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ISSUE 165 iSEPT^MBER 2015 


WWW.MOBILEBEAT.COM 


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MOBILE BEAT: THE MOBILE ENTERTAINER'S MAGAZINE 
ISSUE 165 ' SEPTEMBER 2015 • WWW.MOBILEBEAT.COl^ 


FROM THE 
GROUND UP: 
Getting My Act 

Together 


MOB LE BE 


Attracting 


igh-Quality 

V.W6dding 


Leads 


Re-Branding 

101 




TRACK ONE. 6 

JUICE. 8 

MILESTONES: MOBILE BEAT 25 • MBLV 20.10 

Covering MB 

By Robert Lindquist 


PLAY SOMETHING WE CAN DANCE TO! .12 


Predicting the Future 

By Jay Maxwell 

FEATURE. 16 

Picture This: Photo Ownership 

By Matt Martindale 

THE WEEKDAY GAME.20 

Remixing for Crossover Success 

By Rob Peters and Keith Alan 

YOUTH EVENT MASTERY.22 

Re-Branding 101 

By Arnoldo Offerman 

WEDDING BEAT.26 

Remixing Your DJ CRM & Planning Programs 

By Stad Nichols 

CROWDPLEASER .28 

Career Segues 

By Mike Ficher 

FROM THE GROUND UP . 30 

Getting My Act Together 

ByStu Chisholm 

FEATURE. .....32 

Grow Your Karaoke Offerings, Legally 

By Charlie Xavier 

MOBILE BEAT DEALERS.34 

Gear Stores Across the Nation 

FEATURE..........36 

Silent Celebrations 

By Jared Kingsley 

ON THE MIC AND MIXING.. 38 

Mail, Remixed 

By Joe Bunn 

FEATURE. 40 

Making the (Audio) Connection 

By Scott Jarema 

INSIDE THE INDUSTRY . 42 

John Young: Success Is Helping Others Succeed 

By Ryan Burger 

PRO D| FILES.44 

Mitch Taylor, Multi-Op Master & Maestro of Sales 

By Ryan Burger 

THE SPIN DOCTOR. 46 

Jason Griffith, Voice-Over Artist 

By Mike Ryan 























































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FEATURE...48 

A Haunted Wedding Adventure 

By Mike Ryan 

EBEAT.50 

DJ Intelligence Smartphone Apps 

By Marc Andrews 

FEATURE .52 

Mobile Movies Part 3: Going Bigger 

By Ryan Burger 

EYE CANDY. 54 

Astera Lightdrops^*^ and AsteraBox^'^ 

By Ryan Burger 

GADGETS & GIZMOS.55 

NuGuard KX iPhone Case 

By Michael Buonaccorso 

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Numark Lightwave Speakers 

By Ryan Burger 

EYE GANDY. 57 

Gefen Wireless HD Video System 

By Jake Feldman 

BOOK MORE BRIDES. 58 

Actions to Attract High-Quality Wedding Leads 

By Stephanie Padovani 

BRILLIANT DEDUCTIONS. 6o 

The State of Insurance 

By Mark E. Battersby 

GITOMER ON SALES .64 

Why Do YOU Buy? 

By Jeffrey Gitomer 

INDEX OF ADVERTISERS. 65 

THE LAST WORD.66 

Making Change 

By Jason Weldon 


O nce again, we welcome you to our "Remix Your Biz" issue, 
in which we offer ideas and inspiration for making positive 
changes to your business, as well as life in general. 

Inside you'll find: an overview of how to handle a complete 
re-branding from Arnoldo Offermann, whose successful re-brand 
blew the roof off his company's profits; ideas for "crossing over" 
to a new weekday market, using kids' after-school programs as 
an example, courtesy of Keith Alan and Rob Peters; Stephanie 
Padovani's description of smart ways to attract the highest-qual- 
ity wedding leads you can, starting with figuring out just who 
YOUR ideal client actually is; an extensive look at alternatives to 
the standard DJ management software options by Staci Nichols; 
a new take on old school snail mail from Joe Bunn; a look at the 
unique new "Silent Disco" headphone party concept from Jared 
Kingsley, who is a successful practitioner thereof; and a wrap up 
of his three-part series on presenting "Big Screen Cinema" mobile 
movie events, from MB publisher, Ryan Burger. 

Along with all this practical info, we also hear personal stories 
of change and from Mike Ficher (who describes his interesting 
and wide-ranging career Journey) and Stu Chisholm (who shares 
his trials and triumphs as he rebuilds his system "from the ground 
up"). Mike Ryan also profiles a non-DJ voice-over artist who offers 
a lot of good advice for those interested in that field as a potential 
"remix" of their mic/MC skills. 

You'll also find profiles of two industry leaders who have used 
their skills to help others grow and achieve success, Mitch Taylor 
is focused on sales and educating entertainers to be better sales 
people; and John Young has used his Disc Jockey News as a tool to 
help his fellow DJs improve, while also being a unifying force in an 
easily fragmented industry. 

I'm happy to note that we are doing some remixing of our 
own, after receiving great survey feedback from readers. Many of 
you asked for the return of basic tech how-to articles, so first up is 
a piece by Scott Jarema on that oft-neglected part of any sound 
setup: connectors. 

And finally, as we ramp up the celebration through this year, 
leading up to MBLV20 (Mar. 14-17, 2016 at the Tropicana), we'll 
be looking back at the 25-year history of the magazine and the 
20-year history of Mobile Beat Las Vegas from different angles, 
with stories in each issue, Kicking off is MB founder Bob Lindquist 
with the inside story on some classic mag covers. Enjoy...and don't 
miss the double-anniversary party that MBLV20 will be! 

- Don Walsh, Editor-in-Chief 


Mobile Beat 


Publisher 

Ryan Burger 
Mobile Beat 

Editor-in-Chief 

Dan Walsh 


Gear Editor 

Jake Feldman 

Circulation Manager 

Kitty Harr 


Editorial Assistant / 
Writer 

Rebecca Burger 

Events Group Director 

Michael Buonaccorso 


TO ADVERTISE (PRINT OR ONLINE), OR EXHIBIT AT A MOBILE BEAT EVENT, 
CALL OREIVtAILSALCS@MOB1LEeEAT.CoM 


HOWTO REACH MOBILE BEAT: 

Tel/Fax: 51 5-986-3344 

E-mail: webmaster^nnobilebeat.com 

Web: WWW,mobilebeat.com 

For subscriptions, address changes or back 
issues go to: www.mobilebeat.com 
or contact Mobile Beat by mail at: 

212 SE.Main St- Grimes lA 50111 

Back issues (if available}: 

$5 (in Canada: $6, US funds) 

Shipping address: Mobile Beat ■ 212 SE Main St 
■ Grimes lA 50111 

Mobile Beat [ISSN# 1058-0212) is published by: 
6C Productions, Inc. 

212 SE Main St ■ GrimesJA 50111 

January, March, May, Jufy, Sspt, Nov, Dec (7 issues per year) 


Ground shipments to: 212 SE Main St-Grimes lA 50111 

Periodical postage paid at Grimes, lA and 
additional mailing locations. 

Subscription rates: US and possessions: $25 for 1 
year, S45 for 2 years and S65 for 3 years - Canada: 
$35 for 1 year, $65 for 2 years and $95 for 3 years 
- All other countries: $60 per year - Subscriptions 
outside the U.S. must be paid in U.S. currency, 

Postmaster - Send address changes to: Mobile 
Beat* 212 SE Main St ■ Grimes lA 50111 

Copyright ^2015 by 8C Productions, Inc. 

All rights reserved. Reproduction of copy, photog¬ 
raphy, or artwork is prohibited without permis¬ 
sion of the publisher. All advertising material 
subject to publisher's approval. 


































































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Anniversary Event 
Presenters Unveiled 

A long with MBLV20's keynote presenter, 
dynamic speaker John Taffer of TV's Bar 
Rescue and Night Club & Bar, the lion's share 
of the event's slate of industry experts has 
been revealed. Details can be found at 
www.m obi lebeatlasvegas.com/presen- 
tations/ but here are some highlights: 

Todd Mitchem, a past favorite at 
MB shows and master of audience moti¬ 
vation, returns to MBLV after a long 
absence, during which he consulted for 
many top companies and numerous start- 

CHAUVET DJ to Help 
MB1V20 Shine 

W ith the announcement that 
CHAUVET DJ will once again be 
part of creating the exciting atmosphere 
at Mobile Beat Las Vegas, the company's 



EV Speakers Power 
Epic Wedding Video 

T he recent wedding of Robert and Teresa Ly of 
Orlando was a grand event that truly ended on a 
high note. Relying on Electro-Voice Live X powered 
loudspeakers to deliver rich, clear audio—along 
with last-minute instructions for the choreogra¬ 
phy—the happy couple and their guests danced 
their way through over seven minutes of popular 
music to create an epic wedding music video that 
literally involved all 250 guests at the reception, all 
in one take and with no rehearsal. (Check it out at 
www.youtu be.com/watch?v=oi 1 syPvm AWg) 

"It was awesome," said DJ Mark Houghton of 
Orlando DJ & Lighting. "They wanted something 
unique and fun that involved everyone, and it had to 
be a surprise. The bride and groom were the only ones 


ups. He has focused on 
leadership develop¬ 
ment, brand develop¬ 
ment, public relations, 
and other areas where 
guiding people toward 
viable solutions is the 
goal. 

Mitch Taylor, a 

21-year veteran of the 
mobile DJ Industry, will 
share the four steps that you must take to 
achieve success as a mobile DJ, and how 
to apply each step to different facets of 
your business. (See our interview with him 
on page 44 of this issue.) 


Marketing Manager, Geoffrey Short said, 
"CHAUVET DJ is always glad to be able to 
participate in the Mobile Beat show, It's 
one of the best opportunities of the year 
for us to connect with the people that not 
only use our existing products but also 
help shape future ones. And this year is 
even more exciting because Mobile Beat 
will be in a brand new home! We think 
the move to the Tropicana will be fresh 
and invigorating! We love the chance to 
get valuable face to face feedback and 
exchange learning through the great edu¬ 
cational features of the show. Last year 
we were proud to be the lighting sponsor 
for the ground breaking "Entertainment 
Experience" and we're just as excited to 
share the Experience again this year as 
the exclusive lighting sponsor of these 
amazing learning opportunities. We can't 
wait to see everyone at The Tropicana for 



Mobile Beat founder 
Robert Lindquist will 
be on hand to talk to 
the anniversary event 
audience about the 
origins of the magazine, 
the development of the 
mobile DJ industry as 
a whole, and where he 
sees things headed into 
the future. 

Don't miss this once-in-a-lifetime 
MBLV celebration of 25 years of the 
magazine and 20 years of MBLV. Go to 

www.niobilebeatlasvegas.com and get 

your pass today! 



MBLV20!" 

Publisher Ryan Burger said, "Mobile 
Beat is thrilled to have CHAUVET DJ's 
involvement and their fantastic lighting 
designer/endorsee Jeremy Brech of DJ 
Jer Productions on with our educational 
experience again this year at MBLV20. 

More information on CHAUVET DJ 
can be found at www.chauvetdj.com 
and check out www.mobilebeatlasvegas. 
com for the latest announcements about 
the presenters and other exciting events 
scheduled to take place on the CHAUVET 
DJ-lit stage at MBLV20. 


who knew, and we worked together to come up with 
the music mix. The guests got their instructions in 
an envelope taped under each table just 10 minutes 
before the shoot. Everything went as planned." 

Between Facebook, YouTube, and other online 
news and entertainment sites, views have topped 4 
million, while viral viewership via shares is likely in the 
tens of millions. The Ly's, who own Sus Hi Eatstation, a 
inja-themed Orlando restaurant, are ecstatic. 

For the reception, Houghton used two 
ELX115P mains and one ELX118P subwoofer. He 
knew sound quality would be key in making the 
video a success, but wasn't worried. 

"The sound of EV loudspeakers actually 
brings us business/'Houghton says."In fact, we got 
this job because the wedding planner knows our 
reputation for sound quality, and Electro-Voice 
(www.electrovoice.com) is all we use for our PA 

systems and wireless mics. MB 



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MILESTONES: MOBILE BEAT 25 


M B LV 2 0 


MB ORIGINATOR REMINISCES ON 






Covering 

MB 


OLD SCHOOL COVER CREATION 

By Robert Lindquist 


story on cut-rate DJs, I show it to all my prospects 
so they can see just what they'll get if they hire 
my competition!" 


During the early years of Mobile Beat, there was 
an abundance of new technology making its way 
to the DJ market, especially in the realm of effects 
lighting. We needed to feature this new technol¬ 
ogy so we designed an issue around lighting and 
wanted a cover that would be appropriate. The 
first thought was to bring our photographer to 
an actual job, but we had accumulated so much 
lighting gear, getting it all into a live-action frame 
just wasn't going to work. 

So, we decided to fake it. I rented two mannequins and set up 
every lighting effect 
we had (on loan from 
Ness, American DJ, 

Colorado Light N' 

Sound and Meteor) in 
the small back yard of 
my village home. We 
even had two foggers. 

After explaining the 
concept to our photog¬ 
rapher and positioning 
everything appropri¬ 
ately, we waited until 
it was dark enough to 
get the shot 

A small crowd of 
curious neighbors had 
begun to assemble 
when we decided it 
was time to fire every¬ 
thing up. That was 
about the same time 
the winds picked up 
and began knocking things over. Fortunately, nothing broke, When 
we finally did get everything stabilized, the circuit breakers began 
flipping. With someone stationed by the breaker box, the photog¬ 
rapher began clicking away.Then the police showed up; apparently 
all that fog and bright lighting looked pretty much like a fire and 

someone had called it in. 

It took a couple of hours until we 
were finally confident that the shot we 
wanted was somewhere on one of the 
spent rolls of film. It was then that the 
photographer gave me a lesson in per¬ 
spective, "You know, I could have gotten 
the same shot with Barbie and Ken dolls." 

The final side note is that we 
had thought about dressing the 
mannequins, but figured it might be 
a bit more provocative to leave them 
unclothed. Against the background 
of darkness, fog and lights, they 
looked more realistic than we had 
envisioned, and quite a few readers 
actually thought we had hired nude 
models for the shot. MB 


THE MARINELLI COVERS 


Several of the early Mobile Beat covers were illustrations done by a 
local artist named Jeff Marinelli, It was often easier for Jeff to com¬ 
municate our ideas with an illustration, as we always tried to inject 

a little inside humor into the cover art. 
Two of my favorite Marinelli covers 
where Issue #12 and Issue #14, Issue 
#12 was all about country music and 
country DJs, so for the cover we 
borrowed a bit from the TV show 
Hee Haw and displayed a couple of 
country spinners with a chorus line 
of dancing pigs. Issue #14 featured 
a typical wannabe karaoke singer 
crooning away in (he thinks) the 
style of Elvis, as the KJ smiles 
and winks to the reader. Some 
readers got it, some didn't. 


IMP^***^ 






SPINNING OUT OF 
CONTROL 

Way back when Mark Ferrell 
was still a working DJ, we decided to 
take a slightly satirical look at why 
DJs weren't charging what they 
were worth—or more accurately, 
hy some DJs weren’t worth what 
they were charging—even if they 
weren't charging all that much. 
The inspiration for the story 
came from Mike LaMarca, a 
local Rochester, NY 
DJ who operates 
Spectrum Sound. 

Not only did Mike 
give us the idea 
for the story, but he also 
agreed to be our "poster child" for cut-rate 
DJs everywhere. Mike showed up in an ill-fitting 
suit wearing a bandana, with a sack of goodies from 
McDonalds ("Would you like fries with that father/ 
daughter dance?"}. Following the photo session 
at a local studio, our Photoshop experts went to 
work. In the end, we got just what we were looking 
for—a grainy black and white "hidden camera" look 
with pixelated facial features. Similar photos inside 
showed our cut-rate DJ sloppily munching on Big 
Macs during a gig. Comments from our readers 
included (and I paraphrase) "Thanks for running a 








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PLAY SOMETHING WE CAN DANCE TO! 



HIGH TUNES WILL STAND THE TEST OF TIM 




By Jay Maxwell 



S ome sounds are 
unmistakable. 

One distinctive 
sound that I miss 
is the hiss and 
soft crackle made 
during the few 
brief moments 
when the turntable’s 
needle first hits 
the vinyl record 
before it reaches the 
first note of the song 
Although considered by most 
to be noise, for me this sound 
indicated that the magic of the 
needle traveling along the 
groove was about to produce 
music from my favorite artist as 
I imagined the band performing 











right in my living room. It 
was always a spectacular experience to 
hear the transition from the popping noise to the 
ecstasy delivered to the ears upon hearing the 
first guitar riff or bass beat. At one time in my life, 
there was no greater joy than buying a new album, 
holding it in my hands to enjoy the intricacies of the 
12’’x12” cover art, gently removing the thin plastic 
wrapping and then carefully sliding the record out 
of its sleeve to lay it on the player for its first spin. 

If someone had told me when I first started DJing there would 
come a day when music companies would not sell vinyl, I would 
have found it hard to believe. It came as quite a surprise to me 
when stores started selling music on a compact disc format. Gone 
was the hiss and pop at the beginning of a song; in return was the 
clear sound of the music regardless of how many times you played 
the song. Predicting the future 


a touch of a virtual button, 
my virtual turntable will 
spin the same songs I 
bought 40 years ago. You 
can completely cover the 
iPad with just one album 
cover, yet the amount of 
music that it contains is 
immense compared to the 
ten typical tracks found on 
a record. 

Equally difficult to 
predict are what songs will 
still be requested in the future 
to get people dancing on the 
dance floor. Forty years ago, it 
would have been impossible to 
convince me that'Tlay that Funky Music" 
{Wild Cherry) or "Boogie Shoes" (K.C. and 
the Sunshine Band) would still be two of the 
most-requested songs at any party in 2015. 
In my past, when I placed the album on the 
turntable, I would try to predict which songs 
would become radio hits. Often, my predic¬ 
tions were wrong. Now when a new song 
hits the charts and I start playing it at an event, I 
try to predict the tune's staying power. Will the song be a hit like 
"Harlem Shake" (Baauer) that smokes the dance floor for a season, 
and then relegated to novelty status, returning only for reunion 
parties? On the other hand, will it be a song like the "Wobble" 
(V.I.C.) having the staying power of the "Twist" {Chubby Checker)? 

This issue's list consists of the hottest dance floor songs for 
the past two years that I predict will still be getting people on the 
dance floor five, ten, perhaps even 40 years from now. I imagine 
"Uptown Funk" played as often as "Yeah" (Usher) or "Celebration" 
(Kool & the Gang) decades from today. To think that "At Last" (Etta 
James) is still a wedding first dance standard after nearly 60 years 
is incredible. Will John Legend's"AII of Me"have the same effect on 
couples half a century from now? My prediction is that "Shut Up 
and Dance" will become as popular as "Love Shack" (B-52s), that 
Maroon 5's "Sugar" will become a cake-cutting song of choice, and 
that "Summer" (Calvin Harris) gets played at every pool party for 
the next several years. Of course, whether my predictions come 

true will only be known in due 


is difficult. Certainly, I could 
not imagine many years ago 
that a future music format 
would not allow you to hold 
it. I would have thought the 
craziest idea in the world was 
to "own" music that you could 
not touch. Now, my iPad holds 
nearly 8,000 songs. I cannot 
touch any of the songs, yet at 


yt 

M/' 


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Mobile Beat's resident musicologist since 1992 
(issue Jay Maxwell runs the multi-talent 
entertainment company. Jay Maxwell's Music 
by Request, LLQ in Charleston, South Carolina. 
He is also a professor of Business at Charleston 
Southern University. His passion for detail 
and continuous research of clients' requests 
con be found not only in this column, but also 
in his annually updated music guide, Play 
Something We Can Dance To. 


time. That is why I am promising 
to write this same article again 
in 40 years—when I am 96 years 
old—to see which of these 
songs are still capable of getting 
people on the dance floor when 
they yell, "Play Something We 
Can Da nee To!" 

SONG LIST ON PAGE 14 > 


12 









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PLAY SOMETHING WE CAN DANCE TO! 


JAY'S STAYINO-POWER PREDICITONS, i01 5 



SONG TITLE 

ARTIST 

CATEGORY 

YEAR 

BPM 

1 

UPTOWN FUNK 

MARS, BRUNO/MARK RANSON 

PARTY 

2014 

115 

2 

HAPPY 

WILLIAMS, PHARRELL 

PARTY 

2014 

80 

3 

SHAKE IT OFF 

SWIFT, TAYLOR 

PARTY 

2014 

80 

4 

BLURRED LINES 

THICKE,ROBIN/PHARRELL 

PARTY 

2013 

60 

5 

ALL OF ME 

LEGEND, JOHN 

LIFETIMELOVE 

2014 

63 

6 

TURN DOWN FOR WHAT 

D] SNAKE/LlLjON 

PARTY 

2014 

100 

7 

ALL ABOUT THAT BASS 

TRAINOR, MEGHAN 

PARTY 

2014 

67 

8 

THINKING OUT LOUD 

SHEERAN, ED . 

Wedding 

2015 

79 

9 

WATCH ME {WHIP/NAENAE} 

SILENTO 

PARTY 

2015 

140 

10 

FIREBALL 

U 

PARTY 

2014 

123 

11 

TIMBER 

PITBULL/KE$HA 

PARTY 

2013 

130 

12 

SCREAM & SHOUT 

Wi .I.Am 1 BRITNEY SPEARS 

PARTY 

2013 

130 

13 

SHUT UP AND DANCE 

WALK THE MOON 

PARTY 

2015 

128 

14 

THRIFT SHOP 

MACKLEMORE 

PARTY 

2013 

95 

15 

SUITS, TIE 

TIMBERLAKE, JUSTIN 

PARTY 

2013 

102 

16 

FANCY 

AZALEA, IGGY 

HIPHOPfresh 

2014 

95 

17 

SUGAR 

MAROON 5 R V 

HOT HITS 

2015 

120 

18 

GDFR (GOIN' DOWN FOR REAL) 

%. fLORIDA 

. GRANDE, ARIAN^*‘”i^'•■^ 

HOT HITS 

2015 

146 

19 

PROBLEM 

HOT HITS 

2014 

103 

20 

TREASURE 

^ MARS, BRUNO 

PARTY 

2013 

116 

21 

TALK DIRTY TOME 

DERULO, JASON 

PARTY 

2014 

101 

22 

BEST DAY OF MY LIFE 

AMERICAN AUTHORS 

HOT HITS 

2013 

100 

23 

1 LOVE IT 

ICONA POP 

HOT HITS 

2013 

126 

24 

HEY PREHY GIRL 

MOORE, KIP 

LIFETIMELOVE 

2013 

86 

25 

WAGON WHEEL 

RUCKER, DARIUS 

PARTY 

2013 

146 

26 

GET LUCKY 

DAFT PUNK/PHARRELL 

PARTY 

2013 

116 

27 

FEEL THIS MOMENT 

PITBULL 

PARTY 

2013 

136 

28 

CRUISE 

FLORIDA GEORGIA LINE 

FASTCOUN 

2013 

74 

29 

HONEY I'M GOOD 

GRAMMER,ANDY 

PARTY 

2015 

123 

30 

WANT TO WANT ME 

DERULO, JASON 

HOT HITS 

2015 

114 

31 

LOVE NEVER FELT SO GOOD 

JACKSON/TIMBERLAKE 

HOT HITS 

2014 

118 

32 

SUMMER 

HARRIS, CALVIN 

HOT HITS 

2014 

128 

33 

1 DON'T DANCE 

BRICE, LEE 

Wedding 

2014 

92 

34 

1 NEED YOUR LOVE 

HARRIS, CALVIN 

HOT HITS 

2013 

125 

35 

CAN'T HOLD US 

MACKLEMORE 

PARTY 

2013 

73 

36 

TONIGHT LOOKS GOOD ON YOU 

ALDEAN, JASON 

SLOWCOUN 

2014 

85 

37 

STAY WITH ME 

SMITH, SAM 

SLOW2000 

2014 

85 

38 

RATHER BE 

CLEAN BANDIT 

HOT HITS 

2014 

121 

39 

BANG BANG 

JESSIE J/ARIANA GRANDE 

HOT HITS 

2014 

75 

40 

DANCE WITH ME TONIGHT 

MURS,OLLY 

HOT HITS 

2013 

32 


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Picture This 






WHO 


It 


EA.L 


% 


w 


OWNS THE IMAGERY? 


By Matt Martindale 


I n my last article (^The Unplugged Wedding,” MB, 
May 2015), we talked about taking photos at events 
and the MC/DJ*s role in announcing (and expected to 
enforce) this ongoing trend of a tech-free wedding. 
We also explored the history of how this got started, 
the many persuasive arguments used by photographers 
and coordinators to sway brides into thinking they 
want unplugged weddings, and moreover, why this 
whole trend is just silly. I closed out the article with 
my thoughts on how to deal with this trend and keep 
us, as the visible MCs/spokespeople, out of hot water. 

Now, let's explore the topic of photos a little more. WARNING: 
This may be be controversial! 

PHOTO CONTEST 

So, if you attended the game-changing 19th annual Mobile Beat con¬ 
ference in February 2015, then let me ask, who "owns" these photos? 



a. SCE Events {the lighting supplier) 

b. The Riviera hotel 

c. Jason Jani 

d. Mobile Beat (the show producer) 

e. The person who took it 



a. The lighting designer / contractor 

b. TheTropicana Hotel 

c. Mobile Seat (the clientthat booked the room forthe event) 

d. The person who took it 



a. The lighting contractor 

b. TheTropicana Hotel 

c. DJ Jazzy Jeff 

d. Mobile Beat (the client that booked the room for the event) 

e. The person who took it 



a. The flower farmer 

b. The florist 

c. The venue 

d. The person who took it 



a. The DJ / lighting contractor 

b. The hotel 

c. The bride and groom 

d. The person who took it 

Ready for the simple answer? 


16 


MOBILE BEAT SEPTEMBER E0I5 





















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The truth is, the person who took the photo is the ONLY 
person with any actual rights of ownership. This intellectual 
property right presides over ownership, and thus states that"you 
can control how the material you create is copied or distributed." 

This ownership is, in effect, created when the original work 
(like a photo) is created. Translation: when the button is pushed. 
This creation becomes "a tangible form that can be perceived, 
reproduced or communicated in any form." 

Simply put: The person that took the photo owns the photo. 
The Copyright, Designs and Patents Act of 1988 states that "the 
author of a photograph is the person who creates it. The author 
will be the first holder of the copyright in the photograph unless 
this was created in the course of employment; in which case the 
employer will own the copyright." 


WAIT, WHAT ABOUT THE CREATION OF THE LIGHTING? 

I know what you're thinking...how does this relate to OJing an 
event? 

One word. Lighting. 

Lighting creates or enhances an environment. 

Does that then lead us into the realm of creativity and rights 
for the person involved in creating the environment for a photo- 
graph....like lighting, decor, fog, etc even though they don't take 
the actual photo? 

Does the lighting designer, lighting tech, DJ or venue "own" 
any photos of the lighting set up for a specific event even though 
they didn't take the photo? 

So, why all the fuss? 

The primary reason is economic. 

Many photographers, DJs and lighting/production 
companies I've interviewed feel that since they invest a lot of 
time, creativity and hard work that goes into setting up the "right 
environment" with lighting, or building the "right moment" at an 
event (like the perfect voice over by dad brilliantly edited into 
the first dance to generate a room filled with emotion}, then they 
feel they want to capitalize in retaining the integrity of their work 
and thereby, all rights of ownership, even if they didn't take the 
photo. 

Yep, DJs are whining non-stop that a photographer sent 
somebody a photograph with their lighting in it for their use in 
a publication, website or promotion. It's also like asking then, 
"does the DJ own the photo of the special moment the DJ spe¬ 
cifically creates for the father/daughter dance that the photogra¬ 
pher took?" No. What about a florist who provides centerpieces 
and the photographer takes a photo of bridesmaids holding 
flowers? Does the florist own the photo? No. So, then why do DJs 
and lighting/production companies passionately argue at what 
seems to be at every forum, conference and convention that they 
"own" a photo of lighting from an event they did, even if they 
didn't take the photo? 

Honestly, my two cents; If you didn't take the photos, let it 
go and move on. If you did, then take and use your own photos— 
problem solved. (Please refer to my article on "The Unplugged 
Wedding" in the May MB before doing so.) 

As a side note, DJs and lighting/production houses, please 
note, this is NOT a license to steal photos online. So seriously; 
Stop! Rather, take your own photos and be proud of your own 
work. If you don't have photos, then simply ask the owner (the 
person who took the photo) for permission to use a photo. Stop 
the stealing! 

Lastly, brilliant intellectual property attorney Kevin Houchin 
says, "The issue comes down to practicalities, professionalism 
and service motivations relative to the event. Things as simple 
as cell phones that take photos are way ahead of copyright laws. 
The reality is that lighting pros are paid to create an environment. 
The way I see it, just do a good job, get paid a fair fee and move 
on to the next event. If people try to copy you, fine. If they can 
do Just as well, you are not offering as good of service as you 
think. Prove your value with great work at a great value. That 
should be enough to keep your competition at bay. If it's not, the 
problem really isn't an issue of protecting your ideas, but rather, 
it's a problem of you not being better than the other guy—or at 
least not better enough for the client to see a difference." MB 


18 


MOBILE BEAT SEPTEMBER S015 













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How to Fill Your Calendar with Cash 



Remixing for 
C rossove r 
Success 

By Rob Peters and Keith Alan 

T oday*s music seems to get reinvented over and 
over, depending on the formats different artists 
are trying to target. A song can be originally recorded 
for the Pop charts, then can be remixed to hit the 
Dance format, recorded acoustically for AC or can 
even cross over to Countryl You, as an entertainer, can 
do the same thing. All you need to do Is this, think 
of something that people want and give it to them. 


There are only 52 weekends in the year. As a small, full-time 
company here in CT, I could look at this two ways; 1) Here in 
the northeast, Friday weddings are the second busiest slot for 


weddings and we also have a good number of Sunday weddings. 
But I like to try to keep Sunday for family time. So, I'm limited 
to about 110 days to work. Or 2) think of it as an opportunity 
to fill the roughly 200 additional dates! I took B and started 
thinking outside the "typical DJ" box. As a result, we created our 
"Campardy" program. We are now at roughly 70 events over the 
seven-week summer camp season. It's a continuous work-in- 
progress and sometimes a challenge, but I enjoy every event I do. 

So here's a challenge for you. I'm going to present you with 
a need and let's see how you can fill it. According to United 
States Census Bureau (https://www.census.gov/hhes/families/ 
data/families.html), the average number of children under 
18 per family is between 1.5 and 2.0. Our society has become 
dependant on dual incomes per household and many of these 
jobs will not allow a parent to work according to the children’s 
school schedule. What happens to the children between school 
dismissal and the end of parents' work hours? The answer is that 
they go to after-school programs and drop-in centers. These 
facilities handle a variety of ages, but most of them serve the 
elementary school level. 

Did you know that these centers also hire entertainers of 
different types to come in? Well, they do! What can YOU offer 
them? Can you offer them a game show? Maybe a Bubble Party? 
Or a dance party? Could you build a stable of magicians, artists, 

henna tattoo artists and others— 
and become their booking agent? 
And then there are the early 
dismissal days. These dates are 
high-demand dates. 

If you live near a military 
installation, you have a lot of youth 
work opportunity. They have rules 
about kids being left home under 
a certain age. Let's use Wright- 
Patterson AFB, Ohio as an example 
(it was a random pick).This base has 
four Child Development Centers 
and they ALL offer after-school 
programs and activities. Once you 
get into one of these centers and 
you do a good job at whatever you 
do, you will have repeat business. 

I am not telling you that you 
have to go out and build a better 
mousetrap here. What you do as an 
entertainer may be what the client 
is looking for. Just remember, as an artist remixes a song to fit a 
format, you can remix your business to fill the need. MB 




Keith Aian has been in the DJ biz since 1975, started 
hosting weddings in 1982 and went futi-time in 1993. 
While hosting over 60 weddings a year on the weekends, 
his mid-week programs generate income through out 
the year Outside of the weddings division of Keith Alan 
Productions, Keith's summer program, Campardy™ has 
grown from 1 event in 2000, to 75 events within a 6 week 
window! He is busy with game shows, trivia, photo booths 
and extreme bingo the other 46 weeks of the year 



For over 25 years, Rob Peters has been entertaining 
audiences of alt ages, tjf weddings, corporate events, kids* 
parties and more. Rob started DJing in 1987 and went 
futi time in 1993. He began doing kids* events in 2006, 
and now performs for over 100 weekday parties each 
summer. He is the co-owner of Rob Peters Entertainment 
in Braintree, MA, and runs Bubble Parties, a business 
program that helps DJs increase their youth event 
revenue. He is also a seminar presenter and author of 
The Business Of Mobile DJing from ProDJPublishing. 


20 


MOBILE BEAT SEPTEMBER 2015 

















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Re-Branding 101 

HOW-TO, FROM THE TRENCHES 

By Arnoldo Offerman 


W ith this iisue’s ovierall theme being ^^remixing 
your business/* I immediately thought about re¬ 
branding, as we went through a serious re-brand a year ago. 

First, I want to start with an excerpt from my book /? U Rockin' 
With the Best?! (The 4SchoolsOniy Story to heip you Master School 
Dances): 

It wasn't but 7 years before the time of writing this that 
4SchoolsOnly wasn't even thought of. I was just a normal 
employee who nabbed a Job as a DJ and then moved to 
working as a full-time sales person and entertainer. Our 
largest school package was $1,395-$!,500 and it was called 
the Digital DVD Experience. This was basically an amped 
up wedding package that went from the 8'x 8'Global Truss 
arch setup to a 10'x 10' 12" Global Truss rig. The larger truss 
wasn't even considered, but Kelly, the CEO, saw the 30' of 
truss in the small storage area and said "What am I going to 
do with all this?" We had 4-6 American DJ Pocket Scans, and 
250W flood lights. We added a Martin Acrobat and a few 
things here and there, but it was a slow process. Of course, 
DMX wasn't even something we put in as a thought. On 
either side of the glorious setup was a 5'x 7'video screen. 
Projectors back then were huge and filled up said screen 
with an amazing 1000-1500 lumens of output from 15'-30' 
away. My, how times have changed. 

Anyhow, the Digital DVD Experience grew to include live 
video along with music videos, played with the Numark 
video mixer and dual DVD player. This was pretty new 
technology, but it was shiny and we had to have it! Yeah, 
we were big and bad in this area, and we were ready to let 
every school know about it. I made custom DVDs with tons 
of video and info and sent it to each school in the county. 
How custom were they? The intro and video screen had 
the school's name, colors, mascot, etc. It was a ridiculous, 
time-wasting effort that was worth it. Why? This helped 
mold the rest of the company's promo history. Every new 
video, website, flyer, business card, and other promotional 
piece was created with these videos in mind, i learned so 
much about properly marketing to schools thanks to the 
feedback I got from students and teachers. 

At this point, 4SchoolsOnly wasn't even thought of. 
We were Just A Premier 
Entertainment "creating 
the high school dance of 
a iifetime" or some other 
cheesy crap iike that, i 
couidn't find a tagline 
that really worked. I also 
couldn't market to schools 
when we had the well- 
earned reputation as the 


leading wedding DJ company. We had to re-brand without 
harming the brand either way.This all fell in place thanks to 
John Young. On a flight to The Disc Jockey News Northern 
DJ Convention, I was playing around with a website to 
target just schools and came up with the name 4 Schools 
Only. This eventually would be changed to 4SchoolsOnly 
because spaces are so mainstream. 1 showed the idea to 
Kelly, complete with an entire mini-business plan for the 
division, it was the most productive 3 hour flight in the 
history of mankind. He liked what I showed him and said 
"Run with it." Needless to say, a new division was born, and 
would remain a small division for a bit, but that all changed 
thanks to one special school. 

This school was special and they helped us grow like 
never before. They called us asking for information, which 
got my attention as we hadn't hit them with marketing yet; 
come to think of it, that area wasn't even near our radar yet. 
It was only 45 minutes away, but i didn't focus that hard 
on those areas. It turns out that another DJ mocked us 
the moment that the sponsor mentioned our website. He 
called the company "inferior wedding DJs" and called me 
Just a "skating rink DJ." Ironic, I thought, as he started out 
at an even smaller skating rink as a skate room attendant, 
not a DJ. Yes, indeed, a rival skating rink DJ back from when 
I was 15 was going to be our competition. This should be 
interesting. 

But still, this fueled the drive to make something new with 
our setups. Kelly and I put everything that 4SchoolsOnly 
had together, as well as buying 50 more feet of truss and 
named it after their mascot. With a price tag of $5,000, more 
than double of our other packages, we set up a small rig in 
the cafeteria to show the students how lights, sound, bass, 
and music all came together for one incredible experience. 
Yes, at this point we have been dabbling with DMX and got 
pretty good at it for such a short amount of time. 

They booked. Of course they did, how could they not? It 
was the most incredible sales experience at that point in my 
life; we went in with a BANG and left with a DOUBLE BAM! 
We were giddy like school girls and couldn't stop talking 
about it. This couldn't be the only school, right? There 
HAVE to be more...more schools will buy $5,000 packages 
with a catchy name after their mascot. Indeed they did. 

This package was growing 



Arnoldo Offermann is the creator of the video series Master 
School Dances and author of R U Rockin' with the Best?! 
He has helped DJs worldwide become market leaders In 
school dances. In a soft economy flooded with $500 school 
dance DJs, Arnoldo enjoys watching 45choo}sOnly yield 
dances of W‘20x that price tag. Learn more about his wildly 
successful series packed with ideas that actually work at www. 
Ma s terS ch oolDan ces. com. 


in popuiarity and we saw 
more schools Jumping on 
it! The cool factor of naming 
it after their mascot stuck 
until I had a school whose 
mascot was the lamest 
thing I could think of. 1 
thought, "Yup, I can't make 


22 


MOBILE BEAT SEPTEMBER S015 























that sound cool." It was time to brainstorm; I needed a good 
name, and quick! 

Danity Kane's "Showstopper" played on the radio. 

A light went on in my head. This was timing at its best. 

For us, the rest is history.The Original Showstopper is still, 
to this day, one of the most popular packages we sell. 

I've re-branded everything, but the Showstopper name still 
exists. I change things up every year at least; text on website, 
photos, promo video updates, company policies. Many of these 
are simple brand refreshes or updates, but a complete re-brand 
is exactly that. 

It is the biggest deal foryour company. Don't take this lightly! 

Let's take a look at some key items and a brief explanation as 
to why they're important. 

But first, why re-brand? 

RE-BRANDING KEEPS YOUR IMAGE UP-TO-DATE. 
FRESH, RENEWED, CONNECTS WITH YOUR TARGET 
MARKET 

Chances are your target market stays the same age while you 
don't. This is why I recommend NEVER using any terms that are 
part of current trends for a slogan or company name. "YOLO" 


and "Swag" are played out and "Turnt Up" is on its way out. Any 
marketing material that makes references to these terms is 
pretty much dead. Weddings and corporate are a bit easier as 
these terms aren't usually used in that market. However, it’s still 
good to see what's happening in pop culture and make sure your 
branding fits in. For example, 2013-2014 saw a massive trend in 
minimizing. Bold strokes, embosses, and overall flashy text deco¬ 
ration were all stripped. Google, Apple and Microsoft all flattened 
their logos and websites everywhere used bold colors, big text 
fonts, and a much cleaner, leaner design. 2015 seems to keep 
up on this trend but strips always the multi-color approach and 
sticks with only one or two bold colors. 

RE-BRANDING FORCES YOU TO REMOVE THINGS THAT 
AREN’T WORKING 

If it doesn't work, scrap it.That's it—there's not much to add. I will 
say from personal experience that if you do your own marketing 
work, it's easy to fall in love with an idea and thus it's almost an 
impossibility to scrap it without it feeling like a breakup. But 
break up you must, 

RE-BRANDING HELPS YOU REMOVE DATED MATERIAL 
AND PASSE FADS FROM YOUR MARKETING 

Remember the references above to Yolo and Swag? If you did 
something like this—shame on you. Don't do it again. Still, there 


WWW.HOBILEBEAT.COM » SEPTEMBER 2015 


23 





are other elements that get outdated. Remember that time 
when DJs thought bringing in a chocolate fountain was a great 
idea? If those photos are on your website, kill it with fire. Stuff 
like this dates your website and thus makes your company seem 
outdated and not in touch with current trends. 

MULTI-MILLION DOLLAR COMPANIES RE-BRAND 
-YOU SHOULD, TOO 

Look at how many companies re-brand, some as much as every 
other year. Apple, Google, AT&T, Burberry, McDonalds, and the 


list goes on and on. They will undoubtedly spend more money 
and put in more time and resources to their re-brand than you or 
I will, but that's further motivation as to why we should re-brand. 
If the "big guys" do it for survival, then you should, too! 

IT BREATHES NEW LIFE INTO A FAILING OR 
STRUGGLING BUSINESS 

McDonald's went through a slump of"only fatty foods"and wasn't 
the cleanest place to eat. In my opinion, those facts are still there 
but their recent re-brand has made the piace cleaner, livelier, and 
is almost like eating at Starbucks! Harley-Davidson almost went 
bankrupt, but a re-brand quickly changed all that. I'm not saying 
your business is failing or struggling, but re-branding can take a 
bad scenario and make it great; imagine what it can do when you 
are doing well to begin with! 

N ow that we know WHY, let's talk about the how! First, realize 
that a complete re-brand isn't cheap because you shouldn't 
skip a single thing. So, what exactly should be in your re-brand? 

NAME a SLOGAN (OPTIONAL) 

On my first re-brand, I created the name 4SchooisOniy. That's 
not going to change. The point of a re-brand is to keep a current 
company name fresh and change its current marketing path. 


if your business name is "Bob's Rockin'Tunez" and you want to 
target anything besides bars and backyard parties—time to 
change names. If you want to target high-end weddings and 
your name is "Kickass Entertainment"weil...you know what to do. 

LOGO 

You knowthat website where you can get things like iogos for $5? 
DON'T YOU DARE! If you want to get an affordabie iogo that iooks 
and feels like its worth thousands, try out 48HoursLogo.com. 
The logo designer I found there is so good I book him directly 

now. You can, too. In my opinion, 
he's the best one on the site. His 
name is Vasilis and his emaii is 
boybud40(®yahoo.com. Tell him ! 
sent you. I let him take the reigns 
on the logo. The concept of inte¬ 
grating my 4S0 acronym into the 
logo was his idea, and it came 
out DAMN good! 

COLORS 

I've written about color psychol¬ 
ogy before, so I won't get too 
much into it. A quick Google 
search will answer a lot. Long 
story short: spend hours, even 
days picking out your colors. Do 
NOT rush into this! 

WEBSITE DESIGN AND 
COPY 

New logo and new colors mean 
a new website. Start from the 
ground up! Re-do all your copy 
(text), rev up your calls to action, 
and choose new photos! 

PHOTOS 

Speaking of photos, get all new ones! Anything grainy, blurry or 
that has a date stamped on it NEEDS TO GO. Remove it. Get and 
learn how to use a DSLR (I teach this in DJ-Speak by the way) and 
lose all iPhone photos. Your photos and video are the biggest 
first impression anyone could give. Step it up! 

FLYERS, BUSINESS CARDS, HANDOUTS 

Once you do the above, the overall marketing becomes easy. 
Your flyers, cards, and website should all look like they belong 
together. (Shameless plug: My video series teaches this! 
MasterSchoolDances.com} 

However, the most successful re-brands involve more than 
just the tangible items. Take a look at your company philosophy, 
has it changed? What about the entire shopping process? From 
the moment they call you to the actual contract signing, does the 
overall experience feel fresh, modern, and sleek? If not, you need 
to look hard and heavy into ways to renovate it. What about your 
mission statement, your sales pitch, and even how you dress? All 
this is part of a successful re-brand. 

...Or you could Just keep doing the same thing over and 
over again. What's the definition of insanity again? MB 



2H 


MOBILE BEAT SEPTEMBER E015 















































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October 26,2015 

Charlotte Conyention Center 501 S College St, Charlotte, NC 28202 


For a long time the Karaoke Industry abroad has embraced excuses instead of 
coming up with solutions to fix the issues or piracy, revenue losses, and unfair 
business practices within its industry. 

In 2015 the Karaoke Industry from a global standpoint will come together to 
collaborate and embrace changes within itself. 

We have Invited keynote speakers throughout the industry from the Music 
Publisher to the public performing rights agencies, to the Karaoke labels, 
Karaoke venues, Karaoke Host and Singers world wide to fix a global problem. 



Tickets will be required for this event a 
and are limited and are availabe now for 
purchase via the Brushfire Ticket App. 




























Remixing Your DJ CRM & 

Pianning Programs 

AN ALTERNATIVE APPROACH TO TECHNOLOGY poR MANAGING YOUR Dl BUSINESS 

By Stad Nichols 


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L ast year, I fell down the Word 
Press rabbit hole...and realized 
I'd been driving In the slow lane 
on the freeway for way too long. 
All of the amazing features and 
plug-ins (like smartphone apps) 
made me realize that my current 
DJ management software was 
no longer working for me. I had 
never realized there were options 
beyond DJ Intelligence and DJ 
Event Planner, but there are many. 

First, I tried some of the project 
management Word Press plug-ins like 
Project Panorama (one time fee of less 
than $100). The visual improvement of 
Project Panorama on my website was 
Jaw-dropping. In order to continue to 
attract top-notch brides and grooms and 
keep growing my business, I knew it was 
imperative that my website looked like a 
million bucks. I eventually moved on from 
Project Panormana due to problems with 
JetForm, which I was using for clients 
to complete their planning question¬ 
naires—no reflection on the plug-in. If 
you are a single-op looking for a Word 
Press solution, you might also try Mobile 
DJ Manager {also a one-time fee of less 
than $100). Unfortunately, I have non-DJ 
employees, so it did not work for me. The 
pros included cost, ease of use, fabulous 
and fast tech support. On the downside, 
I had to use a separate CRM (customer 
relation management) program, which 
diluted the cost benefit and added 
complication. 


I also looked Into a wedding planning 
program I discovered at the Wedding MBA 
called the Ava Method. As I was trying 
to get away from relying on JotForm for 
my planning questionnaires, I needed 
something that allowed me to create 
questionnaires that did not have to be 
filled out from start to finish in one sitting. 
While programs like the Ava Method were 
worth checking out due to otherwise 
being seamless for my needs, the cost was 
$100/month instead of a one-time flat 
fee of $100 like Project Panorama. I kept 
looking. 

I really fell 
in love with Aisle 
Planner. Again, like 
Project Panorama, 
it was visually 
stunning, modern, 
and deserving of 
the type of clients 
I want to continue 
attracting in the 


future. Aisle Planner Is a more established 
system and was $30 cheaper/month than 
the Ava Method, but...still no way to incor¬ 
porate planning questionnaires that we 
DJs need. 

Another up-and-coming planning 
program is Honey Book. They have Just 
recently added planning question¬ 
naires, but, unfortunately, they only offer 
textboxes for the answers (no drop- 
downs, radio buttons, or check boxes). 
Honey Book has a very interesting pricing 
model as they are a start-up: a flat fee of 
$500 gives you lifetime access regard¬ 
less of how many employees you have or 
how many events you handle annually. 
While Honey Book integrates contracts, 
invoicing, and proposals seamlessly, it 
does not include a financial management 
tool for tracking expenses. 

Like Honey Book, Planning Pod (my 
current system) also just added question¬ 
naires. Planning Pod has been around for 
longer and definitely has the look and 



DJ and Officiant Staci Nichots owns Revolution 
Weddings and Country Wedding DJ in San Diego. 
Her wedding know-how has appeared on Wed Loft 
Offbeat Bride, Wedding Pianner Magazine and 
others. She has a B.A. from the University of Redlands" 
Johnston Center for integrative Studies in Socioiogy 
Even though you might catch her hosting the 
Stagecoach Festivafs Honky Tonk or DJing at a local 
club, she's a wedding junkie through and through. 


26 


MOBILE BEAT SEPTEMBER S015 
























feel of no longer being the most cutting 
edge, but it's half the price of its visually- 
stunning competitors (I pay $40/month). 
Bottom line—it does everything a DJ 
needs it to despite not being as sexy as 
other programs (despite that clients can 
not return to partially-completed forms 
with their old answers saved). 

All of these newer, more modern 
programs felt like using a social media 
site, not like revisiting the world of 
MS-DOS, which is how I felt using my 
old DJ program. They include solutions 
for file sharing, which is simply a must 
today, and leaving comments that the 
whole team can see, for example. I can get 
digital signatures on my contracts within 
the programs, allowing me to cancel my 
Adobe EchoSign account ($100/year). The 
new generation of programs integrate 
card processing services with invoicing, 
a web contact form with your contacts/ 
leads, and invoices can automatically send 
payment reminders. 

On the CRM side of things, I tried 
many options like Zoho, InfusionSoft, 
and Base. I used Zoho’s CRM, email, and 
accounting programs which all worked 
together fairly seamlessly at a reasonable 
price. I realized once I found Planning Pod 
that I did not need the CRM or account¬ 
ing services any more, so I moved on. 
Zoho does offer a project management 
program, butinevertried itduetothe pro¬ 
hibitive cost. Overall, I would recommend 
Zoho products for their affordability, ease 
of use, and effectiveness. 

Interestingly enough, I was attending 
a Book More Brides webinar recently 
on "Secrets of a High-End Wedding 
Pro," and the speaker, Justin Jacques of 
lndieWeddingDJ.com, attributed a huge 
amount of his success to InfusionSoft. 
InfusionSoft is a very powerful CRM 
program, but I was overwhelmed by it 
and ultimately moved on because it was 
too complicated for me. In Just two years, 
he saw his budding wedding DJ income 
grow to $100,000/year...so it's definitely 
worth giving InfusionSoft a look (Justin is 
now an InfusionSoft consultant!) You can 
get a free one-hour strategy session with 
him byvisitingJustinJacques.com. 

Notable mentions: You might also 
consider project management programs 
like Basecamp and Capterra. 

There are clearly plenty of options for 
you to try, if yourcurrent DJ management 
system is not doing what you need it to 
do. Don't be afraid to consider them. MB 


Tips On Switching D| 
Management Programs 

If you are doing at least a few 
events a month, wait until the 
off-season to switch. It is a lot of 
work to move all your files, clients, 
numbers, etc. 

Keep your next month or two of 
clients on your old system rather 
than switching them right before 
their events. This means you will 
have to pay for two systems for a 
few months as you transition. 

Honey Book will load your contract, 
contacts, pricing and package 
information for you for free, Ava 
Method will get you set up for a 
fee. 

All of the solutions mentioned 
offer free trials (usually 30 days). I 
highly encourage you to actually 
go through all the steps of one of 
your events ratherthan Just kicking 
the tires during your free trial. 


Websites 

www.proJectpanorama.coni 
www.mydjplanner.co.uk 
http;//theava method.com 
www.aisleplanner.com 
www.honeybook.com 
www.planningpod.com 
www.zoho.com/crm 
www.infusion5oft.com 
https^/Zgetbase.com 
https://basecamp,com 
www.capterra.com 


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WWW.HOeiLEBEAT.COM » SEPTEMBER 2015 


2? 







Career Segues 

MIKE SHARES HIS PERSONAL PROFESSIONAL JOURNEY 

By Mike Ficher 


T he following is an outline of how my own 
entertainment career has transitioned repeatedly. 
Sometimes it has circled back to previous settings 
under new circumstances^ but it always seems to keep 
moving forward, in often pleasantly surprising ways— 
just like a good dance mix. I present the following 
simply to show how being open to the possibilities 
can make for an interesting and rewarding ride... 

HOW HARD CAN IT BE? 

In 2004j I talked my way into becoming the public address 
announcer for the local summer collegiate wood bat baseball 


However, next season, the team's owner, leveraging my 
background as a writer and a sports stat nerd, asked me to slide 
over into the official scorekeeper's role and game recap media 
slot to make room for a very talented but raw young announcer. 

Instead of being closed and irritated, I willingly shared with 
Jared Lewis what I knew and became a mentor for him during 
the season while tending to my new role. Life as an entertainer, 
particularly in a small town, teaches that burning bridges is not 
the best business practice and ego not always your ready ally. 

Jared was just what the games needed. Creative, energetic, 
a master entertainer, he quickly became a key presence at the 
game, the self-proclaimed Titan of Talk. Even, when the games 
were a bit ragged, Jared kept the fans involved with a special 
knack for pulling out the right bit at the right time, the ideal 



team in our new home of Bend, Oregon. 

Experience as a public address announcer? Minimal, a few 
Little League tournaments in the Bay Area. Well, I reasoned. I’ve 
been a mobile entertainer for nearly 20 years, spinning tunes, 
teaching dance and, more critically, serving as the voice and 
master of ceremonies for hundreds of events—those skills should 
translate well. 

Sports? Well, I played on an adult league baseball team 
in the Bay Area and helped pay my way through college years 
before by covering a multitude of prep, college and profession¬ 
al sports including baseball. As a youngster, I calculated WHIP 
before baseball nerds thought of its value. 

Public address announcing? I can do 

this! 

CHRIS KOOOON-DAH! 

The 2004 season was an immeasurable 
learning experience-each game an oppor¬ 
tunity to grow in the craft while trying to 
offer engaging entertainment for team's 
fans. 


person for the job that often felt like being the ringmaster at the 
circus. 

THE SUMMER OF '42 

At the end of the 2005 season, time came for me to move on. 
While Jared and I got along great and became lifelong friends, 
other summer opportunities beckoned. I stepped away fro mthe 
press box. 

In 2008, discussion turned, surprisingly, to the local 
community radio station serving as the on-air voice of the Elks. 
Only one other community radio station in the country, (in 
Everett, Washington), had ever been the the voice of a for-profit 

summer baseball team. New ground was 
being broken. 

ON THE AIR 

After research {including contact and 
conversation with the folks who did the 
AquaSox games in Everett) and negotia¬ 
tions, a three-year deal was struck between 
KPOV and the Bend Elks. Since ! hosted The 
Ultimate Oldies Show at KPOV and was the 



A business analyst by day, Mike Ficher is 
an actoFf voice artist, MQ sportscaster, 
public address announcer and forn^er 
mobiie entertainer. He is also the host of 
the weekly syndicated radio program. 
The Ultimate Oldies Show. Mike 
synthesizes these varied experiences 
to illuminate historic connectivity 
and fresh perspectives on the mobiie 
entertainment profession. More info at 
www.m ike ficher. com . 


28 


MOBILE BEAT SEPTEMBER E015 











voice of Crook County High School sports on a local commercial 
station, I was deemed the logical choice to anchor the broadcast 
team. 

Working with two other station volunteers, we staffed 
Elks' game for three years, broadcasting more than 90 games, 
supplementing the game coverage with pre-game, in-game 
and post-game interviews with players, coaches, community 
members and more. 

While pleased with our broadcasts, after three years, the Elks 
and KPOV mutually agreed to part ways. 

RUNNING OF THE BULLS 

Another hiatus ended in 2013 when I was asked by the owner 
to fill in for Jared while he enjoyed a two-week vacation walking 
through Europe. During the interim nine years, I did public 
address announcing for a Little League state tournament, for a 
local women's professional soccer team, and for several sports 
for a local high school. I became more knowledgeable, comfort¬ 
able and skilled in my craft. 

Last year, I returned to the Elks' as part of the two-person 
broadcast team, streaming games at the team's website and on 
radio in the stadium. Another season, another remix, 

NEW KID IN TOWN 

After fifteen years, ownership changed hands in the off-season. 
And, Jared fulfilled the promise of his Elks' experience, becoming, 
after winning a nationwide search, an announcer with the 


Harlem Globetrotters, traveling the world with one of the most 
recognized and beloved brands. 

Might be another hiatus for me and the Elks? 

BUZZ IN THE POCKET 

Graduation night, Saturday evening, the arena at the Deschutes 
County Fairgrounds, Pomp and Circumstance hits the first notes. 
My phone rings. I do not recognize the number and, given that 
our son is about to graduate from high school, well, I am not 
about to answer the phone. 

After an emotional two hour ceremony and post-event 
gathering, I listen to the message. The new general manager of 
the Elks wants to know if I can serve as public address announcer 
for tomorrow's game at1:05 pm. Unfortunately, the team's new 
choice for public address annoouncer did not work out for the 
first two home games. 

In my mind, well, this is a one-game trial, 

But, unlike 2004, I was better prepared, more experienced 
and knew the Elks’ brand inside and out. Rather than try to 
become Jared, I would be the best Mike I can be. 

So far, that appears to serve the team well-1 finished out the 
season. Next season? Well, given the nature of the business and 
my rollercoaster ride with Elks, we shall see. 

Remix your business? Yes, those non-concentric circles of 
life teach valuable lessons and keep 'em smilin'! MB 









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WWW.HOBILEBEAT.COM » SEPTEMBER 2015 


29 






































Getting My Act 
Together 

RECOVERING FROM MISTERS AND 
REACHING TOWARD THE GOAL 

By Stu Chisholm 



Join Stu online, at 
MobileBeat.com as he 
chronicles his complete 
company re-vamp in 
his blog, "From the 
Ground Up" 

S 

( 

I 

1 ^ 
n 
i 


S ince my last installment May 2015)^ 

still high on the infusion of inspiration from 
MBLV and the Canadian DJ Show, I still really 
didn’t have an act. I mean, yes, I could still do 
what I’ve always done, but not nearly as well. 

The old Cortex simply isn't cutting it anymore—buttons 
failing like a bad TV remote—and even though I could find an 
inexpensive 5th unit (having blown-out four of them since they 
came on the market), that would be the equivalent of treading 
water rather than leaping ahead. Stand-alone media control¬ 
lers are passe; the industry has spoken, and computer-based DJ 
systems are the standard, like it or not. So, before thinking about 
how I was going to improve what I do during a show, it was time 
to figure out the nuts-and-bolts of my new system. 

EXPENSIVE BAUBLE 

To be on the cutting edge is to be in a very precarious and 
temporary condition. Yeah, it may sound cool, but in actuality 
you're going to be blazing a trail, and that means going where 
none have gone before. The obvious risk is that you're going to 
be the one to make ali the mistakes that you couid otherwise 
avoid by hanging back and watching how others do things. That 
hadn't occurred to me when I set out to create a fully 21 st-centu- 
ry DJ rig. I envisioned using a tablet rather than a laptop, due to 
some inspiration from a colleague who showed me his iPad rig. 
But there were problems, too. For one, I do many outdoor shows 
each year, from car cruises to company picnics, and being able 
to read the screen in daylight is a major failing of the iPad and its 
clones. Also, the rigors of life on the road can quickly smash up a 
wimpy tablet like a cheap mirror. What to do? 

My first impulse was to borrow from my secondary field; the 
world of first responders, security and law enforcement. (I have 
a sideline of teaching firearms safety courses.) So I found a few 
daylight-readable "ruggedized" tablets that I thought would do 
the trick. These things were built for harsh environments, such as 
a construction Jobsite, or the inside of a police cruiser. I sent the 
specs to none other than the legendary tech guru, Ben Stowe, 
who looked them over and gave me the green light. Some $4,000 
later, I had two of them; a primary and one as a backup. 

THE DARK SIDE OF TRAIL BLAZING 

The other thought was that wireless control might be the futuris¬ 
tic, high-tech way to go, and Ben suggested the mixer/controller 
made by Pioneer called the XDJ-Aero. And it certainly did look 
cool when it arrived! Feature-packed, it seems purpose-built 
for audience interaction; guests can bring flash drives, iPods or 
cell phones and share a tune or mix with the DJI Both are great 
concepts, right? 


It turns out...not so much. First, the tablet would NOT run 
Virtual DJ or Serato. It simply balked; it doesn't have the screen 
resolution or power. The Pioneer piece refused to "talk" to it, 
regardless of how enabled Bluetooth or Wi-Fi were. DJ Scary Guy, 
my friend from theToronto trip, is also a tech whiz. Fie managed to 
get some music playing by working on it for a very long time, but 
the problem was that whatever he did was extremely complex 
and beyond my ability. Fie wasn't sure if his settings would be 
stable or load automatically each and every time. And, should 
something not be right when I got to a gig, I had no chance of 
duplicating his efforts. Both he and Ben recommended I send 
the Aero back. They and several others I spoke to also suggested 
that I ditch the DAP tablet as well. Having sunk that kind of cash 
into them, I was reluctant, however the cold, hard facts were that 
they wouldn't work and I couldn't send them back. Time to suck 
it up... 

RIG RE-BUILD, TAKE TWO 

I think that Ben was as just as embarrassed as I was by the whole 
thing, so he agreed to take back the Pioneer and exchange it for 
me, which he facilitated as smooth as silk. I decided to focus on 
the mixer/controller first, and use the specs required by it and the 
software to determine exactly what computer I'd end up using. 
And once again, inspiration came via MBLV. 

The folks at Numark decided to use MBLV19 to push a brand 
new controller they simply call the NV. (As in "envy.") A wickedly 
cool looking piece, it's very thin, very lightweight, and boasts 
two screens on the mixing decks, allowing a DJ to focus more 
on the mix and less on the laptop. They had a person walking 
around with a battery-powered demo, so I came home already 
impressed. Looking online, I became even more excited, seeing 
its capabilities, and also noting how much more user-friendly it 
is, especially to us old school geezers who dislike sub-menus and 
unnecessary complexity. It is less a tech geek's toy and more an 
entertainer's tool! Next it was time to go computer hunting... 

Talking to DJs on the online forums, my first impulse was to rush 
out and grab a MacBook. They're ubiquitous. They're everywhere. 
DJ after DJ runs a MacBook. And that's precisely what I wanted to 
avoid: sameness. Besides, the particular laptop best suited to me 
was going to run a bit more than $3,000. Before plunking-down the 
money, I decided to look around first. I was glad I did. 

The specs listed at the Serato website eliminated a few candi¬ 
dates due to incompatibilities with various video cards, screen reso¬ 
lution limits (which was a main problem with my prior tablet), and 
HD speeds. Finally, after a lot of comparison shopping, I found the 
perfect companion for the NV: the Hewlett-Packard Omen, 

The Omen is made from CNC-machined billet aluminum, 
making it very thin and lightweight, yet fairly rugged when 
closed up. It's wicked fast, with a solid-state HD, has a huge 15.6" 
high-rez screen and a crazy amount of USB ports. See, it turns out 


30 


MOBILE BEAT SEPTEMBER E015 




































that the Omen is actually a gaming computer, which ironically 
makes it ideal for running DJ software without any glitching. 
When paired-up with the NV, it also bears a remarkable physical 
resemblance, making the whole rig just plain look bad-ass! And, 
to my delight, when Serato was installed, my external music 
library HD attached and the NV turned on, everything worked 
perfectly right out of the box. No drama, no hiccups, no excuses. 
And the Omen was exactly half the cost of the Mac, allowing me 
to afford another one as a back-up. 

LEMONS FROM LEMONADE 

So what about those amazing tablets, you may ask? 'You're 
not Just going to throw them away, are you?' Absolutely not! 
The first one will still find its way into my DJ console, and its 
job will be to run my 
DMX lighting control. 

Although I'm using the 
Chauvet GigBar IRCs, a 
wireless DMX control¬ 
ler will allow me to take 
better control of them, 
not to mention being 
able to add other lighting 
effects as I expand. The 
tablet is more than up to 
the job, and can do it in 
a package far smaller and 
lighter than stand-alone DMX controllers. 

The second tablet got re-purposed,"sold"to my 
firearms training division. By attaching a webcam 
and loading it with a program called "L.A.S.R.," I can 
use 5IRT training pistols for my safety course. SIRT 
(Shot Indicating Resetting Trigger) pistols have the 
weight and feel of a real firearm, yet shoot only 
laser beams! The L.A.5.R. (Laser Activated Shot 
Reporter) software, then, starts the timer, shows where the hits 
are on the target, keeps score and even calls "reload" when the 
simulated magazine is empty. Already having the expensive tablet 
made implementing this easy, and now my class can offer one more 
element of training that others cannot. Bonus! 

LEARNING CURVE AND THE CASE FOR A CASE 

Having never run Serato before on top of having a brand new 
Windows 8 computer, the learning curve was about as massive as 
Kardashian booty! My first "premier" gig was roaring up in just a 
few days, and in a forced homage to my bedroom DJ days, I spent 
them tinkering, fiddling and practicing with my new rig in my 
home studio on a makeshift table. When the big day finally arrived, 
I hedged my bet by plugging the Omen/NV/Serato system into my 
old Cortex/Rane cube. I ended up mostly ignoring the latter. 

Even with the occasional blip caused by my own unfamiliar¬ 
ity with the software—accidentally hitting'reverse play'and not 
knowing it would go backward even from cue was a good one— 
the evening was an overall success, I feel like I'm ready for prime 
time, but there is still one obstacle to overcome: a DJ rig needs to 
be ready to go. Mine isn't. 

One of the drawbacks of small, lightweight electronics is that 
they took the transformers out of the case of the device, giving 
us that horrible little gremlin known as the"wall wart." Wall warts 
are bulky. They generate heat. They're fat, often blocking the 
surrounding outlets. And, collectively, they're heavy. Because 
of the sensitive nature of digital electronics, I run a small UPS 


(Uninterruptable Power Supply) as well. All of this, and the tiny 
hard drives my music lives on, don't need to be seen. They just 
need to be plugged in, the system pre-assembled. The best way 
to do that is a case. 

My thinking here is that! hate everything I've seen available 
online and at my local DJ toy store. With the NV's screens, I dislike 
the road cases that place the laptop away from the DJ, partially 
covering the upper part of the controller. Plus, they all look like 
they should either be touring with Metallica or like they were 
just air-dropped by the U.S. military. That might appeal to us 
DJ dudes, but what does a bride think? A couple might spend 
thousands, or even tens of thousands, decorating their hall. Do 
they really want to see stuff that looks like concert touring gear? 
And as a DJ, do you really want to be oofing around an expensive, 

bulky and fragile facade? 

So I measured the gear, sat down and drew 
some designs of my own. Not sure how to proceed, 
I contacted several custom case builders online, 
but none seemed interested in my designs. 
Seems like their customization is limited to what 
color you'd like your laminate and hardware to 
be, but you're stuck with their basic configura¬ 
tions. I contacted an old 
friend. Bob Minchella 
at Advanced Lighting & 
Sound in Troy, Michigan, 
where I once worked, 
and he suggested that I 
try a furniture builder, as 
they've had some good 
luck with them. After 
contacting a few local 
builders, I was again 
dismayed, as they seemed 
stuck in their own head- 
space: they didn't get the idea that I need a light, rugged, yet good 
looking piece that is both a road case, table top and accent piece. 
What I need is someone from both worlds. What I needed was... 

My friend, Jeff Rounds, was an extremely successful DJ 
for many years, not to mention the head of the Michigan Disc 
Jockey Network. A former engineer, he liked the technical end of 
the business. With crazy carpentry skills, he'd also done work for 
me before, building a custom road case and re-finishing some 
banged-up crank stands. He eventually retired from DJ work 
to move into home building and remodeling. Every now and 
then he'll forward photos of a Job he's particularly pleased with. 
When it comes to carpentry, suffice it to say that the man has 
mad skills. And I was kicking myself that I hadn't thought of him 
before! So as I finish this installment, Jeff has agreed to come by, 
measure up my components and whip me up something worthy 
of gracing a formal event while providing decent protection of 
my gear. I'm extremely excited and optimistic about what he may 
come up with. (Check out my blog at Mobilebeat.com for photos 
of the end result.) Who knows? If the demand is there, maybe it 
could even become an actual product you'll see offered on the 
pages of Mobile Beat! 

As always. I'd like to hear from you! In what ways have you 
upgraded your business? Tell me about it! Send along any stories, 
advice, comments or constructive criticisms to DJStuCrew@ 
gmail.com with the subject, "DJ makeover" and maybe I'll pass 
them along. In the meantime, thank you for joining me on my 
journey thus far. Until next time, safe spinnin'l MB 



WWW.HOeiLEBEAT.COM » SEPTEMBER 2015 


31 















Grow Your Karaoke 
Offerings, Legally 

HELP: A NEW SUBSCRIPTION-BASED MODEL FOR KARAOKE 

By Charlie Xavier 


O ne of the most exciting recent developments 
in the music industry Is the trend toward 
subscription-based “all-you-can-eat" music 
streaming services. Spotify, Pandora, Last.fm, and 
numerous other services have stepped in to fill the 
gap between pay-per-down load services like iTunes 
and the file-sharing services that cost the music 
industry so much in lost royalties and public prestige. 

The value proposition to the consumer is simple: Pay a 
monthly fee and get on-demand access to millions of songs in 
every possible genre. Or you can get free or reduced-price access 
to the same catalog if you are willing to listen to occasional ads. 


These services offer value to the artists, composers, and 
music publishers, too. A portion of the monthly fee goes to com¬ 
pensate the people who are responsible for the creation of that 
music in the first place. 

There's really no reason why the subscription model can't 
work for karaoke, too. Earlier this year, Phoenix Entertainment 
Partners, which owns the SOUND CHOICE* brand, debuted 
what it calls the "Hassle-free Easy Licensing Program," or "HELP." 
Subscribers get a license from Phoenix that gives them access to 
more than 16,500 SOUND CHOICE* karaoke tracks. Unlike past 
programs involving the SOUND CHOICE label, a HELP licensee 
doesn't have to show proof of ownership of discs. As long as the 
track carries the familiar "red logo," it's covered by this program. 

One difference between HELP and the streaming services 
is that Phoenix doesn't provide you with the tracks themselves. 



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MOBILE BEAT ° SEPTEMBERT EQ15 
















But for most KJs, sourcing 
the tracks hasn't been a 
problem. And just like 
the streaming services, a 
portion of HELP licensing 
fees go to compensate the 
upstream rights holders— 
the music publishers who 
participate in the program. 

Phoenix has already signed 
two major publishing groups and expects to add more in the 
near future. 

"The HELP program is a great way for new KJs to begin to 
use our products legally," Kurt Slep, president of Phoenix, said. 
"Unlike traditional media such as CD+Gs, HELP doesn't require a 
large upfront investment to get access to a premium collection." 

The HELP Operator License, which is intended for mobile 
karaoke operators, costs $199 per system per month, but a 
six-month term agreement cuts that price to $129 per month, 
and prepaid licenses can drive the price as low as $99 per month. 
Phoenix also offers online ordering, so a new licensee can be up 
and running almost immediately. 

HELP can be useful for existing KJs who want to expand 
their operations—either in terms of the number of tracks or by 
adding more rigs—without trying to source additional discs. 

"Adding a HELP license to your operation can move you 


from one rig to two in the 
space of about a day," Slep 
said. "Before HELP, to stay 
legal, you'd need to source 
original discs, some of which 
have been outof printfor 10 
years or more." 

For that reason, KJs 
who wanted to add a 
second rig were faced with 
a dilemma: Do without certain popular songs until another 
original SOUND CHOICE disc can be found, or run the risk of 
illegal operation. With HELP, however, the KJ can begin two-rig 
operation almost immediately, the rights holders get compen¬ 
sated, and everybody's happy. 

Getting a HELP license is also a path to getting new SOUND 
CHOICE tracks when the company returns to production later this 
year. "We've already begun taking reservations for Sound Choice 
ADVANCE, our new production program," Slep said. "In order to 
get access to the new music, you'll need to be a Certified KJ, a GEM 
series licensee, a verified original disc user—or a HELP licensee." 

For those who prefer to stick with hard media, Phoenix still 
has a limited number of GEM series sets available to license, and 
the certified KJ program—which gives KJs permission to media- 
shift the content on their original SOUND CHOICE discs—was 
recently extended indefinitely. MB 


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stop in , or better yet, tell 
a friend who has not yet 
experienced Mobile Beat 
to stop in at your near¬ 
est participating DJ gear 
dealer, to receive a compli¬ 
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The Lighting 

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hollywooddj.com 

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Lighting 

934 East 11th St 

thelightingstore.com 

csnl.com 

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3534 W. Lawrence Ave 31 S Green Bay Rd 
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773-961-1253 847-782-9816 


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Silent Celebrations 


THE HEADPHONE PARTY: A WAY 


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By Jared Kingsley 


A good friend of mine 
came home from a large 
convention last year and 
told me about the Silent 
Disco concept. I immediately 
loved it and decided that 
I could produce it as well. 

Nowadays, Silent Discos are 
popular and widespread. At these 
parties, each participant is given 
a set of headphones; on the set of 
headphones is a volume button 
and another button to switch the 
station. Guests put their head¬ 
phones on and can listen to two 
or three different stations. The 
channels could simply be two 
iPods playing different music 
simultaneously, it could be two 
live DJs, or even a band and a DJ. 

Most equipment used at these 
parties also has a light on the side 
of the headset that corresponds 
with a channel. That makes it so 
you can know what everyone else 
is listening to. 

Gear: There are just a couple 
of components: wireless head¬ 
phones and transmitters, which 
both come with rechargeable 
batteries inside. The transmitters 
that I have use female RCA inputs, 
and then you can connect to 
whatever music device you'd like, 
whether it's an iPod, computer or 
microphone. 

There are two options for 
the equipment. First, you can rent 
it—which is what I did before I 
purchased because I was not sure 
if I wanted to invest in the gear due to the initial cost. So, this 
way, you sell the gig, then the rental company ships the gear 
to your door, you use it, and you ship it right back the next day. 
There are also price discount options for larger rentals as well as 
extended rentals. By renting, you can try it out without worrying 
about being constantly booked, and as long as you don't lose 
or damage the gear It's a pretty simple transaction. The only 
downside is that this route is expensive relative to the price you 
can charge for the service. Renting the equipment is a good way 
to essentially train yourself when starting out, but wouldn't be 
the most profitable way in the long term. 


The other option is purchas¬ 
ing the equipment outright. I 
had a few events lined up and 
decided to buy the gear for 
$5,000. I bought 125 headsets 
and three wireless transmitters. 
The headsets come with charging 
docks, and I bought the extra 
transmitter as a backup. Just 
in case. The headphones and 
transmitters last approximately 
six hours on a full charge. In 
case I need to do a larger event 
than I have headphones for, the 
company I rented from also sold 
me the equipment, so we use the 
same gear which means I can rent 
supplemental sets from them. 

These Silent Discos have 
been a great source of income this 
year for me. I signed a corporate 
client that gave me a series of 
events throughout their national 
festivals that happen all year.They 
have me come to their festival 
and I set up a 20' x 20' tent. They 
provide the service at no cost to 
the festival attendees; they can 
just stop by and participate freely. 
These events have alcohol and 
participation gets progressively 
larger as the event goes on. 

But, aside from what I've 
mentioned so far, the applica¬ 
tions for the equipment are vast; 
you can do mobile pub crawls, 
city tours, bilingual event trans¬ 
lation, dance parties where there 
is a noise ordinance, college ori¬ 
entations, flash mobs, summer 
camps, birthday parties, bar and 
bat mitzvahs and anything else 

you can come up with! 

For every person participating, there are a handful of people 
watching. It's really something to see. Not only is it kind of odd in 
and of itself, but my colleagues and I have declared "headphone 
courage" a thing: The second you put the headset on a person, 
all inhibitions are lost and they just immediately start dancing! 

It's a phenomenon. 

We do these parties across the entire US. If you would like 
more information or if you would like to hire us for an event, 
email me atjared@jentevents.com. I have a discount available on 
equipment rentals and purchases, if you mention this article. MB 



36 


MOBILE BEAT SEPTEMBER S015 












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U sually July and August are slower months (at 
least down south here fn NC where it’s 100 
degrees dally). Of course things ramp back up in the 
fall for wedding season, but it’s nice to use slower 
times to assess your current marketing plan. As I was 
doing a few marketing-related things the other day 
fn the office, I noticed how “old school is still cool.” 

In other words, there are things that my dad's company 
probably used back in the day to gain customers that you can flip 
and use in the year 2015. Sometimes you have to think like the 
ad guys from "Mad Men" but without the skinny ties and tie bars 
(actually, disregard that, I wear both). Think like those guys, but 
with a modern twist. 

For a long time I took "snail maiT'out of my marketing reper¬ 
toire. It seemed dated and silly in the world of email...that is until 
email overload became a real thing. I remember in my younger 
days having my first AOL account. Logging onto that big desktop 
computer and hearing "You've Got Mail!" when you fired it up got 
me stoked! What was it? Who is emailing me? Now I see that little 
number of unopened emails sitting on the icon in the dock of my 
Mac and think "Holy smokes, how am I gonna get through all of 
those?" Guess what? Everyone feels like that these days and it's 
actually rare and unusual to get a piece of mail in the mailbox. Do 

Joe JSunn started his DJ career at age J4, his mom drove 
him to gigs in her wood-paneted Jeep Wagoneer. His company 
now does about 400 weddings a year and another 200+ 
private, corporate and charity events. He has been on the board 
of both ISES and NACE, founded the Jriangie DJ Association, 
and has also won numerous industry awards. Recently, he has 
been helping other DJs grow their businesses as a consultant. 
Hehasaiso presented at major industry events, including MBiV. 

For more info go to www.bunndjcompany.com. 


yourself a favor right this minute. Go to Sendoutcards.com and 
set yourself up an "customer" account. (If you want to be a "dis¬ 
tributor," it can be a multi-level marketing opportunity; I didn't 
opt for that part of it, but it's up to you.) In any case, this is where 
I send all of my cards from. 

Can you remember the last time you got an actual birthday 
card in the mail from someone? I can't! All I get is 1,000 people 
on Facebook saying "HBD dude!" Really? You can't even type out 
"Happy Birthday" to me? Good grief, talk about lazy. 

PERSONAL TOUCH VIA ONLINE TECHNOLOGY 

I won't lie, this is going to take some time and effort on your part, 
but start collecting birth dates, not only from your friends and 
families, but from everyone that you care about in the industry; 
wedding planners, photographers, cake makers, dress shops, any 
and everyone that could possibly be a referral source for your DJ 
company. It's actually really easy. Email addresses are usually on 
their site or on the stack of business cards you collect from all 
of the vendors you work with (you do collect those at every gig 
right?). Simply create a mass email using Mailchimp (if you want 
it to look sexy), or a simple note right from your regular email will 
also work. Basically, it goes something like this: 

Dear Xxxx, 

I’m updating my contact list and would love to have your birth 
date. Don't worry, I'm not going to ask for the year, although 
you ore welcome to shore that as well. Thank you, and I can't 
wait to see you on the dance floor! 

Sincerely, 

Xxxx 

See how easy that is? You'll be shocked at how many people 
respond or send back funny things like "I expect a gift!" Little 
do they know, they will be getting one (or at the very least, an 
awesome card). 

Now, the beauty of Sendoutcards is that you can actually 



38 


MOBILE BEAT SEPTEMBER S015 







create custom cards and templates that you save and come back 
to each time you want to send out a birthday card. You can write 
them all at the beginning of the month (like I do) and schedule 
when they go out so the person gets it on or right around their 
actual birthday. They take about seven days to get printed and 
maiied, so keep that in mind. So what's on mine? On the front 
cover, we have a picture of ali of my DJs (looking very Reservoir 
Dogs cool I might add) and it says"Happy Birthday from Bunn DJ 
Company."The inside is basic, all white, and says "Dance Like No 
One is Watching!" On the bottom of the foid, I just add a simple 
note along the lines of 

Dear Xxxx, 

It was so great working with you at the Xxxx/Xxxx wedding last 
month. I hope to see more of you! Also, all of us hope that you 
have a great birthday! See you soon! 

Sincerely, 

Xxxx and the Team 

Once you start doing this, you will be shocked at how many 
people will text, call or event post to instagram about how classy 
and old school cool you are! 

One more way that we use Sendoutcards and "snail mail" is 
to gain more amazing Wedding Wire reviews. "But Joe, how do 
you do that?" you ask. Simple! At every wedding. I'm sure you 
take a bunch of pictures right? The first dance, the unique cake, 
maybe some interesting decor, etc. (Without getting in the pho¬ 


tographer's way, of course.) A few days after the wedding, log 
in to your Sendoutcards.com account and create a custom card 
with the cover being one of those awesome photos. On the 
inside write something iike 

Dear Xxxx & Xxxx, 

What an amazing reception! I hope that you guys hod as 
much fun as t did! If you don't mind, please take a moment 
to visit www.eventwire.com/review/BunnDJCompany and let 
everyone know that you had a great time. Here's to many years 
together! 

Cheers, 

Xxxx 

Now, how awesome is it going to be when that couple rolls 
in from their honeymoon and opens a card that literaily has a 
picture of them doing their first dance on the cover? Do you 
think anyone else involved in the wedding is going to do that? 
Nope! Game over, you win! 

! hope that you'll do a little "remix" on snail mail and bring 
it back into your marketing plan. (Maybe we can even save the 
USPS...) You may be surprised at how a little "old school" com¬ 
munication can freshen up your relationship-building and help 
bring in more and better referrals. MB 


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39 











Making the (Audio) Connection 

UNDERSTAi^DII^O THE KAf^DWARE THAT TIES YOUR GEAT TOGETHER 

By Scott Jarema 


T he modem mobile DJ, in addition to being a performer and MC^ may also play the role of roadie and even 
audio engineer. Even with the myriad of gear options available today; we still have to connect it all together. 

There's a wide variety of plugs and connectors that do that job for us and each one has its place. Here we are going to look at the 
most common plugs encountered by DJs and how they are used. 



1/4” OR PHONE PLUGS AND 1/8” PLUGS 

The name of the phone plug (short for "telephone plug") hints 
at its origins. These plugs were originally used on telephone 
switchboards. These are probably the most common plugs you 
will encounter as a DJ. They are 1/4" in diameter (and often 
simply referred to as 1/4" connectors) and are used for speaker, 
headphone and microphone connections. 

There is also the familiar"mini" phone plug which is 1/8"and 
commonly associated with personal stereo players with head¬ 
phones. Many DJ headphones now come with the mini 1/8" plug 


installed and include an adapter for the 1/4" sockets found on 
mixers. 

They are usually wired for stereo (headphones) or mono, 
(speaker, microphones). You often hear them referred to by their 
different types as "TRS" for stereo or "TS" for mono. TRS stands 
for "Tip Ring Sleeve" (stereo), and TS for "Tip-Sleeve" (mono). If 
you look closely at a TSR plug, you can see the tip, the ring and 
the sleeve separated by insulators. On theTS plug you see the tip 
and sleeve separated by an insulator, They can have more varia¬ 
tions, but we normally do not encounter those in our setups, 
The sleeve in the TRS is your common negative whiie the tip and 
ring are the "plus" right and left channels. On the TS you have 
your plus and minus only. One of the other variations we can 
encounter is a "TRRS" (Tip, Ring, Ring, Sleeve) mini plug which is 
commonly used on iPhone/iPad and other devices that included 
a provision for the microphone portion of the headsets when 
used to talk on the phone. 

Don't worry though If you need to use a mobile device as 
a sound source. When the standard "TRS" plug is used with an 
iPhone/iPad it will output stereo to your mixer without needing 
an adapter. 




XLR CONNECTORS 

XLRs, sometimes referred to as "Cannon" plugs after one its man¬ 
ufacturers, are balanced connectors commonly used for micro¬ 
phone and speaker audio connections. They can come with 
multiple pins but we normally encounter the basic 3-pin configu¬ 
ration. Because these plugs are used with shielded 2-conductor 
cable, they are preferred over the phone type plugs for audio 
connections. Essentially, the third pin is connected to the shield 
in the cable, and the chassis ground on the components. As such, 
they are less susceptible to electrical noise which can result in 


0 


MOBILE BEAT SEPTEMBER S015 














































an annoying hum in your audio. Many newer speakers have a 
combination XLR-1/4" phone sockets on the back inputs, which 
allows you to use either type in your setup. XLR plugs are also 
used in DMX lighting control setups as control cables run from a 
DMX controller to the lighting array. XLR connectors additionally 
have an advantage over phone connectors as they lock into the 
plug reducing the chance of being accidentally pulled out. 



NEUTRIK SPEAKON™ CONNECTORS 

SpeakON™ connectors are high-amperage, high-voltage connec¬ 
tors developed by Neutrik, which are used to connect speakers 
to an amplifier. Unlike the XLR or phone connectors, they were 
designed specifically for this purpose.They are a V'diameter and 
usually have a blue trim ring on them. A vast majority of mobile 
DJs run powered speakers, {speakers with built-in amplifiers) so 
you probably won't encounter this type in your set up unless you 
are running unpowered speakers and an amplifier. If you do, you 
probably have these as one of your output options. Similar to the 
XLR, these connectors lock into place so the chance of them acci¬ 
dentally unplugging is minimized. 



RCA OR PHONO PLUGS 

RCA or "phono" plugs are commonly used with consumer grade 
audio and video components. As the name implies, they were 
originally made by RCA and are also used to connect turntables 
to an amplifier or receiver. We commonly see them as line level 
inputs for turntables, MP3 players and/or CD players—pretty 
much any line source you want to input to your mixer. For audio, 
they are colored red for the right stereo channel and white for 
left stereo or mono channel. You can also use them with adapters 
to feed line outs to powered speakers or an amplifier. I don't 
recommend running your setup this way, but in a pinch, it can 
save the gig. 

One thing to be aware of is the center pin is your plus or 
"hot" lead and the ring is your shield. You can get a loud hum and 


a pop if you connect these while your amp/speakers are powered 
up. Because of this, it is advised that you power off your sources 
and speakers/amplifiers before you disconnect or connect your 
components. 

(As an aside, it is always a good to carry adapters that allow 
you to change the type of connector for your cables, just in case 
of emergencies. Under normal circumstances, however, you 
shouldn't rely on adapters in a professional sound setup. High- 
quality cables and connectors are your best insurance against 
failure when it comes to connection your gear.) 



BANANA PLUGS 

Banana plugs are commonly found on high-end home audio 
receivers and are still found on audio power amplifiers. They 
are designed to plug into the binding posts on the back of the 
amplifier and can even be stacked or ganged up so you can drive 
multiple sets of speakers from one output. An advantage to this 
is that if you lost one channel of youramp, you can gang up both 
left and right speakers on the working channel and you will still 
get sound from both of them. Some types of banana plugs have 
holes through them with set screws so you can insert bare wire 
and then tighten the set screws securing the wire in place. This 
makes it very easy to replace connectors in the field without 
too much hassle. Banana plugs are not gender specific so you 
could mistakenly plug the plus and minus in backwards if you 
are setting up in a dark area. They can also be easily snapped off 
if you aren't careful to protect the back of your amp from being 
knocked around. Because the leads can sometimes be exposed, 
there is also a risk of shorting out your amp if something metallic 
lies across the leads. Banana plugs would be fine for a set up that 
is more or less permanent. However, as long as you are careful, 
there's no reason you can't perform with them. 

This list of connectors is by no means exhaustive, but it rep¬ 
resents the most common types DJs usually come across when 
connecting their various pieces of gear. Having some under¬ 
standing of what each one is intended to do and employing each 
type in the right situation will help you create the most reliable 

setup possible. MB 


CiLm-2 

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WWW.MOBILEBEAT.COM » SEPTEMBER 2015 


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others 

Succeed 


THE PUBLISHER OF DISC 
JOCKEY NEWS HAS A 
PASSION FOR GIVING DJS 
THE TOOLS THEY NEED 


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MOBILE BEAT » SEPTEMBER 2015 









































J ohn Young of Disc Jockey News 
is a friend in the DJ world about 
whom I have never heard anyone 
say anything negative—and that’s 
unusual in this industry that is much 
more fractured than it needs to 
be. John gets along with everyone 
and everyone likes to work with 
him. John started out DJIng^ doing 
local high school dances^ the same 
year that I got into the DJ business 
(1986)^ about 6 hours away, 
up in the middle of Minnesota. 

His connection with the nationai DJ 
industry started in the iate 1990s when he 
attended the first few Mobiie Beat Shows in 
Las Vegas and found other DJs to network 
with, He and a handful of friends started the 
Minnesota Association of Professional DJs, 
which has since morphed into the Midwest 
Association of Professional DJs. 

While he was growing in the DJ 
industry, Lori, his wife was honing her skills 
as an editor and writer and eventually a 
publisher of local newspapers in the middle 
of Minnesota. She was working in different 
newspaper departments until around 2000, 
when she started a local paper for the group 
of small communities in which they live, 

John picks up the story: "That experi- 
encewith herworking with the paperis really 
taking the combination of my love for the 
DJ industry, my desire to help educate and 
help DJs improve their businesses, and her 
newspaper background just became kind of 
a nice marriage of information and business 
things to be able to put the Disc Jockey News 
out there for the mass audiences. 

"It started out as a publication that was 
going to be free in the DJ industry. We had 
our circulation that we were mailing out 
tens of thousands of papers when it first 
started out. And we were very well received 
within the DJ industry because it was going 
out to DJs at their favorite price: free. 

"That lasted for a few years and even¬ 
tually got to the point where it became to 
that we couldn't afford to continue to go as 
a free publication, so we switched over to a 
paid publication, with a subscription base in 
2008. Circulation varies, but as we sit today, 
probably I would say 8 out of 10 people who 
are reading the publication are reading it 
online." 

But in addition to this fantastic monthly 
newspaper that DJs can read online for free 
or subscribe to in a print form inexpensively, 
Disc Jockey News is known for its extensive 


online DJ industry coverage. 

John details their offererings:"We have, 
of course, through Disc Jockey News and all 
the different variations of that. And, again, 
a lot of the things on the websites are more 
online-based with a video and doing more 
things with that. So we have the different 
social media channels and Twitter and 
YouTube and different things, and then we 
also have Disc Jockey News TV, which is our 
weekly programming which is strictly video, 
and it's all about different things within the 
industry. 

"We have some things that are the new 
news for the week, we have some advice 
things, we have some shows on talking 
social media, but it Just really is kind of a nice 
fit for the way the industry is going today, 
that if information is two weeks old, in many 
worlds they view that as old news and it’s 
not something they want to get into. So we 
went where DJs are wanting to go, which is 
online and helping them to get that infor¬ 
mation just as quickly as possible." 

John is an absolute people person and 
has found some great people that do a lot 
of this for Disc Jockey News, which has also 
helped him maintain a good work life/family 


much as possible and I do a few shows. I'll 
probably do in the course of a year between 
10 and 20 shows and more of those tend 
to be larger youth rally events where we're 
doing a large Christian event somewhere 
and doing sound and some entertaining on 
the stage, and really not the traditional DJ as 
much as we used to do." 

John is careful to point out that he 
is not a one-man-band when it comes to 
running his various endeavors. "I think that 
probably the most important thing that I 
want people to remember or to think about 
when they see things we do is that it's not 
just me that is doing these things. I'm kind 
of spearheading and I get the ideas, but it's 
really a team effort, and a team goes from 
Rob who's working with a lot of our sales 
things; Laurie does a lot of the office things; 
our writers, our content creators— I mean, 
there's just a whole team of people who 
really have come together and we've come 
together because of that passion for the 
industry and the passion for helping DJs to 
improve their business so that they can take 
the step to be more profitable and to have, 
truthfully, more family time, 

"That's really the impetus of a lot of the 



life balance, despite the constant pressure to 
keep the newspaper and website up to date, 
and his continuing efforts to stay in touch 
with the actual world of DJing. 

"I do a few shows each year," says 
John, "but I’m much more selective about 
where I go and what I do, and it's mainly 
to protect my family time. And I know you 
can appreciate this, Ryan, that our time with 
our children is very limited and we need to 
basically really emphasize the time that we 
do have with them. 

"So I really protect my weekends as 


things we do...we want the DJs to be able to 
have the ability to take that family time and 
enjoy that time with their children and their 
significant others." 

It is clearly John's mission to bring more 
people, especially DJs, to the success level in 
business and life that he enjoys. A true gift 
to the DJ world. 

For more information on everything 
that John Young and his DJN crew are doing, 
head over to DiscJockeyNews.Com and 
DJNTV.Com. MB 


WWW.HOeiLEBEAT.COM » SEPTEMBER 2015 








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Taylor, 
Multi-Op 
Master & 
Maestro 
of Sales 


By Ryan Burger 


HH 


MOBILE BEAT SEPTEMBER S015 













I f you have been around the 
national mobile DJ industry 
over the last 5+ years, Mitch 
Taylor’s name should be one that 
you know. From his speaking at 
national conferences, including 
MBLV, writing for Disc Jockey News, 
to his spirited participation in the 
online DJ world, this is one DJ that 
you need to be paying attention to. 

Mitch is based in Escanaba, Michigan, 
a very small town in the upper peninsula 
of Michigan, a region of the state where 
less than 100,000 people live. Growing 
up in Maine, he decided he wanted to do 
radio work, so he went to the New England 
School of Broadcasting. After being a radio 
broadcaster for several years, he ended up 
on a boat as a cruise ship DJ for Carnival 
Cruise Lines. At sea is where he got truly 
infected with the DJ bug. 

"It was every week," Mitch recalls. 
“Out of Los Angeles, every Sunday was LA. 
Every Wednesday was Puerto Vallarta, and 
every Thursday was Mazatlan, Mexico, and 
every Friday was Cabo San Lucas, and back 
to LA on Sunday. It was about a 10-month 
stretch. And then I took a two-month 
vacation, a work break, if you will. And 
then hopped onboard the Carnival 
flagship, the Carnival Imagination." 

Onboard ship, he met a guest and 
years later he married her after moving 
back up to Michigan. He spent some years 
in the lower peninsula near Detroit and 
then moved to Escanaba, where Taylor 
Entertainment, now Taylored Weddings 
was born. 

Taylored Weddings is what Mitch 
calls a "boutique multi-op" company. He 
didn't want his company to be a "Walmart 
of DJs" sending out 15 rigs every weekend, 
but did want to have otherpeople DJing 
under the Taylored name. 

He explains: "So originally, it was just 
myself in 2002, when I opened Taylored 
Entertainment. But then in 2007, I took 
the company full-time. In 2008, the name 
changed to Taylored Weddings. And in 
2010, Mike Walters said something that 
really stuck with me, that I could expand 
my business, and I could duplicate what I 
was offering. 

"A boutique multi-op to me is 
a company that offeres much more 
hands-on service to their couples, much 


more personalization, because I didn't 
want Taylored Weddings to lose the 
branding that we had already estab¬ 
lished with myself, as a single op in the 
market place. So I Just wanted to be able 
to duplicate those efforts. So we keep 
it small. We keep it personalized with 
our clients, so that our branding stays 
congruent throughout. 

"And it wasn't a case of, well, if you get 
Mitch, you're doing great, but if you get 
somebody else, good luck. I never wanted 
that to be the case with our company. And 
so we've done different things to maintain 
that branding." 

The importance that Mitch puts on 
each event fits with his company name 
,"Taylored"—he really tailors the event to 
the couple. As he describes it, "The two 
goals are: 

1. I want the two of them, and their 
parents, to feel like guests at their own 
wedding reception. 

2. And I want their guests to leave, 
saying 'Wow, that was so much fun. 
That wedding was so Brian and Katie,' or 
whatever the couple's names were. 

"From that standpoint, it's whatever 
we can do to help achieve that goal. So 
we branched out into minister services. 
We branched out to ceremony sound 
and coordination. We provide planning 
for the couple, day of event coordination, 
lighting, photo booths. Those are pretty 
much our core services here.” 

Mitch mentioned a number of 
influences and inspirations within the 
DJ industry, including Mark Ferrell, Bill 
Hermann, Randy Bartlett and a comedian 
named Kyle C (check out this entire 
interview online to hear more). But his 
strongest influence in business has come 
from beyond the DJ realm, from world of 
sales, specifically Jeffrey Gitomer. 

"He wrote the best-selling sales book 
of all time, the Little Red Book of Selling," 
says Mitch. "...I used to read Jeffrey before 
I even took my company full-time, back 
when I was working at a car dealership in 
town. And I was a finance manager there. 
I would Just constantly immerse myself in 
sales, and always read Jeffrey's stuff, and 
very intrigued. 

"And I had the opportunity, probably 
four years ago, five years ago, to become 
Gitomer Certified Ace of Sales, and I took 
that training, and succeeded with flying 
colors. First pass of the test. No problem. 
But I started marketing myself that way. 



when I started speaking on the circuit, if 
you will. And then the opportunity arose, 
through Jeffrey, decided to offer his 
teaching, to have people become, if they 
wished, to become a Gitomer Certified 
Advisor. 

"And this would allow you to be able 
to offer his trainings online, his whole 
coursework, and be able to help coach 
people in the sales process, with his 
trainings, with his teaching. And also, you 
had to fly to Charlotte, North Carolina, and 
take a three day boot camp on Jeffrey’s 
coursework, to be able to learn it, instinc¬ 
tively, intuitively, and be able to offer it 
to people that are interested in sales and 
want to grow more in their sales skills. 

"And you're also able to offer 
workshops based upon Jeffrey's best¬ 
selling book. So currently, we have four 
workshops available. And that is Little 
Red Book of Selling, Little Black Book 
of Connections, Little Gold Book of Yes 
Attitude, and also Customer Satisfaction 
is Worthless, Customer Loyalty is Priceless. 
Those are the four workshops we offer." 

Mitch has taken his skills as a DJ, 
duplicated his personal quality to build 
his business, and also immersed himself in 
a whole world of knowledge beyond that. 
Mitch is also someone who can teach, and 
the DJ industry is better off for it. 

Find out more about Mitch Taylor, 
and his podcast with Vickie Musni, called 
Creating Connections, at MitchTaylor.Net, 
and about his connection with Mobile 
BeatatMobileBeatLasVegas.com. MB 


WWW.HOeiLEBEAT.COM » SEPTEMBER 2015 


H5 







A Voice Worth Listening To 


JASON GRIFFITH SHARES HIS STORY AND TIPS FOR TACKLING 


By Mike Ryan 



W ho could ever guess that a voice message on 
an answering machine would lead to an acting 
career? That^s exactly what happened to Jason Griffith 
of New York, “They heard my outgoing answering 
message, which was either a game show host or a Joe 
Pesci imitation, I canT remember which, but mine 
was the voice they wanted for a national radio spot.” 

Jason started acting professionally at age 17. His first paid job 
was with the traveling tour of Goosebumps—Live on Stage 
{based on the popular R. L. Stine children's horror novel series). By 
the age of 20 he was doing radio and television commercials for 
JetBlue, M&Ms, Burger King, and BMW. His talent agent noticed 
that Jason was very good at creating voices. 

"They kept sending me on voice auditions and I kept booking 
them. From commercials I made a relatively easy transition into 
animation," Jason has done voices on almost 30 video games and 
was a regular on Pok^mon the TV cartoon show for three years. 

Arguably, his biggest claim to fame is as the voice of TV's 
Sonic the Hedgehog for seven years, Hedgehog fans still consider 
Jason to be the best voice of the show. (Jaleel White, who played 
Steve Urkel of the TV sitcom Fomity Matters, was Sonic's first voice.) 

Jason was always interested in voice work and as a child would 
create his own radio shows, interviews, dramas and comedies. 
"My parents bought me microphones and voice recorders every 
year for Christmas. Now, when I'm in a studio, I feel connected 
with my younger self. It's a cool feeling knowing that I can make a 
living doing something that I’ve always considered play and fun." 

MORE THAN JUST TALKING 

Many people thinks it's easy to be a DJ: Just buy some equipment 
and music and basically you're ready to go. Jason says it's the 
same with acting, but it's a lot harder than it looks (or sounds). 

"My great acting coach, Anthony Abeson, says you have to 
have a strong appetite to keep learning and bettering yourself, to 
keep going when things get tough, to encourage yourself when 
you're feeling down," Jason says. He adds, "You have to fight the 
frame of mind that everyone else is working and you’re not. The 
truth is that there's enough work for everyone, including you... 
forget about competition, embrace the fact that you're not 
going to book every Job, just the ones that are right for you, and 
sometimes not even those!" 

It's likely that many MB readers consider themselves to have 
voice-over talent. If that describes you, and wants to give it a try, 

there are online sites 
like Backstage.com 
and Voicebunny. 
com, where you 
can pick out an ad 
and audition for it. 
I wondered if these 
sites just offered 



false hope or are they the real deal? Jason has never used one 
himself but says "...people do get business from them but these 
sites have a down side, that there's bound to be a lot more people 
auditioning for each job then what a talent agent can line up for 
you." 

When mobile DJs meet clients for the first time they are 
basically selling themselves. The same applies to actors when 
they audition for a part. In both situations, that first impression 
is critical. However, Jason emphasizes the importance of being 
yourself. "It may seem cliche, but simply being yourself can go 
a LONG, LONG way. When I first started out, I had a tendency 
to 'put on a voice' when the auditions really called for a natural 
tone. When I was told 'Don't push, just be yourself,' it was hard 
to understand at first. I thought isn't that what this work about; 
doing voices, selling products, being an announcer? No, it turned 
out it was about something more personal, something unique 
that the producers and clients were trying to get." 

Radio veterans used to call DJs who "pushed" their voices 
"Ronnie Radio."Talent agents simply do not want that. According 
to Jason,"The numberone direction given at auditions these days 
is to be natural, 'non-announcery,' like you're talking to a friend. 
Being yourself leads to fun interaction that is unique, creative, 
and interesting, the type of interaction that people inwardly 



Mike Ryan started out writing for 
news radio, and has been a DJ in 
the SoCaf radio market on KGB 
and KSDS. He mobiles as Mike on 
the Mike. He is also the inventor/ 
owner of Frankenstand Powered 
Speaker Stands. 


H5 


MOBILE BEAT SEPTEMBER E015 



























crave, They really don't want to be'sold,' in fact, that turns people 
off. When I hear someone on the mic 'doing a DJ voice' when it's 
not necessary, a part of me stops connecting, stops listening," 

Mobile DJs often need to be up and excited, but some of 
us equate excitement with increased volume. Jason's trick is his 
mental "phantom power." 

"You can be talking about one thing on the mic, but be 
thinking of something completely different as your trigger for 
excitement and no one will ever know that you’re not just com¬ 
pletely and genuinely enthusiastic for what you're speaking 
about. If you can make yourself excited or enthusiastic for 
whatever reason, you'll come across that way. Sometimes this 
can increase our volume a bit, but if done correctly it can actually 
work to our advantage," 

Preaching to the DJ choir, Jason says don't forget to read 
your audience: "[always] keep in mind who you are talking 
to. This is not just a superficial thing to do; it’s a feeling and a 
goal. The more you can feel as If you’re really talking to, say, 
your best friend, a girl you're trying to impress, or even a family 
member, the more the audience connect with you. Also, listening 
to your audience is tremendously important, gelling with them, 
so to speak, really communicating.That makes this process more 
organic and less'show'." 

YOUR VOICE IS YOUR TOOL: PROTECT IT 

I asked Jason what things he has learned to help his voice? 
"Exercise, building your lung capacity through cardiovascu¬ 
lar exertion [he jogs] helps maintain your breath throughout long 
sessions and even longer copy. Movement is essential in creating 
a more dynamic range. Remember, your voice is not only 
an extension of your throat, but of your entire body and spirit." 

Jason strongly believes what goes in your mouth effects 
what comes out. "I don't consume dairy as a rule, but, espe¬ 
cially not before a session, as milk is mucous-forming. Beer also 
has the same effect, they both really mess with my vocal cords. 
While in the studio I drink room-temp water, never cold! Also, I'd 
recommend warming up your voice through your whole body 
and not just from the throat. Singing is a fantastic tool to loosen 
up, to open up, and to create vibrations in your whole body. 
Singing while moving (yoga, stretching, doing chores) especially 
helps." 

TALKING TECH? 

LG has introduced HomeChat, a new line of"talking"home appli¬ 
ances that respond to human and Smartphone commands. We 
already converse with Sir! on our iPhones, and now with LG's 
HomeChat you can literally tell your appliance what to do, and 
your fridge, washing machine, or oven will obey you! 


I wondered if this new technology was a threat or an oppor¬ 
tunity for voice-over work. Jason's first response was that "it 
sounds spooky or incredibly sterile; on the other hand, it can be a 
money maker...Being the 'voice'of anything can prove lucrative, 
especially if the work is open-ended and on-going. I look at it as 
an opportunity to act and have fun (key word: FUN)." 

By the way, when I speak to Sirt "she" auto-corrects me and 
makes me feel like I have terrible diction. I was relieved to hear it 
when Jason told me it happens to him too, "all the time"! 

WORDS OF WISDOM 

Jason's advice for people wanting to get into voice-over work 
rings true with all professions; "DO YOUR HOMEWORK, i.e., read 
ads out loud all the time, listen to commercials and even imitate 
them. Get a decent mic and use it in a place that doesn't echo or 
pick up lots of extraneous noise. Many people take themselves 
right out of the running because of novice recording set-ups, 
you'd be really surprised." Jason adds even putting a towel over 
your head and speaking into a mic is better than risking an echo! 

Jason's formula for getting work: "Talent + Appetite + 
Patience -t-Time = Employmenwt." 

Currently Jason has several commercials running on radio 
and TV, as well as several movies coming out later this year, 
including "C Street" with Dylan Walsh and Michael Gross. Jason 
plays the part of a Congressman. 

PLUS: By the time thiOs piece goes to print, Jason will have 
married my daughter Melissa. So, not only is he someone worth 
listening to when it comes to voice-over work, he's also my new 
son-in-law! MB 


All your event info... 


now on your 

smartphone! 



DJ InteNigence; Event Viewer 


Downfoad today on iOS & Android 



INTELLIGENCE 


djintelligence.com 


WW'i-iLMOBILEBEAT.COM » SEPTEMBER 2015 


H? 








FEATURE 





g 

re 

WEIRD, WONDERFUL WEDDING 

HAPPENINGS 

By Mike Ryan 


A ugust, 2015: It was a beautiful wedding in a 
beautiful outdoor setting near a 150-acre 
glacial lake with beautiful people.. .at a strange 
and spooky venue. The Punderson Manor State 
Park Lodge near Cleveland, Ohio features Tudor 
gothic architecture and enough paranormal 

activity to electrify the hairs on your armsl 


MOBILE BEAT SEPTEMBER 2015 















The hotel is reportedly haunted 
by poltergeists who cause pencils to fly 
across rooms, doors to open and close and 
faucets to turn on and off. Also, several 
hotel employees have reported seeing 
an apparition dressed like a lumberjack 
hanging by the neck from a rope near a 
ceiling. After one hotel tour, a photogra¬ 
pher found strange cloud-like formations 
on in a picture, which he hadn't seen 



when he shot the photo, hovering around 
a participant who remembered feeling 
cold at that very moment. 

The hotel, of course, plays up the 
spookiness by selling several books on the 
hauntings.There's even a terrifying looking 
gargoyle statue outside the hotel entrance. 
As you enter the lobby there's a display 
with several pictures of ghostly images in 
the hotel and stories about each one. 

COINCIDENCE, OR...? 

The bride and groom-to-be (who Just 
happen to be my very own daughter and 
Jason Griffith, the voice actor profiled 
on the preceding pages) had made up 
an agenda for their guests that included 
a haunted tour of the hotel. However 
the bride didn't actually check to see 
what day(s) they gave the tour. She had 
it scheduled for Thursday and when she 
asked she was informed that the only day 
they gave the tour was.„Thursday. 

It got weirder. One of the hallways on 
the top floor of the hotel eerily reminded 
everyone of the movie The Shinning, 
Someone made the connection, realizing 
that the bride to-be's room number (cue 
scary music) was 237, which happens to 
be the number of a room where a particu¬ 
larly scary scene in the movie takes place. 
Plus all of the rooms had grainy old film 
looking pictures on the walls Just strange 
enough to haunt your dreams. 

“YOU’VE JUST CROSSED OVER TO 
THE TWILIGHT ZONE...” 

In 1959, season 1 of T/ie Tw)V/gfif Zone tele¬ 
vision show, episode 30 is titled "A Stop 
at Willoughby."There is an actual town of 
Willoughby in Ohio that is located about 
40 miles from the hotel. It holds an annual 
festival inspired by the episode and this 
year's event was held on August 16—the 
day after the wedding. 

Ghost stories are one thing, but it got 
very real on the first night of our stay. As 
we climbed into bed, the room's lights 
started flickered on and off several times 
before all the power in the hotel went out. 
The next day, an electrician working on 
the outage, suffered a massive heart attack 
and died (really!), may he rest in peace. 

A NICE DAY FORA... 

In contrast to the ghoulish goings 
on around the location, the outdoor 
wedding itself was wonderful, with the 
lake backdrop and wispy white clouds 
overhead that looked like they were 
Photoshopped. The bride was stunning (if 
I do say so myself), the groom handsome 



as ever, and the guests, most of who lived 
in the surrounding area, were some of 
the nicest folks you'll ever meet, with that 
down-home country charm that warms the 
heart. The DJ, Jerry Sabol, owner of J Sabol 
Entertainment, a multi-op in Cleveland, 
Ohio, rocked the reception with Elvis (the 
groom's favorite), disco, old school and 
lots of current hits for the youngsters. 

Later that evening, after the party, my 
son was goofing around with a couple of 
flameless votive candles left over from the 
reception, by putting them on his eyes. 
His wife snapped the photo below, which 
turned out to be more than a little freaky 
especially since the candles didn't look 
anything like those in the picture. 

And finally, on the last night before 
we all went home, we were "treated" to a 
dramatic and loud thunder and lightning 
storm—a fitting end to a strange and 
wonderful wedding adventure. MB 



WWW.HOeiLEBEAT.COM » SEPTEMBER 2015 







An App to Build Your 

Intelligence 

DJ INTELLIGENCE GETS APP^D ON lOS AND ANDROID 

By Marc Andrews 


D J Intelligence (parent company, Intelligence 
Inc), has released their Event Viewer app, 
which works in conjunction with a DJ Intelligence 
Pro account. DJ Intelligence has provided a website 
business management tool system for thousands of DJs 
since its launch in 2002. The overall system includes 
event booking, planning and management modules 
that can be added to a DJ company's website for 
$100-200 per year, depending on the features needed. 

Forthose who have stepped up their DJI tools to the “Pro" level, 
the Event Viewer apps for both Apple iOS and Android devices, this 
is a helpful addition to the service'd expanded feature set. While 
this app doesn’t allow you to edit your client details (though the 
developers say this is conning in a future release), it is perfect for 
looking up everything your client has put into their planning forms, 
along with other details from within your DJ Intelligence account. 


In advance of an event, this is a great way to quickly check to see if 
your clients have filled in their planning forms, and if they haven't 
or you have a quick question, to send them a quick email via a link 
in the app. The app also aids you in propping for an event, allowing 
you to check for any last-minute music requests, and you can use it 
for mapping (it will take you to your default mapping app). 

At the event, app users can skip printing the planning forms 
and work directly off the app, or use it as a companion to mark off 
songs they have played. 

Two features that I also found instantly important were the 
music charts (also published as the Mobile Beat Top 200 charts each 
year) being integrated into the app; and the event search, which I 
was able to use to look up upcoming availability for our staff. 

All in all, a powerful addition to the DJ Intelligence ecosystem, 
which will make running a DJ business even easier for its users. With 
the promise of direct data editing through the app on the horizon, 
this might push those who rely on their smartphones for everything 
to take the plunge into the DJ Intelligence way of doing things. MB 




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P ioneer DJ has taken their rekordbox 
software to the next level by adding 
performance control to its powerful 
music library organization features. 

The new software, rekordbox dj, will 
be available from within the basic 
rekordbox 4.0 app by way of a sub¬ 
scription or a Plus Pack with extended 
video and FX functionality. It will also 
be bundled with the new DDJ-RZ 
and DDJ-RX controllers. (Check out 
the website below for a list of initially 
supported Pioneer DJ hardware.) 

The software's GUI mirrors the 
layout of Pioneer DJ controllers, 
providing "instinctive, effortless 
control" of rekordbox dj's features. 

All the usual performance tools—Hot 
Cues, Sampler, Slicer, Sound Colour 
FX, Beat FX-plus Beat Jump and the 
industry's first Pad FX are onboard. 

Pioneer claims that the software has the "industry's lowest 
latency and excellent sound quality." 

Other key features include: a multi-screen option and 
enhanced browsing, where rekordbox dj provides the option 
to split the GUI into two screens that can be toggled via the 


space bar—one for browsing and the otherfor the performance 
features; performance with 2 or 4 decks; the new Pad FX that 
allows creation of multiple FX chains using all 16 pads. Much 
more information can be found at the page noted below. 


www.pioneerdj.com/en/news/2015/rekorclbox-dj/ 


Hercules Drives a Compact 

H ercules has unveiled its latest DJ control solution, the ultra¬ 
portable DJControl Compact. With a footprint of Just 13.4" x 
3.9", Hercules boasts that "this controller makes no compromises 
when it comes to functionality, and is the most full-featured con¬ 
troller in its category." 

Its shape makes it easy to carry the unit in any bag, including 
laptop computer bags, and the unit provides an extensive feature 
set, including; control loops, effects, samples and cue points using 
two sets offour pads. It allows you to tweakthe sound of tracks using 

the dual two-band 
equalizers (one 
per deck), and 
control the volume 
independently 
on both tracks. 
Scratching is even 

possible, using the controller's dual Jog wheels, (3" diameter each. 
All that's needed to get up and running with DJControl Compact is 
a computer (PC or Mac) with a USB port to connect the controller, 
speakers connected to the computer, and a music playlist. 

DJUCED™ 18° (www.djuced.com) mixing software is included 
with the controller.The app allows setting cue points, syncing two 
different tracks, creating loops, and saving mixes. 

Hercules DJControl Compact will be available from October 
2015, at a suggested retail price of $69.99. 




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04, Lumidsfik 

USB-DMX Interface 

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Coming this irKsre PC/Macsoftwa.'Te And DMS( channel packa^rs 


DTnxSoftxom 


WWW. dm xsoft. c om 


SUSHI 




WWW.HOBILEBEAT.COM » SEPTEMBER 2015 


51 









































I n the previous couple of 
issues^ we have covered the 
basics of presenting “Big Screen 
Cinema” events, like how to go 
after the gigs, basic gear needed, 
licensing locally with the MPLC 
and Swank and more. Now it's time 
to raise the roof on big screen 
cinemas. We will cover Going Big, 
Entertaining More and Serving Morel 

GOING BIGGER 

White stretch screens, truss screens, EZ 
fold systems and others are great up to 
about 15-20 feet across, if your goal is to 
truly replicate the big screen movies and 
drive-in theaters, the only way I know 
of doing it is through inflatable screens 
through companies like Open Air Cinema 
{www.openaircinema.us), a company that 
exhibited at the Mobile Beat Las Vegas 
2015 event. (Read: a company interested 
in serving the mobile DJ market.) 

Open Air offers everything from 
portable screen systems that you can carry 
on a plane (one of their newest offerings), 
to home systems with 9’wide screen areas 
that will cover enough for your home/ 
family events, through 20' home systems 
designed for up to 300-500 people (but 
how are you going to fit that many people 
in your backyard?). The "Home" units, 
while inexpensive compared to the Pro 
and Elite screens, are exactly that, home 
units, not made for the rough and tumble 
that pro DJs presenting public events 
would be using them for. 

The Pro and Elite Open Air screens are 
the ones that you would need to consider. 
They start in the 9' size, with a recom¬ 
mended size of 20', but go up to a 40' Open 
Air Elite system at a cost of just under 
$16k. The recommended 20’ size is Just 
under $6k and comes with the inflatable 
system, removable screen surface and the 
blower needed to keep it standing. The 
Pro systems, as compared with the home 
systems, will stand on their own in no 
wind or indoors, but I would recommend 
that you send lead wires up to the top 
and stake them down at diagonals at the 
bottom for best usage. 

I was also amazed at the size of 
these screens when broken down. The 20' 
screen we purchased at MBLV19 fit into a 
big Santa Claus-style bag and the fan for 
it was smaller than a 12" powered speaker 


and pulls less than 5 amps of power. 

ENTERTAINING MORE 

While sometimes it can be a hassle, having 
some entertainment before the movie 
starts is always recommended, and this is 
where your skills as a DJ can really come 
out. 

If sundown is at 8:00 PM that evening 
for an outdoor movie, recommended 
setup time would be around 5:30, with 
the pre-show entertainment starting 
around 7:00. Your job at this point is to 
help to gather the crowd, especially if it's 
in a smali town and you are the big thing 
happening that day. 

Fun, interactive music, line dances, 
and basic games are your bets for enter¬ 
tainment. When you are about 20 minutes 
from show time, and the screen surface is 
just becoming viewabie, show some old 
school cartoons like Tom and Jerry, Looney 
Tunes and simiiar. (Do your own research 
on legality of such, piease.) 

SERVING MORE 

What else can you do? Just like when our 
company started offering game shows 
and video games at after-prom events, 
we were able to sell the clients on more 
services, such as DJs. You will get the 
attention of these groups and be able 
to bring in more business to fill your 
schedule just by serving them well. 

But when it comes to serving them at 
the Big Screen Cinema event, more invest¬ 
ment can bring more profits for you. What 
about an old-time popcorn maker or other 
carnival-style attractions like snow cones 
or cotton candy? You could rent them the 
hardware and sell them the supplies to 
create the total scene. 

And what about things that just 
make your client happier with you that 
don't cost you much or anything to do? 
The most common service we provide for 
groups that work with us is designing and 
printing their movie promotional pieces. 
(While we have a copier than can do up to 
12' X 18' slick posters, most would have to 
hire that job out.) Have your designer put 
them together just like a movie poster (ask 
Rachael or whoever your rep is at Swank 
for materials or just find them online) and 
make sure to put in a plug for your own 
company down at the bottom, since you 
know other potential clients will be seeing 
these posters. 

So there you have it. If you choose to 
offer a movie service, you can provide a 


015 






greatfamily atmosphere for a summertime 
outdoor event, or otherwise create big 
screen excitement for clients whereever 
they want it. Hit me up at rb(a)mobilebeat. 
com with questions or ideas that we might 
include in a future issue! MB 





These event organizers have 
shared a little bit about their 
motivations for hosting their 
movie events. Just some food 
for thought as you plan your Big 
Screen Cinema approach! 


We offer "Movies in the Park" in 
Woukee to provide a unique and 
free family-friendly event for our 
citizens, which allows them to 
meet neighbors and other citizens 
with young children. We are 
utilizing Centennial Park in a way 
that hasn't happened before and 
getting people into our parks and 
engaging them, with the hope that 
they will come back to the pork to 
play, have a picnic or to join one of 
our many other community events 
that we offer in the park. 

We would encourage other towns 
to reach out to their citizens and 
get them interacting by voting on 
which movie to show. We have our 
citizens vote for each movie that 
we show throughout the summer. 
I think the community realty tikes 
the engagement and the kids feel 
like they had an important role by 
choosing which movie is shown. We 
have citizens vote online through 
our website and we promote the 
voting in our Program Guide and 
on our Facebook page. 

- Danae Edwards, Woukee, Iowa, 
Parks & Recreation Department 


We chose to do the movie projec¬ 
tion for our student's Character 
Counts incentive because they 
voted for a movie party. Once 
they reached their goal we knew it 
would be so much more enjoyable 
to have the movie on the big screen! 

- April Heitland, DCG North Ridge 
Elementary Principal 


Plug In and Party 



C HAUVET DJ has developed a series of fixtures 
that include a standard USB connection. 
Users can now wirelessly connect to all of them 
using the new D-Fi USB transceiver, a flash drive¬ 
sized unit that eliminates the need for any DMX 
cables. The USB transceiver is powered directly 
from the fixture. USB fixtures can be controlled 
using any of CHAUVET DJ's wireless controllers, 
or from a smartphone with the D-Fi Hub and 
FlareCON. D-Fi USB transfers DMX as well as 
master/slave signals between similar fixtures and 
is fully FCC/RTTE compliant. 


www.chauvetlighting.com 


]oe Bunn and Mike Walter are joining forces to 
present the most comprehensive D] program ever! 

Earn your D] "Doctorate" in this intensive two-day workshop. 



Nov. 17th and iStb • Chicago. IL 
Doubletree Suites by Hilton Hotel & 
Conference Center Chicago - Downers Grove 

www.phdjworkshop.com 
0 @phdjworkshop 


WWW.M06ILEBEAT.COM » SEPTEMBER 2015 


53 



























A 



Major Atmosphere from Miniscule Lights 

ASTERA L.GHTDROPS™ COMBiNE WTH ASTERABOX^" TO GiVE MORE UPLIGH"^ BANG FOR THE PUCK 

By Ryan Burger 



I nternationally, Astera has been involved with the DJ industry for 
years in lightings but it now has a powerful combo of products 
and people in place to make an impact on the US market. Greg 
Hodges of Astera LED Sales (AsteraLEDSales.com, US-based 
dealer) wanted us to take a look at this product that he is so 
excited about and has been using for years. Greg has owned a disc 
jockey service for over 20 years, was on the leading edge of the 
uplighting business as it hit the wedding industry about 10 years 
ago, and has been working with Astera products for three years. 

We got to check out four Astera Lightdrops™ and an AsteraBox™, 
The Lightdrops are wireless, battery-powered RGBW puck spotlights 
that are extremely small, compared to other manufacturers' lights. They 
are powered by a 15W CREE LED chip, and are wireless DMX control¬ 
lable, The housing features only one plug on the back, holes for various 
mounting hardware, a plug for power, and a leg for adjusting the wash 
angle. These are elegant lights that fit in the palm of your hand; but for 
their size, they have some fantastic power. The Lightdrop also comes 
with multiple diffusion gets in the form of sheets that will give it a wider 
30-degree flood and a 120-degree spread if you are lighting up objects 
from the inside. A strong magnet on the back of the unit also makes it 
perfect for downlighting centerpieces for weddings. 

To control the Lightdrops, we took an AsteraBox (that is the middle-man between 
Astera lights and controller) and sync'd it to my Android device. The AsteraBox pairs 
up just like any Bluetooth device, simply by pushing the power button down for two 
seconds and having the app ready to connect.The AsteraApp™ is available for Android 
devices and worked quite well. Having instant control over the lights was very con¬ 
venient. The built-in effects were very cool, and while I didn't use the lights in a full 

wedding environment, I can see how having the fades and 
color scheming with slow changes during the event would 
be extremely useful. Later in the evening, changing the pace 
of the color movement can help add energy to the event by 
making the dancefloor come alive from all directions. 

I was impressed with how the AsteraBox takes its 
command workload off of the Android phone (or other 
Android device) in that the app on the Android doesn't 
need to be running all the time in case you need to do other 
things with it. The AsteraBox takes controi and then basically 
keeps running its programming until the AsteraApp tells it 
otherwise. 

In addition to using the AsteraBox for control, these 
lights can also be controlled by wireless DMX using their own controller or others 
(LumenRadio CRMX Wireless DMX or W-DMX), or an RF Controller available for under 
$140. (We did not test these options.) 

While Astera LED is also selling larger format can lights up in the $1,000-$!,800 
range, the Astera's Lightdrop sells for only $350 and its AsteraBox controller for $335. 
Plus, there are even discounts and packages available for as few as eight lights. For 
more information on this great uplighting option check out the website or give them 
a call at 774-247-0437. MB 


www.astera-led.com / www.asteraledsales.com 


5H 


MOBILE BEAT SEPTEMBER E015 






























Built to Survive: 
The NuGuard KX 

By Michael Buonaccorso 


I n Mobile Beat’s continuing search for the best “armor” 
to withstand the heavy duty use and abuse mobile 
entertainers subject their gear and accessories to on the 
road^ we run the gamut from looking at the biggest equipment 
cases to safety solutions for your phone. That search Led 
us to the NuGuard KX for iPhone 6 and iPhone 6 Plus. 



The case is deceiving. In an earlier review of a different case, the pro¬ 
tection was there but to such a degree that I broke the unit trying to get the 
phone out. No such problem with the NuGuard KX.The case uses something 
called "X-Orbing gel technology" which evenly distributes kinetic energy to 
provide massive drop protection.The result is a case that is lean, mean and 
equal to what you will find in a bulkier protective case,The case still allows 
easy access to all of the buttons, switches and ports on the iPhone. 

The NuGuard KX case is available in four different colors: red, black, light 
blue ("blue") and dark blue ("midnight"), and comes with the NewerTech 
NuGuard KX Lifetime Limited Warranty and a "No Risk, No Hassle 30-Day 
Money Back Guarantee." More information and links to dealers can be found 
at the website below. MB 


http://www.newertech.com/nuguard_kx/apple/iphone-6- 

and-iphone-6-plus/ 


LIGHT OF THE FUTURE 



O' 

■ a 

B ■ 

• 

III 

NO 

"‘I#’ 

NO 


NO 


NO 


ROUTER 

DMX 

CABLES 

HASSLE 








tout... 

...pocks a punc/ii 


AsieraApp™ 

Adjust Sehings/Control Remoteiy 
Set Your Own Runtime Tap-Sync 
Targets Individual Lights 



ASTERA 


www.asterQ-led.com 


LIGHIDROP’" 

Compact — Super Bright 
Wireless dmx Fast Setup 
WATERPRO of — Anti-theft 


WWW.HOeiLEBEAT.COM » SEPTEMBER 2015 


55 



























Ride the Lightwave 


NUMARK SPEAKERS FEATURE UNIQUE ALONG WITH SERIOUS SOUND 


By Ryan Burger 


W hile the inMusic group just 
launched Marq Lighting 
(WWW. marqlighting.com) to 
complement their audio brands, 
including Numark, Denon DJ and Alto 
Professional, they have also revealed 
a unique hybrid product that was 
added to the Numark stable: the 
Lightwave Powered Loudspeaker. 

This is a well-built powered speaker 
made for small to medium sized events 
where you are bringing in a lightweight 
mobile DJ rig but also want not only great 
sound but a little visual action as well. 

Previously you might be bringing 
in a separate light bar type unit, but the 
Lightwave features LED lighting built right 
into the speaker cabinet, so you have it all 
covered together. 


On the mobile side, each Lightwave 
unit has sturdy feet and handles, and 
weigh 23 lbs. For sound, they offer 200 
watts powered by a built-in Class D amp 
pushing out to three 6.5" woofers and a 
1" tweeter for the high end. Not an over¬ 
whelming amount of power but plenty 
for basic AV gigs like at the bar for trivia 
night where I most recently used it, or a 
smaller farmers market where they are 
just looking for some basic sound and 
announcements and more. 

The inputs in the back include 
XLR/1/4" combo Jacks, along with stereo 
RCA and 1/8" Jacks. In the configuration I 
used at three different gigs, I was plugging 
my iPad or DJ controller into the RCA Jacks 
and a microphone into the XLR plug and 
then linking it over to the second speaker 
in the set. 


SEEING THE LIGHT 

As far as the mini-light show goes, basically 
imagine an LED array or light bar going 
down each side of the speaker right next 
to the front grill and woofers. It has a very 
intense, solid glow to it that reminds me 
of neon. You can control the units to go to 
a mix of RGB, fades back and forth, beat- 
sync'd to the music, VU meter functional¬ 
ity and more. Obviously, it's not meant to 
be a full light show but it certainly adds 
some flair to the front of a DJ setup! 

Overall, the Lightwave is a very cool 
option from Numark, and I’m looking 
forward to more of these combo units 
making it easier and easier for DJs to bring 
out a quick light show. MB 

www.numark.com 



CJ Terry Bradshaw I 
0} Bart Starr I 


A) Jo a Montana 


SJ Tom Brady 


Numdrll 


56 


MOBILE BEAT SEPTEMBER S015 

















Wireless HDMI: Let the Signal Fly 

^tFEN WIRELESS HD VIDEO 60HZ TRANSMITTER AND RECEIVER 

By Jake Feldman 


R ecently I had the chance to try out the 
Gefen 60HZ HD Video transmitter and 

receiver set. I can say the unit ended up being 
a champion for me. Here’s how I got to that point. 

Making it work is simple, yet there are a few things to 
remember. First, the transmitter and receiver are, of course, two 
separate boxes that are each powered by provided 5v power 




I 






physical way to fish signal cable through the ceiling. Other uses 
I can see for this device include video DJs (East Coast flat screen 
guys), game show DJs, and A/V rentals. Really, with a street price 
of just around $350, the time saved with this piece is indeed 
worth every penny. 

Gefen has made wireless transmission products for a great 
many years, so it comes as no surprise to me that this product 
really works well. Wireless HDMI is relatively new and until 
recently was unaffordable to many, but with It becoming the 
new standard in video on the pro and consumer level, rock solid 
solutions such as this are certainly welcome. MB 


The 60Hz is actually the frequency 
at which the transmission occurs— 
providing a surprisingly crisp picture 
without interference from WiFi or remotes 
in the facility or region in which you plan 
to transmit.The signal should be transmit¬ 
ted from a table or other sturdy location, 
and the receiver can be mounted on the 
back of a television or on a projection cart 
or bracket. 

I used the device for two corporate 
presentations, and for one of my weekly 
trivia locations that features four flat- 
screen panels hung above a bar with no 



supplies.Then, the source signal is connected to the transmitter 
via HDMI input (up to 1080p resolution). For best results, put the 
source player or source provider close to 
the transmitter and use a 5' HDMI cable 
to"feed"the transmitter.The receiver also 
outputs a HDMI lOSOp signal that goes 
into a TV or projector. 

The transmit distance for the signal 
can be up to 33'which is perfect for those 
areas where you don't want to run cable, 
like high traffic areas or for low-impact 
installs in restaurants. HOW ITWORKS 


www.gefen.com 


WWW.HOeiLEBEAT.COM » SEPTEMBER 2015 


5? 

























Actions to Attract High-Quality 

Wedding Leads 

By Stephanie Padovani 


A ll leads are not created equal. Anyone 
who has booked a nightmare client or 
struggled to convince someone about the 
value behind your price knows this to be true. 

But how do you tell the difference? And where do you 
find the good ones? It's time to discover how to start attracting 
quality leads right now. 


imagination and write down their: 

• Age, demographics, education 

• Political affiliations, career, hobbies 

• Schools they attended 

• Affiliations and clubs they belong to 

• Any other interests they have 

• Wedding likes and dislikes 

• Preferred types of music 


#1: CLEARLY IDENTIFY YOUR IDEAL CLIENTS 

The first step is knowing who they are in vivid detail. Think of a 
couple who represents your ideal, the kind you wish you could 
clone and work with at every wedding. Or if you haven't worked 

with your ideal (yet) 

use your 


#2: BECOME IRRESISTIBLY ATTRACTIVE TO YOUR 
IDEAL CLIENTS 

Once you know who they are, you have the clues you need to 
attract them. Use words, images and messages that communi¬ 
cate clearly that you understand them. 

For example, our wedding clients were typically opposed to 
participation dances. By declaring on our website that,"You 
won't have the Chicken Dance or plastic guitars 
at your wedding," our ideal clients 
immediately know they're 
In the right place. 



MOBILE BEAT <> SEPTEMBER 2015 

















coo 


P; 


You’re not doing anyone a favor by wasting time with 

someone who isn’t your ideal client. 


Another popular wedding DJ attracts his ideal clients by sug¬ 
gesting playlists designed to appeal to them. A playlist including 
Bright Eyes and the Yeah, Yeah, Yeahs attracts a radically different 
couple than one featuring the Zach Brown Band and Lynyrd 
Skynyrd. 

#3: ALIENATE EVERYONE ELSE 

Doing a good job of attracting your ideal clients necessitates 
alienating those who aren't, You need to say, "no" to the clients 
you don't want in order to attract the ones you do. 

The images and copy on your website can communicate 
this quite effectively. One wedding photographer features the 
photo of a bride's mud caked Jimmy Choo shoes at the top of 
her website. She knows that uptight, princess-type brides will be 
horrified by it. 

An authentic tagltne is another way to drive away the 
couples you don't want. "No group dances or plastic guitars." 
"Family-friendly entertainment for ages 5 to 95." "Fist-pumping, 
club-thumping dance beats." Each of these statements is defini¬ 
tive enough to drive away clients who aren't a match for what 
you do, while simultaneously attracting those who are. 


#4: MEET THEM WHERE THEY HANG OUT 


What other wedding businesses, schools, charities and organiza¬ 
tions do your ideal clients frequent? These are ideal places to meet 
them. If you’re not sure, ask your past clients and find out. 


Attend bridal shows were these couples are present. Get 
involved with a business group or charity organization they 
belong to, Become a member of the board to show off 
your organization and speaking abilities, and you'll 
become the natural recommendation for wedding 
entertainment. 



#5: ASK A QUESTION THAT 
IMMEDIATELY REVEALS 
THE QUALITY OF THE 
LEAD 

You're not doing 
anyone a 
favor by 




wasting time with someone who isn't your ideal client. Become 
skilled at identifying your ideal leads quickly with a qualifying 
question. 

What question can you ask to reveal whether the couple is 
a good match for you or not? Depending on the description of 
your ideal lead, it might be: 

• What have you liked and not liked at weddings? 

• What is your venue? 

• What's your favorite type of dance music? 

• What experience would you like your guests to have 

at the wedding? 

#6: ASSOCIATE WITH OTHER WEDDING PROS WHO 
WORK WITH YOUR IDEAL CLIENTS 

Other wedding professionals who are already working with 
your ideal clients are an exceptionally high-quality source of 
leads. Where do these wedding pros hang out? Get involved 
and meet them there. 

Join an association and become an active member. Make 
a point of meeting these individuals and become a friend, 
learn from them, and eventually earn referrals. Organize a 
mastermind group of like-minded wedding professionals to 
support each other. 

#7: UPDATE YOUR BUSINESS IMAGE TO MATCH 
YOUR IDEAL CLIENTS 

This is an often-overlooked element in attracting quality 
leads. A wedding DJ complains about attracting only budget 
shoppers, when a quick visit to her website reveals a cheesy 
HTML site, circa 1995. 

If you want to attract high-quality leads, you must project 
the image to match them.This includes your website, logo and 
marketing materials, and even extends to your clothes and car. 
It doesn't mean you have to own a $5,000 suit to attract six- 
figure weddings, but you will certainly need to look and act 
the part of a successful professional. 

Describe your ideal clients, find them and irresistibly 
draw them like a magnet. The path to high-quality leads starts 
today! MB 



Stephanie Padovani and her 
husband, Jeff, are the dynamic 
husband-wife duo behind Book 
More Brides, the # I marketing 
resource for the wedding 
industry. Visit BookMoreBrides. 
com/priceshopper to iearn 
''How to Position Yourself as a 
Valued Wedding Expert in Only 
Five Minutes!' 


WWW.HOBILEBEAT.COM SEPTEMBER 2015 


59 





The State of Insurance 

AS THE ACA STANDS AFTER SCOTUS 

By Mark E. Battersby 


T he U.S. Supreme Court, in King v. Burwell, ruled 
that the tax subsidies for health insurance 
provided by the federal government to citizens in 
the 34 states that have not established the health 
insurance marketplaces or exchanges were legal. 
That means some six million people, including the 
nearly 3.5 million people in small-business plans and 
small business owners, self-employed professionals 
and early retirees who depend on subsidized 
health care costs, will continue to receive them. 

Unfortunately, despite those subsidies and other tax incen¬ 
tives, healthcare costs continue to skyrocket. And, according to 
a report from the Urban Institute, a Washington DC-based think 
tank, small businesses are among those most vulnerable to the 
steep healthcare cost increases. 

THE ACA TODAY 

Admittedly, the Affordable Care Act (ACA, aka "Obamacare") 
provides mobile entertainers and their businesses with insurance 
options, increased buying power via the government sponsored 
marketplace—and an overwhelming amount of confusion and 
paperwork. What can a DJ business owner do to keep healthcare 
costs manageable while complying with the ACA's updated and 
ever-changing rules? 

First, it should be understood that the ACA's taxes and 
tax credits are based on the number of full-time equivalent 
employees (FTE) and their average annual wages, not solely on 
the number of full-time employees. In simple terms, FTE or "full¬ 
time equivalent" equals the total number of full-time employees 
plus the combined number of part-time employee hours, divided 
by 30. Seasonal employees, contractors and business owners 
don't count toward the total. 

THE DOWNSIDE 

Other than the sharply escalating costs, every mobile entertainer 
should be aware of the ACA's downside. Much of the negative 
impact of the looming "Employer Mandate," stemmed from 
employers reportedly cutting hours. Although the negative side 
effects of the ACA are very real for some mobile entertainment 
businesses many of the earlier radical claims were over-drama¬ 
tized and simply used as political talking 
points. 

Of those that are required to comply, 
only truly large businesses that don't 
currently offer benefits and employ 
many low-wage, full-time workers, face 
truly hard decisions. Those businesses 
offering higher wages typically already 
provide benefits, while smaller business¬ 
es (with between 100 and 50 FTE) will 
benefit greatly from not owing the fee on 


the first 30 employees. So, a business with 100 FTE and 60 full-time 
workers will only owe the fee for 30 employees, assuming, of 
course, that they currently insure no full-time employees. 

THE UPSIDE 

It's safe to say the smaller the businesses the better the tax 
breaks. After all, the ACA provides small mobile entertainment 
businesses with affordable insurance options, cost assistance 
and increased buying power via the Small Business Flealth 
Options Program (SFIOP). Small businesses with fewer than 50 
FTE employees can use the SFIOP to get better deals on employee 
insurance, but aren't mandated to do so. 

Consider a few of the ACA's other and applicable rules: 

• Small mobile entertainment businesses can see up 
to a 50 percent reduction in their share of the cost of 
employee premiums. Employers with fewer than 25 FTEs, 
paying average annual wages below $50,000, qualify for 
tax credits to help pay employee healthcare premiums. 
Employers with 10 or fewer full-time employees, paying 
annual average wages of $25,000 or less, qualify for the 
maximum credit of 50 percent. The amount employers 
do pay is tax deductible and can be carried forward or 
backward. 

• Form 8941, Credit for Small Employer Flealth Insurance 
Premiums, must be filed to claim the tax credit—all the 
way back to 2010, since the credit is retroactive. 

• Thanks to the ACA, employers can offer more and bet¬ 
ter-quality benefits. In fact, because small businesses are 
able to shop for group health plans on their state's Health 
Insurance Marketplace via the SHOP, a mobile entertain¬ 
ment business now has the same buying power as larger 
businesses. Along with tax credits and increased buying 
power, many DJ company owners may now be able to 
provide benefits to their employees. 

• The self-employed with no employees can get health 
coverage through the Health Insurance Marketplace for 
individuals, but not through SHOP. And, everyone can 
use paper applications in lieu of the Internet. 

• Retroactive to January 1, 2014, and through at least 
2015, two percent shareholders in a mobile entertain¬ 
ment business operating as an S corporation can receive 
reimbursement for their individual health insurance 

premiums. Even better, the S corpora¬ 
tion will not be subject to the excise 
tax penalty if it correctly includes 
the health insurance premiums on 
the two percent shareholders' W-2. 

The two percent shareholder must 
report the income as wages, but will 
be allowed to take a self-employed 
health insurance deduction. 

• Effective for 2015, every mobile 
entertainment business providing 



Mark E. Battersby is a freelance 
wf/fer based m the Phtiadeiphla 
area. His features, co/umm ar}d 
reports have appeared in leading 
trade magazines and professional 
journats since the early 1980s. 
When not actually writing, Mark 
spends most of his time digging 
for exciting tax and financial 
strategies to write about. 


60 


MOBILE BEAT SEPTEMBER E015 




























self-insured health 

coverage to employees 
must file an annual return 
reporting certain informa¬ 
tion for each employee 
covered. This rule was 
optional for 2014. 

• Last year, many small 
employers were shocked 
to learn that employee 
payment plans, plans 
under which they reim¬ 
bursed employees for the 
cost of obtaining individual 
health insurance, violated 
the ACA rules, and they 
risked a $100-per-day-per- 
affected-employee excise 
tax if they continued 
using the arrangements. 

The IRS recently provided 
guidance that clears 
up some of the earlier 
confusion. 

• Don't forget there is an 
additional cost for some small businesses—an annual 
$63 pre-existing conditions fee. However, the ACA small 
business fee decreases each year until 2017 when pre¬ 
existing conditions are phased out, 

THE MEDICARE TAX HIKE 

The Medicare Part Atax is paid by both employees and employers. 
Often overlooked however, is the fact that a mobile entertainer 
or business with profits over $250,000 faces a 0.9% increase (from 
2.9% to 3.8%), on the current Medicare Part A tax. 

Since this tax is split between the employer and employee, 
they will both see a 0.45% increase, Small businesses making under 
$250,000 are exempt from the tax. Employees making less than 
$200,000 as an individual, or $250,000 as a family, are also exempt. 

OPTIONAL STRATEGIES 

Instead of shifting to the individual markets, some businesses 
have opted for a high-deductible group plan and set up a health 
reimbursement arrangement (HRA) to help offset employees' 
medical expenses. An employer can dictate the expenses they 
will reimburse, thus limiting their out-of-pocket exposure. 

The advantage of an HRA over a Health Savings Account 
(HSA) is that the plan can be structured so that if an employee 
does not use the money in an HRA, the money will still belong 
to the business. An HSA is another option, but it gives employers 
less control over how the money in an account is spent; the funds 
are made available to employees whether or not they incur any 
medical expenses. 

2015, 2016 AND LATER 

On the horizon is an excise Tax on High-Cost Plans (also known 
as the "Cadillac Tax") that kicks in for employers starting in 2018. 
Employers may have to pay up if their group health plans exceed 
a certain dollar limit. The limit for 2018 is $10,200 for individual 
coverage and $27,500 for family coverage. 

For self-insured plans that exceed these limits, the empioyer 
wiil pay a 40% nondeductible excise tax on every dollar above 


the limit. This penalty can be significant even for a plan that 
exceeds the limits by only a few hundred dollars per year, making 
now the time to think about changing an existing plan, 

THE SUBSIDIES 

Before the ACA became fully effective in late 2013, small busi¬ 
nesses were much less likely to offer health insurance plans to 
workers than larger companies. In 2013, more than 93 percent 
of companies with 100 to 999 workers offered health coverage 
to employees, compared with just 32.3 percent with fewer than 
25 workers. 

Self-employed mobile entertainers and workers in small- 
businesses have, at least since late 2013, been able to buy sub¬ 
sidized individual health insurance plans on government-run 
exchanges. This has reduced the uninsured rate among non- 
elderly workers at businesses with fewer than 50 employees 
from 23.5 percent in June 2013 to 13.2 percent currently. The 
uninsured rate among self-employed workers fell from 30.4 
percent in mid-2013 to 19.6 percent. 

The subsidies, available to anyone who earns between 100 
and 400 percent of the poverty level, have helped reduce the 
cost of insurance—at least until recently. Ecalating insurance 
costs have already begun impacting businesses and others who 
do not qualify for subsidies. 

While supporters of the ACA tout its success in providing 
insurance to millions of Americans, recent rate filings from large 
insurers reveal the law may have been built on a shaky founda¬ 
tion. In recent weeks, large insurers selling coverage under the 
ACA have proposed massive rate increases for 2016—some 
exceeding 40%—because they haven't been able to sign up 
enough young and healthy customers. 

Skyrocketing healthcare costs are not, however, the only 
reason every mobile entertainer should seek assistance. The 
job of keeping abreast of the ever-changing rules, the ACA's 
potential pitfalls in order to reap its benefits, all cry out for pro¬ 
fessional help. MB 


WWW.HOeiLEBEAT.COM » SEPTEMBER 2015 


61 








Your Raise Is Effective 

When You Are 

INCREASE PAY BASED ON PERFORMANCE 

NOT JUST PRESENCE 




R aises are almost as much 
fun to give as they are to 
receive. Even after 20-plus years 
of running my own business, I 
still love how a team member’s 
face will light up when they hear 
that they’re appreciated-and 
that appreciation is being shown 
through an Increase in pay. 

At my company, we don't give 
out raises based on longevity. Just 
because you've been breathing air 
in the same building for another 365 
days doesn't qualify you as raise-wor¬ 
thy in my book. But if you've brought 
value to the company, if you've made 
us money and shown yourself to be a 
valuable contributor—one who goes 
out, kills It and drags it home every 
day—you bet you're going to be 
rewarded. 

Your team is filled with players 
holding varying degrees of tenure, 
talent and maturity. At some point, 
each and every one of them is going 
to have that Jerry Maguire moment 
where they say, "Show me the 
money!" Inevitably, some of these 
team members will deserve for you 


to be more generous. Others, unfor¬ 
tunately, will have an unrealistic view 
of what they've brought to the table. 

I almost never cut a team 
member's pay due to poor perfor¬ 
mance. People are more than simple 
numbers on a weekly report, and as 
a leader you have an obligation to 
provide your team with everything 
they need to succeed. Sometimes, if 
a team member is underperforming, 
additional training or education is 
needed. Other times, a person may 
have personal issues outside work 
that require a little understanding, 
counseling and grace. 

But for players who are consistent 
contributors year-in and year-out, 
raises should be given happily and 
with a praise sandwich. Praise the 
person and their actions and talents, 
give the raise, and praise the person 
some more. This is a time for cel¬ 
ebration, because it's a true win-win 
scenario. The company wins because 
it has a truly valued and productive 
team member, and the player wins 
because they know they're valued 
and respected. 

And that extra money in their pocket 
every payday doesn't hurt, either! MB 


Dave Ramsey is America's trusted 
voice on money and business. 
He has authored five New York 
Times best-selling books, including 
EntreLeadership and The Total 
Money Makeover. The Dave Ramsey 
Show is heard by more than 8.5 million 
listeners each week on more than 550 
radio stations. Follow Dave on the web 
at www.entreleadership.com. 

k. J 




62 


MOBILE BEAT « SEPTEMBER 2015 





























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Why Do YOU Buy? 

UNCOVERING YOUR OWN SECRET OF SELLING 

By Jeffrey Gitomer 


T hink about the last few things you purchased: 
They hold the secrets to increasing your sales. 

In one seminar, I was giving a stream-of-consciousness 
talk about buying motives and why people buy. As usual, I was 
focused on the customer side, the probable purchaser side, the 
buyer side of the equation, Then out of the blue I said, "Think of 
something that you just purchased. Why did you buy it?" 

All of a sudden a one-million-watt light bulb went off inside 
my head. One of those instantaneous AHA messages, I discov¬ 
ered an answer, and it's an answer that everyone can understand. 

If you list the last ten things that you purchased, you will 
discover the motives behind your own buying decisions, and at 
the same time, you will discover the formula for why others buy. 
Those "others" are your prospects, your potential customers, you 
know, the ones that you are erroneously trying to "sell." 

When you list the ten items, do it on a spreadsheet. In the 
second column write down whether 
you needed what you bought, or Just 
wanted it. In the third column, write 
down whether you could afford it on 
the spot, or you went over budget and 
had to charge it. In the next column, 
write down how you purchased. Did 
you go to them, did they come to 
you, or did you buy it online? If you 
bought it online you might want to 
enter what time of day you bought 
it. Interesting to note that a high per¬ 
centage of online purchases are made after 8:00 PM. 

In the next column, write down whether or not you liked 
the salesperson (assuming there was one). In the next column, 
write down the percentage of influence that the salesperson had 
in completing the sale—one being the low, one hundred being 
the high. 

In the next column, enter your risk factor in making the 
purchase—one being the low, one hundred being the high. 
In other words, how much did you fear the purchase, and how 
much did you fear you were making the right purchase before 
you bought (usually the higher the purchase, home, car, the 
more hesitancy). 

In the next column, write the word "price" or "value." If you 
went for price only, write price. If you went for value, the most, 
then write value. There's a caution here: only put the word "price" 

a Jeffrey Gitomer is the author of 12 best-selfing books, indudmg 

The Sales Bible, The Little Red Book of Selling, The Little 
Gold Book of Yesi and 21.5 Unbreakable Laws of Selling. His 

rea!-wortd ideas and content are also available as online courses at 

For information about training and seminars 
ws/t wv]fw.Gitomer.com or wwv]f.GitomerCertifiedAdvisors.com, or 
emailJeffrey personally at salesman@gitomer.com. 


if you went for the lowest price in the category, not the lowest 
price for the item. In other words, if you bought a BMW you didn't 
buy price, you bought value regardless of where you bought it. 

In the next column, rate your experience by percentage, one 
being the low and one hundred being the high. One meaning "I'll 
never come back," and one hundred meaning, "I'll be back, buy 
again, and tell my friends." 

Then in the final column, write a sentence or two about how 
it happened. The story. If it takes three sentences, make it three. 
But write enough so that you understand what caused you to 
make the purchase of the item, and then what caused you to 
make the purchase from that specific company for that specific 
product or service. 

Now you have enough criteria to identify your own answers. 
Once you read over the spreadsheet you may find that you want 
to modify a few of them to get closer to your own reality. 

Pretty simple so far, huh? Let's take it a little deeper. 

When you finished buying were 
you happy? Did you find yourself 
saying it wasOK, but...? It's important 
that you note all the "buts."The buts 
are the obstacle to your purchases 
AND your sales. Did you learn lessons 
each time you boughtaboutwhatyou 
promised yourself you wouldn't do 
again? Those are the same obstacles 
to your sales. And were there cases 
where you selected one vendor over 
another? Note those reasons because 
those are the same obstacles to your sales. 

Now let's go all the way to the bottom of the ocean. Compare 
the way you buy to the way you sell. How congruent are they? 
How compatible are they? Are you throwing up the same barriers 
that the people you bought from gave you? Are you missing the 
same nuances in your selling process that caused you to buy or 
walk away? 

And so now it’s time for the ultimate question: Would 
you buy from yourself? Unfortunately the ultimate answer is: 
probably not, and the reason is, you haven't modified your selling 
process to harmonize with the way your prospects buy. 

There's a hidden treasure. Of course there is, when ever you 
go down to the bottom of the ocean, the object is to find the 
hidden treasure. The hidden treasure will be revealed to you 
when you go read (or re-read) Acres of Diamonds by Russell H. 
Conwell. All the sales-answers you need are buried in your own 
back yard. 

You already possess the treasure. You just haven't discov¬ 
ered it yet. MB 

@ 2015 All Rights Reserved. Don't even think about reproducing 
this document without written permission from Jeffrey H. Gitomer 
and Buy Gitomer, 704-333-1112. 


Now it’s time for the 
ultimate question: 
Would you buy from 

yourself? 


6 


MOBILE BEAT SEPTEMBER E015 


















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WWW.HOBILEBEAT.COM » SEPTEMBER 2015 


65 






Making Change 


CHANGE IS HARD...ByT TF :!S POSSIBLE 


By Jason Weldon 


W hy is change so hard for us? Google that phrase and 
you will see over 1 billion hits. And you will find 
over 1 billion reasons that you will never have time to read. 
So therefore, you don’t bother, causing you not to change. 

I like to think that change is directly correlated to moments 
in life. Think about it. If you don't need to change, you don't. No 
one ever really seeks out change until a moment in life forces 
them to change. Sure, we think about change all the time, but do 
we ever really do something about it? We may give it a shot, but 
then we see that there are 1 billion things that need to be done. 
So we just go back to the way things were. We Just think about 
how great it would be "if" things were different. 

I think for over 99% of us, we accept change only when a 
life moment tells us we have to. Then, whatever that change 
was, becomes our new 
norm. And the funny 
thing is, you are still all 
right. You still made it. 

You survived. Mostly 
because you didn't let 
yourself fail. 

When I was a kid, 
my doctor told me 
I had asthma. I was 
about 10. He looked 
me straight in the eye 
and told me that if I 
ever smoked, I would 
die. I was terrified. He 
gave me an inhaler 
and told me to always 
have it with me no 
matter what. Now I 
was an avid sports 
player, I was outdoors 
all the time and I was a 
very active teenager. I 
swear to you, I never, ever once, needed to use that inhaler. I am 
convinced to this day that my mom came up with this plot to get 
me to never smoke. Well it worked. I have never smoked any kind 
of cigarette in my life. I still hear my doctor's voice in my head if I 
even think about it. 

Even though I was 10, my mom knew that I would need her 


help, and the help of others, to get through the ever-looming 
peer pressure to engage in smoking and drug use. And that is 
what I think will help you change more than anything else. 

If you want your business to change, you need someone to 
call you out when you don't do all the things you need to do. You 
need someone to hold you accountable to the goals you have 
created for yourself. You need someone that won't listen to any 
of your excuses, but only wants one option for you and that is 
your success. I truly believe that another person's help can get 
you through some of the biggest changes you will need to make 
in your business. 

Change for me over the last five years has been in hiring 
people. This was a really scary concept for me in the beginning. 
Not because they wouldn't work out, but because I was now 
welcoming new people into my craziness. And who would ever 
want to be part of that?!The answer, I found out, is lots of people. 

I had to understand 
that most small busi¬ 
nesses were just like 
mine. The new hire 
had seen and done 
it all before and just 
wanted a place that 
would allow them to 
grow. That's right: The 
employee wanted 
and expected change 
in the company. 
(On a side note, 
look up reasons 
why employees quit 
and you will find no 
growth as one of the 
leading examples.) 
Now I'm fanatical 
about hiring people. I 
want to generate more 
revenue, so I need to 
surround myself by 
more people to help me change even more. 

The next hardest change for me is going to be becoming a 
better listener. I have struggled all my life with this. Not just being 
a better listener, but acting on the things I am listening to. I can 
listen to what people say all I want, but I have to get better at the 
actions that need to come from listening. For instance, if people 
are telling me that they need more feedback from me, I have to 
hear them and then put a plan in place to make it happen. 



V- 


Jason Weidon is a wedding business consultant who 
specializes in smai! fo medium-sized companies that want 
fo grow their business. His objective is to heip guide people 
through organizing their thoughts and laying the groundwork 
for a better, more successful start-up. He currently fives in 
Philadelphia and is also the president of Synergetic Sound and 
Lighting, inc. and DJ andAA/company. 



What is the change that you need to make? What do you see 
that needs to be changed by the end of the yearthat would make 
you better? Go one step further and ask someone to share one 
change they think you could make. Then, find someone who can 
be your accountability partner. Someone who is going to make 
you walk around with an inhaler! M0 


66 


MOBILE BEAT SEPTEMBER S0I5 




















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