For Your Crowds Lighting and More Qsc

#208 JULY MOBILEBEAT.COM 2019 EYE FOR YOUR CROWDS LIGHTING AND MORE QSC...... www.qsc.com QSC...... www.qsc.com Mixware www.mixware.net EYE CANDY FOR YOUR CROWDS

PLAYLIST

A DIFFERENT BEAT ��6

By Stu Chisholm

EYE CANDY �� 8

By Geoff Short, Global Brand Manager, CHAUVET DJ

INSIDE THE INDUSTRY �� 12

By Kevin Freese

INSIDE THE INDUSTRY �� 18 ADVERTISERS By Kevin Freese Audio-Technica www.audio-technica.com 9 MUSIC NEWS ��20 Denon DJ www.denondj.com 5 By Mike Cordeiro DJ Trivia www.djtrivia.com 27 iDJPool www.idjpool.com 7 MOBILE MATTERS ��24 Innovative LED www.innovativeledsales.com 17 By Matt Martindale Mixware www.mixware.net 3 Mobile Beat Las Vegas www.mobilebeatlasvegas.com 28 BRILLIANT DEDUCTIONS ��26 PCDJ www.pcdj.com 11 By Mark E. Battersby Play Something We Can www.mobilebeat.com/store 26 Dance To! QSC www.qsc.com 2 Wedding Word Search Call 970-302-0747 26

Publisher Editor-in-Chief Events Director Emeritus Ryan Burger Dan Walsh Michael Buonaccorso Mobile Beat Editorial Assistant / Events Director Writer Jake Feldman Rebecca Burger

TO ADVERTISE IN MOBILE BEAT OR EXHIBIT AT A MOBILE BEAT EVENT, CALL 515-986-3344 x300 OR EMAIL [email protected]

4 MOBILEBEAT.COM ▷ JULY 2019 Denon DJ www.denondj.com A DIFFERENT BEAT Your Lighting Strategy HOW TO ANALYZE THE SITUATION BEFORE BEFORE INVESTING IN LIGHTS By Stu Chisholm

an older, less “cool” fixture with a hot new one. Your options aren’t t seems like every week there’s some new whiz- limited. Your time is. I bang “must have” light being introduced. And, PREPARATION IS EVERYTHING of course, they’re very cool. If you’re not careful, If you do choose to go the “hang what we want” route, a little bit you’ll soon be hauling around a truckload of “cool” of prep can go a long way. Pre-wire your trussing with power and lighting for no other reason than you liked it when control cables so that all you have to do is hang the light, plug it in you saw it. (Yes, I admit it: I was once there, too.) and go. Wireless control options can eliminate a lot of wiring in the In order to bring some sanity to the situation, not to mention cap first place. the amount of damage you do to your wallet, some sort of coherent It also makes sense to shop the various lighting control software strategy is required. Such a strategy brings structure to your light show, packages to find something that will meet your needs and grow with defines what you need most and, most importantly, controls cost. you. Or not grow, but be flexible enough to change with the times. For instance, if you’re going to include uplighting, the time issue ASKING THE RIGHT QUESTIONS expands. So do your options. If a venue offers its own uplighting The first question, then, is this: What is your goal (or goals)? For the packages, they almost never can be incorporated into your dance weekend warriors among us who spin wedding receptions, our #1 music program. This is a selling point! When it comes time to dance, lighting goal is usually to bring some color and excitement to the having the room lighting (uplighting) tied into the dance area light dance area. How elaborate that show is, of course, is your decision, show program can make the whole venue become a part of the but there are some important considerations to keep in mind. They show! This will only happen if they buy their uplighting from you! might look a little something like this: Speaking of uplighting, you again need to calculate how many square feet, and by extension, how many lighting fixtures you’re 1. What is the average size of the area do I need to cover? likely to need on average. Get enough for your typical banquet hall, (In other words, what’s my average crowd size?) and maybe a lobby or entryway, and make that a hard limit. Get 2. How much time do I want to devote to setting up enough fixtures to do the job AND enough spares should a fixture lighting? Is speed an issue? or two fail. A hard limit need not restrict the size of the job you can 3. Do my clients have special requirements, like follow take, but will dictate how much extra you’ll need to charge in order spots or monograms? to accommodate a larger than usual group/venue. Make the bigger 4. What does my budget allow, and will I see any real return parties pay for the extra fixtures. on my investment? YOUR SHOW DETERMINES THE SPECIFICS I admit that I’m being a bit vague, but I understand how For me, the size of the dance area at most venues has seldom different DJs and their companies can be. If you do mostly high exceeded that of an average tennis court, so I’ve used that as my school dances and proms, you’re going to have different needs than standard. The second question is often answered not by me, but by the wedding entertainers, and you’ll both have different needs the venues I play. In days gone by, I’d spend nearly two hours just than the club DJ/owner, whose light show doesn’t have to travel. setting up lighting! These days, venues may charge extra if setup and What IS important is to apply limits to fit the needs of your clientele teardown takes an unusually long time. Some may “stack” parties, with and avoid vanity purchases—those things we’ve often grabbed a new group coming in within an hour of the conclusion of a previous that won’t make us an extra dollar or get us one more “ooh!” but we event, effectively eliminating the possibility of a large lighting setup. just HAD to have it. Because, well...”cool!” Our lighting must justify Thankfully, the same lighting companies who toss lots and lots its existence by making us money. If the effect you’re spending a of cool products at us have also given us some great options for whole month’s lighting budget on won’t return its cost in extra quick lighting setups. CHAUVET DJ’s Gigbar II, for example, takes revenue over the course of a year, then it’s probably a bad purchase. almost no time to set up; it may be too basic for many situations, Another trap to avoid is the “I’ll lose money if I don’t have one though.. At the other end of the spectrum are the lighting truss and the guy down the street offers it” myth. No single light has that systems where you can add whatever fixtures you choose and kind of impact. Remember: Your lighting supports YOU, not the run them either manually or via other way around. You are the a DMX controller. What works show. Your lighting is just a tool best for you is open-ended; how Stu Chisholm had been collecting music since he was about you use to help set the mood much time do you want to spend age 8 and began his DJ career in 1979. After a stint at the and create some fun. on lighting setup? Make your Specs Howard School of Broadcast Arts, he studied the choice a hard limit. If it takes DJ arts with famous Michigan broadcaster Bill Henning, So ask those questions, longer than that, it’s time to start interned at Detroit's rock powerhouse, WRIF, and later stick to your plan, and have solid added voiceover work and club gigs at Detroit's best narrowing your options to run reasons for what you bring in, venues. He has shared his extensive DJ experience through what you retire and what you as efficiently, yet completely, as MB columns, as a seminar speaker and through his book, possible. Yes, it can be painful. take a pass on. Until next time, The Complete Disc Jockey: A Comprehensive Manual for the safe lighting! Or you can strategize, replacing Professional DJ.

6 MOBILEBEAT.COM ▷ JULY 2019 iDJPool www.idjpool.com EYE CANDY Starting Your Lighting Journey

By Geoff Short, Global Brand Manager, CHAUVET DJ

EYE CANDY

o you’re just starting out on your journey to add S lighting to your already impressive array of event entertainment services. You’ve heard the buzz and seen your competitors and even venues adding excitement to events and dollars to their bottom lines through lighting. But going from zero to dynamic event lighting can seem overwhelming. So where do you start? Fortunately, adding lighting doesn’t have to be complicated. Starting A good place to start is to understand and consider a few simple concepts. When you do, you’ll be better informed to take your first steps. Think about these: Your • Realize that you don’t need to invest in a lot of lighting gear all at once. • Understand the basic categories of lighting and which Lighting ones serve your business the best. • Consider how you’d prefer to control your lights.

NOT A LOT OF MOOLAH Journey One of the biggest hurdles any mobile entertainer faces is the financial investment in their capital gear expenses. The good news is that making a big lighting impact doesn’t require big dollars for a lot of gear all at once. Of course, what’s “big” is relative when By Geoff Short, it comes to expenses, but the point is you don’t need to overdo Global Brand Manager, CHAUVET DJ things with a giant arsenal of fixtures. Often, just a couple of strate- gically planned products can make a big difference, such as simple color washes or tasteful effects on a dance floor.

GigBAR 2

8 MOBILEBEAT.COM ▷ JULY 2019 Audio-Technica www.audio-technica.com EYE CANDY

wireless DMX control for lights through a EZLink Series members, USB-type insert. The company also offers with BTAir app: Bluetooth® Wireless Technology lighting 1 - EZLink Strip Q6BT products that can be controlled wirelessly 2 - EZLink Par Q6BT 2 from a phone or tablet. The point is, control 3 - EZLink Par Q4BT 3 is key. Rather than just setting lights on auto Find out more at www.chauvetdj.com programs all night long, which can cause visual fatigue, it’s advantageous to have some sort of control over the fixtures you have, to be able to create simple changes in flower effects are all examples of different looks over time. With a little bit of research WHAT’S YOUR GOAL? types of effects. Atmospherics are great for you’ll discover which control options are So what kind of lights would those couple adding haze to the air to make light beams right for you and what lights have those of fixtures be? To decide that, you need to visible for extremely dramatic effects. The capabilities. have a basic understanding of the catego- great news is that many fixtures do many Every journey begins with a single ries of lighting. First decide what you want combinations of all these things, extending step. These simple considerations can be to do with your lighting: Do you want to their value. Explore what products can the first few steps that will make you better add uplighting to your menu? Do you want provide multiple effects. prepared to start a lighting journey that can to create a nightclub feel on your dance lead to more gigs, increased revenue and floors? Do you want to be able to upsell cen- GUIDING LIGHTS thrilled clients. Happy trails! terpiece pinspotting? Don’t try to do it all at Finally, think about controlling your lights. once. Identify your priority goals and then DMX is the ultimate control technology. If learn the tools that can help you achieve you’re just starting out though, you may them. The most basic categories of lighting not be interested in learning DMX control. are wash lighting, effect lighting, and atmo- It’s not complicated, but it shouldn’t be a spherics like haze and fog machines. There barrier to entry into lighting. Fortunately, are other sub-categories of lighting like there are a number of other control options. spotlights, beams, gobos and more. But Most fixtures have auto programs and initially, keep things simple. Wash lights sound activation options. Most also are provide wide color washes and are great for compatible with remote control as well. uplighting and stage washes. Effects lights CHAUVET DJ has a complete line of D-Fi add dynamic movement to a space. Color USB-enabled products that can provide chases, strobes, moving beams and moon-

Who knows where your DJ lighting might take you...

10 MOBILEBEAT.COM ▷ JULY 2019 PCDJ www.pcdj.com INSIDE THE INDUSTRY Beyond the Mirror Ball: DJ Lighting

By Kevin Freese

INSIDE THE INDUSTRY

Beyond the Mirror Ball

THE EVOLUTION OF LIGHTING FOR MOBILE DJS

By Kevin Freese

12 MOBILEBEAT.COM ▷ JULY 2019 industry, lighting fixtures such as these were becoming popular. sk Frank Luppino of Blizzard Lighting what Unfortunately, that era’s par cans were simply not “up to par!” A excites him most about his company’s role in the “A lot of the lighting products arriving in the store needed future of lighting design and he’ll quickly mention modifications before they were ready to hit the shelves,” explains the upcoming release of the new product SoC-It™. ADJ’s marketing director and veteran employee Brian Dowdle. “In many cases the par cans were hardwired without plugs on them.” Completely developed and manufactured in Milwaukee, There were virtually no lighting products designed with the mobile Wisconsin, SoC-It is part of a new generation in lighting DJ in mind. Chuck knew there was a better way. management, offering users th♥♥e ability to control, After discussing the idea with his brother Scott, who had also configure, and update fixtures wirelessly using a once owned a stereo store, the two siblings decided to establish smart device app. As the role of lighting becomes American DJ in 1985. The original concept was simple yet trailblazing at the time: develop lights tailored for the DJ industry at an affordable ever more expansive for mobile DJs, it’s easy to see price. According to Brian, the Davies brothers’ company took off from how products like SoC-It will change the possibilities year one. “They quickly recorded double-digit growth and by the end of what the industry can offer to its event clients. of that first year they had expanded to a larger building,” he says. The release of SoC-It represents one of the ways lighting for During the first five years of business, focus remained on par the mobile DJ industry has evolved over the years. I recently spoke cans, mirror balls with pinspots, and strobe lights for the mobile with a number of companies that have played an integral role in market. Large centerpiece fixtures, helicopter lights, and rotating the evolution of event lighting for mobile DJs. Some of these busi- ball lights presented clubs with other options rarely seen in the nesses, like ADJ (formerly American DJ) helped to define the market mobile setting. Things started to change by 1990, though a catalog during the early days of the industry, and continue to innovate from that year reveals only a few effects fixtures suitable for today. Others, such as Blizzard, have emerged more recently as LED mobile DJs—they included the ET, Fanstar, technology has revolutionized the world of illumination. and Beamer. The ET was adver- Before the advent of lightweight, compact effects lighting, tised to offer a many DJs relied solely on par cans with colored gels as well as pinspots with mirror balls that were difficult to mount in mobile settings. Some DJs even went the extra mile in crafting their own lighting rigs. “I played my first gig with a truss that was made out of electrical conduit pipe,” explains Scott Kartsounes who began his DJ career at the age of thirteen and would later go on to become the co-owner of DJ Intelligence®. “It clamped on to each side of the table and extended over the equipment.” The lighting bar—built by his father— featured eight, low-voltage Malibu landscape lights, which connected to a control box that was then linked to an old laptop. Scott adds, “I had the ability to control the speed of the lights using the arrow keys on the laptop.” Scott would eventually upgrade to professional trussing and brand name lighting. Even then, however, he found himself incorporating a homemade effect, using a pair of lightboxes that could be hung on the lower bar of his trussing. “They looked great with fog,” he says. “I think they were really a sign of the times back then.” Like everyone else in the mobile DJ industry, times changed quickly for Scott when it came to event lighting during the 1990s—much of that thanks to companies like American DJ.

AMERICAN DJ FIRES UP THE SHOW American DJ Supply, Inc.—now ADJ Products, LLC—was founded by brothers Chuck and Scott Davies. The Los Angeles company was the brainchild of Chuck who’d owned a popular chain of Los Angeles area hi-fi stereo stores called Now Sound prior to opening American DJ. Business was booming for the stereo shop during the 1970s, but a changing market and compe- tition from big box stores was hurting business by the ‘80s. Chuck consolidated all of his shops into one large store and began selling DJ equipment in addition to home audio systems. The new business plan was succeeding with an increas- ing number of DJs frequenting the store in search of turntables, microphones, and other pro-audio equipment. Chuck soon began selling lighting gear for DJs, which at the time encompassed par cans, rope lights, and mirror balls. With the rise of the mobile DJ American DJ Avenger ad, Mobile Beat #14, June/July 1983

MOBILEBEAT.COM ▷ JULY 2019 13 INSIDE THE INDUSTRY

One of ADJ’s recent creations: the Pocket Pro

fan effect of lights on the dancefloor. Both the Fanstar and Beamer their doors. Venturing into the US market with a unique brand of appear to be earlier versions of the popular American DJ Avenger, fog machine, Gerard Cohen’s Martin would soon make its mark in which is known as a derby-style light. the intelligent lighting sector. These 1990 American DJ lighting fixtures were some of the The story of Martin really begins with a meeting between Gerard first sound-activated effects lights for DJs at an affordable price and another innovator named Peter Johansen. “PJ was from Denmark point. Sound-activated lights had already been developed by a and I met him while I was still living in France during the early ‘80s,” few lighting companies in Europe, but they were not cost-effective explains Gerard. “He had just finished designing an innovative fog for many mobile DJs in the US. Again, Chuck was certain there was machine at the time and I took the product back to France to get some a better way for his customer base. His inspiration for affordable feedback. It took off right away and everything started from there.” sound-activated lighting didn’t come from the drawing board, Gerard owned an inactive U.S. speaker brand named Martin, but rather the shopping mall. “Do you remember those dancing which he and PJ used as a title for their line of fog machines. As a Coca-Cola cans with sunglasses and headphones that were popular distributor for a couple of Italian lighting manufacturers that were in the late ‘80s?” asks Brian. “Chuck took that concept and put it into behind some of the first effects fixtures ever made, Gerard knew effects lighting.” that lighting products were a natural companion to Martin’s fog To say that sound-activated effects lighting was the biggest machines. Early effects lights offered by Martin included the Ministar, trend of the 1990s is the understatement of the century. By 1992, Rainbow, and Supermoon. Before long, Martin began developing a American DJ was rolling out nearly thirty new effects lighting different style of DJ illumination called intelligent lighting—a tech- fixtures, many of which were geared toward the mobile DJ market. nology more commonly known as moving head fixtures today. A double-row Beamer, the compact Crystal (similar to the later Among the most popular intelligent lighting for mobile Sparkle), the Tunnel Walker, and the Phaser were all hanging DJ DJs was the Martin Roboscan 812. Utilizing robotics and moving effects lights unveiled by American DJ in 1992—the same year they mirrors, Roboscans delivered eleven different color beams and released the now famous Vertigo mushroom light. It was described eleven gobo patterns. Using DMX, several lights could be synced in its first catalogue as, “Ideal for mobile applications, the Vertigo to create a spectacular show. It wasn’t the first intelligent light. produces 30 beams of multi-color light that rotate and criss-cross Interestingly, the band Genesis was instrumental in supporting the back and forth to the beat of the music.” The Vertigo is such a technology. The group backed a Dallas company called Showco beloved light that an LED version of it is still offered (as the Vertigo who marketed early intelligent lighting under the brand Vari-Lite. Hex LED) by ADJ today. In terms of intelligent lighting broadly available on the market, Gerard believes High End was the first company to offer something MARTIN PROFESSIONAL AND INTELLIGENT LIGHTING with a fixture called Intellibeam, though it was designed for large Another company specializing in lighting equipment for DJs also venues and concert tours as opposed to DJs. High End later came gained U.S. recognition in 1985, the same year American DJ opened up with a smaller intelligent light for DJs called Trackspot, but that

14 MOBILEBEAT.COM ▷ JULY 2019 was released in 1992 after the Roboscan 812. “Roboscan quickly came up with a small-to-medium-size In Mobile Beat #28, Oct./Nov. 1995, moving mirror line and became a major player in this field,” says Publisher Robert Lindquist answered the Gerard. With slick marketing, a good product, and dependable question “Why a light show?” this way: “There are two things you want your service for US customers, Roboscans became a top choice for mobile light show to do: make the dance floor DJs willing to make a substantial investment in their company. In warm and inviting, and turn it into a the mid-1990s, intelligent lighting like the Roboscan 812 cost $750 fantasyland of dazzling action, sweeping or more per unit—and most DJs wanted at least four units to create movement and intense color.” a show. It was a price point that finally made intelligent lighting a possibility for mobile DJs, albeit still an elite product. For many DJs, effects lighting at a lower cost remained appealing.

CHAUVET EXPANDS LIGHTING HORIZONS While there are fewer effects fixtures now, they dominated the scene during the 1990s and early 2000s, with many other companies joining American DJ and Martin Professional in the field. One such business that, like ADJ, continues as an industry leader today, is Chauvet Lighting. Founded by Albert Chauvet and his wife Berenice, Chauvet Lighting opened its doors in 1990 after the couple purchased a rope lighting company. Albert was born in Haiti, but he had been raised in Miami since the age of thirteen. Feeling at home in the city, Chauvet has been based in Miami area since the beginning, though they have now expanded to also include satellite offices across the globe. It was with this spirit of expansion that Chauvet moved beyond its rope light roots and soon began offering effects fixtures and other lighting equipment for DJs in the early 1990s. A large part of Chauvet’s early business model included the development of products as an original equipment manufacturer (OEM) for other companies. The plan worked and Chauvet was soon offering lighting equipment for DJs under their own brand name. By 1998, Chauvet had outgrown their original facilities and moved to 10,000 square-

foot space. Throughout the years, Albert has often attributed Chauvet’s success to the fact that they have always stayed focused on lighting equipment. It is with this focus that Albert and Berenice kept their eyes on a bourgeoning technology as the new millen- nium approached. The light-emitting diode or LED for short -- it’s an old technology but one that first had practical uses in areas like the mobile DJ industry beginning in the early 2000s. LEDs have become synony- mous with DJ lighting and they’ve been incorporated into virtually every style of fixture on the market. Chauvet was one of the first companies to get involved with LED lighting for the DJ industry, releasing their Vue series by 2004. The application of LED wasn’t perfect at first; lights were often too dim to light the dancefloor on their own, but it showed great promise early on. “LED lighting has come a long way over the past ten to fifteen years,” says Brian Dowdle of ADJ. Like Chauvet, ADJ embraced LEDs early on. “They opened a whole new market for us,” continues Brian who marks 2007 as the year that LEDs really caught on. They were still relatively dim, but before long they were bright enough to replace most halogen and discharge lamps used in lighting fixtures at the time. With the advent of bright LED lighting, DJs were able to rely on fixtures to last longer, transport more easily, and operate more safely at events. This combination of factors led to the surge in demand for uplighting at weddings and other events. “I believe it was 2010 when uplighting really exploded for DJs,” says Brian. Fulfilling the dreams of wedding couples, DJs are now able to transform a banquet room into a mesmerizing lightscape with uplights placed throughout the space. It’s an appeal that only seems to be growing with age. Brian says, “Battery-powered uplighting and wireless DMX are really taking things to the next CHAUVET DJ’s Wash FX 2 – LEDs have come a long way level right now.”

MOBILEBEAT.COM ▷ JULY 2019 15 INSIDE THE INDUSTRY

lot more than their last generation, and at an affordable price.” With BLIZZARD COVERS THE LED MARKET SoC-It and another half dozen new lighting products coming out As industry leaders embraced this technology, it also inspired others soon, Blizzard Lighting is excited about the future of the industry to jump into the business. Blizzard Lighting, based in Wisconsin, is and their role in it. the perfect example of a company that came to fruition with the introduction of LED event lighting. The business was founded by BRIGHT FUTURE FOR DJ LIGHTING Will Komassa who partnered with Bob Mueller. Frank Luppino, a Brian Dowdle at ADJ is also enthusiastic about the future of the thirty-year veteran of the lighting industry, soon joined the lead- lighting industry. He believes all-in-one systems that combine ership team as well. “Bob recently retired, and we now have a LED pars and effects lighting have staying power in the mobile new partner, Atom Slaby. He’s been our COO since 2016 and he’s DJ business because of their practicality and presentation. “Along amazing with numbers and analytics,” says Frank. with battery-powered uplighting, moving heads are also big right Blizzard, which has been in business for a little more than ten now,” says Brian, who understands the appeal. “If you’ve ever seen a years, is a true poster child for the modern era of lighting: exclusive- ballroom before it’s set up and then come back once the uplighting ly offering LED fixtures since its inception. The company has come is on and the moving heads are lit, it can almost take your breath to be known for its uniqueness as well as quality of product. “We are away,” he describes. “Lighting plays such a large role in the success a very focused company,” says Frank. “And although we like to have of achieving a memorable event.” fun, we are also very serious about the business.” Taking a moment to indulge in some lighting industry Frank believes the lighting industry is at a place now that nostalgia, Brian says that one of the styles of lighting that he misses rewards risk takers, and he is proud to meet that challenge with most are wheel oil projectors such as the American DJ Groove Blizzard. “It’s really an approach that’s paid off for us,” he says. “We Wheel once offered by the company. “I used to love that type of introduced battery products to the mobile DJ market early on, first effect,” he recalls. “You can’t really produce that light with LEDs with our Puck Unplugged and now with a line called Skyboxes— because it used the lamp to heat the oil.” which have become a staple.” A little less than a year ago, Blizzard And then there is the venerable mirror ball—a device first introduced a new 6-in-1 battery-powered LED fixture called LB Hex introduced in the 1920s. “You know, people still love mirror balls,” Unplugged that has been a hit with DJs. Brian continues. “People continue to feel that wow factor with it.” Asked about the future of event lighting, Frank believes that It’s certainly true that event lighting has come a long way over LED video walls and laser fixtures both have a bright future in the years, and the mobile DJ market worked hard to carve out its the industry. “LED video walls haven’t been mainstream for a lot own niche in the industry, apart from club and stage lighting. What of mobile DJs, but it’s getting there. The technology is at a point has remained the same, however, is the magical synesthesia created where it’s more affordable and where it’s easier to work with in a when lighting is added to sound at an event. For that reason, the DJ mobile setting,” he explains. Regarding lasers, Frank recalls the big lighting certainly has an exciting, prosperous journey ahead of it. kick that they had about five years ago, and he predicts they will have a resurgence very soon. “I think new lasers will be able to do a

Blizzard Lighting helps DJs get lit quick with complete setups like the Weather System EXA (background), as well as LED innovations like the LB Hex Unplugged (left) and the Motif Fresco (below).

16 MOBILEBEAT.COM ▷ JULY 2019 Innovative LED www.innovativeledsales.com INSIDE THE INDUSTRY The Fine Art of Fog

By Kevin Freese

INSIDE THE INDUSTRY The Fine Art of Fog

management can breathe easy when it comes to the fog juice and hris Markgraf and Adam Pogue of Froggy’s other effects liquids offered by Froggy’s Fog. The company special- C Fog didn’t know they were setting out on an izes in water-based formulas, one of the most important aspects entrepreneurial journey when they began developing of Chris and Adam’s original mix. “That’s really the key to avoiding asthma attacks around effects fog,” says Froggy’s Fog director of their own brand of fog juice—they were just marketing, Scott Karan. “As opposed to oil-based formulas, water- trying to solve a problem. Chris’s family owned an based fog juice doesn’t aggravate respiratory conditions.” He adds entertainment center where laser tag was one of the that water-based fog mixtures are also odor-free and don’t leave a most popular attractions. The problem? Fog juice used slippery residue. in the game was irritating Chris’s asthma. Customers Like owners Chris and Adam, as well as the rest of the team, Scott Karan is passionate about the liquid mixtures produced by with respiratory conditions were also complaining. Froggy’s Fog. That passion is one of the reasons the company has The solution arrived when Adam, a pre-med student at the evolved from mixing their products by hand in the early days to time who was working at the Markgraf’s entertainment center, a business that now churns out three thousand gallons of effects helped Chris and his family create a new kind of fog fluid—one liquids daily along a bottling line capable of filling ten bottles per that would not affect individuals with asthma and other respira- minute. “Fog fluid had long been thought of as an accessory to the tory conditions. The formula that they developed was a success. machines that use it. Our company places a strong emphasis on Not only did Chris’s asthma attacks disappear around the laser tag developing the highest-quality fluid,” says Scott. All fluids offered by arena—their new mixture was odor free, lasted longer in the air, Froggy’s Fog are made in the U.S.A. and produced in their Columbia, and customers weren’t coughing because of the fog anymore. Tennessee facilities. And the water used in their fog and haze fluids Word spread about the new fog juice being used at the doesn’t just come from an ordinary tap. Rather, it is UV-filtered and Markgraf’s business, and other owners of family entertainment deionized before being put into production. “We use a very pure centers were soon asking for it. Chris and Adam quickly realized water,” explains Scott. “It goes through the same process used by they had a successful product on their hands, one capable of fulfill- NASA in the space program, with zero particles left in it.” In addition ing an important need in industries that utilized fog machines. In to the purity of the water, chemicals used to produce the fog juice 2005, just a few years after creating their fog juice, Chris and Adam are all pharmaceutical grade and approved by the FDA. founded Froggy’s Fog. Since that time, Froggy’s Fog has developed Froggy’s Fog offers over fifteen fog and haze fluid options, various kinds of fog, haze, and other effects fluids for many different some of which have been used by theme parks such as Busch settings, including haunted houses, theater productions, fire rescue Gardens and Universal Studios; on-stage in Broadway produc- training centers, and, of course, dance floors. tions; and even by the US Navy Blue Angels. The most popular Mobile DJs, their party guests, and members of venue site formula among mobile DJs is called Techno Fog. This medium-

“Fog fluid had long been thought of as an accessory to the machines that use it. Our company places a strong emphasis on developing the highest-quality fluid.” ~ Scott Karan, Director of Marketing, Froggy’s Fog

Water-based Scent Additives

18 MOBILEBEAT.COM ▷ JULY 2019 FROGGY’S FOG HELPS ENTERTAINERS SAFELY, CREATIVELY SET THE MOOD By Kevin Freese

density mixture is specifically designed for DJs and others seeking a better product,” Scott says. to highlight lighting effects. Its medium-density formula allows Some of the areas they focused on when developing their own party guests to see their surroundings without feeling like they’re machines included tubing (using stainless steel instead of copper), getting smoked out of the room, while also creating a high energy an improved heater core, and a reversible pump in many of their party atmosphere perfect for light refraction. The versatile fog juice professional-grade units. “For us, it was really about bringing our works with virtually all fog machines, including units as low as 400 background and expertise in fluids to the machine side of things watts and upwards. and offering as many options for customers as possible,” notes For those DJs interested in haze formulas, a special mix by Scott. Froggy’s Fog called Faze Haze is a top choice. Like Techno Fog and Perhaps the most popular product line among DJs is the Titan other Froggy’s Fog products, Faze Haze is water-based. Since it is series which includes the 1500 ($349.99) that’s controlled by DMX designed for hazers, it remains in the air longer than Techno Fog and the 1500 Pro ($499.99) that features wireless technology. Both and produces a finer substance described by the company as “a very these machines and others in the Titan series include quick-ready fine veil of airborne canvas.” Truly, it allows mobile DJs to paint the fog technology and advanced low-fluid sensing. dancefloor with lighting equipment for sustained periods of time. Other machines offered by Froggy’s Fog include the Hyperion While Froggy’s Fog fluids are odor free, scent additives offered series of upshot foggers, award-winning snow machines, and a by the company have become increasingly popular at parties. bubble machine called Evolutionary. And then there is the Fobble. Imagine if the dancefloor at a gig smelled like cotton candy or Coming in at just around $500, the professional-grade Fobble F4 is popcorn. It’s possible with Froggy’s Fog scent additives, which a 4-in-1 machine capable of producing fog, bubbles, haze, and fog- can be used with any of their fog, haze, snow, or bubble juices. If filled bubbles. With DMX control, built-in LED lighting to illuminate you’re wondering, there’s also a “stinky” product line that’s ideal for bubbles, and LCD menu, the Fobble F4 has been a hit with mobile haunted houses but may be worth considering as a DJ for use at DJs since it was introduced. Halloween events. As noted by Scott, Froggy’s Fog is thrilled at the response to The folks at Froggy’s Fog have also applied their problem-solv- their equipment, and they are excited to continue to introduce new ing approach to the machines the company now offers. Although products that match the recognition received by their fog juice their fog juice works with over one hundred existing fog and haze over the last fourteen-plus years. With a passion for the possibili- machines, Froggy’s Fog applied their passion for fog juice to the ties of their products, the team at Froggy’s Fog really does turn the equipment that utilizes it when they introduced their own product production of fog into an art. lines in 2018. According to Scott, when Froggy’s Fog previously served as a distributor of fog machines, they would often see machines coming in for repairs. “We noticed the same parts that www.froggysfog.com were flawed and breaking down, so we decided to focus on making

Titan Hazer H2

Fobbles F4

Titan 1500 DMX

MOBILEBEAT.COM ▷ JULY 2019 19 MUSIC NEWS Szabo: Making Tracks,

Authentically By Mike Cordeiro

MUSIC NEWS

Szabo: Making Tracks, Authentically POWERHOUSE AUSTRALIAN PRODUCER TALKS PROCESS, PROMOTION AND MORE By Mike Cordeiro

’ve been really blessed over the last several years to interview some amazing artists and DJs for I Mobile Beat Magazine. It’s taken me a while but I’ve built up some solid connections with agents in New York, London and Vegas. I remember when Mobile Beat publisher Ryan Burger asked me what my focus was going to be for the magazine. It seemed like all the important topics on self- improvement, gear and music had already been taken. He wanted something new. I suggested that he let me handle all the celebrity interviews. His reply, “Do you know any?” My answer, “No, but I will!”

Taking that leap of faith was one of the do with this interview? Everything has a Szabo : Hello, almost lunch time here. best career moves I’ve made as a DJ. The process. Whether it’s doing an interview, conversations and experiences have been creating a set list for an event or producing MC : The sun isn’t even up on the East Coast unbelievably rewarding and enlightening. a new piece of music, there are steps, edits yet. I’m still working on a cup of coffee. I’m always a little amazed at how the right and rewrites that are all part of the pro- SZ : Wow, I’ve already been at the studio person to interview pops up when I need duction. We are all trying to balance life, for several hours. them. The interviews themselves can take work, efficiency and creativity as we strive place at the weirdest times. A few times for success. If there’s one person who thor- MC : I believe it. How much time do you spend I’ve been up at 5 AM to call Europe because oughly understands the creative process, it’s in the studio? it’s almost lunch time there or I’m calling platinum producer Szabo. His music has had someone on the West Coast at 11 PM my over 700 million total worldwide streams to SZ : I try to put in at least ten hours a time because it’s only 8 PM there. I recently date. Szabo’s writing credits can be found on day. Some days more, depends on what did an in-depth interview with a cool DJ well-known dance labels such as Protocol I’m working on. in New Zealand. I called him on a Tuesday (Nicky Romero), Revealed (Hardwell), Ultra morning my time and it was Wednesday Records and Armada Music. MC : Is that your work ethic or do you just get afternoon his time. Yesterday I called caught up in finishing a track? Hawaii. They don’t even keep track of time. Mike C.: Good morning or is it afternoon in SZ : Mostly both. I’ve had days where I So what do these ramblings have to London? start writing a piece of music first thing

20 MOBILEBEAT.COM ▷ JULY 2019 in the morning and before I know it the formatting of lyrics and melodies is the singer came in with a great pre- street lights are on. Although, I’m most different. It took some getting used to. chorus vocal. That gave us direction. creative early on in the day. You have to have an idea of what you MC : How many instruments do you play? want to achieve with a track instead of MC : You’re not originally from London, just writing endless melodies. SZ : Guitar, piano, ukulele. I used to be correct? really good at that. Whatever I get my SZ : I grew up on the East coast of hands on, I can figure out. MC : How many revisions or iterations of a Australia. I started as a session guitarist track does it take for you to get it where you want it? and was doing a lot of other studio MC : The ukulele is not as easy as it looks, is it? work straight out of school. I went to SZ : When I start writing a new piece SZ : No. Everyone just thinks it’s a small the Australian Institute of Music for a of music I have several melodies ready guitar, but it’s a bit more complicated. little bit but dropped out. I didn’t see that I think will work for it. Once you The chords are completely different. the point of continuing when I was get some solid vocals from the singer it already so busy and embedded in the narrows down pretty quickly. With “Go MC : Who were your some of your EDM music industry. Do You,” we started recording in Sydney influences? and had a few more sessions in London. MC : Did you just work in the studio or did you SZ : I started writing dance records right Then my managers thought it would be play in any bands? around 2013 when EDM was at its peak. great for me to work with Dila. I flew to Guys like Avicii and David Guetta were Sweden to meet with her and we began SZ : I was part of an indie rock band all over the charts. I had a lot of oppor- recording the track with her vocal. We that got signed to a small label. We tunities to write records in that 124-128 kept most of it the same because it was were doing OK for a while playing out. I BPM range because it was just popping working rather well. That part of the found that I was more interested in the off everywhere. So I wrote for Nicky process went fairly quickly. Then pro- writing and production of music than Romero’s label Protocol, Hardwell’s duction took several months to finish playing in a band. label Revealed and several other major the track. Dila’s voice has a much darker dance labels in the UK. tone to it. I need the melody and music MC : Who were some of your musical influ- to match that. ences growing up? MC : When you’re writing a new track, do you SZ : I’m not sure if this makes sense to do it with an artist already in mind or do you MC : Sometimes post production can take you but I was really into 1970s West just create it and see who it fits afterwards? longer than actually cutting the record. Coast Americana. SZ : So that’s not always black and white. SZ : Yes, I’m not one of those producers It usually starts with me working with a that just stick a vocal on top of a music MC : Really? Like who? singer to get the original version down. bed and auto tune everything. I’m very SZ : Oh, Bob Seger, Harry Chapin, The That person may stay on the track or particular about what I put out. The feel Beach Boys. Brian Wilson was a massive the label may want it for someone else. of the record is just as important as the influence. Later on I started listening to My management may pair me with a sound to me. more of a pop sound like Coldplay and certain artist to work on a track or do Oasis. a remix. It comes from a lot of different MC : That’s a great point. Whenever you places. It depends a lot on the writer create something it should be a true reflec- MC : Interesting. Americans don’t really I’m working with. For the latest single tion of the best you can do. How do you keep realize how our music has influenced the “Go Do You” we worked with a Russian your dance tracks sounding fresh and new? world. So you left the band and just started singer, Dila. She replaced the original SZ : Right, it gets really hard to make producing dance music? vocalist on the track. things that sound different and fresh. SZ : Yeah, sort of. I started writing and That really goes back to the writing. producing for a lot of local groups and MC : Describe your creative process for me. Many of the EDM drops can be artists. A few years later I moved to Do you come up with the melody or lyrics redundant. I try to stay away from using first? London and got involved in the dance the same drop over again. music scene. That all came about in my SZ : I usually do start with melody to be mid twenties. honest, but the inspiration comes from MC : I liked the video for “Go Do You.” It really all over really. I may just start playing tells the story of the song and conveys that MC : Was it a culture shock for you (moving some chords on the piano or create a dark edginess of the track. Do you have a to London)? Did you find the London music loop on the synthesizer. I might be in a hand in writing the video script? scene to be a totally different ball game? room with a vocalist and they’ll sing a SZ : Yeah, the video came out great. SZ : Definitely. It was quite exciting. I catchy riff. There’s no rhyme or reason The singer Dila actually played the lead got a lot of new opportunities, but I to it really. I do find it important to start role. She really captured the message found my abilities were really being with the melody because the harmonic of feminism and the struggles women tested. sentiment of it is going to affect the go through to get ahead we were going lyric. for. I think that’s such an important MC : How so? topic these days socially. I have some MC : So, on “Go Do You,” what came first the creative input on the videos but it’s a SZ : The process of writing music is melody or the lyrics? similar, but there’s a big difference totally different production team. between producing a rock record and SZ : That was a good combination of producing a dance or club record. The both. I had a few melodies written and MC : In America we have the #METOO movement. Is that prevalent in the UK as well?

MOBILEBEAT.COM ▷ JULY 2019 21 MUSIC NEWS

Are women’s issues a major social talking point? singing, writing, being a musician or a but you can’t let it stop you. SZ : Absolutely, it’s huge, not just in producer? I started out in a band, but London but in Australia as well. I try when I let that go and started writing, MC : Does it get easier to handle the setbacks to be very socially conscious about everything went crazy for me. as you go along in your career? sexism. The music industry, from bands SZ : I wouldn’t say it gets easier, you to producers to labels, is all very male- MC : That’s a great point. You can’t be every- either get stronger or you stop. There’s dominated. There’s been somewhat thing. Somethings you’ll never be good at, so not as many gatekeepers anymore. focus on your strengths and talents. You can of a change lately in favor of women There are so many outlets to share see that a lot on YouTube. Everyone is posting in the industry and I think it’s a really, videos trying to be the next superstar. your music. You just have to be smart. really good thing. SZ : I think many of those people MC : Define “smart.” MC : What is your take on the explicit rap music are going to be really disappointed. SZ : You have to network and constant- that’s taken over the American charts? Most of There’s a fine line between believing in ly be putting out great content. Not it is just vulgar and disposable. A lot of it objec- yourself and delusion. tifies and portrays women in a bad light. just good. Great. Finding ways to get exposure for your music and what you SZ : I think there’s not much room for MC : So true. Just because your family and friends like your video or your mix on do. Collaborating with other artists, that anymore. I really believe socially SoundCloud doesn’t make you a superstar. creating videos that showcase your people have had enough of it. Hip talent and doing anything that gets hop was all about raising awareness of Most of social media seems to be built on you positive exposure. social and political issues, but it lost its the premise of projecting an image that you way and transformed into something are more than what you really are. MC : Which platform has worked the best for you? with no real meaning. I think guys that want to keep rapping that way are SZ : Right. If some of those people SZ : I‘ve built a huge fan base on going to lose their audience. People were actually called to put their skills Instagram by using direct messaging. just don’t want to hear it any more. to the test they would be in a real scary place when they couldn’t back it up or MC : You just randomly message people? How does that work? MC : Are you already seeing that change in produce. I’ve worked with some really Europe? The music charts are different. great people in the industry and they SZ : Not randomly, but by finding are truly masters of their craft. They people that share similar interests SZ : Definitely. The music scene has can bring it each and every time. been changing for a while. and are into the types of content I’m promoting and sharing. I watch their MC : You hit the nail on the head. Too many MC : When I look at and listen to the songs on content, they watch mine. We share, people spend all day talking a good game message each other and support the UK Top 40, I’m surprised at how different it instead of honing their craft and letting their each other. I’ve literally done this with is from the States. I believe you guys are more work speak for itself. progressive musically than we are. We seem thousands of people across the world. to be stuck in this 79 BPM, auto-tune funk SZ : My general thesis is that I just want where every track sounds the same. How do to outwork everyone. You have to kick MC : That’s crazy! Do you find that doing this you avoid that? the bar up for yourself and have this on Instagram is better than using Facebook really strong work ethic. It’s what’s and getting “likes”? SZ : I just try to use good singers, necessary to succeed. If you have a hit SZ : Absolutely better. It’s amazing always. record then that’s just the beginning what you can do sitting at home not the end. Now you have to try and messaging people. Think of Instagram MC : Great, there it is. That’s the secret key! duplicate that success over and over. as more of a creative think tank. I can [Laughing] It’s the same with entrepreneurialism share creative content and get real and running a business. As soon as you SZ : Don’t get me wrong. We use studio meaningful feedback. It’s also very achieve some sort of success you need tools all the time. Some of them are quite reciprocal. By helping others with their to be able to back it up or the moment effective for creating a unique sound or content I’m showing my value and is going to pass and you won’t be able melody. Artists like Zedd use vocal pro- expertise. I become their go-to guy. cessors and have been really success- to capitalize on it. ful with them. What I don’t like is there MC : Wow. I never looked at it that way. How seems to be this environment where if a MC : Have you met with a lot of push back or does that help with selling records? track isn’t very good it’s put through the hit many roadblocks in your career? How do processors to give the impression that you deal with them? SZ : Even if you just get ten people to listen to a new record and two of them it’s better. The truth is if you took all these SZ : Of course. Not so much on the share it. You’ve just planted roots that will singers that are over-using auto-tune creative side. You can always write or take off. Back in the day you had to beg and put them on the morning show and create, but on the industry side you radio stations to get airplay or bribe DJs then had them sing acoustically with a have to prove yourself to everyone. to put your track in rotation at the club. guitar, it would be a trainwreck. I’ve had so many crazy things happen. I’ve almost been fired, been booked MC : That is so true. MC : Exactly! How does the music industry for a huge show then turned down. change that? I had written a track to be recorded SZ : We are so lucky to have these tools SZ : It’s more about the artist knowing with Hardwell that sat for three right now. If you are creating great what their true capabilities are. You have months and they ended up not using music and putting out really good to understand what you’re good at. Is it it. Disappointment is part of the game content, there’s no limit to what you

22 MOBILEBEAT.COM ▷ JULY 2019 can do online. You can’t just put a track up on Spotify and go “What now?” You have to collaborate and be smarter than everyone else in the game. Find a YouTube influencer and get them to help make your video go viral.

MC : Every social media seminar I attend or watch is always preaching content, content, content. Not all content needs to put out or has value. How do you choose which content you’re going to release? SZ : My state of mind on that is I try to release content that brings value to others. I think people post content that is very selfish, that is very “look at me.” It’s all to make their friends jealous. That’s really not going to work. Your content should be educating someone, entertaining someone, showing someone a process or bringing a point of view that is helpful. That’s what is going to work. ...Recently I’ve been putting out a lot of short studio videos showing the process of how I’m creating a new track. Short videos of me playing the keyboards or a singer performing the chorus. I’ve gotten tons of hits and responses. My point is you can post just once a day if the content is going to have an impact. The other thing is I’m not trying to sell something. I’m not saying “buy my record”. I’m just bringing ask them for a guitar. I have friends that SZ : Almost. I’ve been writing and value to people on some level. are always asking me if I can get them a producing for so long. The next step guitar or bass cheap. They don’t get it. for me is to go out and perform as a MC : You really summed that up perfectly. It DJ. I’m just waiting until I have enough sounds like you’ve got this down to a science. MC : Sounds a lot like our industry. How do content and I’ve built up my brand SZ : I think honesty will always win. If you deal with that? enough. I want the timing to be right. you’re putting out content solely for SZ : If you want to get a sponsorship, let’s It will be soon though. selfish reasons, I don’t think it’s going to say from Sennheiser. Start creating content play out as well. People are going to see using their product in a positive way. MC : What’s your personal mantra? through that and not follow you. I always say document and don’t create. That’s SZ : Hustle. I think its key. The first MC : Is that how you got in with Fender? something I learned early on. People sit album I produced I sold 450 copies on around all day trying to “think” of content SZ : Before any talk of a sponsorship MySpace when that was still a thing. to create instead of just showcasing ever came about, I was putting out Imagine how hard I had to work to what is really going on. Just document little videos of me playing my Fender make that happen. No one even knew your process that is the content. guitar in the studio while composing. who I was at the time. I was on it every The videos got real popular and Fender day promoting my album and making connections. MC : That is a great piece of advice. I read that took notice. I never approached you are sponsored by Fender. How did that them or asked for anything free. I’m come about? a nobody compared to some of the MC : Wow that is something...Almost like musicians they work with. I put in the trying to use an electric typewriter to check SZ : I’ve been working with the guys at your emails today. Any other advice? Fender for a while. My friend Robbie work and it paid off. Show that you introduced me to the guys in Australia. love the brand and that you want to be SZ : My advice would be to take every- The Fender guys hooked me up with a part of something. thing you’re good at and put it into a new acoustic [guitar]. It’s been really basket and focus on becoming the best great to use in the studio. MC : That translates perfectly to the DJ at whatever is in there. Leave all the industry. I think it’s kind of a universal thing stuff you’re bad at on the floor. Listen though. People are always trying to get to other people’s opinions -- but trust MC : In the DJ world guys are always looking something for nothing. for ways to get sponsorships and free gear. yourself. Collaborate. That’s how you’re Any advice? I heard that you are about to start touring. going to learn more about yourself and Is that true? have others help you get better. Don’t SZ : I didn’t just walk into Fender and take no for an answer.

MOBILEBEAT.COM ▷ JULY 2019 23 MOBILE MATTERS The War Against Experience THE NEW MINDSET OF “DISCOVERY” By Matt Martindale

MOBILE MATTERS

he world is obsessed with T discovering “talent.” It’s become all about finding that rare, but perfect gem. A treasure hunt for something lost. The $2 Picasso found at a garage sale that is worth millions, or the Cinderellas with hidden talents that populate TV talent shows like The Voice, America’s Got Talent, and So You Think You Can Dance. There’s The War Against something about plucking people of obscurity and somehow making them stars that captures the imagination, Experience especially of American TV viewers. these shows keep us coming back. We THE NEW MINDSET OF “DISCOVERY” love the performers with “real” stories who deliver a flawless performance that leaves By Matt Martindale us saying “Wow!” We also watch because there are disasters. We watch because drama unfolds, and both judges and the audience wield unrivaled power to decide someone’s fate. Those are the very perfor- mances that dazzle us and surprise us...and also make us wonder “What the heck were they thinking? That was awful!” The fact is, so-called “reality” shows are now about 90 percent scripted. Very little is “real” with the “reality shows” of today. The only exceptions to this trend, however, are the talent “audition” shows, which can’t really be faked. The performer’s talent actually has to be there. It has to be authentic. They have to perform well. Some performers flop—like the person who cannot sing at all, but truly (sadly, pathetically) believes they are the next superstar. Some performers are fantastic. These performers have put in countless hours rehearsing, practicing and polishing their performance. Viewers are watching someone being vulnerable. The performer has to fully submit to having their future determined by somebody else.

MINDSET MISAPPLIED There is joy in finding a treasure. But there is also hubris in being the one to “discover” a superstar “diamond in the rough.” This approach has oozed its way out of the TV-generated pop culture into the realm of real-life mobile entertainment. After encountering this developing trend I started asking myself these questions: Has America’s current obsession with “discovering talent” tainted the DJ industry and how customers shop? Does this trend that favors new DJs who might be “discovered” with music skills

24 MOBILEBEAT.COM ▷ JULY 2019 and a great personality— but no competence as a professional MC—come at a cost to the industry? Does this mindset It’s about managing a hurt experienced DJs/ MCs by causing them to series of well-scripted be perceived as “too good” and rehearsed moments and not delivering a performance that is “organic” that are perfectly de- or “authentic” (ie “amateur”) enough? livered...in an improvi- But... is something like sational manner that a wedding really the place for a “judge” (in other words makes it almost seem the decision maker: bride, like luck just happened event coordinator, etc.) to risk the success of the to be with you—when event ? Would Simon Cowell you know the exact op- broadcast an America’s Got Talent episode with live per- posite is the case. formance auditions, having never seen the performance and without any editing or producing? No. What he has actually said is this: “When we do auditions in the real their wedding, well, uniquely “them.” experience by picking a number out of the world, 99 percent of the people are just not air with “I’ve done x-number of weddings.” good. So the odds aren’t that great (we’ll Experienced DJs recognize that. You’re being deceptive (ie, lying) and you find somebody).” He already knows that Today’s couples are looking for a for- know it. They’ll know it too. They’ll do going into an audition. ward-thinking DJ/MC to take their wedding celebration and lead it with passion, intel- the math: When you’re in your early 30s, ENTERTAINMENT IN THE REAL WORLD ligence and vision. there’s no way you’ve even been to, let alone performed for, say, 2,000 weddings. Similarly, look at a wedding. There is a live Today’s couples value direction. They Maybe 200, documented—maybe! When audience. There is no audition. No second value event leadership, honor mutual you try to “pad” your actual experience chances. No editing. No TV trickery. Your respect and truthful empathy based on level, you actually erode your credibility performance must be right with every word confident know-how to plan and execute and look like a fool. If you can document spoken, every song chosen to fill the dance their event. This is based on a genuine every wedding in a court of law, then fine. floor, and every minute accounted for in explanation of why things should be done If not: Just stop! crafting the perfect seamless sequence of a certain way on the road to “WOWing” their events to deliver a flawless, and memorable guests. It’s not about the veteran DICTATING When it comes to meeting with clients, performance. As the DJ and master of cer- what has to be done, or they newbie FAKING I once heard from a great real estate trainer: emonies, you are responsible for mastering that he knows what to do. “Sell what they are buying. Don’t sell what you are selling.” If they are buying peace of the timeline and performance to create a Give them a reason to trust you. Give mind, then sell your experience. If they are seamless flow. them a reason to love you. Give them a buying a raging party, sell your youth and It’s about building and maintaining the reason to remember you. Be authentic. Be ability to adapt and focus on music. Always art of suspense, and drawing on emotion to you. For the veteran DJ, don’t sell experi- be truthful. tell their story! (It’s not about stealing the ence by way of the number of years (“I spotlight.) started back in 1978…”) because, frankly, The client will know you by YOUR knowledge. They will know by HOW you It’s about managing a series of well- they don’t care. That tells potential clients speak, and WHAT you say. Charisma, per- scripted and rehearsed moments that you are old, rigid and stuck in your ways. sonality and showmanship can only get you are perfectly delivered...in an improvisa- For the newbie DJ, please don’t sell so far. In the end, you still have to perform; tional manner that makes it and that performance still has to almost seem like the luck of the meet—or exceed— their expec- gods just happened to be with Matt Martindale, a professional DJ and MC since 1989, tations. Only when you can confi- you—when you know the exact has performed at more than 1,650 wedding receptions, dently deliver a performance that opposite is the case. and still counting. Along with running his 18-time award-winning company, Amoré DJ Entertainment is perfect for the occasion—con- Yes, the judges—the bride sistently, event after event—can and groom—hold the power to (www.amoredjentertainment.com), he is a regular MB contributor and creator of the yearly “State of you be sure that you’ll leave them decide. What the performer does the Industry Report.” His extensive entertainment saying “Wow!” and feeling like makes their wedding relatable experience also includes training in audio production they discovered a true diamond: to the audience. It makes their and sound engineering, lighting and design, improv a treasure they’ll want to tell wedding authentic. It makes comedy, voiceover artistry, magic, and more. others about!

MOBILEBEAT.COM ▷ JULY 2019 25 BRILLIANT DEDUCTIONS Tax Deductible Internet Marketing

By Mark E. Battersby

BRILLIANT DEDUCTIONS

to conduct any of these campaigns. • On-Page and Off-Page SEO Tax Deductible (Basic and Ongoing). Search Engine Optimization (SEO) campaign results comprise a long-term campaign Internet Marketing to keep your website at the top of search engine result pages, but it GET UP TO SPEED ON CLAIMING YOUR WEB EXPENSES takes time if it’s done properly. • Link Building. By Mark E. Battersby And don’t forget old-fashioned “Goodwill Advertising.” If a DJ is expected new customers or clients instantly, to benefit in some way from a promo- lthough often overlooked or a simple campaign can be set up tional activity, the cost of institutional or treated incorrectly, a mobile in minutes and can display search A goodwill advertising may be deducted. This results within a couple of hours. entertainment business’s website, is because the motive of advertising activity as well as its Internet marketing/ • Pay-per-click (PPC) campaigns. is to get the name of the DJ, VJ, KJ or the Like AdWords and other website advertising expenses are tax mobile entertainment business in front of marketing and advertising expenses, the public. Goodwill advertising includes: deductible. In fact, the increasingly the cost for a PPC campaign also falls • Promotional activities that ask popular marketing via Social Media within the miscellaneous advertis- people to donate for charity is even recognized by our tax laws. ing section of the mobile entertainment operation’s tax return. • Being a business sponsor of an The expense of Social Media creation event • Facebook ad campaigns. and ongoing account management are • Distributing video or product • Twitter ad campaigns. considered advertising expenses and can samples be claimed as a tax deduction in the year • Display banner ad campaigns. • Organizing contests and offering paid or incurred. Consider a few examples: • Agency fees. This deduction rewards or prizes • Google AdWords - Used to attract covers the costs for hiring an agency

26 MOBILEBEAT.COM ▷ JULY 2019

Play Something We Can Dance To! www.mobilebeat.com/store Wedding Word Search Call 970-302-0747 Unfortunately, labor costs Cost for maintenance involved in organizing such activi- Mark E. Battersby is a freelance writer based in the Philadelphia Blogger expenses. (If a ties are not usually tax deduct- area. His features, columns and reports have appeared in leading new blog was created and uses ible. On the off chance that the trade magazines and professional journals since the early 1980s. When not actually writing, Mark spends most of his time digging freelance bloggers for its content, website is being used for pub- for exciting tax and financial strategies to write about. be sure to keep records of all licizing, website support costs related expenses because they can, of course, be deducted as can often be tax deductions as a promotion cost. In the event example, if an outside contractor designs a well) simple template website for informational that the site is utilized for sales and has an If the webstie was purchased, a DJ is purposes that does not require extensive e-commerce option, it is a sales expense required to amortize and deduct the cost custom programming, the expenditure can and is considered independently. Of course, over a three-year period. Content or design be capitalized and written-off or amortized design and maintenance costs for an updates and ongoing maintenance are con- over its “useful life” (usually three years). Or, e-commerce website are also deductible. sidered advertising and can be deducted the cost could be deductible as an advertis- Naturally, detailed records and receipts the same year. It is a similar story for hosting, ing expense in the year it was completed. for all advertising and marketing expenses domains, and other similar products that Here’s a look at several specific website- are strongly recommended. Also, every DJ are usually deducted the same year. related expenditures: should be aware of the IRS’s guidelines (or It’s important to remember that every Cost for the design of the website by lack thereof) for developing and maintain- mobile entertainer should consult with a an outside contractor hired for this specific ing a website that is so often the key ingre- tax professional about what is and is not purpose dient in online advertising and marketing. deductible for his or her business. And, Surprisingly, after all these years, the Cost for the template if the design was as mentioned, keep documentation and IRS has yet to issue formal guidance on purchased pre-made detailed records of how money was spent the treatment of website development Cost for hosting the site as well as the and the services that were used. It’s worth costs. In reality, the classification of website domain fee your time and effort to take advantage of all design and development services depend Cost for any premium services (such as the deductions available for online promo- on when the work was done, who did it add-ons or plug-ins for the mobile enter- tional activities. and the specifics of the actual work. For tainment business’s site)

MOBILEBEAT.COM ▷ JULY 2019 27

DJ Trivia www.djtrivia.com Mobile Beat Las Vegas www.mobilebeatlasvegas.com