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Gut Aufgelegt 9.Auflage Final 16.7. CS6.Indd ...die Mission, Menschen glücklich zu machen, gepaart mit Pioniergeist und Freude am Tanzen! Sven Väth © 2015 by Dirk Duske Alle Rechte vorbehalten. Kein Teil des Buches darf in irgendeiner Form ohne schriftliche Genehmigung des Autors reproduziert oder unter Ver- wendung elektronischer Systeme verarbeitet, vervielfältigt oder verbreitet werden. Layout: Dirk Duske, Lars Heinelt und Irina Schwitalla (www.Audfactory.de) Grafi ken: Markus Wolf, Dirk Duske Illustrationen: Lars Heinelt Icons: Peter M. Hoffmann (Leipzig), Lars Heinelt Fotos: Dirk Duske, Kay Möckel Cover: Lars Heinelt, Dirk Duske Cover-Foto: Benjamin Kauer (www.Kauer-Media.de), Reinald Pehla (www.DJ-Reg.de) Druck: Advantage-Printpool, Germany Stadtstreicher GmbH Am Feldschlößchen 18 09116 Chemnitz www.dirkduske.de www.facebook.com/dirkduske www.facebook.com/dirkduskeoffi cial www.gutaufgelegt.com 9. überarbeitete Aufl age 2015 Zum Autor: Dirk Duske (Jahrgang 1970) schloss erfolgreich die beiden Studiengänge Maschinenbau und Medientechnik ab. Seit 1985 legt er als House- und Urban-DJ in verschiedenen Clubs bzw. Discotheken Deutschlands auf. Weiterhin betreut Dirk das Marketing für Ortofon A/S Dänemark, lehrt das DJing an der Städtischen Musikschule Chemnitz und ist als freier Journalist tätig. VORWORT Vorwort DJing...Ein Wort, viele Defi nitionen und Möglichkeiten der Umsetzung, verbunden mit unterschiedlichsten Intentionen, aber deren Botschaft die gleiche ist: Mit aufgelegter Musik seine Mitmenschen unterhalten. Premier: Für mich ist DJing ein Weg der Umwandlung von sehr starken Wellen in Vibrationen im menschlichen Kör- per, die ein gestresstes, hartes, ärgerliches Gesicht in ein glückliches, lachendes Gesicht verwandeln. Ein DJ, die Abkürzung von Discjockey, legt im klassischen Sinne Schall- platten auf, fungiert aber auch gleichzeitig als Entertainer in einer Location oder gar einem Radiosender. Seine kreative Komponente lässt ihn sogar als ebenbürtigen Musiker bezeichnen. Aber nicht nur im HipHop nimmt der DJ diese Stellung ein, sondern generell in der Dance-Music zeichnet er sich durch künstlerisches Kombinieren der Musik in Form seiner spezifi schen Mixing- und Scratchtechniken auch unter Verwendung von DJ-Control- lern, Samplern oder Musikproduktionsprogrammen aus. Das Phänomen DJ ist allerdings nicht nur auf seine Arbeit im Club oder in der Discothek beschränkt. Vielmehr nutzt er auch seine Position in der Musikbran- che, denn sein Fingerspitzengefühl für neue musikalische Trends beeinfl usst das musikalische Geschehen bei den Musiksendern und in den Verkaufscharts. Bevor Musiksender wie VIVA oder MTV aufkamen bzw. das Internet die Karten in der Medienlandschaft neu mischte, übernahm der Discjockey pri- mär die Vorreiterrolle im Setzen musikalischer Trends. Dance-Music fand ihren Ursprung im Club, und mit Hilfe des DJs gewann sie die in den Charts widerspiegelnde Popularität. Der Nachtschwärmer suchte mit der Intention einen Club auf, nicht rundfunkkompatible Mainstream-Musik, sondern den Groove der neuesten, unkonventionellsten Dance-Music-Platten akustisch und körperlich zu konsumieren. Aber nicht nur musikalische Trends popu- larisiert der Deejay, er spielt auch im betriebswirtschaftlichen Sinne für die Erlebnisgastronomie eine entscheidende Rolle, denn durch seine Tätigkeit beeinfl usst er diskothekenspezifi sche Parameter wie Gästezahlen und Pro- Kopf-Umsatz. Psychologisch agiert er in Bezug auf Trackauswahl und Mu- sikdramaturgie, bestimmt das Handeln des Gastes und beeinfl usst so seine 4 Enthusiast | Rookie | Professional | Artist Vorwort Gewohnheiten. Der Mix als zentrales Element verdeutlicht dabei die Fähig- keit des Discjockeys im Umgang mit der tanzenden Gemeinde und bekräf- tigt in diesem Zusammenhang die Aussagen von Faithless und P!nk: „God Is A DJ“. „Gut aufgelegt!“ ist ein chronologischer Leitfaden zum Erlernen des DJin- gs, angefangen beim geweckten Interesse, fortführend bis zum Status eines Künstlers. Zunächst befasst sich das Kapitel „History“ mit der Entwicklung der DJ-Kultur. Übereifrige DJs in spe sollten dieses Kapitel nicht übersprin- gen, da es als Grundlage zur Musikstilklassifi zierung dient. Das Hauptaugen- merk liegt dabei nicht allein auf den USA, dem Ursprungsland der DJ-Kultur, sondern bezieht auch Europa mit Ländern wie Frankreich, Großbritannien und Deutschland ein. Das Kapitel „Equipment“ stellt dir die DJ-Technik im Überblick vor, mit der du aufl egen könntest. Dazu erste Übungen, die dir Aufschluss geben, ob das jeweilige Equipment deinen Ansprüchen ent- spricht, aber auch dir liegt. Mit dem dir zugelegten Equipment trainierst du anschließend DJ-Techniken wie Mixing, Scratching und Beat Juggling an- hand der Übungen des Kapitels „Skills“. „Tracks“ beschäftigt sich mit der Musikbeschaffung und -verwaltung, „Gig“ erklärt, wie das bisher gelernte technische Know-How beim ersten Gig umgesetzt wird. Außerdem fi ndest du auch, wie in dem darauf folgenden Kapitel „Business“, betriebswirtschaft- liche Anregungen, die deinen Einstieg in die Selbstständigkeit unterstützen. Dabei weisen die auf Deutschland bezogenen Beispiele durchaus Parallelen zu anderen Ländern auf, die auch für dich unabhängig von deinem Wohnort hilfreich sind. „Producing“ gibt dir Tipps zum Produzieren und Vermarkten erster eigener Tracks. Was die Zukunft vermutlich bringt, verrät dir das Ka- pitel „Future“. Nicht jedes Kapitel wird entsprechend deiner Equipmentwahl von Inte- resse sein und kann somit auch übersprungen werden. Einige technische Themen und Übungen sind auch auf mehrere Kapitel aufbauend verteilt, begründet in dem chronologisch wachsenden Anspruch des Buches und deinen Fähigkeiten, die du dir aneignest. Zum besseren Verständnis fi ndest du auf www.gutaufgelegt.com in einer Online-Bibliothek, die regelmäßig erweitert und aktualisiert wird, Screenshots, Links, Audiobeispiele und Vi- deos passend zu dem jeweiligen Content. Genug des Vorworts! Lass uns endlich in die Welt des DJings eintauchen... Vorwort 5 INHALTSVERZEICHNIS Inhaltsverzeichnis Vorwort 4 Legende 17 History Die Technik 20 Die Vorreiter der DJs 23 Die ersten „Discothéquen” 24 Der Einfl uss der DJs auf die Entwicklung von Dance-Music 24 Die Disco-Ära 25 DJs make Music 27 DJs und Technik 31 DJs und Events 32 DJs go digital 35 Resümee 38 Die deutsch-deutsche DJ-Kultur 39 In der Bundesrepublik Deutschland bis 1989 40 In der Deutschen Demokratischen Republik 43 Die Stunde Null – Der Mauerfall 53 (Inter-)nationale DJ-Kultur 58 Mixen á la Carte – The French Touch 63 Equipment Die Intentionen und Voraussetzungen zum DJing 72 Das Erlernen des DJings an einer DJ-Schule 79 Die Entscheidung für analoges oder digitales DJing 85 Das Vinyl 85 Die CD 87 Die DJ-Software 88 Das Equipment 92 Der Kopfhörer 92 6 Enthusiast | Bedroom-DJ | Professional DJ | Artist Inhaltsverzeichnis Die In Ear-Monitors 93 Das Mischpult (Mixer) 97 Die Funktionen am Mixer 97 Die Auswahl des Mixers 102 Serato Club Kit-Mixer 106 Der Schallplattenspieler 107 Tipps für den Aufbau von Turntables auf Bühnen 112 Der Tonabnehmer (Cartridge) 114 Der Einfl uss des Tonabnehmers auf die DVS-Performance 118 Die Slipmat 120 Der multimediale CD-Player 121 Die DJ-Software 126 Einleitung 126 Die Mindestvoraussetzungen deines Notebooks 129 Die Hardware: DJ-, MIDI- und Add-On-Controller 129 Tablets mit DJ-Apps als Remote-Controller 133 Die Digital Vinyl Systems (DVS) 134 Serato Scratch Live / Serato DJ und Traktor Scratch Pro 135 Besonderheiten: Serato Scratch Live / Serato DJ 136 Besonderheiten: Traktor Scratch Pro 138 Verbinden zweier DVS 141 Die DJ-Software: Serato DJ Intro, ITCH und Serato DJ 143 Traktor LE und Pro 149 VirtualDJ 150 Die Mixtape-Software: „MixMeister“ 155 Die DJ- und Producing-Software: Ableton Live 157 The Bridge: Die Verbindung zwischen Ableton Live und Serato Scratch Live 158 Das Mikrofon 161 Das optionale Equipment 164 Der Gehörschutz 164 Inhaltsverzeichnis 7 INHALTSVERZEICHNIS Die Reinigung von Schallplatten 165 Die Schallplattenbürste 165 Die Schallplatten-Waschmaschine und Wood Glue 165 Der Vinyl Flat Record Flattener 166 Der Recorder 167 Der Notebook-Ständer 168 Die Cases und Bags 168 Der Fiberpen und das Druckluftspray 170 Der Equipment-Ständer und das DJ-Möbel 171 Die PA 172 Die Club-PA 172 Die Festival-, Konzert- und Open Air-PA 175 Das Monitoring 177 Die Endstufen, Frequenzweichen, Controller 179 und Signalbearbeitung 179 Die Endstufen 179 Die Lautsprecher Management Systeme (LMS) 182 Die Filter 183 Die Frequenzweichen (Crossover) 185 Die Kompressoren 186 Die Limiter 187 Die Expander/Noise Gates 187 Die Kabel und Steckverbindungen 188 Die Klein-PAs für den mobilen DJ-Einsatz 194 Die Entscheidung für eine aktive Klein-PA 195 Das Licht für Atmosphäre und Bewegung 196 Das Anschließen des DJ-Setups 198 Die Anordnung der Decks zum Mixer 201 First Steps: Mit dem Equipment 201 Mit dem Mixer 202 Vorhören (Cueing) mit dem Kopfhörer 203 Mit dem Schallplattenspieler 204 Mit dem CD-Player 209 8 Enthusiast | Bedroom-DJ | Professional DJ | Artist Inhaltsverzeichnis DJing mit der DJ-Software 212 DJing mit dem DJ-Controller 215 DJing mit dem Digital Vinyl System 215 Serato Scratch Live/Serato DJ 216 Konfi guration 216 Wahl des Channels 234 Playback von Tracks 234 Serato Video 240 Traktor Scratch Pro 245 Konfi guration 245 Kalibrierung der Decks 252 Auswahl der Deckansicht 253 Playback von Tracks 255 Synchronisieren mit MIDI Clock 256 Skills Die Grundlagen des Mixings 260 Die Grundelemente eines Tracks 260 Das Beatmatching 266 Das Beatmatching und Bending für den Mix 267 Das visuelle Beatmatching 275 Das Sync-Beatmatching 276 Beat Sync
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