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[Adam Cooke]

I could use some advice... here's the situation:

A band I've been touring with is going out for another headline tour, they're bringing support with them on this one, and the support act just asked me if I'd be interested in mixing them as well, and if so, what I would charge.

I'm already getting a good day rate, PD, lodging etc. from the headliner, but I could really use some extra money, and I think I could do a great job for both bands. They're all good friends, and fun to hang out with. My question is how I should approach this. Should I charge the headliner somewhat less than usual, since they won't have my undivided attention? I'll definitely ask the headliner if this is OK with them before I answer the support act. What percentage of my normal rate should I charge the opener? All of it? Half? I don't know how much they're getting paid vs. the headliner, but I'm sure it's quite a bit less.

Is there a "standard" or normal way to do this? I'd really appreciate any advice I can get about what is fair. I don't want to be a jerk about it, but I also want to get paid fairly for the extra work I'd be doing. Any thoughts from those who have done this before?

Adam

[Tim Weaver]

I could use some advice... here's the situation:

A band I've been touring with is going out for another headline tour, they're bringing support with them on this one, and the support act just asked me if I'd be interested in mixing them as well, and if so, what I would charge.

I'm already getting a good day rate, PD, lodging etc. from the headliner, but I could really use some extra money, and I think I could do a great job for both bands. They're all good friends, and fun to hang out with. My question is how I should approach this. Should I charge the headliner somewhat less than usual, since they won't have my undivided attention? I'll definitely ask the headliner if this is OK with them before I answer the support act. What percentage of my normal rate should I charge the opener? All of it? Half? I don't know how much they're getting paid vs. the headliner, but I'm sure it's quite a bit less.

Is there a "standard" or normal way to do this? I'd really appreciate any advice I can get about what is fair. I don't want to be a jerk about it, but I also want to get paid fairly for the extra work I'd be doing. Any thoughts from those who have done this before?

Adam

You can't give anything less than what you have been giving to your headliner. If the quality or quantity of what you do suffers, then you should pass.

If however, the opener is fine with you not helping out during setup and strike and basically doing a throw n go mix for them every night, then this could work out.

I'd probably ask for 1/4 of what the headliner is paying for this service.

If you are packing a digi desk, then it would be super easy after a you get a few nights to tweak the mix.

[Bob Leonard]

You didn't say who owns the hardware. If the headliner owns everything then a fee for the use of the hardware by the opener needs to be discussed and considered. You're correct in speaking with the headliner before any decisions or further commitment is made on your part. 1/4 would be a fair price to charge, and let the headliner work any "rental fee" out with the opener. That keeps your hands clean and out of any discussions concerning hardware loss, upgrades, etc..

[Ryan O John]

You definitely don't take anything away from your headlining artist, and thus normally the rate for them stays the same.  If you feel you're going to be paying less attention to your artist, then you shouldn't realistically be doing it.  You do it if you happen to have the free time, and it doesn't encroach on the work you're doing for your artist.   

The rate you charge for another artist is all kind of relative, but as said above you need to ask your artist and make sure it's okay, and then go ahead to make an offer to the other artist, letting them know that you can't always help with setup, and most likely can't help with breakdown ever due to your commitment with your current artist (they're the ones providing you a bed...).

Could be really good, could be really fun, don't forget to eat though! lol

[kristianjohnsen]

I could use some advice... here's the situation:

A band I've been touring with is going out for another headline tour, they're bringing support with them on this one, and the support act just asked me if I'd be interested in mixing them as well, and if so, what I would charge.

I'm already getting a good day rate, PD, lodging etc. from the headliner, but I could really use some extra money, and I think I could do a great job for both bands. They're all good friends, and fun to hang out with. My question is how I should approach this. Should I charge the headliner somewhat less than usual, since they won't have my undivided attention? I'll definitely ask the headliner if this is OK with them before I answer the support act. What percentage of my normal rate should I charge the opener? All of it? Half? I don't know how much they're getting paid vs. the headliner, but I'm sure it's quite a bit less.

Is there a "standard" or normal way to do this? I'd really appreciate any advice I can get about what is fair. I don't want to be a jerk about it, but I also want to get paid fairly for the extra work I'd be doing. Any thoughts from those who have done this before?

Adam

I have never been in this situation, but have some random thoughts:

Are these loud shows?  Sure your ears want to double up on the abuse every night?

Does the headliner have a monitor tech, with the FOH tech for the opener doing both mains and monitors?  If so, the support act just became more work than the headliner!

I'm going to argue that having one person mix both bands is sonically and practically a great idea:  Sharing mics/inputs/monitors/backline/power/etc often ends up in a lot of compromises and messages and small things to remember.  One guy = all interbrain communication on these issues.

Also, one guy = one ego.  SPL "divisions" between acts won't be a war between techs, at least.  Maybe managers....who knows.

Deliberately making the two bands sound a little different on purpose to destinguish "their sound" could arguably be both easier and harder with one guy mixing.

What about redundancy?:  If you fall ill, the tour will have to scramble to find a local tech that is usable enough to manage both bands-and all those inter-brain memos will be lost on the newbie.  If there are two of you on tour, chances are that after a few shows either one of you could scrape through a show with the other guy's band.

Like Tim said, especially with a digital mixer, the actual mixing part should be smooth sailing.

Best of luck!  Let us know how it goes

[Helge A Bentsen]

I do this all the time.
My band doesn't care if I do the support acts. I charge between 25-50% of the fee they pay. I find that I can actually give them a better service if I do the supports because I can sort out issues before they hit the stage that we would normally have to deal with at changeover and they really enjoy not having a sound check.

[Adam Cooke]

Thanks for the good advice and thoughts on this!!

There are lots of details to consider and work out with the bands, but I think I'll go ahead and try to do it, and now I have a better idea of how much to request for payment.

Thanks!!

[James Feenstra]

do this all the time...headliner pays full price, opening bands pay $5/minute for their performance every night, and only pay on show days (headliner pays a weekly rate)

also done tours where I'm hired by X bands for Y fee, split among them all, generally at a formula something like (weekly rate) x 60-70% x (number of bands I'll be taking care of)

the % multiplier depends on how many bands...generally I won't take on more than 3 at a time, so I'm looking at 70% each for two bands, 60% each for 3 bands as it does lighten my workload if I'm dealing with a larger number

For foh, I'd generally get them to share backline (or at least both openers share, headliner gets their own), and therefore channels, and save a ton of time with patching

with lighting it's a bit more complicated, depends on what's outlined in the contract

be sure to check with the original band that employed you though, some don't like sharing!

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