I enjoy the insights and tips Steve La Cerra often imparts in his “Theory & Practice” columns, including his recent series “Tour Managing for Dummies” (FRONT of HOUSE, June 2013, page 57, and “Tour Managing for Smarties” (FOH, July 2013, page 33). That said, I would like to echo some of his advice and add a little perspective from the “other side” — the venue production manager’s point of view.
Remember, many of us greeting you when you enter have toured, and we understand the situation you’re in. We know that your last venue had a lousy load-in/load-out/crew/sound system/etc. — or perhaps a better load-in/load-out/crew/sound system. However, this is today. I will do whatever I can in my power to make your gig as good as possible.
Regarding La Cerra’s Rule #5 — “We can have a good day or a bad day. The choice is yours” — I’d like to offer the following.
Rule 1: Get It in Writing
A thorough advance includes having it in writing. I like to do all my advances by email. I don’t care if it takes a dozen emails back and forth to get it worked out, but then it’s in writing and it’s clear. I actually read the rider — the one that is signed, edited and sent back to the booking agent. This is what I’m going by — not the one that refers to arena shows or festivals. Talking on a cell phone during a sound check or on the way to the venue or when I’m on the road (yes, a lot of venue production managers tour and do gigs outside the venue) or have the one day off without the contract or rider in front of me does you no good. I understand that a phone call can be quick, but often things are lost or misheard.
Also, if I am not in a place where I can write down notes, it will get lost. FYI, I have a notebook on my desk at work, in my nightstand at home, in my car, in my computer bag, next to the couch and still have problems finding a place to make notes when the tour manager finally manages to get back to me. Also please send me the rider you have — you do have the bands current rider, right? I often get riders that have no date, with out-of-date crew names and the contacts for a tour manager who left years ago.
Rule 2: Read the Venue Tech Sheet
I update my venue’s tech sheet often and keep it highly accurate. I have specifics regarding trim heights, power and stage size. Most of what you are asking is there — in writing. I also have a standard email outlining all the basic information you need to start with.
Rule: 3 Problems and (Real) Solutions
I know the venue is hard to find (see the above email reference), the acoustics suck, we need more power, the stage is too tall, the stage is too short, the walls are the wrong color. If I had the budget, I’d fix it, or I might be in the process of fixing it. I appreciate advice and often seek it from touring crews and engineers. If your solution to a particular issue is to spend more money, that is not helpful. I have no ability to do that. I’m an employee, not the owner. In the case of my venue, it used to be an ice skating rink. It sounds horrible during sound check. I know that, but if you listen to my front of house engineer, he will gladly give you some insight. When the room fills, it tightens up, and once the show begins, you’ll be struggling to put back those frequencies you pulled out during sound check. Yes, I have done the analysis, and we have a pallet of acoustical material that we are in the process of installing.
Rule 4: Every Venue is Different
A 14-man crew call in my venue is unnecessary and a hazard. In many cases, a tractor trailer can dump directly onto the stage in my venue. A bus and trailer is a 10- to 20-foot push on flat paved ground. A crew that is too large presents a waste and a danger in some cases as guys are literally knocking each other off ramps as the tour crew is humping to get the gear set up, because they want to watch the hockey game that’s on at 4pm. Work with me, and I’ll get the appropriate crew for your call.
Rule 5: Geography Lesson
Know where time zones are and what highways are troublesome at what time of day. If you are traveling from a time zone behind your destination, you need to add an hour to your travel time. So many times I’ve had crew sitting around waiting for a load-in when the tour made the simple mistake of not realizing they where an hour behind. Even though it’s not a large metropolis, the city where I work sits at the convergence of several major highways. An accident on any of these can screw the travel time for hours. Not anticipating major issues on a highway is naïve. We all know drivers need to rest, but you rarely can make up time lost on the road.
Rule 6: Last-Minute Backline Requests
Don’t assume it is readily available. Some backline items — particularly DJ equipment and boutique amplifiers — are just not available on short notice in my area. See above email reference. I need time (a week minimum) to get your backline fulfilled if required. I don’t stock backline at my venue and while I have several good backline companies in town, they are often booked and need to seek help from out of town. That said, on multiple occasions these same companies have come through with a save for a replacement amp that died at sound check.
Rule 7: Cut the Larceny
Stop stealing the fader knobs off my consoles! This comes out of the bottom line and is often the difference between the venue being able to replace a microphone or other amenities. It may also be the reason why I have to keep the hours as short as possible for me and my crew, because I have to run out to buy replacement knobs for my faders, instrument cables, DI’s, gaff tape or whatever else you thought was no big deal to walk off with. You are stealing food out of my crew’s mouth.
Rule 8: Guests and… “Guests”
Your special guest of the night is not my problem. If you have family or friends, I get it. Though why they want to watch a show from monitor world or dimmer beach where the sound and view is the worst is beyond me. I don’t need someone standing in the way of my stage changeover wearing sandals while amps and speaker cabinets come off stage. I really don’t need a drunk throwing up in the garbage can, or setting drinks on my dimmer, distro, cable trunk, etc. These guests often consume more catering and alcohol than the band and crew combined. We have limited space backstage and need to maintain some level of security.
Speaking of special guests, only performers and tour crew are allowed onstage in my venue during the show, not the bass player’s girlfriend, band photographer or documentary videographer. The audience paid to see the band, not the back of the photographer’s head.
Rule 9: Keep ‘em Straight
Your rider specifies sober, English-speaking crew. We would appreciate the same. If you have crew members who are impaired and put my crew at risk, I will call you out on it. We don’t come to work drunk or stoned; when the gig is over and the truck doors are closed, that’s a different matter. But during the day and the show, safety and communication are key.
Rule 10: Let’s All Have a Great Show
Our theory is, if the band is having a good time onstage, the audience will have a good time. We all have the same goal, to make the gig as painless as possible.
Paul Gussack is the technical production manager at Track 29, a 1,000-to-1,700 capacity facility in Chattanooga, TN. And FYI, the venue’s spec sheet is easily available via a homepage link at www.track29.co.
