, the sooner you can mix sets like a pro! We’re so confident that the course will work for you that we’re happy to guarantee it. If you sign up today you’ll be protected by our 30-day unconditional money back guarantee. If you’re not happy with the rest of the course for any reason, send us an email within 30 days and we’ll give you your money back. Being a DJ is one incredible ride. You get paid to party and do what you love! We believe it’s the best job in the world and we believe in this course. Learn the skills and discover the secrets to making it big in the industry. To try the full course for 30 days risk free click here: GET ACCESS NOW Can’t wait to hear your first demo! Chris Stafford Matt Stafford “Having known the Stafford Brothers for more than a decade, I’ve seen first hand that their great success has not only been down to talent, but also drive. T heir work has transformed them into a undisputed global brand” – James Ash ROGUE TRADERS