A warning to hire companies

Had an interesting experience recently. I was working at a venue where the client had decided to hire a PA from a hire company. nothing wrong with that I thought, less pressure on me, I would only have to deal with the lighting and not worry about doing the audio as well. So I arrived and the PA company folks were setting up a simple PA, a couple of Top boxes and a Sub. This system was not as powerful as the venues, but it was what the client wanted. The PA company also supplied the drums and bass and guitar amps. The two of them worked away at setting up the equipment so I worked on the lighting. The first inkling that I had that something was wrong was when I heard one of them on the phone asking someone where the rest of the equipment was. I did not think much about this assuming that maybe a couple of cables were missing or something. A little while later I realised that it was more than cables they were missing and the start time for the event was rapidly approaching. A second van arrived and out of it came more equipment and a third person to help. I asked the client what time the show started and they replied 1pm, I then looked at my watch 12.50. It was obvious that the show would not start on time. In fact the show started an hour late as the PA company had a few more problems after they set up their PA. A DI packed up, then they could not get sound out of the keyboard, turned out to be a problem with the multicore. One of the SM 58’s sounded really thin just lick a Chinese copy brought off of EBAY. So the first show was an hour late and the mixed showed it. There had been no real sound check and the operator was not following very well what was happening on the stage. So mics were left open when taken off stage or put on the floor in front of the foldback wedge. The Radio mic also went very strange even with a new battery. Their first show finished around the time the second show was meant to start. Luckily they decided to do a proper sound check for the second event. Even though this event started 2 hours late it at least sounded better than the first one. all I can say is that hire companies need to make sure that their paperwork reflects the correct equipment that is required. It is not a good sign when major items are not delivered, things cxould have been even worse if the gear was a drop off only not a set up and operate. In my eyes the reputation of this company has gone down. I can understand the odd cable at times missing, but when it is a major part of the PA and it delays the start of thwe show that is unforgivable.

News 18th Feb 2009

ETC enters the LED market

ETC has just purchased the company Selador. This company is known for its innovative LED devices. This is going to be an excitingtime for ETC. LEDS are making thier way into the entertainment industry and now with one the major players invovled we will see them make further inroads.

Inauguration Of President Barack Obama

For of you that watched the inauguration of the newly elected US President, you may have wondered what the line array was that was used for this momentous event. Well Baltimore-based audio systems provider Maryland Sound supplied  JBL VerTec ® line arrays as the main PA system for the inauguration of President Barack Obama on January 20. There was an estimated crowd of 1.5 million people. Sound designer and Front of House Pat Baltzell of Baltzell Audio Design, configured an audio system that was based  on the high output and easy setup of JBL VerTec VT4889 large-format line array elements. There was a total of fifteen towers with with between 4 and 14 VT 4889 line array elements. all of this was powered by Crown I-Tech amplifiers. The set up consisted of two main towers and the other 13 towers were used as delays. The VIP area recieved audio from the main towers plus also some supplementary speakers such as JBL VP7315DP powered loudspeakers, VRX932 portable line array loudspeakers and Control 25AV pole-mounted speakers.

The Front of House Engineer Pat Baltzell was extremely pleased with the results and commented that the JBL VerTec line array was the ideal choice for this kind of event and the size of the audience.

Festivals and safety

This story has a universal theme. Most places have a festival or 2, many of them based around multiple venues. Now organising a Festival is a fairly daunting task. But I sometimes wonder how much effort is put into making sure that all venues are up to scratch in regards to occupational health and safety. Does the festival’s governing body go around and check each venue. Or are the going to reply on the venue to make sure that they comply to the regs. Or do the performing company that is hiring the venue need to make sure that the place is safe. This is a very grey area. Each and every party has a duty of care and they all need to be looking at the risk factors together in a concerted effort. At least this is what I hope. I know in the venues that I work , each client needs to complete a risk assessment of their production and we also maintain our venues in a top notch condition. But I wonder if other venues around the world do the same.  I know of a few venues here that need a bit of a spruce up in regards to Occupational Health and Safety matters. I hope that the governing bodies concerned at least remind venues of their duty of care to the producing companies and the audiences that attend these events. We all need to work together to make that these events happen with the minimum of risk to everybody concerned. I know if I visit a venue that is not up to code I am likely to report it first to the management and then if there is no resolution then I will go to the appropriate authorities . In this era of litigation we all need to be vigilant.

Mixing Audio

Mixing audio can be a fun and satisfying task. But it is also dependent on the band you are working with. You are going to come across a range of bands and skill levels. You will find people that are extremely easy to work with. Some people can articulate what they want very well. You will find that some old troupers that are in their 60’s that are extremely easy to get along with. They have been in venues that are absolute dives up to very palatial venues. They also have worked with people with no technical skills to top flight technicians. So they knew how to ask and gently cajole a reasonable sound for the audience. And they are not so demanding in their requirements for foldback, as in the early days they did not have foldback. So any foldback that you give them makes them very grateful. Some of these artists include Toni Lamond and Barry Crocker.  Also some bands that tour without thier own sound systems also can be really easy to get along with, one that springs to mind is the “Sensitive New Age Cowpersons” and the SA Police Band. These guys have their internal balance nicely set up so all you have to do is mic the relevant instruments and it is easy to get a nice balance happening. Some of the harder bands to work with can be high school aged bands and bands starting to make it in the industry. They see the way top bands act and have been to see shows where they sound is stunning. They now expect this in the venue that they are playing but they do not have a real understanding of the processes needed to put on these mega shows. so they are expecting extreme volume in foldfback and FOH, but not realising that you need to have a truck load of equipment to achieve this. They don’t understand that the equipment that you have at the venue is not designed to do this, and they need to modify their needs slightly to make it work better. Just the simple fact of them turning down their amps on stage can make a big difference. Also with some of the bands that are starting up they are already trying to act like stars and with the techs at the various venues this does not go down well. As these techs have seen it all.

So as you can see that doing audio as a venue tech can be an interesting job.

What’s New 11th Feb 08

High End to discontinue Studio Beam and Cyberlight

These fittings have been used and loved by many technicians over the last 10 years. But the parent company Barco/High End Systems are moving in new directions such as digital projection. Items such as the DL3 digital projection moving head. We look forward to new and exciting equipment from this company in future years.

ILED StageWash 54

This is a LED powered moving wash fitting that is new from ILED. It uses 54 Luxeon K2 LEDS in red, green, blue and white. This unit has standard moving wash type functions like strobe, electronic dimming. This unit is controlled via DMX or it can operate in a stand alone configuration. Estmated price is about $4400 and is available from www.ulagroup.com

EAW KF730 Line Array

Adelaide’s Australian Audio & Lighting Technology has added an EAW KF730 Line array plus SB730 subs  to their extensive hire department. This system has become very popular around Adelaide. It was used with a resounding success at SALT Church Carol’s Night at Gawler. The sound was crisp and clean. No-one in the crowd missed out on quality sound. All 5000 people could hear Paulini’s crystal clear vocals. For more information call Peter at Australian Audio & Lighting Technology on ( 08 ) 8373 4222 or via the web at www.aalt.com.au

Testing and Tagging

Most venues have the policy that any electrical equipment that comes into the venue must have a current test tag. But how many clients actually know this and how many venues enforce this. And the clients that know this often assume that all that needs to be tested is any electrical equipment that is used for the performance on stage. They forget about hairdryers and fans that disappear into the dressing rooms.  And if you are doing a musical often the musical instruments are not tagged, unless it is a school. I think we need to make sure that clients know what needs to be tested and tagged.  A simple leaflet listing the items that they need to consider. From Amps to hairdryers to urns need to be included. Also maybe venues could offer this service as part of the education process. Your thoughts on this would be much appreciated.

Headset Etiquette

This might seem a silly topic but it is amazing some of the stuf that is said over the comms system. and some of it is inappropriate. You need to lay down ground rules for what is said and not said on the headsets. You need to establish ground rules. Talking inanely over the comms system could in fact stuff up a cue. I have heard stuff on the headsets that would have upset cast,crew etc. Basicly what is said over the headsets should be something that you are willing to share with the rest of the cast and crew. It it cannot not be shared it should not be said.

Below is a basic list of Headset etiquette borrowed from Control Booth.

1. Keep your mic off unless speaking.
2. Do not cough, sneeze, yawn, etc  with the mic open.
3. Never discuss anything on headset you wouldn’t discuss in person center stage in front of the audience.
4. ONE person, usually the SM for a play, RULES the headset. Follow his/her lead. Once a “standby” for a cue is given, ALL conversation stops, unless persons or equipment is in eminent bodily harm.
5. Do not move or take off your headset with the mic on.
6. Warn everyone on the channel before plugging or unplugging the headset or beltpack.
7. The volume knob on your beltpack only affects the level you hear. If someone is too loud or too soft, ask them nicely to re-orient their microphone to match everyone else.
8. If using a multi-channel system, be certain you know how to use it properly, so as not to call spot cues to the flymen, for example.
9. Keep the chatter to an absolute minimum.
10. Make the testing of your station a part of your pre-show checklist.

Maintenance Tips #4

Cleaning lights might be a simple job but there are a few things to look for while you are doing this task. Usually I combine this task with testing and tagging. Therefore when you return the light to the rig it is safe and in the best condition possible. So let me give you a few tips for each type of light.

Profiles
Check and clean all exterior airflow holes, it is amazing how many insects you will find in them.

Check the operation of the stirrup locking mechanism – on the Patt 23 the bolt from the stirrup into the body can loosen and the best way to fix this is to remove in interval lamp reflector and use a spanner to tighten the internal nuts on both sides of the body.

With zoom profiles make sure that both lens are cleaned both sides and they both move freely, and that the lenses are not cracked.

Check that all of the electrical connectors are in good condition.

Make sure that all earth’s are connected.

Some brands also have a microswitch that turns of the power to the lamp when you open the lamp cover to replace the lamp.

Check that all of the shutters move freely.

Check the power cable for damage.

Patt 23 showing stirrup

Fresnel

Again check and clean all exterior airflow holes.

Check all of the mechanical functions.

Check all wiring, external and internal.

Clean both sides of the lens.

clean the reflector.

Fresnel

Floods/ cyc units

Basic a simple light to clean.

Clean body and air holes.

Check the mechanical components for wear and tear.

Clean the reflector.

Also check all the wiring inside and outside.

Prolite cyc units

The Client Arrives

You are the venue technician and a new client is in the venue. When you first meet them you are going to be wondering if their technical skills are up to scratch. You also wonder how they are in the area of safety. It is often difficult to gauge the skills of the client when they are in the venue. It is usually not a problem with proffesional companies. The ones that can worry are schools, dance schools,amateur theatre companies etc. They may say to you that they have done it many times but have they done it right those times. There are I am sure some venues that do not check up on the work of these volunteer type crews. You wonder what sort of training, if any, that they have had. You also get the classic “we always do it that way”, which can be very scary when you know it contravenes several safety regulations. So how do you deal with these people. One way to deal with them is to call for a meeting at the start of their bump in and set up and talk through what is going to happen and who is going to do what. It is at this time that you also explain the venue rules and induct them. By inducting I mean explain the safety procedures, evacuation procedures, have they are to behave etc. You should also ask them what skills they have in the tasks they are about to perform. It is here that you can express concern about their lack of skills if that becomes apparent. Some crews will have a good range of skills and these are the ones that you want on side. You should also give their sets and props etc a look to make sure that they also comply with the venue’s safety policies. Now doing all of this might make you seem like an ogre but you are also looking after their interests as well. If you feel some of their crew are not competent in the roles that have been assigned you do need to make it known, not necessarily to the whole group but to the Stage Manager or Technical representative. Once the meeting is over everybody should know what their task are and also everybody has met each other. This should make people more comfortable.
My major concern is sometimes the skill of the Stage Manager of the group. Some of them are really good, but I have worked with some who don’t know how to call cues, who don’t seemed focussed on the task and are more interested in watching their child perform, or who also have a role on stage. Having a SM that also performs can be scary and it is when they are on stage that things start to go wrong or there are multiple cues and you have seen the show once. But the worse is to have a show with no SM, or a show when someone is picked to be in communication with the tech and they disappear after the show starts. I no longer allow that to happen. All groups using your venue should be made aware that their needs to be at least a competent person as a Stage Manager. You should also remind them also that it would improve their show if they also had skilled persons doing audio, followspots, or other task. But I have also heard from clients saying how they have been left to their own devices by the venue tech. And if there has been a problem they have not been able to find the venue tech.