Phone In Your Next Show

Music fans across the country no longer have to wait to hear the hottest DJs in the club or on a mix tape. Now, they can hear their favorite mix masters 24/7 on their mobile phones courtesy of the first-ever syndicated mix show channel, Focuson the DJ. The streaming channel is now available to Sprint and U.S. Cellular customers via Sprint Radio and Digital Radio, respectively. Additional wireless carriers are expected to join the network in the coming months.Powered by mSpot, a leading provider of entertainment services that enables carriers to deliver consumer-centric entertainment to mobile phones, Focuson the DJ is an eclectic hub of blazing hot music, offering Dance, hip-hop, Latin and Reggae shows everyday, all day.

According to CTIA, the International Association for the Wireless Telecommunications Industry, there are over 234 million U.S. wireless subscribers. These statistics represent a large percentage of cell phone users who are already spending money on mobile entertainment.

Focuson the DJ currently has approximately 100,000 subscribers tuning in but with the millions of cell phone users in the U.S. and an estimated one billion users in the world, the channel’s expansion opportunities are limitless.

“By using mSpot’s advanced technology and having the opportunity to partner with national and international wireless phone carriers, our syndicated mix shows can be offered to users all over the world,” said Dustin Edelhertz, the channel’s creator and mix show director. “It’s great to be a part of something with so much potential and to have such a talented group of people to work with. The DJs and I are extremely excited about the near future,” he continued.

Subscribers pay a flat monthly fee to their wireless carrier and get unlimited access to the music service, which also offers audio and video content. More information on the service can be found at www.mSpot.com.

DJs interested in being a part of this revolutionary channel can visit www.focusonthedj.com for more information.

Taking Responsibility

Last week I discussed how using an assistant (or “back-up” or “Music Mixer” or whatever title you’re comfortable with) will help make you a better entertainer. Two weeks ago I also detailed how important it is to have such an “entry-level” position in your company in order to ease new people into your roster and allow them to start earning some money right away.So by now the point should be made, right?

Well, at the risk of piling on, I’ve got one more very important reason to have a “music mixer” type position that you can start new people out in:

Responsibility and Professionalism can only be proven over the course of time.

You as an owner or manager of a Multi-Op know that having DJs who show up when and where they are supposed to show up is vital to your success. So when you interview you ask these people if they are responsible and they say, “Yes.” Then if you’re thorough you call their references and ask them if this candidate is responsible and they say “Yes.” So you’re golden, right?

Wrong.

Of course a candidate looking for a new job is going to tell his hoping-to-be-future employee that he is responsible. And of course he is also going to provide references who will say the same. That manager of the Pizza Hut I walked out on? I think I’ll leave that one off the application.

So the only true way to test someone’s responsibility and professionalism is to put him out in the field and see. See if they show up, week after week, on-time and ready to work. That is the main reason I ask my music mixers to assist for 3-6 months before inviting them into emcee training. Sure the experience they gain during that time is valuable but I could train someone without it if I had to. To me the mixing they do while they are in training is far more important anyway.

My main goal is to weed out the candidates that came on strong in the interview and said all the right things and then start showing up late or phoning out when the weather gets nice. Those are people I might keep around on my mixing roster but I’m NEVER going to waste my time training to mix. I can handle when my assistants phone out (we always have at least one on call anyway) but if one of my emcees can’t make an event, look out! So by the time they get to that phase, heck by the time they start training to get to that phase, they have already passed the test of being responsible.

One of my favorite quotes ever is from Woody Allen who said, “80% of success is just showing up.” My goal in the first 3 months of someone’s employment here at Elite Entertainment is to find out if you possess the ability to be successful. And “Showing Up” is a major factor.

Mike Walter’s emceeing career began in his hometown of Queens, New York in 1984. With an eye towards radio, Mike attended Connecticut School of Broadcasting in 1988 where he was chosen from his class of 25 as “Most Likely to Succeed.” After school, Mike helped to develop a staff of DJs from 12 to over 50 by training new recruits and handling an increasingly complex schedule. In early 1993, Mike felt an increasing desire to venture out on his own and by March of that year he became a partner in a much smaller Mobile DJ company, Elite Entertainment. He quickly had an impact on the Elite staff, imposing his high standards of emceeing and DJing. Mike bought out his partner in 1998 and Elite Entertainment has continued its growth (21 emcees in 2006) and sets the standard for excellence in New Jersey. Mike has always believed in training talent from within and his message has helped show hundreds of DJs from across the country that it is possible to grow their companies without sacrificing quality.

Creating Customer Demand For Your Services

This article and concepts are dedicated to Michael Port, author of Book Yourself Solid. I saw Michael in October and his ideas that have helped my pitch, sales process and bottom line.Studio 54 has a red velvet rope at the door. Hopeful guests line up to get in but not all make it through the front door. And not just anyone can attend. Is anyone with a check book your client? Or are you selective about who is your client?

Three weekends. Three Bar Mitzvahs. Two were great. One was absolutely fabulous! All three were from the same Temple. All three had a similar make-up of guests including many of the same guests. So what made the difference?

The first two Mitzvahs had clients with specific needs that I fulfilled, but limited their entertainment options. The fabulous event, that had everyone dancing, partying and raving at the end, was a client who allowed me to do what I do best – entertain.

I do my best work for clients just like you! A powerful statement which can truly excite a client, and close the sale. Know what you do best. Recognize clients who want what you do best, and let them know that you do your best entertaining for clients just like them.

Like Studio 54 you can create a sense of exclusivity about your service. Clients will then chase you down, instead of the other way around. It’s not about ego. Instead it’s about delivering to your clients just what they want because that’s what you do best!
As the moderator of ProDJ’s Interactive DJ Forum and fellow DJ/Entertainer, your comments, game ideas, and questions are always welcome.

Scott@ThePartyFavers.com

Scott Faver has established himself as the Game Master with DJs from across the country. In addition to entertaining clients whose names are household words, he continually crafts new games for his clients and the DJ industry. Scott is also the moderator of the Interactive DJ Forum at ProdDJ.com and hosts a weekly on line chat, every Monday, discussing games and activities with DJs all over the world. A big part of the reason DJs have come to recognize Scott as the Game Master might be his being in front of hundreds of them at numerous conventions, cruises or in their own living rooms with his Four Game Master DVDs. A seminar with Scott means one thing: standing room only and fun for all! he also writes the Master’s Series in the ADJA Newsletter and can be found right here on Mobile Beat’s On Line Edition on Game Master Mondays. You can also visit Scott’s web site.

Music In The Corporate Mix

With limited song choices, more creative energy is needed to propel company partiesThe focus of my writings for Mobile Beat is the very foundation upon which most events are built, as I see it: the MUSIC. My angle has been specifically: new music. More than ever, music permeates everything around us. Because music truly is everywhere now, the ability to program it well and somehow make the music WE play more engaging than something automated is more important than ever before. It’s my belief that too many DJs rely too heavily on the tried and true, making their events bland and probably forgettable, at best.

It’s with this as the backdrop that my editor suggested that for this issue, I examine corporate parties…but, with a focus on new music. This might have been the shortest article ever to appear in Mobile Beat! Instead I chose to expand the focus to music programming overall, in the context of corporate functions.

Presentation Points to Ponder

My company does only a few corporate events per year, with most of our business being weddings, and the ocassional school dance or Sweet 16, so I decided to interview some DJs who do more corporate work than I do.

Steve Lynch, owner of Extreme Entertainment in Buford, Geogia has lots of experience in this area. Being in a suburb of Atlanta, Steve counts CNN among his corporate clients. He agreed that newer songs at corporate events should be few and far between, based on 1) the familiarity factor, 2) possible lyrical content issues, and 3) (possibly most importantly) the energy level!

Much like programming for a wedding reception (and maybe even more so), the right music to play at a corporate function should be familiar to the vast majority of your audience: songs that are “old friends” to those in attendance. Steve likes to start with ‘60s soul and Motown music, because it has this kind of appeal, and is also great to dance to. He then uses the reaction to it as a barometer to indicate which direction(s) to take the event musically from there. Steve reminded us to “play to their age range.” If the average age of the attendee is mid- to late-20s, the latest Avril Lavigne song is likely totally unfamiliar to them, even if it’s a huge current hit.

Steve suggests we “stick to classic, family-oriented stuff,” which sadly is another good reason to avoid much current music…unless you want the finger-wagging and/or earful of criticism you could be asking for by playing even the radio edits of many current songs. It only takes one complaint of this type to ruin your reputation, ruin any chance for repeat business with a company, and even prevent you from being considered by other corporates. Unlike wedding receptions, this should not be looked at as a “one shot” deal. (This is not to say that weddings don’t involve potential referrals; I’m just pointing out the bigger differences.) You can potentially get annual contracts for all the events within a company or group of companies, possibly touring to do it, too. And if the person in charge at the company leaves, you want her or him to take your information with them to their next position. Corporations spend lots of time and energy to project and protect their “image.” It’s your job to reflect that in the most positive manner possible, and make them look wonderful.

However, simply avoiding new music isn’t always enough to insure you won’t upset the sensibilities of someone at the event. Steve recalled the story of realizing the “hard way” how dirty the “Grease Megamix” is, when someone complained and couldn’t believe the DJ was playing “such filth.” I concurred, telling him a similar experience I’d had with “Hot In Herre,” and then suggested where and how to edit the Grease Megamix.

Most importantly, keep the energy level of the music up. Energy is not to be confused with the volume. Beyond the familiarity factor, frequently older music works better simply because it has a more positive and fun “vibe” and often a faster pace than much of today’s music. An exception to this rule is the 2007 hit “Cupid Shuffle” (by emerging hip-hop artist, Cupid), which is not only squeaky clean but fun, with a brisk, 142-BPM tempo, and yes, it has it’s own dance, too! I expect to see this in the MB Top 200 next year.

Companies also love theme parties. These themes often have musical ideas already “built-in.” Sometimes you can futher demonstrate your value by suggesting themes and how to implent them, if asked. But don’t push your ideas on them, especially with new clients-build a rapport first.

Finally, be flexible and responsive. For example, Steve told a story of a corporate client whose committee filled out a pretty extensive DJ Intelligence request list consisting of lots of R&B music, only to find that at the event…country music turned out to be the surprise big hit, based on the volume of countryrequests at the event.

Amalgamate Your Entertainment Quotient
I also spoke with Paul Welsh, of Welsh Entertainment in Orlando, Florida, which is home to a multitude of big companies looking to be entertained. While Paul does many of the things we all do, he has also collaborated in creating a “show” aimed at corporate clients called the Big Dawg and Paul Show, which includes contests and lots of games, and which is marketed towards openings and team-building events, among other occassions. Paul points out the contrast that at a wedding reception, “people pretty much are there to be supportive” to the bride and groom, while at a corporate event “they don’t want to be there,” so really entertaining an audience is even more crucial. Paul’s music programming philosophy is also spiced up with drop-ins from television and movies. He agrees that “any slow song at a corporate is just not gonna cut it” unless it’s a holiday party, so keep it upbeat!

While admitting that building momentum for a custom show has been challenging, the results are rewarding, and demand is building as word spreads. If you can offer something specific that no one else offers (I couldn’t be Big Dawg and/or Paul, could you?), you’re no longer pressured to compete with other DJs because what you do is so removed from the stereotyped definition of DJ.

Creative Limitations

Rather than needing to be on the cutting edge of the popular music world, the challenge presented to mobile entertainers by corporate clients, from the standpoint of programming music, is taking material that is very familiar and presenting it in a way that’s still exciting and fresh. You have to be creative within parameters provided by the event planners, based on the purpose(s) of the event. I’m confident that if you use some of the ideas here as guidelines, you’ll be off to a great start!

Steve Sharp is a DJ in Southern California who has been spinning since 1981. In addition to running his own Signature Entertainment, he also creates a weekly radio remix show for Bo’s Saturday Night Party on B95.1 FM. Steve not only plays the hits, but brings his encyclopedic knowledge of the stories behind them to each of his music columns. Steve can be reached at thatdj@aol.com.

Going Full Time at Full Speed by Michael Edwards

Part 1*: Points to ponder as you consider declaring your independenceSo you’ve decided to take the plunge and become a “full time” mobile disc jockey (cued “heralding trumpets” can play now). Finally…with the security of 9-12 months of contracts for future bookings all neatly signed with their deposits in the bank, you’re feeling ready; confident and determined to make a go of it. You’ve always dreamed of DJing as your sole source of income: working only on weekends for pay that’s equal to or better than a 40-hour day job and having the rest of the week to yourself…your own boss at last! How well I remember feeling that way. Let’s call it the honeymoon phase.

Independence Day

I politely gave two weeks notice to the retail music store where I worked in early June of 1979. Yes, I realize, that’s about two years before Beyoncé was born. Having played at local dances and parties part-time since 1973, I played my first gig as an official “full-time music professional” on the 4th of July, 1979. Independence Day indeed. Now, 28 years later, I can honestly say that it never feels like work when you truly love what you do for a living and I have no regrets at all. But before I paint it all as roses and butterflies, let me first divulge a few of the occupation’s realities, perils and pitfalls before finally revealing the real secret of full-time DJ success.

Sweet Dreams Are Made of These

You will need to master a lot more than just DJ skills if you want to survive and also thrive full time in this business. Plan now to also become a combination of marketing expert, brilliant publicist and shrewd advertising executive. It would help to also develop superior computer skills, including proficiency with DJ sound editing and performance software, Quick Books or Quicken accounting software, FileMaker or other database software, MS Word and Photoshop. Add some internet savvy and an understanding of website design and the ins and outs of search engine optimization. (When you master that last one, please call me, collect.)

You’ll need to gain knowledge of the small claims process, and the parts of a legally binding contract and why each is important. You should work on developing powerful negotiation techniques (mostly for money bargaining negotiations with clients, since DJ hostage situations rarely occur) and you’ll need to be good at “reading” people’s minds over the phone before you’ve even met them. It also helps to cultivate relationships with lots of other vendors and every function manager in your area. You’ll need to be very organized and keep database records of everything. It helps to have a DJ Master Schedule, a Past Master Schedule, a Client Mail List, a Function Halls File (with address, phone, directions and contact person) and a Vendors File (including photographers, video companies, Justices of the Peace, florists, bakeries and even other DJ companies). Suddenly, you’re working 7 days a week, 12 to 16 hours (or more) a day. Eat healthy and work out regularly to stay fit, because sick days don’t exist. For full-time DJs, it’s no play…no pay.

About the Money, Honey…

Next, marry someone who loves you and music (hopefully in that order), and who accepts that you’re never going to be there on a Saturday night. They’ll have to understand that you’re going to buy lots of stuff they don’t think you need (voltage regulator, miles of cables, noise-gate/limiter/compressor, complete back-up system, a generator, etc). If possible, choose a spouse who also has a career they enjoy with an excellent salary, family health-care plan, dental benefits and a 401K. In general, to avoid most spouse-related business expense arguments, make sure you make a lot more money than your mate does and yet never mention it.

Cover Me

Be prepared to get liability coverage for yourself and each DJ you hire, as well as a good insurance policy for all your DJ equipment (good = coverage at home, on the road, at gigs and in a locked, alarmed vehicle, with no more than a $500 deductible). Joining a DJ organization like the A.D.J.A. or the N.A.M.E. will make affordable DJ insurance more easily available. When I first started, these organizations did not yet exist and only Lloyd’s of London (the oldest insurance agency in the world) would offer worldwide, any location “professional usage” coverage on my music collection and all my gear, at the astronomical premium of 25% of the total replacement value!!

The Name Game

When naming your DJ service, make sure it’s not already the name of someone else’s company in your state or anywhere else you will be likely to perform. Check this fact out with your home town and state business records database first, then protect yourself by registering a trademark for both your company name and your logo. No, you can’t trademark that convenient clip-art based logo! It’s a cheap enough one-time expense to have your own logo designed, and it will help you be taken seriously by clients and instantly recognized amidst your “stock logo” competitors.

The same thing goes for your website: It’s easy and free to check which website domain names are available by going online to register.com/domains to see if the .com domain name you want is available or already taken. Don’t think you have to use your company name for your website domain name. If your business is called “Frank Furter’s Amazing DJ Productions” (too long for a URL) you may prefer a domain name like www.HotDogDJ.com (which I discovered is actually still available at this time, if you think that name cuts the mustard).

Multi-Op Considerations

You may need to obtain a booking agency license (if you plan to eventually grow to be a multi-op DJ company). In my state of Massachusetts, it’s not legal to act as a booking agent without a license and a $1,000 surety bond. If you are going to have more than one system and numerous DJs, you’ll also need to think about how you plan to recruit, train, equip, evaluate, encourage, reward and most importantly, keep your DJs.

As you work hard to expand and grow your DJ business, keep in mind that many great DJ companies who spent years establishing close relationships with function facility managers have also painstakingly groomed and trained a staff of talented DJs who later suddenly quit. Now, they are your competitors who have worked regularly at all those facilities and know exactly what you charge. Without any remorse, recent defectors will then pull out all the stops to woo the function managers and quote slightly lower prices in an attempt to steal your established accounts. For this reason, many DJ companies require their new DJ trainees to sign a “no competition within a 50 mile radius for 5 years after termination” agreement before they will even hire them. File under “protecting your assets.”

Takin’ Care of Business

There are numerous pros and cons to having your own DJ employees as opposed to using only freelance DJ sub-contractors, who all own their own gear and music and are free to work elsewhere at will. A healthy number of exclusively employed “staff DJs” will create constant pressure on you to make sure everyone has enough work. If not, they’ll walk. A staff of only freelance sub-contractor DJs means dealing with schedules that are not under your control. Every one of them may be booked already on their own when you get that call for a lucrative Saturday night wedding on a popular date next June. “Sorry,” you’re forced to tell the client, “but every one of our DJs is booked already for that date.” This truthful statement creates an image of being a very busy and popular DJ service, but your company doesn’t make a dime.

*For Part Two, get a copy of Mobile Beat’s annual Gear Book.

Michael Edwards is the owner of AllStar Entertainment , a licensed & bonded musical entertainment agency located in Andover, MA. A of the Mobile Beat Advisory Board and the American Disc Jockey Association, he was recently voted by former brides to the list of “Best of Boston” DJ services in The Knot magazine’s “Best of Weddings 2007″ national survey. Full-time since 1979, Mike is one of 20 AllStar DJs at his agency (www.getadj.com). Contact him at BostonsBestDJs@aol.com.
PQ:
You will need to master a lot more than just DJ skills if you want to survive and also thrive full time in this business.
SIDEBAR:

Full Time Do’s & Don’ts, Version 1.0

Do: Register your business (with city and state officials)
Don’t: Just print up some business cards (“Instant DJ”)

Do: Research your company’s name, domain & logo first
Don’t: Modify another DJ name with a slight change (ie: Acme Music, Acme Sound, Acme DJs, Acme To Go, etc.)

Do: Invest in a legal music library and DJ subscription service(s)
Don’t: Copy someone’s hard drive or download music illegally
Do: Join a DJ organization and get liability and gear insurance
Don’t: Tell clients you are fully insured when you are not

Do: Sell yourself based on your talent, experience and value
Don’t: Sell by putting down or undercutting your competition

Casing The Cabinets

From the automotive world, a creative way to update your speakers with spray-on bed linerScented candles, linen cloths, and centerpieces are the décor. Here you are performing a reception at the most prestigious hotel in town-a market which you want desperately to take hold of. Ratty speakers, scuffed lights, and ugly orange cords pollute the atmosphere. You’re a DJ with a budget, and your system has been on the road for too long. But a new set of speakers will cost some serious capital; yet a professional and prestigious appearance will generate you referrals. What do you do when forced to choose between great sound and nice appearance? One possible solution is to pick the best of both words by coating your cabinets with spray-on truck bed liner.

Retrofitting speakers is not a new practice; however it is usually reserved for upgrading internal components. Now, however, with companies like Line-X, RhynoLiner, or Herculiner, in a day’s work the exterior of your favorite cabinets can become wedding-worthy once again. Gone are the days of stage taping torn and aged carpet, replaced by the security of a professional coating with a cool name.

Strip ‘Em Down

First things first. Most bed liner installers will not allow you to drop off your cabinets with carpet and or drivers (subs and tweeters) still installed. Unfortunately, the most tedious job of the whole experience is all yours: stripping your speakers. It is important, no matter how painful it may seem, to devoid the cabinet of all carpet and components, except for any crossovers (circuit boards) that may be attached (more on this ahead). Make sure you save EVERYTHING.

Next, make sure your wood cabinet is sanded and free of carpet residue, which can cause irregularities in the finished product. Also make sure that all metal edges, handles, wheels, and brackets (tripod cups) are removed.

Finally, make sure that any non-detachable crossovers (circuit boards) and wiring are covered up, as the bed-liner installation pros may not be particularly versed in the audio world. Think of your speakers as a human body and your crossover as the brains-please protect them.

Back in Business

Once the speakers are dropped off for the spraying appointment, you have the opportunity to make any special requests. For instance, I insist that no liner be applied to the inside of the speaker, to avoid any risks related to the electronic components of the speaker.

When you are satisfied with the work, you may re-install all of the components you stripped, save for the metal corners that are unnecessary. Remember that the coating may add as much as a quarter-inch to the outside of the cabinets, so reinstalling handles and grilles may include an extra challenge.

Interestingly, the effects of adding spray-on bed liner to your speakers will be immediately noticeable. Even though they are the same cabinets with the same shape and sound, you will be surprised at just how many people are visually oriented, and will respond to the new look. In a wedding setting, where appearance is important, your newly coated speakers will have the same effect as a new pair, although I would be hard pressed to find a speaker on the market with this particular coating. At the same time, you may just be saving a piece of you. Speakers that have been on the road with you for years are almost like old friends. For a small price, wouldn’t you want to save your loyal comrades?

Remix It!

He can claim it all he wants, but Puff Daddy, P. Diddy, or (just) Diddy can claim he invented the remix all he wants, but he didn’t. I believe that remixing first began when stereo was introduced in the early 1960s, and soon the single versions deliberately sounded “hotter” than the album versions of the same songs – with stereo and mono versions differing considerably sometimes. In the meantime, reggae producers in Jamaica were experimenting with “dub” versions for the “B” sides of singles. Flash forward towards the disco revolution of the 1970s, and the rise of the DJ along with it, the concepts of beatmixing and scratching, and remixes began to be commissioned to feed this market.Remixes run the gamut from simply extending a song or portions of a song to completely new versions of a song, with few, if any, elements of the original recording included in the remix. By the late 80s, not only were the record labels issuing remixes they had commissioned, DJ-created labels began creating remixes. Some remixes are pure magic, creating a new work that enhances the original song in ways that even the artist never imagined. Others are horrible (which to me means “overdone” usually) and make you wonder “what the hell were they thinking”? Part of the fun is debating such things with other DJs. I know people who love certain mixes that I would never play in a million years, because I think it’s crap, and vice-versa. And what is the value of medlies and megamixes? Some DJs love ‘em, while other DJs think of them as “canned” mixes for lazy DJs.

While remix service labels should get permission from the original label to remix their materials, some do, and some don’t. The “bootleg” element of this segment is also fueled in recent years by a steep drop in costs to produce a remix (what can be done on a desktop computer for around $1200, would have taken a $25,000 studio to produce, ten years ago), coupled with the rise of the internet (instant distribution). Many, many labels have come and gone over the years. This week and next, I’ll highlight some of the best of the current group of American remix labels – remixes made by DJs for DJs: a great way to perform better beat mixes, and enhance your performance!

Select Mix

As with at least one other remix company before them, Select Mix began as an offshoot of a radio mixshow. In order to play certain songs in a mix, there needed to be a useable mix of it. When there wasn’t one, they would create one to use on the radio show. But why stop there? Make this new mix available for other DJs. In 2004, Select Mix did just that. Select mixes typically remain pretty faithful to the original production, with most of their alterations being structural. Select pays particular attention to up and coming mixshow hits from multiple genres, and their issues are usually very timely. They also have an old school series, a rewind series (older, but not old enough to be “old school”), and a slow jam series. Last year, Select took over the reigns of one of the original remix labels, Hot Tracks, and resurrected their Street Tracks series, as an urban remix series, with the focus being on clubs and some of the tracks being “dirty” and typically not playable for radio shows or mobile DJs. Other than some selections on Street Tracks, all other Select Mix products are “radio-friendly”. Run by Scott Thomas and programmed by DJ Jynxx, more information and audio samples can be found at selectmix.com.

Winner!

Congratulations to Lance Hill, of Sound Bytes Entertainment, of Kalkaska, Michigan who correctly identified the artist Pink as Alecia Moore. Lance will be receiving 5 back issues of Prime Cuts Monthy CDs. Nice!

More great remix service information, next time!

Steve Sharp is a DJ in Southern California who has been spinning since 1981. In addition to running his own successful single-op business, Signature Entertainment, he also creates a weekly radio remix show for Bo’s Saturday Night Party on B95.1 FM. Steve is one of the few people who can not only play the hits, but gets involved in the story behind them and can often tell you who produced, directed and published the song and how their actions affect the music industry.
If you would like to contact Steve, he can be reached at thatdj@aol.com

American DJ Honored At NAMM

The American DJ Group’s American DJ line of lighting products was presented with the MMR Dealers Choice Award at the 2008 NAMM Show in Anaheim.

Sponsored by MMR magazine, the Dealers Choice Award is based on national voting by music dealers. American DJ was voted “Lighting Line of the Year” by dealers for the second year in a row. The company was the only lighting supplier honored with the Dealers Choice Award.

“The fact that this award is the result of voting by the dealers who actually sell lighting products makes it especially gratifying,” said Scott Davies, General Manager of the American DJ Group of Companies. “Dealers are on the front line, dealing with end-users all the time. They gave us this award, because their customers rely on American DJ and are excited about our products, especially our new LED fixtures. Delivering this combination of reliability and innovation to end-users is the top goal for American DJ and its dealers; it’s the foundation of our future.”

For more information, visit the American DJ website at www.americandj.com or call (800)322-6337.

EV Provides SuperBowl of Sound

For the fifth year running, the team of Jeff Jones, Jim Lillie and Al Jacquez (Amazing Audio Inc.) has used Electro-Voice equipment to deliver stellar audio production for General Motors’ annual dealer meetings and events at the Superbowl, working as part of a complete Audio, Video, Lighting and Creative Team.For this year’s GM event, for Chevrolet, at the Arizona Biltmore in Phoenix, a “green” theme was evident in more ways than one. “Revolutionizing the Game” saw a strong focus on GM’s high performance eco-friendly vehicles, fuel efficiency, and alternative fuels. The Michigan-based audio production team’s approach tied in seamlessly as, due to a combination of low ceiling height at the venue and current high fuel costs, they deployed a high performance, lightweight, low profile EV sound system, utilizing a smaller trucking footprint without compromising an ounce of coverage or power-a “fuel efficient” PA in all respects.

Main hangs of (3) XLD281 small-format line array enclosures were flown from the main truss in the venue, with stacks of (5) XLD281′s on the far stage left and right. Xi1122′s served as center fills, stage foldback, and delays, with Xsubs providing ample low-end for high impact videos and new TV commercials. Additional XLD281′s provided front fill. Power was via lightweight CP3000S and CP4000S amps, processed via Dx38 running RACE.

Jeff Jones described another successful year with GM at the Superbowl: “I am delighted to report that Chevrolet and GM top management and support staff, Maritz Interactions, and Jack Morton Productions all agreed that the audio was flawless in every respect. The system delivered concert-quality sound for this corporate application, while maintaining open sightlines and a tidy footprint. The presentations and video segments sounded powerful and dynamic, and the special guests sounded crisp and clear. Sports legends Howie Long, Chris Collingsworth, Boomer Esiason, Phil Simms, and Darryl Green were on hand to pump everyone up and increase the laughter a hundredfold, Newt Gingrich spoke for about an hour on ‘Green Conservatism’, and Frank Caliendo left the audience and crew laughed out… The superb EV audio, superb video and projection, superb lighting, superb production and creative content earned the producers and crew many handshakes and warm ‘Thank-You’s’.”

What’s A Meta With My Site

I’m going to get right to this week’s question and website reviews after having had a lot of content the last few weeks focusing on meta tags.Questions

Q. I’ve enjoyed reading your articles about META tags and have implemented some on my home page. Do you also use them on other pages other than your home page?

Rob Godshalk
Joker’s Entertainment

A. You definitely want to have meta tags on every page. The biggest question is whether to have the same tags on every page or if you should have unique tags for each page on your website. If you check out last week’s column I gave some information that might help you decide which way you want to go.

Glad you’ve enjoyed the column!

If you have a question about websites you would like to be included in a future column please send your question along with your name and company name to jim@discoverydjs.com.

Website reviews

http://www.jpwdj.com

Good:

You have your location & phone very near the top.
Demo videos that show potential clients what you have to offer.
Scanned in thank you notes look good.
Suggestions:
The logo on your home page is way too big. You should shrink it down to at least ½ that size.
‘Click here: Availability to check…’ that’s worded very awkwardly. What about ‘Check Availability for your event date’ with the words ‘Check Availability’ linked to your date checker?
Why not put your location (Naperville, IL) and phone at the top by your company name?
Remove the link to play Tetris & other games from your demo page.
You have a lot of empty space on the left…why not put some pictures there or put something else there? If not, you probably shrink that part a bit.
Review your website (and have others review it too) for consistency. You have your company name as J.P.W. Productions at the top of every page but on your FAQ page you have Jpw Productions.
Drop the equipment page-stock photos of equipment means nothing to a B&G. The picture of your set-up is good though…maybe you could put that on another page on your website?
Website could really use some more pictures and a bio page.

http://www.billysdjservice.com

Good:

Overall professional looking design (although you could probably do without the stack of blank CDs)
Company name, phone and location at or near the top of the home page as well as at the bottom of the page.
Suggestions:
You have D.J. all over your website. The most common way to write it is DJ.
Drop the calendar and use a service that allows clients to interactively check your availability. The empty calendar makes it look like you never DJ.
Drop the ‘Welcome to our website’ text.

Overall you have a very basic website. It looks good (I’m guessing it’s a template) but there’s not much to it and it isn’t very engaging. There are so many more things to be added like a bio page, a call-to-action (what on your website makes them want to call you or e-mail you right then to inquire about your services), interactive tools to browse your music library, etc.

I can see the Superpages button down at the bottom. I’m guessing part of the simplicity of the site is due to what you pay Superpages for your site. My suggestion is switch to a host that isn’t a Yellow Pages company as it will be much cheaper and will give you more options & flexibility. That’s not something to need to do today as it is a sufficient website but if you’re looking to grow your business online (which just about everyone should be) then I would definitely recommend that change for you.
Jim Weisz has been a DJ since 1999, primarily serving the wedding and school dance markets. Jim is originally from Chicago, having lived there until relocating to Dallas in 2003 to take a position with JonesTM (formerly TM Century). Jim has spoken at several national DJ conventions about websites. He has also written more than a dozen articles for Mobile Beat magazine about websites and a variety of other topics. Jim can be reached at jim@discoverydjs.com.

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