DJING HAS BEEN Tan Kok Seong’s passion since the late nineties, but for him, this art isn’t just about mixers and CDJs. In fact, he advocates the use of vinyl, and he believes that every DJ needs to have this analogue skillset under their belt. Tan, who goes by the stage name Bryan Burger, says: “This is an ode to professional DJ culture in general. Without this knowledge, there is no proper understanding of the art.”
And Bryan Burger knows a thing or two about vinyls, because that was his entry point into the world of DJing. And he’s never let go of the medium since. As someone who teaches DJing, Burger knows that both the digital and analogue mediums are here to stay, and they both complement each other, but for him, there’s a soul that comes with vinyl.
“Yes, it’s heavier to lug around a few carts of discs around,” Bryan Burger says. “Especially if you’re travelling. And yes, it could be a costly pursuit when each single can cost MYR 50. But the sound is warmer. There’s resale value, especially for limited edition releases. And for DJing, you can literally feel the grooves with your fingers.”
According to him, it’s a tougher medium to master. But that’s exactly what equips every DJ for the challenges of performing. “Sometimes, a speck of dust could cause skipping. Or when outdoors, the wind can blow your needle off track. What do you do in those moments? Those are the emergencies that you’ll face with vinyl, and it’s good knowledge that you wouldn’t otherwise learn if you just stick to digital.”
It’s also a more intuition-based skill compared to using CDJs, where much of the process can be automated. “You need to learn to beat match without all the bells and whistles, such as automatic BPM counters. It’s DJing at its most raw – mixing two different songs together.”
That’s just the tip of the iceberg. According to Tan, learning to mix can take up to six months. But the hardest skill isn’t the mixing. It’s knowing how to build a song selection as well as the flow of your set. Because blending music is one thing. The other part of the performance is controlling a crowd.
Then you have the scratching techniques. Here, DJs need to be ambidextrous, and the fine motor skills on both hands need to be equal. Because it’s a matter of millimetres when it comes to producing certain sounds consistently. Such is the difficulty – and the draw – of vinyl DJing.
There are many other ways to enjoy vinyl records, however, and they don’t need to involve a mixer. Because Tan also enjoys the act of listening to his records. As with many other hobbyists, he relishes the peripheral routines of the hobby.
“Taking out the record from the sleeve, laying it down on the turntable, and setting the needle – these are also the fun parts of the hobby. Even cleaning the records and sleeves can produce enjoyment. This is besides the satisfaction you get to have of kicking back to your favourite drink and listening to high-fidelity tracks.”
And when it comes to his collection, Tan’s records span up to 10,000 pieces, a collection that he considers small. This is because DJs typically purchase singles instead of entire albums, so it’s normal to have records containing just one or two songs.
“I don’t organise my collection, and when it comes time to put together a set or enjoy some music, I riffle through my shelves and see what I can discover. Even this process of digging through my records can be very enjoyable.”
Tan’s passion for his craft is infectious, and he is one of the few people who can safely say he’s turned his passion into a living. And that certainly puts a wonderful spin on things.
WORDS Stuart Danker PHOTOS Raja Mokhzairi
