As with any form of entertainment, there are those with real talent and then the pretenders and the egos. As always, financial clout, gimmicks, and the media's insistence on celebrity and commercialism can distort the art and dilute the whole thing to a mainstream level. Passion for a particular genre and a genuine desire to share music are sometimes the differences between the egomaniacs and wannabe performers and the true DJ, who tends to dig deeper into lesser-known musical worlds for pleasure rather than for status or financial gain.

If there's no thought about the dynamics of a set, things can become tedious, especially in the more mainstream Electronic Dance Music (EDM) world. I sometimes wonder if the audience would notice if the DJ just left things running and went home. Altered states and crowd bonding carry things through anyway, and the visuals, light shows, sound systems, stage sets, and dancers at some of the larger festivals are absolutely spectacular and are a show in themselves.

It's a subtle thing. Originality and a well-constructed set make things interesting, and just letting the music and innovative mixing do the work is usually more than enough to keep the crowd engaged, as the pulses and waves of carefully curated soundscapes wash over them.

Production

If there are additional live vocals, drum tracks, spoken samples, instruments, or original tracks created by real musicians or with software, this becomes something else and heads into other realms such as electronic music or hip hop. The turntables are replaced with pre-recorded mixes, and the process becomes production.

Production is different in that it often involves releasing material under the DJ's own name as an artist or as a producer. The process can involve original written material and the inclusion of third-party material. The result is a collection of tracks in a particular genre that flow together or stand as individual tracks.

This leads us on to sampling and something of a minefield. The one big problem with production for DJs is copyright. Some with a more arrogant disposition ignore or desperately try to hide the origin of third-party samples to avoid copyright issues, while others try to justify using sampled music by pointing out the 'extra exposure' given to past artists.

Many have tested just how far you can go with copyright material in the past, and lessons have been learnt. The smart DJ or producer clears samples or negotiates with the original artists and record companies. This removes the legal pressure, and the results can be more creative and give new contexts to previous musical ideas. Conscientious DJs are happy to acknowledge where their samples and influences are from, and being open about things is of benefit to everyone, including the original writers and performers if they are credited and paid.

However, the big headache for DJs is having to constantly consider usage rights and costs, especially as money may not be the motivation. This restricts the creative process, and independent production can be compromised if the budget is not there. New bands can wait and see if their music gets picked up by audiences. A DJ has to invest upfront or take the risk and worry about it later.

So, in conclusion, what is meant by good, bad, and fake DJs?

To me, there are two kinds of fake DJ. The first can actually do the job but chooses not to and uses pre-recorded sets. The audience might not know or care, but those who do mix live have some kind of respect for their audience and the profession.

The second kind of fake DJ has no idea and no intention of improving themselves or learning the craft. It's often about a DJ persona rather than the music, which is an odd take on things. Knob twiddlers in more ways than one.

Bad can be a misleading term. A bad DJ might have a great ear for music and be enthusiastic about what they are doing. However, they lack the musical or technical knowledge to put everything together. They are not really bad, just inexperienced.

A good DJ has taken the time to listen and learn and can curate sets that flow and connect with audiences. These DJs get the work.

A great DJ has a natural feel and understands beats and songwriting as well as the DJ aspect. They also understand what their followers are looking for and can connect with them. The very best have extensive experience, solid musical knowledge, or are also musicians or vocalists when away from the DJ desk. These DJs usually produce and have an opportunity to receive royalties.

Heat and Serve

The truth is, anyone can learn to operate modern DJ equipment in a matter of hours and call themselves a DJ. Working with vinyl is more of an art and involves more knowledge, practice, and skill, but is achievable.

You may doubt the skills of the DJ, and you are right to do so, but only up to a certain point, beyond which there are talented people within diverse genres and sub-genres who are passionate about sharing great music.

Great DJs get lost in the music and love it as much as you do. They don't bark instructions, demand your adoration, or ask you to do physical exercises - they just want you to listen and enjoy the experience they have created for you.

Matt Sheen MMXXI
mattsheen (at) webstar.tv

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