There are very few rules! So what is important?
That’s a tough question! Of course, you need to know the technology, the music, the code, and have a strategy, but what’s really important to be a good DJ? Over the many (hundreds) of milongas I’ve been involved in tango, I’ve seen a lot. I’ve seen people create unforgettable milongas with nothing but an Apple device, while others have spectacularly failed with futuristic equipment. DJs with Stone Age gear (old record players with vinyl records) have delivered remarkable performances, and some people (with truly enviable knowledge of tango music) completely bombed because they couldn’t handle the sound system and the CDs.
I sometimes think of the DJ as a black box connected to the sound system. This black box simply has to play the right music at the right time and try to create a connection with the dancers (hence “appropriate”). That’s easier said than done, but in reality, it’s somewhere between very simple and very difficult.
As a milonguero, I feel comfortable when I can enjoy myself on the dance floor to good music, and when I only notice the DJ when I give him the respect he deserves with his well-earned final applause after the milonga. I want the DJ to attend to me in an unobtrusively professional way, without putting on a show. I admire the music-loving and experienced DJs who do their job without being billed as “world-class DJs,” playing shellac records on a fully digital system with gold cables. To me, the DJ is nothing more than another friendly tanguero, playing for the community and not marketing himself as a superstar (I realize that the advertising interests of some promoters also play a role here).
So then, here is some of my wisdom:
- Unfortunately, you have to know the music.
Without a truly good knowledge of music history and tango music, the great orchestras and tango culture, one may be a DJ, but certainly not a Tango DJ.
- Playing the right music is more important. Quality is secondary.
The Tango DJ is supposed to play music. We want to hear it in good quality. Anything beyond “good quality” isn’t really important. Discussions about purely digital audio chains, 96 kHz sampling, or audiophile speakers are irrelevant to the Tango DJ. Not essential.
- Besides knowing the code, you also need to be able to dance.
The DJ doesn’t need to be able to perform a perfect tango routine, but he needs to understand dance to be able to judge the danceability of pieces. He should also be familiar with the Codigo (BsAs and international), as he serves as a role model for the milonga. (Note: a role model is not a dictator.)
- Be a DJ and do the work of a DJ
If you want to be a DJ, don’t let your playlist auto-cruise. Play manually, observe the dance floor, and adjust your music accordingly. Don’t dance, and avoid excessive conversations with people or using your smartphone. Pay attention to sound quality and the acoustics on the dance floor. Address safety concerns such as securing exposed cables, ensuring the electrical safety of the equipment, maintaining the stability of speaker stands, and controlling volume levels on and around the dance floor.
- You will never make money as a Tango DJ
Unless you’re one of the big international Tango DJs (and there are only a few true greats), you have no chance of ever getting your money back for your equipment, CDs, or computer! DJing is a very expensive service to the community, expensive in terms of both money and time. So don’t complain. If you don’t like it, then don’t do it. Occasionally, the organizer will give you some money for your work, but usually it barely covers travel expenses. In that case, accept it gratefully as a kind of honorarium.
Don’t expect payment or accolades. You’ll usually (but often not) receive applause for your work at the end of the event (it’s unwritten in the code), but you can also expect more or less valid complaints, because you can never please everyone (you have to accept this or you’ll be lost). You’ll be accused of playing too little or too much EDO, Neotango Piazzolla, or Sexteto Milonguero, and many other things besides. Think about it, but understand these comments as personal issues. They don’t necessarily mean the gig was bad.
- Do not pirate tango music.
Buy your music directly from the label or online. I’ve deliberately not listed any sources here to maintain my status as an independent blog. Small tango labels are doing a lot to digitize and digitally restore old recordings. This directly benefits DJs and dancers. However, with low sales figures, these specialized labels will soon run out of money if they aren’t supported.
Do not use streaming services for live gigs; an internet connection can break down in the middle of the gig.
- If you’re a beginner, get started and seek help from a “professional”.
At a milonga, there are always 100 other DJs eyeing the one person on the decks with envy. Don’t let that intimidate you as a beginner, and remember that everyone’s just human. So go for it and have fun!
Try talking to an experienced DJ and ask them for guidance (mentoring). This can range from an introduction to the sound system to a review of your playlist or tips on improving your collection. As a thank you, don’t take gigs away from your mentor.
Use the resources on the internet. For questions, there is an international community of tango DJs on Yahoo Groups.[1].
- If you’re a “pro”, support the next generation
Help the next generation of DJs and, if possible, share your gigs with your protégés.
- Have fun at work
If being a DJ is fun, then do it. If it’s no longer fun, quit.
- Don’t be boring, there’s so much tango out there.
Stay creative and experiment with new music and different styles. Remain open-minded regarding tango styles (dance styles and music). If organizers structure their milongas differently than in Buenos Aires, remain open-minded. However, if anything can be improved, it is your responsibility to talk to the organizers about it and offer your support.
- Offer your services as a guest DJ wherever possible and don’t charge for it.
When you’re traveling, offer your services to other communities. Many are happy to hear new music, but communicate respectfully with local DJs and don’t take their gigs.
- Your taste in music is important, but it’s not the center of the universe.
Your taste in music is important because it helps you choose good music alongside all the evergreens. But don’t let your taste dominate the milonga. Put your personality aside and be professional.
This short tutorial is meant to be a guide for beginners, not a manual for top international DJs. I’m not one of them, but I know what I’m doing, and I’m proud to have made (almost) all the mistakes and learned from them. I also want to share my knowledge, which I’ll try to do extensively here. Please use this knowledge to help others, not to criticize them. And if you ever hear a DJ who’s really bad, please take a moment to consider whether you would have done any better in that situation. I’ve done that occasionally and afterwards wasn’t so sure I would have. But I’ve always learned from the mistakes of others – that, to me, is what professionalism is all about.
So! That was my two cents on the craft of tango DJing. There’s much more to it, but you learn that as you go. Have fun, and if you found this tutorial helpful, send me an email. And if I ever end up at your milonga, buy me a drink.
Abrazos,
-Richard (DJ Ricardo)