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 be found 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

Every show is different, but as a guide, I typically require:

Location / view of stage

  • Clear line of sight of stage - sometimes I like a lock off or TX monitor too. (OB trucks for televised events are normally fine but see ‘comms’ below - it’s normally better if I stay in the arena)

  • A normal clean desk with 13amp power, some desk lighting and internet - (more tech detail on this below)

  • I need a comfortable office chair at the correct height to the desk - please don't put me in a portakabin on a flight case... it won't help your important show!

Comms System

  • Comms Proper duplex / open talkback system - IE not Motorola radios…. unless they’ve been duplex rigged. I am very used to all manner of matrix switch systems and the standard 2 channel belt pack for smaller (corporate) shows etc

  • Obviously noise cancelling Peltors for on stage rock shows etc. I ask for double muff ears please. I can sometimes bring my own set depending on your system. (I can also help you design the comms system for the show in pre-production if that's helpful)

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

  • No camera operators or followspots should be on the same ring as showcall

  • Followspots should be on a separate channel to either the LD or a spot caller. I don’t call followspots on complex shows

  • Camera operators need to take direction from the camera director / vision mixer. I don’t call cameras on complex shows

  • WIRELESS duplex comms for stage managers / floor managers - please don’t be giving these people a cabled system. I had to put this in bold after experiencing too many people skimping on this to the detriment of the show!

  • TV Comms access to bar counting PAs on televised shows with music scripts

Tech Provision

  • 13amp Mains - just one or two socksets for my personal use will do

  • Fast internet that the public or the guests don’t use. It’s best to have wired internet if the show becomes reliant on the ShoFlo system I use. Call me to discuss this

  • 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

  • IFB or IEMs (In Ear Monitor system) also with switchable mic to the presenter / host / MD / Drummer etc where appropriate

  • A fast colour printer in the production office - preferably with an A3 option

In General

  • As a general rule, you should plan to have a producer AND a showcaller rather than try to combine these two roles. 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 everyone around. This person needs to be wirelessly connected for comms. NB; I am trained to do this myself as a producer, 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…. no!

  • 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. 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 compromising.

  • 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.

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