From: Richard Webb on
STeve M. writes:
> 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.

Agreed. iF it's a "charity" gig I still defer to the
promoter or others in charge, and meanwhile make all sorts
of positive noises until they get rude. THen it's "we've
got five minutes for changeover and we'll deal with what
needs dealing with. YOu want preferential treatment you get preferential treatment when it's *your* gig and your crew."

I've had plenty of gigs like Steve described, and I snipped, where one band actually gets a sound check because they show up on time, and are professional. tHE rest get an on the
fly line check and that's it.

I usually just tell the diva types to take it up with the
promoter themselves, and go on about my business. IN this
case usually the promoter tells me to just keep doing what
I'm doing. I'm not a babysitter or hand holder, I'm an
audio man.

.... Remote audio in the southland: See
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