Apaulo Productions, llc

Audio Visual Solutions  |  Stage, Studio, & Beyond

The DownLink Newsletter:

News, Tips, Trade Secrets, Featured Services & More

[ Issue #005 - Autumn 2021 ]

Welcome to issue #5 of The DownLink Newsletter!

 

Fun and informative content aimed at AUDIO VISUAL TECHIES and end users of all sorts.

I hope that everyone from NOVICES to PROS will find it an interesting and worthwhile read. 

Feel free to SHARE on social media via the buttons below.

FORWARD this URL to anyone who might find it relatable.

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VISIT www.ApauloProductions.com for more info!

 

Thanks for reading! And God Bless!

 

Paul "Paulie" Westbrook

Apaulo Productions, LLC

Previous Issues

News

A recap of recent projects

It’s hard to believe that autumn is already upon us. 2021 has certainly shaped up to be a busier and more exciting year than expected here at Apaulo Productions. With several projects still going strong on the Gulf Coast, we are very excited to announce the new East Coast location of Apaulo Productions, LLC. Beginning in 2022, all operations will be run from our new headquarters in...

 

(Drum Roll...)

 

Emporia, VA!

 

Nestled at the crux of busy I-95 and VA-58, Emporia is an excellent location from which to base our operations going forward. With easy access to Richmond, Williamsburg, Norfolk, Virginia Beach, and all the outlying communities of southeast Virginia and northeast North Carolina, Apaulo Productions looks forward to once again serving clients of the lower mid-Atlantic region very soon!

 

Now here’s a quick look at what we’ve been up to:

 

- Continued Audio Visual Upgrades @ St. Edward’s Catholic Church

(New Iberia, LA) **

 

 

-  Acoustic Panel Installation @ Acadiana Symphony & Conservatory of Music  

(Lafayette, LA) **

 

 

- Video System Diagnostics @ Antioch Baptist Church

(Ville Platte, LA) **

 

 

- Backline Maintenance and Troubleshooting @ Highland Baptist Church

(New Iberia, LA)

 

 

- AV System Maintenance @ Vermilionville Performance Center  

(Lafayette, LA)

 

 

- Live Concert Audio & Lighting Support for Frank and Tony Productions 

    Rod Gator @ Vermilionville

    Band of Heathens @ Vermilionville

    Paul Thorn Band @ The Room at Corner Bar

(Lafayette, LA)

 

[ ** = for Lafayette Music Co. ]

"Paul Westbrook of Apaulo Productions has proven to be so instrumental in the success of our shows. He makes everyone sound great and is the consummate professional. From pre- production details with tech riders to engineering our shows, I know that he will get the job done to the highest level."

 

- Frank Camalo

Concert Promoter, Frank & Tony Productions

Click Here for More Testimonials

Trade Secrets

An informative and humorous exposé of the tricks and myths of the entertainment industry

You’ve probably all heard the legend about Van Halen’s contract prohibiting brown M&M’s, right?

 

At first it might seem like a petty prank to insist that the M&M’s in the dressing room be provided sans the brown ones. Upon closer examination, it was actually an ingenious litmus test to alert management to sloppy local promoters and venues who didn’t read the contract and do the details. In this case, the tour was carrying an unprecedentedly massive custom stage that weighed tons. The same was true of the elaborate lighting rig that had to be flown overhead. Adequate floor and ceiling grid support were essential at each venue or a catastrophe could occur. 

 

According to the legend, brown M&M’s in the dressing room jar were not just a trivial stunt - they were the canary in the coal mine regarding the safety of the entire operation. Brown M&M’s meant the locals probably didn’t read the contract too well and every department on the tour better triple check their specs to ensure a safe production that day. Turns out there were some brains behind all that hairspray and spandex after all!

Featured Service

Apaulo Productions Offers a Host of Audio Visual Services and Solutions, Including:

System Design, Sales, Installation, Maintenance, Training, and More...

In this issue, we take a deep-dive into an often overlooked area of Live Events:

 

ADVANCE PREPARATIONS & EXECUTION

 

At Apaulo Productions, we know it takes more than a half-baked effort to make a great live event happen. We’ve been working on live shows of all sizes and genres - at home and abroad - for over two decades. And we’d like to think we’ve identified the key points of a successful event and boiled them down to a winning formula.

 

But first, let’s lay a little ground work...

A good event starts with a solid understanding by all parties of what is expected from start to finish. For that reason, behind every professional live performance is a detailed written “Contract”. Often attached to the contract are even more detailed documents called “Riders” that spell out exactly when and how the performance day will unfold - these may be written descriptions or detailed diagrams. From the seemingly mundane parking arrangements, seating charts, and layout of furniture and snacks in the dressing rooms to the catering menus, merchandise tables, and placement of the security guards, right on up to the exact specifications of the loading dock, stage, technical equipment, and crew required. Should any questions or disputes arise, the contract (including all riders) is king.

 

There are really only two reasons something finds its way into a written contract:

    1. It’s “Industry Standard” or common practice.

   2. It’s "Non-Standard" but absolutely intended for a specific reason - often due to a previous bad experience by that particular artist or manager.

 

Because the standard details are often copy/pasted in from contract to contract with only slight variation, they might seem mundane - especially after you’ve read a few (hundred) contracts. But don’t be fooled! These oft-skimmed-over particulars actually makeup the cornerstones of a good show day and, for that reason, should never be taken for granted.

 

On the other hand, the non-standard contract items can be anything but mundane. There are tons of tales out there of picky “Artistes” and their wild and seemingly random contractual requests. These items can range from typical to mythical; exotic to downright illegal. Whether it is a specific temperature setting for the dressing rooms and stage or a request for erotic dancers and contraband backstage after the show - the contract and riders spell out those unique demands.

 

While most contracts are not that much fun to read, we’ve occasionally come across a jewel or two that were very entertaining in their approach (see Iggy and the Stooges). We’ve also read our share of condescending dissertations by obviously disgruntled tour/production managers who were seeking to legislate all frustrations out of their day via lengthy and sarcastic documents that mocked and chastised the very local people they would depend upon to do their show (see Big Bad Voodoo Daddy). One recent artist rider we perused went on to state the esteemed skills and credentials of the artist’s production manager/audio engineer - who had obviously written the document himself. Ironically, we had never heard of him or any of his credentials. The contract is not the place to chastise or boast - but IT IS the place to dictate all of the important details of the event.

 

Now let’s take a look at the Apaulo Production’s method for successful event planning and execution.

 

(The following steps are usually initiated within 30-60 days of a performance and we aim to have all advance details settled within 7-14 days of the event).

 

1. Get The Contract: When a potential contract event comes our way, we don’t just “wing” it. The very first thing we ask for is a copy of the contract and technical rider(s) along with contact info for the incoming artist’s tour and/or production manager(s). That information should be made easily available by the event's promoter, who should have received it from the booking agent or artist management prior to booking the event. The level of difficulty we encounter in obtaining this info is often a good indicator as to whether we are heading into a cakewalk or an uphill battle.

 

2. Confirm the Details: Once armed with the contract, riders, and contact info, we are almost ready to get to work on the event. But before we go any further, the first thing we do is reach out to the designated contact(s) and confirm that we have the right details and the most current documents on hand. The importance of this step CANNOT BE OVERSTATED as nine times out of ten we find at this point that we are NOT in possession of all the most current info. Since working from outdated documents could be a disastrous waste of time and resources - not to mention lead to very confusing and embarrassing advance conversations and possibly even a show-day debacle - we always take an extra moment to verify our info before we dig in.

 

3. Know the Plan: Once in control of the proper info - whether it’s a single page summary or a forty page agreement with multiple riders attached - we never assume anything is “standard”. We are always keen to read every line and take detailed notes. Knowing the expectations of the incoming artist and their staff is key to making sure that proper accommodations are made for their specific needs prior to their arrival. In our experience, most artists and their staff will notice and appreciate when their requests are honored, as it usually results in a smooth day for all. On the contrary, some will certainly act out negatively when their contract details are forsaken. From passive-aggressive verbal jabs to all out temper tantrums and even sabotage - it can get ugly. But backstage drama of these sorts is generally avoidable when all the basic points of the contract are known and respected.

 

4. Know the Venue: As the local production provider, it’s key that we know the venue we are using inside and out - from parking directions, seating charts, and dressing room facilities to electrical, stage, and technical capabilities. A quality venue will have this information readily available in a document called a “Technical Package” or “Tech Pack”. The tech pack is such a crucial tool to have on hand that whenever that info is not available to us - we usually take the time to gather those details and produce our own document. (But that’s another article for a future newsletter). Once we have the most current version of the venue’s tech pack in hand, we immediately share that info with the incoming artist’s reps. (Whether they choose to review it or not, is up to them. Once we’ve provided this information and offered to answer any questions, we’ve done our due diligence and we now have a leg to stand on should any disputes about our inventories or capabilities arise on the show day). BUT, we don’t stop there.

 

5. Identify the Potential Problems:

Once we know the artist’s needs and we know our venue, we earnestly attempt to forecast and identify any curve-balls that could arise from merging their production with our venue and/or equipment at that moment in time. This requires a bit of visualization - that is, thinking through every step of the process (IN ORDER) from start to finish - with the intent of identifying potential problems or conflicts - anything from parades, festivals, and sporting events to venue maintenance and possible weather events is considered. Any issues or concerns that arise are noted and prioritized for prompt discussion with the incoming artist’s representatives.

 

6. Communicate Clearly:

Once we’ve confirmed, analyzed, and learned the plan, scoped the venue, and forecasted the potential problems, we reach back to the incoming artist’s reps and start the dialog. The ensuing conversation(s) - whether via email, phone, video chat, or in person - are referred to as the “Advance”. While the word itself obviously denotes that these vital communications occur AHEAD of the event, there is at least one professional venue in London, England that once informed us that they don’t advance their shows until the morning of the event - HUH?!

 

In addition to the obvious condition of occurring PRIOR to the event - in our humble opinion - a proper advance should be:

   A. Concise - Just long enough to cover all necessary details while still respecting everyone’s time.

   B. Precise - Detailed enough to confirm all important variables and cover all foreseeable curveballs and concerns.

   C. Conclusive - If at all possible, the advance should be singular in it’s occurrence - meaning all details are covered in one sitting without the requirement of constant follow-ups to cover small details left out the first time around. While it’s not a crisis if the conversation has to volley back and forth a few times, it can be a huge waste of time when the volley goes on and on, with info trickling in bit by bit. While we’ve seen pro shows advanced and re-advanced a half dozen times because of personnel, management, equipment, and budget changes on their end, the majority of difficult advances are generally due to lack of organized details and poor communication - both of which are preventable time and energy wasters.

 

7. Follow Through:

With all that detailed prep work under our belts, we sleep well at night knowing our event will go smoothly. Of course, when it’s finally showtime, we believe the final step is to follow through with timely, proper, and safe execution of all details on the event day - keeping the lines of communication open and positive from walk-through to lights-out. When we follow through on our end of the bargain, we not only provide the incoming artist and crew with the space and the tools they need to put on a successful show, we give them peace of mind and hopefully an enjoyable experience that they can, in turn, share with the audience.

 

8. Follow Up:

We always work hard to balance the artist’s requests with the venue's capabilities and promoter's budget. Consequently, we generally receive high marks from all parties. Regardless, we are committed to following up on each event to be sure that we are performing above expectations at all times. While we remain our biggest critic to date, we never want to miss an opportunity to grow in our work.

 

At Apaulo Productions, we can help to make your next contract event a smooth and enjoyable one! Let us walk you through our successful event advance and execution process! Our sound technical advice and experience are bound to benefit your event and will likely save you money, too!

 

*** Apaulo Productions provides only technical advice regarding event contracts.***

*** Please contact an experienced Entertainment Attorney for sound legal advice. ***

Contact Us!

Pro Tips

Insider Tips from Apaulo Productions

When advancing an event, it’s important to remember that the other parties involved are likely dealing with dozens or more simultaneous events on their end - and you likely are as well. With so much going on, it’s important that information be shared efficiently.

 

Here are ten tips we find useful when advancing event details:

   

1. Be thorough, but quick to the point.

    In other words, say exactly what needs to be said - nothing more or less.

 

2. Leave space between ideas when writing and speaking. 

    A breath in the conversation or space on the page gives separation to ideas, time for info to sink in, and room for questions/comments to arise.

 

3. Allow others to ask questions and make comments.

    Keep the dialog moving but don’t hog the conversation.

 

4. Answer ALL questions, and do so COMPLETELY!

    If they ask you three questions - take time to answer all three completely. Don’t answer one, then skip one, then half answer the other. When asking an important question or series of questions, nothing is more irritating than receiving incomplete responses or no answers at all. Sadly, we find this issue to be very common - leaving us to try another approach or simply try to guess the answer. BOO!

 

5. When responding to a list of email questions, highlight answers in a different font color.

    In order to be sure your answers are easily seen, distinguished from previous text, and contextually accurate - when answering questions in an email - direct the recipient’s attention to the previous email’s text containing the questions and write your answers there in a different/brighter font color than the original message (RED and ORANGE work nicely - avoid YELLOW as it is hard to see).

 

6. Always confirm the EVENT NAME, VENUE, CITY, STATE, DATE, and TIME at the start of the conversation or in the subject line of the email.

    This gives an opportunity for all in the conversation to confirm the most basic details before proceeding. Should there be an error or discrepancy in the location, date, or time, we can catch it before any further confusion is caused. When working via email, it is especially important to reference these basic details in the subject line. Doing so will leave no question as to which event is being discussed and it will make it easier to search for that info later. We shudder to think of how many emails we’ve received that do not reference the event by name or date anywhere in the text - leaving us again to guess or play detective.

 

7. Keep the same email chain going rather than starting new threads for each message.

    This works well for short and medium length conversations that involve the same group of people. Keep in mind that a new thread may need to be started in some situations - such as adding or dropping recipients - as not all may need to be privy to certain details. Also if the conversation gets too long or splinters into different subjects, you might start a new chain - just remember to reference the event name, date, location, and time in the subject line!

 

8. When writing, take time to PROOFREAD before sending!

    While we may live in a fast-paced high-tech world, we should never let our haste or faith in technology take the place of good old fashioned proofreading. While spelling and grammar are not graded as steeply as they once were, it is still wise to check that they are correct. But mostly be sure you’ve clearly and concisely stated your point. If you don’t like to edit yourself, ask a friend or co-worker to help you - especially if it’s an important event and you want to represent your entity well.

 

9. Avoid (excessive) humor.

    While everyone loves a good laugh, there is a time and a place for humor. A well-placed and appropriate joke is hard to come by these days; but, if you can pull one off, it can be a good ice breaker. Otherwise, stick to the subject at hand and save the jokes for your friends. Especially when emailing, as humor often falls flat in that medium.

 

10. Always remain courteous and dignified in your exchange. 

    Regardless of how frustrating it may be to nail down details or even get a decent response from someone, aggressive posturing rarely ever yields a positive result. While muscle-flexing might get you what you want in some instances, it may also blow up in your face. We’ve seen artist personnel fired during an advance for making threatening comments to the venue personnel over technical inventories. At Apaulo Productions, we do not encourage or practice such tactics.

 

Tools of the Trade

Handy gadgets that every end-user should have around and know how to operate 

HIGHLIGHTERS & SHARPIES

 

For the last 20 years or more, I’ve rarely - if ever - read a single book without having a Highlighter pen close at hand. I use them to mark the words, phrases, and passages that I find interesting or moving; also those things I may want to refer back to later. They say you shouldn’t judge a book by its cover, and I agree. I judge a book by how many Highlighter pens I deplete while reading it!

I apply the same approach to reading technical drawings and live performance contracts and riders - like the ones we discussed above. As an experienced ex-roadie who now provides production support on the local level, I know that incoming artists and their crews don’t like surprises - and neither do I - especially on event days! So I work extra hard to iron out the details prior to the artist’s arrival. Like most things, a good plan starts on paper. And that means having a firm grasp on the incoming artist’s contract and technical rider.

 

When reading contracts and riders I start by highlighting the following:

    1. Clauses that might present an issue worth discussing further with the artist’s production team.

    2. Clauses that are not feasible at all.

    3. Anything non-standard. I guarantee there’s a reason it’s in writing.

 

Having these items marked up gives me a quick reference guide to their contract, which makes it easier to communicate with the incoming artist’s team about the possible quirks they may encounter doing their production in this particular venue.

 

In addition to my handy Highlighter pen, I always have a Sharpie marker ready to slash through anything I know to be irrelevant or impossible. While some promoters might feel comfortable with a “word of mouth” arrangement with the booking agent or artist management, as a production manager who is ultimately responsible for getting the job done according to the contract, I always want to see it agreed upon in writing or nullified with the slash of a Sharpie.

 

I have often reminded promoters who hastily sign off on contracts without seeking technical advice that I can save them lots of headaches and thousands of dollars if they’ll just give me a sixty-five cent Sharpie and an hour with the contract/rider. Unfortunately, I’ve found myself on the losing end of that battle many times.

 

It goes like this... The promoter has a quick chat with the artist’s booking agent. They gloss over the details of the production in order to make a quick deal and get on with their busy days. Next thing you know, the artist’s contract and rider hit my desk and their requirements are well out of league with the venue’s capabilities, inventory, and budget. Now I get the privilege of having a sticky conversation with the band’s tour/production manager(s) where I break the news that, despite having a fully executed contract, they won’t be getting what they’ve clearly codified in said contract. At that point, they either play ball (often begrudgingly) and work with what we can provide, or they flex their muscles and push back. I’ve seen it go both ways, and either way, it’s no fun to be in the middle of a contract dispute between an artist and a promoter. Rarely do such disputes actually lead to cancelled shows (because that would cost everyone revenue), but the threat is often looming behind the scenes and wielded as a weapon of last resort. I’ve even seen a band (a major professional band, at that) go as far as to load their entire stage set back into the semi-truck only to relent, unload, and reset their gear in a childish display of muscle-flexing. They sure showed us who’s boss! Ha!

 

While Sharpies and Highlighters may not predict or solve all problems, they can sure make planning a contract event much smoother. Sometimes the cheapest tools make the biggest difference.

 

Let Apaulo Productions review and markup your next event contract!

 

*** Apaulo Productions provides only technical advice regarding event contracts.***

*** Please contact an experienced Entertainment Attorney for sound legal advice. ***

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Apaulo Productions, USA
+1 (804) 349-6659

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