Digital Djing - Background Section - Essay Example

Background of Digital Djing What is Digital Djing? The rise of the Digital Djing has completely transformed the entertainment industry. The business of mobile disc jockeys has now become a booming business, owing to the fact that with the rise of Digital Djing, it is now possible and efficient to move and transport the equipment necessary for use by such music disc jockey, compared to the previous analog systems that were heavier and expensive to move (Bill and Broughton, 2000). Digital Djing is a form of disc jockeying that mimics the traditional analog disc jockeying to a larger extent, only that Digital Djing entails the use of DJ digital controllers that are then connected to DJ software installed in a personal computer, from where the music is played (Brewster, 2003). This simply means that Digital Djing does not require the application of CDS and VCDs to play and mix the music, since the music is already stored in the personal computer. The Digital Djing has taken the form of a USB-to-analog devices that are then connected to the computer to control the computer-based DJ software through using a set of mixer or turntables that mimics the traditional record or CD mixers (Poschardt, 1998). Problems associated with Digital Djing The major problem that has been associated with Digital Djing is the sound latency, where there had been instances of delays between the time the music is controlled by the jog shuttle of the mixers and the effect produced on the audio sound (Hellman, 2009). Nevertheless, with the great advancement both in the area of computer processing speed and also software advancement to produce more efficiency, the latency problem previously associated with Digital Djing has now become virtually negligible (Graudins, 2004). Nevertheless, the choice of the equipment for use in the Digital Djing is an important factor that determines the effectiveness of mixing the music, owing to the fact that the speed of the computer processor, as well as the latency of the sound card also play an important role in defining both quality and latency of audio output of the music mixing (Broughton and Brewster, 2006). Nevertheless, even with computers that have low sound card latency or even low processor speed, Digital Djing can still work, owing to the fact that the problem can be addressed through applying the setting configuration to suit the desired sound out put or through upgrading the computer hardware (Laptop music power, 2005). Benefits associated with Digital Djing The Digital Djing has brought with it numerous advantages in the music and entertainment industry. First, through the rise of the Digital Djing, it has become more possible for the disc jockeys to manipulate the music mixing to the desired tastes of the audience, through using the processing power of the computer to manipulate the sound, thus allowing the disc jockeys to derive a wide range of sampling options and varied sound effects (Delaney, 2009). The other great advantage that the rise of Digital Djing has created is the ability to customize setups of digital mixers and turntables, owing to the fact that digital mixers and controllers are always platform-dependent (Webb, 2002). The other notable advantage associated with Digital Djing is that the DJ can be able to choose and apply a variety of controllers/mixers, which can then be customized to the desire and interests of the Dj or the target audience. Further, the existing Dj software can also be configured in such a way as to produce different applications (Steventon, 2010). It is all this flexibility that is associated with the Digital Djing, which has made it possible to transform the music entertainment industry and the disc jockey profession into a robust business in the modern day. A brief history of the djing The history of djing can be traced back to 1857, when the first sound recording machine, also referred to as a phonoautograph, was invented by Leon Scott (iml.jou.ufl.edu, n.d.). Thomas Edison followed with the development equipment that could play back recorded sounds. It is this concept that gave rise to the invention of the profession of djing, where the first ever disc-jockey, Ray Newby, a sixteen year-old from a California college took his place in history by playing records from a small transmitter (iml.jou.ufl.edu, n.d.). The practice of djing would then transform in the 1950s through to the 1960s, when the radio Djs would then appear in person to host and throw street parties in different parts of the world, notably in Kingston Jamaica, where PA systems were popularly used by the DJs to blast records and entertain the crowds (iml.jou.ufl.edu, n.d.). In Europe and the USA the djing experience and practice continued to advance, with the generation of more customized and efficient equipment for continuously playing recorded music. However, it is not until later in 1969, when Francis Grasso who was a very popular Dj invented the method of beat-matching, where the records would be played through having him seamlessly mix different songs (iml.jou.ufl.edu, n.d.). However, the tendency towards Digital Djing did not develop until the 1990s, when electronic music became much more popular, with the development of the mp3s and then the recording of the music in CD as opposed to cassette players and traditional records. Thus, in 1998, the major invention towards the start of Digital Djing was released in the name of “Final Scrath” software program, which then allowed the Djs to work with mp3s from a special-recorded vinyl on their mixer turntables (IML, 2007). Despite the fact that it took quite a long time before this new technology would be adapted, it eventually became a hit in the late 1990s, paving the way for the revolutionizing of the djing practice from the analog to the digital form. However, a further advancement came in 2006, when a program with its own mixer was released, allowing the Djs to play music directly from their computers, even without mixing the music through their mixer turntables (IML, 2007). This program also developed a plug that allowed Djs manipulate the videos in the same way they manipulated records in the past. In fact, with the recent technology, a Dj does not need to work on the mixers or turntables anymore, since they can be able to do all that from program software installed in their computers, which can simultaneously play and mix the music seamlessly (Walker, 2013). The existing technology for Digital djing is also enabling the house Djs to experiment with a range of sound filters and effects, in order to develop unique beats that can be customized to form the brand of an individual Dj. The scratching technique, as well as the music mash-up is also a hit in the music entertainment industry, where the Djs are currently playing two songs at the same time, with beats from one song and vocals from the other song mashing up to form a whole new music experience that is totally different from the original recorded music (IML, 2007). This has now become the hallmark of Digital Djing since 2000, onwards. Essentials of successful Digital Djing performance Mastering the Djing equipment and software The fundamental of successful digital djing is learning the djing equipments inside and out. Learning all the essential features of the djing software is also important, owing to the fact that such features also add to the diversity of the tools which the digital Dj can use to manipulate music (Broughton & Brewster, 2006). While there are varieties of digital djing equipment that have more or less the same features, it is the understanding of all the features of the digital djing equipment that allows a digital Dj to use them appropriately and maximize on all features to produce the best of music control, mixing and scratching (Steventon, 2010). It matters less whether a person seeking to become a successful digital Dj purchases the best equipment in the market. The essence of producing the best output lays in being able to master the equipment, which can translate to the use of a variety of different equipment and still produce the best performance. The djing equipment and the installed djing software can be the same for all Djs, but what would differentiate one Dj from the other is the manner in which they have been able to master and apply the different features of the equipment and software (Haselier & Yates, 2011). Diverse mix set organization The diversity of the mix set that a digital Dj has is a stepping stone to the engagement the crowd without failing. Digital djing, entails mixing music for diverse audience, which then requires that the digital Dj should not only be prepared to address the diversity of the crowd, but also to transform the mood of the audience using the diversity of the mix set (Walker, 2013). Entertaining the audience in different contexts, calls for the preparation of different types of music by a digital Dj. In this respect, the digital Dj requires having a diverse mix set that is organized separately in folders in the laptop, such that it becomes easily searchable (Emsley, 2011). This way, if a certain mix set is not entertaining the target audience enough, the Dj can be able to shift immediately to a different set without causing a fuss. Researching and staying ahead of the game The entertainment industry is an ever-changing industry, where the new music will come out every single day, while new beats, rhythm and style will keep evolving endlessly (Ritz & Flash, 2013). Thus, it is essential for a digital Dj to stay updated and to continue updating the music set every often, to ensure that the mix set is in tandem with new developments. This way, a digital Dj certainly becomes a source of real entertainment for the target audience, by being able to offer music that captures the attention of the audience and keeps them on the dance floor throughout (DJ Guide, 2012). While the mixing of new music does not guarantee the digital Dj success with the target audience, nothing would be more boring for an audience, than a Dj playing the same old music again and again. Essential Digital djing techniques Double Drop Technique The rise of digital djing brought with it a new wave of playing with music and manipulating it such that it can sound totally different or completely enhanced from the original music piece. Double Drop is a digital djing technique that allows the digital Dj to play two copies of the same song, with one song running one beat ahead of the other (Pipiorke-Arndt & Shankland, 2014). Despite the fact that this djing technique is complex to master, it produces one of the most successful and exciting ways for the Dj to change from one song to the other, without introducing weird beats. The only skilful attention that the digital Dj needs to pay to the technique is the timing of the introduction of the second copy of the song from the second deck while the first copy is playing, such that the second copy plays one beat slower than the first copy on the first deck. This becomes useful during the transitioning of the songs, since it allows the Dj to swing between songs with a back beat still playing, until the Dj is finally able to put the new song through to the audience without any hitches (Apostolis, 2011). Harmonic scratching Technique Scratching is one of the most essential techniques that a digital Dj can apply to differentiate from the rest, since it offers an opportunity for uniqueness (McCarthy, 2012). The essence of the turntables on the digital djing equipment is to allow the Dj the opportunity to apply the scratching technique (Cohen & Rosenzweig, 2006). Nevertheless, nothing can be as embarrassing for a Dj and also very disheartening for the crowd, like a non-harmonic scratching that causes unnecessary commotion in the music mixing. Therefore, it is essential for the Dj to learn to harmonize the scratching with the music beats, tempo, style and rhythm, such that the overall synchronization allows a smooth flow of music and scratching (Pinch & Bijsterveld, 2012). The scratching technique can be very essential for a digital Dj if well mastered, as it would enhance the taste of music mixing. Advancing personalized styles in Digital Djing The change from the analog to Digital Djing is one that has created a whole new experience for the music entertainment industry. This is because; it has become not only easy for the Djs to customize the style of presenting music to the audience, but has also made it possible to create an own library of music without spending a fortune like it used to be traditionally (Walker, 2013). Analog Djing also entailed a lot of labor, risks and expenses, owing to the fact that it required the carrying of hundreds of boxes of fragile vinyl record sets to any single event, while the Dj had to spend most of the time perusing through the records in the booth (Emsley, 2011). The introduction of Digital djing therefore came with the advantage of reducing the workload associated with djing, while at the same time providing for an opportunity for the digital Djs to develop a unique and personalized style that differentiates them from the rest of the lot in the industry. A good example of this transformation is Richie Hawtin, a sound wave Dj from the Detroit techno, who also proceeded to develop the minimal techno in the 1990s (Russell & Cohn, 2012). Richie Hawtin is well popular for his djing using the Djing techno sets, and applying the laptop computer and a digital mixing controller set, to define his personalized style of the Plastikman brand and later the ENTER brand in 2012 (Russell & Cohn, 2012). The combination of both the analog mixer and a computer laptop enabled Hawting to curve his place as a Dj at the age of 17 years, when he was able to play the personalized styles of both house music and techno genres (Russell & Cohn, 2012). Therefore, Richie Hawtin’s career has been built on the basis of a combination of an analog mixer with a computer laptop, which has eventually become the main feature of the Digital Djing. The combination of the analog mixer with the digital integration software is a step that was undertaken by djing manufacturers to ensure that the Djs would not miss on the computer experience after it became very popular in the later decades of the 20th century, while also enabling them to integrate their experiences through applying the traditional players (Emsley, 2011). Nevertheless, even with the introduction of the software integrating the traditional mixer and turntable sets with computers, the application of the computers in djing was neither easy nor coveted by the Djs, as a result of the associated latency problems. Nevertheless, with further advancements in technology and equipment targeted to serve this need, as well as the maneuverability of the computer settings to allow for the creation of a range of sound effects, the use of the computers in djing became gradually accepted, and it has remained the major characteristic of the Digital Djing (Ritz & Flash, 2013). Modification of original music into a new genre The major issue of contention that has arisen regarding Digital Djing is in relation to which is the best way to play music using the djing equipment, with the major issue being whether to play it externally using the mixer or to play it internally using a DJ software (Tiongson, 2013). Conventionally, mixing music manually from an analog mixer has been considered to be the best option and experience. Spinning of the deck is actually a more fulfilling and satisfying experience for the Djs, because it offers them the opportunity to scratch, slow or speed up the song. The other major question that has kept lingering in the mind of many is whether Digital Djing is indeed killing the art of music. Music has become very easily accessible in modern day, and Digital Djing has enabled the Djs to formulate their own kind of music through the existing records by mashing up and mixing the songs into different beats, vocal and rhythms (Kriel, 2007). The Digital Djing experience is providing the audience with a whole new experience compared to the actual experience they get from playing the original songs, due to the fact that the music played by the Djs has been modified and manipulated based on the addition of sound effects, beat tempo and the rhythm, to make music a whole new experience. For example, Magdalena Chojnacka, popularly known by her stage name Magda, has been actively involved in modifying the original songs into a new kind of music that is absolutely different from the original music compilations (DJ Guide, 2012). She has been able to transform music through mixing and mashing up records such that even as a Dj, she also holds her own music compilation that has been developed from the mixing of other musicians danceable singles. The most popular of the Magda compilation is the one she collaborated with both Richie Hawtin and Troy Pierce, who are also legendary Detroit techno Djs, to produce the music compilation under the label of ‘Making Contakt’ (DJ Guide, 2012). In addition, Magda has also gone ahead to produce an own compilation that has become a big hit in any of the event that she has been djing, under the name of the “48 Hour Crack In Your Bass”, consisting of some of the most popular dance music that keeps the revelers in any of the event she is djing on the dance floor at all times (DJ Guide, 2012). This experience serves to show that the rise of Digital Djing has played an important role in transforming not only the music industry, but also the experience that the audience is getting of the very own songs they have been playing either as mp3s or video tracks. The consequence has been the claim that Digital Djing is killing the art of music, since it is changing the original feel of music as created by owner musicians, and transforming it into a whole new genre of music that is rarely identifiable with the original piece of music (Gregory, 2002). Creativity in Digital Djing Digital Djing has been associated with the expansion of both genre and styles of music (Webber, 2008:31). Creativity has been the major factor that has been attributed to Digital Djing, which has characterized the transformation from analog djing, owing to the fact that the digital Djs have a range of choice over the sound, rhythm and the beat effects, as well as over the sequencing modes. The creativity in the field of Digital Djing is one aspect that can be traced back to Ali Shirazinia, who is popularly known under the stage name Dj Dubfire, who was able to make a clear cut personal style of his own djing genre, even after having played it as a duo under the Deep Dish duo for long (Apostolis, 2011). Dubfire played as a house and techno, Dj for sometime under the duo set and together went ahead to win the Grammy award, but later decided to go it alone and even change his initial style to forming his own techno style, as opposed to the progressive style that they were playing under the Deep Dish duo (Apostolis, 2011). The notable Dj sets that were produced by Dubfire include the ‘DeLacy Hideaway remix (Apostolis, 2011). This was produced while Dubfire and his partner were using the predominant progressive style. However, once each of the duos decided to go djing individually, Dubfire decided to change his style from the one the audience was used to when he was working as a duo partner, into an entirely different style, but still went ahead to become popular in the new style he adopted (Cohen & Rosenzweig, 2006). While working on his own, the popular releases that Dubfire has managed to release include this ‘Feel Speed’ production, as well as the Roadkill compilation that was released in 2007, which has gone ahead to make Dubfire a techno sensibility (Apostolis, 2011). Conclusion Thus, Digital Djing has come a long way in transforming both the music entertainment industry and the art of music, through providing digital djing with the appropriate tools that enables them to modify and manipulate music into an entirely new genre from what the musicians initially created (Pinch & Bijsterveld, 2012). The rise of the Digital Djing has seen some artists who initially started as Djs transform and become recording musicians who also double as Djs. References Apostolis, D. R. (2011) Dubfire. DIC Press. Bill, B. and Broughton, F. (2000) Last Night a DJ Saved My Life: The History of the Disc Jockey. New York: Grove Press. Brewster, B. (2003) How to DJ Right: The Art and Science of Playing Records. New York: Grove Press. Broughton, F. and Brewster, B. (2006) How to DJ (properly): The art and science of playing records. London: Bantam. Cohen, D. and Rosenzweig, R. (2006) Digital history: A guide to gathering, preserving, and presenting the past on the Web. Philadelphia: University of Pennsylvania Press. Delaney, M. (2009) DJing and live performance with Ableton Live. Merton: PC. DJ Guide. (2012). DJ Magda. Available at: http://www.djguide.nl/djinfo.p?djid=2402 (Accessed: 13 March 2015). Emsley, J. (2011). The laptop DJ handbook: Setups and techniques of the modern performer. Boston, MA: Course Technology. Graudins, A. (2004) How to Be a DJ. Boston: Course Technology PTR. Gregory, A. (2002) International Whos Who in Popular Music 2002. Europa. 8, p.224 Haselier, R. and Yates, K. (2011) Traktor 2 Bible: Digital DJing with Traktor Pro2, Traktor Scratch Pro2, Traktor Duo 2, and Traktor Scratch Duo 2. Charleston: CreateSpace. Hellman, Z. F. (2009) The DJ aesthetic: A look into the philosophy and technology that enable the disc jockey edition. Boca Raton. iml.jou.ufl.edu. (n.d). Dj? he Early Days: 19th Century - 1940s. Available at: http://iml.jou.ufl.edu/projects/fall09/bein_k/history.html (Accessed: 13 March 2015). Kriel, C. (2007) How to DVJ. Taylor & Francis. Laptop music power. (2005). Boston, MA: Thomson Course Technology PTR. McCarthy, L. (2012) How to become a top DJ: An insiders guide to DJing success. Oxford: Infinite Ideas. Pinch, T. and Bijsterveld, K. (2012) The Oxford handbook of sound studies. New York: Oxford University Press. Pipiorke-Arndt, B. and Shankland, R. (2014) Digital DJing (english): Tips, Tricks and Skills for Disc jockeys; english. Seeheim-Jugenheim: quickstart Verlag. Poschardt, U. (1998) DJ Culture. London: Quartet Books. Ritz, D. and Flash, G. (2013) The adventures of grandmaster flash: My life, my beats. New York: Crown Publishing Group. Russell, J. and Cohn, R. (2012) Richie Hawtin. Book on Demand. Steventon, J. (2010) DJing for dummies. Chichester: John Wiley & Sons Ltd. The Interactive Media Lab at the University of Florida (IML). (2007). DJ: History. Available at: http://iml.jou.ufl.edu/projects/fall09/bein_k/history.html (Accessed: 13 March 2015). Tiongson, J. A. T. (2013) Filipinos Represent: DJs, Racial Authenticity, and the Hip-hop Nation. Minneapolis: University of Minnesota Press. Walker, S. (2013) Djing: Disc jockey, beatmatching, music loop, sampling, turntablism, digital dj. S.l.: University-Press Org. Webb, G. (2002) DJing with CDs. Miami, Fla: Warner Bros. Publications. Webber, S. (2008) DJ skills: The essential guide to mixing and scratching. Oxford: Focal. Read More