The mixtape (or sometimes mix tape) has been an awkward symbol of affection for many people. A story, a theme or an emotion is usually subtlety spelt out over sixty, ninety or a hundred and twenty minutes. This music art form has gained a new breath of popularity recently, with advancements in the availability of mp3s and the range of marketing available for new bands to publish their work through the Internet.

Since the introduction of the cassette tape, in 1963, and especially after the popularisation of the Sony Walkman brand in the late 1970?s, mixtapes began to appear as a way to share new or rare music with friends. The Nick Hornby publication High Fidelity and the film of the same name boosted their popularity further, and created a new wave of mixtape enthusiasts. However, the current trend tends to lean towards the medium of a mix CD, rather than a mixtape. There are the purists who would argue in favour of the mixtape. They would point out the extra time and effort it takes to make a mixtape and the look, feel and texture of a tape as opposed to a CD. These purists believe, and I?m inclined to agree with them, that a mixtape is about more than just music. Mixtapes make great gifts, and as I mentioned in the first paragraph, whilst they may not be a heart shaped box of chocolates, or a bunch of flowers, they are a gift that lingers in the heart and soul of it?s recipient. A gift you can create with enthusiasm, and devotion, a gift with meaning.

There have been and always will be countless discussions on what makes a perfect mixtape. Considering the comments I?ve just made, the perfect mixtape would be something as ineffable as love itself. It would be something personal to you, given by someone who loves you, as you do them. In music terms, there are too many rules to mention in such a short article. Of course, you need to find music that your recipient loves, and also try to fit this into your theme or message.

When creating a mixtape, your must have a strong opening, and the first song is the most important. It must set the scene and tone for the rest of the tape. The last song must also be strong and leave the listener with the full understanding of your message. This does not mean however that the tracks that make up the bulk of the tape can be any song that loosely fits the theme. They must be well thought out, with the receiver in mind. Weaker songs should be weeded out without a hint of mercy, and new songs brought in to replace them. The track listing, that is the order the songs go in, should also be crafted, so as to make the tape flow. With a traditional tape method, instead of a CD you will also have to consider side A and B and the differences between them. You might want to the tape to start mellow, and end with a rockier edge, you might want the opposite. The tracks should be placed in a way that makes them seem as if they have always belonged together.

Many people also go as far as to create cover art and inserts for their mixtape or CD, and this further wraps up the idea of creating a personal one of a kind special gift.

Leaving the idea of trying to send a message or express an emotion, there are also many other uses for the mixtape. I have already mentioned the sharing of new, upcoming music and this is a popular technique used in promoting hip hop, and DJ artists, where the mix refers to the blending of tracks into a continuous piece of music.

Mixtapes however, have the potential to be a promotional tool for any new band, with their fans creating the mixtapes of their favourite independent bands, and then passing these on to their friends. They might also include more well-known bands, with a similar style. Mixtape exchanges are a popular way to make new friends and enjoy new music at the same time.

Mixtapes provide an interesting debate about copyright theft, and this is a very real debate considering the illegal downloading of mp3 files through peer-to-peer and bit-torrent networks. This, obviously, doesn?t apply if you wrote the song yourself but even if it?s not your music, a mixtape, made for a friend or a few friends, is usually regarded as ?fair use? under the Copyright Act of 1976. This becomes a different matter, when the mix is sold or distributed to thousands of strangers. It seems, in the small scale sharing of music, and mixtapes, there is no harm.

Music after all is made so that it can be played and I think it is this idea of sharing the music that you love, with a friend or someone close to you, that will continue the current fixation of making mixtapes.

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Ed Sumner owns two music websites..

http://www.mymixtapefor.com – is a forum where you can create unique playlists, mixtapes and mix cds and the other members will help you to complete them.

http://www.musicismymiddle.com – is an online music ezine published every Wednesday (or Tuesday if you sign up), it concentrates on post-punk-electro-indie-import-emo-rock, or combinations of those genres.

They are both great fun, and free to sign up to, so take a look today..

The Pro’s (and woes!) of becoming a Mobile D.J!

So how do you become a Mobile D.J?, easy!, just call yourself one!. There are no diploma’s or qualifications and no graduation ceremony. However the time may come where you are called upon to demonstrate your D.J’ing skills and often this will be in front of 100′s of people at your first gig. Entertaining such a a large number of people can be a very daunting and nerve racking task.

Not just music and flashing lights

Mobile D.J’ing is different to club or radio D.J’ing. Just spending a fortune on the very latest equipment and latest chart music won’t make you a successful D.J or get you re-booked. Being a Mobile D.J is also about being an entertainer, rather then just being a Jukebox surrounded by lots of pretty lights!. You will also have to play a lot of music genres which you may not otherwise choose to listen to by choice.

A successful D.J is one who plays to his or her Audience, who can break the ice at difficult functions and who isn’t out to satisfy their own ego’s. Most D.J’s learn to read the audience, and are frequently watching the dancefloor to gauge what music will work next. At Mobile Functions such as Weddings, your audience may take some time to get onto the dancefloor and this is where Microphone work is important in order to break the ice, make your audience feel welcome and encourage them onto the dancefloor.

Where and how can I learn D.J skills and get advice?

Some people simply may not be cut out to D.J. Others may pick up the skills in a few months, others may take a year or longer. There is no hard or fast rule to learning the basics. The best, and often the most successful route to becoming a D.J is by helping another D.J at weekends.

Consider volunteering your services to another D.J locally. Helping out as a Roadie may not be financially rewarding but you are essentially learning new skills for free, which would cost you ?100′s on a course. Most D.J’s will often cover your expenses and refreshments, some may even pay you, in return for your help, but don’t expect to live off it, after all they are doing you a favour by teaching you a trade, and sharing their knowledge.

Learning to D.J by becoming a Roadie is the fastest way to learn the business and by actually watching another Professional D.J at work can teach you more than in a classroom or College environment. Most D.J’s themselves got into the business this way, so don’t be afraid to ask.

What music will I need?

This is entirely dependant on the type of functions which you are attending. Most Mobile DJ’s will set themselves up to cover all types of functions from Childrens’ Parties to 75th Wedding Anniversaries, and this means playing music to all age groups. Ideally you will need to invest in virtually all types of Genres. Rock & Roll, 1960′s, 1970′s, Disco, Funk, Soul, Motown, 1980′s, 1990′s as well as the latest chart and club dance music.

If you are setting yourself up as a specialist DJ, offering services for one age group or type of function, then this will be a lot easier to fund and build a music collection. However you may wish to gauge the demand for that type of music and DJ in your area.

What Equipment do I need to buy?

Again it’s not the equipment which entertains, it’s the D.J. By having the latest equipment it won’t make you any better as a D.J. It is possible to start up on a budget of ?1000, which will get you a sound system and a few lighting effects. If your budget won’t stretch to this, then you may need to consider buying 2nd hand or hiring the equipment. More information on choosing equipment is covered on another article.

Any good reason to start off by helping another D.J, is that you gain the experience and also find out if D.J’ing suits you BEFORE spending a lot of money and committment on buying equipment.

Buying a comprehensive music library is far more important than how much lighting you have, and should be your first consideration. You can build up your lighting, and upgrade your sound system (if required) once the work starts coming in to justify it.

What else do I need?

Committment, dedication and enthusiasm is a must. As is patience and a good sense of humour. By definition, most Mobile D.J’s work the weekends, so if you get a good reputation and a full diary, you may have to cut down on your own personal social activities, and this can also put a strain on relationships, so make sure your partner / spouse is also agreeable!.

From a professional prospective, you should also obtain some level of PLI (Public Liability Insurance), as a business within the UK it is a requirement to have some minimum level of insurance cover in order to protect you in the event of causing harm to a third party through accident or neglect. The amount of PLI cover required varies from ?2 million to ?10 million. You may find that ?2 Million cover is adequate for your area, although some hotel chains may insist on a minimum of ?5 million to work at their venues.

You may be asked to produce evidence of your PLI cover before being allowed to set up in some Hotels, and Council run establishments, so it is wise to get cover sooner, rather than later.

How about a D.J Course or Workshop?

These are few and far between especially in the UK, and usually aimed at teaching you beatmixing or turntable skills, which are of little use to the Novice Mobile D.J. If you are aiming for club work, then you may find a course to be of interest, however these courses have limited use on the Mobile Circuit.

D.J courses can cost between ?100 and ?1000s ($100 – $3000). Like any industry there are risks, so it is important to find out exactly what the course involves and whether the information is of any value to you before parting with your money!. Some courses may of little use, others may teach you the basics find out exactly what each one offers and weigh up the benefits to you.

If you are still in education and want to find a list of official College / University courses on further education opportunities in media, radio, stage and technical then ask at your High School for further information.

For more information on becoming a DJ, then why not join our DJ forum at http://www.dj-forum.co.uk or visit my blog at http://blog-community.net/mobiledisco/