When it comes to organizing events, the quality of the production can make or break the experience for attendees. At Capital A Productions, we know that it’s vitally important to work with a reliable and professional event production company. Below, we’re sharing a few of the most important things to look for when choosing the right partner for your event. Keep reading to learn more, then get started with us today!

Organizing a festival or concert is a massive undertaking, requiring months of planning and coordination. Whether it's securing talent, vendors, and sponsors, or managing the event's logistics, there are countless tasks to manage. With so much on your plate, it's easy to feel overwhelmed and stressed out. But the good news is that there is a solution to make your life easier: hiring an event management service. In this blog, we'll explore why every festival and concert needs an event management service like Capital A Productions and how we can help you create an unforgettable event.

Planning a festival for a large crowd requires a lot of organization, planning, and a reliable production crew. As a festival organizer, having a production crew to set up and manage the event is essential to ensure the success of the event. Capital A Productions understands the importance of staying within budget, and we make sure to provide a quality service that meets your needs and ensures the success of your event. Contact us today to get a quote and keep reading to learn more about the benefits of hiring a production crew for a festival setup.

If you’ve experienced planning and preparing for live events, then you know there are a lot of moving pieces that all need to work together to make the event a success. When it comes to audio for your live event, having the right equipment is just half the equation — having a competent, professional audio team like Capital A Productions can make all the difference in the world. Here are just a few of the benefits of hiring a professional live audio company for your next event!

Are you planning a concert or festival? Are you unsure of where to start? That’s okay, you don’t need to have all the answers. The team at Capital A Productions has years of experience helping people plan concerts, festivals, and several other events. We have all the equipment, knowledge, and tools you’ll need to get your concert or event off the ground and ready for the opening act. See all our services or contact us today to enlist our concert production skills for your next show.

Are you planning an event and in need of a stage? Maybe you're looking for concert production or stage rentals for your next big show. Whatever the case may be, Capital A Productions is here to help! We are an event production company based in Savannah, GA that offers stage rentals and more. In this blog post, we will provide a complete guide to stage rentals so that you can make the best decision possible for your needs. Keep reading to learn more!

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Over the last 11 years at Capital A Productions we have had the pleasure of working with some of the best artists in the world in all genres of music. Many of them Icons in their respective fields. Several of them have passed away in the last few years which makes working with them that much more special.

In this business we get asked often if we get a lot of autographs and photos from these shows. The answer to that question can be answered by simply looking at our WALL OF FAME. Here is where we would put all our autographs, photos and memories from years of doing shows. Just take a look for yourself….

Yeah, That is it…it doesn’t exist. It serves us much better as a cable wall. It’s not that most aren’t available for a quick autograph signing or a 5 second selfie. Most of them would oblige I’m sure. There is an unwritten rule in our industry that once an artist steps into the “backstage” area that they are in a safe zone. When they come in for load in and sound check they are just normal every day people showing up for work. It is not until the lights go out that they become the “Star” that they are. Sure, there is the occasional over needy diva out there, but for the most part these are real people who just happen to have an amazing talent. Before they were where they are now they were all struggling musicians clawing their way to the top. They all had families and bills and normal issues that everyone faces. To let you in on a little secret, even after fame and fortune they are STILL normal everyday people with families and bills and normal issues that we all face, that never changes. Sometimes this adds to the amount of responsibilities and stress that these people face on a daily basis, meeting deadlines and projections and goals to stay afloat in a tough, tough business. This safe zone lets them drop all the show biz façade and just be normal for a few hours a day. Would a quick photo for social media really hurt anything? Probably not…but we are there for event production not event attendance.

Preparation is the key to success. The more you are prepared for any situation, the easier it becomes to divert any emergencies out of your control. Every event is different… Each time you add different variables such as venue, show time, show logistics, equipment needed, distance traveled, etc. you add or subtract time needed to properly set things in place. Our rule of thumb is to start with a minimum of four hours to prepare for an event. Many events require more time and manpower to accomplish everything needed to set up completely. We are sometimes asked, “Why does it take so long to set up for an event?” The answer is quite simple, safety. Yes, there possibly could be a much faster method to setting up, but the safety of your team, your customers, and our crew are way more important than that. When the carnival or fair comes to town would you prefer they get it out of the trucks and up and going as fast as possible, or would you rather they do it properly and safely? When you attend an event or concert, usually there is thousands of pounds of metal hanging directly over your head. Would you feel confident to know they threw all that up in an hour? Probably not.

In the production world things need to be assembled in a specific order. The stage needs to be assembled without any danger overhead. The lighting truss and sound system goes next, then everything on stage and out front. There are also many more variables that come into play in almost every event.

With lots of holiday events coming up in the near future, here is a list of several components to consider when preparing for a public performance that includes playing pre-recorded music. The more of these items you prepare for, the smoother your performance will be.

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1. Responsibility

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The venue, sound company, festival planners, or event organizers are NOT responsible for the playing of your music. For some that have been doing this for years, you may have relied on a tape player or CD player to do the job. Most likely, there may not be a CD player on-site unless it is arranged in advance to have one provided. You should consider the music as much a part of your performance as you would your costumes, flags, or stage props. You wouldn’t expect the venue to provide these things, why would you expect them to take care of HOW your music is played?

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2. Reliability

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CDs can become scratched or damaged if dropped or mishandled. Using digital music can help to safeguard your performance. You can have several copies on-site just in case. It is always a good idea to have a back-up. Even a back-up of your back-up isn’t a bad idea. Digital music can be sent fairly easily in just an email. Send a copy of the performance (IN ORDER) to more than one person who will be in attendance or working your performance. It is a good idea to purchase a digital music player such as an IPOD, MP3 player, a laptop, or even your phone can fit the bill. These devices have a headphone jack and can easily be used to play your music. If you use your phone, it is a good idea to switch it to “Airplane Mode” so you will not receive any calls or texts during the songs.

If I told you that you have been conditioned to accept bad sound… would you think that was a lie? Every time you watch a television show or movie that includes a scene involving a live microphone situation, what is the first thing you always hear? Feedback. I’m sure this is just to relay to the viewer that a live public address system is in use, but should we really be reminded each time? The fact is that with trained professional audio teams and equipment, this feedback should never happen. It always happens in movies even when the president or high public office speaks. You would think that audio engineer assigned to the president of the United States would be qualified to eliminate this simple nuisance.

Another example, chances are that you have attended something in your life where there was a speech or presentation where feedback was present. Was this a result of “bad sound”? Not entirely. It is probably a combination of several things, such as, inadequate equipment for the space, an inexperienced person tasked with “running sound”, and improper microphone placement and usage techniques.

The truth is that this can be avoided in 99% of these situations. Hiring a qualified, experienced sound engineer, not just someone who dabbles in electronics. The down side to this is that in most situations this simply isn’t possible. The reason these people are there in the first place is because there is no one else. The difference in these people and a real sound engineer is the education. Their people only lack the knowledge and experience that comes with time.

There are two different sides on this issue. On one side, you have those that feel keeping your budget secret is the way to go. The other side knows the importance being transparent with your trusted production provider. I am going to attempt to show you the benefit of using the second method.

In this business we develop long-term relationships with many clients. Over time we begin to learn each other and how each prefers to operate. These relationships are constantly growing and evolving. The majority of the time we deal with people who do not do event planning for a living. These are usually volunteers or committee members who take on the task of event planning and management maybe once or just a few times in their lifetime.

The first consultation usually involves a conversation with terms like “sparkly lights, a stage big enough for a band, bright colors, etc.” This is simply because these people know what they envision but are not sure of the “how”. This is where we can help. Without knowing your budget, we will take this basic information and spend time working on a proper quote. When a quote of $6,500, for example, is sent, the real work begins. This is when the budget is revealed. Perhaps the response will be, “We only have a budget of $3,000.”

There are several advantages to buying local. The most obvious is to keep your capital in the local economy, stimulating the area where you do your business. But there are some reasons you may not usually think about. As it pertains to event and concert production, buying local has it's advantages. When you give a local provider a chance, you begin a relationship, one that is ever growing as that production company learns your needs and visions. A good production company will provide logical, affordable solutions for your events.

Going local will create the opportunity to know your supplier, face-to-face, earning trust and mutual respect. If you have ever used a company from another city, you have most likely done everything over the phone or through email. This is not to say that it can’t be done this way, but having someone look you in the eye, seeing your passion and drive, sharing your vision, and bringing it to life will achieve outstanding and everlasting results.

Going local means everyone has pride in their community. When events are a success, it creates progress and prosperity for everyone involved. An outside vendor likely does not have as much invested in your community as a local vendor would. As anyone in this business knows, not every concert or event is a success. Sometimes it’s weather or advertising or a competing event that messes things up. A local partnership will help ride out these waves and be there for support and open dialogue on how improve and be more efficient.

There are several advantages to buying local. The most obvious is to keep your capital in the local economy, stimulating the area where you do your business. But there are some reasons you may not usually think about. As it pertains to event and concert production, buying local has it's advantages. When you give a local provider a chance, you begin a relationship, one that is ever growing as that production company learns your needs and visions. A good production company will provide logical, affordable solutions for your events.

Going local will create the opportunity to know your supplier, face-to-face, earning trust and mutual respect. If you have ever used a company from another city, you have most likely done everything over the phone or through email. This is not to say that it can’t be done this way, but having someone look you in the eye, seeing your passion and drive, sharing your vision, and bringing it to life will achieve outstanding and everlasting results.

Going local means everyone has pride in their community. When events are a success, it creates progress and prosperity for everyone involved. An outside vendor likely does not have as much invested in your community as a local vendor would. As anyone in this business knows, not every concert or event is a success. Sometimes it’s weather or advertising or a competing event that messes things up. A local partnership will help ride out these waves and be there for support and open dialogue on how improve and be more efficient.

When planning an event that includes live music, there are several questions you need to ask in advance to ensure everything goes as smoothly as possible. Below is a more detailed version of the questions and answers as to why you need this information. In most cases, the artist can provide you with a technical or a production rider that will outline what they will need in order to perform. You will want to gather this rider in the beginning of the planning process.

1. Power Requirements:

Most guitar amps, power amps, and other equipment require a great deal of power. Running extension cords all over the venue will probably not do the job and you will run the risk of tripping the breakers in the middle of your event or worse. Most times, a dedicated power distribution system is required to make sure enough clean power is available.

2. Sound Requirements:

Is the artist responsible for bringing the sound equipment or are you, the event planner, required to do so? If it is your responsibility, what does the artist require to put on a show? Make sure you ask for a stage plot. A stage plot is a detailed drawing of what the artist requires on stage and how they normally set up. This will be useful when planning how much space you need to clear for the band to set up. Also, it will give the sound company valuable information on what to expect when the artist arrives.

Have you ever lived in a house or worked in a place that was constantly tripping the breakers? When you tried to use the blender in the kitchen and someone flipped on a hair dryer in the next room, the power draw becomes too much for the particular circuit and the circuit breaker does what it is designed to do... it trips. This is to help ensure a fire does start or at least overheat. These circuit breakers are there to protect your house and your appliances from permanent damage.

This same principal applies to live event production. When your vision involves as many brightly colored lights as possible or a sound system with several large power amps this will put a strain on any 15A or 20A circuit. These are the most common types found in normal electric wiring. Each lighting fixture and power amp as well as anything that requires power has a specific “draw.” This draw is the specific power consumption rating for that specific piece of equipment. Given this information it is a simple math equation to figure out how many can be plugged in at one time on one circuit. It is simple to understand if you are getting an overall draw of 22 amps on a 15 amp circuit your breaker will trip most of the time. When this happens the circuit becomes dead and anything that is plugged into it will no longer work. During the middle of a song or during a runway show is not the best time to have lights or a sound system stop working. Your event that you have spent hours and hours planning and promoting is ruined. The solution is a power distribution system. This is one of the most valuable pieces of equipment in a productions companies arsenal. This allows the production company to tie directly into the master panel, bypassing the house or venue electrical system. This hookup is to be done by a licensed, bonded, and insured electrician. This many times is the responsibility of the client unless agreed otherwise in advance. These “tails” that tie into the raw power go directly to a power distro so the amount of power can be monitored and used properly. Usually a power distro will have many 20 amp circuits and even some 30 amp and 50 amp connections depending on what is needed. When you are utilizing 100 lights as well as a full size sound system and more, these power distro are essential just for sheer volume alone. Bypassing the venue’s power outlets ensures the production company knows exactly what is drawing from which circuit. This makes the environment safe for both the patrons and the equipment. So if you see one or more of these power distros listed on your quote or scope of work, now you know exactly the reason it is needed. As in everything we do, your outcome and safety is the reason for every decision made.

If you work in the live entertainment sector long enough, whether it be performing or organizing, you will have events that stand out in your memory as less than acceptable. Sometimes, it is a sound system that wasn’t what you expected. Perhaps, things that were promised were not delivered. It can even be something as wrong as an unsafe working environment. Some examples could be a less than stable stage, electrical hazards close by, blocked fire exits, or unrealistic working conditions.

As someone who has been hired to perform a task, or has done the hiring, you have the right­ to refuse to work in subpar conditions. This does not mean it is acceptable to be a diva and make unrealistic demands. It does, however, ensure that you will not willingly put yourself or crew in a dangerous situation that may result in injury or even death. No amount of money is worth losing a life.

When looking at a stage for the first time, walk the entire area and visually look for places where it sags or dips. Check the stage legs to make sure they are all secure. In a band or dance situation, there is quite a bit of weight transfer going on that can put strain on a stage that isn’t up to proper specs. Over time, this could result in an accident not only for the entertainer but anyone close to the stage. Take a look overhead and see if there is anything that could fall as a result of loud noises and movement.

I once worked with a guy who was brilliant when it came to part numbers, model numbers, and products, but not so much when it came to communication. We were on a job site once when he asked me to hand him the XT-4100. I searched for several minutes before finding out the XT-4100 was the hammer. We wasted precious working time just because I did not speak his jargon. Wouldn’t it have been much more simple to ask for the hammer in the first place? Yes. Often times people of any industry, especially the audio-visual-industry, forget that not everyone is familiar with our industry terms. In fact probably only about 10% of the people you encounter on a daily basis has any idea of what is needed to provide professional production support. It is more important to speak in outcome as opposed to process.

When I go to a fancy restaurant I look at the pretty images in the menu. I pick my choices from seeing the outcomes. I don’t care or need to know what model of stove the chef uses to prepare my meal. I don’t need to know what type of plate will be used or anything in the process, I only need to receive what I asked for. This works the same way in our industry. To confuse and overwhelm your client with useless part numbers and language they do not comprehend is counterproductive. Talk to them in a way that is easy to understand and it will ease some of the stress of planning their event. The client should be talking about the WOW... not the HOW.

When filming a movie one of the most important aspects of cinematography, also one of the easiest is lighting. If a scene is too bright you lose all of the feeling of mystery. If is too dark your viewer loses sight of what you intended them to see. The old saying you have heard a million times is “Lights, Camera, Action.” The first word is lights. The other two things can’t happen without it. When you go to a concert or show the musician will usually sound amazing. What you find different in the higher priced shows is lighting. The flare and the flash that makes it a show. If none of that mattered, it would be called a listen not a show. Again this type of lighting is about drawing the viewer’s eye to specific things at specific times, controlling the experience. These same concepts apply to your events as well every time. No matter what type of event you plan you have a goal or message in mind. Something in your event is a planned moment. With lighting you can make sure that message is delivered 100%. Sadly, lighting is sometimes one of the first things cut from a budget. Planners may opt to go with an upgraded catering menu, or fancier tables and things such as that. The money spent on props and other things is wasted if nobody sees them. In a hectic event attended by many people there are hundreds of things to see and experience. With effective, well thought out lighting you can draw the attention of everyone there to see exactly what you need them to see. A company logo, a campaign slogan, an auction item, a person of honor, or a beautiful wedding cake. The list is endless.

Most event planners deal with many types of events. Everything from grand openings to anniversary celebrations to weddings and more. Occasionally they will be called on to provide live entertainment. When it’s not something you deal with everyday t can be a daunting task. The world of pages of entertainment contracts and concert riders becomes a reality. There is no clear-cut way to provide for a band or artist. Each one will come with separate needs and challenges. Knowing how to read a concert rider is the key to making it a flawless process. A rider is a written list of artist requirements to perform. It will include a contract that will stay price, showtimes, show links, etc. The rider will state all items needed in the dressing room. This usually includes meals, snacks, drinks and other various items. We’ve all heard stories of a rock band that requires only green M&M’s in the dressing room. This would have been indicated on this page. There will be a page on technical requirements. This is the information that should be forwarded to your trusted production provider, many times this will be now out of your hands and handled for you. These days in many bands or artists are doing “FLY-IN” dates. This is exactly as it sounds. The band would “FLY-IN”, perform, and “FLY-OUT.” This could save you time and money when the scenario occurs you will see a page for BACKLINE. BACKLINE Is the specific equipment a band needs on stage. Normally they would provide themselves, but due to fly this simply isn’t possible. So the duty of locating the BACKLINE falls to the planner or buyer, don’t panic. This is easy. The list will indicate the types and amounts of guitar amps, stage amps, keyboards, drum sets etc. that will be required. Some artist prefer a specific brand of equipment. A good sound production provider will have a good range of inventory to choose from. When you were faced with the above challenges trust your production provider and relax. Here at Capital A Productions... it’s true, we’ve got your back, and your BACKLINE.

Every day we are bombarded with sales pitches. It is often, “Buy one get one free” or “ buy one get the second 50% off” or my favorite “we will double your order absolutely free, just pay a separate shipping and handling fee.” Hardly seems free at that point. Businesses are doing everything they can for you to purchase their “whatever.” Some ploys are in your face up front pressure. Others are more subtle, sometimes even subliminal. What happens if you don’t sell a “whatever?” Is it still possible to offer these types of deals? Sure it is. But the value to the customer isn’t double the whatever the ordered or half off in savings. The value to the customer is so much more valuable than that. Here at CAPITAL A PRODUCTIONS we don’t sell a “whatever” of the day. We sell service. We sell relationships. For when you partner with CAPITAL A PRODUCTIONS you get more than production for your events. You receive confidence. Confidence that your plan will be successful. You receive assurance. Assurance that the event you have possibly spent months preparing is handled by professionals that have done this many times. But wait there’s more, although it’s not a free set of Ginsu knives, it is still better. You also receive piece of mind. The piece of mind that comes with building a long lasting loyal relationship. We look forward to starting this relationship. Capital A Productions 912-963-0183.

Yes that is the hook from a George Michael song, and yes you have that in your head for the next two days. Sorry about that, but I had a point to make. Feel free to do the little dance too. Faith is not just a term associated with religion. We all use faith hundreds if not thousands of times a day. Many times without thinking about it. The chair you are more than likely sitting in while reading this, you sat down having faith that it was support you comfortably without cracking or breaking. If you have ever flown on a plane you had faith that the person responsible with your life had gone through the countless hours of training and qualifications to be a licensed pilot. Did you ask to see his credentials? Probably not. You had faith. And it works every day.

When it comes to your business, you spent hours and hours going over every little detail. Your event has to be perfect. As a professional this is just another day at the office, but to your client this is THE day. The wedding she has dreamed about since she was a little girl or the retirement party he has worked 40 years for. To them, these are not just merely days on a busy calendar. They are one of a tiny view of days they will never forget.

How did we ever survive before the invention of the mobile phone? Where did we go for information about anything? The library? Encyclopedias? (Kids, google it) Where was the best place to find out the answers to our everyday questions? I remember back then and I remember going to those whom I trusted the most. Those who I knew had “been there and done that.” I always confided in those who I knew would have the solution. Today it is all too simple. Just the phrase, “Hey Siri” gets you your own personal information source. Ask anything, she will tell you. Then there is also the aforementioned almighty GOOGLE. Everything and anything is at your fingertips. For the most part it is a great source of information but sifting through all the content to find relevant answers can be overwhelming. We all know that because it is in the internet it must be true. Sounds viable doesn’t it? This certainly isn’t shining a negative light on Googl

e or Siri. I along with millions of people across the planet rely on them every single day. Compared to the fairly recent past they are light years ahead of where we were. This is a reminder of a tried and true method that has worked for centuries. Ask someone who knows how to help. In this “information” age we often forget the resources that are here to provide help and solutions to our concerns. Capital A Productions is here as a resource anytime. The benefit is you develop a working relationship with a real human being whom over time learns to think about your projects like you do. A person that understands your passion and strives to help figure out not just answers but solutions. Here at Capital A Productions we can be your SIRI, your google, and most importantly your trusted source when you need it most. Be it anything sound, lights, staging, video, whatever your need we are here to help you be as successful as possible. Let’s have a conversation so you can see for yourself. (912) 963-0183

When you took a chance, a leap of faith and decided to try and make a living planning events yo

I would say that is quite a success. Simple math would dictate if you planned two a week you would be over 100 for the year. I would say that is quite a success. You would undoubtedly be working like crazy to make them all events you can be proud of. The problem that each of us in the industry has to be conscience of whether we be a wedding planner, event specialist, concert promoter, florist, or full production company is forgetting the details. That is quite easy to forget when you are frantically trying to pull an event together before the deadline, while thinking about a wedding next week, a retirement party the week after and the next week and so on. There is only so many minutes in the day. To these type of companies each day is just a day in the work week. One more event completed, more money in the bank. It’s easy to fall into the mindset. I equate that to being like a restaurant that opens its doors for the first time. Business begins slow with just a few customers and the customer service seems flawless. The owner comes by each table personally to thank you. The food is excellent and the atmosphere is unbelievable. Business begins to grow fairly quickly. Now there seems to be a wait every night as more and more people want to experience the buzz. Now that the same owner is so busy that they rarely get to go table to table to engage their customers. The wait staff is still the same qualified people but the place is just so busy. Therefore the same experience is not had by the new customers that the first customer received. Even though the exact same product was served by the exact same staff. What is the difference? Details. Disney seems to have it down to a science. They realize you may only get one chance to visit a Disney theme park so everyday their goal is to deliver the same experience. To the employees it is a Thursday or a Saturday but to someone who has never been to Disney that day is our magic. They succeed in producing not just a day but a memory for them.

5 things that help you be a better Church Sound Engineer that have NOTHING to do with Sound.

Being a good sound engineer takes time to achieve. There are many things that only come with experience. There are also some things that don’t involve any equipment that will also make you a better sound person. This blog is going to take a look at just a few of them.

#1 Take Control- Take control of your stage. Having ability to make legitimate requests, for instance if a guitar player is too loud, tell them so. If a monitor mix is too loud and affecting the overall mix, turn it down. If anything stands in the way of you being able to provide the best mix possible have the authority to fix it. This does not give you a free pass to be a whip cracking tyrant, but someone to lead the way. Doing affective sound is as much about managing people as it is about managing knobs and faders. Sometimes handling feedback is easier than handling egos.

#2 Always use an order of service sheet- by using an order of service sheet each week you literally get your production team on the same page. As a sound person the key is to stay a few steps ahead of your sheet. For example, when you know the pastor will speak right after a musical number, be prepared in advance to unmute his microphone. Figure out in advance which channels can be muted. Have a game plan in your mind BEFORE it happens. This also goes back to #1 with the take control. An airplane pilot is always ready to deploy the landing gear before he needs it. As a church sound engineer you are the pilot.

During load-in or Site Survey

1. Identify and designate at least 2 valid exits from your work space.

2. Identify and designate at least 2 places of safety near your work space

3. Identify and assign a rally point away from venue to assemble after incident

4. Introduce yourself and your team to security staff

Once Event Starts

1. Pay attention to any suspicious packages, people or anything out of the normal

2. Report any suspicious activity to proper security personnel

3. Report any unattended boxes, backpacks, packages etc. immediately

4. Clear area until packages can be determined safe to continue

5. Make sure your exit points remain clear and unobstructed

In the event of an Active Shooter

1.RETREAT

Create as much distance between you and threat as possible

Do not try and save everyone, get to safety as quickly as possible

Leave your belongings and gear behind

Call 911 when you are safe

When exiting keep your hands out in the open

2.REMAIN

If it is determined that you cannot escape safely find a safe secure area to hide