CHAPTER I
INTRODUCTION TO THE TOURING CONCERT
The need for touring concert sound and lighting systems has increased with the demand for concert tickets. Every year there is a bigger tour than the year before, with more equipment and technology, and a larger touring staff. The venues needed to accommodate elaborate productions are usually larger, and so is the audience. Touring sound and lighting systems have developed to provide the equipment necessary for performances in large arenas. At first concert tours used available equipment designed and manufactured for theater use, but as the industry grew, specific products were developed for touring concert systems. Advancements in technology from valves to transistors to silicon chips have been part of the evolution of touring systems. This evolution will continue as performers strive to present shows that surpass previous efforts.
Most touring concert equipment for major concert tours is provided by service companies that provide both sound and lighting equipment or specialize in one or the other. Selection of a particular company depends on location, performers’ artistic requirements, venue size, and most important, budget. The budget usually dictates all decisions, so all too often artistic requirements are trimmed to fit financial necessities. The budget is usually determined by the popularity of the performers and their ability to attract an audience.
Various people are involved with concert production, and each has his or her part to play on the team. A production or stage manager coordinates the crew, which is broken down into sound, lighting, and performers’ crew divisions.
THE TOURING PARTY: WHO'S WHO
Performers. The performers do the show, talk to the media, and encourage people to buy their records and concert tickets.
Tour manager. The tour manager oversees travel arrangements, collects money, pays bills, and addresses problems as they arise.
Production manager. The production manager oversees and arranges the technical requirements and staff for the show. These requirements are documented in the contract rider that the performers’ booking agent or management company sends to the show's promoter. The production manager, who has an overview of the entire production, may have a background in sound, lighting, or stage management and can coordinate the touring and local staff.
Sound engineer. The sound engineer operates the control console and mixes the sound the audience hears. He or she also helps set up and pack the equipment.
Monitor engineer. The monitor engineer operates the monitor console, which controls the sound that the performers hear on stage. He or she also helps set up and pack the equipment.
Sound crew. The sound crew unloads, sets up, packs, and reloads the sound equipment. The crew also repairs equipment damaged in transit but usually does not perform technical repairs.
Lighting operator. The lighting operator is in artistic control of the console for the lighting system. He or she also is usually the lighting designer, who formulates the overall look of the show and selects the type, position, and color of the lighting instruments. The lighting operator also helps set up and pack the equipment.
Lighting crew. The lighting crew unloads, sets up, packs, and reloads the lighting equipment. This includes repairing equipment damaged in transit and changing burned-out gels and lamps.
Stage manager. The stage manager usually is responsible for the performers’ equipment, such as drums, guitars, and keyboards. The stage manager may have assistants such as a drum crew, a keyboard crew, and a guitar crew. The stage manager may also have a specific performer's equipment to deal with, for example, guitars.
Set crew. The size of the production may call for a crew to be responsible for risers, set pieces, flooring, and props.
Truck and bus drivers. The drivers usually must drive through the night after the show has been reloaded to arrive at the next venue in time to start all over again.
LOCAL CREW 
In addition to the touring crew, the size of which depends on the amount of equipment, a local crew is needed at each venue to set up and pack. The local crew is divided into the following categories:
Venue technical manager. The venue technical manager arranges the necessary local staff hired by the touring production manager and specified in the contract rider.
Loaders. The loaders unload and reload the trucks.
Stagehands. The stagehands move the equipment into position and assist the touring crew with the setup. The stagehands may be further designated into specific areas of the production, for example, sound or lighting.
Riggers. The riggers attach the chain motors used to lift the speakers and lights to the roof of the venue. The riggers may be divided into climbing and ground work.
Electrician. The electrician connects the power cables for the sound and lighting equipment to the venue electricity supply. This usually involves a three-phase connection for the lighting equipment and one connection for the sound equipment. Other services depend on the production, for example, video equipment and computerized lighting system.
Runners. The runners work under the production manager's direction as needed, for example, obtaining parts from a music store, collecting towels from the hotel, and buying batteries.
Forklift driver. The forklift driver works as directed.
Spotlight operators. Spotlight operators are needed only at showtime to operate the follow spots. Some of the follow spots may be positioned in the lighting grid above the stage, and a good head for heights is required.
House-light operators. The house-light operators switch the venue lighting on and off under the direction of the production manager.
LOCAL PERSONNEL
Additional local people employed for a concert are as follows:
Local promoter. The local promoter buys the show from the booking agent who represents the performers and sells the tickets to the show. The local promoter also ensures that the requirements set out in the contract rider are met. This includes local staff, dressing rooms, and catering.
Caterers. The caterers meet the requirements of the contract rider and ensure that crew members are well fed.
Venue staff. The venue staff needed depends on the size of venue but usually consists of ticket collectors, security personnel, ushers, parking attendants, refreshment stall operators, and program and merchandise sellers.
YOUR CAREER PATH
Being part of the touring team requires more than technical knowledge of the equipment. You must be able to work with different local people each day and to live and travel with the touring crew. Usually a bond develops among crew members as a tour progresses, and members who do not fit in usually find themselves replaced by people who do.
Working and traveling with a new challenge every day can be an enjoyable way of life. The rate of pay depends on experience, competence, and track record in the industry. A traveling allowance, called a per diem, is supplied. The only way to get experience and climb the ladder to a better job is to start on the road once you know how to set up the equipment.
The show must run on schedule, and the crew must be ready for work at call time. The schedule usually is worked out so that the setup can be a coordinated procedure. If people are late for their call times, the entire schedule is disrupted.
There is a career path through the ranks of a crew, from sound crew to console operator, from console operator to production manager. There also is a saying that you are only as good as your last gig, which means that if you cannot handle the heat, get out of the kitchen.