www.prosoundnewseurope.com 400
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Bands playing at The Great Escape
small, 50-capacity local PA, such as in Life on the seafront, to the Brighton Dome (capacity: 1,800). C3 inventory being deployed on the festival includes Soundcraft MH3 and MH2 desks, Yamaha LS9s and M7CLs, and a Soundcraft Vi1 (later discovered by PSNEurope in the Haunt). For those dozen venues, what
have been the challenges? “That venues are up or down a
flight of stairs. Generally, ‘load-in’ issues.” Budgets are always tight, says Crawley, so his philosophy is to use local suppliers where he can. To this end, PA start-up Flare Audio has equipment in the Psycho Social Basement and the Volks venues, for instance. “Because there’s a conference
side, part of my remit has also been
to step up the conference production but with a limited budget. So we’ve invested in some decent AV kit, hired in some top- end MacBook Pros, and brought professional guys into the team to make the conference world class. “I’ve pushed on my suppliers quite hard to commit to a certain level of production in each venue, so any band that comes to The Great Escape gets a good engineer and a good bunch of kit in front of them. It’s all about showcasing talent here, and the talent needs suitable kit.” This ‘upgrade’ is as important
for Crawley as it is for TGE. “I’ve toured around the world,
I’ve been to small venues where stuff is broken, and the technicians doesn’t give a f*ck… And I think,
no, I don’t want TGE to be like that. So we vet our venues carefully and pick our techs carefully. “All of the venues clear up in
terms of beer sales during the festival, so if I go to a manager and say, ‘Your house tech isn’t that great, do you mind investing something into one of mine’, they will do it because they know they will make money out of it.” Crawley is also trying to build
his area of TGE as a showcase for appropriate brands. “Production parent company the MAMA Group is good at getting sponsors on board and I’m trying to connect with suppliers in the same way, because I see this as an amazing opportunity for brands to get their product in front of people. I mean, there are 400
“We try to limit how much corporate work we’ve got to do but we’ve got to pay the bills too, so we try to choose corporates with a similar creative outlook. We never want to be labeled ‘an AV company’”Jon Crawley
The Hub, with its Airstream trailer stage
bands here, that’s 100s of engineers and 100s of tour managers. That’s why Midas is coming down. And I’d like to grow that – I’d like it to be like a mini trade fair.” For the festival, Crawley and C3 enlist technical volunteers chosen from three main centres: Brighton Institute of Modern Music, (Academy of Contemporary Music in Guildford, and Northbrook College in Worthing. Students have the opportunity to shadow a paid technician in a venue.
“Without them, this festival wouldn’t run,” Crawley says. The ‘paid technicians’ are the 40-50 sound engineers from in and around Brighton. “As the festivals around here
have grown, the competency of the local pool of engineers has grown as well. And a lot of them have stopped touring and settled in Brighton.” He laughs before the radio calls him back to the office: “It seems to be the place where old engineers come to die!”
www.c3productions.co.uk
livereport
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