Answers to questions previously asked via the free Ask a Roadie line.

Q. Just wondering if you could give me any advice on where to search for sponsors to help a tour?

Hi, thanks for your enquiry.

Where you look for tour sponsorship depends on what you are looking for and who and how popular the artist is.  If you are just looking for equipment then some manufacturers will loan gear to you if your act is reasonably well known without complicated agreements

If you are looking for a commercial company to underwrite some of your tour costs then they may well want to see what they are getting for their money in terms of audience numbers, coverage in tour advertising etc. Also how sponsoring your artist/tour will give them more for their money than spending it in other ways.

If you can produce a business pan for the tour showing how it would benefit a sponsor in terms of reaching their market then you can simply approach any company who has products aimed at the type of people your band would appeal to. If you let us have a few more details about the tour we can probably make a few more specific suggestions

Good luck!

for more Roadie Replies click here......

Can you help? We are looking at the possibility of having promoters provide back line rather than carry it. I have gear in the UK and Germany, what about Paris, Milan, Rome and Amsterdam, are there good companies in those cities for rentals?

Thanks for your enquiry.  There are certainly good companies in Amsterdam and Paris, things are a bit more variable in Italy!
Whether it makes economic sense to have promoters provide backline depends on;
1 Availability of the equipment you need, if you have very specific requirements for fairly rare items you may be unlucky.
2 Transport, if you are flying then it is the sensible choice with baggage restrictions and charges on European flights, if you are in a van or bus then probably better to carry it
3 Cost, even if the promoter is paying for it as a show cost rather than just deducting the cost from your fee you will be paying for it as the guarantee will have been worked out taking backline costs into consideration. One off rentals are always more expensive than longer term ones. Also in some countries rental is more expensive (Italy) than others
4 Convenience and reliability, musicians generally like to use the same stage equipment every night as they get used to it and different amps etc. although of the same model always perform differently.
5 Production time, it is one more thing to advance with every show, some promoters are good at providing backline, some less so

If you let us know your routing and transport arrangements we can make some suggestions

Hi FTTS, I have a question on Germany: I have a promoter telling me in Berlin that when the floor is made up of a seated audience, it is a law there that the front row must be 10 feet from the stage and that no one can be standing in the 10 feet between the stage and the first row, how can I check if this is true? a lawyer? etc? what do you think?

Hi. whether or not there is an actual statute to this effect venues often have policies on barriers and audience distances from the stage.
Is there a clause in your contract rider relating to this?
Is the promoter fully aware of the kind of act that he has booked?
If you us know the venue and promoter we may be able to advise further. Best FTTS

... Do you know of a bus company in Germany called Mze.de? have you dealt with them before?

Hi,  thanks for you enquiry, presumably you mean MZES? Yes we have dealt with Marco there, they were up for doing a Steel Pulse tour last November but didn’t have a bus available but one our crew guys used them on Sly and Robbie and was very happy, Best FTTS

Hi.....was wondering if massage theapist are ever really needed as roadies and what its like and what the pay is really like? any info would be great

Hello....., thanks for your question, Masseurs/therapists do get used on the road but would only be taken on the road by the biggest tours and then generally for the artist not the roadcrew, or by artists with a particular need, their act is very physical and perhaps they are not as young as they used to be! To get hired for this kind of gig though you would probably have to be the artists personal therapist before the tour.  Another way in would be to offer your service at your local venue(s) to touring acts. Probabaly the best way would be to approach the concert promoter or venue. In terms of pay there isn't that much precedent so I would suggest simply charging what you usually do.Why not put your profile and details up on our site in the classified section. Hope this helps

hi, .....i'm currently studying my 4th year of sound production i have currently worked for a local crew company the last 6 years and have been on some uk tours i have an abition to be in live sound but i dont see that happening in near futcher seeing as it nearly inpossible to get a sound job directly off especialy in glasgow i was just wondering what would my best way of joining a road crew as often work with them but they allways seem to work for us or canadian companys and wouldnt be able to give me a job unless i moved accross the pond,thusfar i have accepted i may have to move to london if i want to get work of any kind and have contemplated skipping my last year if the right oppertunity arises as i feel i can learn soo mutch more if i just get on the road. soo for any roadies out there let me know what to do cause the indusry is confuseing (and my folks wont let me stay in the house for free mutch longer)

Hi...., thanks for your question, it seems that one of the most difficult things to do is finding a job in the live music business after training. The career route for live engineers tend to be
1.  mixing sound for local bands, have you been doing this, initially you could offer to do it for free that way even if your band don’t make it you will get to meet other bands and if you are any good wil get plenty of offers. There are lots of mediocre engineers out there!

2.  House engineer at a venue, call all the local venues and offer yourself. Again you may get picked up by  a touring band if you are good and helpful

3.  Work for local sound company in Glasgow there is;  Warehouse www.warehousesound.co.uk/
Powerhouse Scotland http://www.powerhousescotland.com/ as well as several others
Also please send us your cv and we will put your details up on the site. Hope this helps, good luck

Hi, I just went to an amazing Kelly Clarkson concert! How do I get a job on her  road crew?? I saw the crew prepping her stage and tearing down the opening acts equipments and instruments, I could totally do that and I actually know how. I have about 4 years experience as Production Assitant in movies, but I do have musical background as well and play guitar. Working in movies is  getting old, how do I even begin or go about getting a job with a big concert tour??? Any help would be great! Thank you!  (Bakersfield, CA)

Hi..., you could always call her management co. The Firm tel. 310 860 8000 manager is Jeff Kwantinetz. They are a large  co. who look after a lot of artists, Korn etc. as well as having film interests.
They will probably not offer you a job on the spot but if you send them your cv and keep pestering, but not too much, /you never know. Same obviously applies to other artists/managements. The live music business for all its changes in recent years is still largely run on informal lines and if you are keen and helpful and in the right place at the right time you will get on. Why not send your cv to us here and we will put up your details on the site.
Thanks and good luck

Hi! I'm planning to record an E.P this summer and I need a couple of questions answered before I start.  Firstly, what is the best and simplest way of copyrighting my music which would cover me if it was stolen or copied etc? Secondly, I've found websites such as Tunecore and CDbaby which distribute your songs to itunes and other online stores. Have you had any feedback at all from people about these websites? And is it a good way of distributing your music? And lastly, what would you suggest for a Firewire Audio Interface with about 8 mike inputs? I've looked at a few makes such as Edirol, Alesis and Motu but I can't decipher which is the one for me. I would be using to record most things including a drum kit. Cheers for your time

Hi..., thanks for your question(s).  A copyright comes into existence in a song (piece of music) once it “exists in tangible form” i.e. Once it is recorded or written down.  Simplest way of protecting your songs  (copyrights) is the old fashioned way of sending a copy (disc, mp3 etc.) to yourself by registered post and keeping it unopened ( this will show that it existed on the date of posting) until you are an international megastar and have to deal with a copyright infringement claim. “Where there’s a hit there’s a writ” as the saying goes.

You can also join PRSformusic http://www.prsformusic.com/creators who will keep details of your songs and collect money on your behalf if they have been exploited in any way. They do not though keep physical copies of your music.

Once you have a few songs together you can contact a music publisher who can help you with these things as well as working with you creatively and if you’re lucky fund you. The MPA is the industry association of Music Publishers and a good place to start http://www.mpaonline.org.uk/

We have heard ok things about packages from Reverb Nation who offer Itunes etc. distribution as part of their package. While it is good to have music available on such sites you are probably not going to sell very much that way. Many artists have found that it is effective to give away your tracks from your own website and to have physical product to sell/give away at gigs. One route doesn’t rule out the other, the most important thing is to get your music heard by as many people as possible.

I have always like Motu stuff, but the others you mention have good reputations. With this kind of equipment the critical parts and the ones where manufacturers can skimp are the mic pre-amp sections and the ad/da convertors and good ones are not cheap. Hope this helps

As an artist myself iv found the only way i stay creative and motivated is workin with, along side or for other bands/artist. So im looking for a job with a band or any inde label thatw ould aloow me to whatch, work and learn the industry for sum pay (Low) if nessersary. If you could push me in the right direction it would help thank you.

Just keep pestering labels, managements etc. until one day you will call just at the right moment and someone will give you a start. Do you have a cv? If not get one done and keep it up to date ready to send out to anyone who shows interest. You don’t say though what your particular talents and interests are

I am a student studying audio engineering at SAE London.  I have been getting unpaid freelance work for a while and have a few TV/film credits under my belt.  My dream is to work in live sound however, do you have any tips on how to get live sound gigs?  At the moment I can work for free and I am trying to get as much experience as possible because soon I will enter the real world with real bills!  Any help would be appreciated.

Thanks for your question, always difficult to move from education into work. There are two main routes to get into live sound; One is to work for a band. Find a band who are friends or who you see playing at a gig you are at who are having sound problems, it happens a lot! Offer to help them out and ask to do more gigs with them. A band would rather have their own inexperienced person mixing sound for them who is “on their side” than rely on house engineers who may be great or may be indifferent. You can also learn a lot from working with different house systems and engineers every night.

The other route is to work for one of the rental companies or for a venue. Contact all the sound companies you can find and offer your services, if you get your timing right you may be lucky and get taken on. Initily you will be sweeping the warehouse and doing other menial tasks but if you are keen and show aptitude you will soon find yourse a lf going out on shows.
The same applies to venues but few are in a position to take on inexperienced or assistant engineers. Please send in a copy of your cv we have close connections with Re-Production, http://www.re-production.co.uk/ a concert and event production company.

I am a student studying audio engineering at SAE London.  I have been getting unpaid freelance work for a while and have a few TV/film credits under my belt.  My dream is to work in live sound however, do you have any tips on how to get live sound gigs?  At the moment I can work for free and I am trying to get as much experience as possible because soon I will enter the real world with real bills!  Any help would be appreciated

Thanks for your question, always difficult to move from education into work. There are two main routes to get into live sound; One is to work for a band. Find a band who are friends or who you see playing at a gig you are at who are having sound problems, it happens a lot! Offer to help them out and ask to do more gigs with them. A band would rather have their own inexperienced person mixing sound for them who is “on their side” than rely on house engineers who may be great or may be indifferent. You can also learn a lot from working with different house systems and engineers every night.

The other route is to work for one of the rental companies or for a venue. Contact all the sound companies you can find and offer your services, if you get your timing right you may be lucky and get taken on. Initially you will be sweeping the warehouse and doing other menial tasks but if you are keen and show aptitude you will soon find yourself going out on shows.

The same applies to venues but few are in a position to take on inexperienced or assistant engineers.  Please send in a copy of your cv we have close connections with Re-Production, http://www.re-production.co.uk/ a concert and event production company

Where are the best places for a band to get spotted? What i mean is, are there any particular clubs or venues where you are more likely to be approached... if you are any good that is...

The short answer is , anywhere that you can draw a crowd. If your band has a following and you can draw a decent crowd when you play invite A&R people, Agents and Promoters (they will travel) and the crowd will do the selling for you.  If you want to be noticed by chance then it’s a good idea to try and get a support slot with an act that is getting some interest. Look in the NME and local press and see who is playing where, contact the venue or the headline act and try and blag a support.  There are also venues which A&R people will habitually go to, again best look in the press and see who is playing where and you will get an idea of the hip places. Always remember though that nothing is better for getting you noticed than having fans

We're just starting out on our first tour but can't afford hotels - pls advise

Obviously you can all come and stay at our house... OK, seriously, ask the promoter if they know anyone willing to offer accommodation. Sometimes local promoters (who are often big fans of new music) will know cheap b&b's, have friends that will put you up or will put you up themselves. This might however reduce your fee a bit. Failing that at the end of the gig ask any fans that come up to talk to you if you can stay at their place. Many bands only have hotels on days off with the rest of the time spent on the sleeper bus.

What are the rules for a harmonious tour on a sleeper bus?

No.1 Rule, NO No.2's

Sleep feet first - your less likely to die if you have a crash.

Don't go on tour with German heavy metal bands

Be 10 times as tidy as you would be at home, put away your stuff, wash up your mug.

Look after your bus driver and they will look after you - make them a cup of tea in the middle of the night.

It is crucial you organise your parking arrangements for the bus at hotels/gigs IN ADVANCE. Driver's hours are very strict and they will not appreciate having to move on. If you do not do this it will become a major problem.

Do not expect to use your bus as a taxi when you get to your destination.

When your Driver is asleep be quiet, they need their sleep, and your lives are in their hands.

Be on time - everyone hates waiting and it eats in to the drivers hours which can result in you not getting to your destination on time. Driver's hours start from when they get on the bus not when they move off.

Our lead singer is rubbish, how do we sack him and find a better replacement?

To get rid of him/her watch the film Rock Star, starring Mark Walhberg (aka Marky Mark) and do what they do. *FTTS votes this the 2nd best Rock film ever....

To find your replacement steal the singer of a band you like. If this is not possible advertise in all the usual places, music shops, rehearsal studios, NME Classifieds (musicians wanted is free to advertise), relevant web sites etc..

Essential criteria for hiring a Lead Singer (given that the singer has got to hold the attention of the audience):

Looks - anyone can be taught to sing and personality defects take a long time to manifest themselves. In this way at least you know what you're getting.

Wardrobe - meet them a few times to make sure they are wearing different outfits. They either have to be very cool or so uncool they're OFF the radar.

How do i become a good Tour Manager?

Don't panic! Watch Timothy Spall in the film 'Rock Star'. There are NO other rules.

My AMPGEG SVT head is completely dead, what should I do?

Check all the internal fuses including the one underneath the valve. SVT's like many modern amplifiers have complicated protection circuitry and if they get a bad mains spike will shut down and/or blow a fuse. So before you take it back to the shop or get it repaired check this. This applies to all amplifiers as many have hidden fuses. If you don't know what you're doing find a friendly Roadie who does.

What's the best cheap and cheerful rehearsal studio in London?

With rehearsal studios you get what you pay for. There are 4 or 5 quite expensive but good one's; John Henry's, Music Bank, Terminal and Ritz. Terminal and Ritz are the most friendly.

Can you recommend a decent rehearsal studio in Manchester and Birmingham?

We'd recommnend Ritch Bitch (Birmingham) and Greenhouse (Manchester)

Don't forget to mention us when booking!

Any advice re booking rehearsal studios?

Always try to negotiate, if they are busy they won't if they're not they will. Watch our for the the extra 'bits' on the bill. Do not let your band run a tab, if you do need to do so keep a close eye on it as this is how they make their money from giving you extra amps to replacement guitar string - anything you ask to borrow will turn up on your bill. The account should always (if possible) go through a Tour Manager or someone responsible and you must make sure the studio is aware of this.

If you're just starting out and plotless obviously you have to find a friend's garage, chat up their mum/dad etc.. It's worth noting the Government have just started an initiative to finding additional cheap rehearsal studios and have put Fergal Sharkey (The Undertones) in charge of it....don't let that put you off!

I don’t want to appear stupid but i’ve heard people talk about Carnets. What are they and do I need one?

A Carnet is a “passport for goods”. It’s a guarantee that if you import a band’s equipment into a country you will take it out again. If not you would have to pay import duty. It is not needed for movement between EU countries anymore but if you’re tour goes to any non EU countries (eg Switzerland) you need one legally.

In practice many people don’t bother. The forms are available from London Chamber of Commerce and it will cost you approximately £300-£400 (dependent on the value of the equipment) per tour. They have to be stamped at every border crossing which can be a pain as officials, particularly in the US, have no idea what they are. If you don’t get one just say it’s your personal equipment. The risk is that you will have your equipment impounded or will have to pay a duty.

We never seem to get our full hospitality rider. What are we doing wrong?

There are lots of famous stories about bands insisting on having bowls of M&M’s with all the brown one’s taken out, but there are two things to remember.

No. 1 the rider is always charged back to the band one way or another.

No. 2 there is some poor sod who has to go and buy it for you.

So if you want beer its best to ask for “bottled lager”, rather than “Saporo”. As with everything it is best to speak with the promoter ahead of the gig rather than just emailing or complaining when it’s too late.

Help. I’m miles from home, my computer has crashed and I need it to do a show in a couple of hours. Can you help?

Well, from our own experience, the more stressed you get the less likely you will be able to fix your computer. So, No. 1 get the calmest member of your team to phone an IT specialist to try and fix it remotely. We can put you in touch with some people if you like. No. 2 Start to think of a plan B. Prepare an acoustic set, or in the worse case scenario do a spoken word show. In our performing career we once did train impressions for 20 minutes! No. 3 Cancel the show but remember your audience have come for a night out and would prefer entertainment of some description than to go home. We recently witnessed Damien Rice sing without any amplification or lights during a power cut in a venue and most of the audience will never forget it.