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Shout-Out to our Lighting Friends

I know we are all audio friends here, but I have to take a moment to talk about one of our counterparts, a counterpart who is always involved in live shows. The setup can be very simple or incredibly detailed, but they are often considered competitive or our frenemy in the field. Many times we are on the same timetable, with a lot to do and in a small space, working on top of each other to accomplish a show.

As part of opening a new building, I have had to face this counterpart head on. My least favorite activity to do in tech: lighting. I mean, seriously, I’m good with just hearing the show and not seeing it!

From recent firsthand experience, I can tell you lighting is a lot of work! For the first time, I had to work through spec-ing, ordering and, now, installing a full lighting system for two venues. To give you an idea of how much work this is, it took three loads just to get all that trash out!

In all seriousness though, I learned that our counterparts in lighting work just as hard to master their craft as we do. The diversity in lighting tasks resembles the variety in audio – except, instead of mic variations, different styles of speakers and tuning, it’s lamp differences, hundreds of fixture options and focusing.

As I have been working on this install, I have realized that I can’t imagine what it would be like to set it all up, wire, address, and program a rig like this every day on a large-scale tour. Let alone troubleshooting, with so many fail points and everything at least 20 ft. over my head, once it’s up. Just like audio, the details matter. There are endless options on how to do it, what it looks like, and how to please the audience. I’m happy to dead-hang some lights, make sure they work, and then let my students go to town.

Now that the products have begun arriving, it’s expected to take two weeks to complete the install, followed by spending time learning the new lighting board (which could take months to master). Major props to our counterparts, the lighting folk! I’m glad someone likes to do it.

P.S. I really did work with some lights – not just with a bunch of boxes.

Tour Manager Cheat Sheet

Cheat Sheet for Tour Managers

Feel Free to Post Your Tips and Advice and we will add them.

Venues:

Call or text the Production Manager and let them know when you’re 10min away. If you don’t get a response, no big deal. Load-in details should be advanced.

When you arrive, run in and tell them you’ve arrived. Ask them for some hands to help you unload. After getting all the gear in and locating the dressing rooms have them direct you to your parking spot.

Introduce yourself to everyone inside – find your key people – PM, house FOH, house MON, house LD, promoter rep, head of security, merch person and whoever is responsible for stocking the dressing rooms. Make best friends with this person! Merch person and promoter rep sometimes arrive at the venue later than everyone else. Attend the security meeting (if applicable.)

Once the band has a minute to get settled in the dressing room, have them get their gear pre-set off stage (ask the PM where to do this). This way they’ll be almost ready when (the headliner) finishes their check, and they can just move their gear into place. Otherwise, you’ll waste all your soundcheck time doing

Setup.

Ask them if soundcheck is running on time, and what time you should have your band ready to move onto the stage.

Check that the rider is in the dressing room, or on its way (everything you agreed during the advance). If you are an opener, you probably won’t get your full rider, but you should at least have what was agreed during the advance. At a bare minimum, make sure you have:

Show Schedule:

Make sure there is a schedule for the day printed and hung on the wall by the door in the dressing room. The venue or headlining act usually handles this, but in case they don’t – do it yourself. Just the basics: day, date, venue name, address, doors, set times and length, changeover times and length, curfew and wifi info. In big type that’s easy to read. If your band has a logo, include it at the top and keep a template going.

Set List:

Try to get a jump on the setlist right after soundcheck. Keep all setlists in an accessible and sharable place (Dropbox for example) saved under their dates. You will often get asked for them after-the-fact for press, and sometimes the band will say ‘we want to do the same setlist we did in Portland.’ Once you have it, type it up as big as possible on one page, and print needed copies. Possible positions that need setlists will be: (modify as needed)

Next up is the guest list:

Check with everyone (band, crew, press, management) and type it up, then give to contact that is handling the guest list (per advance.) If you need more than your allotted spots, charm the promoter. Make sure this is done before doors.

Merch:

Count-in, the merch with the merch person. Merch %s should be listed in the deal memos. If touring with a headline act see if their merch person is willing to take your remaining merch at the end of the night and bring it to the next city. (For example – If you are going to do this, get a large Tupperware container or something easy for them to travel with.)

Always give the band a heads up when:

Before you head to FOH or MON:

Make sure the stage is all ready, (lead vocals) knows where their mic is, and that each person has the following at their station on stage: (modify as needed)

After the show:

Help get the gear off the stage, packed up, and loaded out – the next band or headliner’s people will want you off their stage

Check in with the band backstage right after the gear is handled. See if they need anything, then tell them you’re going to settle, and what time they should be ready to leave. Only leave early if you have to leave to the next city. Otherwise, stick around to deal with merch.

Find the promoter rep and settle. Make sure they have the W9, and that you get a copy of the settlement.

Check in on merch:

When it’s getting time to leave:

Give the band a 15 min heads up before departure time.

Load any dressing room hospitality into the van/sprinter/bus (typically unopened only). Ask the venue for a box or bags for this.

Hotels

When you arrive:

Go to the front desk and give them your group name (or everyone’s names if it’s not registered as a group).

Offer to take band’s credit cards for incidentals (if required), so they can get their bags out of the vehicle while you get their keys.

Make sure there is a copy of your rooming list and hotel information sheet in each envelope. This can be advanced with the hotel, so it is ready on arrival.

On checkout:

Leave extra time to deal with the front desk. It always takes longer than you think. Make sure everyone has paid their incidentals and has a copy of their ‘zero balance receipt.’

Ask for a copy of the master folio, and make sure that nothing except Rooms, Tax, and Internet has been charged to the tour cc.

If for some reason it’s taking too long at the desk, and it’s going to make you late, just leave. It can be sorted it out later.

Helpful Resources

GeniusScan – A PDF scanner app

Square – Accept credit card payments:

Waze GPS app –

Master Tour is the premier software solution for tour management and logistics. With Master Tour, you can organize your itinerary, travel, production, accounting and more in one application. Work on or offline and share critical information with your crew in real-time. Master Tour will help keep your entire organization in sync.

Cudasign app – E-sign electronic documents

Foursquare – Find local businesses and attractions:

Yelp – Find businesses with reviews everywhere

Another TM with more experience on speed dial

Global Access – Visa and Immigration:  Global Access Immigration Services, Inc. has been providing worldwide entertainment visa services, consulate assistance and coordination for the Live Touring Industry for travel both inside and outside the United States.

Tour Supply  Tour Supply Inc is THE One Stop Shop for Touring Professionals Worldwide.

Smart and Savvy Travel Agency – Owner/Operator Molly Brickson Williams:

Lock Travel Management – Owner/Operator Amber Lock:

Plaza Travel – Production travel agents

Cube Passes – Laminates, wristbands, luggage tags:

Dropbox – Cloud-based file storage and management:

 

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