Spinnin 2000 The Ultimate Guide to Fun and Profit
1997 Revision by Robert A. Lindquist & Dennis E. Hampson
Published by: LA Communications and Publishing, East Rochester, NY 14445
Edited by Priscilla DiLallo Revision edited by Reneé Dustman Copyright ©1990, 1991 & 1997 by Robert A. Lindquist
Printed in the United States of America
Library of Congress Catalog Card Number 90-092005 International Standard Book Number 0-943047-01-3
All Rights Reserved. No part of this publication may be reproduced or stored in a retrieval system, or transmitted in any form by any means, electronic, mechanical, photocopying, recording or otherwise, without the written permission of the publisher and copyright holder.
Authors Notes: 1. This industry does not in anyway favor men or women. Purely for the sake of literary simplicity, we have used the male gender pronouns “he” and “his” when speaking of DJs. The fact is, there are female DJs setting dance floors on fire in every Canadian province and every state in America each week! 2. To conserve paper and reduce cost, this revision of Spinnin’ 2000 has been laid out to use page space most efficiently. As a result, it contains significantly more information on far fewer pages than previous printings. Table of Contents Roots in Radio...... 6 Branching Out...... 7 How Do You Get Started?...... 7 Paid to Party...... 9 Entré to Entertaining...... 9 Opportunities for DJs...... 10 The Basic Necessities...... 10 Your Options:...... 11 A Case of Butterflies...... 13 Eight Days a Week...... 14 Program for Success...... 15 Disco to Go...... 16 In Your System...... 17 Interacting With Your System...... 17 A Closer Look...... 18 Budgeting For Your System...... 29 Building Your System...... 30 The Music Mix...... 33 Where Do You Begin?...... 33 Developing a Music Library...... 34 Using a Playlist...... 35 Programming, Specialty Music and Motivators...... 35 Reading the Crowd...... 36 Buying Tips...... 37 Moonthings in the Mist...... 38 Types and Classifications...... 38 Ready Made...... 40 Now the Fun Begins...... 40 Music in Motion...... 41 Putting it all Together...... 44 Tech Stuff: What You Should Know About Lighting...... 44 Using Lighting Effectively...... 45 Mobile Marketing...... 49 Planning an Overall Advertising Program...... 56 Where Mobile DJs Most Commonly Advertise...... 57 What Should Your Ads Say?...... 59 How to Get Free Publicity...... 68 Preparing For Your First Gig...... 71 Opening Night...... 82 Handling the Crowd...... 82 Get Away From the Table...... 83 Wedding Reception Format...... 84 Parties and Other “Special Events”...... 93 Games DJs Play—Getting Interactive...... 95 Protecting Your Assets...... 98 Six-Step Bookkeeping System for Non-Corporate DJ Services ...... 100 Insurance...... 105 Public Performance of Copyright Material...... 105 Registering Your Business...... 108 Incorporating...... 109 Multisystem Management...... 110 How to Recruit Good DJs...... 111 What do Employees Want From the Job?...... 111 Starting a Training Program...... 112 Keep Those Bookings Coming...... 116 More Advertising and Promotional Ideas...... 117 Spinnin’ 2000...... 120 About the Authors...... 125 Forward By Dave Simms
When I first started making DJ equipment (in England in the mid 60’s) there were no “how to” books. We were pioneers and made many mistakes. In those days, fortunately, there was room for error as the market was nowhere nearly as sophisticated as it is today. We learned from our mistakes for the best possible reason . . . they cost us money! In the U. K. during the 1960’s, most DJs played to teenage audiences. The club scene had not yet started and most venues were school, church or local social halls. All a DJ needed was a good pile of pop 45’s and the means to play them loud enough for dancing. Few halls had PA systems so mostly rock group amplifiers were used. DJs hardly ever used a microphone because they hadn’t learned how to use one so that their announcements could be understood. A DJ console consisted of a plank, two turntables with a cable direct from the ceramic cartridge to the amplifier which had one control: volume. As a result of DJs coming to my company, Simms-Watts, with these homemade units, I gained an understanding of the market and designed a unit called the Disco-Dex (which combined mixer, amplifier and two turntables in a single unit). It was considered by many to be the breakthrough the market needed. Today, the market knows the difference between a good DJ and one that’s mediocre or worse. The room for “learning by error” is gone. To be successful, you have to learn and master the trade before you can start charging professional fees. Mistakes can be easily avoided by learning from those who have worked their way through the industry. The authors of this book, Robert A. Lindquist and Dennis E. Hampson, along with their many seasoned contributors, have combined experience that covers every aspect of this business. The older guys, like me, look at the DJ business today and are amazed at how far it has progressed. The music, sound equipment, lighting and, above all, the performances of the DJs have become so sophisticated. A successful DJ is a professional entertainer with skills practiced and finely tuned to give a super performance and, thereby, ensure the success of the function for which they were booked and will probably be booked again.
To do it right, you must take the DJ business to levels never thought possible. I, for one, am confident that you will. Roots in Radio
It was 1952, when radio personality Alan Freed, broadcasting from Cleveland, Ohio, changed the name of his daily radio show from “Record Rendezvous” to “The Moondog Rock-N’-Roll House Party”1. It was the birth of pop/rock radio as we know it. More importantly, Freed’s action gave a positive ring to a term that had been coined with derogatory implications several years earlier. That term was “Disc Jockey,” and it originated as a sarcastic tag for a new breed of radio personalities who began taking over the air waves in the late 1940s.
Radio’s golden age of live programming was fading. Radio stations which had employed large staffs of announcers, actors, musicians and sound effects engineers were forced to reduce their staffs in an effort to trim operating expenses. Subsequently, this meant substituting recorded music for live. Disc Jockeys (DJs), armed with stacks of records and congenial, witty personalities, began filling the void.
Freed’s timing was perfect. As Rock N’ Roll grew in popularity, radio DJs in all parts of North America and Europe enjoyed star status as they brought this highly energetic music form to young adults. Sock hops were born. Bands practiced in garages in preparation for their chance to perform in a local high school gym or union hall.
Radio DJs were in tremendous demand. On the air, they were busy with contests, requests and dedications. Off the air, they entertained at sock hops, introducing the bands and spinnin’ tunes on a makeshift, portable sound system.
Music, specifically prerecorded music, is the product of the DJ profession. It’s the DJ who brings the music to life. It’s his (or her) enthusiasm that sells the music to the audience and gets the people involved in it. It’s the DJ who encourages each member of the audience to put aside their day-to-day cares and have a little fun. It’s the DJ who gives us the music and gets us up to dance! Branching Out
Today, DJs are not just found on radio. It’s now commonplace to find DJs providing music at everything from bars, nightclubs, roller rinks, bowling alleys and carnivals to wedding receptions, birthdays, bar and bat mitzvahs, anniversary parties, retirement roasts and a variety of other functions.
Mobile Disc Jockeys make up the fastest growing segment of the DJ “industry.” These professional entertainers, equipped with their own sound and lighting systems and racks of CDs, tapes and records, travel from place to place doing what they love to do and do best: bringing the party to the people! That means being wherever the party is. A Mobile DJ (MDJ) may perform in a local pub one night and at a wedding reception or anniversary the next. Running a Mobile DJ service for profit began, for many, as a hobby. In the mid 1960s, Mobile DJs played mostly for postgame sock hops at the high schools and an occasional “sweet sixteen” party. How Do You Get Started? If you have never actually watched a MDJ in action, do so soon. As wedding receptions are now the predominant type of event Mobiles do, a good place to observe a performance would be in a hotel ballroom or other party facility on a Saturday night. Many DJs invite interested clients to a live audition of their style. Call a few of the DJs in your area and ask where you could come see them perform. Look in the yellow pages of your phone book for the DJ services in your area (they may be listed under “Disc Jockeys,” “Entertainers” or “Entertainment Bureaus”).
Another good way to get some insight into the DJ business is to tour a local radio station. While there, talk to the program director (PD) and music director (MD). These people can provide you with a wealth of information. Specifically ask the PD to explain the functions of the mixing console. The equipment used in broadcasting is more sophisticated and expensive than what you will use in your Mobile DJ business, but many of the functions are identical.
If the station’s chief engineer is available, he will be able to answer most of your equipment questions. Ask him to explain, in layman’s terms, how the sound gets from the microphone, record, tape or CD player to the transmitter. Understanding how radio works can be nothing but beneficial to anyone in the Mobile DJ industry. After all, its roots are in radio.
1 Although credited with coining the phrase “Rock-N-Roll,” it’s thought by some that Freed may have been inspired by the Bill Haley lyric, “We’re gonna rock, rock, rock, we’re gonna roll, roll, roll.” Paid to Party
Operating a Mobile DJ service can be anything you want it to be. It can be a full-time pursuit, a fabulous part time, weekend business or something in between. The important thing is that it’s no longer just a hobby, it’s a business that demands a high degree of professionalism from those who desire to succeed.
Being a MDJ is not a “males only” business. Females are quickly proving this to be an opportunity where the sexes are equal. Couples are also taking up DJing as a way to spend time together and supplement their income, while working to reach common goals. Entré to Entertaining
Mobile DJs are entertainment entrepreneurs. They enjoy getting up in front of a crowd and having fun. They are right at home joking, offhandedly, with their audiences between tunes. Every DJ has developed a style that he’s comfortable with and that works for him. No two DJs are exactly alike. If they were, they wouldn’t be so competitive.
In simple terms, there are two ingredients to a DJ’s show: the music and the DJ. The music should always be in the foreground. When the DJ gets right on track with what the audience wants musically, something magical happens. Everyone has a great time and, for the DJ, it doesn’t even begin to feel like work. Unfortunately, this is not always the case. Sometimes, a little friendly “patter” (chit chat) from the DJ will get people to relax, drop their inhibitions and get into the spirit of the party. Other times, the DJ will need to assume the role of leader and organizer and direct the event. If no one appears to be in charge, the DJ must step in or stand by and let the event be a disaster. Opportunities for DJs
The demand for DJs who entertain at private parties is growing rapidly. Many people who previously hired live bands were first attracted to DJs to keep their costs down. Although DJs have a price advantage on bands, avoid the temptation to promote your service as an inexpensive alternative to live music. Good bands offer a certain energy that a single DJ just can’t duplicate. Stay on good terms with the musicians in your area, they can be a great source of referrals.
Aside from price, DJs are also more flexible than bands. Good DJs play all types of music. Regardless of what the crowd may request, whether it be big bands, waltzes, polkas, country, rock, oldies or Top 40 dance hits, the DJ has something to fill the bill. Only a few bands can competently cover such a range and those that can have no shortage of jobs.
A third plus for MDJs is their ability to play almost anywhere, indoors or out, with very little preparation and setup. The Basic Necessities
The three rudimentary requirements for you to have a successful Mobile DJ business are:
1. Being able to relax and be yourself in front of a group of people. To be a good Mobile DJ, one doesn’t necessarily have to have a great voice. In this business, it’s more important to be able to communicate enthusiastically with the audience.
2. A sound reinforcement or public address (PA) system. A good sound system that can cover an area approximately the size of a tennis court will be more than adequate for most jobs.
3. A properly complete music library. Be it on record, tape or CD, music is the backbone of the industry. Regardless of what you might encounter, any situation (short of total equipment failure) can be overcome if you have the right music! 4. A “lightshow.” Lighting effects and theatrics are becoming just as important as good sound. Your Options: There are 3 ways to get into the Mobile DJ business:
1. Do It Yourself: Many DJs learned the business strictly by trial and error. Armed with a simple sound system and a music library based mainly on their own tastes, they set out enthusiastically to play their first gig. By the time the party was over, they realize there is much more to being a DJ than just “spinnin’ tunes.” DJ training has become so important that those without it are finding it harder and harder to get established.
2. Apprenticeship: A popular way to get DJ “field training” without investing any money is to work for an existing DJ service. Go about this much the same way as you would apply for any type of job. Look through the yellow pages and talk to the owners of the services in your area. Hook up with someone who needs a DJ and is willing to train. You won’t make as much money as you would on your own, but good training is extremely valuable.
“The first thing I suggest to someone exploring the Mobile DJ profession is to learn the business. I’m a believer in the axiom that, in order to receive, it is imperative to give. To get the information you need to succeed in the potentially lucrative DJ business, identify “business role models” in your area. Be choosy who you give your time to. Find out who’s who. Look for people who are highly accomplished so that, in return for the time you give, you’re getting the valuable advice of experienced mentors. You can’t purchase the experience and knowledge you will obtain from highly motivated and competent individuals. There are plenty rags to riches tales telling how the presidents of major companies worked their way from the mailroom to the top of their industry with the help of others more experienced. When you volunteer your time to an established professional in your business, you are clearly making an investment and commitment in your future.” —Sheldon Starke, Attorney (specializing in entertainment law)
3. Buying a DJ Franchise: Some entrepreneurs savor the challenges and risks that come with nurturing a new business. Others just don’t have the patience to wait for their business to mature into a profitable enterprise, they want it now! If your interest in running a Mobile DJ service is primarily “profit motivated,” then consider purchasing a DJ service franchise.
A franchise is a system for doing business that includes valuable secrets and information that would take you months, maybe years, to discover on your own. Buying a franchise is like investing in an existing, established business where you immediately assume a management role. There is a fee involved because the franchiser (them) is selling the franchisee (you) the sum total of their knowledge and experience in running a Mobile DJ service.
As a franchise owner, you are entitled to some guarantee that the people behind the franchise will educate and train you properly. Before you consider buying, scrutinize the person selling you the franchise. What have they accomplished? Is their knowledge and experience worth the franchise fee? Has their particular mode of operation been successful? How do they substantiate their claims?
10 things to look for in a DJ franchise: 1. An exceptional track record with a proven business plan. 2. An established and promotable trademark or logo. 3. An exclusive territory. 4. A complete and concise training program that explains every operational detail that helped the franchiser build his own successful Mobile DJ business. 5. A toll-free “help-line.” 6. Three to five different sound (and lighting) equipment packages at discounted prices. 7. A complete and legal music library or playlist specifying the music your library must contain. 8. Simple and effective bookkeeping, accounting, booking and scheduling systems. 9. A complete marketing program with radio, television and print advertisements adaptable to your local needs. 10.A national advertising program that gets you exposure you couldn’t afford on your own. For example, it would not be cost effective for you to advertise your DJ service in bride’s magazine; however, as part of your franchise agreement, ads could be run by the franchiser that promote franchises across the country.
A Case of Butterflies It’s a safe guess that right about now you’re thinking “this sounds great . . . but, I could never get up in front of a group of people!” Relax, you are not alone. The number one fear among human beings is that, at some time, they will have to step up in front of a crowd of people and “say a few words.” The sheer terror of addressing a group of fellow earthlings can make some people’s palms sweat, their heart pound and, in some cases, cause them to freeze totally. This final extreme is known as “Mic Fright” and is characterized by the individual muttering “a-humma- hummahumma” over the PA system.
Ask a hundred experienced MDJs if they ever get “butterflies” (a feeling of nervousness in the stomach) while entertaining and ninety will say yes. The other ten are liars. DJs fear being in front of people just like everyone else, they’ve just developed ways to deal with it. It’s a skill that comes through experience and self- motivation.
The reason people fear being the center of attention is they’re afraid of saying or doing something that will embarrass them. They are not prepared and don’t know what to expect. They lack confidence. Therefore, the most important thing to remember when going in front of a group of people is: Be prepared. Know what you are going to say and try to think ten to fifteen minutes ahead. It’s no crime to make notes and use them during a gig. If you stay ahead of the game, unexpected situations won’t throw you so far off course that you’ll need a compass and a map to finish your gig. Eight Days a Week
There’s not a Mobile DJ alive (or dead) who succeeded just on talent or because they had the best sound system, lighting rig or music collection. Persistence, tenacity and drive are what get the work done. Success will come to all who refuse to quit.
To keep this business from totally taking over your life, it’s important you set aside “off times” to allow you to get away from the business long enough to catch your breath and keep some perspective. If you’re in this full time, you’ll find it’s almost impossible to take a full day off each week, consider taking a couple of half days. Determine what parts of the week are least demanding and schedule your time off accordingly.
To be a success in the MDJ business demands: 1. An honest love of all kinds of music. 2. The ambition and desire to succeed. 3. A genuine desire to serve the public.
The people who succeed in this business are the ones who love their work, and that love shines at every performance. Good performances bring the referrals that keep your business growing. Combine this with a solid advertising and marketing program, and your business will take off even faster. As your business increases, so does the paperwork. Keeping track of half-a-dozen bookings each weekend is easy. As your workload and staff expands, however, you’ll need to develop systems that will keep you on top of your bookings and help you account for your time, money and expenses. Program for Success
Working long, hard hours in front of a crowd of people who want to be entertained can be very demanding. Regardless of what’s happening in your personal life, when it’s time to entertain, you have to put everything else out of your mind and give it your best. This is challenging at times, but gets easier as performing becomes “second nature.”
Becoming a positive person takes a considerable effort. After all, there are a lot of not-so-positive influences in this world. If you start each day determined to keep things in a positive perspective, you’ll become better able to deal with problems that arise. You’ll also find yourself getting greater respect and cooperation from the people who can help you the most with your business. Before you prejudge the outcome of any situation, remember: It will probably turn out just fine, so why not assume that in the first place.
To achieve success, first decide just what success means to you. What do you want from life? Make a list of the things you want to accomplish. Decide what actions you’ll take to accomplish each one.
Each and every weekend, more and more people are discovering that Mobile DJs are a terrific source of entertainment. As the demand for DJs grows, so does the number of Mobile DJs. This increases the competition. Competition makes us work harder and hard work makes us better at what we do. The best get the biggest share of the market, so be the best. Disco to Go
In the 1960s and early 1970s, MDJs struggled to make do with whatever sound equipment they could piece together. Usually, this meant starting with a musical instrument’s amplifier or one from a hi-fi or stereo designed for “home” use. The unit would be customized for the task by changing connectors, adding cooling fans and making a few internal wiring modifications. Many speaker systems were “home-brew” designs as well, utilizing geriatric components from old TV and radio sets, discarded record players and outdated guitar and organ speakers. Once a few functioning woofers and tweeters1 were gathered from the trash, they would be mounted in a variety of interesting arrays in anything from an old TV cabinet to a well-crafted plywood box. An early subwoofer2 system (circa: 1966) was fabricated using a 12- or 15-inch speaker mounted face up in the bottom of a large plastic trash pail. Equipped with it’s own outboard amplifier, it could be placed anywhere at the site to reinforce the bottom end. It actually worked quite well, but keep in mind that, back then, anything that worked was considered to work well. Today, professional equipment—like dual CD players, cassette decks, turntables, speaker systems, power amplifiers, wireless microphones and disco mixers (with and without digital samplers)— is readily available either by mail order or at numerous DJ specialty stores.
In Your System
Every Mobile DJ sound system is made up of four parts: 1. Music sources are the components designed to play back prerecorded music. The music sources DJs commonly use are CD players, Mini-disc players, tape decks, DAT and turntables.
2. The audio mixer allows the DJ to control the volume (or level) of several music sources as they are simultaneously “mixed down” to a single output.
3. The power amplifier takes the output of the mixer and boosts the volume to a level which is capable of filling the room with sound.
4. Speaker systems are made up of a number of individual speakers and components within a single cabinet. Their job is take the amplified signal from the amplifier and covert it back into sound we can hear. Normally, a DJ will use two speaker systems. In stereo operation, one receives the left signal from the amplifier, the other receives the right. In monaural (mono), both speaker systems receive an identical signal. For added bass, a single or pair of subwoofers, which reproduce just the lower frequencies, may be added. Interacting With Your System
A good sound system is one that’s reliable and comfortable to operate. One thing all good DJs have in common is their ability to keep the music pumping continuously just like it was a single four- or five-hour song. Any pauses, holes or “dead air” during a DJ’s performance breaks the momentum and can clear the dancefloor. In order to provide an uninterrupted music flow, each individual music track3 will overlap the previous. These overlaps, or moments of transition where one song is fading out while the beat of another is coming in, are called Segués (Seg-ways).
To make tight segués, the music must start at the precise moment the DJ wants it. CD players automatically “cue” to the beginning of the song. But what if the DJ wants the music to start at a point other than the beginning? By listening through the headphones, a DJ can audition a musical selection without disturbing the song currently playing through the speakers. This procedure, called Cueing (Q- ing), enables the DJ to locate precise musical starting points as well as matching beats between two selections.
A Closer Look
Music Sources: CD Players: The majority of MDJs now exclusively use CDs, and with good reason. First and foremost, the sound reproduced from a CD is far superior to vinyl records. Secondly, they are far more resistant to scratches. Third, they are very easy to work with. Pop them in the player and they’re ready to play. They are also more transportable because of their small size. This ease of operation makes it possible for the DJ to concentrate more on their performance and interacting with the crowd. CDs are far from perfect, however. They will skip the same as a vinyl record on a soft or “springy” dancefloor.
While consumer-type CD players are adequate for beginning DJs or as backup units, they lack features essential to professional DJs. Pitch control, for example, allows the DJ to increase the speed of the music to match the mood of the crowd. DJs who take pride in creating multi-song sets of music with seamless segués, need the ability to vary the tempo and key of the music. CD players such as the professional DJ models by Denon, BST, Vestax, Gemini, Gem Sound, GLi, Numark and Pioneer have built-in pitch control and other effects, such as looping, instant-cueing and digital time and frame counters to aid in creating tight, exciting mixes. Tip: To avoid operational problems, CD players should always be set on a flat surface when in use.
Cassette Decks: While CD is the format of choice for most DJs, others find working with tape cassettes more to their liking. While prerecorded cassettes are less expensive than CDs, it takes extra time and preparedness to cue up a particular track. Cassette-based DJ services have found that by pre-cueing their tapes and by using cassette players with a search feature, finding particular tracks is not a problem. The one big advantage of working with cassettes is that they’re totally unaffected by dancefloor vibration. This makes them especially well suited as a backup unit for playing polkas, foot stompers and other such floor shakers.
MINI-DISC: This format originally caught the attention of DJs for three reasons: It’s small, it’s recordable, and it doesn’t skip. However, two major drawbacks (price and lack of pitch control) have kept mini-disc from really making an impression on the mobile profession.
TURNTABLES: As the cornerstone of the DJ industry, turntables have yet to outlive their usefulness. Turntables that perform best are lightweight, yet rugged enough for road use. Direct-driven or belt-driven models are favored since they maintain constant speed and start up within one-half turn. The Technics SL 1200MKII has remained the top choice of the mobile and club DJ industry for over a decade. Gem Sound, Vestax, GLi and Gemini all produce turntables that rival the SL 1200MKII’s performance, but not its reputation.
If your turntable comes with a rubber mat on the platter, it’s suggested you replace it with a felt antistatic mat available from Discwasher, Stanton and American DJ Supply. If you prefer, you can make your own mat by cutting out a piece of thick felt to the exact size of the rubber mat. Rubber mats are designed to provide a lot of friction so that the record rotates without slippage. Felt mats provide the friction necessary to keep the record at a constant speed and still allow the user to slip the record in either direction at will.
Tip: Spray a very small quantity of furniture polish on a cloth and wipe over your turntable platter to reduce the amount of friction between the platter and the mat.
PHONO CARTRIDGES AND STYLI: Use only cartridges and styli intended for disco or broadcast use. The most popular brands are Shure, Pickering and Stanton. Best suited for DJ work are Stanton’s popular Trackmaster Series, 680 EL, 890 AL or Shure’s M-44-7. For DJs who “scratch,6” Stanton’s low profile 500 AL is an excellent choice. With a tracking force7 of up to 7 grams, the AL 500 keeps the stylus in the groove.
AUDIO MIXER: (a.k.a.: control boards, audio mixers, disco mixers, mixer/preamplifiers or simply “boards”). An audio mixer consists of three parts: a mixer, a preamplifier and a cueing system. The mixer section provides the controls for increasing and decreasing the volume of each individual music source separately or simultaneously. This makes it possible to mix or fade two or more music sources together for smooth segués. Also included are controls for cueing, headphone volume, master volume and other luxuries, depending on the model you choose.
Phone vs. Line Level Inputs To understand what the preamplifier section does, it’s important to first understand the differences between the two types of inputs available for music sources: phono for turntables, and line level for tape decks, CD players or similar sources. The sound produced by a turntable as the stylus rides the record groove is very low. By comparison, the signal produced by a tape deck or other line level source is much higher.
The preamplifier must compensate for this difference. Turntables with magnetic cartridges require a preamplifier which is built into the phono inputs of an audio mixer/preamplifier. This preamplifier boosts, or “amplifies,” the very low signal from the phono cartridge so that it matches the higher output signal of a tape deck or CD player, which is line level. Along with boosting the output level, phono (or turntable) preamplifiers also equalize the sound so that it matches the R.I.A.A. (Recording Industry Association of America) standard. This is the standard set by the recording industry to control how records will sound when played back on different types of turntables.
Microphones also require preamplifiers in order to bring their outputs up to line level; however, “mic” inputs have no equalization. If you plug a microphone into the phono or turntable inputs of the control board, you will get sound but it will be very distorted. The same will happen if you plug a turntable into a microphone input. What happens when a line level source is plugged into an input that has a phono or microphone preamplifier? It will be distorted. This is because the amplifier is getting a line level signal that has been boosted beyond what it can handle. If your source has a volume control, you may be able to turn it down low enough to reduce the distortion. Most audio mixer/preamplifiers intended for DJ use are equipped with phono and microphone preamplifiers. In the event you ever need to work with an amplifier or control board that is not specifically designed for DJ use, this information could be very important.
Take Your Cue The third section of a mixer is the cueing system, which consists of a low power amplifier just for sending “cue” to the headphones. All DJ mixers include a built-in cueing system.
Now, Back to “Boards” Some inexpensive models offer basic features such as two phono inputs for turntables, two line level inputs for tape decks or CD players and a microphone input. Make sure the mixer you choose has an adequate number of line, phono and mic inputs so you won’t have to be rewiring every time you want to use a different music source.
The first luxury most DJs look for in choosing a mixer is a fader. This is a separate sliding control that allows the operator to fade from one music source to another without using the vertical volume controls assigned to each input. This is a necessity for DJs who want to create their own club mixes while performing live. During an evening of playing at high volume, your ears get used to the loud sound. It becomes difficult to tell actually how loud you are playing. Mixers with VU (volume units) meters or LED (light emitting diodes) scales provide a means of monitoring the volume of the signal as it leaves the board enroute to the amplifier. The VU meters or LED scale will help you protect your system visually when you can no longer make a good “sound” judgement. If the needles of the meters are slamming right off the scale, or the entire scale of LEDs are glowing brightly, you are overloading your amplifier which will lead to overheating or even a blown speaker. A final important option that you should consider is an equalizer. An equalizer allows the DJ to correct poor-sounding recordings and acoustical problems. Because the sound reproduced by CDs is more pronounced in the higher frequencies than records or tape, it’s important to have an on-board equalizer to make immediate minor corrections when necessary.
The most common brands of mixers include: Vestax, MTX, Numark, Gemini, Gem, GLi, Rane, Biamp, Pioneer, BST and Citronic. When shopping for mixing boards, price should be proportionate to features. Beware of boards that offer too many features at too low a price.
Several manufacturers now offer mixers that feature on-board digital samplers. Based upon technology that originated in the computer and digital recording industries, digital samplers allow the DJ to write (record) into the mixer’s memory a jingle, segment of music or voice and then replay it with the touch of a button. Once familiar with all the “bells and whistles,” take a look at the back of the mixer. Make sure it has the inputs and outputs you need. All input and output jacks should be a standard size. If not, you’ll end up wasting a lot of time manufacturing special adapters. Most mixers use RCA type phono jacks for all phono and line inputs. Quarter-inch phone jacks are common for headphones and microphones. XLR type, three-pin (cannon) connectors are used on some higher-priced models. A final consideration is the board’s output. Is it stereo, mono or switchable (offering you the choice of stereo or mono)? If you plan to run in stereo, with a stereo amplifier, you’ll need a board that gives you left and right outputs. In a pinch, you can convert a stereo board to mono by combining the two stereo outputs in a single mono output with a Y-connector; this is not recommended for long- term use. You cannot convert a mono board to stereo.
A “stereo/mono” select switch is handy to have when you encounter a situation where mono sounds better. On occasions when you need to position your speakers in such a fashion that any stereo effect is lost or when one channel of your amp goes dead, a quick switch to mono could save the night!
Equalizers (EQs) Most mixers come with some type of built-in equalizer, which is primarily for making quick adjustments necessitated by using a mixed format of new and old records, tapes and CDs. To improve the overall sound quality, a larger equalizer, connected between the mixer and the main amplifier, can compensate for room acoustics and equipment deficiencies (such as a damaged speaker system).
Understanding Equalization As you recall from all those hours of watching Mr. Wizard, sound is caused by vibrations. The faster something vibrates, the higher the pitch (frequency) of the sound. Frequencies are differentiated by the number of vibrations (cycles) each second and are expressed as “hertz” (Hz). High frequencies are the result of thousands of vibrations per second, so the letter “k” (short for kilo, meaning thousand) is used in the abbreviation. For example, 10,000 vibrations per second is abbreviated 10 kHz. Just as a ray of sunlight is made up of different colors, all sounds are composed of many different frequencies. Using this analogy, an equalizer does to sound what a prism does to light. As the sound (in the form of an electrical signal) passes through the equalizer, it is separated into a number of frequency ranges called “bands.” Most home and portable stereos are equipped with basic equalizers called “tone” controls. Typically, there are two tone controls: one for bass (lower frequencies) and the other for treble (high frequencies). Using these controls, we can customize the sound to our own liking by boosting or reducing the bass or treble.
In professional applications, such as in a sound studio or live performance, equalization can be used to eliminate unwanted noise caused by sound bouncing, or “reverberating,” off the walls of a room. The extent of this reverberation is dependent on the room’s acoustics. In rooms with many hard, flat surfaces, sound will bounce around more than in a room with cloth-covered furniture and drapes. Hard surfaces reflect sound. Soft, porous surfaces absorb sound. Strike a series of loud chords on a piano in a room with little carpeting or furniture and hear how the sounds degenerate into mush.
Unlike tone controls, a professional equalizer will split the sound into twenty or more frequency bands. Each band is marked according to the frequency range covered.
This block diagram of a five-band graphic equalizer shows how the signal from the audio mixer is split into five frequency ranges: 60Hz, 250Hz, 1kHz, 5kHz and 12kHz. The DJ uses the controls assigned each band to increase or reduce the amount of bass, mid-range or treble in the overall sound.
The 60Hz range would be used to adjust the level of low bass, such as the sound produced by synthesizers, bass guitars and other electronic instruments. Boost in this range creates bass that can be felt on the dancefloor. Turntable rumble, caused by too much bass, can be remedied by reducing this frequency range.
The 250Hz range is the low mid-range and contains the sounds made by instruments such as bass guitar or tuba. The 1kHz and 5kHz ranges cover a variety of instruments such as alto and tenor saxophones, many horns and voice. Adjustments in these two ranges can compensate for acoustic problems caused by the size, shape and furnishings of the room.
The 12kHz controls the sounds made by the higher pitch instruments such as cymbals or piccolos. By boosting this range, you can make the sound brighter and crisper. If CDs are sounding too sharp or you hear significant tape hiss, back down the control for this range.
The more bands an equalizer has, the more accurate the DJ can be in boosting and reducing precise frequencies. For example, if a DJ determines that a certain mid-range frequency is causing feedback8 every time he flips on the mic, he could reduce that range without noticeably destroying the sound of his overall mix.
|Another luxury is a compressor/limiter (or “crusher”). This is a device that helps you maintain a consistent volume. A compressor /limiter “listens” for loud bursts of sound. Then it quickly and automatically reduces the volume until the burst has passed.
POWER AMPLIFIERS: Every DJ has a “pet” make of amplifier and it’s usually one that has served him for years without catastrophic breakdown. In power amps, you want:
1. Reliability. Can it put up with hard use and perform flawlessly night after night? 2. Repairability. If it does breakdown, can you get it fixed fast and inexpensively? 3. Excellent sound quality. Do you like the way it sounds when mated to your speakers? 4. Affordability. Can you afford it?
If you still believe you need an amp with a lot of ear shattering watts, then hear this! With an efficient amplifier and speaker combination, you’ll need less than 200 watts to adequately cover an area about the size of a tennis court, which is larger than most dancefloors. If you plan to go after high school and college jobs, you may want to select a slightly more powerful amplifier, or “bi- amp” using two amplifiers simultaneously.
In simple terms, a power amplifier takes a low voltage signal in one end and puts out a much stronger signal from the other. This latter signal is described in terms of “RMS,” “continuous” or “FTC.” This designation represents the amount of power, expressed in watts, that the unit is capable of delivering on a steady basis throughout the course of the night. If it’s a stereo amp, it will be expressed as “watts per channel.”
SPEAKER Systems: A speaker system is made up of a number of individual speakers. Each speaker is designed to reproduce specific audio frequencies. An electronic “black box,” called a crossover, inside the cabinet splits the incoming amplified audio signal into two-, three- or four-frequency ranges and sends it to the speaker assigned that specific frequency range. Speaker systems with crossovers that split the signal into two frequency ranges, are two-way systems. If they split into three-frequency ranges then they are three-way systems and so on. Two-way and three-way speaker systems are quite adequate for Mobile DJs.
In choosing speakers, start by ruling out all speaker systems that have power ratings lower than the RMS output of your amplifier. Note that the amplifier’s power rating may be listed for four and/or eight ohms impedance. Some of the best speakers on the market for Mobile DJ use are made by MTX, Gemini, Gem Sound, Electro- Voice, Bag End, Community, Pioneer, Yorkville, JBL, Fender, Cerwin-Vega, Klipsch, Peavey, EAW, ETI, BST and Numark.
For most jobs with under 200 people, two good two-way or three- way speaker systems matched to your amplifier should provide all the sound reinforcement you need. If you’re looking for additional “bottom-end” (lower bass), consider adding a subwoofer. This is a single speaker system which normally uses a 15-or 18-inch woofer powered by its own separate amplifier. Because low frequencies require the most power to amplify, using a subwoofer not only adds a heart-throbbing bass beat to your mix, it increases the performance of your main power amplifier. As bass frequencies tend to be non-directional, it is not necessary to use two subwoofers when operating in stereo.
Playing for large parties, like school dances, requires additional volume and that means higher powered amplifiers (500 to 1,500 watts) and bigger speaker systems. Every gig of this type is a little different, so it’s recommended that you consult an experienced DJ or sound engineer for advice on the types of audio setups that will do the job.
Speaker stands give you added flexibility in speaker placement. By elevating speakers to ear level, you will be able to provide louder volume with a less powerful amplifier. If you operate without speaker stands, place your speakers on chairs or tables to get them up off the floor. Subwoofers, on the other hand, should never be raised off the floor because the sound from this type of speaker travels along the floor. An option you have with speaker systems which you don’t have with other components is that you can build your own. Many audiophile magazines routinely carry construction plans plus information on where to buy raw speakers, crossovers and hardware.
MICROPHONES AND HEADPHONES: A good quality microphone and a pair of headphones will round out your system. Your personal preferences and comfort will have a lot to do with these choices. Microphones are classified two ways:
1. By principle of construction (i.e.: Dynamic or moving coil, Ribbon, Crystal or Carbon and Condenser). 2. By pickup pattern (i.e.: omnidirectional, bidirectional, unidirectional and cardioid).
The best microphone for MDJ work is a dynamic or moving coil with a unidirectional pickup pattern. As the name implies (“uni” meaning one), these microphones pick up sound from a single direction. A close second to unidirectionals are microphones with a cardioid pickup pattern. These pick up sound coming directly at them but cancel out most of the sound coming from the sides.
Omnidirectional microphones pick up sound from all directions and are not recommended as they can be susceptible to feedback.
Wireless microphones have become very popular with DJs because of the freedom they offer. DJs who like to venture onto the dancefloor to work the crowd as an Master of Ceremonies (MC) find a wireless microphone excellent. The price is higher for this type of microphone because it includes a low-powered transmitter and receiver. You should always carry a conventional cabled microphone in the event you are in an area where the wireless microphone is subject to interference.
Headphones are one area that’s totally subjective, so go with what you like best. However, avoid open-air types as they don’t seal out enough external noise, making it difficult to “cue.” Inexpensive headphones covering the whole ear are preferred. Special DJ headphones with a single ear piece are also available.
CABLES AND ACCESSORIES: Normally, compact disc players, cassette decks and turntables come with all the proper cables. These cables are of a standard length and, with few exceptions, will terminate at RCA-type plugs designed to mate with the RCA-type jacks found on most audio mixers, equalizers and preamplifiers. Turntables require a third “ground” wire which is connected to the grounding post on the mixer. Without this wire, a significant “buzz” will be heard through your system; therefore, if you substitute cassette deck or CD player cables for a turntable hookup cable, you will need to run a separate ground wire from the turntable to the grounding post on the mixer board. You will also need hookup cable to run from the board to the EQ and from the EQ to the main power amplifier.
Next, you will need speaker cable to run from the amp to the speakers. Do not use thin gauge, “home” type wire for speaker hookup. West Penn Wire, Alpha Wire and Monster® cable make 14-gauge and 12-gauge paired cables specifically for speaker runs. Heavy gauge speaker wire (14-gauge or thicker) is more durable and efficient. Keep your speaker cables to a maximum length of 20 feet. As your speakers should never be placed farther than 15 feet apart, 20 feet of speaker cable will usually suffice. Longer cables are not only less efficient, but tend to tangle easily. Constantly wrestling with tangled cable wastes time and can cause premature failure.
Note: Sixty percent of all equipment failure is not due to equipment problems but faulty interconnect cables (“patch cords”). Never leave home without at least two extra interconnect cables and one extra set of speaker cables. Finally, equip yourself with a minimum of two 25-foot, 12-gauge or better, grounded (three-prong), industrial-duty extension cords. Using anything less is foolish and irresponsible. You should also have at least two three-prong grounded adapters for situations when you encounter two-prong ungrounded AC outlets.
TABLE PADS AND MATS: Anywhere people are dancing, the floor will be shaking. If your equipment table is on a soft or springy floor, vibrations caused by the dancing will bounce your turntable’s tone arms and CD player’s optical pickup, ruining your show. You can eliminate this problem to some degree by padding the table with thick pieces of shag type carpet. Put the carpet pieces on the floor to isolate your table from the floor and on your table top to isolate your turntables from the table.
If you have a severe problem, place your work table facing an outside wall, which is the most solid part of the building. You’ll have to work in front of your table (with your equipment behind you), but it’s far better than having records and CDs skip all night long. Budgeting For Your System Before you can assemble your idea of the “ultimate DJ sound system,” think carefully about what you want the system to do and how much money you can spend. Try not to lose sight of the fact that your long-term goal is to establish a profitable Mobile DJ business. To achieve this, you must force yourself to compromise between what you really want and what’s practical.
Regardless of the size of your budget, keep the 60% figure in mind. You’ll need the remaining 40% for records, tapes, CDs, initial advertising expenses and other supplies. Plan your system carefully and buy only what you really need to establish some income. Lighting, a mirrored ball and a fog machine may have to wait. Building Your System
Your order of priorities in choosing equipment are: 1. Reliability 2. Good Sound 3. Price
Money is very important when starting any new business, but don’t let it be the deciding factor—you get what you pay for. Being that your sound system can make or break you, it may be necessary to really stretch your budget to get equipment that’s reliable and puts out great sound.
Unless you’re a recent lottery winner with a significant amount of cash on hand, equipment cost has to be your most important consideration. If you plan to book primarily smaller events (birthdays, anniversaries, wedding receptions and other events for 175 people or less), a professional-quality, fresh-from-the-box sound system will run upwards of $2,500. If you already own a reliable amplifier, cassette deck or CD player, you should be able to use them and thus reduce your initial outlay.
Consumer or “home” grade electronics, such as you find at many “discount” audio stores, may fit your budget, but they are definitely not designed for professional applications. If you have a high quality home stereo system, you may need to utilize the amplifier (or receiver) and speakers temporarily in a pinch. If you do, don’t run them too loud or long and bring along a fan that can generate near gale-force winds to keep the amplifier from overheating.
Used or Abused? If shelling out two or three thousand dollars for new equipment is out of the question, investigate buying a used system. DJ services come and go and you may be able to find a DJ in the process of liquidating his gear. Start with a look in the classified ads under “Stereo / TV / Sound Systems” or related headings. DJs close up shop for a variety of reasons. Often it’s because they just didn’t have enough time to devote to the business. The equipment they have for sale may have very few miles on it. Check it out carefully. Look for tell tale marks and scratches that come from hard use or abuse. Have the seller set it up so you can “road test” it.
Next, ask to see all the owner’s manuals and receipts that show the date of purchase and the original price. Check these documents carefully for alternations and anything that may cause you to suspect that the merchandise is stolen. Finally, write down the makes and models of each component. Call a reputable DJ supplier and get their impression of the equipment along with the actual, original retail prices.
If the dealer gives you his stamp of approval, go back to the seller and make a deal working your way up from about one-half the original price (less if the equipment is older). Any noticeable signs of neglect, such as scratches, loose knobs or even missing owner’s manuals can be used as bargaining tools in your favor. While you’re at it, see if the seller is willing to part with his music library; possibly, he’ll give you a package deal.
If you would rather “pay as you go,” an attractive alternative is renting equipment from a local sound equipment or DJ shop. Renting a system may cost $100 or more per night, but you won’t have to worry about maintenance. Renting also allows you to work with a variety of components so you’ll be able to decide what you like best. 1 Woofers are large speakers designed to reproduce bass; tweeters are smaller speakers that reproduce treble.
2 A speaker system designed specifically to reproduce very low bass.
3 Any individual music selection or song.
4 A cassette tape which contains one or more versions of a single popular hit.
5 Slipping a record back and forth with the needle in the groove to create a beat effect.
6 The amount of downward force the cartridge exerts at the point where the stylus sits in the groove of the record.
7 Feedback is the howl that results when your open microphone gets too close to the speakers. If feedback is a problem, adjustments in the mid-range and treble may reduce it. The Music Mix
An important prerequisite for becoming a good Mobile DJ is an appreciation for all types of music. This doesn’t mean you must spend your off-nights listening to Lawrence Welk polkas (unless you want to), but a working familiarity with a variety of music styles is very valuable.
If your target is the lucrative wedding reception, birthday and anniversary markets, you will need a music library that covers the bases from “big band” swing to current pop, dance and party hits. Categories will include: Oldies, easy listening (a.k.a. cocktail/background/dinner music), country, polkas and waltzes, along with all the special party tunes (motivators) that have become the trademarks of the profession. Where Do You Begin? The format you use (CD, cassette, mini-Disc, vinyl record or a combination of these) is the first consideration. Each format has advantages and disadvantages. A tape library is much easier to transport than a vinyl library because many musical selections can be put on one compact, lightweight tape. The disadvantage to tape is its inherent “hissiness.” When amplified, this hiss can be very annoying. Noise reduction systems, such as Dolby B and C, along with a good equalizer, can keep this problem in check. A second drawback to tape is cueing. If you need to locate a selection three- quarters of the way through a 90-minute cassette, it can take your attention away from the show for two or three minutes. DJs who have selected cassettes as their format of choice will usually opt for cassette decks with a scan feature to aid them in locating particular songs. The big plus for using tape, as most DJs will attest, is in situations where the dance hall has a “sprung”2 dance floor, causing CDs or records to skip.
Although it’s getting harder and harder to find pop tunes on record, if you want to build your show around standards and oldies, records may not be a bad choice. Garage and household sales have replaced record stores as the best source for older singles and LPs. Among the drawbacks to using only records are: They warp, they skip and they get scratchy.
For the DJ who strives for the best possible sound reproduction while taking up minimal space, CDs are the best alternative. Building a CD library is relatively easy, as there are thousands of compilation sets available. Each of these collections features many past and recent hits on a single CD. As you set out to build your mobile music library, it’s important to keep in mind that the value of a particular CD is based on how many usable songs it contains. For example, there are sixteen songs on a compilation CD priced at $16. Eight of the songs on the disc are ones you’ll play at most every job. Therefore, you are paying $2 per song. A very good deal. On the other hand, a $16 CD that contains only one song you’ll ever play is no deal at all. The exception is: If that one song is the bridal song for a wedding for which you are being paid two, three, or four hundred dollars, you buy it whether it’s a good buy or not. Developing a Music Library Once you have selected a format, start to assemble a music library by categorizing your music into specific areas. The two main reasons for creating an efficient music filing system are:
1. To classify the music so that your library is complete, yet portable. You will want to carry all the selections that are routinely or even sporadically requested. A good library is broad and varied. The client is paying for your musical expertise, and there is nothing like the smile on a client’s face when he requests some off-the-wall selection and you reply, “Sure, I have it!”
2. To make it easy to quickly retrieve a particular selection while on the job. There is not much point in packing these “occasional requests” if you can’t find them fast when you need them. You will never remember every selection you have, so you need the ability to access a category and search it quickly to see if you do, in fact, have a requested selection. If you’re looking for ways to put your computer to work for your Mobile DJ business (so you can write it off your taxes), put it in charge of your music library. New software programs for DJs are constantly becoming available. “Mobile Beat: The DJ Magazine,” frequently introduces and reviews new software for DJs. Using a Playlist People’s tastes in music are extremely varied. Factors such as age, sex and social status are forces to consider when preparing the music mix for each job. Some tunes appeal to all audiences. Others merit play only when requested. Your best source for an annually updated list of the songs DJs are playing coast to coast is the “Top 200,” a special feature of the February/March issue of Mobile Beat Magazine. The list is also available as colorful reprints to use as a marketing aid.
A strong playlist, such as the Top 200 reprints, is a good selling tool as it shows each client the extent of your music collection. Ask each client to review the list and note any particular favorites they would like you to play. Offering a playlist for your clients to review in advance of the booking is an additional way to let them know you offer good service and you really want to play the music they want. Programming, Specialty Music and Motivators Programming is the process of pre-selecting the appropriate music for an event. Most often, this music will be picked from your category of “specialty music.” At a wedding reception, for example, you would pre-select the bride and groom’s choice for their first dance to assure you have it in your library. Daddy’s Little Girl, for a bride who wishes to dance with her father, or Song for My Son for a groom who wants to dance with his mom, would also be a specialty selections. There are many songs in this category which could have special importance to a bridal couple. Music for these special moments should be picked carefully and with forethought.
Specialty music will be used to some extent on every occasion. Halloween specialty music would include: The Monster Mash by Bobby Boris Picket and Michael Jackson’s Thriller. At Christmas parties songs like, White Christmas by Bing Crosby, Jingle Bell Rock by Bobby Helm and Bruce Springsteen’s Santa Claus is Coming to Town will be among the many favorites requested. Motivators are those tunes that always get the crowd out of their seats and onto the dance floor. The Macarena by Los Del Rio, The Electric Slide by Marcia Griffths, Celebration by Kool and The Gang and C’Mon Ride It (The Train) by Quad City DJ’s are fine examples of motivators. Use Motivators to stimulate the crowd and get them dancing and having fun. Once you get them going, they won’t want to stop. This could mean overtime for you.
Music is the tool of the DJ trade. Like any tool, it takes time and practice to learn how to use it. Over half the selections you play, you will play job after job. There are certain standard songs that every crowd will want to hear. It won’t take you very long to determine what they are. The remaining 50% will be the records that change according to the tastes of your different audiences. Keep a journal of each job you do and log the requests. If you’re getting requests for something you don’t have, you’ll know to get it before the next time out. Reading the Crowd On average, a good, working mobile music library will contain over 5,000 selections. But, during a five-hour job, only about one hundred tunes will get played. Once at the party, you must decide what to play until the requests start coming. Your initial selections will have much to do with setting the tone for the party. Making the right choices depends on your ability to “read the crowd.” When you arrive at a gig, look at the people. Analyze the type of group with which you are dealing. Try to determine an approximate median age. If much of the crowd is over 35, you may want to start out with tunes from the ’50s and ’60s. If the group is younger, Top 40 and modern rock my be a safer bet. If the group is older, your selection will probably lean more toward mellow ballads and big band. If there is a predominate ethnic background, that may influence your early selections as well. As your ability to “read the crowd” develops, you’ll get better and better at knowing what to play even before it’s requested.
Ultimately, the best way to please the crowd, and relieve stress at the same time, is to plan your music ten to fifteen minutes ahead of time. For example, if your playing Old Time Rock &Roll, and you’ve just cued up The Twist, be thinking about what you will be saying and playing three or four songs later. Your plan may get interrupted by a request or two, but you’ll find it’s easier to get right back on track. Buying Tips To control the cost of building a music library, get into the habit of buying just the music you need, not what you think you might need. With a little research, you can determine what music you should have on hand at each gig. Keep up on new music by tuning across your radio dial for programs like American Top 40 or scan the pages of Billboard for up-to-date lists of the “hot” tunes. Never feel you have to buy a record as soon as it hits the charts. With the exception of school dances, the majority of requests you receive will be for tunes that have been out for a month or longer. If you’re working on a fairly consistent basis, keep track of your requests and buy new records according to the demand from your audience. Saving money on records, tapes and CDs is a big interest of every DJ. Compilations, which feature a collection of songs, are usually a good buy. Good collections of big band classics, ethnic tunes, country hits, oldies and pop songs are plentiful. Many record shops have a special bin for compilations and there are always deals on TV.
1 DJ/Musician terminology for any particular job.
2 In buildings with rooms originally designed for dancing, the floors were constructed with substantial “give,” much like a trampoline. Moonthings in the Mist
People who hire DJs want more than just music. They want a total entertainment package with sound, lights and a personable party host who can teach dances and lead games and other special activities. To stay competitive, many mobiles have added lighting and theatrics to their bag of tricks. As a byproduct, lighting manufacturers, who at first did not see this as a hot market, now produce lighting packages and effects designed specifically for Mobile Entertainers.
If one of your primary goals is to capitalize on the high school and college market, a good lightshow is must. Lighting adds excitement to any party by making the dancefloor warm and inviting and turning it into fantasyland of dazzling movement and intense color. Lightweight, compact, and versatile lighting systems make it possible to bring an exciting lightshow to any type of event. With dancefloor lighting to set the mood, even a casual evening wedding reception can become something really special. Types and Classifications A good mobile light show starts with lighting that colors the environment. The type of lighting used for this is identical in concept to that used to light stage shows, except that it shines on the dancefloor instead of the stage.
A basic DJ dancefloor system requires a minimum of four lighting fixtures, called par (short for parabolic) cans, a lighting stand, and a controller. To properly balance the lighting across the dancefloor, two systems or “trees” should be used, one on each side of the dancefloor.
Par cans are truss-mountable aluminum (or plastic) housings designed for a specific par lamp. They are available in a variety of sizes from the mini-par can 16 to the par 64. The number refers to the diameter of the lamp in 8ths of an inch (i.e., a par 56 can uses a lamp with a 56/8ths of an inch diameter.
For small to medium halls, two trees with four Par 38 cans each (150-watt lamps) should be sufficient. For more power, jump up to par 56 cans with 300-watt lamps. For lighting a dancefloor, use par lamps with broad, even coverage, typically referred to as floodlights.
The type of stand you select needs to be able to support the weight of the par cans being used, as well as a controller or relay pak. It also needs to extend high enough so the lights shine down on the crowd so as to not blind the people on the dancefloor.
Next, you need a way to control the lamps and create chase and pulse patterns to add interest to your lightshow. A variety of simple, all-in-one, sound-active chase controllers are available for this purpose. DJ favorites include American DJ’s CC-2016, the DJ-2400 from Ness, Lightcraft’s 860 M/R Mobile Relay, ETA’s MAD1000, MBT’s LC4800, the CTL-4 from Lytequest, Elation’s CC5A and the ML-4800 from Cantek-Metatron. These autopilot devices mount to the light stands and connect directly to an AC wall outlet. Plug the par cans into the outlets on each pak and the pak does the rest, creating a myriad of chase sequences that change with the beat of the music.
For greater control in creating a custom lightshow, you’ll need a controller and a relay pack. The relay packs are mounted on the stands and provide the AC outlets for the par cans. A connecting cable runs from the controller to the relay. Depending on the sophistication of the device you choose, lighting controllers allow you to control the intensity (dimming) of each par light, as well as fire off the lights individually or in sets, simply by touching the keys on a touch panel. Lytequest by Gemini, American DJ, Ness, MBT, Lightcraft, Citronic, TPR and several other manufacturers offer lighting controllers with features perfect for Mobile Entertainers.
On many controllers, momentary “flash” buttons, used singly or in multiples, can be “played” in time to the music. This has been greatly simplified by the use of matrixed boards and controllers capable of storing many presets lighting combinations simply and quickly. In this format, some presets may be programmed in color groups, thus a fader and its momentary flash button may bring up a group of reds, greens, blues or a combination of colors. A sudden blackout at the end of a piece of music, in time with the last beat and followed by a new lighting pattern, can produce a startling effect. Ready Made You can also purchase prepackaged lighting systems such as MBT’s Weekender series, the NLS-1 from Ness, and American DJ’s LS-500 which come with stand, four par 38 cans with 150-watt lamps (with colored gels) and control pack. Similar systems are available from Lightcraft and ETA. In addition, Cantek-Metatron offers the Meta-Lite System 8500. This portable 22-pound stand alone has eight lamps on separate chase channels to provide 256 patterns that change with the music. Add-on products such as MBT’s SC100 foot controller and Lytequest’s FC-404L foot controlled effects manager allow you to run your lightshow while keeping your hands free to operate your mixer.
Another option is one of the self-contained, all-in-one systems from Colorado Sound N’ Light. These systems have lamps pre-mounted in special DJ road cases. The largest systems have 24 par lights mounted in a carpeted road case with controller and two stands. Smaller systems use mini par 16s with high-output lamps. Several controller options, as well as a built-in mirror ball and motor, are offered. And most of the CSL systems have provision for mounting lighting effects right to the case, eliminating the need for a cross bar. Now the Fun Begins With a good par lighting system as a foundation, you can begin adding effects to create light shows that are truly your own. Two of the most popular types of mobile lighting effects devices are moonflowers and beamers. The concept of these devices can be linked to the low-tech, yet still popular “mirrored ball” effect. A mirrored ball takes a single beam, breaks it into hundreds of smaller beams, reflecting them onto the floor, ceiling and walls. As the ball turns, by way of a small motor, dots of light spin around the room. This is also what happens inside a moonflower or beam effect. Through a system of lenses, colored filters and mirrors, a single light source is divided into any number of razor-sharp beams and projected onto the dancefloor. (Sources for mirrored balls and motors include American DJ, Ness, MBT and Colorado Sound N’ Light).
The main thing to think about when selecting a moonflower or beamer is: At what types of events do you intend to use them? Some of these effects provide quite a nice display even when used as a backdrop behind the DJ. Others require fog or smoke to really be appreciated. If you do a lot of weddings, go with effects that are less bright and work well without smoke. The high school audience, on the other hand, prefers sharp, bright beams which create tunnels, swirls and 3-D geometric shapes in thick fog.
If you are looking for a sound-active effect with a beam that moves automatically to the music, then you may want one with sensitivity control, which allows for more fine-tuning. If, on the other hand, you are only using the effect for short bursts, this is not a necessity. Music in Motion Nothing excites a dancefloor more than movement. Multicolored beams and cones of light sweeping and swirling across the floor can create a 3-D “otherworld” where dancers totally lose themselves in light and sound. While par systems and flower effects go along toward helping create a club-type atmosphere, projectors and semi-intelligent lighting systems can take your mobile lightshow to exciting levels beyond your imagination.
Projectors As the name implies, projector effects work similar to a slide or film projector. A light source from inside the unit projects out through a series of lenses and filters.
At the bottom end of the projector scale are colorchangers. Inside a colorchanger the light source shines through a colored gel or dichroic filter. The colored light is then projected as a round spot of colored light. In many mobile applications, colorchangers can be used in place of par lighting. The advantage is that, rather than a bright flash of light, the result is a tight circle of even intensity. A single colorchanger can add a new dimension to a bride and groom’s first dance, adding an air of sophistication. When two or four colorchangers are positioned to each side of the dancefloor, the effect is nothing less than stunning.
Colorchangers normally will not cover an entire dancefloor the way par cans will. And while the color is superb, the intensity fades as the distance increases. The coverage area also expands with the distance. To get the best effect, colorchangers need to be distant enough from the subject to project a good sized circle, yet not so far that the intensity begins to diminish. Popular mobile colorchangers include Martin’s RoboColor and Robocolor Mobile (four heads and controller in roadcase), American DJ’s Colortec and Colorchanger 250, the Spectacolor II and Spectacolor III from Ness and the SE600 from KLS.
Adding Gobos Next up the projector spectrum are those effects that utilize gobos to give the projected light a specific shape. Gobos are thin metal discs, roughly the size of a half dollar (some much larger), with a die cut image. Light from the lamp shines through the image, passing through an optical system to project that image on a flat surface. Effects such as American DJ’s Gobo Spot 1 and Gobo Spot 2 are simple effects which can be used to project a variety of shapes and objects on a wall or ceiling. While gobo projections are used extensively in theatrical presentations, they have many applications for mobiles as well. Images of palm trees, for example, can be used to liven up the surroundings of a Hawaiian party. Gobos with a DJ company logo can be special ordered and projected on the walls or ceiling at each job. This is a much more effective way to promote on-location than with just a standard DJ banner.
Spinning Wheels Projectors are also used to cast moving colors and images. This is done by positioning a rotating wheel within the optical system. Patterns and images painted on the glass wheels project onto walls and ceilings, and appear animated as the wheel turns. Oil wheels create everflowing swirls of color reminiscent of the psychedelic sixties, but with a nineties flair. The wheels can usually be changed easily adding variety to the show. Topping the list of user-friendly, affordable wheel-type projectors is Meteor’s Probeam 75 (an updated version of the 150).
Smart Lights Semi-intelligent (as well as intelligent lighting) takes the projector concept to the next level by adding 360 degree movement of the projected beam, and sound-activated programs which automatically change colors and gobos. As a motorized mirror mounted at the point furthest from the light source moves up and down, back and forth, the beam will twist and turn. With the addition of an on-board microphone, the movement of the beams, along with the changing colors and shapes, follows the beat of the music. Some popular examples are American DJ’s Startek, Meteor’s Clublight 250, the Cone Scan and DMX Scanner from KLS, the Syncrobot from Optec (Ness) and Clay Paky’s MiniScan.
While semi-intelligent lighting is without a doubt the best way to go in building a mobile light show, there are some drawbacks. First, in order to make it work with the crowd, you need at least two lighting units or “heads.” If you really want to dazzle the crowd, four is a minimum. And don’t forget, you also need a controller. At over $500 per lighting head (the low end) this adds up real quick, so unless you have a slate of high end jobs already booked, it could be awhile before the system pays for itself. Secondly, you really need to exorcise extra care in transporting these systems. The lamp and mirror assemblies can be damaged if abused. However, this is an area where improvements in design are being made with each new generation. Putting it all Together With your goal being to build the ultimate Mobile DJ lightshow, design your system around par cans, a controller and tripod stands. As most effects are truss mountable, you can mount almost any effect to an arm off the stand. As your lighting system grows, you may wish to add trussing or a cross bar between the two stands. The object is to keep the effects up high enough so the beams have plenty of room to move while not constantly hitting the dancers in the eyes.
If you use fog, which enhances gobo type effects but is not necessary, use it sparingly. The result should be just a light haze in the room. With proper planning and design, a mobile lightshow can remain light, portable and inexpensive. So, as with all your other DJ gear, shop around. Look for the best prices, but more importantly, consider service after the sale. While most lighting effects can take a surprising amount of abuse on the road, they can break. Consider cases for your effects, especially those with exposed mirrors, and always carry at least one spare fuse and an extra lamp for every effect. Tech Stuff: What You Should Know About Lighting The most important and basic thing you need to know when using professional lighting fixtures and controllers is the relationship between voltage (volts), current (amps) and watts. To avoid getting overly technical, understand first that wiring in a building is made up of several circuits. Each circuit is a continuous loop that leaves the service panel, runs to various switches and outlets and returns back to the service panel. Each circuit is designed to supply a specific voltage (the standard Canadian and American power voltage at the outlet is between 117 to 120 volts) and is rated for a specific amount of current (in amps) that it can supply. Most home circuits carry a rating of from 15 to 20 amps. Every electrical device also has a current rating that specifies the amount of current it will draw. If a device (or combination of devices) exceeds the current rating of the circuit, a circuit breaker will snap or a fuse will blow.
Each fixture you connect will draw wattage or power according to the wattage rating on the bulb. Most of the light bulbs we use in our homes draw 100 watts or less. Stage lights like par 64s can accommodate bulbs (or lamps) up to 1000 watts. You can determine how much total power will be drawn simply by adding the wattage rating of each lamp you are using. For example, if you are using four par 64 fixtures with 1,000-watt bulbs, you will need a power supply of approximately 4,000 watts.
To determine the total current (in amps) necessary for your lighting system, divide the total number of watts by the 120 volts AC. To power 4000 watts of light, you would need 33 amps (4,000 watts divided by 120 volts AC). Since this is stretching a 30-amp circuit too much, you would constantly be blowing the fuse or tripping the breaker. Your solution would be to use multiple circuits, two 20-amp circuits, for example. Using Lighting Effectively Adding a lighting system to your DJ service can be very effective and profitable. By properly blending lighting with music, many guests will be just as entertained by the lights as by the music. This is particularly true if you plan to play in pubs, taverns and clubs with small dancefloors. In the mobile market, lights are meant to augment sound and add color and flash to the presentation of the DJ and the music.
There are a variety of ways you can incorporate lighting into your DJ performance. There are a number of lightweight, inexpensive, portable stands on the market that are perfect for suspending lights. These stands are available in a variety of configurations and are ruggedly designed so that any lights and lighting devices you use will easily and quickly clamp to the stand.
Backlight Your Stage Use par cans or outdoor flood light fixtures to flood the wall behind you with different colors. This simulates a colored curtain behind you and adds color to your presentation without blinding the audience.
Footlights Using the same basic idea and hardware, set the lights along the floor in front of you to light and color your table drape. If your table drape allows light to pass through from behind, set the lights under the table, facing forward. This looks great, particularly when your name or logo is on the table drape.
Rope Light A simple way to edge or decorate your setup is with “rope light.” Ropelighting, which is available at most DJ supply stores, is a popular effect which combines a chaser with four strings of “Christmas lights” braided and encased in plastic. In use, the chaser repeatedly fires off each string of lights, one at a time, creating the effect that the lights are chasing each other from one end of the rope to the other.
NOTE: Rope Lights use 117 Volt AC power to operate. Do not run chains in excess of the manufacturer’s instructions, as fire could result.
Lasers Lasers produce an extremely concentrated, highly visible beam of red, yellow or green light, depending on the design of the laser. When used with a controller, this beam gyrates at an extremely fast speed, projecting a fascinating array of shapes on a wall or ceiling. Depending on the capabilities of the laser and the distance to the “screen,” these shapes can be over thirty feet in diameter. The Black Widow, from American DJ Professionals, is an audio driven laser system that uses sound to determine the shapes the laser generates. In addition, it offers many presets to create a myriad of patterns on walls or ceiling. Fog Machines The purpose of fog is to accent the patterns and designs created by the lighting effects. Be careful not to go to extremes. Fog should be used only to enhance light and not to duplicate the set of The Night of The Living Dead.
The basic method for producing fog involves taking a specially formulated, nontoxic liquid and forcing it through an extremely hot, coiled metal tube. As the fluid flows through this hot tube, it is instantaneously transformed from liquid to fog.
In shopping for foggers, it’s important to remember that, as with lamps, the wattage does not relate to the output. The specified wattage represents only the amount of power the unit draws. The amount of fog that will be produced depends more on the overall design of the fogger and the efficiency of the pump than on the number of watts consumed. For safety, make sure any fogger you consider has a thermostat or other reliable device to control the temperature of the core. It should also be equipped with a light that indicates when it’s ready to be operated. Also, because of the mere nature of what foggers do (run cold liquid through hot metal), they are likely to breakdown sooner or later. Therefore, buy your fogger from a reputable manufacturer with a service department that can quickly repair your fogger if necessary.
If you’re interested in a fogger with remote control capability, it is recommended, for ultimate safety, that you choose one with a low voltage remote control. Some foggers operate with 110 volt AC at the remote control. Because of the atmosphere in which they are operated, this control could end up with fog juice or a drink being spilled on it, which would pose a potential health hazard.
To extend the usable life of your fogger, always use fog fluid (or “fog juice”) made by or recommended by the company that produced the fogger. This is critical as fog fluids are formulated to work best at temperatures specific to each fogger. Using the wrong formula could cause the unit to clog. The best fog fluids are all “natural” (containing no artificial or petroleum-based chemicals) and produce a fog which hangs in the air a long time, but does not cause any discomfort. Some scented fog fluids can create a smell which is far too “sweet” for most people’s tastes, causing nausea. Choose only fog fluid which is pleasant smelling, not overpowering. If a fogger starts regularly “sputtering” or spitting raw fog juice instead fog, it’s time for a cleaning. Foggers can be cleaned simply by replacing the fog fluid with clean, demineralized, distilled water and cycling through. Do not use vinegar, that only works with Mr. Coffee.
With smaller lighting rigs, the most important issue is to provide adequate lighting around the DJ and the dancefloor. Proper lighting is always complimentary and never a distraction. If used properly, it can make the evening a truly memorable occasion by creating an “electronic” fireworks display.
1 “Par” is the abbreviation for parabolic, which is the shape of the lens on a par lamp. The reference number, such as 36 or 44, is derived from the diameter of the lens in eighths of an inch. A par 36, for example, is 36/8ths of an inch in diameter. 2 A “gel” is a colored transparent plastic sheet which is mounted in front of the light bulb. 3 A “bank” or row of three or more pinspots which create the illusion of colored rain falling on the dancefloor. 4 Sound driven means that the effect the unit creates is a visual simulation of the audio being broadcast through the sound system. Mobile Marketing
How quickly you get your first Mobile DJ gigs will depend greatly on how much time and effort you devote to promoting and “marketing” your mobile music/entertainment service. It’s helpful to be familiar with some basic concepts.
In simple terms, marketing is the process of finding buyers for a specific product or service. For example, at harvest time, a farmer sells apples at a roadside stand. To be successful, he must sell apples. Just putting them in baskets along a deserted road won’t get it done. To move his apples, he might design a marketing program based on:
1. Positioning. Who buys apples? The best apples in the world of are no interest to people who only eat oranges. 2. Pricing. Are the apples a good value? Regardless of quality, there’s a limit to what most people will pay for apples. 3. Promotion. How does he attract apple buyers to his stand? Once the farmer defines his buyers, he must inform and educate them as to why his apples are the best. 4. Packaging. Do the apples look good? People may walk away from his stand if the apples don’t look enticing. 5. Performance. Were the apples worth the money? After a knowledgeable apple connoisseur has eaten one of the farmer’s apples, will he tell his friends about the exceptional deal he got or tell them to stay away?
How do these 5 P’s of Marketing apply to a MDJ Entertainment service? 1. Positioning. Define your primary market segment. Pick a starting point. The market for MDJs is wide and varied. Not all DJs pursue the wedding and family party market. In positioning your DJ service, you will determine what part of the overall market you wish to target. You may decide to specialize in entertaining primarily at high schools or colleges because no other DJ in your area has established themselves in that market. After calling a few schools, you determine that, between the homecoming dance and senior prom, there are plenty of events to keep a DJ busy. After talking to a few of the advisors who book DJs for the institutions, you set a reasonable price and design a package that they should find attractive. You have now positioned your service for this particular market.
The next step is to create a “positioning statement” that describes what you do that ties you in to the potential market. This statement will be used on your business cards, your ads and anything else that you put before the eyes of the public. If you were to specialize in high schools and colleges, along with a huge selection of Top 40, dance and alternative music, you would need a big sound system and a lot of lights because that’s what this particular market wants.
A simple and possibly effective positioning statement could be “Lots of Lights and as Loud as you Like.” Most MDJs do all types of parties but concentrate on wedding receptions because it’s a large part of the market. A positioning statement, such as “Fun DJs for Weddings and other Events,” lets potential clients know what you offer in a single line. If your organization offers additional services, such as karaoke and video recording, your positioning statement could say something like, “Walla Walla’s only full service Video, DJ and Karaoke Sing- along Service.”
2. Pricing. Is your fee on par with the services you offer and the market?
Pricing can be determined by checking with the people who book DJs for various high schools and colleges in a particular area. If you are more interested in going after the lucrative wedding reception market, call (or have a friend call) other DJs in your area. Play the part of a bride or groom and request information, including pricing, for an upcoming wedding reception.
Ask such questions as: Minimum hours they will play? Standard rate for four or five hours? What’s the required deposit? How much for overtime?
Does the price include special lighting? After speaking to five or six different DJ services in your area, you should be able to establish an average price. If you are just starting out, you may want to price your service ten to twenty percent below the average. This will give you a little price advantage and help you pick up bookings from those shoppers who must stay within a certain price range. You can then increase your prices gradually as your calender fills up. If a special engagement calls for a larger than normal sound and lighting system or demands extra travel time, your price quote needs to reflect it. Supply and demand will also affect your prices. Raise your prices a bit during the peak season, then drop them when things start to back off. If a client calls five DJs and is torn between three of them, price will usually be the determining factor.
3. Promotion. How do you promote and advertise your service? The best and least expensive way to promote your service is by demonstrating what you do. Rather than sit by the phone waiting for the big paying gigs to start coming, offer to play at fund-raisers, fairs, store openings, chicken barbecues and similar gatherings at no charge or a greatly discounted price. It doesn’t have to be a dance, just a place where you can expose your service to potential clients. To get the most mileage out of these appearances, display a professional-looking sign or table banner that advertises your name and phone number and put business cards everywhere. Do a good job and people will recommend you. To speed the growth of your service, get out and play whenever you can just for the fun, experience and exposure. As for paid advertising, new options and opportunities appear almost daily. In order to keep pace, businesses have adopted advertising strategies that are much more focused. Considering the options and costs involved, it is imperative that you know what resources are available and how to use them in creating an effective and comprehensive advertising program. See “Think Promotion” later in this chapter for some ideas that will help you plan an advertising program for your business.
4. Packaging. Does your service appear professional and reliable? Remember the apples? Let’s assume two different farmers produce apples that are identical in variety, size, price, color and taste. Farmer Fribus picks his apples and sells them in plain brown “grocery bags.” Farmer Framus packs his apples in attractive boxes that say, “Fresh from Farmer Framus” on the side. In almost every instance, the consumer will buy a Farmer Framus apple over one sold by Farmer Fribus. Why? Because people judge a product by the way it’s packaged. It’s not enough to just be able to offer people good service, you have sell them first. To create an attractive package for your DJ service, offer your potential customer little extras like:
• A complete and professional presentation brochure that describes your service in detail. • A high quality, color photo taken at one of your performances or at a photographer’s studio. • A video tape of your DJ service in action. • A list of satisfied customers and their comments. • A list of party houses where you’ve performed. You only get one chance to make a first impression. Package your service properly and your prospects may not even bother to call the others.
5. Performance. Does your product live up to its claims? The final “P” in marketing a DJ service is the end product: your performance. It starts with investing time in preparing for each gig. This includes: checking equipment, making sure you can pronounce the names of anyone you will be introducing, and being certain you have the music your client has requested.
One of the best and least expensive ways to intensify your marketing efforts at your performances is with a colorful custom table drape or banner with your company name and phone number. A tastefully designed table drape visually reinforces the name of your service in their minds. It also hides cases, boxes and wires. Nothing looks more unprofessional than disorganization. Until you get a banner, a bright, solid-colored table cloth will work fine. Practice and preparation are paramount to a good performance. Do a good job from the start and you’ll come away from your very first gig with two or more referrals. This will start a cycle which will continually bring more new bookings via “word-of-mouth” advertising; that’s the best promotion there is.
Think Promotion Each day we are bombarded with advertising from newspapers, radio, television, yellow page directories, direct mailers, community papers, penny savers, billboards, bus boards, milk cartons, sweatbands, race cars and so on. Just when it appeared radio dials and TV channel selectors were about to burst at the seams, along came a host of high quality, tightly targeted, cable TV channels. How can you insure the best return on every dollar you spend on advertising?
First, define your priorities and set your budget. What is the maximum you can spend on advertising over the next twelve months? Think annually even though, during your first year or two, you may need to plan your advertising on a monthly or quarterly basis. Come up with a figure with which you feel comfortable. You can always change this number according to your income and needs. A good starting goal is to commit five to ten percent of your total (gross) income for advertising.
Business Cards Phase one of your advertising campaign will be the distribution of business cards. They are inexpensive, so you should be able to afford to buy hundreds, even thousands, of them. You can mail them, post them on bulletin boards and hand them out to everyone you meet. It’s very important that your card have a professional look and that it appeals to the type of people you most want to work for. When designing your business card, think of it as a miniature billboard. Most printers offer a variety of stock designs which can be printed in virtually any color. Color sells and is worth the additional expense. Raised print (thermographic) is also a nice touch.
Tip: If it’s in the budget, work with an established designer or graphic artist. Their expertise and talent could make a big difference with the impact of your business card.
To be effective, your card should contain the following basic information and little else:
A. Your “Positioning Statement.” As was explained in the section on positioning, you need a short but powerful statement that emphasizes your strongest points. If your service specializes in weddings but you also want to do birthdays, anniversaries and bar mitzvahs, a suggested phrase might be: “Exceptional Disc Jockey Entertainment for All Events. Weddings a Speciality.” If your target is high schools and colleges, your statement could be: “Best Selection of Top 40, Alternative and Dance Music in the area.” Even something as simple as, “DJs Extraordinare” gets the point across in a classy, positive fashion. If your service offers music with a full-blown light show, then a phrase such as “The Ultimate Entertainment Experience” would apply. The important thing is to come up with a phrase that describes what you do in a quick and positive way. B. Your name and/or the name of your organization. Once people know what you do, make sure they know who you are. C. Your phone number. If you have a fax number and e-mail, include them as well. Anything that will expedite a conversation between you and prospect is important. It is advised that you not include your address unless you have a bona fide, secure office. As many DJs work out of the same location where their equipment is stored, an address could be an invitation for a rip-off.
To make your business card more interesting and, therefore, more memorable, include a custom logo designed for your business. A logo is a graphic representation or picture that leaves the person receiving the card with a positive mental impression about your business. A good logo for a DJ or KJ business should be fun, possibly showing people enjoying the company’s products or services. To get a logo for your DJ business, go to a respected graphic artist. A good artist will come up with several different design ideas from which to choose. Once you have a good logo, use it on all your advertising and stationary.
Distributing Your Cards The only way business cards will fail to get you bookings is if you leave them in the box! As soon as you pick them up from the printer, start handing them out to the different organizations in your area. Particularly, target groups that hold fund raisers and could use a DJ. Ask the receptionist if you can meet the director. If yes, introduce yourself and pass along a card. If no, leave the card with the receptionist and call back within a few days.
Take your business cards to work. As you hear of employees planning weddings or other celebrations, send each a note of congratulations with your card tucked inside. Give a card to the person in each department who hires the entertainment for the annual office parties as well.
Contact your local high schools and colleges. Get the names of all the advisors and send each a card. When you’ve completed this initial mailing, begin following up with phone calls.
Continue your “card blitz” by dropping off a card at every nightclub, bar and pub in and around your town. Sooner or later their band or DJ will miss a night and they may call you. Look for “community bulletin boards,” as found in supermarkets and laundromats. Tack your cards up where they can’t be missed. At every business you frequent, ask if you can leave several cards on the counter. Before long, your cards will be in every neighborhood grocery store, liquor store, dry cleaner, pet shop, record shop and party supply store in your area.
Finally, enclose a card every time you send in a bill payment. This is a great way to pick up holiday parties from banks, utilities and department stores.
Once you begin getting calls and bookings from your business cards, you can begin to look into other advertising options. Planning an Overall Advertising Program Why advertise? Advertising is the catalyst that gets the ball rolling and keeps it rolling. A properly planned and instituted ad campaign is essential for getting your initial customers to call and inquire about your service. Through an ongoing advertising program, the public is continuously reminded of the service you offer. When business is slow, a brief advertising campaign in conjunction with a special offer such as a free hour of your service can get things back on track.
The purpose of advertising is to motivate the largest number of qualified potential buyers to call and inquire about your service.
There are three intertwined concepts involved in accomplishing this: • Choose the right media. • Place your advertising so it reaches those most interested in buying what you sell. • Work with people who can produce ads that will effectively get the message across to your potential buyers.
Choosing the Right Media Consider the choices. Regardless of where you live, you are sure to have many good advertising possibilities. Your mission is to place your advertising so it reaches those most interested in using your service. Start with a little common sense marketing research using your current customers. How did they find out about your business? What radio stations do they listen to? What papers do they read? Do they respond to direct mail promotions? Select media according to the lifestyles of your customers.
Once you have selected a particular media, think about where your ads should be placed. Because newspapers run a variety of sections built around the different interests of their readers, you can place your ad to impact a specific group. Many newspapers run bridal guides three or four times a year. These are very effective for DJs targeting the bridal business. Check with local bowling lanes and find out when the bowling leagues hold their annual banquets.
This would be a good time to place an ad in the sports section or on the scoresheets at the alley. If you’re not looking for any specific group but just want to put the name of your service in front of the public, then an ad on the theater page would be appropriate. Where Mobile DJs Most Commonly Advertise When people shop for a product or service they’ve not purchased before, they usually go to the telephone yellow pages. Not all yellow page directories have a classification for DJs. You may have to list under “Entertainers” or “Music.”
Most yellow page representatives will tell you that the larger your ad, the greater your response. This is a selling point and not necessarily true. You may not need the biggest ad, but you must have the best looking ad. Most people who use the yellow pages have not hired a DJ before. They tend to call between five and ten companies. If your display ad is clean and professional in appearance, your ad will get noticed.
On the other hand, merely running a line listing will generally not generate a high volume of calls, especially in a yellow page book with a lot of DJs running displays. The key is balance. Being in the yellow page directory is a necessity but it’s also expensive. Don’t run an ad you can’t afford. In most cities, the people who sell the yellow pages work under contract with your phone company. If you get too far behind on your monthly payment, they simply change your phone number and put a, “That number is no longer in service,” recording on the one in your yellow page ad. There goes your business cards, letterhead and anything else you’ve had printed with the phone number on your yellow page ad. An effective advertising program includes a variety of media. By keeping your monthly yellow page costs down, you’ll have money to use elsewhere when your business needs a little boost. The cost to advertise in newspapers or on radio or TV is proportionate to the number of readers, listeners or viewers each has. By carefully choosing the right media, you can expose your service to thousands, possibly millions, of potential new clients.
When planning a radio or television campaign, keep two things in mind:
• Buy only broadcast times that reach the greatest number of your potential customers, and • Buy as many spots as your budget will allow.
When you meet with your media salesperson, you’ll be shown all sorts of impressive numbers and audience shares that look great on paper. But think! Do these numbers represent the same people you want to reach? Maybe yes, maybe no. In order for your advertising to do its job, you must focus on those most apt to buy your product or service. You may be able to do this best by using a lower rated media and a higher number of spots. Avoid the temptation to place a few token spots on several stations. You’ll get better response by running more spots on just one or two stations. When possible and practical, you can save money by buying packages.
If your objective is to build your wedding bookings, one place to advertise is on radio stations that reach women 18 to 35 years old. Obviously, there are women in other age groups getting married, but you want to hit the area of highest concentration. If you are using television, place your commercial during the daytime soap operas. This time is less expensive than evening prime time and more efficient in reaching the women you want to reach. Regardless of the media you choose, avoid “one-shot” deals. Spread your ads out over a two-to six-week period. You can further maximize the effectiveness of your spots by “compacting,” which means running heavily the first week (or two) of each month, then backing down to just a few ads during the remainder. If, after the first month, you find there’s been little response, change the ad or use a different media. If, on the other hand, it’s working to your satisfaction, leave it alone.
How well should an ad work? If your ad is bringing in enough new business to pay for itself twice over, then you’re doing very well. What Should Your Ads Say? Your advertising should paint a very positive picture about your business. Think about your most positive points: Product? Service? Price? Quality? What is it that makes you better than the competition? The best-placed ads will fall through the cracks if your message fails to stand out.
Most broadcast stations and newspapers offer a staff of copywriters and artists who will work with you. These people are quite competent. Because your’s is a service business, the most important entity of your advertising is your phone number. In print, people can see the number and dial it while holding the paper. With the electronic (radio and TV) media, this is not true. If they don’t catch your number and write it down when they hear the ad, they won’t remember it. Make your number more memorable by having it repeated often. If possible, get an “alpha” number such as 456-DJDJ. The electronic media offers you the opportunity to creatively give your potential clients a taste of what you do. But you must stress the name of your company and your phone number. Tip: When advertising on radio or television, a tag line such as “we’re in the white pages” will encourage people to look up your number, providing they caught the name of your service. Do not, however, reference your ad to the yellow pages, as this sends your potential client looking for your number in an area that’s infested with your competitors. If you’re not home, your line is busy or they don’t want to leave a message on your answering machine, they’ll probably call the next DJ listed.
Other Media Most areas have an entertainment guide which provides a complete listing of what’s going on around your town. These can provide a very effective and inexpensive way to reach people shopping for a DJ. Check out everything from church bulletins to “community shoppers” and “pennysavers.” Any one of these publications could be the key that will boost your business. Just remember to choose only those media that actually reach people who hire DJs and keep track of the response to see if the ad is working. Each time someone calls inquiring about your DJ service, ask where they got your number.
Networking Networking is a term left over from the 1980s that basically means to promote your service by helping other people promote theirs. In effect, you surround yourself with a network of talented individuals who offer many services.
There are two ways networking can help your DJ service. To network effectively, you must first put yourself in the right places. By getting involved with different service and trade organizations in your area, you’ll come in contact with many business people. As you shake hands with these people, ask them what they do. In most cases you will find they are involved with an organization that can use your service at some time or other. The person you’re speaking to may not be the person who would hire a DJ for the company picnic, but he can probably give you the name of someone to contact. In a like manner, once he finds out that you are a DJ, he may be able to offer you something, like the name of a friend of his who is selling off a nightclub sound system. Networking will put you in touch with key people in your area. It’s the way to establish yourself on a person-to-person level with the heads of charities, restaurant and party hall owners, and other business owners of all types.
The second type of networking involves setting up “job swaps” with one or two of the DJs in your area. As your business grows, you will get weekends with more work than you can handle. Through a “job swap’ arrangement, you turn over your extra booking to another service who agrees to toss one your way when he’s overbooked. This arrangement works best if it’s left on a casual basis. Neither you or the DJ you swap with should be concerned about how equitable it is, as long as all the jobs are taken care of properly. The bottom line is that you would have both turned down all those extra bookings. This way you were able to “keep them in the family,” so to speak.
Lead the Season When someone decides to run for office, they normally start advertising three to six months in advance. If you are targeting a specific type of business, lead the season by the same margin. Start your campaign for Christmas parties no later than October 1. For wedding receptions, run your ads around the middle of December when many couples announce their engagements. Advertise again in March to catch late-planning June and summer brides.
Leave a Message at the Tone Because many DJs have daytime jobs, or just can’t be by the phone all day, they are forced to rely on answering services or telephone answering machines. Answering services are preferable because it allows you to have a real live professional secretary answer your phone calls and take your messages. The rate of hang-ups is almost zero. An answering service may cost fifty to over one hundred dollars a month, but you’ll get more than double that back with one booking and you will get more bookings. Answering machines are now so common in our society that most people accept them and at least leave a name and number, although it may not be intelligible. You can encourage your callers to leave a message by keeping your outgoing message short (15 seconds maximum), friendly and to the point. Here’s an example: “Hi, this is Don Dorkus of Don’s DJs. At the moment, there’s no one available to take your call, so please leave your name and number and we will get back to you immediately.”
As most callers already know their name and phone number, this approach is very nonthreatening. In general, we are all very impatient. When we want something, we want it now. By telling your callers you will return their call immediately, you create the illusion that you really are there and will call right back. Make it a point to check your machine frequently. If you make them wait too long, they’ll call someone else. Many people book the first DJ they reach.
Tip: If you do not use an answering service, make sure your telephone is answered only by you or members of your household who can properly take a message or are informed enough to answer some of the client’s questions. Letting a child or someone who has no knowledge of telephone etiquette answer your calls is as good as getting no call at all. By now, you’ve invested quite a few dollars to get the phone to ring, make sure it is answered properly.
Using an Advertising Agent If you’re working with a substantial budget and want to set up a cost-effective, long-term advertising plan, consider retaining an advertising agency or consultant to help you develop your advertising program. Agencies and consultants see your business from the customer’s viewpoint. If you are looking for a unique approach, logo, special graphics or jingle, your ad agent can help you decide what you need and help you find it. Along with the professional quality your advertising message will have, you’ll save a lot of time in media selection and placement. Reaching the greatest number of potential customers with an ad that will motivate them to respond, while staying in budget, requires a great deal of market knowledge and expertise. If your advertising just isn’t doing what you want it to, talk with a qualified, experienced advertising agent or consultant. When you consider the amount of expertise you’ll receive, it’s definitely worth a small percentage of your total ad budget.
SPECIAL FEATURE Make The Telephone Work For You - by Art Bradlee The only reason we advertise and promote our services is so potential clients will call us on the phone, giving us a chance to sell them our services. There is much debate as to whether or not we want to be the very first call they make. They’ll usually phone around and make their decision after several calls. With each call, they get further removed from the first, forgetting the dynamics of the call. It may actually be more to your advantage to be the final call. By then they have heard a lot of the same information presented in different ways by your competitors. If you do it better, you get the booking.
In either case, when that phone rings, it’s time to “do your thing.” Remember, you never get a second chance to make a good first impression. Be prepared to answer that call with a smile on your face and genuine warmth in your tone. Even if you had an automobile accident the day before and your significant other is threatening to leave you, you must instantly get over it the minute you say, You: “Good morning, (insert company name here), this is (your name) speaking, how may I help you”? Her: “Could you tell me... do you do wedding receptions? If you do... how much do you charge”? You: “Congratulations on your engagement! Yes, we do perform wedding receptions. In fact, we have been specializing in wedding receptions since 1980. By the way, how did you hear about us?” You spend money every day to make that phone ring, always ask where they heard about you. Track the calls and eliminate those sources which are not getting your phone to ring. If it applies, add, “We have (2, 3, 4,) disc jockey entertainers on staff who do only wedding receptions. They don’t perform at school dances or retirement parties... just Receptions, week after week. What is the date of your Reception?”
Notice I did not answer her question about cost. Never, never quote a price for your services up front. You’re being evasive, but if she perceives your fee as being too high, you won’t even get a turn at bat. If she thinks you are too low, she’ll wonder why. In either case, if you quote a price up front, she’ll not hear another word you say. You won’t have a chance to justify your fee by telling her what makes you worth your price.
Her: “May 20th.”
You: “ Where will your reception be held?”
Her: “At the Ramada.”
You: “They do a fabulous job!”
She’ll automatically reply,
Her: “Oh, you’ve been there?”
You: “At least a couple dozen times last year alone.”
Bingo! She now knows you know the facility and you have reaffirmed her choice of location, making her feel terrific. Now she is thinking, If they were at the Ramada, which is just one of many halls in the area, that many times, they must do a lot of receptions everywhere. This enhances your credibility.
You: “While I check our availability for May 20, let me tell you a little about us; what we do, how we do it, and how you can book that date today if you wish.”
Get her ready. Get her excited about hearing about you. This is one of the most important phone calls of her life. Don’t rush her! Don’t you rush, either.
You: “I’m sure you know that the entertainment is the most important feature of a wedding reception. The flowers will look and smell great, The food will be terrific. But it is the entertainment that everyone will remember. I hope that when they leave your reception, they won’t be talking about the roast beef (even though it was delicious), they will be talking about us.”
“Let me give you a brief description of how your reception will go. Your DJ Entertainer will arrive at least one hour early. He or she will be impeccably groomed and attired and will bring all the sound and lighting (if it applies) equipment. Each of our sound systems is designed with your ears in mind. You control the volume, not us. Our music library, pre-big band era right up to what is popular today, is second to none. Our DJs know how to break the ice and get your guests up and dancing —it’s called personality plus. Do you like activities like the Macarena, The Chicken Dance, The Hokey Pokey and The Electric Slide? We’ll do what you want us to do. Do you want your DJ to be lively and energetic or a bit more low-key? Just tell us what you want. Do you want your DJ to do all the announcing like the introduction of the bride and groom and the bridal party, the cake cutting, the best man’s toast? How about the garter and bouquet activities? These are some of the things we will discuss with you and your fiancé in detail one month before your big day when we all meet in person or talk over the telephone. We provide the equipment, the songs and the professionally trained hosts to guarantee you a successful reception. Of course we are there to please you and fiancé, as well as your guests.”
Now pause. Give her a minute to digest what you just told her, but not long enough for her to start asking questions. You: “Now, I’ve checked our schedule and we do have some availability for May 20.”
Emphasize the word “some” implying that she should book now or very soon you’ll be totally booked.
You: “Our fee, which is based on four hours of nonstop entertainment; with no breaks (unless you want us to) is only $xxx.”
Always use the word “only.” It makes it seem that your fee is really a bargain considering the quality of your services offered. If the going rate is $300 in your area, quote her $299. There is a world of difference psychologically.
You: “We do work by contract and we ask for a deposit of $100, which is due two weeks from the date I send you the contract. The balance of our fee $xx less $100 deposit, which is $xx; due upon the arrival of your Disc Jockey Entertainer at the reception. Would you like me to send you a contract?” Do not say another word even if it takes her six days to answer you.
She’ll either say, Her: “Yes, please send me a contract.”or Her: “Well, it sounds great but…”
She’ll then proceed to give you one or two of the 16,976 reasons why people want to shop around. If she wants a contract, ask her the pertinent questions*, wrap it up and move on to the next caller. If she wants to shop: 1) Do not take the rejection personally. 2) Do not change the tone of your voice. 3) Do offer to send her your packet of information designed specifically for brides- and grooms-to-be. If you are as good as you are trying to convince her you are, you’ll have put together a great coverletter followed by letters of reference from satisfied clients as well as from banquet facilities and caterers who extol the virtues of your DJ service.
Her: “Oh yes, I’d love to have you send me your information.”
You: “My pleasure, let me get some information from you and I’ll get our Bridal Information Packet out to you immediately. I’ll then call you in five or six days to make sure you have received it and to see if I can answer any of your questions. I think you’ll be suitably impressed with our info.”
Close by saying, You: “Thanks again for calling and, once again, congratulations on your engagement to be married.”
After more than twenty years of selling DJ events over the phone, I can tell you it is done almost identically every single time. The secret is to never sound as if it’s a rehearsed bit or a taped message. Never sound bored. The day you dread hearing the phone while you are eating lunch is the day you should stop marketing yourself. The sound of that phone ringing leads to the sound of the cash register ringing! We all love to entertain, but isn’t that the bottom line?
For more detailed information concerning the use of the telephone... contracts... sample coverletters, etc., contact: Art Bradlee, America’s Best Mobile Entertainers’ Consulting Service Post Office Box 25381, Rochester, NY 14625; Phone toll free: 1- (888)- MOBL-ENT / e-mail: [email protected] / website: www.home.eznet.net/~mblencom SPECIAL FEATURE How to Get Free Publicity by John R. Doser, John R. Doser Public Relations
Media is defined as newspapers, radio, magazines and TV, and the best way to get free publicity is to call on the media for its unofficial assistance. Unlike advertising, publicity costs little or nothing and can yield as high or even higher response than paid advertising. The trick is to approach the media from the standpoint that what you do as a DJ is, in someway, “news.” Media people are always looking for stories that are unusual, current or of human interest, and they are usually receptive to mentioning you in an occasional story if you are “newsworthy.” They may even consider writing a feature story about you if it’s colorful or unusual enough.
To get media attention, you have to give the media a different slant or approach that makes you and your DJ business stand out from your competitors. The slant could be that your technique is different or, you as a DJ, are different (not odd, just unique).
Some possible slants could be: • You, as a DJ, have published a book (sorry, that one’s taken). • You, as a DJ, are indirectly responsible for buying habits at a local music store because the store publicizes your personal Top 50. • You, as a DJ, worked your own wedding reception. • You, as a DJ, are a pillar of the community for playing a 24-hour dance marathon to raise money for a new children’s wing at a local hospital.
Here’s how the local media might help promote your cause: NEWSPAPERS - Call up the city editor or a reporter you know, or don’t know (Maybe you just picked the byline out of the paper) and describe your “angle” or how you and your DJ service are unique. Ask the editor or reporter if the paper would be interested in doing a feature story on you. If they’re not interested (there ARE more worldly events going on), find out if they would accept a little four or five paragraph write-up about yourself. Keep your story short, tight and to the point. Leave out most of the adjectives (great, wonderful, handsome, etc.) because, if you don’t, the editor will just take them out. This is a news story, not an advertisement.
Remember, a newspaper has a number of sections, including local news, business news, sports, entertainment, etc. You should be able to find a way to get a story into one or more of these sections several times a year. If your story is good, interesting, or both, it might end up on the front page and thousands of people will see and read it. Don’t forget your hometown weekly newspapers. They may have considerably smaller circulations then the big city dailies, but their readers are loyal and probably your neighbors.
RADIO - Radio stations offer news, news announcements, interviews and public service announcements. When you write up a news announcement for radio, keep it short and sweet. If you can’t sum up your message in one or two paragraphs, go back and do it again. Your announcement, if accepted, will be read as part of the local news or by the DJ as filler between musical selections. Many radio stations, commercial and noncommercial, have talk shows or interview shows. If you and your DJ service are suitable for an occasional exposure in that manner, take it. Radio stations look for topics and people of personal interest to listeners. Who knows, if you’re as good as we think you are, you might even get an offer from the radio station to do its Christmas party!
Public service announcements are intended as a community service by radio and TV stations. If you do a free gig for a charitable group, you might as well try for some public service recognition, since you aren’t earning anything else. PSAs are short—just enough to cover 10, 20, or 30 seconds, seldom longer. The announcements usually are free for nonprofit groups, which is why you probably won’t be able to plug your next restaurant date; but, by all means, take a shot at getting some mention for doing a freebie. Because radio stations receive hundreds of PSAs each week, don’t plan on being told when it’s going to air. TELEVISION - Like radio, TV has news announcements, interviews and PSAs. The difference is, the TV is also interested in a little something for the eye as well as the ear. Most big city TV stations have news directors in charge of the news telecasts; it’s the assignment editor who decides what goes on or doesn’t go on. Find out who the assignment editor is and call him/her on the phone. Identify yourself, slowly and clearly (not like you have marbles in your mouth) and ask if there would be any interest in a story about a local DJ who… (give them your pitch). If you’re doing something that’s really visual, TV might be interested.
While not guaranteed, going after publicity from your local media doesn’t take a lot of time, costs only first class postage and is well worth the effort. There’s no doubt exposure in your local media can get you more work. There’s also no doubt that if you don’t call the media, the media won’t be calling you. Preparing For Your First Gig
Now that you’ve purchased all your components, it’s time to get ready for your first gig.
Unpack and Check All Components Carefully remove each component from it’s box and check for shipping damage. Before you plug anything in, read the manuals. If your equipment is new, fill out the warranty registration cards and drop them in the mail. Make copies of each sales receipt and staple them to the front covers of each manual. Keep your originals in a file for tax time.
Next, plan how you want to organize and configure up your system. If you are working with turntables or top loading CD players (such as Pioneer’s CDJ-500IIs) setting up on a table top will work temporarily. If you have opted for cassette decks or front loading, rack-mount CD players, a rack is essential. Specially designed DJ racks and cases are available in a variety of heights, with a standard width of 19 inches.
The Right Fit Before purchasing a rack, determine just what you want the rack to hold. In most cases, your main rack will have a sloping top and a vertical front section.
To keep the weight of the rack manageable, it is best to mount your amplifier in a second rack that can be placed under your work table. With this set up, you can either use tables furnished by the party hall, or bring one of your own.
Installing your components in the rack is relatively easy and requires nothing more than a screwdriver. There is no right or wrong order as to the position of each component. Whatever is most comfortable and logical for you is best. One important consideration is to leave plenty of room behind the components to easily reach all the connection points. As cables tend to fail without notice, you’ll need to be able to change cables quickly without having to remove any component from the case. If your mixer has connectors that face toward the bottom of the rack, you may need to allow an extra few inches of air space to easily change cables. If you are using a standard DJ rack, with a sloping top and open front, a good design is with the CD player controller mounted toward the front, with the mixer behind. Assuming the connectors for the CD controller are on the bottom, and the connectors for the mixer are on the back, this should allow ample space. In the front of the rack, mount the transport for the CD player, along with a processing unit, such as an equalizer or compressor/limiter, and a powerstrip or lighting controller.
Home Try-Outs Learning to set up your system properly and troubleshoot any problems is relatively easy. Once you’ve made all the correct connections, (as explained in the owners’ manuals), just turn it on and go to work. There will be times when gremlins will invade and cause your system to his, hum, crackle or remain silent. When this happens, don’t panic. It’s probably a loose or broken wire or a switch in the wrong position.
Because it’s quite stressful to troubleshoot system problems in front of a roomful of people, get to know your system ahead of time in the privacy of your own home. The more knowledge you gain in practice, the better off you will be when you have a real problem at a party. Hopefully, you will never experience the high anxiety of having your system die in the middle of a song for no apparent reason. But if you do, think positively. There is very little that can go wrong that you can’t somehow deal with.
The first few hours with your new system should be spent just becoming familiar with all the controls. Plug in and put on the headphones. Try out the microphone and get use to hearing your voice through the speakers. Get the feel of using the mixer faders to bring the volume up and down. Most importantly, get into the habit of watching the VU meters or LED lights on your board. Your owner’s manual will better explain what to watch for and how to protect your system from distortion and overload.
Set Up Tips • An easy way to remember what goes where for a proper connection is: Outputs always connect to inputs and inputs always connect to outputs. As most hookup cables are color coded, mate the plug with the jack of the same color (i.e.: red to red, white to white, etc.). • If you are using turntables, you can insure the sound level from each turntable is the same by using matching cartridges and needles. Mismatched cartridges can produce different volumes and sound quality. • Humming in a sound system can almost always be traced to a bad ground. If you encounter a hum and can’t pinpoint the cause try: a) Unplugging one component at a time and reversing the plug in the socket. b) Unplugging your main power chord from the wall and reverse the plug (3-prong plugs won’t have this problem). This procedure will also reduce or eliminate the problems caused by CB or radio interference. c) Plugging the amp rack into a different circuit than the mixer rack. d) If the hum persists, consult your dealer or an audio professional in your area. Ground loop hum problems are tricky, but remedies exist.
Microphone Style How you sound “on mic” is one area where you will separate yourself from other DJs. Through practice, you will you develop your own “mic style.” Here are some tips: • Touching the head of the microphone to your lips is unsanitary and not good for the mic. Do not touch the microphone head with your mouth or lips. • Speak directly into the mic, not off to the side. • To be heard intelligibly, speak slower into a microphone than your usual conversational quick-pace chatter. • Never shout into a mic.; it causes over-modulation and distortion. • Don’t mumble. Enunciate and pronounce words carefully, taking natural breath breaks. Many DJs forget to take breaths. • Watch for “nose” noise that’s caused when exhaling through your nose into the microphone. • Be natural and conversational, but be enthusiastic “on mic.”
Music: The True Star Most important to every performance is the music. At a typical job, the music mix may span almost every style and taste in just a few short hours. The key is to cover all the musical bases without a split second of “dead air.”
“Running a tight board” is the talent of maintaining a continuous music flow, selection-to-selection-to-selection. The beat will change, but the music never stops. No matter how abruptly a song starts or ends, a DJ who can run a tight board will anticipate it and the audience will never notice a microsecond of dead air. Even when you are talking, there should be music playing in the background. Some DJs, particularly in clubs, carry this to the extreme with “Hot Mixes.” An example of hot mixing is laying the beat of one song over another (called, appropriately enough, “overlaying”). When done properly, this makes the two separate tracks sound as if they were produced as one.
“Cueing” is the method by which you will locate the exact point on a CD, cassette tape or record where the music begins. By finding this point, you can control the precise moment the music will be heard through the system. Professional CD players are designed to locate the initial cue point automatically. However, this may not be the point you actually want. Depending on the selection, you may want to cue further into the song, in order to match the tempo, or get past a non-danceable beginning. Depending on the type of player you are using, you can cue to a point other than the beginning either by “rocking” the “search” bottons, or by using the “shuttle and jog” wheel, if provided.
To cue a cassette, put on your headphones, select “cue” on your mixer, press play on the cassette deck, and listen for the beginning of the song. When you hear the first notes, quickly stop the tape, take it out of the machine and manually back it up about one-half inch. Put the tape back in the deck, press “pause” and “play.” When you are ready to play the track, bring up the volume and release “pause.” If you use cassettes, you may find the best procedure is to cue up your cassettes prior to the job.
Hot Mixing Some DJs take mixing to the limit. One such DJ is Cameron Paul, a former San Francisco Club DJ whose credits include the remix of Push-It, by Salt-N-Pepa. According to Cameron Paul, “A remix is made by taking an existing song and modifying it, by digital sampling, or by adding a new drum, keyboard or other track, to create a different version of the same song.” This is accomplished by “Beat Mixing” or “Overlaying” and it’s one of the things you can do to give your DJ mix a dance club feel.
Here’s how: By using the pitch controls on your turntables or CD Players (this is tough to do with cassettes) you can match the beat of one song with another. While the first selection is playing through the speakers, listen to the next song in your headphones. Move the pitch control until the beats are right on top of each other.
Use the faders (or the crossfader) to bring one song up while the other fades out. Beat mixing works best when you match two songs that have a close number of beats per minute (BPM). To determine the number of beats per minute, use a watch or timer. During a 60 second period, count the number of upbeats and downbeats in a particular song. This can be tricky, especially if you’re not sure if you’re counting upbeats, downbeats or both. Tips on Remixing 1. Never try to match the beats of two songs with more than a 4% or 5% difference in speed. The lower the BPM numbers, the lower percentage to allow. 2. Mix at a logical place, during a break or fade. 3. Try to mix songs within similar keys. 4. Practice each mix several times in your headphones before playing it to the crowd. When the beats are right on, slowly fade one turntable up, while fading the other down. 5. As you get more experienced in “Overlaying,” you’ll be confident enough to “Slam Mix.” In a slam mix, rather than fade the two racks together, the DJ abruptly brings up the volume on the incoming selection, before fading out the one that was playing.
Flanging or Phasing By playing two copies of the same song simultaneously, you can create a spacey “whooshing” effect. Start the first copy on turntable #1. Put the second copy on turntable #2 and listen to it on cue. Move the stylus from groove to groove on record #2, until you find the exact point at where that record #1 is playing. Using the pitch controls, match the speeds of the turntables so that what you hear on cue is identical to what’s playing through the speakers. Once the speeds are matched (you may have to try several times), bring up the fader for turntable #2 so that both copies are playing through the speakers at the same time. With the pitch control, slowly speed up one of the turntables. As the “whooshing” effect begins to sound like an echo, slow the turntable down slightly and the effect will repeat. If your board has a digital sampler, you’ll be able to produce the effect for CDs and tapes as well.
Back Beating or Doubling Using copies of the same song on both turntables, you can create an echo effect by having one of the two songs lag behind the other by two, four or more beats. As you did with phasing and beat mixing, match the speeds of the two records using the pitch controls. While listening on cue, gently tap one of records so that the vocal falls behind that of the one playing through the speakers. Take it back just far enough to create an echo. Put the beats right on top of each other and fade it up. Done properly, you’ll hear a single beat with two vocalists, one singing in real-time the other repeating each line a moment later. This effect can also be produced by a digital sampler.
Talking Over the Music Now that you’ve mastered the music, start working on your talk overs. Open your mic and set the volume so you can be heard when you bring down the music level just a little. For a good talkover, your audience should be able to hear you distinctly and still hear the music. Don’t fight the music or try to yell to get on top of it. Bring the music down when you’re talking… and back up as soon as you finish.
To hear how it’s all coming together, set a portable cassette deck on the floor and record a few segues and talk overs. When you play it back, you’ll get a good indication of how you’ll sound to the audience.
Background Music Tapes Before you tear down your system and pack it up for the road, record two 90-minute “background music” cassettes. These are handy if you need music to play while the party guests finish their feast or if, for some unforeseen reason, you need a little extra setup time. A good background cassette will be a nice upbeat blend of ballads and pop instrumentals spanning the years from the thirties to the present.
Diverting Disasters It’s a fact, stuff happens. You may soon learn how one hundred party guests react when the music suddenly stops because you pressed the “open/close” button on the wrong CD player. Or maybe it’ll be seeing how they look at you across a silent dance floor because you forgot to cue up the next song.
These simple errors result from the fact that we’re all human. Embarrassing mistakes? Yes, but they only sting for a second. What if something major happens, like your car breaks down on the way to a gig or your system just quits? The best defense against these types of disasters is to have a plan and know how to react. Possibly the most stressful situation a DJ can encounter is to have his vehicle die on the way to a job. If this should happen to you, immediately notify your client or leave word at the party hall where you were headed. They may be able to send someone to your rescue. If not, call everyone you know until you find someone who can help. If all else fails, call a cab. When you know you have a ride on the way, call the hall back and tell him you’ll be there shortly. Once you’re set up and ready to go, phone a garage to get your vehicle. The important thing is to let the client know what’s going on and make every effort to get there as quickly as possible. In this business, “Reliability is Job #1.”
The next “worse case scenario” takes place at the party location. You arrive on time, the client is pleasant, your system is working great, even the food was good. The evening is just starting to click. The dance floor is filling fast and the group is ready to kick into high gear. All of a sudden… your system just dies stone-cold quiet. This is absolutely the worst thing that can happen, but don’t panic, it’s not the end of the world (although you may wish it was). First, check your music sources. Are they getting power? Most components have a pilot light that glows when the power is on. If not, push the start button to see if anything happens. If it appears the music sources are not getting any juice, look to see if someone, maybe even you, accidentally kicked a main power cord out of the wall. If the main is okay, check your multi-plug extension strips. If power is getting to the music sources, the trouble could be with your mixer. Are the needles moving or LEDs flashing? Check each and every switch and fader. Did you bump something into the wrong position? If you’re not getting anything from the board, it may be a short at the main output jacks. Try the tape outputs. If you cannot get the board to work properly, connect a cassette deck directly to the equalizer and play a tape while you plan your next action.
If the board is okay, check the amplifier and equalizer. Are they getting power? If not, are the power switches still in the “on” position? If that’s not the cause, check the cords, fuses and circuit breakers. If you need to replace a fuse, turn off the amplifier, replace the fuse or reset the circuit breaker, and then turn the amp back on. If everything is getting power and appears to be working properly, then start checking (and replacing, if necessary) the connector cables. Follow the complete audio chain from each music source to the mixer and then from the mixer to the equalizer, to the amp, to the speakers.
If everything seems in order, there are only a few more things that could be causing the problem. If you have an “out board” equalizer, push in the bypass switch. If you push in the bypass switch and still hear nothing, the problem is probably with either your mixer or your amp. These components don’t fail often, but like all components, they do fail.
If the problem is humming, buzzing or a dead channel, it may be a loose turntable ground or faulty connector. If one speaker is dead, the cause could be the board, amp, equalizer or a speaker. Start by switching speaker connections. If the dead speaker comes back to life, the problem is either the amp, board or equalizer. Switch the connectors that run from the board to the equalizer and equalizer to amp. Through the process of elimination you should be able to track down the problem.
Once you’ve found the cause, decide if you can fix it or live with it. Broken wires and connectors and blown fuses are commonplace, so be prepared by bringing spares. If the problem is a dead channel in your amp, try feeding the live channel to both speakers. If a speaker blows, you can limp through the event with just one, at reduced volume. The one component that can put you totally out of business is the amplifier. If all other components in the system appear to be working, but there’s no sound from the speakers, the problem is the amplifier. If the amp has a thermal protection circuit to protect it from overheating, it may cool down and come back on in ten to fifteen minutes.
Properly diagnosing equipment problems takes a combination of knowledge and common sense. Arm yourself by reading your equipment manuals. Concentrate on the sections dealing with “trouble shooting.” When faced with a major problem, the important thing is: Don’t Panic. . . Do Something. If all else fails, CALL IN YOUR BACKUPS!
What Backups? Every DJ needs to carry some kind of backup system, just in case. There are a number of inexpensive mixers on the market and, although they may not offer all the features to which you are accustom, you’ll still get through the night. The same is true of your home stereo receiver. It may not be the best, but in a desperate pinch, it’s better than nothing. In addition to a backup amp and mixer, you need to have: • At least four sets of extra patch cords (RCA type hook-up cables). • Various adapters to convert RCA plugs to RCA jacks, or to 1/4” plugs, making it possible to configure cords to your need. • No less than two replacement phono needles/or two back-up CD players (the portable Walkman type work fine). • Gaffers tape or duct tape. To tape down cables and, if necessary, to hold things together. • A small tool kit with flathead and Phillips screwdrivers, pliers and a wire stripper. • Extra fuses for each unit requiring them. • Extra speaker cables with proper connectors on them. • Six “Alligator” clips and a spool of heavy-gauge wire that can be used to bridge a damaged audio (NOT AC) cable or for grounding. • Electrical tape. • One inexpensive back-up mic with cord. • Two, three-prong to two-prong 110-volt plug adaptors — not all places have 3-way 100-volt outlets. NEVER break off the third prong! • An extra turntable headshell with cartridge and needle mounted. • A small bottle of aspirin. • An extra key for your mode of transportation. • A flashlight. Someday, you will have a need for at least one of the items listed above. It’s better to be safe than sorry. Your first job is just moments away, so you’d better get ready. Tip: Normally, you should allow at least a half hour for setup and give yourself a half hour for each ten miles you need to drive because you may need the extra time to correct any problems that may occur during travel or setup time. Opening Night
For the most part, your booking calender will be filled with jobs from the following categories:
1. Wedding receptions. These may account for a large percentage of your annual business. They demand a little extra “selling and service” and a range of music that covers all categories. In fact, you may have to play a lot of music you don’t particularly like, but the rewards are worth it.
2. General private parties for families, organizations and corporations. This includes everything from birthdays and anniversaries to corporate Christmas parties, bowling banquets and retirements. The music mix will be similar to wedding receptions but more varied, depending on the median age of the guests.
3. High school and college gigs. These are a good source of business during the winter months. A larger sound system is usually required along with a light show and lots of Top 40, rap, dance and alternative music.
4. Pub and tavern gigs. These can also help pay the bills when the bridal business is slow. Bar jobs normally pay much less than the standard rate, but if it’s a steady gig, playing three or four nights a week, it adds up. They are also a terrific opportunity to pass out business cards and pick up higher paying mobile jobs. You’ll never know what type of music you’ll need for any particular pub until you get there. Play as many requests as you can and bring the rest the next time. Handling the Crowd As a DJ, your job goes way beyond just playing the music. You are the leader, director and organizer. From start to finish, you’re goal is to keep the party moving. You accomplish this by: 1) Knowing what to say and when to say it. 2) Programming and pacing the music. 3) Wrapping everything around your own personality and style. Every DJ and KJ is different. Each develops his or her own technique for motivating and directing the crowd. The first concern of most beginners is, “What must I do to get the crowd going?” Along with a variety of dance music, you’ll need to play the dreaded “party hits” such as The Macarena, The Chicken Dance, Hokey Pokey, Bunny Hop or Alley Cat. These may seem horrendously outdated to you, but not to the crowd.
You will enjoy far greater success with every crowd if you have the right attitude and confidence in your ability. If you have fun, so will the guests. Even if you are going through a rough period in your life, you’re still expected to put on a great show. Be approachable. Smile… people like people who smile. The best DJs are entertainers. Get Away From the Table The first step you take toward being a good entertainer is the step you take away from your setup. Be personable, walk around, talk to the guests and ask for requests and dedications. Tear down that wall between you and your audience. Let them know you’re there to entertain them… whether they like it or not!
Is this to say that every performance will be 100% party perfect? Of course not. There will be times when you just can’t get the people started. This commonly happens at class reunions and retirement parties because, instead of dancing, the guests are more interested in catching up with what their friends have been doing for the last twenty years. If you are having a particularly tough time, ask for help from the person who booked you. They know the people and can sometimes succeed where you can’t. If you can get three or four people on the dancefloor with a little arm twisting, the others will join in. Wedding Reception Format Of all the different types of jobs you’ll play, wedding receptions are the most involved; but they follow a predictable pattern.
At most receptions, you will be required to fill two roles. In your usual role as DJ, you’ll be taking requests, playing the music, leading the Hokey Pokey and doing what ever else is necessary to motivate the crowd.
You will also be the MC, where you will be responsible for introducing the bride and groom and the wedding party and making sure all the traditional activities of a reception take place at the proper times.
Appropriate dress for weddings (and most other functions) is a suit or tuxedo for males, pants suit, nice dress or tuxedo for females. You should look sharp, neat and confident. What’s considered proper DJ behavior and what’s not depends on the client and DJ. Some clients may invite you to join them for the meal and a beverage from the bar. Others may not. It’s a matter of common sense. Before availing yourself to the kindness of your client, remind yourself that alcohol will impair your ability and judgement and, therefore, may effect your overall performance. Performance is your product and everything you say and do while in the presence of your client and their guests impacts their impression of you and our DJ service. Now let’s walk through a reception from the time you arrive at the venue through the time you pack up and head home.
Road trip Perfect!, you’re first to arrive. The guests will be coming in soon, so take this moment to introduce yourself to the party hall manager and find out where you should set up. It’s always easier to set up when the room is empty. If the hall has back-to-back events (afternoon-evening) you may find your set up time fairly tight. If the client wants you start two or three hours into the event, that rules out a pre-arrival setup entirely. If the party hall has supplied a table for your use, check the legs. Will they support your equipment? Are they locked in place properly? It’s quite embarrassing to have a table collapse during the best man’s toast. If the table checks out, position it so there’s plenty of room to work without blocking any aisles or walkways. Now locate the nearest electrical outlet and run your extension cord so it’s not crossing a traffic area. If this is unavoidable, tape it down securely with “gaffers” tape. Duct tape will also do the trick, but may leave a sticky residue on the floor and on your cables.
Note: Not all party halls will allow DJs the use of a table. Call the hall manager a few days before the gig if you have any doubt about what to expect.
After you have neatly draped your banner across the top and front of the table, begin setting up your equipment just as you did at home. Once all components are in place and all cables are connected, power-up each piece, turning on the amplifier last. If the guests are already in the room, you’ll have to check out the system at low volume. Walk around the room and listen to how your system sounds in different areas. If it doesn’t sound crisp and clear, adjust your equalizer accordingly.
There are many details that can vary from reception to reception, making it impossible to outline the exact order of events. When you’re all set up and ready to go, introduce yourself to the photographer. He will need to know what you’ll be doing and, because he’s been with the bride all day, he can help you with any special details. When the bridal party arrives, step up and congratulate the bridal couple and assure them everything is under control.
Here is a general format adaptable to most receptions: In your role as MC, the first thing you may be asked to do is introduce the bridal party as they enter the hall. Begin by getting everyone lined up outside the hall in the order you will introduce them. Start with the parents, followed by flowergirl and ringbearer, the bridesmaids and ushers, The maid (or matron, if she’s married) of honor and best man and, finally, the bride and groom. Before you begin the introductions, make a brief pre-announcement to quiet the hall and get the guests’ attention. Something like “Good afternoon (or evening) ladies and gentlemen… in just a moment we will have the pleasure of welcoming our new bride and groom, so if I could please have your attention…” If it appears you are being ignored, your voice may not be cutting through the room noise. Bring up your mic level and try again. If necessary, sharpen the mic’s sound by increasing the mid range and higher frequencies with your EQ. Once the room is quiet, you can begin the introductions.
You: “Good afternoon ladies and gentlemen. Welcome to (insert name of location). At this time, it gives me great pleasure to introduce to you the parents of the bride, Carl and Carol Korpusle.”
(Pause while they walk in and wait for applause to subside.)
You: “And now, the parents of the groom, Fred and Flavia Friberty.”
(This is followed by another pause. Proceed with the flowergirl and ringbearer, bridesmaids and ushers, and maid/matron of honor and best man until all bridal party members have been introduced. Then, with dynamic enthusiasm, introduce the bride and groom.)
You: “And now let’s all stand and congratulate our new bride and groom… Frank and Fran Friberty.”
When all the bridal party members have taken their seats at the head table and the waiters and waitresses have poured the wine or champagne, it’s time for you to introduce the best man, who will toast the bridal couple. Before you do, walk over and let him know that you are about to introduce him. Never introduce people without warning them first. You: “And now, I’d like to introduce our best man, Joe Friberty, with a toast to Frank and Fran.”
After the toast, you can relax while the guests enjoy their meal. They may even invite you to dine as well. At a five-hour reception, you will be spending at least the first hour playing background/dinner music. This can be a lively mix of “easy listening” music, as requested by the bride and groom, or you can play one of the cassettes you recorded earlier.
At some point after the meal, the bride and groom will be cutting their wedding cake.
You: “Fran and Frank are about to cut their wedding cake. If you’d like to take a photo, please join the couple at the cake table. We ask that you let our photographer take the pictures for the couple’s wedding album first.”
Note: In some cases, the reception hall does the initial introductions and announces the cake cutting. This allows you more time to prepare for your presentation of the bridal dance and father/daughter dance.
When everyone has finished eating, it’s time for you to take control and get things moving. Catch up with the bride and groom and suggest it’s time for the bridal dance. You should have their special request all cued up and have the list of bridal party members close at hand. Just before the bridal dance, check with the bride and groom one more time to make sure everyone you will be introducing is in the room and ready to go.
You: “Ladies and gentlemen, could we please stand and have a nice round of applause as we welcome to the dancefloor for their first dance together as husband and wife, Fran and Frank Friberty!”
Create your own introduction if you would like, but keep it brief. Say it slowly, with a few dramatic pauses and all the dynamics of a TV game show. This is a big part of what being a professional DJ is all about. When the couple has finished their bridal dance, begin introducing the rest of the bridal party.
You: “Now let’s welcome our maid (matron) of honor, Fran’s best friend from college, Judy Jawhozee, with the best man, the groom’s brother, Joe Friberty.”
Tip: It’s a nice touch to personalize the introductions if you have a little background on who’s who and why they are in the wedding. After the maid/matron of honor and best man, proceed with the bridesmaids and ushers, The flowergirl and ringbearer and, finally, the parents. Watch the photographer, and pace your introductions so that he or she isn’t being rushed.
If your bridal couple has selected to dance with their parents, here’s what to do just as the dance for the bridal party ends:
You: “Now… we would like everyone on the dancefloor to join hands and form a circle.” (Give them a little time to get organized and help them if you have to). “In the center of the circle, we would like to have our bride, Fran, with her father, Carl Korpuscle” (Start Daddy’s Little Girl or other tune selected for this dance.)
Encourage the people in the circle to sway back and forth as a group or rotate in one direction. This enhances the couple’s video, makes a great photo for the wedding and it’s something for which they will remember you. If the couple has asked for a special dance for the groom and his mother, go right into it while everyone is still in the circle. It is not necessary to play the entire selection for the father/daughter or mother/groom dances. Fade them out after about a minute, or when the guests start snoring, whichever comes first.
Note: Some couples may want to do their bridal dance (first dance) after the opening introductions, before the meal. During your pre- reception discussions with them, ask if they have a preference. Immediately following the last of the special dances, it’s time to open up the dancefloor and go to work. Start with a familiar, upbeat motivator, like Celebration by Kool and The Gang, I’ll Be There For You by The Rembrandts, Love Shack by B-52s or Bob Seger’s Old Time Rock &Roll. Whether it be something old or something new, it needs to be something everyone will recognize and be compelled to dance to.
Over the music intro, introduce yourself and invite the guests to come up and make their requests. Tell them the dancefloor is open and that the bride and groom would really like them to get up and enjoy themselves.
For example: “Good evening… I’m Joe Ex from Ex, Why, Zee DJs and it is my pleasure to bring you the music as we celebrate Jan and Jim’s special day. I know our bride and groom want all of you to have a great time this evening, so the dancefloor is open and if there’s anything special you’d like to request, please feel free to come on up and make a request.”
It also helps to get things going when the bridal party and the bridal couple stay on the floor and dance the first few tunes. Tell them this in advance. If they want their reception to be a success, they will oblige.
The Bouquet and Garter There’s one more formality you need to take care of before you can remove your MC hat. At some point (usually 30 minutes to an hour after the first dance) you’ll need to direct the bridal couple, bridal party and guests through the bouquet and garter toss. The first step is to make sure the photographer is prepared. With the bride and groom close by, start an appropriate background piece, such as Girls Just Wanna Have Fun by Cindy Lauper (12” version is best), or Soul Finger by the Bar-kays, or other pop instrumental. Open the mic and get the guests’ attention. You: “At this time, we would like all the single ladies to come out onto the dancefloor for the tossing of the bridal bouquet.” (You will probably have to repeat this several times.)
When all the single women who wish to participate are on the dancefloor, the bride is ready to toss her bouquet, and the photographer is set to get the shot, lead the guests in a countdown.
You: “This calls for a little audience participation, so let’s all help Fran out with a little countdown… 5 - 4 - 3 - 2 - 1!”
This helps the photographer and gets the guests involved in what’s going on. After the toss, get the name of the lady who caught it; then pull a chair onto the dancefloor and have the bride take a seat.
You: “We’d like to congratulate Sue Swell, who caught the bouquet. Now, if Fran would take a seat in the chair on the dancefloor, let’s bring out Frank to remove her garter.”
This part of the reception can be a lot of fun. As Frank starts reaching for Fran’s garter, play The Stripper or another appropriate music selection. Once the groom has removed the garter, call the single men out just as you did the ladies. On a countdown, have the groom toss the garter just as the bride tossed her bouquet. The gentleman who catches the garter places it on the lady who caught the bouquet. Once again, play the The Stripper for background while directing the activity by announcing the names of the participants. Be sure to describe what they’re doing. If everyone seems to be enjoying the festivities, you might try having the girl take the garter off and put it back on the guy who caught it. With the right crowd, this will spark a little laughter.
Dollar Dance What if you are asked to direct a “Dollar Dance?” The idea behind a Dollar Dance is that for one dollar (or more) any guest can dance for few moments with the bride or groom. To direct the activity, first get the help of the best man and maid of honor. You will start off the dance by announcing:
You: “We’d like to give everyone a chance to dance with the bride or the groom and, at the same time, pack their pockets with a little extra spending money for the honeymoon. On the dancefloor, our best man, Joe, is standing by Frank and our maid of honor, Judy, is standing next to Fran. Now, if all the ladies will line up by Joe and all the men line up by Fran, we’ll kick off the Dollar Dance for Frank and Fran with (song).” (Use a familiar ballad, Always and Forever by Heatwave, is an excellent dollar dance starter.)
Note: It’s never this easy. It can be like pulling teeth to get a dollar dance going. Once it’s under way, you may need to play three or more slow songs until everyone’s had their chance. The best man and maid of honor control how long each person dances with the bride or groom, so, if it’s dragging, ask them (off mic!) to speed it up.
The Spinnin’ 2000 “Pocket Guide to Wedding Receptions” (at the end of this chapter) is a handy check list to keep you on track during a reception. Remember, events can be moved around. The bridal dance may come before the cake or even before dinner. The music sets listed are only suggestions. Each DJ has his own way of building sets. That’s one of the things that makes each DJ a little different from the next. As long as you play what your particular crowd wants, you’ll do fine. Keep a playlist from each engagement and note what songs worked best. Play what’s familiar and danceable, and you can’t go wrong. As time goes on, you will discover certain songs that have a certain magic in bringing people onto the dancefloor.
Music Sets and Sequencing A music set, or sequence, is simply a grouping of songs that are in some obvious way similar. Here’s an example of an oldies set: 1. Shout, Otis Day and Knights or Isley Bros. 2. The Twist, Chubby Checker. 3. Wooly Bully, Sam the Sham. 4. Louie, Louie, The Kingsmen.
Here’s an example of a set that would appeal primarily to the over- fifty crowd, but you may be surprised: 1. Beer Barrel Polka, Lawrence Welk. 2. New York, New York, Frank Sinatra. 3. In The Mood, Glen Miller.
Music sets can be any length, from two to five or even six songs, depending on crowd reaction. In order to cover a lot of ground, you may begin the evening with short, two- or three-song sets. This way, you can play music from a variety of categories over a shorter period of time. Near the end of the evening, when it’s primarily the “die hard” dancers who are left, you may get into a 20-minute dance set.
Never underestimate the importance of oldies in your program. The 1950s and early 1960s produced an exceptional amount of music that appeals to all ages. Many of these tunes, like Unchained Melody by the Righteous Bothers and Do You Love Me by the Contours, are familiar to a broad spectrum of ages, as they’ve been used on soundtracks and in commercials. Country music also has a place in your program (depending on the crowd). Songs like Crazy by Patsy Cline, Stardust by Willie Nelson, Mountain Music by Alabama, Friends in Low Places by Garth Brooks, Boot Scootin’ Boogie by Brooks and Dunn and Rocky Top by either The Osborne Bothers or The Nitty Gritty Dirt Band are all familiar and lack that “twang” that some folks find offensive. You can play almost any type of music if it’s fun, danceable and recognizable; just don’t play too much of it. A good mixture of fast tempo and slow tempo music is required at every function. As the night gets later, speed up the pace and let them “work out.” Just before you say good night, cool them down with a couple of nice, romantic ballads such as Last Waltz by Englebert Humperdink, Last Dance by Donna Summer (which starts slow and ends fast), I’ve Had the Time of My Life by Bill Medley and Jennifer Warnes (from Dirty Dancing) or Goodnight My Love by various artists from Jesse Belvin to Los Lobos. Then bounce back with one or two fast and powerful “encore” numbers. This way, you leave in a burst of high energy. Very memorable. Parties and Other “Special Events” In areas other than Southern California and Florida (where receptions are constant throughout the year) the wedding season runs from around April 1 through the end of October. You may get a sprinkling of wedding bookings between November and March. To keep your cash flowing in a positive direction, you need to pursue other types of parties. During December (and into January), office Christmas/holiday parties will fill your weekends and many of your weeknights.
A good performance at office parties can get you locked in year after year. It’s worthwhile to do a little research into what types of music the majority of the people like. Many offices listen to a certain radio station all day. Ask your clients what stations they prefer and if there’s a special tune that’s popular around the office. Encourage them to send you a list of their favorites in advance. Take this Job and Shove It by Johnny Paycheck, is an office party favorite (sometimes).
Retirement parties are like office parties except that the median age of the guests is higher. Bring along a good supply of 30’s, 40’s, 50’s and 60’s tunes.
Class reunions require extra emphasis on the years the guests spent together in school plus current favorites. Bring along an appropriate trivia book. A few good trivia questions can spice up your show.
For family events such as reunions, birthdays, anniversaries and bar mitzvahs, ask your client if there’s anything special they’d like you to do or play. In some areas, DJs who specialize in bar/bat mitzvahs charge several thousand dollars per job and earn every nickel. Along with the music, they provide everything from clowns, musicians and a dance troupe to hundreds of dollars worth of prizes and novelties. The entertainment is fast paced and constant. The opportunities for innovative Mobile Entertainers are unlimited. As you make the rounds from party to party, you’ll meet a lot of other DJs. Some throw in song titles and artists, sounding almost like they are “on the air.” Others use props to make their show a little unique. Some DJs just sit and spin tunes. Which is best? It doesn’t really matter. The audience will accept almost anything if you do it well. Throw a song title or artist in once in awhile but not over every record. An abundance of music trivia will be wasted unless you happen to have an audience that’s really enjoying it. A little humor is fun when it’s spontaneous and relates to the audience. If everyone is dancing and having a great time, you may be better to keep the mic off and the mix hot.
What’s the rule? If they’re not leaving or complaining, you’re probably not doing anything wrong. SPECIAL FEATURE
Games DJs Play—Getting Interactive, by John Roberts One of the most fundamental rules of entertaining is to get the people involved. One of the easiest ways to do this is by incorporating games into the show.
The best part of this job is knowing that every time we go to work, it’s a party, or to say the least, some type of social event. Games are a great ice breaker. They give some people a chance to show off. For others it’s an opportunity to display their competitiveness. Almost always, games give people a chance to mix, mingle and to meet one another.
The types of games and contests you choose to employ are many and varied, limited only by the realm of your imagination. Your job as DJ/MC is to coordinate, explain, facilitate, announce and even demonstrate the games. You may also be the judge and jury, so make sure you not only explain the rules but know and understand them yourself. There’s nothing more embarrassing than to have a situation arise during a game when you have no more of a clue on how to play it than the next guy.
Games and contests are not hard to get started but, some people will need a little encouragement to participate. To get active and willing participants to play, you must show enthusiasm, energy and spirit about the game you’re trying to start. In nightclub situations, depending on the type of game, I’ll have the waiters/waitresses or bartenders form teams within their sections. They are the team captains who encourage cheering and support from the rest of their section. The idea is to get as many people involved as possible. The more positive energy you create, the more likely you will succeed. With this in mind, I’d like to list a few of the more popular games, as well as some of my personal favorites. 1.) Musical Chairs: The object is to determine a winner by eliminating the contestants one by one. Begin by setting a double row of chairs, back to back, on the dancefloor. There should be one less chair then the number of participants. Explain to the participants that when you start the music, they should begin circling the chairs. When you stop the music, they should take a seat in the first chair they can get to. Start the music and let it play for 30 or 40 seconds. When the music stops, who ever is left standing is out of the game. Continue this procedure, varying the length of time you leave the music playing. The first participant in the last chair wins the game.
2.) Red Light - Green Light: The participants gather at one end of the dancefloor while the object person (or you) stands at the other end. The object person turns his back to the crowd and yells, “green light.” At this command, the crowd moves forward as quickly as possible. At intermittent intervals, the object person yells, “red light.” At this command, the crowd is to immediately stop. If the object person sees someone moving (running a red light), they must return to the starting point and try again. The first participant to reach the object player without running a red light is the winner.
3.) Simon Says: The object person gives orders (such as “put your hands on your head”) to the crowd, preceded with the words, “Simon says.” If an order is given without the words, “Simon says,” all participants who comply are out of the game. As the number of participants dwindle, the object person will notice that the remaining few will get harder to shake. As the orders get faster, they get more confusing and harder to follow. Use the process of elimination.
4.) Statues: This game is similar to Red Light, Green Light. The DJ plays music and intermittently stops it. When the music stops, the crowd immediately freezes in whatever position they are in. Those that move are out of the game. Use the process of elimination. The faster the breaks, the faster the turnovers. For an interesting variation, play Madonna’s Vogue and see who can come up with the most unusual or provocative poses during the song. 5.) Coke and Pepsi: This game is somewhat like Musical Chairs, except the people become the chairs. The guys are Coke and the girls are Pepsi or visa-versa. While the crowd is dancing, call out a drink. If you call Pepsi, the guys drop on one knee and the girls sit on it. You don’t even have to equally divide the crowd because after the first round, whoever doesn’t have a seat is out. By calling out 7- Up, the game turns into a variation of statues and everyone freezes or they’re out. A variation to this game is to call Dr. Pepper and the people gather in a huddle in the middle and the last one in is out.
6.) Limbo: To play this game, just get a stick and two volunteers to hold it. The object of this game is to go under the stick while leaning over backwards. Line the people up and have them go under the stick as the music plays. After each round, the stick is lowered a bit. Whoever can go under the stick without touching it, in its lowest position, is the winner. Play Chubby Checker’s The Limbo, or Let’s Limbo Some More and the crowd will quickly get the idea.
7.) Trivia: Trivia games appeal to most ages and can be played using a variety of topics. The object is to come up with questions that will challenge the crowd but not be so hard that no one will know the answer. Trivia contests work well at pubs and class reunions, especially when the crowd is made up primarily of “baby- boomers.”
John Roberts is an active Mobile and Club DJ who owns and operates the John Roberts DJ Training School in Waldorf, Maryland. Protecting Your Assets
Now that you’ve experienced the performing side of the Mobile DJ business, let’s take a look at the business side.
Pencil Prospects Anyone who calls and says, “We’re all set, I just need to run it by my fiancee, can you hold the date?” is not ready to book. They may have told several of your competitors the same thing and continue to shop. If you hold the date, and someone else calls who’s ready to sign, what are you going to do? Rule one: Never “pencil” anyone in on your bookings calender. A booking is official only when you have a signed contract and received a deposit. Explain to every “pencil prospect” that no date is guaranteed until the deposit and agreement are received. This is business.
Here’s another reason everything should be in writing: You get a call at ten o’clock on Saturday morning for a party that night. The caller says his DJ just cancelled and he’s really in a bind. What do you do? If you are available and really want the gig, ask the client if you can meet them prior to the job to get a contract signed and collect a deposit. If time doesn’t allow this, offer to do the job on the condition that you receive cash (in this instance, don’t take a check) at the time you arrive. This way, if you get there and find you’ve been “had,” you limit your risk to the time it took you to load and travel to the location. It’s aggravating, but not nearly as bad as playing the whole evening only to find the client has left and you don’t know how to reach him. Remember, if you don’t have a contract, it’s always “No Pay, No Play!”
The purpose of a contract is to put down on paper everything you and your client need to know about the booking. It should be simple, yet complete. It can be as basic as, “who, what, where, when and sign here.” Or it can include a few formerly defined “terms and conditions.” The terms and conditions of your contract or agreement should spell out exactly what you, the DJ, need from the client, in order to perform your service. First, it should be the client’s responsibility to provide you with a “reasonably” secure stage area with easy access. If there are a lot of stairs, you may need to bring a helper. If you don’t tell the client in advance that this will cost extra, he’s under no obligation to pay you. If you need a table 8 feet long and 3 feet wide, three standard chairs and need to be located within 15 feet of an AC outlet, specify so in your contract.
If the client has requested a light show, which will require you to connect your sound system and lighting system to different circuits, note this on the contract so the client can make the arrangements. If your light show includes fog, your contract should have a clause that states something to the likes of: “If any guest finds the fog discomforting, the DJ’s liability is limited to, upon the client’s request, curtailing the use of fog.”
Second, specify that you cannot be held responsible for things that are out of your control. What if you have transportation problems enroute to the job, such as an accident or traffic jam? What if you get to the location and find the client has given you the wrong address? (It’s happened.) Assuming you can find out where you are supposed to be, you’ll be late by the time you get there. This is not your fault and you need not compensate the client.
Tip: As a courtesy, when you arrive late for a job (whether it’s your fault or not), it’s good business to either offer the client “compensation time” or credit toward a future booking for the time missed. Clients are quick to recommend a DJ who gave them fair treatment even though the situation was out of the DJ’s control.
You also may want to include a phrase that permits you to stop your performance in the event any guest is behaving in a manner that puts anyone at risk. The obvious example would be guests who have had too much to drink and decide to hassle the DJ. If they are really obnoxious and falling all over your equipment, a brief shut down will usually get the attention of someone who can help you. At many afternoon wedding receptions and family reunions, parents let their small children run wild. Kids are fascinated by what we do and love to get into our things. Your contract should give you the right to insist children be kept away from your gear. Here’s a suggestion: “In order to prevent liability resulting from an accidental injury to any individual attending this performance, (DJ service) reserves the right to deny any guest access to the equipment owned or leased by (DJ service). In the event the DJ believes an unsafe situation exists, he/she may call upon the client to remedy the situation. If no action is taken, the DJ may cease operation until the situation is resolved.”
In the final paragraph, state your terms for payment. Include: The amount of deposit required (a minimum of $50 to 50% or more of total). If the client must cancel, specify that it must be in writing. It is a good practice to refund a portion of the deposit if cancellation is thirty days or more in advance of the event. If less than thirty days, that’s up to you. Some DJs refund all or most of the deposit (fair), some credit the deposit toward a future booking, others just keep it. Let your conscience be your guide. When you expect payment of the balance (no later than the conclusion of your performance). Your overtime rate (rate for each hour past the contracted stop time). Note: Anytime you include “terms and conditions” in a contract, you should have a lawyer review it. What sounds good on paper, may be meaningless in court. Laws vary from state to state, province to province and country to country. The examples set forth here should not be construed as universally applicable or enforceable. On the facing page is a simplified standard agreement to supply DJ services used by many DJs in the U.S. and Canada. Enlarge by 125% on a copier to fit an 8 1/2” x 11” sheet of paper.
Six-Step Bookkeeping System for Non-Corporate DJ Services Keeping accurate records of how much money you make from, and spend on, your business is essential. If you understand basic bookkeeping, the following procedure will be easy to use. If you need further assistance, consult a qualified accountant or bookkeeper. There are also numerous user-friendly computer software packages that will do the job. Remember: The time to set up your bookkeeping system is when you start your business, not at tax time.
• “Bookkeeping” is simply the recording of day-to-day business transitions and transactions. • Some form of bookkeeping is required by law for every business. • Daily entries or business transactions are made in BOOKS OF ORIGINAL ENTRY, or JOURNALS. This is called JOURNALIZING. • Transferring those entries into the BOOK OF ACCOUNTS, or LED GER, is called POSTING. • You can do your own bookkeeping while developing the skills to direct the financial affairs of your own business. The two most widely used methods of accounting are: CASH BASIS —Where income is considered earned only when the payment is actually made and expenses are considered only when paid. DJ services (except corporate services) use “CASH BASIS.” ACCRUAL BASIS —Where income is considered earned when goods have been sold or services performed, although payment may not have been received. Expenses, too, are considered when incurred and not when finally paid.
STEP ONE Deposit all receipts from your business into your business checking account. Pay all payables (bills) by check from this account. If not possible, pay from your personal account by writing a check payable to cash. Reimburse yourself from your business account. Be sure to note on the check what you are reimbursing yourself for (postage, office supplies, etc.).
STEP TWO When your monthly bank statement arrives, JOURNALIZE (write) the entries into a journal (notebook). Break down each entry in detail. For example, note whether each deposit is from a SALE (money from customers) or ADVANCE FROM PROPRIETOR (money loaned to business by you). Note each check you wrote on the account and for what purpose it was written. For example: office rent, purchases, fees paid to DJs, etc.
STEP THREE Set up a book of accounts, or ledger, assigning a page to each account. POST each journal entry into your book of accounts. Note each entry with the journal page number (J1, J2, etc.), so that you have a journal reference to cross check later, if need be.
STEP FOUR Prepare your “business profit” and “loss statement” from your ledger. This will give you your NET PROFIT (or LOSS) BEFORE PROPRIETOR’S PERSONAL EXPENSES.
STEP FIVE Prepare your PERSONAL INCOME STATEMENT and PERSONAL EXPENSE CHART. This will show you the NET INCOME REALIZED FROM BUSINESS for tax purposes.
STEP SIX File your BUSINESS INCOME STATEMENT, PERSONAL INCOME STATEMENT & PERSONAL EXPENSE CHART (see following pages) in your General Personal Income Tax file.
NOTE #1: You must keep complete and accurate records of the money you earn and what you spend on your business. Be especially careful recording your automobile expenses. Keep a notebook in your vehicle and, each day, log in your mileage, purpose of the trip and amount spent on fuel, oil and repairs. NOTE #2: If you do not declare cash you take in as taxable income, you cannot deduct any of it that goes back into the business. Also, if you ever apply for a loan, you can not show these unreported cash earnings as part of your total annual gross or net. NOTE #3: Because tax laws change frequently and because there are many things that may effect the percentage of tax you pay, use these charts only as a guide to setting up a bookkeeping system, not for paying your federal, state or provincial income taxes. The following bookkeeping system is not designed to replace an accountant, however, it will give you a better understanding of what bookkeeping involves and save you the expense of going to an accountant with work you can easily do yourself.
J. Smith Disc Jockey Services Business Income Statement Year Ending December 31, 1997
Statement One Income: Sales: $10,000.00 Advances: (Money you loaned to business) $ 1,000.00 Total Income $11,000.00
Expenses: Rent $ 3,000.00 Phone $ 600.00 Advertising & PR $ 1,000.00 J. Smith-Draw (What you paid yourself) $ 2,000.00 Fees-DJs $ 2,000.00 Total Expenses $ 8,600.00
NET PROFIT TO PROPRIETOR BEFORE PERSONAL EXPENSES $ 2,400.00
John-Smith-Proprietor Personal Income Statement Year Ending December 31, 1997
Statement Two Income: Net Profit from Business $ 2,400.00 add Drawings (Recapture of drawings from statement #1) + $ 2,000.00 Total Profit from Business $ 4,400.00 Less Advances (Your advance returns/deposits) $ 1,000.00 Net Profit from Business $ 3,400.00 Expenses: In-Home Office Expenses $ 820.00 Auto Expenses as Per $ 440.00 $ 1,260.00 NET TAXABLE PROFIT FROM BUSINESS $ 2,140.00 (To your tax form as income)
John Smith-Proprietor JOHN SMITH DISC JOCKEY SERVICES Supporting summaries - Term: 1/1, 1997 to 12/31, 1997
Personal Expense Chart HOME OFFICE EXPENSES Mortgage (interest only) $6,000.00 Utilities (hydro/electric and water) $ 600.00 Heating (if not included in utilities) $ 500.00 Real Estate Taxes $1,000.00 House Insurance $ 100.00 Major Repairs (Not decorating expenses) Total Overhead of Home for Year $ 8,200.00
Business Portion 10% $ 820.00 (assuming 10% of square footage of house is used for business) AUTOMOBILE EXPENSE Gas, Oil, Repairs $ 1,500.00 Automobile Insurance for Period $ 500.00 Depreciation for Period $ 2,400.00 Total Overhead of Auto for Year $ 4,400.00 BUSINESS PORTION 10% (Be sure you can justify) $ 440.00
Insurance This is another area that calls for professional help. Herb Cohen, originator of THE PROS DJ service in Philadelphia, stresses that liability insurance is a must. Cohen explains: “Even if you’re not the guilty party, the cost of simply defending yourself can be very high. The cost of the insurance is certainly less than a costly defense, especially if you are innocent.”
Equipment insurance is another matter. Cohen advises that, “Sometimes it pays to self-insure, not to buy insurance but to hold the risk yourself. This only makes sense if you can quantify the downside. Which is cheaper in the long run, replacing an occasional system or buying the insurance? Check with the agent who carries your homeowner’s policy or car insurance and see how much an extra “rider” is. Explain to your insurance agent or representative the type of business you have. Find out what kind of coverage is appropriate. Once you have all the facts, you can make an intelligent decision. Think about it. What are the possibilities of a total loss of your audio, lighting and records? What is the total dollar value versus the likelihood of it occurring?”
In Canada, two types of insurance are available to professional DJs who are members of the Canadian DJ Association at very reduced rates (compared to normal consumer rates). 1. Liability Insurance with coverage of $2,000,000.00. 2. Physical Damage or All Risk Property Floater coverage for the loss, theft or damage of sound and lighting equipment. Canadian DJs are encouraged to contact the CDJA for more information. Public Performance of Copyright Material There are several organizations in the U.S. and Canada that protect the rights of those who write, perform, publish and produce recorded music. The responsibility of these groups includes making sure that their members receive proper compensation for their work. In the U.S., these organizations charge licensing fees to broadcast stations (radio and TV) and public places that have musical entertainment. Mobile DJs are exempt from paying fees provided they play at facilities that are licensed or play only for private parties. For your reference, here are the names and addresses of the primary organizations: The Canadian Copyright Controversy In Canada, DJs are acknowledged as an active and vital part of the music industry. This recognition has lead to open communication between the Canadian Disc Jockey Association and the major record labels represented by the CRIA (Canadian Recording Industry Association). The Canadian government accepts “Mobile Disc Jockey” as an occupation and allows CDJA representatives to speak before Federal Senate Committee hearings on issues effecting the industry. Information and instructional materials on operating a Mobile DJ service are available at most libraries and educational institutions. But Canada’s DJs have found that, along with all this positive attention, have come some rather unwelcome problems.
During the last half of the 1980s, the music industry became aware of the large number of MDJs using their own compilations (A compilation is a collection of songs and artists contained in a single set of record albums, cassettes or CDs). In this instance, the concern was with operators who purchased one copy of a song and duplicated it onto several compilations. In the past, little notice had been paid to DJs (and others such as aerobics instructors) who illegally (without permission, license or authorization) copied music to tape. Canada’s original Copyright Act, passed in 1924, allowed for a maximum penalty of only $200 which made the law hardly worth enforcing. Now, an upgraded Federal Copyright Act has been enacted and violators are subject to fines of up to $25,000 per music selection copied (to a maximum of $1 million) and up to five years in prison. A single violation could take away everything a DJ owns or hopes to own simply because they copied a song on to a cassette tape for DJ use. Obviously, this new act was not good for DJs and, therefore, did not totally serve the best interest of the music industry. The record companies, represented by the CRIA, began to talk of a special “license” for DJs and others who copied music as part of their occupation. Wanting to protect it’s members from prosecution under the new act, the CDJA responded immediately and requested the right to be included in any discussions or negotiations relative to the development of this license. Their request was granted.
After eighteen months of meetings and confrontational negotiations between the A.V.L.A. (Audio-Video Licensing Agency Inc.), which represented the record companies and the CDJA, a DJ license supported by both was formulated and instituted on September 17, 1987. This license allows Canadian DJs to duplicate and distribute music on audio cassette for DJ use only. Tapes cannot be produced for sale or any other use.
In January of 1991, a second license, called a “Tape Supply License” allowed license holders to produce tapes for DJs, aerobics instructors, dance studios, exotic dancers and other uses. Although these tapes cannot be sold, they can be leased. This license permits a broader use of music duplication and distribution and is more expensive than a regular DJ license. These two licenses issued by the A.V.L.A. offer users a chance to join the system and eliminate the risk of heavy fines or a jail term.
Canadian DJs can obtain information and a licensing fee schedule by contacting the A.V.L.A., 1255 Yonge Street, Suite 300, Toronto, Ontario, M4T 1W6. Note: The only agency with an accepted licensing program for DJs is the A.V.L.A. This does not exclude the requirements for permission from the other two rights holders: PROCAN and CMRRA.
Musical Copyright in the United States Does a licensing program similar to the one in Canada await DJs in the U.S.? According to David Leibowitz, General Counsel for the RIAA, there is, at the time of this writing, no plan by American authorities to license DJs. Leibowitz explains that to enact such a law would require a great deal of congressional maneuvering as the antitrust laws of the U.S. restrict this type of licensing. Mr. Leibowitz adds, however, that DJs should not take this as permission to illegally use or duplicate music. DJs should still receive permission from the record companies for the tracks they are using off compilations they have self-produced. Registering Your Business To open a business checking account under the name of your business and insure that yours is the only business in your area using a certain name, you will be required to register your business under a “d.b.a.” This stands simply for “doing business as” and ties your business name together with your name. The process for obtaining a certificate of “d.b.a.” involves going to the county clerk’s office and searching through files of previously used business names. If you are the first to open a business under the name you have selected, you will be asked to fill out some forms and pay a fee.
Canadian DJs are required to register for a “c.o.b.” which stands for “carrying on business as.” A c.o.b. can be obtained through your local provincial office of The Ministry of Consumer and Commercial Relations, Companies Branch. For Ontario, the address is: 3rd Floor, 393 University Avenue, Toronto, M7A 2H6, phone (416) 593- 8880. Like in the states, a fee is involved.
If you wish to obtain a trademark for a business logo, call or write The United States Department of Commerce, Patent and Trademark Office, Washington, DC 20231. In Canada, a copy of the Trade Marks Act and Rules can be obtained from Supply and Services Canada, Printing and Publishing Division, 270 Albert Street, Ottawa, Ont. K1A OS9 or from any Supply and Services bookstore. Other information may be obtained from the Bureau of Intellectual Property of Consumer and Corporate Affairs Canada, Place du Portage, 1 Victoria Street, Hull, PQ K1A 0E1.
In either country, the Trade Marks office may not express an opinion about a particular trade marks eligibility for registration until a formal application has been filed. It is imperative that a search be done prior to the filing. Incorporating On the topic of whether or not a DJ service operator should incorporate, attorney at law, Sheldon Starke advises in favor of incorporation. According to Starke, “In general, operating under your own corporation, where permitted by law, may protect you from vulnerability and eliminate headaches you do not need. For example, what happens if someone gets hurt tripping over one of your cords? Are you, the DJ, responsible? As you get more experienced with the legal system, you will realize that the answer is not whether you have or have not committed a wrong, but whether or not you are a good candidate for a lawsuit. It is possible for you to be 100% in the right but the manner in which the evidence is presented to a jury could result in a guilty verdict. By operating under a corporate veil, it is the corporation, and not you personally, that is the guilty party.” Multisystem Management
As you find yourself with fewer and fewer open dates in your bookings calender, you may begin to explore ways to make this your full-time business. If you are currently earning $400 per night, the possibility of having two, three or perhaps ten or more DJs working for you is attractive. That much volume could support a standard of living that’s quite comfortable, even after you pay your DJs.
When you decide to make the move to multi-systems, you also get multi-problems. Don’t be surprised if it turns out you are doing twice as much work and making half the money you expected. Your decision to take your business to a higher level should be based on reality and not unrealistic dreams. You’ll need sharp sales and marketing skills, an awareness of laws effecting small businesses and a staff you can trust. You’ll need qualified people to help you keep track of your bookings, your DJs, your equipment and, most importantly, your money.
What does it take to go from a single DJ, single-system service to one that can handle ten, fifteen, twenty or more bookings at a time? Good people and a well thought out sales and marketing plan are essential.
The major challenge in expanding to a multiple-unit service is attracting and developing good DJ personnel. Searching for new DJ talent is an on-going task, particularly when your bookings start increasing and you are short DJs to cover the work. If you run your service to tight, with just enough DJs to cover the bookings, the possibility of missing a date is frighteningly high.
According to a survey, it was determined that the average DJ employed by a multisystem operator worked 37 weeks per year. Based on these averages, if your goal is to book 370 bookings per year, you will need at least ten DJs to handle the traffic. How to Recruit Good DJs The place to start is the “Want Ads” in your local newspaper. There are very few people actually looking for a job as a DJ; however, there are many people looking for an interesting job. With a well- worded ad stressing the fact that you provide the training, you should get a substantial number of phone calls. Here’s an example of an ad that worked well for one DJ service:
Help Wanted (part-time): “Management trainees for expanding Disc Jockey entertainment service. Previous experience not required, Call: XXX-XXXX.”
Here’s another example: “Two Disc Jockeys needed immediately, good pay, all training provided. Call XXX-XXXX.”
Both ads stress the training aspect. The first one is designed to attract people interested in a job with a future. The second ad is aimed at those looking for a fast way to make money. It requires an immediate reaction as there are only two positions open (supposedly). Other ways to find DJs include: • Offer an incentive to anyone who refers a good employee to you. • Post flyers in music and record stores. • Inform your local college radio station of your needs. • Ads in local publications that reach potential DJs. • Talk to club and disco owners. What do Employees Want From the Job? The four basic things every employee wants from a job or from his employer are: • Appreciation, respect and acceptance (to be accepted as a professional and have input into the organization). • Compensation (payment). • Opportunity (a future). • Challenge (interesting work).
By developing your training policies and philosophies around these objectives, you will attract and keep valuable employees for many years. Starting a Training Program You can develop good DJs and earn their loyalty by helping them improve themselves. This increases their own self-worth and makes them more valuable to the company. The more value an employee has to the company, the more you are likely to pay them.
What You Need From a Training Program The ideal situation would be if you could be in three or four places at the same time. As this is not possible, you are going to have to find other people and train them to duplicate your successful style, sort of “cloning” yourself.
One way to attract these clones is to start a company training program. Young people who are attracted to this type of work will usually jump at the opportunity for training. A good, intensive training program will weed out the ones who really aren’t motivated. The ones who last through the course usually are prepared to at least try the job for a while.
You don’t have to look for this type of person, they’re the ones that approach you while you are doing a gig and ask you how you started or who you work for. If they look like they might make a good DJ, get their name and address. If the person has the interest and hopefully, a little personality, they could be trainable as DJs. As you gain experience in hiring DJs for your staff, you become better and better at quickly analyzing their attitude and aptitude.
In the Classroom The best DJ training program is a mix of classroom instruction and on-the-job, hands-on training. Identifying a competent instructor is step #1. The instructor must be an experienced DJ and be able to teach any age group. Teenagers and young people who are still in school learn by memorizing. Adults learn by understanding. Once an adult understands a concept, they will usually retain and use what they have learned.
Next, you need the right environment. This should be a classroom setup for at least part of the training. Classes should have a maximum of 15 students and be no more than three hours. Finally, you need a good curriculum based on the “trainable elements” of the job. Make a list of all the tasks your DJs perform at a gig. Then, break this list down into specific areas where training is possible. Design your training course for both beginners and experienced DJs. Beginners should be taught the concepts required to develop the skills, knowledge and experience to become a professional Mobile DJ. Experienced DJs should be shown the ways and means of improving and formalizing the skills they have been using while performing.
Most DJ training courses are built around three areas of skills, knowledge and experience called the MEP FACTORS: • Music • Equipment • Presentation
These factors are the foundation on which the potential DJ will gain the abilities for a professional approach to the job. Improvements in these skills areas increase the confidence level of the DJ and fortify his ability to do a good job for his clients.
Classes should be a mixture of practical exercises and theory and should include a balance of demonstrations and lectures. Written review tests should be given regularly to support learning and ensure that all information is being digested by the students in the proper context and order.
Music One method to teach new trainees music is to take them out with you on a job. While you perform, have them write out a list of every selection and artist you play. Have them note the point in time you played it and the reaction of the crowd.
This is called a “Situation Sheet” and is simply a play list for a particular event. Trainees must complete a situation sheet for at least four bookings. This way he learns the selection titles and artists and becomes familiar with a broad selection of music. The trainee can then use the list to analyze the sets of music played during the performance and how the audience responded. They can also use this as a reference list or “panic sheet” at their initial solo gigs.
Many DJ services insist that each DJ hand in a playlist after every gig. The list is reviewed and then filed in case any complaints regarding the music are received from a client. If a client ever complains that requests were not filled by the DJ, you can prove otherwise by presenting a playlist and copies of the request forms from the crowd.
Equipment Training on equipment is where you will reap the greatest benefits as a multisystem operator. Establishing a basic understanding of how the equipment works, hookup procedures and how to troubleshoot will do wonders for your peace of mind on weekends. The better you train your DJs, the greater their confidence will be and the fewer problems for you.
Sound system failures and breakdowns fall into four “cause” categories. Here are the categories and the percentages based on over 1,000 situations: Faulty cables (patch cords) 60% Poorly trained or inexperienced DJs 20% Lack of routine equipment maintenance 10% Miscellaneous (equipment obsolescence) 10% As you can see, 80% of your potential breakdowns can be avoided through a strong equipment training program. By equipping your DJs with spare cables, you can wipe out 60% of your breakdowns. In addition, by standardizing all cables, you can reduce the number of spares each DJ has to carry and you have to buy. By simulating breakdown situations, you can teach DJs how to find technical problems on the job, without panic clouding their judgement. A side benefit of these training sessions is that you will actually be checking out your equipment as your trainees practice breakdowns at the sessions. This gains you the extra 10% reduction on breakdowns that result when equipment does not receive regular preventive maintenance attention.
Finally, if a DJ has an equipment failure on the job, he should complete a report outlining the nature of the problem when checking in the equipment. This report will prompt you to repair and restore the equipment before the next weekend. The report itself can be used as a record of the maintenance from which you can establish a maintenance history of each piece of equipment. This maintenance history can then be used to determine the “life cycle” of equipment.
Presentation The third skills area to be developed is “presentation” which centers on the DJ’s ability to “present” himself to the public in the role of DJ/MC/Entertainer. There are several different ways DJs can improve their presentation through training.
Confidence Calls The confidence call is made to the client by the DJ selected for the job. When an agreement for a future booking is returned with the deposit, assign the DJ and log this in your upcoming booking file. The confidence call (normally two to three weeks prior to the booking) gives the DJ an opportunity to meet the client prior to the booking. The purposes of the confidence call are: 1. To reassures the client that you have everything under control. The DJ will be there. Their expectations will be met. 2. To check all information regarding the time, location and other details. Many times, bookings made months in advance of the date have some changes. For example, when you made the original arrangements, a father and daughter dance was requested. During the confidence call, however, you learn that the father has since passed away. This could have been extremely embarrassing. The ultimate way to assess how well your training program is working is by using a “Performance Rating Card.” These cards ask each client, confidentially, if they enjoyed the Disc Jockey and would consider rehiring him in the future. The card asks the client to rate the DJ on a 1-10 basis, as to selection and variety of music as well as the attitude of the DJ. If there are a few random low numbers on the cards, take it up with the DJ. If there is a pattern of low numbers, take a look at your training program. Keep Those Bookings Coming Once you have a program in place for recruiting and training a staff of reliable, professional DJs, you can again concentrate on marketing. Here are some ideas for the multisystem operator.
1. Become active in your community. By joining service groups such as Rotary, Lions, Kiwanis and the Chamber of Commerce, you’ll help improve the quality of life in your community and you’ll make many new contacts. The time you volunteer comes back to you in the form of new business.
2. Develop a flyer or newsletter for racquet clubs, golf clubs, tennis clubs, yacht clubs and other sports and social clubs. Send the same flyer several times, but at least one month apart. Make the flyer a different color each month. When they book they will probably have a flyer in front of them. Ask them the color of the flyer and you will know what month they actually decided to book. Next year, target your advertisement to that particular club based on when they booked this year.
3. Offer discounts for multiple bookings. If your rate is $400 per booking and a client books three dates at one time, give them a total discounted price of $1,000. To ensure they don’t take advantage of you, charge $400 for the first and second bookings and drop the rate of the third booking in the series to $200. This way, there is no discount unless all three bookings actually take place.
4. Associations are a good target because they all have social mandates to fill in order to keep members interested. This means they will be having a number of dance or social evenings throughout the year. The best part about associations is that they normally operate (and socialize) all year long, with no seasonal quiet times.
5. Wedding Market • Secure a booth at bridal shows and have a video tape of your DJs in action playing continuously. Conduct a drawing so that future brides must complete a coupon with their name, address, phone and wedding date. This will give you a mailing list for follow up or a “post-show” offer ($ off coupon) to help you close as many bookings from the show as possible. • As a premium, offer each bride and groom who books your service during a particular month a nice gift for their wedding night. The gift could be a basket with a bottle of champagne and two stem glasses on a bed of straw, wrapped in plastic with a big red ribbon. We call this “Instant Romance.” You can make these packages up at home for around $10 to $15. • Anytime you exhibit at bridal shows, be sure to have some of your DJs in the booth. They will benefit from the one-to-one selling experience, and brides and grooms like to talk to DJs directly at shows like this. They are more likely to book right at the show if they like a DJ who is there.
More Advertising and Promotional Ideas • Place cards on the tables that are 1/2 request card, 1/2 business card. The guest fills out the request half and keeps the business card. • Regularly send post cards to associations and clubs. • Send flyers (8 1/2” X 11 1/2”) to country clubs, bowling alleys, legion halls and banquet halls. • Place ads on bowling score sheets. • Offer special rates to charities. • Volunteer to play free in malls during special promotions. • Send special packages to brides with discount coupons from others in the bridal business. • Put ads in Jewish publications for the bar mitzvah and bat mitzah market. • Send flyers to large firms to promote your services for the annual office party. • Give banquet halls emergency telephone stickers that have your company’s name and phone number. • Print T-shirts with a catchy saying on it like “SMITH’S DISC JOCKEY SERVICE presents banana tunes”— “Music with appeal.” • Offer discount or contract rates for steady weekly bookings. • Have your DJs play volleyball against the local radio DJs for charity. • Advertise to local college frat houses. • Hold a local dance and open it up to outsiders. • Offer gift certificates for your service. • Play music during opening hour of a drive-in until the feature starts. Set up in the snack bar and play requests to listeners in their cars. • Handle school dances where you “feature” a radio DJ who is popular. All he has to do is appear for an hour or so during the evening. Offer him a few dollars and double your fee. • Cultivate banquet hall and club catering managers who will recommend you to inquiries coming to that hall, on a commission basis if necessary. • Offer to rent your equipment (with DJ) to fashion groups, plazas, stores, etc. for use in their fashion shows, etc. • Purchase a utility trailer or van and paint your adver- tisements on the side. Put magnetic signs on each DJ’s automobile. • Sponsor a hockey team or youth baseball team in your community. For more ideas read: “Guerrilla Marketing Attack” by Jay Conrad Levinson Spinnin’ 2000
Once you begin distributing cards and advertising your business, it won’t be long before your phone will start ringing. While you may not be able to turn every call into a booking, your sales technique will improve with practice. Before long you’ll find your able to lock in a high percentage of callers.
On Location Advertising As you gain experience, you’ll soon find that each job you play yields two or three referrals. As long as you are consistent, reliable and put on an excellent show, your bookings calender will continue to fill. At the same time, competing DJ services that sit back and rest on their reputations will find that many of their bookings are being sucked up by new, more aggressive operators, like yourself. In the long run, it’s the customer who benefits, because the cream will rise to the top. Those who market the best will attract the best DJs, thereby establishing the best reputation. This, in turn, brings more bookings, which makes more money available for marketing and equipment. It’s a continuous, positive growth cycle. No business ever stays the same year after year, it’s either spiralling up or sliding down. Make good marketing decisions, hire the best people, train them well, pay attention to the details and, above all, make customer satisfaction your top priority and your business will soon surpass all your competition.
If you are just starting out, get your feet wet by volunteering to play a few dances for friends or charities. As they say in auto racing, “Get in your laps.” Get the feel of what it’s like to be the center of attention in a room full of people. Do it and keep doing it until it gets easier. Overcome the initial uneasiness of being in front of people by getting out from behind your table. Put yourself in the crowd, be a part of the party. Find out what tunes are the hot motivators in your particular region. Make an honest effort to play what they request and your name will spread fast. If you are not performing, or preparing for a performance, then be promoting. When you have tried all the ideas in this book, come up with a few unique ideas of your own. Each day, more and more people are discovering the advantages of hiring DJ entertainment. As this market grows, so will the number of Mobile DJs. Increased competition forces us to work harder and market smarter in order to get the biggest share of the bookings.
New Opportunities With an abundance of DJs serving the basic wedding and private party market, many mobiles have begun to explore new entertainment options to offer their clients. Here are a few examples:
Mobile Nightclubs are the next logical step for DJs who want to offer an overwhelming on-location entertainment extravaganza. These shows use a carefully designed combination of sound, lights, lasers, video and effects. Much of the show is pre-programmed in advance. They are more expensive than a regular Mobile DJ. Raves (Rave parties) are an underground offshoot of this concept. Karaoke (ker-ray-o-kay) Sing-Along is an attraction that puts the audience members in the spotlight. It gives them an opportunity to come on stage and sing their favorite songs aided by TV monitors scrolling the lyrics. Some Karaoke systems include custom videos to match the lyrics, so the audience has something to watch if they don’t want to watch the singer. Others allow the operator video mix capabilities so the on-stage singer can be put on the monitor with the lyrics. New, compact Karaoke systems have made offering this entertainment concept a natural for Mobile DJs.
MIDI (Musical Instrument Digital Interface) makes it possible for a musician to use a keyboard, or other electronic instrument, with a home computer. Using MIDI, the musician can preprogram specific tracks of an arrangement, such as lead, rhythm and percussion, into the computer. On location, the musician adds live voice (either his or her own or a separate vocalist) and plays the one part of the arrangement. The rest of the accompaniment is recreated by the computer. A single musician who understands MIDI can create the illusion that the stage is full of live instrumentalists. In the future, MIDI will allow DJ/musicians to perform a show that’s part recorded and part live.
Interactive attractions such as Velcro walls, robotic boxing, foam parties, Sumo wrestling, and face painting have become a standard part of the menu for many DJ service operators. By packaging these attractions with their standard sound and light show, they can greatly up-sell clients. Large corporations, in particular, have found favor with DJs that can offer more than just music. While some operators may offer one or two of these attractions as an option, others have been successful producing full-fledged events from casino nights to summer carnivals.
The Complete Party Service is another concept that elevates a DJ service operator to a position of being a true entrepreneur. Along with providing DJs, these services take care of everything from getting the invitations printed, to cleaning up after the event. Through contacts with printers, caterers, limo services, entertainers, photographers, videographers, bridal consultants, florists, tux shops, party halls and other related businesses, a Complete Party Service will take care of 100% of the details of planning the event. The client need only show up, enjoy the party, and, of course, pay the bill.
Meet Your “Party Host” Changes in technology combined with client demand have lifted the job of being a Mobile DJ to an exciting new level. Many DJs routinely include audience participation activities such as games and dance instruction as part of their shows. They have moved from being DJs to become party hosts. Advancements in technology have made it possible for a DJ to carry a complete music library on a computer hard drive. Through the use of wireless mics and remote controls, they can run their show from anywhere on the dancefloor.
It is now conceivable and possible for a DJ to bring only a laptop computer, amplifier and speakers to a job. Once at the scene, he simply sets up his speakers and amp and dials into the music bank. Online, he simply tells the computer what to mix and how to mix it. Through the use of “transition codes,” the party host selects a series of tunes, and tells the computer how he wants the songs mixed. For example, with the proper code, he can program the computer to lay the beat of one song over another, hold it for ten seconds, then gradually fade the first one out. As the Party Host is not limited to just two, three or four music sources, he can create custom remixes, complete with digital effects, during his live performance. He can actually create mixes like Swing the Mood by Jive Bunny, based totally on requests from your audience.
Predicting what the DJ profession will be like ten or twenty years, in the new millennium is anybody’s guess. Through the use of digital electronics, the sound quality of today’s lightweight, compact systems is nothing short of astonishing. The trend is toward smaller, lighter and more powerful. For DJs who like the feel of an actual DJ mixer, computerized mixers with touch-sensitive faders will be the norm. Others will mix using touch-sensitive screens and keyboard commands. On the performance side, clients will grow to expect DJs to interact with their guests, at least to some degree. If you were to travel by time machine to a DJ performance just ten or twenty years in the future, you may be totally surprised.
Technology is traveling at light speed. Everything new in electronics, be it sound, light, video or computers, has an impact on the mobile entertainment industry. What is your place in the future? Hopefully, through this book, you have gained a superior knowledge not only of the Mobile DJ business but of all that’s out there for you to achieve if you just set your mind to it. Good luck!
About the Authors
Robert A. Lindquist has been involved in the Mobile DJ profession since 1968. During the 1970s and 1980s, while working full time in radio and television, he performed regularly at clubs and parties throughout New York and New England. In 1990, he founded Mobile Beat: The DJ Magazine of which he is co-publisher and editor-in-chief.
Dennis E. Hampson founded and owned one of Canada’s most successful DJ services in 1968. He has pioneered many of the training programs used in Canada and the U.S. today. Dennis is a former national president of the Canadian Disc Jockey Association. With considerable experience in small business management, he is presently a marketing and training advisor to Disc Jockey services and organizations on both side of the border. AC (Alternating Current) - In which the electrical power oscillates up and down a number of times per second. U.S. power runs at 60 times a second or 60Hz. AMP - The measurement used to describe the amount of electrical current flowing in a wire or circuit. ANALOG - see Control Logic. BALLAST - Used with Fluorescent and Discharge lamps. Similar to a transformer by delivering proper operating voltage, but a Ballast also limits current flow or else the lamp would draw increasing current and self-destruct. Also, Ballasts are used to provide a temporary high voltage to “start” the lamp or arc. BEAM SPREAD - Measurement in degrees of the width or diameter of a light beam. Examples: A very narrow spot beam (VNSP) is approximately 5°, a narrow spot (SNP) 12°-20°, medium and wide floods range from 18°-55°. Note: Beamspreads expressed with two numbers indicate an oval shape. Examples: 15° x 32°, 20° x 40°. CHANNEL - An individual control/power circuit, connected to and causing its lighting to turn on/off, and, in some cases, dim higher and lower. CANDELA (a.k.a. Candlepower) - The intensity of light from a source or fixture in one direction. CHASE - Lamps turning on and off in sequence, controlled by a variable speed control. COLOR TEMPERATURE - The blueness or redness of a light source, expressed as a temperature in degrees of Kelvin. Examples: A 2,700° lamp appears very “warm” or “red” like a table lamp or pinspot. At 3,100°, the halogen lamp has more blue content and appears whiter. Sunlight at noon is approximately 5,000°. CONTROL LOGIC - A low voltage DC. signal (0-15 volts) known as analog. Also, a digital signal (example: DMX512). Control Logic signals activate powerpacks which, in turn, activate lights. CONTROLLER - A device that utilizes control logic to control lighting. In audio, the mixer/preamp is analogous to a controller. CROSSFLOW - A controller function that dims one lighting channel to a lower level, while simultaneously fading another to a higher level. DC (Direct Current) - does not oscillate like AC, but flows steadily. DC can literally destroy transformers and must be avoided when these are present. DICHROIC - A thin rare earth coating is applied to a lamp reflector to conduct heat rays backwards and light forward. DICHROIC FILTER - Durable, heat resistant material, usually borosilicate glass. Special coatings are applied to the glass which pass select wavelengths (colors) and reject all others. An audio analogy is a narrow bandpass filter. These last much longer than other color media and the hues and shades of color are pure and brilliant. DISCHARGE LAMP - a.k.a. High Intensity Discharge Lamp (H.I.D.) - A family of lamps that produce light by means of an arc through a gas. Categories of H.I.D. lamps include Mercury Vapor, Metal Halide, High and Low Pressure Sodium. These offer long life and higher output of light than most other types of lamps and require the use of ballasts to operate. DISPLAY - A group or area of active lighting such as pinspots, par cans, strobes, etc. ELECTROMOTIVE FORCE (EMF) - When AC voltage is applied to a transformer (see inductive load), a contrary or opposing voltage builds up, and is released when the applied voltage is turned off. This EMF feeds back through the circuit where the original voltage comes from, known as BACK EMF. Back EMF is bad for powerpacks and other power output devices and can virtually blow them up. Rapid chase of transformer devices like pinspots increases this kickback or backfire. To compensate, some manufacturers install EMF protection in powerpacks and specify a reduction in total load ratings by 30-40 percent. HALOGEN LAMP - An incandescent lamp containing special gases. Halogen lamps exhibit higher color temperature (whiter light) and increased operating life, usually 3-5 times longer. However, these take longer than regular incandescent lamps to go completely “off” or dark when turned off or chased. INCANDESCENT LAMP - A lamp that emits visible light as a result of a filament being heated. INDUCTIVE LOAD - Usually a load containing a winding or coil, i.e. transformer, electric motor, etc. INTELLIGENT LIGHTING - A misnomer, associated with moving lights or moving mirror scanners. These fixtures usually do not operate on their own and require “instructions” from controllers. FOOTCANDLE (fc) - A measurement of light level reaching a surface. One fc = one lumen (see lumen) per square foot. JOULE - An energy measurement, usually used for strobes where 1 watt at 1 second = 1 Joule. LASER - Acronym: “Light Amplification by Stimulated Emission of Radiation.” Also a device that creates a very tight light beam of a certain color. Lasers used for entertainment purposes utilize mirrors and motors to move the beam in varying patterns. Laser operation is tightly regulated by government agencies, primarily to protect vision. LASER CHASE/DARK CHASE - In “Light Chase” mode, lights will appear to “move” or switch on in an animated sequence. “Dark Chase” is where a dark space will appear to move as lamps are switched off. LOAD RATING - The maximum amount of watts or amps that a circuit or powerpack can handle. Exceeding the maximum load rating for any one channel, or all channels of a powerpack, could result in a complete shutdown or damage, or tripping a circuit breaker which disengages the circuit. LUMEN - A measurement of light output, emanating from a light source or lamp in all directions. MATRIX - a.k.a. X-Y Chase - By using special controllers and powerpacks to chase large quantities of fixtures such as pinspots or par cans, many more flow patterns can be created. The controllers/packs actually “fire” the fixtures’ hot wires and neutral wires separately. METAL OXIDE VARISTOR (MOV) - An electrical device commonly used in power conditioners for absorbing the energy of spikes. MOV’s are able to absorb spikes of an energy content at or near their maximum rating without degradation. When hit by a sufficiently large spike, the MOV may be destroyed. However, MOV’s are inexpensive to replace and by giving up their “life,” valuable and expensive equipment is protected. NOISE Referred to as Electro Magnetic Interference (EMI) and Radio Frequency Interference (RFI) - Electrical noise is caused by many factors and phenomena, including lightning, load switching, generators, radio transmitters, lighting dimmers, etc. It can be intermittent or chronic and have an adverse effect on computer data. Noise can also become quite audible through audio and sound systems. Power conditioners often provide filters to eliminate or reduce EMI/RFI noise. PAR, PAR36, PAR46, etc. P = parabolic (the shape). A = Aluminized (the reflective coating). R = Reflector. The number indicates the diameter or size expressed in the number of 1/8 inch pitches across the front of the lamp. Example: 36 = 36 x 1/8”, or 4 1/2”. PHASE CONTROL - A commonly used method to dim lighting. Basically, the AC waveform is switched on and off rapidly, undetectable to human vision, as a method to lower lamp output. Unlike earlier dimming methods, phase control does not generate DC which is harmful to inductive loads. PINSPOT - Usually a 6 volt or 12 volt PAR36/PAR46 spotlight with built-in transformer. Quality pinspots are fuse protected and some are U.L. listed. POWERPACK - Handles high power and provides the “muscle” for the controller “brain.” Analogous in Audio to a power amp. Two types are Relay/Switching packs which simply turns lights on and off and Dimming Packs, a.k.a. Dimmers which not only turn lights on/off, but also raise/lower light level. POWER CONDITIONER - An electrical device used to protect sensitive electronic equipment from voltage spikes/surges, and EMI/RFI noise. Power conditioners can also include voltage regulation to protect against voltage sags or surges which exceed safe operating ranges. PROTOCOL - See Control Logic. QUARTZ LAMP - Usually, but not always, a Halogen lamp. Due to higher operating temperatures, quartz (instead of glass) must be used as the envelope or “shell” around the filaments. These must not be touched by human skin because body oil can cause them to blacken. RAINLIGHT - See Pinspot. SAGS (Also known as brownout) - Short term decreases in voltage. This is the most common power problem in the U.S., reaching a regular occurrence rate of 87%. Electronic devices can be damaged or may not function when voltage drops below a safe operating range. SCENE - A number or combination of displays or lights switched on together to provide a specific effect or “look.” SEQUENTIAL POWER UP/POWER DOWN - A function of certain power conditioners where the components or devices plugged into the conditioner are electrically switched on, one-at-a-time in a timed sequence. Eliminates large currents, “pops,” “thumps” and other audible noise when switching on audio components. SOUND CHASE (a.k.a. Audio Chase) - Similar to Auto Chase, except the sequence of light movement is controlled by rhythm (usually bass beat) so that the lighting sequence responds to beat of the music. SURGE - A short term increase in voltage, usually 10% to 35% above normal. Surges last longer than spikes (15ms to minutes) and are a result of high-powered motors, appliances, and other high current devices being switched on. Sensitive electronic devices can be damaged when safe operating ranges of voltage are exceeded. SPIKE - An instantaneous, dramatic increase in voltage, as high as 6,000 volts. Usually of short duration (milliseconds) and caused by nearby lightning strikes, spikes can enter through AC, serial, or phone lines, and damage solid state components, or cause data loss. Effects can be cumulative, causing gradual deterioration and catastrophic failure. TRANSFORMER - An inductive load device used to change AC input voltage to higher or lower voltage output. TRIAC - A solid state, AC switch, used for heavy power handling and dimming of lighting. VOLT - Describes the amount of force at which an electrical current flows. VOLTAMP - A unit of electrical power and a measurement of electrical power of a device, usually a transformer. Similar to a watt, but a voltamp device must have a higher rating than the unit taking and consuming power from it. WATT - A unit of electrical power and a measurement of electrical power when voltage goes from its origin to its destination. Denotes power consumed. ZERO VOLTAGE SWITCHING - A sensing network which allows a triac to switch only when its supply voltage is at zero. Used for interference suppression or noiseless switching. Will not dim.