Pioneer Perspective - Karl Detken and Davey Dave

If you are a regular attendee at the Mobile Beat conferences, you no doubt have seen or even met Karl Detken and Davey Dave, the faces of Pioneer Pro DJ on the tradeshow floor. Karl, who has been with the company for
16 years, is Director of Product Planning and Artist Relations for Pioneer Pro DJ, while Dave came to Pioneer three years ago, after stints with a number of other DJ gear manufacturers, to fill the position of Senior Manager for Marketing. Mobile Beat publisher Ryan Burger sat down with these two product specialists-to talk about how Pioneer fits into the big picture of the mobile DJ world and how the company continues to lead in producing high-end equipment for discerning DJs, among other things…

 Ryan Burger: This is Ryan Burger, the publisher of Mobile Beat magazine. We’re here with the faces of Pioneer, the guys that everybody sees at the mobile DJ conventions, be them the Mobile Beat Las Vegas show or one of the other conventions.

Dave and Karl, introduce yourselves and tell us a little bit about how you got into this whole business.

Karl Detken: My name is Karl Detken. I’ve been with Pioneer for 16 years and I’m the director of product planning and artist relations.

Davey Dave: This is Davey Dave. I’ve been with Pioneer for three years. I’m the senior manager for marketing.

Ryan Burger: How did you both get into this business? From what I remember and what you’ve told me before, you guys were both DJs before you got in, so it’s not like you came through an electronics background or something like that. You guys are DJs.

Karl Detken: Yeah, that information is completely wrong, Ryan. I was actually not a DJ –

Ryan Burger: Were not. Okay. Sorry.

Karl Detken: — when I came to Pioneer in 1992.

Davey Dave: I was a scuba instructor as well.

Ryan Burger: Scuba instructor. Okay.

Karl Detken: He was a Jello scuba instructor, which was a specialized field.

Anyway, I was in music in a touring kind of original band, and discovered about Pioneer’s open position for, at that time, their karaoke products division, and they needed somebody that would be licensing music and programming their music and getting it pressed — at that time, on laserdisc — and since I came from a musical background, I took the job and have been here since.

Ryan Burger: Wow.

Karl Detken: He was kidding about the scuba instructor.

Davey Dave: So, I started out with Pioneer three years ago. Before that I’ve been DJing since 1983. I discovered Pioneer when I first saw the CDJ-700 players and DJ-500 back in 1998, I think it was. Since then, I knew I wanted to work for this company because I knew they were the best, but I didn’t know how to get to them. So I basically hounded and harassed and stalked Karl at every show from about 1999 up until three years ago and begged him for a job. And I’m not even joking about that.

I always knew Pioneer was the leader and I wanted to work with them. I worked for previous companies in the electronic industry, and finally three years got to hook up with Pioneer.

Ryan Burger: Back on you, Karl. I originally met you when you were “Karaoke Karl.” Was that kind of a thing they put you into for you to learn the industry? I had just assumed you had come from within and then moved into Pioneer, but it seems like obviously I’ve got it backwards.

Karl Detken: Yeah, a little bit backwards. First of all, I’ll tell you how the name came about. But I started with Pioneer in ‘92, worked on the karaoke product; about ‘95, ‘96, my then Japanese boss said, please go do karaoke and learn about the industry better, and I thought that was a great idea.

So I went and I found a local bar and I said, hey, I’ll do your karaoke for $50 a night. And at that time, I thought, wow, that’s great; pay for my beer and have a good time singing. And after a while I just got to loving the industry and the product. And it also helped me in the development of our songs and selection of our songs.

The “Karaoke Karl” name came about somewhere about 1997, ‘98. Pioneer — at that time, I had been involved in product placement in a lot of movies; My Best Friend’s Wedding, Frasier — TV and movies that would use our karaoke for a certain karaoke scene. There was a movie being done by Sony Pictures at the time with Gwyneth Paltrow and Brad Pitt [sic] called “Duets”, and they had called me in to do a script reading and make sure it was accurate and realistic, which I did. They found out I was doing karaoke at the time at a local club every Thursday night. They came down, unbeknownst to me, the producers; one of them being Bruce Paltrow, who is Gwyneth’s father, and Kevin Jones. They came down and said, how would you like to be in the movie? We’d actually like to add realistic guys that are doing. I said, well, let me check my schedule; Gwyneth who? Of course I said yes. And that’s how the name came, because that was my name in the particular film; Karaoke Karl.

Ryan Burger: And Davey, yourself I know you’re still very active. I know you disappear for overseas gigs all the time. You’re very active still in the club/DJ community.

Davey Dave: Yeah, I’m still an active DJ. I play in a two-man group called UberZone, and we pretty much tour around the world. We hit various countries throughout the year; Australia, a couple times of year, various places in Europe, Japan, Korea, all over. So I’m still very active in the club scene, definitely.

Ryan Burger: Okay. We’ve heard how each of you guys got there. How about Pioneer? Karl, you’ve been around for the [inaudible]; I’m sure Davey knows the whole story. But I mean, Karl, tell us a little bit more about you — Pioneer made the move from karaoke players, those big laserdiscs and all the stuff like that, into what is now the top professional gear that everybody’s loving?

Karl Detken: Well, Pioneer has actually been around since 1938. They started off as a speaker company in Japan, and moved into hi-fi and car audio products in the ’60s and ’70s; probably became a world brand somewhere around that time as well.

They introduced the first car CD player, the first car cassette player, and a bunch of firsts; plasmas and all these different things. But like you said, we were in karaoke. We actually brought karaoke to the United States, which we apologize to everyone publicly right now for bringing that craziness. In ‘88 we brought it. About 1993 or so, we started — one of the things that we noticed is that many wedding DJs were using our karaoke for their weddings and bar things, and so we started looking at the DJ industry a little bit closer and seeing what products we could evolve into that might lend themselves to being strong in a DJ marketplace.

We decided to develop a DJ CD player, kind of a tabletop. A lot of people think it was the first tabletop ever released, but it actually wasn’t, because 10 or 15 years prior, Technics had made an ill attempt to release a tabletop CD player, but it didn’t have very good pitch and instant start wasn’t available back then, so it didn’t do very well. We were actually the second guys to actually develop this tabletop CD player with a large jog dial on the top, kind of emulating a turntable. It was the first looping player with seamless loop. There were many looping players that had a little bit of a delay, but it was the first seamless looping player. First player with something called Master Tempo, which kept the key of the music while the speed went up and down.

So it had a lot of firsts, and we entered that market in 1995 — January of 1995 at the NAMM show, we introduced that product. We did fairly well with it because it was a new technology. And at that time it was funny because we were still kind of committed to karaoke, this particular DJ tabletop CD player also had a karaoke output. So it would play CD-G discs as well. And after that we discontinued the CD-G because we started focusing just primarily on DJs and club DJs and mobile DJs.

And basically that was the first five years of releasing mixers and different CDJ. About 2000, 2001, I think we revolutionized the world by introducing the CDJ-1000, which was the first realistic scratch-emulating CD player. It has become the standard in the world. We sold our millionth CDJ last December, and it’s quite an accomplishment for Pioneer that we’re very proud of. And our mixers are also very much a standard in the nightclub and a lot of the mobile DJ industry.

So that’s kind of the history and kind of a brief short version.

Ryan Burger: Okay. Well, Pioneer’s known for being patient; engineering the product the perfect way. You may not be the first on the market to have something, like for instance, the CMX rack-mount CD players, the DVJ-1000s, obviously, and your new MEP unit out; there’s been video mixers but nothing like this. Does Pioneer plan — is it kind like a corporate philosophy that they plan it that way to do research? I guess I want to understand things and let everybody else understand a little bit where Pioneer places itself.

Karl Detken: Yeah. Pioneer has always been very — one of the values is always to have quality product, and that’s come down from our car electronics, home electronics, our plasma electronics things — everything we do goes into much R&D. Usually for DJ products it’s two to three years of development from the time of idea and inception to the time it actually hits the market. In that also is one period of testing, both at the factory — they have some incredible testing rooms where they put them through 150-degree heat, below freezing room temperature, dust testing rooms — and all of that goes through months and months, often six months of just some heavy testing before it goes out to market.

And one of the reasons is not just because of the philosophy of having quality product that is going to withstand everything out there, but also because from a DJ standpoint — Ryan, as a DJ, you know as well — there is no chance of turning back the hands of time to redo that first dance of the bride and groom if your CD starts skipping. And I’ve seen over the last 10 to 15 years the demise of many, many [inaudible] has been because they come to market too quickly and they haven’t tested long enough. So what happens is it gets out there, it fails, and it fails at the most inopportune time. And it’s embarrassing to the DJ. You lose their loyalty.

So it’s kind of the reason that we are always a little bit behind the curve of technology. Some people always wonder why are you taking a year longer than everybody else to release whatever video or mp3 or whatever. It’s because we want the product to work flawlessly as much as it can. That’s kind of the reason why.

Davey Dave: Yeah. It’s very interesting that not only in our market but other markets as well, other industries, that everybody’s trying to be first to market with new technologies and things. Pioneer’s not the first, but they do have the best, and that’s something I’m very proud of as well, to represent that philosophy.

Ryan Burger: That’s obviously you were hounding Karl versus someone else out there; because you knew you wanted to be involved with a product that was the tops.

Davey Dave: Exactly.

Karl Detken: Now, mostly all of our products have been successful, with the exception of — and even these products — the VJM-700 and the DMP, first mp3 player to hit the market — those were the only things that were discontinued very quickly.

Davey Dave: Oddly enough, the DMP was the first to have that technology, so they should have wasted.

Karl Detken: Yeah. It was a little bit ahead of its time, but I think that part of the reason of our success on any product is the fact that when people buy it, they know they’re buying quality product that they can rely on.

Ryan Burger: Gotcha. Where do you see things going in the next couple years? Is the average mobile disc jockey going to be going into video content? Are they going — where is it going?

Karl Detken: Well, for us there’s really kind of three markets that we’re always looking at. There’s the club market, which Pioneer dominates with probably 90 percent of market share. There’s the mobile DJ market. And then there’s the hip-hop market. And I think for us our philosophy and our goals still remain the same, which is that we are still pursing video. We think video’s the future. How it plays out into the mobile DJ industry, we are continuing to look at that. The club industry is a little bit easier to kind of visualize and see how that does work for that.

So we’re looking at things like controllers, or products that control software, and not just our software that’s out there, but a universal controller for all softwares. So we’re developing products like that and also still pursuing the video market.

Ryan Burger: Gotcha. Well, where are things going in the next couple months? What are we all going to be looking forward to seeing with the Pioneer nameplate on it? Have you got something in the pipeline you can tease us on a little bit?

Karl Detken: We can’t share anything that’s too far down the road by 2009, but there are some really, really cool things coming out in 2009 that the market has been asking for and wanting that will again set Pioneer as the pioneer in the industry. But probably close to the time that this podcast airs, we will have released our new headphones, the HDJ-2000. They will be our highest-end headphones that come to market, with better fidelity, better audio quality; new materials that are being used, alloy metals that are just virtually indestructible; new foam padding similar to the memory foam that’s used on mattresses that you spend $3,000 for. We’re developing products with that. It’s a better sounding, more comfortable, lighter type of headphones that we’re hoping is going to be something that the market wants.

Davey Dave: And Ryan, you were talking about the different markets that we target. This is actually a product that’s going to expand our market share because it’s not only going to be perfect for the professional DJ but also for studio use as well, for like monitoring your mixes in the studio via headphones. So it’s the perfect headphones — high-end headphones for studio use and professional DJ use as well.

Ryan Burger: So, yeah, that hits across your three marketplaces you mentioned earlier, plus adds the studio side to things. Understandably, yes.

Okay. Last thing I really have for you guys is where do you want Pioneer to be known? I guess Dave, it’s more in your area because you’re the man that gets the word out about the great things that are developed. How do you want Pioneer known in the DJ marketplace?

Davey Dave: I want to maintain — well, Pioneer wants to maintain its high-end brand image. We’re viewed as the Lexus, the Mercedes of the DJ world, and we want to maintain that image and show that we justify our price range with quality and reliability and durability and unique feature set. We just want to maintain that high brand image in all product categories?

Karl, you want to add to that?

Karl Detken: Yeah. I think we’ve already kind of made our mark in the DJ history, or the DJ world by introducing the CDJ-1000 in 2000, which — a million CD players is quite a lot. I don’t think any manufacturer can even come close to that, and that says a lot. I think Pioneer is what you would call, back in the ’80s and ’90s, the Technics 1200 and even now the Technics 1200 is the standard turntable for a nightclub DJ, and that I think is where we’ll be in the annals of history for DJ products. The CDJ-1000 will be what revolutionized DJs to go from hardcore vinyl to that medium, and it’s still being used and probably will be used for several years to come.

Ryan Burger: Absolutely fantastic. And in general, if anybody that’s listening to this wants to catch and meet Karl or Davey, the best place to see them will be the upcoming Mobile Beat Las Vegas show. Check out MobileBeat.com for more information on that.

Thanks, guys.

Karl Detken: Thank you.

Davey Dave: Thanks. I’ve got to go back to my scuba lessons now.

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QSC: A Chronicle of Quality - Quilter and MacKenzie Interview

Audio file down below transcript

Driving force Pat Quilter and marketing maestro Evan MacKenzie speak about the QSC tradition and new directions in powered loudspeakers.From one of those mythical-sounding-but-true beginnings in a small Southern California shop, to its current position as one of the leading amplifier manufacturers in the world, QSC has always maintained focus on high quality and truly serving the needs of working entertainers. The co-founder and current PR man discuss the company’s origins and continuing development.

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Vanilla Ice Interview For MBLV09

Below is the full transcript of the interview that appears in shortened form in issue #117 of Mobile Beat Magazine.  Rob Van Winkle (stage name: Vanilla Ice), will be performing at the Mobile Beat Las Vegas DJ Show.  This is also available in audio form at the bottom of this post.

 

Ryan Burger:            This is Ryan Burger, the publisher of Mobile Beat magazine. We are here with Rob Van Winkle, also known as Vanilla Ice, and we want to find out a little bit more about him and what he’s been doing lately, what he did in the past, and what he’s going to be doing at the Mobile Beat show coming up in Las Vegas, February 2009.

 

                                    Rob, not to totally go there, but I want people to understand — I understand a little bit about how your musical style has moved with you through the years as to how you have changed. I guess if you could start back there as to how they found you and the world found out about Vanilla and Rob and everything about it, and then go into what you’ve been doing lately. Go for it.

 

Vanilla Ice:                Well, I wrote “Ice Ice Baby” when I was 16. Before that, I got into music basically by growing up to different music than white kids would grow up to. I got real interested in the funk, Roger Troutman of Zapp, to be specific; groups like Parliament/Funkadelic, Earth, Wind & Fire, Rick James. And then the movies came out, Break Beat and Beach Street. I was heavily influenced by all of that whole movement, and used to have a mirror in my room, and I used to look in the mirror and basically practice dance moves and stuff.

 

                                    We would go out to these underage high school keg parties and I would battle kids from other schools and stuff like that, sharpen my skills up; go home during the week, practice some rhymes with different stuff. I was so into it. I would just eat it, sleep it, drink it.

 

Ryan Burger:            It was everything that you were, and you came on stage as to what your personality was like.

 

Vanilla Ice:                Absolutely. Everything in the beginning was all me, the songs, “Funky Music,” “Ninja Rap,” all these songs. I landed a small record deal before anybody really knew of me, other than my neighborhood, out of Atlantic called Ichiban Records. For three years I was the opening act for the opening act for the opening act for the opener. I would get in where I fit in and basically, anywhere, anytime that I could do my thing, I would try to shine. And it paid off. I landed this record deal and sold 48,000 copies.

 

                                    After that — that was about three years — I went on the Stop The Violence tour with Ice-T, Stetsasonic, EPMD, Sir Mix-A-Lot. So that was a big deal. Ice-T pretty much allowed me to open up for that show, which was huge for me at the time. One thing led to another, we sold 48,000 copies, and then EMI picked up my contract and bought out my contract from Ichiban Records. Pretty much everybody knows the story from there. The record went number one first, and then we put a video out. I think everybody thought I was black, because rap music was so black at the time. It’s a good compliment that the song was number one before anybody knew what color I was, so that didn’t have anything to really do with it.

 

                                    We were selling a million records a week pretty much, and the impact still today just amazes me. I could never predict that or expect that. It kind of took on a life of its own, and it was amazing. I think at the time, the most sold records was like Run DMC, and they went gold, and that was huge for rap music. Here’s my record, crossing over for the first time ever to a pop station for a rap song, which I never expected, and it just blew up beyond anything anybody could ever expect and the impact was amazing. I’m still amazed by it today.

 

Ryan Burger:            Well, I know the mobile DJs that we work with — and I still do a little bit of events regularly, myself — we can still pop out “Ice Ice Baby,” “Play That Funky Music,” we can play that at a high school dance, and they’ll go crazy.

 

Vanilla Ice:                Yeah, the song is very universal. It’s amazing that it’s stood the test of time because a lot of songs during that time people have forgotten about. This one they haven’t. It’s a part of their life and I think it’s tattooed to their memory forever. People are going to be like 80 years old — like 80-year-old people right now, they’ll say to you, “Oh, I don’t know that rap crap you’re listening to. I listened to Sinatra,” you know, because that’s what they grew up on and that’s what they remember. But I think when this generation gets to be old (inaudible), “Ice Ice Baby,” they’re going to remember it forever because it (inaudible) clothes they were wearing, who they were dating, what car they were driving in high school; they had the big subwoofers in the back of the car.

 

                                    It was right in that time when systems came out in cars where people were having bass and CDs had just came out. It was a good time, you know? People were dancing, the economy was great — it was a good time and people are going to remember it forever, you know?

 

Ryan Burger:            I graduated from high school in 1990, so I’m right in that, with the C+C Music Factory, with the MC Hammer, that kind of stuff; and the average attendee at our convention is about my age. They continue to play the music they remember because it was their time perfectly with stuff.

 

                                    You were saying that Roger Troutman — I’m not familiar with Zapp — was one of your musical styles. What other stuff — like Earth, Wind & Fire and stuff kind of hit you? What were some of the other artists we were talking about earlier?

 

Vanilla Ice:                Yeah. My main influence was Roger Troutman from Zapp. He’s the guy who invented the Vocoder before Peter Frampton even did it, where he sticks a tube down his throat and makes that sound. I went to a concert — I snuck in on a fake ID — and it was the most amazing concert I’ve ever seen in my life, so it was very influential to me to go see this guy pull out a guitar and he had these tubes he sticks down his throat and he does that “wah-wah” sound.

 

Ryan Burger:            Your musical styles, you moved from rap into rock into all kinds of different stuff. You were saying when we were talking earlier off the microphone that it’s just your style of music. Did you just kind of flow through these things as different things happened in your life? Explain that a little bit more for me.

 

Vanilla Ice:                I guess. I didn’t have a plan or anything. It did lured me to the sound of the funk. Like I said, I went and saw this concert — I snuck in on a fake ID — it was Roger Troutman and he influenced me in a big way. The guy was doing a guitar solo on stage, he had this girl up there with her legs spread and he was acting like he was doing sexual acts on her. And all of a sudden the lights went out and there was this explosion and everybody thought that they blew a breaker in the building or the electric went out or something. And bam, all the lights come on and the stage was empty, and you’re like, what the hell just happened? And then here he is in the back of the crowd standing up like a magic trick, and a spotlight on him doing a guitar solo. It was amazing. The guy was just so funky, and I used to just watch any kind — I grew up watching Turbo and Ozone, the movie Break Beat and Beat Street and all the boogie stuff. It was big, man. And then Egyptian Lover came out and I started breakdancing. That’s pretty much what influenced me.

 

Ryan Burger:            How would your moves into some of the other styles of music — I mean, you just wanted to get a little bit harder; change up what you’re doing a little bit when you moved into some of the harder guitar/bass and the rock side of things?

 

Vanilla Ice:                I met Ross Robinson, who like I said, produced Korn, Limp Bizkit, the Deftones, Slipknot. He’s a huge producer and great, great, great friend of mine. I basically feel like I owe him my life because the guy saved my life. We sat down and had a very heart-to-heart talk, and explaining to me — I talked in-depth about things that I never would talk about with anybody and opened up pretty much to him, and he was amazed by it. He said, “You need to write about it.”

 

                                    And I said, “No, this is depressing. I don’t really want to write about his type of stuff. People want to hear music to be happy and have a good time. I don’t think this is the type of music that would do that.”

 

                                    And he says, “You know, you’re not understanding it. You need to use your music as your therapy, and use it to exorcise your demons; use it to do everything in life.”

 

                                    I said, “Really? Okay.” So he opened up a whole new musical adventure, like I said earlier, to basically — I wrote this record. Basically one of the songs I can’t even perform it, can’t even listen to it. It’s called “Scars”, and it’s the most amazing song ever because it’s so emotional to me. And I made this record and it’s had a huge impact. It sold very well with no radio play, which is an amazing complement; and I could sell millions of records right now without radio play so I don’t have to kiss any radio ass. And I don’t have to make radio-friendly records, which are kind of lame these days, you know?

 

                                    It allows me to just do whatever I want musically without having any stipulations, any rules. That’s why I found out that music should be about the music. It shouldn’t be about gimmicks; it shouldn’t be about image; it shouldn’t be about white or black; it should be about anything other than the music. I mean, a great song is a great song and nothing else really matters, you know? The way the industry has taken over today with American Idol, with all these acts, they have to have an image behind them. Hell, they’ll even have somebody else that’s like an older producer, musician, somebody else write the words for them, do the music for them, choreograph the dance moves, show them how to dress; and in the end, you have this artificial thing, you know? It’s just not real.

 

                                    I don’t think that’s what music should be about. I’m very against all that. American Idol’s great to watch on television; it’s good for ratings; it’s good for commercials. I’ll even watch it and be entertained by it. But in the end, I’m a musician and I wouldn’t think that that’s what real music is about. I think real music’s about people who wrote the song, expressing the song; and I want to hear that person feel it, you know?

 

Ryan Burger:            It’s more of a storytelling kind of a thing.

 

Vanilla Ice:                It’s more personal than it’s got. Now it’s all just so impersonal and so artificial that the new music’s just kind of lost in the cracks. The good music that’s really written and heartfelt is kind of lost in the cracks, you know? It shouldn’t be. It should stand out. It should be its own.

 

Ryan Burger:            I didn’t know what I expect out of this interview — you’re very deep on your music and I’m thoroughly impressed with it. I remember when I saw you in Des Moines, you wanted things to be perfect. On what is yours, you wanted perfect; you want it your style, so I can see that completely.

 

Vanilla Ice:                It should reflect the person. That’s what I’m saying; the artist. Today it’s just a bunch of puppets out there reflecting somebody else’s ideas. It’s all artificially created by the record companies or whatever.

 

Ryan Burger:            It’s canned in corporate and done to sell not emotional.

 

                                    Move up to what in February, everything’s going to be like. We have you coming out to the MoBeat Las Vegas 2009 show. Describe what the show is like for everybody. I saw you here and some of the other people might have seen stuff, but the vast majority of the people that are going to be listening to this and reading about this in our magazine do not know what Vanilla Ice’s show is like in general. Can you give a little bit of synopsis without giving away anything too big and exciting as to what your shows are like?

 

Vanilla Ice:                Well, it’s very high energy. Obviously, we take them back to the old school, of course. We have fun with it, you know. We’ll do “Ice Ice Baby” and the “Ninja Rap”, we do a remake of that. We do “Play That Funky Music”; maybe a couple other old hits, and then we’ll do some stuff from the mid-’90s that I did off of Mindblowin’ Records, like “Hit ‘Em Hard” or “Oh My Gosh,” stuff like that. Then we bring some of the new stuff — and not necessarily in this order — we play some of the rock stuff. I have a full band that I travel with; a DJ and a drummer and everything. Basically we have pyrotechnics flying all over the place on stage, sparks and water flying everywhere.

 

                                    We have a themed set, so if you see the set, you’ll see — and I never play the same show twice. Everywhere I go I play different shows. We never have a set list. We call songs out. It keeps it interesting for all of us and we can have fun doing it. People request things; we’ll do those songs, too. We just have a whole bunch of different things we can do. It keeps us on our toes and it makes it fun for us so we don’t just get into some boring routine.

 

                                    It’s a very exciting show. People will definitely be impressed, I’m 100 percent sure, because I play 100 shows a year and I’m pretty confident that anybody that comes out here who doesn’t or haven’t seen — and I know that everybody knows the name but they might not know what I’m up to today. Some people think I do a rock show, which I did do; a rock tour. But the new tour, like I said, is completely different than all of it. We have a little bit of everything in it. We take you, like the first question you were asking, from the beginning to the current, and we do it in a way that works well together.

 

Ryan Burger:            It sounds like it’ll definitely be a big rollercoaster ride of night for everybody. You’ll be the captain in charge and we’re all just going to have fun with you for an hour, hour and a half there. I don’t know what else to say, but I’m thrilled to have you at our show. We’re stepping things up every year for these mobile DJs that know your music and want to have a good time in Las Vegas. We’re going to have a lot of fun come February.

 

Vanilla Ice:                I love coming to Vegas, so I’m definitely looking forward to it. Great city.

 

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Issue #117 of Mobile Beat Magazine Ships

New feature for each issue of the magazine, “The Dan Walsh Show” - Dan talks with you about what is coming in the next issue that is at the press now.Issue #117 November 2008 Ships - The Power of Light

SPECIAL FEATURE:
- Spotlight on MBLV09 - Info-packed DJ show preview section!

A Different View of DJ Lighting:
- Coming Out of the Dark… How to create ambiance beyond the dance floor
- Power Hungry (Better, safer ways of powering your lights)

Also…
- Marketing Mini-Seminar: Info and advice on branding, standing out, business blogging and more
- ProDJ Publishing Book Preview: Guerilla Marketing Companion for DJs by Andy “Cubbie” Powell
- Website tune-up tips
- The Scoop: speaker, DJ mixer, headphone and media controller reviews

Other Highlights:
- Great Holiday Music
- More Green Ideas for Your Business

+ ADJA News, regular columns and Much More!

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