Get into the groove – how Gilles Peterson helped improve my DJ skills
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Version 0 of 1. “Are you a DJ as well?” Gilles Peterson asks me in all seriousness. I’m not, but have always had aspirations of being able to do a semi-decent mix at friends’ parties. This is why I have come to Brownswood studios in Finsbury Park, north London, which is lined with enough records to last you a lifetime, many of which tell the story of Peterson’s illustrious career spanning three decades and collaborating with artists as diverse as Roni Size, Reprazent, Gregory Porter and Ghostpoet. As a longstanding fan of his brilliantly eclectic musical taste, it is an honour to be in the basement of the ordinary-looking terraced house where he produces, records and broadcasts his search for the perfect beat around the world, and where tonight he is gearing up for a fondue party. Before the guests arrive, Gilles has agreed to show me the ropes and turn me into a superstar DJ in an hour, just in time for the festive party season. “You do realise that I’m probably the worst person to be teaching you because I’m not known for my technical ability,” says Gilles. He is slightly more mischievous in real life than his laid-back 6 Music persona. Even so, he says: “Over the years I’ve had to learn to beat-match.” And beat-matching is exactly what I will attempt today. I’ve brought along some vinyl that he nods approvingly at. The record that I choose for my mixing debut is a current favourite called Osmondosis. Despite all of Gilles’ charitable self-deprecation, he instantly identifies it as a steady Balearic beat of around 115 bpm, which a slightly forbidding piece of equipment verifies. He’s also impressed with its length (6 mins 58 secs) as every DJ needs to be able to leave the booth. “When I started out at the Electric Ballroom in Camden, I used to play Art Blakey’s Night in Tunisia, the Philips version, which is 17 minutes long. I’d put it on then pop across the road for a KFC.” Fela Kuti is a DJ’s best friend for similar reasons. So what differentiates a good DJ from a bad one? “These days, machines can make you sound smooth and in a way I think people want to hear, not mistakes, but that it’s real. I’ve got to the stage where I like to have gaps. Not all the time but every now and then.” This is, ahem, music to my ears. I once played a wedding set on a single iPod, with gaps between every song. I may not have honed my mixing skills yet, but I have a passion for music that means I still relish making playlists for friends and family. Is having a huge record collection the most important thing? “It’s a combination of everything,” Gilles says. “You need to have good music and humour. You need to remember what you’re doing it for: people are out to get drunk, get laid and listen to music.” He also warns against over-planning because “every moment’s different and you have to be ready for it. It can be a mix that you’ve worked on in advance and practised and it sounded great, but sometimes you need to get rid of a song after two minutes. You’ve got to be prepared to improvise.” Gilles has misplaced all of his needles, bar one (the first rule of DJing? “Don’t lose all your stuff”) so he selects a disco track – Patrice Rushen’s Haven’t You Heard – on a USB plugged into a CD mixer and seamlessly demonstrates how, with one headphone ear on, you can adjust the pitch control so that the second track is the same tempo as the first and then wait for the right moment to bring it in and eventually fade the other out. Now my big moment has come and I’m up on the wheels of steel, in front of one of my musical heroes. I listen with all of my might. Gilles offers a word of advice: “Confidence is really crucial. I have moments when I freak out and I can’t do it.” Then as if by magic – and a fair amount of dial twiddling – suddenly it’s there. I count the beats, wait for the brass section to kick in on the first record and then, with beginner’s luck on my side, somehow fade it out and bring in the disco track just as an ecstatic string section flourishes. I beam. A few other goes are slightly less successful (“that’s what they used to call the Kenwood Chef, AKA bad mixing … ”) and my mind is blown somewhat by Gilles’ demonstration of loops and effects that his fancy gear allows, but I’m not going to let this ruin my moment. It’s been a glittering start to my DJ career, which will probably all go downhill from here. But I leave buzzing, not least because of Gilles’ patience and encouragement. As he says: “Anyone can be a DJ” – even me. Gilles Peterson presents a weekly show on BBC Radio 6 Music, Saturdays 3-6pm. His 10th Worldwide awards will take place on 17 January at Koko in London Hey novice DJ – other places to learn the skills DJ AcademyThere are 15 branches around the UK offering evening classes or one-off day courses to fast-track your mixing skillsdjacademy.org.uk The Vinyl LibraryA record-loaning service in east London to help put together the perfect set, with private and group lessons available. thevinyllibrary.com DJ TutorA collection of free online DJ tutorials so you can practise in the safety of your bedroom until you are up to scratch. djtutor.com |