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I know it is already almost a month into the new year, but with our unpredictable work schedules we post and chat topics when we can.......December 13th 2014 this industry lost a great man. Keith Hughes. Touring with steel stage structures for over 30 years Keith has toured with U2, Toby Keith, and countless others. He was a friend, mentor, and family. Many may know him as the Bald Brit Bastard he was, but he knew what he was doing everyday he walked on site. His last employment was with UpStage Center out of Houston, TX working with the same steel he toured with for more than half his life. If you knew Keith and have any fond (or not so fond) memories please feel free to comment. He has meant so much to so many for so many different reasons. Also, if you have someone to remember that we have lost this year, please comment and honor their lives as they have made the trip to "The Great Gig in the Sky".Continue
Started by Kyle Simkins in General Discussion Forum Jan 26.
Once again I am the operator in a Breakout room. So in between sessions I am pondering what titles I should put in a corporate playlist. Any suggestions would be helpful.Imagine me a Corporate DJ :OContinue
Hey there, PC with 5+ years of road experience looking for a little advice. I've been with the same band for my entire road career - and they've been great. But the calendar going forward is empty for over 2 months for the first time in a long time. I'm looking to get maybe on a short tour or fill my calendar up with production related work that won't replace or compete with my band once they get back into their spring/summer swing. Suggestions from other PA's or PC's on what they do in the off months would be much appreciated! Thanks! Continue
I like to use shadow/darkness in my light design if allowed or possible. So i was wondering how others use darkness as a part of light design. I don't believe it should always be without shadows(except when doing camera lighting or similar). With this said i am curious how much you guys use shadow/darkness on stage. Is it depending on genre and style of music or on artists request or something totally different?Continue
Out of curiosity, what prompted you to carve out a career on the road? Was it the irrisistable prospects of easy money and fast, easy women? Or was it the promise of all the sex, drugs and rock 'n' roll you'd heard so much about? Maybe you was lured in by the "glamorous lifestyle". Or are you one of the proverbial "failed rock stars"?Personally, my main aim was to piss off the detractors and haters that I grew up with. The people who disliked my refusal to take life as seriously as they did, so ultimately disliked me. I lost count of the times I was told, "Give it up, loser. You ain't ever gonna get anywhere. Get a PROPER job..!"I come from what's known as a "New Town", just outside of London. Back then, kids left school at 16, got a job in a factory or on a building site and bought a second hand Ford Capri. This was closely followed by marriage, a mortgage, 2 point 4 children and the Capri being traded in for a family saloon. Even though I have no musical ability, I was determined to find something I could excel at. By chance, I was offered a job at NEMS Enterprises in the Black Sabbath office. It was 1974 and "Sabbath Bloody Sabbath" had just been released. The guy conducting the interviews was an extremely camp executive accountant and, in those days, I was slim and attractive with long blond hair. He offered me the job on the spot. (Don't get me wrong...he never made any kind of advances toward me). I spent the next few years working for various record companies, but could never really get on with "record company people". (You KNOW what I mean, right?)In 1978 I was owed a favour, so Wayne County and the Electric Chairs took me on their UK tour. I'd found where I wanted to be.My big touring break didn't come until 1982 with Yazoo. For the next 30 years, I never looked back. I toured worldwide with a variety of bands and found a very satisfying way of pissing all those haters off. Whenever I was in New York or Los Angeles or Sydney or Tokyo, they would get a…Continue
Hello there,I've been wanting to get into a career in music as a sound tech and FOH, but I was wondering which path is better to take? Education/qualifications or experience?Thanks,CallumContinue
Hey, so I'm currently in school getting connections and working away trying to learn all the practical skills I need. But when I graduate next year I know there are several paths to walk. I wonder what the thoughts are in the professional world about these three paths for someone who enjoys being a stage hand but is very driven by lighting. I know there are several varying differences in each field. So I suppose in short I wonder about balance between and how to do that or what may be the best way to go about it, or if I should try and thrive in one passion as apposed to spreading too thin. Thoughts?
I have interned in television and have helped with special concerts but I would love to start try working as a PA for a tour. Only problem is I have no idea how to go about getting there?Anyone have any advice for me?Continue
It's that time of year again and 2014 is coming to a close. Roadiejobs wants to know…... What were your highlights of the year? Please reply to this discussion and let us know. You can also upload photos/videos to your reply. Looking forward to hearing your best event production stories from 2014….-RJContinue
I'm new to FOH. Learning on the job with a local sound company who runs everything from small arena shows (Judas Priest, BOC) to a variety of casino and club installs.I've been "given" a small rock club after successfully doing a few summer festivals and casino dance bands. Now I learn that not every musician wants to be professional, and why my boss hates metal bands!This weekend we had two stoner/doom band showcases with 8 acts and 2 semi national touring acts.The tour acts were great.The local metal and punks, not so much. With up to 4 stacks of guitar cabs and the idea that "cranking it up to 11 = a great sound". I could go on, but believe ultimately that my job is to create the best sound for the venue I'm in. So. Two questions. The first is more important and probably relevant.1) When mixing say, 2 locals and 1 semi national. What is your gain structure? i.e. 70% for openers/ 90% headliner? Is this a thing? 2) How do you effectively speak with young metal/punk bands about stage volume down before pulling your mics and/or shutting them down.I'm sure this is all basic, but I'm new, and never liked the techs who threw their hands in the air/cut the power/or threw you out... =DContinue