Thoughts
Enough about the Microwavers already!
With the new age of DJ software and digital vinyl systems (DVS) out there, I'm finding it ridiculous how much lately I keep hearing DJs complain to no end about the so-called "microwave DJs" out there.
They're referring to the new generation of DJs who took a big shortcut in the craft. These guys either purchased or illegally downloaded software like Traktor or Ableton Live, and then spent even more time downloading loads of MP3s off P2P programs, torrents, and blog sites. Within months, these rookies somehow manage to slither their way into DJ guest spots and even club residencies, the kinds that took seasoned veterans years to attain. The main complaint isn't just on all the music they pirate from the internet, but their lack of experience, experimentation, and even how many of them let the software do most of the work, like beatmatching.
I've heard all the complaints lately about how these rookies lack the experience to really read a crowd, how they totally rely on the software to match beats (even though the blends sound terrible), how much music they steal as opposed to buying legally, how many of them are very cocky and disrespectful, and how they play for way less money than a seasoned veteran would charge.
Should we come down on these DJs? Are they the problem? I've seen bad DJs since way before anyone came up with DJ software, and I've seen some of these inexperienced cocky rookies manage to slither their way into the booth. I never blamed the DJ though, because even when I was a year or so into DJing I was trying to get gigs. I blame the promoters and those who book these DJs.
When I hear DJs bash on other DJs because they're not using actual vinyl on turntables, it astounds me. It's the same when I see CD DJs bashed. Who is more "keepin' it real"? The guy using antiquated gear to its limits? Or the guy who takes things to new levels and innovates? I remember when Pioneer came out with a nice effects unit on its mixers, it meant DJs didn't have to echo or flange with two records anymore. Was that cheating? How about when the CDJs came out and you could spin CDs the way you do wax? How many of you know that even the pioneers of house music used not only turntables, but tape players and drum machines in the booth? Were they cheating?
Let's come down to reality. When I got into Final Scratch years ago, and then later Deckadance and now Torq, none of those pieces of software would make things easier on me in the technique of mixing. I still had to match my beats and blend well. Yes some of them can do some beatmatching, but it only works well on tunes that have a simple beat structure. Imagine trying to auto-beatmatch with jungle, or breaks, or tribal house. Won't work as well.
The software basically makes it way easier for DJs to do their thing without having to haul around loads of equipment. They make it so I can carry way more music on a laptop than 80-100 records in a box. It makes it easier for me to find a tune I want to play, rather than dig through the crates. It allows me to only bring that remix or version I want of a tune, not the rest of what came on the record or CD.
Whether you're using Torq, Serato, Traktor, Virtual DJ, PC DJ, Deckadance, or even Ableton, it won't make anyone instantly into a DJ. It won't tell you what track to play next. It won't automatically tweak your EQs, tell you where to toss in the next track, or even do tricks that wow the crowd. It is simply a tool, and it only works as well as the person is skilled in using it.
I know this doesn't come as a comfort when you're a 10-15 year veteran of the decks, and some cocky arrogant kid now is getting the spots you used to get. Just bear in mind, would you really want that spot? Walk into the event and really see what's going on. If that kid is basically a human iPod playing the same music you hear on the radio, then is that really a good gig? If he's having horrible mixes, but the crowd doesn't care, is that a crowd you really want to play for?
In the game of love and dating, the phrase "don't hate the player, hate the game" has come out many times. It's the same deal here. Don't hate the rookie for how he plays. Hate the guy who decided a $50 a night amateur was more worthwhile than an experienced professional who costs more. Worse is if you can't bring anyone out to a club, but the rookie has 30 friends who will come out, then you're SOL. Sucks, but that's the way of the world.
The answer isn't to hate on the rookies, but first to find out if they are playing gigs you really want. If the answer is no, then you need to stop bitching and find a scene where you can play the way you want. I know I don't want to play Top 40 music at some cookie-cutter glam bottle service club...so why would I complain about a rookie who wants to play that scene?
This is why I never made DJing a career, so I never had to be forced to do things I didn't feel like doing. If the scene isn't the way you want it, then make your own scene, rather than complain. Start a night up. Throw raves. Do internet or college radio. Make mixes and post them online. Find the people who want to hear what you like and play to them...or find a way to please the masses and market yourself to better compete.
If a promoter is going to still pass you up for an inexpensive amateur, then it only speaks loudly on how bad the event is and how long this guy will last. Eventually things change and crowds see how bad these DJs are...and thus move on. Empty rooms means that kid isn't going to get hired again.
So enough about the Microwave DJs. It's not their fault someone decided to book them over you. You can complain to death, but until you yourself work to make change, then your complaints are worthless.
2 Responses to "Enough about the Microwavers already!"
ezwerk on November 19, 2008
I agree that the tech isn't the sole problem, but it is a factor. Us "old guys" who started off with turntables (actually, I started with pitch controlled tape decks) don't gripe about the new tech because we don't want to change, but because it makes some things easier. I could compare this to graphic design or even web design, but that's a whole other topic.
The fact is, not needing to know how to beatmatch is huge. Being able to afford all the gear and music rather than pirating it adds one of the many "weeding out" mechanisms that any art has. Do you think guys like Picasso, Modigliani or Bacon would have only put out what they felt was their best work if they didn't have to worry about where they were going to get the money to but paint or canvas? To them, each work was important and they weren't looking to just do what other people were doing. Their art was their way to survive, to make a living. When I was just starting out as a DJ in college, I didn't have a lot of disposable income, so every record I bought had to be something I would have no problem playing. What's more, it had to be something I liked to listen to, not just something I knew everyone else was either playing or something that was guaranteed to move the crowd. The more you're vested in something the more you're likely to take it seriously. It's not a fad, it's something you believe in.
But, in the end that is just part of the problem. You're right, promoters are really the main issue here. They're either opting for the cheaper DJ or it's someone they know and they want to help them out. I'd venture to say that 8 times out of 10 the guy sucks and shouldn't be playing in front of a crowd. You mention that some of these rookies will get 30 people out on a night, but I wonder: Is that EVERY night they play out or just the first night they're at a new club? Also, how many of those 30 are comped cover and don't drink anything? But, in the end, it's up to the promoters, and to some degree, the crowd since they keep coming back to the same thing... or are they? Is it possible most people pretty much don't care what the DJ is playing as much as WHO the DJ is? Let's face it, most big name DJs nowadays are nothing more than brands. And I'm not talking about guys like Francois K or Deep Dish, but whoever clubs like Vision are promoting for their main weekend nights. They're just names and people flock to those kinds of clubs just to say they were there, not necessarily to dance their asses off.
One good example of this is The Crystal Method. Last time I saw them spin was at Vision, ironically enough, when Mazi was closing the night for them. They did their lame "rockstar" act, not beatmatching and playing shit like Motley Crue while all the time showing off the bottles of vodka they were drinking and basically just acting like a couple of a$$holes. All the while people would cheer at their antics but no one was really dancing. Mazi comes on next and while a lot of people walked off the dancefloor, since they were there to see the Method, the ones that did stay were actually dancing. But by now it was 2 in the morning so these were the hardcore clubbers, not the ones just there to claim they were at that event.
I've stopped looking for gigs because there is no sure (read: fair) way to get a gig in this city. Promoters only go for the cheap rookies who won't last, name brands (see B96 and KISS FM) or their friends. It's more fashion than art at this point. I've decided to just work on my podcast and see if any gigs shake out of that. I don't have time to go clubbing every night and beg some promoter to just LISTEN to my demo CD especially when it's some joker who has no idea how to run a night. If I knew that method worked, I'd do it, but I have no faith in "the game" any more.
D-Jam on November 19, 2008
I agree with you. I agree a lot on the factors that made the old school DJs what they are compared to many of the new generation.
I think while a lot of the arguments on the microwavers are very valid, I just feel like it's pointless to fight. Not when those "running the show" (promoters and nightclub bookers) are picking them over experienced guys and especially guys who want to bring something new and cool to the booth. To build a real unique vibe as opposed to just playing the hits like a human jukebox.
I guess in my eyes it's pointless to complain, but better to find new avenues to "do things your way", like you with your upcoming podcast, or tossing mixes online, or throwing a night, etc.
Thanks for the reply!
