Live Sound Diary

The 2009 programme wasn’t a radical departure from those of the previous couple of years, so the basic live sound requirements were well established; there would be a trailer stage parked across the top of the town’s main shopping street, with a main audience area about 30 metres across by approximately 40 deep, then stretching back as far as needed, depending how many people would turn out. This is always a popular event with the townsfolk and, although the actual numbers have varied from year to year, there are usually around a thousand people when it comes to the big moment. The presence of several local performing groups also tends to generate a good loyal following, whatever the weather. In terms of preparation before the day, I carried out the usual checks on the contents of my leads trunk and power cable trunk, and exchanged a few emails with the organisers. When doing events like this one, there are several practical essentials that I always make absolutely sure have been covered, including (1) a list of who’s playing and their sound requirements, (2) confirmation that a suitable generator has been ordered, (3) allocated space for the van, and (4) a few stipulations about backing tracks, which is a particular obsession of mine. There are, of course, many other things that need to be agreed and arranged, but with a regular gig like this we have built up a useful amount of experience, which means that there should be fewer things to go wrong! So, I received a running order that told us the names of who would be on stage and when they were supposed to start, but it took a few follow-up emails to establish exactly what they would need in terms of mics and DIs, and at this stage it became clear that of the nine groups on the programme (not counting the Mayor and the Real Father Christmas) no less than six of them would be using backing CDs. The ‘pure live’ acts were a community college jazz band (around eight or nine brass and reeds with full rhythm section), a church group band playing ‘funky carols’ and a (highly professional) local act called the Groove Company who would play an hour’s worth of seasonal numbers and other well-known pop covers.