We have already described what we do, and just as importantly, what we don't do. There will be grey areas and we are happy to talk about them. The main thing is that we understand what you are trying to achieve and that we both understand how we will get there.
Below is a timeline describing what a good music gig would look like for us. The process and sequence would be very similar for any type of event that we would be involved in.
Below is a timeline describing what a good music gig would look like for us. The process and sequence would be very similar for any type of event that we would be involved in.
To be agreed in advance....
We would be told the precise date, time, location and nature of the event well in advance and would have sight of all publicity material. We would agree times, including before and after a performance for set-up and take-down.
We would know the size and layout of the 'stage' and auditorium, plus the locations, type and availability of power supplies and gantries. Typically we require one 13 amp UK socket or 16 amp 'commando' socket on or near the stage and the same at or near the control area. The stage supply must be live when we are rigging so that we can test as we go.
In general we only work in a voluntary capacity at charity events and only request that our expenses are covered. Exceptions to this can be negotiated.
Setup....
We would be able to park our van (and remain parked for the duration) in a position that allows us to unload heavy crates and equipment easily. We would have the use of lifts and ramps as necessary.
We would have access to the venue and exclusive access to the stage for rigging overhead fixtures in good time before a performance (or any rehearsal time). Performers and their kit get in the way of ladders.
We would clamp our fixtures to pre-existing 50mm (or compatible) mounting points around and above the stage. We can fit some weatherproof fixtures onto 3m floor stands in front of the stage. The venue would provide us with safe access to overhead gantries using scafold towers, suitable ladders or in extreme cases, a 'cherry picker'.
It is the responsibility of the venue to make necessary trailing power leads to the stage or control area safe with covers or safe routing. We will keep the stage and control areas safe.
During the performance....
We would have an uninterrupted line-of-sight view of the stage at all times and we would be co-located with the sound engineers.
We pre-program lighting controllers with simple audience facing light shows using colour washes onto backdrops and front facing coloured lights. We occasionally use sound-to-light triggers (hence co-location with the sound desk) but most of our shows are manually controlled.
We can use effects such as smoke, blinders and moving wash-lights. We do not use strobes or audience facing 'sweepers' as, apart from Health&Safety considerations, we find them very annoying.
Take down....
Take-down is as long-winded as set-up plus we will be tired. It cannot usually be started until the performers have cleared the stage. Ideally this can wait until the following day. We can be self sufficient in our van overnight as long as we are allowed to park on a relatively level surface.
We would be told the precise date, time, location and nature of the event well in advance and would have sight of all publicity material. We would agree times, including before and after a performance for set-up and take-down.
We would know the size and layout of the 'stage' and auditorium, plus the locations, type and availability of power supplies and gantries. Typically we require one 13 amp UK socket or 16 amp 'commando' socket on or near the stage and the same at or near the control area. The stage supply must be live when we are rigging so that we can test as we go.
In general we only work in a voluntary capacity at charity events and only request that our expenses are covered. Exceptions to this can be negotiated.
Setup....
We would be able to park our van (and remain parked for the duration) in a position that allows us to unload heavy crates and equipment easily. We would have the use of lifts and ramps as necessary.
We would have access to the venue and exclusive access to the stage for rigging overhead fixtures in good time before a performance (or any rehearsal time). Performers and their kit get in the way of ladders.
We would clamp our fixtures to pre-existing 50mm (or compatible) mounting points around and above the stage. We can fit some weatherproof fixtures onto 3m floor stands in front of the stage. The venue would provide us with safe access to overhead gantries using scafold towers, suitable ladders or in extreme cases, a 'cherry picker'.
It is the responsibility of the venue to make necessary trailing power leads to the stage or control area safe with covers or safe routing. We will keep the stage and control areas safe.
During the performance....
We would have an uninterrupted line-of-sight view of the stage at all times and we would be co-located with the sound engineers.
We pre-program lighting controllers with simple audience facing light shows using colour washes onto backdrops and front facing coloured lights. We occasionally use sound-to-light triggers (hence co-location with the sound desk) but most of our shows are manually controlled.
We can use effects such as smoke, blinders and moving wash-lights. We do not use strobes or audience facing 'sweepers' as, apart from Health&Safety considerations, we find them very annoying.
Take down....
Take-down is as long-winded as set-up plus we will be tired. It cannot usually be started until the performers have cleared the stage. Ideally this can wait until the following day. We can be self sufficient in our van overnight as long as we are allowed to park on a relatively level surface.