Dave Rat - Roadies in the Midst

I love the shows. I especially love the time frame from the moment the house lights go dark and the deafening crowd roar pushes adrenaline through my veins. I love the first note, I love the overdrive of Flea's bass and thundering subs. I love turning up the guitar loud when it comes in on Can't Stop and I love it when AK's vocals comes through loud and clear on the very first word. And with each part I love, the crowd roars as if expressing what my mind is thinking. I love the rock shows. I also love to watch the rock shows and some days I can see better than others:

**** Begin Meet a Roadie Campaign Episode 2 ****

These roadies consider themselves a team of highly trained specialists that parade into the gig at the latest possible moment to perform their critical duties before heading to the bus earlier than any other department, aside from the band themselves. While this concept may have similarities to the truth, it would be more accurate to catalog them as a group of 5th Beatle's requiring a fairly high maintenance level and while performing relatively little work.

Today's "Meet a Roadie" roadie's will be what we call backline, monitor engineer, FOH engineer and LD (lighting designer). Being that they all travel on the same bus as I do and I am one of them, you most likely have already met us all by default, if you have been hanging around here for while. Never the less, that does not excuse any of them from this excellent opportunity to parallel the Meet a Roadie Campaign with the embarrassing roadie picture project. Two great tastes for the price of one and so .....

An excerpt from Day 89:

Backline Techs and Monitor Engineer - These techs have an even later of a call time and finish relatively early in the big picture. The workloads are fairly light comparatively but the responsibility huge. Each backline roadie deals directly with their band human, one each for bass, guitar and drums while the monitor engineer with all four in he band. Every nuance from which guitar tuned how and when, to making absolutely double extra sure that the guitar, bass, drum and monitor rigs operate as close to perfection as possible, every single show. There is no error unseen by either the band member or possibly the entire audience. They have both awesome gigs and mind bending stress as each of them is pretty much responsible for the band hearing themselves and each other so they can perform the show.

FOH World - Lighting designer and FOH Sound Engineer live in a bit of a different realm. On one hand they are far from the fray of stage where the action is, on the other hand, everything the audience sees and hears is at their finger tips. The mass of ears and eyes is a unique critique that responds to feeling and emotion. Meanwhile, there are enough people in the know at each show that errors do not go unnoticed. It's an ethereal slow, distance once removed, stress that can pop into immediate trauma if something important goes pear-shaped. A gig I love and would not trade for the world.

The shy and humble Chris Warren is truly a magnificent example of a roadie. Not only has he been The Peppers drum tech for over seven years, he is also a talented musician as well playing several part during the show and even stepping out to sing for the encore intro.

Next in our line up of tough guys is none other than the legendary Dave Lee. As a true veteran that joined the organization back in the One Hot Minute days, he actually has transitioned from Navaro to Fruciante. He is the one who keeps the incredibly complex and precarious creation called "John's Guitar Rig" functioning at least most of the time.

Rounding out the backline three is none other than the powerhouse we call Tracy. As the maintenance machine responsible for ensuring you hear the flurry and intensity of bass sounds created by Flea, a bassist in a band of his own and more recently Bus 2 Guitar Hero king, his task is not one to take lightly.

Bus # 2 is sometimes referred to as the 'old school bus' due to the fact that six of the eight roadies onboard have over seven years with the band. So next I introduce a roadie that is not only new, but young as well and weighing in at a mere seven months and already on the geriatric bus, we have roadie Daniel. Carrying the multiple responsibility of supplying all four band members with the sound they want to hear and also the closest thing we have to an 'Anthony Tech.' This boy has lot of weight on his shoulders and is so new that he has yet to earn the honor of an embarrassing roadie pic. Here seen still eating candy, I present, our monitor engineer:

Familiar to all and most likely you have seen a bit more of him than you ever wanted to, lets give a warm round of applause for the pillar of visual presentation at the rock show, Lampi Scott:

Not only does Scott operate the visuals you see, he was also involved with the design of the show with another roadie that only joins us for the beginning of the tours but is never forgotten, roadie Grier:

On our bus remains three, Lyssa B, Rose and me. To do them justice, I will be savoring the presentation of the tour ladies of Bus 2 for a future blog. So now for the grand finally of 'Meet a Roadie Episode 2,' I will make a rare exception to my self created rule of never displaying photo's of our musical four while they are off stage and share with you one of my personal favorite embarrassing roadie photos featuring myself and three honorary roadie's that we hold in high regard:

and though honorary roadie Chad is not in the photo, we must not forget to honor him equally as well in this celebration deemed, 'Roadie Awareness Week.'

**** End Meet a Roadie Campaign Episode 2 ****

The luckiest roadie in the world,

Dave Rat

Video shoot for the song Snow, the only real 'New York' area shows booked and the start up of the third US leg. All three combine to make a mind ache of being pulled in all directions. Each tour leg starts up with bits of refinement, maintenance and acclimation. Each tour leg we lose a roadie or two to some outside force or inside shift though the multi-tour roadies are all intact. Simply put, there is a whole lot of stuff going on and it is taking all my focus not get flustered and I can see I am not alone in that.

**** Sound Nerd Speak ****

I did a re tune on the PA today and actually flattened all the house EQ's and started fresh. I try not to do that as it means I have drifted, over time, away from from the sound I am looking for, I was not far off but enough that a fresh start was easier than trying to clean up. Some sound engineers come into each show and tune every day, I don't do that (anymore). I have found that if I pay carefully attention to the initial setup, I can fine tune for the room to room variations quite easily without losing the overall system EQ or altering my input EQ's. The way I go about system EQ is thus:

1) The EQ's on the sound console's inputs are to be used only to achieve the desired sound from the instrument/mic combination. Since the mics are the same every day and the band gear is the same everyday, I leave the EQ's on the sound console almost always exactly the same regardless of whether we play a stadium, arena or club show. The only time I should need to change input EQ's is if we change a mic type for some reason or there is a change in the backline's gear.

2) The system EQ's are to be used to achieve the desired sound from the PA system/venue combination. This is where the changes from room to room occur and for this duty I use two EQ's in series that divide it up one step further. One set of EQ's, the graphics, corrects for issues like room resonance's in the various rooms. The other set, the parametric's, are used to shape the tone of the system and gives me the ability to make the PA sound more Hi-Fi or warm and smooth etc.

All together the system EQ's and the channel EQ's create a sonic footprint that, if all goes as I attempt, forms a certain sound feel for the tour. I do my best to hold this 'sonic footprint' which is modeled after the album sound, together for the duration of the world tour. Worldwide sonic consistency is the goal.

Well, back to the re-EQ. I did a two step process and utilizing the advantage of having the dual PA system, I re-EQ' ed the inner system and left the outer as a comparative reference to assure improvement without losing the sonic theme. Now if I was a fan of digital EQ's, I could save the EQ curves and compare, but I am sticking with analog for now so I get to jump through some extra hoops. The outcome was all good, subtle difference but good. And not unlike fine tuning a race car, it will take some time to further refine and if all goes well, I hope to hold it together as long as the last one. Which was created in Barcelona.

**** End Sound Nerd Speak ****

So for the Snow video, guess what special treat we got? That's right, snow! Oh, the venue skies filled with the wintery motion of billowing snow flakes:

With thoughts of snow ball fights and snowmen filling our minds, roadie Scott and I soon discovered much to our dismay that the snow was not snow at all but in fact just little squares of tissue paper. Here we can observe roadie Scott clearing a small tissue-drift from his lampi control surface.

The jacketless in a snowstorm,

Dave Rat

Upon arrival last night my phone informs me that the hotel has been changed. Turns out that after the fairly grueling flight, the hotel was filthy and in disrepair enough to inspire relocating. My phone also informed me that there is a crew dinner and I should head over. So off I headed, travel bag in tow

The place is a famous steak house and in the photo you may notice that everyone is looking in Dave Lee's direction. This is because he is about to be served that largest cut of prime rib that anyone had ever seen.

**** Sound Nerd Speak ****

Walking into a pre set venue brings with it a bit of anticipation. By pre set, I mean one where myself or the crew I tour with is not in total control. First order of business is a quick wander to determine what my challenges will most likely be. Mental notes of anything out of the ordinary. Today it all looks solid, plenty of gear and a curiosity. As you can see from the photo below, there are six twelve foot high tower like stacks of speakers in front of the stage. Furthermore, the middle speakers are facing backwards. Hmmm.

D & B subs, never used them that I know of before, been interested in hearing them though it also appears that much to the dismay of lampi roadie Scott, we will to do a lot of seeing them as well.

So today we do a setup and the backline roadies will rock out their preferred roadie jam of "Give It Away" for a change, again. Hurray for V-Dosc PA, though I already miss the dual system, it is all good, I know several of the crew and I feel confident. As far as the subs, not sure yet, wow are they loud but not sure if they are the right loud. Will find out soon enough though. In the mean time......

**** End Sound Nerd Speak ****

Ever wonder where all the power comes from at a big outdoor festival? More often than not, generators. Kind of like those stupid little things that rubbed on your bike tire to power your headlight. I hated those things. Huge generators and like the bike version, they make electricity by spinning a something kind of like a super giant tire rubbing device. Big diesel engines built into truck trailers and if you follow just about any wire long enough, sooner or later you will end up standing next to one of these things. Here I have located the end of all wires. One would think that this would roadie gathering area with their well known affinity for wires and all. But nope, turns out that power central is a lonely place with not a roadie in sight.

Ooooooo, look at all those wires. Thump thump thump goes the roadie heart.

The dreaming of wires

Dave Rat

SNIAGTTPWIWTCABY!

Special "what people do on tour" special!

**** The Amazing Durable Roadie ****

Touring gigs vary drastically in workload, responsibility and exposure to stress. Equally diverse is the schedule that each roadie in the herd maintains.

Riggers - are the sharp edged early risers. First in and last out, they calculate and hang the heavy loads safely over our heads. These clean, mean and meticulous machines effortlessly climb to frightful heights. The upside is that they typically can get a nice long mid day sissy nap.

Bus and truck drivers have even earlier call times as they drive all night and sleep all day, these nocturnal roadies like riggers, hold our roadie lives and the safely of our beloved wires in the grip of a steering wheel. An interesting side note is that bus drivers typically get carted off to a hotel during the day, while truck drivers sleep in the micro hotel room located in the cab of their truck. Bus drivers drive straight through to deliver their roadie cargo while truck drivers do showers at truck stops that are setup for exactly that, along the way.

Production roadies include the production manager, stage manager and production assists. With their early load ins and late outs they have possibly the most stressful gig of the bunch. Their chosen tasks of keeping the whole show running smoothly, sooner or later brings every unresolved issue into their lap. Plus they are responsible for organizing all the humans and gear to show up in the right place, right time, within budget and as many people as happy as possible. The positive side? Well hey, they run the show so if they need something they just ask themselves if they can have it and that has its advantages.

Lighting Techs. One thing about lights is that they take a lot of power. Big power means big heavy wires and a heck of a lot of them. These roadies are coming in soon after riggers and are at the gig till the hairy end. If you look to the upper sides of stage during the show, you will see there are four follow spot roadies. Those the specialized lighting people you see climbing ladders right before the Peppers play. We carry two of them, the other six are locally hired each night. Lighting techs to this day tend to be some of the more rugged roadies, maybe it is the wires or genetics but the work hard/play hard ethic runs strong in lampi world.

Carpenter. A highly specialized roadie whose purpose is to be able to fix, repair or build anything the tour may need and then do what ever else need to be done afterwards. Carps are cool!

Catering - In Europe we, as most large tours, carry full catering. In the US, the opposite is true. Why that is, heck I don't know. On this tour we carry a band chef and he also looks after the crew a bit as well. They shop, they cook and they feed and though it is a good solid day of work over hot stoves, the appreciation they get from grateful eaters is not in short supply.

Video Techs - Video is a bit of a newer gig compared to old school lighting and sound worlds and as such tends to vary quite a bit from tour to tour. With huge video sets like we have out here, the vid crew is running about the same workload/schedule as lighting. With the current video setup including two active cameramen and two roadies in real time control over video shots, they keep pretty busy during show time.

Sound Techs - A bit later call times than the lighting, the sound techs get to do a lot of waiting and then have a bit of a crunch to get set. The sequence of events during load in is usually rigging, lights, video, sound and then backline, with overlaps of course. The state of the art sound systems that we use today are a far cry from the old "hang a pile o boxes here" mentality of 5 or 10 years ago. Currently, every room is measured with laser range finders to determine the dimensions. The data is input into 3D sonic prediction software that calculates optimum coverage, potential volume levels and determines the precise angle of every speaker box. To learn this, the techs go through a training course and are certified as such.

Dressing room coordination - As you get closer and more directly involved with the artists, things take on more of an air of finesse. A far cry from thousand pound set carts bouncing on a forklift, building the happiness escape that keeps the musical humans smiling and harmonious is the job of dressing room humans. A world of comfort within a world of frenzy. Their day starts later but the end is dictated randomly by who stays how long. So, flexibility and adaptation are the name of the game while being the delicate buffer to protect one of our most valuable assets and the reason we are all here, the band.

Backline Techs and Monitor Engineer- These techs have an even later of a call time and finish relatively early in the big picture. The workloads are fairly light comparatively but the responsibility huge. Each backline roadie deals directly with their band human, one each for bass, guitar and drums while the monitor engineer with all four in he band. Every nuance from which guitar tuned how and when, to making absolutely double extra sure that the guitar, bass, drum and monitor rigs operate as close to perfection as possible, every single show. There is no error unseen by either the band member or possibly the entire audience. They have both awesome gigs and mind bending stress as each of them is pretty much responsible for the band hearing themselves and each other so they can perform the show.

FOH World - Lighting designer and FOH Sound Engineer live in a bit of a different realm. On one hand they are far from the fray of stage where the action is, on the other hand, everything the audience sees and hears is at their finger tips. The mass of ears is a unique critique that responds to feeling and emotion. Meanwhile, there are enough people in the know at each show that errors do not go unnoticed. It's an ethereal slow distance once removed stress that can pop into immediate trauma if something important goes pear-shaped. A gig I love and would not trade for the world.

Band Entourage includes the tour manager, TM assist, the band members and a few key people that keep 'em in tip top shape. The band entourage travel separately from the rest of the tour crew and many mysteries surround them. Actually, I am just side stepping the description as the documentary Spinal Tap has already adequately covered the facts from the band angle.

**** End The Amazing Durable Roadie ****

And time for this roadie to sleep,

Dave Roadie Rat

IHAWTJACBUYA!

3:10pm. At the gig, Pink Pop Festival. Had dinner last night with Mark (monitor engineer), excellent Indian food in Amsterdam and off to bed. No big party night for me, balance and rhythm is my goal in the turmoil.

**** Highlight of the Day - Raspberries ****

I have never tasted or seen a better raspberry than I had today, they were perfect beyond what I though a raspberry could be. I ate the whole package of them.

The Ben and Jerry's bean bag pillows in "The Compound" were a close runner up and take second place for HOTD. Leif (lighting tech) and Scott were soon joined by myself.

When touring on this level and headlining large festivals means we often get a "Compound" with all Peppers related dressing rooms, production offices, crew room etc. It is really cool to have a place to hang and get away from the fray, even if you can not escape the PA thumping from the other bands. I am going to un escape the Flaming Lips at 5:30 though, I love that band, along with the Pixies, Modest Mouse and Ween, they are one my favorite bands that I have not directly worked for. They did open on a Peppers tour but unlike my many of my other favorite bands, they have never been an official Rat tour.

Nick the Fly finds a car:

Third Highlight of the Day, I talked to Wayne, Flaming Lips singer and he still loves Rat shirt from 10 years ago, got his address and some fresh Rat swag is headed his way! Thank you Daniella!

With each passing day of tour I seem to drop another pattern from home and slide closer to just maintaining basic necessities. I have been doing work almost entirely from the BlackBerry as getting an internet connection is more cumbersome than valuable at this point. It is like swimming upstream to try and cling to things like daily shaving, anything remotely resembling a schedule, consistent healthy eating, reasonable sleep patterns and regular communication with any human that is not within shouting distance. When we stop changing countries on a near daily basis, it will get easier.

**** Issue of the Day - Lack of V-Dosc or even more scary, lack of subs! ****

Especially considering that today is a 'Throw and Go' gig for 60,000. That means we get the stage for the first time at set change and we have to get backline, monitors, main system tuned and dialed while the audience is in front of the stage. With a familiar PA system, it is not a big deal but I have only mixed on this type of Martin Line array twice before and had better than ok results. Also, I try never to subject the audience to the check one two or testing of instruments over the sound system, even if the festival does allow it. When I mix, the first time the audience hears band's instruments through the sound system is when the band hits the stage. What I will do is play familiar music to EQ/tune, ask a lot of questions and eliminate every variable I can.

Going from 44 Rat Subs for 20,000 people to 24 Martin subs for 60,000 people is a bit of a concern.

I do like the Martin better than Vertec rigs though. I will now rename Vertec from the Ford Explorer of sound systems to the McDonalds of sound systems. You can get one anywhere in the world, it will keep you from starving, lots of people love their burgers and I will have one if I have to, but given the choice I would much prefer a meal created by a world class french chef.

**** Sound Nerd Speak ****

Oh yeah, subs, 24 is just not going to cut it and the main line array boxes go down fairly low. Using the mains all the way down and overlapping the subs is an option I will not be doing. I like to have separate control over all the sub lows on a single eq and fader. What I am going to do is high pass the main system as I always do (between 100 and 160, venue dependant). I will then split my sub woofer send into a spare x-over and send a second subwoofer send as well that has an independent trim, x-over and mute on my side. The second sub send will get added back into the left and right mix via an XL88. Basically it is a sub on an aux send emulation. I do it a lot when I run into Clair S4 systems when they are not configured with subs on an aux.

**** End Sound Nerd Speak ****

Franz Ferdinand is just finishing up so it is time to get ready to rock.

1:55 am

**** Issue of the Day Part 2 - Wind ****

Technically, sonic projection software will predict system coverage over large areas from giant PA hangs. What it will not predict is the catastrophic effects that wind has on sound, the amount of wind and ways to reduce the bummout factor.

The wind blew sound all over the place. One way of thinking is that wind is an unavoidable act of nature. My experience has been that there are several things that can be done to reduce sonic trauma due to wind.

1) Never rely on just 1 hang per side for a large outdoor show where wind is even a remote possibility. With 2 clusters a side I have found that when wind blows the sound of one cluster away from you, it often will blow the sound of another cluster towards you.

2) Cover extra width. By over-covering you will gain some buffer zone and keep the outer audience covered with breezes and mellow gusts.

3) Minimize long distance throw and rely more heavily on multiple/regional delay clusters. The farther you project sound, the more susceptible it is to wind and environmental issues.

Dave Rat

3:30 am - Parked at the venue, on the tour bus, load out continues. Not very happy with my bunk pillow, thin with poking feathers.

I took a full drink onto the Pro Tools pre amp rack tonight. Some kind of sticky solution that I saw coming in a high arc before crashing onto the rack and splashing across the console. Oh, man, just a mess and all I have is an unwashed t-shirt someone gave me that is as absorbent as a rubber mat. Oh well, at least I did not lose any channels. I mix the show with sticky fingers.

Tonight (later this morning), what we call 'the core crew' will ride about four hours to Rocking Rio Festival in Lisbon where we will get dropped and lose the busses and live at the gig till after the show. The main production crew (everyone else) will do a 30 hour drive to Lyon, France.

The core crew are the ones that we really can not do a show without. The backline techs, sound engineers, lighting human, some production humans, some backstage humans, stage manager and usually engineer techs as well.

European driving laws are much more strict than US laws. To do a 30 hour drive it will take 3 drivers per bus as each one is only allowed like 8 hours without a full sleep. They have little paper disks in the speedometers over here that mark the time traveled and speed each professional driver travels and they get in all kinds of trouble if their disks don't match the law.

I have a lot going on on this tour. Mixing main PA, I also mix a recording 2 track mix on headphones that has audience mics mixed in and somewhat different levels. We have VIP fills that fed off that mix as well located on each side of stage. Nick the Fly, my FOH tech is keeping Pro Tools running and after switching to the internal 400 gig, we had not crashes last night.

SoundNerdSpeak

• The Main PA System is 2 hangs per side each consisting of 12 V-Dosc and 3 dV-Dosc.
• The side wrap system is 2 hangs per side each consisting of 9 dV-Dosc
• Plus we have 44 Rat Subs and 6 L'Accoustics self powerd 8" speakers for VIP fills.

The main PA is divided into a stereo inner system and a stereo outer system. The side wraps are divided into near pair (the side wraps closer to me) and far pair. The near pair is sent a signal that is a mono version of the inner system and the far pair is sent a mono version of the outer system.

End SoundNerdSpeak

 Must sleep.

Dave Rat

2pm - Fifty people all checking into a hotel and sometimes the hotels don't really comprehend the concept of getting all the room keys ready before we arrive. It is gonna be a while. Priority goes to the crew that are have to head to the gig soon so they can get a shower beforehand. Today is a day off for sound engineers, backline, band party and some others but it is a pre-rig day for riggers, lighting crew, sound crew. The tour will be pre-rigging a few times till everything gets dialed in. We have back-to-back shows in different cities coming up so pre-rigs will soon become a thing of the past.

Super tired, I will get used to sleeping on a bus soon enough but it will take a few rides to get there. Shower and a nap and wake up to a PIN message from Chad (drummer human) about going to see Ted Nugent. Hmmm, not a big fan. He has some pretty rough political and alpha-male related hunting views that don't mesh with my view of the world around me. On the other hand, something to do and am curious to meet him even if I don't agree with him. Plus I used to rock out to Stranglehold when I was a kid.

Oh, PIN messages are pretty much the life blood of communication out here. BlackBerry's have an internal network where you can send a super fast, confirmed delivery, free text messages directly to another BlackBerry, pretty much worldwide. They are so effective that we use them for sound check and staying in touch during the gig from FOH to mons. Next in line is SMS text messaging but the charges add up and they are less reliable and slower, emailing phone to phone is slow and not confirmed. An actual phone call? Way too intrusive! Ever tried to talk on the phone during a rock show?

2am - Ted Nugent played a club gig, Chad and I actually rode over with him, his family and the bass player to the gig. On one hand, everyone was super friendly, on the other hand, my opinion was reinforced. I can not remember ever hanging out with someone that I disagree with more.

And sleep time cometh.

Dave Rat

The Gathering is like animal critters arriving at the watering hole. Waves of familiar and soon to be familiar humans flood the hotel as each arriving flight dumps off new ones. Production is first to arrive. I sat next to Big Daddy, whom I met 20 years ago. We had a blast catching up on old times and Danzig/Soundgarden tour in 1990 we did together and it remains a constant source of funny stories. Who would have known that Danzig's body guard, Jessie James, would end up on TV married to Sandra Bollock!

I find 'our people' just wandering the street, searching for food or beer or just wandering then clustering and wandering some more. It is our new stomping ground. Lighting, riggers, sound and tomorrow we get backline techs. When all is said and done, there will be 50 or so crew from across the globe all here for a common goal. To build us a killer rock show!

Barcelona seems to have an amazingly high quantity of street artists that stand really still and each has some unique presentation, some are better than others.

These guys ride bikes with their skeleton friends

and some cowboys

and my favorite was just too realistic to even describe

  I almost failed the jet lag battle and passed out, fortunately to be saved by a phone call. Never nap on a trans-euro flight landing day. Stay awake till after midnight at least, or you will pay the price for many days.

Let's see, I am 43, we tour this year, we tour next year, if past experience is an indicator, I will be 45 when the tour ends and my daughters will be 12. Hmmm, that is kind of scary. Yikes!

This where I fall into "why am I here mode." Well, it's not out of need, Rat world is doing well and the challenges there keep me happy and financially stable enough. More cities? I have seen enough, I have a back log list of places I want to revisit, when I am not working, too long to ever fulfill. Ultimately the answer of whether the adventure is worth the sacrifice will unravel itself with my personal happiness as the barometer.

I do know that these are 'my people.' I feel a welcome-ness and depth of belonging that I experience in no other group of humans. At home, I enjoy a relatively solitary existence. Family, a few friends I see on occasion, peaceful, focused and wrapped in projects that I seek out to solve. But here I feel like I glow. I know this world. Strangely familiar cities and wires and knobs and endless streams of puzzles that appear in the form of broken things need fixing. The creation of sonic landscapes. This is the forest I know like the back of my hand and these are my people.

Dave Rat