Anthrocon 2010 DJ Auditions are OPEN! Deadline is January 1st
Hey there DJs! Are you interested in some Stage Time at the Anthrocon 2010 dances? Prepare your audition mixes! Every year, Anthrocon provides many hours of dances, showcasing the talents of some of the best DJs the Furry Fandom has to offer. If you're interested in being a part of this magic, send us your audition mix (details below). All auditions must be received by January 1st! Selection will begin in January.
In order to DJ at Anthrocon, you must submit an audition mix. The best format is MP3, but almost anything will do. If you're not sure if your media is acceptable, e-mail the address below to find out. Most likely we'll be able to work with it.
Please be sure your mix is at least 30 minutes, and at most 90 minutes. When considering DJs, the following items play a part in selection.
- Live mixing skill
- Phrase and beatmatching
- The use of mixing hardware
- Song selection
- Genre (Don't assume we won't play what you mix, take a chance! If it kicks ass I might book you even if we've never had that genre before)
- Attitude
- Experience
Please understand, no single one of these things will determine who gets to DJ and who doesn't. The selection process is a balancing act.
Send all questions and comments to: smblion at anthrocon dot org
how "clean" does the music need be? what is your policy with explicit lyrics?
Hello again! I have one last inquiry; at the moment i have put several mixes together pretaining to diffrent genres of music. Each one is about an hour long (there's 4 of them). Are multiple mixes allowed for submission? I know it seems like a silly question considering all the mixes you probably recieve. I have a hip-hop/rap, electro, dance/house, and dubstep mixes. If only one mix is allowed, which genre would you be more partial to?
Since you're not getting an official reply, I just want to point out from the perspective of someone who's been doing this in clubs and then at cons nearly ten years now - as a DJ, when you're auditioning you're trying to prove that you know what the crowd wants to hear and can give it to them without them asking.
A DJ's one and only job is to pick the right tracks for the situation. Seamless transitions, performance, and general style are all added bonuses, but the only reason you're really there is because you know what the crowd wants to hear better than they do. Part of proving you have what it takes is proving you understand how to read and play to a crowd, so this is an important aspect of your demo.
Just some unsolicited advice.
Amazing, I've been saying the exact same thing for two years now; and no one ever listens.
This is absolutely great advice I think.
When we are reviewing auditions, the number of mixes sent in does not reflect any sort of advantage in getting a spot. That said, I personally feel that the best DJs can prove their talent with a single one hour mix, and indeed do every year at the convention.
"A DJ's one and only job is to pick the right tracks for the situation. Seamless transitions, performance, and general style are all added bonuses, but the only reason you're really there is because you know what the crowd wants to hear better than they do."
You have a good point and please don't take this personally, but I think there's more to a DJ's job than being a living jukebox. Nothing gets me off the dance floor faster than when a DJ lacks mixing skill, especially if the music is good, whatever kind it is. I agree that the DJ should supply a good set of tracks, but it's the mixing that really shines. Otherwise, why not set up a cardboard dummy and hook up a laptop with continuously played tunes? Good live mixing is a unique way to hear music and it's a real treat when a DJ can both please the majority of the crowd's tastes and take them on a audio journey at the same time.
It's also important to point out that playing only for the crowd applies mostly to situations where it's the DJ's specific job to perform for the crowd, i.e. promotional, paid gigs, open requests, etc. Even then, it's really the DJ's skill that will set them apart from just playing pre-recorded music. The con dances are not only a great way for attendees to get down and boogie, but they're also a relaxed atmosphere where a DJ can express themselves. A balance between the two is what should be judged, IMO.
Again, this isn't meant to be a flame or cause any anger. 
P.L.U.R.!
Otherwise, why not set up a cardboard dummy and hook up a laptop with continuously played tunes?
If we're going to go that route, I'd suggest an inflatable DJ instead. DJ Otto, anyone?
For those who don't get the reference:
Just as long as he doesn't have to be re-inflated during his set... 
I wuv you, Giza!!! That is the coolest. 
"This was a bad week to stop sniffing glue..."
We could go that route, but DJs like that tend to be full of hot air. You find one little hole in their work, and the whole thing falls flat.
I think you're spoiled by good DJs.
I never implied the DJ should be a human jukebox, but you listen at some of the top DJing acts on earth, they can't mix for shit. Anabolic Frolic ruled the happy hardcore scene in the US for like 10 years and could not string two tracks together without trainwrecking. His STUDIO MIXES were not even mixed to the quality that most part-time bedroom DJs can pull off. Noisia routinely get up and stumble through terribly mixed sets to sold out, screaming crowds because they know exactly what to play at the right time.
You're oversimplifying what I'm saying, but a good Dj doesn't need to get up there and mix. They really don't. It's not about being a jukebox either. A good DJ reads the crowd, that's it. What defines the quality of the DJ is not the skill with which they mix, but it's what they play and when. You don't even need to play songs that people -know- - you just need to get up there and find the right track with the right mood for the right moment and drop it on people just when they want to hear it. That's what it is. That's 100% of it. That's why people can plan out in advance every moment of their set, practice their mix over and over and over again and flow through a perfectly fluid set and empty the floor, while someone can stumble onto stage drunk with a bunch of records, slap down track after track with 4-bar mixes and one drops and absolutely slaughter.
Mixing is good, and I'm not saying that it's not a definite plus, or even that it's not required to get a spot at AC, because AC does judge pretty heavily on mixing ability. I know I practice pretty much constantly. But there's an underlying, far more important skillset that you need to develop well before you even bother trying any sort of advanced mixing, and if you nail that down then the other parts come pretty much naturally :]
This is the most important thing I've learned in my 10+ years on the circuit :]
You are correct! By simple definition, a DJ is the person who is responsible for playing the music. Mixing or no mixing, it's as simple as that. And anyone can do this, as long as they have the music and equipment to play it on.
I am spoiled by 20+ years of involvement in the dance music scene. Back when Technotronic's "Pump Up the Jam" was the break-out track (I'm pushing 40), I had started going to an all-ages club, then we got our first raves in '92 along with world class DJ's (whom we had no idea at the time); Carl Cox, Mark Farina, Doc Martin, my personal hero from Seattle--DJ Q-Bert (gotta represent) and a ton of upstarts from up and down the west coast. In the next few years, I helped start up the local scene with some very talented friends. The highlight was opening for DJ Dan and getting 800+ people grooving and cheering. Not to toot my own horn I dropped out of the scene as the DJ's egos and technology started taking over for talent, and quietly retreated back to the bedroom, which is far more relaxing anyway. But nothing beats the rush of getting a whole room full of people up and dancing non-stop through a whole set. Mixed or not! 
Keep on keepin' on, Protocollie! Much respect 
That's not at all what I said.
"You are correct! By simple definition, a DJ is the person who is responsible for playing the music. Mixing or no mixing, it's as simple as that. And anyone can do this, as long as they have the music and equipment to play it on" is not in any way, shape or form what I said. Please don't patronize me. I take pride in my craft and I'm not trying to reduce it to button pushing, but your insistence on implying that some sort of arcane and pretty much removed-from-the-loop skillset is in any way important is a bit silly.
Not anyone can DJ well. Anyone can mix. Anyone can match the speed of two songs together and make a smooth transition. A trained, drunk, one-armed monkey in the middle of a having stroke could do this. A laptop can't keep in touch with the crowd, find out how they're feeling and tailor the next track the mood of the room. A laptop can't sense the energy level, a laptop doesn't know when the floor needs to be slowed down a bit - it can't do that. That's what a DJ's job is. Furthermore, if you're a DJ and you're NOT playing for the crowd? You suck. If you're at a dance event and getting all technical in your head with emotions and feelings and shit and the floor is standing still staring at you, you're failing. Massively.
Choosing what is played is the important skill. That's what defines a good DJ versus a bad one. Do you mean to imply that Noisia, who have single-handedly exerted massive influence over the D&B scene and upped the bar as far as production and creativity go, are just human jukeboxes with no skill? Do you really mean to imply that frolic, the man who single-handedly imported an entire scene to the US and somehow brought legitimacy to a completely silly genre stateside is in no way talented?
Even if you can mix competently, not picking the right tracks pretty much fucks your mix. 95% of getting a decent mix is knowing your music, knowing what'll work, what transfers energy well, what'll get you to the desired level without killing the room. I spend more time worrying about if there's too much or too little high hat in a track following a huge stomper than I do about the mix which generally falls together on its own. The right choice of tracks is absolutely essential to a good mix.
I don't mean to say that I don't -really- prefer a well mixed set over a wrecky one, but all I'm saying is that on the scale of important skills, knowledge of your music is number one, reading the crowd is number 2, and mixing is a distant, DISTANT three. I have definitely rocked out long nights to DJs who'd do the most basic of mixes but kept throwing just the right shit down.
I sincerely apologize for offending you! I meant nothing personal. This is why I stopped being a professional DJ. Before I throw anymore gas on your fire, I'll bow out of this one.
lol k. first off, i'm not offended, i just think you're wrong and am incredibly, INCREDIBLY put off by the type of person who name drops. attempting to validate yourself by throwing in the names of other people more skilled than you is silly.
furthermore, there's a difference between 'meaning no offense' and 'being passive aggressive and saying you mean no offense.' no matter how many times you said 'i mean no offense' or 'it's not personal' you took a very belittling and rude tone with me, which is the exact opposite of your stated intent.
just sayin'.
This is fundamentally what I've been saying for years, and not that it needed it (cause you already knew), proved at FCN. All the crowd cares about is that they hear music they like and that it keeps then involved and entertained.
Mixing ability is of course an apreciated skill & a bous, but it's low on the crowds priority leval, I agree completly with everything you said.
In reading this thread, I'm not seeing a signifigant disagreement with the other guy and am not real sure where the tensions between you are coming from.
The music scene is such a touchy one in general.
Deleted due to my quick temper. I have nothing but respect for all who share their love of music and dance. Friendship and peace are a major importance to me and I want to exstinguish the fire I set to any bridge reguarding this topic. Much love to all!
there's a lot of ego. everyone can try and pretend like there's not but there is. when people have a lot of ego and disagreeing viewpoints it explodes sometimes. :]
kaiki and i paved this over in private; i think things are good. sometimes shit like this just gets intense :]
Yup, the road has been smoothed out and now it can be traveled without the hard bumps. Unless the bumps are coming from the 15" subs in the trunk Thanks, Protocollie.
My ego is massive and unwieldy... :B
I would also like to point out that BT, who is eternally my hero and someone I have untold respect for, can't mix to save his life...great producer and great performer, however...but can't mix worth a shit, bless his heart. <3
Wish i new how to DJ have lots of music that people seam to enjoy. All the best to the DJ's this year!
Not sure if I missed the deadline or not...I do plan to be at Anthrocon and would again be honored to entertain at any of the dances provided should space allow. I played foir you last year so a mix wasn't requiredm just making sure My interest was recorded, I think I had emailed you, but wasn't 100% sure.
Goodluck to all involved. It will be a series of entertaining dances regardless of who gets the spotlights in 2010
Heya,
Dakk here -first time subscriber, full time audiophile.
I was wondering if someone could define "Phrase matching". I've never heard of such a thing, and was wondering if someone out there could help me out with a lil edumacation?
Thanks. 
Dance music comes in sets of 4. 4 beats to a bar, 4 bars in a repetitive loop, 8 bars before a splash or minute change, 16 bars before a minor change, 32 bars before a significant change and 64 bars before a huge change. Most music follows this structure.
When you mix so that the downbeat of these 'phrases' of bars is the same on both deck A and deck B, you'll find that the tracks will change in sync with eachother, that the chord progressions and rhythm will match better, hats and percussion will sound slicker together and things like snares and crash cymbals will happen in both tracks at the same time leading to a way, way more cohesive and pleasant mix. If you've got two tracks that are changing at different times from eachother with crashes going off willy nilly and snares banging at different times, you wind up with something unpleasant that instantly kills anyone's will to dance.
It also gives you the chance to do cool stuff like match the builds of two tracks in time and have them both peak at once before cutting to just one, or take the lyrics and hats from one and the bassline from another and mash them up in a way that still makes musical sense.
That's phrase matching.
Dance music comes in sets of 4. 4 beats to a bar, 4 bars in a repetitive loop, 8 bars before a splash or minute change, 16 bars before a minor change, 32 bars before a significant change and 64 bars before a huge change. Most music follows this structure.
If I knew there was so much math in music, I think I would have paid more attention in music class. 
And to think, I'm awful at math, but great at music...go figure...
So then would math be musical numbers? *flaps away quickly*
If only it worked that way...I guess that the music is just intuitive, where as math is challenged by dyscalculia...fuck me.
THANK YOU!! 
I don't know if anyone has said it yet or if he himself has put it out there. But it would be beyond awesome if you guys could talk to Renard and get him to do a live set at AC. He is simply amazing and if you don't know who he is yet check nsRenard on youtube.
He didn't audition.
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