Issue 083 - November 2003 - Interactive Hyperactive by Mobile Beat Magazine

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REVIE ANERI, Q-FX19 MIXER

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MOBILE BEAT

Nov. 2003/lssue #83 Publisher

LA. Communications Editor-in-Chief

Robert A. Lindquist Operations Manager

Stephanie Scott Managing Editor

Dan Walsh Advertising Director

Iris Fox Editorial/Production Manager

TOOLS 16 It's Hot

New Products; Summer NAMM Spotlight, p.26

28 Scoop

Intelligent Heads: CHAUVET's new Legend 150R and Mini Legend

Christine Wagenblass Art Director

Andrew Schmitz Editor-at-Large

Anthony Barthel

Contributing writers for this issue:

32 Scoop

American Audio Q-FX19 Mixer—Vivid Digital Vision

34 E-Beat

Stanton's Final Scratch Extends its Reach

58 Digital Business Tools

Web Site vs. Yellow Pages; Raising Your DJ Intelligence

FEATURES 38 Mobile Beat Summer DJ Show: Orlando 42 Come On and Move This

Sizing up the Year's DJ Transporters

50 Crowdpleaser

Interactive Misconceptions

TECHNIQUES

Jim Weisz • Jim Kerins Dave Kreiner • Mark Johnson • Peter Merry Greg Tutwiler • Fred Sebastian • Jay Maxwell Mike Richer • Robb Smith Thomas Edison

Mobile Beat DJ Shows and Conferences Producer

Michael Buonaccorso

How to reach Mobile Beat Magazine: For subscriptions, address changes or back issues, contact Mobile Beat by mail at: P.O. Box 309, East Rochester, NY 14445. Back issues of Mobile Beat can be purchased (subject to availability) for $5 (in Canada: $6, U.S. funds). Shipping address: 1 Mobile Beat Tower, 1782 Penfield Road, Penfield, NY 14526 Tel: 585-385-9920 • Fax: 585-385-3637 E-mail: info@mobilebeat.com Web: www.mobilebeat.com

52 Effective Wedding Marketing It's Not About You!

54 Reality Check

Nautical DJing Adventure

62 How to Close The Inside Track

TUNES 64 Remix Report 66 Play Something We Can Dance To! 70 Music News EXTRA TRACKS 74 Singalong Essentials

Karaoke Future: The Serious Side

82 Extraordinary Events

Mobile Beat Magazine (ISSNt 1058-0212) is published seven times per year by LA. Communications Inc., P.O. Box309, East Rochester, NY 14445. Ground shipments to: 1782 Penlield Road, Penfield, NY 14526. Periodical postage paid at East Rochester, N. Y. and additional mailing locations. Subscription rates - U. S. and possessions: $23 lor 1 year, $40 lor 2 years and $55 tor 3 years. Canada: $33 tor 1 year, $50 tor 2 years and $75 lor 3 years. All other countries: $60 per year. Subscriptions outside the U.S. must tie paid In U.S. currency. Postmaster-Send address changes to Mobile Beat Magazine, P.O. Box 309, East Rochester, NY 14445. Copyright © 2003 by LA. Communications, Inc. All rights reserved. Reproduction olcopy, photography, or artwork prohibited without permission of the publisher. All advertising material subject to publisher's approval.

When you're ready to graduate from toys to Tools.

When you're serious about about your art, you need a serious mix X-15 ing tool like TASCAM's 4-channel features: [4-channel 19" rackmounl X-17 Professional Mobile/Club mobile DJ mixer] [balanced XLR and unbalanced RCA master outputs) [3-band EQ DJ Mixer. per channel] [fader start on all 4 chs.] [8 stereo The differences between a channel sources - 2 stereo phone inputs + 6 line inputs] [2 mic inputs] [discrete booth outputs and tool and a toy start with Xtra, record outputs] [replacable crossfader]' advanced features. The X-17 has a built-in 3-band, r,,,,,,„,:.,,: pitch-controllable sampler with the world's first frontpanel Compact Flash® card slot for fast storage and re-call. It has discrete, front panel aux inputs and output jacks with individual level controls, a separate effects send/return interface, discrete booth and record outputs, flexible routing and lot of other stuff that professionals demand but bedroom mixers don't need. The other difference between Tools and toys is durability. Beat-on-it-night-after-nightand-it-keeps-on-working dependability. Both the X-17 and its sibling, the X-15 are built like

your reputation depends on them. If you need superb sound quality, a powerful feature set and maximum interconnectivity at a reasonable price, visit your TASCAM DJ dealer or log onto our web site for more information •

X-17 features: [4-channel 19" rackmount] [balanced XLR and unbalanced RCA master outputs] [3-band EQ with full cut on each channel] [fader start on all 4 channels] [8 stereo channel sources - 4 switchable phone / line inputs and 4 dedicated stereo line inputs] [2 mic inputs] [3-band sampler with pitch control and Compact Flash® slot for sample save/recall] [separate stereo aux input 2/level control] [discrete aux, booth and record outputs] [booth dimmer] [effects/send return] [replacable crossfader] •

Running .. You got to move this ...come on and move this shake that body... - Technotronic How do you create the motion? You've got to move the people out to the dance floor and keep them gyrating all night. You have to grease the wheels of commerce by moving your next prospective client past that last objection. Oh yeah, and before you play, you have to haul all that electronic stuff to the gig. This issue helps you do it all. We've got Mike Ficher's report on the sensitive topic of DJ interactivityâ&#x20AC;&#x201D;how much do you do, and how should you do it? DJ educator and Mobile Beat show speaker Robb Smith takes us along for the ride on a journey from cold prospect to closed customer. And editor-at-large Tony Barthel once again shares his automotive insight in a run-down of the vehicles most likely to get you to the venue safely and in style. And speaking of road trips, we've got a sweet sampling of Mobile Beat's juiciest Summer DJ Show to date. DJs who made the trek to Orlando loaded up with the latest in technology, techniques and tunes, then cruised home with enough momentum to carry them to new levels of success. The DJ profession is definitely on the move, so it's up to you: Lead, followâ&#x20AC;&#x201D;or get out of the way!

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FEEDBACK Editor's Note: Recently, a number of readers have combined their opinions on a wide variety of subjects into lengthy individual letters. With apologies to the writers, we've had to extract only the juiciest excerpts from these letters to fit the space available. How Much Communication and Information?

Dear Mobile Beat, For some time, I have let each incoming phone call go to my voice mail. My strategy has been that I wanted the client to hear my "effective recorded message," and then I would promptly call them back. Hearing their message first has always given me a "headsup" on the details of their event, helping me find an effective approach when calling them back. (Plus, I didn't have to deal with telemarketers.) However, I recently decided that I would begin personally answering each incoming call. My thought is now that I may have been losing bookings, especially "last-minute planners" when the calls went to my voice mail. But there is a dilemma with answering the phone personally versus using an energetic recorded message. When do I give prices? A local DJ mentor said that when a client calls, he gives his pricing and packages up-front. I imagine a good reason for doing this is to remove any hesitation the client may have initially, because there's always that "mystery" the client feels until they know how much it costs. Maybe giving your price up-front weeds out the low-budget shoppers from the get-go and helps you save on phone time.

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When on the phone recently with a prospective client, I asked a few general questions: "Where will the party be held? How many guests will there be? Who is the guest of honor?" The response to my last question was: "Can you just tell me about your pricing and packaging?" This seems to validate what the other DJ said about giving pricing info up-front. Maybe clients feel like they're being "sizedup" when I ask a few questions before giving my prices... Howard L. Helm Spinners Entertainment, Deland, Florida MYOB

Dear Mobile Beat, First off, I am an avid reader. Your magazine rocks! I have been a DJ since about 1981. I spent about 10 years in clubs, on and off, and have had a Mobile DJ company since 1990.1 am what is considered a "veteran" and yet I always seem to learn new ways to enhance my business through your informative articles and interviews. Keep up the good work. Now, I am NOT the type to usually write in to a magazine to voice my opinion, as I usually try to keep to myself. I'm not the "buddy-buddy" type with other DJs. It has backfired on me more than once. That being said...I TOTALLY APPLAUDED Randy Monday's

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responses [Sept. 2003] to David Van Enger's editorial comments from May's issue...it was all I could do to bite my tongue and not fire back with the same responses as Randy's... [After giving some examples to bolster Randy Monday's points, the writer adds something new to the debate... -Ed.] If I hear one more DJ p_ and moan about their competition or other DJs who charge less, or "hacks" who are ruining the Mobile DJ industry as a whole...I'll detonate. What is with these clowns, that all they have to worry about is what everyone ELSE is doing? Hey, I am GLAD that there are "hacks" out there—I LOVE it when some other company is really dirt cheap and does a poor job...God bless 'em, everyone. Why? It does wonders for my business. [A company in my area] has built its business by severely undercutting every other DJ in the area. Those kinds of companies are the best advertising for how I do business and what kind of DJ company I run. Committed. Dedicated. Professional. It's all about the quality, baby. It shows in our printed materials, and most importantly, in our work. I would even be so bold as to say that we have the highest ratio of referral clientele of just about any DJ company in our area... I'll tell you who summed it up best: Peter Merry, also in the May issue, with his article on "Volume Vs. Quality." Well done. Bravo. Hits the nail right on the head, my friend. To each his own. I hear all the time of DJs who go around squawking to other DJs about how all DJs should charge one rate to send a message

of "quality" to the client, and how that, by everybody charging different rates, it "damages" the Mobile DJ industry as a whole. What planet are these idiots from? Last time I checked, we live in a free country. Not only that, but a FREE ENTERPRISE country. Everyone has heard the phrase, "You get what you pay for." I think to try to standardize our industry is absurd—not to mention the disservice it does to the client. That's like telling Home Depot and Lowes to sell everything at the same price. After all, a hammer is a hammer is a hammer. Excuse me? Choice. It's all about choice. We all shop around, don't we? If everyone sold the same power amp at the same price—well, I think you get my point. In my opinion, a good consumer is one who DOES shop around, and looks for VALUE. Some things are over-priced and some things are underpriced. It's all about finding value... Bottom line: worry about YOURSELF, and how YOU run YOUR business. Hold yourself to a higher standard. Be fair and equitable in all of your dealings. Give more than the client expects or has paid for. Ignore others who squawk. In my opinion, THEY are the ones who bring the industry down. If all you are worried about is protecting yourself from "loss," then it doesn't free you up to go for more...Strive for perfection in your OWN business. Lead by example. Don't worry about your neighbor. Worry about YOU. End of story. Respectfully,

A Professional DJ

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JUICE Playing One for the Gipper Peavey Electronics Corporation (www.peavey.com) helped pay tribute to former President Ronald W. Reagan, at the commissioning of his namesake aircraft carrier, the USS Ronald Reagan last July. As Vice President Dick Cheney and former first lady Nancy Reagan addressed the crowd at Naval Station Norfolk, a whole fleet of Peavey professional audio equipment delivered their words of tribute to a world wide audience. Longtime Peavey dealer Audio Light and Musi cal of Norfolk used nearly 40 individual Peavey loudspeaker enclosures, including eight each of the Impulse® 1012 and 1015 models and 30 PR™ 15 enclosures, to bring the ceremony to the thousands of onlookers and a televised audience of millions. Tom Parker, owner of Audio Light and Musical, also included the Peavey QF131™ single-channel equal izer and two Architectural Acoustics® products—the IPA™ 1502 industrial power amplifier and IDL™ 1000

multi-tap digital delay—in the system he assembled for the commis sioning. Parker said, "I've been a Peavey dealer for 32 years, and I've always put my confidence in their products."

Legal but Lagging Despite the barrage of advertising and product placements to encour age legal downloading and the use of Apple's popular iPod MP3 player, the company's iTunes Music Store (www.apple.com), where downloads can be purchased legally, has seen a decline since its initial powerful start up. It has been one of the few pay-fordownload services willing to release figures about sales. From the first few

Download Developments On September 1,2003, Mitch Bainwol, a "connect ed" Republican, took the reins of the Recording In dustry Association of Amer ica (RIAA, www.riaa.org). The former chief of staff to Senate Majority Leader Bill Frist (R-Tennessee) replaced Hilary Rosen, who resigned on June 30 as the organiza tion's chairperson and CEO. Industry observers have specu lated that the RIAA looked to Bainwol because of his insider's grasp of Washington politics, as well as his affiliation with the party currently in

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The ITunes Music Store. Downloads done right

power. Outgoing chair Rosen has close ties to the Democratic Party. In a statement, Bainwol said, "What could be more rewarding than helping to promote two great American tradi tions: music and property rights?" He will reportedly earn approximately the same salary as his predecessor—about $1 million per year—to do battle for the big record companies. Bainwol has slipped into the driver's seat just as the organization is set to begin prosecuting hundreds of allegedly illegal file traders, identified after a furi ous round of subpoena-filing with ISPs and universities this past summer. As of press time, one Internet ser

november 2003

weeks following its April 28 inception, with approximately 200,000 sales per day, it has seen daily sales drop to the 50,000-60,000 range. Some analysts have pointed to seasonal variances and a typical cooling-off period after the initial hype surrounding the service's launch. However, with many major music acts failing to get onboard, there may also be a perception that the service is not living up to its advertised claims.

vice provider, SBC Communications (a subsidiary of Pacific Bell) had filed suit to stop the torrent of court orders from the RIAA. The subpoenas sought to identify users of peer-to-peer networks like Kazaa who might be distributing music files illegally. Last spring, a federal court in Washington determined that digital-copyright law requires service providers to comply with such subpoenas. Nonetheless, recent research has indicated that over two-thirds of file traders using peer-to-peer networks do not fear prosecution by the RIAA for copyright infringement.

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Completing the Collection With the release of Hot Video Classics Best of 1990, Promo Only has completed its double-de cade collection of video hits on DVD. "In a word—whew!" said Pete Werner, the executive program director of the subscriberbased music and music video service. "From day one, our goal has been to offer a seamless selection of the best music videos of the '80s and '90s...now, with the addition of Best of 1990 to our lineup, that day is finally here." Featuring 36 digitally enhanced videos from the top of the 1990 charts, the latest DVD features such party-starting titles and artists as "Roam" (B52s), "Opposites Attract" (Paula Abdul), "Vogue" (Madonna), and "The Humpty Dance" (Digital Underground). "To those who have enjoyed our many other Hot Video Classics, and who have waited so patiently for their collections to be complete, we say thanks," added Werner. Hot Video Classics Best of 1990 is available to qualified Promo Only subscribers only. Go to www.promoonly.com or call 407-331-3600 for more information.

Top 200—There's Still Time You still have time to contribute info on your most-played songs to the annual Mobile BeatJop 200 list. Don't forget to go to www.mobilebeat.com, click on the Top 200 logo, and enter songs and artists for all the categories you play. Make your voice heard!

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sound, vision, soul For all your product info, dealers and more: www.PioneerProDi.com 800.782.7210

THE SEQUEL DIGITAL VINYL TURNTABLE Instant Scratching when cueing a song, looping, jumping to a hot-cue or playing a track in reverse.

The Center Display Cue Marker shows the cue point in relation to the jog dial's location, much like pen or tape markers that DJ's might use on vinyl records.

In addition to the +/-6, 10 and 16 percent pitch ranges, the CDJ-1000MK2 offers +/-100 percent "wide" pitch control range as well as 0.02 percent tempo step in the +/-6 percent range.

The fully functional Digital Out ensures that all of the CDJ-1000MK2's digital features are carried over to any digital environment, even scratching and master tempo.

Extra bright illuminated display ensures readability, even in the darkest environments.

NEW PRODUCTS Vocal Trio With the new TriPower Series microphones from AKG Acoustics, you have complete freedom of choice—wired or wireless operation with the same mic. The D 3700 (dynamic cardioid) and D 3800 (dynamic supercardioid) deliver premium-quality sound with AKG's patented Varimotion™ System, which allows the transducer's response to be fine-tuned as the diaphragm is molded. The top-of-the-line C 5900 (condenser supercardioid) has excellent articulation, but without the "reach" that can cause audio problems on live stages. The spring steel wire mesh caps with integrated foam screen provide durability and control of wind noise. They also have a new look and feel, with stylish, ergonomic triangular handles. MSRPs: D 3700 - $195 (w/ switch - $210); D 3800 - $252 (w/ switch - $266); C 5900 - $398 AKG Acoustics • 914 Airpark Center Dr. • Nashville, TN 37217 Tel: 615-620-3800 • Fax: 615-620-3875 • www.akgusa.com

Scratching the Tabletop New from Denon is the DN-S3000 professional tabletop CD/MP3 player, featuring an active turntable platter for real-time user interaction. The first-of-its-kind motor-driven plat ter can be used to scratch, backspin, brake, search, and otherwise manipulate as if it was an analog turntable. To complete the authentic feel of analog scratching, a clear vinyl disc with grooves and slip mat are included. Among its many features, an onboard sampler is included, which captures 15 seconds of sound and can also be scratched. Denon's propri etary MP3 File Search System allows you to instantly access any MP3 file on a data disc. Seamless Loop for CD, MP3 or sampler playback is supported. The unit also interfaces with other Denon products for more control options. MSRP: $799 Denon Electronics • 19 Chapin Road, Building C • Pine Brook, NJ 07058 Tel: 973-396-0810 • Fax: 973-396-7459 • www.usa.denon.com/pro

Welcome to the Machine If you're looking for an easy way to add a whole bunch of lighting to your mobile setup all at once, Colorado Sound 'N' Light is ready to meet your needs with their latest clever com bination of lighting devices. The new CSL Party Machine II is housed in a 36" wide by 14" deep enclosure. It includes an American DJ Co-Pilot control system with a one-rackspace remote control, an American DJ Vertigo, four CSL PAR 38 Cap Lights, and two American DJ Pocket Scan intelligent lights. A free crank tripod stand is also included. The whole package weighs only 61 pounds. MSRP: $1399 Colorado Sound 'N' Light • 7301 N. Broadway • Denver, CO 80221 Tel: 303-429-0418 / 888-429-0418 • Fax: 303-429-1242 • www.csnl.com

Freedom of Choice The WM-UHF16 from American Audio is a single wireless microphone system with 16 UHF frequencies. It lets you select a frequency easily, by adjusting knobs on the mic and receiver with a small channel selector tool, which is conveniently hidden inside the bottom of the mic. Thus, a clear, clean transmission, free of interfering signals from other mics, is always at your fingertips. The WM-UHF16 boasts a range of up to 150 feet and a signalto-noise ratio of more than 95dB. XLR balanced and 1/4" unbalanced outputs are included. The system also includes On/Off/Mute controls on the mic, and On and Low Battery LED indicators. Channels range from 471.000 to 481.650MHz. A 12V DC power supply is included. MSRP: $219.95 American Audio • 4295 Charter St. • Los Angeles, CA 90058 Tel: 800-322-6337 • Fax: 323-582-2610 • www.americanaudio.us

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november 2003

Still lugging around heavy equipment? Still rummaging through your CDs? You need Mixes like your existing mixer plus so much more! Auto & Manual Beat Mixing The only MP3 mixer that also Mixes Video! (Karaoke too!) Optional RF Remote Control Optional Touch Screen ff\ Optional Advertiser/Banner ^* add-on Fully Customizable Hot Buttons Customizable Screen Rip your CDs. Record your vinyls. Record your mixes. CS Requested songs at your fingertips. Program your sets in advance. Don't settle for less....Meet ALL your needs in one box ETV & Top Hits Karaoke libraries now available preloaded on your system & ready to go!

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NEW PRODUCTS Helping Your Lights Sparkle New from Martin Professional's Jem division, the Magnum 550 is a compact, lightenhancing fogger that provides DJs with a perfect light-enhancing atmosphere for today's more sophisticated intelligent light shows. The unit's 600W ECO-Mass Vaporizing System helps it achieve economical and even distri bution of haze, with fast heat-up time and extended operation. Supplied with a remote control and fitted with the same high quality overheat protection as Jem's other pricier models, the 550 promises many years of maintenance-free operation. The Magnum 550 should be used with either Jem's Pro-Smoke Su per (ZR Mix) or Economy DJ Mix fluids. MSRP: $149 Martin Professional, Inc. 700 Sawgrass Corporate Pkwy. Sunrise, FL 33325 Tel: 954-858-1800 / 888-832-4180 Fax: 954-858-1811 •www.martinpro.com

Gator-Aid Gator Cases has just introduced a cool polyethylene table that holds just about any non-rackmountable piece of gear tightly to the top of your rack. The Gator Rack Table is covered with industrial grade Velcro™ and includes Velcro strips for mounting to your equipment. Made of high-density, military-grade polyethylene, it boasts extreme durability. It's also compatible with most manufacturers' plastic rack male/female stacking systems, giving it added stabil ity. For extra security on stage or in the studio, the Gator Rack Table can be cinched down to the rack handles with parachute webbing and a tightening fastener. Utilizing the straps, the Rack Table will also fit standard wooden ATA racks with side handles. MSRP: $74.99 . Gator Cases • 3421 N. Lakeview Dr., Suite 138 Tampa, FL33618 Tel: 813-221-4191 • Fax: 813-221-4181 www.gatorcases.com

3 H e QI

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Power Protection in a New Light RPM Optoelectronics has released two new Racklight products, the Power Racklight and the Power Racklight Plus. Both models combine a durable, heatless Racklight with a high-quality, user-friendly power conditioner fea turing Protect or Disconnect™ technology, which disconnects instantly upon a catastrophic power surge, saving your gear from damage. The Pow er Racklight handles 1800 watts and features a front panel circuit breaker, thermal fusing, a steel 19" rack-mount housing with 8 receptacles (mounted horizontally to allow space for wall warts) on the rear panel and a red light on the front. The Plus model offers red, blue or purple lights, a dimmer control and a front-panel outlet. Both units also feature EMI/RFI noise filtration for silent operation. MSRP: Power Racklight - $119.99; Power Racklight Plus - $159.99

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Designed for stage and studio use, The Ball is not only the first dynamic from BLUE - v Microphones, it's also the world's first phantom-powered dynamic. Preamp input impedance, cable construction and length, and other factors can make the output of a conventional dynamic mic unpredictable. Phantom powering reduces inconsistent behavior. By utilizing a small Class-A discrete amplifier circuit, The Ball maintains a constant pure-resistive 50W output impedance rating. This means that for the first time, dynamic mic users will hear the true sound of the mic, and not the frequency filtering and phase-shift inherent to conventional models. MSRP: $279 BLUE Microphones 766 Lakefield Rd., Suite D Westlake Village, CA 91361 Tel: 805-370-1599 • Fax: 805-370-1549 www.bluemic.com

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The PLX Series is the number one choice of mobile sound professionals and DJs.

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Digital Triple Play Numark has unveiled their DXM series of all-digital DJ mixers, featuring the DXM01, DXM03, and DXM06. With 24-bit digital signal paths throughout, each mixer offers sparkling sound, boasting S/N ratios greater than 103 dB. Look-ahead peak limiting on headphone and master outputs allows extreme EQ and signal boost with full clarity, and DXM mixers use noise-free digital controls for longevity and preci sion. They each employ Numark's responsive and adaptable D-Type Fader with reverse switch and con tinuous rotary slope control. All DXM mixers offer steep 3-band EQ with Frequency Kill, two phono inputs, two line inputs, and RCA record and master outputs. The DXM06 adds a mic/stereo aux input and 1/4" balanced master outputs. It also incorporates 12 beat-synched effects designed specifically for DJs. The DXM03 features a 12-column Spec trum Analyzer. The DXM01 includes a Sub-Bass Synthesizer for beefing up low end. MSRPs: DXM01 - $270; DXM03 - $270; DXM06 - $350

november 2003

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NEW PRODUCTS Going Deep with New Sub Design Sound Physics Labs, Inc. (SPL) is now shipping the new B-DEAP or Boundary Dependent External Air Path bass horn enclosure. This technology al lows for very efficient generation of extreme levels of acoustic power with low distortion. Unlike tradi tional bass horns, which require a lot of space, with the B-DEAP approach, the last half of the horn (the big end) is created through the existing room and enclosure boundaries. The result is an enclosure measuring just 42 by 42 by 18 inches, loaded with two 12-inch high excursion drivers and weighing in at a scant 175 pounds. Depending on the configu ration in the room, the B-DEAP's low-frequency cut off is typically 30Hz-40Hz. Sound Physics Labs, Inc. • 1940 Lehigh Avenue, Suite C • Glenview, IL 60025 Tel: 847-724-5500 • Fax: 847-724-1953 www.soundphysics.com

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he annual Summer NAMM tradeshow in Nashville, Tennessee held plenty of DJ toys sparkling like gems among all those gee-tars. Show organizers reported the largest atten dance to date for the summer version of the music indus try's twice-yearly gear showcase, indicating an optimistic outlook among retailers. Gemini featured their new GS series of powered speakers and their MP3/CD players as well as the mixing skills of DJ Michael Jerome. Numark unveiled a slew of new gear, including the rackmount 200FX mixer and the all-digital DXM series of mixers (see page 22 for more). American Audio highlighted their new Q-FX19 mixer (see our review on page 32), while American DJ announced the new Penta Beam, which features five 4.9rnW red lasers, each projecting a different geometric pattern. Among many new products, CHAUVET announced their new SF-4005, a two or four-channel timer/chaser designed to keep lighting effects from exceeding their rec ommended duty cycles. Turn the page for a combo review of their Legend and Mini Legend intelligent effects. Pioneer gave a sneak peak at their upgraded digital CD turntable, the CDJ-1000MK2. Its new features give DJs even more performance control. The CP-6210 rackmount program mixer was featured by Crest. It has six channels, with phono, mic and stereo line inputs. DJ-friendly controls include stereo cueing and optional bandpass EQ for each channel (available through an expander unit). Four-band output EQ is also included. Odyssey continued expanding its lighting offerings with the V-Track Quad intelligent scanner. A new carpeted case, the CDNS5000, was featured for the Denon DNS5000 CD player. Denon showcased that popular platter-controlled single unit, along with the dual DN-D9000. Of interest to DJs wanting to access the power of MIDI was Korg's microControl, a USB-compatible, compact MIDI controller with a 37-note mini keyboard. Assignable controls include eight sliders, eight rotary encoders, 16 velocity-sen sitive pads, a four-way joystick and display LEDs. Check out the It's Hot section for more products that were either featured or announced at the NAMM show in Music City.

www.mobilebeat.com

A Winning Combination At Summer NAMM, Wa1 Bros. Publications (WBP) celebrated the success of its; DJ Styles Series by offer ing the chance to win 3"™~" Prize Pack worth more i $500, coupling WBP DJ titles ^ i with gear from American^ J Oil/American Audio. Thej winner, Ralph Rimauldo, a| dealer from Miami, Florida, i DJ's Scott Davies (left) and Ken home an American Audio PSX CD player, an American DJ Lighting Party Package 2, and a WBP instructional package including DJing with CDs, DJing in a Band, and DJ Mixing and Remixing DVDs, as well as the Turntable DJ book and the Digital DJ book with CDs.

Information Is Power The NAMM International « Music Products Asso ciation™ announced a number of new Webbased initiatives to build awareness of the power of music. The latest of NAMM's efforts to increase the public's enjoyment of music—and also aid music product sales—include www.supportmusic.com and www.themusicedge.com The first site provides information and incentives for parents to act locally to support music education. The second targets teens with extensive resources for those interested in music. It covers all the bases, including music theory, how to buy equipment, how to start a band, and even how to become a DJ.

november 2003

e MATRIX 1000 is a complete sound reinforcement solution consisting of two 10" two-way speakers and anJ active 15" subwoofer. The subwoofer enclosure is*'' equipped with a 3-channel amplifier and all the electronics required to run the system. The electronic circuitry is fine tuned to match the two-way satellite speakers for the best possible sound. The Matrix 1000 is designed for easy operation since you do not need to worry about tweaking frequencies and finessing levels. Simply, set up the system components, connect the XLR right and left signal cables, speaker cables and power cord and you're ready to rock the house!

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A New Family of Legends _____By

Jammin'

Jim

Kerins

The Legend 150R and Mini Legend from CHAUVfeT multiply your lighting options "Lighting envy." Lets face uthis embarrassing affliction is rarely talked about. However, it affects nearly all DJs on some level. The symptoms are easy to recognize: You walk into the top club in your town, and your retinas are nearly burned out by the amazing display of high-end luminaires. Before you've even ordered a drink or checked out the hotties, your hands begin to sweat and your heart palpitates as you are overwhelmed by the desire to acquire the unbelievable collection of lights with moving heads, spinning gobos, and dichroic mirrors—and, of course, big price tags. You are flashed back into reality by the fact that your wallet contains barely enough cash, and/or available credit to buy two rounds of drinks, let alone $100,000 worth of cool lighting. But wait. Those amazing Star Wars-style moving heads may be within your grasp after all. CHAUVET has two new, affordable moving illumination solutions: the Legend 150R, and the Mini Legend. As luck would have it, or more realistically, because the powers that be at One Mobile Beat Tower got sick of my groveling, I got to take both of them home. I'm sure the neighbors will be thrilled. Unearthing the Legends Opening the boxes reveals two very similar units. The differences will soon come into focus, but first, let's discuss their construction com monalties. These metal and compos ite 25 to 30-pound robotic fixtures have a solid feel. Both lights are equally at home sitting on

www.mobilebeat.com

november 2003

the floor, mounted to the ceiling, or hanging from a stand. They share a common control interface and have movement and character display options for all mounting positions. Other niceties include fan cooling, metal DMX control connectors and remov able power cords. High-quality fast micro-stepping motors enable a rapid 270 degrees of tilt and 540 degrees of pan motion. If you can point your finger at it, these units can illuminate it. When it comes to intelligent lighting, the more movement, gobos, and color the better—and these Legends each have a full bag of tricks. The 150R features 9 dichroic colors (plus split colors) and 7 gobos, while the Mini has 11 colors and 14 gobos. The 150R adds the ability to serve up your gobos shaken and stirred (realistically bounced) and rotated. It also accepts custom gobos, so you can see your name in lights. The Mini Legend uses a standard 250-watt lamp (300-hour); a brighter and whiter 150-watt lamp (2000-hour) drives the Legend 150R. All light passes through a quality optics chain, losing nary a lumen. Maintaining Control Clever onboard electronics offer several options to control the heads. Each unit comes with two built-in shows, which can be adjusted by the sound activation knob. A standard mic cable can sync the units together. Mobile DJs may opt for the optional CHAUVET easy controller. This gives you more control, especially for those slow songs without a heavy beat. Plus, you can quickly and easily strobe the units, and select various colors and gobos. For more sophisticated shows, you'll appreciate each unit's full DMX control capabilities. They both offer six channels of control, allowing every parameter to be micro-tweaked to create that fantasy light show stuck in your head. CHAUVET, not surprisingly has a full complement of controllers that are ready to make your lighting dreams a reality. They provided me with the DMX-50, which easily exploits the Legends' capabilities.

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MSRPs: Legend 150R - $1,979.99; Mini Legend - $1,209.99

Motion Commotion It's certainly appropriate to be concerned about the reliability of such a complicated machine, full of so many moving parts. So I wasn't shy about taking the spinning wonder boxes apart (after all, they're not mine) to get a close look at their internal workings. With the covers off, it is apparent that these heads are built in a modern factory, with quality parts. The pan belt, a workhorse component, is user serviceable, and the bulbs are easy to change. A quick look at the150R's optics, mirror and gobo assembly reveals an impressive array of gears, motors, and electronics assembled in a precise, Swiss watch-like manner. CHAUVET provides a two-year warranty, to alleviate any high-tech reliability worries you may have. Illumineering (Sorry, "imagineering" was already taken.) Enough with the techno babble, how do these gyrating illuminators look? The Legends make getting the show going easy. Simply plug in, and using the four-character digital interface, punch up Show #1. Hit enter, and just like that, you have an instant light show. Tweak the sensitivity control to match movement to your ridiculously loud volume level, and all is good in the world. The built-in light shows are long and varied, with lots of cool color, gobo, and head movement combinations. Both units boast bright, rich colors, with lots of fast precision movements. Perhaps I'm easily entertained, but these lights are great to watch, as they pan and rotate, throwing light all over. Want to add another unit? Just hook it up with an XLR cable, assign one as master and the other as slave, and you have a synced-up, expanded light show. The optional controller is just the ticket for on-the-fly light manipulation. Many useful Legend functions are just a single click away, including the ever-popular dramatic blackout. The full potential of these lights can be realized by connecting to a DMX controller. The sky's the limit. (Or at least the ceiling.)

www.mobilebeat.com

CHAUVET • 3000 N. 29th Ct. • Hollywood, FL 33020 Tel: 954-929-1115 / 800-762-1084 Fax: 954-929-5560 • www.chauvetlighting.com

Color My Real World I dragged both of these lights to a high school dance, a wedding reception, and a smoke filled bar—wait, it's now illegal to smoke in bars here in New York. Previously, I didn't have to bring a fog machine because everybody used to smoke like crazy. Now, perhaps I need one. (I wonder—will I someday be sued for secondhand fog?) Anyhow, at all the events, the Legend 150R and Mini Legend both looked great, and really added a nightclub feel. Because of their coverage areas, they actually did the job of several normal effects. During fast songs, the lights could strobe and whirl in frantic fashion. For slow songs, they were equally effective with subtle color changes and smooth movements. The more expensive 150R is certainly a brighter luminaire, and adds more excitement with its spinning and bouncing gobos. But the Mini certainly offers up plenty of eye candy itself. Several times I received unsolicited comments from females about the lights. At first, I thought it was just an excuse to talk to me...then I realized: they really liked the cool lights. After several gigs with them, I remained pleased with the ease-of-use of such sophisticated, yet affordable lights. (You'll find both for street prices under $1,000.) I think, with reasonable care, the Legend 150R and the Mini Legend should both provide years of high-tech service. For more info and lighting demos, go to www.chauvetlighting.com. E-mail Jammin' Jim atjkerins@rochester.rr.com with questions, comments, or to praise his amazing command of the obvious.

november 2003

it's not a Revolution, it's an Evolution. sisasi First there was vinyl, then there were CD's, now there is PCDJ ..More power with less weight for the working DJ.

Digital audio hardware control device (USB) •? Easy to use software interface for any kind of DJ Organize your music in the customizable recordc Quick song search and playlist creation e Ri'pp your CDs and record your vinyl Create stored loops and cue points on the fly ;-•• One button beaf mafch any songs on the fly ~ FuH reverse and turntable brake control •••-. Master Tempo/EQ Kills/Effects/True instant start m Record your mix •A Superior telephone help/support desk

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CONTROL www.pcdj.com 1881 -A Drew Strocl. Clearwalcr. Fl 33765 (727) 799-3628 EST 1998

Laying the Groundwork

All the high-tech electronic effects in the world are worthless if the mixer is substandard. Out of the box, it's a slick tabletop mixer that's easy on the eyes, sporting sharp black metal construction, and adorned with the recently popular, retro 70s knobs, faders, and backlit button controls. Closer inspection reveals that the Q-FX19 easily becomes rack-mountable (six spaces) by removing four rubber rails. This box is screwed together really well and feels solid. The eye candy tour de force is certainly the DSP control subsection, which is illuminated via a way-cool vacuum fluorescent display (VFD). This will baffle your competition and delight the cute clubbers who come up to make requests, and/or flirt. WhatcantheQ-FX19 handle? For starters, three phono, four line, three auxiliary, and three mic inputs, which are all assignable to the four main : channels. Each channel has gain adjustment, along with treble, mid and bass controls. The headphone jack provides lots of output and features split cue, so you can mix in your 'phones. With variable cross fader curve adjustment, you can dial in your particular feel. For ease of segueing or for use as a hairtrigger mixing tool, the mixer's By Jammin' Jim Kerins crossfader, as its name indicates, will trigger play on American Audio purred on by the relentless multiplication of smaller, higher-quality, memoryQ-Start CDPs. packed electronic components, audio companies keep packing more and more The unit's rear jack plate is features into smaller and smaller spaces. American Audio has manipulated well laid out and boasts quality these technological realities in new and creative ways in their latest DJ mixer, the Qconnectors, with my favorites FX19, featuring DSP or digital signal processing. In the past, I have been leery of DSP being the trim-adjustable master add-ons to mixers. The reason has been that an otherwise excellent mixer could be XLR and 1/4" balanced outputs. rendered impotent by a noisy or poor-quality effects unit, which would make the feature There are the usual array of CD/ more of a novelty than a useful tool. line and phono connectors, plus If the Q-FX19 lives up to its billing, however, then Mobile DJs, as well as club jocks two 1/4" mic inputs to complement may have a mixer on their hands that could test and expand their mixing skills. Will this a combo XLR/1/4" inch jack on wonder box help your creative juices flow? Let's apply some AC juice and see. the faceplate. An S/PDIF digital

Mixing with a Digital Palette

www.mobilebeat.com

november 2003

output allows real-time recording of your soon-to-be unforgettable live remixes. Around the Block After connecting the unit to my spanked-out sound system, it was apparent that the unit delivered very little noise. I put the mixer's fundamental controls through all the standard paces and encountered a smooth response, a useable threeband EQ, and overall great audio quality. The mic preamps sounded good and cranked out lots of signal. All of the assignment buttons and switches worked without any annoying noises or pops. The gain control—which is essential for connecting any digital player that may lurk in your future— helped me adjust the balanced outputs to send plenty of clean signal to my amp. Even without the DSP this would be a very good mixer. Lights, Camera...Mix Have you ever listened to one of those karaoke machines with the built-in effects that come close to sounding like tin foil and cardboard being rattled? Well my friends, the Q-FX19's onboard effects unit leaves that type of audio cheese in the very distant past. Without even consulting the manual, I was able to follow the unit's intuitive layout to immediately start funkafying my mix. In real time, on-the-fly, I started grabbing loops and affecting them musically, with very little effort. The high quality of this processor means never having to say you're sorry about effects with lowbudget sound. All parameters sounded great, and were super clean. The delay seemed to go on forever. DJs looking for an edge will appreciate the artistic and musical potential of this unit. The DSP controls offer so many audio possibilities, I'll just give you the basics on how easy it is to get your groove on. First, any of the channels or mics can be assigned to the effects processor, including the master fader. I had a track playing on channel 1 and looped an intro from my next track.

Hitting the FX-On button enabled the effects. They include flanger, pitch shift, echo, filter, phase transpose, pan, and delay. I grabbed the delay first. By simply rotating the dry/wet knob, I instantly got results. The beat selector button helps match the tempo to the delay speed. The time array knob also adjusts the beat for all effect presets by changing specific parameters' time values. The depth feedback control adjusts the parameter ratio value and...blah, blah, blah. What this means practically is instant adjustment and fine-tuning of all of the effects. By experimenting you'll quickly get a handle on how the various controls can color and create some really amazing real-time mixes. Using many of the presets, you'll be getting instant highend nightclub sounds. By assigning the DSP transpose filter to the mic, you can also get amazing vocal effects— everything from chipmunks to monsters. This will give the ravers something to ponder. And (drum roll please), once you have spent time creating a setting that you like, it's a snap to save, as each effect allows up to 12 user presets. The super-bright DSP display gives you easy-to-understand visual feedback on what's going on with the electronics. For example, when you're using a heavy delay, or a pan filter, the meters show you in real-time, how much effect is happening. The wet/dry display shows instantly how much effect is being applied; you can even see the amount of signal that is going to the cue send. Another great feature is the ability to assign the effects level to the crossfader. This permits slamming the effects in and

november

2003

out of the mix, with precise time control. A Little Bit of Ibiza at the Bar Mitzvah? If you have used external effects processors in the past, you can appreciate how difficult they can be to incorporate into a live mix. In contrast, the Q-FX19 makes it a simple enterprise. There are no ridiculous submenus to navigate, and virtually every button and control in the DSP section has a bright icon or level display that is easy to see. Let's face it—when you're trying to get some real cool live remixes and transitions happening, you can't be slowed down by complicated technology. The brilliance of this design is how it helps you easily create complex-sounding mixes, in real time, without forcing you to attend computer school. Certainly, this unit would be at home in the creative hands of a club DJ. Mobile spinners who frequent high school dances or just want the ability to provide a nightclub-style mix for any gig should consider the Q-FX19. I think American Audio has hit the mark with their blend of art, science, and electronics. The unit lists for $759.95 and comes with a two-year warranty. • Comments? Questions? Want to pass on your secrets to longevity? E-mail \ Jammin'Jim atjkerins@rochester.rr.com. American Audio 4295 Charter St. Los Angeles, CA 90058 Tel: 323-582-2650 / 800-333-0644 Fax: 323-582-2610 www.americanaudio.us

www.mobilebeat.com

PRODUCTS

TIPS

NEWS I NOTES I TECHNOLOGY

Touching Up Your Tracks

Enhanced Audio Inc. has released a new title called DC FIVE, an audio restoration and enhancement application. It features an easy-to-use interface that allows for real-time auditioning while its filters are being manipulated. These include tools to remove clicks, pops, hiss, surface noise and rumble from old vinyl. It can also deal with hiss and speed fluctuaÂ tions on tapes. For today's MP3 DJ, DC FIVE offers enhancement tools to help offset the sonic damage caused by the compression of audio files. For basic cut and paste editing, a fast, non-destructive editor is included. DC FIVE also includes a DeClipper, which comes in handy when the only copy of a song was recorded with levels set too high. MSRP: $199 www.enhancedaudio.com

Hit Me with Your Rhythm Stick

v>/

BAFO Technologies presents Soul Drum (VD-001), a unique way to add studioquality percussion sounds to your show. The set of drum pads (with adjustable sensitivity) connects to your PC via a USB cable. Soul Drum features 140 sampled sounds covering the range of contemporary styles. With its play-along feature, Soul Drum is perfect for drum karaoke in jam or party settings. An included video CD teaches you how to play. It also comes with a karaoke-like Drumbeat Game, where you can play along to the tune of your favorite artists. System requirements: WinÂ dows 98, 98 SE, 2000 or XP, 128MB memory, Pentium II or faster CPU, CD ROM (8x), 60MB of hard drive space (for complete install), display, sound card and speakers. - www.bafo.com

DIY Digital Video

For DJs who want to create their own video presentations, MAGIX Movie Edit Pro 2004 home video editing software combines professional features with drag and drop ease-of-use. It provides 1,400 special effects and templates, personalized soundtrack creation, multi-track editing, and the ability to burn video onto DVDs and CDs. Premium features include batch capturing, automatic scene detection, simplified storyboards, multi-scene overview, and more. Image restoration, motion stabilizing, compositing, and a variety of preset effects and transitions may be applied and immediately viewed onscreen or removed without affecting the original file. A title editor creates rolling credits to finish any project with style. MSRP: $99.99 - www.magix.com

Putting Your Fingers On the Music By

Dan

Walsh

Stanton's Final Scratch 1.1 helps your turntables get in touch with your computer Final Scratch lets you control playback of music compressed as MP3 files with conventional turntables. Step one: obtain a powerful, music-ready com puter (see the requirements listed in the sidebar). Obvi ously, a laptop makes the most sense, if you plan on being mobile. Next, insert the Scratch Amp—Final Scratch's external soundcard-slash-wonder box between your turntables and mixer. Also link it to your com puter via a USB cable. Install the software (more on this later) and you're ready to com bine your vinyl skills with the convenience of music on your hard drive. Vinyl records containing a special time code signal (sound ing kind of like a modem, if you actually listen to the disc) allow the system to locate the needle and link its position to the track that's playing. I was really amazed at how quickly the system "calibrated" the needle and made it seem like I was really moving the track back and forth on the computer screen. In the dis play, you can see the waveform of the track and locate beats, upcoming breaks, and other sections. Not being a highly trained turntablist able to "read" this info readily on an actual vinyl disc, I appreciated how easy this view was on my eyes. The layout of the program is easy to navigate. Not a lot of bells and whistles here; just a place to load and view the current tracks to your turntables, a place for your virtual record collections and a large, easy-to-read active play list area.

Beating the Systems My software installation experience was a bit lengthy, as I had to bypass Windows XP to boot from the supplied Final Scratch disc. This was my first experience with a Linux-based application, but I was hopeful, having heard about the wonders of this alternative to Microsoft's domineering OS. Compared to most other DJ software for PCs, this process was much more involved. What you get for this cost in time and effort is a system that avoids the annoyances of Windows and pumps up perfor mance by accessing your computer's hardware in a more direct fashion. (The issue here is "latency"—the time it takes the computer to respond to the action of exter nal hardware. FS has reportedly gotten it down to 20 milliseconds.)

Creative Transformations oon after the previ ous issue's review of Syntrillium's Cool Edit Pro 2.1 record ing software was published, it was announced that software giant, Adobe Systems Inc. had acquired the title. Renamed Adobe® Audition™, Adobe has added it to their digital video product family to address the demanding needs of audio and video professionals. It is available as a stand-alone prod uct (MSRP $299) or in the new Adobe Video Collection, which includes Premiere® Pro, After Effects®, Encore™ DVD, and Photoshop® 7.0. Registered users of previous versions of Cool Edit Pro can upgrade to Adobe Audition for an antici pated price of $99. Since Adobe Audition is functionally equiva lent to Cool Edit Pro 2.1, Adobe plans to offer a free upgrade from Cool Edit Pro 2.x to Adobe Audition. Here's a shareware gem that can add some real "wow" to your DJ performances. It's called Jambient, and it puts the power to control 16 chan nels of live sound with your joystick or mouse. You can alter the volume, pitch, pan and fade of WAV files to create an electronica feel, or journey even farther into the sonic unknown. More info is available at www.jambient.com. Roland Corporation (www.rolandus.com) and Cakewalk (www.cakewalk.com) have announced a strategic alli ance in which the companies will co-develop innovative desktop music products. Roland is also

I came away extremely impressed with the overall stability of Final Scratch. Once the hardware was hooked up properly and the software was run ning, the system performed flawlessly. It was certainly worth the prep time on the front end, to experience the application's solid smoothness. I regret not having the chance to test out Traktor FS, the Final Scratch version for Mac OSX (included in the Final Scratch package) as it is reported to work seamlessly with my favorite MP3 ripper, iTunes, as well as the iPod. (Maybe I'll find the OS upgrade and a new iPod under the tree this holiday season!) ^^r^^^T^^WflP^BTil^^^rM^m

Shrinking Discs CD DJs now have access to Final Scratch's capabilities, as well. The Final Scratch CD Adaptor Kit includes an input box that plugs into the Scratch Amp, and two time-coded CDs that are used in your CD players, just like the special records on turntables. Scratching, seamless loops and digital "needle dropping" are all possible with this add-on unit. I tried this out with an older player (a Numark CDN-34) and a newer one (an American Audio Velocity). The scratching came out sounding essentially the same. However, the more recent model provided a more ergonomically enjoyable experi ence, with its scratch-oriented design. Keep in mind that for the moment, pitch control and other special effects on the CD player won't work with the software. (You can control the pitch with the software.) For DJs who have been considering making the jump to a digital turntable like the Pioneer CDJ-1000 or Denon DN-S5000, this system add-on brings your regular CD player back into contention. The waveform view of each track that FS offers is a step up from the useful, but comparatively small displays on dedicated units. On the other hand, the platter-style CDPs give a better tactile simulation of vinyl, by most accounts. Of course, you could go for broke and use FS along with one of these digital turntables. The quest to replicate the feel of vinyl in the digital domain will continue. I doubt that any vinyl purists will be won over to CD players by using the CD Adap tor Kit. It simply gives CD DJs access to the same solid system that turntable users have enjoyed thus far with Final Scratch. The bottom line is, if you are a computer-savvy turntablist who is looking to downsize your music load while upsizing your creative options, Final Scratch is something you really need to try. The Final Scratch Package - MSRP: $699

• Scratch Amp - external soundcard module with 2 phono inputs, 2 phono outputs, 2 line outputs and 2 USB ports; includes power supply • 3 FS records - timecoded vinyl for use only with FS • 2 software discs containing FinalScratch™ vl.l for PC/Linux and MAC OS X (10.2.3) (also called Traktor FS) • 4 RCA cables • 1 USB cable

Final Scratch CD Adaptor Kit (sold separately) - MSRP: $99

www.finalscratch.com • www.stantondj.com Minimum Requirements: PC - Intel Pentium III, 500 MHz, 128 MB RAM, 200 MB free HD space, USB Port, Windows 98/ ME/2000/XP (Recommended: 700 MHz or higher chip, 256 MB RAM) Mac - Mac OS X (10.2.3), G3 500 MHz or G4 400 MHz, 256 MB RAM (Recommended: G4 733 MHz, 512 MB RAM)

making a minority investment in Cakewalk. The alliance brings together recognized leaders in music hardware and software technologies to co-develop and deliver new desktop music prod ucts. "What is unique about this alliance is that our two compa nies have come together with a shared vision to create and deliver the best music products..." commented Greg Hendershott, Founder and CEO of Cakewalk. "We look forward to a long and profitable relationship." "We're thrilled about the alli ance and look forward to collabo rating on joint software develop ment projects," says Katsuyoshi Dan, President of Roland Cor poration. "In order to strengthen our relationship with Cakewalk worldwide, Roland moved for ward with this investment. It was a natural course of action for us as Cakewalk will provide us with the key software expertise neces sary for us to move ahead with a new wave of innovative music products," Cakewalk has also an nounced the 2004 editions of the popular Home Studio and Home Studio XL, the affordable yet highly functional recording software for those getting started with PC-based recording. They have MSRPs of $129 and $219 respectively. Based on Cakewalk's SONAR 2.2 audio and MIDI technology, Home Studio 2004 provides a host of features, including: unlimited audio and MIDI tracks, 24-bit /96kHz support, audio loop construction tools, hundreds of megabytes of ACIDT|V1-format audio loops, real-time effects, ReWire 2.0 plug-in support, ASIO hardware support, and much more.

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lorida summer fun was in full swing as the beautiful Radisson Hotel Universal Orlando played host to the one not-to-be-missed DJ event of the season-^-the 2003 Mobile Beat Summer DJ Show & Confer ence. Disc jockeys, exhibitors and show staff alike savored the sweet taste of success after an unprecedented stint of learning, networking, partying, buying and selling. With a cleverly structured seminar format, which allowed attendees to take full advantage of the info-packed sessions without missing prime time at the exhibitors' booths, the show took on an unstoppable positive momentum. The professional entertainers took over the hotel, filled the spacious exhibit hall, and also packed the parties and workshops, apparently intending to enjoy every last drop of the show, as if it was a freshly picked Florida orange. Exhibiting companies covered the full spectrum, from the leading gear and software manufactur ers to the latest in party props and business promotion. Business was booming as exhibitors engaged buyers one-on-one, answering questions and taking orders. "The show was one of the best yet," stated Moises Zambrana of ProSing. Sharing his extreme satisfaction with the tradeshow, Saied Motaei of DJPower International exclaimed, "The show exceeded our expectations...It was great!" Show producer Michael Buonaccorso also expressed his assessment of Mobile Beat's summer event: "The DJ market definitely turned out for this show. But I'd also like to give credit to the Florida DJ associations who lent their strong support. It really showed the benefits of DJs joining together for a greater cause." The daily learning sessions featured massive quantities of fresh ideas, including new interactive party games, business development and marketing strategies, power sales techniques, Web solutions for greater success, and the most up-to-the-minute digital DJing options. New speakers making their debuts at the show included marketing guru Dave Dee and Roger Maness, author of The Playbook. Evening excitement got cranked up to eleven at the opening night's DJ All Star show and stayed there for the duration. The All Star production team pulled out all the stops, pumping up the popular review of interactive DJs showing their stuff with a slew of visual surprises. Promo-Only provided top-notch sound and video for the event, as well as for the three days of seminars. They also part nered with Pioneer Pro DJ to host an outrageous celebration at The Groove, one of Orlando's premier clubs, located at Universal Studios' City Walk. A wall-to-wall crowd of DJ party people had the multi-level, eye-popping club rocking off the hook.

1FKE PfC fILEJ We just barely caught up with James Hill from Solid Gold Entertainment in Clearwater, Florida. Hill was

The grand finale for yet another Mobile Beat tradeshow triumph was the Sensational DJ System Giveaway™. As a build-up 1 the big announcement, attendees received |f numerous individual prizes provided by exhibitors and other sponsors. Then, for the big finish, CJ and Rita Greiner of Smithfield Entertainment (Smithfield, VA) took home s,,,, the extravagant collection of equipment, which included audio, video, and lighting! gear, along with cases, stands and music. ] their room before the drawing, Rita recounts that "I had a feeling we were going 1 something," to which CJ added, "Yei thought maybe a t-shirt or something How's that for a slight miscalculation?

Thanks to: American Audio, American DJj Chauvet, Denon, Electro-Voice, Gemini, Gmndorf, Pioneer, Promo Only, Rane, TheJ Screen Works and Ultrasone for providing prizes. Seepages 76-77 for info on attending the 2004 Mobile Beat DJ Show & Conference in" Las Vegas. Don't miss the next Sensational DJ System Giveaway !

www.mobilebeat.com

brimming with more energy than the infamous bunny when he commented, "There were so many different ideas to pick and choose from—so you can specifically use what will work in your market—so you can improve your performance ten-fold!" He gleaned hundreds of ideas from fellow DJs at the show. Hill does a variety of events, including bar and bat mitzvahs, birthdays, weddings and more. His employer has been urging him to attend for years but he held out: "I'm from Missouri—show me. Well, within the first 10 minutes I met Scott Faver and he is incred ible—I was just floored." Traveling all the way from Australia for the show, Robert Huggins has recently completely re-thought his entire business. While in the process of research ing, he found out about the Con ference online. Huggins' company went from 12 sys tems and almost 800 events per year with self-described "older" equipment, to four systems with all-new gear. He was also in the process of re-thinking his own life and, since he hadn't had a vacation in years, made the Conference the center of a journey to the States. He wasn't sure how much would be relevant to Australia, but after all was said and done, Huggins said "all of it" was applicable. "There's nothing like this in Australia whatsoever. It's been the most amazing experience."

november

2003

Huggins' company does all the tradi tional types of performances DJs are known for, but also organizes a lot of fashion shows, or "fashion parades" as he refers to them. "I relate to large events and event production but I also relate to 'just being a DJ.'" Patrick Ferguson, David Cartwright and Noel Dillett brought 25 years of DJ experi ence with them from the Bahamas and were busy making friends and learning when we caught up with them. So what brings three Bahamian gents to| the U.S. for a DJ show? • "We have a lot of inter national clients who come to the Bahamas and we need to know more about them." The trio has done numer ous "tourist" weddings, with clients from a variety of cultural backgrounds, including American, Jewish and even Hawaiian. "I had to learn about country music for one wedding," said Noel Dillett. "I do a lot of celebrity functions and am interested in world music and theory on a practical basis," reported Patrick Ferguson. "I'm here for new tech and new equipment," added Cartwright. Suggestions? The trio would like to see a conference in the Bahamas. Ya mon! "I have a dance background and that's my forte." '— ~ • Nancy Cole of Star Sound Entertainment in North Brookville, Massachusetts, got her foot in the door of the DJ business by being a dancer. Now her performances include both tra-

ditional DJ events, as well as karaoke. Her training as a dancer definitely makes this single-op DJ stand out in her market. At the Conference she was looking for more games and information on expanding her business, and she says she found it. On her quest for more interactive routines, she said, "I also learned a few dance steps!" Working in radio gave Terence Bibb a unique per spective on the Mobile Beat show. Attending with his wife, Adrienne, the couple said that they learned a lot that would apply to the foundation of their enterprise, N2IT Enter tainment of Gulfport, Mississippi. He was amazed with "the camaraderie and energy that I found—even though people are from different parts of the country they're able to try different things and different ideas and mesh it into their own personality." Terence also works for Clear Channel, and had trouble convincing his bosses that he needed this time off "for his other busi ness." Still, it was worth the struggle, said the couple. Back "at the shop" Adrienne handles the bookings, ably dealing with the brides, while Terence's role is the actual perfor mance of the event. Both found much to keep them interested.

Our subject also bears the respon sibility of helping the profession, by cofounding a Carolina disc jockey associa tion. Bear sought out information that he said would otherwise not be available in a smaller town. But does a Bear spin in the woods? Richie Pacholac and Diane Kelly from Rhythm of the Night Entertain ment in Youngstown, Ohio were on the hunt for new gear when we spoke with them. In particular, Pacholac was eyeing the various computer-based DJ systems to replace his three CD-based systems. He was also shopping around for powered speakers. While this was Kelly's first Mobile Beat DJ Show, Pacholac is a vet eran of several Vegas conferences. •

Bear, as in Bear Wilkinson, is a rather appropriate name for the gentleman who hails from just outside of Charleston, North Carolina. The Bear market for events includes weddings and corporate events as well as apartment community parties. He is also a fixture at a local resort during the tourist season. So how's business? "I stay busy but I'd like to be twice as busy as I am now!" Bear had just come out of the seminar on hiring and training, which was of particular interest: "I've got the equipment, but not the people. I've been thinking of expanding there."

www.entertainmenicateiEts CM; V!M/tf «*<•*" *'«"'"?.

For info on becoming an All Star call Jim Johnson at 8OO-59O-634-4 Please send Seminar ideas to Mike Buonaccorso: mb@mobilebeat.com

november 2003

www.mobilebeat.com

FEATURE Toyota feels "lighter" or more car-like. This feel extends from the doors to the pedals. One rider commented on how light the doors felt compared to her full-size Ford. This essentially has no bearing on safety, as the Tundra achieved the government's highest crash rating in over-40-mph, 40° offset crash testing.

Th^re are more creative optipns than ever for trans porting you and your gear

very year Mobile Beat goes on a quest to find the perfect DJ vehicle among all the new cars out there. We thoroughly test the likely can didates to see what will work for DJing and what won't.

Road Trip, Toyota-style Some DJs arc mobile enough to fit their rigs into something as small as a Mini Cooper. (See sidebar.) For the rest of us there are some interesting new choices this year. One of the hallmark tests of each truck and van issue is a schlep from LA to Vegas. This year there were two opportunities to make this trip. The first was for a wedding in Las Vegas. For this trip we scored a new Toyota 4Runner—a luxo ride with all the options, including a V8. The wedding, too, had all the options including karaoke and more. Because of the sheer volume of gear we had to bring to this function, not everything would fit into the Toyota. You'd think that if we could build a system that would fit into a Mini we could shove a wed ding's worth of gear into a 4Runner, but it was a truly full-sized system plus all sorts of scary-aoke paraphernalia as well. The speakers had to go in a groomsman's Suburban. Inside and out, the latest 4Runner is larger than previous models. The sheer volume of luggage we brought would have choked the old 4Runner's cargo area. The new optional rear air suspension also helped balance out the weight of the cargo, allowing the 4Runner to fly straight despite the load. Up front, the dual-zone climate control kept both occupants happy. Maybe a little better for the moving of gear is the Toyota Tundra. Tundra is Toyota's answer to American full-sized pickups and in many ways it comes very close. While not as prolific in the number of models and chas sis configurations the domestic nameplates offer, Toyota has found great success in their Access Cab models—four-door versions of the Tundra. They feature a full rear bench seat that folds up, making room for cargo inside the cab of the truck. We tested a 2003 Tundra Access Cab Stepside model with the TRD off-road package. New for '03, the Stepside offers more style to go with the proven substance of the Tundra. Compared to all three US truck manufacturers, for example, the

www.mobilebeat.com

All-American Journeys After relegating our speakers to a Suburban for the wedding in January, it was decided that a Suburban would be the perfect companion for the trip to the Mobile Beat Conference in February. Once more requiring a lot of gear, as well as three DJ professionals, this was the perfect idea. We loaded up a large sound system (for Disc Jockey America's Duckie Awards) consisting of a boat-anchor console and four powered speakers, plus the requisite stands, wires and connectors, and a dolly. What about luggage? No problem. The 'Burban swallowed all the cargo with ease while also providing roomy, comfortable space for riders. It was outfitted with just about everything imaginable. There was a rear-seat DVD player, power you-name-it and leather upholstery. It also sported GM's Quadrasteer feature, which steers the rear wheels in the oppo site direction from the front in tight turns, or with the front wheels for easier lane changes. This handy system made it easy to navigate a few otherwiseimpossible U-turns when the monster truck couldn't possibly pass another gasoline station. It also made it easier to back up for unloading. Of course, it guzzles dead dinosaurs, but what do you expect for a house-sized machine? Just about as big as the Suburban (on which it's based) is the Ava lanche. While we tested one for last year's Mobile Beat auto issue, there have been changes worth noting. For those who hated the plastic side cladding, you can now get your Avalanche naked, er, devoid of cladding. Among other refinements, it now features adjustable pedals for more diminutive drivers. Suffice it to say that the Avalanche has a huge amount of cargo and people space and has become a favorite for its abilities and style. If the Suburban and the Avalanche are too big, maybe a GMC Envoy XL or Chevrolet TrailBlazer XL might do the trick. GM took its award-winning mid size SUV platform and stretched it a few more inches. While the rest of the world is happy for the third seat, DJs are likely to be more appreciative of the additional cargo space. While Ford claims its Explorer is a match for the Envoy or TrailBlazer, a quick trip in both will convince you otherwise. For '03, GM can outfit your SUV with an optional V8—but the standard in-line six offers plenty of gusto, unless you're planning to haul a substantial trailer. The Lincoln Aviator, Mercury Mountaineer and Ford Explorer are all based on essentially the same mechanicals and offer very similar packag ing, but are distinguished by their levels of luxury. The Aviator has a very pleasant interior, as a $46,000 vehicle should. Last year's total redesign of the Explorer brought a dramatic change in that vehicle's mechanical sophis tication. If these are a bit too small for your load but you want to stay in the Ford

november 2003

family, the new Expedition has a lot of room and a lot to offer. For '03, one of the more important changes to the Expedition is in the handling and roadholding depart ment, with the Expedition's new independent rear suspension (IRS) chassis architec ture. Ford is the only manufacturer to offer a full-size SUV with an independent rear suspension. Another handling benefit is the rack-and-pinion steering, which affords a more accurate feel of the road. The suspen sion and steering systems work in conjunc tion with a new hydroformed frame, which Ford says is 70 percent stiffer than the one in the previous Expedition. Hydroforming is a metalworking technique that uses hydraulic pressure to create bends without weakened stress points. Living in a VanWhile they don't get a lot of attention, minivans provide an outstanding choice for DJs. They offer a tremendous amount of interior volume relative to their exterior size and a smooth, car-like driving experience. Most importantly, their front-wheel-drive platforms offer relatively low floors, so load ing is less of a chore. Plus, dual sliding side doors offer access to all the gear inside. While Toyota's previous Sienna was good, it was smaller than many domestic minivans and didn't offer as much cargo car

rying capability as many DJs needed. That's no longer the case. The new Sienna is bigger in every way. What's more, it offers an amazing driving experience with a smooth, refined feel. One of the niftiest things about the Sienna is the folding rear seat, which magically disappears into a bin in the floor of the vehicle. While most minivans require the removal of seats to make them into cargo machines, the new Sienna's seat just lowers easily into the floor. Other interesting fea tures include windows that actually lower on the rear sliding doors, and a ridiculous number of cupholders. The vehicle's Camry underpinnings indicate that Siennas aren't

going to spend much time at the dealer for any thing other than scheduled maintenance. Smaller, with Style

Another Mobile Beat favorite has seen some changes. While not right for everybody, Chrysler's PT Cruiser offers an amazing amount of cargo space, considering its compact exterior dimensions. A new turbocharged version, while not significantly different in terms of interior trappings or exterior style, gets a huge boost in gusto with the forced air technology. If you can fit your gear into a PT, but have been waiting for more oomph, the Turbo really delivers. The Subaru Baja is another of those "love it or hate it" vehicles. It also has limitations as a DJ vehicle, but might prove useful to some.

Pick Pull. ne advantage {^•^•^•p pick ups is that yoinP^^Hfa lot of gear in them. Many DJs add camper shells and other accessories to their open-bed vehicles. For those who have chosen to add a shell or "cap" to their trucks, one of the best acces sories for easier loading is a BedSlide™ (www.bedslide.com). This handy device turns the bed of a pickup, van or other vehicle into a gigantic drawer-like device, allowing the full contents to slide in and out. It can be easily installed or removed by two sturdy DJs. For those who have the pulling power and want to add hauling capacity to their main vehicle, heavy-duty trailers are a popular option. Trailers can also double as excellent rolling billboards for your DJ company. The best-known manufacturer in the DJ world is probably Wells Cargo (www.wellscargo.com). They offer a wide range of choices, from the cubic 4'-wide Mini Wagon to the long, 8'-wide Express Wagon and beyond. If you really want to build an ergonomic dream machine, you can have Wells Cargo customize the inte rior to your specifications. Pace American also offers a wide selection, including huge, gooseneckstyle behemoths. They'll even add a generator to make your trailer into a selfsufficient entertainment vehicle. The folks at Pace pride themselves on their extreme attention to detail. To DJs, this means that each small piece is designed to stand up to the weekly grind of loading your gear in and out. www.paceamerican.com

november 2003

Connections

"everything Q Gold-Plated Connectors a 100% Shielding Coverage n Patented compression ^ spring for tight fit Guaranteed for Life

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www. planet-wavei J. D'Addario & Company, Inc. • PO Box 290 Farmingdale, NY 11735 USA Planet Waves and the Planet Waves logo are Trademarks ol J. D'Addario & Company, inc. registered In the USA and other countries Copyright 0 2003. All rights reserved

www.mobilebeat.com

] It's essentially a Subaru Outback wagon with additional length and a short cargo bed. The visual effect is a very small interpretation of the Chevrolet Avalanche. The cargo bed and rear seat area will accommodate a decently sized sound system, while Subaru's all-wheel-drive makes sure you can haul it. Driving a Baja will certainly put you in a small club but it's a club with unique style. There are a lot of vehicles that DJs can use to get the stuff to the show. Before buying a DJ vehicle, you should carefully evaluate loading and unloading circumstances. SUVs have higher load floors and smaller doors, making them more difficult to load. While they have a certain "cool" factor, they also tend to be less fuel-effi cient than minivans. Pickups offer lots of cargo space and are affordable, but unless you get a camper shell there is the issue of exposure to the elements. In any case, with all the choices available, there is definitely something for everyone. 0

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e know there a^e-CJs out there using very compact systems, so we put a system together specifically to fit into a Mini Cooper, just to prove it could be done. Of course there also had to be room for our overstuffed Editor-atLarge in the vehicle. r'Ka

'The Mini Cooper Test System -• *& . Our system, designed specifically to be compact, consisted of • 2 Shure ULX microphone receivers (1 rackspace, total) • Rane MLM-82a 8-channel, single-space mixer , • 2 JBL Eon G2 10-inch loudspeakers | • Toshiba Satellite Pro laptop computer running DJPower software 3 • Sears toolbox with microphones, connectors, cables and all the " other pieces to get connected ' • Rock-n-Roller MultiCart equipment dolly

IT TAKES EVERYTHING YOU'VE COT! Every Wells Cargo trailer is built with rugged durability and hassle-free performance as standard features. No shortcuts. No cutting corners. Just the best built trailer you can own and customized the way you want it. Expect at least 15 years of reliable service from your Wells Cargo ... every time out. Thousands of trailers on the road are our proof. Our comprehensive 6-Year Warranty Program is your protection. There's no doubt about it, Wells Cargo is the sound saving, image making way to go.

(8OO) 348-7553

inniviiv.iivellscargo.com

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At last someone has unlocked the secret of making an enormous amount of money as a DJ...

"Amazing Free Report & CD Reveal How You Can Make $100,000+ As A Mobile Entertainer..." By Richard Lowe Alpharetta, GA- If you want to make some real money as a DJ, this is the most important letter you will read all year. Here's why... Marketing guru Dave Dee has just released a new, confidential report & CD called, "7 Insider Secrets To Earning $100,000+ As A Mobile Entertainer" and, for a limited time, you can get a copy of this report and CD for free. I'll explain how you can get your free copy in a minute, but first... Here Is What You'll Discover In This Astonishing New Report... • How a tiny ad generated 40 calls in one day for one very happy DJ! • How to get the respect and prestige that you deserve. (Never again feel like or be treated like "Just the DJ in the corner"... Be treated like a star!) • How to KEEP YOUR PHONE ringing with people begging you to entertain at their wedding (Be the most respected, in demand wedding professional in your market.) • The amazing "Lazy DJ's Shortcut" for creating killer marketing materials. (Discover how to instantly create marketing materials with almost no effort!) • How to instantly ask for and get more money! (Raise your price and finally get paid a LOT more than what is spent on the hors d'oeuvres.) • The 7 instantly-effective steps to getting a stampede of gigs. (You will never again have to worry about where your next gig is coming from.) • The ultimate no B.S., step-by-step profit generating system that makes your success easy. (Make bucket-loads of cash so you can keep up with the latest technology.) • How to put your mobile entertainment business on autopilot so you can sit back and relax. (You might feel a little guilty about all the money you make with so little work!) • How to book more gigs in a month than most DJ's book all year! (Have a regular 9 to 5 job? Learn this secret and jumpstart your full-time mobile entertainer career!) • The top secret marketing idea you can immediately use to DOUBLE your income without doubling the amount of gigs you do. (Not only will you rake in more money, you'll also get a LOT more RESPECT and be treated like a true professional.) How YOU can be THE DJ who is making thousands of dollars each month, doing a ton of gigs, having fun - while

your competitors are sitting around complaining about the lack of work. • How to CRUSH the cheesy guy who runs out, buys some equipment, and claims to be a professional. (Send him and his lowball prices packing once and for all!) That's just a small sample of what you'll find in this report and CD. It gives you the exact roadmap you need to start your own ridiculously successful mobile entertainment business. This report is written in plain English, is easy to read, and is absolutely free. A Shocking Revelation... In this killer report & CD, Dave Dee reveals some unbelievably powerful secrets for making an executive level income as a mobile entertainer. You'll be shocked at the power these unusual, vet proven methods have at transforming struggling or 'average' DJ businesses to meteoric growth and extraordinary success at blinding speed. And here is what's amazing.... These brilliant marketing strategies and techniques are from a guy who is not even a DJ! Yes, you read that correctly. Dave Dee is actually the #1 marketing expert for magicians in the entire world! As a matter of fact he has 1271 entertainers from every corner of the world including Malaysia, England, Singapore, Finland, Canada, Israel, Germany, and the United States, as clients. You see, some of Dave's clients, in addition to being magicians, are also mobile entertainers. When they discovered Dave's ingenious tactics, they all said the same thing... "Wow! These secrets are directly applicable for DJ's" and urged him to create a special program specifically for mobile entertainers. He agreed and it ROCKS. Because you have probably never heard of Dave Dee or may be a bit skeptical, I convinced him to let you preview his methods by sending you his stunning report & CD- absolutely free with no obligation whatsoever. But you need to act now. He has the right to withdraw this offer at any time. How To Get Your Free Report & Free CD... To get a free copy of the confidential report & CD, "7 Insider Secrets To Earning $100,000+ As A Mobile Entertainer", call toll free, 1-888-431-9920, 24 hours for a free-recorded message. Leave your name and address and your report will be rushed to you by first class mail immediately. Call now. 1-888-431-9920 Or go to: www.marketingfordjs.com/mb.html One last thing - - This is a limited time opportunity. So hurry and call 1-888-431-9920 or go to www.marketingfordjs.com/mb.html and get the incredible report & CD that will put you on the fast track to success. Take action and call to get your FREE report & CD now!

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www.mobilebeat.com

november

2003

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Mike

Richer

If you need to clean up your act, be careful not to throw the interactive baby out with the bath water... m A few years ago, f\ adding an e or an / ^P"«"l before another tech » • or action word (e-connection, i-control) and proclaim ing some obtusely phrased corporate mission ("We seek to leverage our technical capital to offer integrated solutions...") was usually good for a bushel of press clippings and a few million dollars in venture capital. When the dot-corn bubble imploded, beginning in 2001 ("ReorgL.We need traction!"), any e or / prefaced business became synonymous with the mindless excesses, outlandish declarations, self-satisfying bravado, ill-conceived business plans, and flushed capital of the boom times of the late 1990s. Are We Not DJs? We Are Interactive Now, the Mobile DJ profession is experiencing its own form of meltdown involving a dreaded /-word—interactive. During the go-go '90s, with the swelling mainstream popularity of country line dancing and the Macarena; the development of portable game show equipment coupled with the popularity of prime-time quiz programs such as Who Wants to Be a Millionaire? and its imitators; and the trendy corporate infatuation with team-building events; interactivity became a fashionable selling feature for mobile jocks —sim ilar to the e or /for Web-based businesses. "I'm an interactive DJ!" "We get your guests involved!" "Everybody is part of the action!" Unfortunately, like so many other hot spots in pop cul ture, too much of a good thing, particularly in inexperienced hands, through numbing repetition, or with unimaginative application, leads to an often hearty backlash. The word

www.mobilebeat.com

november 2003

interactive has turned out to be no exception. So, what does interactive mean in the mobile entertain ment market? Generally speak ing, the term has morphed into a reference to any interaction with an audience beyond the standard DJ fare of music pro gramming, announcements and coordination. Interactivity may encompass dance instruction, games, icebreakers or trivia. Listen to What I Mean, Not What I Say Where once the word interac tive elicited an almost univer sally positive response from prospective clients, a more cautious reaction is usually forthcoming now. For many clients, it conjures up a frighten ing image of an entertainer who intrudes rather than supports, embarrasses rather than lifts, bulldozes rather than engages, and alienates rather than con nects. "Sometimes, clients will say they do NOT want an interactive DJ," reports Scott Faver of Party Favers, serving Southern California. "But upon closer inspection, through conversation and establishing a rapport with the client, you will discover that they want their guests to have a good time, but NOT be embarrassed." Faver is one of the industry's more inventive entertain ers, having twice offered interactive game workshops at Mobile Beat conferences and, currently, leading a weekly forum on the subject for ProDJ.Com. "Most clients want an interactive DJ, but are tired of the same old games—Chicken, Pokey and the YMCA," notes Faver. "Instead, they are looking for their event to be per sonalized so that it is a fun, unique and entertaining experi ence for their guests." Reinventing Interaction Truth is, Mobile DJs have always been interactive. From announcements to encouragement to coordination, mobiles consistently interface with the client and the audience during an event. It's part of our job. Now that the bar has been raised with dance instruc tion, dance routines, game shows, props, raffles, trivia, skits, practical jokes, and games added to the mobile enter-

tainment arsenal, we have to understand that appropriate application, timing, and execution have become much more critical to the success of each event. How do we achieve that success without being heavyhanded, amateurish, dominant or annoying? How do we become interactive without furthering the emerging nega tive perception of the term? And, most importantly, how does the client define interactive and what is their desired level of DJ/audience interaction? "Clients are NOT looking for the 'Been there, done that...'" says Faver. "Instead they are looking for the 'WOW I've never seen that before...Your event was the best!'" One of the divas featured in last issue's piece on female DJs, who specializes in adding dances to her presentation, cites an area where a mobile can interact prudently. "I still think it helps when a DJ is interactive with the audience," declares Linda Germanetti of Pony Time DJs in San Francisco, California. "I've noticed at parties that I have done that it is still helpful to the crowd when there is someone (the DJ) who knows the dance a guest has requested. "And the Macarena and Electric Slide are still being requested. Even if the crowd knows the dance they always need the lead of the DJ to get involved." DJ Ski of Complete Music in Arkansas offers a more cut-and-dried answer to the question of interactivity level: "If your DJs are just sitting behind their set-ups and don't interact with the guests," says Ski, "most likely, another DJ who does, will get the repeat business."

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The Future Looks Interactive Despite the fact that the term interactive DJ has acquired a life of its own, with its interpretation not being as simple as it was a few years ago, clients more often than not desire an entertainer who positively interfaces with the guests. And, mobile companies and operators are displaying a desire to enhance and expand their skills in the interactive arena. "My personal training services for larger companies looking to train their DJ/MC teams have never been in greater demand," notes Faver. "...I am currently working on a whole new set of games and activities for the 2004 Las Vegas Mobile Beat Show." So the future appears interactive, but Mobile DJs need to focus on new, inspired and tasteful games, cre ative application of popular activities, execution with discretion and intelligence, avoidance of the reality show staple of humiliation, and a keen regard for the client's event goals. Then, we'll avoid permanently jostling interactive into the perception-challenged pit with the dot-corn e- and /words...and, that's inspirational! •

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november 2003

www.mobilebeat.com

EFFECTIVE WEDDING MARKETING

Peter

Merry

they might not have considered before. They can also create enough interest in your services for them to want to meet with you to discuss these issues in more detail. And since you raised the questions, they will automatically assume that you know all the right answers as well. When you meet with pro spective clients, ask them what they want...and then listen to their answers. Take notes and try to keep the focus on them and their vision for their wed ding reception for at least 15 Listening Before Selling —IT'S HARD FOR MASTERS OF GAB, BUT... minutes before telling them one Too often we fall into the trap word about why they should ——IF YOU WANT TO REALLY SELL, ASK ^ of giving them all the reasons consider your services. why we are the best-qualified ————AND LISTEN BEFORE YOU TELL!—— This can be challenging candidate, thinking that they for us because we are used to won't be able to resist hiring us. But that leads to a presentation without a proper consul talking and giving presentations. It takes practice to develop good consultation skills. But it will pay off handsomely when tation first. you are able to clearly show the clients how you can deliver A presentation is an important factor in successful exactly what they've described—because you took the time sales, but without a proper consultation, which focuses on to ask and listen before presenting. You may be tempted to a potential client's needs and wants, you are very likely to give the impression that it's really all about you. "Here's why jump ahead to the presentation when the client mentions a need they have that you already effectively provide for in you should hire ME...because my clients love ME...and your service. Instead, just make a note so you can refer back you need ME...don't you want to hire ME?" You may not be to it later. If you fail to properly identify the client's wants and saying it this way, but if your marketing and sales meetings needs, your presentation may send them packing because are all presentation with no consultation, then that is the "what you do" doesn't match "what they want and need." impression you may be creating in your clients' minds. By properly addressing their wishes instead of focusing on your accomplishments, you have a much better chance at Talk About Your Dreams, Talk About Your Schemes making the necessary connection to turn a prospective client As a first step, it is much more effective to get them to ask into a signed client who is thrilled to be using your services. themselves some pointed questions to better understand what they want and help them uncover the type and amount of services they really need before launching into any form Love Me Do of a presentation. Open-ended questions can be very pow In his book Selling the Invisible (Warner Books, 1997, p. 52) erful. For example: Harry Beckwith asserts that service clients tend to choose whom they will hire based on "High School Rules instead of • Who will make sure my guests don't get bored at my College Rules:" wedding? • How can I make sure my reception will flow smoothly? "The competent and likable solo consultant will attract • Will the person on the microphone at my wedding be far more business than the brilliant but socially deficient a total stranger? expert. In a large part, service marketing is a popularity contest." Questions like these can be used in your marketing materi als to get your clients thinking about these issues in ways So your clients are more likely to choose your service based

f you want your wedding marketing to attract clients to your services, then it is crucial that you put the primary focus on your client's wants and needs before com municating why they should hire you. The sixth and final key in developing effective, service-focused wedding marketing is in recognizing who is being served. Service is about your clients—not about YOU!

www.mobilebeat.com

november

2003

Get prospective clients to ask themselves some pointed questions to better understand what they want...and what services they really need.

primarily on whether or not they like you. Which leads to the question: "How can I be more likable?" I used to answer that question by charging practically nothing for my services. I didn't want to risk rejection, so I set my prices too low. But now I believe in making a living as a DJ, so I set my prices accordingly. Then I refocused on doing what I can to attract clients who will like me enough to pay more than the average for my unique ser vices. Randy Bartlett said it best when he pointed out that "The clients who like me the best are usually the ones for which I have done the most." Finally, you must ask yourself this question: "How can I best serve my clients?" If a client has a need, find it and fill it. For example, I identified a need in my area for solid information on wedding planning from the enter tainment perspective. I filled that need by offering free wedding planning seminars. After I provided 90 minutes packed with ideas and advice for making a wedding fun and memorable, not only did the attendees comment that they learned a lot, but they also began to perceive me as an expert on making weddings fun. So when they began choosing their wedding entertainment, a large percentage of them didn't bother shopping around—they just hired me. You have information, skills and experience that pro spective clients in your area need. Find a way to supply what they need (even if they are currently unaware of what it really is) and you will see dramatic results. Coming up next time, we will recap how giving your marketing materials a service focus can greatly enhance the effectiveness of your wedding marketing. We will showcase readers who have taken these principles and applied them to their current marketing materials, with a look back at the way they used to market themselves for a clear "before and after" demonstration. Feedback will be given and we will find out how effective these changes have been. •

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Peter Merry has owned and operated Last Dance Entertainment out of Southern California for over 8 years. He is currently the President of the American Disc Jockey Association and he has been a regular seminar contributor at Mobile Beat DJ Shows. For more information, go to www.PeterMerry.com.

november 2003

toll free: 1.800.762.1084 www.chauvetlighting.com

www.mobilebeat.com

REALITY CHECK

Contact the office that manages the boat and ask them if there's anything special that a growing trend, at DJ should know. While least in my area, is this may be your first boat the use of a boat gig, they've probably had as the location for a party. other DJs on the craft We're not talking about before, and you can learn the Titanic, but rather a from previous trial and medium-sized ferryboat error. Even something capable of carrying 100 as basic as electricity to 200 commuters as its takes on new importance. normal function. Perhaps Make sure that they have the regular facilities (VFW, normal 120-volt AC avail banquet halls, etc.) were able. If it's a good but booked;or maybe the limited supply, forego the host was looking for a extra lighting or special unique alternative to the effects. usual party facility. Some boats that are I've performed on a little short on space may a number of such ves have an overhead PA sels, so I'll share some system already installed of the issues I've had to that you may use. Thus, deal with in these unique you may be able to leave venues. It isn't just drive your amps and speakers up, unload, play, pack up in your vehicle. Other and go home. Your DJ wise, you'll most likely skills will be challenged need to bring everything during your nautical that you normally use. When taking your show out to sea, adventure, so you should Keep in mind that be prepared to handle you need extra savvy to avoid a you will not have your anything that comes up... vehicle available once musical shipwreck the voyage begins. If you Welcome Aboard normally depend on visits Unless you're very lucky to it during your perfor and the boat is next to the mance for backup equipment or other essentials, you need parking lot, you will have to transport your equipment from to adjust your thinking. Make sure you have everything you your vehicle to the boat by pushing your cart over wooden need at the beginning. docks. These are usually in good condition, as many boat owners also have carrying carts to move their gear. Be Rock Me Like a Hurricane aware of ramps and guardrails and bring along plenty of Once aboard, you'll be shown where to set up. While they bungee cords to secure everything—the docks may not seem big from the outside, the typical party boat tends to always be perfectly level. have small inner facilities with confined corners and very Larger party/ferry boats are usually docked at the end low ceilings (78 inches). And there's always the possibility of the pier, so plan for this extra distance. Also, despite of being overbooked for the occasion. being able to roll your cart right up to the boat, you may Your location is also important. If you're fortunate to be have to manually transfer everything from the cart to the towards the stern (rear) of the boat, it will pitch and sway actual deck. I strongly suggest a visit to the boat prior to less. If you are directed towards the bow (front) of the boat, your event to scope out any possible problems. By

Mark

Johnson

3-Hour

www.mobilebeat.com

november 2003

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BEAUTY CHECK_______________ be prepared for a rougher ride. I own allegedly shockproof CD players mounted in a shock-resistant cabinet that normally sits on one of my tables. I have those aftermarket shock pads that I pull out when a regular party is on a wooden floor and the guests get a little rowdy. However, no party I've ever done on dry land prepared me for the jostling that occurred at one recent boat

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gig...

They squeezed me into the V-shaped bow section of the boat, albeit inside, away from the wind and elements. I had everything set up and had music playing when the guests started to board. But within the first few minutes after leav ing the dock, all my shockproof gadgets became useless as the captain made a steady course into the harbor. While the seas were calm, there was a lot of cross-traffic causing wakes that the 120-foot boat had to bounce over. I got on the microphone, apologized for the technical difficulties and promised to resolve them. My mind raced through everything I could remember from Boy Scouts, A-V training and old MacGyver reruns, trying to come up with a solution. Placing my CD cabinet on four inches of coats and towels didn't do the trick. Somehow I had to suspend this cabinet to isolate it from the turbulence. Remembering a trick that I had seen a club DJ use to isolate his turntables from some nearby bass cabinets, I endeavored to create a hammock made of rubber bands http://www.pssl.com

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www.mobilebeat.com

november

skills will be challenged during your nautical adventure... that would suspend my CD cabinet. Borrowing two waiters' tray stands, I duct taped them upside down to my equip ment table. Since I don't normally carry the 50 rubber bands I needed for the hammock, I ended up carefully weaving together some balloons that were actually meant for creating balloon animals. After a brief test with my hand, it appeared that it would work. I placed my CD cabinet on this colorful hammock and, while it looked funny, it didn't skip a beat. The music contin ued and everyone had a good time. The first song I played was the theme from Gilligan's Island—after a "little buddy"style beginning, I felt more like The Professor after solving such a dilemma. Aqua Boogie These boat trips are typically three hours long (really!), the main excitement coming during the first two, with inspiring twilight views of open water and sky, shoreline attractions and bridges. To finish my tale, on that night, with 45 minutes to go, the captain decided that he had to return to port in a hurry. I don't know if he was double-parked or had picked up a water skier, but he was definitely on a mission to get back. While my CD cabinet was safely inside its hammock con traption, the swaying had increased. My DJ equipment, the guests and trays of food were all subject to the boat's unex pected turns. It became obvious that the captain's only purpose had become to get back on time. Those 45 minutes were like torture, forcing me to keep one hand on my system, one hand reaching for the next CD and a third hand grasping something screwed down to keep me from falling. Eventually the exciting journey ended and everyone breathed a sigh of relief. Shipshape As with other events in unusual locations, the most important element of a successful musical cruise is allowing more time to accommodate the load-in of your equipment and analysis of where you will be playing. If you have a single rack hold ing all of your equipment, prepare to disassemble to accom modate the potentially rough ride. (Of course, if you're using a computer-based, MP3 DJ system, then you can smile with contempt at all of us salty old CD DJs.) When you are recruited for a nautical party, your extra preparations will make sure you stay afloat! •

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Web Site vs. Yellow Pages: The Battle for Your Advertising Dollars By

Jim

do most of your business in the Phoenix area. A bride and groom who now live in Ohio are originally from Phoenix and will be having their wedding in Phoenix. They will be doing their research for their out-of-state wed ding from Ohio and won't have a copy of the Phoenix Yellow Pages just lying around. They might be able to call a family member to look it up, or they might be able to use the online Yellow Pages, but chances are they'll go to a popular search engine and type in something like "Phoenix wedding DJ."

Weisz

>As more and more people go online, the Web pulls\ ahead in the contest

wo decades ago, if you had been starting a Mobile DJ business, the first place you would have thought to advertise it would probably be the Yellow Pages. Ten years ago, you might have thought to promote your newly formed business in the Yellow Pages, in a bridal magazine or possibly with the latest in advertising technology—a Web site. As we move into the 21 st century, more and more companies are turn ing to the Internet as their primary mode of advertising. As a result, the competition online is getting tougher; but it is still probably the most logical way to spend most of your advertising dollars these days. Bang for Your Byte

Advertising your company online is a great way to generate leads for your business. Whether you're just starting your DJ business, or looking to promote your existing company, a Web site can be a great asset for attracting new clients. With many companies having high speed Internet access for their employees, many brides go online during their workday to do research for their wedding. Chances are that they won't be able to call you from their place of employ ment, which is why it's a good idea to have a form on your Web site for visitors to fill out so you can contact them at home. Another benefit to having a strong Web presence versus a Yellow Pages ad for your company is booking events for people who live beyond your immediate area. Let's say you

www.mobilebeat.com

For most Yellow Pages adver tising, unless you want to shell out some major cash, you'll be getting a small list ing, probably something around the size of a business card. It's difficult to fit much information about your business in the ad, and it will cost extra for color, pictures, or other special features. In contrast, Web sites can have pages and pages of infor mation available for potential clients to look at 24 hours a day, every day of the year. There aren't any additional charges to have color graphics, photos, or even short video clips of you in action on your site. You can post your rates if you want, and even include pictures of all of your packages so Web surfers can see what they're getting when they choose your service. Finally, what happens if you relocate, change your phone number or decide you want to re-target your marketing for new types of events? If you're using the Yellow Pages for advertising, you will have to call your sales rep, get your listing changed and then wait—potentially several months—for the changes to be published in a new book. If you have a Web site, it's just a matter of making the necessary changes and uploading them. The changes take place instantaneously. Dollar Differences

Unfortunately, it is somewhat difficult to compare the price of

november 2003

DIGITAL BUSINESS TOOIS Yellow Pages advertising and a Web site because the cost for the Yellow Pages will vary depending on where you live and how large the area is that will be receiving the book. You can get a rough idea of what it might cost you, based on the following DJs' experiences. Brody Levens, of Chesterland, Ohio, just placed his first Yellow Pages ad this year. The book in which his ad was placed was released at the beginning of June. As a result, he hasn't had a chance to see what results it will achieve. His ad is a _-column ad in the local county Yellow Pages, at a total cost of $250 for one year. They gave him free design of the ad and a free bold listing in the White Pages. While he was excited about the look of the ad, he still wasn't very optimistic about its potential results. "I did it just think ing it couldn't hurt, since there was only one other DJ from the area in it. I called the other company and they said they got five or six jobs from it, and I would be happy with it." He noted that he has had an ad in a local newspaper for eight months for free, after doing a discounted event for the owner. Since he has yet to receive a call from that ad, his pessimism about the Yellow Pages ad is understandable. Rick Smith, owner of City DJ of Puyallup, Washington, has had a Yellow Pages ad for just about a year. He has a 2.5" x 2" black and white ad with bold lettering. Rick men tioned that a benefit of his Yellow Pages ad has been that many calls have been for off-peak nights, but also lamented that "every person who has called has been a price shop per." Web sites run a variety of prices, depending on your needs. If you can design the site yourself, you'll save your self some big money. However, if you need the site done for you, it can cost anywhere between $50-$125 per hour, or just a flat rate for the entire site. Once your Web site is ready, your next step will be find ing a host for it. At that point, you have to decide if you want to choose a host who specializes in Web site hosting for DJs, or a generic host that hosts thousands of Web sites for many types of businesses. The main difference between the two is that DJ-specific services usually offer free listings on their Web sites, which can be good promotion for your company, and some even offer tools for your Web site with some of their packages. Hosting from a company not specializing in DJ sites can be as cheap as $5-$10 per month—basically no-frills hosting, usually just including a few e-mail addresses and around 100MB of space. Expect to pay a bit more if you choose a company that specifically hosts DJ Web sites. Although the cost is greater, the return is usually higher, since the listings they typically include help you promote your Web site. Also, the tools they supply you with, if you pay for a package that includes them, can help transform your Web site into an interactive tool for your clients. Host ing through one of these companies averages about $25$30 a month.

And the Winner Is...

While a Yellow Pages shouldn't neces sarily be done away with, moving more towards online marketing can be very beneficial for your company. For a cost similar to that of a Yellow Pages ad (and in some cases, even cheaper), you can have an interactive brochure, in the form of a Web site, for potential clients to visit 24/7/356, from anywhere in the world. What other form of advertising can boast that? It seems that, for now, having a Web site is the clear winner in the battle for the most effective way to spend your advertising dollars, and probably will be for the foreseeable future. •

A New Level of Intelligence DJ Intelligence has come up with a cure for the common Web site. If your Web site is nothing more than a static billboard for your Mobile DJ service, you now have another alternative to help add some attractive functionality. DJ Intelligence, now in version 3.0, offers a line of Web site applications that include over a dozen totally customizable, ^interactive tools that can add on to any site. |P The concept is simple. The interactive tools themContlnued on page 60

1Y/DJ

I Intelligence

DJ Intelligence Is the fastest and simplest way for you to enhance your existing disc jockey website with engaging, interactive content. No programming required.

Add over a dozen dynamic tools to your existing DJ website, including an online music search. No software to download or install. Works with any website, hosted at any ISP. Adds on to your site in seconds. With Version 3.0, you can design, create, and customize your own online event planners, timellnes, surveys, contracts, forms, and more with all of your questions.

november 2003

www.mobilebeat.com

Continued from page 59 selves are hosted on DJ Intelligence's servers. What this means is that there is no programming required, no soft ware to download or install, and no changes necessary to your existing Web site hosting. In fact, the develop ers of DJ Intelligence say that any or all of these tools can be added to any existing site, regardless of where it's hosted, in less than five minutes. The applications let you equip your site to receive inquiries, book events, and provide complete event planning. For example, you can allow your Web site visitors to check your real-time availability for their event dates, and then request additional information. If you'd like, you can also provide them with instant price quotes, dynamically created for their unique entertainment requirements. •ft Once they're ready to reserve your services, other Web tools pro vide your clients with the ability to book their events online and generate customized contracts. They can even make online credit card payments

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towards their deposits or balances. No merchant account is required. The DJ Intelligence tools can actu ally make event planning an enjoyable experience for your clients. They let you design and create your own event plan ning forms and event timelines, which your clients can use to synchronize all the specific details of their special occa sions. All forms are savable for ongoing progress, so your clients can do their planning whenever it is convenient. DJ Intelligence's flagship tool, an online music database, gives your clients

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access to your most upto-date song list and lets them create up to four cus tomized request lists for their events. Once an event is com plete, you may want to ask the client to take a spe cifically designed online customer satisfaction survey. And, using a Web site referral tool, you can generate new leads from ***"' family members, friends, and co-workers of past clients. Transparent Relationship A fair question would be, "If these* are not hosted on my Web site, won't clients know they are leaving to go to a third-party site?" Actually, these tools are completely customizable to match the look and feel of your existing Web site. You have full control over all the cosmetic settings, including fonts, colors, background images, logos, 1 navigation, and much more. There are a number of ways DJ Intelligence can be integrated with your site. When you activate the service, you gain access to an easyto-use Control Panel with extensive customizing and control functions. It includes a Code Builder section where you simply copy and paste the HTML code needed to add the tools to your Web site. Also included in the Control Panel is a Client Sessions area where you can monitor the progress of your clients as they plan their events using your site. The latest version of DJ Intel ligence (3.0) gives you full control over every question that appears on plan ners, timelines, surveys, contracts, forms, and more. In addition, you can create as many planning forms, timelines, and surveys as you wish. This service is priced at $99 per year, which includes the entire suite of tools for your Web site (you only use what you want and need). A risk free trial is available. For more infor mation, go to www.djintelligence.com or contact DJ Intelligence, Inc. at info@djintelligence.com.

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he business of being a DJ is based, in a large part, on per ceptions: what our clients perceive is their reality. What we make them per ceive with our skill in sell ing is what will amount to our reality—in other words, our bottom line. Many DJs have lim ited sales backgrounds. In contrast, some of the best DJs I have been for tunate to train have had sales-related job experi ence. Over the years, I have seen a lot of DJ services that have one or the other—an excellent team of performers and weak salespeople, or tre mendous salespeople but a product that does not live up to the sales pitch. Either one is a recipe for disaster. I

TRAINING PAYS.OFF CLOSING MINUTE

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Turning It Around I responded like she had, gasping and trying to get off the phone. She then tried everything she could to get me to talk to her. I informed her that we were professionals and I thought it would be impossible to find a true professional for that price, especially on that day. She seemed con cerned. "What do you mean?" she asked I changed focus slightly. "Does the DJ have to be good?" I queried. "Because I can get you a body to spin records for $300—of course, with no guarantee—but it'll be in your budget." "Well, of course he does." I wished her luck, pretty confident that for this lastminute, country club affair, budget was not really an issue. I was refusing to allow her to dictate what my ser vices were worth. "By the way," I added, "are you the one choosing the DJ?" "Yeah, that's my job this year." "Well, I'm sure that your co-workers and your boss won't hold it against you if the DJ is horrible, as long as you saved the company a couple bucks, huh?" She began asking a variety of questions, and I kept reminding her that we were more professional than our competition just by my responses. Finally, when I asked her how much she was paying per

Listen and learn as DJ sales pro demysti the challenging sales call

Real-life Lesson The good news is that selling skills can be learned. Important techniques include preparing to handle objec tions before they are spoken, and "owning" the objec tion, since whomever owns the objection has the power. Learning to sell even after the client has said "no" is an excellent goal to shoot for. Consider the following example. During a recent busy holiday season, I received a call from a woman looking for a DJ for December 7th (-ouch-). We had one spot left, which I knew we would sell for top dollar anyway, so I qualified her by asking her the important questions—where, when, how many guests, and how she heard of our service. She answered by telling me it was at a high-class country club, late Saturday evening, with around 100 guests, and that she had seen us per form before. All these things pointed to top dollar. So, surprisingly, when I quoted her our rate, I could tell by her voice that she freaked. She immediately tried to get off the phone. So at this point I had noth-

november

ing to lose. I said, "From the sound of things, that seemed high to you." "Why, yes," she responded. Then I asked, "How much did you have in mind for a professional enter tainer for your event?" She responded, "Three hundred dollars."

2003

VAeavy

The good news: se///ng skills can be learned plate at the event for the food and the bar, she real ized how inexpensive we were, after all. Sales Stamina for the Long Run In the end, I closed the deal for our regular rate (signifi cantly higher than $300). Yes, it was a lot of work, and I probably could have sold it more easily to someone else, but I wanted to prove that learning to sell—taking seminars and practicing until you excel—will lead to continued company growth. In other words, on a slow day, when I really need that job to come in at top dollar, I know I can get it. • Robb Smith is the founder of the Florida Academy of Mobile Enter tainment (FAME), a DJ school based in Pinellas Park, Florida. Go to www.famedjschool.com for more information, or contact Robb directly at djrobbsmith@aol.com.

It may seem obvious to many, but I have to men tion it anyway. I got the job described in this article due to one seemingly small, yet big factor: / answered my phone when it rang. It sounds simple, but a recent survey found that less than 40% of DJ companies actually have live people answering their phones during normal business hours. Very few service industries I know of can "boast" that kind of sobering statistic. Are you a part-time DJ who wants the fulltime money? If you are returning answering machine messages, remember this: if a poten tial client leaves a message, then that client's standards are not as high as those of one who expects a professional to be there to answer questions immediately. Don't quote them too high, because they are probably waiting for some other return phone calls from some other DJs who will, more than likely, undercut you and get the job. Seriously, though, if you want your clients to spend more money, then why won't you?

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REMIX RSPORT

RJ Dave

Kreiner

etting the party under way is the latest fromi ULTIMIX99. First up L

mnberlake.

(using the long version, at 6 minutes) will make the song a joy to play. For^te H|p!pe crowd, there is Rock Your Body (Part 2)" at a speedy 128 BPM. It's based on the Sander K treatment and features a late-night house vibe with killer breakbeats! T.A.T.U. follows with a pop houser that fuses the Calle and Bruno mixes of "Not Gonna Get Us" (130 BPM). Personally, I can't take any more T.A.T.U.! Whitney Houston's latest club hit is "Love That Man" at 128 BPM, using the Peter Rauhofer mixes. This non-radio song will only work in late-night sets. The best mix in this collection is 30 Dirty Junkies with "People Are People" (DJ Volume Remix). This classic Depeche Mode song from the '80s gets a kickin' 135BPM reworking from Peter Lorimer. Jennifer Lopez is available here in two flavors with "I'm Glad" at a hip-hoppish 94BPM for Part 1 and a killer housed-up Part 2 at 125 BPM. The faster version is much more fun to program. Avril Lavigne gets a nice remix here with her fourth radio hit, "Losing Grip" (90 BPM). It's always nice to get a rock remix. Perpetuous Dreamer (a.k.a. Armin Van Buren) has a killer trance track called DUST.WAV at 136 BPM. This mostly instrumental song has a nice long intro and some sweet female vocals halfway through. It's great for late sets. Ricky Martin and Loleatta Holloway remake the Dan Hartman classic "Relight My Fire" (128 BPM). Closing out the set is Good Charlotte with "The Anthem" at 89 BPM. This one speeds up after the first chorus to 180 BPM. Again, it is great to get remixed rock songs to challenge your dance floor.

The latest on the hip-hop tip is STREET TRACKS 70. This set has one of the best track listings in recent memory. It starts off with Chingy and the mega-huge radio hit "Right Thurr" at 93 BPM. This is the best remix I've heard of this huge hit! 50 Cent has another large hit with "21 Questions" (93 BPM). This one stays close to the radio version with nice long intro and outro beats. Another must-have mix. Black Eyed Peas gets a nice smoothed out R&B mix on "Where Is the Love?" (94 BPM). The best remix on the set is Pan'Jabi MC (featuring Jay-Z) with "Beware the Boys" (98 BPM), featuring a killer treatment from DJ Keoni Wood. Some fun samples start off Jay-Z's "La La La (Excuse Me Again)," at 99 BPM. You'll have lots of fun programming this hit song. Closing out the set is "Baby You Can Do It" (100 BPM) by rapper Baby, with guest vocalist Toni Braxton. She sings the chorus from the classic SOS disco hit "Take Your Time," giving the mix a fun retro feeling.

"Where Is the Love" at 94 BPM. This smoothed-out R&B track is a great set starter and brings a very positive vibe. Da Brat gets a killer remix from DJ 2nd Nature on the gem "In Love Wit Chu" (95 BPM). This song will work as a great set starter. Next up is UK import Pan'Jabi MC (featuring Jay-Z) with "Beware the Boys" at 98 BPM. This Bahngrainfused hip-hopper produces a very usable mix. The 50 Cent song "21 Questions" gets a response here from Lil Mo with "21 Answers" at 93 BPM. A little dancehall flavor comes from Lumidee with "Never Leave" at 100 BPM. He follows in the steps of Sean Paul and other huge dancehall artists with another killer remix from Stacy Mier. "Back in the Day" (101 BPM) by Missy Elliot (featuring Jay-Z ) gets a sweet, super-fun old school remix from the Roberts/Mier remix team. Closing out the set is David Banner with "Like A Pimp" at 72 BPM. A killer drum track really drives this hip-hop hit.

For more hip-hop check out FUNKYMIX70. It kicks off with the biggest hip-hop/R&B song of the summer, "Crazy In Love" by Beyonce, featuring Jay-Z (99 BPM). Jay-Z lays down some of his trademark rhymes and makes this a must-have mix. Next is Dirrty South, along with Lil Jon and Eastside Boyz (featuring the Ying Yang Twins) on "Get Low" (101 BPM). This clean version is the best remix of this song. Black Eyed Peas gets a little help from Justin Timberlake on

HOT TRACKS 22.3 hits full-force with some powerful club and house remixes. Starting off is Russian duo T.A.T.U. with "Not Gonna Get Us" in two parts, at 130 BPM each. Part 1 is just like the club version, but Part 2 gets a freestyle drum beat and tasty samples. Next up is hippy songstress Jewel with her first dance hit "Intuition" at 100 BPM. It's a good set starter with a decent remix. Rockers Sugar Ray are back with "Mr. Bartender" at 124 BPM. As always, it's

www.mobilebeat.com

november 2003

REMIX REPORT so great to get rock hits with dance remixes. The use of the chorus from the Dazz Band classic "No Parking on the Dancefloor" makes this another must-have remix. Next up is a happy house track from Frankie J. called "Don't Wanna Try" (130 BPM). This remix will work with all late-night sets. Popular club vocalist Laura Pausini follows with "If That's Love" at a very danceable 130 BPM. This trance-infused remix will keep your dancers sweating. Finishing up the set

is a reworking of the Alison Limerick classic club hit "Where Love Lives 2003" at a blazing 143 BPM. This is a tough one to program, but your crowd will recognize the song and hit the dance floor. â&#x20AC;¢ All the remixes reviewed in Remix Report are available from The Source at 800-775-3472. Surf/shop at www.thesourceformusic.com.

ULTIMIX 99

ROCK YOUR BODY (PART 1) ROCK YOUR BODY (PART 2)

JUSTIN TIMBERLAKE

I'M GLAD (PART 1)_______

JENNIFER LOPEZ

I'M GLAD (PART 2)

JENNIFER LOPEZ

JUSTIN TIMBERLAKE

LOSING GRIP

AVRIL LAVIGNE

LOVE THAT MAN

WHITNEY HOUSTON

NOT GONNA GET US PEOPLE ARE PEOPLE

30 DIRTY JUNKIES

(DJ VOLUME REMIX) RELIGHT MY FIRE

RICKY MARTIN/LOLEATTAI

DUST.WAV

PERPETUOUS DREAMER ^

THE ANTHEM (CD Bonus)

GOOD CHARLOTTE

STREET TRACKS 70

HOT TRACKS 22.3 PffdSI?

TAIM, TAtM,

november 2003

www.mobilebeat.com

________PSWCDT________ Special songs and sage advice for milestone occasions

(-ELCMflTlHC

Jay

Maxwell

hoosing the perfect gift for someone is never an easy task. I love Christmas, birthdays and spe cial anniversaries; but as each special occasion rolls around, I always end up contemplating at great length what to get for that special someone. This is especially true when deciding what to buy for my wife. I always want to get her a treasure that she will remember forever. When it's a milestone anniversary or birthday, the challenge becomes even greater. Priceless Gift

Before you e-mail me to tell me to just buy my wife some diamonds and my dilemma will be solved, let me talk about the "gift" that all of us give as we perform each weekend. It may seem strange that I would use the term "gift" when referring to playing music at an event. After all, a gift is freely given with nothing expected in return. As professionals, we are hopefully earning a decent fee for our services. However, my viewpoint is that while I am a professional performer with three decades of mobile experience, the gift I give to my clients and their guests is an unforgettable memory. It would be ludicrous to have a line on your price list that read, "in addition to performance time, we charge an addi tional fee for songs that will result in everyone having the time of their life." Of course when a client hires a professional disc jockey company, it is with the expectation that requests will be played and that the music will be appropriate for the event. This sounds like a no-brainer, but too often I've heard a different tale: one where the DJ disregarded the request list and played inappropriate music. The DJ performed and was paid, but did not fulfill his or her solemn responsibility to deliver the gift of a priceless memory.

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. *j»,«Sf?S5

EGSMt

Parties of Importance

While wedding receptions probably come to mind first when it comes to lasting memories, equally important are events for those who have reached a very mature stage of life such as a milestone birthday or anniversary. These parties usually blend a family reunion with celebration of the particular occasion. A little bit of planning and foresight on the DJ's part can go a long way toward ensuring the success of the event. Always discuss the party timeline with the person planning the event-especially what type of music is to be played at each stage. Whether it's a birthday party or an anniversary, there are some essential elements that you should know beforehand. Is it a drop-in or sit-down func tion? Is a meal going to be served? Is it formal or informal-what dress is expected? And of course, identify any special songs that are requested by the guest or guests of honor. Basically, the event should be treated like a wedding reception. A consultation would be a great way to get all the questions answered before the date of the party. Levels Tailored for Talking

The best advice that I have learned over the years concerns the volume of the music. Especially in the beginning, you can't have the volume low enough. Always start on the absolute lowest volume possible. Seriously-one time I only had the music coming out of the headphones, with the speakers not turned on yet, and someone

came up and asked me to turn the music down because they were trying to talk. This was an extreme case, but it stands to reason that as guests are arriving, the guest of honor will primarily want to greet and talk with them-and the music should not interfere. The music should also be at a low volume during dinner. The first lime that the volume should be slightly higher is during the first special dance for the evening. Unless requested by the client or guest of honor, the music should be kept at a comfortable level, one where everyone can still hold a normal conversation, at all times. Memories Are Made of This

I always feel honored when I see someone taking pictures of people while they are dancing at a milestone event. I envision the pictures going into a scrapbook with captions like "Grandma and Granddaddy had a fantastic time dancing at their 60th anniversary party. What a wonderful memory." Each picture serves as lasting proof that everyone had a great time. People danced! The best part of all is that our profession allows us regular opportunities to make it happen. The gift that we impart is play ing the tunes to make the occasion special. It's up to us to decide: will we be giving them a cubic zirconium or a real diamond? Play ing the songs listed in this issue's Big Band and Vocalists song lists, along with party standards, will guarantee a wonderful memory for a golden anniversary party or a birthday party for someone in their later years. After all, people expect and deserve a diamond when they hire a professional disc jockey for their milestone celebration.*

november 2003

www.mobilebeat.com

ARTIST

THROUGH THE YEARS

KENNY ROGERS

COULD 1 HAVE THIS DANCE

ANNE MURRAY

CRAZY

PATSY CLINE

WHAT A WONDERFUL WORLD

LOUIS ARMSTRONG

UNFORGETTABLE

NAT KING COLE

CAN'T HELP FALLING IN LOVE

ELVIS PRESLEY

WHEN A MAN LOVES A WOMAN

PERCY SLEDGE

UNCHAINED MELODY

RIGHTEOUS BROTHERS

FLY ME TO THE MOON

FRANK SINATRA

WIND BENEATH MY WINGS

BETTE MIDLER

THE VERY THOUGHT OF YOU

NAT KING COLE

THE GREAT PRETENDER

PLATTERS

MY WAY

FRANK SINATRA

LOVE ME TENDER

ELVIS PRESLEY

LUCK BE A LADY

FRANK SINATRA

IN THE STILL OF THE NIGHT

FIVE SATINS

1 ONLY HAVE EYES FOR YOU

FLAMINGOS

ONLY YOU

PLATTERS

rmcn

www.mobilebeat.com

MOON RIVER

ANDY WILLIAMS

EARTH ANGEL

PENGUINS

ARE YOU LONESOME TONIGHT

ELVIS PRESLEY

SMOKE GETS IN YOUR EYES

PLATTERS

1 LEFT MY HEART IN SAN FRANCISCO

TONYBENNETT

TENNESSEE WALTZ

PATTI PAGE

THAT'S AMORE

DEAN MARTIN

YOU SEND ME

SAM COOKE

STRANGERS IN THE NIGHT

FRANK SINATRA

GEORGIA ON MY MIND

RAY CHARLES

MACK THE KNIFE

BOBBY DARIN

ALL 1 HAVE TO DO IS DREAM

EVERLY BROTHERS

BEYOND THE SEA

BOBBY DARIN

CHANCES ARE

JOHNNY MATHIS

MYKINDATOWN

FRANK SINATRA

I'VE GOT YOU UNDER MY SKIN

FRANK SINATRA

SOUL AND INSPIRATION

RIGHTEOUS BROTHERS

GOODNIGHT SWEETHEART

SPANIELS

SUMMER WIND

FRANK SINATRA

COME RAIN OR COME SHINE

BILLIE HOLIDAY

AS TIME GOES BY

JOHNNY MATHIS

ANDY WILLIAMS

MEMORIES

ELVIS PRESLEY

MISTY

JOHNNY MATHIS

WHAT A DIFF'RENCE A DAY MAKES

DINAH WASHINGTON

FOR SENTIMENTAL REASONS

NAT KING COLE

THEME FROM A SUMMER PLACE

PERCY FAITH

BECAUSE OF YOU

TONYBENNETT

BLUE VELVET

BOBBY VINTON

YOUNG AT HEART

FRANK SINATRA

SWEET DREAMS

PATSY CLINE

ANNIVERSARY WALTZ

EDDIE HOWARD

november

2003

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've been asked, "With the huge amounts of music available and more constantly being released, you just can't buy every release—so how do you know what to buy?" Well, for one thing, the previously huge number of new releases has shrunk, due to unauthor ized copying. Rampant copying has had a really negative affect on the quantity and quality of new collec tions. On the other hand, there are many good compilations coming from the major record labels. With their deep pockets, major labels are better positioned to snatch up and promote the most popular artists. Various artist collections from the majors are usually good buys—if the companies don't already own the biggest acts and hits, they can afford to buy them for inclusion in compilations.

create hit-making music in r I was on. Guy groups and girl groups competed for music's top spotlight, tickling America's ears with hit after hit featuring upbeat, catchy melodies. Just as Sun Records gave life to rock 'n' roll by way of Elvis, and later Motown built a musical dynasty, so too, from the late fifties to 1970, the Brill Building in New York City was known as a place where musical history was made. It housed a "song factory" where Don Kirshner shepherded numerous writing and performing talents toward success. The four-CD set THE BRILL BUILDING SOUND is an excel lent collection of hits by these stars, and a testament to the awesome talent of the singers and songwriters who worked in the Brill Building.

WHO'S fat the

HITS

In the early sixties, rhythm & blues, pop and doo-wop were merging and forming a new energy: the race to

Splish Splash

BOBBY DARIN

Patches

Dream Lover

BOBBY DARIN

My Dad

PAUL PETERSON

Stupid Cupid

CONNIE FRANCIS

Her Royal Majesty

JAMES DARREN

Oh! Carol

NEILSEDAKA

Rumors

JOHNNY CRAWFORD

Stairway To Heaven

NEILSEDAKA

It Hurts To Be In Love

GENE PITNEY

Breaking Up Is Hard To Do

NEILSEDAKA

The Kind Of Boy You Can't Forget

THE RAINDROPS

Where The Boys Are

CONNIE FRANCIS

DoWahDiddyDiddy

MANFRED MANN

Calender Girl

NEILSEDAKA

When The Boys Happy (The Girls Happy Too) THE FOUR PENNIES

Everybody's Somebody's Fool

CONNIE FRANCIS

It Might As Well Rain Until September

Happy Birthday, Sweet Sixteen

NEILSEDAKA

The Loco-Motion

LITTLE EVA

WhoPutTheBomp

BARRY MANN

Chains

THE COOKIES

DICKIE LEE

CAROLEKING

Hushabye

THE MYSTICS

Keep Your Hands Off My Baby

LITTLE EVA

A Teenager In Love

DION&THEBELMONTS

Don't Say Nothing Bad ('Bout My Baby)

THE COOKIES

Turn Me Loose

FABIAN

I'm Into Something Good

EARL JEAN

1 Love How You Love Me

THE PARIS SISTERS

Johnny Loves Me

SHELLY FABARES

Halfway to Paradise

TONYORLANDO

My One And Only Jimmy Boy

GIRLFRIENDS

Take Good Care Of My Baby

BOBBY VEE

He Don't Love Me

SHELLY FABARES

Run To Him

BOBBY VEE

Please Don't Wake Me

THECINDERELLAS

Bless You

TONYORLANDO

1 Never Dreamed

THE COOKIES

Will You Love Me Tomorrow

THESHIRELLES

One Rne Day

THE CHIFFONS

Spanish Harlem

BEN EKING

Needles And Pins

JACKIE DESHANNON

Stand By Me

BEN EKING

Chico'sGirl

THE GIRLS

On Broadway

THE DRIFTERS

Hanky Panky

TOMMY JAMES &SHONDELLS

Up On The Roof

THE DRIFTERS

Chapel Of Love

THE DIXIE CUPS

Only In America

JAY & THE AMERICANS

1 Wanna Love Him So Bad

THE JELLY BEANS

Every Breath 1 Take

GENE PITNEY

(Wonder

THE BUTTERFLY'S

What's A Matter Baby (Is It Hurting You)

TIMIYURO

Maybe 1 Know

LESLEY GORE

Foolish Little Girl

THESHIRELLES

Yes 1 Will (I'll Be True Too You)

THE HOLLIES THE TOKENS

Don't Ever Change

THE CRICKETS

He's In Town

Cryin' In The Rain

THE EVERLY BROTHERS

I'm Gonna Be Strong

GENE PITNEY

1 Can't Stay Mad At You

SKEETER DAVIS

Magic Town

THE VOGUES

Hey Girl

FREDDIE SCOn

You Baby

LINDA SCOTT

Oh No Not My Baby

MAXINE BROWN

www.mobilebeat.com

november 2003

and more...

It is said that since the cells in our bodies are continually dying and reproducing themselves, the bodies we're presently in are not actually the same bodies we were in last year or even last week. Music is also constantly evolving, even while it appears the same. It's good to know that even after all our cells have been replaced we can still look in the mirror and recognize ourselves looking back. Likewise, it's nice to hear favorite songs that we recognize. The following LINE DANCE CD is a collection of top country dance hits that are proven crowd-pleasers. Other Side Of The Hill

SUZYBOGGUSS

Meanwhile Back At Hie Ranch

ASLEEP AT THE WHEEL MATRACABERG

Baby Walk On HonkyTonk World

CHRIS LEBOUX VINCEGILL LARI WHITE

The Radio Wild At Heart Rnd Out What's Happening

TANYA TUCKER RICKYLYNNGREGG

Sweet Little Country Girl I'm Pretending

CHARLIE DANIELS GEORGE BUCAS

More Than Just A Little

JOHN BERRY EARL THOMAS CONLEY

Somewhere Between Right & Wrong Walkin' After Midnight Long As I Got You

THE OAK RIDGE BOYS EMILO

Dream You I'm A Survivor

PIRATES OF THE MISSISSIPPI LACYJ.DAUON

Home On The Range

HIGHWAY 101

Now featuring Word Automation allowing you to Customize your Contracts! The ultimate software for keeping track of your professional DJ business by offering policy, service, talent and customer tracking as well as many more valuable features! BUY ONLINE OR DOWNLOAD A FREE TRIAL VERSION TODAY!

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Professional Benefits for Professional Entertainers / Liability, Property & Casualty & Health Insurance / Full Time Staff, Service & Benefits / Merchant Card Services </ Music & Equipment Discounts / Bi-Monthly Magazine / Emergency 24/7 Hotline Number ... and so much more! visit our website www.djkj.com november

2003

www.mobilebeat.com

Here's a compilation that's perfect for metal music maniacs. WELCOME TO PLANET ROCK hits home with respectable rock and edgy metal masters sure to shake the house big time. It features rockers from way back in the day and rockers still hot and headlin ing today. You probably won't play these two CDs at a wedding reception, but for the metal maniacs in every crowd—It's rumored that clubbers and even some disco lovers are actually closet rockers—it's got plenty to please.

The #1 Guide

or profit minded DJs and Entertainment Services Spinnin' 2000 explains in detail" •PRO SOUND AND LIGHTING EQUIPMENT •MIXING TECHNIQUES •ASSEMBLING A SOUND SYSTEM AND MUSIC LIBRARY •PERFORMING AT WEDDINGS AND OTHER FUNCTIONS •MANAGING A DJ SERVICE •TRAINING DJS • CONTRACTS •ADVERTISING YOUR SERVICE • GETTING JOBS •AND MUCH MORE!

For Visa/Mastercard orders

MAKE MORE MONEY & HAVE MORE FUN! Second Annual

2003 Midwest Disc Jockey Convention Mystic Lake Casino & Hotel, Prior Lake, MN

(25 minutes from the Mall of America)

I November 10,11 Monday/Tuesday Seminars Exhibit Hall Prizes!!

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Word Up

GUN

From Out Of Nowhere

FAITH NO MORE

Bring The Noise

ANTHRAX & PUBLIC ENEMY

Detroit Rock City

KISS

Living After Midnight

JUDAS PRIEST

Overkill (Live)

MOTORHEAD

Number Of The Beast

IRON MAIDEN

Lights Out (Live)

UFO

War Pigs

BLACK SABBATH

Mouth For War

PANTERA

Old

MACHINE HEAD

Jesus Built My Hotrod

MINISTRY

Higher Ground

RED HOT CHILI PEPPERS

Naked

REEF

Goldfinger

ASH

No Front (Jam Master Jay Remix)

DOG EAT DOG

Sick Of Drugs

THEWILDHEARTS

Perseverance

TERRORVISION

Hello

BABY CHAOS

How Lucky You Are

SKIN

Weak

SKUNK ANANSIE

Siiperfire

GIRLS AGAINST BOYS

Sunday:

Monday:

Tuesday:

The Last Time

8:00 p.m.

Grand Prizes 6:45 p.m.

Self - Bias Resistor

FEAR FACTORY

Here We Go

SHELTER

Welcome Party Schtick Night Featured Presenters:

Randy Bartlett • Todd Mitchem • Bill Hermann Peter Merry • Mike Walters • Bruce Keslar Mike Max * Scott Faver»Carr Hagerman * Ryan Burger For more info & Midwest show pass order forms: Association Of http://www.mapdj.org Professional General Info: 320-285-5263 Disc Exhibit Info: 651-455-7244 email: convention@mapdj.org Jockeys Education • Networking • Support 72

Keep The Faith Nowhere

www.mobilebeat.com

november 2003

PARADISE LOST

Roots Bloody Roots

SEPULTURA

So Far So Good So What

CIV

My Girlfriend's Girl

TYPED NEGATIVE

Born In '69

ROCKET FROM THE CRYPT

Firestarter

THE PRODIGY

I Wanna Go Where The People Go

THEWILDHEARTS

Crazy Train

OZZYOSBOURNE

Welcome To The Jungle

GUNS 'N' ROSES

Stupid Girt

GARBAGE

Clown

KORN

Heroin Girl

EVERCLEAR

indicate how many tapes of each selection you are purchasing in the space provided. BAR MITZVAHS 1. _ The Mitzvah Connection 2. _ A-B-Cs for the Bar Mitzvah DJ 3. _ Bar & Bat Mitzvahs

THE BASICS 4._DJ 101: Parti 5. _DJ 101: Part 2 6. _ Ten Steps: Starting & Operating a Successful DJ Service 70. _ Raising the Standards

DANCE AND DANCES

27. _ Single Operator Forum 28. _ Single for Life: The One Person Operation 29. _ Single Operators: How to Survive Large Companies 30. _ Multi-systems: Options & Ideas 31. _ Working With the Competition 32. _ Beating Burnout 33. _ Organization 73. _ Hidden Secrets of Business (2 tapes for the price of1!) 74. _ The Biz: From Little Extras to Crisis Management 75. _ DJ Problems: What Would You Do? 76. _ Difficult Sales: Get the Edge

7. _ School Dances MARKETING 8. _ Kids From 2 to 22: Parties, Dances, Special Events 34. _ McKay's Marketing Megamix 9. _ School Daze Dances 35. _ Buzzwords: Corporate Proposals 10. _ Dance For DJs: From A to Z 36. _ Newsletters, Printed Materials, Keeping in Touch 11. _ The Video Dance Party 37. _ Bookings Through Agencies & Party Planners 12. _ More Than the Macarena: Latin Music

PERFORMANCE 13. _ Mobile Mixing: Yes You Can! 14. _ More Mobile Mixing 71._ Music Programming

WEDDINGS 15. _ Finding the Bride 16. _ Wedding Performances: The Finishing Touch 17. _ Wedding Receptions: Control! 18. _ Wedding DJ Supersession 72. _ Weddings: The Right Stuff

BUSINESS OPERATIONS 19. 20. 21. 22. 23. 24. 25. 26.

_ Getting Your Price: Part 1 _ Getting Your Price: Part 2 _ Increasing Your Profits _ Increasing Your Profits, Part II _ Developing Your Entertainment Team _ 99 Ideas for '99 _ Problem Solving Forum _ How to Expand Your Mobile DJ Operation

INTERACTIVE GAMES

40. _ It's More Than the Music: Magic & More 41. _ Beyond DJ: Props & More 78. _ Games: Not Just For Kids Anymore

LEGAL/TAX 42. _ Taxes & Bookkeeping for DJs 43. _ Legal Contracts, Contractors & the Competition 44. _ Legal & Business: BASIC 45. _ Legal & Business: ADVANCED 46. _The 1099 Subcontractor 47. _ Payroll & Taxes 48. _ Legal Warfare: Boot Camp For DJs 79. _ From Copyrights to Contracts 80. _ Legal Nuts & Bolts

TECH 49. _ Tech Support: The Speaker FAQs 50. _ Understanding Your Sound System

51. _ Audio Troubleshooting 52. _ The WOW Factor: High-End Toys 53. _ Tech Tips & System Design 54. _ Tech Talk: Bi-amping, Tri-amping 55. _ Lighting & Special Effects For the 21 st Century 56. _ Lighting From A to Z 57. _ Robotic Lighting, Design, Dichroic Colors 58. _ Soundcheck: Can You Hear the Difference? 81. _ Understanding Your Sound System, Part 2 82. _ Beyond the CD: The Future is Now 83. _ MP3 & New Technology 84. _ Hands-On Tech Workshop

KARAOKE 59. _ Karaoke Koncerns: Part 1 60. _ Karaoke Koncerns: Part 2 61. _ Karaoke: Alive & Growing 62. _ Target Marketing For Karaoke 85. _ Adding Karaoke as a Profit Center 86. _ Karaoke Promotions

SPECIAL INTERESTS 63. _ Making Money With Trivia, Nostalgia & Reunions 64. _ The Over 40 DJ: In For the Long Haul 65. _ Women in the DJ Industry 66. _ The Mobile DJ & Music Promotion 67. _ Video: All Aspects 68. _ DJ Association Forum 69. _ Be All That You Can Be 87. _ Club DJs: Tips & Topics 88. _ Latin Music: The Market & The Mix 89. _ Country DJ Round-Up PRICE PER TAPE: 1-5 $8 6-20 $7 21 - 40 $6 over 41 $5

ea. ea. ea. ea.

# of tapes.

add ($ 3 s/h ) to total ( $ 5 s/h } ( $ 8 s/h ) ($10 s/h)

x$_

price ol tape

Please add S& H* NAME

Total amount due

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Please fill in the required information and mail this form, with payment, to: Mobile Beat Magazine PO Box 309 â&#x20AC;¢ E. Rochester, NY 14445-0309 or for credit card orders only, call (585) 385-9920 or fax this form: (585) 385-3637 or order online: www.mobilebeat.com Make checks or money orders payable to Mobile Beat Magazine PAYABLE IN US FUNDS ONLY

november 2003

www.mobilebeat.com

SINGALONG ESSENTIALS

Karaoke: The

Greg

A sobering exhortation to take the singing seriously

Tutwiler

araoke is a strange business isn't it? If you can stomach the roller coaster ride, you can actually make decent money at it. But the bottom line is really how you perceive yourself, not what everyone else thinks. How do you fit into the karaoke world? My California karaoke connection, thirty-seven-year entertainment veteran Michael Valentino, shared some similar thoughts with me recently: "Lately, as the karaoke moderator on USODJA.com, I have noticed a reluc tance on the part of KJs to discuss karaoke as a viable industry. It made me ask the question, not only of myself but of our busi nesses, are we being all that we can be?" M!chael Valent!no Too Legit to Quit

As KJs, we serve as an integral part of the entertainment industry. "Karaoke is a viable form of entertainment that gives the average person a fun way of fulfilling their aspira tions and dreams, even though they know in their hearts that it's only for that moment on stage," explains Valentino. "We offer singers a chance to hone their skills without having to hire musicians to rehearse or prepare for auditions, and give the public a look into the future of singers as a whole." Walking the Dinosaur

Like anything else, karaoke is a changing entity. In the beginning (early '80s), karaoke laser discs were priced at $150 a piece and players were in the $800 range. Today you can buy karaoke machines for $50 and discs for $4. But just because the cost to enter the business and main-

www.mobilebeat.com

tain a library has decreased, that doesn't mean we should decrease what we charge for what we do. I can tell you from experience, working for less than what you know you're worth is self-defeating. Typically, a three- to four-hour show pays $200 to $250, on average. If you're not somewhere in that range, you're definitely underpaid. And I know what you may be thinking— "The clubs just don't pay that around here." That's because someone, or several someones, don't understand the value of what they offer. Valentino puts it this way: "When we set up our equipment and do our advertising, create our shows and build up ourfollowings, do we really 'think' this is going to grow our business? Or do we have just a quick buck in mind, and then off to the next $75 gig..." Running the Numbers

Here's a little math lesson. A forty-hour workweek at minimum wage will net you about $200 a week, or around $11,000 a year. Granted, that's not much money, but a lot of people are working for that sum. Now, if you're charging $75 a night and working four nights a week, that's roughly $300 a week gross, or $15,600 a year. That's better. But, if you're charging $250 a night three times a week, you're gross ing $750 a week, or $39K a year. Most college grads don't start out at that level. Plus, you can feel good about the fact you're being paid what you're worth. Granted, the service you offer must reflect the value you place on it. If you're not offering a truly professional performance, you shouldn't be in business.

november 2003

SINGALOMG ESSENTIALS But Seriously, Folks... "With over 100,000 shows across the USA and Canada alone monthly, generating an estimated 240 million in income annually, we are a financial and professional force to be reckÂ oned with in the entertainment industry," asserts Valentine. It's time to take it seriously and be taken seriously. But it's all up to us as KJs. We are only perceived as valuable professionals if we represent ourselves that way. Valentino asks, "Are we just a shameless form of comedy for our audiences, or do we have legitimate entertainment staying power? Are we, as some state, the underling and disgrace of the entertainment industry, or a business and industry to be reckoned with? Do we have a legitimate reason to keep karaÂ oke alive in the field of entertainment, or as some commerÂ cials on TV say, are we just a 'cult?' Do we have any pride in this business we do each night, or are we just a colossal joke?" How does Valentino answer his own straightforward questions? "I think we have a lot more power than even we give ourselves credit for. I hope we do, or we will become obsolete before we can call up our next singer."*

Just because the COSt to enter the business and maintain a library has decreased, that doesn't mean we

should decrease what we charge for what we do.

Greg Tutwiler is the managing editor of Singer Magazine. Contact him atgreg@singermagazine.com.

november 2003

www.mobilebeat.com

February 17, 18, 19

Itfs more than just a DJSnow, it's an

At the Tropicana Hotel f\ •VfStl

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4 WAYS TO REGISTER ^ Online iviviv.mo6ilebeaf.com ^ Telephone 585-385-9920 W-F 9am-5Pm ET> Mail • Mobile Beat Magazine - P.O. Box 309, E.Rochester, NY 14445

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v V [call far specs). All digital ad cofljjpg)pyment-in-full for issue #84 must be received by 5eptemGWfg. gDO3. Far mare information, or to place your ad with Visa, Discover, AmEx or ^Mastercard, call 354-373-3555. Ad design is aval' ' ' licall for rates. ;

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The Most Comprehensive Supplier of State-of-the-Art Equipment Lighting and Special Effects.

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november 2003

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EXTRAORDINARY EVENTS

If the Shoe Fits... You are not going to believe this. Following a Saturday night wedding reception at an out door venue 15 miles south of my home, I changed from my tuxedo to my work clothes while standing outside the driver's-side door of my pickup. I took off my dress shoes and placed them on the truck's small ledge, next to the gas tank. I forgot they were there and drove home. The next morning, I found one of the shoes still sitting on the ledge of the pickup. The other had fallen off. Can you believe that the remaining shoe made it all the way back to Modesto from Turlock (California) without falling off? It defies logic, or gravity, or some other rule of nature! I made several turns and stops and was traveling 65 mph on the freeway. And the bottoms of these shoes are slick and hard. Go figure. I assumed that the missing shoe had to have fallen quickly—most likely in the parking lot at the venue. I went back Sunday morning and checked with the people there and they had not seen it. I then started back for Modesto, following the same route I took the night before. About 200 yards from the venue, along a main thoroughfare, I found

the missing shoe near the left shoulder of the road. It was damaged beyond repair, apparently having been run over by another vehicle. Incidentally, I did not find the sock that was tucked into the missing shoe, but the other sock was still inside the miracle shoe.* Bob Sterling Modesto, CA

ULTIMATE MUSIC GUIDE

Play Something We Can Dance To Since 1982, Mobile Beat's Musicologist Jay Maxwell has tracked audience response to thousands of songs.This book lists over 1,500 of the most requested songs of all-time. Each listing includes the title, artist, year released and the BPM (where applicable). Plus, for your convenience, the entire list is sorted five ways: alphabetically by title and artist, category, BPM count and year!

Categories include: Alternative/Modern Rock Big Band Disco 1970-79

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ATTENTION DJs!

november

Le-Mini mounted on CD case

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Toll Free: 800-537-3491 • Fax: 412-344-0818 2003

For over 30 years. Peavey Electronics ; has been designing and manufacturing professional audio products for DJ's throughout the world. Our in-house engineering staff has developed more than 130 patents in music technology related products that have all had a profound impact on how we listen to music today. The common goal has always been to provide products that feature un-compromised performance, reliability and value. It is with this in mind that we introduce PVDJ. Intuitive products designed in the Peavey tradition, that allow your musical creativity to flow freely. With mixers, signal processors, amplifiers, midi products and speakers. PVDJ is committed to keeping the DJ on the cutting edge of music technology. Visit www.pvdj.com and see why. once again, we are DEFINING MUSICAL DIRECTION.

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CHECK OUT VIDEO FOOTAGE OF THE MISTER KOOL EFFECT IN ACTION f ONLINE AT: J WWW.AMERICANDJ.COM

1 Just add regular water based fog juice and ice cubes'.

introducingMister Kool is a revolution in affordable low-lying fog machines! Now there is no longer any need for expensive fog chillers, bulky air conditioning units or dry ice to create the "hanging fog effect" Mister Kool uses standard fog fluid and ice cubes to create its' low-lying fog. Just fill the fog fluid container and drop up to 4 pounds of ice in the chiller box and start pumping out chilled, low-lying fog; the perfect, * reliable fogger attractively priced for Halloween parties and -f_: "spook houses','theatrical events, nightclubs and the mobile OJ.

MISTER KOOL Far An „„„ mazing,

• Low-lying fog stays low to the groundsimilar to a dry ice effect • Uses standard fog juice and ice cubes*** • Includes timer remote with On/Off switch • 1/2 liter external fog fluid container Contact us today for a free color catalog with all the newest American DJ products or for an authorized dealer in your area! info@americandj.com "2003 American DJ9 Los Angeles, CA 9005S USA, Specifications subject to change without notice. 'Pricing in U.S. Dollars, Dealer price may vary. **Water drainage system included. **Fog juice & ice cubes sold separately. ?uted in Canada by Sounds Distribution: o: 800-26-SOUND, Local: 416-299-0665, E-rna:!: sales@soundsdist.com

Load up to 4 pounds of ice in the chiller box

Water drainage valve system allows for easy clean-up**