Don’t Smile! DJs and EQs by Ben Stowe

Tips for using equalization to truly improve your soundWhenever I think of an equalizer it brings back fond memories of the Edward Woodward TV show. GOT A PROBLEM? ODDS AGAINST YOU? CALL THE EQUALIZER! In many senses, that inviting collection of sliders in your rack serves much the same purpose. It’s job is to eliminate problems and put the odds back in your favor.

All Things Being Equal…
The primary purpose of an equalizer is to do just that, “equalize.” Make things equal. There are a number of things that are “not equal” in sound. When we say equal, we’re referring to the reproduction and perception of a full spectrum of sound. For example, if we pass 31 equal bands of pink noise through a system, those 31 frequencies will be reproduced at different levels. Some louder, some quieter. This is due to the frequency response of your loudspeakers and other in-line equipment; they simply cannot reproduce sound that’s truly flat. On top of this, every room presents a different acoustic environment for your loudspeakers. Some frequencies are absorbed while others resonate. Call me a geek, but one of my favorite things to do is to use a tone generator to sweep frequencies in a room and listen for things to start resonating. Without adjusting the amplitude, certain frequencies will seem noticeably louder as you sweep through them.

We want to use our EQ to flatten these frequencies out to account for the speakers and the room. Remember, it is always better to cut rather than boost. Be very careful when pushing your EQ into positive dBs. Once we have achieved a flat state, we can begin to “color” or “flavor” the sound to suit us. Most people don’t like a truly flat sound, even though it’s acoustically the most accurate reproduction of what was input into the system. A friend of mine who is an engineer at a loudspeaker company we all know and love has a perfectly flat system in his house. Everybody asks him what is wrong with his system, even though it is technically perfect.

Identifying the response of a system can be made much simpler with the use of a Real Time Analyzer. An RTA will often both generate the pink noise or other specific tones into your system (mine, via an XLR jack on the unit) and then measure the response (again, either via XLR or a built-in mic on the unit). This will then display the system’s response on the screen as well as recommended EQ settings. This provides a good baseline to start with. Often RTAs have several utility features such as polarity checker, decibels (with a few weighting options to choose from), and a few other neat tools. Mine also has the ability to connect to a computer’s USB port so the information can be further analyzed, stored and utilized.

DSPlay of Power
In these modern times, our lives have been made substantially easier by DSPs (Digital Signal Processors). These devices offer greater processing power than a typical analog EQ, in less space. They offer us options such as parametric EQs and easier-to-digest graphic displays of what our signal is doing. Many even connect to a computer for larger, color displays and easier manipulation of the sound. Perhaps one of the most useful features is the ability to have EQ settings for your loudspeakers (which are a constant) and separate EQ settings for the room (which vary). These settings can often be stored in multiple presets. For example, you may use different loudspeakers, or use your system in different ways; perhaps a full range system for smaller shows, and a 2-way system with subs for larger gigs or school dances. You could easily recall these EQ presets, and in some cases, also recall crossover settings and other relevant system settings. Additionally you could store a number of frequent venues that you play, thus allowing you to have optimal sound time and time again with just the push of a button.

Another tremendously useful purpose for EQs is eliminating feedback. Feedback is a “loop” generated in your system when the system “hears” itself and reproduces that sound it hears. This often just involves a few problem frequencies, again due to the response of the loudspeakers, characteristics of the room, and the response of the microphone. In live sound rigs you’ll many times find an outboard EQ inserted into the mic channels allowing for individual EQ adjustments for each mic. More practical, however, for your system is likely to be the reduction of offending frequencies with regard to your mic and your loudspeakers. Most DSPs have some type of “feedback suppression.” This is basically an EQ that senses for a boost in a specific frequency and then reduces it in a very narrow notch. It’s very handy, but the same results can be had with a good old-fashioned analog 31-band EQ in the right hands.

Any time you cut or reduce a frequency, you reduce its presence in your audio signal. While this can have positive effects for reducing feedback, it can negatively affect your music playback quality. A simple solution to this is to set your EQ for music playback, then take the wireless mic that you will use for toasts, cake cutting and other speech applications where there will be limited or no substantial music playback, out and about and re-EQ for feedback suppression. Make a note of your EQ settings prior to making these adjustments; after the speeches are over, reset your EQ for music playback.

Keep in mind that you are likely to have fewer feedback problems than your guests will when using the same mic, because as a professional you should have good mic etiquette. Here much can be done to ease the burden on your EQ by simply using a mic properly: not talking off-axis, not keeping it at an unreasonable distance from the source (your mouth), etc. Even the best equipment will be compromised by improper use.

Resist the Urge to Smile
The most common “one size fits all” use we see of EQs is the smiley face. Boosted lows, flat mids and boosted highs. It has been long debated why we resort to this kind of behavior. Bad genetics? Some will say that it’s because of the decrease in sensitivity we have at those frequencies, while others point to a loudspeaker’s data sheet and show its reduced response at the highs and lows. Yet others feel they are adding “boom and sparkle” to their music. Likely it isn’t too effective, as you’re applying a generic response to your system and room without any real regard to what the speaker is capable of reproducing, or, for that matter, where your “boom” comes from. You may just add mud to the bottom end. Use your EQ properly and listen to your system come alive. The next time you go to a concert or club and hear a system that sound fantastic (punchy midbass, deep lows, clarity and definition in the harmonics and ambiance) go check the EQ. I know you want to look at the rack anyway. See if it’s smiling at you. Chances are, it’s not.

Ben Stowe began his love of electronics at the age of 3, growing up in a TV repair shop. He began his role with NorthernLightFX (www.northernlightfx.com) 15 years ago, and continues his leadership of the company today. Ben shares his passion for technology through a number of company-sponsored educational efforts designed to help end users get the most out of their equipment. He holds a Minnesota electrical license, an InfoComm CTS and numerous other certifications. Ben can be contacted via ben@northernlightfx.com.

 

Are You Using the 3 C’s? by Paul Kida

Three keys to DJ success, from C to shining CWe all have probably heard of the three “R’s”-reading, ‘riting and ‘rithmetic-but do you know what the three “C’s” are? More importantly, do you know how to use them to become a more effective mobile entertainer?

For those who need some refreshing, the three “C’s” that all mobile DJs need to master are the following: Confidence, Control and Clarity. These three are a must for any DJ wanting to stand out as a master entertainer, as well as provide exceptional service to all of your clients. Let’s examine each quality to see why it is important, how it can be applied and how all three are related to each other.

Confidence
First, some brief definitions of confidence: firm trust, conviction, boldness and belief in yourself. From these descriptions, can you see how vital it is to manifest confidence as an entertainer? By having a firm trust in yourself and your abilities, you not only strengthen yourself, but your confidence will be seen by your clients, thus forming that bridge of trust that is a necessary factor in establishing a solid bond an relationship between you for life. Displaying confidence means being yourself, believing in yourself. DO NOT compare yourself with others! You are unique, with your own personality and special traits. Use these differences to the full in creating your own style and persona. When you are convinced about your own capabilities, you will easily be able to convey this feeling to others. You believe in yourself and what you are doing! The positive part of your ego, your self-esteem, will shine through like a beacon that will make it easy for clients to follow your thoughts and directions. Your confidence always allows you to lead others effortlessly through any performance.

But a word of caution: Don’t confuse confidence with being an overbearing “know-it-all!” The negative side of your ego could become overblown if you turn this confidence into obnoxiousness. Whereas the positive side of ego is uplifting self-esteem, the negative part of ego is when you fail to consider others and become entirely devoted to your own self-interests (or way of doing things, or song choice, etc.). With a proper confidence in place, we can move on to our next “C.”

Control
Guidance, management and the power of directing-these are aspects of control. This quality is necessary from the first moment we speak to prospective clients. As we closely listen to prospects, we are able to find the necessary points to subtly guide them during our presentation. Control does not mean to be forceful or unyielding. Rather, use the right amount of skillful direction to steer the conversation to your way of thinking. Used properly, you will determine the outcome, while they will believe that it is all their own idea, and you will have gained a new client.

Obviously, proper control is also needed during all of your performances. Any event that you are in charge of needs your power of direction. You are the one to confidently guide the flow of events and smoothly engage all present through each stage of the festivities. Whether you are at an elegant and fun wedding reception, an entertaining corporate event or a simple backyard anniversary party, it will be your control that will make or break the event. Adept control will lead to smooth, successful events that will no doubt translate into future references for you!

Clarity
Without this last “C,” all the confidence and control you can muster will not be able to save you from disaster. What is clarity? It is simply being clear and understandable in direction and being clear and concise in your announcements. As DJs/MCs, we are communicators. Therefore, our expressions and our words must be chosen carefully and spoken well. During our performances, we should avoid high sounding or unusual language. Use words and phrases that are familiar and easily understood. We don’t want to see the audience with confused looks on their faces, scratching their heads saying, “What the heck is he talking about?” or looking at each other and saying, “What did he say?.”

Our speech needs to be clear; our diction needs to be precise. Some of us are not born with natural speaking ability. If this is the case, take the necessary time and effort to cultivate the clarity of your speech. A good method for improvement is to record yourself while reading aloud. This will help you find your weak points and correct them. I can give you a personal example: I originally began my DJ career in Connecticut and New York. When I met my lovely wife, I packed up my business and moved to Colorado. Evidently, (so my wife says) we tend to talk a lot faster in the East than they do in the West! People would look at her and ask what I just said. I had to adjust my thinking, and practice slowing down my speech, as well as minimizing my accent. (Accent? What accent?!) Another great idea is to have a fellow DJ accompany you to a gig and critique your presentation and clarity. I have had someone come with me and I also have gone with other DJs to help them. This really works! It’s amazing how such honest self-examination can help develop clarity.

Be absolutely confident in yourself and your abilities, and this will assist you as you control any situation that may arise. Add clarity of communication and you will be sure to stand out as an esteemed expert in your profession, a DJ entertainer worthy of your clients’ trust.

If you have any questions, comments or topics that you would like to see covered in future articles, please contact me at djcoach@mobilebeat.com.

Paul Kida, The DJ Coach, is a founding member of the Colorado Disc Jockey Association. He owns JAMMCATTS DJ Entertainment (www. jammcattsdj.com), and is a regular speaker at the Mobile Beat DJ Show.

 

Catch the Dancing Stars by Mike Ficher

Are you Dancing with the Stars? Well, it appears America is!Are your dance floors filled with dancers and would-be stars mimicking the routines and dances popular on the newest successful incarnation of that perennial American favorite, the dance-based show? In other words, are you seeing the results of the nation’s infatuation with the TV phenomenon Dancing with the Stars?

In the Soul
America, for a variety of recreational, social and spiritual inspirations, has always danced.

With its current popularity, Dancing with the Stars (DWTS) is just the current belle of the television ball, the latest in a long-line of media and non-media events sparking mainstream interest in dancing. American Bandstand and its various local and regional editions, Dance Fever, USA Dance Party, Soul Train and the popularity of movies such as Dirty Dancing, Strictly Ballroom, and Shall We Dance illustrate the continual presence and social import of dance in popular culture.

Twistin’ “In the House,” and Beyond
In 1961, President Kennedy and wife Jackie were spotted in the White House doing the Twist, sparking a revival of the dance and a return to the top of the charts for Chubby Checker’s version of the Hank Ballard-penned and recorded B-side, “The Twist.”

In 1992, Melanie Griffith choreographed a dance to support Billy Ray Cyrus’ remake of a Marcy Brothers’ song and the “Achy Breaky Heart” along with the “Boot Scootin’ Boogie” sparked a revival of interest in country dancing. In contrast to the Urban Cowboy-inspired two-step craze of the mid-1980s, the dance popularity spike of the ‘90s primarily encompassed line dancing.

Remember the Gap commercial in the late 1990’s, with the energetic collection of khaki-clad 20- and 30-somethings jumpin’, jivin’ and wailin’ to Louis Prima’s honkin’ classic? Literally overnight, a new generation of zoot suiters hit the dance floors to Swing, Lindy and Balboa. Well, at least, until the would-be Frankie Mannings realized just how much of a physical, financial and dedication investment true dance proficiency required!

Star Charts: A Variety of Readings
While no singular sensation such as the Hustle, Electric Slide or Macarena is currently serving as a universal dance language, the present infatuation with the collection of B-list stars and top-tier dancers partnering to trip the ballroom light fantastic really is helping mobile entertainers across the United States.

Although his request list has not experienced significant change, Keith Alan (Keith Alan Productions, [city, state] reports: “I have noticed that more of the younger people are asking for the simple ballroom dances, like the Cha-Cha and Swing, and when I play them, I’m quite surprised at the number of kids that come out.”

“As far as the guests go, if they’re swing dancing to the Macarena…it’s time to take the hint!” joshed Dan Dubay of Dan Dubay DJ Entertainment, serving Oregon. “Seriously, I do see more couples pairing up and finding their place on floor, but most of the styles being represented are swing and cha-cha.”

For some entertainers, though, Dancing with the Stars’ impact has been negligible on their floors.

“I have not noticed anything at my events that would indicate DWTS had anything to do with filling the dance floors, music requests, partner dancing, or dance instructors,” observes Craig Brown of High Fidelity Entertainment serving the Portland, OR/Vancouver, WA area.

Surprisingly, at least one entertainer has detected unexpected consequences of the popularity of the TV series. Keith Alan, who, like a significant number of entertainers, offers the opportunity to share interactive dances with guests, has not seen an increase but, rather, a decline in such requests as a result of the show’s cultural impact.

“I’m being told by my clients that they DO NOT want any type of dance instruction. That is mostly for the line dances,” says Alan.

The varied musical tunes featured on Dancing with the Stars have expanded at least one entertainer’s request list.

“I think it has opened up a few of the DJ eyes to see the cool music that is out there that we don’t play,” says Dave Star of Star Productions, serving Central Oregon. “DJs now realize there are some people that know how to do the traditional moves to some classics we pull back out of our repertoire.”

More Couples Cut the Rug
Dubay has observed another impact of the DWS phenomenon-first dance routines.
“I’ve noticed that more couples in our consultations bring up that they’re doing a special dance and they know exactly when they want the music to start,” noted the longtime Oregon radio personality. “So we work out a visual cue or start the music when they ‘hit their mark.’”

And speaking of dancing, wedding shows now include previously unseen vendors, according to Alan. “The major studios, like Fred Astaire and Arthur Murray, are now doing more of the bridal shows in my area.”

Play Something We Can Dance To!
While you do not need to be an instructor or even seek to include dance exhibitions to leverage the popularity of Dancing with the Stars, knowledge of specific songs for specific dances such as swing and cha-cha will support your responses to guest desires and increase the chance for event success.

Unfortunately, popular songs for specific ballroom dances vary from region to region. For instance, in some areas, rhythm and blues-based songs are popular for swing, while other areas favor pop-arranged country numbers and still others prefer more moderate tempo contemporary songs. Dances in the Latin vein enjoy such challenges, too.

A conversation or two with some dance instructors, or networking with entertainers who feature dance instruction or exhibitions in their shows in your area, will illuminate the songs that will fulfill requests for specific styles of dance.

America is smitten with Dancing With the Stars. For mobile entertainers, always seeking the latest hook to help fill dance floors, that is a good thing. And, for at least one segment of the population, according to Alan, that is a great thing. “Older couples are just relieved that partner dancing is trying to make a comeback!”

Mobile DJ, dance instructor, emcee, voice actor, writer, teacher, and improv comedian, Mike Ficher owns and operates Dance Express, based in Bend, Oregon. A three-time presenter and host at Mobile Beat conventions, Mike has been expanding the public’s definition of mobile entertainer since 1986.