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Over
the past few years, Music Connection has noticed
that the most popular acts and event planners
are incorporating high production values into
their shows.
It gives the audience a more complete experience
often an unforgettable one. As such, staging,
lighting and FX (special effects) are aspects
of a live performance that should not be overlooked.
And, with rental and cartage companies supplying
the necessary hardware, MC has found that anyone
with a budget can make their shows unique.
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MAKE YOUR SHOW SPECIAL
Spectacle has always been a factor in the most memorable concerts.
Fans will forever remember Jerry Lee Lewis setting his piano
on fire, Pink Floyd’s laser light shows, U2’s extravagant productions
and, of course, the pyrotechnics of KISS and Mötley Crüe’s
blazing drummer. Today, even the more subdued acts use lighting
and staging for dramatic effect. Indeed, dazzling lights, booming
sounds and awesome special effects have become part of the live
experience.
It has gotten to the point where even unsigned acts on the
club circuit have started to beef up their shows with a production
worthy of arenas and raves. The reasoning is simple –– competition
is so fierce that acts are looking for something that will set
them apart and get them noticed. There are so many good artists,
especially in Los Angeles, that extra effort is required in
order to stand out. In fact, most of the top drawing acts have
some form of production in their sets.
Sometimes it’s as simple as a hard drive with backing tracks
that boost the live sound. Other times it’s additional lighting
that will give just the right aura to the band. And once and
a while you'll see FX-related accents like strobe lights, telekinetic
props, and confetti cannons.
One L.A. act, The Mutaytor, make a living using those sort
of effects. A veritable army of alpha freaks that formed at
the Burning Man Festival, the group throw down a techno/retro
post-modern circus that includes a team of percussionists, aerial
stunts, light shows, multi-media video displays, pyrotechnics
and confetti cannons. Though the Mutaytor's production may be
more than most artists need, they've been very successful at
fashioning a living out of their highly produced shows.
Employing a revolving ensemble of players, the Mutaytor average
over 100 performances a year for the likes of the Los Angeles
Lakers, Cirque du Soleil, Disney, and Universal Theme Parks,
Video Game conventions, the Billboard DECA Awards, APLA and
the Special Olympics. They've also entertained at corporate
events, casinos, street fairs, underground parties, schools,
film festivals, radio station concerts, trade shows, and the
Coachella Festival.
According to their leader, Matty Nash, "The trend these
days is to offer more in your show. People expect it and want
to be entertained." With The Mutaytor's strong theatrical
component, the production has to meet the level of the performance.
As a result, Nash reports, "We're always renting new equipment
to try out and, if it works well enough, we might even buy it."
In fact, Nash says, "We used a confetti cannon so much
that we ended up owning one."
Of course, not everyone needs to go as far as The Mutaytor.
But adding something special to your show, like the right lights,
sound and effects, can give you an advantage that could not
only enhance your performance, but your career, as well.
YOUR SOUND
It's not surprising that it all starts with your sound. If
your act is not well rehearsed with a presentation that has
a solid sonic quality, it doesn't matter how many special effects
you add to your performance. To start you on the right path,
facilities such as Third Encore offer rehearsal spaces for serious
artists. Third Encore's Wynnsan Moore relates, "We cater
to a lot of touring acts that rent out a room for a month or
two before they hit the road. We offer all the backline, gear
and equipment they might need. And if we don't have it, we can
find someone who does." In fact, Third Encore shares their
compound with a lighting and live production company so you
could outfit your whole tour at one location.
When it comes to processing your sound - whether recorded or
live - companies such as Gary Ladinsky's Design FX Audio carry
state-of-the-art as well as vintage equipment. Ladinsky says,
"We run the gamut from the oldest gear to the newest gear."
Most interesting is that, over the past couple of years, he
has noticed a change in "how" artists like to record.
"Not only are acts doing more live recordings on tour,"
he notes, "but house recordings have become very popular
lately." It seems that quite a few artists - including
many superstars - like the comforts of home better than the
sterile environment of a studio. But, they want "studio
quality" gear to do the job. Consequently, Ladinsky affirms,
"We've set up more home recording systems this year than
we ever have before."
BIG PICTURE
Once you have your sound nailed, you should think about your
show. Just playing your music rarely gets the kind of results
you wish for. If you want to present a show that has impact,
you have to visualize the big picture and imagine what your
audience is seeing.
Lighting and the right staging are considered the most crucial
aspects of a live show. They can add drama and emotion to your
performance, and get the audience into your music. The cool
thing is that lighting technology has improved so much that
you can create almost any effect. David Peace of Litewerks relates,
"The new technology is amazing. Not only can it be programmed
for multiple purposes and effects, but it also uses less energy
and produces less heat."
As the laser operator for KISS and special effects wizard for
Motley Crue, Peace knows from experience. "Things are a
bit more scaled down now," he says, "but the effects
are just as spectacular." In fact, Peace notes, "Since
pyrotechnics have become so regulated, lighting is frequently
used as a substitute for fire. "And it's often more dramatic."
These days, Peace points out, "There are so many different
lighting systems that you can create any look and mood you want."
Production Design
If you're a touring act, a promoter producing an event, or
a performer planning an important showcase, your venue of choice
may not provide all you need. In those cases, a production design
expert is very useful.
Jimbo Neal of JPN Productions handles events for UCLA, the
NBA, Coachella Festival, and Golden Voice, among others. Neal's
company will take it from the ground up and design a production
package that has everything. One of his clients, Brent Harvey
of KBH Entertainment has produced many top line shows, including
MDA's Black & Blue Ball, Los Angeles Music Awards, Huntington
Beach Spring Fest, the Exotic Erotic Ball and China Club's ProJam.
Harvey reports, "When you're producing a big event, you
need experienced professionals helping you. One of the first
things l do is call Jimbo to take a look at the location and
venue."
After discussing details at a pre-production meeting, Harvey
and Neal will do a "walk-through" to see what the
layout is, and what's available on the premises. Then Neal designs
everything, from the staging to the sound to the lights and
FX, and even any concession areas the production requires. "We
work with so many vendors," Neal states, "we can supply
anything and everything you need."
Sometimes people know exactly what they want and Neal simply
provides it. "But, more importantly," he says, "they
need to know what they want to achieve and how they prefer to
make it happen. Then, l can design something that meets their
exact needs. If they already have some equipment, it's critical
that they make sure it interfaces correctly." Other than
that, Neal maintains, "We can do it all for you, or as
little as you want. This is a service-oriented business, and
our job is to make you happy and your event a success."
FIRE IT UP
Ever since the tragic Great White inferno at a Rhode Island
nightclub, everyone has been fire sensitive. In fact, pyrotechnics
are rarely used anymore, because, according to our experts,
lights can give the same effect. Nevertheless, there are acts
that like to use fire in their shows. The Mutaytor are one of
those acts. They've performed with flames for years, but take
great care to ensure the safety of the audience, performers,
and venue.
In fact, on their website, they list 13 safety procedures that
they perform - many of them prior to the show. The process is
detailed, comprehensive, and tightly supervised, including documenting
directions to the nearest hospital and/or emergency room and
having a designated driver and vehicle ready to go. Unless you're
willing to do likewise, you may want to go with lights instead
of fire.
MAKE SURE IT WORKS
"Though some customers know what they want and are familiar
with it," Neal points out, "many more want to try
something new." In that situation, Neal advises that they
should be very careful and make sure that it will work for them.
The reason, Mutaytor's Nash reminds us, is that it doesn't
matter how cool the gear, lighting or equipment is if it doesn't
work. "You should always test it before loading it,"
he declares, "And, if you're not sure how to work it, have
the vendor give you a lesson and written instructions."
In addition to that prep work, The Mutyator guarantee a smooth
running performance by appointing a specific person in the troupe
to operate each piece of equipment. That way, there are no surprises
during a show.
COSTS AND CARTAGE
If you're assuming that the big-time providers we've spoken
to are out of your price range, that would not be an accurate
assessment. Every one of the rental, production and FX experts
we've interviewed indicate that they will work within almost
any budget. In fact, several mentioned projects that cost only
a couple hundred dollars. A few even recounted events that cost
less than $100.
"You do have to be realistic, though," JPN's Neal
asserts. "But, almost anyone in this business will do small
projects. And, we'll try to give you the most for your money,
because the fact is we want repeat business."
All of the suppliers we spoke to provide cartage - that is,
they will transport the gear you rent either for free or for
a nominal fee. Some even offer engineers or other personnel
to operate it if you need help. Their success depends on your
satisfaction, and all maintained that they are willing to go
the extra mile to make you happy.
Lastly, there are the issues of deposits and insurance - 5
percent to 10 percent of the total cost - and an insurance premium.
"Though we carry our own insurance," Neal explains,
"we like to have additional coverage, especially on our
bigger items." Insurance is particularly important if you're
transporting the gear yourself. Most companies will accept normal
wear and tear on rented items, but they're less amenable to
damage or loss.
SAVE MONEY
According to Brent Harvey, "Once you find someone who's
reliable and trustworthy you should establish a relationship."
Because, Harvey says, "That relationship can lead to discounts
- sometimes as high as 30 percent - that will save you money
in the long run."
Mutaytor's Matty Nash agrees, which is why he likes to use
the same companies over and over again. "Since we tour
so much, we've also compiled a list of local vendors that we
use in different regions." That way the group avoids shipping,
cartage and other costs, as well as receiving a nice discount
for their repeat business.
PLAN AHEAD
If you've decided to give it a shot and upgrade your show or
put on a big event, you need to plan ahead. Some items are so
popular that they're not always available. "We can always
get it from another vendor," Neal reveals, "but that
may take some time.
Nonetheless, all of the rental companies in this article indicate
that if its in stock, its yours for the asking. On larger projects
that require planning or design, they usually like about 30-60
days lead-time. It's a good idea, then, to think about what
you want, ask for the experts' advice, and give them enough
time to get you what you need. Of course, if its an emergency,
they're set for that, too. "Hey, it's the music business,"
Neal laughs, "It's not unusual for artists and event producers
to forget things."
JUST ASK
When visiting websites or the actual businesses that specialize
in rentals, don't be surprised if there is no menu listing all
of their gear and services. Most of our sources are reluctant
to list what they have on hand, because they don't want to limit
themselves and let you know what they don't have - for fear
that you'll go elsewhere. As a matter of fact, all repeated
the refrain, "If we don't have it, we can get it."
THE PAYOFF
The music industry is suffering from the effects of an over
stimulated, media-saturated population. This makes it more difficult
for artists and promoters to get bodies into nightclubs and
to their events. At times, it seems that audiences have seen
and done it all. To combat that ennui, promoter Brent Harvey
suggests, "You have to offer something more than the typical
fare."
One way to do that is to think about your production, and what
you can do to make your show more exciting. The right staging,
lighting and FX will add impact to your performance, and may
even get people talking. The expenditure may be minimal, but
the results could be phenomenal. Indeed, Matty Nash tells us,
"We try to add a new element (in lighting, video or FX)
to every show. And, more than a few people come just to see
what we're going to do next."
- Bernard Baur, A&R Report, Editor
Music Connection - November 21, 2005 - Volume XXIX, No. 24
©2005 Music Connection
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