New York City – We’re in the Union Square park near 14th Street and Broadway on an early autumn morning, sitting on a rare patch of lawn, and DJ DB is talking about his good fortune. Ten years ago, before moving away from his London hometown, he never dreamed that he’d ship off to The Big Apple, with little more than a visa and two crates of records, and initiate New York City’s rave scene. Or that he’d be spinning drum-n-bass before it had a name, or open a downtown record store and move product, or become an A&R trench man of good repute, or marry a girl from the Bronx and father a child, or become an early pied piper of two-step, and on and on...

And just then, as a somewhat satisfied DB sits on that rare patch of lawn in the shade of some mighty oak trees, from overhead the air is pierced by a loud snap. A 20-foot-long section of branch falls from the sky and crashes to the ground, landing on the very spot DB had only seconds before been occupying.

More on his good fortune later.

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DMX is good for DJs.

Originally developed for theatrical lighting, the DMX control protocol has been embraced by most manufacturers of mobile DJ lighting products. As a result, DJs now enjoy unprecedented lighting flexibility and power. By linking multiple “intelligent” lights together, DJs can create truly impressive effects with minimal hassle. Many DJs are also finding such DMX-controllable systems to be more versatile, portable and cost-effective than traditional mobile lighting.

In 1986 the United States Institute for Theatre Technology (USITT) first established the DMX 512 lighting protocol. DMX is actually a 512-channel digital multiplex data transmission standard for controlling theatrical lighting dimmers, but it has been successfully adapted for other applications by the lighting industry. It does not provide power for lights.

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