The idiomatic phrase “This is not Madison Square Garden,” when directed at an audio company, sends a universal meaning that is not bound by either state lines or time zones. While I am certain that the names of other major event institutions have been employed in the same allegorical fashion as Madison Square Garden, it appears that evoking the image of this iconic venue epitomizes all that is grand and glamorous in the concert world. Though I am New York-based and have often worked at “The Garden,” I have also done shows in almost every state and have traveled ex-tensively around the globe. Regardless of where I go, the aforementioned axiom keeps popping up.
Making the Point
It could be that the people who feel the need to impart this pearl of wisdom just assume I am not familiar with any other large venues that can be called upon to make their caustic point, or it might just be that these same people are the ones lacking in their awareness of other venues. For those who feel that I am sounding like a New York snob or denigrating their favorite venue, let me say that I have worked in bigger and even grander arenas than the emblematic MSG, and I know that it is not the quintessence of grandeur. Still, I do not often hear the phrase, “This is not Red Rocks,” or “This is not the Wachovia Center.” For that matter, Los Angeles, a well-known and vibrant entertainment mecca, has a plethora of large venues to choose from. Yet, I rarely hear, “This is not the Home Depot Center” or even, “This is not the Staples Center.”
Though it might be an expression used in Calgary, Canada, “This is not the Pengrowth Saddledome,” is not the slogan an exasperated client might exclaim to an audio company to make their point. The people of Providence, R.I., might cite “This is not the Dunkin’ Donuts Center,” but it’s not an expression I ever hear. Large concert events that require large concert production roll into Saskatoon, Canada, on a regular basis, but I almost never hear the ironic “This is not Saskatchewan Place.” No, as far as I can tell, “This is not Madison Square Garden” is still the favorite pejorative term used by those who are unwittingly faced with a large invoice or a truckload of equipment for their not-so-large venue. This stinging little MSG barb is bandied about so loosely that it has even been slung at me when the equipment list has not been that extensive or the expense not so great.
In their defense, these innocent production specialists are just unaware of what it takes to stage a show, and because of ego, greed or folly, they book a name act into a small space without considering the overall requirements of said band and show. Now, even though I am just an audio guy, I am not an insane audio guy. Believe it or not, I can tell the difference between a tiny little space and friggin’ Madison Square Garden.
Unfortunately, many of us audio guys are the recipients of some foolish client’s sardonic wit, but regional audio companies, unlike their touring counterparts, do not always have the luxury of doing gigs in sheds, concert halls or theatres, and a good portion of the company’s income is derived from shows performed in the restaurants, offices, social halls, bookstores, private residences and catering facilities booked by these very same mor-dant clients.
Doing the Right Thing
How is it that we, as audio providers, manage to turn into the villainous production company when it is we who try to do the right thing? It usually starts out as an innocent phone call from someone who has received a band rider and has no clue as to what it all means. The band, a well-known touring act, has agreed to play for either a promotional event or some private function and has sent the producer/client their full concert rider. After a few pointed questions to the client as to the size of the venue, amount of expected audience members and nature of the event, we are able to es-tablish the venue’s audio needs, thus leading to the next step in the process — to get in touch with the band’s production manager to determine the exact needs of the band. Sometimes, a band will decide to play in an unplugged format, or possibly the singer will come and sing to track. Maybe the artist will agree to do an acoustic performance, but regardless of their intended design, I always let the client know that there are a few produc-tion needs I deem necessary for a successful show.
Other than the right sound system for the room, as well as the proper monitoring for the musician(s), there is a definite need for a stage as well as some sort of lighting system. Depending upon the configuration of the band, the production may well consist of only an 8-foot by 8-foot stage with a pipe and base backdrop, one tree of four Source 4 lights and two powered speakers on stands. However, even this might seem like too much for our unwitting client.
I usually find myself explaining to the client that I am not randomly bringing in equipment, and that there have been extensive conversations be-tween the band and me as to what might be needed to make the event a success for them on stage as well as the select few in the audience. It doesn’t matter, as it is always too much for the client.
In my estimation, it is a simple formula: A good production requires audio, lighting and staging, enough power to run the event, and the proper amount of labor to make it happen in a safe and timely manner. From that point on, it is all interpretation as to how much, what size and how exten-sive it needs to be.
Intimate or Underserved?
Recently, I was called upon to provide Faith Hill with an audio system and backline setup. The show was scheduled to take place in a large sound stage in Manhattan with about 300 of the artist’s fans in attendance as she performed and recorded the last set of her world tour. The producers were attempting a low-key, intimate event and decided that lights and staging were not included in that concept. While the audio was stripped down to fit the room with two EAW 850s over two 850 subs per side, we still had a Midas XL-4 at front of house with a full rack worth of outboard gear. A PM5D was the monitor console, and the monitors were all Clair 12AMs and personal monitors.
Though I strongly suggested a stage and lights, the decision was made to place the drummer and keyboard player on risers, while Faith and the rest of the band played from the floor. Now, I understand the concept of intimate and low-key and, by definition, 300 attending a Faith Hill concert is just that, but when these faithful intimates jump to their feet, Faith Hill then appears to be playing below sea level.
With only the studio’s ceiling fixtures lighting the room and stage area, the focus of the show gets lost, and the capability of the band to magically transport the audience (be it ever so intimate) is diminished. That said, if I point this out (as I am wont to do), some producer will always be sure to remind me that “This is not Madison Square Garden!” Well, let me declare that I don’t know much, but I do enjoy a good euphemism when I hear one (be it ever so over used).
So, in response, allow me to say that as good as one might be at their job — when entering my little world of production, it would behoove one to stop living in “Their own private Idaho,” because “Toto, I have a feeling we are not in Kansas anymore.”
