DJ/ Producer

By ROBIN MARTIN


Name: Andy Morton/DJ Submariner

Age: 29

Job: DJ/producer

Employer(s): Radio stations (George FM), clubs ( Khuja Lounge, 420) record companies (Sony, BMG and Festival).

Pay: Pay rates range from $100 an hour for DJ work (shows are two hours on average) to $1000 for corporate events and larger dance parties. Record company and broadcaster rates vary.

Qualifications: Graduate of Diploma of Audio Engineering, SAE Institute (Auckland), wide knowledge of music, lots of records. Other courses available include Certificate Audio Engineering, Certificate Audio Engineering and Music Production, Tai Poutini Polytech (Auckland); Radio Foundation and Advanced Radio Western Institute of Technology (New Plymouth); Diploma of Sound Engineering, Southern Institute of Technology (Invercargill); Certificate of DJing (Whitireia Community Polytechnic (Wellington).

Career prospects: Sound engineering, production, remixing, broadcasting, jingles and Dj-ing.

Q. What do you do?

A. Basically I produce music for myself and other artists and I DJ.

As a DJ I try to play a wide variety of music from the past to the present, so I spend a lot of time looking for music and a lot of time just listening and getting familiar with songs and their structures.

A producer's job varies a lot depending on the artist.

Essentially your job is to help an artist to make a finished recording. This can involve helping them with creative ideas, writing music or choosing musicians, and making sure all the technical needs are met.

Q. How did you get into Dj-ing/producing?

A. I knew I wanted to be a [music] engineer since I started buying keyboards at 11. I went to SAE [School of Audio Engineering] straight from school at 16 to learn how to be an engineer.

Engineering allows you to be a part of the whole thing, to stay close to the music, to do the whole package, whole song.

The DJing came from the production work. People kept saying, "You've got the music, you should DJ". It keeps you current, you keep collecting the latest music, you keep in touch with the musicians and I can try out my own stuff on audiences.

Q. Why is your job important?

A. DJing is important because it takes people away from their problems. To quote Bob Marley: "When the music hits you, you don't feel no pain."

Producing [for other artists] is important because it's another way to communicate an idea or feeling in another language, a universal language.

Q. What's the best part of the job?

A. Remixing, taking a pre-existing song, from Bic Runga or Salmonella Dub, for example, and reinterpreting it.

It's also good playing your own songs to a crowd without them knowing it's yours so you get an honest reaction: it's good research and development.

Being paid to be out and being able to hang out is a real plus.

Q. Worst part of the job?

A. Technical difficulties, especially when things go wrong when you're playing live. I once DJed for half an hour with one turntable. I had to stack records up on top of each other while another deck was found.

Q. What advice would you give to someone wanting to be a DJ?

A. Start with whatever you can get hold of. Borrow stuff - but remember to look after it. Learn to coil leads properly. Just get started, do something and be prepared to commit six years to learning how to do it properly.

The industry was in a bit of a drought when I started, but it's stronger now and it is easier to get funding and get started and have success.

Q. What are your career goals?

A. I'm not really one for goals. I'm sort of just happy seeing what comes along.

Q. What's your dream job?

A. Exactly what I'm doing.