Analog vs Digital vs Digital: Are we killing our dance culture?

I’m not opposed to change by any means. Change is crucial to life and growth.  It’s just sad when valuable perspectives, experiences, and lessons get lost as a result.

There is a lot of discussion in dance culture around vinyl vs digital, cd vs laptop, mixing vs programming, etc etc.  Those who embrace the new defend it, those who have mastered the past defend it, insults are thrown, pride is put to the test, but most importantly, there is a key discussion being ignored.

For those of you who are too new (and by new I really mean anyone in the scene for about 15 years or less) to really have experienced the history of the dance culture and electronic music scene there are some things you need to understand (don’t worry I have some words for the old-timers too).

Most of us in the early years of the scene had to constantly fight. We had to fight for space, for sound, for music, for a voice, for validity. Many of us didn’t even know we were fighting, we were just deeply connected to the music and had to express it, whether making it, playing it, or dancing to it. It was even a fight just to get the music.  It was expensive, limited, and you had have the hook-up to get the choice new releases in your area before someone else did.

The music was a necessity for us, the very essence of us. We were mocked, we were told it was garbage, it wasn’t real music, that it was a passing fad.  Because we were so connected to the music and identified ourselves through it, this meant they were calling us garbage.  We banded together, we built communities, philosophies, and we danced our asses off because it was who and what we were.

Every record was special, it was a weapon in the battle for validity.  Every scratch, imperfection, and skip was a memory of a party, an experience, a good time, a bad time.  We didn’t replace our music every week, we played it until it wouldn’t play anymore.  And even then we might try to play it a couple more times hoping that it had somehow magically healed itself through our pure love of the song. Long story short, we weren’t just connected to the music, we were the music.

Things are different now. People interact with the music differently, they relate to it differently, they express it differently.  There are a lot more people in it for money and fame as opposed to the pure need to express and connect with the art. Because of the foundation that was built, there isn’t nearly the fight for validity there once was (proven by the fact that dance music is in the top-40 mainstream).  There is a mass consumption of a product that we spent decades forced to keep underground.

This is something the old-timers need to recognize beyond the obvious.  These newbies aren’t connected to the music they way we were/are. They aren’t seeing the house built from the ground up, they are inheriting the family property. That’s not to say it is better or worse, just different.  We fought so they didn’t have to, they explore new ways to express it, some good, some bad, some down right insulting to those of us who have spilt blood, sweat, and tears. We can’t expect them to get out of it what we did because they aren’t building the scene, they are inheriting the scene.

The discussion should not be about what equipment they express on, or what medium they use, but rather do they have talent at what they do?  Is there effort, art, passion, connection, and most importantly, respect? That is what is important here. Are they pressing play or are they creating art? We old-timers can learn some new tricks from you newbies, and newbies we can show you some foundations and perspective that make this meaningful and an art form, not just a revenue stream or a way to get laid.

The reason I implore all of us to switch the focus of the discussion is because we are at a delicate turning point in our culture.  As something becomes consumed on a mass scale, there is danger of that thing being consumed to its extinction.  How many forms of music, fashion, art, etc., have been destroyed because it was over-consumed and the meaning, art, and specialness were forgotten and lost?

I love this music, these people. I want it to last as long as possible.  I want it to remain a meaningful culture.  Not just some ‘in’ product that will be thrown to the wayside because it becomes a gutted shell. Let’s keep dance music a meaningful art form, a culture with a rich history and that focuses on talent and passion.  Being in the top-40 realm isn’t inherently bad, but unless we maintain a level of quality, an understand of the roots, and pure connection to the passion and art of our culture, we will lose it. And rightly so.

Friends don’t let friends become a DJ Pauly D.

Just say no.

Published by

Sean Ray

Award winning DJ/Producer and actor (SAG-AFTRA).

23 thoughts on “Analog vs Digital vs Digital: Are we killing our dance culture?”

  1. “The discussion should not be about what equipment they express on, or what medium they use, but rather do they have talent at what they do?”

    I am from an “older guard” here (as opposed to the ‘oldest guard,’ I guess?)… I started DJing in the mid-90s, and still in it today. I went from crap Gemini decks, to Technics 1200s, to 1200s & Final Scratch/Serato SL (I skipped CDJs, but mostly because I was poor), and now I use MIDI controllers. I get both flak and support in equal measure over this, and in honesty, I really don’t care if someone looks down their nose at me because I’m using a little controller (these days, it’s mainly a Novation Twitch running Serato Itch.)

    More times than not, the most vocal opponents aren’t even DJs, and don’t realize that:

    A) mixing two channels of analog track (aka vinyl DJing, with the exception of turntablism) isn’t that compelling, other than good selection/programming.
    B) There is still (as of me writing this) NO magic button to making someone, with no skill/awareness as a DJ, sound good. You could prepare an entire set in Ableton Live and “press play” I guess, but even the process of doing that level of preparation takes a certain level of skill and learning to even do that (even though I don’t really condone that). Technology isn’t making it easier in a sense. (There are tons of vinyl-centric DJs that (in their own way) “press play” and phone it in as much as the digital layabouts they seem to get in tizzy over)

    If anything, it’s just made it easier to start DJing with a far smaller budget than it used to be, and I’m in support of that, despite a few misgivings. (I also am a longtime photographer, and there’s a lot of similar grumblings in that (film vs. digital, lower price of entry = more crap diluting the available pool of images, etc)) That the phrase “everybody wants to be a DJ” has been around so long now, even in the days of purely vinyl, just indicates that some attitudes will never change.

    I did it strictly vinyl for years, I mixed harmonically, had a lot of great “tricks” to mix things in-n-out in unusual ways. Ultimately, it got boring, and as a (at the time) drum & bass DJ, dubplate/exclusivity culture was getting out of hand. If you played a track more than a month old, other DJs would scoff. (Thankfully, that era of smugness is much less prevalent than it was 10-12 years ago.) Also, seeing as an import 12″ single was $10+ for, usually, ONLY ONE cut that you wanted to play, that made for many broke DJs.

    Nowadays, if you’re a traveling/working strictly-vinyl DJ (or worse, a vinyl control system DJ like Serato SL, or Traktor, etc), there’s no telling (these days) what the state of the 1200s will be in when you step into the venue (unless you bring your own well maintained gear around with you OR you’re professional enough that you contractually demand functioning gear in your stage rider)

    Especially with the death of Technics in general, (over time) you’re going to find a lot more decks getting less and less maintained, and a bad tonearm can make a short night of some Serato DJ who can’t get a clean enough timecode signal through to his/her laptop.

    After over a decade of analog mishaps (bumped needles, bass feedback loops, cue burned records, countless irreplaceable records accidentally scratched and rendered unplayable) going digital has made the most sense, and it’s a decision I love more and more as technology progresses, and more options open up.

    NOW: I do have one gripe.

    “Are they pressing play or are they creating art?”

    The one problem with most of the work being done on a laptop screen, hidden away from public view, is that the VISUAL difference between “pressing play” and “creating art” is almost nonexistent in most ways that count.

    Groups like Daft Punk and Deadmau5 (I hate using them as examples, but if the shoe fits…) realized that what they do is either (at best) A) not very visually dynamic or (at worst) B) if there are no visuals to distract the masses, maybe the curtain will be pulled back, revealing people getting paid a LOT of money to do, essentially, VERY LITTLE in terms of live performance?)

    Let’s leave out Turntablism and digital performance artists like Ean Golden, Tim Exile, Jeremy Ellis, etc, because these are not the droids we’re looking for. These are bonafide PERFORMANCE artists, and not DJs in the sense that your article refers to (yes?).

    In terms of DJing, most people can’t tell if someone is someone is mixing with a MIDI controller, and still doing everything manually in terms of selection, beatmatching, phase adjustments, etc, or if they’re just activating scenes of pre-synced Ableton Live clips, and tweaking effects (if that)

    Most people either will DISMISS all of it, simply mystified by the entire process enough to not care, or EMBRACE all of it, simply mystified by the entire process enough to not care.

    Sorry, I’ve rambled enough about this… Good night.

  2. As a member of the older generation of Dj’s (I started in 79) I agree that talent is far more important than equipment. The availability of new music has made it possible for anyone to have a good selection. The days of exclusive pools and getting connected at the music store to get those limited pressings are long gone. Now that we all have access to the music presentation is paramount. I made the switch from 1200’s to CDJ’s, I haven’t made the jump to Serato I still burn cuts to CD so I can manipulate the track to fit my needs. I appreciate the guys I see using laptops as long as they still do a live presentation. When I see a push play DJ it annoys me as much as when I would here an Ultimix medley in a club. Real DJ’s are artists not juke boxes.

  3. Dude. I get where you’re coming from and I agree with you, but you should focus on what you’re doing and not worry about what other DJs are doing. When genre’s of music go mainstream, so do the crowd.
    In the end… Real will recognize real. Just saying.

    1. But that is part of the problem, the masses don’t always see the difference. The market is being flooded with an inferior product and the people accept it because they don’t know better and the expectation of quality constantly degrades. Talented DJ’s get undercut and forced out by a cheaper and replaceable act. If it was as simple as quality prevailing it wouldn’t even be an issue. Look at any other market, quality doesn’t always prevail, the lowest bidder does. I myself am doing fine, it isn’t about me, its about wanting the scene to survive as long as possible.

      1. You say its inferior. That is your personal opinion.. Pauly D DJs, he doesnt just press play.. He might not be the best but he has SOME talent and hes getting more bookings than you.. The scene is exploding, never been bigger than it is now.. and you are totally making it about you and NOT the music, like half the DJs today.

        People love to hate. Top DJs get paid 10s of thousands for a night, maybe even 100s.. and yet you think they are underpaid, undercut, and forced out?? lmfao. Society wants what society wants, we are exploding the scene but you just wanna bitch cuz one pretty boy DJ get its super easy and he isnt that superior to you.

        Just because you dont like the new “inferior” music doesnt mean its garbage kid. Everyone else is enjoying it thats why the people who get their paper, do.

        You cannot compare other markets to other markets, that doesnt make sense. Lets compare apples to oranges, Red apples always prevail so all oranges that arent red must suck.

        Whatever DJs they book and what they pay them is based on their ABILITY to throw a party, not the music they play. Recognize. Mark Farina just got kicked off stage at his own party in Las Vegas… Dont play Chicago house in Vegas.. Play to the crowd 😀

        DJing is not about creating art its about throwing a party. Go produce if you wanna create.


  4. I have gained a new prospective after reading this article. I am a long time vinyl purist who has only recently submitted to going digital with an almost strange lingering guilt that i have given up the fight. Now upon reading this perspective I feel relieved that I can explore the digital realm free of judgement because I know that no matter what I try it will be done with passion for art and creation, not to gt paid or laid. It’s nver been about that ( although getting laid because you excited a girl with your ability and charm has never been something to be ashamed of). ;P

  5. I’m not a DJ.. I’m a fan.. I’ve been listening to electronica in all its forms for probably 21-22 years .. and all I can say is if it sounds good I could care less.. I’ll dance to it..

    Although the one thing i always liked is interaction with the crowd through music.. Mc’s.. live instruments ( seen infected mushroom do that).. live signing.. if its turntables… or digital who cares.. but i guess you cant really get the interaction going if you just set up everything in advance and press play… live musicians and performances shouldn’t be a rehearsed .. its a defnatly a spur of the moment thing ..

    But that’s just my opinion

  6. I think this is a great article, and I love the positive tone. I do think that people still, and always will, have to fight for not only EDM, but for living any type of musical life. Dedicating your life to music is still consider a poor choice, from the perspective of parents, teacher, guidance councilers etc…
    And as far as raves and EDM in particular, there is still a fight for venues, struggles with the law, as well as struggles with many outside entities that have a fundamental problem with it.
    Just felt like adding my two cents, I love the article though. peace!

  7. I come from the old guard, started in what many call the heyday of American Rave Culture, during the summer of 1992. Like Donovan (posted reply above), I’ve come to accept new technology as a tool towards creating art. Also like Donovan, I skipped over CDs because I got locked up on the vinyl side of the argument. Keep in mind, though, that the CD Turntables from a decade ago were much different. They had very few cue options and essentially were stop/start players with nominal pitch control. Nonetheless, many vinylphiles will argue that the technology takes away from the art. I’m a purveyor of music. I love music in it’s various forms. Some forms I tend to sway towards more than others but my love for it as a whole is vast.

    In the days of purely vinyl djs, organic musicians (you know the ones who actually pluck, blow, strum, or drum in order to make noise) would ridicule the dj as nothing more than morons who just played records. Turntablists aside, djs were looked up as not really manipulating sound as much as simply playing it back. To this day, there are still many vinylists out there who do nothing more. I’ve come to mentor many upstarts in my time and the one thing I always state is that you can teach a monkey how to press a start button and move a slide switch. I mean, we put apes in space for heavens’ sake… I’m sure they could be taught to “DJ” on a pair of Technics and a Rane Mixer.

    The argument for DJs, though, is that we actually do manipulate sound. Thus defending remix culture as a whole, we state proudly that we do perform using playbacks but it’s “how” we do it that makes it art. Technology has allowed the DJ to come closer to being an actual musician. Like the original post reads: There is some skill involved. I can certainly teach an ape which flashy button to push to make noise happen but I can’t teach it whether the noise that button makes sounds good with the other noises happening.

    While technology has indeed made dance music (and the culture that surrounds it) much more accessible, I don’t quite understand the argument that this is bad as it’s something that has been around since the beginning of the culture itself. Techno history is riddled with this. Legends like Juan Atkins and Afrika Bambaataa openly claim that the availability of analog sequencing machines and pitch modulating turntables were the catalysts that allowed them to be pioneers of what they do. House music legend, Jesse Saunders, states that his introduction to creating the music actually came from the ability to layer sampled beats over R&B tracks using a cheap sampler. Keep in mind that in the early/mid 1980s the Roland TB-303, TR-808, and TS-505 as well as other drum machines by Korg and Boss were much cheaper then. Today, finding a 303 on EBay will cost you thousands back then, musicians (whom they were actually designed for) were throwing them away.

    Let’s go back even closer to the days of Y2K. They world was hyped up that technology would kill us all. Many of us are still here. Some of us realized that it was all just a hype because we knew that the technology we designed would eventually render us useless. In this year, Guitar Center reported that the Technics SL-1200 MkII model turntable outsold Fender Stratacasters that year. For the seasoned DJ, this meant an incredible influx of new faces to compete with. As the original post claims, the music was already scarce as it is. Now it was going to become even more scarce.

    Now it’s 2012. Another decade from that shattering realization that DJ culture is now popular. While a kid with an interest in music that goes bump in the night can no longer tame it by buying a $100 drum machine, he can now go to the pawn shop and buy cheap laptop and lift a copy of his favorite program from the internet. Old salts, like myself, have to adjust from spending endless hours digging through musty basements and dusty bins at some hole-in-the-wall record store only to find one or two gems to scourging through the endless masses of fodder provided by outlets like Beatport.

    And while we’re on the subject of fodder, while I don’t think that guys like Pauly D have a like of talent in their bodies (I live in Vegas. I’ve seen the guy perform in real life. It’s sad, really.) It’s not like we didn’t have our “false idols” back in the day. Take one DJ Skribble for example. The guy was an underground house banger on the East Coast for awhile. I still bang out his MDMA mix with Anthony Acid from ’97 when I can. Then he sold out and went to MTV when they tried to tap that EDM market. It went downhill for him (and MTV) from there. He’s not the only one, though. I can’t count how many times I’ve been disappointed by “Superstar” DJ Keoki. I love his music. I’ve played his music. I marveled at the guy knowing how good the music was. I dug deeper to realize that most of what he “created” was actually engineered by Dave Aude. Total letdown. So it doesn’t shock me to hear that guys like House “Mafia” founder Steve Angello gets busted letting pre-mixed CDs run by some adorning Youtube blogger. That’s just where technology takes us.

    I’ve rambled on enough. I can speak volumes on this subject. I’ve dedicated twenty plus years to it. Which is where I fully agree with the original poster’s statement: “We can’t expect them to get out of it what we did because they aren’t building the scene, they are inheriting the scene.” I can only hope that by others reading this that they will learn something about the culture and scene as a whole. That if you’re not going to build something new at least have the respect of those founders (both big and small) that paved the path.

  8. A DJ is a performer, a mixer and story-teller of music. When a “DJ” does nothing but stand behind his laptop screen or push a couple buttons here and there… that is NOT exciting. Sure, the music pouring out of the speakers may be really good, but if there’s no interaction or stimulation from the person behind the decks, it totally ruins the experience (at least for me). I understand this can differ between a top 40’s radio DJ and an electronic DJ (I’m mainly referring to EDM)… but if you can’t back up, support, and be JUST as excited about the music you’re playing then I think you’re doing a crappy job, especially when there are many phenomenal artists that could take your place and have some LIFE to them.

    I spin trance, vinyl and cdj. I don’t use the new Pioneer 2000’s because the bloody things beat match for you. I feel like there’s NO skill involved with junk like that when all I have to remember to do is switch the bass lines at the right time. I understand that times and technology change, but that doesn’t mean you have to look like and act like a lifeless robot on stage. Whenever I see a BLAH “DJ” on stage I totally lose my mood to dance to them. When they don’t look like they’re having any fun or are so busy staring at a computer screen, it’s just a buzz killer. I would rather see someone who isn’t so great at DJ’ing try his best and mess up a couple mixes but SEE that he’s still having fun, compared to a spot-on set that looks pre-mixed by the “DJ” because he isn’t even wearing any headphones, and all you see is the top of his head behind his laptop screen.

    1. Kudos, I couldn’t have explained it any better. Although I have a DJ controller, I’d rather play on my Tech 12s. Played vinyl for 10 years now and still buy it, there’s no replacement for digital. I understand the benefits of digital. For example, not needing to haul a stack of records hoping to go into the next guy’s set or battling the elements if you’re playing outside. The point is with digital, it’s a convenience for faithful DJs. For those who are learning to play, they don’t have to learn through the school of hard knocks. It’s disappointing watching new kids play on digital but behind 2 Techs they’re lost. They don’t need to learn what key a song is in, the structure of the song, etc. They let the computer figure it out. If you see one of these guys, you may as call them a human iPod. I say bring back the performance in being a real DJ and re-educate the new breed DJs! I’m doing this right now, one human iPod at a time.

  9. Can relate. The energy gone into learning to beat-mix vinyl and cd, and listening to each track carefully and then just buying the ones that you could afford, had a positive affect in that a lot of heart went into the preparation of each set I played.

    I’m against kids downloading ALL the music (more than they could ever take the time to listen to properly) and then having a computer mix it. That said, I am considering getting a Native Instruments S2 controller and seeing if mixing is any fun – if there is any art left to it. I hope there is. I found the pressure of producing good mixes in front of a crowd was one of the most exciting and fun things I ever did.

  10. Know your culture. Know who you are, where you came from, and where you are going. This is overall a great article, yet at time hints a bit of “back in the day” syndrome which I find has gotten a bit drawn out and old whether it’s touted by scene veterans or our parents who used to walk miles in two feet of snow in the freezing cold to get to school. Respect, appreciate, and learn from the past but don’t dwell on it. If the DJ culture looses sight of the overall party culture that they are a part of yet nothing without it, then the house crumbles.
    I got hooked on electronic dance music in 1996 at the age of 16 while living in Bangkok Thailand, where there were a couple no-name underground clubs that catered exclusively to this “other” sound that definitely was not the pop pouring out of other clubs. I can say now it was definitively house and techno but at the time I had no idea what was being played. No idea what style, what the dj was doing, who he was, where he was from, what records were being played. All I knew in this little black box with nothing but a dj booth, strobe light, and a dancefloor packed with sweating bodies from all around the world, was that I was having a damn good time! It was different…it was about the collective experience of freaking out together, and the DJ was everything, yet he was nothing…just an element in the overall equation.
    I couple years later I found the rave scene in Seattle and after a party with Terry Mullan dropping acid bombs one after another to a warehouse of a couple thousand, it was all over, I jumped into dj world. First with vinyl in the house/techno/trance days, later getting into CD’s when getting into psychedelic goa trance. At first I hated the aesthetics of CDJ’s but it was a cultural shift as well. Goa never had a culture of vinyl to begin with and the old parties were originally dj’d from cassette tape, later DAT. In short, the medium for the culture and party made sense from a practical point of view. The medium was easily transportable, braved the elements outdoors, and had supreme audio quality(SUBJECTIVELY SPEAKING!) in that a well kept CD could be played a million times and still sound the same whereas a record groove will wear out. No matter what, the whole point of what I was trying to do was create an aural environment that moved people to dance. Once that was set in motion it was really up to US where we wanted to take the dance.

    A dancefloor on edge with a crap DJ is just as inefficient of a scenario as a really good DJ with a unresponsive floor. Maybe this is where the connection is lost these days. As the underground has bubbled up into the mainstream, the dynamic has shifted. The role of the DJ as sound guide or facilitator has morphed into performer. I never have and never will go “see” a DJ as a performer. They are boring. Beyond a DJ’s personal charisma that they bring to the decks, watching a dj is utterly boring to me from a performance perspective…I prefer to watch and connect with the dancers around me. If Deadmau5 was stripped of his mouse hat, amazing light show, lazers, and bomb sound system, would he still be as popular? While I do like him for what he does, I see it as more of a performance or show and the crowd is reflective of that…all bodies facing front and center and only a fraction dancing, as my two experiences have been, and then go home when the “show” is over.

    What is ultimately more important in this whole discussion is not so much the bickering of old vs new, vinyl vs digital vs laptops, underground vs rockstars etc, but instead the experience of magic and authenticity. If we are not getting out of our heads, we are left to bicker about the details. Are we after a collective, transcendental experience, or another light show with music accompanying? Neither is better or worse than the other, just know what it is that makes you tick.

  11. I am a DJ since 1996 and started off with vinyl and CDJ’s. I know how to mix and beatmatch vinyl and cd, but nowadays I dj with a Pioneer controller and a Macbook. Why? well here you go:

    1. Digital does not mean “unable” as many ppl think (the inevitable SYNC BUTTON discussion).
    2. Less weight to carry
    3. More selection and therefore better adjustment to the crowd if necessary
    4. No scratched vinyl
    5. No problems with jumping needles due to heavy bass
    6. If some1 bumps against my controller the music will still be going….

    Yes my controller has a SYNC button and YES I use it quite often. But not because I don’t know how to mix 2 or even 3 songs together, I use it because the fact that the 2 songs I wanna mix are synced in just a second gives me the chance to explode with creativity in terms of acapellas, extra beats, vocals, sounds, fx and STILL be able to mix all this smoothly.

    I get slacked for using this button so many times but that is because people don’t see what I do. Instead of beatmatching for 2-3 minutes. I change/remix/re-edit songs on the fly and even add my own FX via KAOSS Pad to all of this. Unfortunately they have heard these FX sounds in a Guetta pre-recorded set as well so it is nothing new (not slacking Guetta here, just referring to him cause at the moment he seems to be in full focus of such a debate).

    In my opinion the new technology gives any musical artist the opportunity to explore his or her creative boundaries and maybe even improve their technical skills as well. I can teach anyone to beatmatch 2 vinyls, but it is getting difficult when it comes to learn how to beatmatch AND use a software, controller, kaoss pad, maschine or whatever extra u wanna add. Believe me, I have tried to show people how to count to 4,8,16,32 or whenever something new happens in a song and they didn’t even know or “hear”, feel, when that first kickdrum of a 4/4 beat kicks in. You do need a basic rhythmic understanding here, otherwise no SYNC button or software or controller is gonna be able to fix this and turn you into a superstar DJ.

    A good DJ has musical taste, can read the crowd and react and interact with the people who are in the club wanting to have a good time. A good DJ will not blindly buy any Beatport top 10 because it is a Beatport top 10, he/she will select by personal taste and common sense. Not every song using a sidechained soaring acid synth with virus patterns and massive pitch automation break and claps that sound as if they were from an early 90s happy hardcore track is automatically the next big smash hit. So isn’t the next Pitbull single either… A good DJ needs experience, great nights that stroke his/her ego, shitty nights to make mistakes and learn from them and evolve over time to be as versatile and fully in your personal comfort routine.

    And in the end all that matters is the music – the quality, selection and passion it is played out with and not the medium that is used to do so.

  12. Yes correct its changing quickly! i remember first when djs used to carry Cassettes, vinyl’s then CD’s now flash drives.. in the future djs will have to just login to their cloud account to play their music on decks! technology will change how we live

  13. I have the solution to CDJ and turntable supporters (i am one myself!).

    When they are saying “YOU ARE CHEATING – THATS NOT DJING” … simply say – ‘ok… here you try’.

    And you can grin laugh and mock when they realize they have no idea how to use it to do anything. When they try to use the “sync” button it wont work because they have not spent hours and days preparing cuepoints and samples. And their lack of experience on alternative dj equipment will leave them totally incapable of completing even a single successful mix.
    They will try to use effects but fail because they have no understanding of chaining processes. They will have sound problems because they have no idea what LATENCY is or how to change it. They will be distracted instantly by the moving waveforms on the screen and complain that it is off putting… to which you respond by poking their eyes out with the mic antenna and saying “dont look at it then”

    Well.. my point is the most of the DJs that mock controller DJ’s think that BEAT MATCHING is the only skill required for Djing.. and these same DJs are so obsessed with beat matching they forget to choose good tunes, and forget to read a crowd. What they fail to understand is that they are missing out on learning abilities to take it all to the next level…. instead of just playing someone elses tunes one after the other (YAWN!)

    I can train a shaved monkey to beat match… its nothing to be proud of. if this is all you care about you are probably the most boring DJ in your area. Infact… it takes me 1 day to teach someone to beat match on vinyl… yet it takes weeks to teach someone (with natural talent) to mix on a controller.(by the way.. in my lab the SYNC button is disabled during training)

    But I can say this… a good dj is a good dj regardless of the gear he uses. A good DJ will not limit him/her self to any one style or ability, but will always seek ways to expand and evolve their skills.

    To me a good dj is someone who makes the party go all night long with out a single “whoops i wish i didnt play that” and who makes the music talk, teach and grow. A great DJ is someone who do this while being original and developing their own style that is recognizable to their fans.

    A real DJ can make a perfect mix on ANY professional dj gear weather its on wax plastic or zeros and ones.

    yes we could throw the digital dj’s… the Seratos, the traktors, the VDJ’s into a fire and watch it burn… but come on… we have been playing on these shitty plastic discs for so long… aren’t you bored already??

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