I work at a theatre that hosts pretty much every type of production, be it touring theatres, corporate events, comedy shows or small bands. Most of the time, I'm the lighting tech, but I've also worked as venue foh. I think that your overview was spot-on on the sound side of things. With the other aspects, it can also be a lot more people depending on the size of the production. In my line of work, there's usually a touring technical director and separate manager. While the manager (sometimes there's a separate tour manager) takes care of all the general aspects, like when the venue is accessible, where vehicles can park, the time schedule, making sure hospitality requests are taken care of and so on, the touring technical director is in charge of coordinating all the technical aspects and making sure the needs are met. There's also a venue technical director who's just the venue counterpart so everything's coordinated. The lighting department also usually has some extra hands/techs to get all the lights flown in the beginning because that is a time-intensive process that needs to be done quickly so the stage is clear. Then there's also the rigging department that's there for anything that needs to be flown. In the theatre I work at, all of us can operate the fly system and no points need to be pulled, so there is no dedicated rigging team. However, the stage setup is quite extensive with the theatre productions so there's personell for that.
As tech director of a small venue, I am often the first person to great the band, let them know where the green room, merch location, run foh and monitors, and lights. he have gottent a few that run a digital spit with us to run their own in ears.
At the venue i do sound for I'm the FOH, monitor amd light guy plus, the one that meets, talks snd sometimes books the bands , but it's fun and i know taht being the one doing all those things i get to keep my stage nkce and tidy bith during and after the show, i have a huge issue with cables going all over the stage so i usually go in two hours ahead of time and wire up all the cables myself and after the show i take and put back everything back in their specific case until the next show...
Yup, bullseye. I’m venue FoH and monitors (as necessary), but more and more bands/acts/artists want to mix their own IEMs with an app that connects to a console.
@@gregorykusiak5424 I work in a really small venue, max 300 people I love it when bands want to mix their own IEMs or floor monitors. I made a Tech Booklet that we give to potential artists (we have way more requests to play than we have nights available) and I put on their what app to download if they wish to mix their own monitors/floor monitors. We use a Yamaha DM3 so they can use either MonitorMix or Mixing Station.
Hey Andrew Pls do a video on doing an actual LR send to the Matrix on a Pro2 series , it’s a bit different from the Midas console the Pro also gives you an option of the master LRC patching/Routing so how do I then send that to my Matrix I can do this on other console but the Pro2 haven’t had time to actually play around with the console pls show us 🙏🏾 I’ve seen all your other videos on the Pro 2
I work at a theatre that hosts pretty much every type of production, be it touring theatres, corporate events, comedy shows or small bands. Most of the time, I'm the lighting tech, but I've also worked as venue foh. I think that your overview was spot-on on the sound side of things. With the other aspects, it can also be a lot more people depending on the size of the production. In my line of work, there's usually a touring technical director and separate manager. While the manager (sometimes there's a separate tour manager) takes care of all the general aspects, like when the venue is accessible, where vehicles can park, the time schedule, making sure hospitality requests are taken care of and so on, the touring technical director is in charge of coordinating all the technical aspects and making sure the needs are met. There's also a venue technical director who's just the venue counterpart so everything's coordinated. The lighting department also usually has some extra hands/techs to get all the lights flown in the beginning because that is a time-intensive process that needs to be done quickly so the stage is clear. Then there's also the rigging department that's there for anything that needs to be flown. In the theatre I work at, all of us can operate the fly system and no points need to be pulled, so there is no dedicated rigging team. However, the stage setup is quite extensive with the theatre productions so there's personell for that.
Im the Sound and Light guy in the venue, and yes I’ve been known to have conversations with myself. 😂
As tech director of a small venue, I am often the first person to great the band, let them know where the green room, merch location, run foh and monitors, and lights. he have gottent a few that run a digital spit with us to run their own in ears.
At the venue i do sound for I'm the FOH, monitor amd light guy plus, the one that meets, talks snd sometimes books the bands , but it's fun and i know taht being the one doing all those things i get to keep my stage nkce and tidy bith during and after the show, i have a huge issue with cables going all over the stage so i usually go in two hours ahead of time and wire up all the cables myself and after the show i take and put back everything back in their specific case until the next show...
-venue staff i.e. security, bartenders, riggers, custodians, guest services etc.
-VJ house/touring
Yup, bullseye.
I’m venue FoH and monitors (as necessary), but more and more bands/acts/artists want to mix their own IEMs with an app that connects to a console.
@@gregorykusiak5424 I work in a really small venue, max 300 people I love it when bands want to mix their own IEMs or floor monitors. I made a Tech Booklet that we give to potential artists (we have way more requests to play than we have nights available) and I put on their what app to download if they wish to mix their own monitors/floor monitors. We use a Yamaha DM3 so they can use either MonitorMix or Mixing Station.
Thank you.
How to reset all channel expect fx bus matrixes on m32, x32 or how to copy fx, bus, matrixes on new scene?
Im from México, People is oblivious to roles, often expecting FOH/MON, RF and even lights some times 😢
Also Security and Bouncers or Ordningsvakter / Väktare..
Hey Andrew
Pls do a video on doing an actual LR send to the Matrix on a Pro2 series , it’s a bit different from the Midas console the Pro also gives you an option of the master LRC patching/Routing so how do I then send that to my Matrix I can do this on other console but the Pro2 haven’t had time to actually play around with the console pls show us 🙏🏾 I’ve seen all your other videos on the Pro 2
You should do a video together with German Artist and TH-camr Hainbach. But don't tell the viewers who is who, because you look very alike.
As a light guy I can assure that I never helped to coil your cables….we are not kind….just a bit prettier than riggers 😂