#214 mobilebeat.com 2020 in it for the long haul
TRANSCRIPT
IN IT FOR THE LONG HAULIN IT FOR THE LONG HAULMOB I L E BEAT. C OM
#214
JAN
2020
It’s the final stretch on the road to Vegas!MBLV24 : Tropicana LV, Mar 16-19, 2020
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PublisherRyan BurgerMobile Beat
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Editor-in-ChiefDan Walsh
Editorial Assistant / WriterRebecca Burger
Events Director EmeritusMichael Buonaccorso
P L A Y L I S TA DIFFERENT BE AT � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 8
In It for the Long Haul: Protecting Your TechBy Stu Chisholm
PRO PERSPECTIVE � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 10
Sustainable SuccessBy Troy Adams
FE ATURE�� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 12
Everlasting LoveBy Kevin Freese
DJ SHOPPER � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 16
Music Tech Extravaganza: NAMM 2020By Staci Nichols
FE ATURE�� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 20
NAMM 2020: Back to the Future?By Mike Buonaccorso
THIS IS HOW WE DO IT � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 21
Staying in the GameBy Joe Bunn
INSIDE THE INDUSTRY � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 22
AROCK and BPM SupremeBy Mike Cordeiro
THE SPIN DOCTOR � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 26
Reflecting on a DecadeBy Mike “Dr. Frankenstand” Ryan
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IN IT FOR THE IN IT FOR THE LONG HAULLONG HAUL
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IImagine this: You’ve fired-up your magine this: You’ve fired-up your audience and the dance floor audience and the dance floor
is packed. Everyone is fed, happy is packed. Everyone is fed, happy and ready to party! You’re in the and ready to party! You’re in the groove, responding to the vibe, groove, responding to the vibe, throwing down just the right tune throwing down just the right tune at the right time…and then—poof! at the right time…and then—poof! No sound. Or, even worse, a horrible No sound. Or, even worse, a horrible noise. No matter how great you’ve noise. No matter how great you’ve been up to that point, everyone’s been up to that point, everyone’s attention is now riveted on you, for attention is now riveted on you, for the the wrongwrong reason. Ever been there? reason. Ever been there?
Hopefully not. While gear failure is inevitable (I have even had a piece of brand new gear straight out of the box not work), there are many steps a DJ/entertainer can take to assure that his/her gear does not crap out at a vital moment, and if it does, that a quick fix is on hand. Let’s consider how we treat our tools of the trade.
DIGITAL DOES NOT NECESSARILY MEAN “GOOD”I find it both gratifying and ironic that mil-lennials are discovering the sound and human-scale utility of vinyl records. Going digital has indeed been a compromise, and one doesn’t need to have “golden ears” to hear it. In fact, my past career as a drummer, DJ (for the past 40 years), firearms instructor and pyrotechnic tech (amateur) have taken their toll on my hearing, yet at low bit rates, even I can hear the sonic shortcomings of an MP3. I can hear the artifacts that exist even in .WAV and FLAC files. We tolerate them because we can fit the collections that used to require two trips to the vehicle to retrieve cases and cases of CDs, into a drive that fits into a shirt pocket. In fact, I recently acquired thumb drives that each have a 2TB capacity—enough for all of the audio files in my collec-
tion! So digital is here to stay. Yet it comes with a whole bag of trouble that we need to be aware of.
#1 is corruption. Files, for whatever reason (or seemingly none at all) can become corrupted. I’ve noted that extensively using Serato and Virtual DJ seems to impact files that aren’t used that often. Then, one day you’ll punch-up that obscure song, all proud that you have it, and hear...gobbledy-gook! Or it won’t load at all. For this reason, my #1 face-saver is to keep a permanent REFERENCE FILE at home on the desktop. It’s not to be used with any playback program; it is simply a safety copy, just in case files get corrupted. (And they will.) This will save you valuable re-rip time, or having to re-buy a track you didn’t back up.
SAFETY IN NUMBERSAs for gear, I will first recommend that you carry 100% backup to every job. These days that’s not such a tall order, as our gear has
gotten smaller and smaller. While your budget or space might not allow you to have, say, two Denon DJ Prime 4 systems, it most likely will allow you to have a smaller controller, such as the Numark DJ2GO2 and a laptop/flash drive just in case disaster strikes. A word of caution here, though: Check all of your back-up gear periodically!
You may end up actually having to use it, and you need to assure that it is not only functional, but won’t compromise your per-formance. Also be sure to keep your back-up library as up-to-date as your primary! Have spares for every cable, power supply, amp/speaker and anything else you might use.
ARMOR FOR HARDWAREI’m always amazed by how often a DJ will spend top dollar on a new piece of gear, yet try to skimp when it comes to proper road cases or bags. The fact is that most gear is damaged in transit. If you’re buying premium equipment, then go the extra mile to buy premium protection for it. Make sure that said gear is mounted properly and securely. On the upside, a lot of road cases double as performance consoles, so they solve two problems at once.
Don’t overlook speaker cabinets. After all, we only sound as good as our speakers. They are also probably the biggest ticket items in our arsenal, so extra care here means more bang for your speaker buck. Nearly every manufacturer offers bags or road cases for their speakers, as do third-party companies. Word to the wise: In winter months and climates, once you’ve removed the speaker from its case or cover, makes sure you let it come up to room temperature before firing it up. A frozen speaker cone can resist movement, poten-tially causing permanent damage. Make your speakers the first item you uncase and set up so that they have time to warm up.
DON’T BE ROCKIN’ WHEN YOU’RE ROLLIN’Lastly, I like to borrow a method used by professional shippers and movers: truck packing. Try to arrange all of your road cases in your vehicle so that they are tightly jammed up against one another, prevent-ing movement. If your vehicle is large, then look into cargo control features, such as tension straps, D-rings/bungee cords or E-track systems. At the very least, moving blankets between cases and in voids can keep your cases in-place and absorb shock. If your cases and/or speakers have wheels on them, be sure to tip them on their back or side once inside your vehicle. Yes, it seems like common sense, yet I’ve seen pro-
fessional road crews forget to do this, and insurance companies have no sense of humor when being asked to pay for a cabinet (AND the roll-up door of a truck) for a wheeled cabinet that got loose. Don’t become a meme!
As always, thank you for your eyeball time. Until next time, safe travels!
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.
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A D I F F E R E N T B E A T
In It for the Long Haul: Protecting Your Tech
By Stu Chisholm
A D I F F E R E N T B E A T
In It for the Long Haul: Protecting Your TechBy Stu Chisholm
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QSC .................... www.qsc.com
I I recently spent time talking to recently spent time talking to the owner of a very successful the owner of a very successful
wedding venue and he made a wedding venue and he made a comment that hit me in the face. comment that hit me in the face. To paraphrase him, he basically To paraphrase him, he basically said, "While I love working with said, "While I love working with wedding planners, I don't need their wedding planners, I don't need their referrals for us to hit our numbers." referrals for us to hit our numbers."
Wow. Feels a little over-confident right? Now
first you must know this person to realize he wasn’t saying it to be high-and-mighty. What he meant was he has a formula for sustainable success. That formula doesn’t rely on one person or one group of people.
We all want to be in a position where we have business balance and multiple streams of revenue. Where we can better forecast our future, make goals a reality and create long term success. So what's the mix for that?
If you've ever heard me speak or read anything I've written before, you know I love acronyms, especially because they aid in remembering important information. It's become a common thread across everything I do. It's my steady bass beat if you will. So here's my acronym for sustainable success…
TIMETime of course is an obvious answer in
itself. One must invest considerable time and effort into building a sustainable business. However, the acronym TIME stands for Tracking, Investing, MDBs, and Expectations. I know you're reading this saying "what the heck are MDBs?!" We’ll get to that; let's take a closer look at each letter in turn...
TRACKINGTracking information is crucial to better understanding where you are spending time and money, as well as where your business is coming from and what exactly people are buying from you. Tracking information allows you to better identify trends, focus on sweet spots, adjust where needed and more accurately project business revenue.
For starters, track things like total leads coming in, how many were qualified, where they came from and what percent-age of leads you book. Don't brush off lost business and neglect to track that. Keep a record of business that was lost and why. Was it due to budget, travel, a competi-tor, or maybe they didn't mesh with you or your DJ? Maybe they reached out with too short a notice, or they were one of a zillion people trying to get married on that same
weekend in the spring/fall? Perhaps none of your team was available or you didn't think it was the best match. If things are not a fit for both you and the client, that’s business you should likely walk away from.
The more detail the better. Instead of tracking that leads came from a planner or venue, track exact planners and venues they came from. The same applies when tracking what services people purchased from you. Don’t just put “event” package, for example. List what length of time it was. Did they add lighting or a photo booth also?
For my business, this information has made it much more simple to project business and set goals. For example, over the last six years I know we qualify about half of all the leads we get. I also know that as a team we book 82% of the people we talk to. When I set goals to grow, I work backwards from the goal to establish how many new leads I need to find. Then I look at my referral sources that I track and can better identify where to find those leads. As a business, we book about 10% of our business from online marketing, 10% from shows, and 80% from referrals. Which makes for a perfect transition to the next aspect of sustainable success...
INVESTINGOf course you need to invest in quality equipment, marketing, operations and self-improvement. But there is one more key item you ignore at your peril. For sustain-able success, you need to invest in people. The people you work for, and the people you work with.
Troy Adams has been a professional DJ for 27 years, starting at age 16. During that time, he also juggled successful “mini-careers” in television, radio, print, and as a golf pro, GM and business coach. He now manages a team of 40 at Carolina DJ Professionals. He also founded a Lunch & Learn series focused on better business practices for colleagues. A believer in life-long learning, he’s the son of a teacher, father of two boys, two dogs…and twenty-two sets of DJ equipment.
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P R O P E R S P E C T I V E
Sustainable SuccessBy Troy Adams
P R O P E R S P E C T I V E
Sustainable SuccessIT’S ABOUT “TIME”
By Troy Adams
Years ago I realized I was being stretched too thin. My work and my ability to grow was suffering because of it. So I made the investment in people. And each year, I put my time and money into my team and first. They are an extension of me and our business. I want them to be motivated and fulfilled. I believe culture is key and rela-tionships drive business. The fellow event professionals you work with are also part of your team. Invest in them, as it takes a team to pull off great business. And of course, invest in your clients. There's nothing out there that beats a past client's referral.
If you're not familiar with the Pareto Principle, also referred to as the 80/20 Rule, that's something that will reveal itself in tracking information. What it says is that 80% of results often come from 20% of the efforts or sources. I know that's true for our business. Roughly 20% of our lead sources generate around 80% of our revenue. When we decide who and what we're investing in, we want to take care of that 20% that takes care of us first.
MDBSSo, what the heck are MDBs?! This stands for Minimum Daily Behaviors. I spent years as both a student and instructor with Sandler Training, which is the largest personal and professional development organization in the world. I'm lucky to have had great mentors throughout my life, and one of those people (shout-out to Tim!) came through my time with Sandler. They taught me the value of breaking things down into smaller achiev-able tasks. Then before you know it, you've climbed that mountain one step at a time. I practice this habit of making goals a daily
reality in both my business and personal life. Use that information and the relation-
ships you've built to set goals for your business and then break them down into daily, weekly or monthly tasks. Put them in your calendar and then make that choice daily to complete them. You'll conquer your kingdom and create sustainability in the process.
EXPECTATIONSWe work with people. People are different. And with different people, come different expectations from the same situation. If you want to build the relationships, reviews and ultimately repeat revenue to build your business on—you must meet other people's expectations. And they need to know what expectations you have.
When you sit down with your clients, ask them questions about their expecta-tions both overall and in certain situations. Walk them through exactly how things are going to go. Here's the real key: Don't skip over the things that could go wrong. It takes some serious guts to talk about those things. But once you identify expectations from all sides, that sets you up for success.
Set the expectations with colleagues and your team also. When you begin having these types of discussions, you demon-strate true accountability and leadership. That makes you a professional. And that makes for sustainable success.
The bottom line for sustainable success truly is a matter of TIME. The approaches set out above are “field-tested” ways to help your business grow year by year. Give them a try!
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A s mobile DJs we are always in search of the latest pop song that guests at our events will swoon over.
There’s no doubt of the magic that comes from playing the latest big hits at a gig. Equally powerful are the familiar tunes that have collectively been a part of our lives for decades—the songs that drive even the most hesitant guests to the dancefloor. “Dancing Queen” by Abba, “Sweet Caroline” by Neil Diamond, Gloria Gaynor’s “I Will Survive”—these are the songs that almost feel like kin when you’re a mobile DJ. They are the backbone of most parties, and even when they are on a client’s “do not play” list they serve as an important tool—informing us about the style of event our customers are looking for. These are the songs that will endure.
So how did they come into existence?I turned toward the website Songfacts.com as a primary
resource for answers. The website was founded in 1999 by radio DJ and music historian Carl Wiser. From legendary stories of music history to exclusive information obtained through interviews with industry pros, Songfacts.com is a consolidated source for learning the background of virtually any song. Since its inception, the site has added plenty of other bells and whistles including a music history calendar, a list of popular wedding songs with story links, and frequently updated music-related quizzes.
Knowledge of music history is an important mission for Songfacts.com. “What we've learned over the years is that music unites us in ways other topics can't,” founder Carl Wiser explains. “If you're in line at Walmart and "Sweet Home Alabama" comes on, you can easily strike up a conversation about how it contains a good-natured jab at Neil Young in the line "southern man don't need him around anyhow." Next time "Beat It" plays, say, "Eddie Van Halen gets all the credit for the guitar solo, but the guy from Toto is the one who came up with that riff." You'll likely end up in a conversa-tion much more pleasant than if you brought up sports or politics.”
And if you’re looking to strike up a conversation about some of the most enduring party songs ever recorded, or simply want to learn more about the tunes you’ve probably heard and spun hundreds of times, here are a few selections to get you started.
“SHOUT” BY THE ISLEY BROTHERS“SHOUT” BY THE ISLEY BROTHERSNot only does “Shout” by The Isley Brothers remain one of the most played party songs in the mobile entertainment industry, it continues to be one of the most asked for songs. According to software company DJ Intelligence whose popular music request system is used by clients across the globe, “Shout” is consistently among the top 200 songs requested each year. In 2019, there were over 10,000 requests for it through their system alone.
Ironically, one of the best-known party songs of all time wasn’t originally conceived as a stand-alone piece by its creators. Ever listen to the song “Lonely Teardrops” by Jackie Wilson and feel a strange sense of Déjà vu? You’re not alone. There is a direct connec-tion between Wilson’s tune and “Shout.”
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F E A T U R E
Everlasting LoveBy Kevin Freese
F E A T U R E
Everlasting LoveTHE AMAZING STAYING POWER OF TRADITIONAL PARTY STANDARDS
By Kevin Freese
The famous line, “…you know you make me want to shout” was first uttered by Ronald Isley during a 1959 concert in Washington, D.C. He and brothers Rudy and O’Kelly were covering “Lonely Teardrops” when inspiration hit through a culmination of audience energy and creative genius. Influenced by the call-and-response style of singing that they grew up with
in church, the Isley Brothers quickly elicited a response from the audience. One can imagine the crowd in a smoky D.C. club calling out “Shout!” for the first time. The extended version of “Lonely Teardrops” became a part of their regular act. It was upon the sug-gestion of RCA executive Howard Bloom that the Isley Brothers developed “Shout” into its own piece, or pieces. “Shout” consisted of a part 1 on side a and part 2 on side b when first released by RCA. The two parts are most often played as one continuous song today.
Despite the fact that “Shout” was not a chart topper for the Isley Brothers, the song nevertheless went platinum and spurred their career. It has also been covered by numerous artists including The Beatles, Tommy James and the Shondells, and The Kingsmen. The song’s popularity resurged in the late ‘70s when it appeared in the film National Lampoon’s Animal House. “The group that performed it in Animal House, Otis Day And the Knights, was created for the movie but became a real group after the movie was released,” explains Carl Wiser. Another version of “Shout” that’s a favorite of mobile DJs due to its up-tempo arrangement was recorded by a lesser-known group called The Dynatones in 1987.
“THE TWIST” BY CHUBBY CHECKER“THE TWIST” BY CHUBBY CHECKERUnlike the Isley Brothers’ party anthem, Chubby Checker’s dance-floor hit “The Twist” was a familiar title on U.S. music charts when first released in the early 1960s. It first hit #1 during the summer of 1960 when it was released, and again found its place in the top spot after being re-released in the winter of 1961. As noted on Songfacts.com, “The Twist” is the only song to reach #1 on the Billboard Hot 100 chart two separate times with identical versions. “The song was the ultimate dancefloor filler in the early ‘60s,” says Carl. “We got lots of input from oldies DJs and music historians who helped its story.” And an interesting story it is.
“The Twist” was written by Hank Ballard and originally performed by his group Hank Ballard & the Midnighters. Ballard wrote the song after noticing the movement of his bandmates onstage during performances—they looked like they were putting out cigarettes with their feet, moving in a twisting fashion that caught his attention. The original version of the song was not promoted as a single by Ballard’s record label, but it became a fan favorite at live shows. It was through these performances that Dick Clark who was hosting American Bandstand in Philadelphia at the time heard the song and decided that it could be a sensation—but not with Hank Ballard. Regarded as a controversial artist in 1959, Ballard was known for such songs as “Sexy Ways” and the sugges-tive “Work With Me Annie.” Clark decided a fresh face was needed to introduce “The Twist” to Americans. Enter Chubby Checker.
Checker’s actual name is Ernest Evans. Known by friends and family for his golden voice, Ernest worked on a chicken farm and would often sing on the job, gaining a reputation as a talented
impersonator of well-known artists. Taking a literal twist on one of those artist’s names—that of Fats Domino—Evans chose Chubby Checker as his stage name. “The Twist” was the instant hit that Dick Clark anticipated once Checker performed it on American Bandstand. Checker’s version of the song would sell over 15 million copies in its first five years.
Interestingly, when “The Twist” was originally performed by Ballard, band members would raise one leg when doing the song’s popular dance. This evolved into the custom of keeping both feet on the ground that we all know today. When asked to describe “The Twist” dance, Chubby Checker said, “[It’s] like putting out a cigarette with both feet and coming out of a shower and wiping your bottom with a towel to the beat.”
“CELEBRATION” BY KOOL & THE GANG“CELEBRATION” BY KOOL & THE GANG“You're gonna play this song for the rest of your life, so get ready!" These prophetic words were spoken by the mother of Kool & the Gang’s J.T. Taylor when she first heard “Celebration.” Released by the band in 1980, the song reached #1 on the Billboard Hot 100 and did very well on other charts as well. It also remains a regular on DJ Intelligence’s Top 200 list each year, remaining among the songs with more than 10,000 requests in 2019.
Kool & the Gang formed in 1964 with brothers Robert and Ronald Bell as the driving creative force behind the band. Robert had given himself the nickname of “Kool” as a kid, attempting to conform to the street gang style of his neighborhood in Jersey City, NJ. His name, however, didn’t appear in the band’s title at first—they were instead known as the Jazziacs. By the time 1980 rolled around, the band had already been through three other name changes and several personnel shake-ups with the Bell brothers remaining at the core of the group.
According to Songfacts.com, “Celebration” germinated out of a period of religious reflection by Ronald Bell. In an interview with Billboard, Bell is quoted as saying, “The initial idea came from reading the Quran. I was reading the passage where God was creating Adam, and the angels were celebrating and singing praises. That inspired me to write the basic chords and the line, ‘Everyone around the world, come on, let's celebrate.’” The festive song was rounded out with inspiration from the band’s previous hit “Ladies’ Night” which contained the line, “Come on, let’s all celebrate.”
Although J.T. Taylor is no longer in the band, he was the lead singer of Kool & the Gang when “Celebration” was released. And his mother was right. “Celebration” was ubiq-uitously played at gatherings and social events once the song hit airwaves. It became the anthem for the release of America’s hostages from Iran in 1981 and played promi-nently at major sporting events such as the World Series, Superbowl, and NBA
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Finals during the 1980 - 1981 seasons. One can only guess how many times it’s been played at wedding receptions since that era.
“HOT HOT HOT” BY BUSTER POINDEXTER“HOT HOT HOT” BY BUSTER POINDEXTERWhile “Hot Hot Hot” may not be one of the most requested songs at events in 2020, it remains the surest way to induce a conga line at virtually any party. The most recognized version of the song was recorded by David Johansen (aka Buster Poindexter) in 1987, but a Montserratian musical artist named Arrow was behind the 1984 original. Arrow was known for his soca style of music—a genre that “Hot Hot Hot” falls into. Asked to explain what soca—short for soul of calypso—is and how it differs from the original calypso style, Arrow
used his famous song as an example. “Feeling ‘Hot Hot Hot' makes you forget that there's a volcano and remember there's fun to be had,” he said, referring to Montserrat’s active volcano.
David Johansen first heard the song while touring the Caribbean as Buster Poindexter. A trailblazer in rock ‘n’ roll history, Johansen was the lead singer of the short-lived but
influential band The New York Dolls during the early 1970s. The band was known for its rough-edged sound that predated punk rock and for its larger-than-life, gender-bending style. Johansen continued with a highly regarded solo career after the breakup of the Dolls, but only as Buster Poindexter did widespread commercial success come his way.
During his Caribbean tour, Arrow’s version of “Hot Hot Hot” seemed to be everywhere, and Johansen thought it would be a fun tune to perform. “Then we recorded it and it was a hit,” Johansen told Mojo magazine in the March 2015 issue. The song’s success was catapulted in the MTV era by a catchy video that often played on the music channel throughout the day.
In a 2011 interview with GQ, Johansen admits that he used to enjoy performing “Hot Hot Hot” though he has disavowed the song since its heyday, referring to it at one point as “the bane of his existence.”
“One time I went to my nephew’s wedding and they made me get up and sing it,” Johansen told GQ. “Now I don’t go to weddings. I’m like Larry David—I can’t go to weddings because they’ll make me sing ‘Hot Hot Hot.’"
“Y.M.C.A.” BY THE VILLAGE PEOPLE“Y.M.C.A.” BY THE VILLAGE PEOPLEThe eight-story, red brick building at 213 West 23rd in Manhattan’s famed Chelsea neighborhood might catch the eye of any passerby
Kevin Freese began his career as a mobile DJ at the age of sixteen when he joined Chicago’s Bass Control Productions. There he performed at hundreds of elite events in the Chicagoland area, including an opening spot for K.C. & the Sunshine Band at the House of Blues. He later became the owner of Bass Control, operating the company until moving to North Carolina. Kevin continues to stay connected with the mobile DJ industry while also focusing on his career as a freelance writer. His work appears in Midway Magazine, Hair Trigger, F Magazine, and Carnival Magazine among other publications. With an MFA in Creative Writing from Columbia College Chicago, Kevin also serves as an editorial consultant and writing coach.
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F E A T U R E
given the classic beauty of its Beaux-Arts style, but not everyone would realize its historical significance, musically speaking. This building, now luxury condos, was once home to the McBurney Y.M.C.A. Sure, it’s the place where Charles Merrill met Edmund Lynch long before there was a Merrill Lynch, and the McBurney Y hosted notable members such as Andy Warhol and Al Pacino, but its true claim to fame is as the actual branch that inspired the song “Y.M.C.A” by the Village People.
The brainchild of French music producers Jacques Morali and Henri Belolo along with lead singer Victor Willis, the Village People appealed to its intended LGBT audience as well as disco lovers every-where. By the time “Y.M.C.A.” was conceived, Morali and Willis had taken over songwriting responsibilities for the group. Songfacts.com discovered a 2008 interview with the Village People in Spin magazine in which the group’s cowboy, Randy Jones, explains, “When I moved to New York in 1975, I joined the McBurney YMCA on 23rd Street. I took Jacques (Morali) there three or four times in 1977, and he loved it…Those visits with me planted a seed in him, and that's how he got the idea for ‘Y.M.C.A.’—by literally going to the Y.M.C.A.” In the same interview David Hodo who played the group’s construction worker notes that Morali wrote the song in twenty minutes before handing it over to Willis to finish. As described by Hodo, “Y.M.C.A.” wasn’t intended as a single at first, but the group’s label heard its potential.
Released in 1978, “Y.M.C.A.” reached #2 on the Billboard Hot 100 and broke into the #1 spot on many other global charts. Although chart success is important, it was a perfor-mance on Dick Clark’s American Bandstand that made “Y.M.C.A.” the stuff of dancefloor legend. Amid the Village People’s routine, audience members began to spell out the letters of the song while dancing. It marked the first time the now famous, yet simple choreography took place. Asked later by Dick Clark if the group would incorpo-rate the dance into their performance Victor Willis replied, “I think we’re going to have to.” New generations of partygoers have been learning the dance ever since and—as with many party standards such as the ones highlighted here—future generations will likely be hitting the dancefloor with “Y.M.C.A.” for years to come.
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DJ Event Planner www.djeventplanner.com
EE very year at the Anaheim Convention Center, the very year at the Anaheim Convention Center, the musical world (from DJs to ukelele makers) comes musical world (from DJs to ukelele makers) comes
together to drool over all the latest industry toys—together to drool over all the latest industry toys—this enormous invite-only gathering of musicians this enormous invite-only gathering of musicians from around the globe is called NAMM (National from around the globe is called NAMM (National Association of Music Merchants). In case you missed Association of Music Merchants). In case you missed our coverage of the NAMM show live on our Instagram our coverage of the NAMM show live on our Instagram page, here are my top picks relevent to the MB page, here are my top picks relevent to the MB community. Ladies & gentlemen...start your engines!community. Ladies & gentlemen...start your engines!
#7 - ADJ MDF2-9SYS ILLUMINATED DANCE FLOOR
Finally, one of the big-name DJ gear manufacturers is getting on board the illuminated dance floor bus (it's like the Double Dutch Bus)! This durable 9-panel system comes with the kind of quality and ease-of-use you'd expect from ADJ, for $2,999. That price includes the case and everything else you need. For details, come out and see this floor in person at the ADJ booth at MBLV23.
#6 – MYCASEBUILDER.COM
Design your own customized flight case or SKB-style plastic case with MyCaseBuilder.com. The pricing is very reasonable and no crazy waiting period. I inspected the cases and found them to be made of heavy-duty, top-quality materials.
#5 - VOCOPRO WIFIOKE
What if you could offer karaoke to your DJ clients without a subcontrac-tor, monthly music subscriptions, or an enormous collection of notebooks/discs? For $349, get this handy-dandy all-in-one unit from Vocopro that let's your clients sing directly from YouTube with two integrated mics. As if this package isn't sweet enough, the Wifioke unit has wheels and a telescoping handle to make it completely portable! This is an easy money-maker for any mobile DJ.
JANUARY 2020MOBILEBEAT.COM ▷▷16
D J S H O P P E R
Music Tech Extravaganza: NAMM 2020
By Staci Nichols
D J S H O P P E R
Music Tech ExtravaganzaSTACI'S ANNUAL TOP PICKS FROM THE 2020 WINTER NAMM SHOW
By Staci Nichols
#4 – ODYSSEY'S MOBILE DJ BOOTH PROTOTYPE
Odyssey truly put together a “swiss army” DJ booth as a prototype for NAMM. It was like a Rock N Roller-style cart with the following welded on to it: two speaker mounts, an overhead lighting truss, a facade, a cup holder, a hook for headphones, a mic stand, and a flatscreen TV mount. It even had what appeared to be a trailer hitch! What do you think of this mammoth all-in-one portable booth? Would you gig with it?
#3 - PIONEER XDJ-XZ CONTROLLER
There's nothing I love like a shiny, new Pioneer controller generally speaking; but this updated stand-alone didn't rank higher because, even with all the new bells and whistles (improved mic feedback control), it still doesn't have two Serato output cables for the easiest possible DJ personnel change-overs (maybe not a deal-breaker for DJs who only do solo mobile gigs). It's a beast to carry around, like a Numark NS-7, but the fact that it finally plays well with Serato is appreciated.
#2 – PHASE'S NEW SERATO INTEGRATION
In 2020, non-tangibles, like software updates, are actually ranking on my NAMM list. But the new Serato integra-tion for this remote, stylus-free, turntable control device is worthy, I believe. This update means no more plugging in RCA cables to the Phase charging box—just one cable from Phase to your laptop. Easy peasy! Stand by for the official release date; it's currently in alpha testing.
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#1 – DENON PRIME GO
Denon is at the top of my list 2 years in a row! All I need to tell you about this pretty, little siren is that it's a battery-powered DJ control-ler (4-hour battery life). Mic drop—race over! By now, I'm sure you've heard about the Denon industry-shaking, stand-alone controller, the Prime 4, which was released at NAMM last year. Well, imagine a heaping serving of that goodness packed into a compact control-ler that can go “off the grid.” You will, however, need to be on the grid to use the built-in streaming feature!
I was also highly impressed by Denon's updated media player, the SC-6000. Denon has genuinely brought the high-torque turntable experience to the convenience of a CDJ. The feel of the SC-6000, to me, was a much closer match than spinning on a Rane-12.
And, of course, Denon is expanding on the Prime 4 line with the new 2-channel Prime controller (yep, it still has 4 mic outputs and everything you love about it's big brother). Available now for $999.
Honorable Mentions:#1 - Jetpack's new rollerbag... Finally all your personal DJ gear items with a tele-scoping handle and wheels. Coming soon!
#2 - Stylus Timer... Like an odometer for your turntable needles so you know when they need to be replaced before they break mid-gig on you. Learn more at StylusTimer.com.
#3 - Pro-X's Mesa Media facade... It's like their popular Mesa MK2 but with a flatscreen mount on the front and no outdated “angled in” top section.
#4 - 12 Inch Skinz... can now put a Camelot Wheel (the Mixed-In-Key chart) on a Rane-12 record, Numark NS-7 record, or Phase “dummy” record! Get a pair of glow-in-the-dark slipmats to match!
#5 - Chauvet's latest installment of the GigBAR, the “Move”... now has (in addition to recent blacklight additions) two moving heads. Grab one now for $799.
#6 - OWC’s 1 terabyte solid state thumbdrive for $249... that's waterproof, dustproof, drop proof, and the files copy at lightning speed! It's a DJ back-up dream.
#7 - CustomSlipmatsOnline.com... You guessed it: They make custom slipmats &
related DJ accessories, all easily accesible via website.
Again, every product mentioned here can be seen up close on our “NAMM 2020” story highlight on our Instagram profile @MobileBeatMagazine. Which one of these new toys are you itching to play with?
DJ Staci, the Track Star, has been a full-time mobile DJ for 10 years. She has performed internationally, on the Vegas strip, at festivals, celebrity weddings, and for companies like Lamborghini and Reebok. Staci has spoken at industry conferences and been featured on DJ News TV, ADJA and BookMoreBrides.com webinars, the Wedding MBA podcast, and a BPM Supreme Female DJ Forum. Staci is represented by both Scratch Events & Purim Agency.
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D J S H O P P E R
At the demo for E-V’s new EVOLVE 30M compact column loudspeaker (even more mobile than the EVOLVE 50), we were also treated to a high-energy set by DJ Krystaval, featuring (our very own) Joe Bunn’s Bunn Gear Command Center DJ Booth. In this case, NAMM really did rock. ~ DW
A Notable NAMM Mashup���
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AA fter the cold western New York holidays, I fter the cold western New York holidays, I jumped at the opportunity to catch some jumped at the opportunity to catch some
California sun and write a review of the 2020 California sun and write a review of the 2020 NAMM show from the assignment, that read, in NAMM show from the assignment, that read, in part: “...from another perspective, the historical part: “...from another perspective, the historical one...an article comparing and contrasting one...an article comparing and contrasting the presentation of the DJ market segment the presentation of the DJ market segment at NAMM as experienced back in the 1990s, at NAMM as experienced back in the 1990s, when Mobile Beat was created, to the present.”when Mobile Beat was created, to the present.”
Greeted by media reports of “What is the enduring value of trade shows in 2020?” and “A unique opportunity to see ‘all the pieces come together,’ “ I set out with a few questions of my own, ones I had waited 20+ years to ask. But don’t get too excited; I didn’t find many answers. (Oh, and speaking of greeters, I don’t recall the show security PD carrying AR-15s in the past.)
Numbers looked good: The Show welcomed over 2,000 exhibiting member companies, representing 7,000 brands, as well as 115,888 NAMM members and invited reg-istrants. The Anaheim Convention Center and exhibit halls are world-class, state-of-the-art facilities. Over the years the improvements and additions make this place a pleasant envi-ronment. Upon entering, I realized how much my purpose for attendance had changed. In the past, we used this annual opportunity as a personal mission field, to spread the credibil-ity of the DJ as a viable player in this market and introduce a trade publication (Mobile Beat) and a trade show (MBLV) to the major leagues. This time, though, it felt like a dys-functional family reunion.
Was it the show that seemed so much older, or was it just me? This formerly was THE place one needed to go to find the “movers and shakers” of the music industry; so why did I feel like I was at Spring Break for the Woodstock crowd? Definitely no gym rats in this crowd, yet a great place to re-wear your Halloween costume. Purple hair was
big this year, and Keith Richards would be just another face in the crowd of wrinkles. Simply stated, it was pretty obvious a generation or two that grew up on getting their info from personal devices and social media are not filling in the holes here, at least beyond the rocker-wannabee types with the day passes.
In retrospect, it’s puzzling. The publica-tion bins are long gone, as printed magazines are relics of a bygone era. A DJ presence was hovering around the “acceptable” level, but a mere trace of the existence of actual mobile DJs was harder to find than an 8-track player at the Consumer Electronics Show. Even the term “DJ” ie, DISC+JOCKEY seemed oddly obsolete. To attend as one representing DJs to a manufacturer is a similar experience to why the Sudafed is now kept behind the pharmacy counter. “I can sell you this stuff but what did you say you’re gonna use it for?”
Oh yes, there were some “new at NAMM” products, although I wasn’t able to fact-check whether they had been seen before Jan 16, 2020 or not. The traditional favorites ADJ, Electro-Voice, QSC. Pioneer, Yamaha
and others could be found, as well as those trying to attract interest in what they call a “DJ:” A remixing, editing, mashup producing scratcher. I found examples at Nugen Audio, Tracktion, Presonus, Avid, Lasonic, and Prism Sound. Don’t ask me what they had that every event host needed; you’d have to ask their demo people with names like Flipflop, Boi Jeanius, Free the Robots, or Rayted R. Somewhere in there I’m sure I could have gotten what I needed to improve my perfor-mance by at least 1%.
Then suddenly came that “a-ha” moment when I asked myself “What possible reason would a DJ advocate have to be at this event in the year 2020?” Peering over the crowd I pondered, “Who are these people? Why are any of them here?” I could not shake off the thought that if 90% of them had stayed home, the only segment of the vendors there that would have had their annual bottom lines affected nega-tively was the overpriced concessions.
As I rode to the airport, it was amazing to find many of my conclusions were, with no prompting, shared by my Uber driver, who
has worked the show for the last six years. I could swear I heard piped in music:
“To everything (turn, turn turn), there is a season (turn, turn, turn), and a time to every purpose under heaven....”
~BOOM!~ ~CRASH!~ (What the heck was that?) Mic drop... Buonaccorso... OUT.
A co-founder of Mobile Beat Magazine in 1991 and originator/former producer of Mobile Beat Las Vegas, Mike has worn just about every hat possible in the evolution of the magazine, from writing articles to making sales calls. In “retirement” he enjoys working for the benefit of humanity, travelling to strange locations, and making cryptic social media posts about his whereabouts.
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F E A T U R E
NAMM 2020: Back to the Future?By Mike Buonaccorso
F E A T U R E
NAMM 2020: Back to the Future?WHAT DOES IT REALLY MEAN FOR MOBILE DJS?
By Mike Buonaccorso
I I thought about it the thought about it the other day: I’ve been other day: I’ve been
DJing for over 35 years now. DJing for over 35 years now. That’s a long career, no That’s a long career, no matter what the industry. matter what the industry.
I have friends that I graduated college with in the mid ‘90s that have changed jobs a dozen times over the past 25 years. Some of them in the tech industry don’t even bother unpacking their boxes or setting up their desk because some headhunter is going to call and offer them something better, more money, more stock options in the next six months. So what does it take to “stay in the game?” Let’s look at what I think are some of the keys to being a DJ company owner for the long haul.
PASSIONIf you don’t love what you do, you’ll never be able to last. You have be passionate about your career, about DJing, or at least about owning a DJ company. You have to know that you are providing an amazing service to someone that hires you, that trusts you to entertain them and their guests. Without passion, this is just a hobby.
SYSTEMSPutting systems into place is another key to being in this for a long duration. I’m asked all the time how I do it all. It’s because of the systems that I have put into place. Everything from how a lead gets handled, to how we meet with clients, to the forms that get filled out by the staff, to how we perform at shows is spelled out and taught to the DJs and staff that work at Bunn DJ Company.
PERSONNELSpeaking of the staff, it is imperative that you choose the right people to work for your company. Whether it’s the person that answers the phone, or runs your photo booth, or most important-ly, your DJ talent. Take the time to properly screen these people before they ever go out and do a show under your brand name. The interview is just phase one, and normally your gut will guide you during that part. The next phase is really on you, and that’s the training and shadowing. I really believe that shadowing is even more important than formal training. I have someone come out with me or my veteran DJs at least six times before I even think of giving them the most basic gig. You can tell so much during this time. Do they show up on time? Are they dressed appro-
priately? Are they asking the right questions? Are they truly watching and learning and taking notes, or are they off in La La Land? Your people are what are going to make you a success for a long time.
PLANNINGYou need to plan for your future. I am currently looking to buy a space for the Bunn DJ Company/The DJ’s Vault/Bunn Gear headquarters. Why? Because I have wasted hundreds of thousands of dollars over the past 20 years on rent, on someone else’s building. I wish I had been smarter in my thirties
and bought something. It’s one of my biggest regrets, that I might as well try and fix in my late forties.
You also need to plan other things, for example, what happens if you get hurt and can’t DJ? Are you covered? What if you die unex-pectedly? Is your family going to be OK financially? What about your kids and their college fund? At what age do you want to retire? I’ll be completely honest with you. One of my biggest weaknesses is that I’m not good with money. So guess what? I have surrounded myself with people that are. I have a great accountant and great bookkeeper and they have put me in touch with the people that can answer the questions I just asked above. I have a great life insurance person (actually two). I have someone that does wealth planning for me. I also have someone that is helping me better understand saving and investing for retirement. All of these people are available in your town, no matter how small of a market you live in. Trust me, they can help. Reach out to them today!
GIVING BACKI saw a post the other day in The DJ’s Vault about how to take the tax write off for donating your services and thought to myself, “You’re looking at it all wrong man”. More than likely, your gear is paid for, you have a unique skill set that charities need, and honestly, you are just donating your time, not hard costs like for example a caterer or florist would have. So why don’t you just donate to help? Giving back to your community or an organization is so rewarding in many different ways. First off, it just feels good. Not only will the charity
appreciate it, but the word will spread about how great you and your organization are. Again, long game strategy here folks.
I sincerely hope some of these tips will help those of you reading this that are trying to figure out if you can make owing a DJ company a long-term career. The truth is, I have, and so can you.
Joe Bunn started his DJ career over 30 years ago. His company has four offices and now does over 1000 weddings a year and another 400 private, corporate and charity events. He still DJs almost every weekend, but also helps other DJs grow their businesses as a consultant, writer, and speaker. Visit www.djjoebunn.com to learn more. His latest venture is The DJ’s Vault (www.thedjsvault.com) featuring content to help DJs build their businesses the right way.
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T H I S I S H O W W E D O I T
Staying in the GameBy Joe Bunn
T H I S I S H O W W E D O I T
Staying in the GameGOOD ADVICE FROM A VETERAN DJ
By Joe Bunn
OOver the past five years DJs have witnessed another huge shift in technology. It’s no secret that controllers have ver the past five years DJs have witnessed another huge shift in technology. It’s no secret that controllers have changed the face of the DJ world. Many of the new controllers by companies like Denon and Pioneer don’t even changed the face of the DJ world. Many of the new controllers by companies like Denon and Pioneer don’t even
need a laptop or external hard drive to perform with. The only common denominator with all DJ gear is how you need a laptop or external hard drive to perform with. The only common denominator with all DJ gear is how you get your music. The majority of us use record pools, which are considered the most “legal” way to obtain music for get your music. The majority of us use record pools, which are considered the most “legal” way to obtain music for performance. Online music services like BPM Supreme offer access to a massive library for a small monthly fee.performance. Online music services like BPM Supreme offer access to a massive library for a small monthly fee.
So what’s the next step in the evolution of the DJ world? I interviewed the founder of BPM Supreme, Angel “AROCK” Castillo, to discuss the future of the music industry, what the future will bring to the DJ world and finding that elusive work/life balance. His answers may surprise you..
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I N S I D E T H E I N D U S T R Y
AROCK and BPM SupremeBy Mike Cordeiro
AROCK and BPM Supreme
I N S I D E T H E I N D U S T R Y
COMPANY FOUNDER TALKS ABOUT THE FUTURE OF DJS, THEIR DIGITAL MUSIC, AND HIS UPSTART ENTERPRISE
By Mike Cordeiro
Mike Cordeiro: What inspired you to become a DJ?
‘AROCK’ Castillo: I attended a middle school dance when I was 11 or 12 and I was fascinated by how the DJ controlled the crowd and mixed the music. I was amazed at how the music set the atmosphere and made everyone feel. I knew I wanted to do that.
MC : What was the first piece of DJ equipment you bought?
AC : I can’t remember the brand name, but my first purchase was some used turntables. I remember my parents being happy because before that I would take their stereo system and try to teach myself how to put two songs together without any break. Actually, I would take two stereo systems and use them both at the same time because I didn’t have a real mixer. I would fade out the volumes and go back and forth.
MC : What year was this?
AC : Around 1999.
MC : That’s interesting because by ‘99 most guys (including me) were already using compact discs to DJ. Did you stick with turntables?
AC : I switched over to Serato around 2004, but I still love using turntables.
MC : Before starting BPM Supreme you worked for a local record pool...
AC : I joined a record pool in San Diego when I was like 15. It was very different than the music services we have today. It was more of a club than a music service. It was made up of local club and radio DJs that got together and traded mostly vinyl.
MC : We had something very similar in Boston called Mass Pool. How much was that?
AC : About $100 per month to get all the latest releases.
MC : That is a big difference from the cost of BPM today. Why are you able to offer such affordable subscriptions?
AC : The digital age and things like iTunes totally changed how people consume music. Back then we were buying whole albums and 12-inch cuts before the public could get them. The price was actually pretty fair considering how much music you got at the time. Now people just buy one song at a time or use apps to stream their music. By eliminating packaging and mailing discs the cost per song has come way down. Plus our membership is worldwide, versus one or two cities.
MC : How did you get your foot in the door to work for the record pool?
AC : I’ve always been the type of person to ask a lot of questions. I would hang around the office and learn what I could from all the other DJs. I was able to get my foot in the door and that lead to me becoming an intern for them.
MC : What prompted you to start your own company?
AC : After I started using Serato and saw how many people were switching to a digital format, I realized that this was going to be the future of the DJ industry. I talked to the guys at my record pool about adding a digital service to the vinyl, but they didn’t see the value of it. They really believed vinyl wasn’t going to go away or be replaced.
MC : I bet they’re kicking themselves now. So you saw an opportunity and you decided to go for it. How did you get the licensing to distrib-ute all the music? That seems like such a huge process.
AC : Licensing is the toughest area of our business and the most expensive. Record pools have traditionally been a gray area. We’re always working with the promotional departments at major labels to get all the latest music. The hard part is the upper echelon of the record companies. They don’t seem to get how the DJ system works.
MC : How do you mean?
AC : Most online music services like iTunes or others just offer you one or two versions of a song. DJs need multiple versions to be able to mix. An artist creates a new song and the label may release two versions. A radio edit and an album version or sometimes a live version. DJs need redrums, acapellas, special edit, etc. Those all need a license variation on the artist’s original track.
MC : I see. I heard that you want to expand BPM to a streaming service?
AC : A few years ago I saw that streaming was the way the music industry was going. It’s been my goal to have the largest available music library. Not only for DJs, but for the public as well, so when we would get licensing for all the new promo music, I would go after the license for the entire artist catalog. That is a whole different level. The record companies don’t like that we had access to their masters. It’s an ongoing battle.
MC : How much does a license cost? I’m sure it’s thousands of dollars.
AC : That’s not something we disclose, but they are very expensive and we are in constant negotiations with the labels.
MC : What about ASCAP and BMI? Do you pay into them as well?
AC : Currently no. Right now we work directly with the labels and not the publishers. That’s still an area of discussion in the music industry. Everyone is still trying to figure out how to best move forward.
MC : There’s lot of argument concerning DJs that use Spotify or Pandora to play music at gigs. From what I understand, currently music you get from streaming services is for personal use only and not for performance. How does that work with BPM?
AC : This is a tough one to explain. It’s another big gray area. BPM Supreme is a licensed music provider. You pay us to be able to download music legally, which means you own the track. When you stream you are just “borrowing” the music. You don’t get to keep it. The other side of the coin is that no pool service or streaming service grants you a performance license. We don’t pay ASCAP or BMI, so it’s really up to the DJ to do their homework and make sure the venue has paid into them.
MC : Right now you are looking to move BPM Supreme towards becoming a streaming service. How will that translate to the DJ world? Have you thought about integrating BPM with any control-lers, like Pioneer or Denon or Numark for example?
AC : Great question. We have some partnerships that we are working on for 2020, but aren’t ready to announce yet. I think once they are done it’s really going to change the DJ industry.
MC : Wow, any hints?
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AC : Let’s just say when we are ready the news will be huge. We’ll have the largest DJ ready library.
MC : Fair enough. How do you get to be a remix artist for BPM?
AC : I have a team of about 15 people in house that work all day on curating music. They keep track of what’s working and what DJs are playing.
MC : How do you choose the redrums or remixes you add? What’s the process for getting your mix on the BPM site?
AC : You would submit your mix to our department through the email on the BPM Supreme site. We get thousands of tracks sent in. Not everyone makes it into our library. Competition is tough.
MC : Do people get paid if you use their remix?
AC : We do hire people that we like and that consistently submit quality mixes. You have to get your work known by our music curation department.
MC : Running your company must take up a serious amount of time. Do you still DJ?
AC : It does. I haven’t actually gone out worked an event in a few years, but I’m still very passionate about the industry.
MC : How do you keep up with what’s going on in the DJ world?
AC : I read a lot of blogs and my office staff is filled with working DJs. I surround myself with the DJ culture. That keeps me in the loop.
MC : So what’s your office culture like? AC : Like family. I don’t like to say that I have people working for me, but rather with me.
MC : Tell me about the new BPM Supreme App? What are some of the key features that will help DJs?
AC : We put a lot of time and thought into the new app. One of the main features that will benefit DJs is the ability to discover new music on the go. What I mean by that is as you’re streaming music you can instantly select a song you like from a playlist and add it to a crate.
MC : Wow that is helpful, especially if you’re trying to build a set list for a themed event.
AC : Yes. Let’s say you have an ‘80s party coming up and you’re listening to a bunch of ‘80s tracks. As you go through, you can select the ones you like and build a crate or add to an existing one for your event. The app will recommend music that is similar so you don’t have to waste time searching your entire library.
MC : That is huge! So what is in your opinion is going to set BPM Supreme apart from other pool type services?
AC : Foremost would be our commitment to innovation. We have a top notch design team that is always working to improve our user interface. Technology and the music industry are changing daily. I always want BPM Supreme to have the most user-friendly interface available. The second thing is content. BPM has the largest DJ friendly library on the market. Our library is constantly evolving to give DJs access to the music and remixes they need for any type of event.
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I N S I D E T H E I N D U S T R Y
MC : What do you think is the next evolution of how we play music? We went from vinyl to disc to digital in less than twenty years.
AC : The next evolution is definitely streaming. It’s a very weird balance in the DJ world. DJs love technology and gear, but at the same time they are very slow to change. The reason is because they are using the technology for work and it can’t fail them on the job.
MC : That is so true. I’ll buy a new piece of gear and play with it in my office for a few months before I take it to an event, just to make sure it’s not going to break down on me. The major concern with streaming is connectivity. If you’re in a place with bad wifi, you’re going to lose the ability to access your music. How do you overcome that?
AC : I would say most DJs carry back up gear to their events, right?
MC : Yeah, I do all the time.
AC : Same principle. Have back up music for now. What’s going to help with con-nectivity issues will be the development and use of offline modes. You’ll be able to pull down your crates and have access to them in your computer even if you lose the connection. The company that has the biggest library and best interface will lead the way.
MC : You want BPM to be that company?
AC : Absolutely. I know we will.
MC : Before we wrap up I want to switch gears ask how you find balance between being a CEO, family and personal time. I read that you’re an avid runner. How do you squeeze that into your daily routine?
AC : It’s tough. I’m usually up at 6:00 AM and I hit the gym. It can be hard to get a good workout in because my phone is already ringing that early. I have a few side projects going on as well as managing a few artists. The biggest thing I’ve done is to get an executive assistant. I make a daily schedule and try to stick to it.
MC : Do you get burned out?
AC : I get tired, but what I do is not a job to me. It’s my addiction. It’s like a hobby I love that I get to do every day. So it’s not “work” for me. It’s not about the money either. For me it’s about what I can accomplish each day. What the next big idea is. Where my vision going to take me. That’s what drives
me and turns this into an addiction for me.
MC : For a guy in his early thirties you’ve already accomplished so much. If your life were a mountain where would you be on it? Halfway up? Closer to the top?
AC : Thank you. I would have to say one third up. The company and I still have so much to do. Even with as much as we’ve done I think BPM is still just scratching the surface of what we can do for the music industry. I myself still have a lot of things I want to accomplish personally.
MC : Ok, so what do you think is at the top of the mountain? How will you know when you’ve reached the summit?
AC : I’ll leave you with this: Our current tag line is” Redefining the way DJs discover music.” Soon our tag line will be: “The way you discover music.” That opens up endless possibilities for BPM to change the world.
Michael Cordeiro is the owner of M.C. Entertainment, a small multi-op in Rhode Island. He has been on TLC’s Four Weddings, hosted an episode of Toddlers & Tiaras and has opened for many celebrities. He has a degree in Entertainment and Event Management from Johnson and Wales University.
The next evolution is definitely streaming. It’s a very weird balance in the DJ world. DJs love tech-nology and gear, but at the same time they are very slow to change. The reason is be-cause they are using the tech-nology for work and it can’t fail them on the job.
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MMobile Beat editor Dan Walsh asked me to reflect obile Beat editor Dan Walsh asked me to reflect on the past decade on all things mobile DJ on the past decade on all things mobile DJ
from my perspective as an elder statesman...well from my perspective as an elder statesman...well elder anyway. As I ponder what to write, I first have elder anyway. As I ponder what to write, I first have to give kudos to all the writers who share knowledge to give kudos to all the writers who share knowledge and document our industry. Well done, fellow scribes! and document our industry. Well done, fellow scribes!
In the past decade I’ve watched this industry, in a sense, pass me by...and that’s ok with me. I never really embraced all the new music but during this past decade I’ve gleefully watched from the sidelines as the new generation of sophisticated and (I think) highly intelligent mobile DJs have shared their passion and excite-ment about new music and technology. I feel fortunate to have been able to experience the range from DJing with records, single track tapes and CDs on the radio, to DJing private parties with CDs, laptop computers and controllers. Yes, I’ve definitely needed help setting up my DJ controllers. But, try as I might, I still don’t under-stand DMX.
I feel honored to have been part of the mobile DJ industry. My DJing will be taking a back seat (literally, by doing a few car shows) to my new major focus on making speaker stands...“mining the miners” as Gold Rush shop keeper Samuel Brannan would say.
Meanwhile reflecting on the past decade here’s what I found most interesting…
MUSICMusic, being the elixir of life and fuel of our profession, continued to evolve in the past decade. EDM, rap (rhythm and poetry), dubstep, certainly garnered our attention.
According to Mixmag.net, “Since 2010, electronic music has exploded in a blaze of creativity from the twin big bands of EDM and dubstep, ricocheting in new experimental directions, rediscov-ering its roots and setting down new ones.”
During the past ten years we witnessed a female artist beating out all others, as Rihanna charted the most number one hits, with nine. Bruno Mars had seven, Drake had six, and Justin Bieber tied with Taylor Swift with five. And at 19 weeks rapper Lil Nas X set the new record for longest running Billboard number one hit with “Old Town Road.” Boy bands returned to the music scene with dance moves and harmonies from the likes of the Jonas Brothers and the K-pop sensation BTS.
TECHNOLOGY “...new technologies mean new possibilities. The only way to continue the evolution of craft is to push the tools to their max.” - LANDR blog, https://blog.landr.com.
It’s been said the beauty of mobile DJing is in its simplicity. The past decade that simplicity got more complicated, more versatile and heaver. Lights and truss, DMX controllers, photo booths, line arrays and subwoofers all cost more, weigh more and take up more storage space; but they also can increases your average sales!
Controllers, those steering wheels of our mobile sound systems, have seen the most development during the decade. I recently purchased a white Pioneer DDJ-SZ2 (I’m a Pioneer guy) and I’m thrilled with the dedicated mic channel; however I’ve had second thoughts about this beauty after noticing Denon’s equivalent controller, which includes a mono-stereo switch—a simple but useful tool for street parties and car shows. New speakers that have caught my ears include models from Bassboss, Pioneer, Novin Audio and the Avante line from ADJ. Other gear advancements include: portable line arrays and air-powered speaker stands. In the software realm, rekordbox, Stems, Traktor Kontrol, and music streaming have also made modern DJing easier.
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T H E S P I N D O C T O R
Reflecting on a DecadeBy Mike “Dr. Frankenstand” Ryan
Reflecting on a DecadeLONG-TIME MB SCRIBE LOOKS BACK ON THE 20-TEENS
By Mike “Dr. Frankenstand” Ryan
T H E S P I N D O C T O R
Photo booths developed into a solid add-on sales vehicle for mobile DJs during the 2010s. Evolving from 131-year technology, this past decade found more people searching for photo booth rentals than for DJs. In Los Angeles alone there were more than 600 photo booth rental companies with over 200-hundred thousand monthly online searches for photo booths globally.
”...by some reports, the majority of weddings now have photo booths. Photo booths are now an essential part of the whole wedding experience. Without them it would feel like something is missing.” - Rob Savickis, Mobile Beat
DJ EVOLUTION The days of being either a mobile, club or radio DJ went away forever during the last decade. In some cases, the DJ has morphed into the technical sounding DJ/Producer or Producer/DJ, with computer music programs have opening up a whole new community of music production.
Consider DJ-turned-music producer Moby. His album Play became one of the most commercially licensed albums ever and was featured in films, television and commercial advertisements.
Concert DJs became a new phenomenon in the past decade. Las Vegas casinos gambled and won by swapping rock stars for DJs. A drive down Las Vegas Blvd. features giant marquee signs
with DJ superstars like Martin Garrix, Tiesto, Calvin Harris, David Guetta and many others (and most of these guys and gals are producers as well). Ten years ago I could not have imagined DJing to thousands at huge outdoor weekend long parties like Chowchilla. Exciting light shows that partnered with concert DJs are really a throwback to the late sixties when light show companies were
nearly as exciting as top bands of the days. (“Princess 109” was one of my favorites at the Fillmore West music venue in San Francisco.)
One bane to our business over the past decade still bothers me: the advent of Hollywood celebrity “DJs” who’ve taken up spinning like it’s a new diet trend. I feel it’s demeaning and dilutes our perceived value as a profession. It’s hard enough living down the “You’re a DJ?” stigma.
PARTING THOUGHTSMy wish for the next decade: A non-profit, true certification process for mobile DJs, one that will be embraced by the entire hospitality industry. At this point, the recent attempts by various associations to achieve this still aren’t good enough, in my humble opinion.
I will always be impressed with DJs who bring joy to others with music and entertainment and the current generation of brilliant and talented DJs will surely take us to new heights during the next decade. Welcome to the future.
Mike Ryan started out writing for news radio, and has been a DJ in the SoCal radio market on KGB and KSDS. He mobiles as Mike on the Mike. He is also the inventor/owner of Frankenstand Powered Speaker Stands.
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