Technological Advancements Pose New Challenges For DJs

DJing isn't what it used to be. Vinyl and CDs are nearly dead. They've been replaced by DJ controllers, DVS systems, and digital interfaces. These devices have improved significantly since their introduction, and made converts out of even the most stubborn of DJs. Such technological advancements, however, create serious questions about the future of DJing. From the death of tried and true mediums, de-skilling of the craft, changes in performance expectations, to rampant planned obsolescence of equipment, the DJ space is in flux. And that has left many DJs, including myself, pretty nervous.

I began DJing in 2001. I maxed out my credit card to buy my first equipment: a Stanton STR8-80, a Stanton SK-6 mixer, and a Boss drum machine. I stayed in my bedroom practicing for hours. I dug in the crates of local record shops, practiced routines from how-to vhs tapes (and eventually DVDs), tried to mimic scratches routines from my favorite songs, and scoured internet chat boards for tips. I upgraded my rig when Numark released the TTXs, and began beat juggling, mixing, and developing DJ sets. 

I was heavily invested as a scratch DJ. I was on my decks for at least 40 hours a week for six straight years. I began DJing in a band, at weddings, and performing solo gigs as well. In the spring of 2007, I sprang for one the most amazing products: Rane Serato Scratch Live. I was making pretty good money and wanted to be able to access my digital music collection. It was a perfect fit. With the digital vinyl system (DVS), I could embrace technology while staying true to my roots.

Then came reality. I was able to continue DJing through my undergrad years without much interference. But I made the decision to go to grad school. I scaled back my setup and sold my DVS. I temporarily retired from DJing, save for the sporadic sessions that helped immensely with stress release during exam periods. 

After graduating, I decided to get back in the game. I began surveying the DJ landscape, and found that Traktor Scratch Pro had become a formidable opponent to Serato. When I first observed Traktor, I felt completely lost. I didn't understand, nor particularly enjoy, the methods, sounds, and equipment that the DJs who were demoing the products were using. I was used to the old way of mixing, in which you had two physical decks, transitioned between songs by mixing them together, and added a few scratches and beat juggles throughout the set. That was essentially it. The DJs in the videos (extremely talented, to be sure) had external controllers, drum machines, instant cue points, effects, loops, and samples, all running through a single interface. They hardly needed their decks. I was very confused. 

But I kept reading. Eventually, after about a month, I got it. In fact, I loved it. I figured that I would just use the software in concert with my traditional techniques, and all would be fine.

My plan failed. For the record, I bought Traktor Scratch Pro 2. One "optional" feature of Traktor, and a controversial one at that, is the sync button. This button has caused much debate among the DJ community. Some say it allows DJs to push boundaries now that they don't have to beat match by ear. Others say it allows anyone to become a DJ with the press of a button. And still others say that it is merely a feature that DJs don't have to use if they don't want to. The problem with that last argument is that the sync button is located next to the software's primary visual cue: the sound wave. It is nearly impossible to ignore. And I've begun to use it. In fact, I've hardly beat matched by ear since I bought Traktor. And, frankly, I'm ashamed of that. Yes, I use cue points, loops, effects, and push the boundaries of my song selections. But the sync button serves as a safety net that allows me to do so. I'm definitely not doing the old A to B routine. But I'm still torn over my use of sync. 

With my Numarks getting a little long in the tooth, I decided to look into replacing my turntables. I was shocked to find out that Technics had stopped making its infamous 1200's. And now I've been pondering whether turntables, and scratching, are going the way of the dinosaurs. I've also found virtually no blogs or dedicated sites for turntablism. Could the art that I've invested countless hours into eventually be replaced by (gasp!) dinky controllers with jog wheels and buttons? 

Perhaps the transformation of DJing is just a sign of the times. The world moves at a faster pace than it did when I began, and people are under constant sensory overload by media, television, and the like. Thus, they naturally demand more from a DJ than simple mixes. We also live in a culture of instant gratification. People want everything to be accessible, and to become proficient at tasks without much effort. The sync button, then, seems an inevitable development. Moreover, in an era where corporate power is at its peak, and the drive to push down prices is of utmost importance, is it any wonder that the unbreakable 1200's are being replaced by flimsy plastic controllers and software that requires continuous (and expensive) upgrades? 

None of this is, of course, news to DJs who have been around for the last decade. Yes, we can "vote" with our purchases and provide feedback to the hardware and software producers. We can also continue to support the old mediums of vinyl and even CDs. Yet odds are, whether we like it or not, we'll be beholden to the new technology, or left behind.