Issue 185 - August 2017 - Over The Top

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ISSUE 185 AUGUST 2017

H ER T

Mega Sound & Lighting: When Is It Too Much?

OVER THE

TOP PLAYLIST

YO U, D I S R U P T E D......................................................... 6

The Element of Surprise

By Todd Mitchem F E AT U R E . . .................................................................... 8

Over the Top!

By Arnoldo Offermann F E AT U R E . . .................................................................. 10

ADVERTISERS

How to Avoid Overkill

Blizzard Lighting

www.blizzardlighting.com

5

By Trevor West

Bose

www.bose.com

13

Carvin Audio

www.carvinaudio.com

9

DJ Intelligence

www.djintelligence.com/mb

26

Electro-Voice

www.electrovoice.com

7

Famous Stages

www.famousstages.com

2

Frankenstand

www.frankenstand.com

24

Size Matters: To Scale Up Or Pare Down?

Innovative LED

www.innovativeledsales.com

11

By Stu Chisholm

Insurance Canopy

www.insurancecanopy.com/ dj-event-insurance

24

Networking: All About Giving

Mobile Beat Las Vegas

www.mobilebeatlasvegas.com

21

By Matt Martindale

Odyssey Innovative Designs

www.odysseygear.com

15

Photo Printer Outlet

www.photoprinteroutlet.com

19

QSC

www.qsc.com

3

Stage Spot

www.stagespot.com

25

You, Disrupted

www.toddmitchem.com

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P R O D J F I L E S................................................................ 1 2

Multifaceted Music Man: Curtis Whipple

By Michael Cordiero B R I L L I AN T D E D U C TI O N S.............................................16

Managing Cyber Security Risks F E AT U R E . . .................................................................. 18

F E AT U R E . . .................................................................. 22

T H E L AST W O R D.. ....................................................... 26

On-the-Spot Networking Skills

By Jason Weldon

Publisher Ryan Burger Mobile Beat Editor-in-Chief Dan Walsh

Gear Editor Jake Feldman Circulation Manager Kitty Harr

Editorial Assistant / Writer Rebecca Burger Events Director Emeritus Michael Buonaccorso

TO ADVERTISE IN MOBILE BEAT OR EXHIBIT AT A MOBILE BEAT EVENT, CALL 515-986-3344 x300 OR EMAIL SALES@MOBILEBEAT.COM

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YOU, DISRUPTED

The Element of Surprise TURN UNEXPECTED CIRCUMSTANCES INTO VALUABLE TOOLS

By Todd Mitchem

T

he “unknowns” at the events are terrifying.

From a microphone suddenly failing, to the one drunk interrupting guest at an event, these unexpected situations can cause a nightmare for even the most seasoned professional DJ. But the question is, what can you do as a DJ to better prepare for these unknown circumstances and what can you do to turn each circumstance into a powerful and positive situation or what I call a “tool?” In this next part of my series, I will discuss the three steps in taking a problem, any problem and turning it into a valuable tool that will enhance your event.

Before we get into the steps of this process, it is imperative that you understand a critical component of this discussion, NONE of the circumstances that surprise you are genuine surprises. That’s right, your microphone suddenly dropping out, the drunk guest who is messing up your introduction, and every challenge in between, is predictable. The key is your preparedness; not in stopping the problem, but in preparing yourself mentally for it. Situations will arise in which you are tested, but once you understand that these can happen, you can apply this For more than 17 years, Todd has coached executives on dynamic leadership, structural excellence, and strategic business applications at some of the top brands in the world, including Microsoft, Apple, Starbucks, Anheuser-Busch, H&R Block and more. His skill in helping corporate leaders and many others reach breakthroughs to greater success led to the creation of his new book, You, Disrupted: Seizing the Life You Want by Shaking, Breaking, and Challenging Everything.

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simple process to turn the tide in your favor.

1) Get Control – The first and most critical step in any unplanned circumstance is that you must get control of the situation immediately. Many DJs will just attempt to “keep going” in the name of expediency, but that is a death sentence when it comes to audience control. Remember, the audience sees the situation, and for you to deny that it’s happening is to ignore the core issue. Instead, you need to get control immediately and act as if it’s all meant to be.

For example, if you are speaking and the microphone immediately stops working resist the urge to bang it around on your leg or to halt the action while you change batteries. Instead, put the microphone away as if it was meant to be, then say something like, “I put the microphone away for a reason.” In the next step we will discuss the “reasons” and ways to turn the situation around, but for now, the critical first step is to gain control.

2) Turn It – Once you have control of the situation, it’s time to “turn it” into something useful.

In the above example, when the microphone stopped working, you could pull in the audience by saying something like, “Now that I have put the microphone away, I can reveal to you a secret. The bride and groom are in the hallway, and I don’t want them to hear me. Now, each of you will be expected to get very loud when they enter, so I will do a test, so the only thing the bride and groom should hear from you is noise. Let’s do the test: On three, make noise. 1, 2, 3!”

This technique will make an audience feel as though the show has new and unique interactive elements. Now you are ready to transition out of the alternative strategy, thus turning adverse circumstances into a positive tool for entertainment.

3) Transition Out – To transition out of a difficult situation is a critical step to getting control of the room.

Once you have run the backup exercise, as I outlined earlier, you are ready to transition. Remember, as in the case above with the microphone, the core issue you turned into a tool, the microphone cutting out, has yet to be solved. Next, you will need to craft a careful plan for how to find time to fix the microphone while no one is paying attention.

In the above example, I would suggest a musical transition, for only a few minutes. In this case, I might say something like, “Ok. That noise was perfect. Now I will play one more song before we welcome the bride and the groom. Get yourself ready; you only have three minutes before the real action starts.”

After my transition statement, I will launch the song and solve the microphone problem. No one will be paying attention because I have created a powerful and disruptive tool to get the audience’s attention. This is just one example of how you can turn a bad situation into a tool and move the event into a more positive place.

FEATURE

Over the Top! GOING BIG AND GROWING SUCCESS

By Arnoldo Offermann

Y

ou want big money? Seriously. Do you want to make big money as a DJ? You need big gear! So buy buy buy!

Ok, I gotta be honest with you; that sounded like the worst sales pitch ever, but it's also the worst advice ever.. Kinda. Buying gear non­stop is a bad idea, especially without a business plan.

However, gear really can be a big key to making more money.

Sure, everyone's case is different, so I'll tell you my story and hopefully you can apply these principles to your business.

When 4SchoolsOnly first started, we barely had any gear compared to now. Three 10' sticks of truss, some ADJ Pocket Scans, the ADJ Color Pod 250s and we had a badass show. We added two 5x7 video screens and we had a whole new market.

Sure, there were other companies in Florida hitting schools with similar gear, but we hit our county first. We also grabbed lighting we used for weddings to keep growing, especially uplights.

But for schools, we had to step it up. Fast forwarding through a long story, we were on track to becoming the biggest school dance company. We had more DJs, and our setups got bigger and bigger. That's all great for school dances, but many of you don't pursue that market. As we got gear aimed for school dances, we realized its not making money during the months when there aren't any school functions.

Luckily, we also do weddings (as part of our parent company, A Premier Entertainment), so it was about finding ways to apply some of this gear in the realm of receptions. Every DJ was already doing uplighting, totems, and "all that normal DJ stuff" but not many had moving heads with motorized focus. We did. We did because we're doing stupid large school dances in ballrooms that were over 20,000 square feet. Now we can sell a beautiful spotlight effect for a wedding where the bride and grooms' spotlight focuses into their monogram.

And what about big sound? Sure, DJs have subs for weddings, but the massive rigs we bring out for a school dance suddenly made us the #1 contender for a deaf groom who needed plenty of bass. Don't even get me started on corporate events, where our massive lighting rigs, lasers, and projection mapping have opened up new levels of events.

Arnoldo Offermann is president of 4SchoolsOnly, a school dance powerhouse in Florida, and the authority in making profit with school dances. His video series, Master School Dances, has helped hundreds of DJs become their market leaders no matter what the economy looks like. Arnoldo is also an industry educator offering many seminars and webinars on various topics, such as marketing, lighting design, video mapping, DMX software, and general tips and tricks. You can check out his YouTube channel at YouTube.com/ DJCraziAce and Master School Dances at MasterSchoolDances.com.

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Usually I write articles that tell you how to make money right away, but this piece is beyond that. This is my plea to you: The moment you set up lighting, you're instantly more than just a DJ company. So grasp that; grow that concept!

There's nothing wrong with being a small-scale operation, but even the single­-op guys are getting more gear to not only meet consumer demand, but also have the ability to grow into bigger events, as well as other markets and revenue streams. I can't tell you the countless number of rentals and non­-DJ events we have done that pay more than most weddings ever COULD. This isn't necessarily the route you may take. As I said, school dances may not even be on the radar for you; but that's just one of the many ways you could enter the mid-level or even high end production game. Thus, here are a few steps to take and things to think about BEFORE turning your office into a warehouse: • What type of events do you want to do? Dream big— as long as you understand that once you go big, you may need to expand in terms of staffing.

• What gear will you need to get there? Moving heads?

Floods? Projection mapping? LED Walls?

• What type of technology? For example if you need floods: HEX? COB? I can't tell you how much crap I've bought that I used one time and opted for something better right away.

• How will you sell the gear? Meaning are you selling moving heads as just lights or will you sell them as multipurpose spots, gobo projections, etc?

• Will you take the time to learn it? If lighting—will you learn DMX? What about video? Big gear takes a bit of understanding how to use it.

• Can you rent the gear to other DJs and keep the residual income coming in without much effort? This is a great way to increase ROI. But big gear means nothing without a big business plan.

Otherwise, you're just another guy buying gear non-stop with nothing to show for it…

FEATURE

How to Avoid Overkill PART 1: COMMONSENSE WAYS TO TAME YOUR SOUND

By Trevor West

I

magine standing next to a jet airplane with the engine running and trying to have a conversation with someone. Now imagine that’s how your clients and their guests feel when your music is too loud.

Now imagine that you have to set up that plane by yourself, run the engines for a 100 people, then tear it all down and pack it away afterwards. If that’s how it feels at the end of the night once you’re done DJing a wedding, then it might be time to rethink your setup.

Think of this scenario, you’re at a wedding and there are two tables three feet from your system. Who is going to complain the most that it’s too loud all night long?

And worse, who do they always seem to put at those two tables? That’s right, grandma and grandpa. Don’t you think they’re going to feel that its like sitting next to a jet engine all night long? And yet the rest of the guests cant hear a thing because you had to turn it down because grandma says its too loud or she complained to the bride who asked you to turn it down.

Now imagine putting that jet plane inside a building and people have to walk around it all night long while the engine is running. Get the picture yet? There is a time and a place to bring all your gear to an event...but a wedding shouldn’t necessarily be one of them.

Remember the adage, “It doesn’t have to be loud, it just has to be heard.” To solve two overkill issues (Too Loud & Too Much Gear), rethink where you place your speakers, rethink how many speakers you bring, and rethink how many lights you really need. Plus, if the client isn’t paying for it then why bring it?

Instead of running four huge speakers at the front of a room, why not have just two in the front and put a third one perpendicular to those two. What that means is put your third speaker on a side wall facing the crowd; now you get better sound coverage from two different angles instead of one.

But don’t turn them up so loud that people complain, just loud enough so that they can hear announcements, cocktail and dinner music, and speeches.

Ever been in a building and the echo sounds like you’re in the Grand Canyon?

Putting third or fourth speakers at right angles to the main speakers can help reduce that echo effect a lot better than running all four from the front of the room.

Once the party time starts, turn down or even turn off those other speakers and face your front speakers so that the sound convergence is right in the middle of the dance floor.

Back in 1990, with a pair of cowboy boots and a borrowed During the party set of gear from a friend, trevor embarked on a DJ career time you only need playing for local country western dancers. Fast forward to have good sound to 2017 and he now is a Certified Wedding Planner, a coverage on the Country Dance Instructor with 25+ years, an Ordained dance floor so you Minister with ULC, passed the Oregon Liquor Server can reduce the License test, and is a photobooth owner/operator. He number of speakers presented at MBLV21 on photobooths and DJ “overkill.” needed to cover

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that area. But during cocktail, dinner, cake cutting, and toasts, you need to have good but not too loud sound coverage for the rest of the room or tent.

Most weddings usually have 100-200 guests, so why are you trying to provide sound for that many with enough equipment to cover 1000-2000 people? Here’s a suggestion: For every venue that you’ve ever been to, compile a list of how many speakers you actually need to cover that venue.

The main venue I work at the most is in a tent, and it requires four speakers spread out to get the best coverage. I don’t even think about how many to bring, I already know.

I recently did a wedding at a venue I’ve never been to, I thought it would need three speakers at best and it turned out I only needed the two main ones.

To sum it all up, only bring the amount of gear that will cover the space you’re in without people complaining that it sounds like a jet engine. Bring the right type of gear for the room and the crowd size.

And last but not least, before anyone shows up, walk the room with music playing at a low level and see if you can hear it from anywhere in the room, if you can’t they can’t.

Happy DJing.

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PRODJFILES

Multifaceted Music Man CURTIS WHIPPLE COMBINES A MAGNETIC PERSONALITY AND A UNIQUE APPROACH TO DJING

By Michael Cordiero

Photo by Cyndi Hardy Photography, www.cyndihardy.com

A

t some point a prospective client has asked you this question: "What makes you different from the other guys?" It's all about personality, right? Do clients really book you based on blinky lights and big speakers? To really define who is different and unique in our industry there have to be benchmarks; those entertainers who set standards and keep raising the bar. Curtis Whipple knows all about that.

I first met Curtis at a convention about five years ago. He was quiet, but moved with swagger and had a big smile. Curtis has one of those magnetic personalities and styles that make you want to hang out with him. He just exudes old school cool. His approach to events and entertaining is just as interesting. He is a DJ with a mission: Saving souls one gig at a time.

Mike C: What was your first experience as an entertainer?

Curtis W: Back in 1979 my dad owned a store in Winslow, Arizona that he took over from my grandfather, who sold sewing machines to the local Navajo people.

M C: Wait, so you grew up in Winslow Arizona?

C W: Well, I was born in San Francisco, but we moved to Winslow to take over the store.

M C: So you actually stood on a corner in Winslow Arizona?

C W: (laughing) Yes, many times. It's a great little town that just grows on you.

M C: Couldn't resist asking you that. Please tell me about 12

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your first entertainment experience.

C W: Well, my dad was having a retail promotion at his store and asked me to introduce two local TV celebrities. I was given one minute to speak and do my thing. I cracked a couple of jokes, the crowd laughed and then I lead them in singing "We Will Rock You." I was hooked. Here I am 37 years later still loving what I do.

M C: How did you move into the DJ field?

C W: I played keyboards in a high school band and went to this place, Carlos O'Briens. I saw DJs being trained there and was intrigued. That experience got me started.

M C: How come you didn't create a "DJ" name?

C W: I just didn't feel I needed to. I was getting work through an agency and branding myself (my real name) worked well for me.

M C: Do you perform mostly in Arizona?

C W: Yes, I live in Cave Creek now, but I do events all over the Southwest and some in California.

M C: I noticed that you don't have a different social media page for your business. Is it hard to keep your personal and professional stuff separate?

C W: I only have one page because I want my clients to see the real me. Having one page keeps me honest with myself and helps me to avoid all the negative stuff on social media.

M C: You play several instruments and incorporate them into

violinist or percussion artist.

C W: I work with other musicians from time to time. It's always fun.

M C: Your style has always struck me as an old school, revivalist, rock-a-billy, Blues Brother kind of guy.

C W: (laughing) Yeah. When I perform, I'm really trying to save some souls through rock and roll one gig at a time.

M C: You also created your own giant board games for events. How did that come about?

C W: A client of mine wanted something different for their event. I looked online for different games and decided to build my own. I really enjoy woodworking, so I made some templates in my workshop and started building.

M C: The games look really cool. Giant Jenga, Corn Hole and Connect Four. Are you building more?

C W: I've built and sold a few sets for some people.

Summer in Arizona is our slow season, so I spend a lot of time in my wood shop.

your events. How has your musical background helped your performances as a DJ?

M C: I know you are very active in your local ADJA chapter and you are on the ADJA National Advisory Board. How important are associations to you?

C W: I really believe understanding the fundamentals of how music is created helps you play better.

C W: The ADJA has been a great resource for networking and learning. I'm honored to be a part of it. I believe all DJs should be involved in some sort of local or national group.

M C: True, mixing music is about a lot more than just matching BPM. I remember the seminar you gave on music theory a few years ago.

M C: Education is important.

C W: I thought it was a great topic for a seminar because I've found that many DJs can't read music and have a limited understanding of scales, octaves and arrangements.

C W: Right, just because you are good at your craft doesn't mean you know how to run a business. You need to develop critical thinking skills. Belonging to an association and networking groups is definitely going to help you grow your business.

M C: I agree. I'm a firm believer that everyone should learn an instrument or take a course in music theory. How did you begin to add in live music to your events?

M C: What is some key performance advice you would share?

C W: Requests from some of my clients. I don't play live at every event, but there is something that live music brings to an event that a DJ can't.

M C: Definitely. Nothing beats a great concert.

C W: True. People really respond and interact differently to a live performance.

M C: Should DJ's incorporate live elements into their performances?

C W: Yes. Learning an instrument is not for everyone, but find a musician you can work with.

M C: I've seen other companies add in a 14

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C W: Keep it human. The more human you can make the experience for your guests the better the event.

M C: Can you define "human" a little more?

C W: Be yourself, be real. People hate fake. Have a good set up. Have great background music prepared. Earn the crowd then add the Michael Cordeiro is interactive elements. Make your events the owner of M.C. a non-cheesy, rock and roll party!

Entertainment, a small multi-op in Rhode Island.

He has been on TLC’s Four Weddings, hosted an episode of Toddlers & Tiaras and has opened for many celebrities. He has a degree in Entertainment and Event Management from Johnson and Wales University.

M C: Save some Souls!

C W: Exactly.

To learn more about Curtis and his style of entertaining, please visit: www. curtiswhipple.com.

BRILLIANT DEDUCTIONS

Managing Cyber Security Risks WHAT’S YOUR PLAN?

By Mark E. Battersby

T

oday, with just about every DJ business involved with some form of online storage of data such as customer lists, employee information, receipts, tax documents, accounting info and, of course, credit cards, mobile entertaiment businesses are increasingly vulnerable to cybercrimes like online identity theft, hacking or phishing.

Suprisingly, nearly 83 percent of small businesses do not have a contingency plan outlining procedures for responding to and reporting data breach losses despite the fact that, according to the National Cyber Security Alliance, a nonprofit cyber security educational organization, one in three small businesses is a victim of cybercrime each year—with 60 percent of those victimized going out of business within 6 months.

A data breach or hacking incident can not only harm the mobile entertainment operation, it can also lead to a lack of trust on the part of customers, partners and suppliers. No business can hope to remain safe from cyber threats if they fail to take the necessary precautions. In fact, it is every mobile entertainer’s obligation to protect the data and financial information of customers, suppliers and employees.

In the US, almost every state has so-called “breach notification” laws, and other countries are following suit. In other words, many state laws require written notification be sent to those individuals who have been affected. Even where such laws are not in place, a reputable business should provide breach notification.

Security experts agree that the easiest place to begin protecting any operation’s data is with strong password protection.

Yes, password protection, something that a surprising number of IT-sophisticated businesses often fail to master. Many recently exposed “hacking” cases have been traced back to weak passwords that were either (1) not encrypted or “salted,” or (2) not changed regularly.

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Other tips to help secure data, reduce liability and, in many cases reduce the cost of insuring against potential losses, include: • Get a firewall. There are hardware and software approaches that are both cheap and easy to use.

• Conduct regular risk assessments to reveal hardware, software and individual site vulnerabilities.

• Computers that are used for sensitive applications such as making electronic bank deposits, should be isolated from the rest of the operation’s network.

• Control access to data, which can mean limiting delivery and exchange of customer-, supplier- or employee-related documents and information to secure channels.

• Get anti-virus software and use it. Although free updates are usually included, make sure to update the program regularly or, better yet, allow the software to do so automatically.

• Create—and implement—a data security plan that includes immediate notification of all affected parties. It many cases, it is the law.

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Mark E. Battersby is a freelance writer based in the Philadelphia area. His features, columns and reports have appeared in leading trade magazines and professional journals since the early 1980s.

When not actually writing, Mark spends most of his time digging for exciting tax and financial strategies to write about.

Little of a mobile entertainer or a business’s data is typically covered under today’s insurance policies.

Thus, liability for any loss of customer or employee data is probably not protected. Admittedly, some of a mobile entertainment operation’s insurance policies might offer general liability protection. Unfortunately, it is only after a hack attack that many DJs discover what is and what isn’t covered by their insurance policies.

While few so-called “umbrella” policies or blanket liability insurance policies cover these types of losses, a relatively new type of policy, “Cyber Liability Insurance” is available. Cyber liability insurance has been available for almost 10 years although it is very rarely purchased.

Cyber Liability Insurance can cover hacker attacks, viruses and worms that steal or destroy a business’s data. Even e-mail or social networking harassment and discrimination claims can be covered along with trademark and copyright infringement. Cyber liability insurance often covers profits lost because of a system outage caused by a non-physical peril such as a virus or attack.

A good insurance company can make sure a firewall is in place and help create social media policies that reduce risk. Even if data is stored in the cloud, a mobile entertainment operation may still be liable for a breach. Although controlling how a cloud provider handles the business’s data is almost impossible, cyber insurance can protect any operation from their mistakes.

Hackers are getting more sophisticated every day, sometimes forming syndicates of like-minded criminals to share information and new techniques.

Businesses, even independent small mobile entertainment operations and the DJs, VJs, and KJs that operate them, are increasingly in their crosshairs and need to use every protection strategy – including cyber security—available to combat the growing cyber threat.

FEATURE

Size Matters: To Scale Up Or Pare Down?

By Stu Chisholm

M

y long-time readers will recall the story of my first DJ system, a huge monstrosity built around a DJ “coffin” with two turntables, a full-sized mixer, two racks with cassette decks, dual CD player, two Sony Minidisc decks, a drum machine, and a wired and wireless mic. A stretch of box truss held a massive light show, with eight “intelligent” fixtures and several standard lights, topped-off by a 16” glass mirror ball.

Why did I build such a rig? Well, back in the 1980s and early ‘90s, one frequent client was a local singles club that had dances in a school gym. It had a fullsized stage. When I first spoke to their organizers, I heard many complaints about their previous entertainer, who had one last scheduled engagement.

I decided to be a proverbial “fly on the wall.”

WHOLE LOTTA NOTHIN’ GOIN’ ON I slipped-in near the middle of the show and, while there were a few lights panning around the room (mounted to the huge speaker cabinets standing on the floor in front of the stage), I could not see a DJ anywhere. The stage was curtained and dark.

Some people lined up on the stairs leading up to the stage. As I made my way around, I finally saw the DJ, sitting behind a card table. He sat on a stool taking requests, spinning tunes from a turntable and tape deck. (No CDs then, kids!) If I hadn’t followed the request line, he’d have been invisible.

At the end of the show, I would learn why the immense, tall speaker cabinets were not as loud as one might expect! When the show was over, the DJ swung the cabinets open like a locker.

On a shelf in the top was a standard sized 2-way speaker with a 12” woofer. The DJ loaded all of his other sound gear on the three or four padded shelves below. Then, once packed, he tilted them back on their built-in wheels and rolled the whole thing away, out onto the bed of a waiting pickup truck. The whole process took about ten minutes.

I was both impressed and appalled. The fake speakers looked cheesy and delivered poor sound. On the other hand, it was a brilliant way to transport his rig! My biggest gripe, though, was that wonderful stage. It went unused! All of that space… and nothing on it! I made it my mission to fill that space.

THE ADVENT OF “SHOCK AND AWE” When configuring my DJ system, I wanted to impress a crowd before I ever made a sound. I wanted people to know that a serious DJ was at work simply by looking up at the stage. Not only did I want my rig to impress, but I wanted to deliver a full entertainment experience! Time to add a bit of stagecraft, too!

For my premier Halloween show, I decided to turn the entire stage into a cemetery. I got two real caskets from a friend who ran the local funeral home, plus I built a coffin (six-sided) as a centerpiece, complete with an “occupant” made from coat hangers and paper mache. I got a friend to bag up several bags of 18

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leaves, which I scattered across the stage, and I had a small tree, made from a dead branch of a much larger tree. Tombstones were made from thick slabs of insulating foam painted grey, with funny sayings on them using the names of various guests. Lastly, a row of black light tubes were strung across the entire front of the stage.

For sound, I used similar speakers to the ones I saw inside the previous DJ’s cabinets, but I used four spread across the front of the stage. Because of the phenomenon of acoustic coupling, where the open space underneath the stage becomes a passive resonating cavity, the low-end sounded fantastic! A good thing in a day when DJs carrying subwoofers were non-existent.

That party was one for the history books! I left that night with a fat tip and a booking for the following year. Each year became a personal contest to try and top myself.

ALL THE WORLD IS NOT A STAGE… That system was my main touring rig throughout the ‘80s and most of the ‘90s, no matter how large or small the venue. Most of the time it was “ooh!” and “aah!” But then, as I was loading in for a small 50-person event, I discovered that my rig would not fit the stage no matter what I did. I had to get creative.

In my truck, I had a back-up DJ system that was a simple cube. I used the amp rack for my big system, which stood about 3 feet high, and placed the cube on-top of it. Putting a table skirt around the entire rig, I could play in tight quarters. I called it my “mini-system,” and before long, it became a regular addition, requested by clients having smaller affairs.

STAIR MASTER Then came the stairs. My amp rack took everything my assistant and I had to get it up onto a stage, but one venue had a huge flight of stairs with no elevator. Again I dug into my back-up gear, pulling a single amp and spare set of speakers, which were much easier to oof up said stairs. This became my “ultra-light” rig.

I offered the three configurations for two decades.

Technology eventually stepped in and changed everything for all of us! MP3s allowed us to ditch the massive cases we once carried music in, and LED lighting has done the same for our light shows. We can now carry a lot more music and lighting in a size we never dreamed possible! My current rig is small enough for me to set up by myself, and fits on a keyboard stand. Very small.

Very light.

Imagine my surprise when I went to see my buddy, Billy Dee, who presides over a weekly car show at a local Culver’s restaurant. His DJ rig: an iPad mini plugged-into a standard PA mixer less than a foot wide, with a wireless mic. A pair of powerful EV powered speakers fill the entire parking lot with massive sound.

He can pack it all into his sedan in about ten minutes.

TO BULK UP OR LOSE WEIGHT? There is still a place for the “shock and awe” rig, but these days it is either theatrical (a nightclub setup, for instance) or necessary to support a large number of performers or a certain style (bands or turntablists). For most other applications, a small, lightweight rig is all one needs. Thinking of that long ago Halloween show, I can’t help but think that if I had access to 2017 technology, I would have used the space occupied by my old rig to add even more decoration, TV monitors or other effects to enhance the show. Then as now, it’s the experience that is #1, and “shock and awe” comes from your performance, not your gear. Until next time, safe (and compact) spinnin’!

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FEATURE

Networking: All About Giving

By Matt Martindale

T

o be candid, connecting with others and the fine art of networking has delivered more return on my investment than any other marketing tool in my business. With over 1,550+ documented weddings personally performed at the time of writing this, a degree in marketing and lots of real world experience, that says a lot!

The reality is, networking, when done correctly, yields tremendous results. It takes time because we are connecting—in effect, building relationships based on the delicate currency of trust.

The next time you attend a networking event, look carefully, and you’ll see three distinct types of individuals guaranteed to be there: Givers, Takers and Matchers. This is perfectly described in the blockbuster book, Give and Take: A Revolutionary Approach to Success by Adam Grant, PhD at Wharton college.

GIVERS “Givers” contribute without seeking anything in return. It may be in the way of assistance, knowledge, mentoring, or making a valuable introduction. They have no a strings attached mentality.

They genuinely just want to help out. They want to serve in a selfless effort and don’t look to receive credit. Very few of us are purely givers. (I took Grant’s test, and scored 62% Giver.)

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TAKERS “Takers” only seek to advance their own selfish agenda. Grant says: “Takers are people who, when they walk into an interaction with another person, are trying to get as much as possible from that person, and contribute as little as they can in return, thinking that’s the shortest and most direct path to achieving their own goals.” Rather than collaborate, or cooperate with others, Takers seek to dominate, intimidate or control with assertiveness and aggression. Grant says, “They know what they want, and they’re not shy about demanding it.”

Takers often mask a fake, cocky confidence to hide their ulterior motives, almost like a shady used car salesmen trying anything for the deal. Takers are looking to discard any relationship for their personal gain. Cue: these are the people who when you meet them, often have a fake smile, shake hands, kiss babies, then dump a handful of business cards off and immediately ask to be referred. Mobile DJ legend, Scott Faver, calls them “seagulls” because “they come in, dump their stuff all over, then leave.” They love the words “I” and “me” when talking. They are especially gifted at “kissing up and kicking down” to get what they want. (In Grant’s test, I scored 10% Taker.)

MATCHERS Givers can turn into the third type: a “Matcher.” According to Grant, “When dealing with Takers, instead of dealing with no strings attached, Matchers will hold Takers accountable for their behavior. They often help them if they will reciprocate by helping

the Matcher—or more often, others instead of themselves—in return.” These are the type of people who try to maintain an even balance of give and take. Grant says, “They keep score of exchanges, so that everything is fair and really just.” (In Grant’s test, I scored 28% Matcher.)

The question you are probably pondering, is: Who gets ahead? Who falls behind?

I know what you’re thinking: It has to be the Takers at the top, right? While it is true that Takers tend to be the highest paid, most assertive salespeople, leaders and entrepreneurs, but believe it or not, it’s hard for Takers to rise consistently to the top because they only burn bridges with their “scorched earth policy” way of doing things. In fact, Takers tend to have incredibly broad networks of people, in part, because when they burn a bridge, they have to go find new people to exploit.

It must be Matchers, then? They are more generous, yet they also protect their own interests. Matchers have narrower networks and generally exchange with people who have helped them in the past, or who they might get help from them in the future.

Believe it or not, according to Grant, Givers are the top of the heap AND at the bottom. Givers tend to always put their customers’ interests first. Givers are constantly asking themselves, “How can I add value to this person’s life, and what could I do to possibly contribute that would be a benefit to them?” They create goodwill in relationships. They build close relationships,

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FEATURE over time that last. Givers do, in the short run, sometimes lose customers, deals or sales. However, successful “Givers produced 50 percent more annual revenue, on average, than colleagues who focused less on helping others.”

In a podcast by Upenn.edu, Grant states, “A lot of that comes from the trust and good will that they have built, but also, the reputation they create. I would play this out to say that the success of Givers and the fall of Takers is also driven by Matchers. Of course, a Taker violates that belief in a just world. Matchers cannot stand to see Takers get ahead by taking advantage of other people.

Matchers will often go around trying to punish them by gossiping and spreading negative reputational information. Matchers will go out of their way to promote and help and support Givers, to make sure they actually get rewarded for their generosity. That’s one of the most powerful dynamics behind the rise of Givers.”

GIVE AND TAKE IN THE DJ INDUSTRY Without question, the best networking genius I know is DJ legend, Scott Faver. In just a few short years, he’s created four different major networking groups, called Event Ensemble, with over 1,000 members and four monthly meetings in four different cities. The Event Ensemble also features one evening meeting every quarter, and two to three major event productions per year as well.

Faver says, “Networking is not selling. Networking is about building relationships with other individuals who think like you do and are willing to share. It’s not about me, but rather, what I can do to enhance your connection.”

So simple. So powerful. Faver also notes that “the art of networking is a mindset. It’s about cooperation. It’s about how can I

www.frankentstand.com

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Scott Faver’s Five R’s of Networking Relationships - connecting with others to see if you want to do business WITH this individual because you know who they are and how they do business.

Resources - creating a good network of people who are reliable, trustworthy and professional, that you trust to do a great job. They can have different styles, pricing and do different types of events.

Referrals - passing a along or receiving a referral because is based on trust and respect because it’s given to the right person for the right reason and you know they will do that they say. “Don’t be a seagull...” says Scott.

Results - the people you refer should always keep their word. Always follow up to make sure the person you referred contacted them, followed up and you verified they did a great job. A bad referral can make you look bad.

Responsibility - pass the referral, then follow up to make sure they followed up. Bottom line, whomever you refer should be easy to do business with. Did it result in business? How does their way of doing business effect yours?

tailored suit, cake and so much more...for three weddings in ONE day! I had three different brides book me before the venue. After booking, each bride asked in some version, “Matt, you have a chance to see lots of other wedding professionals and venues.

Where do you like to work, and who do you like to work with?

Who ‘really’ does a good job, and who would you use personally?”

BAM! The door opens.

In fact, at my wedding this past Sunday, the bride booked me two years in advance. She gave me a great big hug at the end of the night, and said, “I’m so glad I booked you before I booked anything else.” Not only was her wedding amazing, but to compliment the cast of wedding vendors, she also booked the venue, caterer and photographer I suggested. I don’t say this to brag, but rather, to encourage you to embrace the idea that you too have the power to refer venues, photographers, caterers and more through networking.

Be a Giver. Be a Matcher. Don’t be a Taker.

Matt Martindale has been a professional DJ and MC since 1989, performing at more than 1,400 wedding receptions since then.

Along with running his award-winning, multi-DJ company, Amoré DJ Entertainment (www.amoredjentertainment.com), he has accumulated extensive entertainment experience including training in audio production, sound engineering, lighting and design, improv comedy, voice over artistry, magic, and much more.

www.toddmitchem.com

help you? So, make it about them.”

Be authentic. Be present. Be genuinely interested in helping out. It’s important to have a filter when networking as you continue to ask: “Who do I know? Who do they know? How can I help?”

Probably like you, I am continually referring other wedding professionals; never because they are part of a clique, club or group, but rather on the merit of their work. It’s because I’ve taken the time to build a relationship. I like them. I trust them.

The truth is, in our profession, we have the advantage to experience almost everything from start to finish: eat the food, see the flowers, taste the cake, work with the catering and venue staff and coordinators, photographers and more. We see them in their element and can observe how they work. It’s now to the point that so many brides are asking me for referrals—to the tune of about $5,000 to $8,000 per week in business referred to other wedding professionals. Yes, word has gotten out.

However, we don’t just refer anybody; it’s only the very best—those who I know and trust. Those whom I would use personally for each and every category without hesitation. That being said, we make it very clear to our brides that we do NOT ask for, or get a single penny in compensation (“kick back”) for referring another wedding professional. We refuse to be “forced” or “bullied” into exclusively referring members from a specific group, club or wedding association like other wedding providers. We want the consistent quality of their work, how they do business, and value they provide to stand on its own merit.

Believe it or not, my best day in referrals was a couple of weeks ago. I referred 44 other wedding professionals, from: venues, caterers, photographers, flowers, officiants, a custom

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THE LAST WORD

On-the-Spot Networking Skills

By Jason Weldon

I

recently went to sales seminar that dealt with companies that were positioned in the A/V industry. While learning a ton of new techniques, I was also able to see that the same problems that affect the DJ industry pretty much affect the A/V industry. It was quite scary, in fact.

A lot of time was spent on networking so I thought I would share some of what was talked about, as well as some of my own thoughts.

It’s common knowledge (or it ught to be) that a networking event is not a place you go to ask for business. It is not a place you go to hang out with the people you know. It is not a place you go to stand by yourself in the corner praying to god that it will all be over soon.

It is a place that you go to set the groundwork for getting business. You are there, as well as everyone else, to meet people.

And dang it, meet people! If you are not cut out for walking into a room and getting people to remember you, then find someone who is good and pay them to do it. But networking needs to be done and should be a part of your marketing plan. Get the right person in your company doing this!

I see a lot of people doing the whole networking thing all wrong. I swear, I think there needs to be some kind of seminar on how to properly present yourself into a conversation, get people to know what you do, exchange your cards and give them a clear follow-up step.

It’s all about your pitch. You have 15-30 seconds to tell them what you do. All good networking pitches should start with the phrase, “You know when you…” For example, here might be a few you can use using that phrase: • You know when you were at the last wedding and you could not stop dancing?

• You know when you were at the last wedding and you thought the music was perfect?

• You know when you are at a wedding and as you are leaving you just think, damn, that was fun?

All of these should then be followed with: I was the one responsible for that. I am a DJ. Or whatever you want to say.

This is a great way to quickly grab the attention of the person you are talking to and get them to remember you. The next question should be to them: “What do you do and how did

Jason Weldon is a wedding business consultant who specializes in small to medium-sized companies that want to grow their business. His objective is to help guide people through organizing their thoughts and laying the groundwork for a better, more successful start-up. He currently lives in Philadelphia and is also the president of Synergetic Sound and Lighting, Inc. and DJ and A/V company.

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you find yourself doing whatever it is that you do?” It engages them and gets them to talk about themselves. It isn’t too hard.

And it shouldn’t be. We are just a couple of people trying to learn about one another.

I also like to use the phrases “Let me tell you a story” or “I have a story about that” whenever I want to go into something I want the person or group I am with to remember. That phrase tends to get people to listen, just as long as the story is good. So make it good!

The seminar that I attended really drove home the idea of knowing when to properly exit the conversation. Or when to pivot. The pivot is the most important part, and needs to be done right. You have to practice the pivot, which includes knowing the right time to hand them your card, give them a date/time when you will follow up and then professionally excusing yourself so you can continue to meet new professionals.

Don’t ask for the business. You will not succeed. Practice your delivery and trust that being genuine will get you a lot further. Happy networking!