The Structure of a DJ Mixset
Taking your audience on a purposeful journey
by Brent Silby
Def-Logic Productions
Copyright (c) Brent Silby 2007
DJs have been producing mixsets for decades. On the technical end, the mixset requires the DJ to use technology and skill to blend a range of songs together to create a continuous “suite” of music. In effect, the DJ is producing one long song out of a large collection of individual songs. Artistically, this requires the DJ to select tracks that sound nice together and suit the general style of music. The art comes in recognizing features of songs that make them fit into the mixset. For more on this, see my article “Is a mixset a piece of Art?”
Now, as with all musical creations, a good mixset has a “form” or “structure” underpinning its construction. Obviously a mixset is not simply a random collection of tracks. Nor is it a mere collection of songs the DJ (and crowd) likes. There are good mixsets and there are bad mixsets. Interestingly, many bad mixsets actually contain very good songs. The problem arises from the order in which they have been mixed by the DJ. In many cases, these bad mixsets fail simply because the DJ has not put any thought into an overall structure. Its all well and good playing a bunch of nice tracks that the crowd likes, but if the set does not take its audience on a meaningful journey with a purpose, the DJ may as well simply use iTunes Shuffle.
The purpose of this article is to provide a framework upon which a “theory of the mixset” can be established. This is just a start, and I welcome input from other experienced DJs. I realize that many DJs will naturally go through the process outlined below, and I am not attempting to tell people how to do their job. What I am trying to do is to establish, in writing, the structure of a good mixset. This information will be useful for DJs who are learning, and it will also provide a language which can be used to review and discuss DJ mixsets.
A good mixset needs to take its audience on a journey. It makes no difference whether the set is being performed live in a club, live on radio, or pre-recorded for the internet. The important thing is that the DJ makes meaningful decisions about the tracks to be played, and their placement in the set. In live club situations, the DJs decisions will be made through collaboration with the audience, as track choice and placement will be decided, in part, from the reaction of people on the dance floor.
The Structure of the Journey
There are three major sections to the mixset. These are Introduction, Development, and Resolution. In order to describe the theory, I will refer to House music and its sub-genres. I do this because House is my genre of choice. The theory will, of course, work with other genres.
1 Introduction
The first track of the introduction should, wherever possible, start with no beat. In House music, find a track with an instrumental (perhaps piano) introduction. A piano intro of up to 1 minute would work very well as it eases people into the music. Then when the beat kicks in, people know that business is starting. From here, work through a range of easy going melodies with lots of nicely sung vocals and pleasing harmonic progressions.
Towards the end of this Introduction section, the DJ should attempt to raise tension by shifting the musical key up (further from the starting key). This can happen song-by-song, but requires the DJ to know what key each of his songs is set in. It is a nice touch to move towards tracks with a “searching” feeling.
2 Development (conflict / relief)
Here we have the “main argument” of the mixset. In this section the DJ has found his groove and focuses on a range of tracks that fit that sound. The tension left from the introduction is relieved by ensuring the key stays much the same–perhaps moving down, then up again but with no continuous upward trend.
The DJ sustains this for several tracks (the length of time depends on the length of the entire set) before introducing conflict. This conflict comes in the form of a song (or two) that have a slightly different (perhaps harder) sound, which points to where the DJ is taking this part of the set. For example, moving from “funky house” to an “electro house” or “tribal house” sound. This transition creates tension, which is then relieved when the DJ moves completely to the new sound.
The DJ then continues with the new sound for several tracks before hinting back towards the sound featured at the start of the development section. This is done by sampling vocal aspects from the earlier sound into the harder sound. This builds anticipation, which creates a new tension to be resolved in the resolution section.
3 Resolution
The end of the set is signified by a return to the style of music contained towards the end of the introduction and start of the development section. However, here the DJ needs to decide whether to leave the set on a high or a laid back sound. If the DJ wants to complete the set on a high, he needs to create a short transition from the harder sound in the Development section back to the up-lifting sound from the beginning of the development. This should be done by finding a suitable up-beat track that is set in a minor key, and then (after maybe 2 or 3 more tracks) ensuring that the set is finished on an uplifting song in a major “happy” key.
The same is true if the DJ wishes to finish on a laid back note. The only difference is that the tracks selected will have a more relaxed feel, similar to those used in the introduction. The music may transition to a minor sound before finishing in a major key.
Now, a mixset can be as long or short as you want. Many sets for the internet or radio are between 1 and 2 hours in length. This is a good length of time to run through the formula of a mixset. In longer sets (for example, an 8 hour club set) the DJ can repeat the entire process several times, or stretch out the set so that the Development section runs for an extended period of time. A possible structure for a long mixset would be:
Introduction,
Development
conflict / relief /
conflict / relief /
conflict / relief,
Resolution
As I stated earlier, this is the beginning of a definition of the musical form we call the “mixset”. It is far from complete and I have based it on both my experience as a DJ, and my experience as a listener/reviewer of mixsets. I welcome all ideas and input to make this theory more robust and useable. The end goal of this project is to have a definition of “mixset” that people can consider when building or discussing mixsets.
See also
Is the DJ an Artist
Last year I wrote some thoughts about DJ’ing with mp3s. I concluded that DJ’ing with a computer does not feel as good as using vinyl. Now, with the cost of vinyl and the difficulty in getting the variety of tracks I want, I decided to run a digital experiment…
Last night I DJ’d with a Laptop
Over the last few weeks I digitized a selection of my records and purchased the Traktor DJ package. Last night I took my laptop (and vinyl for a backup) to a gig at which I was to DJ an hour long set. I set the computer up so that the “decks” were plugged into 2 separate channels on the Pioneer DJM mixer. The alternative would have been to use the faders on the screen with a mouse, which I didn’t want to do. I used hotkeys to CUE/PLAY tracks and for pitch bending. I also had a hotkey for SYNC, which synchronizes tracks. Let me say now that no matter how good Traktor is, DJs should not rely on SYNC. The tracks do drift, and sometimes the sync function leaves a fraction of a second between each track so you hear a double beat. You will often need to use the pitch bend to align tracks perfectly.
So I did my set and I think it sounded really nice. I did find that using the laptop lacked the tactile appeal of turntables. There’s something nice about picking up a record, putting it on a turntable and manipulating it. I also found it more difficult to select songs. Usually I select tracks by flicking through my record collection, and I recognize certain record sleeves visually. With Traktor its just words, so its actually harder to find the songs. But that’s just a matter of getting used to reading rather than looking.
For my next Digital experiment, I plan to use the Vestax VCI-100 midi controller plugged in to the laptop. This controller has jog dials, pitch control sliders, play/cue buttons, and a range of assignable controls. DJ’ing with this controller would be very similar to using CDJs or Denon type setups. I think it will provide a more tactile interface than simply hitting keyboard buttons, and thus it may bridge the gap between mp3s and the enjoyment of working with turntables/CDJs.
As soon as I get the recording from last night, I’ll post it here.
Brent Silby (2007)
Is a DJ an artist?
People often ask: is a DJ an artist? This is a difficult question. Sure, there is a certain skill involved in DJ’ing, but does that make the DJ an artist? There is skill involved in driving a car but no-one would call driving an art-form. Is the same true of DJ’ing?
I believe that DJ’ing is a form of art. The purpose of this short article is to explain my reasons for holding this belief. My goal is to convince the skeptics that DJs should be put into a similar category with other artists. Musicians, composers, painters, and photographers are all artists that have learned a skill. They use their skill to bring about emotion in other people. They do this by either creating something new, or by capturing a unique scene or moment in time, and then making the result available to an audience. DJs are the same. They use their skill to create mixsets, and in doing so they are capturing something unique which can be made available to an audience. To strengthen my point, I will draw an analogy between a photographer and DJ. I believe that if photography is a form of art, then so is DJ’ing.
So, what does a DJ actually do?
At its most basic level a DJ selects a range of musical pieces and plays them to an audience. The primary goal is to make people dance. But is this art? Surely an iPod on random shuffle can do this. We wouldn’t want to call an iPod artistic–especially if it is random. Of course, this is a naive view. An iPod on random shuffle cannot keep people dancing. Occasionally it might play an agreeable song, which some people will dance to. But that is just blind chance. Its pure luck. An iPod is not an artist.
So what does a DJ do that an ipod does not do? There are two important aspects to DJ’ing. First, there is the process of mixing. Second is song selection.
1) Mixing:
A good DJ will blend songs together in order to create a suite of music in which the audience is unaware of the transitions between tracks. Not only does this keep a dance floor energy on a constant flow, it can also sound very good when elements between two songs interact. Mixing is a technical skill that many people can learn. It is important, because it gels the music together, but ultimately it is a mechanical process and therefore not artistic in itself.
2) Song selection:
The most fundamental aspect of DJing is song selection. A DJ selects a range of tracks that mix nicely together in order to create a “mixset” (sometimes simply referred to as a mix). When a DJ does his job well, not only will the set be seemless, it will also take people on a musical journey which is almost symphonic in structure. The set will start in a certain place and take people through highs and lows, light and shade, through major and minor keys. This is not done randomly. It is done by carefully considering the mood of the people on the dance floor while also considering which songs mix well together. DJ sets often build up to a peak in energy before gradually coming back to the same level at which they started. Other DJ sets can start off subtle and continue to build people up, increasing the energy and excitement to a crescendo before rapidly dropping back down. Sometimes a DJ will end his set at the crescendo.
The important feature of the DJ mixset is the journey that it takes its audience on. And it doesn’t have to be live. A DJ can mix a set on radio or in a studio which will take its audience on just as powerful a journey–though this is more difficult because most mixsets are constructed in reaction to the audience.
So, how is this art?
Well, it is art insofar as the mixset is a unique suite of music, which can be considered as a complete unit. It is built out of a range of separate tracks that the DJ has consciously chosen to include in the greater whole. It is not a random selection. The DJ has chosen the tracks for a reason–to generate emotions and feelings. Furthermore, this is not something that anyone can do. DJs are like music filters. There are thousands of tracks released every year, and the DJ has to filter through them and decide what is good, and what is not good. The DJ has to decide what to put into his set for people to hear.
But is this art or just musical taste?
It is art in the same way that photography is art. Consider a photographer. She will go in search of scenes that she believes have certain qualities. Often the scene a photographer finds can look quite ordinary to other people. In fact, many people might walk by without noticing. The photographer sees something unique and beautiful in the scene and uses her technical skill with the camera to bring out its best qualities. The resulting picture is then made available to an audience. The same is true for a DJ. The DJ finds music that he considers to have certain qualities. The DJ then uses his technical skill to blend his chosen music together in a way which brings out the true beauty of the individual pieces. In this way the DJ is like a photographer. If a photographer is an artist, then so is the DJ.
Conclusion
My goal in this article has been to show that a DJ is an artist, and the mixsets he produces are a form of art. There is more to DJ’ing than the mechanical act of mixing. Good DJ mixes do not consist of random song choices. There is an artistic process at work. Just as a photographer picks scenes that already exist and packages them in a way that makes them appealing to an audience. A DJ picks music that already exists and packages it in a way that makes it appealing to an audience.
A mixset is a piece of art.
Brent Silby (2007)
One of my longterm goals is to bring house music to a wider audience. When you think about it, the only people who regularly get exposed to house are club goers. And many of them do not really know what “house” is, since they frequent a variety of clubs with different styles of music. Its interesting to think that house music has been around since the early 1980s, and to this day (2006) it is still largely confined to clubs. I would like to take the music out of the clubs and expose it to a larger audience.
Why?
I think people are generally musically deprived. When I listen to top 40 radio (very rarely) I always hear the same songs played over and over again. I guarantee that if I switch on the radio right now, it won’t take long before I hear a song that has been on the playlist for over 2 years. This fact isn’t bad in itself. Afterall, if the music is good, then it should remain on the playlist. The problem is that the music is not that good. It is pop music, designed to be listened to for a couple of months and then thrown away. It was never designed to be listened to daily for 2 years. And since it is played over and over again, people’s musical knowledge and taste cannot grow passed the simple pop tune. I believe that many house tracks have a level of sophistication that sets them apart from pop music. I think non-club goers should be given the opportunity to access this music.
Now, I know that there are countless house mix CDs and there are some stations that play house sets. But the problem is that the general public will not try these out because they are unfamiliar. People tend to stick with what they know. So the question is, “how do we bring house music to the people?” There is no simple answer to this question, but I think the Internet is the place to find the answer. If sites containing house music can be made mainstream–linked to from other mainstream sites, then people may be tempted to try the music. Changing a radio station is risky for people who like familiarity. But clicking a link is a low-risk activity.
House is great music, and I would love to make it available to more people. I believe our goal should be to get house music mixes linked from a range of non-related, mainstream sites. Tempt people to try it out. As long as the music remains true to its origins and does not devolve into a “pop/house” blend, I think reaching this goal will help grow innovation in house music.
Brent Silby (2006)
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There is a distinction between different types of DJ. First, you have the so-called radio DJ. Traditionally this refered to the host of a radio show. In the past these show hosts were responsible for setting up music on turntables or carts (like tapes) and pressing “GO” at the right time. But this type of radio DJ’ing is a thing of the past. The role of a radio show host is more that of announcing songs and promos. The music is generally automated, and run from a computer. The playlist is generated by an algorithm that takes into account the target audience, who’s paying for commercials, and a bunch of other factors. In most cases the show host has little input in the music.
Having stated this, radio DJs still exist. But they are not radio announcers. Many stations offer mixed shows, which are run by DJs who select and mix records club style. These DJs are essentially “Club DJs” who are playing mixed sets on radio.
Club style DJs are what I want to talk about here. I say “club style” because they may be DJ’ing for radio or for the Internet, but the style of DJ’ing is in the tradition of the club DJ. Now, what is a club DJ? What do they do?
The skill and art of DJ’ing is far more intricate than many people appreciate. The DJ has to play a selection of music that runs nicely together and creates and experience, or journey, for his/her audience. In order to do this, the DJ has to do a lot of work behind the scenes. The DJ has to build a record collection that suits his or her chosen genre. Now, this is not an easy task. Consider how many house records are released every year. Hundreds! The DJ can’t simply collect them all. The DJ needs to find a style of music that fits well with his or her musical taste and collect music that fits into that style. To do this the DJ has to sift through all the releases, and scrutinize their sounds. The DJ has to be discerning and choose only those records that fit within his/her musical sensibilities. In this way the DJ develops his/her own distinct sound, which will be different than other DJs.
This is important because the DJ’s audience need to know what type of sound the DJ has to offer. People want to go out and listen to a DJ who they trust. People enjoy going out to a show knowing that they will like all of the songs the DJ plays. People know that the DJ has collected songs that they think are worthy. People enjoy getting to know a DJ’s style and feel safe in the knowledge that the music will be good. DJs become popular because of their musical tastes.
I believe this is the DJ’s goal. When people listen to one of my sets, I want them to think “yes, that’s Brent’s type of music. That’s Brent’s sound”. This is what a DJ does. The DJ sorts through available music and integrates the songs they like best into their collection. In this way, the DJ creates their own distinct sound.
Feel free to add comments and thoughts to this post 
Brent Silby (2006)
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Pulzar FM is run by Andy Pulzar and Jason Akehurst and broadcasts on 105.7fm in Christchurch City. For the last 6 years Pulzar has been filling a niche in local broadcasting, providing a range of shows that cover all of the major genres of dance music. Many of the daytime shows offer a mix of dance music from a range of genres. The evening shows are dedicated to specific genres and usually take the form of mix sets provided by local DJs.
Apart from being the only local station that caters specifically to the dance music audience, Pulzar FM has also been fundamental in providing a platform for exisiting (and up-and-coming) DJs to gain exposure across the city. Pulzar has been responsible for the promotion of many International acts in Christchurch city, and has helped bring dance music to a wider audience. In this way, Pulzar FM has become one of the central pillars in Christchurch’s dance music scene.
Like all genres, House is in a state of evolution. Music changes through time. The early house sounds from the legendary “Warehouse” club in Chicago circa 1983 are different in many respects to the sounds of today. This evolutionary process has given rise to branch genres of house. Today you can listen to Vocal House, Deephouse, Hard House, Acid House, Tech House, and many more genres of music that have branched out from the earliest House beginnings. Perhaps it is the existence of these different branches of House that cause the confusion in the general population.
A point that I think is worth making clear to people, is that the traditional House sound still exists. In fact, its incredible how little the sound has actually changed. If you can get passed all the subgenres of House and find a pure House track, you will note a direct similarity to the original House sound.
I have found some sites that I thought would help to make this point:
Wikipedia has an extremely informative article on House music. Click…
Phil Cheeseman wrote this interesting article back in 1995, which covers the origin of House. Click…
And here are a selection of classic house tunes that will further help with the definition. These are hosted on Anthems.com
These are RAM files, and require REAL player.
Enjoy these classic sounds
Listen to: Shirley Lewis - Feel Aright
Listen to: Smallage - People of all Nations
Listen to: Eden - Do you Feel For Me
Listen to: Opus III - Its a Fine Day
Listen to: Gat Decor - Passion
Brent Silby (2005)
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My only disappointment was the fact that the DJ was not playing Vinyl or CDs. He was playing MP3s, which were being run from a pair of laptops. I remember a few years ago I played around with mixing MP3s on a laptop. It seemed to work okay (in fact, with the help of the computer it was perfect), but it didn’t feel as good. Now, the DJ at Capital was mixing between 2 laptops, so there was no automation involved in the mix. So he was demonstrating a skill which is far better than letting a computer do all the work. He told me that he finds it really convenient to move 2 laptops around rather than carry a collection of records or CDs. This is a fair point, but I can’t help feeling that mixing between laptops lacks a certain “coolness”. So in my mind, the Vinyl/CD/MP3 debate is still alive.
Here are my thoughts. When a DJ uses records, you know that he/she has put a lot of effort into tracking down the tunes that he/she wants to play. They’ve searched for them and purchased them. Anyone can download a few thousand MP3s, but it takes dedication to find suitable records. Another point is that mixing with turntables has a “coolness” factor. It looks good, and sounds good too. You know that the DJ has had that intimate contact with the music. Its the actual music on the record, not just a digital representation of the music.
Since getting back into DJ’ing, I’ve been growing my music collection. I had a choice between MP3s, CDs, or Vinyl. I’ve opted for Vinyl despite the fact that its more difficult to get a hold of. I know this is a matter of opinion, and people are welcome to disagree with me, but I have decided that I prefer Vinyl.
Brent Silby (2005)