Gig planner 2016Everything you need to know about planning your year of gigs.

Pubs, bars and other licensed venues across Britain are committed to providing space for both emerging bands and established performers. Pubs form the bedrock of local scenes and without their support, our musical landscape would look very different. Publicans and licensees are also always telling us how much music helps their business as there is a strong link between music and increased profits. But are you making music work for your venue too?

PRS for Music is the UK’s leading collecting society with over 100,000 songwriter, composer and music publisher members. We license businesses like yours to use our members’ copyright music and distribute the royalties to them fairly and efficiently.

Everyone knows that the Great British pub has always played a huge part in supporting UK music

But what can music do for your pub? We’re here to explain.

‘All bands need to start somewhere and the local pub scene is generally where they need to be.’Gus Unger-Hamilton from alt-J

‘Pubs and music are natural partners; it’s where musicians and songwriters learn their trade.’Paul Clements, Commercial Director at PRS for Music

Make music the heartbeat of your business

We know your pub is an important local venue that provides a unique function in the community.

You know it’s at the heart of the community because your customers tell you. However, have you actually asked them what they think about live music?

Making music a feature at your pub with high quality, well organised events, will attract more customers and deliver real financial benefits. We asked the experts* to do some research and they discovered:

• On average, venues that feature live music nights take an extra £306 more in drinks sales on those days.

• On Friday and Saturday nights this rises to an average of £667 more a day.

• That means live music could potentially boost a bar’s wet sales by nearly £100,000 a year**.

* CGA Strategy research, 2011. Full research available at prsformusic.com/uplifting. **How we calculated the figure of ‘nearly £100,000’: The study conducted by CGA Strategy found that, on average, pubs that use live music take £306 more a day in wet sales. On Friday and Saturday nights, this rises to an average of £667 more a day. So we calculated that if a pub was to put on live music for 50 weeks of the year on Thursday (50 x £306) + Friday (50 x £667) + Saturday (50 x £667) + Sunday (50 x £306) nights they could increase takings by around £97,300 - nearly £100,000 a year.

Make sure you are licensed to play music

Premises Licence from your local authorityYou may already have a Premises Licence, authorising the performance of live music. If you don’t, you may need to add a Temporary Event Notice to your Premises Licence. Consult your local licensing authority for more information at direct.gov.uk

PRS for Music and PPL music licencesTo play music, live or recorded, you must have the correct copyright licence. PRS for Music collects royalties on behalf of songwriters, composers and music publishers, whereas PPL collects on behalf of performers and musicians for the use of music.

PRS for Music and PPL both license background music used in your pub, such as radios, TVs, CD, MP3 and computer speakers. A PRS for Music licence can also cover you for live music.

Having these licences is a legal requirement. For more information visit: prsformusic.com, ppluk.com

InsuranceMake sure you are covered for your events by checking that performers have Public Liability Insurance (PLI).

DJsPlease ensure any DJs you hire have a ProDub licence. This is a joint licence between PRS for Music and PPL for the

purpose of copying and mixing music. A ProDub licence is for copying, burning or transferring music from vinyl, CD, MP3 or CD+G collection onto a digital format such as an

MP3 player, flash drive or laptop. If your DJ does not possess the correct licence for ‘copying’ music to create their playlists, then you may have infringing music being played in your premises. This would render your licence invalid and you responsible for any fines or legal prosecution under the Copyright Designs and Patents Act 1988.

Please check our list of licence holders to find out if your DJ holds a ProDub licence. prsformusic.com/ProDub

Providing musical entertainment can be a rewarding way to increase sales, but there are some things that you’ll need to consider including licences and insurance.

‘Small venues and pubs allow musicians to start their live career without any money, any fans, any strategy or game playing and keeps the music scene honest and fun. When Wolf Alice first started playing live we didn’t know what or where was cool. We didn’t know anything about the music industry or anyone who worked in it. We just played shows (probably quite badly) in our local pubs and venues every week because we could. That‘s what eventually introduced us to the “music scene”.’Ellie Rowsell, Wolf Alice:

• What’s the maximum capacity of your venue? This will help you work out the potential income from increased takings and door charges.

• Do you want to maximise business on weekends or target quiet nights?

• Do you want to make a door charge? Consider what other venues in the area are charging for similar bands. Ask the performers if a door charge is normal when they play elsewhere.

• If you decide to charge, consider including a meal or drink in the ticket price. This can help maximise takings and cover the band’s costs. And it can provide a great angle for advertising.

• It can take time to establish a reputation for good music and build an audience for a certain night. But stick with it. Aim for good quality and your early investment should pay off.

Some considerations before you start

Finding the right sound

Bringing live music to your pub can be both rewarding and profitable. However it is worth taking some time to think about what you want to get out of it before you begin. Here are some essentials to keep in mind:

Choosing the right type of music night can be a daunting task. You might be overwhelmed by the number of acts on offer or worried that your musical tastes won’t impress your customers. But don’t worry. There are plenty of ways of helping yourself:

• What kind of music will work for your venue, your area and your customers? Don’t make assumptions – ask people what they’d like to hear.

• In the beginning you might want to stick to one genre. Later you can decide whether to specialise or offer a range of different nights.

• There are lots of great sources of information about different acts and performers. Get recommendations from:

- Other venues in the area- Listings and local

newspapers- Local music shops- Your customers

• Check out recommended bands online through websites such as Twitter, Facebook and music

blogs. This should give you a good idea of whether the band is right for your venue. Look out for reviews too.

• Build relationships with local bands.

• Contact the Musicians’ Union in your area via musiciansunion.org.uk. They will be able to give you guidance about contracts and setting up a standard agreement for acts playing in your venue.

• Consider using a promoter who will book acts for you for a fee or share of the takings.

• Contact colleges or universities in the area. They often have music students who are looking for places to play.

• Be sure to maintain a good relationship with bands, performers and managers. Stay in touch with them.

‘Pubs play such a vital role in many musicians’ careers and provide an essential platform from which talent can grow. Demonstrating how music can really benefit

Organisation and communication are vital when hosting gigs. And the type of gigs that you can host in your pub will vary depending on its size and location. You need to think about some of these points:

Organising the gig - before, during and after

‘Local pubs and small venues are hugely important. I’ve been playing in bands since 1993 and there’s a real willingness from pubs and promoters up here to give young talent a chance. They are a really encouraging force bringing new bands through and are the musical lifeblood of the city.’ Iain Cook, Chvrches

StagingYou don’t need a raised stage area but you do need to find some suitable floor space.

SoundAcoustic music can be perfect for smaller or quieter venues and it’s also a good way to introduce music at a lower cost. When you’re starting out you can hire a PA system; but in the longer term it’s worth buying equipment to suit your venue. An in-house PA system is easier for performers and gives you more flexibility.

Bands will need to soundcheck. Some bands have their own sound engineer, some will not. You can employ a professional sound engineer or find a student at a local college who might do it for free.

LightingLighting can be key to creating the right atmosphere. It’s particularly important if you want to hold regular DJ sessions.

TicketingHow many tickets will you need to sell to break even or make a profit? You will need to keep some free tickets on hand for journalists or promoters. You might even decide to operate a guest list. If you don’t print tickets, sell access to the gig on the door. Consider using a rubber hand stamp at the door so that punters can come and go.

Be a good neighbourMake sure you spare a thought for your neighbours. Simple steps like fitting removable shutters for windows can reduce noise at low expense. Consider investing in sound-proofing. Keep neighbours updated about your plans and maybe even invite them to your music night for free.

• Put the most popular band on last (the headliner).

• The main act should have more stage time than the opening acts.

• Tell the band that their set is five minutes shorter than they actually have – this will keep everything running to time.

• Talk to each band about their gear requirements. Some bands are prepared to share gear; some are not. If each band brings their own kit, the set up times between acts will need to be longer.

• Think about whether you need security or not.

• For larger events or venues, you may like to set up an area back stage with some refreshments. Make sure it’s big enough to hold the bands while they’re not playing. A ‘rider’ is often requested by bands - this is just a list of food and drink that they would like supplied.

On the night• Keep in contact with the

band’s manager (if they have one) and make sure the performers arrive in good time.

• The headline act will need to soundcheck first. Check with your sound engineer and listen to his advice.

• The first band should go on about half an hour after the doors open.

It’s showtime• Take a deep breath.

• Be seen at your event – on the door and in the crowd. Ask people what they think and listen to what they say.

• Check in with door staff, security, the sound engineer, the band’s manager and the band. Make sure everything is running smoothly.

• Take photos that can be published on your website. Remember to ask permission first.

The after show • Pay the bands and other

staff promptly. This will help you build and keep a good reputation.

• Make improvements based on what you’ve been told by the bands and punters.

• Enjoy the feeling, earn some cash, have fun and get ready for your next successful gig.

Timings, line-up and other stuff

‘I think the UK’s live music circuit is vital. All bands have to go through it - they all play the little venues. As Erland and the Carnival we’ve played tiny little gigs in Glasgow right up to the Southbank in London, and each of those shows are important. You really earn your spurs through live shows and despite all the gigs we’ve done, I’m still learning what it is to be a front man in a band in these venues.’Erland and the Carnival

Spreading the word - advertise

Prominent advertisingInside and outside of your venue is a very effective way to advertise the gig.

Posters are cheap to produceDon’t forget to include the band names, location, date, door times, cost, where to buy tickets and a website address. Put them up wherever you can but ask permission first. Music shops or colleges are good places to advertise but think about who you want to come to the gig.

Your audience Will the gig attract existing or new customers or a mix of both?

Call your local newspaper and radio station Tell them when the gig is on. Invite the newspaper’s photographer and a reviewer. Fundraising nights often get good coverage. How about a showcase of local bands?

Advertise in local newspapers and listingsWhen building your profile as a music pub, invest in some larger adverts. Once you’re established, you can just use the basic listings.

Get online Take advantage of social media opportunities through Facebook, Twitter and EventBrite. Setting up an account is simple. Think about creating your own events website too. Regularly provide updates to followers and to your mailing lists.

Ask the bands to help Most bands will have their own Facebook page, website or blog, and they’ll probably have their own mailing list and fanbase. Use them. Work in partnership with the act to promote gigs.

Everybody’s talkin’ about it Word of mouth is invaluable. Regular music nights can quickly attract a regular crowd if people know to expect good quality. Once people know who you are and where you are, they’ll come to other nights and recommend your venue to friends.

Advertising does not need to be expensive, but you should work it into your overall event budget.

‘I played my first gigs in pubs in Surrey when I was in a band with my brother called Tools Down. Back then in 1978 or 1979, the only place you could play would be a village hall or pub. To have a friendly landlord or landlady, who would let you set up and play, was like gold dust. Many wouldn’t even let you in if you had a funny hair cut, never mind let you play music. We had a couple of landlords who would let us play and have us back. This is still important, perhaps even more so now than back then.’Paul Heaton: The Beautiful South

Choosing the right PA for your venueIf you’re serious about putting on live music events, you will certainly need to invest in a PA system (a public address system is an electronic sound amplification system, used to allow a person to address a large public). A typical PA system normally consists of a front-of-house system, a monitor (speaker) system and a mixing desk. However, before you make ANY decision about which PA you should buy, ask yourself the following questions:

What is it being used for?Will it be used primarily by DJs, acoustic performers or full bands? It’s really important to think about this before choosing your PA to ensure to have the best configuration for the job.

What does your venue need? There’s no point in buying a system which is too big, too loud, too small or not loud enough. Also, you need to check if the system will physically fit in your venue - you want to safely and comfortably accommodate all your new customers!

I think it’s always in your best interest to ‘over-spec’ a system by a fraction so you can always turn it down, rather than have to turn it up over its limit because it’s too quiet.

Liam manages a team of staff dedicated to maintaining music equipment across the Guildford campus. During his time at ACM, Liam has also engineered recording sessions by artists and session musicians including Roni Size, Frank Turner, Bob Knight, Chris Johnson (Rihanna), Nik Kershaw, Zomboy, Dishan Abrahams (Kylie) and Newton Faulkner.

As a freelance sound engineer, he has worked on a variety of live events across the UK, including PRS for Music’s live music tent backstage at 2015’s Glastonbury Festival.

Liam St Ledger: Head of Technical Services at the Academy of Contemporary Music (ACM)

What do you need to host live music in your venue?

What are the key considerations when setting up and positioning a PA?

The room layoutWhat is the best position for the stage? Are there surfaces that will cause you problems, for example a mirrored wall? Sound bounces off smooth polished surfaces and creates unwanted noise distortion.

The audienceWill the audience be seated, standing or dancing around in front of the performers?

The band/vocalist positioningWithin the performance area or stage, where will the vocalist stand? Are you likely to get feedback from the front-of-house speaker system?

Health and safety Are there fire exits located nearby, or areas of high foot traffic that might become blocked, for example walkways, kitchen entrances, toilets, disabled access?

Where are the power points? There is nothing worse than spending time setting up a system to discover there’s no power sockets nearby. Solutions can be found but it’s better not to have the problem in the first place.

Who looks after the PA during the gig?This is the job of an experienced sound engineer. A good sound engineer is worth his or her weight in gold and can be the person who really makes or breaks your night. Their role is to work with the venue and performers to deliver a successful

event and to ensure that the audience, performers and venue neighbours (domestic or commercial) receive a positive experience.

As a sound engineer, what should I be listening for?Clarity - I want to be able to hear all elements of a band’s sound without anything being lost in the mix.

Feedback - unless created intentionally by the performer, this unpleasant high-pitched sound is a big no-no.

Reverb and delay - as sound engineer, I can add these effects from the mixing desk at the band’s request. Too much reverb and delay may distort the band’s sound, so always check they are happy with the levels.

How do you know what the band or artist need to perform?

They will normally provide a tech spec or rider. These can vary from a one pager with names and responsibilities to a full dossier. Without this information to hand, the sound engineer’s job can become rather more complicated. But, whatever situation you find yourself in, communication (prior and during the set-up) is key.

Microphones

Mic-ing upIdentify what needs mic-ing up and what, realistically, doesn’t. At a minimum, vocalists will need microphones, but your mic-ing up duties could extend to drums, guitar amps, bass amps, brass section or whatever else needs amplification.

Mic placementWhen I’m mic-ing up for a live event, I aim for as little ‘overspill’ as possible from other instruments or amps – this will provide the cleanest sound. Be sure to position the mic as close to the sound source as possible. Beware of putting too many mics on one

instrument as this could lead to problems, like phase cancelation. This where the two audio signals combine and cancel each other out. Sometimes it’s better to use one well placed mic.

Mic standsAnother important thing to remember is to ensure you set up your mic stands correctly.

Recommended microphonesEvery engineer, band and musician has their own preference when it comes to mics and signal sources - here are just a few of my recommendations from what is currently available to buy:

Remember: The more mics you use, the more headroom you need and the more headroom the system will need to have.

Headroom: there is a certain sound amplitude level that your PA system most efficiently handles, known as the ‘nominal level’. If the signal is turned up too high, it will overdrive the electronics and you will get distortion. Headroom is the difference - usually measured in decibels - between the level that your system works best with and the point at which distortion occurs.

Source MicKick Drum Shure Beta 52, Audix D6Snare Shure Beta 56, SM57Toms Shure Beta 56, Sennheiser e604Guitar Sennheiser e906, Shure Beta 57

Other sound sources

Apart from mic, where else can a sound signal come from?Keyboards, synths, drum sample pads and acoustic guitars are some of the more common sources, but basically anything that has a signal output.

If the output is through an instrument jack (TRS) connection, there is a high chance it will need to run through a DI box before going into the mixing desk. There are two types of DI boxes - active (powered) and passive (non-powered) - and can vary from the size of your thumb through to the size of your hand.

How does the signal get from the mic or instrument to the mixing desk?The simple answer is cables - to be specific XLR-male to XLR-female cables.

These can be categorised as singular cables or in multiples more commonly known as a loom, multicore or snake. When buying cables you need to consider the use and routes of each cable; look at the size of your stage to decide on a

sensible length, but always overestimate your length requirements, just in case.

I always invest in good quality cabling and connectors as they will have a hard life and a signal fault could end up costing time and cause a lot of frustration. Equally important in extending the life of your cables is to coil them correctly. The internet has plenty of video tutorials to teach you how to do this properly and remember; practice makes perfect!

So, my signal is coming into my mixing desk, what do I do now?Every mixing desk is different so it’s recommended that you take time to read the manual to ensure you get the very best out of your investment. Why not visit the manufacturer’s website? They are likely to have some great tutorial videos or user guides that might come in handy.

Common issues with every mixing desk: Too much gain (volume) is not going to be supportive of a good sound.

Too little gain is also a bad thing and could lead to its own problems, such as feedback.

MonitorsIt’s important to provide performers with monitors (speakers) positioned in the performance area or on stage so they can hear what they are playing. A 32 band graphic equalizer is a must have. It will help to control and contour the sound from the speakers and help to eliminate feedback (a large undesirable sound or screech).

LightsThis doesn’t often need to be more than a simple fill of lights across the stage and can make a really big difference to the whole atmosphere and event. Good lighting should enhance the audience experience and uplighters can create a simple, quick, but effective stage vibe.

PRS for Music supports and actively encourages pubs that want to introduce live music into their venue.

To show our commitment, we run a competition called Music Makeover to find worthy pubs that we work with to establish new, local live music destinations.

To find out more or to enter Music Makeover visit: prsformusic.com/musicmakeover

Meet our Music Makeover competition winners

Nicola Berridge of the Royal Oak, a traditional country village pub, demonstrated excellent potential to grow into a great live music venue’.

Shaun Jackson’s passion and enthusiasm for developing an unused area of The Railway Inn and providing a dynamic space for local bands to practise and play impressed the judges.

2013 winner:The Railway, Oakham

Lucie Fuller of The Burnaby Arms in Bedford displayed great ideas for improving her business and community links by offering live music in the pub.

2012 winner: The Burnaby Arms, Bedford

David and Suzanne Pott of The Market Inn, Faversham, had some great ideas, including introducing open-mic nights and other musical events including ‘The Hop Festival’.

2011 winner: The Market Inn, Faversham

2010 winner: The Royal Oak, Taunton

The Musicians’ UnionThe Musicians’ Union is a globally-respected organisation which represents over 30,000 musicians working in all sectors of the music business.

As well as negotiating on behalf of musicians with all the major employers in the industry, the MU offers a range of services tailored for the self-employed by providing assistance for professional and student musicians of all ages.

The British Beer & Pub AssociationThe British Beer & Pub Association is the leading body representing Britain’s brewers and pub companies. The Association is more than a century old and was originally founded as the Brewers’ Society in 1904. Our members account for some 90% of beer brewed in Britain today, and around half of the nation’s pubs.

These members are also diverse in their activity – from international brewers, to market-leading managed pub companies, the nation’s largest tenanted pub companies and historic family brewers. This diversity of membership enables us to speak up for the industry, championing its cause, whilst also being able to credibly claim a wide representative base.

About our partners

‘It’s great for the MU to be a part of Music Makeover. We have over 30,000 members, a lot of whom make their living from live music. Live music is the bedrock of the music industry and pubs are the bedrock of live music. Live music is not only important to the music industry, but people who watch live music become inspired to make music of their own.’ Horace Trubridge, Assistant General Secretary, Musicians’ Union

‘It is a challenging economic time for the great British pub and live music is a vital lifeline to many venues. We are proud to be part of Music Makeover, helping pubs to realise the benefits live music can bring.’ Neil Williams, Head of Media, British Beer & Pub Association

To arrange a PRS for Music licence or to talk about including live music on your licence please call 0800 068 4828 Lines open 9am-5pm Monday to Friday

PRS for Music, 2 Pancras Square, London N1C 4AG