Get Ready for School – by Arnoldo Offerman
June 29, 2011
NEW COLUMN: YOUTH EVENT MASTERY – WHAT DOES IT TAKE TO BE A SUCCESSFUL SCHOOL DANCE DJ?
If you’re reading (or skimming) this article, you either want to get into the school market or revamp your school events. Like the rest of your business, you need a plan; and the task doesn’t come lightly.
Over the next few articles, I am going to teach you everything you need to know to grab this market by the horns and move your company to the front of the herd.
Those of you who know me are aware I don’t own A Premier Entertainment. Rather, CEO (and one of my best friends, Kelly Suit does). This brings the question that you rightfully may ask: Why listen to me? My job in the company (Productions Manager/VP) breaks out to many tasks, but our school division, ForSchoolsOnly, begs a different title and set of responsibilities. I am the division president, and this market is my baby. I created the name, concept, promotional materials, and sales techniques for this division. The result? In a market of $600 school DJs, we do dances from a simple $1,500 to $11,000 per event. During homecoming or prom, we knock out about four dances (alongside weddings and such) and keep things flowing rather smoothly. Schools ask for our DJs by name and grinding is NOT a problem at our dances. Our set up is efficient, powerful, and memorable. Call it ego, but I believe we are the best teen dance specialists in our state, if not the country. A Premier Entertainment owns all its own equipment and has dedicated employees. Simply put: We know our stuff.
COURSE REQUIREMENTS
Now that the “watch me puff myself up” part is over, let’s talk schools. First we need to make sure you’ve got the right stuff. Let’s go through a checklist; do not advance until you can say “CHECK!”
Equipment: If you own anything less than 15’ of Global Truss and a pair of crankstands, then start over. We tried using less for schools when we first began, and boy, I wish I could go back and fix that mess! A school gig demands big speakers, big subs, big lights, maybe video. You also need a big enough truck to haul this all in. Don’t go breaking your bank! We started years ago with two 5’x7’ screens, a 10’x10’ truss rig, and 10 lights. We rocked it back then and you can, too!
Roadies: I don’t care if you think you can set this all up on your own. Load-in and set up are mentally and physically draining. It WILL hinder your performance. Get ready to expand and hire some roadies!
Stamina: Doing large teen dances takes a lot of energy, and doing them back to back doesn’t get easier. As your venture grows, so does the to-do list. Floorplans, music, request lists, parts list, equipment check, cleaning, rider, etc.—this WILL wear you out!
Big brass “jog wheels:” School DJs are often ruthless. Some will be very nice to you, but tough competition, others will snake gigs from you and trash-talk you every minute they can. Keep a thick skin, you’re going to need it!!
A love for today’s music: If you hate today’s music, this will NOT be enjoyable for you, and that changes the energy you emit to the students. You’ll need to be well-versed in the music these “young whippersnappers” listen to nowadays!
Mixin’ skills: Yes, programming is important, but couple it with beatmixing for a unbeatable combo!
5-Hour Energy shots. I’ve gone six years without needing one, but I’m about to reconsider!
Honestly, you cannot do this successfully without possessing every quality above. The good news is, most of these criteria are easily met by most experienced DJs. You could argue some of them, such as beatmixing, but the honest truth is that I know I’m not the only one who has gotten schools’ attentions just by repeating the word. If you want to do this, REALLY want to do this, but there’s something above you’re not comfortable with…fix it! Don’t give up easily; this is a very rewarding market with many side-market opportunities, such as Sweet Sixteens. With some hard work and time/money investments, you will school division with some impact!
MOBILE BEAT, JULY 2011 – #136 – NOW AVAILABLE ONLINE – HITS MAILBOXES SOON
June 29, 2011
Get Ready for School…the Tour…and the Top 200
The July issue of Mobile Beat contains what almost amounts to a grand slam: THE TOP 200; a major FOCUS ON YOUTH EVENTS; and the final itinerary for the quickly approaching MB SUMMER TOUR
The issue contains a newly repackaged BUSINESS SECTION, featuring expert advice from Jeffrey Gitomer, Dave Ramsey and John Stiernberg. Also offering some great ideas and motivation for your business are Michael Edwards on how to DIFFERENTIATE TO DOMINATE and The DJ Coach, Paul Kida, helps you work on your FOLLOW-THROUGH.
Mobile Beat Publisher Ryan Burger takes a look at some IPHONE APPS FOR DJS and makes some recommendations. And on the tech tip, Jim Weisz gives some of EV’s new LIVE X SPEAKERS a run for their money, Ben Stowe (CTS) helps your SPEAKERS survive the school dance scene, and Chris Bedke shows how HARNESSING THE POWER OF LASERS can really heat up your youth events.
Continuing the youth theme, we debut two new columns: Ric Hansen on SCHOOL DANCE MARKETING and Arnoldo Offerman on YOUTH EVENT MASTERY, where he starts by helping you figure out if youth events are for you. Ric also provides some great song list for school dances, especially the TOP 100 SAFE SONGS. Music too is the focus for Mike Ficher, who looks at how kids have influenced POP MUSIC DOWN THE DECADES; and for Jay Maxwell who says you should CREATE UNPRECEDENTED EXPERIENCES for the kids, just as much for the wedding clients. Rob Johnson reminds us of the ways kids’ events can fill the calendar with MIDWEEK MONEY.
Talking to the people behind the music, we feature some DJs behind some of the biggest acts of the last few decades: DJ LETHAL of House of Pain and Limp Bizkit and Public Enemy’s JOHNNY JUICE.
Once again, our partners at DJ INTELLIGENCE have compiled and delivered a huge helping of musical information in the form of the TOP 200 MOST REQUESTED SONGS list. Plus, they’ve thrown in a heap of wedding music info and, in the spirit of MB’s 20th Anniversary celebration, broken down requesters’ favorites by decade, from the 1950s through today.
Finally, it doesn’t take up many pages, but the newly revealed MB SUMMER TOUR ITINERARY might be the most important part of this issue. You’ll also find the latest info when you click the Tour link on the MobileBeat.com homepage. Take a look at the list of cities, and carve out some time in your busy schedule to hang with other DJs, take in a seminar, and check out some of the industry’s newest gear at your local Tour stop. It could be the best thing you do this summer to build your DJ career!
Sound Discipline: Speakers at School Dances
June 29, 2011
YOUTH EVENTS CAN PUSH YOUR SPEAKERS PAST THEIR LIMITS; HERE’S HOW TO GET YOUR SOUND UNDER CONTROL
Before we take our sound systems to school this fall, lets have a little education ABOUT sound systems. Teen events today can require a lot from our rigs, and there’s more to it than simply the attendees wanting you to liquefy their insides with nearly lethal doses of low frequency audio. The music industry itself has been waging the “Loudness Wars” and if we’re not careful, our sound systems can end up as “collateral damage.”
Before the significance of this becomes apparent, I would be remiss if we didn’t get a little nerdy and talk about the science of making sound. Specifically, how we make sound with transducers (speakers, in lay terms). Transducers are devices that convert one form of energy to another. In the case of a loudspeaker, it is converting electrical energy into acoustic energy. It does so by running an electric current through a coil of thin wire (the voice coil in the speaker), which then becomes an electromagnet. The voice coil operates in close proximity to a permanent magnet on the speaker. At one point, I’m sure we all witnessed how magnets of like and opposite polarity react to each other. Like polarities repel and opposite polarities attract. The magnetic reaction between the voice coil and the permanent magnet in a loudspeaker moves the cone in and out, which creates vibrations in the air. Voila! We have acoustic energy (sound).
SPEAKERS UNDER PRESSURE
So, now that you survived a paragraph of pure nerdspeak, you’re probably dying to know that your pain was worth it. It was. By understanding how a loudspeaker operates you’ll be far better equipped to understand why they fail, and thus how to prevent it. Often people believe that putting too much power to a loudspeaker is what causes failure, and while there is some truth to that, there is also a lot of misunderstanding. Loudspeakers can withstand tremendously large amounts of short term (peak) power. Music has numerous peaks and valleys, the latter of which allow the loudspeaker to recover and remain cool. Just about the worst thing you can do for a loudspeaker is to play a continuous tone at high levels for an extended period of time.
Worse yet is a phenomenon known as “speaker compression” or “power compression.” This occurs when the voice coil in a loudspeaker heats up. Some heating is normal during use, but it stands to reason that heavier use causes higher temperatures. As the voice coil heats up, its DC resistance increases. The increased resistance reduces the effective output of the loudspeaker by as much as 6dB. That’s the equivalent of reducing your amplifiers power by 75%! So, of course, as our loudspeakers produce less sound, our natural reaction is to “turn it up”—which only worsens the situation.
There’s another kind of compression to worry about as well. In this case it is the intentional reduction of recorded music’s dynamic range for artistic and other reasons. Judiciously applied, compression can give a track a pleasantly smooth and powerful sound, but when we compress music, we run out of dynamic range and the loudspeaker no longer has the opportunity to recover. Unfortunately, most modern dance tracks are heavily compressed during the recording process. Graphic A shows stereo waveforms from top to bottom for a country song, a hip-hop song, and a dance track. Notice how much more blue we see in the hip-hop and especially the dance track? The loudspeaker has much less chance to recover while playing these tracks at high levels. And the bad news isn’t over yet: This is where the so-called “Loudness Wars” come into play. In Graphic B (courtesy of Song Yanbo) you will see comparison waveforms from Michael Jackson’s “Black or White” from 1991, 1995 and 2007. Again you’ll notice the green sound waveform of the latest version filling up the dynamic range until it’s almost all “peak” during most of the song. Essentially, the Loudness Wars are a result of the record labels competing to make their songs “stand out” by increasing the amplitude of the track until more and more of it reaches the peak level for the recording. This has caused a reduction in the dynamic range, sometimes substantial, which not only degrades the quality of the audio, but makes our loudspeakers much more likely to heat up.
DRIVING THE RIGHT VEHICLE
The solution? Have enough rig for the gig. Don’t ask your loudspeakers to do what they were not designed to do. I strongly recommend having subwoofers for any teen event. They will produce the deep, low bass that’s desired and take the pressure off of your full range boxes.
How much rig do you need? I wish there was an “Easy” button for this, but unfortunately there is not. Loudspeakers vary in efficiency, output, frequency response and pattern of coverage. But here are some rough rules of thumb though, to simplify the equation. For teen dances of 200 to 400 kids in an average-sized gymnasium I would recommend a minimum of a pair of 18” subs and a pair of 12” or 15” 2-way tops, with a peak output of no less than 129 dB (1M). For 400 to 1000, you’re probably going to want at least four 18” subs (or two dual 18s), preferably in a center-coupled arrangement. Placing the subs next to each other will produce a gain of approximately 3dB of output. More than two tops may be required here. If you use full range boxes placed closely together, be sure they are splayed at the horn angles to give adequate coverage over the dancefloor area, and to avoid interference between the boxes. Be sure to get the horns of your top boxes slightly above head level to allow the smaller wavelengths (higher frequencies) to cover the dancefloor. (Loudspeaker placement is another topic, all of its own, and my colleague Stu Chisholm covered the basics of it on page 26 of MB’s March 2011 issue).
It is important to note that all speakers are not equal, no more than all cars are. Taking a family sedan to the racetrack will only lead to its early death, and it won’t perform as well as a car designed to race anyway.
Gemini’s GTX Loudspeakers: Merging Value and Sound Quality
June 29, 2011
Edison, NJ – June 28, 2011 – Gemini, a division of GCI Technologies, is pleased to announce the new GTX series of passive loudspeakers. With over three decades of speaker production under their belts, Gemini has always demonstrated an ability to seamlessly merge value and sound quality. And the new GTX loudspeakers follow suit, offering outstanding dispersion and accurate audio reproduction at an accessible price.
Ideal for a variety of performance spaces, as well as mobile DJs and gigging musicians, the new GTX series provides a great sounding, cost-effective speaker solution, thanks to balanced, full-range audio and rugged, portable enclosures.
With beefy, high-quality woofers and double piezo horns, the new GTX series features four configurations: the GTX-1000 houses a 10-inch woofer and handles 100 watts RMS; the GTX-1200 sports a 12-inch woofer and handles 125 watts RMS; the GTX-1500 contains a 15-inch woofer and handles 185 watts RMS; and the GTX-2150 boasts dual 15-inch woofers and handles 315 watts RMS.
“The GTX series was designed as a versatile speaker solution without the hefty price tag,” says Mark Wilder, Vice President of Marketing for GCI Technologies. “Gemini has a long history of providing quality speakers for budget-conscious performers and venues. Keeping with tradition, GTX ensures you don’t have to break the bank to get a great sounding speaker system.”
Outstanding audio quality and impressive power handling make the new GTX speakers perfect for PA applications in schools and houses of worship, while lightweight, roadworthy construction makes them ideal for DJs and musicians. Combining performance and affordability, GTX passive loudspeakers offer a classic complement to any stage, practice space or DJ rig.
Pricing:
U.S.
GTX-1000 $79.95
GTX-1200 $119.95
GTX-1500 $159.95
GTX-2150 $239.95
EU:
GTX-1000 99.00
GTX-1200 139.00
GTX-1500 189.00
GTX-2150 279.00
UK
GTX-1000 79.00
GTX-1200 129.00
GTX-1500 159.00
GTX-2150 249.00
About GCI Technologies:
GCI Technologies is three innovative music product brands: Gemini, Cortex and iKey Audio. Gemini, who virtually invented the mobile entertainment products genre in the 1970s, is a respected name in the DJ and pro audio markets. Cortex breaks new ground in technology products for the modern digital DJ. iKey engineers numerous recording products for musicians, home studio enthusiasts and audio hobbyists.
Written by Ryan Burger · Filed Under Exclusive Online News and Content, Sound
Differentiate to Dominate – by Michael Edwards
June 29, 2011
AHEAD OF THE CURVE: YOUR OWN CREATIVITY IS KEY TO CONQUERING YOUR MARKET
The best way to move to the front of the local DJ pack is to offer something different that clients in your market can only get from your company.
Look for a way to separate (and elevate) your services from your competitor’s services. “We play great music” doesn’t cut it. Everybody says that. “We have great equipment” means little when they hear it from every DJ they speak to. You need to differentiate in a way that is truly unique if you want to dominate. The key is to think of a way to offer clients the same basic thing as all of your competitors, but in a way that makes them want to buy it from you and you alone—and maybe even be willing to pay more for it too!
The larger the market, the tougher the competition…and the tougher it is to come up with effective ways to differentiate.
McDonalds was the first fast food chain to have a “kids meal.” It was simply a regular burger and small sized fries in a box with cartoon characters on it. No specific food changes. The “differentiation” was in the packing and marketing only. They just labeled and promoted it as a kid’s meal. Soon Burger King copied them with a kid’s meal of their own, so McDonalds added a “free” toy and now called it a “happy meal.” And they were certainly happy when they suddenly sold much more than Burger King, based largely on simple act of differentiating it as not just another kid’s meal.
It works the same way for any business, but the ideas on exactly how to differentiate your products or services from your competition must come from you! That’s where it gets tough.
PLAYING WITH PRICE
Real professional DJs have many ways to differentiate themselves from amateur DJs. Pro DJs are often members of a national mobile DJ organization, such as the ADJA or NAME. They also carry liability insurance and backup equipment that amateurs don’t. Many DJs actually think that type of stuff doesn’t matter, and that all the customer really cares about is the price. If you take the time to educate your clients on the differences in between pro and amateur DJs, they usually change their minds.
If your level of service is not the same as the amateurs, don’t worry about what they charge or make the mistake of trying to compete with amateur pricing. If you do, you’re not a very good businessperson. Amateur ability and mentality will never be able to compete at a pro level. That’s a cold hard fact in any profession. Even during the darkest recession, clients were still willing to pay more for a reliable professional quality DJ service when booking the entertainment for what they felt was a “once in a lifetime” event. It is sometimes possible to differentiate in your market, just by your price.
A few years ago, DJ Peter Merry posted “Prices Starting at $5,000” on his website. That price instantly distinguished his service from all other DJs in the minds of visitors to his website. Granted, it scared some clients away, but I’m sure he expected that. He took it a step further and decided he was no longer going to be known as a “DJ” and instead, took the title of “entertainment director.” Yet another way to differentiate his services from his competition—even those who may have offered an almost identical level of professionalism and similar services at a lesser cost. Differentiating works. You just need to find your best point(s) of differentiation.
RISING ABOVE THE PACK (AS WELL AS THE RIFF-RAFF)
Real success will come after you successfully differentiate your company from the other top DJ companies in your specific market. Most pro DJs clearly stand above the amateur DJs, but the challenge is to stand out from the other pro DJ companies too.
Over a year ago, we added an uplighting division. There were three or four other excellent companies already in our market who also offered exactly the same uplights and had been doing it longer, so they had more experience, and had already established relationships with a variety of venues for their uplighting referrals. Since all those services were priced about the same as we were, it was hard to differentiate ourselves. It was hard for a typical customer or venue to see anything unique in our service…so why would they hire us above the competition?
Our “ahead of the curve” solution was to differentiate our service from all the others in our market, and possibly anywhere else in the country. All of the lighting delivery people we hire are required to have a degree in “theatrical lighting design.” It’s wasn’t just an excellent way to market our uplighting service as superior to the average low-cost set-up staff our competitors use, but it also produced amazing uplighting results for our customers and the venues. Several banquet hall managers have told us that no other lighting service has made their venue look as good. Clearly, differentiating with a built-in quality upgrade is an excellent way to stay “ahead of the curve.”
So, what can you do to make your company truly stand out from the crowd? [MB]
Global Truss America Issues Statement Regarding Brand Name
June 27, 2011
Global Truss America Issues Statement Regarding Brand Name
LOS ANGELES – (For Immediate Release) – In the wake of a competitor issuing claims that it is the authorized distributor of Global Truss products in the United States and Canada, Global Truss America has issued the following statement.
“It has come to Global Truss’s attention that a competitor is attempting to play off Global Truss’s hard earned name and reputation as the premier entertainment trussing provider in the Americas. This particular competitor has even recently taken to informing customers and dealers that they are now the “sole and exclusive” authorized Global Truss distributor in the United States and Canada.
“The absurdity and clear falsehood in this statement can easily be seen by anyone who simply types www.globaltruss.com into their browser or the words “global truss” in their search engine. The company who supports that web site is Global Truss America, LLC. Products are available for sale and purchase. Global Truss continues to sell and distribute its products to customers. Consumers should not be fooled by these absurd statements by an infringer.
“Global Truss and its design are federally registered trademarks in the United States to Global Truss America, LLC. These federal registrations clearly make Global Truss America the sole and exclusive authorized seller of Global Truss products in the United States. Copies of these federal registrations are attached to this statement. Further copies can be found on the web site in the United States Trademark Office. The Global Truss trademarks are filed by Global Truss America, LLC throughout the Americas.
“Global Truss America, LLC is an American DJ company. American DJ maintains a strict policy of pursuing any and all infringers of its intellectual property. Global Truss and the American DJ Group are cooperating with law enforcement to pursue the perpetrators of these illegal acts. Anyone who attempts to distribute infringing products from any party other than Global Truss should be aware of their potential liability in this regard.
“In December 2010, Global Truss America learned that GLP (German Light Products), and its manager, Mr. Mark Ravenhill, made an arrangement with one of Global Truss America’s factories to purchase unauthorized products for importation into the United States in violation of Global Truss America’s rights and US law. GLP and Mr. Ravenhill have been sued in United States District Court for the Central District of California, Case No. CV 11-168 SJO (SSx). Global Truss America no longer does business with that Chinese Factory. Global Truss expects to achieve a substantial judgment against those parties at the conclusion of the case.
“Customers should also be aware that the truss product being sold by GLP is not authorized by Global Truss. Global Truss America does not warrant those products if they fail and will not accept them for return or replacement.”
For more information or to purchase genuine and authorized Global Truss products, contact Global Truss’ Ken Kahn at (323) 415-6225 or email ken@globaltruss.com.
Written by Ryan Burger · Filed Under Exclusive Online News and Content
Safe Songs for Summer teen dances
June 22, 2011
Schools out, but teen parties are in full swing. ”Sweet 16″, Bar and Bat Mitzvahs, Camp dances, pool parties….and keeping the music current with the hottest summer dance tunes is critical. So is keeping it lyrically friendly for parents, and party planners. Here are th songs that will make the event a hit…..plus the ones you should probably avoid (See the DO NOT PLAY LIST)…Good luck. Remember it is always my recommendation to purchase a music service that provides edited versions of all songs. Even songs on the Top 30 safe list are only safe if you are playing the cleaned up versions. We use “Prime Cuts” from TM and list the disc number for your convenience. As a responsible DJ I hope that you will join our ever growing School Dance Network members and loudly proclaim your commitment to offering lyrically safe music as a RESPONSIBLE DJ.
Top 30 SAFE SONGS for the first week of Summer.
| TW | Artist | Title | Featuring | Prime Cuts # | BPM | Notes | |
| 2 | 1 | Bruno Mars | Lazy Song | 201108 | 87 | ||
| 4 | 2 | Jennifer Lopez | On the Floor | Pitbull | 201104 | 130 | |
| 7 | 3 | Britney Spears | Til The World Ends | 201111 | 133 | Small edit | |
| 1 | 4 | Black Eyed Peas | Just Can’t Get Enough | 201106 | 94 | ||
| 8 | 5 | Lupe Fiasco | The Show Goes on | 201045 | 72 | ||
| 11 | 6 | Wiz Khalifa | Roll Up | 201106 | 94 | Edit | |
| 18 | 7 | Pitbulll | Give Me Everything | Ne-Yo & Nayer - | 201114 | 129 | Suggestive content |
| 3 | 8 | Katy Perry | ET | 105 | |||
| 24 | 9 | Adele | Rolling in the Deep | 201048 | 105 | ||
| 15 | 10 | T-Pain | Best Love Song | Chris Brown | 201108 | 81 | Edit |
| 9 | 11 | Tinie Tempah | Written in the Stars | Eric Turner | 201104 | 93 | |
| 27 | 12 | Lady Gaga | The Edge of Glory | 201120 | 128 | ||
| 19 | 13 | LMFAO | Party Rock Anthem | Lauren Bennett | 201102 | 131 | Edit |
| 6 | 14 | Hold it against Me | Britney Spears | 201103 | 134 | ||
| 5 | 15 | Lady Gaga | Born This Way | 201102 | 120 | ||
| 30 | 16 | Nicki Minaj | Super Bass | 201115 | 127 | Edit | |
| 12 | 17 | Usher | More | 201047 | 125 | ||
| 13 | 18 | Enrique Iglesias | Tonght | Ludacris | 201047 | 126 | Edit Sh*t |
| 14 | 19 | Lady Gaga | Judas | 201117 | 131 | No Catholic schools | |
| 23 | 20 | Kanye West | All of the lights | Kid Cudi, Rihanna | 201050 | 71 | Use the super clean edit |
| 28 | 21 | Jason Derulo | Don’t Wanna Go Home | 201120 | 122 | Edit Bitch-Drink references | |
| 10 | 22 | Nicki Minaj | Moment for Life | Drake | 201050 | 98 | edit |
| 29 | 23 | Chris Brown | She Ain’t You | 201114 | 91 | ||
| 16 | 24 | Ke$ha | Blow | 201102 | 120 | ||
| 25 | 25 | Beyonce | Run The World | 201118 | 127 | ||
| 17 | 26 | New Boyz | Backseat | 201103 | 124 | Edit “A**” | |
| New | 27 | Lil Wayne | How to Love | 201123 | 77 | ||
| New | 28 | David Guetta | Where them Girls at | FloRida-Nicki Minaj | 201119 | 130 | |
| New | 29 | Beyonce | Best Thing I Never Had | 201124 | 100 | ||
| New | 30 | Jennifer Lopez | I’m INto You | Lil Wayne | 201115 | 84 | |
| Recurrents- (Still popular) | |||||||
| 20 | Far East Movement | Rocketeer | Ryan Tedder | 201047 | 96 | ||
| 21 | Chris Brown | Yeah 3X | 201044 | 129 | |||
| 22 | Katy Perry | Firework | 201041 | 124 | |||
| 26 | Keri Hilson | Pretty Girl Rock | 201042 | 80 | |||
| Mike Posner | Bow Chicka Wow Wow | 201107 | 74 | edit sh*t | |||
| Taio Cruise-Travie MacCoy | Higher | 201102 | 128 | Radio Edit | |||
| Nelly | Gone | Kelly Rowland | 201101 | 73 | |||
| Bruno Mars | Grenade | 201044 | 111 | ||||
| Chris Brown | Deuces | 201031 | 74 | EDIT | |||
| Rihanna | What’s My Name | 201043 | 100 | H.S Only | |||
| Edward Maya-Mia Martina | Stereo Love | 201013 | 127 | ||||
| Pink | Raise Your Glass | 201041 | 122 | EDIT | |||
| Flo Rida | Who Dat Girl | 201046 | 125 | ||||
| Nelly | Just a Dream | 201032 | 90 | ||||
| Enrique Iglesias | I Like It | Pitbull | 201019 | 129 | |||
| Rihanna | Only Girl (In the world) | 201037 | 126 | EDIT | |||
| Pitbull | Hey Baby | 201037 | 128 | ||||
| Black Eyed Peas | The Time (Dirty Bit) | 201045 | 128 | ||||
| Mann | Buzzin | 201050 | 104 | Edit | |||
| Will.I.am | Check it Out | Nicki Minaj | 201037 | 130 | edit | ||
| Kesha | Take It Off | 201028 | 125 | ||||
| Katy Perry | Teenage Dream | 201031 | 120 | ||||
| KE$HA | We R Who We R | 201043 | 120 | Edit | |||
| Mike Posner | Please Don’t Go | 201034 | 121 | ||||
| Usher | DJ Got Us Fallin In Love | Pitbull | 201029 | 120 | Edit | ||
| Bruno Mars | Just the way you are | 201030 | 109 | ||||
| David Guetta | Memories | F/Kid Cudi | 201012 | 130 | Edit | ||
| Ditty-Dirty Money | Coming Home | 201047 | 84 | Edit nigga&sh*t | |||
| Nicki Minaj | Right Thru You | 201040 | 81 | ||||
| Jay Sean | 2012 (It ain’t the end of the world” | 201032 | 127 | ||||
| Eminem | Love The Way You Lie | Rihanna | 201027 | 87 | Edit | ||
| Taio Cruz | Dynamite | 201020 | 120 | ||||
| 3OH!3 | Double Vision- Dance Edit | 201035 | 120 | ||||
| Sean Kingston | Letting Go (Dutty Love) | 201025 | 92 | ||||
| Travie McCoy | Need You | 201037 | 74 | ||||
| Flo Rida | Club can’t Handle Me | D Guetta | 201024 | 128 | |||
| Taio Cruz | Dirty Pictures (Squeaky Clean) | Ke$ha | 201038 | 120 | EDIT | ||
| New Boyz | Break My Bank | Iyaz | 201028 | 91 | Edit | ||
| Katy Perry | California Gurls | Snoop Dog | 201020 | 125 | |||
| B.O.B | Airplanes | Hayley Williams | 201016 | 94 | Edit | ||
| Travie McCoy | Billionaire | Bruno Mars | 201011 | 88 | |||
| Usher | OMG | Will I am | 201012 | 130 | |||
| Mike Posner | Cooler Than Me | 201014 | 130 | ||||
| Tao Cruz | Break Your Heart | 201004 | 122 | ||||
| Black Eyed Peas | Rock That Body | 201013 | 125 | ||||
| Ready Set | Love Like Woe | 201020 | 90 | ||||
| 3OH!3 | My First Kiss | Ke$ha | 201019 | 138 | |||
| Nicki Minaj | Your Love | 201013 | 95 | ||||
| DO NOT PLAYLIST ADDS | |||||||
| Katy Perry | Last Friday Night | ||||||
| Enrique Iglesias | Dirty Dancer | ||||||
| Rihanna | Man Down | ||||||
| Nicole Scherzinger | Right There | ||||||
| Kelly Rowland | Motivation | Lil Wayne | clearly sexual | ||||
| Waka Flocka Flame | Grove St. Party | Kebo Gotti | |||||
| Travis Porter | Bring it Back | ||||||
| Chris Brown | Look at me Now | ||||||
| Nicki Minaj | Did it on em | Nasty | |||||
| Big Sean | My Last | Chris Brown | Glorifies Alcohol | ||||
| Snoop Dog | Wet/Sweat | ||||||
| Kanye West | H*A*M | Jay-Z | |||||
| Rihanna | S&M | ||||||
| Pink | Fr**kin Perfect | ||||||
| Twista | Make a Movie | Chris Brown | |||||
| Lil Wayne | 6 foot 7 foot | Cory Gunz | |||||
| Problem | My Ex | ||||||
| No Hands | Waka Flocka Flame | Rosco Dash | |||||
| Birdman | Fire Flame | Lil Wayne | |||||
| Jeremih | Down On Me | 50 cent | |||||
| Wiz Khalifa | Black and Yellow | ||||||
| Kanye West | Runaway | ||||||
| New Boyz | Spot Right There | ||||||
| Waka Flocka Flame | No Hands | ||||||
| Kanye West | Monster | Jay Z -Rick Ross | |||||
| Eminem | No Love | Lil Wayne | |||||
| Trey Songz | Bottoms Up | Nicki Minaj | |||||
| Bumpy Ride | Mohombi | ||||||
| F**K You | Cee Lo Green | ||||||
| Right Above It | Lil Wayne | Drake | |||||
| Fancy | Drake | ||||||
| Rick Ross | Blowin Money Fast | ||||||
| Drake | Fancy | ||||||
| Richard Vission/Static Revenge | I Like That | Luciana | |||||
| Far East Movement | Like a G6 | ||||||
| Glasses Malone | I Get Doe | ||||||
| Soulja Boy | Pretty Boy Swag | ||||||
| Kanye West | Power |
AERIAL7 Tanks Headed To a New Level with DJ JAM
June 16, 2011
(Los Angeles 5/10/2011) DJ JAM, acclaimed artist known for his diverse remixes and production as well as being the “Official West Coast DJ” and hip hop tour DJ for Snoop Dogg and Dre is releasing his first headphone collaboration with AERIAL7. DJ Jam and AERIAL7 are excited to debut the chic and enduring, Tank Platinum headphone. “After wearing & testing their products for the last couple of years I have seen AERIAL7 grow to the level they are at now. They have always listened to the things I had to say about design & quality which has led to this headphone”, says Jam.
The Tank Platinum captures an elegant and sophisticated look with a high gloss UV white finish which complements the satin chrome and gold VM components. The Tank Platinum features swivel ear cups with spring return for single-sided monitoring, plus two cables which include a thick coiled screw on cable for standard music players and a thin straight cable with microphone for mobile device use. Additional design features include the gold AERIAL7 stitched on top and gold logos underneath the white headband making this one eye-catching headphone.
AERIAL7 has always believed in creating a product of great design and quality engineered to deliver a superior listening experience. Jam executes a similar belief by, “surrounding yourself with the best & being the best you can be!!” The Tank Platinum is currently available, check out www.aerial7.com to find a store near you.
Written by Ryan Burger · Filed Under Exclusive Online News and Content, Sound
American DJ Wants You To Come Play In The UK
June 15, 2011
Come Play in the UK Video Contest From American DJ. Win an All-Expense Paid Trip for Two To The BPM Sho
w in Birmingham England October 1-3 (total trip length is Sept 28 through October 4, 2011)
It’s Easy And Fun
Just send us a video explaining which European musician you would like to meet in a dream world, and which American DJ lighting product you think would be great to give your musical hero.
It doesn’t matter if the musician you want to meet is living or historical. Hey — This is a fantasy contest!
Let your creativity be your guide; you can communicate with your musical hero through the Internet, a séance or anyway you want.
Our contest is open to all legal US residents 18 years and older.
How To Submit Your Video
Submit your video through the Brian S. Redd YouTube channel by our deadline June 30, 2011.
Only videos submitted through this YouTube Channel can be considered. You’ll find a link to the contest channel on our website, www.americandj.com.
No purchase is necessary, and no ADJ products have to be used in your video.
A Really Amazing Grand Prize…
Our Grand Prize winner receives an All-Expense Paid Trip For Two To The BPM 2011 DJ Show in Birmingham, England October 1-3, 2011. This includes:
Round trip coach/economy airfare from the winner’s home city to the United Kingdom
All ground transportation in the United Kingdom
5 nights hotel accommodations (standard room double occupancy)
1-Day tour of The Beatles “Magical Mystery Tour” in Liverpool with representatives of American DJ
500 British Pounds spending and meal money
3 Arriba bags to take on your dream trip
Plus Some Pretty Cool Consolation Prizes
Second Prize: is a VMS4 Traktor Digital Work Station, an American DJ Nucleus Pro and one AS-190 Arriba Case (fits the VMS4).
Third Prize: is one American Audio Encore 1000, one American DJ Micro Gobo, one AS-190 Arriba Case (fits the Encore 1000), and one AC-60 Arriba Case (fits the Micro Gobo).
Fourth Prize: one American DJ Atmospheric RG LED laser, and one AC-140 Arriba Case.
Official Rules
All videos must be 100% original and must contain no lewd or offensive material. American DJ cannot be responsible for entries that are lost, and cannot acknowledge receipt of entries. Alternate travel dates cannot be substituted and the prize is not transferable, nor can it be converted into cash. If you win, you’re responsible for any taxes. Click here for official contest rules.
Written by Ryan Burger · Filed Under Exclusive Online News and Content, Lighting, Sound
MOBILE BEAT ANNOUNCES FEATURED SPEAKERS FOR LAS VEGAS 2012 LINEUP
June 15, 2011
MOBILE BEAT ANNOUNCES FEATURED SPEAKERS FOR LAS VEGAS 2012 LINEUP
Mobile Beat Magazine has announced two of the featured speakers who will appear at MBLV16, coming to the Riviera Hotel in Las Vegas February 6-9, 2012.
Steve Brazell a/k/a “The Hitman” is one of America’s top marketing and branding experts. He helps Fortune 500s, start-ups, small-caps, celebrities, and individuals make more money by communicating their brand stories better. He is the founder of Hitman, Inc., a Competition Removal™ firm, and the author of “Clear! The Simple Guide to Keeping Your Business Alive and Kicking.”
We welcome back Moses Avalon, a former New York record producer and recording engineer who appeared at the 2002 Mobile Beat Show.
Today he is an artist’s rights activist and the author of a top selling music industry reference, Million Dollar Mistakes. Mr. Avalon is a court-recognized music business expert in New York, California, and Florida. He takes on the most controversial issues in the music business today, and has appeared on Court TV, MSNBC, CNN Money Line, Bill O’Reilly and other national TV shows.
For the latest information on the Mobile Beat Las Vegas Show, visit our website www.mobilebeat.com
Written by Ryan Burger · Filed Under Conference News, Exclusive Online News and Content
