Gear and Equipment
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Tools Of The Trade - Gear and Equipment
In Your System - original text excerpted from Spinnin 2000 - 1997 Edition
Every Mobile DJ sound system is made up of four parts:
1. Music sources are the components designed to play back prerecorded music. The music sources DJs commonly use are CD players, MiniDisc players, tape decks, DAT (Digital Audio Tape), and turntables.
2. The audio mixer allows the DJ to control the volume (or level) of several music sources as they are simultaneously “mixed down” to a single output.
3. The power amplifier takes the output of the mixer and boosts the volume to a level which is potentially capable of filling the room with sound.
4. Speaker systems are made up of a number of individual speakers and components within a single cabinet. Their job is to take the electrical signal from the amplifier and convert it back into sound we can hear. Normally, a DJ will use two speaker systems. In stereo operation, one receives the left signal from the amplifier and the other receives the right. In monaural (mono), both speaker systems receive an identical signal. For added bass, a single or pair of subwoofers, which reproduce just the lower frequencies, may be added.
A Closer Look - original text excerpted from Spinnin 2000 - 1997 Edition
Music Sources:
CD Players: The majority of Mobile DJs now exclusively use CDs, and with good reason. First and foremost, the sound reproduced from a CD is far superior to vinyl records. Secondly, they are far more resistant to scratches. Third, they are very easy to work with. Pop them in the player and they’re ready to play. They are also more transportable because of their small size. This ease of operation makes it possible for the DJ to concentrate more on his/her performance and interacting with the crowd. CDs are far from perfect, however. They will skip just like a vinyl record on a soft or “springy” dance floor.
While consumer-type CD players are adequate for beginning DJs or as backup units, they lack features essential to professional DJs. Pitch control, for example, allows the DJ to increase the speed of the music to match the mood of the crowd. DJs who take pride in creating multi-song sets of music with seamless segues need the ability to vary the tempo and key of the music. CD players such as the professional DJ models by Denon, BST, Vestax, Gemini, Gem Sound, GLi, Numark, and Pioneer have built-in pitch control and other effects such as looping, instant cueing, and digital time and frame counters to aid in creating tight, exciting mixes.
Tip: To avoid operational problems, CD players should always be set on a flat surface when in use.
Cassette Decks: While CD is the format of choice for most DJs, others find working with tape cassettes more to their liking. While prerecorded cassettes are less expensive than CDs, it takes extra time and preparedness to cue up a particular track. Cassette-based DJ services have found that by precueing their tapes and by using cassette players with a search feature, finding particular tracks is not a problem. The one big advantage of working with cassettes is that they’re completely unaffected by dance-floor vibration. This makes them especially well suited as a backup unit for playing polkas, foot-stompers, and other such floor shakers.
MINIDISC: This format originally caught the attention of DJs for three reasons: It’s small, it’s recordable, and it doesn’t skip. However, two major drawbacks (price and lack of pitch control) have kept MiniDiscs from really making an impact on the mobile profession.
TURNTABLES: As the cornerstone of the DJ industry, turntables have yet to outlive their usefulness. Turntables that perform best are lightweight, yet rugged enough for road use. Direct-driven or belt-driven models are favored since they maintain constant speed and start up within one-half turn. The Technics SL 1200MKII has remained the top choice of the mobile and club DJ industry for over a decade. Gem Sound, Vestax, GLi, and Gemini all produce turntables that rival the SL 1200MKII’s performance, but not its reputation.
Tip: Spray a very small quantity of furniture polish on a cloth and wipe over your turntable platter to reduce the amount of friction between the platter and the mat.
PHONO CARTRIDGES AND STYLI: Use only cartridges and styli intended for disco or broadcast use. The most popular brands are Shure, Pickering, and Stanton. Best suited for DJ work are Stanton’s popular Trackmaster Series, 680 EL, 890 AL, or Shure’s M-44-7. For DJs who “scratch,6” Stanton’s low-profile 500 AL is an excellent choice. With a tracking force7 of up to 7 grams, the AL 500 keeps the stylus in the groove.
AUDIO MIXER: (a.k.a.: control boards, audio mixers, disco mixers, mixer/preamplifiers, or simply “boards”). An audio mixer consists of three parts: a mixer, a preamplifier, and a cueing system.
The mixer section provides the controls for increasing and decreasing the volume of each individual music source separately or simultaneously. This makes it possible to mix or fade two or more music sources together for smooth segues. Also included are controls for cueing, headphone volume, master volume, and other luxuries, depending on the model you choose.
Phone vs. Line Level Inputs
To understand what the preamplifier section does, it’s important to first understand the differences between the two types of inputs available for music sources: phono for turntables, and line level for tape decks, CD players, or similar sources. The signal produced by a turntable as the stylus rides the record groove is very low. By comparison, the signal produced by a tape deck or other line level source is much higher.
The preamplifier must compensate for this difference. Turntables with magnetic cartridges require a preamplifier which is built into the phono inputs of an audio mixer/preamplifier. This preamplifier boosts, or “amplifies,” the very low signal from the phono cartridge so that it matches the higher output signal of a tape deck or CD player, which is line level. Along with boosting the output level, phono (or turntable) preamplifiers also equalize the sound so that it matches the R.I.A.A. (Recording Industry Association of America) standard. This is the standard set by the recording industry to control how records will sound when played back on different types of turntables.
Microphones also require preamplifiers in order to bring their outputs up to line level; however, “mic” inputs have no equalization. If you plug a microphone into the phono or turntable inputs of the control board, you will get sound, but it will be very distorted. The same will happen if you plug a turntable into a microphone input.
What happens when a line level source is plugged into an input that has a phono or microphone preamplifier? It will be distorted. This is because the amplifier is getting a line level signal that has been boosted beyond what the preamplifier can handle. If your source has a volume control, you may be able to turn it down low enough to reduce the distortion. Most audio mixer/preamplifiers intended for DJ use are equipped with phono and microphone preamplifiers. In the event you ever need to work with an amplifier or control board that is not specifically designed for DJ use, this information could be very important.
Take Your Cue
The third section of a mixer is the cueing system, which consists of a low-power amplifier just for sending “cue” to the headphones. All DJ mixers include a built-in cueing system.
Now, Back to “Boards”
Some inexpensive models offer basic features such as two phono inputs for turntables, two line level inputs for tape decks or CD players, and a microphone input. Make sure the mixer you choose has an adequate number of line, phono, and mic inputs so you won’t have to rewire every time you want to use a different music source.
The first luxury most DJs look for in choosing a mixer is a fader. This is a separate sliding control that allows the operator to fade from one music source to another without using the vertical volume controls assigned to each input. This is a necessity for DJs who want to create their own club mixes while performing live.
During an evening of playing at high volume, your ears get used to the loud sound, and it then becomes difficult to tell actually how loud you are playing. Mixers with VU (Volume Units) meters or LED (Light Emitting Diodes) scales provide a means of monitoring the volume of the signal as it leaves the board en route to the amplifier. The VU meters or LED scale will help you protect your system visually when you can no longer make a good “sound” judgment. If the needles of the meters are slamming right off the scale, or the entire scale of LEDs is glowing brightly, you are overloading your amplifier which will lead to overheating or even a blown speaker.
A final important option that you should consider is an equalizer. An equalizer allows the DJ to correct poor-sounding recordings and acoustical problems. Because the sound reproduced by CDs is more pronounced in the higher frequencies than records or tape, it’s important to have an on-board equalizer to make immediate minor corrections when necessary.
The most common brands of mixers include: Vestax, MTX, Numark, Gemini, Gem, GLi, Rane, Biamp, Pioneer, BST, and Citronic. When shopping for mixing boards, price should be proportionate to features. Beware of boards that offer too many features at too low a price.
Several manufacturers now offer mixers that feature on-board digital samplers. Based on technology that originated in the computer and digital recording industries, digital samplers allow the DJ to write (record) into the mixer’s memory a jingle, segment of music, or voice, and then replay it with the touch of a button.
Once familiar with all the “bells and whistles,” take a look at the back of the mixer. Make sure it has the inputs and outputs you need. All input and output jacks should be a standard size. If not, you’ll end up wasting a lot of time buying and using special adapters. Most mixers use RCA type phono jacks for all phono and line inputs. Quarter-inch phone jacks are common for headphones and microphones. XLR-type, three-pin (Cannon) connectors are used on some higher-priced models.
A final consideration is the board’s output. Is it stereo, mono, or switchable (offering you the choice of stereo or mono)? If you plan to run in stereo with a stereo amplifier, you’ll need a board that gives you left and right outputs. In a pinch, you can convert a stereo board to mono by combining the two stereo outputs in a single mono output with a Y-connector; this is not recommended for long-term use. You cannot convert a mono board to stereo.
A “stereo/mono” select switch is handy to have when you encounter a situation where mono sounds better. On occasions when you need to position your speakers in such a fashion that any stereo effect is lost, or when one channel of your amp goes dead, a quick switch to mono could save the night!
Equalizers (EQs)
Most mixers come with some type of built-in equalizer, which is primarily for making quick adjustments necessitated by using a mixed format of new and old records, tapes, and CDs. To improve the overall sound quality, a larger equalizer, connected between the mixer and the main amplifier, can compensate for room acoustics and equipment deficiencies (such as a damaged speaker system).
Understanding Equalization
As you recall from all those hours of watching Mr. Wizard, sound is caused by vibrations. The faster something vibrates, the higher the pitch (frequency) of the sound. Frequencies are differentiated by the number of vibrations (cycles) each second and are expressed as “hertz” (Hz). High frequencies are the result of thousands of vibrations per second, so the letter “k” (short for kilo, meaning thousand) is used in the abbreviation. For example, 10,000 vibrations per second is abbreviated 10 kHz. Just as a ray of sunlight is made up of different colors, most sounds are composed of many different frequencies. Using this analogy, an equalizer does to sound what a prism does to light. As the sound (in the form of an electrical signal) passes through the equalizer, it is separated into a number of frequency ranges called “bands.” Most home and portable stereos are equipped with basic equalizers called “tone” controls. Typically, there are two tone controls: one for bass (low frequencies) and the other for treble (high frequencies). Using these controls, we can customize the sound to our own liking by boosting or reducing the bass or treble.
In professional applications, such as in a sound studio or live performance, equalization can be used to eliminate unwanted noise caused by sound bouncing, or “reverberating,” off the walls of a room. The extent of this reverberation is dependent on the room’s acoustics. In rooms with many hard, flat surfaces, sound will bounce around more than in a room with cloth-covered furniture and drapes. Hard surfaces reflect sound. Soft, porous surfaces absorb sound. Strike a series of loud chords on a piano in a room with little carpeting or furniture and hear how the sounds degenerate into mush.
Unlike tone controls, a professional equalizer will split the sound into twenty or more frequency bands. Each band is marked according to the frequency range covered.
This block diagram of a five-band graphic equalizer shows how the signal from the audio mixer is split into five frequency ranges: 60Hz, 250Hz, 1kHz, 5kHz and 12kHz. The DJ uses the controls assigned each band to increase or reduce the amount of bass, mid-range, or treble in the overall sound.
The 60Hz range would be used to adjust the level of low bass, such as the sound produced by synthesizers, bass guitars and other electronic instruments. Boost in this range creates bass that can be felt on the dance floor. Turntable rumble, caused by too much bass, can be remedied by reducing this frequency range.
The 250Hz range is the low mid-range and contains the sounds made by instruments such as bass guitar or tuba.
The 1kHz and 5kHz ranges cover a variety of instruments such as alto and tenor saxophones, many horns, and voice. Adjustments in these two ranges can compensate for acoustic problems caused by the size, shape, and furnishings of the room.
The 12kHz controls the sounds made by the higher pitch instruments such as cymbals or piccolos. By boosting this range, you can make the sound brighter and crisper. If CDs are sounding too sharp or you hear significant tape hiss, back down the control for this range.
The more bands an equalizer has, the more accurate the DJ can be in boosting and reducing precise frequencies. For example, if a DJ determines that a certain mid-range frequency is causing feedback8 every time he flips on the mic, he could reduce that range without noticeably destroying the sound of his overall mix.
|Another luxury is a compressor/limiter (or “crusher”). This is a device that helps you maintain a consistent volume. A compressor /limiter “listens” for loud bursts of sound. Then it quickly and automatically reduces the volume until the burst has passed.
POWER AMPLIFIERS: Every DJ has a “pet” make of amplifier and it’s usually one that has served him for years without catastrophic breakdown. In power amps, you want:
1. Reliability. Can it put up with hard use and perform flawlessly night after night?
2. Repairability. If it does break down, can you get it fixed fast and inexpensively?
3. Excellent sound quality. Do you like the way it sounds when connected to your speakers?
4. Affordability. Can you afford it?
If you still believe you need an amp with a lot of ear-shattering watts, then hear this! With an efficient amplifier and speaker combination, you’ll need less than 200 watts to adequately cover an area about the size of a tennis court, which is larger than most dance floors. If you plan to go after high school and college jobs, you may want to select a slightly more powerful amplifier, or “bi-amp” using two amplifiers simultaneously.
In simple terms, a power amplifier takes a low voltage signal in one end and puts out a much stronger signal from the other. This latter signal is described in terms of “RMS,” “continuous” or “FTC.” This designation represents the amount of power, expressed in watts, that the unit is capable of delivering on a steady basis throughout the course of the night. If it’s a stereo amp, it will be expressed as “watts per channel.”
SPEAKER Systems: A speaker system is made up of a number of individual speakers. Each speaker is designed to reproduce specific audio frequencies. An electronic “black box,” called a crossover, inside the cabinet splits the incoming amplified audio signal into two-, three-, or four-frequency ranges and sends it to the speaker assigned that specific frequency range. Speaker systems with crossovers that split the signal into two frequency ranges are called two-way systems. If they split into three-frequency ranges then they are called three-way systems, and so on. Two-way and three-way speaker systems are quite adequate for Mobile DJs.
In choosing speakers, start by ruling out all speaker systems that have power ratings lower than the RMS output of your amplifier. Note that the amplifier’s power rating may be listed for 4 and/or 8 ohms impedance. Some of the best speakers on the market for Mobile DJ use are made by MTX, Gemini, Gem Sound, Electro-Voice, Bag End, Community, Pioneer, Yorkville, JBL, Fender, Cerwin-Vega, Klipsch, Peavey, EAW, ETI, BST, and Numark.
For most jobs with under 200 people, two good two-way or three-way speaker systems matched to your amplifier should provide all the sound reinforcement you need. If you’re looking for additional “bottom end” (lower bass), consider adding a subwoofer. This is a single speaker system which normally uses a 15- or 18-inch woofer powered by its own separate amplifier. Because low frequencies require the most power to amplify, using a subwoofer not only adds a chest-throbbing bass beat to your mix, it increases the performance of your main power amplifier. As bass frequencies tend to be non-directional, it is usually not necessary to use two subwoofers when operating in stereo.
Playing for large parties, like school dances, requires additional volume and that means higher-powered amplifiers (500 to 1,500 watts) and bigger speaker systems. Every gig of this type is a little different, so it’s recommended that you consult an experienced DJ or sound engineer for advice on the types of audio setups that will do the job.
Speaker stands give you added flexibility in speaker placement. By elevating speakers to ear level, you will be able to provide louder volume with a less-powerful amplifier. If you operate without speaker stands, place your speakers on chairs or tables to get them up off the floor. Subwoofers, on the other hand, should never be raised off the floor because the sound from this type of speaker travels along the floor. An option you have with speaker systems which you don’t have with other components is that you can build your own. Many audiophile magazines routinely carry construction plans plus information on where to buy raw speakers, crossovers, and hardware.
MICROPHONES AND HEADPHONES: A good quality microphone and a pair of headphones will round out your system. Your personal preferences and comfort will have a lot to do with these choices.
Microphones are classified two ways:
1. By principle of construction (i.e.: Dynamic or moving coil, Ribbon, Crystal or Carbon, and Condenser).
2. By pickup pattern (i.e.: omnidirectional, bidirectional, unidirectional, and cardioid).
The best microphone for Mobile DJ work is a dynamic or moving coil with a unidirectional pickup pattern. As the name implies (“uni” meaning one), these microphones pick up sound from a single direction. A close second to unidirectionals are microphones with a cardioid pickup pattern. These pick up sound coming directly at them but cancel out most of the sound coming from the sides.
Omnidirectional microphones pick up sound from all directions and are not recommended, as they can be susceptible to feedback.
Wireless microphones have become very popular with DJs because of the freedom they offer. DJs who like to venture onto the dance floor to work the crowd as a Master of Ceremonies (MC) find a wireless microphone indispensable. The price is higher for this type of microphone because it includes a low-powered transmitter and receiver. You should always carry a conventional cabled microphone in the event you are in an area where the wireless microphone is subject to interference.
Headphones are one area that’s totally subjective, so go with what you like best. However, avoid open-air types as they don’t seal out enough external noise, making it difficult to “cue” your music. Inexpensive headphones covering the whole ear are preferred. Special DJ headphones with a single ear piece are also available.
CABLES AND ACCESSORIES: Normally, Compact Disc players, cassette decks, and turntables come with all the proper cables. These cables are a standard length and, with few exceptions, will be terminated with RCA-type plugs designed to mate with the RCA-type jacks found on most audio mixers, equalizers, and preamplifiers. Turntables require a third “ground” wire which is connected to the grounding post on the mixer. Without this wire, a significant buzz will be heard through your system; therefore, if you substitute cassette deck or CD player cables for a turntable hookup cable, you will need to run a separate ground wire from the turntable to the grounding post on the mixer board. You will also need hookup cable to run from the board to the equalizer and from the equalizer to the main power amplifier.
Next, you will need speaker cable to run from the amp to the speakers. Do not use thin gauge, “home” type wire for speaker hookup. West Penn Wire, Alpha Wire, and Monster® Cable make 14-gauge and 12-gauge paired cables specifically for speaker runs. Heavy gauge speaker wire (14-gauge or thicker) is more durable and efficient. Keep your speaker cables to a maximum length of 20 feet. Since your speakers should never be placed farther than 15 feet apart, 20 feet of speaker cable will usually suffice. Longer cables are not only less efficient, but they tend to tangle easily. Constantly wrestling with tangled cable wastes time and can cause premature failure.
Note: 60% of all equipment failure is not due to equipment problems but faulty interconnect cables (“patch cords”). Never leave home without at least two extra interconnect cables and one extra set of speaker cables.
Finally, equip yourself with a minimum of two 25-foot, 12-gauge or better, grounded (three-prong), industrial-duty extension cords. Using anything less is foolish and irresponsible. You should also have at least two three-prong grounded adapters for situations when you encounter two-prong ungrounded AC outlets.
TABLE PADS AND MATS: Anywhere people are dancing, the floor will be shaking. If your equipment table is on a soft or springy floor, vibrations caused by the dancing will bounce your turntables’ tone arms and jar your CD player’s optical pickup, ruining your show. You can eliminate this problem to some degree by padding the table with thick pieces of shag-type carpet. Put the carpet pieces on the floor to isolate your table from the floor and on your table top to isolate your turntables from the table.
If you have a severe problem, place your worktable facing an outside wall, which is the most solid part of the building. You’ll have to work in front of your table (with your equipment behind you), but it’s far better than having records and CDs skip all night long.
Budgeting For Your System - original text excerpted from Spinnin 2000 - 1997 Edition
Before you can assemble your idea of the “ultimate DJ sound system,” think carefully about what you want the system to do and how much money you can spend. Try not to lose sight of the fact that your long-term goal is to establish a profitable Mobile DJ business. To achieve this, you must force yourself to compromise between what you really want and what’s practical.
Regardless of the size of your budget, keep the 60% figure in mind. You’ll need the remaining 40% for records, tapes, CDs, initial advertising expenses, and other supplies. Plan your system carefully and buy only what you really need to establish some income. Lighting, a mirror ball, and a fog machine may have to wait.
Your order of priorities in choosing equipment are:
1. Reliability
2. Good Sound
3. Price
Money is very important when starting any new business, but don’t let it be the deciding factor—you get what you pay for. Being that your sound system can make or break you, it may be necessary to really stretch your budget to get equipment that’s reliable and puts out great sound.
Unless you’re a recent lottery winner with a significant amount of cash on hand, equipment cost has to be your most important consideration. If you plan to book primarily smaller events (birthdays, anniversaries, wedding receptions and other events for 175 people or less), a professional-quality, fresh-from-the-box sound system will run upwards of $2,500. If you already own a reliable amplifier, cassette deck, or CD player, you should be able to use them and thus reduce your initial outlay.
Consumer or “home” grade electronics, such as you find at many discount audio stores, may fit your budget, but they are definitely not designed for professional applications. If you have a high-quality home audio system, you may need to utilize the amplifier (or receiver) and speakers temporarily in a pinch. If you do, don’t run them too loud or long, and bring along a fan that can generate near-gale force winds to keep the amplifier from overheating.
Used or Abused?
If shelling out two or three thousand dollars for new equipment is out of the question, investigate buying a used system. DJ services come and go, and you may be able to find a DJ in the process of liquidating his gear. Start with a look in the classified ads under “Stereo/TV/Sound Systems” or related headings. DJs close up shop for a variety of reasons. Often it’s because they just didn’t have enough time to devote to the business. The equipment they have for sale may have very few miles on it. Check it out carefully. Look for telltale marks and gouges that come from hard use or abuse. Have the seller set it up so you can “road test” it.
Next, ask to see all the owner’s manuals and receipts that show the date of purchase and the original price. Check these documents carefully for alterations and anything that may cause you to suspect that the merchandise is stolen. Finally, write down the make and model of each component. Call a reputable DJ supplier and get their impression of the equipment along with the actual, original retail prices.
If the dealer gives you his stamp of approval, go back to the seller and make a deal, working your way up from about one-half the original price (less if the equipment is older). Any noticeable signs of neglect, such as scratches, loose knobs, or even missing owner’s manuals can be used as bargaining tools in your favor. While you’re at it, see if the seller is willing to part with his music library; he may give you a package deal.
If you would rather “pay as you go,” an attractive alternative is renting equipment from a local sound equipment or DJ shop. Renting a system may cost $100 or more per night, but you won’t have to worry about maintenance. Renting also allows you to work with a variety of components so you’ll be able to decide what you like best.
1 Woofers are large speakers designed to reproduce bass; tweeters are smaller speakers that reproduce treble.
2 A speaker system designed specifically to reproduce very low bass.
3 Any individual music selection or song.
4 A cassette tape which contains one or more versions of a single popular hit.
5 Slipping a record back and forth with the needle in the groove to create a beat effect.
6 The amount of downward force the cartridge exerts at the point where the stylus sits in the groove of the record.
7 Feedback is the howl that results when your open microphone gets too close to the speakers. If feedback is a problem, adjustments in the midrange and treble may reduce it.
Moonthings in the Mist (Lighting) - original text excerpted from Spinnin 2000 - 1997 Edition
Many people who hire DJs want more than just music. They want a total entertainment package with sound, lights, and a personable party host who can teach dances and lead games and other special activities. To stay competitive, many Mobile DJs have added lighting and theatrics to their bag of tricks. As a byproduct, lighting manufacturers, who at first did not see this as a hot market, now produce lighting packages and effects designed specifically for Mobile Entertainers.
If one of your primary goals is to capitalize on the high school and college market, a good light show is must. Lighting adds excitement to any party by making the dance floor warm and inviting and turning it into a fantasyland of dazzling movement and intense color. Lightweight, compact, and versatile lighting systems make it possible to bring an exciting light show to any type of event. With dance floor lighting to set the mood, even a casual evening wedding reception can become something really special.
Types and Classifications
A good mobile light show starts with lighting that colors the environment. The type of lighting used for this is identical in concept to that used to light stage shows, except that it shines on the dance floor instead of the stage.
A basic DJ dance floor system requires a minimum of four lighting fixtures, called par (short for parabolic) cans, a lighting stand, and a controller. To properly balance the lighting across the dance floor, two systems or “trees” should be used, one on each side of the dance floor.
Par cans are truss-mountable aluminum (or plastic) housings designed for a specific par lamp. They are available in a variety of sizes, from the mini-par can 16 to the par 64. The number refers to the diameter of the lamp in 8ths of an inch (i.e., a par 56 can uses a lamp with a 56/8ths of an inch diameter.
For small to medium halls, two trees with four Par 38 cans each (150-watt lamps) should be sufficient. For more power, jump up to par 56 cans with 300-watt lamps. For lighting a dance floor, use par lamps with broad, even coverage, typically referred to as floodlights.
The type of stand you select needs to be able to support the weight of the par cans being used, as well as a controller or relay pack. It also needs to extend high enough so the lights shine down on the crowd so as to not blind the people on the dance floor.
Next, you need a way to control the lamps and create chase and pulse patterns to add interest to your light show. A variety of simple, all-in-one, sound-active chase controllers are available for this purpose. DJ favorites include American DJ’s CC-2016, the DJ-2400 from Ness, Lightcraft’s 860 M/R Mobile Relay, ETA’s MAD1000, MBT’s LC4800, the CTL-4 from Lytequest, Elation’s CC5A, and the ML-4800 from Cantek-Metatron. These autopilot devices mount to the light stands and connect directly to an AC wall outlet. Plug the par cans into the outlets on each pack and the pack does the rest, creating a myriad of chase sequences that change with the beat of the music.
For greater control in creating a custom light show, you’ll need a controller and a relay pack. The relay packs are mounted on the stands and provide the AC outlets for the par cans. A connecting cable runs from the controller to the relay. Depending on the sophistication of the device you choose, lighting controllers allow you to control the intensity (dimming) of each par light, as well as fire off the lights individually or in sets, simply by touching the keys on a touch panel. Lytequest by Gemini, American DJ, Ness, MBT, Lightcraft, Citronic, TPR, and several other manufacturers offer lighting controllers with features perfect for Mobile Entertainers.
On many controllers, momentary “flash” buttons, used singly or in multiples, can be “played” in time to the music. This has been greatly simplified by the use of matrixed boards and controllers capable of storing many presets lighting combinations simply and quickly. In this format, some presets may be programmed in color groups, thus a fader and its momentary flash button may bring up a group of reds, greens, blues, or a combination of colors. A sudden blackout at the end of a piece of music, in time with the last beat and followed by a new lighting pattern, can produce a startling effect.
Ready Made
You can also purchase prepackaged lighting systems such as MBT’s Weekender series, the NLS-1 from Ness, and American DJ’s LS-500, which come with a stand, four par 38 cans with 150-watt lamps (with colored gels) and a control pack. Similar systems are available from Lightcraft and ETA. In addition, Cantek-Metatron offers the Meta-Lite System 8500. This portable 22-pound stand alone has eight lamps on separate chase channels to provide 256 patterns that change with the music. Add-on products such as MBT’s SC100 foot controller and Lytequest’s FC-404L foot controlled effects manager allow you to run your light show while keeping your hands free to operate your audio.
Another option is one of the self-contained, all-in-one systems from Colorado Sound N’ Light. These systems have lamps pre-mounted in special DJ road cases. The largest systems have 24 par lights mounted in a carpeted road case with controller and two stands. Smaller systems use mini par 16s with high-output lamps. Several controller options, as well as a built-in mirror ball and motor, are offered. And most of the CSL systems have a provision for mounting lighting effects right to the case, eliminating the need for a cross bar.
Now the Fun Begins
With a good par lighting system as a foundation, you can begin adding effects to create light shows that are truly your own. Two of the most popular types of mobile lighting effects devices are moonflowers and beamers.
The concept of these devices can be linked to the low-tech, yet still popular “mirror ball” effect. A mirror ball takes a single beam, breaks it into hundreds of smaller beams, reflecting them onto the floor, ceiling, and walls. As the ball turns, by way of a small motor, dots of light spin around the room. This is also what happens inside a moonflower or beam effect. Through a system of lenses, colored filters and mirrors, a single light source is divided into any number of razor-sharp beams and projected onto the dance floor. (Sources for mirrored balls and motors include American DJ, Ness, MBT, and Colorado Sound N’ Light).
The main thing to think about when selecting a moonflower or beamer is: At what types of events do you intend to use them? Some of these effects provide quite a nice display even when used as a backdrop behind the DJ. Others require fog or smoke to really be appreciated. If you do a lot of weddings, go with effects that are less bright and work well without smoke. The high school audience, on the other hand, prefers sharp, bright beams which create tunnels, swirls, and 3-D geometric shapes in thick fog.
If you are looking for a sound-active effect with a beam that moves automatically to the music, then you may want one with a sensitivity control which allows for more fine tuning. If, on the other hand, you are only using the effect for short bursts, this is not a necessity.
Music in Motion
Nothing excites a dance floor more than movement. Multicolored beams and cones of light sweeping and swirling across the floor can create a 3-D “otherworld” where dancers totally lose themselves in light and sound. While par systems and flower effects go along toward helping create a club-type atmosphere, projectors and semi-intelligent lighting systems can take your mobile light show to exciting levels beyond your imagination.
Projectors
As the name implies, projector effects work similar to a slide or film projector. A light source from inside the unit projects out through a series of lenses and filters.
At the bottom end of the projector scale are color changers. Inside a color changer the light source shines through a colored gel or dichroic filter. The colored light is then projected as a round spot of colored light. In many mobile applications, color changers can be used in place of par lighting. The advantage is that, rather than a bright flash of light, the result is a tight circle of even intensity. A single color changer can add a new dimension to a bride and groom’s first dance, adding an air of sophistication. When two or four color changers are positioned to each side of the dance floor, the effect is nothing less than stunning.
Color changers normally will not cover an entire dance floor the way par cans will. And while the color is superb, the intensity fades as the distance increases. The coverage area also expands with the distance. To get the best effect, color changers need to be distant enough from the subject to project a good-sized circle, yet not so far that the intensity begins to diminish. Popular mobile color changers include Martin’s RoboColor and Robocolor Mobile (four heads and controller in road case), American DJ’s Colortec and Colorchanger 250, the Spectacolor II and Spectacolor III from Ness, and the SE600 from KLS.
Adding Gobos
Next up the projector spectrum are those effects that utilize gobos to give the projected light a specific shape. Gobos are thin metal discs, roughly the size of a half dollar (some much larger), with a die cut image. Light from the lamp shines through the image, passing through an optical system to project that image on a flat surface. Effects such as American DJ’s Gobo Spot 1 and Gobo Spot 2 are simple effects which can be used to project a variety of shapes and objects on a wall or ceiling. While gobo projections are used extensively in theatrical presentations, they have many applications for mobiles as well. Images of palm trees, for example, can be used to liven up the surroundings of a Hawaiian party. Gobos with a DJ company logo can be special-ordered and projected on the walls or ceiling at each job. This is a much more effective way to promote on location than with just a standard DJ banner.
Spinning Wheels
Projectors are also used to cast moving colors and images. This is done by positioning a rotating wheel within the optical system. Patterns and images painted on the glass wheels project onto walls and ceilings, and appear animated as the wheel turns. Oil wheels create ever-flowing swirls of color reminiscent of the psychedelic 60s, but with a modern flair. The wheels can usually be changed easily, adding variety to the show. Topping the list of user-friendly, affordable wheel-type projectors is Meteor’s Probeam 75 (an updated version of the 150).
Smart Lights
Semi-intelligent (as well as intelligent) lighting takes the projector concept to the next level by adding 360-degree movement of the projected beam, and sound-activated programs which automatically change colors and gobos. As a motorized mirror mounted at the point furthest from the light source moves up and down, back and forth, the beam will twist and turn. With the addition of an on-board microphone, the movement of the beams, along with the changing colors and shapes, follows the beat of the music. Some popular examples are American DJ’s Startek, Meteor’s Clublight 250, the Cone Scan and DMX Scanner from KLS, the Syncrobot from Optec (Ness) and Clay Paky’s MiniScan.
While semi-intelligent lighting is without a doubt the best way to go in building a mobile light show, there are some drawbacks. First, in order to make it work with the crowd, you need at least two lighting units or “heads.” If you really want to dazzle the crowd, four units are a minimum. And don’t forget you also need a controller. At over $500 per lighting head (the low end) this adds up real quick, so unless you have a slate of high-end jobs already booked, it could be a while before the system pays for itself. Secondly, you really need to exercise extra care in transporting these systems. The lamp and mirror assemblies can be damaged if abused. However, this is an area where improvements in design are being made with each new generation.
Putting it all Together
With your goal being to build the ultimate Mobile DJ light show, design your system around par cans, a controller, and tripod stands. As most effects are truss mountable, you can mount almost any effect to an arm off the stand. As your lighting system grows, you may wish to add trussing or a cross bar between the two stands. The object is to keep the effects up high enough so the beams have plenty of room to move while not constantly hitting the dancers in the eyes.
If you use fog (which enhances gobo type effects but is not absolutely necessary), use it sparingly. The result should be just a light haze in the room. With proper planning and design, a mobile light show can remain light, portable, and inexpensive. So, as with all your other DJ gear, shop around. Look for the best prices, but more importantly, consider service after the sale. While most lighting effects can take a surprising amount of abuse on the road, they can break. Consider cases for your effects, especially those with exposed mirrors, and always carry at least one spare fuse and an extra lamp for every effect.
Tech Stuff: What You Should Know About Lighting
The most important and basic thing you need to know when using professional lighting fixtures and controllers is the relationship between voltage (volts), current (amps), and watts.
To avoid getting overly technical, understand first that wiring in a building is made up of several circuits. Each circuit is a continuous loop that leaves the service panel, runs to various switches and outlets and returns back to the service panel. Each circuit is designed to supply a specific voltage (the standard Canadian and American power voltage at the outlet is between 117 to 120 volts) and is rated for a specific amount of current (in amps) that it can supply. Most home circuits carry a rating of from 15 to 20 amps. Every electrical device also has a current rating that specifies the amount of current it will draw. If a device (or combination of devices) exceeds the current rating of the circuit, a circuit breaker will snap or a fuse will blow.
Each fixture you connect will draw wattage (power) according to the wattage rating on the bulb. Most of the light bulbs we use in our homes draw 100 watts or less. Stage lights like par 64s can accommodate bulbs (or lamps) up to 1000 watts. You can determine how much total power will be drawn simply by adding the wattage rating of each lamp you are using. For example, if you are using four par 64 fixtures with 1,000-watt bulbs, you will need a power supply of approximately 4,000 watts.
To determine the total current (in amps) necessary for your lighting system, divide the total number of watts by the 120 volts AC. To power 4000 watts of light, you would need 33 amps (4,000 watts divided by 120 volts AC). Since this is stretching a 30-amp circuit too much, you would constantly be blowing the fuse or tripping the breaker. Your solution would be to use multiple circuits, two 20-amp circuits, for example.
Using Lighting Effectively
Adding a lighting system to your DJ service can be very effective and profitable. By properly blending lighting with music, many guests will be just as entertained by the lights as by the music. This is particularly true if you plan to play in pubs, taverns, and clubs with small dance floors. In the mobile market, lights are meant to augment sound and add color and flash to the presentation of the DJ and the music.
There are a variety of ways you can incorporate lighting into your DJ performance. There are a number of lightweight, inexpensive, portable stands on the market that are perfect for suspending lights. These stands are available in a variety of configurations and are ruggedly designed so that any lights and lighting devices you use will easily and quickly clamp to the stand.
Backlight Your Stage
Use par cans or outdoor flood light fixtures to flood the wall behind you with different colors. This simulates a colored curtain behind you and adds color to your presentation without blinding the audience.
Footlights
Using the same basic idea and hardware, set the lights along the floor in front of you to light and color your table drape. If your table drape allows light to pass through from behind, set the lights under the table, facing forward. This looks great, particularly when your name or logo is on the table drape.
Rope Light
A simple way to edge or decorate your setup is with “rope light.” Rope-lighting, which is available at most DJ supply stores, is a popular effect which combines a chaser with four strings of “Christmas lights” braided and encased in plastic. In use, the chaser repeatedly fires off each string of lights, one at a time, creating the effect that the lights are chasing each other from one end of the rope to the other.
NOTE: Rope Lights use 117 Volt AC power to operate. Do not run chains in excess of the manufacturer’s instructions, as fire could result.
Lasers
Lasers produce an extremely concentrated, highly visible beam of red, yellow, or green light, depending on the design of the laser. When used with a controller, this beam gyrates at an extremely fast speed, projecting a fascinating array of shapes on a wall or ceiling. Depending on the capabilities of the laser and the distance to the “screen,” these shapes can be over thirty feet in diameter. The Black Widow, from American DJ Professionals, is an audio-driven laser system that uses sound to determine the shapes the laser generates. In addition, it offers many presets to create a myriad of patterns on walls or ceiling.
Fog Machines
The purpose of fog is to accent the patterns and designs created by the lighting effects. Be careful not to go to extremes. Fog should be used only to enhance light and not to duplicate the set of The Night of the Living Dead.
The basic method for producing fog involves taking a specially formulated nontoxic liquid and forcing it through an extremely hot, coiled metal tube. As the fluid flows through this hot tube, it is instantaneously transformed from liquid to fog.
In shopping for foggers, it’s important to remember that unlike lamps, the wattage does not relate to the output. The specified wattage represents only the amount of power the unit draws. The amount of fog that will be produced depends more on the overall design of the fogger and the efficiency of the pump than on the number of watts consumed. For safety, make sure any fogger you consider has a thermostat or other reliable device to control the temperature of the core. It should also be equipped with a light that indicates when it’s ready to be operated. Also, because of the mere nature of what foggers do (run cold liquid through hot metal), they are likely to break down sooner or later. Therefore, buy your fogger from a reputable manufacturer with a service department that can quickly repair your fogger if necessary.
If you’re interested in a fogger with remote control capability, it is recommended, for ultimate safety, that you choose one with a low voltage remote control. Some foggers operate with 110 volt AC at the remote control. Because of the atmosphere in which they are operated, this control could end up with fog juice or a drink being spilled on it which would pose a potential health hazard.
To extend the usable life of your fogger, always use fog fluid (or “fog juice”) made or recommended by the company that produced the fogger. This is critical as fog fluids are formulated to work best at temperatures specific to each fogger. Using the wrong formula could cause the unit to clog. The best fog fluids are all “natural” (containing no artificial or petroleum-based chemicals) and produce a fog which hangs in the air a long time, but does not cause any discomfort. Some scented fog fluids can create a smell which is far too “sweet” for most people’s tastes, causing nausea. Choose only fog fluid which is pleasant smelling but not overpowering.
If a fogger starts regularly “sputtering” or spitting raw fog juice instead fog, it’s time for a cleaning. Foggers can be cleaned simply by replacing the fog fluid with clean, demineralized, distilled water and cycling through. Do not use vinegar - that only works with Mr. Coffee.
With smaller lighting rigs, the most important issue is to provide adequate lighting around the DJ and the dance floor. Proper lighting is always complementary and never a distraction. If used properly, it can make the evening a truly memorable occasion by creating an “electronic” fireworks display.
1 “Par” is the abbreviation for parabolic, which is the shape of the lens on a par lamp. The reference number, such as 36 or 44, is derived from the diameter of the lens in eighths of an inch. A par 36, for example, is 36/8ths of an inch in diameter.
2 A “gel” is a colored transparent plastic sheet which is mounted in front of the light bulb.
3 A “bank” or row of three or more pin spots which create the illusion of colored rain falling on the dance floor.
4 Sound-driven means that the effect the unit creates is a visual simulation of the audio being broadcast through the sound system.
