A perfectly seamless DJ transition erases the evidence of its own achievement

Watching contemporary DJs, Reynolds notes that the frenetic gestural performance often produces no audible change — the music ‘chugs on much as before’ despite decisive-looking mixer moves. He proposes that the very smoothness and seamlessness of a good transition erases its own achievement: when a mix is joined perfectly, the join is inaudible and the labour disappears. This makes expert DJing a self-concealing craft — its success is measured by the absence of a perceptible seam — which sits in tension with the theatrical model where the performance of effort has replaced any evidence of a result.

Examples

A DJ dramatically tweaks EQ or cuts a frequency band with no audible effect on ‘tracky’ techno/house; contrasted with a subdued DJ working quietly. Reynolds suggests the inaudibility may be the point — a seamless blend leaves nothing to hear, hence nothing to flaunt.

Assessment

What paradox does Reynolds identify between a DJ’s visible gestures and the audible result of the mix? How does ‘seamlessness erasing its own achievement’ relate to craft becoming invisible at its best?