PSWCDT: Grass Skirts, Surfin’ and Sandy Shores by Jay Maxwell

Music for a summertime partyFor many years, when I visited my home town in southwest Georgia, and told them that I was a mobile disc jockey, it would require some further explanation. Their typical thoughts when I initially told them that I owned a disc jockey company was that I operated a radio station. Since I was a DJ during high school in the mid-70s on WBBK radio, that response was certainly warranted. My response was of course to inform them that a mobile DJ would take equipment and music to the event, such as a wedding or school party and play music for the party so that people could dance. In a single sentence, that helped explain to them what a mobile DJ does. Of course a mobile DJ does a lot more than that short line states, but if you’ve ever had to briefly explain what you do to someone who doesn’t have a clue, then chances are you mentioned “playing music for people to dance to.”

It does seem that we mobile DJs often think like club DJs, in that we are only doing our job if people are dancing. If no one is dancing we feel that we must be doing something wrong and we need to take corrective action. Though there are clearly times when that is the case, there are many other times when our job is to play music that sets the mood for the occasion. Two occasions should readily come to mind where we initially play music to set the mood rather than to get people to dance immediately-a wedding reception and Christmas party. At almost every wedding reception we play “mood music” of either lively jazz, American Songbook, or love songs. For an office Christmas party, there are always plenty of traditional holiday tunes played during the social and dinner hours.

This Magic Night
Another type of event, especially during the summertime, where dancing is not the only focus, is a pool party. To make a real musical splash, a pool party should be flavored with a good sampling of Hawaiian music, with some California surf music, reggae and Carolina beach music stirred in the mix as well.

Pool parties are very common during the summer, as people want to beat the heat by having a cool party by the water. Often community gatherings, corporate functions or birthday parties will have a Hawaiian or beach party theme. While the party is often held around a swimming pool, there are times when it is a “dry” event and is held indoors with the same decorations and “surf’s up” feel. Some dancing may take place during the event, but to make it a memorable occasion play a good portion of summertime music. Hawaiian music, Bob Marley, or the Beach Boys drifting from your speakers will instill a carefree mood that is the essence of any good party.

Recently, at the school my children attend, a teacher appreciation luncheon featured a Hawaiian-style setting. The food, the decorations, and the final touch-the music-all helped create the “island of paradise” aura. In the middle of their workday, the teachers were treated to a rare break from reality. For just over an hour, they could take Bobby McFerrin’s advice heard in his catchy tune, “Don’t Worry, Be Happy.” As the teachers exited to return to the classroom, each of them left with a smile on their face-because they had been briefly transported to the white beaches of Hawaii with its soothing waves crashing rhythmically around their sandaled feet.

Island Records
As you can see from this issue’s song list, there is a pretty wide variety of summertime, feel-good beach music to choose from. A Hawaiian CD with great favorites like “Blue Hawaii,” “Kaimana Hila” or “Pearly Shells” should be part of your repertoire for the traditional sounds of our fiftieth state. Other “modern” artists like Don Ho (“Tiny Bubbles” and “Beautiful Kauai”) and Israel Kamakawiwo’ole (“Over the Rainbow/Wonderful World”) have established a distinctive Hawaiian pop sound and deserve our attention at a gig. And don’t forget the King of Rock & Roll; Elvis made his contributions to the genre with his legendary hits, “Rock-a-Hula Baby” and “Hawaiian Wedding Song.” Any groove from the Beach Boys or Jan and Dean will set the California surfs-up mood. For the Carolina shag scene, spin a few from groups like Chairmen of the Boards, the Embers or the Tams. Reggae music, of course, is also associated the islands, so Bob Marley, Jimmy Cliff and UB40 jams should also be played. Parrotheads, those devoted fans of Jimmy Buffett, will also want their own brand of island escapism, so don’t forget to push play on “Margaritaville,” “Son of a Son of a Sailor” or “Volcano.”

The next time someone asks you what a mobile disc jockey does, perhaps the following explanation would enlighten them. Our ultimate job as a mobile DJ is to create a party where everyone leaves their worries behind and at least for a brief period enjoys life like it should be enjoyed-sharing good times with great friends. We play the music that helps to set the mood for the occasion, as well as music to get people on the dance floor when someone yells, “Play Something We Can Dance To!”

Mobile Beat’s resident musicologist since 1992 (in every issue since #11), Jay Maxwell runs the multi-unit, multi-talent entertainment company, Jay Maxwell’s Music by Request, LLC, in Charleston, SC. He is also a professor of Mathematics and Business at Charleston Southern University. His passion for detail and continuous research of clients’ requests can be found not only in this column, but also in his annually updated music guide, Play Something We Can Dance To.
Pool Party Pleasures

SONG ARTIST
1 SURFIN’ SAFARI BEACH BOYS
2 TINY BUBBLES DON HO
3 UNDER THE BOARDWALK DRIFTERS
4 BLUE HAWAII ELVIS PRESLEY
5 I CAN SEE CLEARLY NOW JOHNNY NASH
6 PEARLY SHELLS TRADITIONAL
7 MARGARITAVILLE JIMMY BUFFETT
8 I’VE GOT SAND IN MY SHOES DRIFTERS
9 WIPE OUT SURFARIS
10 KOKOMO BEACH BOYS
11 POKAREKARE ANA TRADITIONAL
12 ROCK-A-HULA BABY ELVIS PRESLEY
13 DON’T WORRY, BE HAPPY BOBBY MCFERRIN
14 THE TIDE IS HIGH BLONDIE
15 CATCH A WAVE BEACH BOYS

For the rest of the list, subscribe to Mobile Beat to access the online PDF of issue #115 (May 2008) or pick up a hard copy back issue at the MB Store.

A Nice Day for a…Green Wedding by Mike Ficher

More and more couples are exchanging conspicuous consumption for sustainable celebrationsThe long-held wedding adage, “Something old, something new, something borrowed, something blue” may be evolving into a different shade: “Something old, something lean, something recycled, something green.” More brides and grooms are expressing their environmental predilection through their choices for their wedding ceremony and reception. Yes, like so many other aspects of life, weddings are going green.

By the Numbers
Eco-friendly invitations, organic bridal gowns, recycled wedding bands, organic food and drink, natural make-up and hair, sustainable décor, central locations, outdoor settings, green transportation, and green registries are now not just feel-good buzzwords of the sustainable world, but opportunities wedding industry providers are successfully marketing to their clients.

How much impact could such a movement have if brides and groom embrace the green factor? According to theknot.com, 2.4 million couples get married each year in the United States, generating an estimated revenue basket of $70 billion. If even a fraction of those 2.4 million couples embrace the emerging green paradigm-supporting open markets for local, organic, recycled and recyclable goods, businesses that engage in sustainable practices, and vendors who share their environmental bent-the impact could be substantial. It could particularly help the mobile entertainment industry, currently reeling from increased competition, easy access to music on the internet and “iPod weddings,” by providing a completely positive way to stand out among the muddle of entertainment options
“I haven’t noticed anything yet. But I know it’s coming,” offered Craig Brown, owner of High Fidelity Entertainment in Vancouver, WA and president of the Southwest Washington & Oregon chapter of the ADJA.

Catching the Green Wave
Celebrities are embracing the trend. Stella McCartney’s private wedding included sustainable clothing and organic food. Prince Charles cut into an organic fruitcake and ordered pesticide-free blooms for his wedding to Camilla. And Alicia Silverstone’s guests enjoyed organic vegan food, gazed upon pesticide-free flowers, and received recycled invitations. She even wore a ring handed down on her husband’s side.
Wedding service vendors are responding to the movement. New York’s OZOcar offers hybrid limousines; Organic Vintners, based in Boulder, CO, helps wine lovers find all-natural vintages; and the Houston-based Green Hotels Association will locate accommodations at facilities committed to saving water and energy and reducing solid waste.

Across the United States, in addition to pesticide-free menus, caterers are offering fine china and linen napkins instead of throwaways. Numerous web sites help newlyweds establish donations to charities that benefit the environment, offering guests an alternative to heavily wrapped presents.

“Going green is one of the great business opportunities of the 21st century, and the rapid growth of green weddings and green wedding consulting groups is not surprising,” said David Cooperrider, a business professor at Case Western Reserve University in Cleveland, in an article on the MSNBC web site. “In fact, wedding advisers that are not going green are going to be at a competitive disadvantage.”

Green-Jay
Evan Reitmeyer, owner of MyDeeJay, serving the Baltimore/Washington/Virginia metropolitan area, has elevated sustainable practices in the industry to a new level. The company is the first Green-E certified wedding vendor in the nation and is likely the first 100% carbon-neutral wedding entertainer provider in the United States. Check out Evan’s companion article on page ___ for details on his company’s approach to implementing environmentally conscious business practices

Light Up for Less
What can mobile entertainers do to lessen their environmental impact?

For any paper product-brochures, contracts, or agreement letters-employ recycled, tree free or FSC-certified paper. Better yet, minimize paper usage via deployment of email and a robust, interactive online marketing presence.

Drive a hybrid vehicle or, with the incredible shrinking equipment presence, follow Craig Brown’s lead and buy “a smaller van that gets better gas mileage” rather than drive a gas-guzzling SUV. An added benefit-vans, while not as sexy, tend to have significantly more room than their four-wheel drive brethren.

Regarding equipment, Dave Star of Star Productions, serving Central Oregon, suggests, “Using fewer lights than before or more energy-efficient lower-wattage lighting systems.” Or, even better, Brown bought energy-sipping lights: “LED par lights and a Spectrum LED for my light show.”

LED power consumption is, on average, approximately 5% of the equivalent brightness halogen or fluorescent lamp. In addition, LED lights generate virtually no heat and, because they are made up of solid state components, they are extremely durable, better able to withstand the rigors of travel and constant set-up and teardown.

Learning the 3 R’s
On a personal level, what can mobile entertainers do to support green causes? As an older eco-slogan goes, “Reduce, reuse and recycle.”

Consider supporting local, non-profit and/or community-based organizations and businesses, in order to lessen your participation in the huge environmental impact of the megacorporations. Subscribe to renewable energy sources (most utility companies now offer customers an option to “purchase” renewable energy). Recycle anything and everything (newspapers, plastic bottles, glass, cardboard, cans, envelopes). Minimize waste as much as possible. Buy products made from recycled goods. Choose reusable bags instead of paper or plastic when shopping. Consider bicycling for errands within a couple miles of home. Link your trips, so you complete errands before returning home for the day.Use both sides of a piece of paper, if possible (even for scratch paper). Outfit your home with fluorescent bulbs.

Only time will tell if “going green” will translate into a lot more of the “green stuff” for mobile entertainers. But, at least, embracing green in your entertainment business and your life will certainly safeguard you against feeling blue about your personal impact on the world.

—–

Wedding Theme: Carbon Neutral
www.nativeenergy.com/pages/portovert/168.php?afc=portovert
Brides and grooms-and DJs-can calculate their carbon impact on the environment at this site, hosted by NativeEnergy.

Green Power Partnership
www.epa.gov/greenpower/index.htm
At this site you can learn more about purchasing green power to offset electricity usage. Plus, find out about certification and verification as a business utilizing renewable energy and making greenhouse gas reductions.

DJ to VJ: The Future Is Now By Mike “Dr. Frankenstand” Ryan

An experienced video jock discusses the growth of the visual option for DJs”Video Killed the Radio Star,” the 1979 song* by the British group Buggles featured lyrics about a period of technological change in the 1960s. Today, over four decades later, video is again poised, hopefully not to kill, but certainly to change another kind of star: the mobile DJ. What does the current video revolution mean to the typical mobile entertainer? The following interview focuses on the use of video and features DJ/VJ Eric Sands of Sundance Productions in southern California. Not only is Sands a bar and bat mitzvah specialist, he is a pioneer in the use of video in the mobile arena.

MB: What s your wide-angle view for the future of video in the mobile DJ Industry?
Sands: The future in now! Video is solidly ingrained into our daily lives (YouTube , CNN’s News to Me, America’s Funniest Videos, MySpace, to name a few examples). In the ’70s we had DJ mixers. In the ’80s, we had lighting. In the ’90s, we had crowd interaction. The new millennium brought us computer-driven technology. Video is clearly in all of our futures. Hyper-stimulated, bipolar kids who can’t sit still today are your clients of tomorrow!

MB: Speaking of kids, do they now expect to have video at their parties? Do you predict a time when if we don’t offer video we will go the way of the Beta Cam?
Sands: Yes-and I think that time is now! If your clients embrace the power that computer-driven, multi-media production provides at their celebrations, then they may not feel comfortable hiring someone using ’80s or ’90s technology.

MB: Are DJs who use video (VJs) becoming true specialists like karaoke jocks (KJs)?
Sands: I think we’re all still on the same boat sailing to the same destination. Our goals are not dissimilar…We are providing entertainment the best way we are individually able to. But, as in the past, some of us are paddling faster, and accordingly, will reap the fruits of future market recognition sooner.

MB: How fast and to what extent is the use of video developing?
Sands: Just look at the sales of plasma screens, projectors, home theaters, and high-definition TV. Video has proliferated within the average American lifestyle, everywhere…in our cars, on our phones and computers…even home appliances are starting to incorporate video interfaces. (Microsoft predicts future homes will use more “smart” appliances, including interactive wallpaper being developed by companies such as Phillips to serve as giant displays for pictures from a MySpace page or even video).

MB: How do you see video, as party entertainment, evolving in the future?
Sands: I see much more flexible and easier set-up, such as being able to present video in a day-lit room without having to carry 5,000+ lumen projectors or heavy plasma screens. I see more real-time effects, such as brides and grooms being wished well and congratulated via live, off-site simulcast by wedding guests who can’t attend the reception. And for the higher-end clients, I see an MC/DJ combo being replaced by an MC/production manager in constant communication via headsets with a staff who will control stage lighting, video content, sound, and flow of the event-much like at an awards show.
[This is a role that Sands has himself pioneered. -Ed.]

MB: Do you see a time when live video interaction at parties will become so popular that clients will outsource it away from the DJ/VJ like some planners do with lighting?
Sands: I think you always have that risk if you’re “out of your envelope”…that is, if you are booking higher-end parties without being able to offer the most efficient solution to meet the client’s needs. But that’s not necessarily a bad thing…it enables you to stay in your “core” business of what you do best-MC-based entertainment. Same old story, if you can’t handle one aspect of a job, sub it out.

MB: Talking about video production, how and when do you use roving live cameras and/or music videos in your shows?
Sands: I always have some form of content on the screen, whether it’s live camera simulcast, ambient themed visuals, music videos, photo-stills, or a custom DVD effect loop that I create for the client and is in repeat mode for the entire party. This way, there is no “dead-air” on the video screen, and there is always something visual happening. In addition, my video assistant is at the mixing console monitoring and mixing the optimum source for any given time. Often we use chroma-key effects superimposed on top of the live camera feed to make it interesting.

MB: How available are music videos and are there any legal issues involved in using them?
Sands: I subscribe to the Promo Only Hot Video series, although I know there are several subscription services out there. I imagine the legal issues are very similar to audio copying, backing up, etc.

MB: How do you handle PG-rated music videos?
Sands: We try to keep it clean, relatively speaking. But occasionally, there’s some “unexpected” content on the music video. So that’s another reason to have immediate access to alternate sources you can transition to quickly.

MB: What are the critical things DJs should know about video gear performance?
Sands: Like audio, back-up equipment is necessary. I keep my video mixing console separate from my normal audio system. So at a video show, I actually have two consoles set up side by side. This keeps the show really tight, and serves as instant back up at least for audio, which is more noticeable to a crowd if it should fail. If you are mixing numerous sources (live camera, music video mixing software, ambient visuals, slide show loops, etc.), then each one of those can “fill in” if another one goes bad. But I always carry a spare projector to my gigs, as well as a spare music-only laptop based system in the event of a more catastrophic failure.

MB: Any tips on video gear? What are the bare necessities to be considered “professional?”
Sands: I think as a bare minimum, you should have a CORE DUO processor-based computer with a minimum of 256MB of dedicated video RAM driving your music videos, with sufficient ambient background video to fill in when you are playing non-music videos. If you are using DVD players, then make sure you get the type that [can] pause on cue, rather than play on cue.
If you are doing live CAM, then there’s really no excuse to be relying on that cheesy-looking, jittery webcam that so many people rely on. Video cameras are getting so dirt cheap; this is the better way to go. I use a wireless diversity microwave link for our 3-chip camera. This enables us to be anywhere in the room “getting the action” where it’s happening, without the constraint of a fat video cable trailing behind the camera man.

MB: How receptive have you clients been to video as an “up-sell?”
Sands: It’s an option that I really try to encourage for parties of over 125 people, which are most parties. I think that once the client sees how beautifully video can bring the event to another level, they agree that it’s well worth the additional expense.

MB: How much extra, on average, can a DJ/VJ expect to make by incorporating video?
Sands: I think it largely depends on the scope of what he or she is doing. If you’re only playing music videos, with no other content, then really we’re just talking about setting up a plasma or projector/screen combo above and beyond the usual set up-maybe $500 to $1,000 additional, depending on what part of the country you’re in. But if you’re actually monitoring and mixing numerous sources and applying real-time effects, then that’s another level up, and you could get $1,000 to $2,000 additional.
If you are producing custom content such as wedding montages and promotional videos for corporate receptions, you can usually get $50 to $200 per finished minute, depending on your editing skills.

MB: By including video are you taking work away from videographers?
Sands: We really aren’t doing the same thing, nor can we. We are presenting video content for the purpose of visual entertainment. Videographers, on the other hand, are in the archiving business. They are recording what is happened for viewing in the future. Any videographer who feels intimidated by this does not understand the big picture.

MB: How competitive do you think VJing will become?
Sands: The truth is that currently, the equipment involved in doing a decent video show is a bit complex for many DJs, especially if you are trying to do it computer-based. So I think in the near term, we are establishing who the main players will be. But in the next couple of years, we will have a critical mass of DJs offering this service, creating more competition as more DJs make the technical transition required to do the job competently.

*The “Video Killed the Radio Star” music video was the first one to be shown on MTV’s premier show, in August 1981. In February 2000 it also became MTV’s one-millionth video to be aired.

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.

Personality vs. Technology by Mike Foxx

Thoughts about the appropriate place of tools (toys) and temperamentLike most DJs, I love having cool stuff. Lots of it. Every time I get a little extra cash, I think of a thousand more things I’d like to have. But I’ve come to realize that having cool gear doesn’t get you more work. Cool toys are great, but it’s the PERSONALITY of the jock that seals the deal. After all, there is no better sales tool than someone seeing your work at a gig. Think of it this way: We’ve all seen the dorky guy who can afford the real nice car, but has no clue on how to drive it.
I see so many DJ websites where DJs apparently cannot pass up the opportunity to talk about their gear! I’ve even seen sites that show pictures of their spouse, their kids…and the trailer they use to haul their gear!
But does all this matter to a potential customer?
Let me explain it this way. My 9 to 5 is as a commercial copywriter. Clients pay me to write and produce radio commercials that will get customers into their store. This is done not by appealing to the client, but by sticking to information that will attract the customer.
So, how does the cool stuff you choose affect the amount of jobs you get?

Props
To cut to the chase…I don’t like ‘em! Never did. I’ve had more brides who were glad to hear that I don’t use them. I’ve had few occasions where I was asked to bring blow-up props. They were a big hit with the four-year olds, and I ended up bringing most of them home. I used the same bunch of props for three years. In fact, I think I still have some of them in the garage somewhere. In my experience, a real “party” crowd doesn’t need props to have a good time. (Just a little alcohol.) A quiet and dull crowd will avoid them, and make you regret taking two hours to blow them all up.
Lights
Every time I talk to potential customers (typically brides), they ask if I bring a light show. I have lights. I bring them to every job, except for daytime or outdoor gigs.
I don’t charge extra for using lights; I feel its part of the whole package.
I have enough lights to add a little sparkle, create a little distraction, and make for good pictures. I like my lights because they are simple, easy to load, and light enough to carry. They’re small enough to fit into any space, but big enough to fill almost any hall.
I see pictures on some websites of thousands of dollars in lights, often mounted on huge trusses. They require an extra hour to set up, and most of them wouldn’t fit into HALF of the places I play. I think the only people they are really trying to impress are OTHER disc jockeys.
Besides, most guests would rather act crazy when no one can see them. Light them up with 10,000 watts of power, and they tend crawl into a shell.

Sound
Some websites take the time to list every piece of equipment the DJ owns. Some even go to the trouble to show you pictures, and give the model numbers.
Once again, who are they trying to impress?
In all my years, no bride has ever asked me what kind of CD players I use. No one has ever asked me how many watts of power I can “put out.” And they certainly never made their decision based upon what brand I use, or whether I prefer the “1300 Series or the new “1400 Series!”
As for me, I have equipment that I like to work with. I went to a lot of trouble to pick each item, based upon my tastes, and my budget. I take great care of it, maintain it regularly, it sounds great and works just fine.

Computers
I am still lugging around my CDs. Yes, I’ve decided that my next cool item to buy will be some sort of computer or MP3 player. But I am not sold on “digital” just yet. Most technology is not truly dependable until it’s been tried and tested for LONG time. Think of how often they come out with new video game systems. As for dependability, look at it this way. If computers were dependable ALL the time, we wouldn’t need Computer Guys to fix them all the time. I try to see it from the customer’s point of view. They see a DJ using only a laptop or a couple of iPods® and think, “Heck, I coulda done that!” I feel that if a customer is paying you big bucks, they want to see gear on the table. Then, at least, they can feel that you’ve earned your pay, just by loading it in!
Personally, I still like CDs. I use them as inspiration. When I am stuck for a song to play next, I can look at all the titles on the edge of the jewel cases, and it sparks an idea. Having everything in the computer requires me to have a VERY good memory, which I don’t. (What was I just talking about?)
In the end, a great personality with average gear is still more entertaining than someone with no talent and the best equipment that money can buy. The only thing that really matters to a potential customer is…Can you do the job, have some fun, and make people dance? (And how much it’s gonna cost, of course!)
They need to feel comfortable and confident in YOU, not your gear!
(And in case you care, I’ve always preferred the 1300 SERIES)

Mike Foxx has been in the music business since 1981, beginning his career at WZZO radio (Z-95) in the Lehigh Valley of Pennsylvania. He is now a production manager and also remains on the air, besides maintaining a thriving mobile DJ business. After 25 years, he feels like he “seen it all” and “done it all” but somehow still manages to entertain himself as much as the listeners and party guests!

To Serve and Protect…Your Gear

Our gear is the tool that allows us to perform and do what we love, and most of us care for it accordingly. Still, we wonder why it needs to be replaced seemingly every couple of years, even though we think we are being extra careful and cautious. And it only takes once, however, for that mistake to happen-just one hurried load-out that means hundreds of dollars of repair expense.On the Case
The first step to properly protecting your investment, whether it’s a simple piece or the most important aspect of your rig, is to properly guard it from the rigors of the road. Protecting your gear from the road means storing and transporting it in some sort of case or bag. I guarantee you that no professional audio/video company will ever transport their hardware (other than speaker cabinets) without some sort of additional casing. It not only shields the gear from bumps, nicks, and in some cases drops.
There are many casing options available at reasonable prices. Amongst most mobile DJs, the traditional choice has been carpeted cases. Most find that they do less damage to seats in passenger vehicles and that they provide adequate protection. Carpeted cases are also often beneficial to those in colder climates, as the carpet on the exterior of the case can provide some insulation. Years of heavy use, however, will make most carpeted cases look shabby and worn. The carpet will then look like your old letterman jacket with a few years’ accumulation of fuzz.
More recently, the dip in price in flight-style cases (smooth sided, with heavy-duty panels) has made them more attractive financially as well as visibly. These cases have been the standard among touring production companies for decades. Everyone from TV to exhibition companies use this style of case, due their durability, their easy load-ability with forklifts, and also their ability to be tagged for easy identification. Flight cases-unlike carpeted cases-can be painted with stencils to ensure that contents are not lost and can be easily discernable from similar cases.
As I already hinted, one downside of flight-style cases is that they are typically a little more expensive than carpeted cases. Although flight cases will wear and become scuffed, they tend to do so at a less rapid pace then carpet cases deteriorate, meaning the added investment will equal more usable time.
Another style available for consideration is the molded case. These heavy-duty plastic cases tend to come in much smaller sizes than either carpeted of flight style, but the protection offered is still pretty good. Molded cases gained their popularity, ironically, in the airline industry, as they are lighter than flight-style cases, therefore allowing more cases to be loaded. A slight downside of molded cases is their inability to take as much pressure as either flight or carpeted cases. For normal DJ uses, though, they work great for consoles, mixers, and amplifiers.

Bad Weather Warning
An often overlooked factor in protection among mobile entertainers is the effect that weather has on gear. For anything that has any sort of microchip inside (controllers, computers, CD players, some mixers), extreme cold or heat is not advisable. Most other types of gear, including lighting, and PA equipment (amplifiers, speakers, mics, etc.) also have low tolerances to both hot and cold temperatures; not properly storing or transporting your gear in a climate-controlled environment can lead to early failure due to condensation or silicon-melting heat. Almost everywhere in the country has, at certain points in the year, extreme heat or cold that is responsible for gear failure, or at least temporary downtime.
It is advisable to keep your sensitive gear in a climate controlled location that does not reach less than freezing or over 100 degrees Fahrenheit. Also important are fans and cooling devices when performing outdoor events in extreme heat (not only for your equipment but also for your most important piece of gear: yourself).

Appearance Ticket
There is nothing worse than having an event at an upscale venue and showing up with shabby equipment. Even with careful care of your gear, wear will become evident after a few years. Options such as patching (for carpeted cabinets) or painting (for textured cabinets) may sustain your equipment for a little while longer. Painting is relatively easy and may be as simple as removing a grille and spraying or touching up scuffed corners. I would recommend covering every internal component, no matter if it is in the spraying area or not, with plastic or newspaper. Paint splatters can be not only annoying but damaging to gear functionality when in an undesired location.
When painting and patching aren’t enough, spray-on bed liner (the kind seen on vehicles) is a valid choice. Cases and speaker cabinets are perfect candidates for this procedure, as it adds about 1/4″ inch of textured protection to the outside of a surface. Besides providing a classy and sparkling finish to your gear, spray-on bed liner doesn’t wear and doesn’t affect sound quality when used on speakers. (See the Mobile Beat Gear Book, issue #111, December 2007, for an article detailing this process.)
And don’t forget the original purpose of spray-on bed liner. For those with trucks or vans, spray-on bed liner wards off dings and scrapes to your box and bed paint from metal corners and sharp edges. If you want any sort of resale value from your heavily used touring vehicle, spray-on bed liner is the way to go.

Something Smells Funny in Here
Years of abuse on the road not only leaves scuffs and scars on equipment, it also may leave an unpleasant odor. Entertainers who use the same rigs in bars that they use for weddings in non-smoking venues may not notice the odor of cigarettes due to familiarity, but non-smoking guests do. Some may even change their perception of your services if they have a close table or if they venture over to request and are offended by the aroma of your equipment (or you!).
One of the most important thins to remember, especially when masking cigarette smoke odor, is not overdoing the masking smell. Too much “pine-tree perfume” could make you and your area of the room smell like a streetwalker. A subtly smelling product not normally used in the entertainment market is Febreeze. It can be applied to almost anything, including cases, curtains, skirts, vehicles, and speaker cabinets. After rentals at frat houses, Febreeze is often the only thing that keeps me from throwing away perfectly good speakers that end up smelling like the inside of a keg.
Cabinets and cases covered in carpet can also develop lint and debris that can be hard to get off without damaging the carpet. For this, I recommend either a heavy duty lint roller or a vacuum cleaner with a hand brush attachment. Doing this every weekend, especially with rental and outdoor gear, greatly enhances the visual appearance of your gear to potential renters or audio-visual clients.

Concluding Arguments
Think about it: Your gear is the second biggest investment that you’ll make as an entertainer. Behind music, nothing is more expensive-and important-than quality equipment. Long-term reliability is something that ultimately cannot be bought, but can only be achieved through taking care of your investments.
Emotional attachment is also a big reason to take care of your equipment. I have pieces of gear that I absolutely love, like my computer rack, which I will do all that I can to make sure it is in top working order. I am sure I could get by without it, but after so many events it’s become like a good luck charm-so why mess with success?
Although some of these tips may seem a bit basic, they are cost and stress-saving and we all need a reminder now and then. Have you gotten a bit lax in your maintenance routine? Following these tips will definitely save you some headaches down the road. And even in the here-and-now, for a long string of back-to-back events you need to be at your best-and that includes your well-groomed equipment.
Jake Feldman is Mobile Beat’s Gearbook Coordinator and Equipment Manager for BC Productions in Des Moines, Iowa.

The DJ Industry’s Perfect Storm by Michael Edwards

Stormy weather…With the following report, I didn’t set out to write a foreboding “doom & gloom” downer predicting the end of the DJ world as we know it! Instead, I simply hope to increase awareness and start widespread discussion about the impact of the combined circumstances that are currently hitting the DJ industry hard and simultaneously, like so-called “the perfect storm.” These elements are the economy, iPod® technology and the Internet.The Economy: “Let’s just have a small party at home.”
In January 2008, NBC Nightly News with Brian Williams reported that “Economic recession may be upon us,” citing factors like rising unemployment, which had recently hit 5%; oil prices that topped $100 a barrel for the first time ever; a weak dollar worldwide; a “down” stock market; and an all-time high number of home mortgage foreclosures creating a ripple effect that saw home prices plunging throughout the real estate market. The overall result was an increasing economic caution across America. The year 2007 saw the loss of 49,000 construction jobs, 31,000 manufacturing jobs and 24,000 retail jobs, according to news report. Holiday hiring last December was termed “anemic.” The general public is not spending like they used to because they’re simply afraid!
To the DJ industry, this means two things: There will be fewer functions planned and less money being spent on those events that are held. If you’re a DJ in the running for any type of gig, anywhere, the competition will be much greater and the DJ price war far more aggressive than ever before. That’s only the first part of the perfect storm…

iPod Technology: “Everyone’s a DJ”
A lot has been written about the impact of the iPod and other MP3 players on the DJ industry. I was one of the majority of DJs who didn’t raise a hand when we were all asked “How many here are worried about being replaced by iPods at weddings” at a Mobile Beat DJ convention in Las Vegas. Very few were worried because we all understand the vital role a pro DJ actually plays in the success of a wedding reception, and that fact has not changed at all. What HAS changed over the last 3 years is the public’s perception of the importance of the DJ’s role.
The average person’s image of a DJ is now much lower thanks to continual damage done by countless amateur DJs now being used at so many functions. Our value to potential clients and the importance of our service, beyond just the music, is also being distorted by infuriating, ill-informed articles on major wedding websites and in magazine articles being written by truly clueless wedding “experts.” Some are actually now recommending iPods as a viable alternative to a DJ at a wedding!!
“What could be easier?” wrote Lori Leibovich, the editor of IndieBride.com, a Web site for brides. “You bring it, you program it, it sounds great. It doesn’t surprise me at all that more people are doing it.” In an internet article entitled “Would You Trust an iPod to DJ Your Wedding,” by Jacqui Cheng, summed up her article like this: “…it seems like the trend of young people (particularly young professionals and techies such as ourselves, who likely already have access to iPods and tons of digital music) using iPods and other self-operated technologies to provide music for the greatest day of your life will only continue to grow. I know that if I were to ever have a wedding, I would definitely opt the money-saving route and throw together my own playlist on an iPod (or better yet, on my laptop and more easily be able to entertain requests) without hesitation.”
Reader comments were posted on the subject and these two stuck out: “Our caterer told us that the iPod as replacement for a DJ is now super-common.” And, “Back in the day, portrait painters were an important field, with lots of work to be had. Now, we have cameras. Manufacturers of buggy whips used to be busy, with so many horses and buggies and all. Now, we have cars. See a pattern?”
Kathleen Murray, senior editor for online wedding publisher TheKnot.com from New York wrote: “Many of our brides and grooms are catching on to this trend. It also gives them the chance to put their own personal spin on it. They can have so much fun putting together the ultimate play list, getting suggestions from friends and family members.”
Do you advertise on TheKnot.com like I do? I wonder what national photographer associations would do if the very magazines they advertised in told brides to stick with disposable cameras to save a buck?
Yet still, the unassuming and innocent-looking iPod is just a small part of the “perfect storm”…

The Internet: “Why don’t you all just post your prices?”
What may be the final component to our “perfect storm” of converging factors for the climate change of the DJ industry is the way most clients now find us, contact us and book us: the Internet. Clients now have millions of DJs to choose from in long scrolling lists that make us all look pretty much the same. In the minds of many clients, a DJ is a DJ. And when incorrectly perceived and lumped together as being basically all the same “product” (just someone standing there pushing the play button on a laptop or iPod) then the cheapest price “must” be my best choice.
We must also “thank” the internet for the ease and availability of illegal music file sharing and downloading. I’ve spent well over $25,000 for my music collection since going full time in 1979. Where becoming a DJ once required a large initial expenditure, it’s now a career choice available “free” to anyone with a $300 iPod and a cheap pair of powered speakers, who’s willing to ignore copyright laws and download an entire collection.
Annoyed clients ask why we don’t have our prices posted on our website…so they can instantly rule out the “overpriced” DJs right away. The days of personal contact and developing a rapport with every potential client are dwindling. If you answer email pricing inquiries that haven’t left you a contact phone number, a location or any details by politely thanking them and suggesting that they call you to discuss their function and their entertainment needs in detail, you may have already learned: That’s not what they want to hear. They often don’t even reply to our response at all; they’ve glanced at our website, they don’t want to talk to us for fear of a “sales pitch,” and they don’t want to learn about our services since “all DJs are alike,”-they just want the price. Makes you wonder: Just what is the price…of progress?

Umbrella?
What can we do to navigate through the torrent of combined elements that make up this “perfect storm” battering the DJ world? Perhaps the economy will improve with a new administration in Washington next year. Maybe enough bad iPod weddings will open the public’s eyes to that ridiculous non-option (like the excellent example now offered on the ADJA website-Dr. Drax: Please send a copy to The Knot to help educate their “experts” before they dispense any more advice). Perhaps, after enough web-based mistaken, impersonal decisions on entertainment, the personal services that quality DJs try to offer clients will be valued once again and make a comeback. And by the way, maybe the soaring price of gasoline will force us to find new modes of transportation? Anyone need a buggy whip?

Michael Edwards is the owner of AllStar Entertainment, a licensed, bonded musical entertainment agency in Andover, MA. Full-time since 1979, Mike is one of 20 AllStar DJs at his agency. A member of the Mobile Beat Advisory Board and the American Disc Jockey Association, Michael’s company was recently voted “Best of Boston” wedding DJs in The Knot Magazine’s “Best of Weddings 2007.” Mike can be contacted at 978-470-4700, BostonsBestDJs@aol.com. Check out the agency at www.getadj.com

Gear Does Not Equal Game by Mike Ficher

Gear is exciting. Gear is sexy. Gear is cool. Gear is the hot sports car on the road of mobile entertainment. Always the buzz at tradeshows and on chat boards, gear, in the non-contextual words of Gordon Gecko of Wall Street fame, is good.
But, if a mobile entertainer relies solely on gear to impress clients, and thus to make a living, well, the stocks of his or her company will probably not be inclining “upward and to the right.” And, that would not make Gordon a happy investor.The Way You Do the Things You Do
Think about all the entertainment and presentations where gear is a minor or non-existent part of the equation:
Improv players perform and entertain with no props and the art appears quite popular, with almost every major city-and many smaller and mid-sized regions-boasting a professional troupe or two or three.
Mimes use space, movement and the viewer’s imagination to create worlds and convey emotions.
Stand-up comedians rely on their routines, their wit, their observations of current events and human nature and their awareness to entertain.
Dancers engage their practice, their passion and their artistic and athletic skill to entertain friends, audiences and, occasionally, to impress judges.
Public speakers may be armed with PowerPoint slides and laser pointers, but their success will ultimately be judged on their ability to verbally communicate the goals of the presentation.
So what do mobile entertainers really count on to succeed at an event?

Kaleidoscope Eyes
Think about how many times someone said to you after a gig, “That was the coolest sound system ever!” Maybe there were a few, and those were probably the same dudes in high school who leaned over the hood of the exposed engine and muttered, “That is the most rad chrome thing I’ve ever seen!”
Now, think about how many times someone said to you after a gig, “Wow, what a great time!” or “We danced all night” or “That was the best party ever!”
No comparison? Yeah, thought so.
This discussion is by no means intended to belittle the value of gear. Rather, the purpose is to frame a perspective about gear in relation to the goals of the event and an entertainer’s contribution to the success of the gig. Gear is a means to an end, not the end in itself. Gear is the “support staff,” under your direction, that facilitates the achievement of the goals of most events: a memorable, engaging, fulfilling time for all, which meets or exceeds the expectations of the event planner or audience.

Mr. Roboto?
Think about the iPod®. Certainly, it’s a revolutionary unit, one that has fundamentally changed the way consumers and even entertainers play audio, particularly music. Yet, the unit cannot function without a human inputting songs and programming some kind of play list. And, at a party, the mobile DJ makes those decisions.
As a pro DJ, you work hard to be prepared and to be aware of the situation-to be able to “read the crowd.” So, after you’ve successfully played the right song at the right time…do most guests care that it was played on an iPod, CD, MiniDisc, cassette, DAT or LP? No. They care (mostly subconsciously, while they dance the night away) that you hit the mark, and that the sound was clean, clear and at a suitable volume.

What You Need
What should entertainers expect from their equipment? First and foremost, gear should be reliable, attractive, durable and responsive. Do you need the latest and greatest? Not necessarily. The utmost consideration should be reliability measured with excellent quality. Does your system function with plug-and-play capability at each event to support optimal time from arrival and set-up to performance? Can you modify the sound, if necessary, to accommodate specific room acoustics? Will your system fit comfortably in any setting?
A significant number of entertainers in the industry continue to function just fine with CDs and MiniDiscs. Yes, benefits exist for MP3s and computer-based music libraries-efficiency, storage capacity, access-but through experience and organization, most CD-based entertainers can find songs nearly as fast as MP3-based entertainers employing a search function. And, truth be told, mobile audio equipment is still a tad more reliable than a laptop.
Your performance tools, while functional and efficient, should be attractive and pleasing to the audience. Gear should not detract from the presentation of an event. Nor should it be a time hog for an entertainer. Time, as Gordon would concede, is money.
The exposed crates of the days of primarily vinyl certainly did nothing to enhance the appearance of the entertainer. Technology now certainly allows an entertainer to present a more compact, attractive, photo-friendly presence.
Gear should be able to weather the constant challenge of transport. Housing equipment in protective containers will extend its life and support an attractive appearance. Yeah, you might invest a little more time at each event, but the mobile business does not treat kindly sensitive equipment that is unprotected.
Finally, gear should be responsive to the specific needs of the entertainer. If you teach dance, do you need to employ a remote to start selections from the floor? Can you quickly access drops and sound bytes to supplement raffles, giveaways, comic bits and more? Will your system support multiple microphone connections, for karaoke or sound reinforcement, for example? The list of possible applications goes on and on…Fill in your own blank.

It’s Up to You…
If all the areas mentioned here are functioning well, the stage is now set for your talent to shine through, and in turn for the event to be a true sensation.
So, yes, gear is critical, gear is eye candy, gear is sexy. But, gear is only as good as the entertainer pushing the buttons. And, in the long run, an entertainer will certainly be judged on the level of his or her performance and not necessarily on equipment quality. Just ask Gordon.
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.

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