How do I market my business NOW? by Steven Parry

Since the age of the “dot com bomb” we have seen a change in the way marketing is done. From calling people out of the phone book to finding out what cool business owner had a fancy fax line. Then it came down between car phones and email, followed up by if you don’t have a website how do you expect to stay in business. Now the tables have turned again, everyone wants to know “are you on Facebook, please like our page” or “make sure you follow us on Twitter” so the question poses itself. Is your business on these mediums? If so are you doing well? Are you using your time effectively and not planting that crop on your virtual farm? This is a start of a new blog series being hosted by Mobile Beat with Ryan Burger,Justin Williams and myself Steve Parry the owners of a social media management and coaching company called SociallyXcepted. Together with Ryan and his staff, we have develop a program that will help your business move forward with anonline marketing plan. For some business owners this will be a new venture all together and for others this maybe a walk in the park, either way we hope to be able to help you learn and move forward.

In this blog series on social media you will learn how marketing has changed and what you will need to do to make it in today’s business online world. In the process of learning you will also be introduced to tools, techniques, and the new process of marketing and how to successfully market your business online. The overall blog series is a part of a smaller program that will be a video series with downloadable videos that will guide you step by step using Facebook, Twitter and YouTube. The main program will have an initial package with follow up videos, online books, and updates. Not only will wecover what is important within these site but how to use them effectively with personalities, using the DISC theory and The Five Love Languages. Now you may be asking yourself why would you need those in running a mobile disc jockey business and the answer is everything. Business’s are built on relationships, if you learn how to use them and build them effectively you will be more profitable with more success. Our goal is so that you understand, learn and use them to your advantage.

Using social media has changed the RULES of the game within marketing. The first step starts now. Many of you have been coming to the Mobile Beat Las Vegas show for years, some of you this is your first time. For the young and old this all applies now, for some of you it will be harder to do than others but this is the start. Getting your thinking in the right place is key. Did you read or skim over that last sentence? Here it is again, the first rule is getting your thinking in the right place. As you have been in business for yourself you have come across many different people from clients to vendors to other guest at events. When you go out again and plan another wedding and you ask your bride and groom how the search for the right photographer (florist, cater, ect) is coming and their expression is concern or worry what do you do. Naturally you have the thought of “I know someone” comes to mind. Stop!!!Let’s get on their same page and think like them for a second before we just throw some business cards at them. Ask them what kind of pictures they are looking for, narrow it down. From your experience in this field you know a little bit about your other vendors you have worked with and their style and know someone that is going to be right for them. You then tell them about Jack and his photo company because you have worked with them in the past, you know think that this would be a perfect match. You have a team a select few people that will help the event as a whole move in the right direction, your job at the wedding is not just another gig at a wedding but it is the event of a lifetime for this couple.

You already know this and are asking yourself what does this have to do with social media and using it for my business? Everything, do you see what I did, got you thinking in the place where you would understand it. Now I’m going to say that the “old rules” that you will learn about the next post vs.the “new rules” and how they have changed and how you are going to have to think like the clients to be able to find new and have old ones come back using your online networks. If you get the right thinking, with the right marketing plan, throwing out the old marketing plan (if you actually had one), then you will figure out how to have personal relationships grow not only for business but with family and friends. This series will help you to expand to new levels. So here is the old saying “back to the drawing board” comes into play. Let’s have fun, learn a lot and we will see you on the next post.

Mic Technique and Voice-Over Training BY DAVE WINSOR

Mic Technique and Voice-Over Training BY DAVE WINSOR

If you really pay attention to the TV commercials that run in your local market, you’ll be surprised at the range of voice talent employed to sell items. If it’s a commercial for the latest Harry Potter movie, that voice-over (VO) talent is top notch and really SELLS the drama. It’s a well-written commercial with few words, that are all highly targeted. The VOICE is the star. Now listen for a local TV commercial. There is an amazing difference. Why is that?

For one thing, the high-end VO talent trains all the time at his or her craft, working on things most of us would never worry about, like “leaking” or spraying an S or a “plosive” P or D. They obsess about being able to make this phrase: “Irish sheet set” sound believable. Try saying it without making “set” into “shet.”

So, the question for you, if you are pursuing VO work, is how much do you practice?

The national VO talent has a coach and an agent. The coach instructs the talent on what needs to be worked on mechanically, as well as theatrical interpretation. That’s just the beginning. When you become a widely recognized VO talent, the jobs become more lucrative but also harder to get. Someone once told me I’d make an excellent “guy next door” in commercials. That’s not what I WANTED to be, oh no. I wanted to be the guy who says:

“In a world where…[insert whatever phrase describes something REALLY dramatic].”

Don LaFontaine (who died in 2008) was the famous VO artist who created that sensational style, and I wanted to have HIS delivery. I would have been happy to just talk with him and pick his brain. Here’s what he said about how to improve your voice:

“Singing lessons always help. You may never perform in Carnegie Hall, but you will improve your breath control, and expand the range of your vocal delivery. Also, simply using (not abusing) your voice by reading out loud will, over time, improve the quality and strength of your instrument. Do not think that smoking and drinking is going to help you develop a deep, rich tone. Smoking and drinking will help you develop cancer and cirrhosis of the liver.”

I sing to help me understand the range of my voice. I whistle too. I try to hit as many high notes as possible and I really try to hit the lowest note I can and still sound good. What have I learned from doing this? I know where my voice originates from and where I can take it when needed. How about you?

Are you blessed (or cursed) with a really low, deep booming voice? Does your voice start at the back of your throat, or in your head? I have some thoughts on these voices and I’ll share them with you in Vegas. Think about opera singers for a moment. What do they do that’s different from other singers? They move amazing amounts of air, have

perfect pitch, form notes with their mouths. They are powerful and yet when they have to be, they are tender. What can we learn from them?

Read this out loud:

“At the end of a long hard day, you can always count on us to help you relax”.

Keep practicing that. How do you think it sounded in my head when I wrote it? Can you glean anything about my choice of words? What is the delivery that you choose for this? Where is the emphasis? Try to read it with a different emphasis point.

There’s a lot to learn about using your voice properly, for voice-over work and for your regular MC duties. I look forward to speaking with you about the unique wonder that is your one true instrument: your voice. If you’re happy with it, we can find ways to tweak it. If you’re not happy with it, we can create a plan that will help you develop a stronger position. Are you up for it.

Dave Winsor is mobile entertainer and wedding specialist who has also been a radio broadcaster for the past 25 years. He was co-recipient of the Portland Press Herald’s “Maine Radio Personality of The Year” for 2004, 2005, 2006, 2007 and 2008. He can be heard every morning, Monday through Saturday, on Maine’s top country music station, 99.9 FM The Wolf (www.999thewolf.com). Dave has also been the in-house announcer for the Hartford Whalers of the NHL and the Portland Pirates of the AHL.

Practice: PREPARE to Be Great BY DEAN CARLSON

Practice: PREPARE to Be Great BY DEAN CARLSON

Picking up new performance ideas at a conference can be a great thing if done correctly. The problem is that most DJs take those ideas home and insert them into their shows without ever considering what it takes to really make them work for them. In fact, they often “practice” a new bit or piece of interaction on the fly—meaning at a live show.

Over the last month I have been calling various DJs around the country and asking, “Do you practice?” And most DJs immediately tell me they do. But when questioned deeper I have found that they might not understand what practice looks like for a DJ. In fact, most DJs almost never practice. I would argue that too many DJs out there think that just their “natural” talent is enough.

Most DJs who practice at all engage in what I would call “reactive practice” rather than “proactive practice.” Here is an example of reactive practice: You have a show coming up that requires you to do extended intros for the grand march. You write out each intro in a manner that flows and is worded in a way to bring out emotion and reaction. The day before your event you read your copy out loud a few times just to be sure you have it all down. This type of practice is designed to affect just one part of your show, and only one time. This is more “show prep” than real practice.

Proactive practice is very different than reactive practice. DJs who want to take that next step toward becoming the top entertainers in their market should set up daily, weekly and monthly schedules of proactive practice. Proactive practice can also be specifically targeted, or range targeted.

An example of specifically targeted proactive practice would be music mixing. Within that practice area you can break it down into learning music, music sets and actual beat mixing. This kind of practice effort will obviously affect a large portion of your show, so it is well worth planning and carrying out.

Range-targeted proactive practice is a little more abstract. In this area of practice, we work on things that can affect several different areas of our shows. Probably the easiest example of this to see is vocal practice. We use our voices for so many different things, and yet my bet is that very few DJs ever learn how to use theirs properly. A lot of DJs no doubt get into DJing because someone tells them they have a great voice. And there it sits.

Just in the vocal practice area you have so many different aspects to work on; things like range, breathing, how not to strain, how to use your voice in different scenarios, etc. Announcements require a different approach than introductions. Of all the DJs I spoke with, very few practice this.

Becoming a top DJ requires the investment of practice. In attending my seminar this year, you will discover crucial performance areas for practice that you probably never thought of before. I will show you how to make the most out of your practice time and set up a schedule that works. This seminar will challenge everyone from new DJs up to the most experienced DJs. Do yourself and your performances a favor and spend an hour on proactive practices that will exercise your DJ muscles!

Dean Carlson has been DJing for 23 years and is the owner of Night Magic Productions out of St Paul, Minnesota. Check out his wedding blog at www.NightMagicProductions.com/djdeanblog.

Behind The Scenes BY RANDY BARTLETT

Behind The Scenes BY RANDY BARTLETT

While it may seem that most of what we do as wedding entertainers is quite visible to the guests, if done correctly, most of what we do is, in fact, invisible—behind the scenes.

The results of what we do are very visible, but it’s long been my goal to make everything seem as spontaneous and natural as possible. For example, I rarely ask or tell guests to applaud. Instead, I use inflection and wording, or sometime a simple body language gesture to create applause, because if guests applaud on their own, it seems much more genuine than when the MC says, “How about a nice round of applause for Steve?”

With that goal in mind, there are many parts of the wedding that can be managed behind the scenes so that the proper results are achieved without becoming that cheesy DJ who talks too much. In fact, doing things visibly will often cause you to lose the very effect you were striving to create.

A few years ago, I rode along with a wedding DJ to offer him a critique. At the end of the father-daughter dance, the DJ said, on the microphone, “Awww, now Dad, give your daughter a hug.” And as the father did as instructed, the DJ again said, “Everybody, say ‘awww.’” Well, they did, but I thought it came off as very contrived and cheesy.

Afterwards, the DJ defended his actions, saying that “awww” moment was really cute. I suggested to him that he could create a better moment by setting that up with the dad in advance, behind the scenes. By telling the father of the bride to take his time at the end of the dance, to hug his daughter and tell her how much she means to him, he would create that same moment, but it would be infinitely better, because it would look spontaneous and unscripted. I would also alert the photographer and videographer for this possible moment and then know that it would be different at each event, because the relationship between the bride and her dad would be different each time.

Some dads might hold that hug with tears running down both of their faces while others might do a high five, wiping their brows that they “got through it.” But the moment would be genuine and the guest reactions would be genuine. By setting that up behind the scenes, you’ll get a better reaction, which makes for a better moment and since a wedding is a series of moments, each of which can be impacted by our actions, you end up with a better event, more referrals and, ultimately, a more profitable business.

From the first meeting to the last moments of the reception, I’m constantly working behind the scenes to create incredible moments. Sometimes it’s for something sentimental, sometimes funny, sometimes useful. Sometimes it’s for the couple, sometimes for the guests, sometimes for another vendor.

I call the parents of the bride and groom before each wedding and do some behind the scenes things with them. I talk to vendors, to guests, to the bride and groom, to my staff and sometimes to complete strangers behind the scenes to create spontaneous moments that people will never forget. Whatever the reason, the goal is to have a seamless event that appears to flow effortlessly, without anything being forced.

I recently worked with a videographer who I hadn’t seen in a while, but we’ve worked together many times over the years and he said, “I always thought it was interesting how you somehow manage to always get the best crowds, but I’m beginning to think that’s not just random luck.” Indeed.

At my Behind the Scenes seminar at Mobile Beat Las Vegas in 2011, we’ll look at several ways to work Behind The Scenes to create incredible results that will enable you to make your very next event the best work you’ve ever done!

Randy Bartlett is the founder and President of Premier Entertainment, Inc. One of the most sought after DJ coaches in the country, he is well-known for his 1% Solution Series of DJ training videos and workshops, in which he shares the simple, key concept that very small, easy-to-implement changes will result in vastly improved performance.

It’s Beginning to Sound a Lot Like Christmas by Jay Maxwell

It’s Beginning to Sound a Lot Like Christmas

A MUSICAL REALITY CHECK ABOUT THE VENERABLE “HOLIDAY” PARTY

BY JAY MAXWELL

Several years ago I was scheduled to play a party in December for a state-supported college. It wasn’t the first time that I had played for this particular school, but on this occasion I was told to be sure and not say “Christmas party” any time during the event, but to refer to the celebration as a “holiday party.” There was no doubt that this request was due to the organizers trying to be politically correct. I complied with the request since I didn’t want to hurt anyone’s feelings. When it came time for the president of the school to give her welcome though, in her opening statement she warmly greeted everyone to the annual “Christmas party” and never once claimed that it was a holiday party.

This was not an isolated incident. Many companies will call up to schedule us for their “holiday party.” “What holiday?” I want to ask them. “Is it Thanksgiving, Ground Hog Day, President’s Day?” If there’s an evergreen tree in the room with lights and decorations on it, a holly wreath, or decorations consisting primarily of red and green on the table, I’m betting that they are set for a Christmas party.

Even if a company calls a party held in December by a name other than “Christmas,” the majority of the time they will also want some traditional Christmas tunes played to set the mood and get into the (dare I say it) Christmas spirit. Usually the sponsor of the event will want Christmas songs played during the social hour and/or the dinner hour. One thing that should be determined beforehand is whether they want only Christmas tunes during this time (one to two hours at the most) or to mix in Christmas songs with other songs as well. If given a choice, I recommend beginning the event with mostly Christmas songs and begin to mix in other lively, toe-tapping songs as the dinner hour progresses.

KEYS TO CHOOSING CHRISTMAS TUNES

Regardless of the event, I’ve had people tell me that they want a specific genre played. That is, they may come up and simply request “some rock & roll.” That is too broad of a category to know what they want. Do they want The Beatles or do they want Dave Matthews? Sometimes, when they say rock & roll, they actually want an artist that I wouldn’t consider in that category, such as Prince or Michael Jackson. Their definition of rock & roll may be from the early days of the 1950s or what they are hearing on today’s Top 40.

The same is true for Christmas tunes. All Christmas songs are not created equal. The songs listed in this issue’s Top 40 list are all uplifting, well-known, and songs that adults actually want to listen to.

Too much of a good thing is like too many slices of a birthday cake. One piece is delicious, but two pieces will give you a stomach ache. Each year we seem to get bombarded with Christmas songs on the radio and in the malls many weeks before December 25th. Some songs are so beautiful that we don’t mind hearing them several times in the weeks before Christmas and hearing them at the office party would also get people in the festive spirit. Other musical selections, though, are overplayed after only one spin. These are the ones that we would not want to play at the event because they’ve worn out their welcome after only one time per season. For starters, Elmo and Patsy’s “Grandma Got Run Over By a Reindeer,” “The Chipmunk Song,” (let’s all scream “Alvin”) and “Dominick the Donkey” should be banned from the playlist of any mobile DJ. After typing these song titles, I realized that all three have animals in their title and two of the three are animals that are not even traditionally associated with Christmas.

AVOIDING THE HOLIDAY BLUES

Christmas is about celebrating the good times of family and friends gathered together to share in life’s greatest joys. While many office parties have speeches by the CEO or president and perhaps door prizes to be given away, the real reason for the event should be to celebrate the camaraderie of the work force team. Keeping this in mind, we should steer clear of playing sad and often downright depressing songs as we play our Christmas songs. In Tom Reynolds book, I Hate Myself and Want to Die he lists the top 52 all-time most depressing songs and ranks the number one song as “The Christmas Song” by the group Newsong. This is the one about a boy buying a pair of shoes for his dying mother because he wants her to look good as she enters heaven. Sad, very sad—a sure party killer. Other downers are “Blue Christmas” by Elvis and Wham’s “Last Christmas. Let’s also include The Eagles’ “Please Come Home for Christmas” with the line “my baby’s gone, I have no friends.” Playing that one would have people doubling their dose of Prozac for the night.

People also want to be treated as an adult during the night. Certainly you wouldn’t torture them with “The Chicken Dance” or “The Hokey Pokey,” so don’t tickle their ears with children’s favorites like “Rudolph, The Red-Nosed Reindeer,” “Frosty the Snowman,” or “You’re a Mean One, Mr. Grinch.” You especially would not want to dedicate that last song to anyone there even if requested—the “Grinch” is likely to be the boss. The party should be lively, yet classy at all times.

Each year, we sort through our huge collection of Christmas songs only to find that many of them are not suited for office parties. Some of my favorite songs are sacred favorites like “Away in a Manger,” “Silent Night,” and “The First Noel.” But these tunes should probably be reserved for worship time in a church service and not played at an office event.

CHRISTMAS PARTIES SURVIVE

Many companies have tightened their budgets over the past few years and have slimmed down their elaborate Christmas parties…including the entertainment. Fortunately, though, leaders at many companies, even during hard times, recognize the importance of showing their appreciation for their employees and still throw a grand event towards the year’s end. Some may even still boldly call it a “Christmas party,” while others have caved in to using the term “holiday party.”

But regardless of the label, the mobile DJ still has the opportunity to show his or her craft by playing the right type of positive, uplifting, and age-appropriate music to set the mood. Of course, know when enough is enough of the Christmas melodies and it’s time to transition into traditional party music. The key is to make this transition BEFORE someone comes up while you are playing “White Christmas” and yells, “Play Something We Can Dance To!”

Splendid Sounds of the Season
ALL I WANT FOR CHRISTMAS IS YOU	MARIAH CAREY	FAST
BABY, IT’S COLD OUTSIDE	LADY ANTEBELLUM OR MERCER/WHITING	SLOW
CAROL OF THE BELLS	LOS LONELY BOYS	INSTRUMENTAL
CHRISTMAS IN DIXIE	ALABAMA	SLOW
CHRISTMAS SONG	NAT KING COLE	SLOW
CHRISTMAS WRAPPING	WAITRESSES	FAST
DECK THE HALLS	OTTMAR LIEBERT	INSTRUMENTAL
DO YOU HEAR WHAT I HEAR	WHITNEY HOUSTON	SLOW
FELIZ NAVIDAD	JOSE FELICIANO	FAST
GOD REST YE MERRY GENTLEMEN	BELINDA CARLISLE	FAST
HAPPY HOLIDAY	PEGGY LEE	FAST
HARK! THE HERALD ANGELS SING	AMERICA	FAST
HAVE A HOLLY JOLLY CHRISTMAS	HARRY CONNICK, JR.	INSTRUMENTAL
HERE COMES SANTA CLAUS	ELVIS PRESLEY	FAST
HOME FOR THE HOLIDAYS	PERRY COMO	FAST

The rest of this Christmas Top 40 list can be found in the print and online editions of Mobile Beat’s November 2010 issue (#131).

Beach Boys vs. “California Gurls”

Singer Katy Perry, of “I kissed a girl, and I liked it” fame, has been threatened with a lawsuit over her use of the Beach Boys’ timeless line, “I wish they all could be California Girls,” in her hit song “California Gurls.” Rapper Snoop Dogg recites the Beach Boys’ classic lyric at the end of Perry’s summer anthem, which has sold more than 3 million copies to date.

Rondor Music, who owns the rights to the Beach Boys’ “California Girls,” has sent a letter to Capitol Records, Perry’s record label, demanding that Mike Love and Brian Wilson – the two Beach Boys who actually scribed the 1965 Billboard hit – be given a writing credit and a portion of the royalties for Perry’s chart topper.

In a recent E! News interview, a spokesperson for Rondor Music chastised Katy Perry, as well as the writers and publishers of “California Gurls,” saying, “Using the words or melody in a new song taken from an original work is not appropriate under any circumstances, particularly one as well-known and iconic as ‘California Girls.’” The spokesperson elaborated, stating that “Rondor Music…is committed to protecting the rights of its artists and songwriters, and with the support of the writers, that is exactly what we are doing.”

The Beach Boys, however, are singing a decidedly different tune. When asked for his thoughts on “California Gurls,” Mike Love insisted that “[t]he Beach Boys are definitely not suing Katy Perry, in fact we are flattered that her fantastically successful song is bringing to mind to millions of people our 1965 recording of the Beach Boys’ ‘California Girls.’” In harmony with his co-writer and band mate, Brian Wilson similarly stated, “We think her song is great and wish her all the success in the world.”

As with any copyright infringement case, the legal issues that would need to be addressed if this case were to proceed include whether the lyrics “I wish they all could be California Girls” are sufficiently original to be entitled to copyright protection.

Jeopardy Facts about the Beach Boys’
“California Girls”

“California Girls” is part of the The Rock and Roll Hall of Fame’s list of the “500 Songs that Shaped Rock and Roll.”

In 2004, “California Girls” was ranked #71 on Rolling Stone’s list of “The 500 Greatest Songs of All Time.”

* * * * *

Elevating Your Lights-and Your Image-with Trussing

Elevating Your Lights-and Your Image-with Trussing

BY KEN KAHN

If you’ve been a DJ for any length of time, chances are you’ve amassed a collection of special effects lights. This is a good thing, because professional lighting can really enhance your show. But when you set up for a gig, where do you display this lighting?

For too many DJs, the answer to this question is “various lighting stands,” or even worse, “whatever tables, chairs or counters happen to be available.” If such a makeshift setup sounds all too familiar, then maybe it’s time to take the next step and invest in trussing for your lights.

There are many reasons why it makes sense for DJs to rig their lights on truss. Not only does a truss structure protect your lights (and audience) from accidental bumps, it gives your performance a more polished, professional look, which in turn makes your services more valuable to clients and allows you to charge a higher fee per event. Using trussing also makes it easier to hang your fixtures at the appropriate height and angle for the room, improving the quality of your light show. Plus, you can use your truss setup for things other than lighting, such as flying speakers and other audio gear, to make your workspace neater and more efficient. Trussing is also great for displaying signage about the event you’re emceeing, such as a corporate logo or congratulatory message to a bride and groom. With the addition of screens and truss warmers, trussing can even become an attractive design element in its own right and enhance the visual appeal of your show-but more about that later.

Manufacturers have made it more feasible than ever for DJs to use truss by introducing new, more lightweight, and affordable products. Which brings up a question we often get asked by DJs: “What type of truss setup should I buy?”

As a mobile DJ, you’re going to want the most efficient setup possible-a rig that’s simple to put up, take down and transport. Given the variety of (often less-than-spacious) spaces you work in, you also need something that doesn’t take up a lot of real estate on the floor. And, of course, as a performer you want your truss rig to look good too. At Global Truss, we have addressed these needs with two products designed specifically for mobile DJs: the Arch System 1 and Truss System 1. Both are compact all-in-one systems, they’re lightweight, attractive, easy-to-assemble and very affordable. Plus, they’re sized just right for a typical DJ booth.

Whatever brand of truss you choose, you should buy from an established dealer with knowledgeable salespeople who can help you choose the right system for your needs and budget, and also provide after-the-sale support and service. You should also make sure the company’s products have been tested, rated and stamped with an industry certification, such as TÜV approval. (TÜV is an international product testing organization.) A manufacturer can claim that their truss can do the job or support a certain amount of weight, but without official certification there’s no way of knowing for sure. Truss manufacturers should be able to show you documentation of industry certification and/or engineering reports.

In addition to the truss itself, you will need accessories to set up your structure and rig your lights, such as pins, R-clips, couplers and clamps. Accessories such as clamps should be certified, too, to ensure they meet safety standards. For example, Global Truss offers aluminum clamps for attaching lights to truss, which are TÜV-certified for weight load capacity – something that’s essential for both safety and protecting your fixtures from damage. Standard C-clamps and O-plastic clamps are not TÜV-certified.

Once you have your trussing and accessories, you’re all set to create your rig. If you’re using a turnkey system like Global’s Arch 1 or Truss 1, which consist of two vertical side pieces plus overhead trussing for hanging lights, you would typically position the truss structure behind you. If, on the other hand, you’re using individual pieces of truss to create “totems,” it’s generally best to put them on the sides of the dance floor.

Wherever you position your truss, you should consider incorporating it into the overall design of your show. Gone are the days when truss was just a utility item to be hidden away. Many entertainers and clubs today value the edgy, industrial look that trussing provides. Truss manufacturers have contributed to this trend by coming out with a variety of attractive products and finishes, such as Satin Aluminum, which fit in nicely with the industrial theme.

Want to make your trussing really sizzle? There are a number of products you can add to turn your truss structure into a standout visual design element that will greatly enhance your show or venue. A fabric truss screen (made of flexible white Lycra) will instantly create an impressive-looking scenic backdrop for your show, such as the Global Screen from Global Truss or one of DJScreen.com’s offerings. The white fabric can be used as a projection screen for video presentations and ambient color light displays.

Truss warmers are products often used to make trussing part of the overall visual experience. Installed inside the truss itself, truss warmers are small colored lights that reflect off the structure’s shiny finish, enveloping it in a glow of color.

When you look at all that can be done with truss these days, you can see it’s no longer just something used for raising your lights-it will elevate your whole performance as well.
Ken Kahn is General Manager for Global Truss America (part of the American DJ Group of Companies).

Photo Slide Shows Made Easy by Mark Evans

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!

Next Page »