The_Evolution_of_DJing by_B.Ewins_2009 by ben ewins

Entertainment Research Dissertation: CE00651-3 Entertainment Portfolio: CE00652-

Bsc Music Technology Name – Benjamin Ewins Student ID – 08000339 Tutors – Ben Ramsey / Dave Payling

The Evolution of DJing Analogue to Digital Revolution Abstract

The term DJ has changed and evolved in meaning through the course of the last century, along with the application of its technology. Several literary works have been published about different musical genres, which have impacted on the art form of DJing. Yet little has been written about how it is currently perceived and where the next step in its evolution could be. This research report is to be presented as an academic document to fill a space, which has not been widely covered in academic writing. Through investigation this report will bring insight into how this form of entertainment has evolved during the last centaury and the technological advances that it has helped pioneer. The information in this paper is divided into several chapters, focusing on the individual elements of DJ equipment (turntables, mixers, CD players and current digital playback technology) and highlighting the cultural developments that have impacted on these technological advancements. Firstly we will look at the aims and objectives of the research to be undertaken, and what is to be achieved through the course of this research project. To bring understanding to this we shall identify the origins of DJing while touching on some of the counter cultures it has spawned through its cultural evolution. This will help bring understanding to the developments of DJ technology and how these have effected the perceptions of DJing. The next stage will be to look at the different aspects of DJ technology starting with analogue turntables and mixers, through to digital DJ software and performance programs, and evaluate how they have impacted on each other and evolved to meet the needs of DJâ&#x20AC;&#x2122;s in the modern 21st centaury.

To accompany this report a DJ set is to be performed comprising of a selection of original pieces composed and pressed to vinyl specifically for this project. These will then be incorporated as part of a DJ set with pre-purchased songs presented to the listener through a combination of traditional means, vinyl recordings, and digital audio play back, M-Audio Torq. Once this set has been completed it will be sent out to key players in this field along with a questionnaire to gain feedback and validation. The resulting audio CD will accompany this report along with an explanation behind its creation and the context for which it is intended.

Acknowledgements

I would like to thank: Ben Ramsey for his constant support and encouragement throughout this project. Eddie Wade for his discussions and ideas that opened up different avenues of thought and approach. Paul Chowdhry for letting me borrow Serato Scratch for slightly longer than agreed and having faith in my abilities. All of the artists who gave their time to answer emails and fill out questionnaires: Ricci Rucker, Cedric Oleon, Jim Cole, Roo Henry, Travis Oseao, Pavel Matouaek, Ed Ma. My work colleagues who had faith I could teach and do a degree without going insane. All the tutors I have worked with who have supported me throughout my degree. And lastly, all of the people I have met who have inspired me in one way or another to achieve this goal.

Table of Contents

Abstract

Page 1

Acknowledgements

Page 3

Table of Contents

Page 4

Project Goals

Page 6

Introduction and Historical Overview

Page 7

The Birth of DJ Culture

Page 8

Tools of the DJ

Page 10

The Origins of the DJ

Page 11

The DJ Revolution of the 1980’s and 90’s

Page 13

The History of Sound Systems

Page 14

What is a Dub plate?

Page 16

The History of the Turntable

Page 17

The Birth of the DJ Mixer

Page 27

Cross Fader Technology

Page 37

The Evolution of the CD-J

Page 40

The Digital DJ Revolution

Page 45

The Software Performance DJ

Page 55

Composition of a DJ Set

Page 61

Discussion and Conclusion

Page 68

Bibliography

Page 70

References

Page 72

Appendices

Page 75

The Evolution of DJing Analogue to Digital Revolution “Anyone who has ever had any sort of opinion on a song or flipped the radio dial in search of more pleasing tones is really just expressing his or her inner DJ.” Reighly, K.B (2000 p.3) “I want to further explore the interaction between man and machine and the visual and audio world” Huegli, W & Jaeggi, M (2002 p.21)

Project Goal The aim of this project is to identify the technological advancements of DJ equipment and the cultural impact these changes have made. In order to exemplify this, research will be conducted into the developments of the equipment used by DJ’s as well as the techniques DJ’s have developed throughout the 20th and 21st centauries. The goal of this exploration is to create a selection of material that is coherent and fitting in the context of a genre specific DJ. This shall be presented as part of a DJ set lasting around 30 minutes, using traditional (Vinyl) and modern (MP3) playback technology from within the DJ field. Throughout this project reference will be made to the artists that have pioneered many of the techniques now considered standard practice in the art of DJing, and how their contribution to this art form have not only impacted on other DJ’s, but on music, helping to reinvent the perception of DJ’s as not only purveyors of music, but artists in their own right who have spawned new innovative genres of music. Finally it is hoped that this report helps to fill a gap in academic writing where the subject matter is under represented. While DJing has continued to grow and evolve through the last half a centaury, it is time it was recognised for its contribution to not only the arts, but also to the field of electronic and technological innovation.

Introduction and Historical Overview

During the course of this report, all of the contextual information will be based around what has been tagged “Music of Black Origin”. This term was used by Kanya King, founder of the MOBO organisation, at the first MOBO awards ceremony in 1996. As the aim is to explore evolution and cultural impact of DJ technology, the most significant changes are associated with Black music. From the origins of Jamaican sound systems in the 1940’s, the inception of hip hop in the 1970’s and dance music in the late 20th century. The evolution of DJ technologies throughout these periods are through the impact, mutation and regurgitation of ‘music of black origin’, that has forged change in the way music is played and presented to today’s audiences.

The Birth of DJ culture

“Anyone who has ever had any sort of opinion on a song or flipped the radio dial in search of more pleasing tones is really just expressing his or her inner DJ” Reighley, K.B (2000 p1) Before looking at the technology used by DJ’s it is important to establish and identify where DJ culture originated from and the counter cultures it has spurred. Using Jamaican music as the starting point, it was the evolution of the Jamaican sound systems during the 1950’s that gave birth to dub plates, MCing and DJ battles. It is these elements that have spurred many developments in DJ technology, thus impacting on the digital DJ revolution of the 21st Centuary. The art of DJing is fundamentally the ability to take two different pieces of recorded music and blend them together. Yet there are different styles of DJing associated with radio, performance and clubs / raves. The original style of DJing developed was through radio broadcasts where the DJ would talk as a segue between two pieces of music. This allows the listener to be aware of what is being played and was an adopted approach used by the Jamaican sound system DJ’s throughout the 1950’s and 1960’s. This style evolved into club DJing, where the DJ would blend records into one another to keep the music constant with no interruption. This format of DJing helped inspire the creation of the DJ mixer, allowing DJ’s to select and cue records before the audience could hear them. This then progressed into what is now a common DJ technique, Beat Matching. The art of this is to synchronise two different piece of music (records) together. This allows the DJ to create a seamless flow of music without interruption. “Today, the "art" of beat mixing is utilizing several turntables (and/or CD players) and a mixer to blend pre-recorded sounds while maintaining a constant beat. Because a DJ can blend tracks in a way that may not be the original intention of the artist (i.e., taking the vocal/acapella of one track and overlapping it with the beat of a completely different track), a DJ can create new and unique versions of pre-existing songs (i.e., remixing on the fly).” http://www.discjockey101.com/mixing.html (March 2009) 12

The later (beat matching) is common on many commercially available DJ compilation albums, but most notably was introduced to mainstream audiences on the ‘Journey’s by DJ’s’ compilation series. This began in 1993 and has since spawned a plethora of copycats, many of which do not follow the original ethos, the DJ’s skills and music selection. Yet these are not the only ways in which DJ’s perform or create music. With the invention of scratching in 1977 By DJ Grand Wizard Theodore, a recorded sound was manipulated through a combination of moving a record back and forth with one hand and intermittently cutting the sound in and out using the cross fader of the DJ’s mixer. This technique produced rhythmic / percussive sound bites, which evolved into a new form of DJing with a range of techniques devised for manipulating sound recordings. “Battle DJ's are the best example of turntablists. Often playing hip hop (it makes little sense for a trance DJ to be a turntablist), these DJ's have turned a consumer playback device (i.e., the turntable) into a percussion instrument.” http://www.discjockey101.com/scratching.html (March 2009) This style of DJing developed into a counter culture of the original DJ art form, which finally led to the creation of musical pieces composed using different vinyl recordings being manipulated in this way. This is exemplified on the 2003 recording ‘Scetchbook’ by Ricci Rucker and Mike Boo, where the 19 pieces of music presented, have all been constructed using different scratching techniques thus redefining the turntable as a musical instrument. During an interview conducted by Omar Nabulsi for

www.synthesis.net in 2008, Ricci Rucker stated, “All we wanted to do was make songs you could listen to and not even assume that they were scratched.”

Tools of the DJ Trade

In order to have a further understanding of what a DJ does it is imperative to give a brief overview of the DJ’s equipment. The original equipment used by DJ’s would consist of a singular turntable running through an amplifier, which would then send the signal to a speaker system. As identified the sound system is in essence a huge incarnation of a home stereo system. As DJing evolved and became the main component of Discothèques with the emphasis being on the music, the equipment and set up also evolved to allow for the continuous flow of music. The fundamental set up devised has remained virtually unchanged since the late 1960’s, consisting of two turntables and a mixing console. The mixing console is where the merging of the music being played on the turntables takes place. The basic layout of virtually all DJ mixers is fundamentally a cross fader to fade between the turntables and a volume control for each turntable.

This set up has gradually changed with the birth of CD turntables and MP3 mixing software, yet the basic concepts and principles of DJing remain unchanged. Regardless of the medium used by a DJ to play music it is the ability to engage and entertain an audience that dictates success.

The Origins of the DJ “It is generally forgotten that the very first DJs were Jamaicans operating bass-heavy outdoor mobile sound systems.” http://www.jahsonic.com/DJs.html (March 2009) The term DJ is an abbreviation of Disc Jockey, yet this originally was not referring to the person who was playing the music. Looking at Jamaican music, the Disc Jockey was always referred to as the host of the dance (party). The main purpose of the Disc Jockey was to interact with the audience, informing them of other forthcoming events, what records were being played, and speaking rhythmically over the music. This later mutated into what we now know as MCing and rapping. At this time what we refer to now as the DJ was referred to as the selector, selecting the music, which the DJ would then chat (MC) over. Moving forward to the 1970’s and the inception of Hip Hop culture in the Bronx borough of New York, USA, a new style of DJing emerged. Taking reference from his Jamaican heritage, Clive Campbell a.k.a. DJ Kool Herc began putting on small parties. It is here that Hip Hop as we know it today originated. Much like his Jamaican contemporaries he would play a cross spectrum of different music that was popular at the time. Through this early period Herc reinvented the way records were played through the art of using 2 copies of one piece of music and moving back and forth between them. By identifying that the instrumental section of the music gained the most reaction from the audience, Herc became infamous for playing what was termed “The Breaks”. The break is an instrumental or percussion section of a song, “Most songs have a break at two-thirds to three-quarters of their length and the break is usually visible on a record as a dark ring” as stated by Brewster and Broughton (2003, p.79). By switching between the two records Herc was able to extend this section of a recording, as this was the part that most excited the crowd.

Herc’s quest was to then find different records to those associated with the soul and funk he was playing. He sourced records from many different genres in search of small “Breaks” that he could play at his gigs. It is also through this that ‘B-Boying’ or as it is now know ‘Breakdancing’ emerged into its own culture. The skills that set Herc apart from his predecessors where expanded upon, most notably by Afrika Bambaata and Joseph Sadler A.K.A Grand Master Flash. Both of these DJ’s developed approaches Kool Herc had created, with Bambataa sourcing more obscure records hebecome known as the ‘master of records’ for his eclectic music style, and Grand Master Flash for his development of the ‘breaks’ techniques Kool Herc had devised. With DJ Kool Herc being referenced as the Father of Hip Hop, its next evolutionary step was through Grand Wizard Theodore. Credited as the inventor of scratching, although it would take time for this to become the independent and specialised culture it is today. Theodore’s scratching technique became a popular technique that many DJ’s adopted. The first mainstream reference of this was by Grand Mixer D.X.T, who appeared on the 1983 hit “Rockit” by Herbie Hancock, which went on to win a Grammy award in 1994. As Hip Hop became a worldwide phenomenon in the entertainment industry, much of its cultural parts were deemed fads of their time. Yet these two pioneers, DJ Kool Herc and Grand Wizrad Theodore, have had a huge impact in the way turntables and mixers have been developed. The initial DJ mixing techniques devised by Herc are now considered to be standard skills of many DJ’s, and Theodore’s basic scratching technique mutated into a whole separate form of DJing which has pushed the boundaries of DJ technology development for equipment manufacturers world wide.

The DJ revolution of the 1980’s and 1990’s It is again through this period where the heritage of Jamaican music becomes synonymous, as the events held where the popular dance music was played, were often illegal outdoor events based around huge sound systems. During the mid 1980’s a new musical sound emerged. Acid house was the beginnings of popular electronic dance music on a mass scale. Mutating from its inception to what became known as Hardcore Dance in the late 1980’s to the early 1990’s. During this time the art of beat mixing became a standard technique when DJ’s performed. Throughout this period DJ equipment became more specialised, as will be discussed throughout the research section of the report, and to be a DJ quiet fashionable. Along with this the introduction of specialist dance music magazines containing advertisements from wholesalers aimed specifically at people who wanted to purchase DJ equipment. This period marked the transition of DJ from local celebrity to worldwide superstar. “In Britain in the nineties, the DJ became a superstar. The disc jockey has always enjoyed a certain power over the dancers in his club because of the amount of pleasure he can dispense, but away from the dance floor he had mostly been an anonymous figure” Brewster and Broughton (2003 p.415) As electronic dance music evolved throughout the 1990’s, the DJ’s would become associated more with a certain sound (music genre) or style (mixing or scratching). The manufacturers of the DJ’s equipment became aware of niche markets that had begun to appear and began developing and marketing their equipment specifically at these niche groups of DJ’s. As DJing became more accepted and mainstream, a lot of emphasis on the commercial side of the dance music spectrum became focused on looks, rather than quality of DJ’s and sound within the clubs. This separation of musical identity and genre led to the more underground sounds of Jungle, Drum and Bass, and UK Garage being produced, keeping with the Jamaican ethos of sound systems and bass, they mutating into sub genres that would be associated with certain DJ’s

The History of Sound Systems The Jamaican sound system first became popular in the 1940s, in Kingston Jamaica. The first sound systems were set up by shop and bar owners to entice customers into their establishments. “With transistor radio’s not yet a part of life and cabinet model wirelesses being beyond most pockets, it was the only way for so many Jamaicans to hear professionally produced music” as stated by Bradley (2001 p5). This soon developed into outdoor parties where DJ’s would set up huge generator powered speaker systems and play records to the people. The music played at this time was a mixture soul, rhythm and blues, and jazz from the USA. The sound system DJ’s could arguably be the original beat diggers as they used all methods available to find new and obscure records, to ensure their sound systems would be different from their competition. As the size of the sound systems grew, specialists such as Headley Jones constructed wardrobe-sized speaker cabinets known as "House’s of Joy". “It is Jones who is credited as putting together Jamaica’s first portable amplifiers that could split the high and low frequencies by means of rudimentary tone controls” as stated by Bradley (2001 p.36)

An original style sound system speaker cabinet, circa 1950.

As the enthusiasm for the sound systems increased, the cost of importing records to play increased as well. This lead to several sound system owners investing in setting up their own studios to record music. Initially starting out creating cover versions of many of the hit records that the sound systems were playing. This soon developed into the birth of Ska music, which through time progressed to reggae, dub, dance hall and the modern day version, bashment. Competition between the sound systems grew and the concept of the ‘sound clash’ emerged. A Sound clash is a competition where two sound systems compete to see who has the best (biggest) sound. The audience decided the popularity of a sound system, and the weapons of choice for the clash were personalised tracks or ‘dub plate specials’ as they would become known. Later the sound clash ethos would be adopted by Herc and his peers during the early inception of Hip Hop and later developed into DJ battles which were made famous by the likes of Disco Music Club (DMC) during the 1980’s and later International Turntablist Federation (ITF) during the 1990’s. It is throughout this period that the independent Jamaican music industry as we know it was born and the DJ’s began building studios and recording their own music to stay one step ahead of the competition. Initially the singles were produced for their own sound systems, known as "Exclusives" or ‘Dub plates’. This has become a synonymous facet of modern day dance styles Jungle, Drum and Bass, Garage and more recently Dubstep. As the interest in the new sounds being played by the sound systems grew, the studios started to press and release the records for the public. Record producer Clive Chin’s father, Vincent Chin, was one of the first to make these recordings available, “The motivation that he had was to supply music to the masses of people who wanted it.” As quoted by Lesser (2008 p.12).

What is a Dub Plate? As discussed the idea behind creating dub plates is so that a DJ has exclusive music that can only be heard when he/she performs, but what is a dub plate? As stated on http://dubplates.org/ home of transition studios London, where many of today’s top DJ’s go to get dub plates cut. “A dub plate is an acetate disc that looks like a record and plays like a record but instead is made from a perfectly even layer of lacquer that is then deposited on top of a finely polished thin aluminium base. Due to the expensive and time consuming process of vinyl manufacture a dub plate is used to indicate what a master will sound like after manufacture, they are also used as a quick way of giving DJ an authentic warm sounding format to play.” http://dub-plates.org/ (March 2009) With the introduction of CD in the early 1980’s, speculation of the death of vinyl has long been a topic of much debate. Yet throughout this, dub plate culture has continued and is now thriving with the emergence of the new underground dance genre Dubstep, who’s high profile DJ’s use dub plates as a way of making their sets exclusive and ensuring they are ahead of the pack with the music they play. As stated by Benga (2008) on the Dubfiles – Dubstep Documentrary “It is more the way they sound, the vibe it creates, bringing out your dub with everyone looking at you thinking, that’s a song we cant get” referring to the audiences reaction to a DJ’s exclusive set of unheard material. With this in mind the modern day dub plate could be considered a CDR or MP3 file with the technologies for digital music playback now available. Yet a true connoisseur of music is still drawn to the touch and feel of vinyl record or acetate (dub plate). As stated by NType (2008) in the Dubfiles – Dubstep Documentrary “The reason why I think its important to cut dubs is because a lot of the producers are making tunes on their computers and not going through the mixing and mastering process properly. So a lot of the tunes on CD are not mixed right”, this is a point which will be discussed further in the report.

The History of the Turntable

Long before the idea of DJing was conceived, the phonograph was born and is the precursor of the ‘turntable’ as we know it today. The phonograph, invented by Edison in 1877, was able to r e c o r d e d and playback sound on a spiral groove, which was etched onto a m e t a l cylinder. The device was originally used for dictation, phonographic books for blind people, and a connection with a telephone so that the communications could be recorded. In 1881 Chichester Bell and Charles Sumner Tainter developed a new machine, which improved upon Edison’s design called the graphophone. While this device still worked using the cylinder method conceived by Edison, the cylinders they used were made from beeswax, which covered a cardboard base.

Edison’s Phonograph 1877

Bell & Tainter’s Graphophone 1881

Whilst developing a similar invention to Edison’s phongraph, Emile Berliner created the gramophone, which he unveiled in 1888. The main difference with the graphophone was the introduction the flat disc format that we recognise today. The early gramophone discs were made using a zinc base with a beeswax coating. Later the gramophone discs were made of a thermoplastic shellac compound called Durinoid. Each of the devices invented during the late 19th centaury were powered through a wind up spring mechanism, similar to that of a wristwatch. It would be many years before the first electrical gramophones became available, with the first appearing on the consumer market in 1925.

The next evolution in the gramophone was the introduction of plastic vinyl discs in 1946. These superseded the original shellac discs, which were fragile and easily broken, and also introduced the 33rpm (revolutions per minute) 12â&#x20AC;? format. This allowed for more than one song to be on each side of a record, with the older 78rpm format only allowing for one song per side. Two years later in 1948 the 45rpm 7â&#x20AC;? single was introduced cementing the standard 33/45rpm playback speeds, which are still used today.

Emile Berliner Gramophone 1888

An early electric Gramophone Built circa 1925

During the next 35 years gramophones remained largely unchanged internally. A vast array of models and makes were available ranging from huge home systems to portable carry case sized ones. It is also important to note that up to this point all of the audio recordings produced had been monophonic, then in 1957 the advancement of the stereo system was introduced. These turntables, much like the original gramophones were sold in large wooden cabinets with a radios tuner as part of the package.

Vintage 1964 Magnavox Astro-Sonic Console Stereo

In 1970 Technics released the first direct drive turntable into the market place. With the stereo format of recordings now commonplace, high quality playback devices were developed to produce the true sound of the recordings pressed to vinyl. The SP-10’s turntable contains the first direct drive motor system, a feature now considered standard on turntables used by professional DJ’s. “The motor is directly coupled to the platter and turns at the same rate as the record. Since it turns at a low speed and there are no additional parts to transfer torque from motor to platter, the Direct Drive has several advantages, e.g. Low wow & flutter, low rumble, rotational stability and precision and a long service life.” Broer, R.J (1997) Upon its release the turntable was sold as a separate unit to the base in which it was housed and the tone arm which tracks the stylus’s across the grooves of the vinyl. The ability to source specific parts to make up the system highlights the market of Stereo aficionado’s it was aimed at. The earliest pricing of this turntable found at http://www.vinylengine.com/ (March 2009) who have the price for the SP-10 mk2 stated as £449.95 back in 1977. This price just for the turntable and motor clearly show’s it was at the top end of the Hi-Fi market upon release and priced well out of reach of aspiring DJ’s at the time. Following this in 1972 Technics released the first version of the SL-1200 turntable. “It became a strong favourite among audio purists, amateur and professional, and was particularly popular in discos because of its rugged construction, easy handling, high torque and good immunity to feedback.” http://www.vinylengine.com/ (March 2009)

The SL-1200 model was upgraded to the SL-1200 MK2 in 1978 offering some minor changes that created major improvements to its users. Maintaining all of the original features of the MK1, the MK2’s major change was the pitch control. Changing its style from the rotary controls of the MK1, the MK2 incorporated the now standard, pitch slider. Along with this came the inclusion of the Quartz lock, which “permits continuous speed adjustment under quartz control, a feature appreciated by disco DJ's who wish to maintain consistent rhythm when changing records.” as stated at http://www.vinylengine.com/ (March 2009). Meaning that when the pitch is adjusted the motor is able to maintain the speed it is sped up or slowed down to, a major factor when trying to beat mix.

Technics 1200mk2 and 1210mk2, the only difference is the 1200 is silver and the 1210 is black. From its release in 1978 no other turntable came close to achieving the status of the Technics 1200 mk2, and 1210 mk2 respectively. Having been on the market for nearly 40 years since its release, the SL series has only been revised on a few occasions, keeping in mind that the latest model available is the MK5, many of the revisions were still aimed at audiophiles and not DJ’s. Out of the revised editions the most intriguing is the MK4, a scarce Japanese only release, which includes several additional features. “Technics SL1200 MK4: Released in 1997, this model was only available in Japan. Aimed at the music enthusiat, rather than a DJ, this model had a 79rpm button. This enabled it to play vintage 78 rpm “real vinyl” records.” As stated on http://www.edjgear.co.uk/2009/02/technicssl1200-sl1210/ (March 2009) and pictured here:

From the late 1970’s many other electronics companies would release turntables aimed at DJ’s, most notable are Gemini, Numark, and Citronic. Yet none of these made any real impact on professional DJ’s, as they were in essence cheap imitations of the Technics SL series, which had become the Industry standard DJ turntable. It wasn’t until 1995 that a worthy competitor came forward. During this period Vestax entered the DJ market that essentially looked to eclipse the mighty Technics. Vestax Corporation established in 1977 began life as an electric guitar manufacturer. During the 1980’s they entered the market of multitrack cassette recorders to challenge products from the likes of Yamaha and Tascam, It wasn’t late 1995 that Vestax made their stamp on the DJ market with the release of their PDX range of turntables. Following the formula of the Technics SL series the PDX-D3 was a high quality direct drive turntable aimed specifically at DJ’s. The main feature it included that set it apart from the Technics was a toggle stick, which was used to nudge the record forward and backward to help synchronise two pieces, of music instead of having to manually nudge the record or the platter like on the Technics. Reverse mode and a digital display that showed the user a numerical readout of the pitch placement.

Vestax PDX-D3 Soon after its release Vestax launched the PDX-A1, a modified version of the PDX-D3, which was the first DJ turntable to include a straight tone arm. Vestax called this ‘ASTS’ technology when it was unveiled in 1998 stating “The new ASTS (Anti-skipping Tone-arm System) technology that drives the tone arm on Vestax turntables is one of a kind. It consists of a short/straight arm and the TH (Trace Hold) balance system. These two elements help hold the tone arm in perfect balance so the needle does not skip during hard scratching. It also reduces feedback by up to 50%.” Taken from http://www.the-djequipment-guide.com (March 2009)

With increased interest in, and collaboration with, Scratch DJ’s Vestax began to launch a wide range of products onto the DJ market. Their next notable release was the PDX-A2, which took on the same characteristics as the PDX-A1, but in a vertical form. This was inspired by the way in which scratch DJ’s had developed their use of the turntable and began placing them vertically so that the tone arm of the turntable was effectively out of the way and would not get knocked off the record when they were performing some of their manoeuvres such as scratching or beat juggling, an advanced version of DJ Kool Herc’s ‘breaks’ technique.

The Vestax PDX-A1 and PDX A2 turntables

Virtually all other turntable manufacturers, with the exception of Technics, have since adopted this straight tone arm system. With many innovative designs and features Vestax released the PDX-2000 in 2001. This was the first Vestax turntable to have a moulded plastic body and came equipped with their latest innovation ‘ultra pitch’. “Ultra Pitch fader makes up for this limitation by allowing users adjust the rotation speed ±50 percent. The fader works in conjunction with the traditional Fine Pitch fader, which provides control over a ±10 percent range, giving a total of ±60 percent pitch adjustment. This means you can slow records down well below 16 rpm or speed them up much faster than 78 rpm to match any desired tempo.” Gill, C (2001)

Since the release of the original PDX-2000, Vestax released a range of limited edition versions in different colours, until 2004 when the PDX-2000mk2 was released. This was basically the same turntable as the original with the two main revisions. Firstly the platter was reduced in height to 7mm seemingly to bring it into line with the Technics SL’s, and secondly Vestax introduced a Pro model that incorporated a new tone arm, which was an upgrade of the A.S.T.S system, offering improved tracking. Besides this there was a small cosmetic change with the removal of the slot where the hinges of the dust cover would go allowing the user to place the turntables closer to the mixer. It must also be noted that when the PDX-2000 was launched, Vestax also released a PDX-2300 model, this was the same as the PDX-2000 apart from having an s-shaped tone arm instead of a straight tone arm, and included the pitch joy stick and digital display of the PDX-D3 model, seemingly aiming the turntable at mix DJ’s and not scratch DJ’s.

Vestax PDX-2000 and 2300 mk 2 Pro Models As a company Vestax had invested a lot into the scratch DJ market. Holding their own world DJ competition, sponsoring and working with virtually all the A-list scratch DJ’s to help develop and market their products. This period was also raised the profile of the scratch DJ immensely and helped bring awareness to a huge change within the scratch community. Dave Cuasito a.k.a. DJ D-Styles showed the world that scratching could be technical yet at the same time musical, with the release of the worlds first album created entirely from scratching ‘Phantazmagorea’ in 2002.

It is arguable that this would not have been achievable without Vestax’s products and innovations, but evident that the scratch scene would not be the same. As many hardcore battle DJ’s rubbished the notion that the turntable could be considered an instrument, DJ’s who now considered themselves musicians regarded the battle scene as sterile, and the DJ’s within it showing now originality or progression. Since the beginning of the 21st centaury many of Technics and Vestax’s competitors have released different turntables not really offering the user anything new. It was a new turntable from Numark in 2002 that gained attention from DJ’s.

The Numark TTX-1 Numarks’s TTX-1 offered some interesting features, namely the ability to remove and switch the position of the pitch slider and the speed settings to cater to mix and scratch DJ’s. Offering improved pitch performance like the PDX-2000, the Numark also came to boast the most powerful motor on a DJ turntable. The turntable offered a digital display for user to see the exact pitch they were on the Vestax PDX turntables, and a changeable tone arm that could be switched to the straight or s-shaped variety, clearly showing they had created a turntable to be marketed at any type of DJ. The main function that is interesting at this time is the key lock function, allowing DJ’s the creativity to pitch and key match different vinyl recordings to one another. Maybe this was just a coinsidence, but it appeared on the market at an interesting time in the development of the DJ / Musician debate.

One of the main players in the debate at this time was a DJ called Ricci Rucker, having worked with D-styles and as part of a crew called Ned Hoddings. In 2004 Ricci unveiled his idea of a turntable that could be developed to allow more freedom for DJ’s to show off their musicianship skills. Developing contact with Vestax, Ricci pitched his idea and Vestax began development of what could arguably be, the greatest innovation of the turntable. “The era of the Turntable only being able to perform or play records for a DJ or consumer has now been re-invented to bring you a new instrument, the TURNTABLE INSTRUMENT.” http://www.vestax.com/v/newproduct/npfile/newproduct003E.htm (March 2009)

In 2007 Vestax released the Controller One (pictured above), approaching the concept and design of the turntable to emphasise its place as a musical instrument, it has several features that make it a unique piece of design and engineering. The Controller One has been designed for use not only by DJ’s, but also for use as an instrument in its own right. The first noticeable feature on it is the array of buttons around the platter and the pitch control (Appendix 1). The idea behind this is, that each button corresponds to a note, pressing each button the turntable adjusts pitch to change note, like the idea of keys on a piano. This idea has been realised by Ricci Rucker with the release of his series of ‘Utility Phonograph Records’. Consisting of locked grooves that allow for continuous playback of a single sound, the user can create melodies by pitch shifting the sound, similar to a sampler, but in real time. 29

The Controller One allows the user to achieve 3 octaves of pitch shifting, which can also be controlled via a controller keyboard through the included MIDI in port, a feature also incorporated onto the PDX-3000 series the latest incarnation of the PDX-2000. This also allows for very creative experimentation where by the turntable could be attached to a sequencer, such as the ‘Akai MPC’ and play through a pre-programmed musical sequence. Keeping features of the PDX series, like reverse and the A.S.T.S tone arm system only time will tell the creative possibilities of such a turntable/instrument hybrid. Although this is not a definitive list of all of the models and makes of turntables manufactured. The players highlighted have been chosen for their technological advancement in turntable technology, as well as highlighting the main style of DJing they are associated with, and the DJ’s that have impacted on their creation in the context of ‘Music of Black Origin’.

The Evolution of the DJ Mixer The basic function of what we now know as a DJ mixer is to route two or more sound sources together. This allows for the inputted sounds to be merged together through the aid of the cross fader. Much like turntables, what is considered to be standard features of the equipment today’s DJ’s use evolved from more simplistic and unorthodox sources. As the world of DJ mixers is vast with a multitude of companies manufacturing them, this section of report concentrates on the mixers, which have had the most notable impact on the development of DJ technology. The early pioneers of DJing in Jamaica weren’t bound to the constraints, as they can often feel, imposed by the standard DJ set up of today. The concept of “two turntables and a microphone” as embodied in the 1996 song from Beck’s ‘Odelay’ album had yet to be born. The idea of creating a sonic collage of sound was approached in a different way utilising creativity and technical prowess. With the beginnings of the Jamaican sound systems dating back to the 1940’s, the part they played in the evolution of DJ technology is still being incorporated in to the latest DJ mixing consoles today.

“The sound systems back in those days were a primitive ensemble of belt driven turntables perched on oversized custom-made amplifiers which powered 12 inch and 15 inch bass speakers with steel horns and small transistor radio speaker carrying the mid range and treble.” Lesser, B (2000 p.9)

Osbourne Ruddock A.K.A. King Tubby was an electrical engineer and introduced echo, reverb and sound effects to his sound system through specially built and modified outboard equipment. Tubby was arguably the first to use live effects whilst DJing, a concept that would not be incorporated into DJ mixers for many years. Along with this he is also credited as one of the first to incorporate the use of different preamps to power the speakers created for the bass, middle and treble. It is this concept that forms the traditions of the DJ mixer. Having separate control over each part of the sound allowed Tubby to cut (EQ) out parts of the sound, a concept that would be further developed later in the evolution of the DJ mixing console. The first DJ mixer was engineered to meet the demands of the disco DJ’s in New York City, USA. The original mixers the DJ’s used were often radio broadcast mixers routing several sound sources together, in this case two turntables and a microphone. The problem that DJ’s eventually encountered with this was that while one piece of music was playing they were unable to cue the following piece without broadcasting it over the sound system. These mixers were created for use in the studios of radio stations, ‘beat mixing’ as we now know it, hadn’t yet been invented, so there was little need for cueing records and the original intention was certainly not for use within a nightclub.

King Tubby displaying one of his amplifiers

This first incarnation of a DJ specific mixer was simple by nature, but effective in its means, “Designed for New York’s Haven Club by legendary disco soundsmith Alex Rosner. It’s nicknamed ‘Rosie’ after its inventor and for its red colour ’as stated in Mixmag (February 2009 p.58). It consisted of three volume sliders and two toggle switches, the sliders where volume controls for turntables and a tape player, with the one toggle switch acting as the on and off for the microphone input and the other assigning a signal to be sent to the DJ’s headphones.

The original ‘Rosie’ mixer created by Alex Rosner in 1971 Although created as a one off piece of equipment for the Haven discothèque where Rosner worked, this mixer consisted of al the basic functions a DJ needed at this time with the emergence of beat mixing. While Rosner was creating this mixer another sound engineer, Louis Bozack, owner of Bozak Inc, was also developing a mixer, which would be the first commercially released DJ mixer.

The Bozak CMA-10-2DL entered the consumer market in 1971 as a high quality professional mixing console with a price of $1000. It became a standard fixture in many of New York’s discothèques, but its price was far out of reach of the average person. As with the traditions of the Jamaican sound systems amplifiers, the Bozak mixer was designed to give more control of the sound coming out of the clubs sound system. With the inherent problem of playing vinyl being that not each record is identical in volume and audible quality, the CMA-10-2DL gave the DJ’s the ability to adjust the bass and treble of the record to create the best sound broadcast as possible, albeit limited to the master output alone.

Louis Bozaks ‘CMA-10-2DL’ rotary mixer released in 1971 This was be the first incarnation of EQ’s (equalisers) on a DJ specific mixer and is distinguished from the original ‘Rosie’ by its use of rotary knobs instead of faders. “Although often imitated but never surpassed, the Bozak mixer was born in a golden era when sound was pioneered by engineers keen to discover new boundaries.” as stated on http://www.bozak.com (March 2009). As the Bozak was created by audiophiles to produce the best sound possible, the company never developed or considered creating a cheaper version, as for them cheaper meant cheaper components and poor sound quality.

Throughout the 1970’s many cheaper models from various companies were created to fill the gap as the interest in DJing began to build. The most notable mixer from the period of the late 1970’s to mid 1980’s is the GLI PMX9000, “GLI designed one of the first DJ mixers. Some of those same mixers are still being used by many clubs/mobile DJ's throughout the world.” As stated on www.glipro.com/ (March 2009)

The GLI PMX9000 release during the late 1970’s GLI’s mixer took on the appearance of the ‘Rosie’ with its use of faders instead of Knobs. As well as this it also incorporated the use of a cross fader, thus allowing the DJ to fader between two records. The development of the cross fader was not synonymous with club DJ’s, but was born in the broadcasting world. In terms of mixer technology it was the birth of scratching in the late 1970’s that changed the perception of how DJ’s used the cross fader. It is through Theodore Livingston a.k.a. Grand Wizard Theodore that the art of scratching was born. The technique of using the cross fader as an on and off switch to produce the rhythmic sounds of scratching would later go on to build a large part of the DJ market. Through the 1980’s the prevalence of the hip hop DJ became less as rappers incorporated backing tracks on DAT into their live sets and the scratch DJ movement evolved into its own counter culture.

Although there are several recordings from the 1980’s that were born out of the partnership of the DJ and the MC, scratching was largely out of the public eye until the DMC DJ Championship in 1986. “Originally meant to be a DJ mixing battle, DJ Cheese in 1986, introduced scratching in his routine, changing the course of the DMC battles forever.” www.dmccanada.com/ (March 2009). With its roots being traced back to the sound clashes in Jamaica this is a competition where the winner is gauged on audience reaction and arguably led to many innovative approaches to DJ mixer technology and design in the 1990’s. Since the release of the GLI mixer’s there was no major development in the presentation of DJ mixers until the mid 1990’s. Through this time more mixing based mixers were developed with the inclusion of EQ’s allocated for each of the mixer channels and not just the master output, but on the whole no new concepts were realised. The major movement in the form of DJ mixer technology has been the development of the actual cross fader. Originally cross faders on DJ mixers were intended, as discussed, to create a transition from one channel source to the other. Keeping in mind that the average record has a length of 3 minutes and 30 seconds, throughout an evening of use by a DJ the cross fader can be expected to move roughly around 100 times. Now with the concept of scratching and the innovation of different scratching techniques, the cross fader could be expected to move several thousand times over the same period of time. This became a problem for scratch DJ’s who would have to constantly change or try to modify the cross fader to extend its life span. Vestax, a Japanese company with a background in producing electric guitar and audio equipment for musicians addressed this in 1995 with the release of their first scratch mixer, the PMC-05. “Through its high-quality products and sponsorship of the Invisibl Skratch Piklz, Vestax has also earned a level of street cred that manufacturers rarely achieve.” States Smith (2003) of the DJ crew, which included DJ Q-Bert, who had won the DMC world title for 3 consecutive years.

The Vestax mixer’s incorporated custom-designed cross faders for improved performance when used for scratching. The mixer offered DJ’s the ability to adjust the fade in time of the cross fader via a controller knob on the top of the mixer, and the later PMC 06 model released in 1997, incorporated what was called “the hamster switch”, a button that when pressed reversed the direction of the cross fader allowing for some of the more advanced scratch techniques to be performed with ease. The original version of the Vestax PMC 05pro, later versions would see the controller knob for fader curve adjustment moved to the front panel of the mixer. “Another first from VESTAX is the PHOTO COUPLER operation of the crossfader. This allows Crossfader Curve adjustment. Now different styles of mixing, from long running mixes, to scratching and cutting can all be catered for by simple adjustment to the crossfade, even whilst “in the mix”.” Vestax PMC-05Pro Owners Manual (1997) The purpose behind the adjustable fade in of the cross fader was to allow scratch DJ’s to scratch more easily. Simply put, the cross fader of a DJ mixer is in essence a volume control that when fully on one side i.e. left, all you can hear if the left sound source and vice versa with the right side. Now when beat mixing the cross fader works like a volume control, slowly increasing the volume of the opposite side as it is moved towards it i.e. left to right. The volumes of each side peaks at the same level in the middle of the cross fader and then the left side, in this case reduces in volume until the fader has reached the right, then all that is audible is the right channel, as shown in the diagram below.

The original fading slope of the first generation cross faders

The new Vestax’s fader technology was designed to allow scratch DJ’s to perform scratch techniques much easier by having the cross fader reach its maximum volume quicker when the fader was moved from left to right. Highlighted in the diagram below.

The improved fading slope of the vestax scratching cross faders While the PMC 05 had also reduced the width of the mixer to 10”s, the PMC 06 was cut down even further to 5.4”s, allowing DJ’s to have the turntable closer together for ease in accomplishing many of the tricks DJ’s used in DJ competitions. This new breed of mixer would set the standard for all scratch orientated mixers that followed, and the adjustable fade in would become a standard feature on many mixers marketed at DJ’s who just mixed. Over the next 5 years many of Vestax’s competitors released mixers to try and compete. While Vestax reinvented and repackaged the original 05pro to include the ‘hamster switch’ and in 2000 released the PMC 07pro, which fetured hamster switches for the cross and vertical faders, along with a three band EQ system and ‘session in’ for DJ’s to route another mixer through it. This was to enable multiple DJ’s to perform together, prior to this DJ’s had to link one mixers through another mixers line input. Upon the release of the PMC07pro, Vestax was seeing serious competition in the market place from Rane, yet its place as the number one scratch mixer company was unshaken until 2002 when Rane released the TTM-56.

Having been building its momentum with the release of their TTM-52 and 54 mixers during the late 1990’s, the release of the TTM-56 knocked Vestax from the top spot, a seat it is arguable it has yet to regain. The TTM-56’s main selling point was the inclusion of its non-contact magnetic cross fader and endorsement by many of the top DJ’s of the scratch world. As well as this it also boasts an effects send and return, allowing for an external effects processor to be connected and applied with the mixers wet/dry slider like a studio mixing desk. The Rane Non-Contact Magnetic Crossfader “These magnetic faders know exactly what your hand is doing! A proprietary curve-translation module converts your hand motion into precise audio level control. Each of the Crossfader and Channel Fader controls include a Reverse switch and an independent continuously adjustable Contour control, adjusting from a smooth blend to extremely fast cut.” http://www.rane.com/ttm56s.html#gpm1_2 (March 2009) Coming from a background of more studio and live band orientated products like Vestax, the quality of their products was always going to be high. During the time since it’s release an upgraded version of the TTM-56 has been released to critical acclaim. The Rane TTM-57sl boasts the same stock features as the TTM-56, but includes the ability to interface with a computer allowing for the use of Rane’s ‘Serato Scratch Live’, which will be discuss later in this report, without the need for the Serato hardware interface. Since the release of the Rane mixers many other companies have created high end scratch specific mixers, most notable Rodecs ‘Scratch box’, yet arguably the most worthy competition to it is the latest incarnation of the Vestax PMC-05 pro, the PMC-08 pro. Boasting a Apogee24bit 96kHz DSP (digital signal processor), and new cross fader technology with two effects send and returns.

Vestax PMC 08pro “With the highest demands from our Professional users of various technique, and needs of incorporating the finest parameters for their performances and styles, adjustable to their preference have made us reinvent the mixer allowing input sources to turn into digital data. With this new technology, we introduce you Vestax's Professional Hybrid DigitalMixer.” http://www.vestax.com/v/products/mixers/pmc_08pro.html (March 2009) On paper the high spec of the new Vestax mixer shows that it is ahead of its competitors in the scratch DJ market, yet the transition during this time towards digital DJing and the decreasing numbers of scratch DJ’s has impacted on its sales which is clearly highlighted through the bargain prices at which the mixer can be bought for in many retail outlets. As the increase of digital DJ technology becomes more prevalent, is the so called ‘true art of DJing’ and where it came from becoming remnants of the past or will a new breed of DJ’s embracing the aesthetics of old revive the so called dying art form of mixing, cutting and scratching vinyl of the analogue age?

Cross Fader Technology The impact of the original Vestax cross fader curve concept has become an embraced feature on many of the DJ mixers available today. With the Likes of Allen and Heath as well as Pioneer, two of the most recognised names of DJ mixers found in today’s DJ booths, now including this feature on their products even though their target market is arguably mix DJ’s. Yet looking at the development of this technological advancement from the original mixers from the 1970’s and 1980’s, it is clear that the development of scratching and scratch DJ’s needs has helped the electronics companies in the evolution and development of their products. It is at this point essential to note two important things. Firstly, the quality of a DJ cross fader is biased, much like the quality of any user based product, DJ’s now have the ability to incorporate different cross faders from different manufacturers into their mixers. Secondly, many of the cross faders manufacturers are companies who specialise in electrical components and provide companies such as Vestax with a part, much like the production process of a car. Since the beginning of 21st century a few small companies have appeared with products specifically focused on this area. The main dissatisfaction many scratch DJ’s have with their mixers is the cross fader. The original version of the Vestax cross fader, produced by ‘ALPs corporation’, gave the DJ’s a solid product that met their needs, yet as the company developed its mixer range they also changed their cross faders. The 2nd generation of Vestax cross faders, which were called ‘PCV’ faders, it is not clear who manufactured these cross faders, yet there was mixed feelings from DJ’s when they came out. The new faders were bulky and stiff in comparison to their predecessors and it is at this point that the cross fader market opened up. The first company to provide and alternative to this was Penny & Giles, the cross fader they released, the PGFX3000, was manufactured to fit into all of the Vestax mixers and gave DJ’s a return to the feel of the original Alps faders. Also unlike the previous Vestax faders, the Penny and Giles fader allowed the user to take the fader apart to clean and maintain it, instead of having to replace it. The next evolution of the cross fader came from a company called Ebsel who released the Pro-X Fader.

“EBSEL was developed as a direct reaction to the lack of creativity, practicality and innovation within the marketing, design, promotions, manufacture and distribution of DJ components and products.” As stated on their websites home page, www.ebsel.com.

Adopting the no contact design of the Rane TTM-56 cross fader, the Pro-X Fader included the ability to adjust the fade in time of the cross fader, on the fader itself. Again much like the Penny and Giles, the Pro-X Fader allows the user to take it apart and clean it, and has been designed to not only fit into fit into all the top of the range scratch mixers, but also mixers from the like of Allen and Heath, Stanton and Numark. When Vestax released their latest scratch mixer, the PMC 08pro in 2006, the cross fader in it had adopted many of the features that had been developed by Penny and Giles, and Ebsel, but also introduced digital circuitry into the cross fader. On their website they state: “The digital circuit built into the cross fader has the ability to cut out noise and sound leaks (especially the ones from the opposite channel). You may just call it the leak proof fader, as like no other cross fader it can adjust the cut in time digitally to your style whether it be a millimetre or a nanometer.” http://www.vestax.com/v/products/mixers/pmc_08pro.html (March 2009) Judging by the reduced price the PMC 08pro is available for at many retailers, it is arguable that this innovative feature has done little to tempt consumers to purchase another mixer, which they may end up replacing one of its core components.

Since the release of the PMC 08pro the latest advance in cross fader technology comes from a new company called ‘Innofader’ who state on their website:

“The cross fader is at the very heart of the DJing experience. So why do so many mixers come with faders that feel like an afterthought? The feel of the cross fader is as important as any other feature of your mixer, so you deserve to have the best at your fingertips.” http://www.innofader.com/index.php (March 2009)

Utilising the non contact method developed by Rane and explored by Ebsel and Vestax, the innofader is based around a new technology called ‘capacitance’, which they state on their website works like this, “The fader body glides on rails between 2 circuit boards which track the location and feed it back to the mixer digitally.” www.innofader.com (March 2009). The principle idea is to create a cross fader that does not bleed and there for does not need cleaning. The idea of an infinite cross fader that does not need replacing, although a good idea, would surely render the companies bankrupt, yet there are many avenues of electronics that cross faders could explore, could the next evolution be an optical cross fader trigger by beams of light?

The Evolution of the CD-J The roots of CD technology can be traced back to the early 1970’s. Based on a video disc concept devised by Antonio Rubbiani in 1957, the electronics company Phillips “began work on what was called the ALP (audio long play) - an audio disc system to rival vinyl records, but using laser technology.” as stated on www.bbc.co.uk. Initially the format was based on 12” vinyl and exploration was made into quadraphonic sound, but the size of the disc needed to contain one hour of sound was deemed to large at 20 cm’s. Momentum in the formats development was picked up in 1977 with various names attached before the title ‘compact disc’ was decided upon. Phillips unveiled the first prototype of the CD player in 1979 to the world before an industry meeting was held to create a framework that all manufacturers would work to in the production of this new format. After this Phillips began working closely with Sony and created the ‘Red Book’ standard all CD’s are now manufactured to. “In April 1982 Philips showed off a production CD player for the first time. "From now on, the conventional record player is obsolete," said Lou Ottens.’ as stated on www.bbc.co.uk, but were beaten to its commercial release by Sony who’s CDP101 player was the first commercially available CD player on the 1st October 1982. “Our long-awaited laser-audio disc player (usually called the CD, for "Compact Disc") finally arrived, along with a real bonanza of software: two discs—a Polygram classical sampler of material from Decca, Deutsche Grammophon and Philips, and a Japanese CBS recording of Bruckner's 4th Symphony, with Kubelik.” Sony CDP-101.

Gordon Holt, J (1983)

With the birth of the CD into the consumer market place the death of vinyl was soon been proclaimed, but it would be several years before many major high street retailers and record companies would begin to abandon the vinyl format. With the birth of this new technology and DJ culture now common, it would be several years before the first DJ CD players would emerge.

Numark CD-6020 dual player In 1990 Numark became the first company to enter the digital DJ market with the release of the CD-6020 dual CD player. The layout of this rack mount system would be adopted by many of the major manufacturers, and is still a format used to this day. The initial problems that the developers came across when approaching the design and construction of the early CD decks were, how to create vinyl emulation in the digital realm. It was this lack realism in the player’s vinyl emulation that had many DJs dismiss them as a gimmick. The main market that embraced these first CD decks were mobile disc jockeys that would be hired for wedding receptions, or to put on a karaoke night. They were not catering to a niche market of clubbers when DJing, and the CD decks offered them the ability to travel with thousands of pieces of music where as with vinyl they would be limited due to space and weight of carrying them. The problems associated with the original rack mount dual CD decks continued for until Pioneer released the CD-J 500 in 1994 and reinvented the way CD’s could be played and manipulated.

“This was the world first DJ CD Player with Master Temp and a Jog Dial to control the pitch bend. Master Tempo is a feature that never left the range of Pioneer CDJ and CMX CD players. And with most new players comes a next generation because quality is never good enough.” http://www.djresource.eu/Topics/story/38/Th e-Pioneer-Pro-DJ-History/ (March 2009) Pioneer CD-J 500, Released in 1994 45

It is arguable that at this point Pioneer set the bench mark that all their competitors would aim for with their products. Pioneer developed their range of CD-J’s with the CD-J 500mk2 being released in 1996and the CD-J 700 in 1997. Despite small feature changes to these, the format of top loading players remained until 1998 with the release of the first front slot loading player, the CD-J 100. Its front loading function has since become a standard feature of nearly all professional CD decks. With many professional mix DJ’s increasing their use of CD-J’s towards the end of the 1990’s no major developments in CD DJ technology were achieved until 2001, with the release of the CD-J 1000.

Pioneer CD-J 1000 released in 2001 The pioneer CD-J 1000 arguably became the world’s first industry standard professional CD turntable that would be installed in nightclubs and venues around the world. This marked a large leap forward in CD technology with it being the first CD player to offer a vinyl emulation function giving DJ’s the ability to scratch and cue up CD’s in the same was as vinyl. Yet the CD-J 1000 and its contemporaries the 1000mk2 and 1000mk3 could be considered more than just CD players for DJ’s. Offering the user a host of features that have been drawn from many different aspects of DJing, the CD-J 1000 range is arguably where the digital DJ revolution truly began. Some of the main features that the current CD-J mk3 player offers are: • CD (including CD-R/-RW)

• Wide pitch control

• MP3 on CD

• Removable MMC / SD memory

• Advanced wave data display

• Digital out / gold RCA

• Club standard Jog wheel with feeling adjust

• Reverse

• Hot loop, hot cue

Yet from its original introduction the CD-J 1000 mk1 could also be considered an excellent piece of studio equipment. With the ability to offer all the basic pitch and time stretch functions of an audio sampler and using the cue markers, the device could be set up and used, albeit in a basic way, as a mini Akai MPC. With the CD-J range gaining more support from DJ’s who used the beat mixing technique, the inclusion of the vinyl emulation began to open the door for DJ’s from all styles to incorporate them into their sets, yet many vinyl purists still felt this was a detraction from the true art of DJing. To counter this two significant products were released by two different companies. The first company to address this was Numark who in 2004 released the CDX professional CD Turntable.

“Numark designed the CDX to fulfill the dream of harnessing the flexibility and convenience of CDs and MP3s with the irreplaceable feel of working with vinyl.” http://www.numark.com/cdx (March 2009)

The CDX heralded a first for CD DJ technology, offering the user all of the same function as the Pioneer CD-J, but presented in the format of a turntable, including a piece of vinyl that could be used to manually alter the state of playback. In theory this was potentially the answer to all DJ’s who had resisted moving away from vinyl, yet the CDX never really identified a market and was more of a niche product. With the advent of Final Scratch and Serato the CDX was almost lost in the wilderness of DJ products, at a time when the market had reached it’s peak. Finding itself in the same scenario many of the turntable companies had found themselves during the mid 1990’s. Numark were effectively trying to compete ultimately with Pioneer, who are arguably the equivilant of Technics in the CD turntable market. Another strange approach to the vinyl emulation problem came from Tascam with the release of the TTM-1 turntable based CD controller in 2004.

“The highly compact but durable TT-M1 requires no additional special audio hook-ups, no computer, and no special vinyl records. Why you may even scratch with your turntables slipmat if you like!” http://www.tascam.com/products/tt-m1.html (March 2009)

The Tascam TTM-1 could be considered a rather strange device, as although the nature of its use is evident, why would a company invest in creating a seemingly unmarketable turntable attachment? Initially sold as an accompaniment to the Tascam CD-X1500 and CD-X1700 dual CD decks it never gained much support until it was incorporated for use with the newly released Vestax CDX-05. Obviously trying to gain support for its stability and performance from the many scratch DJ’s whom were sponsored by Vestax, yet much like the Numark CDX it was facing an already losing battle when matched against the Pioneer CD-J’s. With Pioneer now the industry standard CD deck in nightclubs world wide it could be deemed the epitome of CD deck design that is yet to be match, or the end of DJ hardware as more technological advances are made in DJ technology.

The Digital DJ Revolution As stated by Hawtin, R (2002) “When you use digital files, you have full control over how you want it to interpret that record, whether it’s filtering it, re-mixing it, or taking parts out an re-sequencing it. Things that the artist might not want to happen, but DJ’s are performers and they take these records and re-evaluate them. Using digital files is another way of extending that ability to re-evaluate.” Huegli. W and Jaeggi, M (2002 p.21) The next evolution in the Digital age was software based DJ applications, most notably Stanton’s Final Scratch, Native Instruments Traktor DJ series, Rane’s Serato Scratch Live and M-Audio’s Torq. The aim of these software platforms is to offer the user control over digital audio files, while retaining the use of turntables, mixer’s and CD decks. As this format for DJing is still relatively new and has only become a popular format during the last 5 years most resource available is found online via users forums. Taking this into account copies of M-Audio’s Torq and Rane’s Serato Scratch Live have been sourced for discussion in this section of the report. As fundamentally all of the mentioned programs are based on the same principles, physical manipulation of digital audio. Using the resource available a comparison chart has been created to highlight some of the main features offered by Serato and Torq.

DVS System

Serato Scratch Live

M-Audio Torq

Price (Minimum Advertised Price)

£449.99 (soundcard,

£184.00 (soundcard,

vinyl & CD's included)

Current Version / Last Updated

1.8.3/Jan 2009

1.5.1 / March 2009

Scratch Mode (with Mouse)

Yes

Yes 49

Off-Line Player Mode

Yes/without SL1 box or No TTM57SL

# of Decks Supported (Turntable/CD-

1-2

Soundcard Included

Yes

Sampling from Input Sources

Yes

MIDI

Yes

Wave in S/W GUI

Yes

Pitch Correction Key Lock

Yes

Effects/Filters

Yes (with Rane TTM

Yes

57SL mixer) Song Media Type

AAC, Wave, MP3,

MP3, AIFF, WAV,

OGG, AIF, Audio CDs

WMA and AAC

Yes

Needle Dropping in Relative Mode

Yes

Relative mode

Yes

Absolute Mode

Yes

Soundcard / Pre-amp to RIAA

Yes

Multiple Cue Points

Yes

# of Time-coded Vinylâ&#x20AC;&#x2122;s included

1 Turntable usage

Yes

YES

Latency

7ms

8ms

VST Plug-in compatible

Yes

Archive/Explorer File Tree/Browse by Artist, Album, Genre

Looking at the chart on the previous page, the first thing that is obvious is the price difference between these two products. Yet does more money equate to a better product? Each product has been tested to evaluate its performance and highlight some of the pro’s and con’s to the user. This section is in no means an extensive review of each piece of software, but highlights some of the main features when in use and prior DJ technology that as informed these features. As these types of technology are still within their infancy no significant change has happened since their invention, their social and historical context has yet to be documented. “It is important to recall that, at the moment of its invention, any technological artifact does not yet have a social history or use, even though it was produced in a social setting.” Taylor, T.D (2001) When looking at these two products before connection, like all DJ software, you have the audio interface. Neither of these two products, like most pieces of DJ software, works without the interface attached to the computer. The first main difference in this case is size and number of connections on each.

The Serato interface contains inputs for left and right decks, and outputs that go into the phono and line inputs of the DJ mixer. It also includes microphone input and volume control, USB port to connect the interface to a computer and connection of an external 9v power adapter, which is an optional purchase for the user.

The overall feel of the Serato interface is that is it extremely well made and could withstand a lot of knocks and bumps, although slightly heavy for a portable device, the weight give the user a feeling of confidence in its durability and performance. It is capable of handling 16bit 44.1kHz sound files, allowing the user to play high quality CD audio, transmitting the processed signal to the mixer via USB 1. The only downside to the Serato interface is that it does not function as an independent soundcard outside of its use with the Serato software.

The Torq interface has inputs for left and right deck into the interface, with switches to select the sound source, and outputs to the line input on the DJ mixer. Microphone input and volume control, USB port to connect the interface to a computer and connection of an optional, external 9v power adapter, which is an optional extra purchase for the user. As well as this Torq has headphone in, for monitoring from the interface and split option to assign one channel per ear and a balance knob to manually adjust the level of signal coming from each channel to the headphones. The overall feel of the Torq interface is that it has a lot of protruding parts, which could potential be damaged in transit. The casing is made from plastic giving it an almost amateurish feel. It is capable of handling 16bit 48Hz sound files, allowing the user to play high quality CD audio, transmitting the processed signal to the mixer via USB. Yet unlike Serato the interface functions as a 4in 4out soundcard for use with other music production programs.

The two pieces of software as identified connect to a DJ mixer in different ways, but does this have an effect on the audio quality coming out of the speaker? When using Serato to switch between and analogue and digital source, the user simply switches between the line and phono on the DJ mixer. When using Torq the user has to rotate the dials on the interface, taking the user outside of the actual DJ set-up. When playing back analogue and digital source Serato outputs a similar level for each type of audio played through it giving the DJ the typical amount of headroom one would get when just playing vinyl. Torq on the other hand offers a rather weak signal for analogue playback and when comparing the two signals whilst mixing, the digital file loses a sense of dynamics as if being severally limited. “The reason for this apparent mismatch is due to the physical behaviour of a magnetic stylus—the behaviours do not match those of line-level audio equipment (such as DJ CD players)—and it was necessary to set the Conectiv input levels this way to ensure that digital clipping does not occur during scratching.” Carrier, C (2007) The next inconsistency in playback between the two pieces of software is where the user notices the lack of true vinyl emulation from Torq. Although offering several features that Serato does not, which will be discussed, Torq does not offer the ability to play the controller vinyl at 45rpm. The only information found attached to this issue, as highlighted, is on the user forums of the software, who claim that this is a hardware issue to do with the interface and cannot be resolved without development and re-manufacturing of this part of the package. Outside of this issue both programs allow the user to add and store cue points for quick playback at a certain point within a song, loops functions are available along with the ability to playback the same song simultaneously on each deck allowing for live looping in the style Kool Herc invented, seemingly doubling the music collection of the user. The next point to look at is the user interface displayed upon opening the software application of each program.

The Serato software interface, pictured above, works using an interactive format presented in two parts. The bottom half (1) of the interface is laid out like Apple’s iTunes, allowing the user to customise the information displayed and on the right hand side a column allowing the user to navigate the computer to locate where audio files are stored. As well as this, a key feature of Serato is the users ability to create ‘record crates’. Much like the play lists in iTunes, these are automatically recalled when the user launches the software allowing easy and immediate access to user organised banks of songs only limited to the amount of hard disk space available on the users computer. This way of accessing music is infinitely more instantaneous than searching through a pile of vinyl recordings, but poses a question regarding association of what is being chosen when sequencing a DJ set. Breaking away from the topic at hand briefly, the association with physical media is often key to a DJ’s success when performing. Having so many pieces of music to choose from association is often by colour or position of a song on a piece of vinyl, not by name of the song or artist. One noted resistance to change by many DJ’s is this association, given that the art of DJing is to present the audience with an emotional experience, after all listening to music is an engagement of emotional reaction, and a DJ’s aim is to extenuate this through the selection they play. It is also more apparent to identify what has and has not been played out of a box of records, where as with a hard drive full of digital files it is seemingly easy to forget a specific song as no physical attachment has been made, which could lead to a disorganised performance with no continuity for the audience.

Now back to Serato, looking at the top half of the screen (2) you will notice two key features. Firstly, the waveform displayed upon loading an audio file for playback is presented vertically with the waveform moving downwards during playback. Secondly, the representation of the controller vinyl position upon playback in the small white circle. The way in which the control vinyl works is in principle the same for all of the DJ software programs that have it as an option. “The Scratch Live Control Vinyl and Control CDs each contain the Noise Map Control Tone, a unique control signal which allows Scratch Live to track the motion of the record, simulating the same movement with digital audio. With Serato's proprietary control, the result is a feel and sound indistinguishable from playing vinyl.” http://www.serato.com/scratchlive (March 2009) It is the layout of the user interface that gives the user a truer sense of DJ’ing as there is minimal visual information to distract the user from concentration on the music being played. With the exception of interacting with the computer to load the song files, unlike the Torq software.

8 7 6 5 4 3 2 1

The Torq user interface, pictured on the opposite page, works in a similar way to Serato, but clearly has a lot more features on the screen. Unlike Serato, which is split into two main parts, Torq has 8 individual sections for the user to navigate. The bottom half of the interface (1) is laid out like Apple’s iTunes and Serato, allowing the user to customise the information displayed and on the right hand side a column allowing the user to navigate the computer to locate where audio files are stored. As well as this, Torq allows the users to create play list, as well as the software automatically creating and saving these after each session. The next section of the Torq interface (2) presents the user with a 16 bank sampler that is synced to the master tempo of the session. This is where the differences in the two programs become prevalent, with one of the apparent main ideas behind, with Torq having many uses outside of being just a piece of DJ software. In order for this function to be utilised fully the user needs to incorporate a USB / MIDI controller, showing some similarities to Ableton Live, the user can actually assign and control all of the on screen functions with out the need for any DJ equipment. Above the sampler (3) is the programs internal DJ interface offering a cross fader monitoring options and master volume control and unlike Serato, the option to record the session being played, although this only works when using the program’s internal mixer. Moving up through the interface this is where it arguably becomes cluttered and distracting for the user. In the centre of the screen (4) are the DJ’s mixer functions, Eq’s, gains and selection for what sound source is routed to the DJ’s headphones and then to the left and right (5), is the effects section. Torq comes with a basic selection of effects, delay, reverb, phaser etc, but just below this is a small section that allows the user to integrate VST effects. This can open up a new world of creativity, but does give the computers processor quiet a bashing which could easily lead to the software crashing during a performance.

Then again to the outside left and right of the interface (6) are the transport settings. Torq has 3 main modes that it can be set to for use, Vinyl mode, for vinyl emulation playback like Serato, Its internal mode, where the software is controlled via USB / MIDI controller or by using the mouse or amputate mode. Amputate mode gives the user the ability to switch between vinyl emulation and internal mixer modes, when internal mode is activated there are several features that are unlocked for the user such as, track tempo sync and key lock. Amputate mode allows the user to continue to mix manually, albeit only with one turntable, then when the next track is brought into the mix the user can ensure they are synced via this function. This section is also where the user loads each song file, assigns cue points within the file and can set up loop playback. Quiet a lot of functions which arguable sets Torq on the border of DJ / Performance software. Moving up is where the track waveform is visible (7), strangely Torq only shows the user half the wave form, which move horizontally across the screen. The user can switch on a grid view that highlights the beats in the song like in Ableton Live, but these are analysed and set by the program when the file is loaded and can only be manually changed by using a tap tempo function, which can be quiet frustrating. Above this (8) is the master tempo section, which can be enabled or disabled and a zoom in and out function for the wave form. Now it is quiet clear to see that the Torq program offers much more in the way of functions than Serato, but does more functions equate to a better performance from the DJ. It feels that Serato has firmly set its sights on what it is, a program for DJâ&#x20AC;&#x2122;s to use for DJing offering simplistic and to the point features that do not detract from the art of DJing. The features that it does offer do simple allow the user to achieve the same tricks and usability of vinyl but in a quicker form. Torq on the other hand appears to not quiet know what it is trying to be, part sampler, part DJ tool, part performance software and a hybrid mode that brings this altogether seemingly taking elements of almost every possible form of electronic performance and over loading the user with options yet, arguably, not much in the way of creativity outside of simply playing and effecting a song or and audio loop with only two channels.

This is the beginning of new avenues into the art of DJing, an avenue that is open for experimentation and creative output by the user, and defining and solidifying its use by the software developers. Daddy Kev record label owner and DJ states “In the immediate future, I will continue to use Torq, Conectiv and the Axiom 25 at all my gigs. These products are extremely versatile and have advanced features that allow me to stand apart from other DJs and laptop performers.” on www.Torq-DJ.com (March 2009). Does this mean that Digital DJing using software has killed off vinyl sales around the world? DJ Rob Swift (2008) says “The technology hasn’t changed the fact that I still love going digging and the feel of vinyl, but when I get home tonight, I’ll digitize the music I’ve just bought on vinyl and transfer it onto my Serato.” With these pieces of software still being new to the market, it is fair to say they are still in their infancy, but each piece still has other uses out side of this as a creative tool to and electronic based musician. Both of these programs are able to perform when hooked up to CD-J’s with the controller CD’s supplied. Torq works as a software VST and RTAS plugin for use in various music sequencers. Serato has, at this time of writing, a video manipulation plug-in been developed for it, giving it the same functions as Pioneers CDVD-J’s. Whichever direction the software developers decide to take these programs into next is unknown, but as the 21st centaury is now in full swing and the advent of Internet technology as common as television. It is clear that the message boards and user forums are a breeding ground for new ideas and concepts that companies identify and develop into new consumer products.

The Software Performance DJ

With the art of DJing reaching new levels in the 21st centaury the boundary between DJ, producer and performer have become blurred. With this new age comes a new approach to DJing. As the music industry changes with the digital age, the art of DJing is becoming a natural progression for many producers who use this as a platform to promote their music, and create new avenues of income for themselves. As many producers are not DJ’s and traditional DJ’s look for new ways to expand upon their skills, software based DJing is becoming a new area in the DJ field. With its ability to translate to almost any medium in its application Ableton Live is fast becoming an appliction, which DJ’s and artists alike are moving to. Commercially released in 2001 “Ableton Live is described by the manufacturers as a 'sequencing instrument' and is, according to the manual, "the result of musicians wanting a better way to perform live, improvisational music using a computer." as stated by Seller, P (2002) in sound on sound.

Ableton Live version 1

Two of the most important features of Ableton Live to DJ’s since its creation are, its ability to manipulate audio in real time without having to stop playback of the program, and the warping and real-time time-stretching function. These have had a big impact in the way that the user can interact with a piece of music production software and manipulate audio. Seemingly taking the notion of constant playback that a DJ is used to, it also allows the user to select and playback whole tracks in the traditions DJ of a mix. Along with the warp function, which allows for any imported audio to be time stretched, in the manner of a hardware audio sampler. Ableton is a multi-purpose creative tool for the produce and DJ alike, as stated on the http://www.ableton.com/ (2009) “Whether it's the centre of your DJing rig or a creative addition to your existing setup, Live brings fresh possibilities to DJing.” Seeing how their creative tool has been adapted since its inception, with the release of Ableton Live 8, the product is now being marketed not only to music producers, but to DJ’s as well.

Ableton Live version 8 “Live integrates easily into existing DJ setups and brings new creative possibilities along. Simply plug your audio interface into your DJ mixer and add Live to the mix.” http://www.ableton.com/live-for-djs (March 2009)

The creative approaches to Ableton Lives use is vast allowing the producer / DJ the ability to dissect their own compositions and create a live set, which can be performed. Allowing the ability to improvise new song structures, add extra effects and even elements from different songs together to create live remixes. These points are what make Ableton Live such a unique program in every application of its use. With the integration of a MIDI controllers, like the M-Audio Trigger finger, it is possible to emulate aspects of the Akai MPC, by using drum pads to trigger samples, and in the same way that the CD-J 1000 contains loop functions and the ability to set cue points to tracks on a CD. Ableton offers these same features, but has taken them to a new level; effectively working as a live sampler, its ability to manipulate and reconstruct audio is only limited by the users creativity. Since becoming more of a fixture on the DJ scene arguably the most innovative users of Ableton Live, as a piece of DJ software, are an American group called â&#x20AC;&#x2DC;The Glitch Mobâ&#x20AC;&#x2122;. Incorporating a host of skills that have their roots placed firmly in the style of Hip Hop DJing. They have adopted an approach, which is unique and highlights the creative potential of this software outside of a single user triggering loops and applying effects in on stage.

The Glitch Mob (Ooah, Kraddy, Edit, Boretta) Live on stage using Ableton Live

The Glitch Mob use a combination of 4 laptops equipped with Ableton Live and M-Audio Trigger Fingers for their live sets, which involve four band members creating a simultaneous performance / DJ set. Their live performance / DJ set is a culmination of playing and remixing tracks live along, utilising all of the DJ aspects of Ableton, with them playing their individual artist tracks as well as group produced tracks. Having each of the laptops running independently of one another, they clearly rely on their grounded DJ skills to synchronise the music they play and keep the music flowing in the manner of a traditional DJ set. Creating a modern take on the traditional Hip Hop ethic, they utilise music from different genres and regurgitate it in a modern from of electronic Hip Hop. Without the creative flexibility that Ableton offers this would not be possible, as all the features needed to simulate DJing, outside of vinyl emulation, are offered. These include the ability to nudge the position of a track playing, back and forth, like the manual speeding up and slowing down of a record on a turntable. Along with the built in cross fader function that allows the user to fade between tracks, simulating a DJ mixer. Yet these are not the only DJâ&#x20AC;&#x2122;s who have developed this style of performance. In the UKâ&#x20AC;&#x2122;s thriving Dubstep scene a new act (Magnetic Man) has come forward, taking elements of The Glitch Mob concept of multiple laptops. Unlike The Glitch Mob, who utilise their DJing skills, and perform largely improvised sets. Each performer in Magnetic Man takes control of certain parts of a pre-produced song, which they then create live remixes of. Yet this is not the only way in which the two groups differ. Unlike The Glitch Mob they use the MIDI connection on their audio interfaces to synchronise their laptops. Showing a different approach musically and technically as to how Ableton can be used as part of a group performance.

Magnetic Man (Benga, Artwork, Skream)

With the limitations of Ableton Live being its inability to perform true vinyl emulation like Serato and Torq. It has opened up a new area of performance to DJ’s whose musical roots are in ‘Music of Black Origin’, which they are now exploring. With groups like The Glitch Mob and Magnetic Man pushing the way this technology is used to create group performance. How does this technology work to make for more interesting solo performances, without giving the impression the DJ is checking their email? The newest approach within these genres of music, although accomplished in the avant garde electronic music scene, is an audio visual set. The most recent performer to embrace this is Dubstep producer Headhunter. Though this is a new approach within this genre of music, the approach of laptop set with an accompanying VJ (visual jocky) is not. Yet this does highlight alternative ways in which producers are moving away from using two turntables and a mixer.

Headhunter Live AV Dubstep performance With the latest release of Ableton Live 8, the inclusion of video warping is a new avenue that its users can explore. Much like the advent of Pioneers DVD-J player and the incorporation of the new Video-SL plug in for Serato, new ways of creating more multimedia based performances and DJ sets are becoming available. Yet is this the beginning of a new era where the role of the DJ is being redesigned or renamed? VJ’s have been around for many years, yet is it possible for a DJ to now present the audience with a good mix of music while create a visual collage to match their sounds coming out of the speakers?

One notable artist who has ventured in this direction is Hip Hop DJ, Mike Relm who uses DVD-J technology, as stated by Inoue (2006) he will be “spinning, scratching and mixing video clips like records.” Yet with multi-media DJ technology being so new, it maybe a while before it is presented with what could be considered ‘true artistic merit’, and not as a gimmick. Or is that what the audience enjoys and is necessary to make something become popular? Looking back over DJ history hasn’t it been one long fad that didn’t go away?

Creation of a DJ set During the beginning stages of this research project, a questionnaire (Appendix 2) was designed and sent out to various DJ’s / Performer’s. The aim of this was to gain insight into how other DJ’s / Performers had developed their passion of music. What technology they used for production and performance, how they perceived DJing, and where they thought it would progress to in the future. Three of these interviews took place via email and one was conducted live and recorded. The four DJ’s / Performers who were interviewed where:

Cedric Oléon a.k.a iFa is a French dubstep producer. He runs his own digital label I-F Label, and has had releases on Volca Records, Imperative Recordings and DF Records. (Appendix 3)

Jim Cole a.k.a. DJ 2 Tall is a London based DJ / producer who has had album releases on Needle Works Recordings, Eclectic Breaks, Content Records and helped develop the Ebsel Pro X Fader. (Appendix 4)

Ricci Rucker is a Los Angeles based DJ / Producer who has released several records on his own Epitome of Fresh label, as well as releasing album’s on Sound in Color Recordings and Alphapup Records. Ricci also presented Vestax with the original idea for the Controller One turntable. (Appendix 5)

Ed Ma a.k.a Edit is a Los Angeles based DJ / Producer who has released albums on Planet Mu and Alphapup Records. Ed is also one of the members of laptop based performance group ‘The Glitch Mob’ (Appendix 6)

As stated in the project goal a selection of original material has been created for this project. In order to put this process into its intended context a break away from the standard format of academic writing to introduce myself is essential. This will highlight the aim behind its creation as well as highlighting my own background to give a more rounded opinion of the idea and meaning behind the material. The DJ technology used during its creation will also be highlighted, before discussion on what DJ technology has been used and how helped in the practical aspect of this project. The practical part of this research project has given me great insight and opportunity to draw upon and develop aspects all of my academic, and practical skill base. Since 1996, I have been an avid DJ, amassing a wide variety of music and DJ equipment. During this time I have developed skills in all aspects of DJing. Through DJing I have had the opportunity to perform solo as a mix DJ, compete in DJ competitions, work as a studio DJ and perform live as a member of a band. These experienceâ&#x20AC;&#x2122;s, have given me a wide view of the capabilities and limitations of DJing and DJ equipment. Through my experience of DJing in these scenarios I have been introduced to music technology, and since 2000 have worked on my own productions. As well as this I have had the experience of featured on several commercially available records, and since 2008 I have broadcast a weekly show on www.sub.fm, an Internet radio station that specialises in underground music. Through each of these experiences I have seen how the role of the DJ changes, and have been able to use this project as a platform to achieve personal goals, as well as pursue my personal interest in DJing. The idea behind the creation of this selection of material was to take a personal journey from creation of a piece of music, to playing it on a turntable, then to an audience. This concludes the detail of my background, and I hope this helps bring more meaning to the concept behind the tracks presented in the DJ mix attached to this project. The equipment used during the practical part of this project consisted of: 2 x Technics 1210 turntables 1 x Vestax 07pro DJ mixer M-Audio Torq Logic Pro 7 music software 1 x MacBook Pro 4 x Vinyl Dub Plates

The process for creating this DJ mix was undertaken in several steps and would not have been possible without the aid of DJ technology. The processes undertaken for the realisation of the finished mix has been spread over 6 stages, which will now be discussed individually throughout this section of the report. Exploring the concept and idea behind the creation of a DJ set is like creating a painting. Is it more beneficial to take the approach of a realist and have a ready prepared set of material? Or is it more fun to take the abstract approach and have a selection of material, which offers the chance of moving away from a structure, and lets feeling and emotion guide you? Creating music and mixing as a DJ have more in common than is at first evident. Yet two things remain firmly connected between them, do the elements work together firstly? And secondly, does the audience like what they are presented with? “Mixing doesn’t begin and end with bpm. You don’t need a masters degree in orchestral conduction to recognize when songs don’t sound right together, even at the exact same speed” Reighley, K.B (2000 p.111) The first step was to decide upon a genre to work within for creation of the repertoire. It’s good to have eclectic taste but this does not always translate to a coherent DJ set. The genre of Dubstep was chosen for its lack of musical boundaries, but its fundamental components helped maintain a focus during the production process. The two main components of the genre are that the tracks are around the 140 beat per minute, and have lots of bass. Out side of this creativity and experimentation during the composition process is infinite. This helped with the creation of the repertoire, and allowed for itto be a musical diverse repertoire. Once the genre had been chosen Logic pro 7 was used as the production sequencer, and the turntables were used to listen to records and guide the initial stages of composition. As the genre is very broad in its style, a selection of artist’s tracks were chosen as basic guides for arrangement and structure of the tracks. These also helped to inform choices made during composition of the repertoire in the second stage of the process. Throughout the composition stage a total of 12 songs were produced. The reason for this was to ensure the final set was not stuck to a completely composed set that could only be changed with the order the tracks were played.

The second and third stages in the development of the live set began once each track in the repertoire had been completed. Having access to M-Audio’s Torq software was an invaluable resource through this stage as it allowed each track to be auditioned, and referenced as to how it would sound when played as part of a DJ mix. The ability to play the tracks as soon as they had been converted to audio files gave access to instantaneous virtual dub plates. This helped ensure that each track translated appropriately in the context of a Dubstep DJ mix and highlighted aspects of the arrangements and mix downs that needed adjustment before the next stage in the process could take place. The fourth step began once most of repertoire had been completed. This involved finding a suitable studio that would be able to cut dub plates of the finished tracks. Through researching this process two popular studios were found, Transition studio in London, who offered mastering and dub plate cutting. As identified earlier in the report, the dub plates they offered were traditional acetate dub plates. The second studio found was Dub studio in Bristol. Dub studio offered a more unique service where they would cut the tracks directly to vinyl. As stated on the www.dubstudio.co.uk, “the 12-inch vinyl dubplate offers unrivalled dynamic range and loudness and is ideal for maximum impact on the dancefloor. At 2mm thick and weighing only 180 grams it’s both lightweight, and sturdy, and because its made of a durable plastic compound, it will last and last.” The advantage of this over the traditional acetate is the shelf life of acetate over vinyl is much less. As stated on f.a.q. page at www.dubplate.ch, “We recommend Shure M44-6, or Stanton 680. With a Shure M44-6 you can play back the plates more than 100 time’s. Don’t use Ortofon Concorde. They destroy any plate and even vinyl record within short time. (dub plates can be played approx. 30-40 times with Concorde)” The main difference between the two studios beside from the format of the finished dub plate was that Transition process the finished tracks through an analogue mastering process and Dub Studio through a digital process. Due to financial restrictions the choice of a digital mastering and vinyl dub plate package from Dub Studio chosen as it would allow the completed tracks to be played using the vinyl dub plates or digital using M-Audios Torq.

Vinyl Dub Plate from Dub Studio Once the finished vinyl dub plates had been receive the fifth stage was contextually interesting as getting used to incorporating self produced material into a DJ set was at first quiet strange. Unlike mixing other people tracks into one another, where an almost 6th sense has evolved in knowing what tracks will work with one another. The incorporation of self-produced material effectively re-evaluates the creatorâ&#x20AC;&#x2122;s sense of how good the track is, and what other tracks it will work with in the realisation of a good DJ set. As well as this a new sense of evaluating the finished tracks was found. Moving outside of the music sequencer to a finalised piece of music on a physical format, the creator can take a step outside of the role of composer. The experience of being able to select a self composed piece of music, putting it on a turntable, then sitting down and listening to it as a medium that cannot be altered offers a fulfilling sense of achievement. A sense of being unattached to the tracks gave more sense of appreciation for them not found when playing back a digital file. Several weeks were used to become familiar with the dub plates. This was done in order to gain a feeling of how they could be naturally placed into an unplanned set, instead of a preconceived play list.

Benjamin Ewins a.k.a. Be-1ne, using Vinyl dubplates and Torq

Cedric Oléon a.k.a iFa, using Ableton Live and Midi Controller

The sixth stage of the process was to organise and perform the final DJ set. To add contrast to this performance, arrangements had been made to perform on www.sub.fm along side another artist / DJ who uses Ableton Live. It was felt this would be a good opportunity to clearly highlight the difference in sound between the traditional style of DJing and the new style of software performance / DJ set. The software performer / DJ, Cedric Oléon a.k.a iFa, used a combination of a Macbook with Ableton Live 7, an Evolution UC-33E USB Midi Controller and a Mackie Onyx Satellite audio interface. For the DJ set, the vinyl dub Plates were used along with M-Audio Torq to play some extra tracks, which due to financial reason were unable to be cut to dub plate. The recording of this set is archived online and can be accessed on www.sub.fm following this link: http://sub.fm/archive/Be-1neFeatIfaPart223Mar09SubFM.mp3. The show is stored as part of an achieved playlist that plays on rotation when no shows are being broadcast. Due to some technical issues this original set contained some distortion, so a later version of the live set was recorded, all of the performed sets have been included on the CD (Appendix 7) attached to the report. Comparison of both of the DJ recorded sets also highlights how presenting the tracks in a different order can present a different feeling to the listener. In order to gain validation of the tracks out side of this performance they were sent out to several producers and DJ’s in various stages of development throughout the project to gain feedback. Overall the response was positive with some of the tracks getting played by DJ’s on different radio stations, and some of them getting played out in DJ sets. A brief introduction to each one these artists, including a short biography of their background, and position in the industry have been presented. Along with some of the feedback received either via email or myspace. (Appendix 8 – 12) 71

Discussion and Conclusion Throughout this report it is has become evident that the evolution of DJ technology has played a vital role in the emergence of new musical styles, cultural movements and the perception of how DJ technology can be utilised by the user. Without the invention of Thomas Edison’s phonograph it is arguable that what we now know as DJ culture would not exist. The approach of utilising a home entertainment system to broadcast music in public places has led to a whole cultural shift in the marketing and entertainment industries. It is not uncommon to hear the sounds of scratching or see a DJ in television adverts or films. Further confirming that DJing will have been a part of most people’s lives in one form or another. It is also clear that the way in which a DJ is viewed is dependant on the style of music they choose to play or the way in which they play it. Without these entertainers devising new ways to make themselves standout from the crowd DJ technology may still be rooted in its infant stages of a home entertainment system. The creativity of early DJ’s like Headley Jones, King Tubby, DJ Kool Herc and Grand Wizard Theodore shaped social change. Through their innovative use of a device created to play music in the home, whole industries have been born that cater to singular aspects of a DJ set up. From turntables to mixers, cross faders to MP3 players, the electronics industry has evolved and presented pioneering new ways in which the DJ can interact with these components. Along with advancements in the design of new and innovative DJ technologies, new and ever evolving ways of utilising them outside of their intended means are created. Along with new social scenes and counter cultures that the users create, traditional aspects of DJ culture are brought back to life, exposing them to a new generation of users. This creates a sense of inclusion into a culture, and a device originally intended for home use has been adapted as a way of bringing people together. With the increasing market for sophisticated home entertainment systems, seemingly aimed at keeping the population inside their homes. All around the world people can be found dancing in their masses to the sound of music played by DJ’s.

Music has always been a source of brining people together throughout history. The experimentation by DJ’s has presented this format in different musical styles and social contexts throughout the last 60 years. It is clear that without these settings DJ technology would not have advanced, and the music that is being played would not exist, and vice versa. These changes in music associated with the innovations of DJ’s have not only had an impact on electronic music, but popular music as a whole. The music industry constantly regurgitates and re-packages various styles of music for mass consumption, but none can be more heard on commercial radio than the influence of hip hop. With mainstream artists from Madonna to Linkin Park singing about DJ’s, and incorporating them into their live performances. The DJ has transcended all musical styles and cultural boundaries, and DJ technology continues to advance allowing this to continue in more technical and interactive ways. With the latest additions to a DJ’s arsenal being the ability to manipulate visuals. It is clear the developers of DJ technology are looking to a future of audiovisual performance. As stated in the report, the concept of a Visual Jockey is not new, yet the latest innovations, namely from Serato and Ableton, are giving the DJ access to this technology alongside being able to play music. Because these innovations are so new it will be some time before their impact is felt to a point where it has a history which can be tracked, allowing for it to be analysed and the music that pushes this new concept forward identified. Overall I feel that the goal of the research has been met to an adequate level of depth within the confines of the word length of this report. In retrospect the amount of information needed to summaries the components of a DJ set up was rather underestimated. Yet the main topical points needed to discuss the advancement of each component have been covered, including reasoning behind the creation and evolution of DJ technology. One of the main questions posed towards the later part of the research was, how long does something need to exist in order to have evolved and have a significant history. With this in mind I feel that this project is, in all intent and purpose a significant part of music technologies on going history. Yet the technical innovation and application of its sum parts have yet to be presented in a literary or academic context. Although the information gained covers the goal of this project. It is my opinion that this is an area greatly overlooked in academia, as the social contexts in which its technological innovations are born are documented for their musical changes, and not the evolution of DJ technology 73

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Bibliography Belgrave, R 2009, HISTORY OF SOUND SYSTEMS AND THE FUTURE [online], Available from: http://www.rapattack.co.uk/history%20of%20soundsystems.html [Accessed: 15.3.2009] Chang, J 2005, Cant Stop, Wont Stop, 1st, Ebury Press, London Denon 2009, The History of Denon [online], Denon, Available from: http://www.denon.co.uk/site/frames_main.php?main=extr&MID=4&ver [Accessed: 28.3.2009] Folke, K and Weslien, A 2008, Musically Mad [DVD], Musically Mad Settle, M 2004, Numark CDX review [online], Skratchworx, Available from: http://www.skratchworx.com/reviews/cdx.php [Accessed: 03.4.2009] Smith, M 2009, VINYL HEAVEN and The Technics SL-1200 MK2 [online], 1, Available from: http://www.mds975.co.uk/Content/vinyl01.html [Accessed: 21.3.2009] Unknwon Author 2009, Gemini Sound Products Corporation [online], Funding Universe, Available from: http://www.fundinguniverse.com/company-histories/Gemini-SoundProducts-Corporation-Company-History.html [Accessed: 15.3.2009] Unknown Author 2009, Turntable History [online], Enjoy Music.Com, Available from: http://www.enjoythemusic.com/tablehistory.htm [Accessed: 21.3.2009] Vinylium GmbH 2005, FAQ's [online], Vinylium, Available from: http://www.dubplate.ch/dubcut/dcfaq.html [Accessed: 10.3.2009]. Walmsley, D 2009, Jeff Mills Interview [online], The Wire, Available from: http://www.thewire.co.uk/articles/2035/print [Accessed: 03.4.2009]

Appendix 1 Controller One Pitch Function

Appendix 2 – Blank Questionnaire

How did you get into music? How did you get into music production? How long did it take you to create your first piece of music you were happy to play to other people and what was it? How would you describe your sound? How do you go about creating your style / sound and what is your process for making music? How do you develop your production skills (Take classes, Speak with others, self-taught)? How would you describe growing as an artist? What if the audience doesn’t agree with the change to your style? Do you think of the audience when creating your music or is it self-indulgent pleasure? Do you incorporate live instruments into your productions? What is your studio set up / Live set up? Do you prefer live performance to studio? How did you get into using Torq (What applications did you use before this and why is it now you chosen piece of kit)? How do you approach taking tracks you have produced in the studio to the stage? How do you think the art of DJing / music performance has changed since the advent of music performance software (Ableton, Torq, etc)? Does anyone care apart from the DJ’s? 80

Do you have a pre-made set or are you able to change the mood to the crowdâ&#x20AC;&#x2122;s reaction like DJing with vinyl? Do you think the audience understands what your technically doing live? How does performing as a group differ to your solo performance? Looking at how electronic music performance has changed over the last century how do you seeing it evolving in the future? What do you think of the performance controllers like the Mono-me, Yamaha Tenori-on and Vestax Controller One? Worst gig? Why? Best gig? Why? Hardware or Software? Before you die what musical endeavour would you like to have done? If you werenâ&#x20AC;&#x2122;t working in the music industry what would you be doing?

Appendix 3 â&#x20AC;&#x201C; Interview with Jim Coles a.k.a. DJ 2-Tall - 04/08/2008

* How did you get into music? Teenage depression mostly! * How did you get into music production? Same. * How long did it take you to create your first piece of music you were happy to play to other people and what was it? I started in 93, I think in 95 I was pleased enough with it, i used to share everything though, not everyone "holds back" as much I think. * How would you describe your sound? Spaceship music * How do you go about creating your style / sound and what is your process for making music? I have no idea honestly. I just find sounds and use them. Try ideas till something works that I can paint the picture with.

* How do you develop your production skills (Take classes, Speak with others, selftaught)? I read Sound on Sound and check out new plug-ins all the time, I did an HND in music tech at gateway which taught me some basics. Right now the only person's opinion I really value is this guy Ian from Various Production who are an established electronic band, he knows his stuff. * How would you describe growing as an artist? What if the audience doesn’t agree with the change to your style? Just getting closer to yourself and realising your potential, and then translating that into sound regardless of other's judgements or ideas of who you are. The audience might hate it, but then in my opinion they need to re-evaluate who they think you are, personally I don't have a big audience at all so I just do as I please! * Do you think of the audience when creating your music or is it self-indulgent pleasure? Bit of both, you have to consider your listener, take a step back all the time but I find it hard not to judge myself too harshly. * Do you incorporate live instruments into your productions? Yes, analogue synth’s and percussion right now * What is your studio set up / Live set up? Jen sx1000, Turntable/mixer/zoom fx, Assorted kids toys/percussion circuit bent Casio’s M-audio axiom 49 hooked up to a dual core Intel PC, Behringer Eurorack UB802, Adam A-7 monitors, Standard hi-fi sub unit * Do you prefer live performance to studio? Not at all 83

* How did you get into using Hardware (What applications did you use before this and why is it now you chosen piece of kit)? The Jen fell into my possession from a friend, and I realised the sound was so much more real than these plastic plug-ins I was using. You can do a lot with it especially with added fx. I was using it with a boss GT-8 guitar pedal which really opened things up, its a good warm, clean(ish) source * How do you approach taking tracks you have produced in the studio to the stage? Right now I don't do that at all * How do you think the art of DJing / music performance has changed since the advent of music performance software (Ableton, Torq, etc)? Does anyone care apart from the DJâ&#x20AC;&#x2122;s? Well its allowed people to take their music and reconstruct it live again, before Ableton etc, you had only people like orbital who could charge enough money and wield enough power to do this type of thing, and everyone else just played records. So I think its great for everyone. * Looking at how electronic music performance has changed over the last century how do you seeing it evolving in the future? In the future it will be a complete AV show, visual synced and controlled by one person like a merge of DJ and VJ. * What do you think of the performance controllers like the Mono-me, Yamaha Tenori-on and Vestax Controller One? Evolution! gimme a lemur!! * Worst gig? Why? Warming up for Gilles Petersen in Glasgow last year for various production cos Ian had to fly home to see his 2nd child being born.. I had 3 CDRâ&#x20AC;&#x2122;s and a few bits of vinyl and a fucked laptop with mixvibes, which is just a shit DJ program. 84

* Best gig? Why? There’s been a lot of good ones, the most recent was probably scratching it up with various at sonar 2007 * Hardware or Software? Both * Before you die what musical endeavour would you like to have done? Devotional music mixed with electronics. (That doesn’t sound like new age coffee table music) * If you weren’t working in the music industry what would you be doing? I don't work in the music industry, I just make music, my job is actually to teach music tech to kids. The "industry" side is better off without stubborn bastards like me.

Appendix 4 - Interview with Cedric Oleon a.k.a iFa - 04/08/2008

* How did you get into music? My mother was a musician, and made me learn piano when I was 5 y o... when I reached the age, I went to the conservatoire de Paris and I stayed there till I was 12... after that I stopped music for 2 years. Then when I was 14 my mom who kept her old synthesizers at home gave me the authorization for touching it and a big love story began.... prophet 5, polysix etc.... I could learn how these machines were working...at the same time I learned drums, bass and guitar. * How did you get into music production? As I was evolving with many instruments around me, that was logic... while my friends were going fishing or something, I kept turning the buttons that made me more and more curious about music technology. * How long did it take you to create your first piece of music you were happy to play to other people and what was it? I think it did not take much time; it was some tune done on an electric piano, I was proud and played it to my mother, she told me it was incomplete! lol * How would you describe your sound? That's a difficult question... I just try not to do the same thing as others, sound technology is evolving so fast that it's hard stuff to keep the same sound, and I like to try new stuffs, vsti, plugs etc....I'm always experimenting combinations. That's what I prefer, put in together loops or melodies or beats that don't have anything to do together...

* How do you go about creating your style / sound and what is your process for making music? I often start the same way... Just creating some midi tracks and turn around some presets that sounds good for me at the moment, I usually start with some "pads" sounds, to have an ambient stuff that will give me the "colour" of the future tune.... Sometimes I start with a beat I had in mind for too long.... I HAVE to produce; it's like an addictive catharsis lol * How do you develop your production skills (Take classes, Speak with others, selftaught)? After learning music and various instruments, I thought that I would not like others to work on my stuff, so I decided to learn how to produce, mix etc by myself... I took some classes in big private dedicated schools and now Iâ&#x20AC;&#x2122;m a music techs teacher and a sound engineer... I feel better thinking Iâ&#x20AC;&#x2122;m the "master" from the beginning till the end! lol * How would you describe growing as an artist? What if the audience doesnâ&#x20AC;&#x2122;t agree with the change to your style? I don't care about that...I sing in a band (cloverseeds) and we had to change the name (before it was jellyfish), peeps did not understand, but all is ok now, first album out in Oct....Growing as an artist? I never asked myself this question, I just trust my judgment and intuition...I think you do not become an artist, you 're born like that, or not... My opinion... * Do you think of the audience when creating your music or is it self-indulgent pleasure? As I said upper, I do it because I need it! lol ! So I do not really think about the audience... but when it works and that peeps seem to appreciate, it's always better of course

* Do you incorporate live instruments into your productions? Well it depends, most of my drums sets are recorded ones on big tama starclassic bubingaWood (my drummer's kit), but Iâ&#x20AC;&#x2122;d love to incorporate more live stuffs, like guitars, Rhodes stage piano, brass, woodwinds, strings.... I regret my flat is not enough big ...lol it already looks like a music shop! lol * What is your studio set up / Live set up? Studio: I have one at home where I produce, it s quiet simple, a pc with xp pro, 2g ram, 310 giga sata harddrives, a tiny soundcard (Mackie onyx satellite) Tubes amps, dbx corrections, Tapecorders, old alesis passive speakers and dbox speakers (large band), I use nuendo (cubase) 4, reason 4 wavelab, soundforge, audition3, waves plugs and sonnox too, I like urs, timeworks, sonalksys and audio damage stuff too. As vests, I use linplugs rm4 for drums, kicklab xl for kick, takim for percs, triangle 1 & 2 for bass and subs, toxic, massive, albino, sytrus, well all the classics! ... I work in a big studio too, but there's so much hardware in it... I usually mix there on pro tools HD, big taad speakers and dynaudio (old ones can't remember the name of it) Live set up: A laptop with onyx Mackie as sound card, USB uc33e controller, berhinger MX2004A linked with a mpx 1 (lexicon) as sends, dbx comp for drums trax, ableton 7, so I can use the ableton fx and hardware ones ... config is 1/2 =drums and subs/basslines (stereo bus from ableton) (dbx comp insert) 3/4 =all other stuffs.... (Pads, melodies etc...)(Stereo bus from ableton) 5/6 =Ableton FX (use 27 presets of delays, echoes, filters etc.. )(Stereo bus from ableton) 7/8 =Mpx return or other hardware fx And me! * Do you prefer live performance to studio? Ahah ! Both! Really! Different!

* How did you get into using Ableton (What applications did you use before this and why is it now you chosen piece of kit)? Well I was searching a soft that could help me playing live, keeping the possibility to be creative, whenever, however ...Manygances told me live 7 was for me... I was like, "my god! I’m stupid! Why didn't I think to it before!" lol Then the config evolved till what I use now... quiet the same config as Goth trad...(wish I have his talent!) * How do you approach taking tracks you have produced in the studio to the stage? The more simple.... I do several mixes of my tunes; some for digital, vinyl, so I have some exclusives set ups for live perfs...so I’m never surprised! lol * How do you think the art of DJing / music performance has changed since the advent of music performance software (Ableton, Torq, etc)? Does anyone care apart from the DJ’s? Sure advances in music techs help, but sometimes I wonder if it's not dangerous (lol), some keep doing the same old stuffs with new machines so.... Of course, now we can do so much more things than a few years ago...so it's positive... I think there are always some curious persons, and nerds are always in the area! lol I must say that in live, with a band or alone with machines , the audience is often composed of musicians so I think they care...looking how you do etc... * Do you have a pre-made set or are you able to change the mood to the crowd’s reaction like DJing with vinyl? I have several basis that I make evoluate each time it's necessary or when I 'm bored with some tune I change... my config is quiet supple... * Do you think the audience understands what you’re technically doing live? Sometimes.... as I said, nerds are always in the area! lol but most of the time, the audience just see a guy standing behind his machines, turning some buttons, headbanging ..... 89

* How does performing as a group differ to your solo performance? Radically different in my opinion, for example, in cloverseeds, we're 5, drums - bass- 2 guitars and me singing... 5 different souls in the same pipeline ... and concerning dubstep music, I keep doing my live sets the same way.... * Looking at how electronic music performance has changed over the last century how do you seeing it evolving in the future? Really donâ&#x20AC;&#x2122;t know... it goes so fast...I hope music will always stay a way to meet peeps, to give some vibes...but that's true that electronic music is going fast, I remember Jean Michael Jarre and kraftwerk...now, nearly everybody can approach this level (with lot of work of course). I suppose that with some new tools like the reactable or monome etc ...it's going to change again and again, Bjork is using a reactable I think in some live shows, 10 years before, a tool like this one was part of science fiction...so! Who knows? * What do you think of the performance controllers like the Mono-me, Yamaha Tenori-on and Vestax Controller One? Scares me.... in a way it's interesting, but I must say Iâ&#x20AC;&#x2122;m a little bit prudent with these tools.... I like the "traditional" way to play live.... * Worst gig? Why? I Think I don't have any... * Best gig? Why? In England, Liverpool, the Zanzibar club with cloverseeds, that was the first English show from the band, we were very exited and peeps seemed to like much though we're French so... * Hardware or Software? Both! Money! I always used hardware, but money money money gives often a brake! lol 90

* Before you die what musical endeavor would you like to have done? I'd love to play to the Olympia and why not earls court of London! lol I can dream no? * If you werenâ&#x20AC;&#x2122;t working in the music industry what would you be doing? Damn! I don't know...maybe Iâ&#x20AC;&#x2122;d be a guru... lol

Appendix 5 - Interview with Ricci Rucker - 05/08/2008

* How did you get into music? I got into music at the earliest age, my parents were into a soul and pop music of the 60' & 70's. I even remember being held as a baby while they would dance to Earth Wind and Fire! * How did you get into music production? I got into production after I saw a few dj battle video tapes. I got into early hip hop heavily, and made my first electro beat using digital software. Of course it didn't sound like the real electro I was trying to make, but that was the beginning of my style. * How long did it take you to create your first piece of music you were happy to play to other people and what was it? It probably took about 3 days, just messing with samples from the Flash Gordon soundtrack over some 808 samples. I wasn't embarrassed to show it to people, I've always been my own toughest critic.

* How would you describe your sound? It's changed over the years. Initially, it was slow, grimy, electro. Heavy on record static, with tasteful glitches, and scratching as the main ingredient. Then it moved to a more free jazz element, then to live analog electronics. Today, I call my sound Megawave. I use an all analog synth/drum machine rig controlled via midi. I can even modify acoustic instruments to be controlled and played in my MIDI setup. It definitely has a vintage sound due to the equipment I use, but the programming, arrangement, and context, are completely new. Megawave is the sound, and will only go forward from there. My scratching very much compliments the sound, and the turntable I use, the Controller One (a note scale based turntable) has MIDI on it. This means I can even control the turntable via MIDI with the rest of my instruments. * How do you go about creating your style / sound and what is your process for making music? Today I only use analog synthesis, and I'll even use electronics to control acoustic instruments. I really avoid thinking too much about what I'll do next musically, and rather think about new technical scenarios I can put myself in. I'm always going to revert to my pop side to structure any chaos I create. I think there's a fascination with digesting complex ideas through simple means. The physical approach to making my music today is a reflection of the modern world. I intend to develop music controlled through technology, but using these tools to express my human soul. Ealier in my music, I spent a lot of time controlling every aspect of music through digital editing. I think I gained a lot of respect from my peers, because my approach was very masculine. I still wasn't satisfied, and I believe this is because no matter how masterful I was technically, there was always a forcefulness to it. I find navigating the sound much more natural, than attempting to control every aspect of my music digitally.

These days I like to sync all of my equipment together, and setup interesting combinations of instruments and effects, and guide each piece in the direction that best works with the other instruments. What I do with 2 instruments will most likely be different with what I do with 5 instruments. I'd rather not be involved with the controlling of every aspect of the music digitally, instead, manipulating the voltages coming through the machines, to act in ways that my logical brain would never think of. I'll naturally make sense of any chaos, so I'm not worried about how crazy the initial experiement is. The instruments are certainly alive, and I began to realize that the happy accidents I made, tend to be the entire point of the production process. I think pop music today is really high strung on itself. They think they have the formula, but they'll realize years later, they were just apart of the "sound of the times". Bands who make new sounds while everyone else makes the "sound of the times", tend to be the ones who influence the future generation, and for good reason. The reason timeless music is timeless, is because the artist actually captures the moment in a song in which they're not entirely responsible for. If more musicans played music like a good photographer shoots film, I think the music would be more emotional and impactive, regardless of style. Some photographers choose to control every aspect of a shot, and it's usually contrived, and can garner pop success at best. It's the photographers that capture life in it's natural moment in a way no one in the world has ever seen before. It's those pictures that are not out of a mans mind, but of the mind that created man. * How do you develop your production skills (Take classes, Speak with others, selftaught)? Self taught. Can one really be self taught though? I think observing everything around you is a lesson within itself. * How would you describe growing as an artist? What if the audience doesnâ&#x20AC;&#x2122;t agree with the change to your style? There's truth in everything, and my challenge is to find brilliant examples by creating perfect sonic relationships between instruments. Since beauty is infinite, the focus is not about being the best beauty, but experiencing as much beauty I need in order to sustain my happiness. 94

* Do you think of the audience when creating your music or is it self-indulgent pleasure? Both. It's a communication. Communication isn't just one person speaking, it goes back and forth. I've done both, more so on the self indulgent side, but neither is healthy in my opinion. I think my music today is much more impactive because I have a good balance of listening to myself, and listening to the needs of the people. When I say the needs of the people, it's not what people tell me, but it's the state of the average persons daily living. If people in my surroundings tend to be walking too slow, this might inspire me to increase the tempo of my music. If the music and sound of the city is too distorted, this might inspire me to create a luscious string arrangement and make sure it's designed to over power the surrounding noise. I'm certainly listening to the people, but it's not from what their words are telling me. When you make people feel good with your art, most times you'll be in a position to generate revenue, so it's not my primary concern. * Do you incorporate live instruments into your productions? Yes. All of the instruments I use are live. We have electricity flowing through our bodies, analog synthesis is alive. Acoustic instruments keep man grounded, because they must be physically versed in order to expressively play their acoustic instrument. Although, in order for man to fly, he must leave the ground. With electronic music, the music is coming from a more intangible world where anything is possible. In my world of music, all instruments are valid, anything, and everything. If you sense any limitation in my instrumentation selection, it's probably due to my limited surroundings. If I had unlimited access to anything, with as much space as I needed to create, I would answer this question with a list of instruments, pots, pans, and broomsticks, along with a 64 track vintage Neve console! * What is your studio set up / Live set up? About 10 analog synths, 3 drum machines, vocal effects/effects. Everything I have, I use. When I'm not using something, I quickly exchange if for something else. The studio setup IS the live setup. Music shouldn't be so neurotic.

* Do you prefer live performance to studio? Right now, I prefer live, because my setup is raw and ready to go. Although, when well funded, the studio is just as fun. * How did you get into using Hardware (What applications did you use before this and why is it now you chosen piece of kit)? I borrowed D-styles MicroMoog synthesizer in which he graciously let me use it for a long time. I didn't even know what CV was at the time, but that synth really got me into analog hardware. Everytime I'd sit on a computer to make music, it didn't feel real to me. When I played the micromoog, it felt real. * How do you approach taking tracks you have produced in the studio to the stage? My studio tracks are recorded live, it's all live electronics, so once the sequencer plays, the compositions begin, and the manipulation of knobs is what builds the song. In the studio, I essentially practice my build ups, and which knobs to use for what part and which sound. The more shows I do, the more songs I make, and the more songs I delete, and replace with even more stronger tracks. Each show is an opprotunity to test the crowd, if the songs make them crazy, I keep them, then delete the few that didn't work like I expected.

* How do you think the art of DJing / music performance has changed since the advent of music performance software (Ableton, Torq, etc)? Does anyone care apart from the DJâ&#x20AC;&#x2122;s? It's the foundation of the music I make. With dj'ing, I'm self indulgent, well, it's not a true self indulgence, because I'm always ready to share with people, but I can tell people aren't ready for it. The Controller One with MIDI is actually one method of re-introducing scratch djing style into pop music seamlessly. I'm actually sponsored by M-Audio and use TORQ for my productions. I think the technology is great, it allows you to really reverse engineer anything. This gives me such a creative inspiration. I use TORQ like a scratch sampler, I use it for coloring up my productions, and adding effects I couldn't do any other way without spending too much time. When I cut hardcore though, I use vinyl. Before, people misunderstood my stance on the digital dj. I was stating how I think people would abuse the technology, and... they have. My point stands. I knew people would be downloading music, trying to make money by doing as little work as possible. This is what I was speaking of, and it happened. People who say digital and vinyl scratching is the same, don't realize the true level of scratching. To a producer who does simple scracthes for his hip hop beats, yes, digital vinyl is suitable, but the level of cuts I'm speaking of, which can probably only be done by less than 20 people in the world, is not so suitable. About 3 years ago, I bowed out of the dj scene. What I believed in, moving the art forward, was obviously not shared by the scene I was catering to, my integrity was my own reality in which I imposed on people. I had to accept that there was no comrodory in the scratch scene. I believe the level of skills for a few were so high, it intimidated the dj community. People felt like there was a hierarchy, so it was only natural to defy the monarchy! I think musically, the healthy way to defy a monarchy (if there was one) is to take the artform to the next level! Instead, people would bad mouth the dopest scratch djs on the planet!

Sometimes the digital software suggests too much, and makes it too straight forward of what you're supposed to do with the tool. Although, the dope djs aren't going to use it like everyone else anyway, so the skill gap remains the same, with or without digital dj software. It's true, kids aren't really challenging themselves like they used to, because they we'rent obligated to! So when you ask "does anyone care about djing apart from djs?" No one ever cares, until you're at the show, and completely flip everyones mind, then they start caring again! * Do you have a pre-made set or are you able to change the mood to the crowdâ&#x20AC;&#x2122;s reaction like DJ's with vinyl? I think we must assume a mix dj is not a musician. To compare the 2 isn't fair, but IS relevent! When you go to see prince or parliament, you go to see the collective songs of the band. There will be a "sound" that the band has, and you go to that show for that sound. When you go to see a dj, you go to hear them play prince and parliament in the same set. Due to the shorter attention spans of people in this fast paced society we live in, djs tend to bridge the gap between live music and keeping people interested. Regardless, mix dj's getting treated like musicians is a bit of a stretch to me. As a dj, I love to control the crowd, as a producer, I don't always like playing other music and get credit for it! So my approach is to create a live set which plays like a dj set. I make songs that all sound different by using as much different live equipment throughout the live show. I make sure there's lots of energy and build ups, and bring it all together with the scratches to certify the dopeness.

I have a library of 20 songs, which change constantly. They can be ordered or chopped up in any way. My natural challenge in production is to always make each song different than the next, this allows me to look at my songs like records. I can then create a routine depending on the show I'm performing. The more equipment I use, the easier it is to make the crowd think they are listening to different records, even though it's all music I've produced. When I headline major shows, I'll bring out 3 different setups to play a massive set which lasts up to 3 hours. Now, I can play to a dj crowd, and give them a live show, or play to a live crowd, and amp them up like a dj show. My live show has been mistaken a few times for being a dj set! * Do you think the audience understands what your technically doing live? No. Not at all. That's my job, it's for their enjoyment to listen and feel. * How does performing as a group differ to your solo performance? My sound is very direct, and sometimes within a group, I feel guilty for leaving too much of my own resonance on the group sound. I don't want to feel guilty about being me, so it's easier for me to work by myself at this point. * Looking at how electronic music performance has changed over the last century how do you seeing it evolving in the future? Most certainly. I think the best direction of electronic music is digital control, analog sound. People like the freedom to digitally manipulate anything, and people love to FEEL music. Bringing the two together to co-exist I believe is the best foundation for the evolution of electronic music. I'm actually designing a new drum machine, which I'm going to get manufactured. I think it'll have the impact of the 808, but with the intuition of the most modern digital producer. Hopefully this becomes a line of electronic instruments which truly embrace both sides of the electronic scope.

* What do you think of the performance controllers like the Mono-me, Yamaha Tenori-on and Vestax Controller One? I think all tools are valid, as long as your application makes sense. Just put sound quality ahead of your brain, like Einstein said, imagination is more important than knowledge. * Hardware or Software? Hardware, but I'll use software when it makes sense. * If you werenâ&#x20AC;&#x2122;t working in the music industry what would you be doing? Same as I'm doing now, breathing.

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Appendix 6 – Interview with Ed Ma a.k.a Edit – 31/07/20008 DVD is attached to the back of this report

Appendix 7 – Recordings of DJ performance A Music Data Disc is attached to the back of this report These recordings are available at: http://archive.subfm.com/Be-1neFeatIfaPart123Mar09SubFM.mp3 http://archive.subfm.com/Be-1neFeatIfaPart223Mar09SubFM.mp3

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