got out of his way. As I watched the other entertainers fretting over sound cues for their music, I was jarred out of my misguided be- lief that “everyone runs their own music.”
I had been running my own music since the beginning of my career and simply did not know any other way of performing.
I can remember back in my early birthday party days, in the late 90s, when I had no idea of exactly how to incorporate music into my act from a technological standpoint: I would simply switch CDs depend- ing on which track and CD I needed. I actually subjected my audiences to several moments of waiting for a CD to be read and then advanced to the appropriate track. I simply would stare at the CD player’s read out, not interacting with my audi- ence at all! It’s truly amazing to think I considered myself a “profes- sional” in those days!
After that, I had a cassette that was timed out perfectly that would start and stop with appropriate ‘dead space’ and worked well enough as a low tech solution…as long as my timing was perfect! (That meant no ad-libs, no spontaneous reactions, in short, no fun!)
For a couple of years, the music in my shows was run by a girl I was dating – at the appropriate time in the show, I would just look at her and she would pop the next cas- sette in (cassettes that were cued at the right spot were faster than waiting for a CD to load!)
Years later, I embraced technology and for the last 10 years or so used a remote control device of some sort. The most reliable and high tech one that I have ever used is the Ultimate Controller by a company called Happie Amp. You can read about their amazing device at www. happieamp.com. In a nutshell, the device consists of two parts: one, an ipod-sized device built espe-
cially for folks like you and me. It allows you to keep tons of playlists, hundreds of songs, and a bright numbered display so you can easily see which track you are on. The music is controlled by a remote on your waist. The buttons for track play, advance, volume and more are textured so users can tell simply by feel which button is which. Best of all, unlike an ipod, you can switch music and rearrange playlists in the device itself without being hooked up to your computer.
I’ve used the Ultimate Controller for nearly two years now, through about 400 shows and it always per- forms flawlessly. I’ll probably buy a second one soon as a back up! Additionally, I know that Kerry Pol- lack has designed several devices over the years. I used to use one a long time ago that served me very well, especially in my Stage Hypno- sis shows which used a ton of music and sound effects. It was called the Virtual Soundman and though bulky by today’s standards, it func- tioned beautifully. As I understand it, Kerry had offered other products, too.
This certainly is not intended to serve as an article on every one- person show music control device option but more as a launching point.
The whole point of this discussion is to motivate you to control your own music, especially if you are a one-person show. In my realm, bookers hate being handed a list of technical requirements for your show. People such as HR directors, PTA moms, and college activity directors really have far too much to worry about and don’t want to coddle to an entertainer. While I know cruise ships and other venues may be the exception, the reality is that the majority of magicians are like myself: out in the real world, performing in venues where a com- plete light and sound crew does not exist.
I mention all of this because in my experience, well-meaning sound crews make mistakes. They are not familiar with my specific show and cues. There are several times a year where I fly to an event and while I can indeed carry my Ultimate Con- troller with me (it fits in my pocket), I nonetheless need to hook it into the venue’s own PA system. At more than one event, the DJ would lower my music levels at odd times so when I triggered my unit to play a song, no sound would come out. Those drove me nuts during sound checks. I would repeatedly tell the person, “Look, I control my music with this little device here, and I can even control volume, so just leave the volume right here.” Then I would run through my tracks and no sound…again. I’d ask, “What happened?” The answer: “Well, when there’s no music being played, I just lower the volume until you need it.” I would get so angry because he just couldn’t get it and there was no need at all for him to even know my cues. After much debate, he’d eventually ‘get it’ and the show itself would go just fine…as long as he kept his hands off the volume! (And this happened to me repeatedly!) Oh, and that multi-person gig I mentioned at the beginning of this article? The beleaguered sound tech messed up two of the juggler’s sound cues…in just a ten minute act.
Meanwhile, I am constantly told by clients how easy I am to work with and how my professional my programs are.
Trust me…unless you’re on a cruise ship or similar situation, find a method to control your own music!