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By
definition, the role of selecting and playing
prerecorded music for an intended audience is
the same for every disc jockey. The selected
music, the audience, the setting, the preferred
medium, and the level of sophistication of sound
manipulation are factors that create a number
of different types of deejays. The following
is a list of the most common types of disc jockeys,
along with notable examples of each, listed
in chronological order by birth. |
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| Disc jockeys
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The
physical act of selecting and playing sound
recordings is commonly referred to as DJing
(or deejaying), playing or spinning. The resulting
performance is called a DJ set. |
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| Equipment
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Sound
recordings in preferred medium, A minimum of
two devices for playback of sound recordings,
for alternating back and forth to create continuous
playback,
A sound system for amplification of the recordings,
The addition of a DJ mixer, a microphone (used
to amplify the human voice), and headphones
(used to listen to one recording while the other
is playing, without outputting the sound to
the audience) is strongly recommended, but not
required. Other types of equipment including
samplers, drum machines, effects processors,
and Computerized Performance Systems, add to
the performance of the DJ. |
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| Techniques
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Several
techniques can be used by the disc jockey as
a means to manipulate the prerecorded music.
These primarily include the cueing, equalization
and audio mixing of two or more sound sources.
However, turntablist DJ's also utilise slip-cueing,
phrasing, cutting, beat juggling, scratching,
beatmatching, needle drops, phase shifting,
back spinning, and more to perform the transitions
and overdubs of a number of sources in a more
creative manner. |
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| DJ
control and economics : |
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Very
few radio DJs in the United States have any
control over what is played on the air. Play
lists are tightly regulated, and the DJ is often
not allowed to make any changes or additions.
The songs to be played are usually determined
by computerized algorithms and automation techniques,
such as voice tracking, allowing single DJs
to send announcements across many stations.
A DJ might announce a song as a request even
though it was already set to appear in the play
list. It is not unusual for modern radio DJ's
to get a request for a song, if they are allowed
to play a request, which is rare, and download
it from a free download site such as Limewire;[citation
needed] then they enter it into the computer
play list to make the listener happy. With modern
computers and high-speed internet access,
The songs to be played are usually determined
by computerized algorithms and automation techniques,
such as voice tracking, allowing single DJs
to send announcements across many stations.
A DJ might announce a song as a request even
though it was already set to appear in the play
list. It is not unusual for modern radio DJ's
to get a request for a song, if they are allowed
to play a request, which is rare, and download
it from a free download site such as Limewire;[citation
needed] then they enter it into the computer
play list to make the listener happy. With modern
computers and high-speed internet access, it
is possible to fulfill any reasonable request
in a matter of minutes.
Economically, this formula has been successful
across the country. However, music aficionados
look upon such practices with disgust and either
seek out freeform stations that put the DJs
back in control, |
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| History : |
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The definition and responsibilities of a mobile disc jockey
have changed since Bob Casey's first two-turntable system
for continuous playback was utilized for sock-hops in 1955.
Bands had long dominated the wedding entertainment industry,
but with the advent of the less expensive mobile DJ, the demand
for live performers dwindled. Even so, in the early years,
the mobile DJ industry was seen as a last-resort choice for
entertainment, as the DJs were reputed to frequently be unreliable
and unprofessional. Mobile DJ companies came and went.
During the Disco era of the 1970s, demand for mobile DJs soared.
Top mobile DJs in this era would have hundreds of vinyl records
and/or cassette tapes to play from. The equipment used in
this era was enormous and usually required roadies to set
up. Because of the high demand for mobile DJs, many people
from all facets of life jumped into the industry, hoping to
make a few extra dollars on the weekends. These "Weekend
Warriors", as they are called by many, helped enhance
the negative stereotype of the mobile DJ; many of the same
complaints from the earlier era continued.
Some tried to improve this image by forming professional associations.
The Canadian Disc Jockey Association (CDJA) was one of the
original associations formed in 1976 as a not-for-profit trade
association for disc jockeys across Canada. It was joined
by a much broader online association called the Canadian Online
Disc Jockey Association (CODJA), founded by Canadian mobile
DJs Glenn Miller and Dennis Hampson.
As the late 1980s turned into the 1990s, new technologies
emerged. Compact disc collections were becoming the standard
to play music from. Many equipment manufacturers realized
the potential market that existed for mobile DJs and raced
to make equipment that was smaller, easier to use, and of
better quality. Dedicated mobile disc jockey trade publications
such as DJ.
In the mid-1990s, computers and the Internet had a profound
impact on the mobile DJ industry. Professor Jam, a Tampa Bay,
Florida disc jockey already known in the industry for having
performed for many celebrities and television networks, became
one of the first mobile DJs in the United States to regularly
use computer technology to play music at his shows, and was
the first professionally endorsed computer disc jockey internationally.
CODJA cofounder Glenn Miller became the first licensed MP3
DJ under new music licensing agreement that was introduced
to Canada in 2000 by the AVLA, and had already pioneered online
networking for mobile disc jockeys by starting the first bulletin
board system for mobile DJs from all over North America.
In the 21st Century, the role of the mobile disc jockey has
expanded. While there are still many conventional, "human
jukebox" mobile DJs, many others have assumed more responsibilities
to ensure the success of the events where they perform. These
responsibilities include emceeing, event coordination, lighting
direction, and sound engineering.
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