Mobile Beat Iphone Application Released

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Mobile Disc Jockeys Worldwide Find Solutions Online

MOBILE DISC JOCKEYS WORLDWIDE FIND SOLUTIONS ONLINE

Mobile DJs around the globe are working to improve their bottom line as revenue in many markets remain stale, many entertainment professionals seek solace and help through internet web sites that provide marketing strategies and advertising ideas to increase growth.

MobileBeat.com, a bi-monthly publication and leading website dedicated to the DJ industry has been a haven for mobile entertainers who have made their business more than just a hobby. With such features as community forums, DJ University, professional business support, the latest articles and the producers of the largest DJ convention in the world, the name Mobile Beat is synonymous with professionalism.

With the advent of more efficient video technology, Mobile Beat has joined forces with the new Crossfader Show to bring exclusive content to internet browsers everywhere. Each week, The Crossfader Show streams news, interviews and advice in a real time interactive topical talk show.

The showʼs host and producer, Jose Heredia knows the struggles DJs find themselves in and has vowed to bring information that will give a boost their morale and not to mention their bank account. With over twenty years of experience in the mobile entertainment field and an deep understanding of the DJ trade, many have expressed relief and gratitude.

Mobile Beat’s Ryan Burger says “Jose Heredia came to me with this idea of taking his popular video series even further and I was thrilled with it. We will lend assistance to DJs whenever we can, especially when they are helping the community of DJs through extra efforts like the Crossfader Show.”

This mutual exchange of content will benefit DJs willing to absorb valuable information and put to use the helpful advise this union will bring. All the while delivering it in an entertaining way.

Check out more information at MobileBeat.Com and DJSatisfaction.Com

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DJ Mixwell and K Series

QSC K-SERIES LOUDSPEAKERS TAKE DJ MIXWELL TO AN “ENTIRELY DIFFERENT LEVEL”

January 27, 2010 - Anaheim, CA - QSC Audio’s (NAMM booth 6750) new K-Series Loudspeakers have redefined the standard in compact, lightweight, high-performance powered loudspeakers, much to the delight of professional mobile Disc Jockeys.

When the snow and ice hit hard in Detroit, Nick “DJ Mixwell” Maxwell’s business picks up. Why? His main audience, University of Michigan students, flock into local clubs to enjoy the vibe created by this eight-year veteran DJ. DJ Mixwell loves DJ’ing like nothing else, a fact reflected in the apparent enthusiasm of his audiences, his consistent re-bookings by club owners, and in his pursuit of audio excellence.

That pursuit is a good thing for his audiences and particularly for club owners who, DJ Mixwell admits, virtually never have in-house sound systems that come close to the standard he demands. “They’re usually pretty awful,” DJ Mixwell quips.

DJ Mixwell has owned three different sound systems in his career, most recently upgrading to a QSC Audio K-Series Active Loudspeaker system, comprised of two K-12 full-range cabinets and a single K-Sub. He claims the improvement over his previous active loudspeaker system was significant in increased sound quality and portability, taking his business to “an entirely different level.”

The combination of a professional-looking molded ABS enclosure, uniformly matched drivers, advanced DSP, and QSC’s legendary touring spec amplification has resulted in an unprecedented package. K-Series is demonstrably able to outperform other molded enclosure systems due in part to one fundamental principle: the same 1,000-watt Class D amplifier module powers all four models - whether the K-8, K-10, K-12 - or K-Sub (dual-12″ subwoofer).

“I used my previous system for a year and a half and the sound coming from the tops got to be really irritating, especially the high end.” On the low end, DJ Mixwell found the frequencies around 200-400Hz were lacking and the weight and cumbersomeness of the sub boxes, quite literally, a pain. “I pulled back muscles moving those beasts more times than I care to remember,” he admits with a good-natured laugh, “possibly to the financial benefit of my chiropractor.”

Though DJ Mixwell finds the QSC K-12s “far superior” in sound to his previous two sound systems, he reserves his biggest praise for his single QSC K-Sub. “The K-Sub is just on an entirely different level than anything out there,” DJ Mixwell states emphatically. “They just hit so much harder in a way you can feel and they sound better than the much bigger 18-inch-loaded boxes I was using.”

DJ Mixwell adds, “Especially in that the 200 to 400 Hz range, the K-Subs deliver a much fuller sound to my ears.”

But isn’t the relative small size of a single K-Sub a problem in terms of audiences and club owners “seeing with their ears?”

DJ Mixwell answers, “A few customers have commented they’re blown away by how much sound is coming from the new speakers,” but the opinions he most notices are about sound quality.

“The first weekend I used the K-Series in the club, I got a lot of comments that the audience enjoyed the sound a lot more,” says Maxwell,” concluding “that didn’t surprise me; K-Series has made a big improvement to my sound.”

Accompanied by a complete range of accessories, padded carrying bags and various mounting accessories, K-Series products provide a consummate package for the AV rental, installation, MI and DJ markets.

Principle Product Features
1,000 watt, efficient and lightweight class D power module
Light Weight (27 lbs. - 41 lbs. 2-way, 74 lbs. KSub)
Professional appearance and rugged construction
Directivity Matched Transition (DMT^TM) and Intrinsic Correction^TM DSP tuning for accurate, undistorted performance across the entire sound field
GuardRail^TM technology discreetly protects the system from damaging overload
DEEP^TM mode for enhanced low-frequency extension without a subwoofer
Locking IEC power cable
XLR and 1/4″ connectors
Phone mic/line and line inputs with loop-thru connectors and independent level controls.
Phono (RCA) inputs (2-way units)
Three 2-way models - each with coverage pattern optimized to match the LF driver
Front-mounted LED may be switched off or to indicate LIMIT or AC Power On
Dual angle, 35 mm pole socket with Tilt-Direct^TM allows the speaker to be angled down to put the energy on the audience instead of the back wall
Suspension and yoke mounting accessories available
4″ voice-coil woofer design for high output
1.75″ voice-coil compression driver
High Pass Filter for use with subwoofers
Subwoofer 1,000 watt, efficient and lightweight Class D power module
Dual 12″ band-pass for compact size, efficiency and high-power handling
Threaded pole socket for solid, secure pole mounting (KSub, includes pole)
3″ Casters (KSub)

For more information about K-Series, please visit qscaudio.com - QSC Audio Products, LLC is a leading manufacturer of power amplifiers, loudspeakers, signal processing, digital signal transport, and computer control systems for professional audio markets worldwide.

For further information contact Christopher Buttner, contact info above, or publicity@qscaudio.com
QSC Audio Products, LLC, 1675 MacArthur Blvd., Costa Mesa, CA 92626 USA.
Telephone (800) 854-4079 (USA only) or (714) 754-6175. Fax (714) 754-6174.
Email: publicity@qscaudio.com - Web www.qscaudio.com

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The VMS4 Velocity MIDI Station

Tom Talks Audio
The VMS4 Velocity MIDI Station

This amazing 4 channel MIDI controller isn’t available quite yet, but Tom Freret, the National Sales Manager of American Audio is so excited about the VMS4 he wants to talk about it NOW! Tom took a few moments out of his busy schedule to give us this sneak peek at the VMS4.

Why are you so excited about the VMS4?
“There are a few reasons. First, there is nothing like it on the market, especially at the price point we’re offering it at. Second, aside from being unique, it really is a great performance too. Not only does it make your life easier as a performer, it also offers you many more options, making you more versatile. It’s the tool that DJs everywhere have been waiting for.”

How long will they have to wait?
“It will be out very soon - within the next 90 days.”

You mentioned the VMS4’s price point - what do you see it selling for?”
“The street price will be under $500. When you consider what you’re getting in this 4 deck solution that’s an amazing deal.”

Any examples of what DJs will be getting with the VMS4?
“It’s got 4 channels, 2 jog wheels, an on-board mouse pad, MIDI assignable touch strips, and it’s Tracktor software ready, so its goes far beyond your typical MIDI Controller. There are so many features in this product that you’d expect to find in controllers costing 3 times as much.”

What kind of things?
“One that comes to mind is the upgradeable Innofader cross-fader option. You find the Innofader product in the best professional gear. It’s a buttery smooth, responsive and strong cross fader, and for it to be on a mixer at this price point is unheard of. This is the first MIDI controller that I know of that allows an Innofader upgrade.”

Setting features aside for a moment, how will DJs use the VMS4?
“One of the really cool things about the VMS4, which has both MIDI and analog channels, is its tremendous versatility, so there’s no end to the way that DJs are going to benefit from this product. They can use it with their computer or they can use it just as a mixer without hooking it up to a computer.

“They can also use it with 4 x4 or 8 x 2 sound cards -and it can control music and video. It also has two mic channels with illuminated on/off switches and gain/treble/mid and bass EQs - how many controllers at his price point can say that? Wedding DJs are going to love the fact that it has the two mic channels, because it makes hosting a reception a lot easier.

“Another cool feature of the VMS4 is that the mouse pad is built right into the system so you can do all of your selections right from the top of the unit.”

What about the MIDI features of this product?
” As I mention earlier, it has long life MIDI assignable touch strips, plus two 10-bit resolution pitch sliders, 62 assignable MIDI buttons and switches, 4 assignable rotary encoders, 34 assignable rotary encoders, 5 assignable linear fader controllers, dual MIM controls on all buttons and switches, so it’s very robust as far as MIDI functionality is concerned.”

Aside from all of the performance features, the buzz on the NAMM Show floor (where the VMS4 was shown for the first time) is that this is a very user-friendly product. Is that true?
“The buzz is correct. This product was designed with real-life applications in mind, which is what makes it very user-friendly. For example, it’s got illuminated knobs, which is kind of nice when you’re performing in dark venues. By the way, all of its audio control faders, knobs, switches and buttons are smooth to eliminate popping, wiper noise and zipper noise.

“We put a lot of thought into the big things and little things when developing the VMS4 to make it a great performance tool. I can’t wait for it to come out - and once they get it in their hands I’m sure our customers will understand why I’m so pumped up.”

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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’!

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PRO2PRO: Pro DJ to Photographer/Videographer

PRO2PRO: Pro DJ to Photographer/Videographer

By Gerald Johnson

VISION EXPERT SNAPS CLEAR PICTURE OF WEDDING DJ’S ROLE

PRO PHOTOGRAPHER/VIDEOGRAPHER: TOM CHAPUT

In my area one of the best values in wedding photography and videography is Tom Chaput, who, with only eight years in the wedding business, has etched a clear mark in his trade. From a previous life of office supply sales and a lifelong interest in technology, he began his new career as a videographer working for a multi-op but eventually branched out on his own. He works with his wife Bonita, with the husband and wife team operating either as a tandem photography team or as a camera/video camera combo. I recently had the opportunity to talk with Tom regarding his thoughts on DJs, the wedding business, and the roles we all play as professionals:

Gerald Johnson: Let’s begin with DJs. During your time in the wedding business, you definitely have noticed that DJs have an effect on the event. In a positive sense, what can you say that DJs add?

Tom Chaput: I would say that good DJs help the guests to stay longer and enjoy themselves by providing quality entertainment with the right music. Also, a well-organized DJ can keep the flow and pace of the night moving along-which makes the guests more content and also removes stress and pressure from the bride and groom.

GJ: So the biggest piece of a DJ’s job you would say is “piece of mind?”

TC: Absolutely. If the event is planned out well in advance and followed through by the DJ with the right events, announcements, and music at the right times, then the bride and groom are almost always more relaxed and able to enjoy their reception. We can always tell if the DJ is a professional in the first few moments we work with them by how well they are organized and how well they work with you.

GJ: On the same note, I bet you have seen times when things didn’t quite go so well, and the DJ was at fault…

TC: The problem almost always begins with the actual scheduling of the event. In some cases, the DJ will not coordinate with the couple before the event, and as a result the event suffers. Sometimes names are wrong, the event has no flow, and before you know it the party was over because of a lousy DJ.

GJ: What, then, are the biggest problems you see when working with DJs?

TC: I am very surprised at the number of big (multi-op) services that will not divulge who the actual DJ will be before the event. With some services, the couple finds out at the event or the week before, which is definitely very stressful for the bride and groom, because, lets face it-some big services have one or two DJs that are bad. I’ve also seen DJs that show up dressed completely inappropriately for the event and some that are late. The biggest problem, though, are DJs with “an attitude” and those that make the show about them with too much mic time and cheesy shtick.

GJ: Let’s talk about sales. What is your best sales asset when meeting with new brides and grooms?

TC: For us it’s looking the part. We have a nice, clean office that serves the sole purpose of meeting with clients and doing work related to the business. Even though it is in my home, the office is on its own floor and is separated from the living space by stairs (meaning you don’t walk through the living space to get to the office). The whole space has been completely remodeled and we have our work hanging on the walls with accent spot lighting highlighting it. When couples are introduced to this setting, they see how serious we are about our work instead of a messy kitchen table or kids screaming in the background.

GJ: I suppose that’s the same on our end. If you are a client, you are inevitably going to look at those who have made the investment in a dedicated work space as more professional than those who simply meet with clients in their living room or another location.

As for your business, what is your approach to shooting weddings?

TC: Our concern is making the process as easy and fun as it can be for the bride, groom, and family. I know from experience that hiring “comfortability” over work that is shown will in the end always produce a better result because the experience making the photos or video will be better. If you hire by personality and not brand, then all will be better.

GJ: How does your typical planning meeting go?

TC: Well, we review with the client what the wedding day will entail and then they normally pick the specific package they want, whether it be length of shooting time with photos or the amount of videos and kinds of effect they want for the videography portion. We’re not Soup Nazis, and so our clients really can choose what suits them best.

GJ: Tom, thanks for your candidness. Are there any parting words you would like to give to the DJs before we wrap up?

TC: It is amazing how much a great DJ can enhance an event-and how a lousy DJ can ruin a day. Please don’t be the lousy DJ. Prepare, plan, and have fun!

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Ask Alfred - Ready To Rock In 2010

Ask Alfred
Ready To Rock In 2010

What will the future bring? No one knows for sure, but Alfred Gonzales, the world-wise National Sales Manager of American DJ has a pretty good idea of what awaits us in 2010. In a word, it can be summed up as “a lot of very good things!”

Ok, that’s six words, not one, but who’s counting? Certainly not Alfred; he’s been too busy catching up with business from the recently completed NAMM Show in Anaheim, which was one of the busiest in memory. The slamming NAMM show is one reason why Alfred is smiling from ear to ear about the coming year; another is the star studded galaxy of new products that is leading the way for ADJ.

So, you’re going into 2010 with a lot of good feelings - how come? “Well of course, I’m a natural optimist, but there are also a lot of really good concrete reasons to have high expectations for the coming year. Not just for American DJ, but for all of the mobile entertainers who use our products as well. This was very evident to me during the NAMM Show.”

What was it about the NAMM Show that made you feel this way? “NAMM was a great way to start the year. We had plenty of quality dealers attend and the best part about it was that they came with a whole new attitude compared to last year. Our dealers are very optimistic about business in 2010, because the mobile entertainers who support their stores are very optimistic.

“DJs who survived 2009 learned that despite any gloomy news, there is always plenty of business out there. People are still getting married and still having parties and special events. The DJs who reach this market are the ones who remain upbeat and continually enhance their performances with new music, as well as new and improved gear like lighting. With the lighting products that are available today it’s easier than ever for DJs to enhance their acts while still staying within their budget.”

Any examples of these lighting products?
“Sure, I have plenty of examples to share with you. One is the Tripleflex, which can work beautifully as a small centerpiece or as a 3-beam like scanner. It’s great to use in pairs. Another is the Color Burst 8DMX, which is a lower priced costly version of the Mega Pixel effect. Then there’s the Comscan LED System a compact scanner system that saves space and money, and the Profile Panel RGB, which gives you the most coverage for your investment in wash fixtures.”

Can you elaborate on some of the products? For example, what is the Color Burst 8DMX?
“It’s an incredibly user-friendly LED color wash with 8 color banks, featuring 280 total LEDs (70 red, 70 blue, 70 green and 70 amber) and control chase programs. It’s a great fixture for DJs and small clubs looking for an affordable burst of color excitement.”

How about the Profile Panel RGB?
“This is a compact, lightweight (7 pounds) very bright indoor LED color panel with 288 5mm LEDs - 96 each in red, green and blue. It’s loaded with features and has some fantastic built-in programs and very smooth - fast or slow-RGB color mixing. It’s great on stage, and since its LED, it stays cool, so even though your performance is hot, you won’t be, on stage.”
We heard a lot of talk at the NAMM Show about the Revo Rave - what is it?
“Some people are saying it’s our most exciting Revo ever. It certainly grabs attention on the dance floor with its very wide, bright and rich red, green, blue and white color beams, which can be angled up to 29 degrees. It also has color strobing - fast to slow and electronic dimming.”

Any other products that you feel will have a big impact in 2010?
“Oh, without a doubt, the Jelly Fish; this has got to be one of the most unique and exciting effects to come on the scene in a very long time. By the time this year is over, DJ’s everywhere will be saying ‘I gotta have that piece!”
What makes the Jellyfish so special?
“There really is nothing else like it on the market. It has a clear plastic case, so right away - it looks unique. On a performance level, it combines two effects in one: a bright RGBW color beam effect and a color-changing glow case. It has built-in high-energy lighting programs and 116 degree beam angle so it really rocks. I’m expecting great things from the Jellyfish in 2010; that’s one of the reasons when all is said and done, I think this year will go down as a very good one for American DJ, its dealers and the customers we both serve.”

Click on the links below to see these lighting fixtures in action.
Tripleflex - http://www.youtube.com/watch?v=iMI-Nr96EbM
Color Burst 8 DMX - http://www.youtube.com/watch?v=4pfrcwDMygU
Revo Rave - http://www.youtube.com/watch?v=Kr9P-rGAn-4
Jellyfish - http://www.youtube.com/watch?v=jKrnMcI-bZg

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DJ Kool Fills Slot at American Dj Party at MBLVX

Through a great connection with DJ Sparky B, DJ Kool known for his “Let Me Clear My Throat” track from 1996 will be performing at the American DJ Customer Appreciation Party at MBLVX - http://www.mobilebeat.com/las-vegas-dj-show/

A fusion of feel-good go-go music with hip-hop’s original block-party aesthetic led DJ Kool to the fore in rap’s return to the old school during the late ’90s. A veteran of D.C.’s go-go circuit who worked as a warm-up DJ for Rare Essence during the early- to mid-’80s, Kool began recording in 1988 and early on tried to inform the studio art of hip-hop with a live feel in keeping with his experience. His first album, The Music Ain’t Loud Enuff, used call and response much like early hip-hop and go-go (and also included the hip-house track “House Your Body” prefaced by a remarkably accurate monologue on the history of house music).

Kool took it to the stage in 1992 with the mini-LP 20 Minute Workout, recorded live in Richmond, VA, and released on Steve Janis’ CLR Records. By the time of 1996’s Let Me Clear My Throat, mostly recorded live in Philadelphia, the East Coast underground was buzzing about Kool’s way with a crowd. American Records won a five-way bidding war and reissued Let Me Clear My Throat early the following year; providing remixes of the title track were Funkmaster Flex and Mark the 45 King (whose funky underground hit “The 900 Number” was the basis for the title track in the first place), helping it climb into the Top Five on the rap charts. In mid-2000, he and Fatman Scoop released the remixed Rob Base classic “It Takes Two.” ~ John Bush, All Music Guide

Interview just taped today with DJ Kool: (audio file coming online this weekend)

Ryan Burger: This is Ryan Burger of Mobile Beat magazine and we are here with DJ Kool, who’s going to be at the American DJ Party at Mobile Beat Las Vegas. Kool, introduce yourself and tell us how you got here.

DJ Kool: (coughs) Let me clear my throat. I’m the legendary DJ Kool, straight out of Washington, D.C. That’s that (202) area code.

How did I get here? Yo, man. I was born in the clubs, you know what I mean? I started rocking clubs back in, oh, late ’70s. I became a recording artist in 1986 with a song called “The Music Ain’t Loud Enough, Pump Up The Volume.” I’ve had 10 records 10 years in a row to hit the Billboard charts, from “The Music Ain’t Loud Enuff,” 1986, all the way up to the song that has the cough heard around the world, 1996, which is “Let Me Clear My Throat.” I’ve been here a long time, man.

Ryan Burger: Very cool. DJ Sparky B, being a good friend of mine, hooked me up with bringing you guys out to the show. Give me a little bit of the lowdown of what you’re going to do for all of us out there.

DJ Kool: Straight house party style. Little bit of old school, little bit of the current stuff, you know what I mean? Hip-hop, R&B, reggae; maybe a little go-go music coming out of Washington, D.C. But once again, straight house party style. No whole bunch of tricks or stuff like that. I love that part of the craft, but I’m just not that type of DJ. But big ups to all my friends, Jazzy Jeff, DJ Craze, and all those turntable-ists, you know what I mean?

But my thing is straight house party style; me, the crowd and the dance floor. That’s it. I ain’t got no whole bunch of tricks for you. I’m just trying to keep the mixes tight, keep the selection hot, and keep the party moving with my voice. That’s what’s up.

Ryan Burger: So you’ve got the mix going for the whole party. You drop in every once in a while, do your own tracks just as part of the show, or how do you work in “Let Me Clear My Throat?” How do you work in some of the other stuff?

DJ Kool: Well, pretty much just like what you mentioned a moment ago. I’m playing the hits current and recurrent and so on and so forth. But at some point during the program you will hear me drop in, “Let Me Clear My Throat.” You will hear me drop in “20 Minute Workout.” You will hear me do “It Takes Two.”

And I do these tracks live because I actually recorded them live. “Let Me Clear My Throat” was a live recording. “20 Minute Workout” was a live recording. “I Got Dat Feelin’” was a live recording, just to name a few.

As a matter of fact, “20 Minute Workout” was so loud to whereas I had a mobile recording unit hooked up in the club where I was cutting the record back and forth, the beat that I used for “20 Minute Workout” was the record was a record by Doug E. Fresh called “I’m Gettin’ Ready.” And I was cutting the breakbeat back and forth while I was on the mike, rocking the crowd. So that’s just the whole DJ Kool style, you know what I mean? Just live, live, all the way live.
Ryan Burger: Very cool. So what’s the future for DJ Kool? Continuing to do stuff like this, appearing in Vegas, Atlantic City? What do you got coming up in the next couple years?

DJ Kool: I got a few things coming up. I’m back in the studio and everything, getting ready to drop some more of those DJ Kool club [inaudible]. First and foremost, I do my records for the DJs, for the clubs. It just so happens that I’ve been blessed enough to have had my records wind up on radio and everything, and that is a blessing. But for the most part, just like I said. I’m going to go out and do my show for the clubs.
So we got some new DJ Kool stuff coming out this spring. The first single will probably be a song called “What’s Your Area Code,” which should just for the most part be a way so people can kind of represent where they’re from, you know what I mean? Like I’m from the (202), which would be Washington, D.C. If someone said if they were from the (803) area code, that would mean that they would be from South Carolina, and so on and so forth, you know what I mean? So it’s just a new way for people to kind of represent where they’re from.

Ryan Burger: Makes sense. Once again, DJ Kool’s going to be playing for us at the American DJ customer appreciation party. Thanks to DJ Sparky B, who I guess will get the privilege of introducing you to the stage.
That’s all I got. Thanks, Kool, for joining me.

DJ Kool: No problem, man. Thank you for having me. God bless.

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BC Productions Announces Consolidation

BC PRODUCTIONS ANNOUNCES CONSOLIDATION OF BRAND NAMES

BC Productions,Inc. the parent company of ProDJ.Com and Mobile Beat Magazine, Trade Shows and Online, has announced as of January 1,2010 all divisions will merge under the Mobile Beat brand name. Ryan Burger, President of BCP, said “Mobile Beat had a wider base and is the oldest of the two so it was an easy choice. We’d like to extend a thank you to all the moderators and community of ProDJ.Com since its inception in 1995, and remember, just the ‘town name’ has changed, not the community that resides there.” Start.ProDJ.Com is now Start.MobileBeat.Com, DJU is now housed at DJU.ProDJ.Com and the Mall.ProDJ.com is now at Mall.MobileBeat.Com.

David Saghian of SixstarDJ.Com and Marathon Professional is setting up a new ecommerce store using the domain ProDJ.Com. The revised site debuts in January.

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NAME is excited for MBLVX!!!

We look forward to seeing long time members as well as meeting entertainers that are new to the show!

NAME has been working hard to give NAME members the best possible benefit package!

In 2010 NAME members we be able to take advantage of….

New NameEntertainers.com home page!

New insurance limit options!

New music subscription discount options!

New referral website discount options!

The new Regional Network leader and Endorsed Professional Entertainer Programs!

MBLVX attendees remember to register for the Rock N Roller and other giveaway raffles at MBLVX!

All attendees interested in joining or renewing at MBLVX receive the $99 expo special!

Steve Gomez
Director of Membership and Marketing
N.A.M.E. P: 800.434.8274
F: 215.658.1194
www.NameEntertainers.com

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