NietzSKY

Honestly, if a family enters into the equation, my thinking is going to change entirely. Wedding dj business is a great way to keep doing what you love while supporting your family. I’m still in the “being broke is fine as long as I’ve got my gear/doing what I love.” If I start looking to settle down, I may have to change my life-philosophy =)

It’s very hard to gauge what price you should set on djing any event without a face-to-face with your client. You may be selling yourself short, or trying to offer a bargain and give the impression that your quality is reflected in your price. Where club/party djing seems more geared towards the artistic, it seems a good wedding dj is a master of marketing/business (you don’t even need to really mix or do much of anything at weddings, just have a good mic presence and play the stereotypical stuff you hear all over). One of the guys who gave me pointers when I was starting off was a wedding dj, and cue-juggling/daisy-chaining were completely new terms to him; even mixing outside of A to B was some alien concept. At the same time though, he’s having no problem supporting his family or finding work.

If you are going hourly, if you’re just starting weddings, anywhere from 35-50 an hour depending on competition in your area.

Ideally I would write it on sheet music, but then I’d have to make a pdf/ post the pdf. Also, this assumes that the notation software on logic is accurate (as far as the melodic structure, that was done by ear, but my ear isn’t the greatest and trying to identify 5-6 distinctive tones in a chord can be tough).

Real short theory explanation;

Gm 7/11 would be a g minor chord with a 7th and 11th interval added.
A suspended(sus) chord is a chord where the 3rd is omitted in place of a 4th (sometimes it’s a 2nd, but most commonly it’s a 4th).

Unmodified chords in terms of interval are 1 (the root of the chord), followed by a 3rd interval and 5th interval. There are some inversions/weird stuff going on in the chord structure, so I would just stick to trying to compose something that sounds good with the governing melody (the most noticable sounds in the chord progression).

Cupid Shuffle, Macarena, Electric Slide, I gotta feeling, shots, and any other incredibly generic song you can think of that has no soul.

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…. You gotta be shitting me, I tried signing up with my musician page facebook and now I can’t even access this. What’s up with that coding.

Formal training is an amazing thing. If you have the means, I would definitely go for it. With that being said, I refuse to believe it is mandatory. Let’s remove dj/producing, and ask “can someone self-taught be as successful as someone formally trained.” The answer, regardless of field, is yes (but it may take longer and require more perseverance).

When it came to classical composition (I’m no Verdi mind you), I had been self-teaching myself for 2 years before I studied under an instructor. For 18 months, I studied tonal music about 50 hours a week. I learned a great deal through the emulation of Bach, Chopin, Mozart, etc. (the highest form of flattery is imitation, afterall).

When I started instruction, my pieces were more intricate and displayed a better understanding of theory than guys who have had 4-5 years of formal training. Also, because of the struggle I put in, I feel I retained information much better than just doing an assignment, moving on to the next technique, and then forgetting about the previous assignment. However, I did notice when dedicated under an instructor, I was progressing at a much faster pace. I was always weak in regards to fugal composition, and with an instructor to guide me, I found myself increasingly advance in this area.

TLDR: You’ll progress faster with formal training, but I wouldn’t deem it mandatory. If you are constantly reading/watching tutorial videos on synth programming / your DAW of choice and watching what other djs do with their sets, you will acquire the techniques you seek. While I can’t speak for production (only composition) I can tell you it takes years and years to develop your sound and to have people hear a song/piece and know you produced it. With production and the sound-creation process it may be different.