Powered Portable Systems Pack 1,000 Watts of Class D Amplification

January 27, 2010 – COSTA MESA, CA – With the launch of its new K Series product group, QSC (2010 NAMM Booth 6750) has redefined the standard in compact, lightweight, high-performance powered loudspeakers.

The combination of a professional-looking molded ABS enclosure, uniformly matched drivers, advanced DSP, and QSC’s legendary touring spec amplification has resulted in an unprecedented package. K Series is demonstrably able to outperform other molded enclosure systems due in part to one fundamental principle: the same 1,000-watt Class D amplifier module powers all four models – whether the K8, K10, K12 – or KSub (dual-12″ subwoofer).

QSC Director of Entertainer Solutions Ray van Straten states, “The K Series has been designed entirely without compromise, from the ground up. QSC has departed from convention and at the same time exploded a myth that smaller woofers must equate to lower performance.

“Competitors will typically use the highest power amplifier and the best quality drivers in the largest format model, while designing their smaller format models with lower power amplification and lesser performing components. This allows them to reduce the price of the smaller models, further propagating the myth that a smaller woofer enclosure necessitates lower performance.”

He continues, “Apart from using the same amp module across the line, we are also using the same quality woofer motor in all four models, and the same 1.75″ HF device in the three 2-way enclosures. The primary differentiator is the resulting output dispersion – the K8 being the widest at 105° and the K12 the narrowest at 75°. The choice for the customer then is not ‘good, better, best’, but ‘best, best, best’ – and ‘How wide a box do I need?’”

This radical approach is achievable due to a process called Directivity Matched Transition DMT^TM. DMT allows QSC to take advantage of a fundamental law of acoustics – smaller diameter woofers have wider coverage patterns than larger ones. QSC has simply matched the HF device to the LF dispersion, allowing for the smoothest and flattest frequency response possible across the entire sound field.

Add to this advanced DSP processing and an enclosure molded from ABS – a material far more rugged and sonically pleasing than conventional plastics – and the K Series delivers a completely new standard of performance in this category of loudspeakers.

Several proprietary QSC DSP technologies are incorporated into the K Series. One such technology is Digital Extension and Excursion Processing (DEEP^TM). DEEP allows each of the K Series models to deliver levels of low-frequency extension, hitherto impossible in enclosures of this size. Intrinsic Correction^TM, first featured in QSC line-array technology, utilizes dozens of spatially-averaged measurements, mapped to the processor to deliver smooth and accurate reproduction across the entire sound field.

Preventing amplifier clipping or overload is QSC’s proprietary GuardRail^TM technology, also present in their popular GX amplifier line. GuardRail^TM closely monitors the input voltage and controls the amplifier output stage before the onset of clipping. Unlike typical clip limiters, when GuardRail is activated, the results are all but undetectable – there’s none of the typical ‘pumping’ associated with other methods. In addition, user EQ controls are provided to select between application settings (EXT SUB, VOCAL, or FLAT response).

K Series boasts other user-friendly features. For example, when speakers are pole-mounted, the Tilt-Direct^TM pole socket converts to a 7.5° down-tilt with a simple 180° rotation of the dial. A locking IEC power cord is included, preventing accidental disconnect during a performance. For installed applications, connecting a commonly available potentiometer to the unit allows the operator to obtain gain control from a remote location. Multiple K Series units can also be daisy-chained together to one centralized control. Additionally, the K Series enters standby mode after five minutes of inactivity, both conserving power and enhancing ease of use.

The entire package is housed in rugged and sonically-friendly ABS (the sub in birch plywood) with steel grilles (2-way models) and carry-friendly ergonomic aluminum handles. The KSub also features low-noise casters for easy transport.

The Products
Three two-way models are available, with 8″, 10″ and 12″ woofer diameters, built around an advanced switch-mode power supply and Class D output section, the subwoofer power module also delivering 1,000 watts from an efficient and lightweight design.

K12
The K12 is a 12″ two-way system with 75° horizontal and vertical coverage. Low frequencies extend to 48 Hz (-10 dB high acoustic output, 131 dB peak). This low-frequency extension makes the K12 the ideal choice for music playback and live reinforcement of instruments, especially in venues where a more directional speaker is needed. Equally at home in the stage monitor role, the K12 enclosure has an angled side for use as a low-profile, horizontal wedge and a flat side for proper side-fill use.

K10
The K10 is unlike other 10″ powered loudspeaker systems, sharing the same amplification, HF device and low-frequency driver of the same high quality as its big brother, and offering 90° (conical) coverage and 129 dB peak output (low frequencies extending to 56 Hz. The K10 offers unprecedented power and performance from an extremely compact system, which can also be used as an ultra low-profile, horizontal wedge or sidefill.

K8
The extremely compact size of this 8″ powered loudspeaker won’t intrude on audience sightlines. Its 105° wide dispersion is a major advantage when the audience is up close to the loudspeaker. Low frequencies extend to 61 Hz (-10 dB) and the unit outputs an amazing 127 dB.

KSub
For live reinforcement of bass instruments and drums, or higher level playback of recorded music, the KSub is the ideal supplement to the K Series two-way models – an M20 threaded pole socket (pole included) provides a secure, wobble-free method of elevating a mid-high speaker over the subwoofer. The compact footprint won’t take over the stage, dance floor or seating area of smaller venues. A pair of high-power 12″ speakers in an optimized bandpass enclosure will handle everything the 1,000 watt power module can give them. Compact in size, and ergonomically designed, thoughtfully placed handles, noise-free casters along with an available accessory cover ease load-in and load-out.

Processing, Connectivity & Monitoring
While the DSP functions are optimized using Intrinsic Correction^TM, DEEP^TM, DMT^TM and GuardRail^TM technologies (with the high-pass filter included for use with subwoofer systems), two XLR-combo inputs, each with its own level control, are also provided. Both accommodate line-level inputs and one may be switched to microphone level sensitivity. Phono (RCA) input jacks are also included for connection of consumer electronics sources (2-way models only). Dual XLR outputs are provided for dual ‘loop-thru’ XLR/M connectors and a single XLR jack is available as a summed output. All three input sources may be utilized at once and mixed via the two gain control knobs (2-way boxes only).

Input Panel LED indicators are provided for power, signal present, mic level sensitivity and limit annunciation. A front-mounted power LED may be disabled by means of a rear panel switch when desired, or set so it indicates when the limit circuitry has been engaged.

Waveguide
Each K model incorporates a conical waveguide that maintains pattern control all the way down to the crossover frequency. The coverage angles of the waveguides are tailored for a smooth transition from woofer to compression driver with far less ‘waist-banding’ or other directivity related anomalies than other products in this class.

Suspension and Mounting
The K Series two-way models may be pole-mounted, suspended or yoke mounted. The K8, K10 and K12 yoke accessory kits allow for either horizontal or vertical yoke mounting, providing a flexible means of attaching K Series loudspeakers to a building structure or truss. When suspended deployment is required, M10 threaded inserts support vertical or horizontal suspension, while the integral pole mount socket accommodates 35mm speaker poles for use on a speaker stand or over a sub. The pole socket is designed so that the speaker may be angled down 7.5° in order to cover the audience while keeping acoustic energy off reflective walls and ceilings.

Accompanied by a complete range of accessories, padded carrying bags and various mounting accessories, K Series products provide a consummate package for the AV rental, installation, MI and DJ markets.

Principle Product Features
1,000 watt, efficient and lightweight class D power module
Light Weight (27 lbs. – 41 lbs. 2-way, 74 lbs. KSub)
Professional appearance and rugged construction
Directivity Matched Transition (DMT^TM) and Intrinsic Correction^TM DSP tuning for accurate, undistorted performance across the entire sound field
GuardRail^TM technology discreetly protects the system from damaging overload
DEEP^TM mode for enhanced low-frequency extension without a subwoofer
Locking IEC power cable
XLR and 1/4″ connectors
Phone mic/line and line inputs with loop-thru connectors and independent level controls.
Phono (RCA) inputs (2-way units)
Three 2-way models – each with coverage pattern optimized to match the LF driver
Front-mounted LED may be switched off or to indicate LIMIT or AC Power On
Dual angle, 35 mm pole socket with Tilt-Direct^TM allows the speaker to be angled down to put the energy on the audience instead of the back wall
Suspension and yoke mounting accessories available
4″ voice-coil woofer design for high output
1.75″ voice-coil compression driver
High Pass Filter for use with subwoofers
Subwoofer 1,000 watt, efficient and lightweight Class D power module
Dual 12″ band-pass for compact size, efficiency and high-power handling
Threaded pole socket for solid, secure pole mounting (KSub, includes pole)
3″ Casters (KSub)

For more information about K Series, please visit qscaudio.com – QSC Audio Products, LLC is a leading manufacturer of power amplifiers, loudspeakers, signal processing, digital signal transport, and computer control systems for professional audio markets worldwide.

For further information contact Christopher Buttner, contact info above, or publicity@qscaudio.com
QSC Audio Products, LLC
1675 MacArthur Blvd.
Costa Mesa, CA 92626 USA.
Telephone (800) 854-4079 (USA only) or (714) 754-6175
Fax (714) 754-6174
E-mail publicity@qscaudio.com
Web www.qscaudio.com

Thrilling Quest! – Lighting From ADJ

American DJ’s New LED Quest Fulfills
Search For Perfect Dance Floor LED Effect

LOS ANGELES – DJs and clubs — your “quest” for the perfect LED lighting effect has come to an end, now that American DJ has unleashed its amazing new LED Quest. Powered by a massive 15 watts of heart-thumping LED power, this easy-to-operate sound-active effect shoots out bright red, green and blue rotating beams from 19 lenses to cover an entire dance floor or other large area.

Containing 1 x 5W red LED, 1 x 5W green LED and 1 x 5W blue LED (15 watts total), the LED Quest projects rich, saturated brilliantly-colored beams that look great with or without fog. Its mighty LED power, along with its 130° beam angle and 19 lenses, produce a torrent of eye-popping beams that move and rotate to the beat of the music. The beams’ movements are smooth, quick and fluid, thanks to the unit’s high-quality stepper motors. There’s even a strobe effect to add pulsating excitement and work the crowd into a real frenzy.

But even though the LED Quest is an eyeful on the dance floor, it’s not a handful to operate. Just turn it on, and this sound-active effect will start moving to the music, running on its own internal programs. A convenient sound sensitivity knob on the rear panel lets you control the degree of intensity with which it responds to the music. You can even link multiple LED Quest units together Master/Slave via XLR cable for an instant, synchronized light show over a larger area.

The LED Quest’s easy plug-and-playability is one of the things that make it a truly great DJ/club effect. So too are its low maintenance, cool running temperature, low energy usage, and budget-friendly price tag, said Scott Davies, General Manager of the American DJ Group..

“It’s one thing to have a fixture that produces a lot of action and excitement and can cover a large area. But it’s quite another if that unit is also easy and economical to own and operate,” said Davies. “That’s what makes LED Quest such a great effect – it’s more than just a fantastic disco light. DJs and entertainers will appreciate that it’s very affordable and simple to run – all you have to do is plug it in. And because it uses LEDs as its lamp source, it is easier to maintain, more energy-efficient and generates less heat than conventional halogen effects.”

With its long-life LEDs rated at 50,000 hours, DJs won’t have to go to the hassle and expense of replacing burnt-out lamps. Club owners will also save money on their electric bills, since — for all its brightness and movement — this highly efficient unit consumes only 20W of power maximum.

Another advantage of the LED Quest’s LED lamps is that they produce hardly any heat, keeping things cool and comfortable on the dance floor and allowing the unit to run all night without being shut down for duty cycles. What’s more, mobile entertainers can enjoy the convenience of being able to pack up right after the show, since they won’t have to wait for the unit to cool down.

The LED Quest comes with a hanging bracket and features multi-voltage operation – AC 100-240V, 50-60Hz. For an effect that covers such a large area, it is extremely lightweight (9 lbs.) and compact (18.25″L x 12.25″W x 12.25″H), making it ideal for mobile use as well as mounting in places where space is at a premium.

Priced well within the budgets of DJs, mobile entertainers and small clubs, the LED Quest has an MSRP of just $229.95.

See the LED Quest in action — click on link below

IPad and It’s Impact on DJs

Apple started it’s announcement event about 30 minutes ago and I’m eagerly following it at http://www.engadget.com/2010/01/27/live-from-the-apple-tablet-latest-creation-event/.  This lookslike another revolutionary piece from Apple.  Based on the Iphone operating system this tablet is something I’m going to have to get, no doubt about it.

What I’m wondering is how quickly will one of the DJ specific software programs like PCDJ, Virtual DJ, Rockit or any of the other platforms will be developing for it.  Just imagine, a full DJ software app with multi-touch, etc for you performing at your events.  This has the potential to be another revolution in the consumer electronics industry and be something amazing for DJs.

Stay tuned,

Ryan

MOBILE BEAT – JANUARY – #126

MOBILE BEAT – JANUARY – #126

Aspects of Video

We kick off the year (and the decade) with a focus on how you can fit video into your services, or take what you’re already doing to the next level.

We talk with DJ Toad, who gets creative with video in clubs and on his mobile gigs.

Learn about creating awesome photo slide shows, video production & lighting basics, video editing software, and how to do video right on your website.

A videographer gives an honest impression of the DJs he works with; also, a DJ-turned-Videographer tells the story of his transition.

Get the Scoop a variety of new DJ products. BoogieHeads, a green-screen video technology, gets your audience into the picture-literally. Hear about how Pioneeer’s SVM A/V mixing system made the difference for one DJ over a year. Check out NEXTBEAT, an interesting handheld music controller the docks with a base-station mixer. For Mac users, we provide a view of DJAY, performance software that integrates seemlessly with iTunes. We also talk with Avi El-Kiss of B-52 Professional about his company’s gear and history.

PLUS: Scamming a scammer; Using music logs; Why you should add interactive games to your arsenal; Lists of hits from mulitple decades; Narrowing focus by customer profiling, and other ideas for business success in 2010; and MUCH MORE.

Photo Slide Shows Made Easy by Mark Evans

Photo Slide Shows Made Easy

By Mark Evans

We have all been to events where people show videos and photos of the couple or the birthday person and we think, “I could have done better.” Well with the right tools and a little knowledge you can. I’ve put together shows from very simple photo fades to very elaborate video and photo montages and clients love them. So where do you start? Let’s begin with the basics.

SCANNING, SAVING

Scanners are widely available and you need a pretty good one to make some nice crisp photos of older photos. When you scan a photo in you want to make sure you have the settings right. Most software programs will give you options to change DPI (dots per inch) or resolution. When scanning in small photos such as 3″x5″ or 4″X6″, you want to scan the photos in at 300 to 600 DPI. The reason for this is that you will want to have a digital version of the photo that is larger than what the output will be. This will give you some room to pan and zoom images. Knowing what the output will be is also very important. The slide show will look different if you are showing it on an HD TV than it will on a projector and screen. Keep this in mind when you start your project.

There are many formats available to save the photos in, but the industry standard and best format for this is JPEG (Joint Photographic Experts Group). This format losses very little quality even though it keeps the file size smaller. JPEGs work well when you put the photos into video.

ORGANIZING

One of the key things I learned when I first started doing slide shows was the importance of a regular scheme for naming the photos. First, knowing how many photos you will have to put together is critical to how you name them. Let’s say you have 150 photos to work with and you start naming them photo1, photo2, etc. If you are doing these chronologically then the numbers will be off. The program you use will put photo10, photo11 before photo2. It is best to start naming them photo001, photo002 and so forth. If you have less than 100 photos then you can start with photo01, phtoto02.

PROCESSING, ADJUSTING

Once you have your photos scanned or brought in from another digital source, it’s time to clean them up. The industry standard and best program for this is Adobe Photoshop. Most people are not willing to shell out the $700 for the full-blown program but there are some great alternatives. Photoshop Elements is the best-selling package at under $90; it does a lot of what its big brother does and is perfect for what we need to do. Other great software programs for editing include Corel’s Paint Shop Pro, Ulead Photo Impact or ACDSee Photo Editor. For Mac users there is iPhoto (pre-installed on all new Macs) and Aperture from Apple. I recommend you download the trial versions and see which one works best for you. The main things you will want to look for are color adjustments, photo restoration, red eye removal and photo sizing. Preparing the photos is typically the most time consuming part of the project, so you want to find a program that will do the job as quickly and efficiently as possible, while fitting with your way of working.

PUTTING IT ALL TOGETHER

Here is where you’ll have the most fun, in putting the photos together. Again, there are many tools to choose from and some will have steeper learning curves than others-and may not give you the flexibility to get the job done. In most cases you will not need a full video editor, but these do give you the most creative options. These programs include Adobe Premiere and Avid for Windows or Mac platforms. For Mac only Final Cut Pro or Final Cut Express are the standards. Because of the cost and learning curve to these programs you may want to consider one of the following programs at a fraction of the cost. For PC users, Cyberlink PowerDirector, Corel Video Studio, Adobe Premiere Elements, Sony Vegas Movie Studio, and Pinnacle Studio are the top programs and all under $100. For Mac users, try iMovie, another pre-installed option. Each of these programs gives you a full timeline option to work with, and some give you an easy-to-use storyboard option that allows for drag and drop placement of photos and videos.

These programs may still be a little to much for what you want to do, so let’s take a look at some of the most popular programs for creating slide shows. My number one pick for the PC is Photodex’s ProShow Gold. For under $70 it gives you incredible flexibility and power over the photos. With just a few keystrokes you can drag all the photos into the timeline, adjust the time of the photos, change the transitions and put the photos into motion. One of my favorite things to do is pan and zoom photos. This is also known as the “Ken Burns effect, after the documentary director’s technique of slowing moving still photos to create more dramatic energy.

If done right you can highlight and zoom in on a person or draw attention to something extra in the photo. The program also comes with a simple yet effective photo editor for simple things such as red-eye removal. One of the neat features of this program is that when you add music to the show you can automatically time the music to the photos. Let’s say you have 50 photos and a 3-minute song for the soundtrack.. Click a button and all the photos will change time from say 5 seconds per photo to 3.7 seconds so that they all fit into the timeframe of the music. You can also manually adjust photos to make some stay on the screen longer and others shorter.

On the Mac I found a program called FotoMagico which works very similarly to ProShow. This is also a drag and drop type of program and is very easy to use. It literally takes a few minutes to put all the photos in and make a few adjustments to put together a very nice show. Both programs give you options for outputting the final project onto disc or onto file. You can even upload directly to YouTube or Facebook to have your client see the show and make corrections before the event. This is quite a time saver and clients love that they can see the final project as soon as you are done. Remember, most of these programs have free trial versions, so go ahead and try them out to see what works best for you.

Time Trippin’ By Stu Chisholm

Time Trippin’

By Stu Chisholm
How a look back can reveal the road ahead

The realization that I’ve had a very long career is sometimes driven home in surprising ways. A long relationship with clients and their families is one of them. Just before I began my DJ career, there was a little girl in my apartment complex who played with my girlfriend’s son. She was one of many kids in the complex I got to know. Flash-forward about a decade, she’s calling me to entertain at her wedding! So there we are, and she’s a foot taller than when I’d last seen her, looking adult and beautiful in her wedding gown, a child no longer. Flash-forward again by nine more years and she’s calling me about her 30th birthday celebration! (Her “little sister” would call me soon after for her 25th.) The reason I’m recounting this particular family relationship is because the “little girl” called me again a few days ago…to spin the music at her [ital] daughter’s [ital] Sweet 16 Party. Like a family doctor, I’m not needed often, but they wouldn’t trust anyone else with their special life events.

THE VENERABLE LOG…

Over the same week I met with my friend and her daughter, I’d begun the tedious project of digitizing my old program logs. Today they’re Excel files, but for years they’d simply been handwritten lists, and over time those lists filled a couple of file cabinets! Since my living space isn’t getting any bigger, it was time for the paper to go. But I knew that this project was going to be long-term; something I’d do when the important stuff was done. Or I’d tackle them at lunch and between projects: less fun, but more productive than playing Mafia Wars.

I’d gotten in the habit of keeping a program long back in the 80s, when it was a job requirement at the nightclub where I worked. I immediately realized their utility. By noting what is played, in order, noting the response and jotting down any special notes, I’ve built a record of my events and, over time, a history. If there was a dispute (“You didn’t play…” or “You never did…”), I could point to the log and tell them that yes, I did indeed play that song, and what time I played it, and what kind of response it got on the dancefloor. That response could alert me to a song that would soon catch fire, or maybe a tried-and-true floor-packer that was starting to outlast its welcome, helping me to fine-tune my programs. In a nightclub setting, this can be critical. For weddings and mobile events, a longer-term benefit has also become apparent.

…FINDS A NEW USE

When playing multiple events for the same family or group, I would bring the program logs from their previous parties. It’s a graphic way to see what worked best and what was less successful. Things like birthdays and anniversaries were noted, and my program matched their tastes more precisely with each event. Over time, it’s as if I became a part of the family. It’s about as close to being psychic as you can get!

Today, a lot of DJs depend on the automatic logging systems built into their DJ software. Yet that software doesn’t note if a song was a request from a guest or from the list provided by a wedding couple. It doesn’t note the time it was played, or any dedications that might’ve accompanied the request. In short, they lack detail. A separate log, recorded on the spot, is by far a better way to go.

TIMES AND TASTES: REMEMBERING ‘88

Keeping detailed logs over time can not only help with future programming-and make a career DJ feel long in the tooth-but it vividly shows the patterns of popular music, and how we sometimes use it in surprising ways. A good case in point was the year 1988.

22 years ago, many of the “usual suspects” were there; “Celebration,” “Old Time Rock & Roll,” “Y.M.C.A.” and “Lady In Red”-already established classics that we still play today and will be spinning for many more years to come. Trends appear and those songs and artists that couples couldn’t live without, that seemed so important at the time also appear. One artist that I noticed on almost every list that year was The Jets, a Latin-American group who had a ballad called “Make It Real,” and a dance track called “Rocket 2 U.” The former was even an oft-used first dance at weddings! But it’s doubtful that anyone would want to hear those tracks today outside of a class reunion or anniversary.

On a more personal level, I could see how I began to assemble some of the sets that have become my show staples, and how they’ve evolved as well. We all have our sequences and sets we like and, try as we might to be versatile and fresh, we always show off that perfect mix when given the opportunity. Gazing through the telescope of time, I noted the first time I mixed “Brick House” with “Play That Funky Music” back in 1984. “Louie Louie” by the Kingsmen, previously a huge favorite among the sock hop set, was replaced by “Some Kind of Wonderful” by Grand Funk, or “Twist & Shout” by the Beatles as a follow-up to Bob Seger’s iconic hit. By the way, I also noticed that in 1985, live mixing during a reception cocktail hour and dinner period was a standout when other DJs were just playing a background tape. By 1988, the movie [ital] Dirty Dancing had breathed new life into songs like “Do You Love Me” by the Contours, “Cry To Me” by Solomon Burke, and gave us the destined-to-be-classic “(I’ve Had) The Time Of My Life,” which every bride, it seemed, wanted to be the final song of their event.

A Study in Contrasts

Indispensable groups from 1988 that are never (or seldom) heard at receptions today include: Exposé, Debbie Gibson, Taylor Dayne, The Whispers, Pebbles, Johnny Kemp, Pretty Poison, Tiffany, Lisa Lisa & The Cult Jam, Klymaxx and Paul Young. “Dance Little Birdie” became “The Chicken Dance,” the Emeralds version replacing The Tweets ‘81 hit. Still going strong: Madonna, Prince, Michael Jackson, Bob Seger, The Village People, Bon Jovi and Billy Idol. Activities have changed, too. At least in my locality, the tradition of the bride dancing with her father first, who then ceremoniously “passes” his daughter to the groom has all but disappeared. So did the dollar dance, for a while, but it has been slowly making a comeback in recent years. The biggest casualty, however, has been the Grand March, which used to follow the bride and groom’s first dance and the introduction of the Bridal Party. The couple would lead their party around the room, a bit like a party train or conga line, but when they returned to the dance floor, they would turn and face one another holding hands and everyone behind them danced under their “arch” did the same. Soon everyone was dancing through a “tunnel” of friends and family members, kissing everyone along the way! On the extremely rare occasion when a couple opts for a Grand March today, there’s absolutely no kissing, except, hopefully, for the wedding couple!

Log Rolling

So what does all this mean? Most immediately it means that program logs give you a way to gauge many things about your performance, clients, music and trends in both the short and long term. This information can be useful, sometimes in unexpected ways! When perusing Facebook and some DJ websites, I’ve often wondered why DJs who don’t offer photography still snap lots of pictures and post them online. Then I realized that, aside from a bit of promotion, it’s a way to touch base with reality and affirm that we actually did something! It’s a tangible piece of an experience that’s gone like a puff of smoke. I remembered having the same feeling about my first program logs. Armed with that information, I could virtually re-create the entire event. It was somehow more [ital]real. I could also also answer the party guest who called days or even weeks after an event asking, “What was that great song they used for their first dance?” Or, a request to “play all of those great tunes you played at my sister’s wedding” was suddenly possible. And knowing when to STOP playing “Rocket 2 U” kept my program from becoming stale and might’ve even prevented a loss of business! Years from now, your own logs might also make you look back, as I have, and say, “What a long, strange trip it’s been!” (Now where have we heard THAT before?)

Until next time, safe spinnin’!

Get Real: Success in 2010 by Mark Johnson

Get Real: Success in 2010

By Mark Johnson

With some realistic, creative business management, you can realize a better future

With apologies to the 1992 Clinton election campaign, the phrase “It’s the economy, stupid” seems more relevant than ever to virtually every aspect of life these days. Lets look at what this means for mobile DJs-and how can we use it to our advantage.

It well known that while adding professional music to any occasion improves that occasion, it could be argued that we may be the first to be omitted or at the very least, reconsidered for both our added value when times get tough.

LIFE GOES ON, BUT MORE FRUGALLY

Let’s start at the top. Will people change their mind and not get married due to the economy? Probably not. Besides the love thing, getting married allows the two single people to reduce their expenses and combine other expenses like housing, insurance etc. However, when it comes down to planning their wedding, many couples are taking a second look at all of the elements within this important, once-in-a-lifetime occasion.

I’ve seen several “Your Money” segments on various cable programs that indicate an increase in the number of the young couples taking the major amount of money normally spent on a wedding (and perhaps the following honeymoon) and spending it more pragmatically as a down payment on a house. In today’s economy, that’s very hard to argue against.

I personally have been involved with this decision in a few ways. The first has been losing some bookings as couples have changed their minds on the primary wedding reception. Secondly, some have changed their receptions from large affairs to more sedate gatherings coinciding with the actual wedding ceremony. The third change has involved more of a “party” than a wedding reception, held months after the actual wedding and usually at the family home.

All of these have the intention of NOT spending money on the extravagance of a soup-to-nuts wedding reception. While we might wish to have “blank-check” clientele, the current reality seems to inficate a backlash against such large expenses.

This budget-consciousness will in many cases trickle down to other family functions as well. Bar mitzvahs, sweet sixteens, graduations, first communions and birthday parties have all taken a slight turn for the worse regarding the use of our services. Factor in the increase of the “do it yourself” attitude of the clients with iPods and the lesser DJs with their cheaper systems and standards and you have a new storm on the horizon: Less sophisticated events allowing less sophisticated music that’s barely bordering on “professional.”

Corporate events and holiday parties have also seen decreases as recent headlines have chastised major companies for such celebrations. One headline in particular mentioned a solvent insurance company canceling their annual Las Vegas “sales conference” (wink, wink) not based on the money (which they had) but on the negative image of such a luxurious expenditure (which they didn’t need). Despite the company being able to afford this event, the motivational value of such an event to the salespeople, and the business that they bring to Las Vegas, the overall choice was to pull the plug. Everyone loses.

DJs fall precariously into two distinct categories regarding events: Value Added or Discretionary Expense. People will get married, have birthdays, and they will retire or graduate with or without DJs. In essence, these and other events will continue and adding a celebration to the event may or may not require a DJ.

About the only DJ event that we are absolutely necessary for would be school dances. There, the music IS the event, instead of simply coinciding with an occasion that would occur with or without us.

But enough gloom and doom. What can we do about these tentative times?

ADJUST YOUR FOCUS

First, the “sky’s the limit” mentality regarding DJ pricing may take a temporary sabbatical. Our clients are getting squeezed and are then squeezing their suppliers for better deals. Everyone is becoming a better shopper. The intangible qualities of our services (ie., “professionalism,”‘ “worth” and “customer relationships.”) will be seriously challenged.

Second, there will be fewer events to share with seemingly more DJs. And the newcomers to the DJ business will certainly exert pressure to bring down pricing. Now is the time to reinforce your relationships with repeat customers, namely schools and corporate events. Perhaps dangle a free or reduced price dance in January for locking in a whole year’s worth of regular dances. Offer a company a reduced rate for a non-Friday holiday party. Help create mini-sales conventions/celebrations held at the company’s facilities instead of the larger annual blow-out.

Cozy up with your local facilities that refer DJs by offering a greater referral fee. That’s highly negotiable and could make the difference in many cases. These venues are usually on the front lines of booking smaller family parties.

Keep in touch with semi-annual mailings to prior one-time events like weddings and perhaps “freeze” your rate for using you in the future. That should at least inspire a return phone call. Perhaps make it a one-time offering, which should coincide with a projected duration of the current economic situation. You don’t want to lock in a current rate forever.

INTREPID ENTERTAINERS

I’m reminded of FDR’s famous statement during his first inauguration, during the Great Depression: “There’s nothing to fear but fear itself.” Sure the economy is in the toilet. Sure, there’s more competition with lesser rivals. Sure, you have increased expenses with potentially reduced income.

But this time offers a great opportunity to review your overall approach. You have expensive equipment waiting to make you money. Look at other ways to get it working for you, like rentals or sound production. You have time to perform DJ gigs. Doing some freebies won’t cramp your calendar and could potentially generate new long-term clients that will be with you after the economic crisis passes. Why let money get in the way of your business, especially the DJ business? Each performance has incredible referral potential. There are some rays of hope among the clouds.

And when the sky clears (as it always does), the flexible, better-prepared mobile DJ will come out as the stronger DJ, leaving the competition looking for their next careers.

PRO2PRO: Pro DJ to Photographer/Videographer

PRO2PRO: Pro DJ to Photographer/Videographer

By Gerald Johnson

VISION EXPERT SNAPS CLEAR PICTURE OF WEDDING DJ’S ROLE

PRO PHOTOGRAPHER/VIDEOGRAPHER: TOM CHAPUT

In my area one of the best values in wedding photography and videography is Tom Chaput, who, with only eight years in the wedding business, has etched a clear mark in his trade. From a previous life of office supply sales and a lifelong interest in technology, he began his new career as a videographer working for a multi-op but eventually branched out on his own. He works with his wife Bonita, with the husband and wife team operating either as a tandem photography team or as a camera/video camera combo. I recently had the opportunity to talk with Tom regarding his thoughts on DJs, the wedding business, and the roles we all play as professionals:

Gerald Johnson: Let’s begin with DJs. During your time in the wedding business, you definitely have noticed that DJs have an effect on the event. In a positive sense, what can you say that DJs add?

Tom Chaput: I would say that good DJs help the guests to stay longer and enjoy themselves by providing quality entertainment with the right music. Also, a well-organized DJ can keep the flow and pace of the night moving along-which makes the guests more content and also removes stress and pressure from the bride and groom.

GJ: So the biggest piece of a DJ’s job you would say is “piece of mind?”

TC: Absolutely. If the event is planned out well in advance and followed through by the DJ with the right events, announcements, and music at the right times, then the bride and groom are almost always more relaxed and able to enjoy their reception. We can always tell if the DJ is a professional in the first few moments we work with them by how well they are organized and how well they work with you.

GJ: On the same note, I bet you have seen times when things didn’t quite go so well, and the DJ was at fault…

TC: The problem almost always begins with the actual scheduling of the event. In some cases, the DJ will not coordinate with the couple before the event, and as a result the event suffers. Sometimes names are wrong, the event has no flow, and before you know it the party was over because of a lousy DJ.

GJ: What, then, are the biggest problems you see when working with DJs?

TC: I am very surprised at the number of big (multi-op) services that will not divulge who the actual DJ will be before the event. With some services, the couple finds out at the event or the week before, which is definitely very stressful for the bride and groom, because, lets face it-some big services have one or two DJs that are bad. I’ve also seen DJs that show up dressed completely inappropriately for the event and some that are late. The biggest problem, though, are DJs with “an attitude” and those that make the show about them with too much mic time and cheesy shtick.

GJ: Let’s talk about sales. What is your best sales asset when meeting with new brides and grooms?

TC: For us it’s looking the part. We have a nice, clean office that serves the sole purpose of meeting with clients and doing work related to the business. Even though it is in my home, the office is on its own floor and is separated from the living space by stairs (meaning you don’t walk through the living space to get to the office). The whole space has been completely remodeled and we have our work hanging on the walls with accent spot lighting highlighting it. When couples are introduced to this setting, they see how serious we are about our work instead of a messy kitchen table or kids screaming in the background.

GJ: I suppose that’s the same on our end. If you are a client, you are inevitably going to look at those who have made the investment in a dedicated work space as more professional than those who simply meet with clients in their living room or another location.

As for your business, what is your approach to shooting weddings?

TC: Our concern is making the process as easy and fun as it can be for the bride, groom, and family. I know from experience that hiring “comfortability” over work that is shown will in the end always produce a better result because the experience making the photos or video will be better. If you hire by personality and not brand, then all will be better.

GJ: How does your typical planning meeting go?

TC: Well, we review with the client what the wedding day will entail and then they normally pick the specific package they want, whether it be length of shooting time with photos or the amount of videos and kinds of effect they want for the videography portion. We’re not Soup Nazis, and so our clients really can choose what suits them best.

GJ: Tom, thanks for your candidness. Are there any parting words you would like to give to the DJs before we wrap up?

TC: It is amazing how much a great DJ can enhance an event-and how a lousy DJ can ruin a day. Please don’t be the lousy DJ. Prepare, plan, and have fun!

RM416 For Club DJs by Stanton

Stanton introduces RM.416 to BROADEN ITS line of rack mount series mixers

Another Exceptional Mixer For The Demanding Mobile Or Club DJ Featuring A Vast Array Of Traditional/USB Channels & Connectivity For DJing Or Recording In Real-time
DEERFIELD BEACH, FL – January 14, 2010 – The RM.416 is the latest in Stanton’s RM (Rack Mount) series of mixers. Stanton, an industry leader in the design and manufacture of professional audio products for DJs, has created an exceptional mixer for the most demanding mobile or club DJ. With four channels coupled with two microphone channels-in addition to a vast array of traditional connectivity-the RM.416 features a USB connection for either playing music from your favorite application or recording your mix in real-time. Additionally, the RM.416 offers a subwoofer output with built-in crossover control, minimizing the need for an external crossover while maintaining the ability to adjust the output to perfectly match your sound system. All of these features are packed into a 4-space rack unit with a rugged metal inner chassis ensuring that the components are protected from damage and assuring a long product life.
“As in all of our mixers, the RM.416 offers a great deal of features plus built-to-last construction with a small price tag,” explains CEO Tim Dorwart. “Incorporating our Soft Start (quiet when powering on/off) feature, an extremely loud headphone out, and a built-in USB connection, the RM.416 is a versatile tool for any DJ on the go.”
FEATURES

• 4 Channel 19″ rackmount mixer
• Soft power on/off for silent operation
• 2 Front panel microphone inputs with Gain and 3-band EQ
• USB connection for recording to or playback from a computer
• 3 Band EQ per channel (-26 dB to +10 dB)
• Subwoofer output with gain and crossover (40Hz-200Hz) control
• VCA crossfader reduces noise and improves life of fader
• User replaceable crossfader and linefaders
• Balanced XLR master output with trim control
• Balanced π” zone output (Booth/Aux out)
• 3 Microphone, 8 stereo line, and 3 stereo phono/line switchable inputs
• Talkover control for front panel microphone inputs
• A / B / Bypass crossfader assign per channel
• Signal indicator for each channel
• 10 segment LED metering for master output
• Versatile cueing section with cue/master mix control
• Illuminated CUE and Fader Start buttons
• Unbalanced Stereo RCA record output
• Internal power supply (AC 110-240V switchable)
• Fader start control for triggering external CD players with crossfader
• Mono / Stereo switch for master output
About Stanton Magnetics
Founded in 1946, Stanton Magnetics is an industry leader in the design and manufacture of professional audio products for DJs. A member of the Stanton Group of companies, Stanton DJ products include turntables, high-performance cartridges, CD players, DJ mixers, accessories, and digital controllers. With over 50 years of innovation, Stanton is the name DJs trust. For additional information, visit the company online at www.stantondj.com.

Rack Case Ideal for Computer Based Audio and DJs

Rack Case Ideal for Computer Based Audio and DJs
ORANGE, CA – SKB Corporation has added two new products that are sure to make DJs and audio engineers very happy. Introducing the 1SKB-R104 Rack case and the 1SKB-AV8 shelf!

The 1SKB-R104 is a 10U slanted top and 4U front, rack case that features steel threaded rails, hard lid and doors, side access ports (for cable routing) and has enough space to mount the new AV-8 with the lid closed! The one piece base is roto-molded of Linear Medium Density Polyethylene (LMDPE) while the hard front and rear doors and lid are Injection molded of Rubber Modified Styrene (RMS). The back lid provides maximum access to the rack gear. Two TSA locking SKB patented trigger latches secure the lid while the flat hard top allows for stacking in transport and storage.

The AV-8 is an 8U retractable shelf designed after our AV-14 (a 1SKB19-R1406 Mighty GigRig accessory). Not only is the AV-8 a great accessory/add-on for the 1SKB-R104, but also can be mounted to any slant top mixer case with at least 8U of rack space, including our 1SKB-82DJ, 1SKB-84DJ and 1SKB-106DJ products. The AV-8 is the perfect solution for a laptop or projector.

Both the SKB-R104 and the SKB-AV-8 are covered by SKB’s unsurpassed no-fault Million Mile Guaranty^TM (Lifetime Warranty).

The SKB-R104 will be available February 2010 from authorized SKB dealers at an estimated street price of – $149.99 (US).

The SKB-AV-8 will be available January 2010 from authorized SKB dealers at an estimated street price of – $49.99 (US).

For additional information contact: SKB, 1607 N. O’Donnell Way, Orange, CA 92867 Tel: 714.637.1252 Fax: 714.283.0425 Web: www.skbcases.com.

About SKB
Established in 1977 by company founders Dave Sanderson and Steve Kottman, SKB Corporation manufactured its first guitar case in a small Anaheim, California, garage. Today, SKB is recognized globally as an industry leader in the design and manufacture of molded polymer transport cases. Vacuum, rotational or injection molded, these cases are engineered to provide ultimate protection for equipment utilized by hundreds of companies involved in diverse industries from music and pro-audio products to military, industrial and medical applications. SKB even supplies maximum travel protection for consumer sports and electronics equipment. The familiar SKB logo has symbolized uncompromising quality and unsurpassed durability for three decades.
Other brand and product names may be trademarks of the respective companies with which they are associated.

Next Page »