Meanwhile, I had a club called The Eighties on the Upper West Side with Neil Cooper. They would soon play roles in the beginnings of modern Backline. I was involved or connected in some way to each of these organizations. They dealt strictly with college radio, with bands popular in the college market. They handled bands like early Metallica and Megadeath Yet another media company emerged from Long Island called College Media Journal. Concrete was the marketing arm for heavy metal labels like Metal Blade. It was an instant industry hit. Not long after that came Bob Chapparddi. To augment their coverage of current dance charts, they started the New Music Seminar to showcase New York talent. The New Music Seminar in New York City started when two bright young guys named Danny Heaps and Tom Silverman launched an alternative music paper called the New Music Press. Several seminal organizations contributed to this. When we talk about the birth of modern backline rentals, we must talk about the Second British Invasion of the early 1980s and how it stimulated the production industry. In 1982, I founded a backline company in New York City called SST, an acronym for Studios, Systems, and Transport. Setting the Stage: The New Music Seminar, New York City, 1980 John Hanti was one of a handful of music industry impresarios in the City who facilitated this transformation, and this is how it happened. The transformation from early backline to modern backline came not in Los Angeles, but in New York City, sparked largely by the Second British Invasion. Most bands continued to tour much as they always had since the day Bill Black strapped an upright bass to the roof of Elvis’s Cadillac. It reduced the time it took to set up the next band, with a more consistent quality of sound.įor 15 more years, backline remained a simple industry, limited in scope to large venues and tours. Renting saved wear and tear on their own personal instruments and eased the hassles of international power and customs requirements. Festival and venue promoters found rented backline more convenient and efficient. Traveling musicians soon found it easier to cross the oceans, to cross the continent, and to cross the world’s many borders with rented equipment. That array of amps and instruments came to be known as B ackline. Amps and instruments remained on stage, behind the band, mic’d up and running through the PA. speakers up front, stage left and stage right. By the 80s, PA’s had become far more powerful. They blasted the halls with volume but had little control of the tone. Typically, production managers would group the PA speakers and the amps in a single line behind the band. The first rock band backline firm was born.įor decades, touring rock bands in America relied on primitive PA’s for the vocals, and amp stacks for the instruments. Foreseeing the need, and possibly a lucrative opportunity, Barry and Rempp formed Studio Instrument Rentals, now known simply as S.I.R. A call went out to two young guys named Ken Barry and Dolph Rempp, who delivered and rented a bass guitar to the band. Backline Request FormThere will be a limited amount of backline gear available for artists traveling interstate and from overseas. The gear will be stored at the Instrument Lockup which is in the Dog Kennels.The management of this gear is by volunteers so please pick up the gear and return it. We do have a vehicle available for transport if required otherwise use the trolleys available.Drummers should bring their own cymbals and snare if possible.Guitarists should bring their own guitar leads.If you are a local or traveling by car please bring your own gear please to lessen the workload on our volunteers.Gear can be stored at the Instrument Lockup.One fateful day i n 1967, at Hollywood’s Paramount Studios, Mitch Ryder and the Detroit Wheels needed a bass guitar. PLEASE NOTE: If information is not provided in time then artists should bring hard copy of plans to your venue at least 60 minutes prior to performance and provide to Sound Person?MC. You can download our Stage Plan template in Word, complete and then upload below. Please fill-in an online performer set-up sheet and return to us by ASAP and at the latest by 1 December 2018 to allow us time to arrange information for each of the venues you are performing at.
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