Concert setup help!

[Hammer v2]

Hey Guys!
I've kinda been thrown into helping a record company here in Laos organise their live rig and concerts and I need some basic organisational info. I'm a studio slut and haven't had a whole lot to do with live sound.
So er....I've figured out that they need (desperately) an inventory of things to bring and do for the setup and packdown of each gig. What's a list like this called and any idea where I could download a demo one?
What do record labels do if the artists don't get to the gig on time (like an hour late...sponsors waiting)? Is it ethical to fine them? They're currently having to start their concerts an hour late due to lack of artists. Gotta fix this!
Also their current rig consists of really shitty amps and I swear that the local "engineers" are deaf...feedback and distortion and noise...They've got it all going on! So I've been thinking that maybe switching from amps to pods or something of the like may be a more simple solution - get rid of some of the feedback and it should sound better than the pieces of shit they are using now, also all the settings are instantly recallable which works well with these guys as their concerts often consist of 4 or five groups all using the same gear.
Anyway I need help here. This is all a bit new to me and some basic advice would be greatly appreciated!!!!
Thanks in advance guys.
H.

[Hammer v2]

anyone?

[Remoteness]

Hello there!

Live sound is very similar to studio stuff when it comes to routing and such.

You can call your list a “Live Sound Equipment Inventory” list.
What did you mean when you said you wanted to download a demo one?
Maybe you are talking about creating an equipment rider and some sort of production contract. Is that it?

If you what to know what gear you need there are many ways you can accomplish this task. Many equipment dealers have packages you can purchase. Look at what they are offering and make your own list from their list. Another way is to look at the various audio magazines that highlight live sound companies -- they usually include their equipment and crew positions. ProSoundNews; FOH and others list this kind of stuff.

Unless the record label also handles the live production duties, they can do nothing about that kind of stuff unless they have something in their contract with the artist that fines them if they are late. It’s up to good Tour; Road and Production Managers to make sure everyone involved is on time and ready to rock!

Hey, I know good engineers that can make anything sound good. It’s about your ears and not always about the gear.

What did you mean when you said, “So I've been thinking that maybe switching from amps to pods…”

I hope this helped.

[matt thomas]

A list of stuff the artist requires is a "technical rider'

If the artists are happy with the sound of their amps you make them sound that way out front. Otherwise talk to the artists about their sound.

Usually if an artist is late they don't get to play at all. some artists may have enough clout to get away with it though. This is up to the event organiser.

Contact a live sound company (PA hire company) they should have rigs and people to set them up.

narco

[Hammer v2]

Aw thanks guys for your replies! I guess i wasn't clear enough inmy original post...Laos is a bit different from the rest of the world....
The record label is the production company as well. The show is comprised of about 3 or 4 different bands. whoplay over about 2 hours. All the bands generally suck as do the live sound engineers. The PA is pushed to the hilt and is usually distorted badly! Feedback is, funnilly enough ahuge problem...as is the copious amounts of reverb used! This aint the western world.....I'm here (from australia)for 1 year trying to sort a few things out for the local industry here....I won't be able to move mountains...but I at least want to make it all a bit easier in the future for whoever is doing the sound. That's why I was thinking going down the POD path for the guitars.....my studio experience tells me that they'll probably sound better than the POS amps they're using now and they should make the whole thing a bit easier to mix as there will be less spill, less mics and the tones can be saved and changed ready for the next band. I heard that garbage was running their show in a simillar fashion. Thebandsdon't care what amps they use...cause, well most of them don't ownamps in thefirst place...no one has muchmoney here.
As for the technical inventory.....One guy from the label is currently setting up the show. He's doing a pretty good job....but he keeps losing leads, DI's....the usuall shit. Also no-one is there to replace him should he get sick. It is clear that they need a list of all their equipment, howto plug it in, diagrams etc......so that they stop losing stuff (orat least minimize it) and have a system inplace so that someone can take this guy's place should he fall ill. I'm guessing that this is the "livesoundinventory" list remoteness mentioned. How do you guys do it? Do you have a list...a system a written manual?
I'm gonna write this thing ioverthe next few weeks with these guys but I'll just be winging it....ifanyone hasany tips....I'dGREATLY appreciate it!!
H.

(PS sorryaboutthedodgyspacing...internetcafekeyboardfuked)

[Jim vanBergen]

to advance any show, you need to provide the following:
-a stage plot : this shows the stage configuration a band requires, such as who stands/sits where, where you need a drum/keyboard/horn riser, ie 2' tall 8'x8' drum riser with drum rug, A/C power drops, monitor wedges and mixes, sidefills, mic , DI, and mic stand positions.

-an input list, how the console lays out, with each instrument/input name, if it is used at the FOH/Monitor console, (ie, most drum OHs do not land in the monitor console), every mic required, any inserts. For example: input #1: Kick drum, mic: Beta 52 or Audix D6 or AKG D112, Stand: Atlads DS-7 w/ boom or short AKG tripod w/boom; insert: gate or comp/gate; Monitor: YES

Daily schedule: you have to advance the show with the venue, and you need to tell them how much time is required. For example: Techs arrive 8am for setup with local crew, production manager arrives to setup prod office around 10am. Lunch 12-1. Monitor system & FOH PA Eq's /wrung out before noon. Band arrives Noon. Soundcheck 3pm-5pm, Doors 7pm, Show start 8pm, show complete 10om, strike complete midnight.

Technical Rider: this specifies EVERYTHING and includes the above information. You have to track down tech riders online and start reading them. The include the type of gear, stage, food, number of local labor, etc etc etc.

I'm going to try and attach a rider that was on my desktop from Donna Summer. It has everything but the stage plot...

Hope this helps!

[Hammer v2]

Hope this Helps???!!! Jezus Jim.....That info is absolute GOLD!!! THANKYOU!!!!! You just made an entire country sound a little better.... Thank you!!!!
H.

[Remoteness]

It's nice to see Tom Heinisch's name on that rider...
He's been working with Donna Summer for quite awhile now.