Design Getting into concert lighting

[skienblack]

I just got back from Ultra, a music festival in Miami and the lighting and sound there was beyond amazing. I'm wondering the best way for someone to get into that business?

I am currently a technical theatre major, and will be focusing on lighting design but it seems like any college's program focuses on theatrical rather than concert. How did anyone here get into concert lighting and work?

 

[Footer]

There are 3 ways to go with this one in a more traditional sense. These are not the only ways.

Go work for a rental house that supplies gear and designers to local venues. After working there for several years and many gigs you can work your way up to being a designer. Hopefully a band comes along that is looking for an LD and likes what you do and picks you up.

Another way is to start working at a local club. Not every band carries and LD and after awhile you can work your way up to being the "house LD". Awhile could be 5 months to 5 years. Once again, hopefully a band comes in that is in need of an LD and picks you up.

The last way is to seek out a band that needs a lighting person. They could be playing crappy bars and you could go in with 10 LED pars and make a show. If they go big you are set. If they don't go big your out to find another band.

If you want to do concert lighting degrees do not matter. What you have done and who you know matter. Music people still believe in the school of hard knocks.

 

[derekleffew]

... If they go big you are set. If they don't go big your out to find another band. ...

Have to disagree here. While working for unknown, local bands is great experience, more than likely if they do "go big" you'll be replaced by someone the promoter is more familiar with.

See also I want to be a lighting designer and Getting a Job in the Industry. Oh, and BTW, saw information about this on another site: PRG : Careers & Internships.

 

[Pie4Weebl]

I know the guy who tunes the PAs for ultra, and it is his only job for the weekend. Getting in on that level ain't easy.

For festivals like Ultra you just have to be lucky and working for a company who provides production for that particular festival.

Now do you want to work for one particular band every night across the country/world or do you want to light a whole lot of bands? For the past two years I've worked for a regional production company while still in school and I've gotten the opportunity to light a dozen or so national acts, all while staying with in a days travel of my home.

I see your in Chicago, go try and hook up with one of the countless shops out there and work the summers or while you are in school if you can find time. That is what I did and it worked out well enough for me. Now I am trying to make the transition over to touring and the network I built while working at the smaller company is helping me get into the big leagues, its all about networking.

Of course I still don't have anything set in stone yet and there is no guarantee my crazy plan will work yet, so maybe take my advice with a grain of salt.

 

[skienblack]

Thank you all for your advice. As for whether I'd like to light for a band or a venue, I am not really sure. I have been thinking about this since I've been in school and this weekend kinda showed me the true power and vastness that the lighting can do.

I am actually in Boulder, at CU. I'm trying to intern/work at the Fox. It has some pretty cool acts come in so if that works out I think it would be really rewarding.

 

[Esoteric]

Have to disagree here. While working for unknown, local bands is great experience, more than likely if they do "go big" you'll be replaced by someone the promoter is more familiar with.

See also I want to be a lighting designer and Getting a Job in the Industry. Oh, and BTW, saw information about this on another site: PRG : Careers & Internships.

This. Unless the band really has some stones and goes to bat for you (most of them won't).

Mike

 

[Footer]

This. Unless the band really has some stones and goes to bat for you (most of them won't).

Mike

Nope, its not a straight shot, but it is at least a start. My wife's venue had the Disco Biscuits in several weeks ago and their LD started with them back in 1995 and is still out with them today. Their show has gotten a lot bigger since then but he still has the gig. He probably started with a few par cans and now he is out on the road with Mac III's.

None of the ways in I gave are full proof. You might get skipped over several times before one group takes you up.

 

[thenelsontwins]

Well, back to the point here, rental companies are a great place to get your feet soggy and wet. Mostly like living in a bog.

Depending on your location there may be production companies that provide equipment that are looking for shop monkeys and schleppers. I know that we always were. The ability to progress up the ladder in those places is to 1) not be a pain in the ass 2) remembering that there is a time and place for questions (asking 10,000 questions a day gets old... fast) 3) not picking up your own slack will get you fired and 4) learn fast.

Sink or swim.

Rock and roll is decidedly NOT the theater. There is less time to do everything. It isn't about "art" it is about money and how to make more of it. There isn't necessarily a lot of time to train and teach and mentor, you just have to learn really fast and don't get run over by any forklifts or cases.

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There is a significant difference between concert work and nightclub work and you'll figure that out pretty quick.