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Glossary Of DJ Terms
The most complete dictionary of the terms used in DJing lives
here at Sister SF.com. Basic electronics, equipment, track
structure, and the slang of DJ culture are covered. If you
think a word or phrase may be missing from this list, or incorrectly
defined, please email us.
Help us make this a great resource for everyone!
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| 1200 |
1200 is the model of Technics record
player that is most popular in the world for DJing. Often
the turnatbles are simply called "1200s."
|
| 2
Step |
This sub genre of breakbeats
is typified by R'n'B vocals and a prominent
snare drum.
|
| 2
x 4
|
When two DJs play on four turntables
connected by three mixers the setup is
called a 2 x 4 ("two by four"). In order to create
a 2 x 4 setup, one pair of decks and
a mixer are placed on each side of a central mixer. The left
and right mixers feed into the central one, which has it's
crossfader set in the middle to
allow each channel equal output. The
left channel represents the left hand DJ, the right channel
controls the input of the right hand DJ. The central mixer
controls the master volume.
Any multiple of turntables and mixers can be combined to
make, for example, a 3 x 6 (three DJs, 6 decks), a 4 x 8 and
so on. Playing on these setups requires that the DJs communicate
well and know each other's styles and records thoroughly.
Generally in larger setups the DJs will be spinning over
each other, layering sounds to create an almost orchestral
arrangement of beats and melodies. The
DJs also often take turns spinning records using this setup,
playing one, two or more records each before allowing the
other to play the same number. This is known as tag
teaming, or tagging.
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| 303
|
The TB303 (Transistor Bass) was introduced in the early 1980s
together with the TR606 Drumatix (Transistor Rythm) by Roland.
It was invented by Tadao Kikumoto. The 303 sounds didn't come
anywhere near a real bass or drum set, and the musicians didn't
want to go through the time-consuming task of programming
the machines. Since nobody wanted the TB303 anymore, Roland
stopped producing them 18 months after releasing it. At that
time they'd produced about 20.000 copies alltogether.
It was not until 1987 when a DJ (rumors has it that it was
DJ Pierre) came up with the idea to turn the knobs while playing
the TB303 that acid house was born. After that the machine
suddently became more and more wanted and soaked for. Today's
acid music is very different from the acid house of the 80's/early
90's. Now acid music is typically produced using the TB303
and a TR909. The TR909 drum machine produces a much more hard,
much more dancable beat. The bassdrum really kicks and it
has got a very famous clap!
Read more about the 303 at http://www.tb-303.org/info/history.asp
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| 33 |
A record that plays at 33 and one third rpm.
|
| 4/4 |
A time signature in which there are 4 quarter note beats
per bar. One-two-three-four, one-two-three-four,
one-two-three-four, etc. Most electronic dance music is 4/4.
|
| 45 |
A record that plays at 45 rpm.
|
| 45
RPM adapter |
See: RPM adapter
|
| 606 |
The TR-606 is a drum machine which Roland manufactured from
1981 to 1983. It was designed to be used in tandem with the
TB-303 Bassline so as to be able to reproduce a drummer and
bass player for guitarists without backing bands.
It sold a fair few units (around 30000 apparently), but wasn't
very popular amongst guitarists because the drum sounds weren't
too realistic. All the sounds in the 606 are generated with
analog technology - noise sources and voltage controlled filters.
The kind of sounds created by this technology aren't realistic,
but kind of electro/retro sounding.
When house and techno arrived in the mid-80s, musicians were
looking for cheap gear which could make decent sounds, and
the 606 was a perfect choice. Because guitarists didn't like
the non-realistic sounds, they were only too happy to get
rid of their 606s for a couple of dollars to kids who could
really use them.
Now the 606 has become a basic tool for many electronic musicians,
including Autechre, Aphex Twin, Plastikman, and Nine Inch
Nails. Its excellent programming interface, bouncy sounds
and small size make it an ideal machine for "just banging
out patterns".
What many artists don't realize though is the power this
machine can have when modified! Individual outputs for each
drumsound increase the usability infinitely, and once you
start modifying the sounds themselves, you can get a very
capable drum machine indeed.
Tip of the cap to http://machines.hyperreal.org/manufacturers/Roland/TR-606/info/drumantix/
for this information.
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|
808
|
The Roland TR 808 is a classic analog drum machine and used
in most R&B and Hip Hop records but also in Dance and Techno
music. It was introduced in 1980. The "booming" bass kicks,
"crispy" snares and that typical cowbell made the 808 famous
and one of the most important drum machines in the history
of music. The SOS Band, Change, Surface, Loose Ends, 52nd
Street, etc. used it a lot.
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|
A
|
| Acapella |
A track containing only vocals - with
no drums, melody or other accompaniment.
|
| Acid |
Prefix to a number of genre names (such
as acid house, acid trance etc) in which the use of the infamous
Roland 303 drum machine creates a distinctive sound.
|
| Adapter |
Any piece of hardware that allows two disparate pieces of
equipment to work together. The RPM
adapter is an example.
|
| ADAT |
The ADAT (a registered trademark of Alesis)
is an eight-track digital tape recorder that caught the recording
industry by storm when it was first released in the early
1990s. Today, with over 100,000 ADATs in use in recording
facilities around the world, it is the most widely used professional
digital recording system. The ADAT was the first product in
the category now known as modular digital multitracks (MDMs).
The ADAT system allows up to 16 ADAT units to be used in
synchronization, enabling the user to build a very cost-effective
multi-track recording environment. The transportability and
modularity of the system makes it ideal for mobile recording
and wherever space is limited.
Digital transfer between ADATs in a system uses a optical
fiber digital communication standard pioneered by Alesis which
has become known as Lightpipe. The Lightpipe digital interface
has been adopted by other manufacturers as a means of transferring
digital data from other types of audio devices, such as mixers,
synthesizers, and effect processors.
The ADAT uses the S-VHS 1/2 inch tape format. This tape is
similar in design to the tape used in consumer VCRs.
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|
A/D Converter
|
An A/D (Analog to Digital)
converter is an electronic device who's function is to convert
analog voltages into a digital representation of electrical
ones and zeros which can be stored, manipulated, and later
retrieved or converted back to analog.
|
| Agent |
Also: Booking agent. A person who deals with the logistics
of your DJ bookings, such as sending out demos and press
packs, negotiating fees and hotels rooms and arranging
flights. An agent usually takes about 15% of your fee
in payment for these services.
|
| Alesis |
Alesis
invented the ADAT, and also makes power
amps, drum machines etc. |
| Ambient |
Ambient, or atmospheric electronica
is background music: it was meant to be heard rather than
listened to. The term is now extended to the more atmospheric
techno music from 0 to 70 bpm.
Illbient is a sub genre of ambient
music invented by DJ Spooky in which the feel of the track
is more disturbing then relaxing. Nu jazz is another sub genre
of ambient.
Ambient also refers to the beginning and end sections of
a track where there are often no beats, or audible percussive
rhythm.
|
| Amplifier,
Amp |
This device amplifies (makes larger or increases) the signal
from the mixer so that a pair (or pairs)
of speakers can be powered. Some speakers are "self-powered,"
with built in amplifiers, but the majority require a separate
amp to operate.
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| Amtrak |
A really bad trainwreck.
After the American rail company, AMTRAK. |
| Analog |
Of, relating to, or being a device in which data are represented
by continuously variable, measurable, physical quantities,
such as length, width, voltage, or pressure. The opposite
of digital.
|
| Anthem |
A track with a serious tone, having
a dramatic crescendo, or build. Also a
very well-known track that has come to typify a certain genre
due to its popularity. Originally referred to choral arrangements,and
other religious songs of praise.
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| Anti-skating
|
A feature found on professional turntables
that prevents the needle from skipping
across the record. Normally used in conjunction with the counter
weight, the value of the anti-skate represents the force
of the tonearm trying to skate away
from the center of the record.
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| Attenuation
|
The reduction in sound level caused by earplugs, and measured
in an NRR rating of decibels
(dB). You should use earplugs that
attenuate 20 dB of sound to protect your hearing in situations
where you have to have difficulty hearing someone speak within
3 feet of you.
|
| Aux
or Line in |
Abbreviation for auxiliary, meaning secondary or supplementary.
In the case of DJ equipment such as a mixer
or amplifier, the aux socket allows
a secondary piece of equipment to be plugged in, a CD
player for example. If you would like to record yourself mixing,
your mixer should connect to the AUX socket on your hi-fi
or stereo.
|
|
B
|
| Back
cue, to |
See cue.
|
| Backspin |
See spinback.
|
| Bar |
A collection of beats. Commonly there
are four beats per bar.
|
| Battle |
A hip hop or drum and bass DJing
competition in which DJs compete against each other in short
sets showcasing their skills and track selection.
|
| Battle
style |
A way of orienting the turntables
on their table so that the tonearm
sides of the decks are furthest away from the DJ, as opposed
to the ususal layout where the tonearm is to the right of
the DJ. This method prevents the DJ's arms from brushing the
tonarm and disrupting their set in the heat of a battle.
|
| Beat |
A unit of rhythmical noise in music, it can be made up of
several notes or fractions of a note. The most common beats
come four per bar (a 4/4 time signature).
|
| Beat
Counter |
An electronic device that counts the beats per minute (bpm)
of a track. Usually this is done by the user tapping a special
pad with their finger in time to the music. The beat counter
then works out how many beats per minute this would equate
to. Very often beat counters and metronomes
are comined in once device.
|
| Beatmatch,
to |
The art of synchronizing and blending two separate tracks
which to start off with had totally different speeds or tempos.
|
| Beat
juggle, to |
This technique is performed by using two records and manipulating
the arrangement of the elements (drum sounds, headnotes, vocals
etc.) from both to create a new rhythmical composition. For
example, in a very simple beat juggle one or more bars of
record A are played, then the DJ quickly flips the crossfader
to the beatmatched record B for one or more bars, then back
to A and so on.
|
| Bias |
When the crossfader or cue
mix is output at a higher volume on one channel
it is said to be biased to that channel. e.g. If the crossfader
is more to the right hand side. It is more biased to the right
channel than it is to the left.
|
| Binary
mixer |
|
| Belt drive |
One of the major differences between turntables
is whether they are belt or direct drive. Belt drive turntables
have their platter driven by a thick
'rubber band' compared to the DJ's preferred turntable, the
direct drive, which is driven by
a motor directly, giving increased torque for a faster pick
up time.
Belt drive turntables are not used in professional DJing
due to their slow pick up time but
audiophiles appreciate high end versions for their long belts
which leaves the motor far away from the needle. This improves
audio quality by significantly reducing motor noise picked
up by the needle.
|
| Black
Lacquer |
Black Lacquer is the standard record pressing industry technology.
The process involves cutting a master plate (a mirror of the
stampers), after which a stamper (a metallic plate that stamps
the record) is made. This stamper is then punched into the
hot vinyl to create the record. The advantages of this medium
are obvious when creating vinyl for dance music. The pressing
can be louder, and contains more visually appealing grooves.
|
| Blank
(or extra) stamper |
A blank stamper is record pressing terminology for a pressing
plate that contains grooves without music or you can have
a blank plate without any grooves. These are used if you want
a blank b-side on your record. An extra stamper is a copy
of stamper that would be made if you wanted your record to
be a double a-side. If you need a single-sided or double a-side
record, you would be charged for mastering and plating for
only one side and for the blank or extra stamper.
|
| Blend,
to |
When a DJ mixes two tracks during the
ambient or beatless part of one or
both tracks, they are blending the two tracks, as opposed
to beatmatching or any other method
of mixing.
|
| Body |
The main part of a track's tune - between the build
up and the breakdown. The "theme."
|
| Booking
agent |
See: Agent.
|
| Booth
|
The area where the DJ, her turntables, mixer and other equipment
are located at a club, bar, rave or other event. In general
it's best to stay out of the booth while a DJ is spinning,
the same way you'd stay out of the kitchen in a restaurant.
Unless you want someone to spit in your soup...
|
| Booth
output |
The cable running from the mixer to
the DJ's monitor, which allows the
Dj to hear what they're doing.
|
| BPM |
Short for beats per minute. The bpm indicates the speed of
an individual track. An easy way to count the bpm of a track
is to count the number of beats in a 15 second timeframe and
multiply that by 4 to get the number of beats in one minute.
This is not especially accurate, and electronic beat counters
are available to do this also.
|
| Break |
The part of a track where the song generally fades down to
an ambient, or beatless section, or
the main percussive elements are reduced or left standing
by the removal of the melodic part of the track. Most tracks
have two breaks in them, one at the beginning and one at the
end, several bars before each end. These can be seen on the
vinyl as smoother areas lacking in grooves when held under
an angled light source.
|
| Breakbeat |
This genre is basically a beat with
a "break" or gap in the continuity of the snare
drums. The most common criteria for breakbeats are clear drums
and percussion in a 4/4 measure. The snare usually plays on
2 and 4: so . 2 . 4. There may also be other snare hits in
the measure that create even more complexity. Examples of
breakbeat music include the genres breaks (also called breakbeats),
funky breaks, nu skool breaks, dark breaks, the Bristol sound,
trip hop, big beat, jungle, drum
and bass and 2 step and their variants.
|
| Breakdown |
Part of a track after the intro and
before the outro where the beat slows
or stops, creating tension before the next section.
|
| Breaks |
Or: Breakbeat. A genre of music
that incorporates a breakbeat rhythm and a bpm
of around 120-140.
|
| Build,
build up |
The areas after the breaks in a record
where the track builds in melodic tension, before hitting
the main body of the tune. This part of a tune is often considered
sacred as they are the most exciting part of a track, alerting
the dancefloor to the ensuing mayhem.
|
|
C
|
| Cartridge |
Also: Cart. The main component of the needle
where vibrations from the stylus are
converted into an electrical impulse. They're attached to
the end of the tonearm.
|
| CD |
Compact disc.
|
| CDR |
Recordable compact disc.
|
| CDRW |
Re-recordable compact disc.
|
| Center
spindle |
Or spindle. This is the blunt spike that points vertically
from the center of a turntable. To
play a record you place the hole in the middle of the record
on the spindle.The spindle can be manupulated with the fingers
to make fine adjustments to the speed of a record when beatmatching.
|
| Channel |
One line on a mixer, representing one
turntable's output into the system.
|
| Channel
fader |
The channel faders allow you to control the individual volume
of each channel by the use of a slider
or knob.
|
| Channel
selector |
This allows you to choose between different input
sources you have plugged into the back of your mixer.
|
| Climax |
The rise in tension within a track that begins in the first
break and culminates in the start of
the main theme of the tune. The exciting
build up!
|
| Closed
back |
In reference to headphones, this
means that the ear cups are closed to keep out surrounding
noise and keep in the noise of the music. It is essential
that your headphones are closed back when playing in loud
environments
|
| Coffin |
This is a heavy-duty case for carrying DJing equipment. Usually
designed to carry two turntables
and a mixer in a long shallow case resembling
a coffin. The lid can be completely removed so that you can
use your equipment with out having to take it all out and
there are many different styles and brands available.
|
| Contract |
A very important piece of paper to the DJ, promoter and their
agents. When properly worded this form
legally binds them to the agreement they've made regarding
fees, accommodation, transportation and
so on. Have a look at ours!
|
| Counter
weight |
The counter weight is situated towards the back of the tonearm
and is responsible for the amount of pressure the needle
exerts on the record. If your needle is skipping
it can help to increase the pressure on it, but applying too
much pressure can damage the record.
|
| Crab |
1) Noun. Crab (scratch). A type of scratching.
Crab scratches can be performed singularly or sequenced. A
close cousin of the twiddle, the crab
scratch sounds like a quicker version of the transform
and the flare. It involves quick taps
on the fader knob with three or four
fingers while cutting out the fader after each tap, using
the thumb.
2) Verb. Crab, to. To perform a crab scratch.
|
| Crate |
A strong, usually metal and/or wooden, lockable box for carrying
records. Some are tough enough to withstand the rigors of
airline baggage handler roughness, others are not. To read
more about crate selection go here.
|
| Crossfader |
Also: fader, x-fader. The crossfader is the main component
of the mixer allowing you to fade between
individual channels or play two channels
simultaneously.
|
| Cue, to |
The act of finding the phrase within the next record you
intend to play in the headphones.
|
| Cue burn |
The act of cueing a record up repeatedly
in one spot, as in hip hop DJing and scratching,
can wear the groove in the record at that point down. the
resulting cue burn can cause the record to skip.
|
| Cue level |
The cue level controls the volume of sound playing through
the headphones. Normally found on
the mixer.
|
| Cueing
lever |
This lever is used to gently lower the needle onto the vinyl
without scratching it
|
| Cue
mix |
The cue mix allows you to hear what is being played on each
channel through the headphones. You can also listen to both
channels simultaneously and some mixers
allow you to pan betwween the cue and what is currently being
heard through the main speakers.
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|
D
|
| DAT |
Digital audio tape. A type of digital 2 track recorder that
uses a small tape cartridge to produce high quality recordings
in a compact format.
|
| dB |
dB stands for decibel which is the official unit used to
measure the level of sound. This measurement is logarithmic
to follow the response of the human ear. dB is a relative
measurement to compare one level to another, for example gain
from input to output. dBu is an absolute measurement referenced
to a voltage standard where 0dBu = 0.775V rms. The console
main outputs operate at 0dBu = '0' reading on the meters.
dBV is a similar measurementbut refers to a 1V standard.
It is common for consumer equipment to operate at the low
standard of -10dBV (316mV). dBA refers to sound pressure level
and is measured using the "A" scael that "hears"
in the same way as the human ear.
|
| Deafness |
A temporary or permanent condition common in the music industry:
protect your hearing with earplugs!
|
| Deck(s) |
Turntable(s).
|
| Decibel |
See dB
|
| Demo |
A tape or CD made by a DJ to show off her
skills to a promoter or other person
who may want to hire them for a gig. Learn
how to make a good one here!
|
| Digital |
A description of data which is stored or transmitted as a
sequence of discrete symbols from a finite set, most commonly
this means binary data represented using electronic
or electromagnetic signals. The opposite of analog
(also: "analogue".)
|
| Direct
drive |
One of the major differences between turntables
is whether they are belt or direct
drive. Direct drive turntables have their platter driven directly
by a motor compared to the less expensive type of turntable
(belt drive) that have their platter
driven by a thick rubber band. Direct drive turntables have
much better torque resulting in a far speedier pickup
time, thus allowing for more accurate and efficient beatmatching.
Don't waste your money on belt-driven turntables!
|
| DJ |
Disk jockey.
|
| DMM |
in record pressing terminology, Direct Metal Mastering involves
cutting a groove directly into copper metal. Stampers are
plated directly from the DMM Copper Master, eliminating two
of the three plating steps required for lacquers. DMM Mastering
produces records with lower distortion, superior high frequency
response, longer program times and quieter surfaces than mastering
on lacquers. This creates a "brighter", more pristine
sound.
|
| Downtempo |
Also: Down tempo, down beat. Any genre
of electronica of about 50-90 bpm.
|
| Drum
and bass |
Also: D'n'b; drum'n'bass. The genre could be described as
speeded-up breakbeats with a slower
bassline. The speed of the drums varies from 140-170 bpm;
the bassline is - sometimes - half of the speed of the drum.
The drums have the breakbeat 1 2
33 4, which means that the 2 and 4 are snare or kick drum
`on the floor', while the 1 sometimes and the 3 hardly always
are syncopated drums (i.e. off the
measure). The bassline is flowing smoothly or pumping energetically,
originating from dub/reggae.
This genre came from jungle
and evolved from the early 1990s onwards. Today different
sub genres of drum and bass are: atmospheric,
intelligent, dolphin, 2 step, jump up, dark, ragga, and jazzy
drum and bass.
|
| Dub |
Essentially reggae in the raw, this cultish, perennially
popular form strips out the majority of the music's melody
at the mixing desk, leaving behind the rhythm section and
the residue of other instruments, often with massive layers
of echo. Reggae records with crashing effects and decidedly
eccentric arrangements date back to the ska era.
By 1969-70 many producers were making largely instrumental
music that was heavily dependent on the rhythm section (the
Upsetters' 'Clint Eastwood' in 1970, for example), and it
took only the addition of delay units such as the Copycat
and Echoplate to create the dub boom.
by 1991 a new breed of dub-inspired musicians, such as Jah
Shaka, Sound Iration and the Disciples, had founded the 'new
roots' movement, and placed the music back on the map, albeit
with digital equipment and modern intentions.
|
| Dub
plate |
Since the early days of reggae sound system the dub plate
has been the format used to present exclusive or unreleased
music, to aid in the promotion of that music, its artist and
producer.
Designed originally to be used as the positive master record
from which a negative stamper would be made, dub plates were
part of the record production process. The process begins
with the artist, producer or label recording their product,
once ready they would then take this to a "cutting house"
where the resident engineer would then adjust any volume,
equalization, compression and other enhancement followed by
adjustments on a vinyl cutting lathe to determine the best
sound quality for the tune.
Most dub plates are 10" and contain one to five tracks.
Their cost varies but in general they are about $40 each in
the USA right now. Usually a DJ can play a dub plate 40-50
times before it wears out, and often dub plates are used as
a status symbol among DJs, representing their ability to get
tunes before they are available to anyone else, or produce
their own tunes.
|
| Dust
cover |
A hard plastic covering for your turntable
that keeps dust out and stops it from getting damaged should
anything fall on it.
|
|
E
|
| Earplugs
|
To help prevent permanent damage to hearing you should wear
earplugs that attenuate, or have
an NRR, at least 20 dB
of sound, on all occasions when you have difficulty hearing
a normal speaking voice within three feet of you. To learn
more about earplugs, read
our article.
|
| Electronica |
This is a genre of music created using
electronic devices such as drum machines, samplers and synthesizers.
|
| Elliptical
tip |
This refers to the oval shape of one kind of stylus.
|
| EP |
Extended Play record.
|
| EQ |
1) Noun. Equaliser. Three dials
on a mixer used to adjust the levels
of bass, mid range and treble. There is a set of dials for
each individual channel on the mixer.
2) Verb. "To EQ" is to adjust the equaliser on
a mixer or sound system for the optimal sound quality.
|
| Equaliser |
See EQ
|
| Exit
or Outro |
Part of a track's structure,
the exit is the last bars where several
elements are usually dropped out to leave a simpler version
of the track to mix out of.
|
| Extra
stamper |
See blank stamper
|
|
F
|
Fader
|
See crossfader or channel
fader.
|
| Fee |
Payment for DJing. Currently in major metropolitan areas
of the USA a local DJ can expect to be paid US$60-$150 to
play for one or two hours, but fees rangng into the thousands
are often paid to well known DJs. Negotiaste your fee ahead
of time with the help of an agent and
a contract.
|
| Filter
|
Also: effects. A device by which a tune can be modified on
output without altering it's tempo - many mixers
come with effects filters, such as flange, reverb, echo etc.
which can be applied to one or more channels at will to alter
the sound of the track. Additional effects devices can also
be routed through your mixer to add filters
to tunes while you play.
|
| Flange |
A cousin to the chorus effect, flanging operates on the same
time-delay principle. This time, though, the distance between
the two identical inputs is constantly manipulated, creating
distance between the sounds. The end result is unlike
the smooth, seamlessly-layered chorus a discordant,
textured wave of sound.
|
| Flare |
The flare scratch, named for DJ Flare,
breaks up sound like the transform
scratch. The DJ begins with the sound on, then bounces the
fader to cut sound then bring it back
in a split second. Each bounce equals one click. Measure your
flare speed in the number of clicks you can manage
in one stroke of your record hand.
|
| Flight case |
Or crate. A record carrying case designed
to protect vinyl from the effects of heat and rough handling
during transit. This term is also applied to cases used to
carry tuntables, CDs and mixers.
|
|
G
|
| Gabber |
A
sped-up type of techno with a 4/4 beat,
generally around 175 bpm. |
|
|
Gain |
How much an electronic circuit amplifies a signal is called
its "gain". Sometimes mistaken for volume, the gain boosts
an incoming signal (from a microphone or an individual channel
for example).
|
|
Garage |
Not to be confused with "garage rock", a genre of punk music,
"garage" is one of the most mangled terms in dance music.
The term derives from the Paradise Garage, a legendary club
which was located at 84 King Street, New York from 1976 till
1987.
However the word garage has meant so many different things
to so many different people that unless you're talking about
a specific time and place, it is virtually meaningless. Part
of the reason for this confusion (aside from various journalistic
misunderstandings and industry misappropriations) is that
the range of music played at the Garage was so broad. The
music we now call "garage" has evolved from only a small part
of the club's wildly eclectic soundtrack.
|
| Gemini |
Well established manufacturer of DJ equipment. Their products
range from the beginner to the expert. Gemini produces some
top quality turntables and a huge
number of mixers catering to all levels
of DJ.
|
| Genre |
A category of music, marked by a distinctive style, form,
or content. A subcategory within a particular genre is called
a subgenre. E.g. nu skool is a subgenre of breaks.
|
| GruvGlide |
A brand of record cleaner liquid that removes dust and prevents
static on vinyl - this prolongs the life
of needles.
|
| Groove |
Refers to one of the narrow channels on a vinyl
record that carry the sound of the track, into which the stylus
fits.
|
| Ground,
grounding |
To prevent static electricity buildup in your equipment make
sure it is properly grounded.
|
|
H
|
| Hamster
switch |
This is a switch on some mixers that
reverses the turntable so that the
right channel swaps with the left.
It is used in scratching to create
effects.
|
| Happy
hardcore |
Fast and furious four-beat hardcore
with wacky, speeded-up, cartoony vocals added. The chipmunks
on meth-amphetamine sound.
|
| Hardcore |
Hardcore has several meanings:
1. A lifestyle and subculture within the electronic music
scene, revolving around hard and experimental musical styles,
appreciation not only of hardcore techno, but other forms
of hard music, as well as abstract music such as noise. The
sub-culture itself borrows extensively from goth and punk,
but with the influence of PLUR from the rave scene.
2. Hardcore,'Ardkore, UK Hardcore, UK Breaks. Music that
was considered hardcore in the early 90s, and the small amount
of music in the same genre that is still made today. Characterized
by intense breakbeats, synth stabs, strings, chipmunk vocals,
and sometimes hoovers, and big subbass. Around 130-160bpm.
3. Hardcore (as an overall genre of electronic music): a
style characterized by hard beats, and often aggressive melodies
and vocals, encompassing numerous diverse subgenres,including:
Acid techno UK Hardcore Happy Hardcore Rotterdam (Dutch Gabber)
Rottertrance (Dutch Gabber + Eurotrance) Gabber (hardcore
techno, but also an umbrella term equivalent to Hardcore)
Speedcore aka Brooklyn Speedcore, Deathcore, Terrorcore, Doomcore,
Demoncore, Noisecore, Breakcore, Raggacore (such as Criminal
Minds - Baptized By Dub, Genaside II - Narramine) Darkcore
(such as Q Project - Champion Sound, Out of Order - The Dark
Sheep) Skinnercore (characterized by being made by Robert
Alan Skinner) and many others
|
| Headphones |
Placed on your head so you can hear an incoming track
while mixing, headphones are an essential
part of DJing. Choose a good quality pair with closed
backs for better bass response and their ability to shut
out external noise. Sony® makes good headphones.
|
| Headshell |
The headshell joins directly onto the tonearm
providing a protective housing unit for the cartridge
to attach to.
|
| Hi-fi |
Abbreviation for high fidelity. The reproduction of sound
using electronic equipment that gives a faithful reproduction
with little or no distortion.
|
| Hip
Hop |
Hip hop is a cultural movement that began among urban African American and Latino youth in New York. The four main elements of hip-hop are MCing, DJing, graffiti, and breakdancing. Some consider beatboxing the fifth element of hip hop; others might add political activism, hip hop fashion, hip hop slang or other elements as important facets of hip hop. The term has since come to be a synonym for hip hop music and rap to mainstream audiences. They are not, however, interchangeable - rapping (MCing) is the vocal expression of lyrics in sync to a rhythm beneath it; along with DJing, rapping is a part of hip hop music.
This genre of music is further defined by some of its
originators here.
|
| Hook |
1. A catchy motif or refrain in a tune that is easily recognizable
and instantly likeable.
2. To hook (up): The connect a mechanism (your mixer or turntables)
to a power source by wiring. E.g. "I have hooked up the
decks to the mixer but you can do the monitors."
|
| House |
1. A genre of music with a four quarter beat: 1 2 3 4 at
about 120 bpm - about the speed of the
heart of the dancer. On the 2 and 4, there is a snare drum
or hand clap; in between 1 2 3 4 of the bass drum, you hear
hi hats. The tracks are finished with some happy/swinging
sounds, generally female vocals and a simple melody. Different
sub-genres of house include: acid house,
Euro house, hard house, progressive house, speed garage, and
tribal house.
2. The word house also refers to the main club or event space,
as opposed to the DJ booth. E.g. "The house volume is
too low but these monitors are blowing
my eardrums!"
|
|
I
|
| Industrial |
A genre
of electronica marked by harsh rhythms,
little melody, and nihilistic lyrics, if any. Industrial is
characterized by deep and densely layered mixes that use samples
of machine noises and industrial sounds. Industrial is also
a subgenre of several other genres of music, such as industrial
rock, industrial goth, etc.
|
| Input
sockets |
Or inputs, ins. The input sockets can be found on the back
of the mixer and on other pieces of audio
equipment. In general terms this where you can plug things
in.
|
| Input
selector |
The input selector is found on the mixer
normally situated along side the channel fader. The input
selector enables you to switch from different input sources,
another turntable or CD player for example. This means that
a mixer with two channels can make use
of more than two inputs.
|
| Intelligent |
So-called intelligent music (an adjective that can be added
on to any genre, e.g. intelligent techno,
intelligent ambient) is that which
supposedly requires extra attention on the part of the listener
to understand. With more complex or abstract rhythms it's
appeal is often lost on the casual listener.
|
| Intro
|
The beginning of a track before the main theme
is introduced.
|
|
J
|
| Jack
|
The receptacle for a plug found on a mixer,
amp etc.
|
| Juggle,
to |
See beat juggle.
|
| Jungle |
The Jungle was the name of a notorious area in the city of
Kingston, Jamaica where reggae and dancehall beats evolved
into what we now know as a form of drum
and bass called jungle. Typified by rolling basslines
and percussive snare drums, the style became popular in the
early 1990's. Jungle is a genre in which MCs
are popular. Lots of the words used by the jungle MC
refer to the Jamaican slang for events taking place in Kingston
- shootings and gang violence.
|
| Junglist |
A jungle DJ or someone who enjoys jungle
or drum and bass music.
|
| Jump
start, to |
Starting a record at full volume (audible on the house speakers)
exactly at a beat, exactly when you want to (also referred
to as cue starting). The record comes in and you have two
records running in phase.
|
|
K
|
| Kill
switch |
These switches will instantly drop one channel's
output, or the bass, mid range or treble of a channel,
from the mix at the flick of a switch - useful for effects
where the DJ drops one track out for a bar,
or a beat or more. Kill switches accomplish
this more cleanly than trying to slide the crossfader
over quickly.
|
|
L
|
| Label |
Or: lable (UK)
1. A record label, or artists management company.
2. The paper sticker in the middle of a record on which the
artist name, title, and other information about the track
are printed.
|
| LED |
LED stands for light emitting diode. LED's are often used
in the output display as a means
of indication of the channel volume
levels.
|
| Levels |
The relative levels of highs, mids and bass output through
the channels of a mixer
when DJing. If you're asked by a sound engineer, the owner
of the sound system or another interested party to "check
your levels" you should take that as a subtle hint that
you are playing with too much treble, bass ect. and should
adjust the equalizers to improve the sound of your set. If
someone takes the extreme measure of stepping behind the decks
and adjusts the levels on your mixer
for you, they are either being quite rude, or your ignorance
of your levels is so great that the equipmnt is at risk of
blowing.
|
| Line or Aux |
Input socket commonly found on DJ equipment (mixers
etc.) and high quality audio equipment allowing line devices
such as CD players to be connected.
|
| Live
PA |
Playing live is producing music on the fly with the use of
drum machines, synthesizers and so on. In reference to a tunrtable,
if a deck is live, it is the one currently playing out through
the house speakers.
|
| Lock
groove |
Also: locked groove. A looped track on a record, usually
containing a simple beat or melody, sometimes a breakbeat.
Used in an intermediate form of performing in between mixing
and live performance, or as an underlying beat in a 3 turntable
setup.
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| | |