Who needs the road? – Spotify for artists

When Henry Rollins Its now classic naming Black flag Tour diary Get in the van, The title summarizes their travel strategy a lot. He was reminiscing about his days in a band that never dealt with the big road crew – it just threw gear into the back of the van. The idea survives up to a certain kind of band and an interesting rogue-ish archive for performance, but it won’t work for everyone.

In terms of both equipment and staff, the requirements of any two bands for travel are not going to be the same. Hiring to meet the needs of any production – the ambition of a law to be minimal or more complex – is crucial to making a good show like a good rehearsal setlist Going, maybe it’s time to get some help.

The size of your street crew will scale in proportion to your budget and how wide your show is. We have compiled a list of the most common positions and responsibilities. Keep in mind that each of these roles may require an army of its own assistants to assist based on the wishes and needs of the artists.

Tour Manager: Although you and your artist manager are the final decision makers in almost all situations, the Tour Manager (TM) is in the line of authority when you are on the road. If you only have the budget to fill a road-crew position, this is what you will meet. Responsible for the tour as a whole, TM manages everything from progress to paying the band and all the stops in between. They supervise the rest of the road staff, handle top level logistics and ensure that all travel plans are discarded. In general, a TM ensures that all elements of a show – production, sound, march, or literally anything else – are planned and performed with precision. Think of them as 18-wheelers that take the whole production forward.

Production Manager: The production manager oversees the technical part of the stage show, coordinating the individual parts to ensure that they come together to form an integrated whole. The production manager reports to TM and usually stays on site for setup before the rest of the crew. Stage managers, sound crew, lighting engineers, catering staff and drivers all report them.

Stage Manager: The stage manager is in charge of the stage level, measuring and setting up the correct plot, planning Back row, Coordinating with the support band with their stage plot and layout, interacting with the house crew and making sure the artist hits the stage in a timely manner. The stage manager will manage the techs as needed to ensure all aspects of the artist’s performance are uninterrupted.

Sound crew: There are two locations for managing sound crews অন on-stage monitors and front-facing (FOH) mixers, which in some cases is a task performed by the tour manager. Together, they are responsible for ensuring that visitors feel the same level of uniqueness at each stop of the tour. The sound can vary greatly from location to location, so the crew tries their best to make adjustments by changing based on the artist’s or location’s preferences and needs. FOH mixers will often double as on-stage monitors in small productions; The venue’s own home team can also be used.

Lighting Designer, Director and Technology: Lighting designers will usually incorporate the structure of the lighting plan before starting a travel production, but of course there will be subtleties between the sites. That’s where the Lighting Director (LD) comes in: they’re there to make sure the designer concept is performed from show to show and as consistently as possible and to adjust as needed. There is lighting tech to implement the tools that are implemented to implement ideas following the director’s instructions.

Instrument technology: There may be technology for drums, guitars, keyboards, wind instruments, and a number of other individual instruments. The members of this team are responsible for ensuring the effectiveness of each instrument, and both technologies require an intimate understanding of each of the instruments (how they work, how they should sound) And any signs of weakness should be sought) and their users (some musicians are tougher than others on their instruments!). Must be able to purchase their gear and related equipment. In small productions, these individual works can turn into a single backline technology position.

Pyrotechnician: These crew members deal with any fireworks, spark fountains and other incendiary devices that help break the stage show. The Pyro crew ensures that safety is paramount by considering the stage’s plot as well as the artist’s gear and movement to prevent potentially dangerous situations.

Security: Security personnel ensure that artists and guests are safe (chances are, if one group is not safe, no party is). They monitor all equipment, including instruments, to protect against theft or misuse.

Driver: Depending on the band and their aspirations, the crew can be at the service of the production crew, stage crew and artists, so that the requirements are met and the schedule is strict. And in some cases drivers can manage tours and vice versa.

Commodity Manager: Sales, inventory, inventory, rearrangement, and other aspects of artist merchandise all fall under this position. Sometimes the actual merchandise transaction is handled by on-site staff, but delivering the product for sale is something that still falls to the artist team.

Catering: Some artists like to act hungry. The caterers make sure that the artists are fed according to their specifications, and in most cases the street crew is also complete. They are counted as members of the production team, and usually arrive at the site early to nurture the crew when starting to build the set at a new location.

“Fred Pesaro.”

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