Preparing For Your First Gig

From DJWiki

Preparing For Your First Gig - original text excerpted from Spinnin 2000 - 1997 Edition

Now that you’ve purchased all your components, it’s time to get ready for your first gig.

Unpack and Check All Components

Carefully remove each component from it’s box and check for shipping damage. Before you plug anything in, read the manuals. If your equipment is new, fill out the warranty registration cards and drop them in the mail. Make copies of each sales receipt and staple them to the front covers of each manual. Keep your originals in a file for tax time.

Next, plan how you want to organize and configure up your system. If you are working with turntables or top loading CD players (such as Pioneer’s CDJ-500IIs) setting up on a table top will work temporarily. If you have opted for cassette decks or front loading, rack-mount CD players, a rack is essential. Specially designed DJ racks and cases are available in a variety of heights, with a standard width of 19 inches.

The Right Fit

Before purchasing a rack, determine just what you want the rack to hold. In most cases, your main rack will have a sloping top and a vertical front section.

To keep the weight of the rack manageable, it is best to mount your amplifier in a second rack that can be placed under your work table. With this set up, you can either use tables furnished by the party hall, or bring one of your own.

Installing your components in the rack is relatively easy and requires nothing more than a screwdriver. There is no right or wrong order as to the position of each component. Whatever is most comfortable and logical for you is best. One important consideration is to leave plenty of room behind the components to easily reach all the connection points. As cables tend to fail without notice, you’ll need to be able to change cables quickly without having to remove any component from the case. If your mixer has connectors that face toward the bottom of the rack, you may need to allow an extra few inches of air space to easily change cables. If you are using a standard DJ rack, with a sloping top and open front, a good design is with the CD player controller mounted toward the front, with the mixer behind. Assuming the connectors for the CD controller are on the bottom, and the connectors for the mixer are on the back, this should allow ample space. In the front of the rack, mount the transport for the CD player, along with a processing unit, such as an equalizer or compressor/limiter, and a powerstrip or lighting controller.

Home Try-Outs

Learning to set up your system properly and troubleshoot any problems is relatively easy. Once you’ve made all the correct connections, (as explained in the owners’ manuals), just turn it on and go to work. There will be times when gremlins will invade and cause your system to his, hum, crackle or remain silent. When this happens, don’t panic. It’s probably a loose or broken wire or a switch in the wrong position.

Because it’s quite stressful to troubleshoot system problems in front of a roomful of people, get to know your system ahead of time in the privacy of your own home. The more knowledge you gain in practice, the better off you will be when you have a real problem at a party. Hopefully, you will never experience the high anxiety of having your system die in the middle of a song for no apparent reason. But if you do, think positively. There is very little that can go wrong that you can’t somehow deal with.

The first few hours with your new system should be spent just becoming familiar with all the controls. Plug in and put on the headphones. Try out the microphone and get use to hearing your voice through the speakers. Get the feel of using the mixer faders to bring the volume up and down. Most importantly, get into the habit of watching the VU meters or LED lights on your board. Your owner’s manual will better explain what to watch for and how to protect your system from distortion and overload.

Set Up Tips • An easy way to remember what goes where for a proper connection is: Outputs always connect to inputs and inputs always connect to outputs. As most hookup cables are color coded, mate the plug with the jack of the same color (i.e.: red to red, white to white, etc.).

• If you are using turntables, you can insure the sound level from each turntable is the same by using matching cartridges and needles. Mismatched cartridges can produce different volumes and sound quality.

• Humming in a sound system can almost always be traced to a bad ground. If you encounter a hum and can’t pinpoint the cause try: a) Unplugging one component at a time and reversing the plug in the socket. b) Unplugging your main power chord from the wall and reverse the plug (3-prong plugs won’t have this problem). This procedure will also reduce or eliminate the problems caused by CB or radio interference. c) Plugging the amp rack into a different circuit than the mixer rack. d) If the hum persists, consult your dealer or an audio professional in your area. Ground loop hum problems are tricky, but remedies exist.

Microphone Style

How you sound “on mic” is one area where you will separate yourself from other DJs. Through practice, you will you develop your own “mic style.” Here are some tips: • Touching the head of the microphone to your lips is unsanitary and not good for the mic. Do not touch the microphone head with your mouth or lips.

• Speak directly into the mic, not off to the side.

• To be heard intelligibly, speak slower into a microphone than your usual conversational quick-pace chatter.

• Never shout into a mic.; it causes over-modulation and distortion.

• Don’t mumble. Enunciate and pronounce words carefully, taking natural breath breaks. Many DJs forget to take breaths.

• Watch for “nose” noise that’s caused when exhaling through your nose into the microphone.

• Be natural and conversational, but be enthusiastic “on mic.”

Music: The True Star

Most important to every performance is the music. At a typical job, the music mix may span almost every style and taste in just a few short hours. The key is to cover all the musical bases without a split second of “dead air.”

“Running a tight board” is the talent of maintaining a continuous music flow, selection-to-selection-to-selection. The beat will change, but the music never stops. No matter how abruptly a song starts or ends, a DJ who can run a tight board will anticipate it and the audience will never notice a microsecond of dead air. Even when you are talking, there should be music playing in the background. Some DJs, particularly in clubs, carry this to the extreme with “Hot Mixes.” An example of hot mixing is laying the beat of one song over another (called, appropriately enough, “overlaying”). When done properly, this makes the two separate tracks sound as if they were produced as one.

“Cueing” is the method by which you will locate the exact point on a CD, cassette tape or record where the music begins. By finding this point, you can control the precise moment the music will be heard through the system. Professional CD players are designed to locate the initial cue point automatically. However, this may not be the point you actually want. Depending on the selection, you may want to cue further into the song, in order to match the tempo, or get past a non-danceable beginning. Depending on the type of player you are using, you can cue to a point other than the beginning either by “rocking” the “search” bottons, or by using the “shuttle and jog” wheel, if provided.

To cue a cassette, put on your headphones, select “cue” on your mixer, press play on the cassette deck, and listen for the beginning of the song. When you hear the first notes, quickly stop the tape, take it out of the machine and manually back it up about one-half inch. Put the tape back in the deck, press “pause” and “play.” When you are ready to play the track, bring up the volume and release “pause.” If you use cassettes, you may find the best procedure is to cue up your cassettes prior to the job.

Hot Mixing

Some DJs take mixing to the limit. One such DJ is Cameron Paul, a former San Francisco Club DJ whose credits include the remix of Push-It, by Salt-N-Pepa. According to Cameron Paul, “A remix is made by taking an existing song and modifying it, by digital sampling, or by adding a new drum, keyboard or other track, to create a different version of the same song.” This is accomplished by “Beat Mixing” or “Overlaying” and it’s one of the things you can do to give your DJ mix a dance club feel.

Here’s how: By using the pitch controls on your turntables or CD Players (this is tough to do with cassettes) you can match the beat of one song with another. While the first selection is playing through the speakers, listen to the next song in your headphones. Move the pitch control until the beats are right on top of each other.

Use the faders (or the crossfader) to bring one song up while the other fades out. Beat mixing works best when you match two songs that have a close number of beats per minute (BPM). To determine the number of beats per minute, use a watch or timer. During a 60 second period, count the number of upbeats and downbeats in a particular song. This can be tricky, especially if you’re not sure if you’re counting upbeats, downbeats or both.

Tips on Remixing

1. Never try to match the beats of two songs with more than a 4% or 5% difference in speed. The lower the BPM numbers, the lower percentage to allow.

2. Mix at a logical place, during a break or fade.

3. Try to mix songs within similar keys.

4. Practice each mix several times in your headphones before playing it to the crowd. When the beats are right on, slowly fade one turntable up, while fading the other down.

5. As you get more experienced in “Overlaying,” you’ll be confident enough to “Slam Mix.” In a slam mix, rather than fade the two racks together, the DJ abruptly brings up the volume on the incoming selection, before fading out the one that was playing.

Flanging or Phasing

By playing two copies of the same song simultaneously, you can create a spacey “whooshing” effect. Start the first copy on turntable #1. Put the second copy on turntable #2 and listen to it on cue. Move the stylus from groove to groove on record #2, until you find the exact point at where that record #1 is playing. Using the pitch controls, match the speeds of the turntables so that what you hear on cue is identical to what’s playing through the speakers. Once the speeds are matched (you may have to try several times), bring up the fader for turntable #2 so that both copies are playing through the speakers at the same time. With the pitch control, slowly speed up one of the turntables. As the “whooshing” effect begins to sound like an echo, slow the turntable down slightly and the effect will repeat. If your board has a digital sampler, you’ll be able to produce the effect for CDs and tapes as well.

Back Beating or Doubling

Using copies of the same song on both turntables, you can create an echo effect by having one of the two songs lag behind the other by two, four or more beats.

As you did with phasing and beat mixing, match the speeds of the two records using the pitch controls. While listening on cue, gently tap one of records so that the vocal falls behind that of the one playing through the speakers. Take it back just far enough to create an echo. Put the beats right on top of each other and fade it up. Done properly, you’ll hear a single beat with two vocalists, one singing in real-time the other repeating each line a moment later. This effect can also be produced by a digital sampler.

Talking Over the Music

Now that you’ve mastered the music, start working on your talk overs. Open your mic and set the volume so you can be heard when you bring down the music level just a little. For a good talkover, your audience should be able to hear you distinctly and still hear the music. Don’t fight the music or try to yell to get on top of it. Bring the music down when you’re talking… and back up as soon as you finish.

To hear how it’s all coming together, set a portable cassette deck on the floor and record a few segues and talk overs. When you play it back, you’ll get a good indication of how you’ll sound to the audience.

Background Music Tapes Before you tear down your system and pack it up for the road, record two 90-minute “background music” cassettes. These are handy if you need music to play while the party guests finish their feast or if, for some unforeseen reason, you need a little extra setup time. A good background cassette will be a nice upbeat blend of ballads and pop instrumentals spanning the years from the thirties to the present.

Diverting Disasters

It’s a fact, stuff happens. You may soon learn how one hundred party guests react when the music suddenly stops because you pressed the “open/close” button on the wrong CD player. Or maybe it’ll be seeing how they look at you across a silent dance floor because you forgot to cue up the next song.

These simple errors result from the fact that we’re all human. Embarrassing mistakes? Yes, but they only sting for a second. What if something major happens, like your car breaks down on the way to a gig or your system just quits? The best defense against these types of disasters is to have a plan and know how to react.

Possibly the most stressful situation a DJ can encounter is to have his vehicle die on the way to a job. If this should happen to you, immediately notify your client or leave word at the party hall where you were headed. They may be able to send someone to your rescue. If not, call everyone you know until you find someone who can help. If all else fails, call a cab. When you know you have a ride on the way, call the hall back and tell him you’ll be there shortly. Once you’re set up and ready to go, phone a garage to get your vehicle. The important thing is to let the client know what’s going on and make every effort to get there as quickly as possible. In this business, “Reliability is Job #1.”

The next “worse case scenario” takes place at the party location. You arrive on time, the client is pleasant, your system is working great, even the food was good. The evening is just starting to click. The dance floor is filling fast and the group is ready to kick into high gear. All of a sudden… your system just dies stone-cold quiet.

This is absolutely the worst thing that can happen, but don’t panic, it’s not the end of the world (although you may wish it was). First, check your music sources. Are they getting power? Most components have a pilot light that glows when the power is on. If not, push the start button to see if anything happens. If it appears the music sources are not getting any juice, look to see if someone, maybe even you, accidentally kicked a main power cord out of the wall. If the main is okay, check your multi-plug extension strips.

If power is getting to the music sources, the trouble could be with your mixer. Are the needles moving or LEDs flashing? Check each and every switch and fader. Did you bump something into the wrong position? If you’re not getting anything from the board, it may be a short at the main output jacks. Try the tape outputs. If you cannot get the board to work properly, connect a cassette deck directly to the equalizer and play a tape while you plan your next action.

If the board is okay, check the amplifier and equalizer. Are they getting power? If not, are the power switches still in the “on” position? If that’s not the cause, check the cords, fuses and circuit breakers. If you need to replace a fuse, turn off the amplifier, replace the fuse or reset the circuit breaker, and then turn the amp back on. If everything is getting power and appears to be working properly, then start checking (and replacing, if necessary) the connector cables. Follow the complete audio chain from each music source to the mixer and then from the mixer to the equalizer, to the amp, to the speakers.

If everything seems in order, there are only a few more things that could be causing the problem. If you have an “out board” equalizer, push in the bypass switch. If you push in the bypass switch and still hear nothing, the problem is probably with either your mixer or your amp. These components don’t fail often, but like all components, they do fail.

If the problem is humming, buzzing or a dead channel, it may be a loose turntable ground or faulty connector. If one speaker is dead, the cause could be the board, amp, equalizer or a speaker. Start by switching speaker connections. If the dead speaker comes back to life, the problem is either the amp, board or equalizer. Switch the connectors that run from the board to the equalizer and equalizer to amp. Through the process of elimination you should be able to track down the problem.

Once you’ve found the cause, decide if you can fix it or live with it. Broken wires and connectors and blown fuses are commonplace, so be prepared by bringing spares. If the problem is a dead channel in your amp, try feeding the live channel to both speakers. If a speaker blows, you can limp through the event with just one, at reduced volume. The one component that can put you totally out of business is the amplifier. If all other components in the system appear to be working, but there’s no sound from the speakers, the problem is the amplifier. If the amp has a thermal protection circuit to protect it from overheating, it may cool down and come back on in ten to fifteen minutes.

Properly diagnosing equipment problems takes a combination of knowledge and common sense. Arm yourself by reading your equipment manuals. Concentrate on the sections dealing with “trouble shooting.” When faced with a major problem, the important thing is:

Don’t Panic. . . Do Something.

If all else fails, CALL IN YOUR BACKUPS!

What Backups?

Every DJ needs to carry some kind of backup system, just in case. There are a number of inexpensive mixers on the market and, although they may not offer all the features to which you are accustom, you’ll still get through the night. The same is true of your home stereo receiver. It may not be the best, but in a desperate pinch, it’s better than nothing.

In addition to a backup amp and mixer, you need to have: • At least four sets of extra patch cords (RCA type hook-up cables).

• Various adapters to convert RCA plugs to RCA jacks, or to 1/4” plugs, making it possible to configure cords to your need.

• No less than two replacement phono needles/or two back-up CD players (the portable Walkman type work fine).

• Gaffers tape or duct tape. To tape down cables and, if necessary, to hold things together.

• A small tool kit with flathead and Phillips screwdrivers, pliers and a wire stripper.

• Extra fuses for each unit requiring them.

• Extra speaker cables with proper connectors on them.

• Six “Alligator” clips and a spool of heavy-gauge wire that can be used to bridge a damaged audio (NOT AC) cable or for grounding.

• Electrical tape.

• One inexpensive back-up mic with cord.

• Two, three-prong to two-prong 110-volt plug adaptors — not all places have 3-way 100-volt outlets. NEVER break off the third prong!

• An extra turntable headshell with cartridge and needle mounted.

• A small bottle of aspirin.

• An extra key for your mode of transportation.

• A flashlight.

Someday, you will have a need for at least one of the items listed above. It’s better to be safe than sorry. Your first job is just moments away, so you’d better get ready.

Tip: Normally, you should allow at least a half hour for setup and give yourself a half hour for each ten miles you need to drive because you may need the extra time to correct any problems that may occur during travel or setup time.

Opening Night - original text excerpted from Spinnin 2000 - 1997 Edition

For the most part, your booking calender will be filled with jobs from the following categories:

1. Wedding receptions. These may account for a large percentage of your annual business. They demand a little extra “selling and service” and a range of music that covers all categories. In fact, you may have to play a lot of music you don’t particularly like, but the rewards are worth it.

2. General private parties for families, organizations and corporations. This includes everything from birthdays and anniversaries to corporate Christmas parties, bowling banquets and retirements. The music mix will be similar to wedding receptions but more varied, depending on the median age of the guests.

3. High school and college gigs. These are a good source of business during the winter months. A larger sound system is usually required along with a light show and lots of Top 40, rap, dance and alternative music.

4. Pub and tavern gigs. These can also help pay the bills when the bridal business is slow. Bar jobs normally pay much less than the standard rate, but if it’s a steady gig, playing three or four nights a week, it adds up. They are also a terrific opportunity to pass out business cards and pick up higher paying mobile jobs. You’ll never know what type of music you’ll need for any particular pub until you get there. Play as many requests as you can and bring the rest the next time. Handling the Crowd As a DJ, your job goes way beyond just playing the music. You are the leader, director and organizer. From start to finish, you’re goal is to keep the party moving. You accomplish this by: 1) Knowing what to say and when to say it. 2) Programming and pacing the music. 3) Wrapping everything around your own personality and style. Every DJ and KJ is different. Each develops his or her own technique for motivating and directing the crowd. The first concern of most beginners is, “What must I do to get the crowd going?” Along with a variety of dance music, you’ll need to play the dreaded “party hits” such as The Macarena, The Chicken Dance, Hokey Pokey, Bunny Hop or Alley Cat. These may seem horrendously outdated to you, but not to the crowd.

You will enjoy far greater success with every crowd if you have the right attitude and confidence in your ability. If you have fun, so will the guests. Even if you are going through a rough period in your life, you’re still expected to put on a great show. Be approachable. Smile… people like people who smile. The best DJs are entertainers. Get Away From the Table The first step you take toward being a good entertainer is the step you take away from your setup. Be personable, walk around, talk to the guests and ask for requests and dedications. Tear down that wall between you and your audience. Let them know you’re there to entertain them… whether they like it or not!

Is this to say that every performance will be 100% party perfect? Of course not. There will be times when you just can’t get the people started. This commonly happens at class reunions and retirement parties because, instead of dancing, the guests are more interested in catching up with what their friends have been doing for the last twenty years. If you are having a particularly tough time, ask for help from the person who booked you. They know the people and can sometimes succeed where you can’t. If you can get three or four people on the dancefloor with a little arm twisting, the others will join in. Wedding Reception Format Of all the different types of jobs you’ll play, wedding receptions are the most involved; but they follow a predictable pattern.

At most receptions, you will be required to fill two roles. In your usual role as DJ, you’ll be taking requests, playing the music, leading the Hokey Pokey and doing what ever else is necessary to motivate the crowd.

You will also be the MC, where you will be responsible for introducing the bride and groom and the wedding party and making sure all the traditional activities of a reception take place at the proper times.

Appropriate dress for weddings (and most other functions) is a suit or tuxedo for males, pants suit, nice dress or tuxedo for females. You should look sharp, neat and confident. What’s considered proper DJ behavior and what’s not depends on the client and DJ. Some clients may invite you to join them for the meal and a beverage from the bar. Others may not. It’s a matter of common sense. Before availing yourself to the kindness of your client, remind yourself that alcohol will impair your ability and judgement and, therefore, may effect your overall performance. Performance is your product and everything you say and do while in the presence of your client and their guests impacts their impression of you and our DJ service. Now let’s walk through a reception from the time you arrive at the venue through the time you pack up and head home. Road trip Perfect!, you’re first to arrive. The guests will be coming in soon, so take this moment to introduce yourself to the party hall manager and find out where you should set up. It’s always easier to set up when the room is empty. If the hall has back-to-back events (afternoon-evening) you may find your set up time fairly tight. If the client wants you start two or three hours into the event, that rules out a pre-arrival setup entirely. If the party hall has supplied a table for your use, check the legs. Will they support your equipment? Are they locked in place properly? It’s quite embarrassing to have a table collapse during the best man’s toast. If the table checks out, position it so there’s plenty of room to work without blocking any aisles or walkways. Now locate the nearest electrical outlet and run your extension cord so it’s not crossing a traffic area. If this is unavoidable, tape it down securely with “gaffers” tape. Duct tape will also do the trick, but may leave a sticky residue on the floor and on your cables. Note: Not all party halls will allow DJs the use of a table. Call the hall manager a few days before the gig if you have any doubt about what to expect.

After you have neatly draped your banner across the top and front of the table, begin setting up your equipment just as you did at home. Once all components are in place and all cables are connected, power-up each piece, turning on the amplifier last. If the guests are already in the room, you’ll have to check out the system at low volume. Walk around the room and listen to how your system sounds in different areas. If it doesn’t sound crisp and clear, adjust your equalizer accordingly.

There are many details that can vary from reception to reception, making it impossible to outline the exact order of events. When you’re all set up and ready to go, introduce yourself to the photographer. He will need to know what you’ll be doing and, because he’s been with the bride all day, he can help you with any special details. When the bridal party arrives, step up and congratulate the bridal couple and assure them everything is under control. Here is a general format adaptable to most receptions: In your role as MC, the first thing you may be asked to do is introduce the bridal party as they enter the hall. Begin by getting everyone lined up outside the hall in the order you will introduce them. Start with the parents, followed by flowergirl and ringbearer, the bridesmaids and ushers, The maid (or matron, if she’s married) of honor and best man and, finally, the bride and groom. Before you begin the introductions, make a brief pre-announcement to quiet the hall and get the guests’ attention. Something like “Good afternoon (or evening) ladies and gentlemen… in just a moment we will have the pleasure of welcoming our new bride and groom, so if I could please have your attention…” If it appears you are being ignored, your voice may not be cutting through the room noise. Bring up your mic level and try again. If necessary, sharpen the mic’s sound by increasing the mid range and higher frequencies with your EQ. Once the room is quiet, you can begin the introductions.

You: “Good afternoon ladies and gentlemen. Welcome to (insert name of location). At this time, it gives me great pleasure to introduce to you the parents of the bride, Carl and Carol Korpusle.”

(Pause while they walk in and wait for applause to subside.)

You: “And now, the parents of the groom, Fred and Flavia Friberty.”

(This is followed by another pause. Proceed with the flowergirl and ringbearer, bridesmaids and ushers, and maid/matron of honor and best man until all bridal party members have been introduced. Then, with dynamic enthusiasm, introduce the bride and groom.)

You: “And now let’s all stand and congratulate our new bride and groom… Frank and Fran Friberty.”

When all the bridal party members have taken their seats at the head table and the waiters and waitresses have poured the wine or champagne, it’s time for you to introduce the best man, who will toast the bridal couple. Before you do, walk over and let him know that you are about to introduce him. Never introduce people without warning them first.

You: “And now, I’d like to introduce our best man, Joe Friberty, with a toast to Frank and Fran.”

After the toast, you can relax while the guests enjoy their meal. They may even invite you to dine as well. At a five-hour reception, you will be spending at least the first hour playing background/dinner music. This can be a lively mix of “easy listening” music, as requested by the bride and groom, or you can play one of the cassettes you recorded earlier.

At some point after the meal, the bride and groom will be cutting their wedding cake.

You: “Fran and Frank are about to cut their wedding cake. If you’d like to take a photo, please join the couple at the cake table. We ask that you let our photographer take the pictures for the couple’s wedding album first.”

Note: In some cases, the reception hall does the initial introductions and announces the cake cutting. This allows you more time to prepare for your presentation of the bridal dance and father/daughter dance.

When everyone has finished eating, it’s time for you to take control and get things moving. Catch up with the bride and groom and suggest it’s time for the bridal dance. You should have their special request all cued up and have the list of bridal party members close at hand. Just before the bridal dance, check with the bride and groom one more time to make sure everyone you will be introducing is in the room and ready to go.

You: “Ladies and gentlemen, could we please stand and have a nice round of applause as we welcome to the dancefloor for their first dance together as husband and wife, Fran and Frank Friberty!”

Create your own introduction if you would like, but keep it brief. Say it slowly, with a few dramatic pauses and all the dynamics of a TV game show. This is a big part of what being a professional DJ is all about. When the couple has finished their bridal dance, begin introducing the rest of the bridal party.

You: “Now let’s welcome our maid (matron) of honor, Fran’s best friend from college, Judy Jawhozee, with the best man, the groom’s brother, Joe Friberty.”

Tip: It’s a nice touch to personalize the introductions if you have a little background on who’s who and why they are in the wedding. After the maid/matron of honor and best man, proceed with the bridesmaids and ushers, The flowergirl and ringbearer and, finally, the parents. Watch the photographer, and pace your introductions so that he or she isn’t being rushed.

If your bridal couple has selected to dance with their parents, here’s what to do just as the dance for the bridal party ends:

You: “Now… we would like everyone on the dancefloor to join hands and form a circle.” (Give them a little time to get organized and help them if you have to). “In the center of the circle, we would like to have our bride, Fran, with her father, Carl Korpuscle” (Start Daddy’s Little Girl or other tune selected for this dance.)

Encourage the people in the circle to sway back and forth as a group or rotate in one direction. This enhances the couple’s video, makes a great photo for the wedding and it’s something for which they will remember you. If the couple has asked for a special dance for the groom and his mother, go right into it while everyone is still in the circle. It is not necessary to play the entire selection for the father/daughter or mother/groom dances. Fade them out after about a minute, or when the guests start snoring, whichever comes first.

Note: Some couples may want to do their bridal dance (first dance) after the opening introductions, before the meal. During your pre-reception discussions with them, ask if they have a preference. Immediately following the last of the special dances, it’s time to open up the dancefloor and go to work. Start with a familiar, upbeat motivator, like Celebration by Kool and The Gang, I’ll Be There For You by The Rembrandts, Love Shack by B-52s or Bob Seger’s Old Time Rock &Roll. Whether it be something old or something new, it needs to be something everyone will recognize and be compelled to dance to.

Over the music intro, introduce yourself and invite the guests to come up and make their requests. Tell them the dancefloor is open and that the bride and groom would really like them to get up and enjoy themselves.

For example: “Good evening… I’m Joe Ex from Ex, Why, Zee DJs and it is my pleasure to bring you the music as we celebrate Jan and Jim’s special day. I know our bride and groom want all of you to have a great time this evening, so the dancefloor is open and if there’s anything special you’d like to request, please feel free to come on up and make a request.”

It also helps to get things going when the bridal party and the bridal couple stay on the floor and dance the first few tunes. Tell them this in advance. If they want their reception to be a success, they will oblige. The Bouquet and Garter There’s one more formality you need to take care of before you can remove your MC hat. At some point (usually 30 minutes to an hour after the first dance) you’ll need to direct the bridal couple, bridal party and guests through the bouquet and garter toss. The first step is to make sure the photographer is prepared. With the bride and groom close by, start an appropriate background piece, such as Girls Just Wanna Have Fun by Cindy Lauper (12” version is best), or Soul Finger by the Bar-kays, or other pop instrumental. Open the mic and get the guests’ attention.

You: “At this time, we would like all the single ladies to come out onto the dancefloor for the tossing of the bridal bouquet.” (You will probably have to repeat this several times.)

When all the single women who wish to participate are on the dancefloor, the bride is ready to toss her bouquet, and the photographer is set to get the shot, lead the guests in a countdown.

You: “This calls for a little audience participation, so let’s all help Fran out with a little countdown… 5 - 4 - 3 - 2 - 1!”

This helps the photographer and gets the guests involved in what’s going on. After the toss, get the name of the lady who caught it; then pull a chair onto the dancefloor and have the bride take a seat.

You: “We’d like to congratulate Sue Swell, who caught the bouquet. Now, if Fran would take a seat in the chair on the dancefloor, let’s bring out Frank to remove her garter.”

This part of the reception can be a lot of fun. As Frank starts reaching for Fran’s garter, play The Stripper or another appropriate music selection. Once the groom has removed the garter, call the single men out just as you did the ladies. On a countdown, have the groom toss the garter just as the bride tossed her bouquet. The gentleman who catches the garter places it on the lady who caught the bouquet. Once again, play the The Stripper for background while directing the activity by announcing the names of the participants. Be sure to describe what they’re doing. If everyone seems to be enjoying the festivities, you might try having the girl take the garter off and put it back on the guy who caught it. With the right crowd, this will spark a little laughter. Dollar Dance What if you are asked to direct a “Dollar Dance?” The idea behind a Dollar Dance is that for one dollar (or more) any guest can dance for few moments with the bride or groom. To direct the activity, first get the help of the best man and maid of honor. You will start off the dance by announcing:

You: “We’d like to give everyone a chance to dance with the bride or the groom and, at the same time, pack their pockets with a little extra spending money for the honeymoon. On the dancefloor, our best man, Joe, is standing by Frank and our maid of honor, Judy, is standing next to Fran. Now, if all the ladies will line up by Joe and all the men line up by Fran, we’ll kick off the Dollar Dance for Frank and Fran with (song).” (Use a familiar ballad, Always and Forever by Heatwave, is an excellent dollar dance starter.)

Note: It’s never this easy. It can be like pulling teeth to get a dollar dance going. Once it’s under way, you may need to play three or more slow songs until everyone’s had their chance. The best man and maid of honor control how long each person dances with the bride or groom, so, if it’s dragging, ask them (off mic!) to speed it up.

The Spinnin’ 2000 “Pocket Guide to Wedding Receptions” (at the end of this chapter) is a handy check list to keep you on track during a reception. Remember, events can be moved around. The bridal dance may come before the cake or even before dinner. The music sets listed are only suggestions. Each DJ has his own way of building sets. That’s one of the things that makes each DJ a little different from the next. As long as you play what your particular crowd wants, you’ll do fine. Keep a playlist from each engagement and note what songs worked best. Play what’s familiar and danceable, and you can’t go wrong. As time goes on, you will discover certain songs that have a certain magic in bringing people onto the dancefloor. Music Sets and Sequencing A music set, or sequence, is simply a grouping of songs that are in some obvious way similar. Here’s an example of an oldies set: 1. Shout, Otis Day and Knights or Isley Bros. 2. The Twist, Chubby Checker. 3. Wooly Bully, Sam the Sham. 4. Louie, Louie, The Kingsmen.

Here’s an example of a set that would appeal primarily to the over-fifty crowd, but you may be surprised: 1. Beer Barrel Polka, Lawrence Welk. 2. New York, New York, Frank Sinatra. 3. In The Mood, Glen Miller.

Music sets can be any length, from two to five or even six songs, depending on crowd reaction. In order to cover a lot of ground, you may begin the evening with short, two- or three-song sets. This way, you can play music from a variety of categories over a shorter period of time. Near the end of the evening, when it’s primarily the “die hard” dancers who are left, you may get into a 20-minute dance set.

Never underestimate the importance of oldies in your program. The 1950s and early 1960s produced an exceptional amount of music that appeals to all ages. Many of these tunes, like Unchained Melody by the Righteous Bothers and Do You Love Me by the Contours, are familiar to a broad spectrum of ages, as they’ve been used on soundtracks and in commercials. Country music also has a place in your program (depending on the crowd). Songs like Crazy by Patsy Cline, Stardust by Willie Nelson, Mountain Music by Alabama, Friends in Low Places by Garth Brooks, Boot Scootin’ Boogie by Brooks and Dunn and Rocky Top by either The Osborne Bothers or The Nitty Gritty Dirt Band are all familiar and lack that “twang” that some folks find offensive. You can play almost any type of music if it’s fun, danceable and recognizable; just don’t play too much of it. A good mixture of fast tempo and slow tempo

music is required at every function. As the night gets later, speed up the pace and let them “work out.” Just before you say good night, cool them down with a couple of nice, romantic ballads such as Last Waltz by Englebert Humperdink, Last Dance by Donna Summer (which starts slow and ends fast), I’ve Had the Time of My Life by Bill Medley and Jennifer Warnes (from Dirty Dancing) or Goodnight My Love by various artists from Jesse Belvin to Los Lobos. Then bounce back with one or two fast and powerful “encore” numbers. This way, you leave in a burst of high energy. Very memorable.

Parties and Other “Special Events” In areas other than Southern California and Florida (where receptions are constant throughout the year) the wedding season runs from around April 1 through the end of October. You may get a sprinkling of wedding bookings between November and March. To keep your cash flowing in a positive direction, you need to pursue other types of parties. During December (and into January), office Christmas/holiday parties will fill your weekends and many of your weeknights.

A good performance at office parties can get you locked in year after year. It’s worthwhile to do a little research into what types of music the majority of the people like. Many offices listen to a certain radio station all day. Ask your clients what stations they prefer and if there’s a special tune that’s popular around the office. Encourage them to send you a list of their favorites in advance. Take this Job and Shove It by Johnny Paycheck, is an office party favorite (sometimes).

Retirement parties are like office parties except that the median age of the guests is higher. Bring along a good supply of 30’s, 40’s, 50’s and 60’s tunes.

Class reunions require extra emphasis on the years the guests spent together in school plus current favorites. Bring along an appropriate trivia book. A few good trivia questions can spice up your show.

For family events such as reunions, birthdays, anniversaries and bar mitzvahs, ask your client if there’s anything special they’d like you to do or play. In some areas, DJs who specialize in bar/bat mitzvahs charge several thousand dollars per job and earn every nickel. Along with the music, they provide everything from clowns, musicians and a dance troupe to hundreds of dollars worth of prizes and novelties. The entertainment is fast paced and constant. The opportunities for innovative Mobile Entertainers are unlimited. As you make the rounds from party to party, you’ll meet a lot of other DJs. Some throw in song titles and artists, sounding almost like they are “on the air.” Others use props to make their show a little unique. Some DJs just sit and spin tunes. Which is best? It doesn’t really matter. The audience will accept almost anything if you do it well. Throw a song title or artist in once in awhile but not over every record. An abundance of music trivia will be wasted unless you happen to have an audience that’s really enjoying it. A little humor is fun when it’s spontaneous and relates to the audience. If everyone is dancing and having a great time, you may be better to keep the mic off and the mix hot.

What’s the rule? If they’re not leaving or complaining, you’re probably not doing anything wrong.

Opening Night