The aim of this thesis is to analyze how digital technologies have transformed the disc jockey’s craft and reshaped his identity as a collector, manipulator and presenter of music – a powerful, yet often underestimated and neglected cultural role. An ethnographic approach is employed, based on interviews with established DJs from Canada and Germany as well as personal experience. As a previously purely digital DJ I systematically practiced mixing with vinyl records and produced different DJ mixes, using the same songs in the same order, with analog (vinyl records), digital (controller) and hybrid (digital vinyl emulation) technologies. The resulting observations are supplemented with and contextualized by performance theory from the fields of ritual, theater and gender studies. Digital DJing is subject to controversy within the DJ community for facilitating certain aspects of the craft, which is perceived as a threat to its integrity. The thesis concludes that while the DJ’s musical, aesthetic and social identity has been reconfigured, his essential characteristics remain intact because performing and musical programming require fundamental skills that depend on human agency and cannot be automated.