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Thread: Late arriving Musicians

  1. #31
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    Dec 2010
    Denver, CO
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    Did you just quote yourself?

    So here is the deal as I know it from my personal experience. If a soundman is working for the headline band, they are required to save the good stuff for the head line promoted performer. Sucks, but that is what happens. With touring bands that may even be in the contract with the promoter/artist/venue.

    Now, take that into perspective upon the venue and just how popular the band getting all the love is? If it is a local band and a venue with limited board and no ability to have extra channels or a mixing console with presets, it just makes sense that the band that is being paid the big money gets the soundcheck and mixer set.

    To think that you would get the soundman to make you sound as good as the headline band is kind of silly. Unless you know someone at the venue, you are likely at the mercy of ....

    I have also found that if you have your shit together, the soundman does not have to do much anyway. Think about that. Should you not already sound good on stage without the FOH helping you?

    I find many bands just forget that your sound is your sound. With exception of maybe vocals, and the size of the venue, you should sound good before you get there. If that does not make sense to you, then you already placed yourself in the last in line for a pro FOH engineer to give a shit about you and your band sound.

    Now as far as not being on time or taking set time from others; That is never cool for anyone to do. But again, shit happens. If out of arrogance and trying to fuck with others, well then they will not be doing music for long. We remember that shit.

    I have been lucky enough to be in the headlining slot multiple times many years ago. I also have been honored to open for numerous signed/popular bands at large venues. At the larger venues (4000+), it is typical for the headlining act to have all there shit mic'd and channels of the board set from soundcheck. Even some the smaller venues that my band opened for the likes of Dream Theater, Suicidal, Fates Warning, Savatage, had their own stage manager that made the decision to set up everything in advance. We got to set up and play on limited stage and with minimal PA support. Even at the big 9000 plus gigs including Mile High Stadium that we played, the amount of PA was limited by the soundman in charge.

    But, if you are not dicks, you sound good, you have a knowledgeable soundman, and you don't suck, it can go much better.
    Last edited by jimmys69; 05-04-2019 at 14:06.
    PC Win7-64-24G i7-4790k/Cubase 10 Pro 64-bit/2-Steinberg UR824's/ADAM A7x/Event TR8/SS Trigger Plat Deluxe/Melodyne 4 Studio/Other things that don't mean anything if a client shows up not knowing what it wants.

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  3. #32
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    Back in my full time musician days. When we had agents and managers. The manager, or booking agent would send stage plot/tech riders, and hospitality riders before the contracts were even signed. Don't see much of this anymore, unless it's a well known act.

  4. #33
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    Boulder, CO
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    Quote Originally Posted by Toastedgoat View Post
    Back in my full time musician days. When we had agents and managers. The manager, or booking agent would send stage plot/tech riders, and hospitality riders before the contracts were even signed. Don't see much of this anymore, unless it's a well known act.
    I was one of those receiving those stage plots. I learned not to trust them because they'd frequently be out of date. Managers and booking agents often had no idea what the current technical requirements of the band were, even to the point of using plots that had former band members on them. It was generally a lot safer to wait for the band to arrive and ask them in order to avoid setting the stage twice.

  5. #34
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    Oct 1999
    America's wang
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    you said the first act was very late so if they have to deal with a drummer setting up it's on them and not the drummer ..... the first act was the one being unprofessional by being very late.

    I mean, I don't care, everything about all my gigs is always professional and on-time ...... I never run into the stuff you're complaining about ..... but this sounds like a very low paying gig and, as such, you're getting people who don't do a lot of professional gigs ...... gonna be a lack of understanding on their part
    If you know the secret codes you can get by the mastering boss on level 8.

  6. #35
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    Oh dear, happened again last week, no sign of the first act 5 min to start time, we got hold of them via a message and they wrote down the wrong start time (what is it with musicians and diaries?) Anyway they were almost there and actually did turned up 15 min after start. Got them on stage quick (1 voc and 1 guitar easy), cut their set time but also allowed for a shorter change over as fortunately the second act (full Band) was set up and sound checked ready to go, got there nice and early.

    These acts are not rubbish acts, they are good sounding acts, but how is it people can be so disorganised? Why do acts leave it so late to turn up anyway, my own gigs I am always there at least 1 hour before start, then if there are any set up problems, start time late change, flat tyre on the way LOL, or anything else that can go wrong its all under control. I get to this gig 3 hours before start to get the sound happening, just in case the PA has been moved around (they hold functions there), the PA has a problem, or something is missing and I have to organise a replacement. I also set up my own mixer for the house PA as I have all my settings saved for setup starting points. I get set up, have a beer, talk to the boss, greet the acts that show up on time, relax , etc.


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