#208 mobilebeat.com 2019 eye...of cool products at us have also given us some great options for...
TRANSCRIPT
FOR YOUR CROWDSLIGHTING AND MORE
EYE
#208
JULY
2019MOB I L E BEAT. C OM
TO ADVERTISE IN MOBILE BEAT OR EXHIBIT AT A MOBILE BEAT EVENT, CALL 515-986-3344 x300 OR EMAIL [email protected]
PublisherRyan BurgerMobile Beat
Events DirectorJake Feldman
Editor-in-ChiefDan Walsh
Editorial Assistant / WriterRebecca Burger
Events Director EmeritusMichael Buonaccorso
P L A Y L I S TA DIFFERENT BE AT � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �6
By Stu Chisholm
EYE CANDY � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 8
By Geoff Short, Global Brand Manager, CHAUVET DJ
INSIDE THE INDUSTRY � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 12
By Kevin Freese
INSIDE THE INDUSTRY � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 18
By Kevin Freese
MUSIC NEWS �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 20
By Mike Cordeiro
MOBILE MATTERS � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 24
By Matt Martindale
BRILLIANT DEDUCTIONS � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 26
By Mark E. Battersby
JULY 2019MOBILEBEAT.COM ▷4
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Innovative LED www.innovativeledsales.com 17
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I t seems like every week there’s some new whiz-bang “must have” light being introduced. And,
of course, they’re very cool. If you’re not careful, you’ll soon be hauling around a truckload of “cool” lighting for no other reason than you liked it when you saw it. (Yes, I admit it: I was once there, too.)
In order to bring some sanity to the situation, not to mention cap the amount of damage you do to your wallet, some sort of coherent strategy is required. Such a strategy brings structure to your light show, defines what you need most and, most importantly, controls cost.
ASKING THE RIGHT QUESTIONSThe first question, then, is this: What is your goal (or goals)? For the weekend warriors among us who spin wedding receptions, our #1 lighting goal is usually to bring some color and excitement to the dance area. How elaborate that show is, of course, is your decision, but there are some important considerations to keep in mind. They might look a little something like this:
1. What is the average size of the area do I need to cover? (In other words, what’s my average crowd size?)2. How much time do I want to devote to setting up lighting? Is speed an issue?3. Do my clients have special requirements, like follow spots or monograms?4. What does my budget allow, and will I see any real return on my investment?
For me, the size of the dance area at most venues has seldom exceeded that of an average tennis court, so I’ve used that as my standard. The second question is often answered not by me, but by the venues I play. In days gone by, I’d spend nearly two hours just setting up lighting! These days, venues may charge extra if setup and teardown takes an unusually long time. Some may “stack” parties, with a new group coming in within an hour of the conclusion of a previous event, effectively eliminating the possibility of a large lighting setup.
Thankfully, the same lighting companies who toss lots and lots of cool products at us have also given us some great options for quick lighting setups. CHAUVET DJ’s Gigbar II, for example, takes almost no time to set up; it may be too basic for many situations, though.. At the other end of the spectrum are the lighting truss systems where you can add whatever fixtures you choose and run them either manually or via a DMX controller. What works best for you is open-ended; how much time do you want to spend on lighting setup? Make your choice a hard limit. If it takes longer than that, it’s time to start narrowing your options to run as efficiently, yet completely, as possible. Yes, it can be painful. Or you can strategize, replacing
an older, less “cool” fixture with a hot new one. Your options aren’t limited. Your time is.
PREPARATION IS EVERYTHINGIf you do choose to go the “hang what we want” route, a little bit of prep can go a long way. Pre-wire your trussing with power and control cables so that all you have to do is hang the light, plug it in and go. Wireless control options can eliminate a lot of wiring in the first place.
It also makes sense to shop the various lighting control software packages to find something that will meet your needs and grow with you. Or not grow, but be flexible enough to change with the times. For instance, if you’re going to include uplighting, the time issue expands. So do your options. If a venue offers its own uplighting packages, they almost never can be incorporated into your dance music program. This is a selling point! When it comes time to dance, having the room lighting (uplighting) tied into the dance area light show program can make the whole venue become a part of the show! This will only happen if they buy their uplighting from you!
Speaking of uplighting, you again need to calculate how many square feet, and by extension, how many lighting fixtures you’re likely to need on average. Get enough for your typical banquet hall, and maybe a lobby or entryway, and make that a hard limit. Get enough fixtures to do the job AND enough spares should a fixture or two fail. A hard limit need not restrict the size of the job you can take, but will dictate how much extra you’ll need to charge in order to accommodate a larger than usual group/venue. Make the bigger parties pay for the extra fixtures.
YOUR SHOW DETERMINES THE SPECIFICSI admit that I’m being a bit vague, but I understand how
different DJs and their companies can be. If you do mostly high school dances and proms, you’re going to have different needs than the wedding entertainers, and you’ll both have different needs than the club DJ/owner, whose light show doesn’t have to travel. What IS important is to apply limits to fit the needs of your clientele and avoid vanity purchases—those things we’ve often grabbed that won’t make us an extra dollar or get us one more “ooh!” but we just HAD to have it. Because, well...”cool!” Our lighting must justify its existence by making us money. If the effect you’re spending a whole month’s lighting budget on won’t return its cost in extra revenue over the course of a year, then it’s probably a bad purchase.
Another trap to avoid is the “I’ll lose money if I don’t have one and the guy down the street offers it” myth. No single light has that kind of impact. Remember: Your lighting supports YOU, not the
other way around. You are the show. Your lighting is just a tool you use to help set the mood and create some fun.
So ask those questions, stick to your plan, and have solid reasons for what you bring in, what you retire and what you take a pass on. Until next time, safe lighting!
Stu Chisholm had been collecting music since he was about age 8 and began his DJ career in 1979. After a stint at the Specs Howard School of Broadcast Arts, he studied the DJ arts with famous Michigan broadcaster Bill Henning, interned at Detroit's rock powerhouse, WRIF, and later added voiceover work and club gigs at Detroit's best venues. He has shared his extensive DJ experience through MB columns, as a seminar speaker and through his book, The Complete Disc Jockey: A Comprehensive Manual for the Professional DJ.
Your Lighting StrategyHOW TO ANALYZE THE SITUATION BEFORE BEFORE INVESTING IN LIGHTS
By Stu Chisholm
JULY 2019MOBILEBEAT.COM ▷6
A D I F F E R E N T B E A TA D I F F E R E N T B E A T
So you’re just starting out on your journey to add lighting to your already impressive array of event
entertainment services. You’ve heard the buzz and seen your competitors and even venues adding excitement to events and dollars to their bottom lines through lighting. But going from zero to dynamic event lighting can seem overwhelming. So where do you start?
Fortunately, adding lighting doesn’t have to be complicated. A good place to start is to understand and consider a few simple concepts. When you do, you’ll be better informed to take your first steps. Think about these:
• Realize that you don’t need to invest in a lot of lighting gear all at once. • Understand the basic categories of lighting and which ones serve your business the best.• Consider how you’d prefer to control your lights.
NOT A LOT OF MOOLAHOne of the biggest hurdles any mobile entertainer faces is the financial investment in their capital gear expenses. The good news is that making a big lighting impact doesn’t require big dollars for a lot of gear all at once. Of course, what’s “big” is relative when it comes to expenses, but the point is you don’t need to overdo things with a giant arsenal of fixtures. Often, just a couple of strate-gically planned products can make a big difference, such as simple color washes or tasteful effects on a dance floor.
GigBAR 2
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E Y E C A N D Y
Starting Your Lighting Journey
By Geoff Short, Global Brand Manager, CHAUVET DJ
Starting Your Lighting JourneyBy Geoff Short, Global Brand Manager, CHAUVET DJ
E Y E C A N D Y
WHAT’S YOUR GOAL?So what kind of lights would those couple of fixtures be? To decide that, you need to have a basic understanding of the catego-ries of lighting. First decide what you want to do with your lighting: Do you want to add uplighting to your menu? Do you want to create a nightclub feel on your dance floors? Do you want to be able to upsell cen-terpiece pinspotting? Don’t try to do it all at once. Identify your priority goals and then learn the tools that can help you achieve them. The most basic categories of lighting are wash lighting, effect lighting, and atmo-spherics like haze and fog machines. There are other sub-categories of lighting like spotlights, beams, gobos and more. But initially, keep things simple. Wash lights provide wide color washes and are great for uplighting and stage washes. Effects lights add dynamic movement to a space. Color chases, strobes, moving beams and moon-
flower effects are all examples of different types of effects. Atmospherics are great for adding haze to the air to make light beams visible for extremely dramatic effects. The great news is that many fixtures do many combinations of all these things, extending their value. Explore what products can provide multiple effects.
GUIDING LIGHTSFinally, think about controlling your lights. DMX is the ultimate control technology. If you’re just starting out though, you may not be interested in learning DMX control. It’s not complicated, but it shouldn’t be a barrier to entry into lighting. Fortunately, there are a number of other control options. Most fixtures have auto programs and sound activation options. Most also are compatible with remote control as well. CHAUVET DJ has a complete line of D-Fi USB-enabled products that can provide
wireless DMX control for lights through a USB-type insert. The company also offers Bluetooth® Wireless Technology lighting products that can be controlled wirelessly from a phone or tablet. The point is, control is key. Rather than just setting lights on auto programs all night long, which can cause visual fatigue, it’s advantageous to have some sort of control over the fixtures you have, to be able to create simple changes in looks over time. With a little bit of research you’ll discover which control options are right for you and what lights have those capabilities.
Every journey begins with a single step. These simple considerations can be the first few steps that will make you better prepared to start a lighting journey that can lead to more gigs, increased revenue and thrilled clients. Happy trails!
Who knows where your DJ lighting
might take you...
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EZLink Series members,with BTAir app:
1 - EZLink Strip Q6BT2 - EZLink Par Q6BT3 - EZLink Par Q4BT
Find out more at www.chauvetdj.com
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E Y E C A N D Y
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I N S I D E T H E I N D U S T R Y
Beyond the Mirror Ball: DJ Lighting
By Kevin Freese
I N S I D E T H E I N D U S T R Y
Beyond the Mirror Ball
THE EVOLUTION OF LIGHTING FOR MOBILE DJS
By Kevin Freese
A sk Frank Luppino of Blizzard Lighting what excites him most about his company’s role in the
future of lighting design and he’ll quickly mention the upcoming release of the new product SoC-It™. Completely developed and manufactured in Milwaukee, Wisconsin, SoC-It is part of a new generation in lighting management, offering users th♥♥e ability to control, configure, and update fixtures wirelessly using a smart device app. As the role of lighting becomes ever more expansive for mobile DJs, it’s easy to see how products like SoC-It will change the possibilities of what the industry can offer to its event clients.
The release of SoC-It represents one of the ways lighting for the mobile DJ industry has evolved over the years. I recently spoke with a number of companies that have played an integral role in the evolution of event lighting for mobile DJs. Some of these busi-nesses, like ADJ (formerly American DJ) helped to define the market during the early days of the industry, and continue to innovate today. Others, such as Blizzard, have emerged more recently as LED technology has revolutionized the world of illumination.
Before the advent of lightweight, compact effects lighting, many DJs relied solely on par cans with colored gels as well as pinspots with mirror balls that were difficult to mount in mobile settings. Some DJs even went the extra mile in crafting their own lighting rigs. “I played my first gig with a truss that was made out of electrical conduit pipe,” explains Scott Kartsounes who began his DJ career at the age of thirteen and would later go on to become the co-owner of DJ Intelligence®. “It clamped on to each side of the table and extended over the equipment.” The lighting bar—built by his father—featured eight, low-voltage Malibu landscape lights, which connected to a control box that was then linked to an old laptop. Scott adds, “I had the ability to control the speed of the lights using the arrow keys on the laptop.”
Scott would eventually upgrade to professional trussing and brand name lighting. Even then, however, he found himself incorporating a homemade effect, using a pair of lightboxes that could be hung on the lower bar of his trussing. “They looked great with fog,” he says. “I think they were really a sign of the times back then.” Like everyone else in the mobile DJ industry, times changed quickly for Scott when it came to event lighting during the 1990s—much of that thanks to companies like American DJ.
AMERICAN DJ FIRES UP THE SHOWAmerican DJ Supply, Inc.—now ADJ Products, LLC—was founded by brothers Chuck and Scott Davies. The Los Angeles company was the brainchild of Chuck who’d owned a popular chain of Los Angeles area hi-fi stereo stores called Now Sound prior to opening American DJ. Business was booming for the stereo shop during the 1970s, but a changing market and compe-tition from big box stores was hurting business by the ‘80s. Chuck consolidated all of his shops into one large store and began selling DJ equipment in addition to home audio systems.
The new business plan was succeeding with an increas-ing number of DJs frequenting the store in search of turntables, microphones, and other pro-audio equipment. Chuck soon began selling lighting gear for DJs, which at the time encompassed par cans, rope lights, and mirror balls. With the rise of the mobile DJ
industry, lighting fixtures such as these were becoming popular. Unfortunately, that era’s par cans were simply not “up to par!”
“A lot of the lighting products arriving in the store needed modifications before they were ready to hit the shelves,” explains ADJ’s marketing director and veteran employee Brian Dowdle. “In many cases the par cans were hardwired without plugs on them.” There were virtually no lighting products designed with the mobile DJ in mind. Chuck knew there was a better way.
After discussing the idea with his brother Scott, who had also once owned a stereo store, the two siblings decided to establish American DJ in 1985. The original concept was simple yet trailblazing at the time: develop lights tailored for the DJ industry at an affordable price. According to Brian, the Davies brothers’ company took off from year one. “They quickly recorded double-digit growth and by the end of that first year they had expanded to a larger building,” he says.
During the first five years of business, focus remained on par cans, mirror balls with pinspots, and strobe lights for the mobile market. Large centerpiece fixtures, helicopter lights, and rotating ball lights presented clubs with other options rarely seen in the mobile setting. Things started to change by 1990, though a catalog from that year reveals only a few effects fixtures suitable for mobile DJs—they included the ET, Fanstar, and Beamer. The ET was adver-tised to offer a
American DJ Avenger ad, Mobile Beat #14, June/July 1983
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fan effect of lights on the dancefloor. Both the Fanstar and Beamer appear to be earlier versions of the popular American DJ Avenger, which is known as a derby-style light.
These 1990 American DJ lighting fixtures were some of the first sound-activated effects lights for DJs at an affordable price point. Sound-activated lights had already been developed by a few lighting companies in Europe, but they were not cost-effective for many mobile DJs in the US. Again, Chuck was certain there was a better way for his customer base. His inspiration for affordable sound-activated lighting didn’t come from the drawing board, but rather the shopping mall. “Do you remember those dancing Coca-Cola cans with sunglasses and headphones that were popular in the late ‘80s?” asks Brian. “Chuck took that concept and put it into effects lighting.”
To say that sound-activated effects lighting was the biggest trend of the 1990s is the understatement of the century. By 1992, American DJ was rolling out nearly thirty new effects lighting fixtures, many of which were geared toward the mobile DJ market. A double-row Beamer, the compact Crystal (similar to the later Sparkle), the Tunnel Walker, and the Phaser were all hanging DJ effects lights unveiled by American DJ in 1992—the same year they released the now famous Vertigo mushroom light. It was described in its first catalogue as, “Ideal for mobile applications, the Vertigo produces 30 beams of multi-color light that rotate and criss-cross back and forth to the beat of the music.” The Vertigo is such a beloved light that an LED version of it is still offered (as the Vertigo Hex LED) by ADJ today.
MARTIN PROFESSIONAL AND INTELLIGENT LIGHTINGAnother company specializing in lighting equipment for DJs also gained U.S. recognition in 1985, the same year American DJ opened
their doors. Venturing into the US market with a unique brand of fog machine, Gerard Cohen’s Martin would soon make its mark in the intelligent lighting sector.
The story of Martin really begins with a meeting between Gerard and another innovator named Peter Johansen. “PJ was from Denmark and I met him while I was still living in France during the early ‘80s,” explains Gerard. “He had just finished designing an innovative fog machine at the time and I took the product back to France to get some feedback. It took off right away and everything started from there.”
Gerard owned an inactive U.S. speaker brand named Martin, which he and PJ used as a title for their line of fog machines. As a distributor for a couple of Italian lighting manufacturers that were behind some of the first effects fixtures ever made, Gerard knew that lighting products were a natural companion to Martin’s fog machines. Early effects lights offered by Martin included the Ministar, Rainbow, and Supermoon. Before long, Martin began developing a different style of DJ illumination called intelligent lighting—a tech-nology more commonly known as moving head fixtures today.
Among the most popular intelligent lighting for mobile DJs was the Martin Roboscan 812. Utilizing robotics and moving mirrors, Roboscans delivered eleven different color beams and eleven gobo patterns. Using DMX, several lights could be synced to create a spectacular show. It wasn’t the first intelligent light. Interestingly, the band Genesis was instrumental in supporting the technology. The group backed a Dallas company called Showco who marketed early intelligent lighting under the brand Vari-Lite. In terms of intelligent lighting broadly available on the market, Gerard believes High End was the first company to offer something with a fixture called Intellibeam, though it was designed for large venues and concert tours as opposed to DJs. High End later came up with a smaller intelligent light for DJs called Trackspot, but that
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One of ADJ’s recent creations: the Pocket Pro
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was released in 1992 after the Roboscan 812. “Roboscan quickly came up with a small-to-medium-size
moving mirror line and became a major player in this field,” says Gerard. With slick marketing, a good product, and dependable service for US customers, Roboscans became a top choice for mobile DJs willing to make a substantial investment in their company. In the mid-1990s, intelligent lighting like the Roboscan 812 cost $750 or more per unit—and most DJs wanted at least four units to create a show. It was a price point that finally made intelligent lighting a possibility for mobile DJs, albeit still an elite product. For many DJs, effects lighting at a lower cost remained appealing.
CHAUVET EXPANDS LIGHTING HORIZONSWhile there are fewer effects fixtures now, they dominated the scene during the 1990s and early 2000s, with many other companies joining American DJ and Martin Professional in the field. One such business that, like ADJ, continues as an industry leader today, is Chauvet Lighting. Founded by Albert Chauvet and his wife Berenice, Chauvet Lighting opened its doors in 1990 after the couple purchased a rope lighting company. Albert was born in Haiti, but he had been raised in Miami since the age of thirteen. Feeling at home in the city, Chauvet has been based in Miami area since the beginning, though they have now expanded to also include satellite offices across the globe. It was with this spirit of expansion that Chauvet moved beyond its rope light roots and soon began offering effects fixtures and other lighting equipment for DJs in the early 1990s.
A large part of Chauvet’s early business model included the devel-opment of products as an original equipment manufacturer (OEM) for other companies. The plan worked and Chauvet was soon offering lighting equipment for DJs under their own brand name. By 1998, Chauvet had outgrown their original facilities and moved to 10,000 square-
foot space. Throughout the years, Albert has often attributed Chauvet’s success to the fact that they have always stayed focused on lighting equipment. It is with this focus that Albert and Berenice kept their eyes on a bourgeoning technology as the new millen-nium approached.
The light-emitting diode or LED for short -- it’s an old technol-ogy but one that first had practical uses in areas like the mobile DJ industry beginning in the early 2000s. LEDs have become synony-mous with DJ lighting and they’ve been incorporated into virtually every style of fixture on the market. Chauvet was one of the first companies to get involved with LED lighting for the DJ industry, releasing their Vue series by 2004. The application of LED wasn’t perfect at first; lights were often too dim to light the dancefloor on their own, but it showed great promise early on.
“LED lighting has come a long way over the past ten to fifteen years,” says Brian Dowdle of ADJ. Like Chauvet, ADJ embraced LEDs early on. “They opened a whole new market for us,” continues Brian who marks 2007 as the year that LEDs really caught on. They were still relatively dim, but before long they were bright enough to replace most halogen and discharge lamps used in lighting fixtures at the time. With the advent of bright LED lighting, DJs were able to rely on fixtures to last longer, transport more easily, and operate more safely at events. This combination of factors led to the surge in demand for uplighting at weddings and other events. “I believe it was 2010 when uplighting really exploded for DJs,” says Brian. Fulfilling the dreams of wedding couples, DJs are now able to transform a banquet room into a mesmerizing lightscape with uplights placed throughout the space. It’s an appeal that only seems to be growing with age. Brian says, “Battery-powered uplighting and wireless DMX are really taking things to the next level right now.”
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CHAUVET DJ’s Wash FX 2 – LEDs have come a long way
In Mobile Beat #28, Oct./Nov. 1995, Publisher Robert Lindquist answered the question “Why a light show?” this way: “There are two things you want your light show to do: make the dance floor warm and inviting, and turn it into a fantasyland of dazzling action, sweeping movement and intense color.”
BLIZZARD COVERS THE LED MARKETAs industry leaders embraced this technology, it also inspired others to jump into the business. Blizzard Lighting, based in Wisconsin, is the perfect example of a company that came to fruition with the introduction of LED event lighting. The business was founded by Will Komassa who partnered with Bob Mueller. Frank Luppino, a thirty-year veteran of the lighting industry, soon joined the lead-ership team as well. “Bob recently retired, and we now have a new partner, Atom Slaby. He’s been our COO since 2016 and he’s amazing with numbers and analytics,” says Frank.
Blizzard, which has been in business for a little more than ten years, is a true poster child for the modern era of lighting: exclusive-ly offering LED fixtures since its inception. The company has come to be known for its uniqueness as well as quality of product. “We are a very focused company,” says Frank. “And although we like to have fun, we are also very serious about the business.”
Frank believes the lighting industry is at a place now that rewards risk takers, and he is proud to meet that challenge with Blizzard. “It’s really an approach that’s paid off for us,” he says. “We introduced battery products to the mobile DJ market early on, first with our Puck Unplugged and now with a line called Skyboxes—which have become a staple.” A little less than a year ago, Blizzard introduced a new 6-in-1 battery-powered LED fixture called LB Hex Unplugged that has been a hit with DJs.
Asked about the future of event lighting, Frank believes that LED video walls and laser fixtures both have a bright future in the industry. “LED video walls haven’t been mainstream for a lot of mobile DJs, but it’s getting there. The technology is at a point where it’s more affordable and where it’s easier to work with in a mobile setting,” he explains. Regarding lasers, Frank recalls the big kick that they had about five years ago, and he predicts they will have a resurgence very soon. “I think new lasers will be able to do a
lot more than their last generation, and at an affordable price.” With SoC-It and another half dozen new lighting products coming out soon, Blizzard Lighting is excited about the future of the industry and their role in it.
BRIGHT FUTURE FOR DJ LIGHTINGBrian Dowdle at ADJ is also enthusiastic about the future of the lighting industry. He believes all-in-one systems that combine LED pars and effects lighting have staying power in the mobile DJ business because of their practicality and presentation. “Along with battery-powered uplighting, moving heads are also big right now,” says Brian, who understands the appeal. “If you’ve ever seen a ballroom before it’s set up and then come back once the uplighting is on and the moving heads are lit, it can almost take your breath away,” he describes. “Lighting plays such a large role in the success of achieving a memorable event.”
Taking a moment to indulge in some lighting industry nostalgia, Brian says that one of the styles of lighting that he misses most are wheel oil projectors such as the American DJ Groove Wheel once offered by the company. “I used to love that type of effect,” he recalls. “You can’t really produce that light with LEDs because it used the lamp to heat the oil.”
And then there is the venerable mirror ball—a device first introduced in the 1920s. “You know, people still love mirror balls,” Brian continues. “People continue to feel that wow factor with it.”
It’s certainly true that event lighting has come a long way over the years, and the mobile DJ market worked hard to carve out its own niche in the industry, apart from club and stage lighting. What has remained the same, however, is the magical synesthesia created when lighting is added to sound at an event. For that reason, the DJ lighting certainly has an exciting, prosperous journey ahead of it.
Blizzard Lighting helps DJs get lit quick with complete setups like the Weather System EXA (background), as well as LED innovations like
the LB Hex Unplugged (left) and the Motif Fresco (below).
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I N S I D E T H E I N D U S T R Y
Chris Markgraf and Adam Pogue of Froggy’s Fog didn’t know they were setting out on an
entrepreneurial journey when they began developing their own brand of fog juice—they were just trying to solve a problem. Chris’s family owned an entertainment center where laser tag was one of the most popular attractions. The problem? Fog juice used in the game was irritating Chris’s asthma. Customers with respiratory conditions were also complaining.
The solution arrived when Adam, a pre-med student at the time who was working at the Markgraf’s entertainment center, helped Chris and his family create a new kind of fog fluid—one that would not affect individuals with asthma and other respira-tory conditions. The formula that they developed was a success. Not only did Chris’s asthma attacks disappear around the laser tag arena—their new mixture was odor free, lasted longer in the air, and customers weren’t coughing because of the fog anymore.
Word spread about the new fog juice being used at the Markgraf’s business, and other owners of family entertainment centers were soon asking for it. Chris and Adam quickly realized they had a successful product on their hands, one capable of fulfill-ing an important need in industries that utilized fog machines. In 2005, just a few years after creating their fog juice, Chris and Adam founded Froggy’s Fog. Since that time, Froggy’s Fog has developed various kinds of fog, haze, and other effects fluids for many different settings, including haunted houses, theater productions, fire rescue training centers, and, of course, dance floors.
Mobile DJs, their party guests, and members of venue site
management can breathe easy when it comes to the fog juice and other effects liquids offered by Froggy’s Fog. The company special-izes in water-based formulas, one of the most important aspects of Chris and Adam’s original mix. “That’s really the key to avoiding asthma attacks around effects fog,” says Froggy’s Fog director of marketing, Scott Karan. “As opposed to oil-based formulas, water-based fog juice doesn’t aggravate respiratory conditions.” He adds that water-based fog mixtures are also odor-free and don’t leave a slippery residue.
Like owners Chris and Adam, as well as the rest of the team, Scott Karan is passionate about the liquid mixtures produced by Froggy’s Fog. That passion is one of the reasons the company has evolved from mixing their products by hand in the early days to a business that now churns out three thousand gallons of effects liquids daily along a bottling line capable of filling ten bottles per minute. “Fog fluid had long been thought of as an accessory to the machines that use it. Our company places a strong emphasis on developing the highest-quality fluid,” says Scott. All fluids offered by Froggy’s Fog are made in the U.S.A. and produced in their Columbia, Tennessee facilities. And the water used in their fog and haze fluids doesn’t just come from an ordinary tap. Rather, it is UV-filtered and deionized before being put into production. “We use a very pure water,” explains Scott. “It goes through the same process used by NASA in the space program, with zero particles left in it.” In addition to the purity of the water, chemicals used to produce the fog juice are all pharmaceutical grade and approved by the FDA.
Froggy’s Fog offers over fifteen fog and haze fluid options, some of which have been used by theme parks such as Busch Gardens and Universal Studios; on-stage in Broadway produc-tions; and even by the US Navy Blue Angels. The most popular formula among mobile DJs is called Techno Fog. This medium-
Water-based Scent Additives
“Fog fluid had long been thought of as an accessory to the machines
that use it. Our company places a strong emphasis on developing the
highest-quality fluid.” ~ Scott Karan, Director of Marketing, Froggy’s Fog
JULY 2019MOBILEBEAT.COM ▷18
I N S I D E T H E I N D U S T R Y
The Fine Art of FogBy Kevin Freese
I N S I D E T H E I N D U S T R Y
The Fine Art of Fog
density mixture is specifically designed for DJs and others seeking to highlight lighting effects. Its medium-density formula allows party guests to see their surroundings without feeling like they’re getting smoked out of the room, while also creating a high energy party atmosphere perfect for light refraction. The versatile fog juice works with virtually all fog machines, including units as low as 400 watts and upwards.
For those DJs interested in haze formulas, a special mix by Froggy’s Fog called Faze Haze is a top choice. Like Techno Fog and other Froggy’s Fog products, Faze Haze is water-based. Since it is designed for hazers, it remains in the air longer than Techno Fog and produces a finer substance described by the company as “a very fine veil of airborne canvas.” Truly, it allows mobile DJs to paint the dancefloor with lighting equipment for sustained periods of time.
While Froggy’s Fog fluids are odor free, scent additives offered by the company have become increasingly popular at parties. Imagine if the dancefloor at a gig smelled like cotton candy or popcorn. It’s possible with Froggy’s Fog scent additives, which can be used with any of their fog, haze, snow, or bubble juices. If you’re wondering, there’s also a “stinky” product line that’s ideal for haunted houses but may be worth considering as a DJ for use at Halloween events.
The folks at Froggy’s Fog have also applied their problem-solv-ing approach to the machines the company now offers. Although their fog juice works with over one hundred existing fog and haze machines, Froggy’s Fog applied their passion for fog juice to the equipment that utilizes it when they introduced their own product lines in 2018. According to Scott, when Froggy’s Fog previously served as a distributor of fog machines, they would often see machines coming in for repairs. “We noticed the same parts that were flawed and breaking down, so we decided to focus on making
a better product,” Scott says.Some of the areas they focused on when developing their own
machines included tubing (using stainless steel instead of copper), an improved heater core, and a reversible pump in many of their professional-grade units. “For us, it was really about bringing our background and expertise in fluids to the machine side of things and offering as many options for customers as possible,” notes Scott.
Perhaps the most popular product line among DJs is the Titan series which includes the 1500 ($349.99) that’s controlled by DMX and the 1500 Pro ($499.99) that features wireless technology. Both these machines and others in the Titan series include quick-ready fog technology and advanced low-fluid sensing.
Other machines offered by Froggy’s Fog include the Hyperion series of upshot foggers, award-winning snow machines, and a bubble machine called Evolutionary. And then there is the Fobble. Coming in at just around $500, the professional-grade Fobble F4 is a 4-in-1 machine capable of producing fog, bubbles, haze, and fog-filled bubbles. With DMX control, built-in LED lighting to illuminate bubbles, and LCD menu, the Fobble F4 has been a hit with mobile DJs since it was introduced.
As noted by Scott, Froggy’s Fog is thrilled at the response to their equipment, and they are excited to continue to introduce new products that match the recognition received by their fog juice over the last fourteen-plus years. With a passion for the possibili-ties of their products, the team at Froggy’s Fog really does turn the production of fog into an art.
www.froggysfog.com
Titan 1500 DMX
Titan Hazer H2
Fobbles F4
19JULY 2019MOBILEBEAT.COM ▷
FROGGY’S FOG HELPS ENTERTAINERS SAFELY, CREATIVELY SET THE MOOD
By Kevin Freese
I ’ve been really blessed over the last several years to interview some amazing artists and DJs for Mobile Beat Magazine. It’s taken me a while but I’ve built up some solid connections with agents
in New York, London and Vegas. I remember when Mobile Beat publisher Ryan Burger asked me what my focus was going to be for the magazine. It seemed like all the important topics on self-improvement, gear and music had already been taken. He wanted something new. I suggested that he let me handle all the celebrity interviews. His reply, “Do you know any?” My answer, “No, but I will!”
Taking that leap of faith was one of the best career moves I’ve made as a DJ. The conversations and experiences have been unbelievably rewarding and enlightening. I’m always a little amazed at how the right person to interview pops up when I need them. The interviews themselves can take place at the weirdest times. A few times I’ve been up at 5 AM to call Europe because it’s almost lunch time there or I’m calling someone on the West Coast at 11 PM my time because it’s only 8 PM there. I recently did an in-depth interview with a cool DJ in New Zealand. I called him on a Tuesday morning my time and it was Wednesday afternoon his time. Yesterday I called Hawaii. They don’t even keep track of time.
So what do these ramblings have to
do with this interview? Everything has a process. Whether it’s doing an interview, creating a set list for an event or producing a new piece of music, there are steps, edits and rewrites that are all part of the pro-duction. We are all trying to balance life, work, efficiency and creativity as we strive for success. If there’s one person who thor-oughly understands the creative process, it’s platinum producer Szabo. His music has had over 700 million total worldwide streams to date. Szabo’s writing credits can be found on well-known dance labels such as Protocol (Nicky Romero), Revealed (Hardwell), Ultra Records and Armada Music.
Mike C.: Good morning or is it afternoon in London?
Szabo : Hello, almost lunch time here.
MC : The sun isn’t even up on the East Coast yet. I’m still working on a cup of coffee.
SZ : Wow, I’ve already been at the studio for several hours.
MC : I believe it. How much time do you spend in the studio?
SZ : I try to put in at least ten hours a day. Some days more, depends on what I’m working on.
MC : Is that your work ethic or do you just get caught up in finishing a track?
SZ : Mostly both. I’ve had days where I start writing a piece of music first thing
JULY 2019MOBILEBEAT.COM ▷20
M U S I C N E W S
Szabo: Making Tracks, Authentically
By Mike Cordeiro
M U S I C N E W S
Szabo: Making Tracks, AuthenticallyPOWERHOUSE AUSTRALIAN PRODUCER TALKS PROCESS, PROMOTION AND MORE
By Mike Cordeiro
in the morning and before I know it the street lights are on. Although, I’m most creative early on in the day.
MC : You’re not originally from London, correct?
SZ : I grew up on the East coast of Australia. I started as a session guitarist and was doing a lot of other studio work straight out of school. I went to the Australian Institute of Music for a little bit but dropped out. I didn’t see the point of continuing when I was already so busy and embedded in the music industry.
MC : Did you just work in the studio or did you play in any bands?
SZ : I was part of an indie rock band that got signed to a small label. We were doing OK for a while playing out. I found that I was more interested in the writing and production of music than playing in a band.
MC : Who were some of your musical influ-ences growing up?
SZ : I’m not sure if this makes sense to you but I was really into 1970s West Coast Americana.
MC : Really? Like who?
SZ : Oh, Bob Seger, Harry Chapin, The Beach Boys. Brian Wilson was a massive influence. Later on I started listening to more of a pop sound like Coldplay and Oasis.
MC : Interesting. Americans don’t really realize how our music has influenced the world. So you left the band and just started producing dance music?
SZ : Yeah, sort of. I started writing and producing for a lot of local groups and artists. A few years later I moved to London and got involved in the dance music scene. That all came about in my mid twenties.
MC : Was it a culture shock for you (moving to London)? Did you find the London music scene to be a totally different ball game?
SZ : Definitely. It was quite exciting. I got a lot of new opportunities, but I found my abilities were really being tested.
MC : How so?
SZ : The process of writing music is similar, but there’s a big difference between producing a rock record and producing a dance or club record. The
formatting of lyrics and melodies is different. It took some getting used to.
MC : How many instruments do you play?
SZ : Guitar, piano, ukulele. I used to be really good at that. Whatever I get my hands on, I can figure out.
MC : The ukulele is not as easy as it looks, is it?
SZ : No. Everyone just thinks it’s a small guitar, but it’s a bit more complicated. The chords are completely different.
MC : Who were your some of your EDM influences?
SZ : I started writing dance records right around 2013 when EDM was at its peak. Guys like Avicii and David Guetta were all over the charts. I had a lot of oppor-tunities to write records in that 124-128 BPM range because it was just popping off everywhere. So I wrote for Nicky Romero’s label Protocol, Hardwell’s label Revealed and several other major dance labels in the UK.
MC : When you’re writing a new track, do you do it with an artist already in mind or do you just create it and see who it fits afterwards?
SZ : So that’s not always black and white. It usually starts with me working with a singer to get the original version down. That person may stay on the track or the label may want it for someone else. My management may pair me with a certain artist to work on a track or do a remix. It comes from a lot of different places. It depends a lot on the writer I’m working with. For the latest single “Go Do You” we worked with a Russian singer, Dila. She replaced the original vocalist on the track.
MC : Describe your creative process for me. Do you come up with the melody or lyrics first?
SZ : I usually do start with melody to be honest, but the inspiration comes from all over really. I may just start playing some chords on the piano or create a loop on the synthesizer. I might be in a room with a vocalist and they’ll sing a catchy riff. There’s no rhyme or reason to it really. I do find it important to start with the melody because the harmonic sentiment of it is going to affect the lyric.
MC : So, on “Go Do You,” what came first the melody or the lyrics?
SZ : That was a good combination of both. I had a few melodies written and
the singer came in with a great pre-chorus vocal. That gave us direction. You have to have an idea of what you want to achieve with a track instead of just writing endless melodies.
MC : How many revisions or iterations of a track does it take for you to get it where you want it?
SZ : When I start writing a new piece of music I have several melodies ready that I think will work for it. Once you get some solid vocals from the singer it narrows down pretty quickly. With “Go Do You,” we started recording in Sydney and had a few more sessions in London. Then my managers thought it would be great for me to work with Dila. I flew to Sweden to meet with her and we began recording the track with her vocal. We kept most of it the same because it was working rather well. That part of the process went fairly quickly. Then pro-duction took several months to finish the track. Dila’s voice has a much darker tone to it. I need the melody and music to match that.
MC : Sometimes post production can take longer than actually cutting the record.
SZ : Yes, I’m not one of those producers that just stick a vocal on top of a music bed and auto tune everything. I’m very particular about what I put out. The feel of the record is just as important as the sound to me.
MC : That’s a great point. Whenever you create something it should be a true reflec-tion of the best you can do. How do you keep your dance tracks sounding fresh and new?
SZ : Right, it gets really hard to make things that sound different and fresh. That really goes back to the writing. Many of the EDM drops can be redundant. I try to stay away from using the same drop over again.
MC : I liked the video for “Go Do You.” It really tells the story of the song and conveys that dark edginess of the track. Do you have a hand in writing the video script?
SZ : Yeah, the video came out great. The singer Dila actually played the lead role. She really captured the message of feminism and the struggles women go through to get ahead we were going for. I think that’s such an important topic these days socially. I have some creative input on the videos but it’s a totally different production team.
MC : In America we have the #METOO movement. Is that prevalent in the UK as well?
21JULY 2019MOBILEBEAT.COM ▷
Are women’s issues a major social talking point?
SZ : Absolutely, it’s huge, not just in London but in Australia as well. I try to be very socially conscious about sexism. The music industry, from bands to producers to labels, is all very male-dominated. There’s been somewhat of a change lately in favor of women in the industry and I think it’s a really, really good thing.
MC : What is your take on the explicit rap music that’s taken over the American charts? Most of it is just vulgar and disposable. A lot of it objec-tifies and portrays women in a bad light.
SZ : I think there’s not much room for that anymore. I really believe socially people have had enough of it. Hip hop was all about raising awareness of social and political issues, but it lost its way and transformed into something with no real meaning. I think guys that want to keep rapping that way are going to lose their audience. People just don’t want to hear it any more.
MC : Are you already seeing that change in Europe? The music charts are different.
SZ : Definitely. The music scene has been changing for a while.
MC : When I look at and listen to the songs on the UK Top 40, I’m surprised at how different it is from the States. I believe you guys are more progressive musically than we are. We seem to be stuck in this 79 BPM, auto-tune funk where every track sounds the same. How do you avoid that?
SZ : I just try to use good singers, always.
MC : Great, there it is. That’s the secret key! [Laughing]
SZ : Don’t get me wrong. We use studio tools all the time. Some of them are quite effective for creating a unique sound or melody. Artists like Zedd use vocal pro-cessors and have been really success-ful with them. What I don’t like is there seems to be this environment where if a track isn’t very good it’s put through the processors to give the impression that it’s better. The truth is if you took all these singers that are over-using auto-tune and put them on the morning show and then had them sing acoustically with a guitar, it would be a trainwreck.
MC : Exactly! How does the music industry change that?
SZ : It’s more about the artist knowing what their true capabilities are. You have to understand what you’re good at. Is it
singing, writing, being a musician or a producer? I started out in a band, but when I let that go and started writing, everything went crazy for me.
MC : That’s a great point. You can’t be every-thing. Somethings you’ll never be good at, so focus on your strengths and talents. You can see that a lot on YouTube. Everyone is posting videos trying to be the next superstar.
SZ : I think many of those people are going to be really disappointed. There’s a fine line between believing in yourself and delusion.
MC : So true. Just because your family and friends like your video or your mix on SoundCloud doesn’t make you a superstar.
Most of social media seems to be built on the premise of projecting an image that you are more than what you really are.
SZ : Right. If some of those people were actually called to put their skills to the test they would be in a real scary place when they couldn’t back it up or produce. I’ve worked with some really great people in the industry and they are truly masters of their craft. They can bring it each and every time.
MC : You hit the nail on the head. Too many people spend all day talking a good game instead of honing their craft and letting their work speak for itself.
SZ : My general thesis is that I just want to outwork everyone. You have to kick the bar up for yourself and have this really strong work ethic. It’s what’s necessary to succeed. If you have a hit record then that’s just the beginning not the end. Now you have to try and duplicate that success over and over. It’s the same with entrepreneurialism and running a business. As soon as you achieve some sort of success you need to be able to back it up or the moment is going to pass and you won’t be able to capitalize on it.
MC : Have you met with a lot of push back or hit many roadblocks in your career? How do you deal with them?
SZ : Of course. Not so much on the creative side. You can always write or create, but on the industry side you have to prove yourself to everyone. I’ve had so many crazy things happen. I’ve almost been fired, been booked for a huge show then turned down. I had written a track to be recorded with Hardwell that sat for three months and they ended up not using it. Disappointment is part of the game
but you can’t let it stop you.
MC : Does it get easier to handle the setbacks as you go along in your career?
SZ : I wouldn’t say it gets easier, you either get stronger or you stop. There’s not as many gatekeepers anymore. There are so many outlets to share your music. You just have to be smart.
MC : Define “smart.”
SZ : You have to network and constant-ly be putting out great content. Not just good. Great. Finding ways to get exposure for your music and what you do. Collaborating with other artists, creating videos that showcase your talent and doing anything that gets you positive exposure.
MC : Which platform has worked the best for you?
SZ : I‘ve built a huge fan base on Instagram by using direct messaging.
MC : You just randomly message people? How does that work?
SZ : Not randomly, but by finding people that share similar interests and are into the types of content I’m promoting and sharing. I watch their content, they watch mine. We share, message each other and support each other. I’ve literally done this with thousands of people across the world.
MC : That’s crazy! Do you find that doing this on Instagram is better than using Facebook and getting “likes”?
SZ : Absolutely better. It’s amazing what you can do sitting at home messaging people. Think of Instagram as more of a creative think tank. I can share creative content and get real meaningful feedback. It’s also very reciprocal. By helping others with their content I’m showing my value and expertise. I become their go-to guy.
MC : Wow. I never looked at it that way. How does that help with selling records?
SZ : Even if you just get ten people to listen to a new record and two of them share it. You’ve just planted roots that will take off. Back in the day you had to beg radio stations to get airplay or bribe DJs to put your track in rotation at the club.
MC : That is so true.
SZ : We are so lucky to have these tools right now. If you are creating great music and putting out really good content, there’s no limit to what you
JULY 2019MOBILEBEAT.COM ▷22
M U S I C N E W S
can do online. You can’t just put a track up on Spotify and go “What now?” You have to collaborate and be smarter than everyone else in the game. Find a YouTube influencer and get them to help make your video go viral.
MC : Every social media seminar I attend or watch is always preaching content, content, content. Not all content needs to put out or has value. How do you choose which content you’re going to release?
SZ : My state of mind on that is I try to release content that brings value to others. I think people post content that is very selfish, that is very “look at me.” It’s all to make their friends jealous. That’s really not going to work. Your content should be educating someone, entertaining someone, showing someone a process or bringing a point of view that is helpful. That’s what is going to work.
...Recently I’ve been putting out a lot of short studio videos showing the process of how I’m creating a new track. Short videos of me playing the keyboards or a singer performing the chorus. I’ve gotten tons of hits and responses. My point is you can post just once a day if the content is going to have an impact. The other thing is I’m not trying to sell something. I’m not saying “buy my record”. I’m just bringing value to people on some level.
MC : You really summed that up perfectly. It sounds like you’ve got this down to a science.
SZ : I think honesty will always win. If you’re putting out content solely for selfish reasons, I don’t think it’s going to play out as well. People are going to see through that and not follow you. I always say document and don’t create. That’s something I learned early on. People sit around all day trying to “think” of content to create instead of just showcasing what is really going on. Just document your process that is the content.
MC : That is a great piece of advice. I read that you are sponsored by Fender. How did that come about?
SZ : I’ve been working with the guys at Fender for a while. My friend Robbie introduced me to the guys in Australia. The Fender guys hooked me up with a new acoustic [guitar]. It’s been really great to use in the studio.
MC : In the DJ world guys are always looking for ways to get sponsorships and free gear. Any advice?
SZ : I didn’t just walk into Fender and
ask them for a guitar. I have friends that are always asking me if I can get them a guitar or bass cheap. They don’t get it.
MC : Sounds a lot like our industry. How do you deal with that?
SZ : If you want to get a sponsorship, let’s say from Sennheiser. Start creating content using their product in a positive way.
MC : Is that how you got in with Fender?
SZ : Before any talk of a sponsorship ever came about, I was putting out little videos of me playing my Fender guitar in the studio while composing. The videos got real popular and Fender took notice. I never approached them or asked for anything free. I’m a nobody compared to some of the musicians they work with. I put in the work and it paid off. Show that you love the brand and that you want to be part of something.
MC : That translates perfectly to the DJ industry. I think it’s kind of a universal thing though. People are always trying to get something for nothing.
I heard that you are about to start touring. Is that true?
SZ : Almost. I’ve been writing and producing for so long. The next step for me is to go out and perform as a DJ. I’m just waiting until I have enough content and I’ve built up my brand enough. I want the timing to be right. It will be soon though.
MC : What’s your personal mantra?
SZ : Hustle. I think its key. The first album I produced I sold 450 copies on MySpace when that was still a thing. Imagine how hard I had to work to make that happen. No one even knew who I was at the time. I was on it every day promoting my album and making connections.
MC : Wow that is something...Almost like trying to use an electric typewriter to check your emails today. Any other advice?
SZ : My advice would be to take every-thing you’re good at and put it into a basket and focus on becoming the best at whatever is in there. Leave all the stuff you’re bad at on the floor. Listen to other people’s opinions -- but trust yourself. Collaborate. That’s how you’re going to learn more about yourself and have others help you get better. Don’t take no for an answer.
23JULY 2019MOBILEBEAT.COM ▷
The world is obsessed with discovering “talent.” It’s
become all about finding that rare, but perfect gem. A treasure hunt for something lost. The $2 Picasso found at a garage sale that is worth millions, or the Cinderellas with hidden talents that populate TV talent shows like The Voice, America’s Got Talent, and So You Think You Can Dance. There’s something about plucking people of obscurity and somehow making them stars that captures the imagination, especially of American TV viewers.
these shows keep us coming back. We love the performers with “real” stories who deliver a flawless performance that leaves us saying “Wow!” We also watch because there are disasters. We watch because drama unfolds, and both judges and the audience wield unrivaled power to decide someone’s fate. Those are the very perfor-mances that dazzle us and surprise us...and also make us wonder “What the heck were they thinking? That was awful!”
The fact is, so-called “reality” shows are now about 90 percent scripted. Very little is “real” with the “reality shows” of today. The only exceptions to this trend, however, are the talent “audition” shows, which can’t really be faked. The performer’s talent actually has to be there. It has to be authentic. They have to perform well. Some performers flop—like the person who cannot sing at all, but truly (sadly, pathetically) believes they are the next superstar. Some performers are fantastic. These performers have put in countless hours rehearsing, practicing and polishing their performance. Viewers are watching someone being vulnerable. The performer has to fully submit to having their future determined by somebody else.
MINDSET MISAPPLIEDThere is joy in finding a treasure. But there is also hubris in being the one to “discover” a superstar “diamond in the rough.” This approach has oozed its way out of the TV-generated pop culture into the realm of real-life mobile entertainment. After encountering this developing trend I started asking myself these questions:
Has America’s current obsession with “discovering talent” tainted the DJ industry and how customers shop?
Does this trend that favors new DJs who might be “discovered” with music skills
JULY 2019MOBILEBEAT.COM ▷24
M O B I L E M A T T E R S
The War Against ExperienceTHE NEW MINDSET OF “DISCOVERY”
By Matt Martindale
M O B I L E M A T T E R S
The War Against Experience
THE NEW MINDSET OF “DISCOVERY”
By Matt Martindale
and a great personality—but no competence as a professional MC—come at a cost to the industry?
Does this mindset hurt experienced DJs/MCs by causing them to be perceived as “too good” and not delivering a per-formance that is “organic” or “authentic” (ie “amateur”) enough?
But... is something like a wedding really the place for a “judge” (in other words the decision maker: bride, event coordinator, etc.) to risk the success of the event ? Would Simon Cowell broadcast an America’s Got Talent episode with live per-formance auditions, having never seen the performance and without any editing or producing? No. What he has actually said is this: “When we do auditions in the real world, 99 percent of the people are just not good. So the odds aren’t that great (we’ll find somebody).” He already knows that going into an audition.
ENTERTAINMENT IN THE REAL WORLDSimilarly, look at a wedding. There is a live audience. There is no audition. No second chances. No editing. No TV trickery. Your performance must be right with every word spoken, every song chosen to fill the dance floor, and every minute accounted for in crafting the perfect seamless sequence of events to deliver a flawless, and memorable performance. As the DJ and master of cer-emonies, you are responsible for mastering the timeline and performance to create a seamless flow.
It’s about building and maintaining the art of suspense, and drawing on emotion to tell their story! (It’s not about stealing the spotlight.)
It’s about managing a series of well-scripted and rehearsed moments that are perfectly delivered...in an improvisa-tional manner that makes it almost seem like the luck of the gods just happened to be with you—when you know the exact opposite is the case.
Yes, the judges—the bride and groom—hold the power to decide. What the performer does makes their wedding relatable to the audience. It makes their wedding authentic. It makes
their wedding, well, uniquely “them.” Experienced DJs recognize that.Today’s couples are looking for a for-
ward-thinking DJ/MC to take their wedding celebration and lead it with passion, intel-ligence and vision.
Today’s couples value direction. They value event leadership, honor mutual respect and truthful empathy based on confident know-how to plan and execute their event. This is based on a genuine explanation of why things should be done a certain way on the road to “WOWing” their guests. It’s not about the veteran DICTATING what has to be done, or they newbie FAKING that he knows what to do.
Give them a reason to trust you. Give them a reason to love you. Give them a reason to remember you. Be authentic. Be you. For the veteran DJ, don’t sell experi-ence by way of the number of years (“I started back in 1978…”) because, frankly, they don’t care. That tells potential clients you are old, rigid and stuck in your ways.
For the newbie DJ, please don’t sell
experience by picking a number out of the air with “I’ve done x-number of weddings.” You’re being deceptive (ie, lying) and you know it. They’ll know it too. They’ll do the math: When you’re in your early 30s, there’s no way you’ve even been to, let alone performed for, say, 2,000 weddings. Maybe 200, documented—maybe! When you try to “pad” your actual experience level, you actually erode your credibility and look like a fool. If you can document every wedding in a court of law, then fine. If not: Just stop!
When it comes to meeting with clients, I once heard from a great real estate trainer: “Sell what they are buying. Don’t sell what you are selling.” If they are buying peace of mind, then sell your experience. If they are buying a raging party, sell your youth and ability to adapt and focus on music. Always be truthful.
The client will know you by YOUR knowledge. They will know by HOW you speak, and WHAT you say. Charisma, per-sonality and showmanship can only get you so far. In the end, you still have to perform;
and that performance still has to meet—or exceed— their expec-tations. Only when you can confi-dently deliver a performance that is perfect for the occasion—con-sistently, event after event—can you be sure that you’ll leave them saying “Wow!” and feeling like they discovered a true diamond: a treasure they’ll want to tell others about!
It’s about managing a series of well-scripted and rehearsed moments that are perfectly de-livered...in an improvi-sational manner that makes it almost seem like luck just happened to be with you—when you know the exact op-posite is the case.
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Matt Martindale, a professional DJ and MC since 1989, has performed at more than 1,650 wedding receptions, and still counting. Along with running his 18-time award-winning company, Amoré DJ Entertainment (www.amoredjentertainment.com), he is a regular MB contributor and creator of the yearly “State of the Industry Report.” His extensive entertainment experience also includes training in audio production and sound engineering, lighting and design, improv comedy, voiceover artistry, magic, and more.
A lthough often overlooked or treated incorrectly, a mobile
entertainment business’s website, as well as its Internet marketing/advertising expenses are tax deductible. In fact, the increasingly popular marketing via Social Media is even recognized by our tax laws.
The expense of Social Media creation and ongoing account management are considered advertising expenses and can be claimed as a tax deduction in the year paid or incurred. Consider a few examples:
• Google AdWords - Used to attract
new customers or clients instantly, a simple campaign can be set up in minutes and can display search results within a couple of hours.• Pay-per-click (PPC) campaigns. Like AdWords and other website marketing and advertising expenses, the cost for a PPC campaign also falls within the miscellaneous advertis-ing section of the mobile entertain-ment operation’s tax return.• Facebook ad campaigns.• Twitter ad campaigns.• Display banner ad campaigns.• Agency fees. This deduction covers the costs for hiring an agency
to conduct any of these campaigns.• On-Page and Off-Page SEO (Basic and Ongoing). Search Engine Optimization (SEO) campaign results comprise a long-term campaign to keep your website at the top of search engine result pages, but it takes time if it’s done properly.• Link Building.
And don’t forget old-fashioned “Goodwill Advertising.” If a DJ is expected to benefit in some way from a promo-tional activity, the cost of institutional or goodwill advertising may be deducted. This is because the motive of advertising activity is to get the name of the DJ, VJ, KJ or the mobile entertainment business in front of the public. Goodwill advertising includes:
• Promotional activities that ask people to donate for charity• Being a business sponsor of an event• Distributing video or product samples• Organizing contests and offering rewards or prizes
Play Something We Can Dance To! www.mobile-beat.com/store Wedding Word Search Call 970-302-0747
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B R I L L I A N T D E D U C T I O N S
Tax Deductible Internet Marketing
By Mark E. Battersby
B R I L L I A N T D E D U C T I O N S
Tax Deductible Internet MarketingGET UP TO SPEED ON CLAIMING YOUR WEB EXPENSES
By Mark E. Battersby
Unfortunately, labor costs involved in organizing such activi-ties are not usually tax deduct-ible. On the off chance that the website is being used for pub-licizing, website support costs can, of course, be deducted as a promotion cost. In the event that the site is utilized for sales and has an e-commerce option, it is a sales expense and is considered independently. Of course, design and maintenance costs for an e-commerce website are also deductible.
Naturally, detailed records and receipts for all advertising and marketing expenses are strongly recommended. Also, every DJ should be aware of the IRS’s guidelines (or lack thereof ) for developing and maintain-ing a website that is so often the key ingre-dient in online advertising and marketing.
Surprisingly, after all these years, the IRS has yet to issue formal guidance on the treatment of website development costs. In reality, the classification of website design and development services depend on when the work was done, who did it and the specifics of the actual work. For
example, if an outside contractor designs a simple template website for informational purposes that does not require extensive custom programming, the expenditure can be capitalized and written-off or amortized over its “useful life” (usually three years). Or, the cost could be deductible as an advertis-ing expense in the year it was completed. Here’s a look at several specific website-related expenditures:
Cost for the design of the website by an outside contractor hired for this specific purpose
Cost for the template if the design was purchased pre-made
Cost for hosting the site as well as the domain fee
Cost for any premium services (such as add-ons or plug-ins for the mobile enter-tainment business’s site)
Cost for maintenanceBlogger expenses. (If a
new blog was created and uses freelance bloggers for its content, be sure to keep records of all related expenses because they can often be tax deductions as well)
If the webstie was purchased, a DJ is required to amortize and deduct the cost over a three-year period. Content or design updates and ongoing maintenance are con-sidered advertising and can be deducted the same year. It is a similar story for hosting, domains, and other similar products that are usually deducted the same year.
It’s important to remember that every mobile entertainer should consult with a tax professional about what is and is not deductible for his or her business. And, as mentioned, keep documentation and detailed records of how money was spent and the services that were used. It’s worth your time and effort to take advantage of all the deductions available for online promo-tional activities.
Mark E. Battersby is a freelance writer based in the Philadelphia area. His features, columns and reports have appeared in leading trade magazines and professional journals since the early 1980s. When not actually writing, Mark spends most of his time digging for exciting tax and financial strategies to write about.
DJ Trivia www.djtrivia.com
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Mobile Beat Las Vegas www.mobilebeatlasvegas.com