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| While producing shows, it is often necessary to "fly" equipment overhead, like lighting trusses & sound equipment. A proffesional rigger is trained to safely determine & construct rigging "points" from which equipment can be strung above the audience &/or performers. |
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| Must be clear from every seat in a venue. Every paying ticket-holder deserves an unobstructed view. Over time, a singe amplifier or set piece that interupts a sightline can amount to thousands in lost ticket sales on a tour. All seats must have a clear view to maximize ticket sales. |
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| In terms of audio production goals, this is the ability to fill a venue with sound. |
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| In terms of audio production goals, this is the ability to fill a venue with sound devoid of distortion & feedback. |
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| In terms of audio production goals, this is the ability to fill a venue with well-distributed, clearly discernible sound. |
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| This binding contract between the promoter & the artist/s documents the accepted performance details, payment schedule & percentages, technical provisions, labor requirements, & catering needs. Most show contracts have provisions for non-performance upon acts of G-d. |
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| Device controls the voltage being sent to the lighting instruments, allowing brightness to be varied at will. |
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| Computer Programming code allows for the recording, storing, & playback of the lighting changes & movements used during a performance. |
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| Audio console generates the audio heard by the audience at a performance. |
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| Oversees the entire staff for a given tour. Normally hired by the artist's managment, & is considered the head decision-maker for the touring staff. |
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| Oversees the daily logistics & genrally serves as the central point of contact for the local promoter, the local labor, & the touring staff. Interface with the touring managment team, & artists. |
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| Oversees the entire performance area. Supervise a fast & safe equipment load-out, coordinating the local labor force with the touring crew. Settles conflicts that arise among touring personnel. |
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| Employed by the artist, responsible for the specific mixes heard in the monitors. Demostrates highly-advanced technical abilities, as well as skill & tackfulness in communication. |
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| Maintains show's plot & ensures that the show's goals are met within the confines of each venue. Directs the artist's & crew's interaction with all instruments. Responsible for operation of the conventrional lighting console. |
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| Instruments/Back-line Technicians |
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Definition
| Responsible for the testing & synchronizing of musical instruments. Prepares instruments for performers. |
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| Four Phases of Production |
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1 Equipment load-in & set up.
2 Technical checks & testing.
3 The actual performance.
4 Equipment break-down & load-out. |
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| Licensed pyrotechnics engineer. Specifically trained in the maintenance & detonation of various pyrotechnic products. Establishes & responds to cues when generating effects. |
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| Technology allows the transmission of dozens of digital audio & control data signals over commodity CAT-5 UTP or fiber-optic cable. |
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| MIDI (Musical Instrumet Digital Interface) |
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Definition
| Protocal used to synchronize the musical instrument & computer worlds, can be employed in production as well. Can be programmed to activate & control lighting & audio cues during performance. |
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| Device programmed to provide the remote operation of any lighting instruments & other effects used during a performance, such as fog & smoke genorators. |
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| Aluminum rafters "flown" above the stage |
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| Parabolic Aluminize Reflector |
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| Two types of moving lights. |
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| Used to create shapes or logos with laser light using cutout stencils that light shows through. |
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