Spike Allibone - Showcaller

Spike in Riyadh 2023

Intro

I'm a showcaller with many years of international experience.

I will call any kind of show but often it seems I end up on the larger or more specialist one off events. I should point out that I'm not proud... if I'm free, and you pay my day rate, I will almost certainly call your show. 

I have many years of worldwide experience this includes specialist work involving score reading, bar counting and live TV broadcast events.

Some photos of some of the shows I’ve called and the space required / typical environment can seen below with more here

Below is a list of requirements I may well need provision for on site. I can help you source and configure some of these things should it be useful.

My rider

Large Event / Big Show - Showcall Rider

I need...

  • line of sight of stage

  • a reasonably normal and clean 1m desk space with 13amp mains. This needs to be a secure location that is normally elevated and barriered off from punters of course.

  • small desk lamps help but I do carry my own

  • excellent internet, not shared by the punters. Wired is best rather than wifi. I use Shoflo to call the show - and it relies on good internet to work. I do have backup procedures to overcome this of course.

  • 1 x 27" HDMI monitor or similar with multiview etc - previews, VTs and graphics content, TX, countdown clocks etc where applicable. This should also include timecode and any Live Edit or Cue Pilot data

  • 1 x 27" HDMI monitor - second screen for my laptop. I normally call the show from this. I do bring my own but it’s smaller - This is IN ADDITION to any multi-view / content screen above - see image. Call me if this is a problem!

  • a normal comfortable office swivel chair with wheels please at the right height for a normal desk - I don't sit on flight cases anymore! Please do not give me a delegate or canteen chair. (I know this is sometimes ‘a thing’ when scratching around in venues…. but I would really appreciate it!)

  • matrix panel show comms system. Favourites would be Riedel or RTS.

  • double muff cans please with no noise gate. Peltor or noise cancelling technology whenever it's a loud music gig.

Channel programming and people I would normally talk to:

  • Showcall channel…. For all SM / playback / kinetics (motor moves) & pyro... generally anyone who is waiting for a cue to push a button!

  • Dedicated channels for the all the above depts to ‘key over’ when muted. I will need the option to cut them out - and also need independent volumes of course - as in any standard RTS / Riedel panel.

  • Broadcast director (truck / scanner 'open talkback') - again with option to 'key over’. I normally talk to the director and/or PA during any large event

  • Programme feed for any live mics (only) - otherwise a loud but volume controlled Fostex monitor with dedicated foldback for mics will often help - especially in large arenas / stadiums etc.

  • IFB for presenters / dancers / artists etc - I often use a switchable SM58 to isolate key individuals who are off the comms grid - it's possible to rig up a PFL talk back system for artists which I've used effectively in the past.. call me!

If this is a big event, you'll probably have all this covered already.... but here are some other things that can sometimes happen and are often worth talking about:

  • a show director / producer / 1st AD (on wireless comms) who does all the running around & client communication on stage 

  • artist Liaison team to fetch artists and speakers to stage where appropriate

  • wireless comms for stage managers where appropriate

  • for VOGs I need a desk-live switchable SM58 or similar with pop shield - and a script for any authorised announcements, I have an English RP accent.

  • fast colour printer that works (preferably with A3 paper option)

  • I only bring PPE when specifically requested - otherwise I expect the auditorium / show space to be free of safety PPE requirement by the time I arrive on site.

Corporate Events / Smaller Shows and Online Events - Showcall Rider

I will need….

Environment

  • A normal clean desk with 13amp power. I like around 1m of allocated space please (see images above)

  • Maybe some low level / controllable desk lighting (I do also carry my own)

  • A normal office swivel chair on wheels. Please note that delegate / conference seating is often not suitable. I need a chair that works properly at normal desk height. For some reason this is often the hardest thing to find on site!

    Tech Provision

  • Wired internet (is better than wifi generally) - I call the show using Shoflo and also Ontime which are an online showcalling system. If internet fails, I do of course have a backup system but if you can run me some ethernet (at least 30 mps) then it's all good! Venue WiFi shared by the punters is notorious for being inadequate - just saying!

  • A 24-27” monitor with HDMI - I do need a second screen. I call the show from this. I do bring a smaller one of my own

  • A 24-27" monitor with HDMI This is a multi-view / content screen for cameras, VT & graphics previews etc.

    Comms

  • A proper duplex talkback / comms system. For smaller online events, I do have a couple of my own bluetooth and wired headsets and can interface with Unity and Clear Comm’s Agent-IC systems etc.

  • I have my own double muff headset and I include shots ( below) of the various adapters I have for the plug. If the show is loud, then I will need you to supply Peltors or similar.

  • Wireless duplex comms for stage managers / floor managers - don't give them wired!

  • Audio programme feed. This is important. The best way to achieve this is - is to give me a separate Fostex (etc) audio monitor - IE a small self powered speaker, with a microphone mix from the desk and a volume control. I can perhaps accept a programme feed through the cans - but it’s not always the best option.

  • IEMs (In Ear Monitor system often called IFB) also with switchable mic to the presenter / host where appropriate. Sometimes we can set up a PFL option so they can talk back to me off stage.

    Protocols

  • I would normally insist that the camera operators take direction from the camera director / vision mixer. I don’t call cameras on complex shows

  • Please give me show trained technicians that know how to take and execute cues - people who wait for the ‘GO’ command!

  • A Show Director / Producer / 1st AD to do all the herding and running around on stage - this is someone with clout who knows what the show looks like and is prepared to boss everyone around. This person would benefit from being wirelessly connected for comms during the show.

    Also…

  • For VOG I need a switchable SM58 or similar with pop shield. This should be desk live - but without any crackle from the switch. I have my own if this is a problem to provide. I have an English RP accent. Someone should preferably write the VOG scripts for me

  • A fast colour printer in the production office - preferably with an A3 option - some people still ask for print outs of the running order but otherwise, everything I do is digital - I can bring a printer… but we’d need to discuss this

  • I'm happy to run countdown clocks - I also have my own countdown clock system (incorporated into Ontime) which works alongside the showcalling system if you think it’s useful

  • I expect that the auditorium will be ready for occupancy without PPE by the time I arrive. Travelling with hard hard and steel toe boots etc is something I only do when specifically requested

I carry these adapters for my (Beyer Dynamic DT290 Mk II 250 Ohm) comms headset

NOTES ON PRODUCERS / DIRECTORS / 1ST ADs / STAGE MANAGERS / ARTIST LIASIONS / CREW / ASSISTANTS and SHOWCALLERS

As a general rule, you should plan to have a producer AND a showcaller rather than try to combine these two roles. And this person should ideally be wirelessly connected for comms during the show.

This producer might be sometimes called ‘Show Director’ or even ‘1st AD’ but they are typically someone with clout who knows what the show looks like and is prepared to boss performers / presenters / celebrities and clients around.

NB; As an experienced producer, I am trained to do this job myself, but it’s not great if I am asked to showcall AND produce at the same time. I’ve done it before and it has sometimes worked…. but, for big or complex shows…. let’s just say ‘no’ to this before we start!

The job titles I’ve listed above are ALL different. I quite often work without one or two of these folk on site and the remaining crew will always fill the gaps... but if your show has some complexities or political ramifications etc, then call me to chat this through.

IN GENERAL....

  • I need show trained technicians that know how to take and execute cues - people who wait for the ‘GO’ command! - It doesn’t matter how good a showcaller I am if some of the operating crew are a bit wobbly. I'm of course happy to train up newbies and ‘go with the flow’ with smaller corporates etc - but these folk do need overseen in case rehearsals start to show weak spots that look like they might compromise the show.

  • Sometimes, for especially complex or tight shows I like to have a (calm) script assistant - this can be a junior position for someone who just keeps an eye on the script page / paragraph we are on during hairy moments. This person sits next to me - and would require an extra set of comms. I've done this successfully with spare runners, bright school leavers as well as content producers - It's just nice to have on occasion when following large swathes of autocue especially on televised events.

  • I don’t whinge, I'm discreet and I am totally familiar with timecode, CuePilot, Live Edit, pyro cues, autocue (prompting) multi-screen graphics, automation / kinetics, click tracks, backstage calls, FOH announcements, celebrities, last minute craziness, screaming people, no food, no sleep etc etc. The show must go on!