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[Bonnie Lackey]

Wow, I must have been under a rock when the announcement of this board came about.  I didn't know there was an AV message board.  Here is my dilemma.  A theatrical show promoter forwarded us a rider that along with sound and lighting needed two 15' x 20' screens, 2 cameras with operators, etc.  He will not provide me with a contact for the act and since the act doesn't speak English (is coming from Spain) I would have to use a translator service (which we have had mixed success with) anyway.

Over the last week the AV has gone from the above to one screen, one camera, one camera operator, etc.  Do we continue to go forward with this show, knowing the actor/singers are going to flip out and it will be a very long day or do you TMR.  Bonnie

[Riley Casey]

In our market the draw of some overseas acts is often very different from what the act's management believes when viewed from the home market.  A performer that can fill a stadium in Pakistan might do well to fill a 2000 head soft seater here.  The production values support available to these acts is obviously affected by such market forces and the promoters are almost always a better judge of these factors than the technical production vendor.  My customer in this situation is always the promoter, never the act and my relationship with the my customer is paramount.  I make it a point to be as detailed as possible when describing the trade offs in production specs when the promoter says do X and not Y  

Your market may be different than ours and you have to judge the particulars of each show based on your relationship with your customer of course but I have found that third world acts in particular are better 'troupers ' than many western groups across the board.  Most will pitch less of a fit when the entire production gets downsized than many a mid level west coast rock act will whine about the selection of kick drum mics.

[Ken Freeman]

This sounds all too familiar.  I have found the language of technology is pretty universal and that a few E-mails with the talent will go a long way to prevent a day of show nightmare.  I'd push the promoter for the contact info with the promise that you copy him/her on all of the correspondence.

Ken