#djelroy

[djgargamel1]

Original Los Angeles Underground 💯 #StreetDjs Big Bros 💯 🙌🏻 @djlarok #djshagge @djlennyv @eddyzaint @vinylmonkees @overgoldmedia #djelroy #UnderGround #LARave #jungleboogie #dtla #HipHop #ghettohouse #houseClassics #90s #chicagohouse #deephouse #edm #Miami #SouthBeach #HouseMusic 🏠🎵🎹💻🔊💿💾🌴🎱 🐊 #Techno #sxsw #Electronica #WinterMusicConference #UltraMiami #MiamiMusicWeek #dj #djlife #djgargamel #overgolddjs #DJCULTURE 💥📢🎶✌️🔊🎲🙌💣🎵👌🎹💯✊ (at Downtown Los Angeles)

[djelroy]

Is Banning Traktor the Answer?

Click here for my blog and the original quote from the promoter ~ 

Wow. Where do I start with this? I know it’s been kicked around online for the past week or more and it seems to have divided people almost as much as the digital vs vinyl debate. Like so many issues, there’s no way I can flat out agree with one side or the other.

First thoughts? The promoter is right. Traktor HAS made DJing so easy almost anyone can do it regardless of talent or skill. But it seems to me the bigger problem is NOT Traktor, it’s newbie DJs. The ones that only know enough to push play. The ones that constantly (over)use FX to hide their shoddy transitions. The ones that only buy their music from the Top 10 Beatport charts. The ones that aren't experienced enough to know how to read a crowd, or program a set, or handle different situations that come up.

And normally these same newbs are the most cocky and least professional of the bunch. They demand peak-hour slots. They refuse to show up early for a gear & sound check. They don’t bring the proper equipment to perform. They have’t learned “DJ Etiquette”. They think because they’ve landed a gig their shit don’t stink.

Well it does. And in a lot of cases, it’s pretty bad.

Learning to beatmatch took me a long time to perfect. And while I was working with that, I was also learning how to program a set, layer and EQ sounds in the mix, work with samples and acapellas, etc. You see, I didn’t rush the process and in doing so end up skipping over a bunch of the fundamentals.

And I wasn’t afraid earn my chops in the warm-up slots or the side rooms. This gave me a chance to develop a “stage presence” and learn dancefloor psychology. I was also able to find my own unique style and didn’t need to play the same stuff as everyone else. I was confident in my music and willing to take chances. Oftentimes it worked. Sometimes a track fell flat. But I learned from it.

Experience is essential for success.

Too many kids today think that because they have software that does the mixing for them they can demand prime slots and shoot their way to the top.

No.

DJing (and performing) should come down to the music, and not the tools. I know plenty of great DJs (both at the local level and at “superstar” status) that can put on a great show with Traktor.

Remember, the promoter needs to make sure the people enjoy the shows and continue to come back for more. And if he’s getting a lot of complaints he needs to figure out what the problem is. The crowd may complain about Traktor, but that’s not the core problem.

Sure, it may be true the too many of his DJs rely on Traktor to carry the show. But again this goes back to my point: THE PROBLEM IS THE DJ, NOT TRAKTOR.

And here’s where I disagree with the Traktor-ban policy: As the promoter, YOU NEED TO SCREEN YOUR TALENT. This includes accepting demos, auditioning new faces with the warm-up slot, and not being afraid to cut a sub-par jock.  Being a successful promoter is an art unto itself. The DJ needs to learn to program a set and pick out which songs work together, which compliment each other, and how and where to put them. The promoter needs to do the same thing with the line-up. DON’T book a bunch of guys that all have the same sound. I know anthems and big-room house music is popular, but you need to diversify. Don’t blame the DJ for playing the music, blame YOURSELF for booking the DJ!

Oh, one more thing. As a promoter you should understand that there is a difference between a DJ and a live act. I know you want great music and a great PERFORMANCE, but you need to know what you’re booking. A DJ usually plays other peoples’ music. I know there are plenty of pros that interact with the crowd and put on a show, but unless you’re paying the big bucks to bring in the big names, don’t expect many Rabit-in-the-Moon-type performances.

Elroy Predicts: WIP will continue to book artists that use Traktor. After all, how many DJs are left that still use vinyl, or even CDJs? They’re a dying breed.