The UN-Comfort Zone by Stu Chisholm

The UN-Comfort Zone

SITTING STILL AND RESTING ON YOUR LAURELS IS A SURE WAY TO LET THE WORLD PASS YOU BY

BY STU CHISHOLM

Your equipment is set up, you’ve changed into your tux and you’re looking over the evening’s itinerary as you await the arrival of your audience. The forms you use make the job a snap; you just run down the list, plugging in your standard routines as the night progresses. Sure you hit ‘em with the newest, hottest music when the time is right, but you’re also relaxed enough to check in on Facebook, toss out a tweet to your followers or quickly advance your caper in Mafia Wars. Your pulse never goes above 90 beats-per-minute.

With proficiency comes confidence, and our mindset reflects this. But having done hundreds or maybe even thousands of weddings and other events, your actions can become nearly automatic, like driving a car. But is this a good thing? Or might it be a silent alarm, alerting you to a problem?

COOL…OR COLD?

We’ve all seen people who are inflexible. While they might have a world of experience, they also may have gotten stuck in their ways, unable to adjust to new conditions or situations. A sudden change or problem can throw them, taking them by surprise to the point where they fumble, while up to that point, they probably felt quite comfortable. Does this sound familiar?

This isn’t a hard-and-fast rule, but I always feel like I’m doing my best work when I’m walking that edge of my comfort zone; a space where I have control and a clear direction, yet have added enough innovation, novelty or even just a new piece of gear that I’m just ever so slightly uneasy. It not only helps me to improve over time, keeping my show fresh, but helps me to stay alert, attentive and focused. If I am able to give some of my attention to an instant message or even a call on my cellphone, it tells me that I’m NOT FOCUSED ENOUGH on the party at hand.

EMBRACE CHANGE

This also applies to before and after the gigs. At the Mobile Beat show in Las Vegas last February, Andy Ebon gave an excellent presentation on the changing face of marketing in the twenty-first century. Young couples communicate in young ways. If you’re not on Facebook and/or using Twitter, you may not even be on your prospect’s radar. Jorge Lopez took this concept a bit further in another seminar, breaking down our potential clientele by generation, and giving insights as to how best to approach them. I don’t think that Andy and Jorge had teamed-up on this topic! My guess is that they both perceive the reality that is the wedding market: Those who become too “comfortable” and don’t change with the times will not connect with their intended customers.

Being in the music-playing business, we should be more than comfortable with a constant background of change. From week to week, new music is released, and tried-and-true favorites fall by the wayside. It is a continuum, and what you play this weekend may not occur to you or anyone else a year or two from now. There will always be those tunes that are impossible to ignore today but gone tomorrow, and those tunes that will hang on seemingly forever. I’d be surprised if the year 2100 rolled around and people aren’t still partying to “Old Time Rock & Roll” or “Y.M.C.A.” somewhere.

By the same token, we may find things that work each and every time, yet a year down the road might make party guests groan! Yet the Hokey Pokey and Chicken Dance roll on and on. As Kenny Rogers sang in “The Gambler,” “You have to know when to hold ‘em, know when to fold ‘em.” Don’t become so attached to any part of your show that you can never give it up if the changing times demand it. Yet be aware of your audience enough to know when that old chestnut will be the perfect song or activity for the moment! This can ONLY be accomplished by FOCUS—by paying attention to what matters and shutting out distractions. Don’t dread a curve ball, but let it energize you. Be the solution to a couple’s problem by thinking on your feet, having some emergency items in your bag of tricks. (I once saved a cake-cutting ceremony by having a serving set on-hand.) Use that problem, circumstance or setback to shine!

Well-known mobile DJ Randy Bartlett has also given much thought to this idea. In fact, it’s the basis for his 1% Solution DVDs, which give you an excellent tactic to deal with continuous change. His advice is simple: Don’t try for huge, sweeping changes to any facet of your show. Simply pay attention, maybe take notes, and then try to make small, incremental increases—each time a one percent improvement over the last show! Over time, those one percents will add up to a great deal of improvement. It is also a way to respond to the continuum of constant change. As with the above, this is also an idea to apply beyond the gig; the office, vehicle, marketing and all other facets of your business.

DON’T MAKE ALL THE MISTAKES BY YOURSELF

Conferences like the Mobile Beat shows, DVDs like Randy’s and the many books available at the Mobile Beat bookstore and elsewhere give you the benefit of many decades of DJ experience. As professional as the authors and presenters are, they’ve made ALL of the mistakes as they built their businesses and gained stature in the mobile DJ industry. Benefit from them! Making a few errors here and there is unavoidable. Making ALL of them yourself IS.

So remember: the next time you’re feeling right at home at an event, maybe yawning as your guests are enjoying themselves, listen to that inner alarm and ask yourself, “What am I missing?” If you’re honest, I can guarantee you’ll be able to answer that question yourself!

Until next time, safe spinnin’!

Adding That “Something Extra” That Sets You Apart By Stu Chisholm

THE COMPLETE DISC JOCKEY

Chops

ADDING THAT “SOMETHING EXTRA” THAT SETS YOU APART

BY STU CHISHOLM

In much of the discussion about how today’s DJs can survive and even thrive in a down economy, most pundits advise us to focus on “what makes you unique.” At first glance, this might seem like a “eureka!” moment, yet upon further reflection, exactly what is it that you think of as unique to yourself? For instance, I’ve always been proud of my verbal and vocal abilities, and work hard to maintain a level of aptitude so that I can be ready for any situation, such as a call to do a voice-over job for a commercial project, or the narration for a local video production. Yet for all my work, I can name several people who, in my opinion, are better. They inspire me to up my game. They also illustrate that this attribute isn’t truly “unique.” No matter how great my voice or delivery might be, nobody will be interviewing me on Good Morning America because of it. Or, more realistically, hiring me over a good DJ charging far less cash for their performance.

UNIQUE SIMILARITIES

A comprehensive look at your business and, in particular, your performance, might reveal that there is nothing that you’re doing that other DJs are not. Most of our “uniqueness” is wrapped up in putting our own spin on all of the traditional activities that mobile DJs have been doing since the dawn of the industry. A fun twist on the bouquet and garter toss, or a well-choreographed grand entrance are all good things, but none of that will ever put you in the “world class” category. That cool, new light that everyone is talking about will soon be in every DJs arsenal.

In our search for that “something extra,” many of us have bought all the latest books and DVDs, such as Peter Merry’s The Best Wedding Reception… EVER, Scott Faver’s famous DVD series on games, or maybe even a little book called The Complete Disc Jockey. All of these are jam-packed with excellent information, but as you study them, you must realize that hundreds-even thousands-of DJs across the country and in your own town are also reading or watching them! All of this information is external, available to every other entertainer. Yes, they are important, but they only go so far!

HAT TRICK

Being a great entertainer, and a unique one, does not require you to be the Einstein of the industry; you don’t need to invent “the next big thing.” In chapter one of The Complete Disc Jockey, I outline how you can make the most of your own unique gifts and talents. The only truly unique features we have are our personalities. They’re as individual as faces. I’ve heard some people say, “Well, I don’t have a very strong personality,” or “My personality doesn’t really stand out.” From the time we’re little kids, we hear the much-repeated mantra that “Some have it and some don’t.” But this is a myth, much like when we were told “You’ll catch your death of cold!” (The common cold is a virus, and has nothing to do with temperature.) Whether you realize it or not, you not only have a personality, but it is as distinct as your fingerprints!

People in theater know that, when you’re on the stage, movements need to be exaggerated; voices need to be projected. Inflections and expressions simply must be bigger, so that people in the seats can follow the story being presented. The same holds true for your personality; you need to draw it out and make it “bigger.” In short, simply use what you’ve got to its fullest potential.

Which brings me to another book: Personality Radio by Dan O’Day. Originally written for radio air talent, I’ve found it invaluable for my mobile career. Not only does Dan view the personality as something innate in everyone, but he also thinks of it as a muscle, which will only become stronger with exercise. People who have what they once thought of as weak personalities have gone on to become famous actors, sportscasters, TV personalities, broadcasters and, yes, even top-shelf mobile DJs. (Look for Dan’s book online, now available as a digital download.)

INVESTING: LESS GEAR, MORE YOU!

I agreed to help a colleague promote his DJ service at a recent bridal show, since he’d done the same for me some months earlier. It was a small affair with only three other services. Since I wasn’t stuck in the booth the entire time, I got a chance to meet with and study each one. One thing immediately became clear: they were all saying (and selling) the same thing. They talked about their gear; they talked about their music selection; they talked about their lighting… but none of their faces stood out. Except for my friend, none had truly unique attire-every tux looked like the last. The only area where they were truly different and competitive was PRICE. They seemed intent on racing each other to the bottom of the price barrel!

This is in sharp contrast to another colleague of mine who never discusses his equipment, unless it’s when he’s alone with other DJs. At bridal shows, he’s physically shaking hands; he’s complimenting the engagement rings of the brides he’s speaking to; he’s dressed in an emerald green tux with a matching bowler hat (or some other stand-out attire) and he’s always quick with a joke or interesting anecdote. Nobody remembers what speakers he uses; it’s all about his relationship with them. He draws them in with nothing more than his personality, and that is what keeps him in high demand. I once asked him what his secret was, and aside from his sharp, quick-witted sense of humor, he swears by his improv classes. He’s also taken some courses in acting. Both of these perform a similar function to Dan’s book, bringing out the most in one’s personality and helping an entertainer think in new, more engaging, and entertaining ways.

GREATNESS RUBS OFF

I’ve always been a night owl. Even though I don’t do much nightclub work anymore, my body clock won’t allow me to change. Because of that, I watch a LOT of late-night TV. One night I was watching The Late, Late Show with Craig Ferguson, and it dawned on me that he was the embodiment of Roy Hanschke’s philosophy. Roy is well known to DJs who’ve attended Mobile Beat shows for his seminar entitled “Entertaining with Your Voice.” Ferguson, I realized, depended less on his stellar guests and more on his own ability to entertain with nothing but talk! In fact, one night I saw him talk so much that one of his scheduled guests had to be bumped to a later show.

All the late night comedians do this to an extent, but Ferguson is in a class all by himself. Despite his “handicap” of having a thick Scottish brogue, he uses his voice and expressions to maximum effect. His inflection is big, his expressions are big, his gestures are theatrical, and he never passes up even the traditional comic stand-bys, such as having an underlying gag running throughout his patter.

Someone once said, “I never pass up the opportunity to watch someone who is the very best at what they do, even if what they’re doing has nothing to do with me.” She understood that it isn’t as much the product as it is the process. If you would be one of the greats, then watch them. Learn from them. Take in their discipline, technique, focus, intensity and everything surrounding the performance. Make it a part of your regimen, or simply use it to inspire.

YOU BE WHAT YOU IS

Ultimately, it is when we combine all of these ingredients that we become something truly unique. Anyone can buy a killer light show, sound system and music library. Anyone who is a music fan can put together a good selection for dancing, and as long as the music selections are strong enough, they don’t even need any real mixing skills to do an average wedding. These are just the trappings of the job. What differentiates us is how we’ve invested in ourselves.

There is also no definitive start and end point. This isn’t like a class, where you sign up and start on one day and finish on another, or a product that, once purchased, is always there. It is an ongoing process. Chops are perishable items! Education and inspiration are the food for our personalities and performances, and like food, must be consumed on a regular basis. So nourish your creativity. Build on your unique gifts and let those gifts shine through. The next time you go out to a comedy club, a night at the theater or just sit down to watch Jay Leno, keep a notebook handy. Jot down what impresses you. Take a class in acting, improv, stand-up comedy, voice-overs and other entertainment fields. And above all, never stop learning!

Until next time, safe spinnin’!

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’!

Music on Ice: Cool Cash for Rink DJs by Stu Chisholm

THE COMPLETE DISC JOCKEY
is a new column by Stu Chisholm that draws on and expands upon material from his new book, The Complete Disc Jockey: A Comprehensive Manual for the Professional DJ. The book is published by ProDJ Publishing (www.ProDJPublishing.com). Go to www.MobileBeat.com and click on “Bookstore” or go to get your copy!

In my book, The Complete Disc Jockey, released last February, I detailed the many different types of DJs that there are besides the mobile variety. It turns out that DJs can turn up in the strangest places! Yet so many disc jockeys are unaware of the options open to them that, when times get tough and the economy takes a dip, their first impulse has been to take a job at the local fast food joint, on a landscaping crew or at an insurance office. I have always thought that this was a bit odd, since plastic surgeons don’t typically become mechanics and start doing brake jobs if demand for breast implants dries up! They choose something else within their field, such as liposuction or rhinoplasty. So why are DJs dabbling in non-entertainment pursuits or l eaving the field altogether? Don’t these mobile DJs know that other opportunities exist? Or have disc jockeys themselves actually bought into the idea that theirs is not a “real job?”

In this column, I intend to show not only that other DJ jobs exist, but how you can add to your bottom line by using the skills you already possess as a mobile DJ and land one of them. I’ll also go beyond the pages of my book, pointing out those new skills and techniques that you’ll need to excel in each area. This month’s topic: the Ice Rink.

Perhaps you’ve driven by your local ice rink (a.k.a. “skating center”) while going about your daily life, never giving it much thought. Yet that rink may be responsible for the employment of several different DJs in several different ways. First, an ice rink may have open skating sessions on certain days, or at certain times of day. Like a roller rink, someone will be needed to spin tunes and make announcements. Beyond this, it gets much more interesting.

Split Personality

There are two main activities that happen at ice rinks: hockey and figure skating. Both will use DJs, but in very different ways. For practice hockey sessions, there is seldom a full-time DJ present. Things change only during the games themselves. It then becomes the DJ’s job to ratchet up the excitement level before the game, keep the audience pumped up during the game, and engage them with some fun activities and participation songs during the gaps in the action.

The best example I can think of is Tim Campbell (a.k.a. “T”), the official DJ for the Detroit Red Wings at their Joe Louis Arena. He often uses some high-energy techno, such as “The Launch” by DJ Jean, to rev-up the crowd at the start of a game. Combined with the video display showing “Let’s Make Some Noise!” Campbell drives the audience, which in turn drives the energy in the room, making the players feel more energized as well. During the game, he’s been known to comment on the action, not with the mic, but with music. If Detroit takes a penalty, for instance, he might play “An Innocent Man” by Billy Joel, or he might tease the referee with “Open Up Your Eyes” by Tonic. On the other hand, if the visiting team is sent to the penalty box, he’ll play “I Fought the Law” by Bobby Fuller, or “Hit the Road Jack” by Ray Charles. A savvy rink DJ will have little gems like these handy for every situation. Campbell is one of the most clever rink DJs in the business.

During period breaks, it’s time to break out the party/participation tunes, like “The Cha Cha Slide,” “The Twist,” and yes, even “Macarena.” This is also a good time for the sing-along songs, such as Cab Calloway’s “Minnie the Moocher,” with its call and response chorus. Anything to keep people occupied. Then, as the teams prepare to re-take the ice, it’s time for the high-energy music again; perhaps the “boom boom clap” opening of Queen’s “We Will Rock You.” Even if you’re only spinning for a local junior league team, creativity and versatility go a long way for a DJ working hockey games.

Go Figure

The yang to hockey’s yin, figure skating is the other major ice rink staple where the DJ will play a key role. As with hockey, a DJ usually isn’t used during daytime practice sessions, although his or her work may be in evidence. This is the time where coaches and skaters practice their routines, hone their skills, and become familiar with their programs. Music, of course, is the backdrop for those programs, and a DJ who is connected with a rink may be tapped to work with the coaches, skaters and parents to edit that music. Depending on the competition, a program may have to be as short as two minutes, all the way up to a long program of four and a half. The piece may also consist of more than one song, so a skater can show off his or her ability to handle changes in tempo and intensity, and also to have appropriate music for spins and other tricks. In short, this translates into daytime work for a DJ with music editing chops. It also helps justify the expense and time learning that fancy Audition, Sound Forge or ProTools software, too. The best cuts are true collaborations between the skater, coach and DJ.

Then there are the competitions themselves. Here, the rink DJ is critical, even though his/her role seems minimal at best. This is because the DJ might be nearly invisible, in a booth or box, out of sight from spectators. The DJ also may not be required to speak! Some leagues have their own announcer, making the rink DJ’s job just that much easier. If the rink DJ is required to speak, then it is vital to have the pronunciation of the names of the competitors down pat, and an itinerary of the order in which they’ll be skating. This can take some juggling, since changes are sometimes made right on up to the last minute! I suggest dry erase boards or to keep things straight without too much hair loss. The #1 consideration is to make sure the correct song-and VERSION of song-is played for the correct skater!

As I state in my book, this isn’t exactly a glamour job, as it is done mostly behind the scenes. Yet it is so integral to the competition that any mistakes are glaringly apparent! For a mobile DJ looking for additional income, who doesn’t mind the challenge, then it might be worthwhile to contact your local ice arena and see if there’s a place for you among the athletes.

Until next time, safe spinnin’.

Painting Lightscapes: Total Audience Immersion by Stu Chisholm

Using lighting to transport you audience to another world

With no clear end to the sagging economy in sight, more and more mobile DJs are diversifying, offering other goods and services to bolster their income. Even when money isn’t the issue, a savvy DJ will always be on the lookout for that new idea that will give them a creative or competitive edge. If you’re like me, however, then you don’t really have an interest in things like invitations, chair covers, photography or other non-DJ types of “upsells.” I prefer to keep my offerings within the confines of what I know and am passionate about: entertainment, sound and lighting.

It is the latter that has taken on a new role at many of today’s formal events. While we’re all familiar with the “traditional” DJ light show, today’s DJs don’t feel compelled to keep their lighting confined to the dance floor. Instead, they’re placing lights all over the room in strategic locations, literally “painting” the room with light!

Like a mirror ball, this idea is actually an old one. Faced with a venue with bare walls and a stark appearance, couples would hire decorators who found that placing PAR cans along the baseboard could dress-up a room without a lot of heavy props and tooling. Small spotlights were focused on things like the wedding cake and ice sculpture, and might even be fitted with a colored gel, to match the colors of the bridal party.

That Was Then, This Is Now

Until recently, DJs were unconcerned with décor and would leave these details up to the venue or decorator hired by their clients. (Many still do.) Yet technology has presented the forward-thinking DJ with some new possibilities for both income and entertainment. The first step was the advent of DMX lighting control. This gave the single DJ the ability to make their lights work in unison, literally dancing to the tunes he or she played. It’s been in use for years by bands and DJs who run intelligent lighting effects.

What opened the floodgates for total immersion, though, was the introduction of LED lighting technology. At long last, LED lamps were bright enough to replace such old standby fixtures as PAR cans and moving yoke scanners, yet consume far less electricity. More importantly, many can also change color and are dimmable. In short, one can accomplish the same task of decorating, only doing it with light…with the potential to ratchet up the overall effect, taking it to the next level: total audience immersion.

“Surround” lighting?

By taking on the responsibility for lighting décor, not only can the DJ sometimes double their usual fee, but he or she can gain greater or total control over the atmosphere of the room. At first, it might appear exactly as before, but the fun truly begins once the dancing portion of the evening starts.

During the First Dance, some DJs have gotten into the habit of having a custom gobo created with the couple’s names on them, which they can project onto the dance floor or ceiling. These can be made relatively quickly and cheaply and make great after-the-event souvenirs. The Martin Mania PR1 is a great light for this application, and a custom gobo for it runs between $20 and $50 depending on how fast you need it. Your dealer should have details, or check out www.gobosource.com.

When the high-energy dancing begins, those seemingly “in-the-background” PAR cans start grabbing attention as their colors and intensity begin to match the beat, colors and movement of the lights on the stage and dance floor! In effect, the entire room conveys the mood and energy of the moment

As you can imagine, wiring-up an entire room with DMX cable could be difficult, or even impossible, depending on how far away fixtures need to be. Essential, then, is one more new technology: wireless DMX. One specialized supplier is the Wireless Solution (www.wirelessdmx.com). No more trying to hang cables over doorways or carrying around heavy cord tunnels or mats. Plug your fixture into the closest electrical outlet, plug the DMX receiver into the fixture’s input and you’re good to go!

Leave No Surface Unlit

You might recall a previous article in these pages about a new technology called CeeLite (www.ceelite.com). CeeLite, which is both the name of the company and their product, refers to LEC, or Light Emitting Capacitor technology. This results in extremely thin lighting panels that, while none currently change color, are dimmable and DMX controllable. They can also provide custom shapes if ordered in advance. Extremely durable, these panels don’t crush easily and are flexible, which opens up a lot of possibilities. A CeeLite panel under the ice sculpture, or under the chocolate fountain, or on any surface whatsoever could flash and pulsate in time with the music! Keeping round and rectangular panels in popular table sizes on hand would leave you prepared for just about anything, and colored films can be applied to make them match any color your event’s theme might require.

One neat application I found for CeeLite was the easel photo. If you’ve ever been to a wedding where, instead of a guest book, the couple has everyone sign the border of a large photo of themselves that they can then keep as a souvenir, then imagine that photo completely lit! This will take some collaboration between you, the couple and their photographer, but essentially it means making a full-sized photo transparency of the picture and attaching it to the white CeeLite panel (which actually looks pink when turned off). Then the whole thing is attached to a matte backing and framed as usual. A Sharpie® pen works very well for signatures. Also worth mentioning is that CeeLite runs very cool, making it safe for use just about anywhere! At the moment the panels are a bit pricey, but last for an incredibly long time.

Reach for the Sky

Now that you’ve got the entire banquet room covered, there’s one other detail to consider. Every experience begins with anticipation; a sense of something “just over the horizon.” So why not reach out PAST that horizon? For events beginning in the evening, during or just after sunset, then why not ink a deal with your local Sky Tracker rental and offer your clients moving searchlights? You’ve seen these at just about every grand opening, movie premier or superstore sale; a self-contained trailer with a generator and two or four searchlights that are motorized, “scanning” the sky in big, looping circles. These beams are powerful enough to be seen for miles. Imagine the impression that guests will have, following those light beams for miles and realizing that it’s for THEIR party! At about $500.00 on average pre night, this is one effect that is truly “over the top.”

Automatic Interaction

The effective use of lighting technologies both new and old can give your audience a sense that they’re totally immersed and involved in the party, even if they never come anywhere near the dance floor. At the very least it can brighten up a dull room, and when done well, makes an event truly unforgettable. If that is your goal, then don’t think “hall” or “venue.” Think “lightscape.” Until next time, safe spinnin’!