Backline: Drum Tech

Resource list for drum and percussion technicians.

  • D’Addario – Percussion
    Distributor for EVANS Drumheads, ProMark drumsticks, snare wire, and accessories. ProMark has partnered with the Tennessee Department of Agriculture to establish a reforestation project, Play. Plant. Preserve., with the “hope that by leading by example the rest of the drumstick industry can reach a net neutral standard of manufacturing by 2043.”
  • D’Addario – Resources – Guides and How-To’s
    Informational videos and articles on a variety of topics related to percussion.
  • Ludwig Drums
    Drum sets, snare drums, hardware, accessories, concert drums, marching drums, student percussion, mallet instruments, electronic instruments. Case studies and in-depth product reviews can be found on their blog page.
  • Pearl Drums
    Drum sets, electronics, snares, hardware, drum pedals, percussion, marching, Adams percussion, concert, specialty item, cases & bags, options & accessories. A selection of product manuals and how-to videos are on their website.
  • Yamaha Drums (USA site)
    Acoustic drums, snare drums, hardware, DTX electronic drums, modules, and hardware, EAD Electronic Acoustic Drum module, finger drum pads. News & events, product manuals, and more content can be found on their website.
  • Zildjian Cymbals and Drumsticks
    Cymbals, E-kit, headphones, sticks & mallets, accessories. Website features an Education Resource Library with a variety of videos, articles, tutorials, interviews, and more.

Radios and COM Systems

Radios and Communication (COM) Systems for tour crews and other folks working in entertainment production and live events.

  • Clear-Com
    Technology offerings including: Partyline communications, matrix solutions, wireless systems, IP communications, virtual intercom communications, security solutions, specialty solutions.
  • Telex
    Radio dispatch systems and radio dispatch accessories such as headsets and microphones. While their products are primarily used by the aviation industry, some products can also be used in the entertainment production industry. Notably, their aviation headsets are well-suited for folks working in loud environments such as music concerts, festivals, and other live events.

Health & Wellness

A list of resources to support the well-being of touring crews and other production industry professionals.

Disclaimer:
This is a list of resources which have been helpful for workers in the entertainment production industry. This website does not provide professional medical or psychiatric advice. Please seek professional help if you are having a medical or psychiatric emergency.

For Industry Professionals By Industry Professionals
  • Backline
    Mental health and wellness resources for the music industry.
  • Behind the Scenes
    Charity organization that provides grants to industry professionals to help with expenses related to “serious illness or injury, therapy or rehab, natural disaster relief” and provides a variety of mental health tools and resources.
  • Pure Life Therapy
    Holistic therapy designed to help “high-achievers, creatives, and touring professionals” most notably through Stress Management Mentoring program for music industry professionals.
  • Rock’n’Roll Yogi
    Helpful resources and advice from a yoga therapist, holistic wellbeing mentor and touring audio engineer.
Mindfulness and Meditation
Therapy
  • Find A Therapist from Psychology Today
    Locate a therapist in the USA. Search by city, zip code, or name.
  • Talkspace
    Virtual therapy sessions. Ideal for roadies and other entertainment production pros who are rarely staying in one geographic location for long.
Yoga
  • Yoga With Adriene
    Well-known and beloved YouTube channel with a wide selection of yoga routines available.

Roadie Community

List of resources for finding community, connecting with peers, and growing your network as a professional in the entertainment production industry.

  • On Tour Network
    A website with concert tour related news, featured articles, blog posts and more. Created by and for concert touring production professionals.
  • ROCU: Roadies of Color United
    Professional Association advocating for roadies of color in the event production industry. Founded in 2009 by two industry professionals, it has since grown to over 800+ members.
  • SoundGirls.org
    A website by and for women in audio and music production. Founded by veterans of the rock’n’roll touring industry, this site contains a wealth of resources for women (and everyone else) in the music industry.
  • This Tour Life
    A blog by and for touring production professionals featuring a large collection of articles, advice and tales from the road. This Tour Life contains a wealth of insights that can lift spirits during a rough week on the road. While tour life can be lonely at times, this website is a welcome reminder that we are not alone.
  • WILD: Women In Lighting Design
    Professional Association with over 20 chapters across the USA and Canada.

Industry Media

Media publications related to entertainment production and technologies. List of magazines and academic journals.

Academic Journals
Note: Full text of articles in some if not all of these journals can only be accessed through academic institutions, or libraries with subscriptions to certain academic databases. The list of journal titles below links to sites where you may find journal article titles, abstracts, and other reference information.

  • Theatre and Performance Design
    Theatre and Performance Design is an international peer-reviewed journal of scenography. Publishing innovative artistic practice alongside theoretical research, the journal critically evaluates the effect of scenography on the aesthetics and politics of performance and facilitates dialogue amongst practitioners, scholars, and audience.” – Taylor & Francis Online

Industry Conventions, Tradeshows, and Events

Check event websites for the current schedule, location, etc.

  • LDI Show: Live Design International
    USA Tradeshow featuring lighting, video, staging, and other entertainment technologies. Workshops and training sessions taught by industry experts.
  • NAMM Show: National Association of Music Merchants
    USA Tradeshow featuring vendors of music instruments, audio technology, sheet music, AV technology and more. Workshops and training sessions by industry experts. Must be able to provide industry credentials (e.g. proof of employment in the industry) in order to register for attendance.
  • PLASA Show
    European Tradeshow featuring lighting, video, staging, and other entertainment technologies.
  • USITT Conference: United States Institute for Theatre Technology
    USA National conference featuring professional development workshops and presentations by industry experts.

The 5 Types of Roadie Romance [Blog]

The hallmarks of romantic relationships, from the meet-cutes to the first fights to the makeups, breakups, grand gestures, and public declarations of love (is Facebook official still a thing?) applies to all couples, regardless of their careers. However, when one or both people in the relationship are touring crew members (a.k.a. “roadies”) it can put some unique pressures on even the most committed of couples.  

As the concert touring industry starts to regain its footing after the worldwide shutdowns of entertainment venues in 2020 due to the COVID-19 Pandemic, “roadie” couples are once again faced with the fact that working as a “roadie” is more than a career choice – it is, inescapably, also a lifestyle choice. With Valentine’s Day 2022 on the horizon, I wanted to share some of my personal insights and thoughts on different types of “roadie romances” in the hopes that it may help some of you to navigate conversations with your romantic partners and to gain a better understanding of the risks, rewards, and how to avoid some potential pitfalls of romantic relationships when one or both people are in the touring industry.

Relationships and The Road

Spilled coffee beans from a white cup
Photo by Jessica Lewis Creative on Pexels.com

As a young touring crew member, when the subject of intimate relationships between touring crew was discussed among my peers, I frequently heard people say: “Don’t do it,” “bad idea,” “don’t sh*t where you eat,” and “no way – unless you want to get a reputation as one of those women” and “It is bad for everyone when there are couples on the crew.” Sheeesh! That’s a lot of negative attitudes and assumptions about “roadie romance” to unpack! So, what’s the real story?

I want to explore some of the valid and not-so-valid reasons behind this negative outlook and talk honestly about the pros and cons of what happens when there is a “roadie romance” on a tour crew. If you are thinking of starting an intimate relationship with a “roadie”, if you have been in one, or if you are currently in one, I hope that this article helps you feel seen and recognized. I strive to be as inclusive as possible here, so I am deliberately avoiding gendered language when I can, because I think the information in this article applies to everyone, regardless of their gender identities and sexual orientations. Without further ado, here are the 5 Types of Roadie Romance!

Roadie Romance Type 1: The Tour Fling (a.k.a. having a “showmance”)

This type of relationship can be a fun adventure, or it can all go horribly wrong. This is the kind of roadie romance that I was warned could “give me a reputation”. In truth, I think that without careful navigation, this type of romance can result in a variety of reputations for one or both people involved. Do you want to be known as the resident player or f*ckboy on the crew? Are your fellow crew members going to be cool or will they say nothing to your face and call you a bunksock or worse behind your back? Does your tour have an actual policy document with rules about intimate relationships between crew members? (This is not uncommon in other industries, and while I have never encountered such a thing for tour crews, you never know!)

Before you start down this path and begin sharing hotel rooms and more, ask yourself some important questions: How well do you know your fellow roadie? Have you discussed your relationship expectations? For example, clearly stating “This is only a tour-fling, I am not interested in pursuing a relationship with you after the tour ends.” Or “I really like you; I would like to see where this goes after the tour ends but want to keep it private from the rest of the crew until we know if we want to make a more serious commitment to each other.” If you feel unable to talk to your fellow roadie about your expectations, then I strongly advise against getting involved. Clear and honest communication is important in intimate relationships, no matter how long that relationship lasts.

 If you are considering this type of roadie romance, I would also be honest with yourself about why you are attracted to This Person and Why Now. Are they a person you would consider dating off-tour? Are you simply attracted to them because you haven’t had a lot of time off-tour to find other potential dates and they are just convenient? Ask yourself, if this relationship doesn’t work out, can I continue to tour with this person? If I cannot, then is having a relationship with this person worth risking my job?

Try to get an idea of the response you and your sweetie could get from your fellow crew members before “going public” with your relationship. Be mindful that some people will always be judgmental naysayers about tour flings and “showmances”. Maybe because they had a bad experience or because they want to shame people on tour crews who have intimate relationships with other crew members.

Roadie Romance Type 2: The Dynamic Duo

This type of roadie romance is one that I think can work quite well in the optimal touring environment. Key word being optimal. If you are on a rock’n’roll arena tour together and one of you is the band’s Tour Manager (TM) and one of you is a Guitar Technician (GT), things could get challenging. For one, you could have very different travel schedules. You will probably live on different tour buses, stay in different hotels, and the TM is always at the mercy of the artist’s whims. This couple might get to see each other for a few moments before and after soundcheck, but otherwise, their days off are the only time to reliably spend time together, if they have any free time (assuming the band doesn’t need the TM or that the GT must spend part of the day dealing with guitar repairs).

A more compatible situation could be a Production Manager (PM) and a Production Coordinator (PC) duo. This is closer to Roadie Romance Type 4: The Power Couple, but more on that later… A PM and PC already spend a significant amount of time working together, so if they have a healthy and functional relationship, then this is a boon to the rest of the crew. Key words being healthy and functional. This is the type of roadie romance that, when things start to go bad, has the potential to be the kind I was warned about years ago. When the lines between personal and professional conflicts are blurry, then it can indeed become “bad for everyone when there are couples on the crew.” Healthy and functional intimate relationships between two roadies in optimal touring situations are great and make people happy. Unhealthy, dysfunctional (maybe even abusive) intimate relationships between two roadies in difficult tour situations really, really suck for everyone!Some touring companies actively recruit “dynamic duos”. These tours are generally set up in one location and stay for weeks or months before moving on to the next, and because these tours may run for years, having committed couples on the tour crew is an asset. There is the obvious savings cost (y’all only need one hotel room, right?), but these types of touring productions can involve contracts for long periods of time, and rather than have crew members end contracts early because they miss their better half, it is a win-win for everyone if both people in the relationship are working for the same tour.

Roadie Romance Type 3: Playing Favorites

Now, this type of roadie romance, this one is not ideal…. Deep sigh. I don’t want to judge, but I might get a little judgy here. This type of romance typically happens when an experienced tour crew member oversteps their bounds as a mentor to a less-experienced, often younger, crew member and takes advantage of their naivete and affection. It is not a good look for anyone. It can also have serious negative consequences that can affect the quality of the show and can impact the future touring careers of both people.

For the experienced roadie in this relationship, if they are in a hiring position (e.g., a Production Manager) they are risking their professional reputation as crew members may question their credibility when it comes to their staffing choices. Who wants to work hard to prove themselves to a boss when that boss decides to hire the inexperienced, unskilled person they are f***ing over an experienced professional? Even when not in a hiring role, someone pursuing a romantic relationship with a person significantly below them on the career ladder typically reveals a lot about their character, and this is usually frowned on, no matter the industry.

 For the less-experienced roadie, this person may unfortunately not be an asset to the crew; a “roadie” in name only, and unequipped for the job they were hired to do. Best case, this person genuinely wants to learn and get better at their job, and they will work their ass off to improve their skills and knowledge while they are on tour. However, the more they learn, the less power their “mentor” has over them, and this can cause drama in the relationship. They may also struggle to gain respect from their fellow crew members, and what seemed like a good career move may actually hurt them in the long run. If (more likely when) they break up, it will take a while for the protegee to shake off the association with their more well-known ex.

In the worst-case scenario, this wannabe-roadie can make mistakes that not only negatively impact the show, but that could compromise the safety of themselves, the crew, the performers, and/or the audience. “But I didn’t know any better” is not a valid excuse when you were hired for a role on a tour crew with the expectation that you know better. I am talking about anything from a Wardrobe Manager posting photos of tour laminates on social media to a Lighting Technician not understanding how to meter three-phase power to an Audio Engineer setting the volume on in-ear monitors too high. All these roles on tour have inherent security, safety and health risks involved in the work. If you do not understand why these three scenarios would be problematic, then you should not be doing those jobs.

Now, imagine that the inexperienced, safety-risk-causing “roadie” is dating your Production Manager, who isn’t going to fire them unless threatened with a lawsuit. You can see why Playing Favorites is my least favorite type of Roadie Romance.

Roadie Romance Type 4: The Power Couple

Well, we’ve just read about the worst, so let’s take a breath and consider a situation that can happen when a Roadie Romance goes right. I will spare my friends the embarrassment of me raving over what amazing power couples they are but let’s just say I have been fortunate to meet and get to work with some fantastic couples in the entertainment production industry who prove that when it works, it really, really works.

You will recognize this type of romance because the couple is probably married, and/or has been together for a long period of time. They live together and either run a production company together or operate production-related businesses that complement each other. One or both may be touring, or perhaps one of them tours and the other does work that supports the one who tours (think: Touring Video Director and Video Content Creator). Maybe one of them works in a management role and the other in a more technical role. The point is, they do better quality work because they are a team and that is why people love working with them.

If a Power Couple like this decides to part ways, it can send shock waves through the relatively small world of entertainment production. It may involve actual divorce and complicated legal proceedings. Something to keep in mind if you are thinking about starting a company with your Significant Other. At the very least, take time to set some agreed upon rules, should the business go under, and when it comes to marriage, there is no shame in getting a prenup. The risks involved here are not that different from other couples (married or not) who go into business together. You may need to agree upon some special roadie house-rules like: “No work-talk when naked” or “no discussing the technical details of network systems on a date” or “no open workboxes in the kitchen” (whatever keeps your house a happy one).

These pairs might have initially met on tour, or in college, or through mutual friends. Maybe they first hit it off at an industry event. Whatever their story is, you know it, and it’s adorable. We can all only hope to be this lucky. The Power Couple has mastered how to balance their relationship and tour careers. They know how to communicate effectively and set personal and professional boundaries to prioritize and protect their relationship. They can be the best people to talk to for Roadie Romance advice, but also the worst as they will not sugar coat anything for you and will remind you that a good relationship takes time and effort from both people.

Roadie Romance Type 5: The Anti-Social Social Club

We’ve all seen the hoodies, don’t act like you don’t know. For some, the true romance is the roadie lifestyle itself. Committing to your career on tour without pursuing a romantic relationship with another person, is completely valid and worthy of recognition. Many people on tour crews have reasons to consciously choose not to be in a romantic relationship. Sometimes they are willing to share those reasons with their fellow crew members, other times it’s no one else’s damn business.

Instead, try starting a travel journal or dedicated Instagram account for posting photos of your culinary adventures on tour. Have a one-night stand with that cutie from the hotel restaurant, or don’t, it’s your choice. Try not to sleep with anyone from the Local Crew. (I’m getting judgy again.) They are paid to be there to work, not to provide you with a weird version of speed-dating. Some of those young wide-eyed stagehands are going to grow up and become touring professionals – and they will remember you – so don’t treat them like groupies because they might just be your future boss someday. 

Being on a tour crew can be wonderful when your main relationship is with yourself and no one else. Do whatever you want on a day off. Call or text your friends and family on your own time. No one is going to get upset that you are “ignoring them” or “don’t care about their feelings” or start getting jealous. No need to calculate time zones before Face Timing from your hotel room at 3am when you’re jet lagged AF and just want to sleep.  You can eat whatever you want, even when you know it’s gonna make you gassy* – it’s not like anyone else is sharing your hotel bed!
(*does not apply on travel days, be nice to your bus crew please!)Finally, if you are currently a single “roadie” and hope to not be single at some future point, remember to make the most of your single days on tour. Enjoy the f**k out of them so you have lots of great memories to look back on and share with your future partner; It’ll make for great conversation on your first date.

Q & A: Challenges to Roadie Relationships

What happens when you are both roadies, but on different tours?

This is bound to happen if you are both roadies for long enough. Your relationship may have started while you were on the same tour, but if you are both roadies for long enough, being on separate tours is something you will have to navigate as a couple. Best case scenario, some of your tour dates and days off will line up, and you’ll get to enjoy some vacation time together in the same city. (True story!)

What happens if one of you decides to leave the road and the other stays on tour?

This is a different relationship dynamic than the experience of one person being a roadie and the other person having never been on a tour crew or having never worked in the same industry. When one person chooses to end their roadie career and the other person chooses to continue, there can be a lot of conflicting thoughts, emotions, feelings, and values to sort through as a couple. Keep communicating with each other, seek out help from a professional career and/or relationship counselor if it helps. Continue to support each other’s career goals, whether on the road or in a different industry.

What if you want to start a family?

Now, I have yet to meet a roadie couple who has managed to have a family without one person leaving the touring industry for a significant amount of time to come home and take care of the kids. The touring industry is WAY BEHIND the times when it comes to family leave and welfare for new parents. Do I need to get on my soapbox? Once the kids are older (like, teenagers) I could see more realistic options for both parents to sustain roadie careers. Maybe they can trade off (e.g., you take a Spring tour this year, then I get to take a summer tour). Maybe, in a situation like a year-long touring theatrical production, the whole family goes on tour for an extended amount of time (this might require the hiring of a nanny and/or tutor to care for the kids).

What I am getting at here is, your touring career is not over forever if you or your partner gets pregnant or wants to start a family. If you are a roadie parent who gets back on the road within a week of the birth of your child (obviously this means you’re not the one who gave birth…) being back on tour does not make you a “bad parent” because you “never see your kids” anymore. We have all this technology for you to use. It is OK to FaceTime your kiddos from the bus lounge, or the crew room, or the hotel lobby. Seriously, any fellow roadies who would look down on you for doing that are not good people and that is not a good tour, please find a better crew asap! Ideally, your little ones will gain a big ‘ol roadie family of aunties and uncles for life who will always make sure to have child-size earmuffs in the production office (protect those little ears please!) and always reserve them a seat at FOH.

What about fur babies? (and feathered friends or scaled critters)

Maybe you have pets and kids, or maybe the only feet you want to hear pitter-pattering through your home are those of your dog. Either way, having pets is not easy when you are part of a touring crew, but it is not impossible. It is rare that you will be allowed to bring your pet with you on tour. I have heard of a few tours where the Production Manager or Tour Manager was allowed to bring their dog, and I was on an arena tour once where one of the truck drivers traveled with their dog (and you can be sure that everyone on the crew adored this lucky doggo!) 

If you have friends and family who are willing to take care of your animal pal while you are on the road, that is often the best solution. Take the time to visit them with your pet before you leave so that your pet is comfortable and familiar with their home. Alternatively, have a friend or family member live at your home with your pet while you are gone. Make sure to pay for any expenses your pet incurs while you are away (food, grooming, vet bills, etc.). If your pet has special care needs, like daily medication, make sure to get their prescriptions filled before you go on the road, and ensure that your pet’s caretaker can confidently and responsibly handle your pet’s medical needs. 

If you do not have friends or family who are willing to look after your pet, consider hiring a pet service where someone will come to your home once a day to care for your pet. This can get expensive and is best for short trips, or combining with family/friends. For example, if your family/friend wants to take a short vacation while you are on the road and cannot bring your pet with them. Pet hotels and kennels are another option, although the price and quality can vary widely. Success with this option depends on your situation and on your pet. A three-month stay at the vet’s office might be fine for your pet iguana, or a week-long stay at a pet hotel for your socially-inclined cat might be great options.

Do you have any Roadie Romance questions?

Send them to: librarian@robinsroadieresources.com or post them in the comments!

When Personal Fall Protection Falls Out of Style [Blog]

This week I was putting our holiday décor back into storage when I discovered my old rigging harness and lanyard. I had a lot of questions: Can I use my personal fall protection anymore? How old is it? When did I last use it? Would my equipment pass a safety inspection?

A lighting technician hangs from a truss suspended in the air and focuses a stage lighting fixture
The most dramatic photo of me focusing a light ever taken. Photo credit: Serame Design

This week I was putting our holiday décor back into storage when I discovered my old rigging harness and lanyard. I had a lot of questions: Can I use my personal fall protection anymore? How old is it? When did I last use it? Would my equipment pass a safety inspection? Who does safety inspections of personal fall protection? Do I even remember where I bought it? In the New Year’s spirit of clearing out the old to make room for the new (and maybe because I just finished binge-watching the new season of Queer Eye), I took my equipment out of storage and decided to take this opportunity to share my experience with figuring out what to do with an old rigging harness and lanyard.

First off, if you are not familiar with this equipment or its use, here is a brief explanation. By harness I am referring to a full-body harness that is worn by stage technicians, most often by those working in rigging, lighting, scenic, or automation departments. Lanyards can be made with or without shock absorbers and are used to connect the harness to a fall arrest system. I am not going to get into the details of the components of rigging or fall arrest systems in this article, however, if you are interested in learning more, I highly recommend Entertainment Rigging: A Practical Guide by Harry Donovan.

A double lanyard with shock absorber next to a full body harness
Petzl double lanyard with shock absorber and MGO hooks. Yates Voyager Riggers 380 TR 376 harness.

I started my quest for information on what to do with my old harness and lanyard by answering the easiest question first: How old is my equipment? I did a keyword search in my Gmail account for “Petzl”, the manufacturer of my lanyard, and found the receipt from my original order, dated September 16, 2008. Further inspection of the tag on my harness revealed a manufacture date of July 2008. As of today, my equipment is approximately 13 years and 5 months old. When did I last use it? If memory serves correctly, I think the last time I used this equipment was around 2017.

Do I even remember where I bought it? My Gmail sleuthing also revealed the place where I purchased my equipment: Patroller Supply, based in Denver, CO. At the time, I was living in Seattle, WA and many of my colleagues ordered their personal fall protection equipment from this company. I did an online search to see if they were still around, and I found their Facebook page. However, their last post was in October 2019, and it shared a link to their current website. Unfortunately, their previous domain name appears to have expired and been purchased by a new owner as www.patrollersupply.com is no longer associated with their company.

The apparent downsizing of Patroller Supply seems like another entertainment industry casualty of the Pandemic. The shutdown of live events in 2020 meant that stage technicians, theatre companies, and other entertainment companies were less likely to be spending money on personal fall protection for themselves or their employees. Small businesses like Patroller Supply have suffered the consequences of this loss of income.

Who else besides distributors can conduct safety inspections of personal fall protection? Since I did not find useful information about inspections on the new Patroller Supply website, I decided to research the manufacturers of my equipment; Petzl, and Yates, and I found a few resources that can assist with the evaluation and inspection of personal fall protection equipment.

Petzl’s website provides helpful FAQ pages on When should I retire my equipment? and How do I retire my gear? As well as these Guidelines for retiring your equipment.

Yate’s Criteria for shipping harnesses or webbing product to Yates Gear for repair or inspection states that:

Yates Gear offers factory inspection and/or repair of any Yates Harnesses including Yates Spec Pak. Yates Gear products(s)must accompany an RMA# before being returned to Yates Gear. The RMA# can be obtained by contacting our Customer Service department. Yates Gear will not accept any product(s) that is or is contaminated with dirt or any foreign substance. The product(s) must be cleaned (laundered) and dried before shipping to Yates Gear. If the product(s) are shipped to Yates Gear contaminated “un-cleaned” condition the product will be returned, at your expense, with no action taken.

Would my equipment pass a safety inspection? The Yates Gear Inc. Webbing Products (including Harnesses) Service Life says:

A ten-year service life span is the maximum recommendation for all continuous use webbing products. Yates Gear Inc. can recommend service life span to ten years from the date the item was first “Put in Service”, not from Date of Manufacture. Yates Gear also recommends that Life Safety ropes and webbing products be put into active service within 5 years of its production date.

Another resource, especially for those in the Los Angeles, CA area is VER Sales Inc.

VER Sales “is authorized to recertify and repair the following systems:”

  • DBI/ SALA – Sayfglida, Evolution, Self Retracting Lifelines
  • Miller – SOLL Engineered Systems, Self Retracting Lifelines
  • Uniline – Uni -8, Uni -16, Unirail and other Engineered Systems
  • Tractel – Engineered systems FallStop and GripHoist products
  • Spanco/ RigidLifelines – Truss Track Engineered Systems
Close up image of lanyard hardware

As live events and touring have slowly begun to come back over the last year, I hope that individuals and companies alike are taking time to have their personal fall protection equipment inspected by qualified professionals.

Can I use my personal fall protection anymore? I think not. This is primarily due to age, given that both manufactures recommend a ten-year service life span and my equipment is 13+ years old. In addition to age, when I consider the usage, the environmental conditions, travel, and storage, I am confident that my equipment would not pass inspection.

For now, my plan is to deconstruct my harness and lanyard, using the Petzl Guidelines for disassembly, and hopefully donate some of the materials to Suay Sew Shop, where some of the webbing might be able to be used to create handles for tote bags or other products. I might repurpose some of the hardware (plant hangers? Hammock hooks?) and I discovered that the shoulder padding on my harness was simply attached with Velcro, and I can already see more comfortable purse and luggage straps in my future…

Let me know in the comments if you have more ideas for what to do with old personal fall protection equipment. Kindly note that inappropriate comments will not be approved – you can save those for the back lounge!

What’s in a day rate? [Blog]

June 21, 2021, and the live events industry is showing signs of life. This past week has found me, along with several other friends, in negotiations for gigs later this year. Is this it? Are we back? Yet as hopeful as I feel for the beginnings of recovery for the live events industry, I am equally dismayed at some of the offers being presented.

Many of us have been out of work for some time. We understand that promoters, record labels, and artists’ management also took a hit. We know that venues, production equipment vendors, and the travel industry have also lost revenue. But does that mean that we should lower our rates?

As designers, programmers, stage technicians, audio engineers, video directors, etc. – are we not being asked to do the same tasks we were doing before the Pandemic? Do we trust that clients will honor our pre-Pandemic rates again in the future if we compromise on projects in 2021? Should we give clients a discount on our rate until the economy recovers? How long will that take? According to a Pew Research Center study, “a full recovery for the labor market appears distant. Employment in February 2021 was 8.5 million less than in February 2020, a loss that could take more than three years to recoup assuming job creation proceeds at roughly the same monthly rate as it did from 2018 to 2019.”

There was a $1200 difference between the lowest and highest rates that were suggested to a friend of mine who sought advice from myself and others on the appropriate weekly rate to ask for in negotiations for a potential project. I am glad to say my recommendation was on the high end and our conversation reminded me once again of the importance of salary transparency and setting a standard for fair compensation.

I decided to do some research in some of the resources I had at hand, and I found some information that I hope will provide insights and help with current and future negotiations.

A Look Through History

1988: Howard Shenson, author of The Contract and Fee-Setting Guide for Consultants and Professionals, references a 1988 poll that lists the median daily billing rate in various sectors of industry: Arts & Culture = $611, Recreation = $644, Broadcast = $743, and Industrial Design = $788 (Moody, 2002).

1995: In Stage Lighting Design by Richard Pilbrow, he shares the 1995 United Scenic Artists, Local 829 (USA 829) Minimum fees for Lighting Designers. Here are the 1995 rates listed in Pilbrow’s book contrasted with the current Broadway rates and the LORT rates beginning July 1, 2021, found on the USA 829 website:

Broadway1995 Broadway2021
Musical, Multiset$17,883Musical, Multiple Scripted Locations or Multiple Sets$28,298
Musical, Unit w/ Phases$10,305  ?
Musical, Single Set$5,627Musical, Single Scripted Location$12,562
Weekly Fee$250  ?
Commercial Tour Dramatic, Unit Set$10,305Dramatic, Multiple Scripted Locations or Multiple Sets$16,721
Small Scale$5,627Dramatic, Single Scripted Location$10,484
Comparison of Lighting Design Fees
Freelance19952021
LORT A$3,065$7,463
LORT B+$2,685$6,353
LORT B$2,190$5,280
LORT C-1$1,645$3,812
Comparison of Lighting Design Fees

(LORT = League of Resident Theatres)

While the LORT rates have increased in a straightforward manner over the years, the Broadway rates have adjusted for more than just inflation. Rate category names have changed and/or been consolidated, and I found huge variation in weekly rate minimums for touring Broadway productions. I still find this comparison useful, especially for those who have been in the business since the 90s. Please take these figures to heart and make sure your clients are keeping up with the times.

1996 – Present Day: James Moody surveyed 50 concert touring rental companies and freelance designers in 1996 for the second edition of his book, Concert Lighting: Techniques, Art, and Business. Moody has since released newer editions, the latest in 2016, however, the 2nd edition data provides a helpful contrast for this timeline. Data for 2010-2020 is based on my own personal experience, when available, and information from my colleagues during that decade.

Concert Tours – Weekly Rates19962010-2020
Lighting Crew – Concert Lighting Company$600-$900$750-$1,500
Lighting Crew – Freelance$600-$900$1,000-$2,000
Head Electrician – Concert Lighting Company$1,000-$1,500$1,000-$3,000
Head Electrician – Freelance$1,000-$1,500$1,600-$3,400
Lighting Director – Concert Lighting Company$1,500-$2,500$1000-$3,000
Lighting Director – Freelance$1,500-$2,500$1,600-$4,000
Lighting Design Fee$5,000-$10,000$?
Lighting Design Fee, Mega-tour$50,000+$?
Comparison of Weekly Rates for Concert Tour Lighting Crew

Moody does not clearly delineate between rates for freelance crew and those who are employees of the concert lighting company (vendor) for the tour, so I have listed the same figures for both. Since 1996, the range between the highest and lowest rates has increased. Rates are impacted by the size and scale of tour productions, especially for Lighting Directors. Small-scale concert tours may involve one tour bus for band and crew, towing a trailer for production equipment, and shows at venues with capacity limits of less than 4000. Large-scale concert tours may involve multiple tour buses and semi-trailers of production equipment, and shows at arenas, or even stadiums.

While it may seem like freelancers make more money, Moody reminds us in The Business of Theatrical Design that a freelancer is paid more than staff “because the employer is not paying for insurance, health, and welfare, or contributing to a retirement plan on top of the daily or weekly salary, as she would when paying a full-time employee” (2002, p. 181).

As a freelancer, when it comes to figuring out a weekly rate for a concert tour, one way I have often thought about it is to break it down per day, and then per hour. Although there are “days off” on tour, crew members are typically still away from home, without the ability to take other work on those days. Whether or not you are paid for all 7 days of the week depends on how and what you negotiate.

Concert tour weekly rate breakdowns for freelancers:

$3400/week = $500/day x 7 days | 10hr/day at $50/hour

$3400/week = $680/day x 5 days | 15hr/day at 45.33/hour

$3000/week = $428.58/day x 7 days | 10hr/day at $42.85

$3000/week = $500/day x 6 days | 10hr/day at $50/hour

$3000/week = $600/day x 5 days | 10hr/day at $60/hour

$3000/week = $600/day x 5 days | 15hr/day at $40/hour

*Note: These hourly rates are basic time estimates for freelancers, and not broken down further to calculate for overtime and/or double time as you will see done for employee rate as explained below*

Day rates and minimum wage:

This may be different where you live, but consider this, a $15/hour minimum wage equals a minimum $315 for 15hrs of work in a day. How did I get that number? Generally, labor laws specify overtime = hourly rate + time-and-a-half for up to two hours after an 8-hour period of work. Any time worked after 10 hours is paid at double the original hourly rate.  

($15/hour x 8hrs regular time = 120) + ($22.50/hour x 2hrs overtime = 45) + ($30/hour x 5hrs double time = 150)

(120 + 45 + 150) = $315

Now consider this:

$1575/week = $315/day x 5 days | 15hr/day at $15/hour

$825/week = $165/day x 5 days | 10hr/day at $15/hour

$600/week = $120/day x 5 days | 8hr/day at $15/hour

Note that the low end of concert tour rates, depending on how long your days are at work, could equate to tour crew members being paid minimum wage, and runs the risk of violating labor laws if crew members work longer hours than originally budgeted for by the tour production management or concert lighting company who hired them. I have been in this situation before with a company who hired me as an employee. I only got paid my fair rate after sending them a detailed breakdown of my time and the math that showed how my rate would equal less than minimum wage if I were to be paid what they originally estimated. Needless to say, I got paid my fair rate.

One of the first things to consider before going into negotiations is how many hours do you expect to be working in a day? Do you start with an 8am load-in and work through until after load-out at midnight? (e.g., Head Electrician) Or do you come in at Noon after the stage is built and then pack up equipment at load-out, but someone else loads your equipment onto the truck for you? (e.g., backline tech on an arena tour).

As excited as I am at the prospect of getting out there to work on a show again, there is a limit to how much of a reduced rate I am willing to consider, and in some cases, depending on the scope of the project and the client, there is no way I could in good conscience agree to a lower rate as it would set a precedent that could harm future negotiations for myself, my peers, and those who are just getting their start in the industry. Not every live event will have an unlimited production budget, and sometimes is it a better decision to volunteer your time as opposed to taking a low rate (depending on the situation, you might be able to use this as a tax write off – but first check with your CPA please!) As Brad Schiller pointed out in Living the Lighting Life, “some jobs are for rent, some are for art, some are stepping-stones for growth” (p. 236).

If you have read to the end of this post, I would love to read your comments and find out more about your experiences. If any of my numbers seem wildly off to you, I will happily provide further context and/or make corrections if needed.

References

Kochhar, R. & Bennett, J. (2021). U.S. labor market inches back from the COVID-19 shock, but recovery is far from complete. Pew Research Center. https://www.pewresearch.org/fact-tank/2021/04/14/u-s-labor-market-inches-back-from-the-covid-19-shock-but-recovery-is-far-from-complete/

Moody, J. L. (1998). Concert lighting: Techniques, art, and business (2nd ed.). Focal Press.

Moody, J. L. (2002). The business of theatrical design. Allworth Press.

Pilbrow, R. (1997). Stage lighting design: The art, the craft, the life. By Design Press.

Schiller, B. (2021). Living the lighting life: A guide to a career in entertainment lighting. Routledge.

United Scenic Artists Local USA 829. (n.d.). Local USA 829> Contracts > Collective Bargaining Agreements. Retrieved June 21, 2021, from https://www.usa829.org/Contracts/Collective-Bargaining-Agreements-CBAs/Theatre-Opera-Dance