Gig-speak
All the tour jargon
Gig-speak A guide for promoters, venues and musicians.
So you’ve booked the band, and the manager is on the phone talking about riders, drum risers and monitor mixes. Relax! Here’s a guide to help you break the language barrier with confidence. You may be in a band yourself, or a solo artist, in which case many of these terms will come up at some point whatever style you play. There are applications here too for venues staging theatre productions, and for organisers of festivals and conference events. If you need to know the difference between hospitality and catering, or simply what a tour manager does, it’s in HI~Arts Gig-speak.
How to use HI~Arts Gig-speak Either: Scroll through the document to find what you’re looking for (all the entries are in alphabetical order). Or: Open the Bookmarks tab on the left, then select the word or phrase you’re looking for from the list. Where another word or phrase appears in italics within the text, it has an entry of its own and can be looked up in the same way.
HI~Arts Gig-speak written by John Saich © for HI~Arts with grateful thanks to Robbie Dunsmore (Robotone) and Robert Hicks (Beyond)
In memory of Lindsay Chapman 1956~2008
a Access all areas A term used to allow someone access to any part of the venue during the day and evening of the show. Technically, this includes the stage but not during the duration of the show. A special pass, or laminate, will grant access and be checked against a list held by the tour manager or venue manager. Very few personnel will have an all-areas pass, but will include the band, crew, theatre technicians and special guests including record company reps, and it also gives access to the aftershow if there is one. The all-areas pass should be used with respect, never abused or given to anyone else, and worn at all times. Active Something requiring power to run, e.g. an active monitor, which will have an inbuilt amplifier and power supply, or a pick up system on a guitar which will be powered by battery. The opposite of active is passive. Aftershow Social event after the gig, often within the venue but can take place anywhere. An aftershow is generally a private gathering for friends of the band and invited guests, and a special pass or laminate is required to get in. In most cases, an aftershow will last no more than an hour and must be pre-arranged with the venue and security staff. Band members are not obliged to be present but the aftershow is the best opportunity for artists to meet invited industry reps, journalists and celebrities that may have been at the show. Agent An agent’s role is to book gigs on the artists behalf. An agent will set up a whole tour for a band, deal with booking contracts and performance fees and organise tour publicity in conjunction with a press officer. In return for this they will charge a percentage of the acts tour income. The job of running and promoting each show will fall to a local promoter. An agent may have a contract to represent an act in certain territories – in the UK but not America, for example, or Europe only. An agent tends be the only one a band works with in the UK, and all these terms are agreed in a contract at the outset. Amp Short for amplifier, e.g. guitar amp, bass amp.
b Back line (see also Back line technician) In general, all the amplification on stage – usually behind the band, hence the name. A promoter will often supply back line at a gig where several bands are playing, or at a festival where bands are coming in from overseas. By the same token, a band can request that back line be provided if playing at a festival or series of gigs abroad. A band should be clear about what items they need, specifying any particular make of amplification and an acceptable alternative. Drums are not automatically covered by back line so any request should state “drums and back line” – don’t assume. Similarly a promoter should check that drums are needed in addition to back line if he or she has been asked to supply them (drummers will generally bring certain items of their own such as snare, bass drum pedal and cymbals if possible). Backline technician (see also tech) This is the member of the crew that has responsibility for looking after all the back line equipment. This will include setting it up, testing it and trouble-shooting any faults. You will most likely find a back line technician where there are no individual techs for guitar, bass or keyboards, but on tours where there is a high level of production they may still be needed, and in fact there may be more than one. Bass rig An amplification set up for bass guitar, usually consisting of an amp or head with a combination of speaker cabinets, or cabs. Bins (see also subs) Not a word used all that often; this refers to the speakers of a PA system that are designed to carry the bass end of the overall sound. They may also be referred to as subs. Board Alternative term for desk – which can be to mix sound or lighting Buy out In many cases, and depending on the contract, it is the gig promoter’s responsibility to provide a meal for band, either before or after the show by arrangement. Where this is impossible to arrange (perhaps because there are no catering facilities near the venue) a buy out may be offered as an alternative. This means that the promoter will give a sum of money to the band or tour manager equivalent to the number of meals, and the band can then make their own arrangements. The promoter will make the tour manager aware of this prior to the gig, and must give him/her the money on arrival at the venue (i.e. not last thing at night when all that’s open is the
petrol station). Many musicians prefer this arrangement as they have the option to buy a bag of chips and pocket the change, but in rural areas or very small towns it must be realised there are not many places to eat and the time between sound check and show time is limited. BV Backing vocals, often used to describe a mic position on a mic list (or channel list) or spec.
c Cab A box or enclosure that contains a speaker or combination of speakers., referred to as guitar cabs or bass cabs for example. They may also be referred to by the diameter of the speaker or speakers inside; a bass cab with a 15 inch speaker inside may be called “the fifteen”, similarly guitar cabs may be referred to as “tens” or “twelves”. They can’t produce a sound by themselves and have to be used in combination with amps or heads. Cans Headphones. Or drinks, obviously. Catering The facilities for eating on the day of the show for band and crew. Catering can be in- house (supplied by the venue) or part of production, whereby a specialist company brings everything needed to supply meals into each venue on the tour. Tour catering can include everything from crew breakfast to evening meals depending on available space and facilities in the venue. Changeover The process of getting one band off stage and the next one on. Channel The route a particular mic or DI takes through the desk. The desk has a number of channels, generally in multiples of 8, and the size of desk will be determined by the number of mics and DIs the band needs. Channel list See mic list Combo Short for “combination”, this is a term that came into use in the 1950s as an amplifier and speaker (or speakers) in the one portable unit. The word is now rarely used but the thing itself is used all the time, mostly by guitarists, and generally just referred to as an amp.
Crash (cymbal) The crash cymbal of the drum kit. Crew Everyone employed to do a specialist job on the tour or gig. Crew may include sound engineers, drivers, caterers, backline technicians, merchandise staff, lighting technicians. Not to be confused with venue staff, crew members have a specific responsibility to the tour or gig, but will work with venue managers and staff on issues of access, technical specifications and safety. Crew are never under any circumstances referred to as roadies - they are highly skilled individuals often working very long hours to make the best possible show for the band and it is in everyone’s interest to listen to their advice and take direction when necessary. It is not their job to get drinks for the band or go out for kebabs, but a good working relationship between band and crew can be the difference between an OK tour and a great one. Crew bus Transport for the crew – usually off limits to band members except by invitation! Curfew The time by which the show must end and all sound cease. A curfew is usually imposed in relation to local authority licence restrictions or neighbourhood noise considerations, and it is the promoter’s responsibility to make sure the band, tour manager and crew are informed well in advance of the show. Curfew may also be used to denote the time a band must end their set where there are several bands playing the same evening.
d Desk (or board) Console for mixing/balancing sound (or controlling lights). Sound desks come in many sizes and are usually described by the number of channels they have, e.g. a “24 channel desk”. Some sound desks are analogue (in that they process the sound electronically) others may be digital (in which case the sound is processed digitally). A digital desk may also contain a number of on-board effects. Very small venues may have an 8 or 12 channel desk which may also contain the power amp needed to run the PA speakers. These are sometimes referred to as mixer amps. In larger venues and festivals a desk may have any number of channel configurations, typically 32 or 64.
DI Direct input, or the means by which an instrument connects to the PA without the use of a microphone. A DI will most commonly be used with keyboards, bass guitars, electric violins and acoustic instruments with internal pick ups. DI box A small device that converts the signal from a DI instrument to the correct signal for the PA. The DI box will be on the stage near to the musician using it, or could be a one of several on a multiple block. As a general rule, if your instrument has a jack lead coming out of it, you will need a DI box – the only exception being with electric guitarists when in most cases a mic will be put in front of the speaker cab. It’s reasonable to expect the PA company to supply DI boxes but many musicians carry their own just in case and they are relatively inexpensive. Doors The time at which the public are admitted to the gig (though the bar or foyer may be open some time before). It is the absolute time by which all sound checks must be finished and the stage clear. Drapes Sections of heavy (usually black) material used to partition areas of a room, close off parts of the stage, cut out daylight etc. Drapes must always be of a material compliant with public health & safety and fire regulations, professionally hung and best supplied by a specialist company. A PA or lighting company can often supply drapes if asked. Drum fill A monitor set up specifically for the drummer, often raised to head height at one side of the drum kit. Drum riser A raised platform on the stage for the drum kit. A drum riser can be any size – on small or medium sized gigs typically a foot or so high, and wide and deep enough to take the kit, a monitor (or drum fill) and any mics and stands. At festivals or in very large venues the drum riser may be very much bigger, but in any situation it must always be deep enough to allow the drummer to be seated comfortably and safely. Drum tech (see tech)
e EQ Equalisation. EQ can describe a number of applications but all of it is about frequencies, or the spectrum of audible sound in Hz. You can “EQ” a vocal, which means alter some of the frequencies in the vocal sound; you can “add EQ”, which means much the same thing (though strangely this often means reducing frequencies rather than boosting them); you can “have an EQ”, which means you can own an effects processor which does that job. EQ is broadly talked about in “bands” (as in layers), which are: hi, hi-mid, lo-mid, lo. Hi is the very treble or “top end” part of what you hear (like hihats and cymbals), lo is the bass end (or low end) like bass guitars, kick drums and synth basses. The mids are everything in between and also where much of the power is in snare drums and electric guitars. An EQ processor will have all theses frequencies spread over a number of faders so that a sound engineer can zone in on anything problematic in a mix. A desk will also have some EQ controls on each channel. A parametric EQ allows you to sweep across a whole band of frequencies and select the one you’re looking for. It’s a complicated subject, but that’s roughly it and in a live situation the less of it you have to use the better.
f Feedback The whistling or howling sounds heard through a PA when a mic is too loud or the EQ is wrong. Feedback can range from a high pitched squeal to a low rumble, is almost always unpleasant and definitely to be avoided. It happens when a mic amplifies a certain frequency from a speaker, which is then played back through the speaker, amplified again, and so it goes on in a spiral. In small venues, bands can help by not having their amps too loud and trying not to have too much volume in their monitors. There are one or two constructive uses of controlled feedback – it can be used to create sustain on an electric guitar for example. Flight case A case for instruments or equipment that has been designed to withstand the rigours of air travel (other than for what you can carry on as hand luggage), though they are recommended where any form of transport is involved. Instruments checked onto a flight must always be in a flight case watch what happens to luggage as it’s loaded into the hold and you’ll see why. Floor tom The tom drum of the drum kit that sits on the floor.
Flown PA In venues where there are various levels of seating (balconies, circles etc), or in very large arenas, it is often necessary to reinforce the front of house sound by suspending speakers at a height greater than those positioned at the side of the stage. By using a system of supports, the speakers are “flown” above the audience such that those seated in the upper parts of the theatre can hear the full range of the bands sound. It goes without saying this is a highly specialist operation and is the job of a professional PA company – there are very strict rules about this stuff, leave it to the experts. Front of house (or FOH) Basically where the audience is – i.e. all the auditorium space in front of the stage. The term is generally used in connection with sound, as in what the audience hears “out front” rather than what the band hears on stage. Front of house engineer The engineer responsible for mixing the out-front sound, and generally in charge of the whole PA system. In many situations the front of house engineer is sometimes referred to as the “sound man” but as there are now many professional female engineers working in the industry the term is best avoided. FX Effects, or processors that change or enhance the sound in some way. FX may include compressors, delays, reverb and many other specialist applications. FX are generally housed in racks as part of a PA system but may also be stand alone units for individual musicians.
g Guest list This is a list of guests invited to the show that are to be admitted free of charge. For most small or medium sized gigs this will probably be limited to two or three per band member but can be extended to include industry reps that may have expressed an interest in seeing the band with a view to helping their career. However, at large gigs where there is a potential audience of thousands, it is not uncommon for a guest list to run to more than a hundred. The tour manager or promoter will finalise the guest list with the band on the day of the show and ensure it is handed to the box office before the venue opens to the public. It will also be noted whether any special passes are to be given to particular guests (e.g. aftershow) and the relevant number of passes will be given to the box office staff. Seating allocation for guests will generally be at the discretion of the venue manager as paying customers will take priority, though this may be negotiable depending on the nature of the venue and the band’s status. A guest list is of course open to abuse and bands should not expect to allow all their friends in free of charge – the promoter needs to make money and doesn’t want guests to outnumber paying ticket holders. Therefore a great
deal of common sense needs to be applied to a guest list and it should always be used wisely. Guitar tech (see tech) Get in (or load in) The time at which access to the venue is available for crew and production, typically on the morning of the show day. This is not when the band arrives – the band will not be required until later in the day when the stage is prepared and all the PA and lighting equipment is ready.
h Hats The hi-hats of the drum kit. Head (amp) An instruments amplifier (usually for guitar or bass) with no speaker attached, used in combination with a cab. Headline (act) The named act top of the bill that the audience have come to see. Hospitality An area set aside, usually backstage at a festival, for bands, crew and occasionally invited guests. Unlike an aftershow, hospitality at a festival is generally available all day on the basis that bands and crew may have to be on site for long periods at a time. Hospitality will usually offer tea, coffee and snacks, and hot meals at certain times, and is a communal facility for all acts on the bill and associated crew.
i In ear monitors These are specially designed devices that are worn in the performer’s ears to provide a monitor mix of the overall band sound or solo vocal. The mix is sent to the in-ear monitors by a radio signal. In-ear monitors are custom built by specialist companies to suit individuals’ requirements and are not generally available to buy from shops, and must always be operated by professional engineers. In house Anything supplied by the venue, e.g. in-house PA, where the system belongs in the venue as opposed to being hired in.
In store (see also p.a. = personal appearance) This is an appearance of some kind by an act in a music store - either a short performance or album signing or both – to promote an album, single or tour. Itinerary A document that contains all the information band and crew will need about a tour. Each page will relate to one day and contain information including the venue, get in or load in times, soundcheck time and showtime, accommodation and catering details, directions, relevant contact numbers and any special notes about the show or venue. The itinerary will also contain details of any press interviews scheduled for the band and a covering page should also list the names of band and crew members and agent or record company contacts. The itinerary is in many ways a confidential document and should not be copied or circulated to anyone other than band or crew members.
j Jack (lead) The most common form of chord or lead connecting instruments to amps, pedals etc. So called because the connection on each end is a ¼ inch “jack” plug.
k K (as in 5k, 10k) The output of a PA system in kilowatts. The larger the number, the louder it is though 10k is not ten times louder than 1k. A good quality 2k system will generally be adequate for an acoustic act in a small to medium sized venue (or for a rock band in a small venue), 4k will do most bands in a medium sized venue, 10k will do a marquee and so on. All reputable PA companies will supply the right system based on the type of act and size of venue. Keyboard tech (see tech) Kick The bass drum of the drum kit. Kit The drum kit.
l Laminate A laminated pass issued to band, crew and associated personnel that allows access to the venue and stage. If issued, a laminate must be displayed at all times except by the band during performance. A laminate is a crucial item on a tour and as such it must not be lost or given to friends or guests. As one laminate can often apply to several venues on a tour a serious security risk can arise should it fall into the wrong hands. This is why laminates are generally worn around the neck on lanyards and not kept in pockets or bags, and it is not unheard of for band members or crew to be fined for loss. Line check A line check is a quick test to make sure all the mics and instruments running through the PA are being heard through the system. A crew member will generally go round the stage and either tap or speak into all the mics in a specific order and also check that all the DI connections are working. At the same time the front of house engineer (and monitor engineer if there is one) will see that the right instruments and mics are coming into the correct channels on the desk and make sure everything is correctly marked. Band members can also do this with the front of house engineer if there is no crew member available. A line check is done prior to a soundcheck, but in some situations (e.g. at festivals or where there are several bands on the same bill) it may take the place of a soundcheck to save time. In that instance the engineer will work to create a good mix or balance of the sound during the opening number of the band’s set. Load in See Get In Load out The process of taking all production out of the venue following the show.
m Merchandise (or swag) CDs, T shirts, jackets, signed posters, baseball hats, mugs, underwear‌ everything on sale to the public endorsed by the band. Merchandise is a complicated world, but for many bands the sale of T shirts and CDs can supplement income a great deal on the road. Rules about what you can sell vary from venue to venue. In commercial venues, a band will generally have to make some payment to the venue management as a percentage of sales, and that will almost certainly apply at festivals. Always check before setting out the stall.
Mic list (or channel list) This is a list the band will make available to the PA company, promoter or sound engineers before the show showing all the mics and instrument DIs the band needs. It can specify a preference for particular mics (for singers especially) or refer more generally to items such as drum overheads. For drums it may be sufficient to state the size of drum kit rather than list each mic as it might be assumed the PA company will have all the mics necessary for the job. Mix In many respects a mix can be thought of as the sum of the parts – that is, the overall band sound as the audience hears it. Getting a good mix is a highly specialist skill and can be influenced by many factors including the size and shape of the venue, the quality of the PA system and quite simply what the band does on stage. A mix may also sound quite different in various parts of the theatre but a good engineer will always take that into account in achieving a good balance. Mixer amp Combined desk and power amp in one unit, generally small and compact for use in small venues. Mix position The position in the venue from which the sound engineer mixes the front of house sound, and where the desk is positioned. In large venues this will be at a point between the centre of the auditorium and the back wall; in smaller venues the mix position is more likely to be at the back of the room. In theatres this will often entail the loss of several seats to accommodate the desk and racks, and a lighting desk may also be located either behind or to the side of the mix position. In standing venues, the mix position will ideally be on a raised platform and protected by barriers. As an audience member, unless you want to get really up-close to your favourite band, about ten feet in front of the mix position is the best sound in the house. Monitors (or wedges) Monitors are the wedge shaped boxes you see at the front of the stage facing the band (though they are also positioned elsewhere on stage for keyboard players, drummers, backing singers etc.). In days gone by, monitors were sometimes called “foldback”. The idea is that a mixture of a band’s instruments and vocals can be fed back to each performer such that they can hear what they are doing – and what everyone else is playing. As the front of house speakers point away from the band, a monitor is the only way a singer or player can be heard on stage. Even though guitar players have their own amps, the drummer will want to hear the guitarist in a monitor and vice versa. Singers will not only want to hear their own voice but a mixture of other instruments for reference, and this is controlled by a monitor mix. A monitor mix can be controlled from a dedicated monitor desk at the side of the stage or from the front of house. On larger systems various combinations of sounds can be fed to each monitor or group of
monitors depending on what the singer or musician needs. The number of permutations is described as, for example, a “four way monitor mix” where there are four different permutations. On small systems there may be only one or two. The more mixes are available the better it gets, as the lead singer may only need a small amount of guitar in his or her monitor while the drummer may want lots of guitar and very little vocal. It goes without saying that setting up a lot of monitor mixes takes time and there are some situations, especially for new or support acts, where there will be limits. Monitor desk A mixing desk with the sole purpose of controlling the on stage monitors, usually located at the side of the stage. Monitor engineer A sound engineer with the specific job of controlling the on stage monitor mix. Monitor mix A mix of the band set up purely for the on stage monitors. Any changes to a monitor mix do not affect what the audience hears in the auditorium. Multicore (or snake) This is the long cable that carries the signal from all the mics and instruments on stage to the mix position in the auditorium. It is in fact a number of cables bundled together with numerous connections at each end, and will be positioned as out of the way of the audience as possible (along one side of the venue or high up along one wall for example).
o One Two You’ll have heard crew or sound engineers (and possibly relatives at weddings) say this into microphones. The story is that these words produce a broad spectrum of frequencies when spoken (the “one” a bass tone and the “two” a high frequency or treble range). This enables the engineer to identify any frequencies that may cause feedback at volume. There may be other explanations and most professionals develop their own mantra to do the same job. In any event, don’t ever shout “three four” from the back of the hall as this will not make you cool. Overheads The mics positioned directly above the drum kit, usually two, that pick up the cymbals and overall ambient sound of the kit.
p PA (system) Short for public address, this is basically the entire sound system including speakers, desks, monitors, mics and so on. p.a. (public appearance) (see also in store) Just that, a public appearance that isn’t quite a full gig. This could include a multitude of things from an album signing to doing a couple of songs in a shopping mall. Passive Something that does not require power to run, i.e. a monitor, or a pick up system on a guitar. The opposite is active. PDs (or Subs) PD stands for per diem, and is an amount of money paid to an individual for subsistence (food and drink) whilst on tour. PDs are usually paid out of the tour budget, in cash, by the tour manager (although some artists will agree a lump sum by cheque at the beginning of a tour). Bands will sometimes receive PDs from an event organiser, at an industry showcase festival for example. Band members can spend PDs on anything they like though most realise in the end that you can’t tour for long on a diet of crisps and chocolate bars. PDs are not the responsibility of the promoter or venue, and are additional to any catering arrangements set out in the promoter’s contract. PDs are particularly useful in local currency for bands when travelling overseas. Phantom (power) Some mics and DI boxes need a low voltage power supply to operate. This can sometimes be supplied by a battery but more often in the form of phantom power, a 48v current generated by the desk and fed back to the mic or DI box via its cable. Pick up A pick up is what amplifies a stringed instrument, generally found beneath the strings of an electric guitar or bass, or somewhere inside the body of an acoustic guitar. Pick ups can also be fitted to a number of different acoustic instruments such as brass and woodwind, pipes and harps, sometimes referred to as contact mics or bugs. Power amp An amplifier designed specifically to drive a set of PA speakers and not a specific instrument.
Powered speakers These are PA speakers that have an in-built amplifier and therefore don’t require a power amp to run. They are most common in small portable systems. Production A good way of thinking of production is everything in the gig that wasn’t there in the morning – in other words, what’s been brought in to make the show happen. This can include sound, lighting, catering, staging and anything else specific to the show. Production office A room or temporary space in the venue allocated to the admin of running the show. The tour manager will be the person most likely to use the production office and should be regarded as a private space for running the business of the day. It is also a central point where band and crew can go for information if needs be. Promoter This is the person whose job it is once an act is booked, to advertise the show and go about getting the tickets sold. This can be an individual, a company or a venue – and some of the work, such as advertising, can be delegated to specialists – but in general the success of a gig is their responsibility. It will usually be the promoter’s role to pay the band or tour manager, organise the rider and sometimes book local accommodation if required.
r Racks Portable units, usually in flight cases, which contain effects processors, equalisers, power amps and so on. They are generally part of the PA system and will be located either at the mix position or off stage depending on their specific function. Rack tom The tom drum of the drum kit that is mounted off the ground, either on a stand or on top of the bass drum. If there is more than one, they will be referred to as rack 1, rack 2 and so on Radio mic A microphone that is connected to the PA via a small transmitter rather than a cable. The advantage of a radio mic is it can be hand held at any position on stage. The transmitter is usually located to the side of the stage and connected to the PA via the multicore or snake in the usual way.
Radio tour A promotional tour of radio stations possibly including interviews and live sessions. Ride The ride cymbal of the drum kit. Rider Riders are items additional to the legal obligations within a contract, but 99 times out of 100 the rider refers to snacks and drinks backstage (though it can include towels, DVDs, games, pretty much anything). Very new or unsigned bands generally don’t get riders, but more established acts will have their riders attached to the contract well in advance of the show. It is the promoter’s responsibility to supply the items on the rider and provide alternatives to any items that can’t be sourced. Most riders are reasonable but a promoter should discuss any excesses or unreasonable requests with the artist management before accepting the terms of the contract. If as a band you have the opportunity to ask for a rider, bear in mind it’s not an excuse for a party and it’s only for you – not for your friends and guests. Rig Another word for system, generally PA (e.g. 5k rig), lighting or specific amplification set- ups for certain instruments (e.g. bass rig). Rigger Crew member responsible for fixing lights or other items of production to trusses or fixed points around the venue and stage.
s Set All the songs, in the correct running order, the band plays in the show including encores. Set list The written running order of the band’s set. All band members will have a copy of this on stage, as will members of sound and lighting crew. Very often the set list will be hastily written in marker pen on the day of the show, or printed off from a laptop where facilities allow in the venue. The set list can change for many reasons during a tour and is therefore seldom reproduced in large quantities. A set list should be written in large black lettering (or bold caps in Word) and in most cases no bigger than A4. Colours should be avoided as they will be unreadable under certain lights, and the list clear enough to read when placed on the floor or several feet away.
Showcase A gig with the main purpose of promoting the band to music industry professionals (managers, promoters, record labels and so on). A showcase can either be by invitation or open to the public, or both, and will often feature a shorter set than a regular gig, possibly 45 minutes to an hour. Some industry events run a series of showcases with perhaps 5 or 6 bands performing a 30 minute set in one evening, often in various venues at the one time. Show time The time the act goes on stage. Side fills Monitors placed at each side of the stage, facing inwards to the band to reinforce the onstage sound in larger venues. The side fills will typically be raised to roughly head height and contain an overall band mix. Snake See multicore Snare The snare drum of a drum kit. Sound check The sound check is a big subject so we have produced two special sound check tips sheets which you can view at http://www.hiarts.co.uk/music-tip-sheets.html The basic idea of a sound check is to test the PA before the audience arrives and get everything to the satisfaction of band and crew. That sounds simple, and is as long as certain rules and guidelines are observed. Bands should bear in mind a sound check isn’t a rehearsal and certainly not the time to try out the improvised odyssey that will never be in the set. Promoters, guests and venue staff should also give band and crew their space and remember it’s not a free preview. Spark Electrician. Spec (or technical spec) This is roughly the same as the mic list or channel list and is a document that tells the promoter and/or sound engineer what technical requirements are needed for the band to perform. The spec will include number of mics (and what they are for), number of DIs, number of monitor mixes required, plus any additional backline items such as a keyboard, bass rig and so on. The spec should be e mailed or faxed to the promoter or event organiser well in advance of the show day and is best created as a jpeg or PDF document that can easily be printed off. The spec should also show the name of the band, the name of each member and what they do, and a contact number.
Many bands have a downloadable spec on their own web sites which promoters can access easily at any time. Splitter (bus) This is a term used to describe a vehicle that is partitioned or “split” into two sections – spacious seating at the front for the band, and storage towards the back for luggage, instruments and some items of backline. Stage box A number of mic connections in one unit that connects all the mics and DIs to the PA via a multicore. Stage manager Crew member or venue staff responsible for what happens on the stage in the lead up to and after the show (and side stage during the show). A stage manager is generally only required at large gigs or where there are a number of acts on the same bill (at an industry showcase event, for example). Stage plan A diagram showing the layout of the band on stage, where the drum kit is positioned, where the various amps are positioned, where the vocal mics are and so on. A stage plan is developed by the band and sent to the promoter in advance of the gig. On a tour where the same PA company is doing all the shows, the tour manager will send the stage plan to the PA company in advance of the first night. Copies of the stage plan should also be given to all techs, backline crew and lighting technicians. For convenience, many bands have a stage plan on their web site as a downloadable PDF or jpg. Subs (see also bins) These are speaker cabinets within the PA system specifically designed to carry the very low frequencies of the overall sound. It is the subs that produce the presence and definition of kick drums, toms and bass instruments. Support The act that plays before the headline or main act. A typical support slot will be roughly 40 minutes, with an interval of 20 minutes or so between that and the headline. Supports can be named on posters and publicity (when doing a whole tour for example), but are often referred to as “special guests” - in many cases a support act will be a local band and perhaps not confirmed until a few days before the gig. On many gigs, there may be two or even three supports, perhaps doing a 25 minute set each – in that situation they would be likely to share backline and unlikely to have a complete soundcheck. In the general scheme of things, a support will soundcheck after the main act (as they will be first on stage) but the main act will take priority and so time may be limited. This is one reason why
many headline bands will favour a support that has a very straightforward set- up, avoiding complicated soundchecks and changeovers. Swag See merchandise
t Talkback The means by which the front of house engineer communicates with band and crew on stage from the mix position. The most common application is during the sound check where the front of house engineer speaks through a mic routed to the monitors. During the show, the front of house engineer may communicate with other crew via headphones. Tech (guitar tech, drum tech, keyboard tech) A crew member with specific responsibility for one instrument or group of instruments (a guitar tech may work with more than one guitarist in a band, for example). The duties of a tech will include setting up and tuning, testing all amps, pedals and jacks, replacing worn drum heads or changing guitar strings and maintaining a stock of these items when on tour. A tech will continue to work through the duration of the show to help with changing over instruments between songs, maintaining tuning from a position side stage, replacing broken strings and helping solve any technical problems. Techs are very often musicians themselves and can line check instruments in advance of the full soundcheck as long as the band is happy for them to do it. It is important for each band member to have a good working relationship with his or her tech as very often quick decisions have to be made in problem solving during a show. On a tour, techs may be responsible for packing up and loading instruments and amps after the show - though it must be agreed at the start of a tour what the duties of a tech will be so that nothing is taken for granted. Technical spec See spec Tops Tops are speaker cabinets in the PA system that carry the high and mid range frequencies. On a small portable system, they may be sufficient to cover the whole frequency range but do not produce a defined bass response. Tour manager As the title suggests this is person who looks after the day to day running of a tour. The tour manager will travel with the band, but arrive at each venue ahead of the band to make sure everything is in place for the show, and will liaise with the promoter, venue manager and staff in all matters relating to the gig. The role of a tour manager can also extend to hotel check-ins,
booking cars, sorting out discrepancies in fee payments, co-ordinating interviews and compiling the guest list. It’s the tour manager’s responsibility to make sure everyone knows where they’re going and when they have to be there, and he or she will often have to solve problems quickly and make on the spot decisions. Any disagreements between the artist and the venue should always be referred to the tour manager. The tour manager’s role is different to that of a band’s manager, who looks after the band’s overall career from touring to recording, and he or she may work freelance over a number of tours with different acts. Tour support A financial contribution by the record company or other sponsor to underwrite the costs of a tour. Trucking The cost of transporting production equipment.
v Vocal PA This is simply a term used to describe a small portable PA system designed to do little else but amplify vocals. That doesn’t mean you couldn’t put an acoustic guitar through it, but you wouldn’t use it with drums because the speakers aren’t designed to handle such a wide spectrum of frequencies.
w Wedges See monitors Warm up This is not to be confused with support. A warm up is a small gig that bands will do before a major tour, generally to iron out any small problems before taking the show on the road. It may also be that a band has spent a long time in rehearsal and simply wants to ease back into live playing before taking on a series of major shows. Tickets for warm ups can be sold to the public but will generally not be heavily publicised and they can be a great opportunity for fans to see their favourite act close up.