At times you might have thought it was hardly possible anymore, but the live performance is back. After a mentally torturous 2 years, in which a large proportion of all professional musicians and the majority of all technical crews threw in the economic towel, the live activities are practically overflowing, which brings with it another problem, which is not the topic here . Anyone who plays festivals or tours abroad sometimes cannot avoid traveling by plane, which puts extreme physical and mental strain on musicians in particular. Why? Read for yourself.
The starting point
To put it bluntly, traveling by plane outside of first class has absolutely nothing to do with the glamor of earlier days. Unfortunately, the plane has degenerated into a means of mass transport and only has the value of a bus trip, unfortunately with an environmental impact that is a thousand times greater. For my part, I deeply hate having to fly abroad for tours or festivals, but unfortunately I can rarely avoid it. Unfortunately, the environmental footprint also comes with a lot of restrictions and pitfalls on the part of the airlines, which I would like to address in this feature so that as many readers as possible can be spared from them.
Pack your stuff!
Most readers will already know this, but just to be on the safe side, here's some clarification. It's nice to play in IRON MAIDEN and travel in your own plane, where your own singer is sometimes the pilot (which, by the way, Bruce Dickinson only does to prove he has enough flying hours, otherwise he'll lose his flying license), but this is the absolute exception. Bands of this size have no problems flying their familiar amps and cabinets around the world in addition to their personal instruments when necessary; this has not been the case for all other bands for a long time, which means that you have to work with equipment that is Location was rented from the local organizer.
The aim here is to keep the dependence on local equipment as low as possible. Anyone who has ever toured South America, or even Russia, can definitely tell great stories about tons of broken and exploding amps on stage, so try to take as much as you can with you. And here the odyssey of horror begins.
1.) Guitar / Bass: Your personal instrument cannot be replaced, so you have to take it with you. Until about 3 years ago, many airlines still had the option of taking a guitar in a soft case into the passenger compartment as hand luggage with a charming smile and a friendly demeanor at the gate and stowing it in the overhead compartment. But then many aircraft manufacturers reduced the sizes of the storage compartments, so that a guitar only very rarely fits into these compartments and a bass definitely no longer fits into these compartments.
Unfortunately, this brings with it the problem that the instrument has to be checked in as cargo and another piece of luggage usually has to be booked with it. However, since the airlines have massively increased their prices due to the current inflation and the Corona catch-up campaigns, it can happen that the additional piece of luggage accounts for an additional 50% of the flight cost. Here you should consider using a double case in which the bass can also be transported, which would halve the transport costs.
If you are considering this, you must definitely use a case that meets the current maximum dimensions and, most importantly, the maximum weight regulations, such as ENKI cases. The maximum payload in the wooden class is usually 23 kg, and for the cheap ones it can sometimes be 21 kg. It is important to be extremely careful here, as the airlines will take advantage of your emergency situation at the airport and will be happy to charge you extra costs for excess baggage! Therefore, be sure to weigh your case beforehand and allow for a kilogram of security, as the scales at the counter often carry out their own calibration and, in case of doubt, you will always lose.
2.) Amp: I can only strongly recommend that you take your own amp with you if possible. The amp should be stored in your personal suitcase and ideally have a multi-voltage power supply so that it can work worldwide. For example, I use the Hughes&Kettner BS200 Floor for my air shows, which includes all the important functions, is comparatively light/small and sounds very good. So you only have to use the cabinets on site and the risk of a completely defective cabinet is smaller than that of a defective amp.
There are now many small or micro-amps with which you can also play medium-sized halls with good monitoring, so this should be worth considering. Of course, you can also book an additional piece of luggage for your Kemper and play it directly into the PA on site, but this option didn't convince me in terms of sound or feel.
3.) Pedals: If you can't have your own amp for whatever reason, you should take a small bread-and-margarine setup of pedals with you, preferably placed on a small floorboard. If you can find a decent, clean sound on site, the classics overdrive, distortion and delay are basically enough to be able to play 90% of all rock shows. Maybe some chorus or reverb, depending on your taste. Of course, the whole thing can also be done with a small Multi-FX pedal, although I personally prefer individual pedals because of the better sound.
With electronics through the security check
Whenever you want to take your pedalboard, your transmitter or your in-ear system with you in your backpack as hand luggage, be prepared for a few extra rounds at the security check. The level ranges from about 10 minutes of explosives checks in Germany to shouting security officers in the USA who completely frisk you for 20 minutes to Russian soldiers with Kalashnikovs at the ready who are just waiting for you to make a hectic move.
Anyone who then tries to explain to a security officer what an overdrive pedal is and that the wires and batteries seen during the x-ray are not explosive paraphernalia can be prepared for a detailed discussion, depending on the employee's level of knowledge. Please take this into account in your check-in schedule.
“Disappeared in Nirvana” or “Where is my luggage”?
Nothing is worse than the desperate look at the conveyor belt at the arrival airport where no guitar wants to show itself. You can usually lower your blood pressure again by looking for the bulk luggage counter, where a mostly bad-tempered employee pushes the instrument through the opening up to 30 minutes later than the rest of the luggage, if possible in one piece.
After that, all you have to do is go to the “Lost Baggage” counter and hope that the instrument is actually somewhere. The list of colleagues whose instruments were simply stolen this way is extremely long. The Airtags, which can be placed comparatively discreetly anywhere, offer a little help for iPhone owners. Personally, I have not only equipped every piece of luggage with a tracker, but I have also prepared my instruments accordingly so that I can find them again anywhere in the world.
Depending on the number of other Apple products in the area, you can check whether your personal equipment has even left the local airport and whether it is at least at the arrival airport. However, it takes nerves of steel if the Airtag simply doesn't want to appear on the display, so keep calm and hope. However, anyone who hopes to have the airline replace the equivalent value if their equipment is stolen or destroyed will unfortunately be disappointed. A colleague of mine had a new USA Precision Bass (purchase price €2,500) stolen for which, after much negotiation, he received a flat rate of €500.
Softcase, hardshell or flightcase?
Finally, a truism that everyone knows, but that we are all too happy to push aside. When you heave thousands of suitcases onto conveyor belts, electric tractors and transport rollers all day long, at some point you no longer care about any suitcase. If you even hope that the airline baggage handlers will handle your instrument with the same caution as you do, you are doomed. I own several hardshell cases where fist-sized pieces were knocked out of the case and driven through the paint into the guitars. And who doesn't have at least one suitcase that hasn't had a wheel or handle broken off, unless it was a Peli case?
Therefore, even if heavy and unwieldy, always take flight cases or at least plastic cases that can survive a fall from a height of 2 meters. I saw a baggage manager use my guitar as a step to reach a higher item, so always assume the worst.
And of course good luck with your upcoming shows!
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Additional Informations:
Delta Air Lines:
Checked Baggage: Varies by route and fare class.
Weight Limit: 50 pounds (23 kg) for most destinations.
Cabin Baggage: 22 x 14 x 9 inches (56 x 35 x 23 cm).
American Airlines:
Checked Baggage: Fees vary by route and fare class.
Weight Limit: 50 pounds (23 kg) for most destinations.
Cabin Baggage: 22 x 14 x 9 inches (56 x 35 x 23 cm).
United Airlines:
Checked Baggage: Fees based on destination and fare class.
Weight Limit: 50 pounds (23 kg) for most destinations.
Cabin Baggage: 22 x 14 x 9 inches (56 x 35 x 23 cm).
Lufthansa:
Checked Baggage: Varies by class and route.
Weight Limit: 50 pounds (23 kg) for most destinations.
Cabin Baggage: 21.6 x 15.7 x 9 inches (55 x 40 x 23 cm).
Air France:
Checked Baggage: Depends on fare class and route.
Weight Limit: 50 pounds (23 kg) for most destinations.
Cabin Baggage: 21.7 x 13.8 x 9.9 inches (55 x 35 x 25 cm).
Emirates:
Checked Baggage: Varies by class and route.
Weight Limit: Economy - 66 pounds (30 kg), Business/First - 88 pounds (40 kg).
Cabin Baggage: 22 x 15 x 8 inches (55 x 38 x 20 cm).
China Southern Airlines:
Checked Baggage: Depends on class and route.
Weight Limit: Economy - 44 pounds (20 kg), Business/First - 66 pounds (30 kg).
Cabin Baggage: 21.6 x 15.7 x 7.8 inches (55 x 40 x 20 cm).
Turkish Airlines:
Checked Baggage: Varies by class and route.
Weight Limit: Economy - 50 pounds (23 kg), Business - 66 pounds (30 kg).
Cabin Baggage: 21.6 x 15.7 x 9 inches (55 x 40 x 23 cm).
Qatar Airways:
Checked Baggage: Depends on class and route.
Weight Limit: Economy - 66 pounds (30 kg), Business/First - 88 pounds (40 kg).
Cabin Baggage: 20 x 15 x 10 inches (50 x 37 x 25 cm).
Singapore Airlines:
Checked Baggage: Varies by class and route.
Weight Limit: Economy - 66 pounds (30 kg), Business/First - 88 pounds (40 kg).
Cabin Baggage: 21.6 x 15.7 x 7.8 inches (55 x 40 x 20 cm).
Southwest Airlines:
Checked Baggage: First two bags free, additional bags have a fee.
Weight Limit: 50 pounds (23 kg).
Cabin Baggage: Dimensions not specified, must fit in overhead bin or under the seat.
Cathay Pacific Airways:
Checked Baggage: Varies by class and route.
Weight Limit: Economy - 66 pounds (30 kg), Business/First - 88 pounds (40 kg).
Cabin Baggage: 22 x 14 x 9 inches (56 x 36 x 23 cm).
KLM Royal Dutch Airlines:
Checked Baggage: Depends on fare class and route.
Weight Limit: Economy - 50 pounds (23 kg), Business/First - 70 pounds (32 kg).
Cabin Baggage: 21.5 x 13.5 x 10 inches (55 x 35 x 25 cm).
Qantas Airways:
Checked Baggage: Varies by class and route.
Weight Limit: Economy - 50 pounds (23 kg), Business - 66 pounds (30 kg).
Cabin Baggage: 45 total linear inches (115 cm) including wheels and handle.
Air Canada:
Checked Baggage: Varies by class and route.
Weight Limit: Economy - 50 pounds (23 kg), Business/First - 70 pounds (32 kg).
Cabin Baggage: 21.5 x 15.5 x 9 inches (55 x 40 x 23 cm).
EVA Air:
Checked Baggage: Depends on class and route.
Weight Limit: Economy - 66 pounds (30 kg), Business/First - 88 pounds (40 kg).
Cabin Baggage: 23.6 x 15.7 x 9.8 inches (60 x 40 x 25 cm).
ANA All Nippon Airways:
Checked Baggage: Varies by class and route.
Weight Limit: Economy - 50 pounds (23 kg), Business/First - 70 pounds (32 kg).
Cabin Baggage: 22 x 16 x 10 inches (55 x 40 x 25 cm).
British Airways:
Checked Baggage: Varies by class and route.
Weight Limit: Economy - 51 pounds (23 kg), Business/First - 70 pounds (32 kg).
Cabin Baggage: 22 x 18 x 10 inches (56 x 45 x 25 cm).
Alaska Airlines:
Checked Baggage: Fees for additional bags, weight limits apply.
Weight Limit: 50 pounds (23 kg).
Cabin Baggage: Dimensions not specified, must fit in overhead bin or under the seat.
Hainan Airlines:
Checked Baggage: Varies by class and route.
Weight Limit: Economy - 44 pounds (20 kg), Business/First - 66 pounds (30 kg).
Cabin Baggage: 22 x 14 x 9 inches (55 x 35 x 25 cm).
SAS Scandinavian Airlines:
Checked Baggage: Varies by class and route.
Weight Limit: Economy - 50 pounds (23 kg), Business/Plus - 70 pounds (32 kg).
Cabin Baggage: 22 x 16 x 9 inches (55 x 40 x 23 cm).
Air India:
Checked Baggage: Depends on class and route.
Weight Limit: Economy - 50 pounds (23 kg), Business/First - 66 pounds (30 kg).
Cabin Baggage: 22 x 14 x 10 inches (55 x 35 x 25 cm).
Iberia Airlines:
Checked Baggage: Varies by class and route.
Weight Limit: Economy - 50 pounds (23 kg), Business/First - 70 pounds (32 kg).
Cabin Baggage: 22 x 16 x 10 inches (56 x 40 x 26 cm).
Swiss International Air Lines:
Checked Baggage: Varies by class and route.
Weight Limit: Economy - 50 pounds (23 kg), Business/First - 70 pounds (32 kg).
Cabin Baggage: 21.6 x 15.7 x 7.8 inches (55 x 40 x 20 cm).
Virgin Atlantic:
Checked Baggage: Varies by class and route.
Weight Limit: Economy - 50 pounds (23 kg), Premium/Economy Delight - 66 pounds (30 kg).
Cabin Baggage: 22 x 14 x 9 inches (56 x 36 x 23 cm).
Aeroflot Russian Airlines:
Checked Baggage: Varies by class and route.
Weight Limit: Economy - 50 pounds (23 kg), Business/First - 70 pounds (32 kg).
Cabin Baggage: 22 x 18 x 10 inches (55 x 45 x 25 cm).
Etihad Airways:
Checked Baggage: Varies by class and route.
Weight Limit: Economy - 50 pounds (23 kg), Business/First - 70 pounds (32 kg).
Cabin Baggage: 22 x 16 x 10 inches (56 x 41 x 25 cm).
Air New Zealand:
Checked Baggage: Varies by class and route.
Weight Limit: Economy - 50 pounds (23 kg), Business/First - 66 pounds (30 kg).
Cabin Baggage: 46.5 total linear inches (118 cm) including wheels and handle.
Saudia (Saudi Arabian Airlines):
Checked Baggage: Varies by class and route.
Weight Limit: Economy - 50 pounds (23 kg), Business/First - 70 pounds (32 kg).
Cabin Baggage: 22 x 18 x 10 inches (56 x 45 x 25 cm).
Air China:
Checked Baggage: Varies by class and route.
Weight Limit: Economy - 44 pounds (20 kg), Business/First - 66 pounds (30 kg).
Cabin Baggage: 21.5 x 13.5 x 7.5 inches (55 x 35 x 20 cm).
Dienstag, 9. Januar 2024
FEATURE: What You Have To Consider At Flight Shows.
FEATURE: Family, Friends And Music
Family, friends and music. What sounds like a third-rate Netflix series rip-off can actually be viewed in two different ways. On the one hand, we have the idealized perception as it will exist in most minds. Very positively connoted as an enrichment of life, full of friendship and liters of oxytocin. The other side is the connection between the dream world that most musicians produce and the sometimes diametrically opposed alignment of the “real” world with all its hard landings and punches in the stomach. Let's take a look at both camps.
Friends, friendship, joyless...
Let's not kid ourselves, making music with good friends is pretty much the all-encompassing basis with which you usually start your musical career. Nothing is as satisfying, nothing ensures a comparable release of happiness hormones and nothing is currently on the decline as much as the aforementioned campaign. Why this? Well, as already mentioned, you need 1.) friends, 2.) a time together and you want to 3.) make music together.
Anyone who owns these 3 points can consider themselves very lucky; they usually fail on point 1.), but that's another story. I'll venture a very bold thesis and believe that probably only 10% of all Amazona readers still have some kind of constellation for musician friends, which involves regular, together playing music in a room and occasional live performances with friends. The whole thing is separate from Covid, of course. While in the past you had to meet up to record music simply for technical reasons, today it is standard for everyone to work at home and send sound snippets around, which someone then sticks together to form a “song”.
In the pro sector, it is now a basic requirement that you can package your instrument in WAV files in whatever form and then send them wherever you want via Dropbox or WeTransfer. Anyone who cannot meet this standard and has to go to an external studio to record their tracks, which they then want to bill for, no longer has a chance in the system. And since even in the most complex of all recording areas, the drum area, it is now difficult to determine whether an acoustic set was recorded with great effort in a good studio, or whether the drum tracks were arranged on an electric drum set or with a superior drummer, you lose composing and arranging together is becoming increasingly important. The composers of a song usually create a pre-production according to their technical skills, which is improved by the remaining instrumentalists with regard to their own instrument and that's it. The only joint activity remains a live performance, which, depending on the band, can only be carried out with massive use of the backing track.
Why this sometimes harsh reduction to the bare essentials? Quite simply, as always, it's the costs. Transport, accommodation and food for a band incur costs that cannot be covered by anything, so everyone prepares themselves at home, they meet once before an upcoming show or tour and off they go. It is therefore extremely important to keep the social aspect of making music together as high as possible, as long as there are no commercial aspects behind the project. You should also keep in mind that as you get older, the time available to meet together decreases. First comes the training, then possibly a move to another city, then starting a family, then a career and finally the aging process, all points that increasingly limit making music together. You can only really make music without worries when you're young, when your parents can keep you away from all the economic and time problems. By the way, over 80% of all professional musicians come from well-off parents, why?
Music and family
When I was in my early 20s (I was always the youngest in the band back then) there was an unwritten rule. Whenever a colleague became a father, you could immediately look for a replacement. No matter how hard the colleague tried to reconcile his band and family, it didn't work. In the best case scenario, he took a job with the local dance band, but then ended up looking like an insurance salesman because of the prescribed haircut and, under the influence of massive amounts of alcohol, struggled through the “Rosamunde” classics at the local Bums folk festival. You can't earn that much money to commit to this artistic suicide in installments. But your offspring, or rather your entire family, rightly doesn't care at all how you bring the rent together, the main thing is that you bring it together, which brings us to the middle of the topic.
If you really want to know what makes a successful musician, you should sit down with your partner and have a chat, because he/she decides whether you manage to realize your musical dreams. Almost no musician is born a star, apart from those with a globally successful name such as Julian Lennon. The poor guy then has to deal with the comparisons to his father his entire life, especially since he looks exactly the same and his voice sounds similar. With something like that you can only lose and the therapists give in to each other.
So what if you used your youth to learn an instrument and now want to take the next step towards becoming a professional musician? You have to fight your way through, currently harder and more brutal than ever. You make contacts, work for nuts and get through a 90-hour week, but in return, despite guitar lessons, you barely manage to raise enough money to keep one person, namely yourself, alive. So what do you need? A partner who earns at least the same, or better yet more, than you with an independent 9 to 5 job. The classic “Dinki” setup (double income, no kids) is born.
That's how to live and with good household accounting, life as a whole can be managed well if, yes, if there weren't these compromises that the partner would have to make. True, the partner is very proud when she sees her husband in trade magazines or on stage in front of a horde of cheering fans, but in return, what planning needs to be done. The standard is that the partner has to plan her vacation around her husband's touring plans. “Darling, we have the chance to go on a European tour with *Hutzelefutz* for 3 weeks. There is no fee and we only have to pay very little for the seats on the Nightliner, but we make it all back with the merch sale!” And then half of my partner’s annual vacation is gone.
What is also a burden that should not be underestimated is the fact that whenever “normal” people are partying, your husband is on some stage, i.e. H. Your partner is always alone at first. Sure, the woman can invite a few friends and come to the show, but after the umpteenth visit this effect wears off and the action can only be carried out within a certain spatial framework. Some musicians therefore try to bring their girlfriends with them in some capacity (tour leader/merchandise), which sometimes works quite well in the area of merch, but usually fails dismally in the area of tour management. But by the time it comes to the follow-up to the merch sale, the glamor is gone and you would like to kick the shirt boxes into the corner.
We summarize. The partner of a musician usually finds the following:
- little and irregular income
- unfavorable time distribution
- latent discrepancy between fiction and reality
- constant competition in the party atmosphere
- Setting your own financial goals
- a total fresh start if you want to have children
and the whole thing with a minimal chance of making up for the lost years economically through the “breakthrough”. Now to be honest, would you accept this offer?
We all know the saying “Behind a successful man there is a strong woman” and I am sure that the points mentioned above can also be found in many other industries outside of the music biz, but in no business are there such a wide gap between ideals and reality.
Therefore, all I can say to all aspiring musicians is that if you have found a partner who can handle all of these factors and won't let you down in the crucial case, look after him like the apple of your eye with everything you do. what you achieve. The streets are full of broken lives that the partnership has unhinged at the crucial moment.
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Additional Informations:
Navigating Uniqueness: Challenges and Joys of Having a Musician as the Family Patriarch
Introduction:
The life of a musician is often romanticized for its creative freedom, stage lights, and the euphoria of musical expression. However, the realities of being a musician extend beyond the spotlight, impacting not only the artist but also their family. This comprehensive report delves into the distinctive challenges and joys that a family may endure when the patriarch is a musician.
Erratic Schedule and Touring Lifestyle:
One of the primary challenges families face when the father is a musician is the unpredictable and often erratic schedule. Musicians frequently engage in touring, performing in different cities or even countries, which can result in extended periods of separation from their families. The constant juggling act between pursuing a musical career and maintaining a stable family life requires a delicate balance, with families navigating the emotional strain of extended absences and sporadic reunions.
Financial Uncertainties:
The music industry is renowned for its financial uncertainties, and this reality can cast a shadow over the stability of a musician's family life. Income fluctuations, especially for independent or emerging artists, can contribute to financial stress. The absence of a consistent paycheck and the dependence on sporadic gigs, album sales, or royalties can pose challenges in meeting the family's financial needs, necessitating careful budgeting and financial planning.
Creativity Versus Stability:
The pursuit of a musical career often involves a delicate dance between the artist's creative aspirations and the family's need for stability. Musicians may find themselves torn between investing time and energy into their craft and fulfilling their responsibilities as fathers and partners. Striking the right balance becomes crucial, as neglecting either aspect can lead to strains on both the artistic journey and family relationships.
Unconventional Lifestyle:
The unconventional lifestyle of a musician can introduce a unique set of challenges to family dynamics. Late-night rehearsals, impromptu jam sessions, and exposure to a bohemian subculture can be both fascinating and challenging for family members not directly involved in the music scene. Navigating societal expectations and maintaining a sense of normalcy within the family unit requires open communication, understanding, and a shared commitment to embracing the unconventional aspects of the musician's lifestyle.
Creative Inspirations and Family Bonding:
Amidst the challenges, there are also distinct joys that come with having a musician as the family patriarch. The creative inspirations that stem from the artist's experiences and musical expressions can enrich the family's cultural and emotional tapestry. Music becomes a shared language, fostering unique bonding moments as family members attend concerts, collaborate on musical projects, or simply share in the artist's passion for their craft.
Legacy and Role Modeling:
A musician father can serve as a powerful role model for their children, imparting valuable lessons about perseverance, creativity, and the pursuit of one's dreams. The legacy of a musician extends beyond the stage, influencing the family's values and attitudes towards passion and dedication. However, striking a balance between nurturing the artistic spirit and providing a stable foundation for the family becomes a delicate yet rewarding endeavor.
Conclusion:
In conclusion, the experience of having a musician as the family patriarch is a journey marked by a unique blend of challenges and joys. Families navigating this path must cultivate resilience, open communication, and a shared commitment to both the artistic aspirations of the musician and the stability and well-being of the family unit. It is through this delicate balance that the intricacies of a musical family's life unfold, creating a narrative that is as rich and diverse as the melodies that resonate from the heart of the musician.
FEATURE: Endorsements
There are probably only a few areas in the music industry where a concentrated load of half-knowledge, admiration, envy and contempt come together like in the area of an endorsement. Every musician has heard of it, everyone has an opinion about it, very few own one and almost everyone wants one. The ideas that have formed in the circles of instrument and accessory manufacturers are sometimes so absurd that you can only smile. This article is intended to shed light on the different variations of said collaborations and clear up moldy ideas.
Endorsement? Why?
A simple question in advance, does anyone believe that e.g. B. Sebastian Vettel has to pay for the tires he uses during a Formula 1 race from his prize money? Of course he doesn't have to, but why not? Well, because the tire manufacturer, whoever is currently working with Mr. Vettel, believes that the fact that Sebastian Vettel uses tire brand X generates more sales for him than if S. B. paid for the tires himself. The trick is pure preschool psychology, S. B. wins the races, is probably a likeable guy and the next time he buys tires, John Doe will remember this and will choose the S. B. product rather than another product.
The practice is much more complex, but the basis is “as simple as that”. An endorsement is ultimately an advertising contract in which both parties are of the opinion that their cooperation is ultimately worthwhile for BOTH (very important!) or to stay with our example, Mr. Vettel does not have to pay for the tires and the Tire manufacturer still makes more sales than without Mr. Vettel. But if Mr. Vettel loses every race and behaves like an open pants towards his fans, the image will suffer and the tire manufacturer will consider whether he wants to continue to be associated with the Vettel name. Why this long introduction? Because its core message basically summarizes everything that constitutes an endorsement. Actually? Well, now we get into the details
Endorsements? Maybe for me too?
I don't know about you, but when the author of this article was just a little slob with big dreams, there were always 3 things I considered my personal success. I wanted:
1.) Take a European tour in one of these great nightliners and make money at the end.
2.) I wanted to have one of those great, big flight cases with the fat ball corners for every instrument, every amplifier, every pedal and every cable.
3.) I wanted a guitar with my name on it.
#3 in particular was effectively the holy grail for me and the joy was almost superhuman when I received my first signature model many years ago. I'm quite sure that many other musicians will feel the same way, but many also find the very thought of it excessive. Why actually? What do you have to lose? Of course you can have an instrument tailor-made for you by any guitar maker, but the appeal lies in the fact that a manufacturer, in the spirit of Mr. Vettel, is of the opinion that his brand benefits from you having his instrument/amplifier etc. in display to the public. So let’s first take a look at what endorsement variations there are.
What forms of endorsement are there?
First, some technical terminology. The endorser is the manufacturer of the product, the musician who uses the product is the endorsee. The popular statement from a musician, “I am a Fender (or similar) endorser” is Kokolores.
Variation 1 - the 50% deal:
Even if you don't believe it, a so-called 50% deal, often referred to as an artist deal, is not as far away as it might seem at first glance, at least if you have a German manufacturer in mind. Very roughly described, in this case the manufacturer grants you a discount on the purchase price of around 50%. Why is this deal comparatively easy to obtain? Well, it is more or less the price at which the manufacturer sells his item to the retailer.
For the manufacturer it makes almost no difference whether he sells the item directly to the artist or to the retailer, the main thing is that the item has been sold. However, anyone who thinks that the manufacturer doesn't care who they offer a 50% deal to has unfortunately miscalculated, because see above, it is still very important what value the artist has in the eyes of the public. An artist who boasts of an endorsement from Company Later more.
Variation 2 - the 75% deal:
This is where it first starts to hurt for the manufacturer, because he invests so much trust in you that he sacrifices parts of his profits because he is of the opinion that your craftsmanship, your number of clicks on YouTube, the number of friends / Followers on Fb / IG or your streaming numbers on the corresponding portals such as Apple Music / Spotify etc. are so good that the presentation of yourself together with their product pays off for the manufacturer. These deals rarely come about because they are usually already in the range of
Variation 3 - the 100% deal:
located. Here you have finally arrived at what you have always dreamed of, as one or more manufacturers make an instrument or something similar available to you to use without any payment. Provide? Yes, there are 2 variants in the 100% deal. There is the variation of the “permanent loan”, where you can use the instrument in any way, but the item still legally belongs to the manufacturer and they can also demand it back, e.g. B. if the series is discontinued, the manufacturer files for bankruptcy and your instrument is part of the bankruptcy estate, the manufacturer is dissatisfied with your commitment to the product, or similar.
The holy grail, on the other hand, is a 100% deal with complete transfer of ownership of the instrument into your hands, but this also entails many moral obligations. Bagging it up and putting it in a corner, or even worse, selling the instrument secretly, rightly annoys every manufacturer and damages your reputation to the bone. You wouldn't believe how many colleagues I know who behaved so disgracefully and completely burned their names in the scene.
You think this is the final stage? No way, because here comes...
Variation 4 - the Rockstar department
What do you do when the artist's name is so big that you not only give him all the instruments he wants, but also give him another treat to stop him from switching to the competition? Well, I don't have the exact figures, but "it is estimated" that e.g. For example, artists like Steve Vai or Joe Satriani not only receive an unlimited number of instruments made by Ibanez, but also receive a six-figure sum annually for the use of their name in connection with the brand. Whoever is angry now, please always remember that these are normal advertising contracts, what do you think people like e.g. B. Jennifer Lopez or Charlize Theron for using a perfume?
How do I get an endorsement?
Before you tackle an endorsement, you should always ask yourself two questions.
1.) Do I really need an endorsement?
2.) Would I give myself an endorsement?
to 1.) Of course it is a dream if you, as a professional musician, cooperate with a “consumables manufacturer” such as: B. has strings or drumsticks, simply because it's easy on your wallet. However, if it goes beyond this area, things can get difficult. Even if you sometimes can't imagine it, colleagues, other musicians and even the manufacturers can feel if you don't stand behind the product 100%. Small subtleties immediately reveal whether you just want to grab something or whether you are really impressed by the product.
2.) Do you consider yourself to be so eye-catching/interesting/professional/outstanding in terms of craftsmanship that you would invest money in yourself? If yes, go for it, if no, why should anyone else do it?
If you can answer yes to both questions, here are a few tips
- Even though international names like Fender, Gibson or whoever may exude the charm, take a look at what your own country or at least Europe offers in terms of manufacturers. Why? It is actually impossible for a German to land a direct deal with an intercontinental company (exceptions prove the rule); you will usually be passed on to the local sales department, who will of course first deal with each major investment manufacturer must agree. With a local company, the distances are shorter, the language barrier is eliminated and the quality is at least the same, sometimes even significantly higher than the competition.
- Most companies have specially employed employees who work in the areas of A&R / Artist Relation Manager / PR Manager / Marketing Manager etc. to make contact. It's best to do good research in advance and get in touch by email. A phone call as the first contact always has a bit of a “coercion” quality to it.
- You have to convince the contact person that cooperation is worthwhile for him. Unfortunately, being a member of a band and working hard no longer convinces anyone these days, especially since these employees receive about the same amount of traffic as the booking agent at a music club. Brief description of who you are, what you do and then the link. Live shows, videos, interviews, workshops, work areas, everything that you have placed online at some point or was placed by you and that is of high acoustic quality, link accordingly. Everything is just like with a normal application.
- Don't be disappointed if it doesn't work out, as it doesn't necessarily have to be a lack of interest. Most of the time, employees have a limited budget to work with. Once this budget is exhausted, you can no longer support new artists.
- Don't be annoyed when laughingstocks like Mötley Crüe "singer" Vince Neil "whine" in interviews about the fact that he is constantly being sent new guitars only to play them unplugged at his backing track shows. In the league it doesn't matter at all whether any instrument is played live, as long as people (maybe again in a few years) pay money for this nonsense.
Conclusion
I hope the article helped you a little and who knows, maybe you can convince more people than you can imagine at the moment. Good luck!
By the way, an endorsement is by no means always just about money. Many artists also maintain endorsements because, for example, For example, on their worldwide tours, the manufacturer always has a sales office in the respective country, so that they can, for example, B. you can play your favorite amplifiers anywhere.
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The Significance of the Relationship between Endorsee and Endorser in the Musical Instrument Industry
Introduction:
The relationship between an endorsee and endorser in the musical instrument industry holds immense importance, as it not only shapes the marketing landscape of musical instruments but also significantly influences the image and perception of the companies involved. This intricate dynamic plays a pivotal role in brand positioning, market penetration, and the overall success of
both the artist and the instrument manufacturer.
Definition and Roles:
To comprehend the essence of the endorsee-endorser relationship, it is crucial to define the roles of each party. The endorser, typically a renowned musician or artist, acts as the public face of a musical instrument brand. Their endorsement lends credibility and prestige to the instruments they use, creating a powerful association between the artist and the brand. On the other hand, the endorsee refers to the musician who receives support from the instrument manufacturer, often in the form of free or discounted instruments, in exchange for promoting and using their products publicly.
Mutual Benefits:
The symbiotic nature of the endorsee-endorser relationship is characterized by mutual benefits. For the endorser, aligning with a reputable instrument brand provides access to high-quality instruments, exposure to a broader audience, and potential financial incentives. Simultaneously, the instrument manufacturer gains valuable visibility, credibility, and increased sales as a result of the artist's association with their products. This mutually beneficial partnership extends beyond a mere transactional arrangement, evolving into a strategic alliance that contributes to the success of both parties.
Brand Image and Perception:
The choice of an endorser significantly impacts the brand image and perception in the eyes of consumers. When a respected musician endorses a particular instrument, it conveys a message of quality, innovation, and reliability. Consumers often view endorsed products as a mark of excellence, leading to increased trust in the brand. The positive image associated with the endorser's success and talent becomes inherently linked with the instruments they endorse, creating a powerful marketing narrative.
Marketing and Promotion:
The relationship between endorsee and endorser is a cornerstone of marketing and promotion strategies in the musical instrument industry. Endorsers act as living testimonials, showcasing the instruments in real-world, professional settings. This experiential promotion enhances the instrument's desirability and performance credibility. Furthermore, the visibility gained through an endorser's concerts, recordings, and social media channels amplifies the reach of the brand, fostering a connection with a diverse audience.
Nurturing Talent and Innovation:
The endorsee-endorser relationship is not solely transactional; it often involves a collaborative effort to foster talent and drive innovation. Instrument manufacturers may work closely with endorsed musicians to develop new products, customize existing ones, or incorporate cutting-edge technologies. This collaboration not only benefits the endorsee by providing them with instruments tailored to their artistic needs but also enhances the instrument brand's reputation for innovation and commitment to musicians' requirements.
Conclusion:
In conclusion, the relationship between endorsee and endorser in the musical instrument industry transcends a simple endorsement agreement. It is a strategic alliance that shapes brand image, influences consumer perception, and drives mutual success. As both parties continue to collaborate, the synergy between artist and instrument manufacturer will undoubtedly play a pivotal role in the ongoing evolution and growth of the musical instrument industry.
Montag, 8. Januar 2024
FEATURE: The catastrophic Covid consequences in the live industry
Finally, finally, finally, finally! Every musician, whether amateur or professional, has longed for nothing more than the end of the coronavirus restrictions in the live sector. Countless artistically oriented careers have already been destroyed by the various shutdowns, countless frustrating purchases have been made and countless pounds have been eaten away in Netflix mania, but now, now everything will finally go back to the way it was in 2019, the tours, the festivals, the solo shows, everything will go back to the way it used to be ... the way it used to be ...
Not at all! Even if you don't notice it immediately as a concertgoer, the live industry is on the brink of total collapse for various reasons. Whether it's a small local festival or a world-famous mega-event, everyone is struggling with the same problems. But read for yourself.
Problems? What kind of problems?
Well, there are several problems that have been caused or significantly accelerated by Covid. The total standstill in the live industry for over two years has completely disrupted the lives of musicians, promoters and concertgoers, forcing the majority of the live music industry and all associated professions to completely reorient themselves. But let's first take a look at the basic problems.
1) Planning for 2020
We've all seen it since March 2020: one festival after another, one tour after another, one show after another were postponed over and over again, first on a monthly basis, then on a six-monthly basis and finally on a yearly basis, with fans pinning their advance tickets to their ever-filling pinboards at regular intervals. In the best-case scenario, the message was "tickets remain valid"; in the worst-case scenario, the tour was canceled, the musicians lost money, the promoters lost money and the fans had to go through the annoying process of getting a refund. And not to forget, of course, the advance booking fee is also gone. I myself had to reschedule our European tour a total of three times, which also meant that a very good package had to be put on hold.
However, the organizers of the rescheduled shows are now under pressure to realize a show / festival / tour at the same conditions as 2 years ago, which is simply not possible. Whether it's the murderer from Moscow, China's non-covid madness or the exploding inflation, nobody could have expected these events at the beginning of 2020, which caused the costs for everything and everyone to explode. Whether transport, travel, personnel or spare parts costs, many areas that are needed for the professional realization of a show have risen in price by up to 50%, or even worse, are no longer available for an indefinite period of time. The promoter can no longer adjust the ticket costs retroactively and has to work with the income from two years ago, which means that many promoters can no longer cover their costs and are trying to pass on the reduced income to the artists in the form of renegotiated fees. The mood is correspondingly tense and many names change almost daily on the concert posters.
2) Where is the professional staff?
Anyone who has ever seen a large stage from behind or below can get a rough idea of the gigantic effort involved in the planning and realization of such a monster. In Germany in particular, it is well known that you need a corresponding certificate or training for every job, no matter how small, that takes place in public, which means that only trained specialist personnel are allowed to set up, convert and dismantle the stage or manage it during operation. There are other ways, as I was able to "admire" several times in South America, for example, but that's another story.
I don't know how long experts warned about the following situation. For months, it was mentioned over and over again in all the media like a prayer wheel, but the decision-makers, as so often in the past, once again played it cool in the sense of "it won't be that bad". So it came as it had to and, as predicted, the consequences are catastrophic. We no longer have any specialist staff! There is a shortage of everything that has to take on responsibility in any form, light operators, riggers, FOH, backliners, security staff, even bar staff, simply everything! Why is that?
Well, if you forbid tax-paying citizens from practicing their profession, but in return do not ensure that they can continue to earn a living, you are forced as a family man/mother to look for a new job beyond all artistic fields of activity after reducing your personal nest egg. Whether train drivers, office workers or vaccination assistants, many live music professionals have at some point given up in discouragement and signed new employment contracts which, apart from better and more secure pay, paid vacation and state-guaranteed social security contributions, make even the occasional help-out in the live business impossible.
What is happening now can be seen in every live corner. Many small to medium-sized festivals have already had to be canceled due to staff shortages and now the problem is spreading to the big mega-events. I'm not allowed to mention exact names, but a lot of established and large festivals in Europe are on the verge of pulling the plug. In some cases, specialists have to be flown in from all over the world in order to somehow implement the event, which of course also drives up the event costs. In addition, the few specialists who have stuck with it have of course raised their rates by up to 70 - 80%. Experienced stage technicians for less than €400 per day? No way!
3) Covid and no end in sight?
Even if you really can't hear it anymore, Covid is still not over, strictly speaking. Even if Omicron allows a consistently more moderate course, anyone who tests positive for corona is still out for a week. Even now, colleagues of mine are still constantly falling ill, which means that shows have to be canceled time and again. Making up for these shows is not so easy, however, as most venues are fully booked until the end of 2023. I myself had to experience in my environment how the partner of a colleague was tested incorrectly for Covid by a rapid test during a visit to the gym, the colleague then had to take a PCR test, which took several days to process, which meant that a sold-out festival in Spain had to be canceled due to the lack of negative proof of vaccination. Flights paid for free, organizers without a headliner, fans pissed off, only losers on the whole front. Oh yes, both PCR tests were of course negative.
The fan understandably loses interest in the VVK at some point and waits until the last day to buy tickets at the box office. However, this in turn means that many tours are canceled in advance for security reasons, as the supposedly poor advance booking means that the number of visitors is expected to be poor, which in turn reinforces the fan's behavior. It's a classic death spiral that constantly feeds off each other.
4) The threat of oversaturation
Every day, every city, at least 3 shows - that's the current approach in the live sector. Every, really every band is on the road somewhere at the moment, desperately trying to make up for their failures of the last two years. The resulting effect should be clear to everyone. Even if fans go to a few more shows than usual at the beginning to cover their pent-up demand, saturation will set in by the fall at the latest. Aside from the fact that inflation will knock your personal credit into the ground, you can only go to a certain number of concerts.
Large and established festivals are still comparatively well booked, but quite a few experts are already predicting the end of solo show tours. Nightliners, which only 2 years ago cost €1,700 per day, have now already broken the €2,300 mark, assuming you can get one at all, because as I said, every band is on the road at the moment.
Conclusion
Probably no one realized the extent of the Covid catastrophe two years ago, when Germany's second largest industry after mechanical engineering was sent completely into the desert within a few days without any plan. However, only the real experts saw that this catastrophe would have such repercussions.
In conjunction with the other opponents of art, such as the criminal streaming remuneration, those responsible have succeeded in giving the industry a further blow that will send the professional "art body" tumbling further towards the abyss. Only time will tell whether this blow will be the final death blow that finally reduces the profession of professional musician to absurdity.
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The Comprehensive Impact of COVID-19 on the Economic Landscape of Germany
Abstract:
The COVID-19 pandemic, caused by the novel coronavirus SARS-CoV-2, has had profound and far-reaching effects on economies worldwide, and Germany is no exception. This report provides a detailed analysis of the multifaceted impacts of the pandemic on Germany's economic landscape, encompassing various sectors, policy responses, and future outlook.
Introduction:
The emergence of COVID-19 in late 2019 marked a turning point in global history, triggering an unprecedented health crisis that quickly evolved into an economic challenge. Germany, as one of the world's leading economies, faced a myriad of challenges as the pandemic unfolded.
Impact on Key Economic Sectors:
a. Manufacturing and Export: Germany's manufacturing prowess and export-oriented economy were significantly hampered by disruptions in global supply chains and a decline in international demand. The automotive industry, a cornerstone of the German economy, experienced production halts and reduced consumer spending.
b. Tourism and Hospitality: The lockdowns and travel restrictions imposed to curb the spread of the virus dealt a severe blow to the tourism and hospitality sectors. Popular destinations, such as Berlin and Munich, witnessed a sharp decline in visitors, leading to hotel closures and job losses.
c. Retail and Consumer Spending: Social distancing measures and economic uncertainty prompted consumers to cut back on discretionary spending. Brick-and-mortar retailers faced challenges as foot traffic dwindled, while e-commerce experienced a surge.
d. Finance and Banking: Financial markets experienced volatility, impacting banks and financial institutions. The German government implemented measures to stabilize the economy, but concerns about non-performing loans and reduced investment persisted.
Government Response and Economic Stimulus:
The German government implemented a range of measures to mitigate the economic fallout from the pandemic:
a. Financial Aid Programs: Extensive financial aid packages were introduced to support businesses, employees, and the self-employed. These included grants, loans, and tax deferrals.
b. Kurzarbeit (Short-time Work): The Kurzarbeit scheme, which allows companies to reduce employees' working hours with the government compensating part of their lost wages, played a crucial role in preventing mass unemployment.
c. Economic Stimulus Packages: The government launched stimulus packages aimed at boosting domestic demand, investing in infrastructure, and fostering innovation.
Challenges and Future Outlook:
a. Public Debt: The extensive economic support measures led to a surge in public debt. Balancing the need for stimulus with fiscal responsibility remains a challenge for policymakers.
b. Structural Changes: The pandemic accelerated existing trends such as digitalization and remote work. Adapting to these changes will require investments in technology and skills training.
c. Global Economic Uncertainty: Germany's economic recovery is closely tied to global economic conditions. Trade tensions and geopolitical factors add an element of uncertainty to the future outlook.
Conclusion:
The COVID-19 pandemic has left an indelible mark on Germany's economic landscape, affecting diverse sectors and prompting unprecedented government intervention. As the nation navigates the path to recovery, policymakers and businesses must remain adaptive to the evolving challenges and opportunities presented by this global crisis.
FEATURE: Downtuning For Guitar Players
Well, ladies and gentlemen, how many of you remember your first song where you realized that not everything was going "right", usually triggered by the fact that, if it was a guitar-dominated recording, the guitarist played the coolest licks with empty strings and the bands always used strange keys like E flat, A flat or D flat? For me, it was the first Van Halen album in 1979, which, apart from Edward Van Halen's guitar playing, which was absolutely incredible at the time, also had a powerful guitar sound. Yes, of course it was also the legendary tension-modified "Brown" sound, but no, that wasn't what I heard.
Who was the first musician to steer the basic sound of the instrument in new directions by abandoning the standard E tuning of the guitar can no longer be traced exactly, but the fact remains that at the beginning of the eighties the number of lower tuned record productions increased massively, especially in the heavy sector, so much so that there were almost no more recordings in standard tuning. The modification of standard tuning, especially among slide guitarists, is anything but unusual, but the use of open tunings has exclusively harmonic reasons, not tonal ones.
So why is it so important to modify the traditional when it has worked so well for decades? Is it just the urge of the youth to reject something established and to cite the approach "the main thing is different" as the main reason, or is there more behind it? In order to become aware of this, we should first take a look at a classic band constellation with its very own functions.
Starting material:
Let's assume we are a typical, guitar-heavy band in the popular sixties line-up a la Led Zeppelin or Free, i.e. vocals, guitar, bass and drums. Why no keyboards? Well, until the establishment of the polyphonic synthesizer, keyboards meant organ, piano or at least electric piano, which meant a transport volume of at least 70 kilograms per instrument. Best example, Hammond plus Leslie, approx. 200 kilograms WITHOUT flight case or similar. With the plastic bar, a transportable solution appeared on the scene for the first time and managed to capture all frequencies for itself when required. Depending on the craftsmanship (or the transpose control), keys are also irrelevant for a keyboardist, i.e. the subject of downtuning is completely uninteresting for a keyboardist.
However, many note-playing keyboardists were delighted with the first downtunings, as the hated "guitarist keys" such as A major (3 #), E major (4 #) or even F# major (6 #) were replaced by the far more common keys of A flat major (4 b), E flat major (3 b) or F major (1 b). Well, keyboards out of the equation and onto the strings, especially the open strings. If we look at the above-mentioned standard quartet in terms of frequency, the center-heavy orientation of the sound material quickly becomes apparent. Even if the kick covers a lot between 60 and 100 Hz and the bass can lay a good foundation between 100 and 500 Hz, depending on the tone control, the wide gap of frequency holes begins above that.
Even if the note pattern of the low E-string of a guitar in treble clef suggests otherwise, even in the high-gain range an electric guitar that has not been further processed in terms of effects (e.g. octaver) conveys a cutting midrange (approx. 1-3 kHz) and sometimes biting highs (from 4 kHz), but the boost known from modern productions does not really want to occur in this tuning. Don't misunderstand, this statement doesn't mean that you can't create punchy productions in standard tuning, especially as the greatest hits in guitar history were all written and recorded in standard tuning, but in our bass-fixated times, older recordings seem much less punchy, and not just because of the mastering that was unknown at the time.
In addition to the toms of the drums, which sit tonally slightly above the bass, and the snare, which is in a comparable range to the guitar, we also have the cymbals (preferably with a high-pass filter) and our singer, who now has to find a range to assert himself against the guitar board. Quick question, who has already noticed that the great rock hits of the sixties and seventies are a real torture when it comes to male vocals? What has driven many a cover band mad and to desperate acts in the style of "woman-sings-male-voice" was an integral part of the search for the frequency hole. OK, there was of course a bit of showing off and showing off (who gets higher), but anyone who has ever tried to sing AC/DC, Led Zeppelin or Deep Purple in the original keys knows what I'm writing about.
In order to remain equally audible throughout the entire song, the vocalists sang tonally above the guitar, which inevitably resulted in a more than ambitious tenor. In these registers, you are firmly in the registers of a woman's voice. At the same time, we have a low-mid range between 500 - 1500 Hz, exactly the range which, in the overall context, also produces a slightly oppressive sound over the infamous kitchen radio. Now then, let's first take a look at the purely practical advantages of down-tuning.
Advantages
It's anyone's guess, but the first downtuning was probably born out of necessity. We all know the problem: a singer has a cold or other ailment and can no longer manage the high notes. What do the loving and understanding colleagues in the string guild do? They tune their instruments lower. At a semitone, the playing feel is still relatively identical to standard tuning, beyond that the instrument has to be adjusted. Not a big deal in principle, apart from the tragedy of the Led Zeppelin tribute concert a few years ago, where Jimmy Page tuned his guitar three semitones lower and Robert Plant still couldn't hit a note in the high passages.
The second advantage of down-tuning is that the main and upper/lower frequencies of the instruments are shifted downwards. Now the guitar also takes over the low-mid range and thus gets a much more powerful sound, which is generally perceived as "fatter" and is therefore better suited for the classic "thick pants" of guitarists, which we all love so much about our instrument.
Disadvantages
Unfortunately, where there is a lot of light, there is also a lot of shadow. Two main problems arise as soon as you enter the depths of downtuning. The first problem can still be solved with a few changes to the instrument, the second unfortunately cannot, although both problems are based on simple physics. Problem 1 is the string tension of the instrument. With increasing downtuning, the string tension decreases, which at a certain point leads to an unclean attack and decay of the string. In particular, a hard attack with a plectrum leads to excessive deflection of the string, which initially makes the targeted note sound too high, only to hit the actual note after a few milliseconds. In addition, you need to have meticulous control over your string pressure, otherwise you end up in tonal nirvana, as you often had to suffer at some live concerts by the band Korn.
This problem can be tackled with thicker strings, using the rule of thumb "one string thickness more per semitone" as a basis. While the truss rod almost always copes well with the changed string gauge in compensation with the string tension, a vibrato system, especially if it is a free-floating system, sometimes requires readjustment. But what definitely needs to be done when replacing a second-grade set of strings is a professional re-filing of the nut. The thicker strings really bite into the notches and cause the strings to bounce during the tuning process, which takes all the fun out of it.
The second problem is of a larger nature and can only be discussed in more detail in the context of the band. Many of you have probably wondered where standard tuning originated. Why low E-string? Why not lower everything directly, even at the beginning of the electricization of the guitar, the bass? Well, at the other end of the cable is the second important component of the sound, the amplifier and loudspeaker, and at the beginning of amplifier history these were generally much smaller than current products. The lower the frequency to be transmitted, the more energy has to be applied to transmit the signal cleanly. Over the decades, standard tuning has crystallized as the perfect middle ground between transparency, load on the individual components and assertiveness in the human ear, in other words, standard tuning is based on decades of experience.
However, just as many of you have probably seen YouTube videos where a guitarist produces a very fat sound with extreme downtuning, accompanied at most by a drum loop or very reduced drums. On its own, the sound may make your jaw drop, but in combination with a band, it can no longer be located. The more bass there is in a guitar sound, the more the individual signal pushes and the less suitable the sound is for a band. Conversely, this means that the guitar can no longer be heard at an acceptable volume in the mix, or it has to be made so loud that the sound is unbalanced.
the bass player, the poor sock
The whole discussion about downtuning ultimately revolves around the bass part of the guitar sound, which means that the loser of the whole debate is already clear. As expected, it's the bass player whose natural habitat is being infiltrated and massively attacked by frequency technology. The popular call for the five-string doesn't always work. In a disciplined combo with a transparent Jamiroquai sound, i.e. little if any gain on the guitars, the forced escape down to low B may still be manageable, but in the heavy range, which is the main area of application for downtuning, the bassist fights for every single note that is not to drown in the frequency swamp. Ever been to a metal concert? Heard what the bassist plays in terms of individual notes? Exactly ...
Extended Range Guitars (ERG for short)
As if our friend with the thick strings didn't already have enough trouble with his frequencies, the djent movement of recent years with 8- or even 9-string guitars is proving to be a real job-destroying machine. Here the guitars have finally arrived in the real bass range, whereby the bassist can no longer escape downwards. Anyone who has ever heard Korn bassist Fieldy trying helplessly to get his low A somewhere with (unclean) slapping can only feel sorry for him. Djent metal figurehead Meshugaah leave the bass in standard tuning, which then simply doubles the guitar work in order to escape the low-frequency mud. Everyone can make up their own mind about the usefulness of such an undertaking.
Only the combo Animal As Leaders (there are probably other formations that I don't know at the moment) goes the consistent way with two 8-stringers and a drummer in a trio formation, with the two guitarists alternately sharing the bassist function. There is still a lot of room for experimentation here, but the frequency problem remains.
How low do you like it?
In principle, of course, you can tune your guitar however you like, but in terms of optimizing your fingering, the fourths tuning between the individual strings usually remains the same. This means that in most cases all strings are tuned down a certain number of semitones. Up to 2 semitones can be realized without any problems in consultation with the bassist, from 3 semitones upwards the problems slowly increase with a high gain factor. Once you have decided to add another string, the time has come for the 7-string or the baritone guitar. While the 7-string keeps the treble range within the normal radius of a standard tuning guitar and extends it downwards by 5 semitones, the baritone guitar counters the increasing frequency mud with a longer scale length, which increases the string tension and brings the tonal result back towards standard tuning in terms of transparency.
I have solved the problem in my third band MONSTERGROOVE in such a way that both my baritone guitars (76 cm scale length) and our bassist's bass (fanned frets, B-string approx. 92 cm scale length) have greatly extended scale lengths and generate a higher assertiveness due to the increased string tension. I also only play with moderate gain so that the sound remains comparatively transparent.
Another popular type of downtuning is the "Dropped D", where only the low E string is tuned 2 semitones to D. This has the advantage that power chords played on the bass strings of the guitar can now be stretched over 3 strings by means of a small barre chord and the octave shift of the root note gives the chord more power. This construction can of course also be tuned down by one or more semitones, whereby the danger of bass mud occurs even faster.
Here is an example of a dropped D tuning:
Conclusion
Of course, as always in music, whatever you like is allowed, but the limits of physics cannot be overridden. If you want to have a crisp, transparent and at the same time powerful band sound, you should work out a sound concept with the whole band in advance that offers maximum benefits. The listener will thank you for it.
P.S. If, of course, the bass player secretly keeps turning up the bass on the active 2-band EQ of his bass regardless of losses, you can of course save yourself any concept ...
Sonntag, 7. Januar 2024
FEATURE: The Stage, My Playground
The stage, my playground? Is that so? Do you like to appear in front of a more or less large number of spectators and hope for gestures of approval for your performances? Or are you more the person in the background, the mechanic who ensures that third parties get the credit for your achievements and that you are compensated for your work in the form of royalties, salaries or copyrights?
“What kind of questions are these again and what kind of strange article is this anyway?” I can already hear the first readers expressing their displeasure. Well, in addition to all the millions of technical aids that are intended to make it easier for performers to express themselves creatively, the question still remains: why? Why do you make music? Without drifting too far into psychological depths, we can ultimately be divided into the following groups.
1.) The coerced one
Mom and Dad have learned that learning an instrument promotes certain areas of their child's brain that will later make them a better person (a detailed description would go beyond the scope). So son or daughter receives guitar, piano, violin or trumpet lessons, which are to be placed alongside the three additional sports support measures and tutoring for the G8 Abitur.
The youngsters do well at first, but later realize that regular practice is a basic principle for further training and that they don't have/don't want to have the time. Good approaches then die out at the latest when the opposite sex is perceived during puberty.
Development opportunities: “I used to make music too”
Likelihood of being on stage: Only in a drunken head at weddings, company anniversaries or karaoke bars.
Entertainment value: borderline
2.) The latecomer
He/she has already completed vocational training and has successfully entered professional life. You run a company, have a family and have always been interested in music, but haven't found the time to learn an instrument. Since you don't want to let your childhood dream die, you finally decide to fulfill your wish in your mid-30s.
Due to the good economic situation, equipped with more than just basic equipment, you look for a good teacher or have the same person come home to start with full enthusiasm. After a few months, it also becomes clear to this copy that the time factor was not only the reason for the previous abstinence from an instrument, but will also ensure that in the future you will continue to play the same three songs in the study for an indefinite period of time will play which one you learned first.
Development opportunities: “I also have a guitar at home”
Stage probability: zero
Entertainment value: zero
3.) The eternal blouser
He/she learned an instrument as a teenager, formed a band, did a few gigs as a dance musician, played part-time in a blues band, then learned the job, played part-time in a blues band, then started a family, played part-time in a blues band, then built a house, played in a blues band...
Development opportunities: “Stevie Ray Vaughan is the greatest and I have all the records from Bonamassa”.
Likelihood of being on stage: 2-3 times a year at birthday parties and in the local pub.
Entertainment value: the family and close friends are happy...
4.) The nerd
He/she has always felt drawn to instruments, but the craftsmanship and the practice involved have always been a horror for him. The 10,000 hours of practice or daily practice over 10 years predicted by experts scares him, whereas hours of wiring, plugging, soldering, measuring and measuring, and fiddling with VCAs, VCOs, etc. are no trouble at all.
With the help of modern DAWs and various synthetic music styles, he/she can develop his/her own style through a combination of presets and creative mixing of different styles, which can be transported to large stages without much effort.
Development opportunities: depending on your own personality
Stage probability: comparatively high
Entertainment value: depending on light show, stage decoration, LED walls and pyrotechnic puppet show
5.) The ambitious one
He/she learned to play an instrument as a teenager and quickly realized that, deep down, this is exactly what you always wanted to do and always want to do. He/She believes that only disciplined practice and absolute focus will bring the desired success, so you learn and practice until the bars bend.
Unfortunately, in this status you quickly forget to look to the right and left, which often ends in you not only being able to effortlessly recreate all of your idols' output on YouTube, but even outdoing them in terms of technology, but still looking like a Gotha employee Mallorca vacation.
Development opportunities: good if the partner buys him/her new clothes
Stage probability: good, as long as you have a capable booker.
Entertainment value: jazz
6.) The songwriter
In addition to the music, he/she also listens to the lyrics and thinks about what the artist wants to say with them. Technical points only interested him/her peripherally, as the instrument is only the carrier medium for the lyrics and the singing.
Development opportunities: good if you remain open to personal development
Probability of performing on stage: very high, as you can actually perform anywhere and at any time
Entertainment value: folk
7.) The producer
He/she learned an instrument and sometimes plays it very well, but at some point he or she noticed that his/her skills behind the controls bring in significantly more money than his/her face on a stage.
Development opportunities: almost endless
Stage probability: zero point zero
Entertainment value: only via sound recordings
OK, we have now roughly listed our personalities without claiming to be complete. The question of how heavy lead is:
How do I entertain my audience?
Oh, if only it were always so easy to answer. For the sake of clarity, we will also roughly divide the artists into a few categories in terms of the focus of their preferences.
1.) Through craftsmanship
You can think what you want about jazz and its protagonists, but when it comes to technique and understanding of harmony, the ladies and gentlemen, who visually mostly sail close to unreasonable, are very often found in the higher leagues. The listener is usually very impressed by the artist's talent for improvisation; any sweatpants or other casual clothing on stage rarely bothers the listener.
Even in the prog varieties of rock and metal we encounter pioneers who are sometimes exceptionally skilled in their craftsmanship and whose rhythms can hardly be counted, let alone reproduced. Here, too, the audience is comparatively resistant to visual missteps, but it is important to the audience to still be in the heavy zone. There should be at least a few clichés typical of the genre, otherwise the rock fan will get it wrong.
Entertainment Recommendation: Big poses and over-the-top stage shows only distract from the quintessence of the craft. If you prefer this style of music, you don't have to worry about investing in a stage presence and can concentrate entirely on the music. However, this form of “hard listening” will always remain a niche product, the crowning achievement of which is the “Musicians Musician” award.
2.) Through show
As expected, the exact opposite of 1.) and with KISS as the protagonist it has already been exhausted down to the last detail. Even if the current line-up does a good job technically, the legendary first line-up rumbled and gurned their way through the set like a student band. Has anyone noticed? Yes! Did it bother anyone? Yes! Did it slow down KISS' career in any way? Not in the slightest! The Punch and Judy troupe is still among the top 10 most successful bands in the world and this will not change until their final demise.
An opulent stage show is still a guarantee for maximum audience effectiveness. The best guitar sound in the world and the most sophisticated vocal singing since Queen is only a description of the action after 10 minutes at the latest, but a bang, combined with an elaborate LED screen or something similar, stays with you for a lifetime. Unfortunately, our brain can only store visual effects, not acoustic ones. Unfortunately, optical effects always involve a huge financial outlay, so everyone has to calculate for themselves at what point the show, along with development and transport, mutates into a dime-sized grave.
3.) Through entertainment
Nothing is more embarrassing than a pedestrian Fips Assmussen on stage, who annoys and offends his audience more than entertains them with tired jokes. On the other hand, it's good for those who have an entertainer in their ranks who knows how to entertain people with pithy sayings and spontaneity in the mostly boring breaks between songs.
Can you learn to walk the ramp? No but …! Anyone who consistently works on themselves, perfects their function within the band/project and receives enough support from their colleagues will noticeably gain self-confidence, which in turn is reflected in their performance. Bands like the German melodic metallers AXXIS could easily overcome the failure of all instruments for over an hour, frontman Bernhard Weiß would confidently entertain the audience with jokes, stories, games and other things without even a hint of boredom.
4.) Through songs
Attention: danger of black ice! Even at the risk of being hit hard again by many readers, I openly represent the classic of all song reviews. No matter how loud synthetic music sometimes is, no matter how flashy an open-air concert with 100,000 people is, a real song of the highest quality can actually only be played with vocals on a guitar. OK, I'll allow piano as well.
Why? If you manage to block out all the impressive effects like volume, sound, arrangement, stage show and people still listen to you simply because you describe a theme that resonates with them or play a cadence that touches them, you've won! You are self-sufficient! Independent! The only thing that can slow you down is a hoarse voice or a broken string.
Can you learn songwriting? Yes and no! You can learn how to improve your songs and make them more interesting in terms of melody and arrangements. But what cannot be learned is one's own experience. Only if you are who you are, if you are authentic, can you create songs that reach other people. Kurt Cobain was just a real sausage as a craftsman, but his minimalist approaches, for example in a song like "Come As You Are", can only be seen as very good from a songwriter's point of view.
5.) Through personality
Very difficult because it's hard to believe. There are these guys who just walk on stage and have already won without even saying a word or playing a note. These can be top singers of the old school like Tom Jones, charismatic ex-drug wrecks like Iggy Pop or showman Steven Tyler, they all have the charisma that every artist wants.
Your question about learning this skill becomes superfluous very quickly. You can copy these people, but the only solution would be to mold your own personality into an original. As a consolation, Tyler was always seen as a “cheap copy” of Mick Jagger at the beginning of his career.
Oh yes, there are also...
Stage Fright:
A terrible mixture of fear of failure and excitement, combined with an excess of adrenaline in its purest form. There are relaxation exercises that can reduce the level of despair, but as far as I know there is no complete cure. All colleagues who shared the ordeal also told me that with the first note all worries vanished, so as late as possible to the show and as quickly as possible on stage...
Rehearse:
It may be subjective, but I almost only know bands that seem to ONLY rehearse and never play live, or bands that NEVER rehearse and only play live. If you're young and want to spend a lot of time with your friends with a case of beer, rehearsals together make a lot of sense and sharpen the feeling of togetherness.
What, on the other hand, always bothered me terribly was catching up on personal practice in the rehearsal room, i.e. everyone is prepared, knows their parts, only one person shines through his ignorance in addition to mistakes and holds up the entire band. Of course everyone can act as they want here, but if this happens repeatedly, in my opinion the colleague's priorities are elsewhere and he should be replaced.
Personally, I now see rehearsals as a nice human event, but otherwise just a necessary evil that serves to compare the individual musicians and should be kept as short as possible. In my opinion, perfect preparation is an absolute must, otherwise see above...
Interaction:
The word actually says it all. You play TOGETHER, which means you primarily listen to what the OTHER is playing. You should be able to do your own stuff perfectly and then drape it around the other person's game. If you prefer to hear yourself playing, you should think about a performance with backing tracks from your MacBook.
A band only makes sense if you enjoy listening to what the other person is playing and not just using them as an agent for your own performance, especially since the fan can immediately tell whether you like each other on stage or not.
Stage volume:
Anyone who has the misfortune of playing with colleagues from the “old” school who are used to providing the clubs with sound primarily from the stage will be familiar with the mush of sound that guitar and bass in particular love to emit from the stage. In collaboration with powerful P.A.s, the result is inevitable. You try to compensate for your colleague's noise with increasing monitor volume and at some point you sink into the feedback swamp. Just terrible.
In this case, I can only strongly recommend forcing your colleague to undergo in-ear monitoring so that he can blow his instrument up to his neck without burdening his colleagues. If you refuse in this case, see the “Samples” section. However, a stage volume that is too low is also counterproductive. All-tube amps in particular require a minimum load on the power amplifier, otherwise they sound terrible. But this is usually lower than you think :-)
Conclusion
Nothing has to, everything can. A convincing band performance only takes place when all musicians pull together. Nothing against solo artists a la Yngwie Malmsteen, who only sees the band as a vicarious agent, but in this case I would personally prefer a MacBook administrator and a few show dancers as stage fillers.
As I said, to each his own and always remember: “GIVE THE PEOPLE WHAT THEY WANT”
In this sense …
FEATURE: The Band And The Helping Hands
We all know the outstandingly staged shows of international superstars who seemingly effortlessly enter the biggest stages in the world and every tonal and show-technical aspect works like a charm. Even artistic high-wire actions, coupled with pyrotechnics up to the point of being waved off on several stages, don't seem to be a problem at all in this league, while you yourself sometimes reel with bliss when the guitar transmitter reaches further than 10 meters and you can hear yourself well throughout the show. Only rarely do superstars have to bow to technical problems, such as: B. Maria Carey's disastrous demolition on New Year's Eve 2016 in Times Square, where, according to her, the inear system did not function properly. One wonders how artists like Tina Turner were able to hit a single note in their early days when they played without any monitors, but that's another story. Rather, today it's about the helping hands of a band, without whom, depending on the constellation, things wouldn't be able to go anywhere as well as you would like, especially in the early days.
Helping hands, payment or friendship service?
In my opinion, one should first differentiate between two types of helping hands, the professional ones, i.e. the people who you hire to do work for a fee, and those people who, for whatever reason, do the work for you, without or only in homeopathic doses to be rewarded.
With the professionals it is a comparatively easy matter. Assuming you find a suitable crew member, you agree on an appropriate salary and enter into a simple contractual relationship. The employer, the band/management/artist/sponsor, has the right to have the work done properly, and in return the employee has the right to receive proper remuneration. If the constellation is economically successful, this area can be processed quickly with appropriate budget planning, provided that one does not experience the after-effects of the catastrophic Corona crisis, in which the majority of professional crew members have said goodbye to the profession and most of them have not returned to this day . So far, so clear.
Much more interesting, however, are the constellations that arise from the extensive gray area of helping hands, in which friends, family members, buddies, students or personal life companions take on a role that is not remunerated with a corresponding contribution. be it because in this case you would be paying into your personal family budget, the semi-skilled crew member doesn't want any money but just wants to be there, or because it is a "no-budget" activity and you simply have no option to reward the helping hand for their work.
There is also a very special sub-species of “Helping Hands”, although they don’t really fit into this article. A very valued colleague of mine is a sub for one of the currently most successful German bands in the heavy segment and plays this show without any payment, simply because he thinks it's great to play in front of several thousand cheering spectators. Travel costs etc. are of course covered, but he is financially secure as the owner of a company, so he only plays these shows for “fun”. A dream for every employer! Imagine once again my bricklayer, who has often tried hard, who is economically independent as a successful investment banker, but has found his love in the craft and builds walls for free for the most successful architects.
Claim and reality
There is a saying in the business: “If you pay peanuts, you get monkeys!”. Regarding this article, you should always keep one thing in mind in advance. In principle, you can't have enough helping hands, as long as they do a job that you can or have already done outside of the music business. The best example of this would be a driver who takes the band from A to B. Anyone who is able to move a van at a time when the majority of the population is already asleep and, most importantly, manages to stay sober until after the show is a real help. On the other hand, if you feel like you are part of the band with the corresponding after-show party, you are putting yourself and the band in mortal danger! I know people who offer this service as a gateway to show business in order to secure a place in the tour entourage with a real party feeling. All I can say is, stay away! The transport of equipment and artists only belongs in very responsible hands, which can come from a responsible buddy.
What work can Helping Hands do?
For the sake of simplicity, let's start with the work that can under no circumstances be taken on by friends etc. I think it goes without saying that everything that involves appropriate technology belongs exclusively in professional hands. P.A., lighting and backline must be managed by appropriate professionals, or you will no longer be happy on the stage of your life. I know colleagues who also teach and would like to take their students with them as backliners. What can work with just a few competent people leads to complete failure in the majority of cases. Not that the youngsters can't wire a backline, but communication with the local P.A. Distributors usually follow a certain order with the corresponding technical terminology and as an instrumentalist you always have to check the work again in the end. At a small club gig you can still learn the Padova in peace, but at a festival where the renovation breaks are timed to the minute, something like that is absolutely not possible.
But what about “carrying aids” or stagehands? You can't go wrong here, can you? That's exactly how it is, you can't do much wrong, but here too you can do something wrong. If you store your equipment incorrectly, you can get in the way of a lot of things, especially at festivals, which the following bands/crew people find anything but pleasant. Normally, the stage manager assigns you the appropriate corner of the stage for preparation. If you don't stick to it strictly and don't know how to handle your stuff properly, you'll get pressure. Speaking of carrying aids, nowhere has so much been stolen as in the area of stagehands. Once you have managed to get a corresponding ribbon on your hand, no one will stop you, unless it is the owner or the backliner of the instrument. So be careful who you trust with your instrument.
Of course, something that is always popular, especially in the hands of female friends, is the area of merchandise. Apart from the fact that appropriate financial management and storage at the stand make life easier, there is nothing to be said against this practice. However, you should definitely have a credit card terminal with an appropriate connection, as fewer and fewer people are paying with cash. What, on the other hand, is slowly but steadily increasing is payment with Bitcoin via the Lightning network. Anyone who offers this payment option is at the forefront when it comes to trends. Speaking of cash, the days when the tax office didn't have sales income from small bands on their radar are long gone. In order to avoid stress in any form, I strongly recommend reporting the numbers once a certain turnover has been reached. Nobody wants to have the stress of tax evasion and back payments.
If you have a sociable and hard-working partner, you can definitely think about working as a personal manager. You don't have to limit your work to the front man / woman, but can also be seen as a multi-tool for the entire band. Anyone who thinks that the musicians themselves can take care of things like drinks on stage, towels on stage and cloakroom, where and when catering, access management, parking, arrival and departure and much more is of course not wrong, but they think so Always remember that anything that distracts the artist from his actual (!) function during a show is to the detriment of the show.
If you want to expand the whole thing to include finances and billing, you can of course also take care of tour management, but then you need a self-confident and energetic demeanor, as you have to represent the band's interests in many ways, which is not always possible with the local promoter conforms to its employees. In most cases, however, you can talk to the promoter easily and find a way, but if you knowingly ignore the contractual points and want to take the artist for a fool, you may also need to be made aware of your obligations. If you have a full hut on your list of arguments, you have a very good chance that the promoter will remember his obligations again.
Finally, I would like to say that in principle, especially in the early days, you cannot have enough motivated helpers who first work and then ask for whatever kind of remuneration. But one thing you should always remember is that no matter who travels with the band, they are directly or indirectly representing the band. A drunk helper who can no longer control himself will definitely ensure that the band won't be booked again with his appearance!
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The Dynamic World of Roadies and Stage Crew on Tour: Behind the Scenes of Concert Productions
Introduction
The live music industry is a vibrant and thrilling realm where artists captivate audiences with their performances. However, behind the glamour of the spotlight lies a meticulous and hardworking team of professionals known as roadies and stage crew, who play a crucial role in ensuring the success of a concert tour. This report explores the multifaceted world of roadies and stage crew, delving into their responsibilities, challenges, and the camaraderie that defines their unique
profession.
Roles and Responsibilities
2.1. Roadies
Roadies, short for road crew, are the unsung heroes of the music industry, responsible for the logistics and technical aspects of a concert tour. Their roles encompass a wide range of responsibilities, including:
2.1.1. Equipment Management: Roadies are tasked with the transportation, setup, and maintenance of musical instruments, amplifiers, lighting systems, and other technical gear required for the show.
2.1.2. Stage Setup and Breakdown: Roadies ensure that the stage is set up to the artist's specifications, including the arrangement of instruments, microphones, and other equipment. Post-performance, they swiftly dismantle and pack everything for the next venue.
2.1.3. Sound Engineering: Roadies work closely with audio engineers to achieve the best possible sound quality during live performances. This involves managing microphones, soundboards, and monitoring systems.
2.1.4. Instrument Technicians: Some roadies specialize in instrument maintenance and repair, ensuring that guitars, drums, and other instruments are in optimal condition throughout the tour.
2.2. Stage Crew
The stage crew comprises various specialists who collaborate to create a visually stunning and seamless concert experience. Key roles within the stage crew include:
2.2.1. Lighting Technicians: Responsible for designing and operating the lighting setup, these professionals work closely with the artist to create the desired visual atmosphere for each performance.
2.2.2. Set Designers: Stage crew members responsible for conceptualizing and constructing the physical set, backdrop, and any special effects required to enhance the visual impact of the concert.
2.2.3. Rigging Crew: Experts in rigging and safety measures, this team ensures the secure installation of stage elements, lighting fixtures, and other equipment.
2.2.4. Pyrotechnicians: In charge of special effects, pyrotechnicians coordinate the use of fireworks, flames, and other pyrotechnic elements to add excitement and spectacle to the show.
Challenges Faced by Roadies and Stage Crew
3.1. Rigorous Schedule: The life of a roadie is characterized by long hours, extensive travel, and tight schedules. Setting up and breaking down equipment for consecutive shows in different cities can be physically demanding and mentally exhausting.
3.2. Technical Challenges: Dealing with complex audio and lighting equipment, troubleshooting technical issues, and adapting to diverse venues pose constant challenges for roadies and stage crew members.
3.3. Team Coordination: Effective communication and coordination are paramount in this fast-paced environment. Roadies and stage crew must work seamlessly as a team to ensure a flawless performance.
3.4. Safety Concerns: The nature of live events introduces potential safety risks, particularly when dealing with heavy equipment, pyrotechnics, and elaborate stage setups. Crew members must prioritize safety protocols to mitigate risks.
Camaraderie and Team Spirit
Despite the challenges, roadies and stage crew members often form tight-knit communities bound by a shared passion for music and live performance. The camaraderie built on the road fosters a sense of belonging and mutual support, creating a family-like atmosphere among the
crew.
Conclusion
In conclusion, the world of roadies and stage crew is a fascinating and intricate ecosystem that operates behind the scenes of every successful concert tour. Their dedication, technical expertise, and ability to adapt to challenges contribute significantly to the magic that unfolds on stage. While the spotlight may shine on the artists, it is the unseen efforts of roadies and stage crew that make live music experiences truly unforgettable.