Concert Tour Production Management deals with the business of production and sets out guidelines to follow in order to literally get the show on the road. Concert Tour Production Management provides the basic information to manage the production for a touring concert from start to finish in the most effective and efficient way possible. Beginning with an introduction to the touring concert, explaining who's who on the road, the author guides you through a tour setup using a realistic itinerary that visits different types of venues using the production manager's checklists. He also covers the role of the local promoter's production manager and how to manage a crew. The appendices provide some basic electrical formulae, a performance contract, a technical rider, a production checklist to suit most situations, and several forms to help expedite routine tasks.
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Yes, you can access Concert Tour Production Management by John Vasey in PDF and/or ePUB format, as well as other popular books in Media & Performing Arts & Theatre. We have over one million books available in our catalogue for you to explore.
A touring concert usually is conducted to perform and promote a recording artistâs new material and often coincides with the release of a new compact disc (CD). Some artists like to perform whether or not they have a product to sell; they like the adulation of the audience and the satisfaction of their performance. The areas selected for touring depend on the amount of money offered by the promoters. The amount that a promoter offers depends on the popularity of the artist in the region. This popularity is gauged by the artistâs previous accomplishments and current record sales in the region. The agent books the dates with the promoters and often proposes a tour that does not follow any sort of geographic logic. Once a realistic tour is booked and the deals are defined (Figure 1â1), a budget can be set for production. The size and type of venues, the guaranteed fee, and the distance between venues determine the scale of production.
Figure 1â1. Schedule from a recent itinerary.
The volume of equipment depends primarily on budget, followed by the artistic requirements of the artistâs management, and then of the stars themselves. Unlike theatrical productions in which a producer and a director call the shots, a concert tour is run by the tour manager and the production manager under the direction of the performerâs management. Each performer is unique when it comes to touring; they all have their idiosyncrasies.
AGENTS, ARTISTS, AND MANAGERS
A band has a manager or manages itself. The manager makes the business decisions regarding record deals, performance fees, media exposure, and legal matters. The manager employs an agent to book shows. The agent works for a commission and usually strives to book to the highest-bidding promoter. The manager has to make sure that the costs of traveling to the shows and providing production do not swallow up the fee, but often this is the case. The manager works with the production manager to schedule shows and to contain production costs in line with fee revenue.
PROMOTERS
The promoter is the entrepreneur who has a feel for the music business and can see an opportunity to make money selling tickets. The promoter makes an offer to the agent for an artist, and often the agent takes bids from several promoters. Competition among promoters goes a lot farther than the amount of money offered. It comes down to experience, history with the artist, and capability to promote through local radio, television, print media, and street posters. Promoters are selling a moment of time. They have the capability to persuade the ticket-buying public that this is the show it has to see.
TOURING ENTOURAGE
PERFORMERS
The performers are the stars of the show. The performers may include a âstar,â the band, the dancers, and a support act. The performers perform the show, talk to the media, and encourage people to buy their CDs, concert tickets, and merchandising items.
TOUR MANAGER
The tour manager oversees travel arrangements, collects money, pays the bills, and deals with problems as they arise.
PRODUCTION MANAGER
The production manager administers and arranges the technical requirements and staff for the show. These requirements are documented in a contract rider, which is part of the performance contract. The production manager has to have an overview of the entire production to coordinate the touring and local production staff. The very nature of this position requires someone who is unruffled by whatever unexpected situation may arise. A logical mind that can prioritize problems is essential to maintain calm and effective management. The production manager has to be cautious not to exercise too much control and remove the initiative of the production team. The production manager encourages the members of the team to contribute ideas to solve problems and makes it clear that he or she is not there to think for the team. The production manager is the head of all production departments and provides financial and strategic guidance to those departments.
STAGE MANAGER
The stage manager is responsible for allocating the stagehands to the production crew for setup and load out. The stage manager also controls the movement of people and equipment on the stage, which includes cuing venue staff for houselights.
SOUND ENGINEER
The sound engineer operates the front of house (FOH) console, which controls the sound that the audience hears. The sound engineer places the console in an optimum position for the control of the sound system. Often a specific location is reserved for the mixing consoles. This position varies with most venues, but a general position is 90 to 110 feet from the front of the stage.
MONITOR ENGINEER
The monitor engineer operates the monitor console, which controls the sound that the performers hear onstage. The monitor console is positioned at the side of the stage such that gives the engineer a clear line of sight to each performer. The performers rely on the monitor engineer to give each performer the information he or she needs to stay in time and in tune.
SOUND CREW
The sound crew works with the sound engineer and monitor engineer to set up and maintain the sound system under the direction of the sound engineer and monitor engineer.
LIGHTING OPERATOR
The lighting operator operates the control console for the lighting system. The lighting operator may also be the lighting designer, who formulates the overall look of the show and selects type, position, and color of the lighting instruments.
LIGHTING CREW
The lighting crew sets up, focuses, and maintains the lighting system. When moving lights are used, it is common for specific technicians to handle these instruments. The lighting crew may also be called on to operate curtains, follow spots, smoke machines, or chain hoists during the performance.
BACKLINE CREW
The backline crew is responsible for performersâ instruments and equipment, such as guitars, drums, keyboards, and other instruments. The backline crew has the closest relationship with the performers because they maintain their instruments and make the necessary changes during a show.
SET CARPENTERS
The size of the production may call for set carpenters, who are responsible for risers, flooring, set pieces, curtains, scrims, and props. The set carpenters are the jacks of all trades who build the foundation of the performance space.
DRIVERS
Truck drivers start work when the show is loaded and finish when they reach the next venue and unload. The crew bus drivers deliver the crew, while they sleep, safely...
