Dealing with divas
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From: Dave O'Heare on 5 Jul 2010 00:45 A friend of mine reports that he just did a charity gig where one of the many acts supplied backline. Said act, apparently signed to a recording company, then attempted to dictate the rules and setup for the show ("Doesn't matter that there is an 80-voice choir coming, our gear goes center stage and stays there all gig", "We need a full soundcheck for our 30-minute spot in this festival with 5-minute changeover times between acts", that sort of thing.) How does one deal with folks like that? Any hints, suggestions, etc? I'll admit to running into similar problems occasionally, but I've been fortunate that I could refer the diva to my superior. Dave O'H
From: Arkansan Raider on 5 Jul 2010 01:19 Dave O'Heare wrote: > A friend of mine reports that he just did a charity gig where one of the > many acts supplied backline. Said act, apparently signed to a recording > company, then attempted to dictate the rules and setup for the show > ("Doesn't matter that there is an 80-voice choir coming, our gear goes > center stage and stays there all gig", "We need a full soundcheck for our > 30-minute spot in this festival with 5-minute changeover times between > acts", that sort of thing.) > > How does one deal with folks like that? Any hints, suggestions, etc? I'll > admit to running into similar problems occasionally, but I've been > fortunate that I could refer the diva to my superior. > > Dave O'H One of my many prayers as a performer is that I never turn into *that* diva performer. I've opened for a few like that. It's friggin' embarrassing. I feel your pain, Dave. ---Jeff
From: www.locoworks.com on 5 Jul 2010 01:42 On Jul 4, 10:19 pm, Arkansan Raider <yom...(a)yomama.com> wrote: > Dave O'Heare wrote: > > A friend of mine reports that he just did a charity gig where one of the > > many acts supplied backline. Said act, apparently signed to a recording > > company, then attempted to dictate the rules and setup for the show > > ("Doesn't matter that there is an 80-voice choir coming, our gear goes > > center stage and stays there all gig", "We need a full soundcheck for our > > 30-minute spot in this festival with 5-minute changeover times between > > acts", that sort of thing.) > > > How does one deal with folks like that? Any hints, suggestions, etc? I'll > > admit to running into similar problems occasionally, but I've been > > fortunate that I could refer the diva to my superior. > > > Dave O'H > > One of my many prayers as a performer is that I never turn into *that* > diva performer. I've opened for a few like that. It's friggin' embarrassing. > > I feel your pain, Dave. > > ---Jeff Just tell them, "Sure, no problem, no sweat." And then do what needs to be done. What are they going to do, fire you?
From: Steve M on 5 Jul 2010 05:04 "Dave O'Heare" wrote > ("Doesn't matter that there is an 80-voice choir coming, our gear goes > center stage and stays there all gig", "We need a full soundcheck for our > 30-minute spot in this festival with 5-minute changeover times between > acts", that sort of thing.) > > How does one deal with folks like that? > It depends on ones' position in the food chain. If I was just doing audio on the gig, I would hand it off to the production manager or the promoter. The person who hired the act is in the best position to control the logistics of the gig. It also makes a difference as to who is the headliner. I've dealt with opening acts who were overly demanding about their gear not moving once set up. I've told them, when they're the headliner they get preference. As an opener they need to defer to the main act. I did an outdoor festival type gig on Saturday. Six bands in five hours. Only one band got a soundcheck, because they showed up on time. The rest got the 'on the fly' treatment. Not one person gave attitude or displayed ego issues. All went smooth. The same band who showed early stayed and helped me take down and load out my PA after the show. This looks to become a monthly event and I'll gladly do it again. -- Steve McQ
From: alex on 5 Jul 2010 07:09
On 05/07/2010 11:04, Steve M wrote: > "Dave O'Heare" wrote >> ("Doesn't matter that there is an 80-voice choir coming, our gear goes >> center stage and stays there all gig", "We need a full soundcheck for our >> 30-minute spot in this festival with 5-minute changeover times between >> acts", that sort of thing.) >> >> How does one deal with folks like that? >> > > It depends on ones' position in the food chain. If I was just doing > audio on the gig, I would hand it off to the production manager > or the promoter. The person who hired the act is in the best position > to control the logistics of the gig. It also makes a difference as to who > is the headliner. I've dealt with opening acts who were overly demanding > about their gear not moving once set up. I've told them, when they're the > headliner they get preference. As an opener they need to defer to the main > act. > > I did an outdoor festival type gig on Saturday. Six bands in five hours. > Only > one band got a soundcheck, because they showed up on time. The rest got > the 'on the fly' treatment. Not one person gave attitude or displayed ego > issues. All went smooth. The same band who showed early stayed and helped > me take down and load out my PA after the show. This looks to become a > monthly > event and I'll gladly do it again. > > -- > Steve McQ > > yes, this is production job. If soundmans are dealing with the problem, is usually already too late to find a way out. I don't want to be blamed for different treatment on stage not caused by me, this has to be very clear to all in advance. They have to protest with production. With many groups i always try to make just one full check, usually with the band who will play first, and everything else will go on the fly. What i always suggest to bands is to arrange a song, to begin with, that will help unknown engineers to set up sounds on the fly. A sort of "intro" with no crowded tempo or spectrum, where instruments are coming in one at time. This will pay almost everytime. alex |