Live Performance – Spotify for artists

Just like that Recording in the studio, Has a word for playing live shows that is specific to his needs. The moment you see a rehearsal for booking a show you will be loaded from the venue, you will navigate the language of the promoter, booker, talented buyer, sound tech and if you hit the big time (or just want to create the illusion of it) – Roads. Here’s a breakdown of your terms that you should know, whether you’re hitting the road for a cross-country tour or going down to your local dive bar.

Back row: A backline usually refers to non-instrumental sound-system equipment, such as MPS and speaker cabinets, which you need to play a gig. In many cases, depending on the gig and venue, this can include instruments such as drums (often minus breakable) and keyboards. You’ll often hear the word “backline” during logistical chats about a one-off festival date, where a quick change in activities is essential, so artists don’t have to have their own gear with them. When this happens, the organizer should give you a brief description of what components of the space will be provided – gear brand, size and power of the MPS, number of pieces of drum kit and other relevant details.

Billing: Bill has a show playing list, and there are different types of billing. Headline billing refers to a situation where a job (“headliner”) is the main feature of a show and for that reason most people show up; That band or artist will occupy the top spot in any advertising literature and usually represents a larger type than the Supporting Act. Equal billing keeps everyone at the same level. And there’s festival billing, which happens when there’s a high volume of multiple-day or at least multiple-stage performances, including multiple-day headliners. For example, the way you look at Kochler’s posters, they will split into layers.

Breakable Drummers of the same bill may share the bones of a kit, but they will rarely share the whole thing. Breakables are basically expensive or special parts of the drum kit – traps, symbols, kick paddles, for example – that each drummer brings himself. If you, as a drummer, are only asked to bring your breakable things to a show, that’s what they mean. Shells Refers to other components of the kit – toms, kick drums, stands – which are often provided by the headliner. This arrangement not only helps keep the lid on, but also protects your precious trap from the misuse of rogue heavy-heaters.

Buyer: Usually referred to as a talent buyer, this person negotiates on behalf of the venue or event to determine how much you will be paid and executes the necessary contract.

DI (direct input) box: A DI box generates a balanced signal. An unbalanced output can make unwanted noise, ruin the sound, so if you have an instrument that emits an unbalanced output (usually a keyboard, synth, or guitar), you can plug it into a DI box, which balances the output. The DI box plugs into a mixing console, which sends soundless signals through the speakers.

In front of the house: The front of the house (or FOH) is the area where the soundboard and light control are located. This is often a good distance from the stage, usually near the center of the room, where technicians can see and hear everything from the perspective of the audience.

Guarantee: Regardless of net income, this is the amount of money guaranteed to pay for a gig. A “guarantee-plus-percentage” agreement provides a guarantee and a percentage of sales from tickets or alcohol, for example.

Headliner: The dog on top of a bill. The headlining act is usually the big draw for a show, the highest paid, the longest drama and the latest drama.

Load-in / Load-out: Load-in is when you take all your things from the van or bus to the venue and stage. The load-out was just the opposite, and was nicely immortalized by Jackson Brown In his 1977 record Running empty.

Main: The main speaker of the front house sound system. These speakers provide sound for the audience in a show. This is not usually the sound system that you will hear most clearly when you are on stage as an artist (this will be the monitor system, described in more detail below).

Manager (Tour, Production, Stage): For a large Turing production, many managers are needed. A Tour manager Basically the person responsible for keeping the show going, whatever. Their responsibilities are almost endless: they make sure the artist is in a good position to get to where they need to go on time and on stage, and tracks what they need wherever the show stops. Production manager Production – ensures stage, sound, lighting, performance, catering, etc. – set up and ready to go to each show, and while dealing with equipment related issues. They are involved in production as long as the tour lasts. And a Stage manager Works with all stage and backstage issues – checking backstage passes, overseeing turnover, and making technical adjustments as needed – to ensure a promising show at the venue and on the day the show takes place.

Monitor: A stage monitor system provides sound for you while you are on stage. It is important to note that what you hear through the monitors (the speakers in front of you and behind the stage) will not be the same mixture that the audience hears through the mains (see above). There is a monitor system so you can listen to what you want to hear while performing. FOH staff will look at you for gestures such as pointing at a mic or other band member and then pointing up or down, indicating that you need something less on your monitor. There are also in-year monitors.

Promoter: That person, company or organization is planning and promoting an event. A promoter could be a single person who organizes and promotes a single gig, or it could be a giant corporation (e.g. GoldenVoice, for example) celebrating a festival অথবা or it could fall somewhere.

Radius Clause: A radius section indicates a geographic area where you cannot perform an event within a specified period of time. This is used to exclude your presence for the event so that interest does not diminish. For example, if you are playing the Eaux Claires Festival in early July, your contract may say that you will not be able to perform in the state of Wisconsin between April and October.

Climbers: A rider is a part of your contract that determines what extra to pay the promoter. It is often in the form of food and drink in the green room before and after the show, but it can be expanded to include almost anything depending on the situation. At the height of their popularity there are countless stories about the band claiming bizarre things among their riders, of which perhaps the most famous, Van HelenThe request for a bowl of M & Ms has been removed from each gig of all brown. But remember: the rider comes out of your money at the end of the day. So if you’re ordering puppies backstage, make a note – you’ll pay for them.

Roady: It is usually a term reserved for an employee of a touring band who sets up and maintains equipment, but it can also be used to describe any employee who travels with the band. They load and unload, drive tour vehicles, ensure the safety of instruments and artists, and put the show on the road.

Set / Setlist: Your set is an allotted time to play on stage; A headlining set is usually much longer than a set of support acts. A setlist is a list of songs you plan to play during your set. You don’t have to plan and share your setlist in advance, but if you’re working for several shows with the same crew, this is a great resource, especially for your sound and lighting technology. You can make things up on the go. But having a setlist makes it easy to keep bands and production staff at the same wavelength.

Sound check: Ideally, a few hours or more before you hit the stage, you do a sound check. Soundcheck involves finding all the mix levels for the original and monitors, so that you can point to SoundTech – or sometimes, more precisely, they can point you – such as how loud a particular instrument should be or where a voice should be. Mix, and you work no sound kinks so that your set sounds awesome. A line check is basically a quick sound check, where you check the level quickly at the beginning of your set and then the sound tech performs according to you. (For example, if you’re not a headliner, a line check for courses at festivals is equivalent.)

Stage plot: A stage plot is a visual representation of what your set-up looks like. It indicates that the MPS, drums, keys, microphone, DI and whatever you get go into your arsenal. This is usually a simple drawing where things go on stage, often a digital image file, and is provided to the event stage manager so they know how to prepare for your set.

Strike: To hit something means to bring it down from the stage. This could mean an amp, an instrument, or a complete set-up for a band.

Support: Work for startups or headliners. Support acts take a short time and are usually there to warm up the crowd for the main event.

Turnover: The time between sets that bands and technologies need to transfer the setup from one band to another on stage. Turnovers are usually completed as soon as possible, and it can completely hit one stage plot and replace it with another, simply replace everything except the backline, or even drop everything and the bands split all the gear. You want to avoid slowing turnover at any cost, as delays can eat up on time and create bad blood at work.

– Matt Williams

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